Faà di Bruno, Giovanni Matteo [Horatio, Orazio] 83
Fleischer, Friedrich Gottlob
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Fleischer, Friedrich Gottlob(b Cöthen, 14 Jan 1722; d Brunswick, 4 April 1806). German composer. He studied in Leipzig, probably with J. Friedrich Doles. After 1747 he was ducal court musician and organist at the Lutheran churches of St Martin and St Aegidien in Brunswick. As ducal music master he taught the later Duchess Anna Amalia of Weimar among others. An important keyboard player, Fleischer moved in Lessing's circle, and also had contact with the professors Eschenburg, Zachariä and Jerusalem of the Brunswick Collegium Carolineum. Although contemporary opinion of his keyboard playing was uniformly high, his compositions brought mixed critical reaction. His songs were widely disseminated but do not rise above the average of their era. He also composed pleasant, virtuoso keyboard works orientated towards C.P.E. Bach, and the Singspiel Das Orakel (1771). WORKS
BIBLIOGRAPHYBurneyGN FriedlaenderDL H. Schneider: ‘Vaudeville-Finale in Haydns Opern und ihre Vorgeschichte’, Joseph Haydn: Vienna 1982, 302–9 HEINRICH SIEVERS Fleischer, Oskar(b Zörbig, 2 Nov 1856; d Berlin, 8 Feb 1933). German musicologist. He studied ancient and modern languages and philosophy at Halle University (1878–82), where he obtained the doctorate with a dissertation on Notker Labeo. He then studied musicology in Berlin with Philipp Spitta and in 1886 his study of Denis Gaultier's La rhétorique des dieux appeared. Two years later he became director of the Berliner Königliche Instrumenten-Sammlung and catalogued its holdings. He was appointed lecturer at Berlin University in 1892 and reader in 1895. In 1899 he founded the International Musical Society and until 1904 was coeditor of its Zeitschrift and the Sammelbände. It is unfortunate that the framework of ideas which provides a point of reference for most academics' work included, in Fleischer's case, an element of fantasy and even fanaticism, which ensured a stormy reception for his later writings. After the very real advances made by his Neumenstudien (1895–1904), its sequel Die germanischen Neumen (1923) was an unsuccessful attempt to promote a new system of transcription of Gregorian melodies, which involved jettisoning the whole corpus of later chant manuscripts written with staves as unreliable, and even denouncing the parallel alphabetic and neumatic notation of the Dijon tonary (F-MO h159) as transmitting different melodies in the two notations. His idea that ‘German’ neumatic script (in itself a concept now untenable) was, apart from some Byzantine contribution, the fount and origin of all systems of chant notation, is reminiscent of the patriotic fervour that makes Vom Kriege gegen die deutsche Kultur (1915) such distasteful reading. After World War I his continuing nationalist sentiment led him to claim that the German race was responsible for all that was superior in music. As a regular contributor to the völkisch monthly Die Sonne, he expounded on the Germans' invention of diatonicism and polyphony and their strict adherence to the major mode. This claim prompted others to investigate the tonality of German folksong and trace the development of the ‘idea of major’ (Dur-Gedanke). It is probably as a co-founder of the International Musical Society and as a Byzantine chant scholar that Fleischer will be remembered. The third part of Neumenstudien (1904) gave a facsimile of a papadikē (from the Basilean monastery of S Salvatore near Messina, now I-ME cod.graec.154), a short manual of late Byzantine music, together with a transcription, translation and commentary. The transcriptions of melodies in late Byzantine notation that he made in this volume were the first substantial step towards complete deciphering of the music (the rhythmic discoveries of Wellesz and Tillyard were still to come). His most important pupil was Hermann Abert.
‘Geschichte des Klaviers’, Geschichte der Klaviermusik, ed. M. Seiffert (Leipzig, 1899) pp.v–vii ‘Ein Kapitel vergleichender Musikwissenschaft’, SIMG, i (1899–1900), 1–53 ‘Sind die Reste altgriechischer Musik noch heute künstlerisch wirksam?’, ‘Das Bachsche Clavicymbel und seine Neukonstruktion’ ZIMG, i (1899–1900), 49–54, 161–6 Mozart (Berlin, 1900) ‘Musik und Lehrberuf’, ZIMG, ii (1900–01), 300–12 Führer durch die Bach-Ausstellung im Festsaale des Berliner Rathauses (Berlin, 1901) ‘Die Snoecksche Sammlung alter Musikinstrumente’, SIMG, iii (1901–2), 565–94 ‘Napoleon Bonapartes Musikpolitik’, ZIMG, iii (1901–2), 431–3
‘Vor- und Frühgeschichtliche Urgründe des Volksliedes’, Die Sonne: Monatschrift für nordische Weltanschauung und Lebensgestaltung, v (1928), 193–200 ‘Die Luren’, Die Sonne: Monatschrift für nordische Weltanschauung und Lebensgestaltung, vii (1930), 556–9
BIBLIOGRAPHYMGG1 (W. Vetter) P. Wagner: Review of Neumenstudien, iii, ZIMG, vi (1904–5), 223–4 P. Wagner: Review of Die germanischen Neumen, iii, ZMw, v (1922–3), 560–68 [Fleischer's reply in ZMw, vi (1923–4), 336–41; ‘Erwiderung’ by Wagner, p.340] A. Einstein: ‘Oskar Fleischer’, ZMw, xv (1932–3), 209 only DAVID HILEY/PAMELA M. POTTER Yüklə 17,54 Mb. Dostları ilə paylaş:
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