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



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Fuhrmann, Georg Leopold


(bap. Nuremberg, 2 Sept 1574; d Nuremberg, Dec 1616). German publisher, bookseller, engraver, editor and lutenist. According to the foreword of his Testudo gallo-germanica Fuhrmann attended ‘German and French high schools and universities’; there are records of him studying in Jena (1597), Marburg (1599), Tübingen (1601) and Basel (1604), where he received a broad education. He then worked in Nuremberg, where in 1608 he took over the typographical workshop of his father, Valentin, who had published mathematical and theological works and was also known for publishing music and theoretical works. Composers whose music was published by Fuhrmann include Melchior Franck, J.A. Herbst and Demantius.

For musicians Fuhrmann is of particular interest for his anthology of lute music Testudo gallo-germanica, hoc est: novae et nunquam antehac editae recreationes musicae, ad testudinis asum et tabulaturam (RISM 161524/R1975, published in Nuremberg). It comprises 180 pages and includes a German translation of Anthoine Francisque’s Instruction pour réduire toutes sortes de tablatures de luth en musique et réciproquement. The music, which is for nine-course lute in G, spans the entire continental, as well as the English, repertory of the period and is therefore one of the most important sources of lute music of the early 17th century (some pieces ed. A. Quadt in Aus Tabulaturen des 16.–18. Jahrhunderts (Leipzig, 1966, 6/1990), Lautenmusik aus der Renaissance, i (Leipzig, 1968) and in Boetticher). There are pieces by English composers such as John and Robert Dowland, several lesser-known Italians, French composers such as Charles Bocquet, Poles, and particularly Germans, among them Elias Mertel, Valentin Strobel (ii), Georg Wesper and Hans Leo Hassler, who had worked in Nuremberg and who is represented by 20 pieces, a larger number than any other composer. The collection, which is in French lute tablature, offers a cross-section of current forms and there is a high proportion of arrangements of vocal models. Fuhrmann himself played here a prominent role as intabulator.


BIBLIOGRAPHY


W. Boetticher: Studien zur solistischen Lautenpraxis des 16. und 17. Jahrhunderts (Berlin, 1943), 147–8, 324–5

T. Wohnhaas: ‘Nürnberger Gesangbuchdrucker und -verleger im 17. Jahrhundert’, Festschrift Bruno Stäblein, ed. M. Ruhnke (Kassel, 1967), 301–15

L. Sporhan and T. Wohnhaas: ‘Zur Geschichte der Offizin Fuhrmann-Sartorius-Külssner in Nürnberg 1574–1648’, Mitteilungen des Vereins für Geschichte der Stadt Nürnberg, lvii (1970), 272–80

J. May: Georg Leopold Fuhrmanns Testudo gallo-germanica: ein Lautentablaturdruck aus dem Jahre 1615 (Frankfurt, 1992)

WOLFGANG BOETTICHER


Fuhrmann, Martin Heinrich [Frischmuth, Marcus Hilarius]


(b Templin, Uckermark, bap. 29 Dec 1669; d Berlin, bur. 25 June 1745). German organist, Kantor and writer. References in his own writings to hearing church music performed in Kyritz (in the Prignitz) and Penzlau suggest that he may have been a student in those towns. Later he studied with Buxtehude’s pupil F.G. Klingenberg (from Stettin), organist at the Nikolaikirche in Berlin. Fuhrmann said that in 1690 he took some of his own compositions for examination by his music teacher, M.P. Henningsen, Kantor at the Marienkirche, Berlin. No music by Fuhrmann, however, seems to survive. Later, probably about 1692, he studied in Halle, where he was deeply influenced by the organ virtuosity of F.W. Zachow (Handel’s teacher), whom he ‘listened to each Sunday with a real hunger and thirst’ (Satans-Capelle, p.55). Fuhrmann visited Leipzig at about this time, working briefly with Schelle on contrapuntal exercises. He stated (ibid., p.52) that in 1694 he became an organist in Soldin. By the next year he had found a post as Kantor in Berlin, where in 1704 he was appointed Kantor at the Friedrich-Werder Gymnasium, a position he retained for the rest of his career.

Fuhrmann was a learned and widely experienced musician and theorist. His views on numerous aspects of contemporary music education, especially practical musicianship, as well as the kaleidoscopic references to the state of sacred and secular music in Germany during the early 18th century, deserve attention. He often praised the excellence of German musicians of his day, and in a far-sighted reference he coined as the three great German Bs Buxtehude, Bach and Bachelbel (sic!; ibid., p.55). Johann Rosenmüller was ‘the alpha and omega musicorum’ (Musicalischer-Trichter, p.41). In comparing the ‘world-famous’ Bach, whom he had heard play the organ, with the Italian masters Frescobaldi and Carissimi, Fuhrmann concluded that if one placed the art of the two Italians on one scale and that of Bach on the other, the latter would outweigh the former two, sending their scale flying up into the air (Satans-Capelle, p.32).

