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Oct. 24, and Paris, Oct. 30, 1783 ; 9. ~L'ami
de la maison, Fontaiuebleau, Oct. 26, 1771,
Paris, March 1-t, 1772 ; 10. Zemire et Azor,

Fontainebleau, 1771, Paris, Theatre Italien,
1771 ; 11. Le magninque, Paris, Theatre
Italieu, 1773 ; 12. Cephale et Procris, lyric
tragedy, Versailles, 1773, Paris, Academic,
1775 ; 13. La rosl&re de Saleucy, Theatre
Italieu, 1774 ; 14. La fausse Magie, Coine-
die Italieune ; do., 1 act, ib., 1776 ; 15.
Les mariayes Samuites, ib., 1776 ; 16. Ma-
troco, Fontainebleau, 1777, Paris, Theatre
Italieu, 1778 ; 17. Les trois ages de 1'Opera,
prologue in 1 act, Paris, Academie Royale
de Musique, 1778 ; 18. Le jugement de
Midas, Comedie Italienne, 1778 ; 19. Les
fausses apparences, ou Yamant jaloux, Ver-
sailles, Nov. 20, Paris, Dec. 23, 1778 ;
20. Les evenements imprevus, Versailles,
Nov. 11, Paris, Theatre Italien, Nov. 13,
1779 ; 21. Andromaque, Paris, Academic
Royale de Musique, 1780 ; 22. Emilie, ib.,
1781 ; 23. GolineUe a la cour, ou la double
epreuve, ib., 1782 ; 24. L'embarras des
richesses, ib., 1782 ; 25. Thalie au nouveau
theatre, Comedie Italienne, 1783 ; 26. La
caravane du Caire, Fontainebleau, Oct. 30,
1783, Paris, Academie Royale de Musique,
Jan. 15, 1784; 27. Theodore et Paulin,
Theatre Italien, March 18, 1784; do., as
Jj&preuve villageoise, ib., June 24, 1784 ;
28. Richard Coeur de Lion, Paris, by the
comediens ordinaires du roi, Oct. 21, 1784 ;
do., 4 acts, Dec. 21, 1785 ; do., 3 acts,
Dec. 29, 1786 ; 29. Panurge dans llle des
Lanternes, Opera, 1785 ; 30. La nouvelle
auntie a 1'epreuve, Comedie Italienue,

1786 ; 31. Les meprises par ressemblance,
Fontainebleau, Paris, Comedie Italienne,
Nov. 16, 1786 ; 32. Le comte d'Albert,
Fontaiuebleau, Nov. 13, 1786, Paris, Gome-
die Italienne, Feb. 8, 1787 ; 33. La suite
du comte d'Albert, Paris, Comedie Italienue,

1787 ; 34. Le prisonnier anglais, ib., 1787 ;
35. Le rival confident, ib., 1788 ; 36. Am-
phytrion, Academie Royale de Musique,

1788 ; 37. Raoul Barbe-Bleue, Comedie
Italienne, 1789 ; 38. Aspasie, Opera, 1789 ;

39. Pierrele Grand, Comedie Italienne, 1790 ;

40. Omllaume Tell, ib., 1791 ; 41. Cecile
et Dermance, ib., 1792 ; 42. Basile, ou a



trompeur, trompeur et cleini, Opera Co-
mique, 1792 ; 43. Clarice et Belton (altered
version of Le prisonuier anglais), ib., 1793 ;

