Faà di Bruno, Giovanni Matteo [Horatio, Orazio] Fabbri, Anna Maria
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- Fortepiano (ii). See Musical box . Fortepiano a tavola
- Fortia de Piles, Alphonse-Toussaint-Joseph-André-Marie-Marseille, Comte de
- WORKS all printed works published in Paris operas
Fortepiano (i).A term sometimes used today for the piano of the 18th and early 19th centuries in order to distinguish it from the 20th-century instrument. German writers sometimes use the terms ‘Hammerklavier’ and ‘Hammerflügel’ for the same purpose. See Pianoforte, §I, 1, 6, 7, 8. EDWIN M. RIPIN Fortepiano (ii).See Musical box. Fortepiano a tavola(It.). See Square pianoforte. Fortep'yanov, Vasily.See Botkin, Vasily Petrovich. Forti, Anton(b Vienna, 8 June 1790; d Vienna, 16 June 1859). Austrian baritone. He began his career playing the viola in the orchestra of the Theater an der Wien. In 1808 he was engaged as a singer by Prince Esterházy for his theatre at Eisenstadt. During his three seasons there he sang Dandini in the German-language première of Isouard’s Cendrillon. From 1813 to 1834 he appeared at the Kärntnertortheater in Vienna. A very stylish singer and actor, he excelled in Mozart roles, especially Don Giovanni, the Count in Le nozze di Figaro and Sarastro. In 1814 he sang Pizarro in the first performance of the final version of Fidelio, and in 1823 he created Lysiart in Euryanthe. He also sang a number of tenor roles, including Rossini's Othello, Mozart's Titus and Max (Der Freischütz). His wife Henriette (1796–1818) sang Cherubino, and Zerlina to her husband's Don Giovanni. ELIZABETH FORBES Fortia de Piles, Alphonse-Toussaint-Joseph-André-Marie-Marseille, Comte de(b Marseilles, 18 Aug 1758; d Sisteron, Basses Alpes, 18 Feb 1826). French writer and composer, of Catalan ancestry. His father was gouverneur-viguier of Marseilles, and Alphonse was himself a godson of the city, an honour which is reflected in the inclusion of ‘Marseille’ among his christian names. He was an officer in the army until the outbreak of the Revolution. According to Choron he studied with the Neapolitan Ligori, a pupil of Durante. From 1782 instrumental works by him appeared in Paris, and between 1784 and 1786 four comic operas were produced in Nancy. He left France in 1790, but returned in 1792 to make his living in Paris as a journalist. In 1801 he retired to Sisteron and became a successful writer on philosophical, political and satirical subjects. Two of his works, the pamphlet Quelques réflexions d’un homme du monde sur les spectacles, la musique, le jeu et le duel (Paris, 1812) and its sequel A bas les masques! ou Réplique amicale (Paris, 1813), deal with music criticism and aesthetics, and show him to have been an adherent of Gluck and Méhul. WORKSall printed works published in Paris operas
other works
BIBLIOGRAPHYBrookSF Choron-FayolleD A. Jadin: ‘Fortia de Piles’, Nouvelle biographie générale, ed. J.C.F. Hoefer (Paris, 1852–66/R) P. Blanche: Dictionnaire et armorial des noms de famille de France (Paris, 1974) ROGER COTTE Fortier, B.(fl c1736–40). French music engraver and printer, active in England. Though his musical activities in London were apparently short-lived (according to Hawkins he was also a watchmaker), he is renowned for the excellence of his engraving, particularly in his superb edition of Domenico Scarlatti’s Essercizi per gravicembalo (1739), with notes and staves of a larger size than usual (see illustration). Other fine engravings by Fortier include Porpora’s Sinfonie da camera … opra II (1736), De Fesch’s XII sonate, VI per il violino e basso per l’organo … e VI a duoi violoncelli … opera ottava (1736), a song by Farinelli, Ossequioso ringraziamento (c1737), Giuseppe Sammartini’s VI concerti grossi … opra II (1738) and Guerini’s Sonate a violino con viola da gamba ó cembalo (c1740). BIBLIOGRAPHYHawkinsH Humphries-SmithMP R. Kirkpatrick: Domenico Scarlatti (Princeton, 1953, 4/1983) WILLIAM C. SMITH/PETER WARD JONES Fortner, Wolfgang(b Leipzig, 12 Oct 1907; d Heidelberg, 5 Sept 1987). German composer and teacher. As a child he was taught the piano and the organ, and began to compose when he was only nine years old. After leaving school he studied in Leipzig: composition with Hermann Grabner, the organ with Karl Straube, musicology with