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^GROVE'S ^DICiriONARY^ ^OF MUSIC (9^ ^MUSICIANS*
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UNIVERSITY
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BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 1 89 1 BY
HENRY WILLIAMS SAGE
V.2
3 1924 021 782 846
The original of tiiis book is in tine Cornell University Library.
There are no known copyright restrictions in the United States on the use of the text.
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A DICTIONARY
MUSIC AND MUSICIANS
Th^yi^^
GROVE'S "^'^^^^^^
DICTIONARY OF MUSIC
AND MUSICIANS
EDITED
J. A. FULLER MAITLAND, M.A, F.S.A.
IN FIVE VOLUMES VOL. II
THE MACMILLAN COMPANY
LONDON: MACMILLAN & CO., Ltd. 1906
All rights reserved
Copyright, 190f),
By the :\iacmillan company.
Set up and electrotyped. Published Febniari', ign6.
J. S. Cashing .^ Co. — I'.erwiL'k & Smith Co. Norwooil, Mass., U.S.A.
LIST OF CONTEIBUTOES
The names of deceased writers are printed in italics
E, Aldrich, Esq., ' New York Times
E. Hebom-Alles, Esq.
G. E. P. Arkwright, Esq.
J. R. Sterndale-Bennett, Esq.
D. J. Blaiklet, Esq. .
J. C. Bridge, Esq., Mus.D.
Mrs. Walter Carr
Edward Chadfield, Esq.
William Ghafpell, Esq., F.S.A.
Alexis Chittt, Esq. .
M. GusTAVE Chouquet, Keeper of the
Musique, Paris W. W. Cobbett, Esq. . Arthur Duke Coleridge, Esq. Frederick Corder, Esq. Major 0. A. Crawford W. R. Creighton, Esq. William H. Cummings, Esq., Mus.D.,
E. Dannreutiier, Esq. Herr Pa0L David
H. Walford Davies, Esq., Mus.D.
E. J. Dent, Esq.
L. M'C. L. Dix, Esq. . Clarence Eddy, Esq.
F. G. Edwards, Esq. .
H. Sutherland Edwards, Esq. Thomas Elliston", Esq. Edwin Evans, Esq. GusTAVE Ferrari, Esq. W. H. G RATTAN Flood, Esq. . Rev. W. H. Frere . Rev. F. W. Galpin . Nicholas Gatty, Esq., Mus.B. Dr. Franz Oehring, Vienna .
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W. H. C. E. D. P. D. H. W. D. E. .L D. L. 31 'C. L. D C. B. P. G E. H. S. E. T. E. E. E. G. F. W. H. G. F. W. H. F. F. W. G. N. G. F. G. |
LIST OF CONTRIBUTORS
Children of the Gha^iels
Organist to the Tem])h
Royal
Alfred Gibson, Esq. .
C. L. Graves, Esq.
J. 0. Grippith, Esq. .
Sir George Guove, C.B., D.C.L.
W. H. Hadow, Esq. .
H. V. Hamilton, Esq.
Mrs. Robert Harrison
Rev. Thomas Heluoue, Master of the
JV. Henderson, Esq. .
Arthur F. Hill, Esq.
A. J. HiPKiNS, Esq., F.S.A.
Edward John Hopkins, Esq., Mus.D.
Rev. Canon T. R Hudson (now Pemberton) .
Francis Hueffer, Esq.
A. Hughes-Hughes, Esq.
John Hullah, Esq., LL.D.
Duncan Hume, Esq. .
W. Hume, Esq.
William H. Husk, Esq.
M. HuGUES I M BERT
F. H. Jenks, Esq., Boston, U.S.A.
M. Adolphe Jullien .
Frank Kid<on, Esq. .
Hermann Klein, Esq.
E. Krall, Esq.
H. E. Krehbiel, Esq., New York
M. Maurice Kufferath
Robin H. Lbgge, Esq.
Rev. Charles Mackeson, F.R.S.
Charles Maclean, Esq., Mus.D. (art,
H. S. Macran, Esq. .
Herr A Maczewski, Kaiserslautern
Julian Marshall, Esq.
Mrs. Julian Marshall
Ru^^ell Mabtineau, Esq.
Miss Louisa M. Middleton .
Rev. J. R. Milne
Mrs. Newmarch
Miss Edith Oldham .
Rev. Sir Frederick A. Gore Ouseley, Bart., Mus.D., Professor o.
Music in the University of Oxford, Sir C. Hubert H. Parry, Bart., C.V.O., Mus.D., Professor of Music in
tlie University of Oxford, Director of the Royal College of Music Sidney H. Pardon, Esq. .....
E. J. Payne, Esq. ......
Rev. Hugh Pearson, Canon of IVindsor
Edward H. Pember, Esq., K.C. ....
International Music Society ')
A. G.
c. l. g.
J. C. G.
G.
W. H. H"
H, V. H.
B. H. T. H. W. H.
A. r. H. A. J. H.
E. J. H. T. r. H.
F. H.
A. H.-H. J. H.
D. H.
w. h"-
W. H. H. H. I. P. H. J. A. J. F. K. H. K.
E. K.
H. E. K. M. K. R. H. L. C. M. C. M. H. S. M. A. M. J. M.
F. A. M. R M.
L. M. 31. J. R. M. R. N. E. O.
C. H. H. P. S. H. P. E. J. P. H. P. E. H. P.
LIST OF CONTRIBUTOKS
Professor of Music in the Univ
Rev. Canon T. P. Pemberton (formerly Hudson) Miss Phillimore ....
