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Scan 519
Grove's Dictionary of Music and Musicians, 1927
30 lines. Read by computer on 11 September 2026. Printed page 471. See the scan on archive.org.
1number of fine players of all the nations of Europe. Of his pupils his brother (2) LEOPOLD (b. Sept. 4, 1834; d. Feb. 26, 1900) was one of the most remarkable. He was for many years first violoncello in the Meiningen orchestra.
3T. P. H.
5GRUND, FRIEDRICH WILHELM (b. Hamburg, Oct. 7, 1791; d. there, Nov. 24, 1874), at first studied the violoncello and pianoforte with the intention of becoming a public performer on both instruments, but after a few successful appearances in his seventeenth year, his right hand became crippled, and he was obliged to abandon his public career. He now took a keen interest in the musical affairs of his native town, where in 1819 he was instrumental in founding the Singakademie. He remained director until 1862, when he also retired from the direction of the Philharmonische Konzerte, with which he had been connected since 1828. In 1867 he took an active part with Grädener in the formation of the Hamburger Tonkünstlerverein. His numerous works include two operas, 'Mathilde' and 'Die Burg Falkenstein,' a cantata 'Die Auferstehung und Himmelfahrt Christi,' an 8-part Mass, symphonies, overtures, and much chamber music.
7M.
9GRUNER, NATHANIEL GOTTFRIED (d. 1795). From the middle of the 18th century to the time of his death he was cantor and director of music at the Gymnasium at Gera, Saxony, and was a highly esteemed composer of psalms, cantatas, arias, songs and especially of harpsichord concertos and sonatas. (See Q.-L.)
11GRUNEWALD, GOTTFRIED (b. 1673; buried Darmstadt, Dec. 22, 1739), son-in-law of Joh. Phil. Krieger. In 1703 he was singer at the Hamburg Opera, for which he wrote an opera, 'Germanicus,' which was first performed at Leipzig in 1704, and at Hamburg in 1705 (probably on account of the performance of Handel's 'Almira' in 1704). In 1712 he became vice-Kapellmeister at Darmstadt, and in 1717 he toured in Germany as virtuoso on the pantaleon.
13E. v. d. s.
15GRUPPO, GRUPETTO, the Italian names for TURN (q.v.). Sébastien de Brossard (Dictionnaire de musique) says that the turn is called Groppo (or Gruppo) ascendente and Groppo descendente, according as the last note of the group rises or falls. (See ORNAMENTS.) M.
17GUADAGNI, GAETANO (b. Lodi,1 c. 1725 2; d. 1785 3 or 1797 4), was one of the most famous male contralti of the 18th century.
19In 1747 he was singing at Parma; in 1748 he came, very young, to London as 'serious man' in a burletta troupe, with Pertici, Laschi, Frasi, etc. 'His voice attracted the notice of Handel, who assigned him the parts in the "Messiah" and "Samson," which had been originally composed for Mrs. Cibber,5 in the studying which parts,' says Burney, 'he applied to me for assistance. During his first residence in England, which was four or five years, he was more noticed in singing English than Italian. He quitted London about 1753.' In 1751-52 he visited Dublin, and sang there with great success. In 1754 he sang at Paris and Versailles, after which he went to Lisbon to sing under Gizziello, and in 1755 narrowly escaped destruction during the earthquake. To Gizziello he owed much of his improvement and refinement of singing. His ideas of acting were derived much earlier from Garrick, who took as much pleasure in forming him as an actor (for 'The Fairies' of Smith) as Gizziello did afterwards in polishing his style of vocalisation. After leaving Portugal he acquired great reputation in all the principal theatres of Italy. There he sang the part of 'Telemacco,' written for him by Gluck, who procured his engagement in 1766 at Vienna as 'Orfeo.' Having excited both admiration and disturbance in that capital, he returned to London in 1769.
21'As an actor he seems to have had no equal on any operatic stage in Europe: his figure was uncommonly elegant and noble; his countenance replete with beauty, intelligence, and dignity; and his attitudes and gestures were so full of grace and propriety, that they would have been excellent studies for a statuary. But, though his manner of singing was perfectly delicate, polished, and refined, his voice seemed, at first, to disappoint every hearer, for he had now changed it to a soprano, and extended its compass from six or seven notes to fourteen or fifteen.'
23He had strong resentments and high notions of his own importance, which made him many enemies. He sang under J. C. Bach in the Lent of 1770, and later in the same year was heard at Verona by the Electress of Saxe, who brought him to Munich, where he remained in great favour with the Elector till the death of that prince. In 1766 he sang at Potsdam before Frederick II., who gave him a handsome gold snuff-box studded with brilliants—the finest he had ever given. In 1777 he returned to Padua. There Lord Mount-Edgcumbe heard him (1784) in a motetto, and found his voice still full and well-toned, and his style excellent. He insisted on Lord Mount-Edgcumbe going to his house, where he entertained him with fantoccini, which he exhibited on a little stage, and in which he took great delight.
25J. M.
27GUADAGNINI, a family of Italian violin-makers. The first of these was (1) LORENZO, who worked at Piacenza and died there about 1740. He is one of those who styled himself a pupil of Stradivari, but no proof of this claim has ever been forthcoming. (2) GIOVANNI BATTISTA (c. 1745-90) was son of Lorenzo. There was only one maker of this name, and not two as sometimes stated. It has been said that Lorenzo also was a pupil of Stradivari; be that as it may, both he and his son did their best to copy the Stradivari model for the reason that they recognised it to be the best, and
291 Or Vicenza (Burney). 2 Fétis. 3 Burney. 4 Fétis. 5 He sang also in 'Theodora' (1750)
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