Faà di Bruno, Giovanni Matteo [Horatio, Orazio] 83
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- BIBLIOGRAPHY
- Fortunati, Gian Francesco
- WORKS
Fortspinnung(Ger.: ‘spinning out’). A term devised by Wilhelm Fischer (1915) to stand for the process of continuation or development of musical material, usually with reference to its melodic line, by which a short idea or motif is ‘spun out’ into an entire phrase or period by such techniques as sequential treatment, intervallic transformation and even mere repetition. In ex.1 a four-note motif is spun out over a 12-bar period by threefold repetition within each bar and intervallic transformation from one bar to the next; as in many examples of the process, the harmony moves through a descending circle of 5ths. Fortspinnung has been contrasted with the building of periods and period-like structures by symmetrical or complementary phrases (see Antecedent and consequent). However, the two techniques should be viewed not so much as distinct types of construction but rather as organizing principles – typifying respectively the Baroque and the Classical – whose interaction and coordination is of fundamental importance. BIBLIOGRAPHYW. Fischer: Zur Entwicklungsgeschichte des Wiener klassischen Stils (Habilitationsschrift, U. of Vienna, 1915; SMw, iii (1915), 24–84) E. Kurth: Grundlagen des linearen Kontrapunkts (Berne, 1917, 5/1956), 205, 225ff F. Blume: ‘Fortspinnung und Entwicklung’, JbMP 1929, 51–70 WILLIAM DRABKIN Fortunati, Gian Francesco(b Parma, 27 Feb 1746; d Parma, 20 Dec 1821). Italian composer and conductor. After moving with his father to Piacenza, he began his musical studies under Omobono Nicolini. With financial assistance from the ducal court he was able to travel to Bologna where from 1767 to 1769 he completed his studies under Padre Martini. On his return to Parma in 1769 his first opera, I cacciatori e la vendilatte, was staged and well received. Subsequently he succeeded Traetta as maestro di cappella there and, in 1774, was entrusted with the direction of the singing school, succeeding Francesco Poncini. In 1780 he became conductor of the orchestra at the ducal theatre, a position which he held until 1796. In 1787 he was appointed music instructor to the duke's daughters. He made several journeys to Germany, on the recommendation of Maria Amalia, Duchess of Parma, to superintend performances of his operas; some of his vocal and instrumental music was thus written in Dresden and Berlin for Friedrich Wilhelm II. He retained his musical posts in Parma until the death of Duke Ferdinand II in 1802. In 1810 he became one of the eight members of the music section of the Institute of Sciences and Letters founded in Parma under the auspices of the French government. Fortunati's music is of no extraordinary interest; it soon waned in popularity and was dropped from opera repertories. His importance as a teacher was more lasting; among his pupils was Paer. His son Ferdinando (b Parma, 1772; d ?after 1812), an oboist and horn player, served in the Berlin court orchestra from 1797 to 1801, and was shortly thereafter entrusted by Dessalines with the military music of the island republic of San Domingo. WORKSstagemusic lost unless otherwise stated
other vocal
instrumental
BIBLIOGRAPHYP. Bettoli: I nostri fasti musicali (Parma, 1875), 82 P.E. Ferrari: Spettacoli drammatico-musicali e coreografici in Parma dall'anno 1628 all'anno 1883 (Parma, 1884) N. Pelicelli: ‘Musicisti in Parma nel secolo XVIII’, NA, xi (1934), 248–81, esp. 274; xii (1935), 82–92, esp. 89–90 C. Gallico: Le capitali della musica: Parma (Milan, 1985) P. Cirani: Musica e spettacolo a Colorno tra XVI e XIX secolo (Parma, 1995) GIAN PAOLO MINARDI Yüklə 17,54 Mb. Dostları ilə paylaş:
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