Herr C. Ferdixand Pohl, Librarian to the Gesellsrhaft Vienna
E. POLONASKI, Esq.
Victor be Poxtigny, E/:q. Ebenezer Prout, Esq., Slus.D,
Dublin . Bev. JV. PvLliKG IF. S. ROCKSTRO, Esq. .
F. G. Shinn, Esq., Mus.D. "\V. Barclay Squire, Esq. Miss C. Stainer J. F R. Stainer, Esq. Sir Egbert P. Steivart, Mns.
of Duhlin . rViLLiAii H. Stoxe, Esq., M.JU. E. A. Streatfeild, Esq. Franklin Taylor, Esq. A. TV. Thayer, Esq, United Stc Miss Bertha Thomas . C. A. W. Troyte, Esq. P. G. L. Webb, Esq. . H. A. Whitehead, Esq. E. A^AUGHAN Williams, Esq., Mrs. Edmond Wodehouse The Editor
P., Professor of Music i
ates Consul, Trieste
Mus.D.
')■ il/ltSi'
kf re Willi
the I
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LIST OF ILLUSTRxVTlONS
George Frederick Handel .
Cesar Fraxck ....
RoBKRT Franz ....
Etelka Cerster
Gewaxdiiau.^, LeirziTt
Michael Ivaxovicii Glixka .
Ciiristoph Willirald, Kutek V(
Carl Goldmark
Charles Francois Gounod
Andre Ernest Moi>este (iREiuY
Edvard Hagerup Grieg
GiuLiA Grisi ....
George Grove ....
Jacques Francois FRoinoNXAL El
Franz Joseph ILvydn
Louis Joseph Fekdinand IIekold
Joseph Jo.a.ciiim
Clara Louise KELumiC
The Kneisel Quartet
Orlandus L,\ssus
LiLLi Lehmann .
Jenny Find
Fr.anz Liszt
Pauline Lucca
N Gluck
AS IL\.Li
Front
FACIN(.
spiecc
PAGK
9t; 104 100 164 180 184 196 208 2.38 242 244 246 274 348 386 .534 562 588 638 606 734 740 776
DICTIONARY
OF
MUSIC AND MUSICIANS
F
i" The fourth note of the natural scale, with "^ ■ B'r> for its key-signature. In French and in solfaing, Fa. D is its relative minor.
The F clef is the bass clef, the sign of which is a corruption of that letter. (See Bass Clef and Clef.)
F minor has a signature of four Hats, and A[> is its relative major.
F is the final of the Lydian church mode, with C for its dominant.
FJI is in German Fis, in French Fa dit^sc.
Beethoven has very much favoured tliese keys, having left two Symphonies (Pastoral ami No. 8), three String Quartets (tlie first and last, and Kasoumowsky, No. 1), two PF. Sonatas, op. 10, No. 2, and op. 54, etc., in F major ; Overture to ' Egmont,' Sonata appassionata. Quartet, op. 95, in F minor. One of Beethoven's notes to Steiner
is signed
FS is more rarely usetl ; but we may mention Haydn's Farewell Symphony ; a PF. Sonata (op. 78) by Beethoven, for wdiich he had a peculiar affection ; and a cliarniing Romance of Schumann's (op. 2S, No. 2) ; also Chopin's Impromptu, op. 36, and Barcarole, op. 60.
/'is the usual abbreviation for forte.
The holes iu the belly of the violin are called the f holes from their shape. o.
FA FICTUM. In the system of Guido d'Arezzo, B;, the third sound in the He.rachor- cluin natiirale, was called B mi ; and Br?, the fourth sound in the Hexaclwrdxim inollc, B fa. And, because B fa could not be expressed with- out the accidental sign (B rotimdvm) it was called Fa fictum. [See Hexachord.] For this reason, the Polyphonic Composers applied the term Fa fictum to the note Bb, wlienevcr it was introduced, by means of the accidental sign, into a mode sung at its natural pitch ; and, by analogy, to the E'-> which represented the same interval in the transposed modes. Tlie Fa fictum is introduced, with characteristic effect, in the ' Gloria Patri ' of Tallis's five-part Re- sponses, at the second syllable of the word 'withoi/i' ; and a fine example of its employ- ment in the form of the transposed E':> will he found in Giaches Arcliadelt's JIadrigal, ' U bianco e dolee oigno,' at the second and third VOL. II
syllables of the word 'piangendo,' as shown in the example in the article Madkkjal. w. .s. u.