44. La rosiere republicaine, Opera, 1793 ;

45. Joseph Barra, Conn' die Italienue, 1794 ;
4G. Denys le tyran maitre d'ecole a Co-
rintbe, Opera, 1794 ; 47. Callias, ou nature
et patrie, Opera Coniique, 1794 ; 48. Lis-
IH-I/I, Comedie Italienue, 1797 ; 49. Anacreon
cbez Polycrate, 1797 ; 50. Le barbier de
village, ou le revenant, Theatre Feydeau.
1797 ; 51. Elisca, ou 1'amour maternel,
ib., 1799 ; 52. La casque et les colombes,
Opera, 1801 ; 53. Delpbis et Mopsa, ib.,
1803. Also tbe following : Le congres
des rois (in collaboration with Berton,
Blasius, Cherubim, Dalayrac, Deshayes,
Devienne, Jadin, Kreutzer, Mehul, Solie,
and Trial tils). Theatre Favart, Feb. lit',,
1793 ; and the following, which were never
performed : Aleiudor et Za'ide ; Zinu'o, 3
acts ; Zelmar, ou 1'asile, 1 act ; filectre, 3
acts ; Diogene et Alexaudre, 3 acts ; Les
Maures d'Espagne, 3 acts. Church music :
Messe solennelle, Liege, 1759 ; Confiteor,
for 4 voices aud orchestra, Rome, 1762 ; 6

motets for 2
and 3 voices ;
De profundis ;
Requiem. In-
s t r u m e n t a 1
music: sym-
phonies for orchestra ; 2 quartets for harpsi-
chord and strings ; 6 do. for strings ; 6 so-
natas for harpsichord. Le Breton, Notice
sur la vie, etc. (Paris, 181 1 1 ; Andre' Joseph
(Ir. try, Gretry en famille (ib., 1815) ; Ger-
lache, Essai sur G. (Liege, 1821) ; Fetis,
Galerie de musiciens celebres (Paris, 1828) ;
Van Hulst, Gretry (Liege, 1842) ; L. de
Saegher, Notice biographique (Brussels,
1809) ; Clement, Mus. celebres, 150 ; Jal,
Diet, critique, G57 ; Livry, Recueil de let-
tres ecrites a Gretry (Paris, 1809).

GREULICH, ADOLPH, born in Posen
in 1819, died in Moscow in 1868. Pia-
nist, self-taught at first, then studied under
W. Fischer in Brieg, aud became private

tutor in a noble family of Warsaw. He
visited Weimar, where he was influenced by
Liszt, aud in 1858 was teacher of music in
Schitomir, Southern Russia; and later ap-
pointed pianoforte professor at the Catha-
rine Institute in Moscow. Works : Piano-
forte music. Mendel ; Fetis, Supplement,
i. 422.

GRIEF AND PAIN. See Buss und

at Bergen, Norway,
June 15, 1843, still liv-
ing there, 1889. In-
strumental and vocal
composer, first in-
structed on the piano-
forte by his mother,
then at the Conserva-
torium in Leipsic
(whither he was sent by
Ole Bull's advice in
1858), pupil of Richter and Hauptmann in
harmony and counterpoint, of Rietz and
Reinecke in composition, and of Wenzel
and Moscheles on the pianoforte. Illness
forced him to return home in the spring
of 1860, but he resumed his studies at
Leipsic in the autumn, and remained there
until 1862. He went to Copenhagen in
the spring of 1863, principally to make the
acquaintance of Gade, and, although in-
fluenced by him and by Ernil Hartmann, he
was most decidedly affected by Rikard Nor-
drank, an ingenious Norwegian tone-poet
(died shortly afterwards), who sang and
played to him his melodies to BjOrnson's
songs. As Grieg himself relates : " The
scales fell from my eyes ; it was only
through him that I learned to know the
Norse melodies and my own nature. We
made a compact against the weakly Gade-
Meudelssohn Scandinavism, and entered
with enthusiasm upon the new path on
which the Northern school is now progress-
ing." In 1867 he settled at Christiania,
where he founded a musical society and con-
ducted it until 1880, when he returned to

