Faà di Bruno, Giovanni Matteo [Horatio, Orazio] 83
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- Bu səhifədəki naviqasiya:
- Finetti, Giacomo
- BIBLIOGRAPHY
- Finger, Gottfried [Godfrey]
- WORKS english theatre
Fine Arts Quartet.American string quartet. It was founded in Chicago in 1946 and its most recent members are Ralph Evans and Efim Boico, violins, Jerry Horner, viola, and Wolfgang Laufer, cello. The quartet’s original first violinist, Leonard Sorkin, retired in 1982, the original cellist, George Sopkin, in 1979. Horner joined the group in 1980 and Boico in 1983. From 1946 to 1954 the Fine Arts was the resident quartet of ABC, Chicago; it has also recorded many programmes for the National Educational Television Network. In 1961 it began an annual chamber concert series at the Goodman Theater of the Art Institute, Chicago. Its players were made professorial members of the University of Wisconsin, Milwaukee, in 1963. In addition to annual concerts there, it has toured North America, Europe, Australia, New Zealand and East Asia. The quartet has recorded and given the premières of works by such composers as Babbitt, Wuorinen, Husa, Shifrin and Wellesz, as well as playing much of the Classical and Romantic repertory. Despite personnel changes in the early 1980s, the quartet has maintained its characteristic large and rich sound, even enhancing its long-standing reputation. TULLY POTTER Finetti, Giacomo(b Ancona; fl 1605–31). Italian composer. He was a Franciscan friar and was choirmaster of Iesi Cathedral in 1605 and 1606 and of SS Sacramento, Ancona, from 1609 to 1612. He spent the rest of his career in Venice: he was organist at S Maria Gloriosa dei Frari and also directed music at the Ca’ Grande, which was then a convent. Finetti was one of the more prolific composers of liturgical music in northern Italy at a time when the new concertato style was emerging. Most of the music that he published before he went to Venice is for specific rites – Vespers (psalms and, unusually, prayers), Compline and Christmas music, the last two not often found in practical compilations. The vesper psalms are among Finetti’s few works for double choir. His music for the modern medium of a few voices and organ was more popular, as the frequent appearances of most of his publications of it testify; his three-part psalms (2/1618) show too that he did not adhere to an outmoded style for such texts, as others did. Several publications in northern Europe show that he had a high reputation there as well. In the Concerti ecclesiastici the best music is in the duets, of which O Maria quae rapis corda hominum, a simple, attractive setting with some effective chains of suspensions at the end, is an outstanding example. Finetti employed word-painting, but some of the ornamentation is rather stereotyped, and his melodic imagination somewhat limited. He relied rather too much on echo effects between voices – in one of the motets of Corona Mariae there is an actual echo duet in which one tenor repeats (no doubt from a concealed position) the other’s cadences, a somewhat trite device. However, he was concerned to produce convincing formal structures, as is clear from his refrains and other repeated material. WORKS
BIBLIOGRAPHYA. Adrio: Die Anfänge des geistlichen Konzerts (Berlin, 1935) D. Arnold: ‘Giovanni Croce and the Concertato Style’, MQ, xxxix (1953), 37–48 J. Roche: ‘Musica diversa di Compietà: Compline and its Music in 17th-Century Italy’, PRMA, cix (1982–3), 60–79 J. Roche: North Italian Church Music in the Age of Monteverdi (Oxford, 1984) JEROME ROCHE Finger, Gottfried [Godfrey](b ?Olomouc, c1660; d Mannheim, bur. 31 Aug 1730). Moravian viol player and composer. Georg Finger, his father or brother, was cantor at St Moriče, Olomouc. Gottfried was presumably in the service of Prince-Bishop Karl Liechtenstein-Kastelcorn, for pieces composed and copied by him survive in the prince-bishop's music collection at Kroměříž. According to Riemann, Finger was in Munich in 1682, and he was in London by spring 1687: he received a post in James II's new Catholic chapel by a warrant dated 5 July 1687, backdated to 25 March. In 1688 he published his op.1, which he dedicated to James II, stating that the music was intended for use in the Catholic chapel. Finger did not follow the king into exile in 1688, but remained in London and started a successful freelance career. He began by publishing three collections of easy and tuneful music designed to appeal to amateurs: VI Sonatas or Solo's (1690), the first collection published in England of sonatas for solo instrument and continuo, A Collection of Choice Ayres (1691) and A Collection of Musick in Two Parts (1691). The last was published by John Banister (ii), who added a four-part suite of his own and may have promoted concerts with Finger. Finger certainly provided music for flat trumpets for the 1691 St Cecilia's Day celebrations, composed the 1693 St Cecilia's Day ode, and gave concerts with Giovanni Battista Draghi at York Buildings from at least November 1693. Finger's career in the theatre seems to have begun in 1695, when Thomas Betterton and his colleagues seceded from the United Company and began acting at Lincoln's Inn Fields. He wrote a suite and a song for their first production, Congreve's Love for Love (30 April 1695), and contributed to at least seven more plays between then and spring 1697. Nothing is known of his activities between 8 April 1697 and 17 February 1699, when a ‘Consort of Vocal and Instrumental Music, after the Italian manner’ was given at York Buildings for his benefit. Perhaps he spent the time abroad, in France or Italy: his music library was advertised in a London newspaper