Faà di Bruno, Giovanni Matteo [Horatio, Orazio] Fabbri, Anna Maria
Fouet (Fr.). See Whip. Fougstedt, Nils-Eric
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- Fougt, Henric [Henry]
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Fouet(Fr.). See Whip. Fougstedt, Nils-Eric(b Raisio, nr Turku, 24 May 1910; d Helsinki, 12 April 1961). Finnish conductor and composer. After attending the Helsinki Conservatory from 1927 to 1933, where his teachers included Erik Furuhjelm, he studied composition with Max Trapp in Berlin, conducting in Salzburg, and both composition and conducting in Italy, France and the USA. From 1932 to 1961 he taught music theory and choral conducting at the Helsinki Conservatory (the Sibelius Academy since 1939) and joined Finnish Radio as a conductor in 1944, becoming chief conductor of the RO in 1951. As a guest conductor he performed in many European countries; he also conducted several choirs, including the Academic Choral Society (1946–50) and the Solistikuoro (later Radiokuoro), which he founded in 1940 and directed until 1954. His compositions show a development from Nordic late-Romanticism (Piano Trio, 1933) through a free tonality in the manner of Bartók and Hindemith (Second Symphony, 1949) to dodecaphonic writing. His Angoscia (1954) is probably the first Finnish 12-note orchestral score. A more mature command of this technique is displayed in Trittico sinfonico (1958), performed at the ISCM Festival in Rome in 1959. Fougstedt’s choral works, about 60 in number, are fine examples of Gebrauchsmusik. WORKS(selective list)
WRITINGSMusikens formlära och organik (Helsinki, 1946) Handbok för kördirigenter (Helsinki, 1948) Kontrapunkti (Helsinki, 1960) BIBLIOGRAPHYO. Lindeman: ‘ Nils-Eric Fougstedt’, Suomen musiikin vuosikiria 1960/61, ed. V. Helasvuo (Helsinki, 1961) F. Dahlström: Nils-Eric Fougstedts kompositioner för kör, Acta musica, viii (Åbo, 1984) E. Salmenhaara, ed.: Suomalaisia säveltäjiä (Helsinki, 1994) M. Heiniö: Aikamme musiikki [Contemporary music], Suomen musiikin historia, iv (Helsinki, 1995) ERIK WAHLSTRÖM/ILKKA ORAMO Fougt, Henric [Henry](b Lövånger, Swedish Lapland, 1720; d ?Stockholm, 1782). Swedish printer and publisher active in London. After studies at Uppsala University and some years of clerical work he became a general book printer. About 1760 he developed his own version of Breitkopf’s improvements in printing music from movable type, using a system of 166 characters. He applied for a patent in 1763, and in the following year was granted a privilege for music printing in Sweden for 25 years. Lacking economic support, however, he left Sweden in 1767 and in November of that year arrived in London, where he began to issue music in his new type. After submitting his first work, an edition of Uttini’s Six Sonatas op.1, to the Society for the Encouragement of Arts, Manufactures and Commerce, he obtained a resolution from that body that his method of printing was superior and much cheaper than any that had been in use in Great Britain; he later printed this resolution as a preface to his edition of Sarti’s Three Sonatas. Fougt may be considered a pioneer of cheap music, for he sold his music at ‘one penny per page, or 18 for a shilling’, far less than the sixpence a page which was the average price of music at that time. He apparently aroused ill-feeling among the rest of the trade, though Hawkins was probably wrong in saying that they drove him out of the country by undercutting his publications. During his three years in London he published about 80 sheet songs and instrumental pieces, and eight more substantial items, including the sonatas mentioned above, a set by Nardini, and other sets by Giacomo Croce, Benedetto Leoni, Bartolomeo Menesini and Giovanni Andrea Sabatini. The works of these last four composers are now known only from Fougt’s publications, but Parkinson’s suggestion that the names may be fictitious is untenable, at least in the cases of Leoni and Sabatini, since their existence is verifiable from other sources. The typography is of excellent clarity, though the results are not as elegant as the best engraved music of the period. A dispute in 1769 over a supposedly pirated edition of Dibdin’s The Padlock may have hastened the end of Fougt’s London career. In 1770 he sold his plant and type to Robert Falkener and returned to Stockholm, where in 1773 he was granted a new privilege by Gustavus III and enjoyed patronage as royal printer. Falkener, who was also a harpsichord maker, continued to issue sheet songs in Fougt’s style until 1780, and was the author and printer of Instructions for Playing the Harpsichord (1770).
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