(b Brescia, c1475; d after 1555). Italian organ builder. He was a master organ builder by January 1515 when, writing from Ferrara and signing himself ‘Johannes Baptista Brixiensis. Magister orga.’, he sent to Cardinal Ippolito d'Este, archpriest of S Pietro in the Vatican, the proposal for an organ for S Maria in Vado, Ferrara. He later built the following organs: Chiesa dei Frati di S Giovanni, Brescia (1517); S Michele in Bosco, Bologna (1524; eight stops, 10' pipe; cost 1064 lire); the Benedictine monastery of S Pietro, Modena (1524; survives); Cremona Cathedral (1542–7); Genoa Cathedral (1552); and rebuilt the organ at S Petronio, Bologna, by Lorenzo da Prato (1528–31; lowered pitch by moving the pipes and added some extra enharmonic or ‘quarter’ notes for the as).
The specifications of the Ferrara and Genoa organs have fortunately survived and may be compared: the Ferrara organ had Contrabasso 21' (at back), Tenori (tin, in front), Duodecima, Quintadecima, Decimanona, Vigesima secunda, Vigesima sexta, Vigesima nona, Flauttj. The Genoa organ had 50 notes, F', G', A' to a'', omitting g'': Tenori (two ranks, tin, in case, and lead), Ottavo, XVma, Decimanona, Vigesima seconda, Vigesima sesta duplicata (two ranks), Vigesima nona duplichata (two ranks), Flauto in ottava. Both organs had spring-chests. The Tenori in 1515 are in effect the Ottavo, but by 1552 are the Principali. The Contrabasso at this time was not a Pedal stop but the manual fundamental register which, being of large scale and a heavily leaded metal, was placed at the back of the organ. The basic structure of chorus (ripieno) and a single flute (in ottava) survives, but the Duodecima (Twelfth) of 1515 has disappeared and fullness and power are obtained by duplicating the lowest and two highest ranks of the ripieno. As is customary in Italian organs of the period, Fachetti's did not have independent Pedal stops. Nevertheless, his larger organs (S Eufemia, Brescia, 1537; Piacenza Cathedral, 1539; S Sisto, Piacenza, 1544, and S Benedetto Po, 1552) had pedalboards with 20 pedals.
The high quality and fine tone of his organs placed him on a level with the great Antegnatis and made Brescia the most influential centre of early Italian organ design. Vincenzo Parabosco, in a letter of 16 October 1545 to the consuls of the Salò community, wrote ‘Magistro Baptista does not, I believe, have the like in the world so excellent in this art [i.e. in organ building], especially in a large church’.
R.Lunelli: L’arte organaria del Rinascimento in Roma egli organi di S. Pietro in Vaticano, dalle origini a tutto il periodo frescobaldiano (Florence, 1958), 19ff
S.dalla Libera: L'arte degli organi a Venezia (Venice, 1962), 38–9
(bBudapest, 26 Feb 1886; d Florence, 15 Dec 1962). British violinist of Hungarian origin. A great-niece of Joachim and an elder sister of the violinist Jelly d’Arányi, she studied at the Budapest Conservatory with Hubay and later in Berlin with Joachim, from whom she inherited her 1715 Stradivari. She played Beethoven's Violin Concerto at her Vienna début in 1906; in 1913 she settled in England and in 1919 married the lawyer Alexandre Fachiri. Brought up on the classical repertory, she was noted for her duo performances with Jelly d'Arányi (they played the Bach Double Violin Concerto publicly for the last time in 1960); but her passionate temperament led her to explore widely and she had concertos written for her by Somervell, R.O. Morris and Holst (a Double Concerto first performed with her sister in 1930). A warm and generous player, she made up in ebullience for her sister's greater natural gifts. (J. MacLeod: The Sisters d'Aranyi, London, 1969)
Facie [Facio], Hugh.
The name of three minstrels recorded in the years 1415–40. SeeBasin, Adrien.
Music for a torchlight procession – a survival from medieval tournaments – which took place at some German courts on state occasions, such as the marriage of members of the reigning family. Scored for military band, it is a processional dance, and usually has a loud first and last part, and a soft trio. Meyerbeer wrote four, including one for the marriage of the Empress Frederick of Prussia (25 January 1858). Spontini and Flotow also wrote examples. (I. Peter: Der Salzburger Fackeltanz: zur Geschichte eines Tanzes (Salzburg, 1979))
(b Venice; fl late 16th century). Italian keyboard composer. His Secondo libro d'intavolatura, di balli d'arpicordo, pass'e mezzi, saltarelli, padouane et alcuni aeri was published by Gardane in Venice in 1588 (ed. in CEKM, ii, 1963). The dance arrangements feature a heavily ornamented top voice in contrast to the generally simpler style of the 12 aeri (airs without text) which are among the earliest pieces to be so designated. One other dance, Passmezo di nome anticho, appears in a manuscript that may be a copy of the lost first book of 1586 (GB-Lcm 2088); the remaining ten works in this manuscript, arrangements from vocal music by Crecquillon and Palestrina, and dances and a canzona by Fiorenzo Maschera, are not, however, specifically ascribed to Facoli.
W.Apel: ‘Tänze und Arien für Klavier aus dem Jahre 1588’, AMw, xvii (1960), 51–60