FABRI, AXNIE.A.LE Pio, Detto Baling, one of the most excellent tenors of the 18th century, was born at Bologna in 1697. Educated musi- cally by the famous Plstocchi, he became the favourite of the Emperor Charles VI., and other Princes sought to engage him in their service. He was also a composer, and memljer of the Accademia Filarmonica of Bologna ; received into that society in 1719, he was named its Prin- cipe, or president, in 1725, 1729, 1745, 1747, and 1750. In 1729 he came to England and sang, with Bernacchi, his fellow- pupil under Pistocchi, in Handel's 'Tolemeo,' taking the part of Araspe, formerly sung by Boschi. As the latter was a bass, the part Avas probably transposed for Fabri for want of a bass to sing it. In the same year he performed the tenor part in ' Lotario, ' as also in ' Partenojie ' (1730), and in 'I'oro' and a reprise of 'Rinaldo' (1731), all by the same master. Having been appointed to the Royal Clrapel at Lisbon a few years later, he died there August 12, 1760. .J. M.
FABRICIUS, ■\Vei!NER (1633-1679), an organist and composer of note, was born April 10, 1633, at Itzehoe, Holstein. As a boy he studied music under Iiis father, Albert Faljricius, organist in Flensburg, and Paul Motli, the Cantor there. He went to the Gymnasium in Hamburg, where Thomas Selle and Heinricli Scheidemann were his teachers in nmsic. In 1650 he went to the Leipzig University, study- ing philosophy, theology, and law ; in the latter he became a fully (lualified 'Notar. ' He was appointed Musik-Director of the Pauiinerkirche, Leipzig, in 1656, and in 1658 was also appointed organist to tlie Nicolaikirche. Although he tried for the post of Cantor to the Thoniaikirche in JIarch 1658, he was not elected. He was married July 3, 1665, and one son survived him, Joliann Albert Faliricius. He died Jan. 9, 1679, at Leipzig, forty-five years old, according to the contemporar}^ account of him in Miisica Davidica, oder Darids Musik, hei der Leichhe- stattuiKi cles . . . Herrn JFcrneri FaJ)ricii . . . diircJi Jail. TJrlane, ad S. Niralaiim Ealesiaste. (See Manalshrffe fur iLusihjeschichte, 1875, p. 180.) Eitner {(.Juellcn-Lcxikon) corrects tlie
1 date of death, however, to April 9, 1679.
IS B
FABRITIUS
FACCIO
List of works : —
1. Deliciae Harinonicae oder musilvalisclie GemUths-Ergtitzung;, von allerhard Paduanen, Aleinanden, (Jouranten. Balletten, Sara- banden, von 5 Stiinineii nebeiist ihrein Eaaso Continuo, auff Violea und andernlnstrumenten fQglicheiizugebrauchen. Leipzig. Joh. Bauem. 16.36. 4to. &4 compositions. Four part-booka (the Basaua missing) in Upsala Library.
2. Trauer- Trost- Nahniens Ode, dem , . . Herm Joh. Bauern . . . Qber dera allzufrilzeitigen Abachiede Ihrea . . . Sohnleina David ■welches . . . den28 Feb. 1650, entachlafen . . . infolgeiide Melodey gesetzt von Weraero Fabricio. Text : ' I>u Blutvon unserem Blute," for five voices, in suore. Leipzig, folio sheet,
Gedoppelte Frlllinga Lust , . . bey erfrealichen Hochzeits-Feste des . . . Eerrn Sigis. Rnperti Siiltzbergers . . . den 15 Ap. 1656. In einer Arie entivurffen von Werriero Fabricio Holsato. Druckts. Quirin Bauch. Text ; ' Schoner FrUhling lass dich kiisaen,' in score, folio sheet. Both in the Zwickau Katsschulbibl.
3. E. C. Homburga geistUcher Lieder erater Theil, mit zweystim- migenMelod^^yengeziehretvonW.F., Jetziger ZeitMusik-Directoren in der Paulirierkirchen zu Leipzig. Jena. Georg Sengenwulden. 1659. 8vo, pp. 526. Contains 100 melodies with figured bass ; Zahn gives 23 of them which became part of the church song. In the Augsburg Sta<itbibl. etc. •
4. Weroeri Fabricii Holsati NiotariusI P(ublicufl) C(ae3areu3| Academiae & ad D. Nicotai Lipsieiisium musici, Geistliche Arieii, Dialogen und Concerten, ao zu Heiliguug hoher Fest-Tagen mit 4,
5, 6, und 8 Vocal-Stimmen aanipt ihrera gedoppelteo Basso continuo, auff unterschiedliche Arten, nebat allerhaiid Instrumenten fiiglich kiintien gebraucht und rausicirt werden. Leipzig, Joh. Bauern. 1662- 4to. Contains complimentary Latin verseaaddreeaed to him by the aged Heinrich Schlitz. Six com positions. Nine part-books in the British Museum, etc.
5. Vier-stimmige Motette; 'Vater indeine Hiinde ' . . . auf Herrn Wentzel Buhlens Namens-Tage. Leipzig, 167L 4to.
6. Werneri Fabricii Manudactio zuiri General Bass bestehend aua lauter Exemi>eln. Leipzig. 1675. This work is mentioned in Mattheson'a Grmfe General Bass SchuZe, 1".'J1, p. 13.
