Faà di Bruno, Giovanni Matteo [Horatio, Orazio] Fabbri, Anna Maria
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Fromm Music Foundation.American organization. It was founded in 1952 by Paul Fromm (1906–87), a wine importer who fled the Nazi pogroms in 1938 and settled in Chicago. In 1972 the foundation was relocated to Harvard University, but Fromm played an active role in its decisions until his death. The foundation has supported contemporary music in the United States, commissioning new works and sponsoring a variety of initiatives: concerts, radio broadcasts, recordings, seminars, a visiting professorship at Harvard University (first held by Peter Maxwell Davies in 1985) and, from 1962 to 1972, the publication of a journal Fromm helped to launch, Perspectives of New Music. Fromm freely sought the advice of Copland at Tanglewood and Sessions and Babbitt at Princeton University when initiating foundation-supported projects. In planning commissions and programmes he worked closely with Gunther Schuller, a member of the foundation's board of directors and director of contemporary music activities at the Berkshire Music Center in Tanglewood, summer home of the Boston SO. From 1964 to 1983 the Fromm Foundation sponsored annual ‘Fromm weeks’ at Tanglewood featuring chamber and orchestral performances of contemporary music by members of the orchestra. The foundation has sponsored hundreds of concerts of contemporary music, including the 1959 New York Town Hall concert during which Robert Craft conducted the American premières of Berg's Altenberg Lieder and Stravinsky's recent Threni; a Roger Sessions Festival held at Northwestern University in 1961; an evening of premières of commissioned works, including Babbitt's Vision and Prayer and Elliott Carter's Double Concerto, presented at the Congress of the IMS held in New York City in 1961; a Celebration of Contemporary Music marking the American Bicentennial in 1976, co-sponsored by the Juilliard School and the New York PO under Boulez; and, from 1967, the annual Fromm Concerts of the Contemporary Chamber Players at the University of Chicago, under the direction of Ralph Shapey. From 1985 to 1990 it also sponsored conferences and concerts at the Aspen Music Festival. Among the 171 works commissioned during Fromm's lifetime were compositions by John Adams, Babbitt, Arthur Berger, Berio, Carter, George Crumb, Mario Davidovsky, David del Tredici, Jacob Druckman, John C. Eaton, Lukas Foss, Philip Fried, Alberto Ginastera, John Harbison, Alan Hovhaness, Andrew Imbrie, Ben Johnston, Betsy Jolas, Oliver Knussen, Ernst Krenek, Paul Lansky, Peter Lieberson, Bruno Maderna, Donald Martino, George Perle, Steve Reich, Wallingford Riegger, Schuller, Sessions, Ralph Shapey, Morton Subotnick, Stefan Wolpe and Charles Wuorinen. BIBLIOGRAPHYA. Berger: ‘What Mozart didn't Have: the Story of the Fromm Music Foundation’, High Fidelity/Musical America, ix/2 (1959), 41–3, 126, 128 P. Fromm: ‘The Princeton Seminar: its Purpose and Promise’, MQ, xlvi (1960), 155–8 P. Fromm: ‘Young Composers: Perspective and Prospect’, PNM, i/1 (1962–3), 1–3 D. Gable and C. Wolff, eds.: A Life for New Music: Selected Papers of Paul Fromm (Cambridge, MA, 1988) DAVID GABLE Fromont.French firm of music publishers. It was founded in Paris about 1885 by Eugène Fromont. In 1891 the publisher Georges Hartmann sold his catalogue to Heugel and began publishing in partnership with Fromont. Under Hartmann’s leadership the firm published a number of important works by Debussy, including the Prélude à l’après-midi d’un faune (1895), Chansons de Bilitis (1899) and Nocturnes (1900). The firm continued to publish Debussy’s music after Hartmann’s death on 22 April 1900, most importantly Pelléas et Mélisande (vocal score, 1902), which is dedicated to Hartmann’s memory, and Pour le piano (1901). The firm continued in business until 1922, after which Fromont’s publications were taken over and reissued by Jean Jobert of Paris. (DEMF) NIGEL SIMEONE Frondoni, Angelo(b Pieve Ottoville, Parma, 1808 or 1809; d Lisbon, 4 June 1891). Italian-Portuguese composer and conductor. He studied at Parma and Milan; his one-act farce Il carrozzino da vendere was staged at La Scala in 1833 and Un terno al lotto for basso buffo and chorus at the Teatro Carcano two years later. In 1838, while organist at Soragna (Parma), he was contracted by the Count of Farrobo, Joaquim Pedro Quintella, as artistic director of the Teatro de S Carlos in Lisbon, where he conducted premières of two ballets in 1839 and on 22 March 1841 a revival of his Un terno al lotto. In 1843 he was dismissed from S Carlos by new management, but had an opera of his produced there the next year. A farce with Portuguese text, O beijo, given its première late in 1844, won immediate popularity. Three more operettas in Portuguese and one in French followed in 1845–9. In 1850 he conducted at the Gymnásio premières of three more, each in one act. Now firmly established as one of the two chief theatrical composers at Lisbon he continued until 1863 writing much successful stage music. From 1868 to 1873 he was artistic director and composer for the newly opened Teatro da Trindade, and in 1873–4 conducted the S Carlos opera season. Always an ardent republican, he composed in 1846 the ‘Maria da Fonte’ hymn, used thereafter as the anthem of those seeking to dethrone Maria II. He also dabbled in literature with a 24-page printed poem eulogizing Lincoln (1867) and a series of choleric pamphlets, one of which (1883) denounced Wagner’s Lohengrin. (R.V. Nery and P. Ferreira de Castro: História da música (Lisbon, 1991), 144) WORKSoperas
other dramatic worksall first performed in Lisbon
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