Faà di Bruno, Giovanni Matteo [Horatio, Orazio] Fabbri, Anna Maria
Fischer, Joseph. German musician, son of Ludwig Fischer. Fischer, Kurt von
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Fischer, Joseph.German musician, son of Ludwig Fischer. Fischer, Kurt von(b Berne, 25 April 1913). Swiss musicologist. He studied the piano with Hirt at the Berne Conservatory, where he obtained the diploma in 1935 and taught the piano and stylistic studies (1939–57); he was later a pupil of Marek. He studied musicology with Kurth and Gurlitt (then visiting professor) at Berne University, taking the doctorate in 1938 with a dissertation on Grieg’s harmony, and completing the Habilitation in 1948 with a study of form and motif in Beethoven’s instrumental works. He then taught at Berne University and in 1957 was appointed professor and chair of musicology at Zürich University, a post he held until his retirement in 1979. He also held visiting lectureships at Basle (1956–7) and CUNY (1987), and a visiting professorship in the Georges Miller Chair at the University of Illinois, Urbana (1967). He became an executive member of the IMS in 1958, serving as president from 1967 to 1972, and was appointed co-editor of Archiv für Musikwissenschaft. In 1968 began collaborating with Ludwig Finscher on the complete edition of Hindemith’s works and in 1974 he became general editor of Oiseau-Lyre’s series Polyphonic Music of the Fourteenth Century. From 1979 to 1989 he was president of commission for RISM, of which he became honorary president in 1989. He was made a corresponding member of the British Academy (1975) and the AMS (1980) and an honorary member of the Britisch Academy (1982) and the IMS (1987). He contributed to numerous important music dictionaries and encyclopedias. In his early works, particularly in his dissertation on Grieg but also to some extent in his book on Beethoven, Fischer was influenced by his teacher Kurth; an example of this influence is in the specific association Fischer drew between (harmonic) analysis and musical form, a relationship which he interpreted as a psychologically motivated, dynamic process. His standard catalogue of Trecento works (1956) as well as his work for RISM on sources of polyphonic music from the 14th to the 16th centuries (with M. Lütolf, 1972) and numerous related essays display a precise, methodical treatment of source material. In a further group of studies, aspects of 20th-century music, such as questions of ‘modernity’ or ‘tradition’ in music history, are fruitfully applied to earlier music. Fischer was also particularly interested in the Passion setting and in variation forms, and his publications on these reveal an extraordinary breadth of learning. His energy and enterprise were also evident in the way in which he established and expanded the musicology department at Zürich, and instigated new developments within the IMS, such as founding the international dissertation centre in Texas, increasing publication activity and encouraging a greater emphasis on ethnomusicology. WRITINGST.S. Evans, ed.: Essays in Musicology (New York, 1989) [E] Aufsätze zur Musik: aus Anlass des 80. Geburtstag von Kurt von Fischer (Zürich, 1993) [M] Griegs Harmonik und die nordländische Folklore (diss., U. of Berne, 1938; Berne, 1938) Die Beziehungen von Form und Motiv in Beethovens Instrumentalwerken (Habilitationsschrift, U. of Berne, 1948; Strasbourg, 1948, 2/1972) ‘C.Ph.E. Bachs Variationenwerke’, RBM, vi (1952), 190–218 ‘Zur Geschichte der Passionskomposition des 16. Jahrhunderts in Italien’, AMw, xi (1954), 189–205
‘Zu Johannes Wolfs Übertragung des Squarcialupi-Codex’, Mf, ix (1956), 77–89 ‘Kontrafakturen und Parodien italienischer Werke des Trecento und frühen Quattrocento’, AnnM, v (1957), 43–59 ‘The Manuscript Paris, Bibl. Nat., Nouv. Acq. Frç. 6771’, MD, xi (1957), 38–78 ‘Chaconne und Passacaglia: ein Versuch mit Beispielen’, RBM, xii (1958), 19–34 ‘Sind die Klaviervariationen KV460 über Sartis “Come un agnello” von Mozart?’, MJb 1958, 18–29 [see also reply, MJb 1959, 140–45] ‘Die Musik des Trecento’, Das Trecento: Italien im 14. Jahrhundert, ed. H. Peyer (Zürich, 1960), 185–214 ‘Die Rolle der Mehrstimmigkeit am Dome von Siena zu Beginn des 13. Jahrhunderts’, AMw, xviii (1961), 167–82 ‘On the Technique, Origin, and Evolution of Italian Trecento Music’, MQ, xlvii (1961), 41–57 ‘Ein singulärer Typus portugiesischer Passionen