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

Födermayr, Franz

(b Grieskirchen, 13 Sept 1933). Austrian musicologist. He studied musicology (with Erich Schenk and Walter Graf) and anthropology at the University of Vienna from 1953, and took the doctorate with Graf in 1964. After completing the Habilitation in 1972 at Vienna he succeeded Graf in 1973 as professor of comparative musicology, a post he held until his retirement in 1999. From 1983 he was a corresponding member of the Österreichische Akademie der Wissenschaften and he was president of the Österreichische Gesellschaft für Musikwissenschaft, 1986–90. His scholarship is based on the traditions of the Viennese school of comparative musicology, including its celebrated techniques for sound analyses of vocal styles, and the fundamental questions concerning the relationship between psychology, acoustics and music. He has also examined Country and Western music. The Festschrift Vergleichend-systematische Musikwissenschaft: Beiträge zu Methode und Problematik der systematischen, ethnologischen und historischen Musikwissenschaft (ed. E.T. Hilscher and T. Antonicek, Tutzing, 1994) was published to mark his 60th birthday.

WRITINGS

‘On the Arabian Influence in the Tuareg Music’, AfM, iv/1 (1966–7), 25–37

‘Die Musik der Tuareg (nach den Phonogrammen Ludwig Zöhrers aus dem Jahre 1935)’, Jb für musikalische Volks- und Völkerunde, v (1970), 55–72, 102–30

‘Klangliche Ausdrucksgestalten in Beethoven's Klaviersonaten’, Beethoven-Studien: Vienna 1970, 327–40

Zur gesanglichen Stimmgebung in der aussereuropäischen Musik: ein Beitrag zur Methodik der vergleichenden Musikwissenschaft (Vienna, 1971)

with W.A. Deutsch: ‘Zur Akustik des “tepsijanje”’, Neue ethnomusikologische Forschungen: Festschrift Felix Hoerburger, ed. M.P. Baumann, R.M. Brandl and K. Reinhard (Laaber, 1977), 97–112

‘“Shichi-no-San”: die Obertontiefstimme in Japan?’, Festschrift Othmar Wessely, ed. M. Angerer, and others (Tutzing, 1982), 151–205

‘Zum Konzept einer vergleichend-systematischen Musikwissenschaft’, Musikethnologische Sammelbände, vi (Graz, 1983), 25–40

‘Popularmusik als Gegenstand musikwissenschaftlicher Forschung: ein hermeneutischer Versuch’, Musicologica austriaca, v (1985), 49–84

with W.A. Deutsch: ‘Tonhöhe versus Frequenz: zur Frage der indonesischen Tonsysteme’, Musicologica-austriaca, vi (1986), 197–226

with W.A. Deutsch: ‘Musik als geistes- und naturwissenschaftliches Problem’, De editione musices: Festschrift Gerhard Croll, ed. W. Gratzer and A. Lindmayr (Laaber, 1992), 377–89

with W.A. Deutsch: ‘Zum Problem des zweistimmigen Sologesanges mongolischer und Turkvölker’, Von der Vielfalt musikalischer Kultur: Festschrift für Josef Kuckertz, ed. R. Schumacher (Salzburg, 1992), 133–45

with W.A. Deutsch: ‘Musical experience from the viewpoint of Viennese comparative Musicology’, Interdisciplinary Studies in Musicology II: Poznań 1993, 7–18

with W.A. Deutsch: ‘Analytische Grundlagen zu einer Typologie des Jodelns’, Systematische Musikwissenschaft: Zeitschrift für musikalische Grundlagenforschung, ii/2 (1994), 255–72

‘Zur Jodeltechnik von Jimmie Rodgers: Die Blue Yodel’, For Gerhard Kubik: Festschrift ed. A. Schmidhofer and D. Schüller (Frankfurt, 1994), 381–404

‘Concetti e metodi della musicologia sistematico-comparata’, EM: Annuario degli archivi di etnomusicologia del' Accademia Nazionale di Santa Cecilia, iii (1995), 55–76

with W.A. Deutsch: ‘Zur Bedeutung klanganalytischer Techniken für die Untersuchung buddhistischer Gesänge,’ Lux Oriente: Festschrift Robert Günther, ed. K.W. Niemöller and others (Kassel, 1995), 349–61

RÜDIGER SCHUMACHER

Fodor.

