Faà di Bruno, Giovanni Matteo [Horatio, Orazio] 83
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- BIBLIOGRAPHY
- Förster.
- Förster, Christoph (Heinrich)
- WORKS
Forster.English family of violin makers and music publishers. They were working in London from about 1760 to 1841. William Forster (i) (b Brampton, Cumberland, 1739; d London, 14 Dec 1808), known as ‘Old Forster’, was instructed by his father in the making of spinning-wheels and violins. He went to London in 1759 and within a short time had established himself in St Martin’s Lane. By the early 1770s his violins, copies of Stainer instruments, were in demand, and he had learnt to make the thick dark-red varnish with which almost all Forster instruments are covered. In due course, in common with his London contemporaries, he came to be influenced by Cremonese instruments, particularly those of the Amatis. Benefited by royal patronage, he moved to the Strand about 1785, by which time he was styling himself ‘violin maker to the Prince of Wales and Duke of Cumberland’. He also made violas, cellos and double basses (including three at the king’s command), and had excellent bows made for him. He was also active as a music seller and publisher, issuing instrumental music by J.C. Bach, G.M. Cambini and Haydn (over 100 works; Forster made an agreement with Haydn in 1781 for the publication rights in England of his music and many of the manuscript copies he received from the composer are now in the British Library). William Forster (ii) (b London, 7 Jan 1764; d London, 24 July 1824), the son of William Forster (i), followed in his father’s trade; his earliest known violins were made in 1779. For many years the two worked side by side, writing in respectively ‘Senr’ and ‘Junr’ on the printed label. Most of the instruments were also signed in ink on the rib above the tail-button, together with the date and serial number. William Forster (ii) took over the selling and publishing side of his father’s business after his marriage in July 1786, and as well as reissuing some of his father’s publications he published annual country-dance books. In 1816, following a speculation in a business of which he was not knowledgeable, he went bankrupt. His last years showed declining business activity, and his sudden death in a young woman's chambers prompted a coroner’s inquest. William Forster (iii) (b 14 Dec 1788; d 8 Oct 1824), son of William Forster (ii), was trained as a violin maker but became an entertainer. Simon Andrew Forster (b 13 May 1801; d 2 Feb 1870), another son, carried on the business after his father’s death and made about 60 good instruments. Much of his work was of a lesser character, although he was capable of finer work of the calibre of his ancestors. His The History of the Violin (London, 1864) gives much valuable information about his family and other English makers and lists all the numbered Forster instruments, in most cases with the name of the first purchaser. BIBLIOGRAPHYHumphries-SmithMP Neighbour-TysonPN H.C.R. Landon: The Symphonies of Joseph Haydn (London, 1955, suppl. 1961) H.C.R. Landon, ed.: The Collected Correspondence and London Notebooks of Joseph Haydn (London, 1959) H.E. Poole: ‘Music Engraving Practice in Eighteenth-Century London: a Study of Some Forster Editions of Haydn and their Manuscript Sources’, Music and Bibliography: Essays in Honour of Alec Hyatt King, ed. O. Neighbour (London, 1980), 98–131 CHARLES BEARE, PETER WARD JONES, PHILIP J. KASS Förster.German firm of piano makers. Friedrich August Förster (b Oberseifersdorf, nr Zittau, 30 July 1829; d Löbau, 18 Feb 1897) founded the firm in Löbau (1859) and was producing about 500 uprights a year by the 1880s. Franz Cäser Förster (b Löbau, 7 Feb 1864; d Löbau, 20 Feb 1915), the son and successor of the founder, established a second factory in Georgswalde, Bohemia, in 1900. From 1924 to 1931 the company built several quarter-tone instruments (see Microtonal instruments, Table 2; described in A. Förster: Der Viertelton-Flügel, Löbau, 1925) to accommodate music by such composers as Alois Hába. Even though the important Grotrian-Steinweg firm took an interest in quarter-tone pianos for a while, the instruments never attained a wide distribution. Förster went on to make an electric piano, the Elektrochord, to the design Oscar Vierling of Berlin patented in 1933. Although the instrument was in other respects a conventional grand piano, electrical amplification enabled the attack and decay of the note and the harmonic development from each fundamental to be modified. Like the earlier Neo-Bechstein-Flügel, a similar instrument