Faà di Bruno, Giovanni Matteo [Horatio, Orazio] Fabbri, Anna Maria
Friedl [Friedel], Sebastian Ludwig
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- Friedlaender [Friedländer], Max
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Friedl [Friedel], Sebastian Ludwig(b Neuberg, 15 Feb 1768; d Berlin, c1857). German cellist, baryton player and composer. A member of a musical family, he received his general musical education from Hofmusikus Simon. His first position was as a court musician in Mannheim, where he studied the cello with Peter Ritter. Friedl was equally respected as a baryton player, and following a performance at Schwetzingen was given by Prince Carl Theodore of Mannheim an inlaid and bejewelled instrument made by Joachim Tielke. In 1793, on returning from a concert tour in the Netherlands, he performed at Frankfurt for an audience which included Friedrich Wilhelm II, who then engaged him for the Royal Chapel in Berlin. He subsequently studied the cello with Jean-Louis Duport, to whom he dedicated his three cello sonatas op.1 (Offenbach, 1798). Friedl was pensioned in 1826; his name appeared in the Berlin Address Calendar until 1857. Very little is known of Friedl's compositions. Eitner's Quellen-Lexikon lists only one published work, the three cello sonatas op.1. Schilling's Universal-Lexicon der Tonkunst indicates the existence of other works in manuscript, and credits Friedl with having arranged music especially for the baryton. A report in the Allgemeine musikalische Zeitung (1811) relates that he performed a potpourri of themes that he had arranged for the baryton. BIBLIOGRAPHYEitnerQ GerberL SchillingES Report from Frankfurt, AMZ, viii (1805–6), 412 G. Schilling: Universal-Lexicon der Tonkunst, suppl. (Stuttgart, 1842) E.S.J. van der Straeten: History of the Violoncello, the Viola da Gamba, their Precursors and Collateral Instruments (London, 1915/R) EFRIM FRUCHTMAN/VALERIE WALDEN Friedlaender [Friedländer], Max(b Brieg [now Brzeg, Poland], 12 Oct 1852; d Berlin, 2 May 1934). German musicologist. He studied singing under Manuel Garcia in London and Julius Stockhausen in Frankfurt, and went on to establish himself as a successful lieder and oratorio baritone. In 1884 he turned to the study of musicology under Spitta and German literature under W. Scherer in Berlin and took the doctorate at Rostock University in 1887 with a dissertation on Schubert. He completed the Habilitation in 1895 at Berlin University, where he was appointed reader and university director of music in 1903. In 1910–11 he worked as exchange professor at Harvard (receiving its honorary DCL) and at other American universities. Friedlaender devoted his life to the interpretation, publication, collection and investigation of German folksongs and lieder. In all his scholarly work he never lost sight of the interests of the practical musician. From the time of his research into Schubert's songs he was concerned to reveal the original form of the work in question by investigation of the source material, and thus to provide authoritative editions. This aim applied to the texts as much as to the music. The main consequence of his literary interests was his work on Goethe, which produced a valuable two-volume collection of Goethe settings (Gedichte von Goethe in Compositionen seiner Zeitgenossen, Weimar, 1896–1916). Apart from his concern with the 19th-century German lied, his principal interest was in the solo song and Singspiel of the 18th century. His two-volume study Das deutsche Lied im 18. Jahrhundert still retains its value as a work of reference and as source material. No less fruitful was Friedlaender's work as a researcher, collector and editor in the field of German folksong. The critical notes to the collections he edited, especially the folksong books for male-voice choir and for mixed chorus, ‘constitute in their own right a history of the folksong and partsong, embracing all the widely scattered material’ (Kretzschmar). His foundation in 1917 of an archive of German folksongs in Berlin put the study of folksong on a firm footing.
‘Musikerbriefe (an Goethe)’, Goethe-Jb, xii (1891), 77–132 ‘Mozart’s Wiegenlied’, VMw, viii (1892), 275 ‘Fälschungen in Schuberts Liedern’, VMw, ix (1893), 166–85 ‘Uhlands Gedichte in der Musik’, Uhlands Werke, ed. L. Fränkel (Leipzig, 1893), 541–5 ‘10 bisher ungedruckte Briefe von Franz Schubert’, JbMP 1894, 92–115 ‘Gluck und Mozart’, JbMP 1896, 72 ‘Goethes Gedichte in der Musik’, Goethe-Jb, xvii (1896), 176–94 ‘Shakespeares Werke in der Musik’, Jb der Deutschen Shakespeare Gesellschaft, xxxvii (1901), 85–122 ‘Brahms’ Volkslieder’, JbMP 1902, 67–88 Das deutsche Lied im 18. Jahrhundert (Stuttgart, 1902/R) ‘Van Swieten und das Textbuch zu Haydns Jahreszeiten’, JbMP 1909, 47–56 ‘Mozarts Lieder’, Festschrift … Rochus Freiherrn von Liliencron (Leipzig, 1910/R), 81–6 ‘Deutsche Dichtung in Beethovens Musik’, JbMP 1912, 25–48 ‘Goethe und die Musik’, Jb der Goethe-Gesellschaft, iii (1916), 277–340 ‘Zuccalmaglio und das Volkslied’, JbMP 1918, 53–80 Brahms' Lieder: Einführung in seine Gesänge für eine und zwei Stimmen (Berlin, 1922; Eng. trans., 1928/R) Über musikalische Herausgebertätigkeit (Weimar, 1922) ‘Eigenleben von Volksliedmelodien’, Musikwissenschaftlicher Kongress: Basle 1924, 131–46 Franz Schubert: Skizze seines Lebens und Wirkens (Leipzig, 1928) ‘Ansprache zur Einführung’, Kongress für Schubertforschung: Vienna 1928, 1–26 FOLKSONG EDITIONSHundert deutsche Volkslieder für eine Singstimme mit Begleitung des Klaviers (Leipzig, 1886) Volksliederbuch für gemischten Chor (Leipzig, 1915) with others: Landschaftliche Volkslieder (Leipzig, 1924) Volksliederbuch für die Jugend (Leipzig, 1930) BIBLIOGRAPHYMGG1 (W. Virneisel) [incl. extensive list of edns and detailed appraisal] H. Mersmann: ‘Max Friedlaender’, ZMw, v (1922–3), 41–5 R. Schwartz, ed.: ‘Festgabe zum 70. Geburtstag Max Friedlaenders’, JbMP 1922, ii [incl. list of pubns and tributes by J. Bolte and H. Kretzschmar] Obituaries: E.J. Dent, MMR, lxiv (1934), 102–3; A.M., AMz, lxi (1934), 298 only; H.J. Moser, ZMw, xvi (1934), 318 only ANNA AMALIE ABERT
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