Faà di Bruno, Giovanni Matteo [Horatio, Orazio] Fabbri, Anna Maria
Franchois le Bertoul. See Lebertoul, Franchois. Franchomme, Auguste (Joseph)
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Franchois le Bertoul.See Lebertoul, Franchois. Franchomme, Auguste (Joseph)(b Lille, 10 April 1808; d Paris, 21 Jan 1884). French cellist and composer. According to Fétis, he began his study of the cello at the age of 12, with Mas, at the Lille Conservatoire. He received his first prize in 1821, and continued his studies with Pierre Baumann. He then went to the Paris Conservatoire, studying with Norblin for one year before gaining a premier prix in December 1825. He played for the Théâtre de l'Ambigu-Comique in 1825–6, the Opéra in 1827, and was solo cello at the Théâtre Italien and the royal chapel the following year. He was also active as a soloist and chamber musician. His increasing prominence allowed him to retire from orchestral work altogether in 1833, although he was a member of Napoleon III's court orchestra in 1853. Franchomme continued his association with the Conservatoire as founding member of the Société des Concerts du Conservatoire and successor to Norblin as cello instructor (1846–84). Together with the violinist Delphin Alard, he founded the Concerts du Cercle Musical in 1834 and Matinées Annuelles de Quatuors in 1847. As a member of Alard's string quartet, he also developed associations with Mendelssohn, Charles Hallé, Ignaz Moscheles, Liszt and Chopin. His rare trips abroad included two visits to England to see Moscheles in 1837 and 1856; on the second occasion he participated in three performances at Ella's Musical Union. At a dinner with Ferdinand Hiller he was introduced to Chopin, who then frequented the Franchomme family home and, as extant letters demonstrate, requested his friend's assistance with business transactions when away from Paris. The two collaborated on the Grand Duo (1833) and Franchomme performed Chopin's Cello Sonata op.65 at its première in 1847. In addition to his own compositions for cello, Franchomme wrote works in collaboration with Henri Bertini and George Osborne. Contemporaries considered him ‘the King of the French school’; he purchased J.-L. Duport's Stradivari in 1843, and was also the legatee of Duport's technical methodology. He perpetuated traditional French bowing technique by maintaining a bow hold above the frog, and combined varied bow strokes and beautiful sound with an adept left-hand technique founded upon Duport's sequential fingerings, portamento being one of the few modern additions to his own performance style. Commentaries in the Revue musicale laud his perfect intonation and the musicality of his phrasing. The Englishman Niecks was likewise effusive, stating ‘the secret of Franchomme's success is to be sought largely in the vitality of his art – in its warmth, animation and fire’. WORKSmost published in Paris and Leipzig
BIBLIOGRAPHYF. Niecks: ‘Recollections of Violoncellists’, MMR, xlix (1919), 122–3, 145–7 M. Debrun: ‘Un manuscrit autographe de F. Chopin et A. Franchomme’, RdM, xxxviii (1956), 168–70 B.E. Sydow, ed.: Correspondance de Frédérick Chopin, 1810–1848 (Paris, 1953–60/R; Eng. trans., selected, London, 1962) J.-M. Fauquet: Les sociétés de musique de chambre à Paris de la restauration à 1870 (Paris, 1986) V. Walden: One Hundred Years of Violoncello: a History of Technique and Performance Practice , 1740–1840 (Cambridge, 1998) articles by Fétis in Revue musicale VALERIE WALDEN
RODOLFO CELLETTI Franciolini, Leopoldo(b Florence, 1 March 1844; d Florence, 10 March 1920). Italian dealer in and forger of antique musical instruments. His importance lies in the fact that he was active at the time when many of the world’s large public and private collections were being formed and when several major reference works on instrument makers were being compiled. Consequently, examples of his outright fakes and heavily reworked antiques are found in many museums and pictured in many books, and the names and dates of the purported makers of instruments he sold (many of them apparently fictitious) have been included in standard reference works in the field. By no means all of the instruments that passed through Franciolini’s hands were fakes, but a substantial proportion of them appear to have been much altered or equipped with false inscriptions or new, more elaborate decoration. Moreover, there is no doubt that he made or commissioned large numbers of entirely bogus instruments constructed from all sorts of old materials as well as from such modern substitutes as celluloid, to simulate the ivory inlays found on original examples. The covers of a number of Franciolini’s printed catalogues state that his firm was founded in 1879, although this cannot be verified since the relevant city records were lost in the disastrous Florence flood of 1966; however, his earliest printed catalogue is dated 1890 and is an unpretentious two-page listing of only 104 instruments. In 1910 Franciolini was tried and found guilty of commercial fraud. He was fined instead of serving a four-month prison sentence, and his business seems to have been carried on by two of his sons until some time in the late 1920s. BIBLIOGRAPHYE.M. Ripin: ‘A Suspicious Spinet’, Metropolitan Museum of Art Bulletin, xxx (1972), 196–202 E.M. Ripin: The Instrument Catalogs of Leopoldo Franciolini, Music Indexes and Bibliographies, ix (Hackensack, 1974) EDWIN M. RIPIN 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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