Faà di Bruno, Giovanni Matteo [Horatio, Orazio] 83

Fellinger, Imogen

(b Munich, 9 Sept 1928). German musicologist. She studied musicology from 1948 at Munich University with von Ficker and from 1950 with Gerstenberg at Tübingen University, where she took the doctorate in 1956 with a dissertation on Brahms’s use of dynamics. From 1957 to 1962 she was a research assistant for RISM. From 1963 she worked under the auspices of the musicology department of Cologne University on musical bibliography in the 19th century, which she completed at the Staatliches Institut für Musikforschung, Berlin (1970–93). From 1979 she was chairman of the IAML working group on music periodicals and she became a member of the board of trustees of the Johannes-Brahms-Gesellschaft of Austria in 1990. The main aspect of her research apart from Brahms and 19th century music in general is the promulgation and interpretation of archival material relating to 19th-century music.

WRITINGS

Über die Dynamik in der Musik von Johannes Brahms (diss., U. of Tübingen, 1956; Berlin, 1961)

‘Brahms’ Sonate für Pianoforte und Violine Op.78: ein Beitrag zum Schaffensprozess des Meisters’, Mf, xviii (1965), 11–24

‘Das Brahms-Bild der “Allgemeinen musikalischen Zeitung” (1863–82)’, Beiträge zur Geschichte der Musikkritik, ed. H. Becker (Regensburg, 1965), 27–54

‘Grundzüge Brahmsscher Musikauffassung’, Beiträge zur Geschichte der Musikanschauung im 19. Jahrhundert: Kassel 1964, 113–26

‘Die Begriffe “Salon” und “Salonmusik” in der Musikanschauung des 19. Jahrhunderts’, Studien zur Trivialmusik des 19. Jahrhunderts, ed. C. Dahlhaus (Regensburg, 1967), 131–41

Verzeichnis der Musikzeitschriften des 19. Jahrhunderts (Regensburg, 1968)

‘Brahms und die Musik vergangener Epochen’, Die Ausbreitung des Historismus über die Musik, ed. W. Wiora (Regensburg, 1969), 147–67

‘Bemerkungen zur Dynamik Wagners’, Das Drama Richard Wagners als musikalisches Kunstwerk, ed. C. Dahlhaus (Regensburg, 1970), 149–60

‘Zur Entstehung von Bruchs “Moses”’, Max Bruch-Studien, ed. D. Kämper (Cologne, 1970), 89–103

‘Die Oper im kompositorischen Schaffen von Hugo Wolf’, JbSIM 1971, 87–99

‘Aspekte der Mozart-Auffassung in deutschsprachigen Musikzeitschriften des 19. Jahrhunderts’, MJb 1980–83, 269–77

‘Aufführungen von Werken Alban Bergs im Urteil zeitgenössischer Musikkritik’, Alban Berg: Vienna 1980, 251–64

‘Brahms und Mozart’, Brahms-Studien, v (1983), 141–68

‘Mattheson als Begründer der ersten Musikzeitschrift (Critica musica)’, New Mattheson Studies, ed. G.J. Buelow (Cambridge, 1983), 179–97

‘Zum Stand der Brahms-Forschung’, AcM, lv (1983), 131–201; see also ‘Das Brahms-Jahr 1983: Forschungsbericht’, ibid., lvi (1984), 145–210

‘Anton Bruckner und Hugo Wolf: ein kompositorischer Vergleich’, Bruckner, Wagner und die Neudeutschen in Österreich: Linz 1984, 91–101

‘Zur Situation geistlicher Musik in der zweiten Hälfte des 19. Jahrhunderts’, HJbMw, viii (1985), 223–36

Periodica musicalia (1789–1830) (Regensburg, 1986)

Periodica musicalia (1831–1850) (forthcoming)

HANS HEINRICH EGGEBRECHT/JUTTA PUMPE

Fellowes, Edmund H(orace)

(b Paddington, London, 11 Nov 1870; d Windsor, 21 Dec 1951). English editor, scholar and cathedral musician. He showed marked musical gifts at an early age and when he was only seven Joachim offered to take him as a pupil. However, he received a conventional education at Winchester College and Oriel College, Oxford. At Oxford he read theology though he found time to develop his musical interests and remained for a fourth year working towards a music degree. On leaving Oxford he studied for the church and was ordained in 1894. He served for a short time as assistant curate in Wandsworth, London (1894–7), during which he took the Oxford BMus (1896). After three years as minor canon and precentor of Bristol Cathedral from 1897, he moved in 1900 to St George's Chapel, Windsor Castle, as a minor canon, in which capacity he remained for the rest of his life. In the years between the death of Walter Parratt and the appointment of Walford Davies (1924–7) he was given charge of the choir. He received no other preferment in the church and was never ‘Canon’ Fellowes as many printed references to him wrongly assume (see W. Shaw, MT, xcix, 1958, 142–3). He was made Companion of Honour in 1944, and held honorary doctorates of music from both Oxford (1939) and Cambridge (1950).

