Faà di Bruno, Giovanni Matteo [Horatio, Orazio] Fabbri, Anna Maria
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- (1) (Francesco) Nicola Fago [Il Tarantino]
- (3) Pasquale Fago [Pasquale Tarantino, Tarantini]
Fagnola, Annibale(b Montiglio, 28 Dec 1866; d Turin, 16 Oct 1939). Italian violin maker. The son of a farmer, he worked in several professions and was a mechanic at the time of his move to Turin in 1894. By 1895 he had opened a shop as a violin maker. He would appear to have been self-taught but relied early upon the advice and guidance of the lawyer Orazio Roggero, a prominant collector from Saluzzo. Early in his career he may have made reproductions of violins by the classic Turinese masters G.B. Guadagnini, Guiseppe Rocca and especially G.F. Pressenda, many of which were later sold as originals. He was awarded medals at expositions in Genoa and Milan in 1906 and a gold medal for his quartet at the Turin Exposition of 1911. By 1905 his work was increasingly in demand, and a large part of it may have gone initially to England where it came to the attention of Hidalgo Moya and Towry Piper, whose comments in Violin Tone and Violin Makers (1916) represent the earliest 20th-century references to a contemporary Italian violin maker. Fagnola's work grew in refinement and sophistication, and after 1920 he was assisted by several apprentices, including Riccardo Genovese (d 1935), Stefano Vittorio Fasciolo (d 1944) and his nephew Anibalotto Fagnola. Fagnola is regarded as perhaps the most important violin maker of the modern Italian tradition. His style was quite individual, the workmanship clean and precise, the wood selection generally excellent. As well as making accurate copies of the instruments of his Turinese predecessors he made instruments modelled more loosely after their patterns, although the former are more sought after. He used a varnish similar to that of the earlier Turin makers: often deep orange or red which gains transparency in polishing, and in later years a pale gold or orange which often shows a crystalline refraction, the result of too little oil and too much resin. He consistently achieved a fine tonal result, and his violins are prized by professional musicans worldwide. During and after his lifetime his violins were extensively copied all over Europe, and there are still makers in Italy today who will produce them to order. BIBLIOGRAPHYVannesE G. Accornero, I. Epicoco and E. Guerci: Liuteria piemontese: Annibale Fagnola (Frasinello Monferrato, 1998) PHILIP J. KASS Fago.Italian family of musicians. They were active in Naples during the 18th century. (1) (Francesco) Nicola Fago [Il Tarantino] (2) Lorenzo Fago (3) Pasquale Fago [Pasquale Tarantino, Tarantini] HANNS–BERTOLD DIETZ (work-list with STEPHEN SHEARON, MARIA GRAZIA MELUCCI) Fago (1) (Francesco) Nicola Fago [Il Tarantino](b Taranto, 26 Feb 1677; d Naples, 18 Feb 1745). Composer and teacher. He was the son of Cataldo Antonio Fago and Giustina Tursi of Taranto. After studying music in his home town, and from July 1693 to August 1695 at the Conservatorio di S Maria della Pietà dei Turchini in Naples, where his teacher was Francesco Provenzale, he settled in Naples, serving various churches as maestro di cappella. On 27 November 1701 he married Caterina Speranza Grimaldi, a younger sister of the famous soprano virtuoso Nicolo Grimaldi (‘Nicolini’); of their many children only the eldest son, (2) Lorenzo Fago, became a musician. In 1704 Fago was chosen to succeed Don Angelo Durante, the uncle of Francesco, as primo maestro of the Conservatorio di S Onofrio, and in May 1705 he accepted in addition the same position at the Pietà dei Turchini, replacing Gennaro Ursino, Provenzale’s successor. In October 1708 Nicola relinquished his post at S Onofrio, and in the following year became maestro di cappella at the Tesoro di S Gennaro of Naples Cathedral, succeeding Cristoforo Caresana (‘Il Veneziano’). Fago composed all of his known sacred dramas, oratorios and operas between 1705 and 1714. His first dramma per musica, Il Radamisto, was commissioned in 1707 for the wedding festivities of Antonio di Sangro, Prince of S Severo. Two