Faà di Bruno, Giovanni Matteo [Horatio, Orazio] 83
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- Franck [Frank, Franke], Johann
- Franck, Johannes. German publisher, perhaps an elder brother of Melchior Franck . Franck, Johann Wolfgang
- WORKS music lost unless otherwise stated operas
Franck, Eduard(b Breslau, 5 Oct 1817; d Berlin, 1 Dec 1893). German pianist, composer and teacher. After private study with Mendelssohn in Düsseldorf and Leipzig (1834–8), whose style as pianist and composer he followed, he travelled to Paris, London and Rome (1842–5). He then resided in Berlin (1845–51) and taught music in Cologne (1851–9) and Berne (1859–67), moving to Berlin in 1867 to teach first at the Stern Conservatory (1867–78) and then at Emil Breslaur’s conservatory (1878–92). Much loved as a teacher, he was also admired as a pianist with a particularly fine touch; his music, largely instrumental, was praised by his contemporaries, including his friend Schumann. He married the pianist Tony Thiedemann; their son Richard (b Cologne, 3 Jan 1858; d Heidelberg, 22 Jan 1938) was a composer and pianist who studied with his father in Berlin and with Reinecke, Wenzel, Jadassohn and Richter in Leipzig. He taught in Basle (1880–83, 1887–1900), with a period also in Berlin and Magdeburg, and conducted choirs in Kassel (1900–9) and Heidelberg (1910–38). Known chiefly as a performer of Beethoven, he also wrote a number of pieces in late Romantic vein for piano. His autobiography was published in 1928. BIBLIOGRAPHYR. Franck: Musikalische und unmusikalische Erinnerungen (Heidelberg, 1928) P. and A. Feuchte: Die Komponisten Eduard Franck and Richard Franck (Stuttgart, 1993) JOHN WARRACK Franck [Frank, Franke], Johann(b Guben, 1 June 1618; d Guben, 18 June 1677). German poet, lawyer and public official. He attended school at Cottbus, Stettin and Thorn and later studied jurisprudence at Königsberg, where he met his poetic mentor, Simon Dach. On his return to Guben he embarked on a distinguished civic career as attorney, city councillor (1648) and mayor (1661) and as county elder in the margravate of Lower Lusatia (1670). He wrote both secular and religious poetry and published his first work, Hundertönige Vaterunsersharfe, at Guben in 1646. Almost his entire output is brought together in the two-volume Teutsche Gedichte. The first part, Geistliches Sion (Guben, 1672), contains 110 religious songs, provided with some 80 melodies, of which 40 are by the Guben Kantor Christoph Peter. Other composers include Schein, Gesius and Crüger, who eventually composed 14 melodies for Franck. Almost half of his hymn texts are paraphrases of psalms; they are reminiscent of Paul Gerhardt in their prayer-like diction and their untormented faith, which may account for both their general popularity and their particular attraction for Crüger. A few are still found in Protestant hymnals today. Bach composed 14 settings of seven of his texts (to melodies by Crüger, Albert and Peter), the most famous being the motet Jesu, meine Freude bwv227. The second part of Franck’s Teutsche Gedichte, the Irdischer Helicon (Guben, 1674), contains his secular poetry. Influenced by Opitz, it is of average quality and is now forgotten; it includes a panegyric to Crüger. BIBLIOGRAPHYWinterfeldEK J.F. Jentsch: Johann Franck von Guben (Guben, 1872) A. Völker: ‘Johann Franck, 1618–1677’, Musik und Kirche, xlvii/4 (1977), 157–63 C.E. Hatting: ‘Bach og Jesu, meine Freude, Romerbrevets 8. Kap.’, Festskrift Soren Sorensen, ed. F.E. Hansen and others (Copenhagen, 1990), 245–63 TRAUTE MAASS MARSHALL Franck, Johannes.German publisher, perhaps an elder brother of Melchior Franck. Franck, Johann Wolfgang(b Unterschwaningen, Middle Franconia, bap. 17 June 1644; d ?c1710). German composer. Since his father, who died in 1645, had held an important administrative post at the court of the Margrave of Brandenburg-Ansbach, and his mother’s family were natives of Ansbach, it is likely that Franck had a superior education at a Latin school there. This is substantiated by his matriculation at Wittenberg University in 1663. From 1665, at the latest, to 1668 he served the Ansbach court as a secretary (Kammerregistratur Adjunct) in its musical establishment, and as a tutor of the ruling family’s children. In spring 1668 Franck was granted leave of absence, possibly to travel and study in Italy. With the establishment of the new government of Margrave Johann Friedrich in 1672, Franck was again in Ansbach and was appointed director of the court music and the theatre. His new appointment enabled him to reorganize and expand the court orchestra, thereby re-establishing the fame of the Hofkapelle, and to develop the importance of opera in court entertainments. In addition to incidental music for plays and ballets, he composed his first operas, Die errettete Unschuld, oder Andromeda und Perseus (1675) and Der verliebte Föbus (1678). He composed a considerable body of sacred music for the court chapel, and in 1677 was made court chaplain. In January 1679 he fled Ansbach after having murdered another court musician. He found asylum in Hamburg, where his music was to dominate the opera for the next six years. In 1678 Hamburg became the first city outside Venice to establish a public opera house, the Theater am Gänsemarkt. In 1679 Franck produced four operas (as well as a revival of Andromeda), and between then and 1686 he introduced many operas. At this time he was not only opera Kapellmeister but also the director of music at the Protestant cathedral, and he composed many sacred lieder, mostly to verses by the Hamburg clergyman Heinrich Elmenhorst. Franck published collections of arias from four operas, Aeneae (1680), Vespasian (1681), Diocletianus (1682) and the two-part Cara Mustapha (1686). Extant examples of music from his operas exist only in these four collections and his only surviving opera with recitatives as well as arias, Die drey Töchter des Cecrops. This was once thought to have been a revival in Hamburg in 1680 of an Ansbach production of 1679. The origins of the Ansbach score and the Hamburg performance remain unclear, although Braun (1983) argues that the Ansbach performance took place when Franck made a return visit there in 1686, and that a shorter revision of the work was heard shortly afterwards in Hamburg. Franck moved to London in 1690, where he reportedly gave similar operatic performances. In subsequent years he joined in consort performances with Robert King, a composer, violinist and concert promoter. Franck composed a number of English songs that appeared in London journals. The exact date and place of his death are unknown, but a report in Moller’s Cimbria litterata (Copenhagen, 1744) makes the intriguing suggestion that he may have been murdered in Spain. Franck’s operas were a major factor in developing an identity for German opera in the later 17th century. What survives indicates that his operas emphasized a popular style combining elements of Venetian opera and French music. The recitatives, in Drey Töchter, are highly expressive, with active harmonic support anticipating the arioso style, and are clearly separated from the arias, which are of contrasting types. There are strophic songs based on dance rhythms clearly of popular or folksong character. Others, often strophic, are stylistically German as they reflect the spirit, and probably at times the actual melodies, of chorales. A third kind of aria, usually much longer and with a tempo indication of ‘Adagio’, employs strong affective dissonances and dramatic melodic gestures, with rhetorical outbursts to express tragic or other sad affections. As with Venetian opera arias, Franck often rounded off his arias with brief instrumental postludes repeating the final vocal phrase(s). He was apparently the first Hamburg opera composer to use the orchestra to accompany some of the arias and to interject short, concerted instrumental passages to highlight a particularly expressive vocal phrase. The several instances of trumpet obbligatos are also noteworthy. While the melodic writing generally has a light, popular tone, many examples occur of a more complex vocal style, with long melismatic passages that seem more instrumental than vocal in character. The harmonic language, evident from a profusion of continuo figures, displays an effective use of expressive, unprepared dissonances and frequent sudden shifts from major to minor chords for rhetorical impact. WORKSmusic lost unless otherwise stated operasfirst performed at Hamburg, Theater am Gänsemarkt, unless otherwise stated
other stage
cantatas
sacred and secular songs
instrumental
BIBLIOGRAPHYJ. Mattheson: Der musikalische Patriot (Hamburg, 1728) A. Werner: ‘Die Briefe von Johann Wolfgang Franck, die Hamburger Oper betreffend’, SIMG, vii (1905–6), 125–8 C. Sachs: ‘Die Ansbacher Hofkapelle unter Markgraf Johann Friedrich (1672–1686)’, SIMG, xi (1909–10), 105–37 W.B. Squire: ‘Johann Wolfgang Franck in London’, MA, iii (1911–12), 181–90 H. Mersmann: Beiträge zur Ansbacher Musikgeschichte (Berlin, 1916) R. Klages: Johann Wolfgang Franck: Untersuchungen zu seiner Lebensgeschichte und geistliche Kompositionen (diss., U. of Hamburg, 1937) G.F. Schmidt: ‘Johann Wolfgang Franck und sein Singspiel Die drey Töchter des Cecrops’, AMf, iv (1939), 257–316 H.C. Wolff: Die Barockoper in Hamburg (Wolfenbüttel, 1957), i, 213–26; ii, 24ff M. Tilmouth: ‘A Calendar of References to Music in Newspapers Published in London and the Provinces (1660–1719)’, RMARC, no.1 (1961), 10, 13, 41, 44 R. Brockpähler: Handbuch zur Geschichte der Barockoper in Deutschland (Emsdetten, 1964) R. Schaal: Die Musikhandschriften des Ansbacher Inventars von 1686 (Wilhelmshaven, 1966), 49ff, 63, 77 W. Braun: ‘Die drey Töchter des Cecrops: zur Datierung und Lokalisierung von Johann Wolfgang Francks Oper’, AMw, xl (1983), 102–25 W. Braun: ‘Cara Mustapha oder die zweite Eröffnung des Hamburger Schauplatzes’, SMw, xxxv (1984), 37–64 W. Braun: Vom Remter zum Gänsemarkt: aus der Frühgeschichte der alten Hamburger Oper (1677–1697) (Saarbrücken, 1987) W. Braun: Johann Wolfgang Franck: Hamburger Opernarien in szenischen Kontext (Saarbrücken, 1988) S. Olsen: ‘Aurora von Königsmarck’s Singspiel, Die drey Töchter Cecrops’, Daphnis, xvii (1988), 467–80 G.J. Buelow: ‘Hamburg Opera during Buxtehude’s Lifetime: the Works of Johann Wolfgang Franck’, Church, Stage, and Studio: Music and its Contexts in Seventeenth-Century Germany (Ann Arbor, 1990), 127–61 H.J. Marx and D. Schröder: Die Hamburger Gänsemarkt-Oper: Katalog der Textbücher (Laaber, 1995) GEORGE J. BUELOW Yüklə 17,54 Mb. Dostları ilə paylaş:
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