Faà di Bruno, Giovanni Matteo [Horatio, Orazio] 83
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- Bu səhifədəki naviqasiya:
- Franculus. See Virga strata . Francus [Franconian], Theodorus.
- Frania, Johannes de. See Fresneau, Jehan . Frank
- WORKS (selective list) MSS in D-Mbs stage
Franco of Paris.Name used by Gerbert for the author of the Ars cantus mensurabilis, Franco of Cologne. Franco primus.Theorist known only through a reference of Anonymus 4, in which his name is mentioned with that of Franco of Cologne. Franculus.See Virga strata. Francus [Franconian], Theodorus.See Theodor of Würzburg. Francus de Insula(b Lille; fl 1420–25). ?South Netherlandish composer. He is known for a ballade, a rondeau and two supplementary voices to other works, which appear in the older fascicles of the Veneto manuscript GB-Ob Can.misc.213. L'autre jour is in a note-against-note style with simple rhythm and is an exceptionally early example of the narrative pastoral ballade; its complete text, found in I-Bc Q15, may contain a biographical detail (‘Quant je revenoy de flandre, la je me suy combatus’). The rondeau displays imitation and is partly texted; a very lively triplum by Francus to Je ne vis pas by Gallo also introduces imitation. WORKSEdition:Early Fifteenth-Century Music, ed. G. Reaney, CMM, xi/2 (1959) [R]
BIBLIOGRAPHYE. Dannemann: Die spätgotische Musiktradition in Frankreich und Burgund vor dem Auftreten Dufays (Strasbourg, 1936/R) H. Schoop: Entstehung und Verwendung der Handschrift Oxford, Bodleian Library, Canonici misc. 213 (Berne, 1971) HANS SCHOOP Frania, Johannes de.See Fresneau, Jehan. Frank(fl 15th century). ?English composer. He is so named in GB-Ob Digby 167, f.31v, at the head of a tenor part labelled Quene note, written in a simplified notation. After two other items (one of which, like Quene note, may be related to the polyphonic Basse danse repertory) follows a mensurally notated Discant to Quene note. BIBLIOGRAPHYM.F. Bukofzer: ‘Changing Aspects of Medieval and Renaissance Music’, MQ, xliv (1958), 1–18, esp. 16 MARGARET BENT Frank, Claude(b Nuremberg, 24 Dec 1925). American pianist of German birth. His family moved to Paris in 1937, then in 1940 he escaped by way of a hideout in the Pyrenees, and Lisbon, to the USA. There, in the 1940s, he studied with Artur Schnabel, the association being interrupted by military service (he became an American citizen in 1944). He studied theory and composition with Paul Dessau and Normand Lockwood, also studying at Columbia University. He made his recital début in Times Hall, New York, in 1947, and played with the NBC SO a year later. For a while he was active as a choral conductor, but from the early 1950s his career as a pianist involved him in major festivals in Europe, Africa, Asia and the Americas. He is much in demand as a teacher and has worked at music schools and universities throughout North America, including Bennington College (1948–55) and the Mannes College. In 1972 he was one of the first Samuel Simons Sanford Fellows at Yale University. He is highly regarded as an ensemble pianist: in 1964 he joined the newly formed Boston Symphony Chamber Players and from 1971 he appeared often with the Juilliard Quartet. He plays the two-piano repertory with Lilian Kallir, whom he married in 1959, and violin and piano sonatas with their daughter, Pamela Frank. In 1981 he was featured in a memorial concert for Schnabel at Alice Tully Hall. He is much sought after as a competition juror, including for the Leeds International Piano Competition in the UK, and has contributed to journals including Piano Quarterly and Keynote. He was presented with the Beethoven Society Award in 1979. With a few exceptions, for example the Sonata no.2 of Sessions, Frank's repertory is conservative. His playing of Mozart, Beethoven (during the bicentenary in 1970 he recorded the 32 sonatas and played them in recital in New York), Schubert and Brahms is outstanding for its warmth, its intellectual and musical strength, and for a penetrating structural intelligence. MICHAEL STEINBERG/R
Frank, Ernst(b Munich, 7 Feb 1847; d Oberdöbling, nr Vienna, 17 Aug 1889). German conductor and composer. He attended the Gymnasium at Metten, Lower Bavaria, where he was instructed in music by Emmeran Kreuttner, and later studied in Munich with Franz Lachner (composition) and H.L.S. Mortier de Fontaine (piano). In 1866 he became court organist in Munich and répétiteur and second conductor of the Akademischer Gesangverein. On the recommendation of Vinzenz Lachner he went to Würzburg in 1868, taking up a post of theatre Kapellmeister, and in 1869 he went to the Vienna Opera as second chorus master. In 1870–71 he was chorus master of the Gesellschaft der Musikfreunde in Vienna. Between 1872 and 1878 he was court Kapellmeister in Mannheim and gave a fresh impetus to the town's musical life; the first performances that he directed there included Der Widerspenstigen Zähmung (1874) and his own completion of Francesca von Rimini (1877), operas by his friend Hermann Goetz. In the autumn of 1878 Frank accepted an invitation to work at the Frankfurt Stadttheater, but he resigned in February 1879 and afterwards worked as a private music teacher and collaborator with Clara Schumann on the complete edition of Robert Schumann's works. He also edited the posthumous works of Goetz (opp.14–22) for publication between 1878 and 1880. In December 1879 he became Bülow's successor as court Kapellmeister in Hanover and there promoted works by younger composers, including Stanford, of whose first opera, The Veiled Prophet of Khorassan, Frank gave the première in 1881 (as Der verschleierte Prophet). His own first opera, Adam de la Halle, was given its first performance in Karlsruhe in April 1880, and in November 1884 his opera Hero was given its first performance in Berlin. His musical fairy tale, Der Sturm, was performed in October 1887 in Hanover; however a mental illness which had overtaken Frank and necessitated his being committed to a sanatorium in April of that year prevented him from hearing it. Frank was one of the most gifted German conductors of his time, full of imagination and vitality, and with wide-ranging interests. From 1876 he was a close friend of Brahms, whose influence can be felt in some of Frank's piano music, but he possessed too little creative independence to achieve success as a composer. His unsentimental lyric gift is most evident in his more than 200 songs and vocal duets, and in his opera Hero.
WORKS(selective list) MSS in D-Mbs stage
choral
other vocalall with piano accompaniment
instrumental
editions
BIBLIOGRAPHYC.V. Stanford: Pages from an Unwritten Diary (London, 1914), 189ff A. Einstein, ed.: ‘Briefe von Brahms an Ernst Frank’, ZMw, iv (1921–2), 385–416 A. Einstein, ed.: ‘Josef Viktor Widmann: Briefe an Ernst Frank’, Österreichische Rundschau, xx (1924), 415 R. Münster: ‘Frank, Ernst’, Musik und Musiker am Mittelrhein, ed. H. Unverricht, i (Mainz, 1974), 55ff [incl. complete list of works] R. Münster, ed.: Johannes Brahms im Briefwechsel mit Ernst Frank (Tutzing, 1995) ROBERT MÜNSTER Yüklə 17,54 Mb. Dostları ilə paylaş:
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