years later his second dramma, Astarto, was staged at the Teatro S Bartolomeo, Naples. Between 1710 and 1711 he composed two comedies on librettos by F.A. Tullio for the Teatro dei Fiorentini. During the following year, he collaborated with his former student Michele Falco, a composer of musical comedies, to produce Lo Masillo, a three-act work called ‘dramma per musica’ on the title page of the libretto but traditionally considered to be an early opera buffa. After another collaboration with Falco in 1714 (La Dafne), Fago suddenly abandoned writing for the operatic stage and dedicated himself primarily to sacred music and teaching. In addition to his regular duties at the Pietà dei Turchini and the Tesoro di S Gennaro, he for several years also directed and/or composed the music for High Holy and Saints’ Days at several Neapolitan churches. In 1731 he retired from the Tesoro di S Gennaro in favour of his 27-year-old son, Lorenzo, for reasons of age and health. Five years later, however, he accepted another post as maestro di cappella at S Giacomo degli Spagnoli, which he held until his death. At the Pietà dei Turchini he developed an outstanding teaching career which lasted 35 years. His secondi maestri assisting him there were in turn Andrea Basso (to 1734) and Giovanni Sarconi (1718–32), then Leonardo Leo (1734–7), and finally his son Lorenzo (from 1737). Among his students were Falco, Francesco Feo, Giuseppe de Majo, Leo, Giuseppe Marchitti, Niccolò Jommelli, Michelangelo Vella, Pasquale Cafaro, Nicola Sala and Antonio Corbisero. In 1740 Fago retired from teaching, and Leo succeeded him as primo maestro. But in December 1744, after Leo’s death, the still active Fago petitioned the king to be appointed Leo’s successor as primo maestro of the royal chapel. Fago died, however, the day before a competition for the post was announced. Nicola Fago belongs to the generation of Francesco Mancini and Domenico Sarro. Like them, he established himself in Neapolitan musical life during the years of Alessandro Scarlatti’s absence (1702–8). His comic operas place him among the first professional composers to embrace the then budding genre of the Neapolitan commedia per musica. However, only the scores for his oratorio Il Faraone sommerse (1709) and the 1713 performance of his dramma per musica La Cassandra indovina (1711) have survived. His works for the stage, serious or comic, seem to have made little impact, and his career as an opera composer was short-lived. It was as a teacher and composer of church music that Fago became known in Naples as ‘Il virtuosissimo Tarantino’. In his masses and settings of the Dixit, Te Deum and Magnificat, for two five-part choruses (one of which provides the solo voices), he continued the late 17th-century polychoral tradition established in Naples by Antonio Nola, Gian Domenico Oliva and Cristoforo Caresana, but the style and scope of the choral movements and self-contained solo numbers is more in accordance with 18th-century ideals. His works exhibit the solid contrapuntal craftsmanship of the teacher-composer, and several of his smaller pieces, particularly those in stile antico, are obviously didactic in nature. What unites his approaches to both new and old styles is his grasp of the tonal idiom, the control of harmonic, modulatory progressions over polyphonic and homophonic textures. In his secular vocal music Fago’s model was Alessandro Scarlatti, but he limited himself to the traditional form of the solo cantata with continuo accompaniment. Though Fago’s fame as a composer was later overshadowed by that of his students, his influence on early 18th-century Neapolitan church music should not be underestimated. Neither Burney, Hawkins nor Gerber mentioned Fago; in 1792 J.F. Reichardt pointed out this omission of ‘one of the most famous composers from the beginning of this century’, with specific reference to his church music and cantatas. WORKSstageperformed in Naples, music lost, unless otherwise stated
sacred dramas and oratorios
serenatas, cantatas and arias
sacred vocalwith instruments, unless otherwise stated
instrumental
