Scan 372
The American history and encyclopedia of music, 1908
15 lines. Read by computer on 7 September 2026. Printed page 333. See the scan on archive.org.
1Grund
2conducting the Philharmonic concerts from 1828 till the date of his retirement. He assisted Grädener in 1867 to organize the Hamburg Musicians' Union, and was much in demand as a teacher in Hamburg, where he died at the age of eighty-three. He was a prolific composer; his works including a cantata, Die Auferstehung und Himmelfahrt Christi; a mass for eight voices without accompaniment; symphonies; overtures; songs; chamber-music; and two unperformed operas, Mathilde, and Die Burg Falkenstein. His studies for piano were commended by Schumann.
4Grützmacher (grüts'-mäkh-ër), Friedrich Wilhelm Ludwig. 1832-1903.
5Distinguished violoncellist and composer; born at Dessau; was the son of a musician, and showed talent at an early age. At Dessau he studied cello under Drechsler, and theory under F. Schneider, and at sixteen went to Leipsic, where he was fortunate enough to attract the attention of David, and the next year was appointed first cellist and soloist of the Gewandhaus Orchestra, and a teacher in the Conservatory. In 1860 he became chamber-virtuoso to the King of Saxony in Dresden, and afterward made many concert tours, playing in most of the large cities of Northern Europe and appearing a number of times in London. His compositions are chiefly for cello, including concertos, variations, solos, and studies, the last of especial value, being used in the Conservatory of Leipsic; also orchestral and chamber-music; and songs. Besides, he had edited numerous collections of standard works, such as Beethoven's Sonatas for Violoncello and Piano, and revived some works of worth that had been shelved. Among his pupils were several cellists of note, including Brückner, Fitzenhagen, and his younger brother, Leopold Grützmacher, for years first cello of the Court Orchestra at Meiningen, and later at Weimar.
7Guadagni (goo-ä-dän'-yē), Gaetano. About 1725-1785.
8Italian male contralto; first heard of in Parma, at about twenty-two years of age. The next year he came to London, where Handel noticed his voice, and assigned him parts in the Messiah and Samson. He left Lon-
10Guadagnini
11don about 1753, singing the next year in Paris, Versailles, and Lisbon, where he sang under Gizziello, and had a narrow escape from the earthquake of 1755. He accompanied Gizziello into retirement after the upheaval, and owed much to the older singer's painstaking instruction and warm interest, as well as to the actor, Garrick, who had previously proved his friend, and from whom he had received many valuable ideas. On leaving Portugal he sang in all the foremost theatres of Italy with great success. He is said to have been a superior actor, handsome and elegant in person, and refined in his style of singing, although his voice was said by critics to be inferior in quality, and to depend more on clever management than intrinsic beauty for the effects produced.
13Guadagnini (goo-ä-dän-yē'-nē,) family. Lived about 1690 to 1760.
14Italian violin-makers of the Cremona school, who worked for several generations in Italy. The oldest two of this family, probably brothers, were Lorenzo and John Baptist, or Giovanni. They seem to have been pupils of the renowned Stradivarius, and the violins made by Giovanni are said to resemble the genuine Stradivarius violins, both in form and cellence of tone, and to be distinguished from the works of the other members of the family by the rich dark red varnish of the case. Lorenzo's violins were shaped quite differently from those of his brother, being heavier and less graceful, with a duller varnish, but equally valuable and musical in tone. Their instruments within the last few years were said to sell for from two hundred to five hundred dollars. Another John Baptist seems to have been a son of Lorenzo. His violins are shaped after the Stradivarius, of good material, and varnished with a bright scarlet. They are commonly used by orchestra players, but less valuable than the preceding. Joseph, probably his brother, made a heavy violin with brownish yellow varnish. Although succeeding members of the family continued to make violins, it became a trade with them rather than an art, and though they turned out fairly good instruments, the standard of their forefathers was not maintained.
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