7. Werneri Fabricii, ehemaligen Organisten zu St. Xicolai in Leipzig. Unterricht, ^ie man ein nea Oi-gelwerk, obs gut und beatandig sey, nach alien Stiicken, in- mid auswendig ewiminireu Bnd 80 viel moglich, probiren soil. Frankfurt und Leipzig, 1756. 1vol. 8vo. pp.87. Nopreface ordedication. In British Museum, etc. It is curious that this work should have been published nearly 80 years after Fabricius'a death, for no earlier edition is known. It has been suggested that the date is a misprint for 1656. but the title states 'formerly organist of S, Nicolas, Leipzig,' and he held that post until his death.
His music is also to be found in : —
1. Passionale Melicura . . . Martino Jane, GiirHtz, 1663. Three melodies.
2. JohannCrilgers . . . Praxis pietatismelica. Frankfurt. 1676 and 1693 editions. Six melodies with figured biiag.
3. NUrnbergisches Gesangbuch. 1676, 1677, and 1690 editions. rive melodies Tvith figured bass, from the GeUtliche Lieder of Homburg, 1659.
4. Geiatlicher Harffen-Kl.ing aui zehen aeyten , . . Job. Quirs- lelden Leipzig. 1679. Five melodies.
5. Muaikalischer Vorschmack . . . von Peter Suhren. Hamburg. 1683. One melody with figured bass.
6. Liineburgiscbes Gesangbuch. 1686 and 16&4 editions : one melody. 1695 and 1702 editions : two melodies.
7. Das grosse Cantional oder: Kirchen-GesangbuL'h, Darmstadt, 1687. Three melodies.
8. Choral Gesangbuch . . , von Daniel Speeren, Stuttgart. 1692. Three melodies.
9. Meiningeni.?ches Gesangbuch. Editio 3 and 4, 1693 and 1G97. Two melodies with figured baas.
10. D arm eta dti aches Gesangbuch. 1699. One melody.
11. Cantiques Ppirituels. 5^me edition. Frankfort. 1702. One melody with figured bass.
12. Konig's Liederschatz. 1738. Eight melodies. Wiuterfeld {Dcr evang. Kirchejigexanj. 11. Musikbeilage, Nos.
173-4) repiinted two of Fabricius's best-known chorales from the 16.59 Geiitliche Lied^^ : ' Lasst uns jauchzen ' and ' Jesus du, du bleibst,' voice part with figured bass. In the Upsala Library, in Gust;tf Dliben's Collection of 'Motetti e Concerti, Libro 5,' 1665, are two compositions by W. Fabricius. Eitner (Qv-ellen-Lexiko?!) gives the following MSS: in the Berlin Konigl. Bibl. MS. Z. 40. No. 2 ' Lieblich und schone aein.'and No. 4 ' Herr. weun ich nur dich habe,'both for eight voices. f q
FABRITIUS (Fabricius), Albixus (fl. 1580- 1595), is said to have lived in Gi'irlitz, Prussia. The one work known of hig was published at Gratz, Styria(Steiermark), in Austria : *Cantiones sacrae sex vocum iani priTnura lucem aspicientes. Authore Albino Fabritio. Graecii, quae est metropolis Styriae, excudebat Georgius AVid- manstadius.' 1595. Obi. 4to. Twenty-five motets. Six part-books in WolfenbiittelHerzogl. Bibliothek.
Contents:!. Gaudentin cnelia ; 2. Osacinm convivinm ; ;i. Qnare tristis ea anima ; 4. Non vog relinqmim ; 5. Hodie rex coek.rnm ;
6. AveRegina; 7. Salvpfesta flie^ ; 8. Christus resurgenB ; 9. Anre.-i Jux roseo: 10. Tu solis qui fati? ; 11. Scio quod redemptor ; 12. Cantate Domino ; 13. Hodie ChriBtii.'' natus : 14. Sie praeeen-t PeuR ; 15. Ad te levavi ; Ifi. Convertisti planctum ; 17. Vulnerasti cor meunj : 18. Exultet omnium : 19. A^cendit Deus ; 20. Alinaiedem- ptoris ; 21. Sancta Maria ; 22. Levavi oeuloH rneoB : 2.1. EenedictUH PeUB; 24. Ileua cantieuni novum ; 2."i. Exaudiat te Dominiis.
Five motets from this work, Xos. 1, i, 1^>
24, and 25, -ivere included in the Bodensehatz Collection ' Florilegium select, cant. ' Lijisiae, 1803, andagain in 1618. A motet for fourvoices, ' Estote fortes in bello,' by ' Fabricius,' is in the ' Theatri musicae, selectissimae Orlandi de Lassus etc. Lib. 2, 1580, No. 7 (Vogel. Cat. IVolfen- hiittcl Herzogl. Bibliothek).
MSS.— Eitner {Qudlen-Lcurikon) mentions six motets in the Proske Bibl. MS. 775, and one, ' 0 sacrum convivium ' (Xo. 2 in A. F.'s Cant. Sac), in the Dresden KSnigl. Bibl. JIS. mus. <\_. 89 a-f. Xo. 37.
