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


F (i). See Pitch nomenclature. F (ii)



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F (i).


See Pitch nomenclature.

F (ii)


[f]. See Forte.

Fa.


The fourth degree of the Guidonian Hexachord; see also Solmization, §I. In French, Italian and Spanish, the note F; see Pitch nomenclature.

Faà di Bruno, Giovanni Matteo [Horatio, Orazio]


(fl c1570). Italian composer. He was a member of one of the leading aristocratic families of Casale Monferrato, well connected to the Gonzagas of Mantua, who ruled the duchy. These connections are reflected in his publications: his first book of madrigals is dedicated to Duke Guglielmo Gonzaga and his second to Vincenzo, Guglielmo’s son and heir. The Primo libro was assembled by Andrea Botta, maestro di cappella of the cathedral at Casale, whose dedicatory preface to the second edition of 1573 describes Faà’s residence as a centre of musical activity in the city and also reports that Faà’s music for vespers, written for the cathedral some years earlier, had now been published. This book, the Salmi di David, also of 1573, contains a number of motets (one for eight voices) as well as a sequence of vespers psalms (in a simple and largely homophonic style) together with alternative settings of the Magnificat. For his second edition of 1587, the Brescian printer Bozzola duplicated the vespers music, omitted the motets and included a number of fresh pieces by Antonio Mortaro, then at the start of his career and presumably resident in the city.

WORKS


Salmi di David profeta con tre Magnificat, et altre componimenti, 5, 6, 8vv (Venice, 1573, 2/1587)

Il primo libro di madrigali, 5vv (Venice, 1569)

Il secondo libro di madrigali, 5, 6vv, con due dialloghi (Venice, 1571)

Motet, Domine ad adjuvandum me, inc., 1594, D-LÜh, PL-WRu

IAIN FENLON

Fabbri, Anna Maria.


Italian singer. See Fabri, Annibale Pio.

Fabbri(-Mulder), Inez [Schmidt, Agnes]


(b Vienna, 26 Jan 1831; d San Francisco, 30 Aug 1909). American soprano and impresario of Austrian birth. She studied in Vienna, making her début in the title role of Lucrezia Borgia in Kassa (Kaschau), Hungary (now Košice, Slovakia), in 1847. She was prima donna of the Stadttheater in Hamburg in 1857, and that year was engaged by the impresario Richard Mulder (1822–74), whom she married, to tour the Americas, Canada and the Caribbean islands. Her 25 appearances at the Winter Gardens, New York, in 1860 in a publicity ‘war’ with Patti secured her international reputation. For the next two years the Fabbri-Mulder Troupe toured North America. She returned to Europe in 1862, becoming prima donna of the Frankfurt Stadttheater in 1864, where she remained for seven years. On the outbreak of the Franco-Prussian War, she and Mulder returned to the USA. In 1872, the year after which Fabbri appeared at Covent Garden, they joined forces with another company to present an opera season in New York. In winter 1872–3 Fabbri and Mulder produced 43 operas at the California Theater, San Francisco, and in 1874 they staged the first performance in the city of Die Zauberflöte. Fabbri alone produced a remarkable season (1875–6) in which she directed and sang in 60 operas. Her repertory included at least 46 different roles as well as appearances at many special concerts. She retired from the stage in 1880 and undertook several unsuccessful operatic ventures. Her musical memorabilia are in the music library at the University of California at Berkeley.

BIBLIOGRAPHY


J. Emerson: ‘Madame Inez Fabbri, Prima Donna Assoluta, and the Performance of Opera in San Francisco during the 1870s’, Music in Performance and Society, eds. M. Cole and J. Koegel (Warren, MI, 1997), 325–54

JOHN A. EMERSON/R


Fabbri, Mario


(b Florence, 7 Jan 1931; d Florence, 12 June 1983). Italian musicologist. He studied the piano with Scarlino, composition with Frazzi (1949–56), the organ with Bützler, early instruments with Rapp, and palaeography at the University of Parma (1958). He worked initially in Perugia, as professor of music history and librarian at the conservatory (1959–62) and as a lecturer at the Università per Stranieri (1960–62). Subsequently he taught at Florence Conservatory (1962–82), where he was also chief librarian (until 1970) and director of the museum of early instruments; he was appointed to a teaching post at the Graduate School of Fine Arts in Villa Schifanoia (1969–75). He was professor of music history at Florence University (1969–82), artistic director of the Accademia Musicale Chigiana (1963–9) and guest lecturer at Duke University, North Carolina (1968). He was editor of Chigiana (appointed 1964) and president of the Accademia Nazionale Luigi Cherubini (1972–80). Fabbri’s numerous publications indicate a wide range of interests; his work on the music history of Tuscany from the 15th to the 18th century is particularly valuable.