Theodor Kroyer, German studies with Hermann August Korff and philosophy with Hans Driesch. In 1931, after taking the state examination for teaching the arts in higher schools, he was appointed lecturer in composition and music theory at the Heidelberg Institute of Church Music. Here, and at the Darmstadt summer courses started in 1946 by him and Wolfgang Steinecke, the North-West German Music Academy in Detmold (1954–7) and at the Musikhochschule in Freiburg (1957–73), Fortner established his reputation as one of the foremost composition teachers of his time. It is impossible to overestimate his influence on a whole generation of young composers from the 1950s to the 1970s. While effective in transmitting skills and techniques, he also took care to discover and encourage each student’s individual talent, an ability borne out by the number of his former pupils who became successful composers, including, among others, Henze, Kelemen, Kelterborn, Paik and Zender. Over the same period Fortner was active in cultural-political bodies: he was a member of the Berlin Academy of Arts from 1955, the Bavarian Academy of Fine Arts from 1956, president of the German section of the ISCM (1957–71), president of the Dramatists' Union in 1975 and artistic director of Musica Viva in Munich (1964–78). His awards include the Berlin Schreker prize (1948), the Brunswick Spohr prize (1953), the North Rhine-Westphalia Grand Art Prize (1955), the Hamburg Bach prize (1960), the Freiburg Reinhold Schneider prize and the Gold Pin of the Dramatists’ Union in 1977. On his 70th birthday he was awarded the Grosses Verdienstkreuz der Bundesrepublik Deutschland and honorary doctorates from the universities of Heidelberg and Freiburg. While a student Fortner had two works performed in public: his massive choral work Die vier marianischen Antiphonen (later withdrawn) was given at the Lower Rhineland Festival in Düsseldorf in 1928, and his First String Quartet in Königsberg in 1930. These works testify to the composer's affinity to the Protestant church music tradition in Leipzig, which he encountered not only in his organ lessons with Straube (then Thomaskantor), but also in the Bach-Verein concerts Straube conducted, and in his composition lessons with Grabner, a former pupil of Reger. In later years Fortner emphasized J.S. Bach’s considerable importance for his own work in the essay ‘Bach in unsere Zeit’ (1960); in Bach’s fugues he admired ‘the high science of the counterpoint’ (‘die hohe Lehre des Kontrapunkts’) and ‘the resurrection of the old motet principle of imitation out of a new structural thinking, rendered necessary and possible by major–minor tonality and self-sufficient instrumental music’. For Fortner, the linear counterpoint of 15th- and 16th- century a cappella music (which he found again in the works of Hindemith), Bach’s fugal art and the serial structural thinking of Anton Webern all belonged in a single historical line of development. Fortner’s compositions of the 1930s are mostly sacred and chamber works – polyphonic, with modal harmonies, Gregorian thematic material and also a more modern chromaticism, characteristics which increasingly reveal a freely tonal approach to gestural expression in sound, and a rhythmic cogency such as Fortner admired in Stravinsky. Reviews of the premières of the Violin Concerto, the Shakespeare Songs, the cantata An die Nachgeborenen on Brecht's poem and the Symphony, all works from the mid- to late-1940s, mention Fortner's innovative and individual style, and in particular the direct emotional appeal of the musical language, which was found to be disconcerting, captivating, aggressive, temperamentally expansive and exciting. Fortner was intensely preoccupied with 12-note techniques in this period after 1945. He developed a specific principle related to the tradition of linear counterpoint, which he explained in his essay ‘Zur Zwölftontechnik’ (1952): ‘I would identify as a principle used by myself the so-called “cutting” of a mode from the 12 notes, with non-serial relations within this mode. [I lay down] six notes, say (or maybe more, maybe fewer), as a harmonic field and use the remainder to form a mode, in which the melodic formation then proceeds freely but not serially’. An example of Fortner's contrapuntal procedure, using