In the Breslau Stadtbibliothek (see Bohns Cat.) the MSS. 15, 18 (dated on cover 1580), and 30 contain ' Haeo est dies quam fecit Dominus' for six voices; and fourteen of_the motets in A. F.'s Cant. Sac., Xos. 1, 3, 4, 7, 8, 11, 12, 13 (two copies), 14, 15, 16, 23, 24, and
25. ' Non vos relinquam' (Xo. 4, Cant. Sac.) is also in the Zwickau Eatssehulbibl. MS. 53, Xo. 78 (see Vollhardt's Cat.) In the library at Freiberg, Saxony, are twenty-six motets for six voices, K'os. 1-25 the same as those pub- lished in A. F.'s Cant. Sac. 1595, and placed in the same order : N"o. 26, ' Quam pulchra es ' (Cant, eantiei), is also headed ' Albini Fabricii a 6 vocib.' (see Kade's Aeltere ihisikalicn). c. s.
FACCIO, Fkanco, born March 8, 1840, i at "\'erona, of parents in liumble circumstances, who deprived themselves almost of the necessaries of life ill order to give their son a musical educa- tion. In Xov. 1855 he entered the Conserva- torio of Milan, where he made remarkable progress in composition under Eonchetti. An overture by him was played at one of the students' concerts in 1860. In the following year he left the institution, and on Xov. 10, 1863, he had the good fortune to have a three- act opera, ■ I Profughi Fiamminghi,' performed at La Scala. Before this a remarkable work, written in collaboration with his friend Boito, and entitled 'Le Sorelle d' Italia,' had been per- formed at the Conservatorio. [See vol. i. p. 354 a.] The same friend, for whom he had formed a warm attachment during the time of their studentship, wrote him the libretto of ' Amleto, ' which was given with success at the Teatro Carlo Fenice, at Genoa, on May 30, 1865 (not at Florence, as Pougin states), but which was unfavourably received at the Scala in Feb. 1871. In 1866 he fought, together with Boito, in the Garibaldian army, and in 1867-68 under- took a tour in Scandinavia. A sympihony in F dates from about this time. In July 1S68 he succeeded Croff as professor of harmony in the Conser^'atorio. and after acquiring great ex- perience as a conductor at the Teatro Carcano, was made conductor at La Scala. A Cantata d' inaugurazione was performed in 1 884, and two sets of songs by him have been published bv
1 PaloBchi .and Eiemann. Pougin eives the date as 1841. Various articlea in the Gaziena niusicale di ilUct-no support either date indifferently
FACKELTANZ
FALCON
Ricordi. Faccio held an important position among the advanced musicians of Italy, and as a composer his works command attention by their originality. It was, however, as a conductor that he made his greatest success, and he was rightly considered as the greatest Italian con- ductor of his time. He directed the first Euro- pean performance of Verdi's 'Aida' in 1872, and the production of his ' Otello ' in 18S7, both at Milan. He visited England and conducted the performances of ' Otello ' at the Lyceum Tlieatre in July 1SS9 ; and died at the Biffl Sanatorium, Monza, July 23, 1891. M.
FACKELTANZ, or Marche aiix flambeaux, a torchlight procession — a .survival from the medieval tournaments — which takes place at some of the German Courts on occasion of the marriage of members of the royal family. The procession has to march round the court or hall, with various intricate ceremonies (Times, Feb. 19,1878). The music — for military band — is a Polonaise, usually with a loud first and last part, and a soft trio. Meyerbeer wrote four — one for the marriage of the Princess Royal (the Empress Frederick), (Jan. 25, 1858). Spontini, Flotow, and others, have also written them. See also Tattoo. g.
FAGOTTO. The Italian name for the Bassoon, obviously arising from its resemblance to a faggot or bundle of sticks. The Germans have adopted it as Fagott. [See B.issooN.] w. h. s.
FAIGNIENT, 'Sot, a Belgian composer of the 16th century, concerning whose life nothing is known. His first book of Chansons, Mudri- gales <ۥ Moteiz a Qtiatre, Cineq it Six Parties, Noiiuclleynent coDiposees par Noe Faignient, was published at Antwerp in five 2iart-books in 1 568 ; Yonge's Musiea Transalpina (1588) contains two madrigals, and thirty-two othercomjtositions are noted in Eitner's Bihl, d. Masik$ammelwer]<:e, (Quellen- Lexikon .)
FAISST, Immanuel Gottlob Friedeich, born Oct. 13, 1823, at Esslingen in AV lirtemberg, was sent to the seminary at Schiintlial in 1836, and in 1840 to Tubingen, in order to study theology ; but his musical talents, which had J^reviously shown themselves in the direction of gi'eat piroficiency on the organ, were too strong, and, although he received no direct musical in- struction worth mentioning, he had made such progress in composition by 1844 that when he went to Berlin and showed his productions to Mendelssohn, tliat master advised liim to work by himself rather than attach himself to any teacher. In 1846 Ire appeared in })ublic as an organ player in many German towns, and finally took up his abode in Stuttgart. Here in 184 7 he founded an organ school and a society for the study of church music. He undertook the direc- tion of several choral societies, and in 1857 took a prominent part in the foundation of the Con- servatorium, to the management of which he was appointed two years later. Some time
before this the University of Tubingen bestowed upon him the degree of Doctor of Philosophy, in recognition of the value of his ' Beitrage zum Geschichte der Claviersonate, ' an important contribution to the musical jieriodical Cdcilia (1846), and the title of Professor was given him a few years afterwards. In 1865 he was appointed organist of the Stiftskirche, and received a prize for his choral work ' Gesang im Griinen' at the choral festival in Dresden. His setting of Schil- ler's ' Macht des Gesanges ' was eiiually success- ful in the following year with the Schlesische Sangerbund, and a cantata 'Des Scingers Wieder- kehr ' has been frequently performed. His compositions are almost entirely confined to church music and choral compositions. Sevei'al quartets for male voices, and organ pieces were published collectively, and the Lebert and Stark ' Pianoforteschule ' contains a double fugue by him. AVith the latter he published in 1880 an ' Elementar- und Chorgesangschule, ' which has considerable value. He undertook the editing of tire great edition of Beethoven's pianoforte sonatas witli Lebert, for the firm of Cotta, for which edition A'on Blilow edited the sonatas from op. 53 onwards. Faisst died at Stuttgart, June 5, 1894. M.