WRITINGS


‘Due musicisti genovesi alla corte granducale medicea: Giovanni Maria Pagliardi e Martino Bitti’, Musicisti piemontesi e liguri, Chigiana, xvi (1959), 79–94

‘Le musiche di A. Scarlatti “per il tempo di penitenza e di tenebre”’, I grandi anniversari del 1960 e la musica sinfonica e da camera nell’Ottocento in Italia, Chigiana, xvii (1960), 17–32



Alessandro Scarlatti e il Principe Ferdinando de’ Medici (Florence, 1961)

‘Francesco Feroci nella scuola organistica fiorentina del XVIII secolo’, ‘Francesco Zannetti musicista volterrano “dall'estro divino”’, ‘Alessandro Felici il terzo maestro di Luigi Cherubini’, Musiche italiane rare e vive da Giovanni Gabrieli e Giuseppe Verdi, Chigiana, xix (1962), 145–60, 161–82, 183–94

‘Giovanni Maria Casini “Musico dell’umana espressione”’, SMw, xxv (1962), 135–59

‘La giovinezza di Luigi Cherubini nella vita musicale florentina del suo tempo’, Luigi Cherubini nel II centenario della nascita, ed. A. Damerini (Florence, 1962), 1–44

‘Gli ultimi anni di vita di Francesco Maria Veracini’, CHM, iii (1962–3), 91–108

‘Tredici ignote composizioni attribuite a Corelli in due manoscritti di Firenze e di Assisi’, ‘Le acute censure di Francesco M. Veracini a “L'arte della fuga” di Francesco Geminiani’, Le celebrazioni del 1963 e alcune nuove indagini sulla musica italiana del XVIII e XIX secolo, Chigiana, xx (1963), 23–42, 155–94



with E. Settesoldi: ‘Aggiunte e rettifiche alle biografie di Marco e Giovanni Battista da Gagliano: il luogo e le date di nascita e di morte dei due fratelli musicisti’, Chigiana, new ser., i (1964), 131–44

‘Nuova luce sull’attività fiorentina di Giacomo Antonio Perti, Bartolomeo Cristofori e Giorgio F. Haendel’, ibid., 143–90

‘Appunti didattici e riflessioni critiche di un musicista preromantico: le inedite “Annotazioni sulla musica” di Francesco Maria Veracini’, Quaderni della RaM, no.3 (1965), 25–54

‘La vita e l’ignota opera-prima di Francesco Corteccia musicista italiano del Rinascimento’, Chigiana, new ser., ii (1965), 185–217



ed.: ‘Studi di musicologia in onore di Guglielmo Barblan’, CHM, iv (1966) [incl. ‘Una preziosa raccolta di musica sacra cinquecentesca: il “Codice 215” dell’Archivio del duomo di Pistoia’, 103–23]

‘Torna alla luce la partitura autografa dell’oratorio “Il primo omicidio” di Alessandro Scarlatti’, Chigiana, new ser., iii (1966), 245–64

‘Una nuova fonte per la conoscenza di Giovanni Platti e del suo “Miserere”: note integrative in margine alla monografia di Fausto Torrefranca’, Chigiana, new ser., iv (1967), 181–202

‘Ignoti momenti rossiniani: le segrete confessioni a Ferdinando Giorgetti e le sconosciute “variazioni” per Alessandro Abate (1817)’, Chigiana, new ser., v (1968), 265–85



L’alba del pianoforte: verità storica sulla nascita del primo cembalo a martelletti (Milan, 1968)

with E. Settesoldi: ‘Precisazioni biografiche sul musicista pseudolivornese Carlo Antonio Campion (1720–1788)’, RIM, iii (1968), 180–88

‘Segnalazione di un ignoto concerto attribuito a Mozart in una partitura manoscritta napoletana’, Chigiana, new ser., v (1968), 247–52



La cappella musicale dei Gonzaga (Turin, 1969)

‘Il dolore e la morte nelle “voci in solitudine” di Alessandro Scarlatti’, Scritti in onore di Luigi Ronga (Milan and Naples, 1973), 127–44

‘Laude spirituali di travestimento nella Firenze della Rinascenza’, Arte e religione nella Firenze de’ Medici (Florence, 1980), 145–59

‘La vicenda umana e artistica di Giovanni Battista Jacomelli “del violino” deuteragonista della Camerata fiorentina’, Firenze e la Toscana dei Medici nell’Europa del Cinquecento: Florence 1980, ii, 397–438



with J. Nadas: ‘A Newly Discovered Trecento Fragment: Scribal Concordances in Late-Medieval Florentine Manuscripts’, EMH, iii (1983), 67–81

‘La collezione Medicea degli strumenti musicali in due sconosciuti inventari del primo Seicento’, NA, new ser., i (1983), 51–62


EDITIONS


A. Scarlatti: Salmo 50 di David (Siena, 1960) [with C. Terni]; Responsori per il venedi santo (Siena, 1963); Il primo omicidio (Siena, 1966) [with B. Rigacci]; Musiche per il tempo di penitenza (Rome, 1969); Missa defunctorum (Rome, 1970)

G.A. Perti: Dies irae per la morte di Francesco M. de Medici (Siena, 1964)

Laudario polifonico di Santa Maria del Fiore (Siena, 1967)

Francesco Corteccia: Passione di Christo secondo Giovanni (Florence, 1970)

BIBLIOGRAPHY


L. Pinzauti: ‘Ricordo di Mario Fabbri’, NRMI, xvii (1983), 199–202

CAROLYN GIANTURCO/TERESA M. GIALDRONI




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