Family of Dutch and French musicians.

(1) Josephus Andreas Fodor

(2) Carolus Emanuel Fodor

(3) Carolus Antonius Fodor

(4) Joséphine Fodor-Mainvielle [Mainvielle-Fodor]

ELIZABETH FORBES

Fodor

(1) Josephus Andreas Fodor

(b Venlo, 21 Jan 1751; d St Petersburg, 3 Oct 1828). Dutch violinist and composer. He studied with Franz Benda in Berlin and became a famous virtuoso, touring extensively in Europe. He played at the Concert Spirituel in Paris in 1780, and published some of his violin concertos around that time. In 1792 he moved to St Petersburg. His compositions also include sonatas, duets and other occasional pieces.

Fodor

(2) Carolus Emanuel Fodor

(b Venlo, 31 Oct 1759; d Paris). French harpsichordist of Dutch birth, brother of (1) Josephus Andreas Fodor. One of the foremost harpsichordists of his time, in about 1780 he settled in Paris, where he gave concerts, and taught and composed harpsichord concertos and sonatas, as well as a symphony and music for piano and strings.

Fodor

(3) Carolus Antonius Fodor

(b Venlo, 12 April 1768; d Amsterdam, 22 Feb 1846). Dutch pianist, conductor and composer, youngest brother of (1) Josephus Andreas Fodor. He studied in Mannheim, Paris and probably Russia, and in 1795 returned to Holland and became a leading figure in the musical life of Amsterdam. He promoted and conducted many concerts and composed symphonies, piano concertos, sonatas, quartets, other chamber music and several cantatas.

Fodor

(4) Joséphine Fodor-Mainvielle [Mainvielle-Fodor]

(b Paris, 13 Oct 1789; d Saint Genis-Laval, 14 Aug 1870). French soprano, daughter of (1) Josephus Andreas Fodor. She studied in St Petersburg with Eliodoro Bianchi. After some public appearances as a pianist and harpist, she made her stage début about 1810 in Fioravanti’s Le cantatrici villane. In 1812 she married the French actor Mainvielle, and after singing in Stockholm and Copenhagen, returned to Paris, where she made her début at the Opéra-Comique on 9 August 1814 in Grétry’s La fausse magie and Berton’s Le concert interrompu; she also sang in numerous roles at the Théâtre Italien. Her London début was in 1816 as Paer’s Griselda at the King’s Theatre, where her many other roles included Mozart’s Vitellia, Fiordiligi, Countess Almaviva, Zerlina and Susanna. The Morning Post described her voice as ‘rich, harmonious, and, without possessing extraordinary power, of a considerable compass. Her taste is chaste, her execution correct, easy and elegant, and her science evidently profound. To the brilliance of ornamental flights, she joins the still greater charm of feeling’.

In 1818 Fodor-Mainvielle took part in the first London performances of Rossini’s Il barbiere di Siviglia and Elisabetta, regina d’Inghilterra. That year she also appeared at La Fenice. She later took part in the first Paris performances of Rossini’s La gazza ladra and Elisabetta, regina d’Inghilterra (1822) and also in 1822 was engaged at the S Carlo, Naples. She appeared at the Kärntnertortheater, Vienna, scoring an immense success as Semiramide, a role she also sang at the first Paris performance of Rossini’s opera at the Théâtre Italien in 1825; but not completely recovered from an illness, she lost her voice during the performance, and was later replaced by Pasta. She retired from the stage in 1833. Her book Réflexions et conseils sur l’art du chant was published in 1857.

BIBLIOGRAPHY

C. Unger: Joséphine Mainvielle-Fodor: précis historique sur sa vie (Paris, c1823)

Stendhal: Vie de Rossini (Paris, 1824, 2/1854); ed. H. Prunières (Paris, 1922); Eng. trans., ed. R.N. Coe (London, 1956, 2/1970)

W.C. Smith: The Italian Opera and Contemporary Ballet in London, 1789–1820 (London, 1955)