(flc1400–15). Franco-Flemish composer. On 23 June 1412 he was appointed succentor at the church of St Donatian in Bruges, where he remained until 1415. Earlier he had been a pupil of the Parisian composer Johannes Tapissier (dc1410), since a Gloria by him in I-Bc Q15 describes him as ‘scolaris Tapissier’ (ed. in CMM, xi/1, 1955, p.78). Three other compositions by him survive: an incomplete antiphon, Sinceram salutem care mando vobis (which mentions his associations with Bruges), and two three-voice secular songs, Die mey so lieflic wol ghebloit (ballade) and Ach vlaendere vrie (?rondeau). All three are in A-HEand are edited in StrohmM.
(b Fabriano, early 16th century). Italian composer. His works appeared in anthologies from the mid-16th century onwards. They include two madrigals for four voices in Antonio Gardano's ‘true third’ volume of madrigals a note nere (154931; ed. in CMM, lxxiii/4, 1978) and ‘The song of the hen’ (Canzon della gallina), a work anticipating the animal imitations of the madrigal comedy, in Baldassare Donato’s first book of four-part Canzon villanesche alla napolitana (155019). The popularity of the latter piece is apparent from its reappearance in the five later editions of the collection, all dating from the 1550s.
SeeSchmid, Bernhard (i).
Fabricius [Goldschmidt], Georg
(b Chemnitz, 23 April 1516; d Meissen, 15 July 1571). German poet. He studied at the Leipzig Thomasschule in 1535 and at Wittenberg in 1536. From 1536 to 1538 he taught in Chemnitz and in 1539 he was deputy headmaster in Freiberg. From 1539 to 1543 he was in Italy; he matriculated at Bologna University in 1541. After a period as private tutor at Schloss Beichlingen, Thuringia, in 1543, and in Strasbourg in 1544, he became rector of the Landschule of St Afra, Meissen, at which Michael Vogt and Wolfgang Figulus were Kantors from 1549 to 1551 and from 1551 to 1588 respectively. On 7 December Fabricius was crowned Poet Laureate by Emperor Maximilian II at the Reichstag in Speyer and raised to the aristocracy.
Although Fabricius was not himself a musician he actively encouraged music at his school. Some of his own hymns and odes were set to music by composers including Martin Agricola, Johann Walter, Le Maistre, Scandello, Reusch and Figulus. Reusch set not only hymns and odes (Melodiae odarum Georgii Fabricii, Leipzig, 1554) but also some of Fabricius's occasional poems: funeral songs for several members of the Rhau family (Epitaphia Rhavorum, Wittenberg, 1550) and wedding songs for various prominent people (Carmina nuptialia, Leipzig, 1553). Fabricius's Elogium musicae was set to music for two voices by Joachim Heller (RISM 154916) and for four voices by Wolfgang Figulus (Precationes aliquot, Leipzig, 1553).
Most of Fabricius's writings were published in Poematum sacrorum libri XXV (Basle, 1567). He also edited works by the classical Latin writers and wrote commentaries on works by such early Christian poets as Prudentius and Sedulius.
ADB (O. Kämmel)
NDB (H. Schönebaum)
T.Flathe: Sankt Afra: Geschichte der königlich-sächsischen Fürstenschule zu Meissen (Leipzig, 1879)
G.Pietzsch: Zur Pflege der Musik an den deutschen Universitäten bis zur Mitte des 16. Jahrhunderts (Hildesheim, 1971)
Fabricius, Jakob (Christian)
(b Århus, 3 Sept 1840; d Copenhagen, 8 June 1919). Danish administrator, music critic and composer. A banker by profession, Fabricius remains best known for his many practical initiatives in Danish musical life. In 1871 he founded the Samfund til Udgivelse af Dansk Musik (Society for the Publication of Danish Music), whose president he was from 1887 until his death. This society is today the principal organization for the publication of contemporary Danish music. He was the founder of the choral society Vega (1872) and a founder-member of the Copenhagen Concert Society (Koncertforening; 1874), a progressive musical society which existed until 1893. It was chiefly due to him that the first regular concert hall, the Koncertpalae, was built in Copenhagen during 1884–8. As a music critic his writings stand out from the generally poor music criticism of his time.
