Bohemian family of organ builders. Franz Feller (i) (b Königswald [now Libouchec, nr Děčín], 29 April 1787; d Königswald1 July 1843) produced musical instruments and sets of pipes from childhood, but it was not until 1817 that he finally took up organ building. In that year he built his first organ, for Peterswald [now Petrovice](one manual, ten stops); others are at Karbitz [now Chabařovice] (1823; two manuals, 14 stops), Schönlinde [now Krásná Lípa] (1827; two manuals, 30 stops), Ossegg [now Osek] monastery (1836–8; two manuals, 34 stops), Komotau [Chomutov], Tetschen [Děčín], and Pirna. Two of his sons, Franz Feller (ii) (b 23 March 1815; d 8 July 1881) and Josef Feller (b 8 March 1818; d 15 June 1893), went into partnership until 1881 while a third, Anton Feller (b 6 March 1820; d 14 March 1891), worked independently. Franz Feller (i) produced more than 35 organs. After 1827 he was influenced by the organs of Gottfried Silbermann in Dresden. Altogether the family produced about 80 instruments. They adhered to the slider chest system and still installed Rückpositive. In contrast to the ideas of G.J. Vogler, their specifications continued the traditional methods of organ design. The diapason chorus was sometimes reduced, but to compensate, the number and variety of foundation stops was considerably increased.
T.Horák: Varhany a varhanáři Děčínska a Šluknovska [The organ and organ builders in the region of Děčín and Sluknov] (Děčín, 1995)
HANS KLOTZ/JIŘÍ SEHNAL
(b Buenos Aires, 30 July 1925). Argentine bass. He studied in Buenos Aires, making his début in 1946 at the Colón, where he sang for a decade. He made his London début in Cimarosa’s Il maestro di cappella at Sadler’s Wells (1958). For Glyndebourne he sang Don Alfonso and Mozart’s Figaro in 1959 and the following year sang Dr Bombasto (Arlecchino) at Edinburgh. After appearing in Frankfurt and Brussels, he was engaged at Cologne, where he sang until he was over 70. He made his Metropolitan Opera début as Don Alfonso in 1988. His repertory included Leporello, Mozart’s and Rossini’s Dr Bartolo, Don Magnifico, Geronimo (Il matrimonio segreto), Don Pasquale, Dulcamara, Baculus (Der Wildschütz), Nicolai’s Falstaff, Lord Tristan (Martha) and Varlaam. A superb basso buffo, he also sang heavier roles such as Polonius (Szokolay’s Hamlet), the Doctor (Wozzeck), Schigolch (Lulu) and Claggart.
Fellerer, Karl Gustav
(b Freising, 7 July 1902; d Munich, 7 Jan 1984). German musicologist. He studied with Sandberger in Munich and with Abert, Wolf, Sachs and Hornbostel in Berlin, receiving the doctorate in 1925 at the University of Munich with a dissertation on the music history of Freising. In 1927 he completed the Habilitation at Münster with a work on the influence of Palestrina. He remained at Münster as an external lecturer until 1932, succeeded Peter Wagner at Fribourg in Switzerland in 1932, and then returned to Germany in 1939 to succeed Kroyer at the University of Cologne. Fellerer served as rector of the university in 1967–8 and retired in 1970. In 1958 the Catholic University of Leuven granted him the honorary doctorate. He also received medals of honour from the German government in 1974 and from the Austrian government in 1978.
Fellerer was respected for his far-reaching contributions to scholarship, his influence as a teacher and his organizational leadership. Best known for his work on the history of Catholic church music (Gregorian chant, organ music, music theory, performing practice and contemporary problems), his broader interests embraced the Middle Ages and Renaissance, 19th-century music, music education, amateur music-making, the music history of individual regions and cities and the works of Palestrina, Handel, Mozart and Puccini. He was editor of the journals Kirchenmusikalisches Jarhrbuch (1931–76) and Musica sacra (1932–7) and oversaw the publication series Freiburger Studien zur Musikwissenschaft, Kölner Beiträge zur Musikforschung, Denkmäler Rheinischer Musik, Beiträge zur Rheinischen Musikgeschichte and the Mitteilungen der Arbeitsgemeinschaft für Musikgeschichte. He also founded, edited and contributed to Das Musikwerk. He was active as a scholar up to his death, and his bibliography lists over 500 titles.
Fellerer was one of the driving forces behind the rebuilding of German musicology after World War II, growing out of his ongoing concern for politics. Preoccupied with practical issues early on, his concern for the relationship between music and politics led him to speak in favour of the programme of the Nazi regime, even rationalizing its 1933 campaign against jazz music, and during the war he took a special interest in seeking out Germanic musical traits in countries under German occupation and the respective strengths and weaknesses of Germany’s enemies and allies. Thereafter, he invested much energy into enhancing the Cologne musicology department as well as building up all of German musicology after its years of wartime isolation. He was president of the Gesellschaft für Musikforschung from 1962 to 1968 and co-founder and president of the Joseph-Haas-Gesellschaft, and he chaired and served on commissions of the Allgemeiner Cäcilien-Verband, the Görresgesellschaft, the Zentralinstitut für Mozartforschung in Salzburg, the Arbeitsgemeinschaft für rheinische Musikgeschichte, Westdeutscher Rundfunk, the Deutsches Historisches Institut in Rome, the Joseph-Haydn-Institut and the IMS.
Beiträge zur Musikgeschichte Freisings von den ältesten christlichen Zeiten bis zur Auflösung des Hofes 1803 (diss., U. of Munich, 1925; Freising, 1926)
‘Cod.XXVII, 84 der Frauenkirche in München: ein Beitrag zur Geschichte der Choralbegleitung’, Festschrift Peter Wagner, ed. K. Weinmann (Leipzig, 1926/R), 55–68
Der Palestrinastil und seine Bedeutung in der vokalen Kirchenmusik des 18. Jahrhunderts (Habilitationsschrift, U. of Münster, 1927; Augsburg, 1929/R)