Bergen. As the Norwegian Diet awarded
him a liberal pension, be lias had nothing
to do since but to devote himself to his
art. In 1865 and 1870 he visited Italy,
cultivating Liszt's society in Rome ; and
was repeatedly in Germany, especially at
Leipsic, to bring out his compositions.
Grieg may be said to dispute with Sveudsen
the foremost place among living Norwegian
composers. As yet he has devoted himself
chiefly to the higher forms of chamber
music. His talent, strongly imbued with
the Scandinavian folk-song spirit, has
marked individuality, and his compositions
are noted for their brilliant and effective
local coloring. His inspiration is vigorous
and spontaneous, and if his workmanship is
not invariably of the very best, and he often
shows a considerable disregard for euphony,
as well as a certain incapacity for organic
thematic development, in the highest sense
of the term, he only shares these short-
comings with many of his contemporaries,
while the freshness of his melodic invention,
the piquancy of his harmony, and the auda-
cious brilliancy of his style have won him
hosts of warm admirers. His best works
are his A minor pianoforte concerto, and
his sonata for pianoforte and violin in F
major. Works: Concerto for pianoforte
and orchestra, in A minor, op. 16 (2 ver-
sions) ; Sonata for violin and pianoforte, in
F, op. 8 ; do. in G minor, op. 13 ; do. in C
minor, op. 45 ; do. for violoncello, op. 36 ;
String quartet, op. 27 ; Zwei Melodien, for
string orchestra, op. 34 ; Foran Sydens Klos-
ter, for soprano solo, female chorus, and or-
chestra, op. 20 ; Laiidkjeudiug, for baritone,
male chorus, and orchestra, op. 31 ; DerBerg-
entriickte, for baritone, with string orches-
tra and 2 horns, op. 32 ; Bergiiot (by Bjorn-
son), for declamation with orchestra, op. 42 ;
Music to Bjiiruson's Sigur Jorsalfar, op. 22 ;
do. to Ibsen's Peer Gynt, op. 23. For
pianoforte : 4 Clavierstiicke, op. 1 ; Poe-
tische Tonbilder, op. 3 ; Ballade, op. 4 ; 4
Humoresken, op. 6 ; Sonata, op. 7 ; Eo-
manzeuundBalladen, op. 9 ; Kleine Roman -

zen, op. 10 ; Im Herbst, Phautasie (2 piano-
fortes), op. 11 ; Lyrische kleine Stiicke, op.
12 ; 2 symphouische Stiicke (2 pianofortes),
op. 14 ; Romauzen, op. 15 ; 25 Norwegische
Volkslieder und Tiinze, op. 17 ; Bilder aus
deni Volkslebeu, Drei Humoreskeu, op. 19 ;
Ballade, op. 24 ; Albumblatter, op. 28 ; Im-
provisata iiber 2 norwegische Volksweiseu,
op. 29 ; Norwegische Tiinze, op. 35 ; Wal-
zer-Capricen, op. 37 ; Neue lyrische Stiick-

chen, op. 38 ; Aus Holberg's Zeit, Suite im
alten Style, op. 40. Songs : 4 Lieder for
contralto, op. 2 ; 6 Lieder, op. 4 ; Melodieu
des Herzens, op. 5 ; 4 Romauzeu, op. 10 ;
Romauzeu tmd Lieder, op. 18 ; 4 Gedichte,
op. 21. Mendel ; Riemanu ; Mus. Wochen-
blatt, iv. 161, 195 ; v. 7 ; vii. 348 ; viii. 226 ;
xiii. 134 ; xv. 511, 522.

Windsor, England, June 20, 1798, died in
London, Jan. 9, 1875. Dramatic composer,
sou of Justin Christian Griesbach, violon-
cellist in Queen Charlotte's band, and
nephew to Friedrich Griesbach, the oboe
player ; pupil of his uncle, George Leopold
Jacob Griesbach, and of Kalkbreuuer. On
the breaking up of the Queen's band, in
which he was violoncellist, he settled in
London as a pianist, composer, and teacher.
He was fourteen times a director of the
Philharmonic Society. Works : Belshaz-
zar's Feast, oratorio, written in 1835, re-
modelled and performed as Daniel, at the



Harmonic Society, in 1854 ; Overture ami
music to Shakespeare's "Tempest ;" James
I., or the Koyal Captive, operetta ; The
Goldsmith of Westcheap, opera ; Eblis,
unfinished opera ; llaby Ruins, musical
drama ; Overtures, symphonies, anthems,
songs, etc. Grove ; Fetis.