As a composer, Fabricius has never been highly rated in Denmark, perhaps chiefly because his practical enterprise overshadowed his musical activities. His early En vaarnat (‘A Summer Night’) for choir and orchestra, and a symphony (1880) were performed in Copenhagen; but the major part of his works were for many years far better known abroad, as a result of successful performances in Berlin and Paris of his vocal compositions, especially three-part madrigals, a cappella madrigals and other choral works (Berlin), and solo songs, accompanied by piano and cellos, which were composed for concerts in Paris and published there.
G.Lynge: Danske komponister i det 20. aarhundredes begyndelse (Århus, 1916) [with selective list of works]
L.B.Fabricius: ‘Samfundet til udgivelse af dansk musik og dets stifter: træk af Samfundets historie indtil 1918’, Samfundet til udgivelse af dansk musik 1871–1971, ed. D. Fog (Copenhagen, 1972), 7–86 [with Eng. summary, 131]
Fabricius [Fabritius], Petrus [Schmidt, Peter]
(b Tondern, Schleswig [now Tønder, Denmark], 1587; d Warnitz, nr Apenrade, Schleswig [now Åbenrå, Denmark], 1651). German lutenist and composer. He matriculated at Rostock University in 1603, where he studied mathematics and astronomy and later theology. A commendatory poem by him prefaces Joachim Burmeister’s Musica poetica (1606), an important source of musical rhetoric. In 1608 he took the degree of Master of Theology, and in 1610 was assistant to the Lutheran pastor at Bülderup (now Bjolderup, near Tinglev, Denmark). From 1617 until his death he was a minister at Warnitz.
Fabricius’s most notable musical achievement is his compilation of the bulk of the manuscript DK-Kk Thott 841 (a small part of the manuscript is attributed to Petrus Lauremberg, his friend when he was a student). It contains 152 leaves and was compiled in 1605–7 (though it was possibly not completed until 1608); several poetic supplements may also have been Fabricius’s work. The manuscript is an excellent source for both Low and High German song texts and their music, especially from student circles. Most of the pieces are in several parts and are intabulated, in German tablature, for the six-course lute. Many others, however, are solo songs in staff notation, some of which reach well back into the 16th century; they include German polyphonic songs, Lutheran melodies, popular art songs and genuine folksongs. Fabricius’s wide knowledge of the foreign repertory is clear from the number of English, French, Italian and Polish compositions that he included in addition to his own pieces. The composers of pieces that he intabulated he named as Hausmann, Meiland, Zangius, Lechner, Spatz, Friderici, William Brade, Scandello and ‘H. K.’, and it can be demonstrated from concordances that Jacob Regnart, Henning Dedekind, Melchior Franck and Staricius are also represented. Some pieces appear in no other sources. All are accurately copied. His manuscript is also important for the literary history of the song tradition of northern Germany, though less so than for its musical contents.
J.Bolte: ‘Das Liederbuch des Petrus Fabricius’, Jb des Vereins für Niederdeutsche Sprachforschung, xiii (1887), 55–68
J.Bolte: ‘Aus dem Liederbuche des Petrus Fabricius’, Alemannia: Zeitschrift für Sprache, Litteratur und Volkskunde, xvii (1889), 248–62
A.Kopp: ‘Die Liederhandschrift des Petrus Fabricius’, Archiv für das Studium der neueren Sprachen und Literaturen, cxvii [new ser., xvii] (1906), 241–55
B.Engelke: ‘Das Lautenbuch des Petrus Fabricius’, Die Heimat, xxxix (Schleswig, 1929), 265
L.Andresen: ‘Des Petrus Fabricius Leben’, Die Heimat, xxxix (Schleswig, 1929), 268
P.Hamburger: ‘Über die Instrumentalstücke in dem Lautenbuch des Petrus Fabricius’, Festskrift Jens Peter Larsen, ed. N. Schiørring, H. Glahn and C.E. Hatting (Copenhagen, 1972), 35–46