a mode of this kind, is found in the interlude of his cantata Mitte des Lebens (1951). In his serial works he sought equality among the 12 notes of the row, without restricting the usual contrapuntal and melodic-motivic working. He later extended this principle towards total serialism, predetermining rhythm above all, but also harmony. Fortner's first works for the theatre consisted of incidental music for stagings by Karl Heinz Stroux of Lysistrata and Ein Wintermärchen (both 1946) and Bluthochzeit (1950). In his essay ‘Zur Situation des musikalischen Theaters’ (1950) he wrote, ‘whether I shall ever write an opera is still very doubtful … I must confess that neither music drama nor the reversion to the old lyric opera represents the type of musical theatre that I could enjoy’. In the end he presented his idea of a music theatre appropriate to the age in works which elude categorization as operas. The lyric tragedy Bluthochzeit (after Lorca, 1956) is in actuality an expanded incidental music score, in which Andalusian folk idioms are combined with 12-note technique. In the three decades following its première in 1957, the work was given 22 other productions, which makes it one of the most successful operas composed since 1945. In Fortner's next work on a play by Lorca, In seinem Garten liebt Don Perlimplín Belisa (1961–3), he used 12-note elements in a leitmotivic way in the service of a subtle textual interpretation, without sacrificing the erotic sound-colour inspired by the original text. The orchestral improvisations prescribed for these passages are expanded in the full-length opera Elisabeth Tudor (libretto by Matthias Braun, 1968–71), as is the use of electronic means, which led to the use of live electronics in his last dramatic work, the one-act opera That Time (after Beckett, 1977). Religious questions were a constant preoccupation, although as time went on Fortner composed increasingly less liturgical music. Rather his interest lay in sacred music outside the context of the church service. In the essay ‘Geistliche Musik heute’ (1956) he explained his view that there is ‘no difference between spiritual and secular music’; any difference is confined ‘to the subject matter of the work of art. In other words, if a present-day composer employs, say, 12-note melodic and harmonic techniques and … a predetermined serial rhythmic structure’ – as Fortner himself did in his Creation (1954) – ‘because these are the grammatical elements of his language, a language capable of expressing the eternal contents and subjects of art in a new way for present-day listeners, the spiritual subject can … be given musical form only in this language’. This provides an explanation for the logical, consistent way in which Fortner developed as a composer. He found his own language through a detailed knowledge of tradition. Melodic expressivity, eruptive rhythm and rich sound colouring, obligation not to any school but solely to his own development: these are the distinguishing marks of his powerful compositions. WORKSstage
orchestral
choral
solo vocal
chamber and instrumental
BIBLIOGRAPHYH. Lindlar, ed.: Wolfgang Fortner (Rodenkirchen, 1960) U. Dibelius: Moderne Musik 1945–1965 (Munich, 1966, 3/1984–8) U. Stürzbecher: Werkstattgespräche mit Komponisten (Cologne, 1971) D. Kroeker: ‘Fortners Fantasia aus der “Pfingstgeschichte”: Untersuchungen zu ihrer Form’, Festschrift für Michael Schneider (Berlin, 1974), 50–61 W. Ludewig: ‘Zwischen Tradition und Fortschritt: zum 70. Geburtstag von Wolfgang Fortner’, Melos, iii (1977), 387–91 U. Lohrmann: ‘Zum geistliche Werk Wolfgang Fortners: dem Komponisten zum 75. Geburtstag’, Musik und Kirche, lii (1982), 215–25 G. Schuhmacher: ‘Aktualität und Geschichtsbewusstsein als Vergnügen: zu Wolfgang Fortners kompositorischen Prinzipen’, NZM, cxliii/11 (1982), 20–28 U. Dibelius: ‘Wolfgang Fortner: Wege – Werk – Wesen’, Komponisten des 20. Jahrhunderts in der Paul Sacher Stiftung (Basle, 1986), 251–60 R. Mohrs: ‘Die Orgelmusik Wolfgang Fortners: ein Komponist im Spannungsfeld von Tradition und Avantgarde’, Musica sacra, cxiii/1 (1993), 3–18 B. Weber: Wolfgang Fortner und seine Opernkompositionen (Mainz, 1995) BRIGITTA WEBER 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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