Faà di Bruno, Giovanni Matteo [Horatio, Orazio] Fabbri, Anna Maria


French Polynesia. See Polynesia, §II, 3. French sixth chord



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French Polynesia.


See Polynesia, §II, 3.

French sixth chord.


The common name for the Augmented sixth chord that has both a major 3rd and an augmented 4th in addition to an augmented 6th above the flattened submediant.

French time names.


A device for teaching rhythmic notation introduced by John Curwen for use with the Tonic Sol-fa method. It was an adaptation of the ‘langue des durées’ originally invented by Aimé Paris as part of the Galin-Paris-Chevé method. In Curwen’s version the notes were given names (ex.1a) phonetically equivalent to the French originals which, when spoken aloud, reproduced the rhythmic effects concerned (ex.1b). Later teachers preferred the term ‘rhythm names’ for this device.

BERNARR RAINBOW


Freni [Fregni], Mirella


(b Modena, 27 Feb 1935). Italian soprano. She studied with Campogalliani at Bologna and in 1955 made her début at Modena as Micaèla. After a season with the Netherlands Opera, she sang Zerlina at Glyndebourne (1960–61), returning in 1962 as Susanna and Adina. She made her Covent Garden début as Nannetta, and later appeared there as Zerlina, Susanna, Violetta, Mimì, Micaëla, Gounod’s Marguerite, and Tatyana (1988). In 1962 she sang Elvira (I puritani) at Wexford and first appeared at La Scala as Mimì; subsequent roles included Marie (La fille du régiment), Manon and Amelia (Simon Boccanegra), which she also sang at Covent Garden during the 1976 Scala visit and Elvira (Ernani). She made her Metropolitan début in 1965 as Mimì and her repertory there included Gounod’s Juliet, Liù and Tatyana (1989). At Salzburg, where she made her début in 1966 as Micaëla, she took on heavier roles, singing Desdemona (1970), Elisabeth de Valois (1975) and Aida (1979). She later added Manon Lescaut and Butterfly to her repertory, and sang Adriana Lecouvreur at San Francisco (1985), Bologna (1988) and Munich (1990). She sang Lisa (Queen of Spades) at La Scala in 1990. In the last years of her career she sang Fedora in several theatres. The purity, fullness and even focus of her voice are evident in her many recordings, most notably in her Mimì, Aida, Micaëla and Tatyana.

BIBLIOGRAPHY


R. Jacobson: ‘Mirella ritornata’, ON, xlii/4 (1977–8), 19–23

HAROLD ROSENTHAL/ALAN BLYTH


Frenkel', Daniil Grigor'yevich


(b Kiev, 2/15 Sept 1906; d Leningrad, 9 June 1984). Russian composer. He studied the piano with Ya.I. Tkach at the Odessa Conservatory (1925–8) before he moved to Leningrad where he spent the greater part of his life. He was a student at the Second Leningrad Music Technical College (1928–9), and then continued his education privately with A.P. Gladkovsky, from whom he received lessons in theoretical disciplines and composition (1932–5), and from Steinberg for orchestration (1936–8). His working life began in the 1920s: he was a pianist at the Perekop Theatre in Ba'lta (1922–4) and at the Soyuzkino cinema in Leningrad (1928–32). During World War II he was the conductor and music director of the theatre of drama in Orenburg Province (1941–4), and later at the V.F. Kommisarzhevskaya theatre of drama in Leningrad (1945–7). In the postwar years (1945–53) he directed the Soviet navy's ensemble for musical amateurs.

Frenkel''s creative work embraces all the main genres and is conservative in style, gravitating towards classical and Romantic traditions and notable for vivid melodic expressiveness and dramatic writing.


WORKS


Ops: Zakon i faraon [The Law and the Pharaoh] (N. Nikolayev-Shevïryov, after O. Henry), 1933; V ushchel'ye [In the Gorge] (Nikolayev-Shevïryov, after Henry), 1934; Rassvet [Dawn] (O. Forsh and S. Levik), 1937; Diana i Teodoro, [Diana and Theodoro] (Frenkel' and M. Lozinsky, after F. Lope de Vega: A Dog on the Hay), 1944; Ugryum-reka [The River Ugryum] (S. Ostrovsky and V.Ya. Shishkov, after Shishkov), 1950, Leningrad, Malïy, 1951; Bespridannitsa [The Girl without a Dowry] (after A. Ostrovsky), 1959, Leningrad, Malïy; Dzhordano Bruno [Giordano Bruno], 1966; Smert' Ivana Groznogo [The Death of Ivan the Terrible] (after A. Tolstoy), 1970; Sïn Rïbakova [Rïbakov's Son] (after V.M. Gusev), 1977, Leningrad, Kirov

Ballets: Katrin Lefevr [Catherine Lefèvre], 1960; Odissey [Odysseus], 1967

Vocal: Svyashennaya voyna [Holy War] (cant., N. Kliment'yev, G. Yurkevich), 1942; Golubaya strekoza [The Blue Dragonfly] (operetta), 1948; Rossiya [Russia] (cant., A.A. Prokof'yev), 1952; Opasnïy reys [Dangerous Voyage] (operetta, B. Timofeyev, Ya. Yaluner), 1954; Posledneye utro [The Last Morning] (cant., Timofeyev), 1965; Variations, 1v, vc, chbr orch, 1965; V polnoch' u Mavzoleya [Midnight at the Mausoleum] (cant., A. Chivilikhin), 1965

Orch: Sinfonietta, 1934; Suite, 1937; Baletnaya syuita [Ballet Suite], 1948; Pf Conc., 1954; 5 Sym. Studies, 1955; Fantaziya [Fantasy], pf, orch, 1971; Sym. no.1 ‘Ugryum-reka’, 1972; Sym. no.2, 1974; Sym. no.3, 1975

Chbr: Pf Qnt, 1947; Str Qt no.1, 1947; Str Qt no.2, 1949; Sonata, vn, pf, 1974

Pf: Yunosheskiy al'bom [Album for the Young], 1937; 3 sonatas, 1941, 1942–53, 1943–51; Variatsii na tsïganskiye temï [Variations on Gypsy Themes], 1954; 4 Preludes, 1955; Russkiye variatsii [Russian Variations], 1964; Ballada, 1968; 16 Preludes, 1968; Rondo, 1969; Waltz, 1969; Malen'kaya syuita [Little Suite], 1974; Capriccio, 1975; Starinnaya muzïka [Old Music], 1975

Songs and choruses after Russ. poets

Incid music and film scores

BIBLIOGRAPHY


Ye. Grosheva: ‘Nerealizovannïy zamïsel “Ugryum-rek” na opernoy stsene’ [The unfulfilled project for ‘The River Ugryum’ on the operatic stage], Sovetskoye iskusstvo (12 Jan 1952)

A. Sokhor: ‘Ugryum-reka v Leningradskom Malom opernom teatre’ [The River Ugryum at the Leningrad Malïy Opera Theatre], SovM (1953), no.11, pp.50–54

Yu. Bogdanov: ‘Shedevr russkoy dramturgii’ [A masterpiece of Russian dramatic art], Teatral'nïy Leningrad (1959), no.45, pp.6–7

D. Rabinovich: ‘Bespridannitsa’ [The Girl without a Dowry], SovM (1960), no.6, pp.102–10

MARINA MOISEYEVNA MAZUR




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