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Scan 446
Biographical dictionary of musicians, 1940
14 lines. Read by computer on 8 September 2026. Printed page 426. See the scan on archive.org.
1(Dresden, 1882), the 2-act opera Ingrid, op. 57, and the 1-act opera Das Irrlicht, op. 58 (both prod. on the same evening at Dresden, 1894); Auf neutralem Boden (posth.; Hamburg, 1901); a Trauerrkantate for soli, ch. and orch.; Die Hexe, op. 17, dram. scene for alto, ch. and orch.; 2 symphonies; string-quartets and trios; vln.-sonatas; pf.-music; songs; etc. —Cf. F. Pfohl, K. G. Ein Künstlerleben (Berlin, 1910).
3Grana’dos, Eduardo (son of Enrique), b. Barcelona, July 28, 1894; d. Madrid, Oct. 2, 1928. St. in Barcelona and in Madrid with del Campo; first a teacher (1910–16) at the Granados Academy (founded by his father), later (1916–19) its dir.; also a cond. (performed mainly the works of his father). Wrote zarzuelas (Spanish opéras-comiques); vln.-pieces; songs; incid. mus. to a Spanish translation of Iphigenia in Tauris.
5Grana’dos (y Campi’na), Enrique, b. Lérida, Catalonia, July 29, 1867; d. at sea, March 24, 1916 (victim of the Sussex disaster in the Engl. Channel). He studied pf. at the Barcelona Cons. with R. Pujol, and comp. at the Madrid Cons. with F. Pedrell (1884–7); then he was for one year a pupil of Ch. de Bériot (pf.) at the Paris Cons.; from 1899 concertized in Barcelona, etc.; 1900, founded the Soc. of Classical Concerts, of which he was cond.; 1901, establ. the pf.-school, Academia Granados. He first attracted attention as a composer with an opera, María del Carmen (Madrid, 1898), which soon made the rounds of the principal theaters of Spain; fragments of an opera, Follet, were successfully prod. in Barcelona in 1903. Inspired by the paintings and etchings of Goya, he wrote a series of comps. for pf. entitled Goyescas, on which (together with his delightful Danzas españolas), his reputation as a comp. principally rests. Later F. Periquet wrote a libretto based on the scenes from Goya, and G. used the music of his pf.-suite for an opera, Goyescas, the première of which took place, in the presence of the composer, at the M. O. H. (it was originally intended for the Paris Opéra in 1914), on Jan. 28, 1916; it was fairly successful. G. comp. an orchl. Intermezzo, one of his most popular works, for this production. Other works include an intermezzo to Miel de la Alcarría (1893); incid. mus. to Mestres’ fairy play, Liliano; the stage-works Petrarca, Picarol and Gaziel; for orch.: the symph. poems La Nit del Mort and Dante; Suite Arabe; Suite Gallega; Marcha de los Vencidos; Serenata; the suites Elisenda and Navidad, for small orch. (posth.); chamber-music: pf.-trio; str.-quartet; Serenata for 2 vlns. and pf.; Oriental, for oboe and strs.; Trova, for vcl. and pf.; etc.; also Cant de les Estrelles, for chor., organ and pf.; pf.-works: Danzas españolas (4 vols.); Goyescas: (Part I) Los Requiebros, Coloquio en la Reja, El Fandango del Candil, Quijas o la Maja y el Ruiseñor; (Part II) El Amor y la Muerte (Ballade), Epílogo (Serenade of the Spectre); El Pelele (Escena goyesca); [address hidden] on Spanish popular songs; Valses poéticos; Cuentos para la Juventud; Marche Militaire and A la Cubana (also arr. for orch.); etc.; Deux danses caractéristiques: Danza gitana and Danza aragonesa, for pf. (posth.); songs: Colección de Tonadillas, escritas en estilo antiguo; etc.; also Colección de Canciones amatorias (posth.). Transcribed 26 of D. Scarlatti’s unpubl. pf.-sonatas. G.’s music is essentially romantic, with an admixture of specific Spanish rhythms and rather elaborate ornamentation.—Cf. G. Jean-Aubry, E. G., in the ‘M.T.’ (Dec., 1916); E. Newman, The G. of the ‘Goyescas’, ib. (Aug., 1917); G. Boladeres Ibern, E. G. Recuerdos de su vida y estudio crítico de su obra (Barcelona, 1921); H. Collet, Albeniz et G., in ‘Les Maîtres de la Musique’ (1926); J. Subirá, E. G., su producción musical, su madrileñismo (1926); A. Salazar, La música contemporánea en España (Madrid, 1930).
7Grancino [-ché’-], Paolo, a violin-maker, pupil of Amati in Cremona; worked at Milan from 1665–90; the instruments of his son Giovanni Battista (1696–1715) are more highly esteemed, especially the ’celli.
9Gran’di, Alessandro de’, b. Venice (?); d. Bergamo, ca. 1630. Church-comp. of the Venetian school, pupil of G. Gabrieli. In 1597, m. di capp. at the Accad. della Morte in Ferrara; in 1617, singer at San Marco, Venice; in 1620 succeeded Negri as vice-maestro there and in 1627 became m. di c. at Santa Maria Maggiore, Bergamo, where he died of the plague.—Works: Madrigali concertati; litanies, vesper psalms, masses, motets, etc.—See Q.-Lex.
11Grandjany [grāhn-zhah-nē’], Marcel, harpist; b. Paris, Sept. 3, 1891; 1901–11, studied there at the Cons. National de Musique with Hasselmans, Caussade, Vidal and Rougnon; 1905, won the Prize for harp; 1909, début in Paris; extensive concert appearances throughout Europe, and, since 1924, tours of the U. S. in recital and as soloist with the leading orchs.; 1919, taught at the Phila. Cons.; 1921–35, head of the harp dept. at the Fontainebleau School of Music; 1938, teacher of harp at the Inst. of Mus. Art, N. Y. Has comp. many harp-pcs., including Poème Symphonique, for harp, horn and orch., as well as pf.-works and songs. Revised the Händel harp-concerto in B♭ (1933).
13Grandval, Mme. Marie-Félicie-Clémence de Reiset, Vicomtesse de, composer; b. Saint-Rémy-des-Monts (Sarthe), France, Jan. 21, 1830; d. Paris, Jan. 15, 1907. At first
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