Faà di Bruno, Giovanni Matteo [Horatio, Orazio] Fabbri, Anna Maria
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Fulda.City in Germany. It grew up around the Benedictine monastery founded by St Boniface in 742, and is renowned for the collection of medieval manuscripts in the Landesbibliothek. A ‘Hildebrandslied’ written into a theological treatise survives from the 9th century; at that time music in the abbey was directed by Abbot Hrabanus, a disciple of Alcuin. With its ancient churches and cathedral, Fulda maintained a prominent place in ecclesiastical music throughout the Middle Ages. In the 16th century the Prince-Abbot Johann von Henneberg introduced Georg Witzel to Fulda as a councillor, and the latter produced a Catholic hymnbook. In 1572 the Jesuits established a school in Fulda and in 1584 Pope Gregory XIII founded a Seminarium Pontificium in the city. During the Counter-Reformation the College of the Society of Jesus paid special attention to traditional Gregorian chant, in which students were examined. Athanasius Kircher, author of the Musurgia universalis, was born in Geisa, near Fulda, in 1602 and educated in the city. In 1704 the Prince-Abbot Adalbert von Schleifras laid the foundation stone of a new cathedral in Fulda, which was consecrated in 1712. A university was founded in 1733 and controlled jointly by the Dominicans and the Jesuits until the latter were removed in 1805. In the 18th century secular fashions emboldened Bishop Heinrich von Thüngen to establish a ‘theatre for amateurs’. Bishop Heinrich von Bibra, ruler of Fulda from 1759 to 1788, sent his Konzertmeister, Caspar Staab, to study in Mannheim and Stuttgart in 1760; he also founded the Landesbibliothek, which, after the secularization of church properties by Wilhelm of Nassau-Weilburg during the Napoleonic wars, was able to acquire priceless manuscripts from the neighbouring Weingarten Abbey. At this time civic music was stimulated by Michael Henkel, organist, teacher in the Gymnasium and composer. During the 19th century numerous choral societies were formed, including the Cäcilia – a mixed-voice choir primarily for the performance of oratorios – and three male-voice ensembles: the Liedertafel, Winfridia and Liederkranz. Since the 17th century more than 150 organ builders have been recorded in Fulda, responsible for various churches, schools, seminaries and other institutions in the city. For much of the 19th century the firm founded by Martin Hahner, and continued by his son, was responsible for the maintenance of the great organ (and two other organs) in the cathedral. This contract ended when a new organ by William Sauer was erected in 1877. In recent times much work has been done in Fulda by the firm Kreienbrink, which between 1956 and 1969 built organs in the Lady Chapel of the cathedral and in several other churches and religious foundations.
PERCY M. YOUNG Fulda, Adam von.See Adam von Fulda. Fuleihan, Anis(b Kyrenia, Cyprus, 2 April 1900; d Stanford, CA, 11 Oct 1970). American composer, conductor and pianist. He moved to the USA in 1915 and attended the Polytechnic Institute of Brooklyn; he became an American citizen in 1925. Largely self-taught in composition, he studied music theory with Harold Milligan and Louis Loth and piano with Alberto Jonas, making his début in New York in October 1919. For several years he toured the USA and the Near East as a recitalist and concerto soloist. He lived for two years in Cairo, returning to the USA in 1928. From 1930 to 1939 he worked as a conductor for radio and was on the staff of G. Schirmer. His work as a composer, beginning with ballet music written for Adolf Bohm, the Neighborhood Playhouse in New York and the Denishawn dance company, received great impetus with the performance of his suite Mediterranean under Goossens at Cincinnati in 1935. In 1939 he won a Guggenheim Fellowship in composition. Barbirolli introduced his Symphony no.1 (1936), his Piano Concerto no.2 (1938) and the Symphonie concertante (1940) with the New York PO. From 1946 Fuleihan toured and held a series of teaching, administrative and conducting posts: professor of composition and piano at Indiana University (1947–53), director of the Beirut Conservatory (1953–60) and conductor of the Beirut Orchestra (1955–60). In 1952 he received a Fulbright fellowship to Egypt. In 1963 he organized the Orchestre Classique de Tunis, directing it from its inception until 1965. Fuleihan received many commissions, and his orchestral works have been performed often by major American orchestras. Extreme dissonance marked his early style, along with an orientalism which, after his studies in Near Eastern folk music (1924–8), he came to regard as ‘synthetic’. In later works he sought a more authentic engagement with Eastern musical traditions. Fuleihan’s style after 1935 has been described as neo-romantic. His orchestral writing displays a mastery of tone-colour; the piano works are characterized by technically difficult and brilliant passages using percussive techniques. WORKS
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