(b ?Paris, late 16th century; d after 1635). French composer. The only established fact about him is that on 20 January 1615 Cardinal de Sourdis appointed him canon of St Emilion, Bordeaux. The letter of appointment was addressed to him as a cleric in the diocese of Paris, which may have been the basis of Fétis’s claim that he was born there. Pierre Trichet, of Bordeaux, wrote an epigram in his honour in 1635, which indicates that he was still alive then: possibly it was meant to celebrate the 20th anniversary of his appointment at Bordeaux. All his music is lost. It is known to have included three separately published masses, two for four voices and one for six (Paris, 1622), which were still in the Ballard catalogue of 1707, and Preces ecclesiasticae, liber primus (Paris, 1625), which consisted of several motets, three five-part Tenebrae lessons and a St Matthew Passion.
C.F.Becker: Die Tonwerke des XVI. und XVII. Jahrhunderts (Leipzig, 1847, 2/1855/R)
E.Lebeau: ‘La bibliothèque musicale des éditeurs Ballard’, XVIIe siècle, xxi–xxii (1954), 456–62
D.Launay: ‘Church Music in France, 1630–1660’, NOHM, v (1975), 414–37
D.Launay: La musique religieuse en France du concile de Trente à 1804 (Paris, 1993)
Fonteyn, Dame Margot [Hookham, Margaret]
(b Reigate, 18 May 1919; d Panama City, 21 Feb 1991). English dancer; seeBallet, §3(ii).
(flc1400). English composer. He may have been connected with Fountains Abbey in Yorkshire. His only known composition, preserved in the Old Hall Manuscript (ed. in CMM, xlvi, 1969–73; no.51), is a three-part descant setting in score of the Marian antiphon Regali ex progenie. There is no reason to suggest an identification with Pierre Fontaine.
For bibliography seeOld Hall Manuscript.
(b Antwerp, 27 Dec 1930). Belgian composer. She was taught the piano by Ignace Bolotine and Marcel Maas, and studied composition first with Marcel Quinet (1947–59), then in Paris (1954–5) with Max Deutsch, who introduced her to serial techniques. She furthered her studies in Vienna (1956) and at the Chapelle Musicale Reine Elisabeth, Belgium (1956–9). In 1961 she married the composer Camille Schmit, who encouraged and influenced her through the rigour of his own work. She held appointments as professor of counterpoint at the conservatories in Antwerp (1963–70) and Brussels (1969–71), and taught composition at the latter (1971–90). From 1991 she devoted herself entirely to her own composition. Among the awards she has received are the Oscar Espla Prize (Alicante, 1961) and the Arthur Honegger prize (1987). In 1988 she was awarded a commission by the Koussevitzky Foundation of the Library of Congress in Washington.
From the early Danceries (1953) – where a feeling of tonality is still present – to La fenêtre ouverte (1996), a constant evolution can be followed in Fontyn’s musical style. With Capriccio(1954) she made a first step into dodecaphony which she adopted freely until 1979. From Ephémères on, she explored a new track, working on invented modes. Filigrane is the beginning of a controlled aleatorism with free playing on given notes, but done with great care and economy. Fontyn aims to invent a specific form for each composition, developing the musical material organically. She says that her favourite instrument is the orchestra; indeed, her compositions always show colourful instrumental combinations. Her style, a kind of modern impressionism, is characterized by clearness, transparency and well-balanced concision.