Fellowes carried out a voluntary labour of some importance by cataloguing the extensive printed and manuscript material in the music library of St Michael's College, Tenbury Wells, of which he was honorary librarian (1918–48). However, his notable contribution to music was his extensive series of editions of English music of the period 1545–1640 and the critical and historical writings with which he surrounded them. To the numerous series in the list below must be added a considerable number of miscellaneous octavo leaflets, including the main share (61 numbers) of the Tudor Church Music series (1923–37).

Though not alone in his lifetime in working on music of this period, it was Fellowes who caused it to make its chief impact. This was partly because of the notable range of his work, partly also because of his own advocacy of it through lectures, performance and, in the earliest days of the gramophone, recordings. Most of all it was because he designed his editions to be practical: all, except his share of the library edition of Tudor Church Music, were issued in a format for use in performance. At the same time he aimed to produce editions that were to be complete, not mere selections, and firmly based on original sources. This union of scholarship, completeness and practicality was in a small way revolutionary. He shed new light on the idiom of the music and as a direct result the style of performing it changed for the better. His editorial work is seen at its best in the madrigals and the lute-songs, the first series of which (but regrettably not the second) printed the original tablature. It was mainly as a result of his work that a knowledge of this music soon passed into the mainstream of English musical life and thought. The sustained endeavour behind it was characteristic of the man; yet, as his memoirs reveal, he was no narrow specialist or scholarly recluse.

EDITIONS

The English Madrigal School [EMS], i–xxxvi (1913–24, rev. 2/1956–88 by T. Dart and others as The English Madrigalists [EM])

The English School of Lutenist Song Writers [ESLS], i–xxxii, in 2 ser. (1920–32, partly rev. 2/1959–66 by T. Dart as The English Lute-Songs [EL], rev. 3/1959–69 with addl vols.)

with P.C. Buck, A. Ramsbotham and S.T. Warner: Tudor Church Music [TCM], i–x (1922–9, appx 1948/R by Fellowes alone)

The Collected Works of William Byrd, i–xx (London, 1937–50, rev. 2/1962–71 by T. Dart, P. Brett and K. Elliott)

WRITINGS

‘John Wilbye’, PMA, xli (1914–15), 55–86

‘Thomas Weelkes’, PMA, xlii (1915–16), 117–43

English Madrigal Verse, 1588–1632 (Oxford, 1920, enlarged 3/1967 by F.W. Sternfeld and D. Greer)

The English Madrigal Composers (Oxford, 1921, 2/1948/R)

William Byrd: a Short Account of his Life and Work (Oxford, 1923, 2/1928)

The English Madrigal School: a Guide to its Practical Use (London, 1924)

Orlando Gibbons: a Short Account of his Life and Work (Oxford, 1925, 2/1951/R as Orlando Gibbons and his Family)

The English Madrigal (London, 1925/R)

‘The Text of the Song-Books of Robert Jones’, ML, viii (1927), 25–37

‘The Songs of Dowland’, PMA, lvi (1929–30), 1–26

‘The Philidor Manuscripts, Paris, Versailles, Tenbury’, ML, xii (1931), 116–29

The Catalogue of Manuscripts in the Library of St. Michael's College, Tenbury (Paris, 1934, rev. 2/1981 by W. Shaw)

William Byrd (Oxford, 1936, 2/1948/R)

Organists and Masters of the Choristers of St. George's Chapel in Windsor Castle (London and Windsor, 1939, 2/1979 with addenda by M.F. Bond) [incl. 4 historical monographs relating to St George's Chapel]

English Cathedral Music from Edward VI to Edward VII (London, 1941, rev. 5/1969/R by J. Westrup)

with E. Pine: The Tenbury Letters (London, 1942)

Memoirs of an Amateur Musician (London, 1946)

‘My Ladye Nevells Booke’, ML, xxx (1949), 1–7

BIBLIOGRAPHY

E.J. Dent: ‘Edmund Horace Fellowes’, The Score, no.6 (1952), 52–4

S.T. Warner: ‘Edmund Fellowes as Editor’, MT, xciii (1952), 59–60

A. Hughes: Septuagesima (London, 1959)

W. Shaw: ‘Edmund H. Fellowes, 1870–1951’, MT, cxi (1970), 1104–5

WATKINS SHAW/R