Fuhrmann had read most of the important theoretical works by German writers of the later 17th and 18th centuries, including Beer, Printz, Kuhnau, Kircher, Neidhardt and Werckmeister. Most of Fuhrmann’s books are written in a satirical, frequently obscure style with intricate rhetorical imagery. He probably modelled his prose on the satirical writings of Printz and Kuhnau, to whom he often referred. Fuhrmann’s most effusive praise is reserved for ‘the two pillars of Apollo’s palace on Parnassus’ (ibid., p.30), Johann David Heinichen and, above all, Johann Mattheson. The latter, often involved in Fuhrmann’s discussions, is characterized as the greatest writer on music of any period. Two of Fuhrmann’s works, Das in unsern Opern-Theatris and the Gerechte Wag-Schal, are largely defences of Mattheson in the latter’s verbal battle with Joachim Meyer (Unvorgreiffliche Gedancken über die neulich eingerissene Theatralische Kirchen-Music, 1726), who had condemned the use in churches of cantatas written in the operatic style. Fuhrmann, who expressed reservations about the secular nature of the theatrical style as used in church music, nevertheless did not adopt the position of some of his contemporaries, who urged the banning of the operatic style from church music: ‘I will not propose that one drive out all cantatas from the church, like dogs, but only those that are rich and fat in the spirit of the opera’ (Satans-Capelle, p.45). However, in the Satans-Capelle particularly he attacked the immorality of many opera texts, citing in particular three ‘obscene’ Hamburg operas by Telemann: Die verkehrte Welt, Miriways and Der Galan in der Kiste. He also denounced the castrato as a creation of the Devil (ibid., p.39) and criticized the Hamburg opera’s reliance on the figure of Harlequin.

Among his six books, the most important and best known to his contemporaries was the Musicalischer-Trichter (1706). Fuhrmann believed all musicians must be trained in the three branches of musical knowledge: musica theoretica, the rules of music; musica practica, the application of the rules to singing and playing; and musica poetica, the art of composing. The Musicalischer-Trichter is largely an explanation of musica practica, and in it he gave considerable information concerning the art of singing. He did not, unfortunately, fulfil his promise to write a work on musica poetica. Of the ten chapters, the seventh (‘Von allerhand Manieren welche ein künstlicher Sänger auch verstehen muss’) and the eighth (‘Von allerhand Vitiis musicis so ein künstlicher Sänger meiden muss’) are the most important. In the chapter on manieren, Fuhrmann listed 15 vocal ornaments, illustrating each with music examples. Although some of these are familiar from works such as Printz’s Compendium musicae (Dresden, 1689), Fuhrmann’s chapter is not simply a restatement. He gave concise and frequently original interpretations for accento, trill, trilletto, tremolo, tremoletto, variatio, groppo, messanza, passaggio, circulo, tirata, salto, syncopatio, anticipatione della syllaba and anticipatione della nota. In the eighth chapter, dealing with 15 errors common among singers, there are pertinent discussions of voice production, faulty musicianship and over-zealous applications of improvised ornamentation as well as a criticism of grotesque gestures. The work ends with a brief though informative lexicon of musical terms along with definitions of types of vocal and instrumental compositions and various musical instruments. As an appendix, he added his method for teaching students who know the rudiments of music to sight-sing in a series of private lessons taking just three months. Fuhrmann was well acquainted with the contemporary musical scene, and must have travelled even after his Berlin appointment, especially to Hamburg where he heard many opera performances and probably became acquainted with Mattheson. His treatises are a rich and almost untouched source of information for the study of the final decades of the German musical Baroque.


THEORETICAL WORKS


Musicalischer-Trichter, dadurch ein geschickter Informator seinen Informandis die Edle Singe-Kunst nach heutiger Manier … einbringen kan (Frankfurt an der Spree, 1706, rev. 2/1715 as Musica vocalis in nuce, das ist Richtige and völlige Unterweisung zur Singe-Kunst)

Musicalische Strigel, womit … diejenigen Superlativ-Virtuosen aus der singenden und klingenden Gesellschaft, so nicht Chor-mässig als Künstler die Gräntzen des Apollinis seines musicalischen Reichs, sondern Thor-mässig als Hümpler die Plätze des Apollyonis seiner Music-kahlen Barbarey vermehren (Athen an der Pleisse, n.d.)

Das in unsern Opern-Theatris und Comoedien-Bühnen siechende Christenthum und siegende Heidenthum, auf Veranlassung zweyer wider den musicalischen Patrioten sich empörenden Hamburgischen Theatral-Malcontenten (Canterbury, 1728)

Gerechte Wag-Schal, darin Herrn Joachim Meyers … sogenannte anmasslich Hamburgischer Criticus sine Crisi und dessen Suffragatoris, Herrn Heinr. Guden … Superlativ Suffragium, und Herrn Joh. Matthesons … Göttingischer Ephorus … genau abgewogen (Altona, 1728)

Die an der Kirchen Gottes gebauete Satans-Capelle (Cologne, 1729)

Die von den Pforten der Hölle bestürmete, aber vom Himmel beschirmete evangelische Kirche (Berlin, 1730)

GEORGE J. BUELOW




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