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Scan 248
Grove's dictionary of music and musicians, 1916
22 lines. Read by computer on 6 September 2026. Printed page 214. See the scan on archive.org.
1returned to Hamburg, where he taught in the Conservatorium, and spent the rest of his life. In 1867 he joined F. W. Grund in forming the Hamburger Tonkünstlerverein, the presidentship of which he held for some years. As a composer of chamber music, the chief interest of which centres in the ingenuity and freshness of its harmonies and the excellence of its form, he is justly esteemed. His works include an oratorio ('Johannes der Täufer'), two symphonies, an overture ('Fiesco'), a piano concerto, romance for violin and orchestra, an octet, three quartets and a trio for strings, two quintets, two trios for piano and strings, three violin sonatas, a violoncello sonata, besides many pieces for the piano. He also wrote a Harmonielehre (1877), and his contributions to musical literature were collected and published in 1872 as Gesammelte Aufsätze. He died at Hamburg, June 10, 1883. His son HERMANN THEODOR OTTO, born May 8, 1844, at Kiel, entered the Vienna Conservatorium in 1862; in 1864 was appointed organist at Gumpendorf, and became a member of the court orchestra in Vienna. In 1874 he was appointed teacher of harmony, etc., in the Conservatorium, and in 1882 received the title of Professor. In 1886 he became director of the academical society for orchestral music, and of the academical Gesangverein. In 1899 he succeeded Bruckner as lector for harmony and counterpoint in the Vienna University. His compositions, though not numerous, show very strong individuality. They include an orchestral 'Capriccio' and 'Sinfonietta,' a 'Lustspielouvertüre,' an octet and quintet for strings, a quintet, trios, and impromptus for pianoforte and strings, intermezzi for violin and pianoforte, a sonata for two pianos, a set of variations for organ, strings and trumpet, and a violin concerto. As in the case of his father, he is at his best in chamber music; his piano quintet has been played in London with success. M.
3GRAFTON, RICHARD, a famous early typographer, notable in musical history for having printed some of the first books of English Church service. A citizen of London and a grocer, he went to Paris with Edward Whitchurch about 1537 at the suggestion and by the aid of Thomas Cromwell for the purpose of getting the Bible printed in English. When nearly completed the Inquisition seized the printer whom Grafton and Whitchurch had employed, and the two partners with Coverdale had to fly to England. They afterwards bought a number of the confiscated and condemned copies from a haberdasher, and completed the work in London. In 1539 they obtained from Henry VIII. a patent for the printing of Bibles, and many editions with the Psalter appeared. In 1541 Grafton was printing alone, living in the house of the Gray Friars, just then dissolved. In 1544 Grafton produced Cranmer's Litany under the title, An exhortacion unto praier thought mete by the Kynges Maiestie
5… Also a Letanie with sufferages to be saied or songe in the tyme of the said processions. Imprinted by Richard Grafton … the XVI day of Iune … 1544, 8vo. In 1550 he reprinted John Merbecke's Booke of Common praier noted. These are both important works in the annals of English Church Music and in the history of Musical typography. Grafton is supposed to have died about 1571. He used as his emblem a woodcut depicting a grafted apple-tree bearing fruit (graft), springing out of the bung-hole of a barrel (tun).
7F. K.
9GRAHAM, GEORGE FARQUHAR, son of Lieut.-Col. Humphrey Graham, was born in Edinburgh, Dec. 29, 1789, and educated in the High School and University there. He studied music as an amateur, and was to a great extent self-taught. In 1815 he and George Hogarth acted as joint secretaries of the first Edinburgh Musical Festival, and in the next year Graham published An Account of the First Edinburgh Musical Festival, to which is added Some General Observations on Music. He passed some years in Italy in pursuit of musical knowledge. He composed and published some ballads, and contributed the article 'Music' to the 7th edition of the Encyclopaedia Britannica. The article was reprinted separately in 1838, with the addition of an Introduction and Appendix under the title of An Essay on the Theory and Practice of Musical Composition. About the same time he assisted in bringing out the Skene MS., and contributed an interesting paper to the appendix. [See DAUNEY.] He wrote the article 'Organ' for the 8th edition of the Encyclopaedia Britannica. In 1848-49 he furnished historical, biographical, and critical notices to The Songs of Scotland, adapted to their appropriate Melodies. He died in Edinburgh, March 12, 1867.
11W. H. H.
13GRAN CASSA or GRAN TAMBURO, the Italian term for the bass-drum. [Drum, vol. i. p. 733.]
15V. DE P.
17GRANCINO, PAOLO, a violin-maker of the second rank. Born at Milan, he learnt his art under Nicolo Amati at Cremona. His violins are dated from 1665 to 1690. His son GIOVANNI (1696-1715), who dates 'from the sign of the Crown' in the Contrada Larga of Milan, was a maker of higher merit. His violins, tenors, and violoncellos, are usually of a large flat pattern, and present a development of the Amati model analogous to that of Stradivari. His sons GIAMBATTISTA and FRANCESCO carried on his business (1715-46) under the title of 'Fratelli Grancini.'
19P. D.
21GRAND. A word formerly much in use in England to denote a classical composition of full dimensions or for full orchestra. Thus the twelve Symphonies written by Haydn for Salomon were known as 'Grand.' A grand sonata or a grand concerto meant one in complete classical form. It probably originated in the French grand or German grosse. (See Beethoven's
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