des 16. Jahrhunderts’, AMw, xix–xx (1962–3), 180–85 ‘Moderne Musik’, in K. Marti, K. Lüthi and K. von Fischer: Moderne Literatur, Malerei und Musik: drei Entwürfe zu einer Begegnung zwischen Glaube und Kunst (Zürich, 1963), 331–400 ‘Neue Quellen zur Musik des 13., 14. und 15. Jahrhunderts’, AcM, xxxvi (1964), 79–97 ‘Das Zeitproblem in der Musik’, Das Zeitproblem im 20. Jahrhundert, ed. R.W. Meyer (Berne, 1964), 296–317 ‘Arthur Honegger: Grundlagen seines Stils’, Schweizer Jb ‘Die Ernte’ (Basle, 1966), 158–79 ‘Die Passionshistorien von Heinrich Schütz und ihre geschichtlichen Voraussetzungen’, Musik und Gottesdienst, xx (1966), 48–59 ‘Ein Versuch zur Chronologie von Landinis Werken’, MD, xx (1966), 31–46 ‘Paolo da Firenze und der Squarcialupi Kodex (I–Fl 87)’, Quadrivium, ix (1968), 5–24 ‘Tradition(alismus), Antitradition(alismus) und das Problem des Fortschrittes in der Musik der Gegenwart’, Das Problem des Fortschritte – heute, ed. R.W. Meyer (Darmstadt, 1969), 248–70 ‘Musica e società nel trecento italiano’, ‘Quelques remarques sur les relations entre les Laudesi et les compositeurs florentins du trecento’, L’Ars Nova italiana del Trecento: Convegno II: Certaldo and Florence 1969 [L’Ars Nova italiana del Trecento, iii (Certaldo, 1970)], 11–28, 247–52 ‘Beethoven: Klassiker oder Romantiker?’, Beethoven Symposium: Vienna 1970, 77–95 ‘Zum Repertoire der böhmischen Mehrstimmigkeit vom 14. bis zum 16. Jahrhundert: die Verbreitung des böhmischen Repertoires ausserholb Böhmens’, Musica bohemica et europaea: Brno V 1970, 55–61 ‘The Interpretation of Musical Sources’, IAML Congress IX: St Gallen 1971 [FAM, xix (1972)], 148–54 ‘Das Neue in der europäischen Kunstmusik als soziokulturelles Problem’, IRASM, ii (1971), 141–54; repr. in M, 29–40 ‘Persistance du “Cantus binatim” au 18e siècle’, Quadrivium, xii/2 (1971), 175–96 with M. Lütolf: Handschriften mit mehrstimmiger Musik des 14., 15. und 16. Jahrhunderts, RISM, B/IV/3–4 (1972) ‘Die Passion von ihren Anfängen bis ins 16. Jahrhundert’, Gattungen der Musik in Einzeldarstellungen: Gedenkschrift Leo Schrade, ed. W. Arlt and others (Berne, 1973), 574–620; Eng. trans. in E, 9–65 ‘The Sacred Polyphony of the Italian Trecento’, PRMA, c (1973–4), 143–57 ‘“Never to be Performed in Public”: zu Beethovens Streichquartett Op.95’, BeJb 1973–7, 87–96; repr. in E, 93–101 ‘Die Doppelschlagfigur in den zwei letzten Sätzen von Gustav Mahlers 9. Symphonie: Versuch einer Interpretation’, AMw, xxxii (1975), 99–105 ‘Philippe de Vitry in Italy and an Homage of Landini to Philippe’, La musica al tempo di Boccaccio e i suoi rapporti con la letteratura: Siena and Certaldo 1975 [L’Ars Nova italiana del Trecento, iv (Certaldo, 1978)], 225–36; repr. in E, 66–75 ‘Quellen mehrstimmiger Musik des 13. bis 15. Jahrhunderts aus slavischen Ländern’, Musica antiqua IV: Bydgoszcz 1975, 381–7 ‘Das Dramatische in der geistlichen Musik’, AMw, xxxiv (1977), 38–55 Arthur Honegger (Zürich, 1978) ‘Zur semantischen Bedeutung von Textrepetitionen in Schuberts Liederzyklen’, Schubert Congress: Vienna 1978, 335–42; repr. in M, 108–15 ‘The Mass Cycle of the Trecento MS F-Pn 568’, Essays on Music for Charles Warren Fox, ed. J.C. Graue (Rochester, NY, 1979), 1–13 ‘Claude Debussy und das Klima des Art Nouveau: Bemerkungen zur Aesthetik Debussys und James McNeill Whistlers’, Art nouveau, Jugendstil und Music … herausgegeben aus Anlass der 80. Geburtstages von Willi Schuh, ed. J. Stenzl (Zürich, 1980), 31–46; repr. in M, 131–9 ‘Sprache und Musik im italienischen Trecento: zur Frage einer Frührenaissance’, Musik und Text in der Mehrstimmigkeit des 14. und 15. Jahrhunderts: Wolfenbüttel 1980, 37–54; Eng. trans. in E, 76–92 ‘Ernst Kurth: Persönlichkeit – Lehrer – Musikdenker’, Schweizer Jb für Musikwissenschaft, new ser., vi–vii (1986–7), 11–21 ‘Bemerkungen zur Überlieferung und zum Stil der geistlichen Werke des Antonius dictus Zacharias de Teramo’, MD, xli (1987), 161–82
‘A Musical Approach to Georg Trakl (1887–1914): a Study of Musical Settings of German Twentieth-Century Poetry’, German Literature and Music: Houston 1989, 1–25 Erich Schmid (Zürich, 1992) ‘Missa solemnis D-Dur Op.123’, Beethoven: Interpretationen seiner Werke, ed. A. Riethmüller, A.L. Ringer and C. Dahlhaus, ii (Laaber, 1994), 235–48 ‘Zur mehrstimmigen Passions-Vertonung des 16. Jahrhunderts in Spanien und Böhmen’, AMw, lii (1995), 1–16
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