FA-LA. A ]iiece of vocal music for three or more voices, originally set wholly or in part to these two sol-fa. syllables. Fa-las belong essentially to the madrigalian era, most of the composers of which have left specimens of tliem. They are said to be the invention of Gastoldi di Cara vaggio — if the utterance of musical sounds on unmeaning syllables can be called an invention. Many of his ' balletti, ' like many of the Ballets of Jlorley — such as 'Now is the month of May- ing'— end with a lengthened Fa-la. A 4-])art song known as ' The AVaitts,' by an English composer Jeremiah Savile, set wholly on tliose syllables, is probably the most popular Fa-la in existence. .i. h.
FALCON", Makie Cokxi^lte, born Jan. 28, 1812, eitlier at Paris or at Moiestier near L& Puy, received vocal instruction at the Conserva- toire from Henri, Pellegrini, and Bordogni, and learnt dramatic action fronr Nourrit ; she gained in 1830-31 first prizes for vocalisation and singing. On July 20, 1832, she made her debut at the Optera as Alice in ' Robert,' Avith brilliant success. ' Her acting, intelligence, and self-pos- session give us promise of an excellent actress. In stature tall enough to suit all the operatic heroines, a pretty face, great play of feature. . . . Her Axdce is a well-defined sojtrano, more than two octaves in compass, and resounding equally with the same power ' (Castil-Blaze). She re- mained there until 1838, when ill-health and loss of voice compelled her to leave for Italy. Her parts included Donna Anna on the produc- tion of ' Don Juan,' March 10, 1834 ; Julie in ' La Yestale ' at Nourrit's benefit May 3, 1834 ; the heroines in ' Moise ' and ' Siege de Corinthe.'
FALSE RELATION
FAMITSIN
She also created the parts of Mrs. Ankarstroem ('Gustave IIL'), JMorgiana in Chcrubini's ' Ali 13aba, ' Rachel (' La Juive '), Valentine (' Hugue- nots '), the last two her best parts, the heroine in Louise Bertin's ' Esmeralda,' and Leonor in ISTiedermeyer's ' Stradella. ' ' Richly endowed by nature, beautiful, possessing a splendid voice, great intelligence, and profound dramatic feel- ing, she made every year remarkable by her progress ami Ijy the development of her talent. ' (Fetis. ) After an absence of two years, and under the impression that her voice was restored, on JIarcli 14, 1840, she reappeared at a benefit given on her behalf in the first two acts of ' La Juive, ' and in the fourth act of the 'Huguenots.' But her voice had completely gone, and it was with difficulty she could get through the first part — indeed she fainted in the arms of Duprez. (Clement, Histoire de jVusique, p. 749.) After this she retired alto- getlier from the Opera, where her name still survi\'es to designate dramatic soprano parts. Mme. Falcon afterwards married M. Malan90n. She made a single appearance as late as 1891, and died Feb. 26, 1897. A. c.
FALSE RELATION" is the occurrence of chromatic contradiction in different parts or voices, either simultaneously, as at (a), or in chords which are so near together that the effect of one has not passed from the mind before the otliercomes to contradict it withanewaccidental, as at (i). ^^^ ^jj
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The disagreeable effect is produced by the con- tradictory accidentals belonging to difi'erentkeys, or unequivocally to major or minor of the same key ; and it follows that when the contradiction is between notes which can coexist in the same keytheefl'ect isnotdisagreeable. Thuschromatic piassing notes and appoggiaturas do not affect the key, and arc used without consideration of their apparent contradictions. Schumann uses the sharp and natural of the same note in the same chord in his ' Andante und Variationeu ' for two pianofortes, op. 46 (f«), and Haydn the same in his Quartet in D, op. 71 (b).
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Again, notes wliich are variable in the minor key do not produce any objectionable efi'ect by their juxtaposition, as the minor 7th descending and the major 7th ascending or stationary ; thus Mendelssohn in the Overture to ' Ruy Bias ' has Bb and Bj in alternate chords.
And the treatment of notes which are inter- changeable in chromatic and diatonic chords in the same key is equally free, as between a chromatic note of the chord of the augmented sixth and a succeeding diatonic discord.
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The rule is furthermodifiedbysomanyexceptions that it is almost doubtful if the cases in which the effect is objectionable are not fe\\er than those in which it is not. c. H. H. r.
