Faà di Bruno, Giovanni Matteo [Horatio, Orazio] 83
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- BIBLIOGRAPHY
- Fêvre. See Lefèvre . Fevre, Joducus [Josquin].
- WORKS (selective list) stage
Févin, Robert de(fl 1500–15). French composer. He was evidently the brother of Antoine de Févin, as witnessed by the words ‘decori fratres de Févin’ among the composers named in Pierre Moulu’s motet Mater floreat (Lowinsky). Fétis reported, citing an obit book that cannot now be traced, that Févin was master of the Savoy ducal chapel (at Chambéry) and came from Cambrai. Since the family was from Arras, this may mean simply that he was ordained in the diocese of Cambrai. A date of death could be derived from the ascription ‘Robertus de fevin pie memorie’ above his mass ‘La sol mi fa re’ in D-Mbs Mus.ms.7, perhaps from 1516–1518. Févin was an immaculate contrapuntist, evidently owing much to Josquin. His masses La sol mi fa re and Le vilain jaloux are based directly on works of Josquin; and the Credo La belle se siet (which seems more likely his than Josquin’s) shows a knowledge of Josquin’s three-voice setting of that melody. All known sources containing his securely attributed music are from the first quarter of the 16th century. WORKSEdition: The Collected Works of Robert de Févin, ed. E. Clinkscale (Ottawa, 1993) [C]
doubtful works
BIBLIOGRAPHYFétisB E.E. Lowinsky, ed.: The Medici Codex of 1518, MRM, iii–v (1968), iii, 75 N.S. Josephson: ‘Agnus Dei I from Robert de Févin, Missa La sol mi fa re’, MD, xxviii (1974), 77–80 I. Fenlon: ‘An Imperial Repertory for Charles V’, Studi musicali, xiii (1984), 221–40 DAVID FALLOWS Fêvre.See Lefèvre. Fevre, Joducus [Josquin].See Fabri, Joducus. Février, Henry(b Paris, 2 Oct 1875; d Paris, 8 July 1957). French composer. He studied composition at the Paris Conservatoire with Massenet and Fauré and privately with Messager, of whom he later wrote a biography (André Messager: mon maître, mon ami, 1948). His early compositions were small-scale, but he later turned almost exclusively to opera composition. Many of the operas (e.g. Le roi aveugle, 1906; L’île désenchantée, 1925) are set in remote, other-worldly locations, and the redemption of mankind through love is a constant theme, manifest most noticeably in La damnation de Blanchefleur (1920). He is probably best known for Monna Vanna (1909), a setting of a play by Maeterlinck, for whose work he had a particular affection. Lucien Fugère played a leading role in Carmosine (1913), and Gismonda (1919, Chicago) opened with Mary Garden in the title role. In his musical dramas, Février favoured a continuous dramatic flow, uninterrupted by clearly defined arias and choruses. The love duet between the main characters is, however, an exception and in works such as Le roi aveugle takes up what appears to be a disproportionate amount of music. His use of such ‘set pieces’, plus a limited use of leitmotif, and the nature of his plots exhibit the influence of Wagner to a high degree, although his contemporaries saw in Monna Vanna the influence of Massenet and Italian verismo. Besides opera, he also left sonatas for violin and piano and cello and piano which attracted some attention in their time. His songs reflect his development as a composer: from the conventional early pieces, they gradually absorb the various musical languages of the 20th century, including a surface orientalism. He had considerable success with patriotic songs written during and just after World War I. During the late 1920s he was active as a composer of music for silent films, mostly scored for orchestra or theatre orchestra with piano-conductor. The later music, such as the Estampes japonaises for piano, is skilfully written, with a melodic strength and simplicity and an occasional leaning towards pastiche. WORKS(selective list) stage
instrumental
vocal
BIBLIOGRAPHYA. Mercier: ‘La sonate en la mineur pour violon et piano de M. Henri Février’, RHCM, iv (1904), 549–51 H. de Curzon: ‘Xavier Leroux, Alexandre Georges, Henry Février’, Le théâtre lyrique en France (Paris, 1937–9) [pubn of Poste National/Radio-Paris], iii, 121–7 P. Landormy: La musique française après Debussy (Paris, 1943) P. Bertrand: Le monde de la musique (Geneva, 1947) JOHN WAGSTAFF/RICHARD LANGHAM SMITH Yüklə 17,54 Mb. Dostları ilə paylaş:
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