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Scan 316
Dictionary of music, 1900
30 lines. Read by computer on 3 September 2026. Printed page 308. See the scan on archive.org.
1Grundstimme (Ger.), the lowest, fundamental, part.
3Grünfeld, (1) Alfred, important pianist, b. July 4, 1852, Prague, pupil of the Conservatorium there and of Kullak at Berlin; he lives in Vienna as "Kammervirtuos."
5(2) Heinrich, brother of the former, excellent 'cellist, b. April 21, 1855, Prague, pupil of the Conservatorium there, lives, since 1876, at Berlin, where for eight years he was teacher at Kullak's Academy, and, jointly with X. Scharwenka and G. Holländer (afterwards with Sauret), arranged concerts. In 1886 G. was appointed violoncellist to the Emperor.
7Gruppetto (Gruppo, Groppetto, Groppo), Ital. "knot," same as "turn," both when it is written out in full-sized notes, and when it is indicated in small notes, or by 2.
9Grützmacher, (1) Friedrich Wilhelm Ludwig, b. March 1, 1832, Dessau, where his father was chamber musician. From him he received his first musical instruction, and was trained by Karl Drechsler in 'cello-playing, while Fr. Schneider instructed him in theory. In 1848 he went to Leipzig as member of a small orchestra, was "discovered" by David, and in 1849 appointed Cossmann's successor as principal 'cellist of the Gewandhaus orchestra, and at the same time teacher of his instrument at the Conservatorium. He occupied the post until 1860, when Rietz attracted him to Dresden. He is still there, one of the chief ornaments of the court orchestra; he bears the title "Königlicher Kammervirtuos." G. is not only one of the most remarkable performers on the 'cello, but also a highly prized and prolific composer for his instrument and an exceptionally good teacher. Among others, his younger brother Leopold (q.v.), F. Hilpert, E. Hegar, W. Fitzenhagen, and O. Brückner, have studied under him. Besides concertos, concert pieces, and exercises for 'cello, G. has also written orchestral and chamber music, pf. pieces and songs.
11(2) Leopold, brother of the former, b. Sept. 4, 1835, Dessau, likewise received instruction from K. Drechsler in 'cello playing, and from Fr. Schneider in theory. He afterwards received further training from his brother, was for a time member of the theatre and Gewandhaus orchestra at Leipzig, later on principal 'cellist in the court band, Schwerin, and after that at the "Landestheater," Prague, whence, on the departure of the younger brothers Müller from Meiningen, he was appointed member of the court band there. Since 1876 he has been principal 'cellist at Weimar with the title of "Kammervirtuos." Leopold G. is also a diligent composer for his instrument.
13(3) Friedrich, jun., son of Leopold G., a talented 'cellist. He studied with his father and uncle, was, for some years, principal 'cellist in the court band at Sondershausen, whence he went in 1890 to Budapest, and became a member of the theatre orchestra and teacher at the Conservatorium of that city.
15Guaracha (Sp.), a graceful, gay, Spanish national dance, one part of which is in 3/8 (or 3/4) and the other in 2/4 time.
17Guaranita, Guarana, or Garanita (Sp.), a variety of the Spanish guitar.
19Guarnerius (Guarneri), name of one of the three most famous families of violin-makers of Cremona. (See Amati and Stradivari.) (1) Andrea, pupil of Niccolò Amati, worked about 1650–95. His instruments are vastly inferior to those of his nephew. (See below.)
21(2) Giuseppe, son of the former, worked between 1690 and 1730; his instruments—imitated partly from those of Stradivari, partly from those of his cousin of like name—are highly esteemed.
23(3) Pietro, brother of the former, worked between 1690 and 1725, first of all at Cremona, afterwards at Mantua; his instruments, though prized, lack brilliancy.
25(4) Pietro, son of Giuseppe G., grandson of Andrea G., worked between 1725–40, and adopted his father's measurements.
27(5) Giuseppe Antonio, nephew of Andrea G., called G. del Gesu, because his labels were frequently marked "I H S," b. June 8, 1683, Cremona, the most celebrated of the family. The instruments made during the middle part of his creative epoch vie with the best of Stradivarius (he worked from 1725–45), while his last are of less value—to explain which all kinds of legends are related. It is said that he led a somewhat dissipated life, at last drank heavily, and died in prison; and that while there he made his inferior instruments, not having at his command the best material.
29Gudehus, Heinrich, distinguished stage-singer (tenor), b. March 30, 1845, Altenhagen, near Celle (Hanover), as son of a village schoolmaster. He also chose the vocation of a teacher, and was appointed successively at the "Mädchenschule" at Kleinlehn and the "Höhere Töchterschule" at Celle and Goslar, and became likewise organist of the "Marktkirche" in the latter town. G. took lessons in singing from Frau Schnorr von Karolsfeld at Brunswick; she soon discovered that he had a fine voice, and sent him to Berlin to Von Hülsen, who at once engaged him from Sept. 1, 1870, for three years for the court opera. In January, 1871, he made a successful début as Nadori (Jessonda), but, after a year and a half left the stage to study further under Louise Ress at Dresden. He did not reappear on the boards until 1875, and sang successively at Riga, Lübeck, Freiburg-i.-B., Bremen (1878), was a member of the court opera at Dresden (1880–90), and has been since then a highly esteemed member of the court opera at Berlin. From 1890–91 he sang in German opera at New York. In 1882 G. created the rôle of Parsifal at Bayreuth, and
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