FALSETTO. The voices of both men and women contain two — or, as defined in the Methode du Chant du Conserraioire de Musiqiic, three — registers, viz. chest voice (voce di 2>elto) ; head voice (r. di testa ) ; and a third which, as being forced or non-natural, is called by Italians and French /((/sc«o OTfausset, or 'false' voice. The limits of these are by no means fixed. In every voice identical notes can be produced in more ways than one, and thus each register can be extended many degrees beyond its normal limits. But it is all but impossilde for a singer to keep both first and third registers in working order at the same time. The male counter-tenor, or alto voice, is almost entirely falsetto, and is generally accompanied by an imperfect pronun- ciation, the vowels usually partaking more or less of the quality of the Italian (/ or English oo, on v-hich the falsetto seems to be most easily piroducible.
The earliest mention of the falsetto in musical Europe is in reference to the Sistine Chapel, where Spaniards exceptionally gifted with this voice preceded that artificial class to whom from the 16th century until the 19tli alto and even soprano parts have been assigned. [The falsetto voice has more recently been restored to its old place in the Sistine and other Roman choirs.] .j. H.
FALSTAFF. 1. A comic Italian opera in two acts ; words by IMaggioni, music by Balfe. Produced at Her Majesty's Theatre, July 19, 1838. 2. Verdi's last opera is in three acts, is set to a libretto by Boito, and was produced at the Scala, Milan, on Feb. 9, 1893 ; at Covent Garden, :\lay 19, 1894. See Merry Wives.
FAMITSIN (F.\MiN-Tsi.N-), Alexander Ser- GEivicH, of aristocratic descent, was born at Kalouga, Oct. 24 (O.S.), 1841. He was educated in St. Petersburg, and on leaving the Unii'ersity spent two years in Leipzig, where he studied theory under Hauptniann, Kichter, and Mos- cheles. On his return to Russia he wasappointed jirofessor of musical history and esthetics at the newdy-openeii Conservatoire. Heresignedin 1872, in order to devote himself to composition. As a critic he made himself notorious by his
FANCIES
FAN FAKE
attacks iijion tlic new national school of music. Famitsin composed two weak but pretentious operas : ' Sardaiiapalus, ' gii-en in St. Petersburg in 1S75, but with so little success that he made no effort to produce his second opera, ' Uriel Acosta.' His instrumental works include three quartets, a pianoforte cjuintet, and a ' Russian Rhapsody ' for violin and orchestra. Two books of ' Songs for Russian Children' have out- lived his more ambitious attempts. As a musical antiquary lie did his best work in the following publications : liussian iluimncrs and Glee-nun (1SS9) ; TJie A neient Indo-Chinese Scale in Europe and Asia, and its appearance in the Paissian Folk-Songs (1890); The Gusslce : a Eussian National Instrument (1890) ; and The Iiombraand Kindred Instrumenls{lS9l). Famit- sin died at St. Petersburg, Julv 6, 1S96. R. x.
FANCIES, or FANTASIES", the old English name for Fantasia, which see. In the various collections catalogued under the head of ViK- GINAL Music all three w-ords occur. The name seems to have been confined to original com- positions as opposed to those which were written upon a given subject or upon a ground. Sir Hubert Parry made the Fancy the subject of one of his lectures — 'Neglected By-ways in JIusic' — at the Royal Institution in 1900 ; rejiorted in the Musical Times for 1900, p. 247. M.
FANDANGO. An Andalusian dance, a variety of the Seguidilla, accompanied by the guitar and castanets. In its original form the fandango was in 6—8 time, of slow tempo, mostly in the minor, with a trio in the major ; some- times, however, the whole was in a major key. Laterit took the 3-4 tempo, and the characteristic
In this
Spanish rhythm j j^
shape it closely resembles the seguidilla and bolero. One Fandango tuneisgiven b}^ Ha^\■kins (Appendix, No. 33). Another has been rendered famous through its partial adoption by both Gluck and ilozart — tlie former in his Ballet of ' Don Juan,' the latter in ' Figaro ' (end of Act 3). It is given in its Spanish form by Dohrn in the Xcue Zeitsclrrift f. Musik (xi. 163, 7) as follows : —
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erase. / E5 i-B ^^*«.'
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The rliythm of the castanets was
I
r
I
Mozart's version is known and accessible ; Gluck's will he found in the Appendix to Jahn's Mo-art.
There is a curious piece of history said to lie connected with this dance. S(JOn after its first introduction, in the 17th centurv, it ^^•a9 con- demned by the ecclesiastical authorities in S]iain as a 'godless dance.' Just as the Consistory were about to ja'ohibit it, one of the judges remarked that it \\'as not fair to condemn any one unheard. Two celelirated dancers were accordingly introduced to perl'orm the fandango before the Consistory. This they did with such effect, that, according to the old chronicler, ' every one joined in, and the hall of the con- sistorium was turned into a dancing saloon.' No more was heard of the condemnation of the fandango.
Similar dances to the fandango are the TiK.-VNA, the Polo, and the Jota Aragonesa.