Edinburgh, Aug. 29, 1842, still living, 1889.
He is lecturer on musical theory in Heriot-
Watt College, and conductor of the Phoenix
Musical Association, Edinburgh. Works :
Benjamin, oratorio, Edinburgh, 1877 ; The
Sower and the Seed, Scripture parable for
soli and chorus ; The Good Samaritan, do. ;
Julia's Birthday, musical sketch ; Kinder-
spiel, do. for juveniles ; Glees, songs, and
part-songs. His Stars of the Summer j
Night is popular.

Jan. 8, 1781, died in London, May, 1863.
Pianist, one of the original members of the
Philharmonic Society. Works : 2 concertos
for pianoforte and orchestra ; Ode to Char-
ity, 180G ; 4 sonatas for pianoforte ; 3 string
quartets ; Rondos, variations, etc. ; Songs,
glees, etc. Grove ; Fetis.

CUILL, FRANZ, died at Oedeuburg,
Hungary, about 1795. Chamber musician
to a Hungarian nobleman, and known
through the following compositions in the
style of Haydn : 15 sonatas for pianoforte
and violin, op. 1, 2, 4, C ; 12 string quar-
tets, op. 3 (dedicated to Haydn), 5, 7 ; 89
caprices for pianoforte (1791) ; 6 duos con-
certants for pianoforte and violin (17'.U);
2 do. (1792) ; 3 quartets (1792) ; Quartet
(17!).")). Mendel ; Schilling.

GRIMM, HEINRICH, born (?), died in
Brunswick, July 10, 1(537. He was a pupil
of Michael Pratorius, and was cantor in
Magdeburg and later in Brunswick. He
wrote church music and theoretical works.
Allgem. d. Biogr., is. 678 ; Mendel, iv. 386 ; j
do., Ergiiuz., 136 ; Fetis, iv. 412 ; Schilling, iii.
360 ; Gerber (1790), i. 548 ; (1812), ii. 411.

GRIMM, JULIUS OTTO, born in Per-
nau, Russia, March 6, 1827, still living, 1889.

Pianist, pupil at the Leipsic Conservatorium
and influenced by Schumann, Joachim, and
Brahms. He settled in 1855 in Gottingen
as a teacher, and in 1860 became musical
director in Minister. Works : 2 orchestral
suites in canon-form (much played in Ger-
many) ; An die Musik, for solo, chorus, and
orchestra ; Symphony ; Sonata for piano-
forte and violin ; 12 Lieder for voice and
pianoforte, op. 1, 3 ; 6 Lieder for four male
voices, op. 13, etc. Mendel ; Riemaun ;
Fetis, Supplement, i. 423.

GRISAR, ALBERT, born in Antwerp,
Dec. 26, 1808, died
at Asuieres, near
Paris, June 15,
1869. Dramatic
composer, pupil in
Paris of Reicha.
Placed by his fam-
ily in a commercial
house in Liverpool,
he ran away to Par-
is during the rev-
olution of 1830, and began to study under
Reicha, but the revolution spreading to Bel-
gium, he joined his family in Antwerp, and
wrote there during the siege his first ro-
mance, La folle, which had quite a success
in Belgium and France. His first important
dramatic work, Le mariage impossible,
opera -comique, given in Brussels in 1833,
procured him a grant from the government
of 1,200 francs to aid his musical education.
He returned to Paris, and devoted himself
to dramatic composition, but, dissatisfied
with his work, went to Naples in 1840 and
studied under Mercadante. In 1848 he re-
turned to Paris, produced many works, and
became a popular favourite. Nineteen of
his operas were represented, and he left
others in MS. He published also more than
fifty melodies and romances. Works Op-
eras : Sarah, Paris, Opera Comique, 1836 ;
L'an mil, ib., 1837 ; La Suisse a Trianon,
Theatre des Varietes, 1837 ; Lady Melvil,
Theatre de la Renaissance, 1838 ; L'eau
merveilleuse, ib., 1839 ; Le naufrage de la



