A poet-seer in medieval Gaelic society in Ireland and Scotland, to whom a higher rank than that of the bard was assigned in medieval legal theory; seeBard, §3.
(b Verona; fl 1649). Italian composer. In 1649 he was maestro di cappella of Montagnana Cathedral. In that year he published in Venice his only known music: Salmi concertati, for three to six and eight voices, two violins and continuo, op.1.
Filibertus de Laurentiis.
(b Bucharest, 6 Sept 1819; d Bucharest, 19 March 1865). Romanian music critic and flautist. He studied at the School of Vocal and Instrumental Music in Bucharest (1836–8) with Ludwig Wiest (music theory and solfège) and Pietro Ferlendis (flute), and had further instruction in the flute from Michael Foltz (1844–8) while playing in the Bucharest Teatrol Italian orchestra (1845–57). But it is as a music critic that he is remembered; between 1857 and 1865 he wrote for several Bucharest periodicals, supporting Romanian opera and Romanian composers. He published the earliest Romanian biographical sketches of Verdi, Donizetti, Bellini and Paganini, as well as an outstanding historical survey of gypsy band music. Through his rigorous scholarship and elevated literary style he came to be regarded as the ‘father of Romanian music criticism’.
Filipoctus de Caserta.
SeeCaserta, Philippus de.
Filipenko, Arkady Dmitriyevich
(b Kiev, 26 Dec 1911/8 Jan 1912; d Kiev, 24 Aug 1983). Ukrainian composer. In his youth he worked as a turner at a shipyard and studied at the worker's evening music faculty. Then he studied at the Kiev Conservatory with L. M. Revuts'ky (composition), graduating in 1939. He served in a military band (1939 to 1945), and thenceforth lived in Kiev, occupying official posts in the administration of the Ukrainian Union of Composers, the Ukrainian Choral Society, the Ukrainian Society for Cultural Links with Foreign Countries and the Union of Composers of the USSR. He has been awarded the State Prize of the USSR (1949), the titles of Honoured Representative of the Arts of Ukraine (1958), People's Artist of Ukraine (1969), and the orders of the Workers' Red Banner, the October Revolution, and of Cyril and Methodius (Bulgaria). He has written much for chorus (e.g. laudatory cantatas and patriotic songs), and has shown himself to be most outstanding of all in the music he has written for children. His son Vitaly (b Kiev, 2 Feb 1939) is a composer of operettas and numerous songs.
Stage: Golï president [The Naked President] (operetta) 1967; V zelyonom sadu [In the Green Garden] (children's op), 1968; Sto pervaya zhena sultana [The Sultan's Wife no.101] (operetta) 1972; Zvyozdnïy chas [Starry Hour] (operetta) 1980
5 str qts: 1939, 1948, 1971, 1977, 1981
Cants., choruses, incid music, c200 songs for children's choruses.
A.German: ‘Yego pesni lyubyat rebyata’ [Children love his songs], Muzïkal'naya zhizn' (1964), no.17, pp.20–21
M.Mikhailov: Arkadiy Filipenko (Kiev, 1973)
V.Kaprelov: ‘Arkadiy Dmitriyevich Filipenko’, Oni pishut dlya detey, ed. T. Karïsheva (Moscow, 1975), 156–81
Principal publisher: Muzychna Ukraïna
(b Vicenza, 13 Jan 1830; d Milan, 24 June 1887). Italian music critic. After studying the piano and organ, he graduated in law from Padua in 1853, but in 1851 had already been led to music criticism by the wish to defend Rigoletto against its detractors. Moving to Venice soon after taking his degree, he devoted himself completely to music. In 1859 he became assistant editor of the Gazzetta musicale di Milano and was editor from 1860 to 1862. From 1862 until his death he was critic of the Milan periodical La perseveranza and attained a commanding position among Italian music critics; his writings were constantly referred to by such leading figures as Basevi and Biaggi. He travelled widely in Europe, and his trips to hear Wagner's music in Germany resulted in a notable series of articles in La perseveranza in 1870 and 1876; the first was later republished in his Musica e musicisti and also in a German translation. He was an ardent admirer of Verdi, who treated him with considerable respect, while deploring the German influence which Filippi appeared to encourage. Verdi also opposed Filippi's decision to travel to Cairo for the première of Aida as unwarranted publicity.
Filippi produced the first authoritative appraisal of a work by Puccini when in 1883 he reviewed the première of the Capriccio sinfonico; his criticism of Puccini's ‘symphonicism’ in a review of Le villi in 1884 prompted Verdi to write the famous comment in a letter to Arrivabene, ‘I do not believe it's a good thing to insert a piece of a symphony into an opera, simply for the pleasure of making the orchestra perform’. Filippi was among the first to study the Contarini archives in Venice. He published a number of songs. As a music critic Filippi's importance lay in his being among the first (together with Francesco D'Arcais) to bring intellectual authority to a profession which in Italy had until then amounted to mere reportage.
Della vita e delle opere di Adolfo Fumagalli (Milan, 1857)
Un ballo in maschera (Milan, 1862)
Musica e musicisti: critiche, biografie ed escursioni (Milan, 1876) [collection of articles first pubd in La perseveranza]
‘Secondo viaggio nelle regioni dell'avvenire’, La perseveranza (1876); repr. with G. Marsillach Lleonardt: Riccardo Wagner: saggio biografico critico (Milan, 1881)
‘Alessandro Stradella e l'Archivio musicale dei Contarini alla Biblioteca di S. Marco in Venezia’, Il politecnico, parte letterario-scientifica, 4th ser., ii (1866), 433–51; article also pubd alone (Milan, 1880)
Le belle arti a Torino: lettere sulla IV. Esposizione nazionale (Milan, 1880)
‘Autobiografia’, Il primo passo: note autobiografiche, ed. F. Martini (Florence, 1882)
A.Alberti: Verdi intimo: carteggio di Giuseppe Verdi con il conte Opprandino Arrivabene (1861–1886) (Rome, 1931), 311–12 [incl. Filippi's review of Puccini's Le villi from La perseveranza, 2, 3 June 1884]
A.Della Corte: ‘Le critiche musicali di Filippo Filippi’, RMI, lvi (1954), 45–60, 141–59; repr. in La critica musicale e i critici (Turin, 1961)