E. r.
FANFARE. A French term of unknown origin — perhaps Moorish, perliaps onomatopicic — denotes in strictness a short jiassage for trum- pets, such as is performed at coronations and other state ceremonies. 1. In England tliey are knoAvn as 'Flourishes,' and are pla^'cd liy the Trumpeters of His Slajesty's Housejiold Ca^'alry to the number of eight, all playing in unison on E'[> trumpets without vah'es. The following, beliei-ed to date from the reign of Charles II., is the Flourish regulaily used at the opening of Parliament, and was also performed at the announcement of the close of the Crimean \\nv, the visit of Queen Victoria and the Prince of "Wales to St. Paul's after the Prince's recovery, and on other occasions : —
FANING
FANTASIA
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2. So picturesque and effective a feature as the Fanfare has not been neglected by Opera com- posers. No one who has heard it can forget the effect of the two flourishes announcing the arrival of the Governor in ' Fidelio, ' both in the opera and in the two earlier overtures. True to the fact, Beethoven has written it in unison (in the opera and the later overture in Bb, in the earlier overture in Eb, with triplets). Other com- posers, not so conscientious as he, have given them in harmony, sometimes with the addition of horns and trombones. See Spontini's ' Olym- pic ' ; Meyerbeer's ' Struensee,' Act 2; Am- broise Thomas's ' Hamlet, ' and many more. A good example is that in ' Tannhauser, ' which forms the basis of the march. It is for three Trumpets in B.
Weber has left a short one — ' hUiner Tusch ' — for twenty Trumpets in C (.Jahns's Thematic Cat. No. 47 a). [Tusch.]
3. The word is also employed in a general sense for any short prominent passage of the brass, such as that of the Trumpets and Trom- bones (with the wood wind also) near the end of the fourth movement in Schumann's E'[> Sym- phony ; or of the whole wind band in the open- ing AndaMte of tlie Reformation Symphony. G.
FANING, Eaton, the son of a professor of music, was born at Helston in Cornwall, May 20, 1850. He received his first instruction on the piano-forte and violin from his parents, and performed at local concerts before he was five years old. In April 1870, he entered the Royal Academy of llusic, where he studied under Sir W. Sterndale Bennett, Dr. Steggall, Signor Oiabatta, and Messrs. Sullivan, Jewson, Aylward, and Pettit, and carried off successively the bronze medal (1871), silver medal for the Piano- forte (1872), Mendelssohn Scholarship (1873), bronze medal for Harmony (1874), and the Lucas silver medal for Composition (1876). In 1874 Mr. Faning was appointed Sub-Professor of Harmony, in 1877 Assistant-Professor of the Pianoforte, and Associate, and in 1878 Professor of the Pianoforte. He also played the violon- cello and drums in the orchestra. On July 18, 1877, Mr. Faning's operetta, 'The Two Majors, ' was performed at the Royal Academy, which event led to the establishment of the Operatic Class at the institution. A comic operetta, 'Mock Turtles,' was produced at the Savoy
Theatre in 1881, and another, 'The Head of the Poll,' at the German Reed Entertainment in 1882. At the same date Mr. Faning occu- pied the posts of Professor and Conductor of the Choral Class at the National Training School, and Professor of the Pianoforte at the Guildhall School of Music ; the latter post he resigned in July 1885, when he was appointed Director of the Music at Harrow School. [He tilled this post with much credit, and important musical results, until 1901, when he retired. He ex- amined for the Associated Board of the R.A.M. and the R.C.M. in South Africa in 1901.] From the opening of the Royal College of Music until July 1885 he taught the Pianoforte and Harmony, and until Easter 1887 also conducted the Choral Class at that institution. For a good many seasons he conducted a ' Select Choir' at Messrs. Boosey's Ballad Concerts. Mr. Faning was for some time conductor of the London Male Voice Club, and of the Madrigal Society. [He took the degree of Mus.B. at Cambridge in 1894, and of Mus.D. in 1900. For this last his exercise was a mass in B minor. ] His compositions include two operettas, a symphony in C minor, two quartets, an over- ture, a Magnificat and Nunc Dimittis for full orchestra (performed at St. Paul's at the Festival of the Sons of the Clergy), besides anthems, songs, duets, and part-songs, among which the ' Song of the Vikings,' for four-part chorus with pianoforte duet accompaniment, has attained wide popularity. [An interesting article on Faning appeared in the Musical Times for 1901, p. 513.] w. B. s.
FANISKA. Cherubini's twenty-first opera ; in three acts ; words by Sonnleithner from the French. Produced at the Karnthnerthor Theatre , Vienna, Feb. 25, 1806.
FANTASIA is a term of very respectable antiquity as applied to music, for it seems to be sufficiently established by both Burney and Hawkins in their Histories that it was the im- mediate predecessor of the term Sonata, and shares with the term RiCERCAR the honour of having been the first title given to compositions expressly for instruments alone. It seems itself to have been a descendant of the madrigal ; for when madrigals, accompanied as they conmionly were by instruments playing the same parts with the voices, had to a certain extent run their course as the most popular form of chamber compositions, the possibility of the instruments playing the same kind of nuisic without the voices was not far to seek. Hawkins remarks that the early Fantasias 'abounded in fugues and little responsive passages and all those other elegances observable in the structure and con- trivance of the madrigal.' They were written for combinations of various instruments, such as a ' Chest of Viols,' and even for five ' Cornets ' (Zinken). There are examples of this kind by very ancient English composers,