Meduse (with Flotow and Pilati, ib., 1839 ;
Les travestissements, Opera Comique, 1839 ;
L'opera a la Com 1 (with Boieldieu), ib.,
1840 ; Gille ravisseur, ib., 1848 ; Les por-
cherous, ib., 1850 ; Bonsoir, monsieur Pan-
talon, ib., 1851 ; Le carillonneur de Bruges,
ib., 1852 ; Les amours du diable, Theatre
Lyrique, 1853 ; Le chien du jardiuier, Opera
Comique, 1855 ; Voyage autour de nia cham-
bre, ib., 1859 ; Le joaillier de St. James (a
revision of Lady Melvil), ib., 1862 ; La
chatte merveilleuse, Theatre Lyrique, 18G2 ;
Begaierneuts d'amour, ib., 186-4 ; Douze
iimocentes, Bouffes Parisieus, 1865. He
left 12 operas iu MS., some complete, some
only sketched ; more than fifty melodies,
romances, dramatic scenes, etc. Pougin,
Albert Grisar (Paris, 1870) ; Clement, Mus.
celebres, 517 ; Fetis, Supplement, i. 424 ;
Mendel ; Riemarm.

GRISELDA, Italian opera in three acts,
text by Apostolo Zeuo, rewritten by Rolli,
music by Giovanni Battista Bouoncini, rep-
resented at the Academy of Music, London,
Feb. 22, 1722. The libretto is founded on
the story of Griseldis, Griselda, or Grisla,
called by English writers Patient Grissel, a
subject popularized by Boccaccio, Petrarch,
and by Chaucer iu "The Clerk's Tale."
In the original legend, Griselda, daughter
of a Piedmoutese labourer, is married by
the Marquis de Saluces and has by him two
children. Wishing to prove her constancy
and the strength of her love, he puts her to
the most cruel tests and subjects her to a
thousand humiliations, all of which she
bears patiently. When he considers the
proof of her devotion complete he brings
her back in triumph to his castle. The
principal parts in Bonouciui's opera, which
is regarded as his best dramatic production,
were sung by Seuesino, Boschi, and Mrs.
Auastasia Robinson, whose admirable per-
formance of the character of Griselda is
said to have completed her conquest of the
Earl of Peterborough. There seems to
have been some slight resemblance between
this beautiful woman's career and that of

the patient heroine, for, though married to
the Earl of Peterborough, she consented to
appear to the world as his mistress only, un-
til he chose to own her as his wife and to
invest her with the honours of his position.
The libretto of Zeuo has been set to music
also by the following : Pollarolo, Venice,
1701 ; Chelleri, Piacenza, 1707 ; Predieri,
Bologna, 1711 ; Capelli, Rovigo, about
1710 ; Orlandini, Bologna, 1720 ; Scarlatti,
Rome, 1721 ; Conti, Vienna, 1725 ; Caldara,
Vienna, 1725 ; Albinoni, Rome, 1728 ; Vi-


Anastasia Robinson.

valdi, Venice, 1735 ; Latilla, Rome, 1747 ;
Picciuni, Venice, 1793 ; Pae'r, Parma, 1796,
Paris, 1803. Buruey, iv. 284 ; Hogarth, ii.

GROLL, EVERMODUS, born at Wit-
tenau in the Upper Palatinate in 1756, died
at Allershausen in 1809. He was educated
in the Benedictine monastery at Reicheu-
bach and in Ratisbon. He entered the Pre-
moustraut Abbey at Scheftlarn, and was
music director and leader of the choir.
After the abolition of the monastery, he
was appointed to the Parish of Allershausen



in 1807. He composed symphonies and
masses. Fetis, Gerber, Schilling.

born about 1760 in Sleswick, died in Altona
in November, 1834 He studied in Kiel in
1780-82, and assisted Cramer in his Maga-
ziii der Musik ; after being secretary in the
German Government office in Copenhagen ,
and director of the royal porcelain factory
there, he became organist and music teacher
in Altona. He composed songs and piano-
forte music. Fetis, iv. 110 ; Mendel, iv.
390 ; Gerber, ii. 412 ; Schilling, iii. 3G2.

GROOS. KAKL AUGUST, born at Sass-
manushausen, Wittgenstein, Feb. 16, 1789,
died in Coblentz, Nov. 20, 1861. He stud-
ied theology ; while in Berlin iu 1817-18,
he edited, with Bernhard Klein, Deutsche
Lieder fiir Jung uud Alt, containing many
songs of his own composition. He was pas-
tor in Cobleutz. Some of his songs have
become virtually Yolkslieder. Mendel.

