Faà di Bruno, Giovanni Matteo [Horatio, Orazio] Fabbri, Anna Maria
Fenice, La. Theatre opened in Venice in 1792. See Venice, §3. Fenigstein, Victor
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Fenice, La.Theatre opened in Venice in 1792. See Venice, §3. Fenigstein, Victor(b Zürich, 19 Dec 1924). Swiss composer and pianist, active in Luxembourg. He studied the violin and the piano (with Emil Frey, Bernhard Rywosch and Edwin Fischer), then at the University of Zürich. He taught at the Luxembourg Conservatoire, 1948–85, but was obliged to give up his career as pianist after 1952 (with the onset of multiple sclerosis). It was after this that he became most active as a composer. His works include instrumental and vocal chamber music, orchestral music, stage music and educational pieces. Fenigstein is open to many stylistic and technical currents. He considers music as a vehicle for his humanitarian ideas. Despite severe illness he completed the opera Die heilige Johanna der Schlachthöfe (1985, 154 Shakespeare-Sonnets (1986), the chamber opera Die Mutter des Mörders (1987) and Zwölf Lieder zu “Mutter Courage und ihre Töchter” (1997). In 1986 the first performance of Die heilige Johanna der Schlachthöfe was given by the Städtische Buhnen in Augsburg. WORKS(selective list)
BIBLIOGRAPHYM. Kraus: ‘Aspekte des Verhaltens von Materialstruktur: Form und Inhalt in der Musik von Victor Fenigstein am Beispiel des ersten “Berlocken-Tanzes”’, SMz, cxxiii (1983), 87–91 G. Wagner: Luxemburgische Komponisten heute (Echternach, 1986), 56–9 L. Weber: ‘Der Komponist Victor Fenigstein: ein Interpretationsversuch’, Nos cahiers, xii/3 (1991), 85–98 F. Henneberg: ‘Im künstlerischen Bild den Zustand der Welt reflektieren – Ein Portrait des Komponisten Victor Fenigstein’, Dissonanz, no.53 (1997), 21–4 LOLL WEBER Fenis, Rudolf von.See Rudolf von Fenis-Neuenburg. Fenlon, Iain (Alexander)(b Prestbury, Cheshire, 26 Oct 1949). British musicologist. He studied music at the universities of Reading (BA 1970), Birmingham (MA 1971) and Cambridge (PhD 1977). In 1973–4 he was an advisory editor for Grove6, then, in succession, Hayward Research Fellow at the University of Birmingham (1974–5), a fellow of Villa i Tatti, Florence (1975–6), and research fellow at King's College, Cambridge (1976–83). From 1979 he was also a lecturer at the University of Cambridge and in 1996 was appointed reader in historical musicology. He has taught at Wellesley College, Massachusetts (1978–9), Harvard University (1984–5), the British School in Rome (1985), the Centre de Musique Ancienne, Geneva (1988–9), and the École Normale Supérieure, Paris (1998–9). He was awarded the Dent Medal in 1984 and elected Fellow of the Society of Antiquaries in 1989. He has also held visiting fellowships at All Souls College, Oxford (1991–2), and New College, Oxford (1992), and is Honorary Keeper of the Music at the Fitzwilliam Museum, Cambridge. He is editor of Cambridge Studies in Medieval and Renaissance Music (1992–) and on the editorial boards of Early Music History (founding editor, 1981), Opera Omnia di Andrea Gabrieli (1987) and Opera Omnia di Luca Marenzio (1997). Fenlon's principal area of study is the history of music from about 1450 to 1650, particularly in Italy. His monograph on music in 16th-century Mantua studies the effects of the patronage of the Gonzaga family on the development and reform of liturgical music and on the new secular arts of spectacle; his discussion is supported by an edition of significant works. With James