A term used for the fanfares, and later other compositions, also known as Feldstücke, ‘needed in the field at warlike happenings’ (Altenburg, 88); alternatively it applied to an ensemble that played such pieces. The term referred originally to the corps of military trumpeters which replaced the drum and fife bands widely used in the Middle Ages.
In 1704 J.P. Krieger published six suites in his collection Lustige Feld-Music, auf vier blasende oder andere Instrumenta gerichtet, extending the term to include works for wind groups. As these groups had at first played double-reed instruments, their members were known as Hautboisten or Oboisten, (seeHautboist (i)) even though from early in the 18th century the ensemble often included other types of instrument. The Feldmusik were military musicians, but they also performed for court festivities and entertainments, either as a self-contained ensemble or as part of a larger group. These Feldmusik ensembles, especially as used for entertainment, became known in about 1800 as Harmonien and their music as Harmoniemusik. SeeBand (i), §II, 2(i).
J.E.Altenburg: Versuch einer Anleitung zur heroisch-musikalischen Trompeter- und Pauker-Kunst (Halle, 1795/R; Eng. trans., 1974)
G.Schünemann: ‘Sonaten und Feldstücke der Hoftrompeter’, ZfM, xvii (1935), 147–70
G.Schünemann, ed.: Trompeterfanfaren, Sonaten und Feldstücke … des 16./17. Jahrhunderts, EDM, 1st ser., vii (1936)
HUBERT UNVERRICHT/JANET K. PAGE
See underOrgan stop.
Military fanfares; seeFeldmusik.
An obsolete term for a military trumpet.
See underOrgan stop (Feldpfeife).
(bFlorence, 21 Nov 1742; d Florence, 21 Aug 1772). Italian composer. He studied first with his father, Bartolomeo, then proceeded to advanced studies with Giuseppe Castrucci in Florence (1756–64) and with Gennaro Manna in Naples (1764–5). He became a teacher at his father’s school in 1767 where his pupils included the singer Francesco Porri and Luigi Cherubini. He has been confused with the composer Felice Alessandri.
His first work, the dramma giocoso La serva astuta, was performed at the Teatro del Cocomero by Giovanni Roffi’s Compagnia Toscana. According to the Gazzetta toscana, the success of his Antigono the following year could not have been greater nor the house fuller. He was chosen to compose a dramatic cantata, Apollo in Tessaglia, to inaugurate concerts presented by the Accademia degl’Ingegnosi in 1769. His most successful (and only surviving) opera was L’amore soldato, a dramma giocoso, given in Venice in 1769 and subsequently in Turin, Parma, Florence, Sassuolo and Leipzig. His dramatic music, by comparison with that of his contemporaries Giovanni Marco and Ferdinando Rutini, Moneta and Neri Bondi, is highly expressive, offering presentiments of more Romantic styles, especially when portraying melancholy moods.
His instrumental music was probably written for use in the concerts of the Accademia degl’Ingegnosi or for private concerts such as the one he directed in the Casa Zanobi Leoni in Florence (30 June 1771). His four keyboard concertos show a remarkable maturation, which suggests that had he lived longer Felici would have won a secure place among the leading composers of the genre. The A major concerto displays great elegance, expressiveness of style and a thorough comprehension of the concept of the keyboard concerto that was evolving at the time in London and Vienna.
music lost unless otherwise stated
dramma per musica
La serva astuta (dg, 3), Florence, Cocomero, 5 May 1768; as La cameriera astuta, Milan, Ducal, aut. 1769
L’amante contrastata (dg, 2, G. Lendenesi), Venice, S Moisè, aut. 1768
Antigono (dm, 3, P. Metastasio), Florence, Pergola, 18 Jan 1769
L’amore soldato (dg, 3, N. Tassi), Venice, S Moisè, aut. 1769, A-Wn, D-Dl, H-Bn, US-Wc
Intermezzos to B.-J. Saurin’s Beverley (tragedia urbana in prosa), ?1769; Florence, Tintori, 6 Jan 1782
La donna di spirito (farsa, M. Bernardini), Rome, Capranica, 13 Feb 1770
2 substitute arias in Sacchini’s Alessandro nelle Indie (dm, 3, Metastasio), Livorno, S Sebastiano, carn. 1771, S-Skma
Doubtful [cited by Jackman]: La lavandaia, Turin, Carignano, aut. 1770; Ariana e Teseo (dm, P. Pariati), Florence, Pergola, 29 Jan 1772
Orats: Il Daniello, Florence, 1767; Oratorio del Natale, Florence, 1768; S Alessio riconosciuto, Florence, 1769
Other sacred: Dixit Dominus, 4vv, insts, 1766, I-PS; Messa, 1767, Fsm, Florence, Archives of S Giuseppe; Messa per S Cecilia, Florence, Archives of S Niccolò and S Giuseppe (1778) [completed by Bartolomeo Felici]; Cr, 4vv, Fd; Credo concertato, 3vv, insts, Fc, Sd; Salve regina, Florence, Archives of S Gaetano
Secular vocal: Apollo in Tessaglia (cant., L. Semplici), 3vv, Florence, Accademia degl’Ingegnosi, 12 March 1769; Cantata a tre voci (F. Lambardi), Florence, Accademia degl’Ingegnosi, 1 April 1770; Idol mio amato bene, S, S, 2 vn, CZ-BER, DK-Kk [with addl. brass insts]; Ti rendo al caro bene, 4vv, I-Bc; Veloce al par d’un barbaro, CH-E
Inst: 3 concs., kbd, orch, US-LOu; Conc., hpd, ad uso di Isabella Scarlatti, I-Fc, ed. P. Bernardi and F. Sciannameo (Rome, 1969); 6 sonate da camera, hpd, US-BEm; Sonata, kbd, vn, D-GOl (2 copies), I-Gl; Sonata, kbd, 2 vn, A-Wgm
Grove6 (J.L. Jackman)
C.Gervasoni: Nuova teoria di musica (Parma, 1812/R), 135
F.Torrefranca: Le origini italiane del romanticismo musicale: i primitivi della sonata moderna (Turin, 1930/R), 578, 732
M.Fabbri: ‘Alessandro Felici: il terzo maestro di Luigi Cherubini’, Musiche italiane rare e vive da Giovanni Gabrieli a Giuseppe Verdi, Chigiana, xix (1962), 183–94
M.de Angelis: La felicità in Etruria (Florence, 1990)