but without any soundboard, it could have a radio and gramophone built into it. Besides these experiments, the firm has maintained a steady production of medium-quality instruments, reaching a total of 161,500 pianos in 1995 under the management of Wolfgang Förster (b Löbau, 6 May 1933). MARGARET CRANMER Förster, Christoph (Heinrich)(b Bibra, Thuringia, 30 Nov 1693; d Rudolstadt, ?5/6 Dec 1745). German composer. He studied first with the organist Pitzler, then left Bibra for Weissenfels where he learnt thoroughbass and composition from Heinichen. When Heinichen went to Italy, Förster became a pupil of Georg Friedrich Kauffmann at Merseburg. In 1717 he was appointed violinist in the Merseburg court orchestra and later became Konzertmeister there. While employed at the court Förster dedicated six sonatas, six cantatas and 12 concertos to the duchess; he also learnt Italian, the predominant language for secular vocal music. Förster was granted leave of absence from Merseburg on several occasions: in 1719 he visited Heinichen at Dresden and in 1723 went to Prague where he met Fux, Caldara, Conti and other eminent musicians involved in the coronation celebrations of Charles VI. In August 1742 he played a leading part (under Johann Graf) in the birthday festivities of Prince Friedrich Anton of Schwarzburg-Rudolstadt, and the following year was appointed vice-Kapellmeister at Rudolstadt. Among works written for this court is a birthday cantata dedicated to Princess Bernhardine (5 May 1745). When Graf died in 1745 Förster succeeded him as Kapellmeister, but held this post for only a few weeks before his own death. There is some confusion surrounding Förster’s activities between 1739 and 1743. Loewenberg (Grove5) stated that he held an appointment at Sondershausen during this period, but in Förster’s application for the post at Rudolstadt (3 March 1743) he merely said he had been Kammermusikus and Konzertmeister at Merseburg ‘for a long time’. In his own day Förster was greatly respected as a composer of church music. Gerber thought highly of the cantatas; when a boy he had sung many ‘agreeable’ arias by Förster in the local church at Sondershausen. In his instrumental music, Förster has been described as one of the leading exponents of the French overture: the overture in A major (ed. Riemann) shows a fine sense of form and a keen appreciation of instrumental colour. Whereas the orchestral suites are indebted to French models, the sinfonias and concertos display the influence of the Italian style. Förster’s chamber music invites comparison with Telemann’s. Both composers show the same ability to combine learned counterpoint and melodious themes, the same predilection for voice change and love of short melodic phrases in the galant manner. Few of Förster’s works were printed in the 18th century. The two main publications were a set of six symphonies published by Haffner (Nuremberg, 1747) and six Duetti oder Trii for two violins and optional continuo engraved by Telemann (see Mattheson). Förster was an extremely prolific composer. According to Walther he had written over 300 pieces by 1732, and the Breitkopf catalogues mention numerous works by him. It is obvious that existing work-lists are far from complete. Unfortunately many manuscripts lack the distinguishing Christian name so that authorship is open to dispute. The list below contains only works positively identified as Förster’s. WORKSstagemusic lost
vocal
instrumental
BIBLIOGRAPHYBrookB EitnerQ GerberL GerberNL MatthesonGEP NewmanSBE H. Riemann: ‘Die französische Ouverture (Orchestersuite) in der ersten Hälfte des 18. Jahrhunderts’, Musikalisches Wochenblatt, xxx (1899), 1ff C. Mennicke: Hasse und die Brüder Graun als Symphoniker (Leipzig, 1906/R), 68, 83, 92, 96 A. Hartung: Christoph Förster (diss., U. of Leipzig, 1914) B. Engelke: ‘Die Rudolstädter Hofkapelle unter Lyra und Johann Graf’, AMw, i (1918–19), 594–606 M. Rasmussen: ‘The Manuscript Kat. Wenster Litt. I/1–17b (Universitetsbiblioteket, Lund): a Contribution to the History of the Baroque Horn Concerto’, Brass Quarterly, v (1961–2), 135–54 W.M. Scharnberg: A Comprehensive Performance Project in Horn Literature with an Essay including Performance Editions of Four Works for Horn Selected from the Manuscript Katalog Wenster Litteratur I/1–17b (diss., U. of Iowa, 1977) P. Ahnsehl: Die Rezeption der Vivaldischen Ritornellform durch deutsche Komponisten im Umkreis und in der Generation J.S. Bachs (diss., Martin Luther U., Halle-Wittenberg, 1984) PIPPA DRUMMOND Yüklə 17,54 Mb. Dostları ilə paylaş:
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