Amsterdam, April 8, 1795, died in Paris,
March 29, 1874. Clarinetist, made success-
ful concert tours in Holland, Belgium, and
Germany. From 1>S30 he. lived in France ;
was director of a theatre orchestra in Mar-
seilles for some time ; spent the last years
of his life iu Paris. He composed a great
deal of music for the clarinet, of a high ar-
tistic order. Mendel ; Viotta.

MOTHEUS), German organ virtuoso, died
after 1824. He was organist until 17*0 at
St. Gotthardt's-Kirche, Brandenburg, then
at Christiansund in Sweden, and finally
in Copenhagen. Works : 24 Lieder, with
clavier accompaniment (Leipsie, 1780) ; 6
sonatas for clavier (Berlin, 1785). Mendel ;

born in Cassel, July 1, 1764, died there in
1S47. He became music director iu 1800,
for a short time, of the new theatre of Land-
grave Friedrich Wilhelm H. of Hesse, and
later was teacher to the children of the
Queen of Westphalia, after which his popu-

larity as an instructor of music was great.
In 1819 he received the degree of Ph.D.
from the Wittenberg University. Works :
Titauia, opera, given at Cassel, 1801 ; Das
heilige Kleeblatt, do., ib., about 1801 ; Pas-
sion oratorio ; Six psalms for 4 voices ; Six
symphonies for orchestra ; Several grand
pieces of church music, with orchestra ;
Three concertos for pianoforte ; One con-
certo for flute ; One do. for clarinet ; One
do. for 2 oboes ; 12 sonatas for pianoforte
and violin ; 3 fantasias for pianoforte ; 6
little do. ; Theme and variations ; Marche
de Bonaparte a Mareugo ; Auglaises for
pianoforte ; Preludes for organ ; The Ten
Commandments for 1i voices and organ ;
Choralbuch for the reformed church of
Hesse ; Hektor's Abschied, by Schiller, for
2 voices and orchestra ; Collections of songs.
Fetis ; Mendel ; Schilling.

Rochesson (Vosges), Jan. 12, 1815, died at
Saint-Die, (ib.), Feb. 13, 1888. Organist,
sou of a poor artisan. When twelve years
old he was organist of his native place, then
at Padoux, in 1837 of the principal church
in Remiremout, and in 1839 of the Cathe-
dral of Saint-Die. Later he was a pupil iu
Paris of Stainaty. He devoted much time
to the study of the German organists, and
published a work containing selections from
their music, with some of his own, entitled,
Album d'un organiste catholique (2 vols.).
He published also a collection of the Noels
and popular melodies of Lorraine (1861).
Fetis ; Mendel ; Riemann.

uigsberg, Sept. 28, 1801, died in Hamburg
in 1853. Pianist and violinist, studied
composition under Urban. He was Coii-
zertmeister in Memel in 1820, made a con-
cert tour iu 1830, then officiated as teacher
in Liibeck, and was soon called to Hildes-
heim as music director. In 1837 he re-
moved to Hamburg, and founded and edit-
ed the Hamburger musikalische Zeituug.
He published psalms and songs, and left
pianoforte and violin music in manuscript.



Mendel ; Fetis, iv. 119 ; do., Supplement,
i. 426.

GROSS, HEINRICH, born in the 18th
century, died in Berlin in 1806. Violoncel-
list, pupil of Duport. As a boy he played
publicly in Berlin ; about 1793 he entered
the service of the Swedish Count de Geer,
and some two years later became first vio-
loncello in the royal Prussian orchestra.
He published a sonata and variations for
violoncello. Mendel.

