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



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Fallamero, Gabriele


(b Alessandria; fl 1584). Italian composer and lutenist. The title-page of his only known work, Il primo libro de intavolatura da liuto, de motetti ricercate madrigali, et canzonette alla napolitana, a tre, et quattro voci (Venice, 158413; 2 pieces ed. O. Chilesotti, Lautenspieler des 16. Jahrhunderts, Leipzig, 1891/R), describes him as ‘gentilhuomo alessandrino’. The volume is dedicated to another member of the local nobility, Livia Guasca Pozza, ‘Signora mia osservandissima’. The book contains 46 pieces, more than half of which are arrangements in Italian lute tablature of madrigals and motets, including works by Monte, Lassus, Rore, Marenzio, Striggio and Vinci. The central section of the volume is devoted to a mostly lighter repertory in versions for voice and lute, including anonymous canzonette alla napolitana and pieces by Orazio Vecchi, Giovanni Ferretti, Giovanni Jacopo de Antiquis and Gasparo Fiorino.

BIBLIOGRAPHY


P. Molmenti: La storia di Venezia nella vita privata dalle origini alla caduta della repubblica (Bergamo, 1904, 5/1911), ii, 319

L. de La Laurencie: Les luthistes (Paris, 1928), 35

W. Boetticher: Studien zur solistischen Lautenpraxis des 16. und 17. Jahrhunderts (Berlin, 1943), 356

IAIN FENLON


Falle, Philip


(b Jersey, 14 Feb 1656; d Shenley, Herts., 7 May 1742). Channel Island churchman and amateur composer. He studied under Narcissus Marsh at Oxford, graduating in 1676. Ordained priest in 1679, he held various livings, enjoying the patronage of Lord Jermyn and becoming a chaplain to the king in 1694. Later he became a prebendary of Durham Cathedral (1700) and vicar of Shenley, near Barnet (1709). He wrote a history of Jersey and made important contributions to the life of the island, including a bequest of books to establish a public library in St Helier. His music books and manuscripts he left to Durham Cathedral. He wrote 15 anthems (14, GB-Lbl*, 1, DRc (inc.)), which are respectable amateur works, some with instrumental ritornellos, and a Fantasie and Passacaille for bass viol (DRc).

BIBLIOGRAPHY


DNB (H.G. Keene)

M. Urquhart: ‘Prebendary Philip Falle (1656–1742) and the Durham Bass Viol Manuscript A27’, Chelys, v (1973–4), 7–20

I. Spink: Restoration Cathedral Music, 1660–1714 (Oxford, 1995)

IAN SPINK


Falletta, JoAnn (Marie)


(b Queens, NY, 27 Feb 1954). American conductor. After training at the Juilliard School, where she gained a doctorate in conducting in 1989, Falletta has served as associate conductor of the Milwaukee SO (1985–8) and as music director of the Queens (NY) PO (1978–88), Denver Chamber Orchestra (1983–92) and Bay Area Women's Philharmonic (1986–96). In 1991 she was appointed music director of the Virginia SO, and in 1989 music director of the Long Beach (CA) SO. She has appeared frequently as a guest conductor, was the first woman to conduct the orchestra of the Nationaltheater, Mannheim (1992), and has given more than 60 world premières. Falletta became music director of the Buffalo PO in 1998. Long an advocate of female and American composers, and the winner of numerous ASCAP awards for innovative programming, Falletta has made recordings with the English Chamber Orchestra, the LSO, the Virginia SO and the Women's Philharmonic.

