(b Leeds, 9 March 1952). English pianist. He studied at the RNCM (1968–73) with Gordon Green, and privately with Peter Katin, John Ogdon, Alexis Weissenberg and György Cziffra. He made his Wigmore Hall début in 1976 and was awarded a Calouste Gulbenkian Fellowship in 1978. Fergus-Thompson has made a reputation in contemporary works, giving the first performances of William Mathias’s Second Sonata in 1979 and Christopher Headington’s Piano Concerto in 1993, and is a noted specialist in the French and Russian repertories. His recordings include the complete piano works of Debussy and Ravel, Rachmaninoff’s sonatas and Etudes-tableaux and an eight-disc set of Skryabin’s complete piano music.
In Roman antiquity the word denoted a holy day, and by the 3rd century at the latest had become a liturgical term for a weekday on which no feast falls. The practice of numbering the days of the week after Sunday as Feria II (Monday) to Feria VII (Saturday, which also retained its Hebrew name Sabbato) may have arisen as a Christian attempt to eliminate a nomenclature based on the names of heathen gods. Isolated polyphonic masses without Gloria and Credo are entitled ‘De feria’, among them examples by Antoine de Févin and Palestrina.
Ferianto, Djaduk [Jaduk]
(b Yogyakarta, Java, 1964). Indonesian composer, brother of the composer Otok Sidarta. A son of the choreographer Bagong Kusudiardjo, he was active as a dancer by the age of six. As well as studying fine art in the Indonesian Arts Institute in Yogyakarta, Ferianto made an intensive study of gamelan music. He gained much compositional experience creating music for dance for his father. In 1994 he co-founded the experimental music and poetry group Kyai Kanjeng with Emha Ainun Najib, a popular poet, intellectual and Islamic figure. In the group Ferianto brought together diatonically-tuned gamelan instruments with Western instruments including the violin, keyboards and percussion. The influence of Najib as leader and speaker gave Ferianto's compositions within Kyai Kanjeng a distinctly Islamic flavour. After leaving the group in 1995 he formed Kua-Etnika, a group with the same instrumental concept, for which he has written increasingly mature works. He regularly appears with Kua-Etnika and the arranger Aminoto Kosim on a popular TV programme accompanying Indonesian pop singers. He is also well known for his compositions for music theatre. In Indonesian music he acts as a mediator between the worlds of experimental, gamelan and pop music.
Ferini, Giovanni Battista.
SeeFerrini, Giovanni Battista.
(b Bergamo, 1755; d Lisbon, 1810). Italian oboist and composer. By the age of 20 he was already a celebrated player and he toured Italy in 1776–7 together with one of his brothers (probably Pietro). On 1 April 1777 he joined Archbishop Colloredo's orchestra in Salzburg, where he became close to Michael Haydn and the Mozarts. During summer 1777 Wolfgang composed for him the Oboe Concerto k271k. Leopold wrote to his son that he was ‘a favourite in the orchestra’ and that he had learnt much from the Italian oboist Carlo Besozzi, who visited Salzburg in May 1778. On 30 July 1778 Ferlendis left the archbishop's service, and from July 1779 played the english horn at the Teatro Carignano in Turin. By 1780 he had settled in Venice, where he was often employed as first oboist of the S Samuele, S Benedetto and La Fenice theatres, and occasionally performed elsewhere in northern Italy. In 1795 he was in London, where he performed his own concertos for oboe and english horn during Haydn's last season and became the lover of the famous soprano Brigida Banti, whom he accompanied on a few occasions. One commentator on his English performances noted that he possessed ‘astonishing fine command of the instrument, but degenerated into mere foolish trick’. Haydn himself found Ferlendis a ‘mediocre’ player. After his stay in England he went back to Venice, again performing throughout the whole region. In 1801 he moved with his wife Anna, daughter Giuseppa and son Alessandro to Lisbon, where he was employed first at the royal chapel and from 1804 at the Real Cámara. His employment there is recorded until the beginning of 1810, and later the same year his wife is described as a widow. (Some unsubstantiated sources stated that he died in 1802 or 1833.)
Ferlendis specialized in performance on the english horn, and many sources consider him to be responsible for improvements to the instrument. Several composers, including Michael Haydn, Alessio Prati and Angelo Tarchi, wrote solo or obbligato english horn parts for him. His own compositions (surviving mainly in I-Gl) reveal an idiomatic feeling for wind instruments, but in spite of their elegance of manner they are of limited musical interest.
The Ferlendis family included many other musicians. As most of them were oboists, they are often confused with one another. Giuseppe’s father Franco was a violin and cello teacher, and three of his children by his first wife, Leonilda Sitelli, were musicians: Josepha Antonia Hyacitha (b Salzburg, 16 April 1777; d after 1810), a soprano; Angelo (b Brescia, 1780; d after 1823), an oboist who worked in St Petersburg from 1801; and Alessandro (b Venice, 1783; d after 1826), also an oboist. The latter married the contralto Camilla Barberi in Lisbon and toured with her throughout Europe from 1803 to 1817. Referring to Alessandro's concert at La Scala, Milan, on 13 September 1816, Spohr wrote in his autobiography that ‘it is impossible to imagine a worse tone than this professor di oboa. In Germany he would most certainly have been hissed off; here, of necessity, he was applauded’. Giuseppe's brother Pietro (b Bergamo, 2 Sept 1748; d Padua, 4 April 1836) replaced Matteo Bissoli as principal oboist of the S Antonio cappella in Padua in 23 May 1780, a position he held until his retirement in 1829. Pietro's sons Gerardo (b 1770; d Trieste, 21 Jan 1802), Faustino (b Brescia, 10 July 1771; d Padua, 29 Dec 1855) and Antonio (fl Padua, Trieste, Venice, 1796–1826) were also professional oboists.
G.Barblan: ‘Giuseppe Ferlendis virtuoso bergamasco e il suo concerto per oboe in fa maggiore’, Musiche italiane rare e vive da Giovanni Gabrieli a Giuseppe Verdi, Chigiana, xix (1962), 267–78
A.Bernardini: ‘The Oboe in the Venetian Republic, 1692–1797’, EMc, xvi (1988), 372–87