on 1 December 1704 as ‘A Choice Collection of Vocal and Instrumental Music in Italian, French and English, composed by several great masters (the Italian music being most of them originals)’. On his return, Finger plunged once again into London's theatrical life, writing music for plays and semi-operas put on by Christopher Rich's company at Drury Lane, though his career in England came to an abrupt end soon after he entered the competition to set Congreve's masque The Judgement of Paris and came fourth, beaten by John Weldon, John Eccles and Daniel Purcell; his setting was performed at Dorset Garden on 28 March 1701, and again with the other three on 3 June. According to Roger North, ‘having lost the cause’, Finger ‘declared he was mistaken in his musick, for he thought he was to be judged by men, and not by boys, and thereupon left England and has not bin seen since’. By December he was in Vienna, where the British ambassador reported that, despite complaining that the Duke of Somerset had been partial to Eccles and Weldon, he planned to perform Eccles's setting in Hamburg. In 1702 Finger was in Berlin in the service of the Queen of Prussia, Sophie Charlotte, where according to Walther he composed ‘more German operas’. During this period a number of his instrumental collections were published by Roger of Amsterdam. By 1706 he was in Breslau in the service of Duke Karl Philipp of Neuberg, the younger brother of the Elector Palatine. He remained in Karl Philipp's service for the rest of his life; in October 1707 he was a Kammermusiker in the Innsbruck Hofkapelle and rose to the position of Konzertmeister in 1708. In that same year Finger was back in Berlin, where his operas Der Sieg der Schönheit über die Helden and Roxane und Alexanders Hochzeit were performed. He seems to have maintained his post as Konzertmeister when he followed the court to Neuberg an die Donau in 1717, to Heidelberg in 1718, and to Mannheim in 1720. Finger's last years were largely spent composing chamber music and stage works for the court at Mannheim and Düsseldorf. His name disappears from the Mannheim court records in 1723. Finger was a bass viol virtuoso, and was appointed to teach the instrument in the abortive scheme for a Royal Academy in 1695. He did not publish any solo bass viol music, but manuscript sources (GB-Ob and D-SÜN) reveal him to have been one of the most important composers for the instrument of his time. His output includes sonatas and suites for one, two, and three bass viols, as well as trios with violin, violetta or baryton – the earliest surviving ensemble pieces for the instrument. He wrote boldly and idiomatically for the viol, and also popularized in England the central European type of ensemble sonata, with its ear-tickling combinations of trumpets, oboes, recorders, strings and continuo. He was heavily influenced by his compatriots; his skilful trumpet writing is particularly indebted to P.J. Vejvanovský. Finger was a prolific but uneven composer. In his best music – such as some of his English theatre suites – he created an effective synthesis between the Purcellian idiom and the folk-like and bizarre elements of the music of his native Moravia. WORKSenglish theatrefor arrangements of some theatre suites and airs see ‘Instrumental’ (1701–2)
other stageall lost
other vocal
instrumental
BIBLIOGRAPHYAshbee, ii, v BDECM BDA Day-MurrieECM DoddI GroveO (‘Virgin Prophetess, The’; P. Holman) LS MeyerMS RiemannL12 J.G. Walther: Musicalisches Lexicon, oder Musicalische Bibliothec (Leipzig, 1732/R) W.C. Smith: A Bibliography of the Musical Works Published by John Walsh during the Years 1695–1720 (London, 1948; 2/1968) J. Wilson: Roger North on Music (London, 1959) M. Tilmouth: ‘A Calendar of References to Music in Newspapers Published in London and the Provinces (1660–1719)’, RMARC, i (1961) [whole issue] J. Sehnal: ‘Hudebníci 17. Století v Matrikách Kostela Sv. Petra a Pavla v Olomouci’ [17th-Century Musicians in the Records of the Church of St Peter and St Paul in Olomouc], Z Právy Vlastivédného ú Stavu v Olomouci (Olomouc, 1965) F. Lesure: Bibliographie des éditions musicales publiées par Estienne Roger et Michel-Charles Le Cène (Amsterdam 1696–1743) (Paris, 1969) A.W. Marshall: ‘The Viola da Gamba Music of Godfrey Finger’, Chelys, i (1969), 16–26 A.W. Marshall: ‘The Chamber Music of Godfrey Finger’, The Consort, no.26 (1970), 423–32; no.31 (1975), 148 f D.L. Smithers: The Music and History of the Baroque Trumpet before 1721 (London, 1973) P. Holman: ‘The Trumpet Sonata in England’, EMc, iv (1976), 424–9 C.A. Price: ‘Eight “Lost” Restoration Plays “Found” in Musical Sources’, ML, lviii (1977), 294–303 C.A. Price: Music in the Restoration Theatre (Ann Arbor, 1979) D. Lasocki: ‘The Detroit Recorder Manuscript’, American Recorder, xxiii (1982), 95–102 C.A. Price: Henry Purcell and the London Stage (Cambridge, 1984) J. Sehnal: Hudba v Olomoucké Katedrále v 17. a 18. Století [Music at Olomouc Cathedral in the 17th and 18th Centuries] (Brno, 1988) B. Haynes: Music for Oboe, 1650–1800: A Bibliography (Berkeley, 2/1992) I. Spink, ed.: The Seventeenth Century (Oxford, 1992) J. and J. Lubrano: Catalogue 46 (Great Barrington, MA, 1993) D. Hunter: Opera and Song Books Published in England 1703–1726: a Descriptive Bibliography (London, 1997) R.G. Rawson: ‘From Olomouc to London: Some Questions of Instrumentation in the Music of Gottfried Finger’, Musicologica, iv (1998) R.G. Rawson: From Olomouc to London: Performance, Transmission and Reception of the Music of Gottfried Finger (c.1656–1730) (diss., U. of London, 2000) PETER HOLMAN, ROBERT RAWSON Yüklə 17,54 Mb. Dostları ilə paylaş:
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