CHARLES BARBER, JOSÉ BOWEN


Fallows, David


(b Buxton, 20 Dec 1945). English musicologist. He studied at Jesus College, Cambridge (BA 1967), King’s College, London (MMus 1968), and the University of California, Berkeley (PhD 1978). From 1968 to 1970 he was a musical assistant at the Studio der Frühen Musik, Munich, and between 1968 and 1974 performed extensively on commercial recordings of Renaissance music by Musica Reservata (London), Studio der Frühen Musik and as director of Musica Mundana (Berkeley). In 1973–4 he was lecturer at the University of Wisconsin, Madison; since 1976 he has taught at the University of Manchester (lecturer 1976–82, senior lecturer 1982–92, reader 1992–97, professor 1997). He has also taught at the University of North Carolina, Chapel Hill (1982–3), the Ecole Normale Supérieure, Paris (1993), the University of Basle (1996) and the University of Vienna (1998). He has won the Dent Medal (1982), been appointed Chevalier de l’Ordre des Arts et des Lettres (1994) and elected Fellow of the British Academy (1997). He is vice-president of the IMS for the period 1997–2002 and chaired the programme committee for its 16th International Congress in London (1997) and a Corresponding Member of the AMS (1999). He is review editor of Early Music (1976–95, 1999–), was founding editor of the Royal Musical Association Monographs (1982–95) and has served on the editorial boards of Musica Britannica (from 1985), Early English Church Music (1994), Early Music History (1991) and the Basler Jahrbuch für historische Musikpraxis (1988).

Fallows is a leading scholar in the field of 15th-century music. His research has focussed on the song repertories of the 15th century, spreading to later and earlier songs, to sacred music, to documentary or biographical issues and to matters of performing practice. He pioneered new views on the lives of Ciconia, Regis and Josquin, and has made controversial contributions on the ensembles implied by the music. His writings include the standard monograph on the life and works of Du Fay (1982) and a detailed catalogue of the 15th-century polyphonic song repertory (1999). His most significant essays are collected in Songs and Musicians in the Fifteenth Century (1996). As a reviewer, his interests have extended over the whole field of Western music, including in particular opera and new music.


WRITINGS


SM – Songs and Musicians in the Fifteenth Century (Ashford, 1996)

‘Two more Dufay Songs Reconstructed’, EMc, iii (1975), 358–60

‘Ciconia padre e figlio’, RIM, xi (1976), 171–7

‘Dufay and Nouvion-le-Vineux’, AcM, xlviii (1976), 44–50

‘L’origine du MS.1328 de Cambrai’, RdM, xlii (1976), 275–80

‘English Song Repertories of the Mid-Fifteenth Century’, PRMA, ciii (1976–7), 61–79 [SM]

‘15th-Century Tablatures for Plucked Instruments’, LSJ, xix (1977), 7–13 [SM]

‘Words and Music in Two English Songs’, ‘Guillaume de Machaut and the Lai’, EMc, v (1977), 38–43, 477–83



Robert Morton’s Songs (diss., U. of California, Berkeley, 1978)

‘Robertus de Anglia and the Oporto Song Collection’, Source Studies and the Interpretation of Music: a Memorial Volume to Thurston Dart, ed. I. Bent (London, 1981), 99–128 [SM]



Dufay (London, 1982, 2/1987) [Master Musicians]

‘Specific Information on the Ensembles for Composed Polyphony, 1400–1474’, Studies in the Performance of Late Medieval Music, ed. S. Boorman (Cambridge, 1983), 109–59 [SM]

‘Introit Chant Paraphrase in the Trent Codices’, Journal of the Plainsong and Mediaeval Music Society, vii (1984), 47–77

‘Johannes Ockeghem: the Changing Image, the Songs and a New Source’, EMc, xii (1984), 218–29

‘Dufay and the Mass Proper Cycles of Trent 88’, ‘Songs in the Trent Codices’, I codici musicali trentini [I]: Trent 1985, 45–59, 170–79

‘The Performing Ensembles in Josquin’s Sacred Music’, TVNM, xxxv (1985), 32–64 [SM]

‘Dufay, la sua Messa per Sant’Antonio, e Donatello’, Rassegna veneta di studi musicali, ii–iii (1986–7), 3–19