Elbing, Prussia, Sept. 12, 1809, died in St.
Petersburg, Sept. 1, 1848. Violoncellist,
brother of Georg August Gross, and pupil
of Hiiusrnann. He was in the orchestra of
the Konigstadtisches Theater of Berlin in
1824-29 ; then lived in Leipsic, playing solo
often iu the Gewandhaus concerts ; joined
the theatre orchestra of Magdeburg in 1833,
but soon returned to Berlin ; next played
in a private quartet in Dorpat, with Ferdi-
nand David as first violin, and became first
violoncello of the imperial orchestra of St.
Petersburg in 1835. He died of cholera.
He published string quartets, songs, and
many violoncello compositions. Mendel ;
Riemann ; Fetis.

in Berlin in 1757, died there in 1789. Vio-
linist, pupil of Lolli. In 1779 he was in the
orchestra of Crown Prince Friedrich Wilhelm
of Prussia. He made a concert tour to Paris
in 1780-82, and joined the royal orchestra of
Berlin in 1786. Works : Le retour de-sire,
comic opera, Berlin, 1784 ; Cantata ; Violin
concertos, and other music. Fi-tis ; Mendel.

at "\Varmbruun, Silesia, Jan. 30, 1799, died
(?). Organist, sou and pupil of Joseph Aloys
Grosser. He was cantor and organist in
Friedeberg-on-the-Queis in 1822, organist
in Hirschberg in 1823, and rector in Polk-
witz from 1826. He composed masses,
offertories, church and pianoforte music,
edited a musical weekly, and wrote biog-
raphies of Haydn, Mozart, and J. S. Bach.
Mendel ; Schilling ; Futis.

GROSSI, Cavaliere CARLO, lived in Ve-
nice in the latter part of the 17th century.
He was a singer in the Chapel of S. Marco,
and was pensioned in 1685. Works Operas:
Giocaste, regina d'Armenia, given in Venice,
1676 ; II Nicomede in Bitinia, ib., 1677 ;
Artaserse, ib., 1669. Church music, can-
zoni, and madrigali. Cafti, Storia. . . .
di S. Marco in Venezia, I. 308, H. 34 ; Fetis ;

Dance), a German family-dance of the 17th
century, greatly in vogue at weddings. As
it usually concluded the entertainment,
it was called also the Kehraus (Clear-out).
The air, called Grossvater-Lied, was very
popular. Spohr introduces it into the Fes-
tival March written for the marriage of
Princess Marie of Hesse with the Duke of
Saxe-Meiningen in 1825, and Schumann
uses it in the Davidsbundler March and in
the finale of his Papillous, op. 2. Grove.

Paris from about 1565 to 1587. He was
valet de chambre and organist to Henri IH.
of France, and one of the best players of his
time on the organ and spinet. He set Ron-
sard's chansons to music. Works : Chan-
sons 11 trois, quatre, cinq et six parties
(Paris, 1553). F6tis.

GRUA, FRANZ PAUL, born in Mann-
heim, Feb. 2, 1754, died in Munich, July 5,
1833. Son and pupil of Karl Ludwig Peter
Grua ; studied also under Holzbauer and
in Italy under Padre Martini and Traetta.
In 1779 he became Kapellmeister to the
Elector Palatine, whose court was then in
Munich, and was pensioned in 1831. Mo-
zart thought it was easy enough to write
half a dozen such masses as his in a day.
Works : Telemacco, opera, Munich, 1780 ;
31 masses for orchestra ; 39 offertories and
motets ; 6 Miserere ; 3 Stabat Mater ; 3
Requiem ; 3 Te Deuiii ; Concerto for piano-
forte, clarinet, etc. Fetis ; Mendel.

in Milan, died after 1714. He is erro-
neously called Wilhelm Grua in the older



lexicons. After receiving; a musical educa-
tion in Milan, and visiting several Italian
cities, he went to Germany and was for a
short time attached to the electoral chapel
in Dresden. In 1697 he settled in Diissel-
dorf as Kapellmeister, and in 1714 went to
Mannheim. Works : Masses, and MS. mu-
sic in Dresden and Berlin libraries. All-
gem, d. Biogr., ix. 785 ; Mendel ; Fetis.

in Milan in 1700, died in Mannheim in
177."). He finished his musical education
under his uncle Karl Ludwig Peter Grua,
and became Kapellmeister to the court of
Alannheim, and in 1742 also director of

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