Faà di Bruno, Giovanni Matteo [Horatio, Orazio] Fabbri, Anna Maria
Francischello [Franciscello]. See Alborea, Francesco. Francisci, Jan
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- Francisco de Novo Portu.
- Franciscus Venetus.
Francischello [Franciscello].See Alborea, Francesco. Francisci, Jan(b Banská Bystrica, 14 June 1691; d Banská Bystrica, 27 April 1758). Slovak organist and composer. He was the son of Juraj Francisci, choirmaster at the evangelical church in Banská Bystrica from 1692, under whom he first studied music; in theory and composition he was self-taught. On his father's death in 1709 he succeeded him as choirmaster. He met J.J. Fux and Georg Reutter in Vienna in 1722, and at Leipzig in 1725 he heard J.S. Bach play. From October 1733 to March 1735 he was choirmaster and organist at the evangelical church in Pressburg, but after disputes with his superiors he returned to his native town, where on 12 June 1737 he resumed the post of choirmaster and organist, holding it until his death except for a period from 1743 to 1748. He was succeeded by his son Juraj Francisci (1716–71). Francisci is known as a composer of arias and cantatas from his autobiography in Johann Mattheson's Grundlage einer Ehren-Pforte (Hamburg, 1740). A work called Das musicalische Neu-Jahrs Praesent is mentioned in the archives of the evangelical church in Banská Bystrica. All his music was thought lost until the manuscript collection of the Bratislava organist J.A. Schandroch (1710–80) was discovered in 1962, in Štítnik evangelical rectory; it includes one harpsichord dance (‘Polonicus’) and five organ preludes, short pieces designed to meet the practical needs of organists. Francisci also left an Introductio in generalem bassum, known only in a manuscript copy in a volume Fundamenta musicae (in the Tranovský Library, Liptovský Mikuláš). BIBLIOGRAPHYČSHS EitnerQ J. Branberger: ‘K dějínám hudby na Slovensku’ [History of music in Slovakia], Naše slovensko, iii (1909–10), 209 G. Černušák and V. Helfert, eds.: Pazdírkův hudební slovnik naučný [Pazdírek's music dictionary], ii/1 (Brno, 1937) K. Hudec: Hudba v Banskej Bystrici do 19. storočia [Music in Banská Bystrica up to the 19th century] (Liptovský Mikuláš, 1941), 44ff MARIA JANA TERRAYOVÁ Francisco de Novo Portu.See Mergot, Franciscus. Franciscus, Magister(fl 1370–80). French composer. He may be the F. Andrieu who, according to two texts by Eustache Deschamps, composed the four-part ballade Armes, amours/O flour des flours mourning the death of Machaut in 1377 (facs. in Gennrich, pl.16; ed. in Ludwig, 1926, Apel, 1970, and Greene, 1982). It is also possible that he was the Franciscus de Goano who was chaplain of the papal choir at Avignon under Gregory XI and Clement VII but died in 1404; alternatively he could be the Johannes Franchois or Franciscus, documented from 1378 to 1415, who was a singer in the chapels of Pope Clement VII, Dukes Philip the bold and John the Fearless of Burgundy and Dauphin Louis of Guienne (who in his turn has been wrongly identified as the composer Johannes Franchois de Gemblaco, see Wright). Two three-voice ballades are ascribed ‘Magister Franciscus’ in F-CH 564; both are reminiscent of Machaut’s mature style. De Narcissus (ed. in Apel, 1950 and 1970, and in Greene, 1981), composed before 1376, was widely diffused at the time, and occurs in versions with different contratenors. Phiton, Phiton, beste tres venimeuse (facs. in Gennrich, pl.10, and MGG1, iv, pl.28; ed. in Wilkins, 1966, Apel, 1970, and Greene, 1981) dedicated to Gaston Fébus, Count of Foix, quotes the opening of Machaut’s ballade 38, Phyton, le mervilleus serpent, written after 1369. BIBLIOGRAPHYA.H.E. de Queux de Saint Hilaire, ed.: Oeuvres complètes de Eustache Deschamps, i (Paris, 1878), 243–6 F. Ludwig, ed.: Guillaume de Machaut: Musikalische Werke, i (Leipzig, 1926/R); ii (Leipzig, 1928/R), 27 F. Gennrich: Abriss der Mensuralnotation des XIV. und der ersten Hälfte des XV. Jahrhunderts (Nieder-Modau, 1948, 2/1965) W. Apel, ed.: French Secular Music of the Late Fourteenth Century (Cambridge, MA, 1950) G. Reaney: ‘The Manuscript Chantilly, Musée Condé 1047’, MD, viii (1954), 59–113, esp. 67, 96 [with edn of Phiton, Phiton] U. Günther: ‘Zur Biographie einiger Komponisten der Ars Subtilior’, AMw, xxi (1964), 172–99, esp. 182, 186 U. Günther: ‘Eine Ballade auf Mathieu de Foix’, MD, xix (1965), 69–81, esp. 70 N.E. Wilkins, ed.: A 14th-Century Repertory from the Codex Reina, CMM, xxxvi (1966) U. Günther: ‘Bemerkungen zum älteren französischen Repertoire des Codex Reina’, AMw, xxiv (1967), 237–52 W. Apel, ed.: French Secular Compositions of the Fourteenth Century, CMM, liii/1 (1970) C. Wright: Music at the Court of Burgundy (Henryville, PA, 1979), 169–70 G. Greene, ed.: French Secular Music: Manuscript Chantilly, Musée Condé 564 PMFC, xviii–xix (1981–2), nos.16, 18, 84 A. Tomasello: Music and Ritual at Papal Avignon 1309–1403 (diss., U. of Michigan, 1983), 226 H.-O. Korth: Studien zum Kantilenensatz im frühen 15. Jahrhundert: Kantilenensätze mit auswechselbaren Contratenores (Munich, 1986), 18–20 N.E. Wilkins, ed.: Armes, amours, dames, chevalerie: an Anthology of French Songs from the Fourteenth Century (Fulbourn, Cambs., 1987), 84–8 URSULA GÜNTHER Franciscus Venetus.See Ana, Francesco d’. 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