‘The Countenance anglois: English Influence on Continental Composers of the 15th Century’, Renaissance Studies, i (1987), 189–208 [SM]

‘Two Equal Voices: a French Song Repertory with Music for Two more Works of Oswald von Wolkenstein’, EMH, vii (1987), 227–41

‘French as a Courtly Language in Fifteenth-Century Italy: the Musical Evidence’, Renaissance Studies, iii (1989), 429–41 [SM]

‘The Life of Johannes Regis, ca. 1425 to 1496’, RBM, xliii (1989), 143–72

‘Secular Polyphony in the Fifteenth Century’, Performance Practice: Music before 1600, ed. H.M. Brown and S. Sadie (London, 1989), 201–21

‘Busnoys and the Early Fifteenth Century’, ML, lxxii (1990), 20–24

‘Embellishment and Urtext in the Fifteenth-Century Song Repertories’, Basler Jb für historische Musikpraxis, xiv (1990), 59–85 [SM]

‘The Early History of the Tenorlied and its Ensembles’, Le Concert des voix et des instruments à la Renaissance: Tours 1991, 199–211

with G. Thibault: Chansonnier de Jean de Montchenu (Paris, 1991)

‘I fogli parigini del Cancionero musical e del manoscritto teorico della Biblioteca Columbina’, RIM, xxviii (1992), 25–40

‘A Glimpse of the Lost Years: Spanish Polyphonic Song, 1450–1470’, New Perspectives on Music: Essays in Honor of Eileen Southern, ed. J. Wright and S.A. Floyd (Warren, MI, 1992), 19–36 [SM]

‘Leonardo Giustinian and Quattrocento Polyphonic Song’, L’edizione critica tra testo musicale e testo letterario: Cremona 1992, 247–60

‘Polyphonic Song in the Florence of Lorenzo’s Youth, ossia The Provenance of the Manuscript Berlin 78.C.28: Naples or Florence?’, La musica a Firenze al tempo di Lorenzo il Magnifico: Florence 1992, 47–61 [SM]

‘Prenez sur moy: Ockeghem’s Tonal Pun’, Plainsong and Medieval Music, i (1992), 63–75 [SM]

‘Trained and Immersed in All Musical Delights: Towards a New Picture of Busnoys’, Antoine Busnoys: Notre Dame, IN, 1992 (forthcoming)

ed., with T. Knighton: Companion to Medieval and Renaissance Music (London, 1992)

‘The Drexel Fragments of Early Tudor Song’, RMARC, xxvi (1993), 5–18

‘Fifteenth-Century Songs in Tongeren’, Musicology and Archival Research: Brussels 1993, 510–21

‘Henry VIII as a Composer’, Sundry Sorts of Music Books: Essays on the British Library Collection presented to O.W. Neighbour, ed. C. Banks, A. Searle and M. Turner (London, 1993), 27–39

‘Dunstable, Bedyngham and O rosa bella’, JM, xii (1994), 287–305 [SM]

‘The “Only” Instrumental Piece: a Commentary on Benvenuto Disertori’, I codici musicali trentini [II]: Trent 1994, 81–92



The Songs of Guillaume Dufay, MSD, lxvii (1995)

‘The End of the Ars Subtilior’, Basler Jb für historische Musikpraxis, xx (1996), 21–40

‘The Gresley Dance Collection, c. 1500’, RMARC, xxix (1996), 1–20

‘Josquin and Milan’, Plainsong and Medieval Music, v (1996), 69–80



A Catalogue of Polyphonic Songs, 1415–1480 (Oxford, 1999)

EDITIONS


Guillaume Du Fay: Cantiones, Opera Omnia, CMM, i/6 (1995) [rev. of edn by Besseler, 1964]

The Songbook of Fridolin Sicher, around 1515: Sankt Gallen, Stiftsbibliothek, Cod. Sang.461 (Peer, 1996)

ROSEMARY WILLIAMSON




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