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



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Fincke [Finke, Finck].


German family of organ builders. They were active in Thuringia in the 18th century. Johann Georg Fincke (b c1685; bur. Saalfeld, 26 May 1749) is described in the records as a ‘citizen and organ builder’ of Saalfeld. He married twice: on 14 Oct 1709 and in 1718. Another Johann Georg Fincke (d Neustadt an der Orla, 2 Nov 1774), presumably the son of the elder J.G. Fincke, is described in church records as an organ builder and citizen of Neustadt. Christian Finck (1648–1715) and Johann Philipp Finck are also mentioned as organ builders in Saalfeld, but their relationship to the two J.G. Finckes is not clear. Several other Finckes are mentioned in Jena, Neustadt, Saalfeld and Gera but the family relationships are obscure.

There are significant similarities of style between the elder J.G. Fincke and T.H.G. Trost, who was active in Thuringia at the same time. There are similarities in their organ specifications, the basic tonality of the instruments, and in further details of register construction, their use of Tierces in their Mixtures, scaling and technical layout. They probably had the same teacher, as yet unidentified. Striking features of the specifications include the uninterrupted structure of the Principals and a preference for flute stops, although string stops do occur with increasing frequency (Viola di gamba 8', Spitzflöte 8', Quintadena 16', Violonbass 16'). In 1724 J.S. Bach wrote a report on the elder J.G. Fincke's organs in the Salvatorkirche (1720) and St Johannis (1724) in Gera. Other organs built by the elder J.G. Fincke include those at Camburg (1707), St Johannis, Saalfeld (1712), Schwarzburg (1713), the Stadtkirche, Gera (1715), Altenbeuthen (1716) and Neustadt/Orla (1728). The younger Johann Georg built an organ at Ruttersdorf (1755) and repaired several others.

An organ builder called Johann Georg Fincke is mentioned in the records at Wittenberg as ‘deputy organ builder’, but it cannot be proven whether this is one of the masters mentioned above. Two designs by this builder exist for an organ of 1738 in Stolpen in Saxony.

BIBLIOGRAPHY


J. Adlung: Musica mechanica organoedi, ed. J.L. Albrecht (Berlin, 1768/R); ed. C. Mahrenholz (Kassel, 1931)

H. Löffler: ‘Joh. Seb. Bach in Gera’, BJb 1924, 125–7

W. David: Johann Sebastian Bachs Orgeln (Berlin, 1951)

H. Fischer and T. Wohnhaas: Historische Orgeln in Oberfranken (Munich, 1985)

F. Friedrich: Der Orgelbauer Heinrich Gottfried Trost (Leipzig, 1989)

H. Fischer and T. Wohnhaas: Lexikon süddeutscher Orgelbauer (Wilhelmshaven, 1993)

FELIX FRIEDRICH


Finco, Giuseppe Francesco.


See Farinelli, Giuseppe.

Findeyzen [Findeisen], Nikolay Fyodorovich


(b St Petersburg, 5 Aug 1868; d Leningrad, 10 Sept 1928). Russian musical journalist and historian. He studied at the Ye. Shreknik Commercial College in St Petersburg (1878–87). He gained his musical education at the K. Dannemann and N. Krivoshein Music School (1886–9), and studied counterpoint privately with Nikolay Sokolov (1890–92). Two years later he published, under the initials N.F., a short study of Verstovsky’s music. In 1894 he founded the monthly Russkaya muzïkal'naya gazeta, which was published weekly from 1899 until it ceased publication in 1917; the quality of its main contents – to say nothing of its concert notices, reviews and news – quickly earned it a unique position in Russian musical journalism. Findeyzen not only edited the Gazeta but contributed numerous biographical and critical articles on Russian musicians and music, and printed quantities of hitherto unpublished letters and other documentary material, some (but by no means all) of which appeared later as books or pamphlets. In 1903 he founded another outlet for similar material in Muzïkal'naya starina, a ‘collection of articles and materials for the history of music in Russia’, of which six numbers appeared irregularly during 1903–11. He edited the third and fourth volumes of Serov’s collected critical writings (St Petersburg, 1895), two volumes of Glinka’s letters (1907–8), a selection of hitherto unpublished letters by Stasov (1912), a volume devoted to Dargomïzhsky, containing his autobiography, letters, and recollections by his contemporaries (Petrograd, 1921), and a small collection of studies in musical ethnography by various contributors (Leningrad, 1926). He translated Emil Naumann’s Illustrierte Musikgeschichte (St Petersburg, 1897) and was responsible for two Russian editions of Riemann’s Musik-Lexikon (1901 and 1916). In 1899 Findeyzen became a corresponding member of the International Musical Society in Berlin. In 1909, together with Ziloti, he founded the Society of Friends of Music. After the Revolution he was president of the Commission for the Study of Folk Music set up by the Russian State Geographical Society, and a member of the artistic council of the State Opera and Ballet Theatres. He was professor of musical archaeology and palaeography at the Petrograd (Leningrad) Archaeological Institute (1919–26), and founder principal head of the Museum for the History of Music (1919–28).

