Faà di Bruno, Giovanni Matteo [Horatio, Orazio] 83

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Filitrani, Antonello.

Italian musician. He was maestro di cappella of S Giovanni in Laterano, Rome, from mid-October 1630 to April 1649. He is not identifiable with abundio Antonelli.

Fill [fill-in].

A short, usually rhythmic figure played in jazz and popular music at points of melodic inactivity or stasis (between phrases, choruses or solos, or during a sustained note) by one or more members of an accompanying group. Usually such a figure lasts no more than a beat or two. In improvised jazz and styles of popular music such as rock, funk and soul, fills are usually rhythmic embellishments played by the drummer or by other members of the rhythm section, and this has been transferred to the electronic dance music of the 1980s and 90s. In music for large ensembles with more formal arrangements, fills are typically played by entire sections: in the opening of Woody Herman’s Four Brothers (1947, Col.), for example, the brass play fills between the saxophone section’s statements of the melody.


Fillago [Filago], Carlo

(b Rovigo, c1586; d ? Venice, 1644). Italian composer and organist. He studied the organ with Luzzaschi. He was organist of Treviso Cathedral from December 1608 until 1623. In May of that year he won a competition for the post of first organist at S Marco, Venice, and he remained in this position until his death. He was also, in succession to Cavalli, organist of SS Giovanni e Paolo, Venice, from 1631 until his death. He had already established a reputation at Treviso, which, however, led to friction with the choirmaster there, Amadio Freddi, since Fillago was given to playing virtuoso organ pieces without securing Freddi's permission. The outcome was that Freddi, deemed ‘the true head of the music’, had to approve the organ music. All of Fillago's published collections comprise solo motets and small-scale concertato church music of a type widely cultivated in north Italian churches at the time.


all published in Venice

Motecta … liber primus, 1–4vv (1611)

Sacrae cantiones, liber primus (1611)

Sacrarum cantionum, liber tertius, 2–6vv, bc (org) (1619)

Sacri concerti, 1v, bc, op.4 (1642)

4 motets, 16243

2 madrigals, 2–3vv, 162411


G. d’Alessi: La cappella musicale del duomo di Treviso (1300–1633) (Treviso, 1954)

E. Selfridge: ‘Organists at the Church of SS. Giovanni e Paolo’, ML, l (1969), 393–9

J. Roche: North Italian Church Music in the Age of Monteverdi (Oxford, 1984)


Filleborn, Daniel

(b Warsaw, 7 Nov 1841; d Marcelin, 3 June 1904). Polish tenor. He studied with Quattrini in Warsaw, then with Lamperti in Milan. He made his début on 3 July 1862 at the Wielki Theatre in Warsaw in Alessandro Stradella. From 1865 he sang all the leading roles in Moniuszko's operas, and he was considered one of the finest interpreters of Jontek in Halka; he also won great acclaim as a lieder singer, and sang with Patti in St Petersburg and Moscow (1873–4). His voice was markedly lyrical and mellifluous, but he overstrained it when he transferred to baritone parts. He was forced by ill-health to retire prematurely, after a final appearance as Don Ottavio on 18 July 1882.


PSB (M. Rulikowski)

S. Sikorski: Wielka encyklopedia powszechna ilustrowana (Warsaw, 1890–1908)

J. Kański: ‘Daniel Filleborn’, Encyklopedia muzyczna PWM, iii, ed. E. Dziębowska (Kraków, 1987)


Fillmore, (James) Henry

(b Cincinnati, 3 Dec 1881; d Miami, 7 Dec 1956). American composer, arranger, bandmaster and publisher. He graduated from the Miami Military Institute in 1901, studied briefly at the College of Music in Cincinnati and then worked as staff arranger and composer in his father’s religious music publishing house, Fillmore Brothers (later Fillmore Music House). He first gained fame as a conductor with the Syrian Temple Shrine Band of Cincinnati (1921–6), which enjoyed a reputation as the United States’s leading fraternal band, and then organized his own professional band; this gained considerable renown through its radio broadcasts. After 1938 he became an influential figure in the growth of school bands in Florida. He was president of the American Bandmasters Association from 1941 to 1946.

Fillmore composed at least 256 miniatures and arranged at least 774 others. He wrote under his own name and seven pseudonyms: Gus Beans, Harold Bennett, Ray Hall, Harry Hartley, Al Hayes, Will Huff and Henrietta Moore. Although known for his works for band, he also composed numerous pieces of church music, including hymns and children’s cantatas. His most popular pieces are marches, such as Americans We, Men of Ohio, His Honor, The Klaxon, Man of the Hour and Military Escort, and trombone ragtime pieces (‘smears’) such as Lassus Trombone, Miss Trombone and Shoutin’ Liza Trombone.

Principal publisher: Fillmore Music House

MSS and Scrapbooks in the Fillmore Museum, U. of Miami


E.B. Benton: ‘Henry Fillmore: All-American Bandmaster’, The Instrumentalist, xv/4 (1960–61), 41

H.B. Bachman: ‘Henry Fillmore: a Tribute to a Bandsman’, Music Journal, xxvi/10 (1968), 31–33, 72–4; xxvii/1 (1969), 25 only, 60–63

P.E. Bierley: Hallelujah Trombone: the Story of Henry Fillmore (Westerville, OH, 1982)

P.E. Bierley: The Music of Henry Fillmore and Will Huff (Westerville, OH, 1982) [list of works]

W.H. Rehrig: The Heritage Encyclopedia of Band Music: Composers and their Music, ed. P.E. Bierley (Westerville, OH, 1991)


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