Haar he has published a key study of the emergence of the Italian madrigal, which establishes the importance of its Florentine origins. Most of his writings explore how the history of music is organically and dynamically related to the history of society. He has also produced catalogues of collections of early music in Birmingham and (with Valerie Rumbold) Cambridge. WRITINGSCatalogue of the Printed Music and Music Manuscripts before 1801 in the Music Library of the University of Birmingham, Barber Institute of Fine Arts (London, 1976) ‘II foglio volante editoriale dei Tini c il 1596’, RIM, xii (1977), 231–51 with J. Haar: ‘A Source for the Early Madrigal’, JAMS, xxxiii (1980), 164–80 Music and Patronage in Sixteenth-Century Mantua (Cambridge, 1980–82); It. trans. of vol.i, rev., as Musicisti e mecenati a Mantova nel '500 (Bologna, 1992) ed.: Music in Medieval and Early Modern Europe (Cambridge, 1981) with E. Wilson: The Winchester Anthology (British Library Add. MS. 60577) (Cambridge, 1981) [introduction of facs. edn] with J. Milson: ‘“Ruled Paper Imprinted”: Music Paper and Patents in Sixteenth-Century England’, JAMS, xxxvii (1984), 139–63 ‘The Mantuan Orfeo’, Claudio Monteverdi: Orfeo, ed. J. Whenham (Cambridge, 1985), 1–19 ‘Lepanto: the Arts of Celebration in Renaissance Venice’, Proceedings of the British Academy, lxiii (1987), 201–36 ‘Cardinal Scipione Gonzaga (1542–93): “Quel padre confidentissimo”’, JRMA, cxv (1988), 223–49 with J. Haar: The Italian Madrigal in the Early Sixteenth-Century (Cambridge, 1988) ‘Preparations for a Princess: Florence 1588–89’, In cantu et in sermone: for Nino Pirrotta, ed. F. Della Seta and F. Piperno (Florence, 1989), 259–81 ed.: Man & Music: the Renaissance (London, 1989) [incl. ‘Music and Society’, 1–62; ‘Venice: Theatre of the World’, 102–32] ‘Music and Reform in Sixteenth-Century Italy: Florence, Rome and the Savonarolian Tradition’, Bellarmino e la Controriforma: Sora 1986, ed. R. De Maio and others (Sora, 1990), 853–89 ‘Music and Italian Renaissance Painting’, Companion to Medieval and Renaissance Music, ed. D. Fallows and T. Knighton (London, 1992), 189–209 ‘Patronage, Music, and Liturgy in Renaissance Mantua’, Plainsong in the Age of Polyphony, ed. T.F. Kelly (Cambridge, 1992), 209–35 with P. Miller: The Song of the Soul: Understanding Poppea (London, 1992) with V. Rumbold: A Short-Title Catalogue of Music Printed before 1825 in the Fitzwilliam Museum, Cambridge (Cambridge, 1992) ‘Heinrich Glarean's Books’, Music in the German Renaissance, ed. J. Kmetz (Cambridge, 1994), 74–102 Music, Print and Culture in Early Sixteenth-Century Italy (London, 1995) [1994 Panizzi Lectures] ed., with T. Carter: Con che soavità: Essays on Italian Opera, Song and Dance, 1580–1750 (Oxford, 1995) [incl. ‘The Origins of the Seventeenth-Century Staged Ballo’, 13–40] ‘Music and Learning in Isabella d'Este's studioli’, The Court of the Gonzaga in the Age of Mantegna, 1450–1550, ed. C. Mozzarelli, R. Oresko and L. Ventura (Rome, 1997), 353–65 ‘Strangers in Paradise: Dutchmen at St. Mark's in 1525’, Trent'anni di richerca musicologica: studi in onore di F. Alberto Gallo, ed. P. Dalla Vecchia and D. Restani (Rome, 1997), 321–35
‘Giaches de Wert: the Early Years’, RBM, xlii (1998), 377–97 ‘Foederis in Turcas Sanctio: Music, Ceremony and Celebration in Counter-Reformation Rome’, ‘La musique, de tous les passetemps le plus beau’: hommage à Jean-Michel Vaccaro, ed. F. Lesure and H. Vanhulst (Paris, 1998), 167–94
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