Findeyzen’s major work, Ocherki po istorii muzïki v Rossii s drevneyshikh vremyon do kontsa XVIII veka, was published partly posthumously without his final supervision. With its 123 pages of musical examples, it remains the foundation-stone on which all later work on the history of Russian music before the 19th century has been built. An English translation by S.W. Pring, commissioned by the American Council of Learned Societies, remains unpublished.


WRITINGS


A.N. Verstovskiy: ocherk yego muzïkal'noy deyatel'nosti [A.N. Verstovsky: a study of his musical activities] (St Petersburg, 1890)

Muzikal'nïye ocherki i ėskizï [Musical essays and sketches] (St Petersburg, 1891)

Bibliograficheskiy ukazatel' muzïkal'nïkh proizvedeniy i kriticheskikh statey Ts.A. Kyui [Bibliographical index of the musical works and critical articles of César Cui] (Moscow, 1894)

Glinka v Ispanii i zapisannïye im narodnïye ispanskiye napevï [Glinka in Spain and a record of Spanish folksongs] (St Petersburg, 1895)

Kratkiy slovar' narodnïkh muzïkal'nikh instrumentov v Rossii [A brief dictionary of musical instruments in Russia] (St Petersburg, 1896)

Mikhail Ivanovich Glinka: yego zhizn' i tvorcheskaya deyatel'nost' [Glinka: his life and creative activities] (St Petersburg, 1896) [pt.1 only]

Srednevekovïye meysterzingerï i odin iz blestyashchikh predstaviteley meysterzinga [Medieval Meistersinger and one of their brilliant representatives] (St Petersburg, 1897)

‘Aleksey Nikolayevich Verstovskiy’, EIT 1896–7, suppl.ii, 86–134 (St Petersburg, 1898)



Katalog notnïkh rukopisey, pisem i portretov M.I. Glinki, khranyashchikhsya v rukopisnom otdelenii Imperatorskoy Publichnoy Biblioteki v S-Peterburge [A catalogue of music manuscripts, letters and portraits kept in the manuscript department of the Imperial Public Library in St Petersburg] (St Petersburg, 1898)

Michael Iwanowitsch Glinka und seine Oper ‘Russlan und Ludmilla’ (Munich, 1899)

A.N. Serov: yego zhizn' i muzïkal'naya deyatel'nost' [A.N. Serov: his life and musical activities] (St Petersburg, 1900, enlarged 2/1904)

‘Die Entwicklung der Tonkunst in Russland in der ersten Hälfte des 19. Jahrhunderts’, SIMG, ii (1900–01), 279–302



A.S. Dargomïzhskiy: ocherk yego zhizni i muzïkal'noy deyatel'nosti [A sketch of his life and musical activities] (St Petersburg, 1904)

Russkaya khudozhestvennaya pesnya: istoricheskiy ocherk yeya razvitiya [Russian art song: a historical study of its development] (St Petersburg, 1905)

A.N. Rubinshteyn: ocherk yego zhizni i muzïkal'noy deyatel'nosti (St Petersburg, 1907)

N.A. Rimsky-Korsakov: ocherk yego muzïkal'noy deyatel'nosti (St Petersburg, 1908)

Edvard Grig: ocherk yego zhizn i muzïkal'noy deyatel'nosti [Edvard Grieg: an outline of his life and work in music] (St Petersburg, 1909)

Ocherk deyatel'nosti Sankt-Petersburgskogo otdeleniya imperatorskogo russkogo muzïkal'nogo obshchestva 1859–1909 [A study of the activities of the St Petersburg branch of the Imperial Russian Music Society] (St Petersburg, 1909)

V.V. Bessel: ocherk yego muzïkal'no-obshchestvennoy deyatel'nosti [A sketch of his musical and public activities] (St Petersburg, 1909)

Rikhard Vagner: yego zhizn'i muzïkal'noy tvorchestvo [Richard Wagner: his life and musical art], i–ii (St Petersburg, 1911) [covers 1813–1859]



Pavlovskiy muzïkal'noy vokzal: istoricheskiy ocherk (1839–1912) [The Pavlovsk musical pleasure garden: a historical outline] (St Petersburg, 1912)

Nyurnberskiy meusterzingerï [The Nuremberg Meistersinger] (Moscow, 1914)

Petrovskiye kantï [The kantï of the Petrine era] (Leningrad, 1927)

Ocherki po istorii muzïki v Rossii s drevneyshikh vremyon do kontsa XVIII veka [Studies of the history of music in Russia from ancient times to the end of the 18th century] (Moscow and Leningrad, 1928–9)

‘The Earliest Russian Operas’, MQ, xix (1933), 331–40


BIBLIOGRAPHY


G.B. Bernandt and I. Yampol'sky: Kto pisal o muzïke [Writers on music], iii (Moscow, 1979)

Yu. Keldïsh, ed.: Muzïkal'naya ėntsiklopediya, v (Moscow, 1981)

L. Grigor'yev, A. Modin and Ya. Platek, eds.: Sovetskiye kompozitorï i muzïkovedï [Soviet composers and musicologists], iii/1 (Moscow, 1989), 204–5

M. Kosmovskaya: Naslediye N.F. Findeyzena [The heritage of N.F. Findeyzen] (Kursk, 1997)

GERALD ABRAHAM/LARISA GEORGIEVNA DAN'KO




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