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Scan 480
Grove's Dictionary of Music and Musicians, 1927
57 lines. Read by computer on 11 September 2026. Printed page 432. See the scan on archive.org.
1marine, and went down in her. He left a number of PF. pieces, Spanish dances, songs, including tonadillas modelled on the forms of Spanish music in vogue in the 'Goyesque' period and arrangements of some of the sonatas of Domenico Scarlatti for a modern PF. Though the propriety of altering so great a master as Scarlatti may be questioned, the fact is that Scarlatti's works are more usually heard in transcriptions (e.g. Tausig) than in their original forms as given in the complete edition published by Alessandro Longo. Granados, it must be admitted, has made his alterations with extraordinary skill. Like Falla, he seemed to realise that Domenico Scarlatti was the master and model of Spanish PF. composers; though he never himself got so near to Scarlatti in feeling as Falla has done since. He also completed an unfinished PF. piece ('Azulejos') by Albéniz, and re-scored the F minor concerto of Chopin.
3An interesting account of Granados, particularly as a teacher of the PF. and explorer of its technical possibilities, is given by his pupil, G. de Boladeres Ibern (Barcelona, Artes y Letras S.A.). The list of compositions given in that work includes amongst others the following:
5PIANOFORTE WORKS
612 Spanish Dances (4 books).
76 piezas on Spanish popular songs.
8Escenas románticas.
9Escenas poéticas.
10Libro de horas.
11Impromptus.
12Children's pieces (3 sets).
13Goyescas (2 books).
15CHAMBER MUSIC
16Trio (PF., vln. and 'cello.).
17Oriental (oboe & str.).
19CHORAL WORK
20Cant de les Estrelles (chorus, organ & PF.).
22ORCHESTRA
23Suites, a symphonic poem, etc.
25SONGS
26Colección de Tonadillas, escritas en estilo antiguo.
28DRAMATIC WORKS
29Goyescas (opera in 3 acts).
30Maria del Carmen (opera in 3 acts).
31Gaziel (1 act, 3 scenes).
32Petrarca, Follet & others.
34J. B. T.
35GRAN CASSA or GRAN TAMBURO, the Italian term for the bass-drum. See DRUM (2).
36v. de P.
38GRANCINI (GRANCINO, GRANZINI), MICHEL ANGELO (b. circa 1600; d. circa 1669), organist of S. Sepolcro, Milan, 1628; of the cathedral, 1636–50; maestro di cappella c. 1652. He stood in such high esteem as an artist that he was given special dispensation from the order of Charles Borromaeus, which excluded married men from the latter post. His compositions consist of masses, concerti sacri, madrigals, motets, etc. (Q.-L.; Piccinelli).
40GRANCINO, (1) PAOLO (b. Milan), a violin-maker of the second rank. He learnt his art under Nicolo Amati at Cremona. His violins are dated from 1665–90. His son (2) 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 (3) GIAMBATTISTA and (4) FRANCESCO carried on his business (1715–46) under the title of 'Fratelli Grancini.'
42P. D.
43GRAND DUKE, THE, or The Statutory Duel, a comic opera, in 2 acts; words by Gilbert; music by Sullivan. Produced Savoy Theatre, Mar. 7, 1896.
45GRANDI, ALESSANDRO (b. Sicily; d. Bergamo, before July 8, 1637),1 a composer of motets, concerning whom nothing is definitely known, excepting only what can be gathered from the title-pages of the earlier editions of his works. (See Q.-L.) He seems to have been born in Sicily, was possibly a pupil of Giovanni Gabrieli and certainly maestro in the church of Santo Spirito at Ferrara from 1610–17. In the latter year he went to Venice as a member of the choir of St. Mark's, where he became deputy conductor in 1619. In 1628 he was chief conductor at S. Maria Maggiore in Bergamo. His first book of masses, a 3, appeared in 1630; a second (with a psalm of Giov. Croce in it) in 1636, for two, three and four voices with accompaniment ad libitum; and the 'Messe concertate,' a 8, in 1637. A book of psalms, a 8, was issued in 1629; 'Salmi per i vespri,' a 4, with litanies, etc., in 1707; and various collections of motets, with and without accompaniment, in 1610, 1613, 1614, 1616, 1619, 1620, 1621, 1629 and 1637. Two books of accompanied madrigals appeared in 1616 and 1622; and four books of 'Cantade et Arie a voce sola,' were issued from 1620 onwards, only two of which are now in existence (Q.-L.).
47GRANDIOSO (Ital.), in a grand or broad style.
49GRANDIS, (1) VINCENZO DE (d. Mar. 18, 1646), singer in the Papal Chapel, 1605–30. He composed psalms, vespers and a motet (1604); 'Sacrae cantiones,' 2-5 v. (1621); 'Alcuni salmi et motetti' (1625), and various numbers in collective volumes. Q.-L. identifies him with the following, which from the difference of time is obviously impossible. E. v. d. s.
50(2) VINCENZO DE, maestro di cappella at the Seminary and Church del Giesu, Rome, 1672; maestro di cappella of the Duke of Brunswick, 1675–802; returned to the court of Modena, but left there, Apr. 21, 1683. He composed several oratorios and motets. Some of the unsigned MSS. in the Estense library (oratorios, operas, etc.) may be attributable to him.
52E. v. d. s.
53GRANDJANY, MARCEL G. L. (b. Paris, Sept. 3, 1891), harpist and composer. He was a pupil for harp of Hasselmans and Henriette Renié, and at the age of 13 obtained (1905) a
551 See his posthumously-published 'Messe concertate.'
562 Also at the court of Hanover (?). Riemann.
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