Fago (2) Lorenzo Fago(b Naples, 13 Aug 1704; d Naples, 30 April 1793). Teacher and composer, eldest son of (1) Nicola Fago and Caterina Grimaldi. Although born in Naples, he was called ‘Il Tarantino’ like his father, from whom he received his musical education. He first became organist of the primo coro at the chapel of the Tesoro di S Gennaro, where on 26 June 1731 he succeeded his father as maestro di cappella. In this capacity he served until 1766, and again between 1771 and 1781. On 26 July 1736 he married Angela (Albina) Gleinod; their eldest son, (3) Pasquale Fago, also became a composer. In 1737 Lorenzo began his career at the Conservatorio della Pietà dei Turchini, following Leo as secondo maestro. He assisted his father until his retirement in 1740, and then Leo, after whose death he became primo maestro (1 November 1744). In that position he served until his retirement in January 1793. The secondi maestri under him were G.G. Brunetti (1745–54), Girolamo Abos (1754–9), Pasquale Cafaro (1759–87) and his eventual successor Nicola Sala (1787–93). His activities as a teacher outweigh in importance his compositions, which include church music and cantatas but no operas. He reworked several compositions by his father, particularly their orchestration, and through performances kept some of this music alive during the second half of the 18th century. WORKS
Fago (3) Pasquale Fago [Pasquale Tarantino, Tarantini](b Naples, c1740; d before 10 Nov 1794). Composer, eldest son of (2) Lorenzo Fago. In 1762 he joined the chapel of the Tesoro di S Gennaro as an organist, and in 1766, when his father retired in his favour, became maestro di cappella. As a composer he adopted the name Pasquale Tarantino and wrote a number of fairly successful works. But he was not truly interested in a musical career and in 1771 resigned as maestro to devote himself to the administrative government services with which he had been occupied since 1764. In 1780 he became governor of the province of Montecorvino and in 1782 of Sarno. WORKS
BIBLIOGRAPHYES (U. Prota-Giurleo) FellererP FlorimoN GiacomoC RosaM SartoriL S. Di Giacomo: Maestri di cappella, musici & istromenti al Tesoro di San Gennaro nei secoli XVII & XVIII (Naples, 1920) E. Faustini-Fasini: ‘Primo contributo per una biografia di Nicola Fago’, Musica D’Oggi, vii (1925), 9–11 E. Faustini-Fasini: Nicola Fago ‘Il Tarantino’ e la sua famiglia (Taranto, 1931) M.F. Robinson: Naples and Neapolitan Opera (Oxford, 1972/R), 191 D. Foresio: ‘Nicola Fago: un Tarantino da solo nella legenda’, Euterpe tarantina (Taranto, 1984), 19–35 S. Shearon: ‘Nicola Fago and the Neapolitan Musical Environment of the Early Settecento’, IMSCR XV: Madrid 1992 [RdMc, xvi (1993)], 2914–20 F. Cotticelli and P. Maione: Le Istituzioni Musicali a Napoli durante il Viceregno austriaco (1707–1734): materiali inediti sulla Real Cappella ed il Teatro di San Bartolomeo (Naples, 1993) M.G. Melucci: ‘La cantate da camera di Nicola Fago: prime indagini per uno studio’, Gli affetti convenienti all’idee: studi sulla musica vocale italiana, ed. R. Cafiero, M. Caraci Vela and A. Romagnoli, iii (Naples, 1993), 385–422 S. Shearon: Latin Sacred Music and Nicola Fago: the Career and Sources of an Early Eighteenth-Century Neapolitan Maestro di Cappella (diss., U. of North Carolina at Chapel Hill, 1993) M.G. Melucci: ‘Il Tarantino Nicola e gli altri Fago: situazione delle ricerche’, Cenacolo, new ser., vi (1994), 65–73 Directory: download -> 3062a7ba-8b89-4266-8568-82026f790e50 -> Bibliografia%20Básica download -> Northern England’s set-jetting locations download -> Bbc archives: Beyond the programme download download -> Occupational health and safety download -> Dynatest 3031 lwd light Weight Deflectometer download -> Forth coming competitive exams download -> English Olympiad Tasks: 10 th form Аудіювання, 10 клас. Текст download -> Brush High School Morning Announcements Friday, September 05, 2014 all school download -> Year 9 The Arts — Music download -> Years 7 and 8 standard elaborations — Australian Curriculum: Music draft Bibliografia%20Básica -> Oakeley, Sir Herbert (Stanley) Download 19.1 Mb. Share with your friends:
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