(b Görlitz; dprobably at Bruck an der Mur, Styria, 19 Dec 1635). German composer resident in Austria. As a young man he spent two years in Denmark. He soon settled in Styria, becoming secretary of the Benedictine monastery of St Lambrecht. In 1597 the monastery made over to him two ironworks in the Aflenz-Tal, where he also acted as administrator on behalf of the monastery. He lived at Bruck an der Mur. Later he also became commissioner for the Counter-Reformation for Bruck and the Mürz-Tal. His Cantiones sacrae for six voices (Graz, 1595; five repr. RISM 16031) contain not only traditional polyphonic writing but also more up-to-date homophonic and declamatory passages. The only manuscript works by him not from the 1595 print are five Latin motets for five and six parts (four in D-Rp, one in D-FBo), two German motets (D-Rp) and a six-part Magnificat (ed. in DTÖ, cxxxiii, 1981), which is based on Marenzio’s six-part madrigal Nel più fiorito aprile (1581).
MGG1 (H. Federhofer) [incl. fuller bibliography]
H.J.Moser: Die Musik im frühevangelischen Österreich (Kassel, 1954)
G.Gruber: Beiträge zur Geschichte und Kompositionstechnik des Parodie-Magnificat in der 2. Hälfte des 16. Jahrhunderts (diss., U. of Graz, 1964)
G.Gruber: ‘Magnificat-Kompositionen in Parodientechnik aus dem Umkreis der Hofkapelle der Herzöge Karl II. und Ferdinand von Innerösterreich’, KJb, li (1967), 33–60
(b Vyborg rural district, 2 July 1842; d Lapinjärvi, 8 Oct 1899). Finnish composer and violinist. He studied the violin with F.R. Faltin in Vyborg, and from 1857 to 1861 attended the Leipzig Conservatory where he studied the violin, piano and composition. Fabritius gave concerts in Finland and Sweden, and for some years worked as a violinist in a theatre orchestra in Helsinki. In 1864 he gave up his promising musical career and worked first as a civil servant and later in agriculture, though he still composed and played chamber music. Fabritius’s main work is his Romantic and virtuoso Violin Concerto (1878), which he performed in Helsinki in 1881. His orchestral works, which include a symphony (1878, lost) and overtures, show the influence of Schumann and Mendelssohn, and his piano pieces, the suite Snöflingor (1859) and the Phantasie, that of Chopin. He also wrote a string quartet (1860) and pieces for violin and cello.
E.Salmenhaara, ed.: Suomalaisia säveltäjiä [Finnish composers] (Helsinki, 1994), 72–4
(b Naples, 1764; d ?after 1812). Italian composer. After starting to compose at the age of 18 or 19, within six years he had written 14 operas and gained an international reputation; he then disappeared from public notices, though Gerber, about 1812, wrote of him as still living. His first stage work, a revision of the Goldoni-Ciampi intermezzo I tre gobbi rivali (originally La favola de’ tre gobbi, 1749, Venice), was produced in Carnival 1783 during a period when Neapolitan theatres were experimenting with the French fashion of presenting several short comic pieces instead of a full-length opera. This was the third of three short works commissioned by the Teatro dei Fiorentini; as the other two were written by Giacomo Tritto, Prota-Giurleo regarded Fabrizi’s contribution as evidence that he was Tritto’s pupil. He worked in northern Italy during 1784–5. In 1786 he was in Rome where his election to the maestri di cappella of the university was announced on 1 March. In the same year, his comedy La sposa invisibile produced loud applause both for its novelty and its expression. As a result he received a three-year appointment as musical director at the Teatro Capranica. His three-act version of the Don Giovanni story, produced in the following year, proved successful throughout Europe.
Gervasoni observed that ‘in the space of a few years … [Fabrizi] contributed greatly to the refinement of musical taste’. His extant music, which includes chamber works as well as comic operas, shows him to have been a competent composer, with ensembles distinguished by a solid structural sense and an ability to achieve desired effects with economy of means. In particular his harmony, while essentially simple and diatonic, shows skilful and judicious use of chromatic detail.
There is no evidence that he was related to the composer Paolo Fabrizi (b Spoleto, 1809; d Naples, 3 March 1869), who studied at Naples with Zingarelli and had seven operas given there, 1830–40, and two later at Spoleto.
opere buffe unless otherwise stated
I tre gobbi rivali (int, after C. Goldoni), Naples, Fiorentini, carn. 1783
La necessità non ha legge, Bologna, Marsigli-Rossi, ?July 1784; also as Noth hat kein Gesetz
I due castellani burlati (F. Livigni), Bologna, Marsigli-Rossi, aut. 1785; also as I due castellani ossia I due rivali in amore, I due castellani delusi, I due rivali in amore; ?D-Dl, F-Pc, I-Tf, P-La
La sposa invisibile (farsetta a 5), Rome, Capranica, 20 Feb 1786, ?D-Dl, MÜs (?excerpts), P-La
Chi la fà l’aspetti, ossia I puntigli di gelosia (Livigni), Florence, Intrepidi, spr. 1786; also as La moglie alla moda, La moglie capricciosa, I puntigli di gelosia; I-Bc, Fc
La contessa di Novaluna (G. Bertati), Venice, S Moisè, aut. 1786
L’amore per interesse (Bertati), Parma, Ducale, 26 Dec 1786; orig. title La Mirandolina
Il convitato di pietra (G. Lorenzi), Rome, Valle, ?carn. 1787; also as Don Giovanni Tenorio, ossia Il convitato di pietra; GB-Lbl (aria, trio, finale), I-Rmassimo, Rsc, S-Skma (excerpts)
La nobilità villana, Rome, Capranica, 30 Jan 1787
Gli amanti trappolieri (G. Palomba), Naples, spr./sum. 1787
Il viaggiatore sfortunato in amore (F. Ballani), Rome, Valle, aut. 1787
Il Colombo o La scoperta delle Indie (farsa, M. Mallio), Rome, Capranica, carn. 1788; also as La tempesta, ossia Da un disordine ne nasce un ordine
L’incontro per accidente (G.M. Diodati), Naples, Fondo, spr./sum. 1788; also as Il maestro di cappella, ossia L’incontro per accidente
Il caffè di Barcellona, Barcelona, S Cruz, 1788
Impresario in rovina (dg, A. Piazza), Casale, spr. 1797