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

Full cadence [full close].

See Perfect cadence.

Fuller, Albert

(b Washington DC, 21 July 1926). American harpsichordist, organist, conductor and educator. He began his musical education as a chorister at Washington National Cathedral, studying the organ there with Paul Callaway. After attending Johns Hopkins University he continued his education at Yale, studying the harpsichord with Ralph Kirkpatrick and theory with Hindemith, receiving the MMus degree in 1954. After research in French Baroque keyboard music in Paris on a Ditson Fellowship, he returned to New York, where he made his début as a harpsichordist in 1957. European concert appearances followed in 1959, since when he has made frequent tours in North America and Europe as soloist and chamber musician. His extensive repertory encompasses the major styles and national schools of the 18th century, with particular emphasis on French music and the sonatas of Domenico Scarlatti, and he has edited the Pièces de clavecin of Gaspard Le Roux. His performing style is clear, precise and colourful within the limitations of the classical harpsichord. In 1964 he was appointed professor of harpsichord at the Juilliard School of Music, later joining the organ faculty and coaching chamber music. He has also taught at the Yale School of Music (1977–80). Fuller has conducted operas by Handel and Rameau, including the first American production of Dardanus (1975), and has made many recordings of 18th-century harpsichord music.

HOWARD SCHOTT

Fuller, Blind Boy [Allen, Fulton]

(b Wadesboro, NC, c1909; d Durham, NC, 13 Feb 1941). American blues singer and guitarist. He was brought up in the rural black South, Rockingham, North Carolina. In 1926 he became partially blind and about two years later he lost his sight completely. He then left home and worked as a street musician, first in North Carolina, where he worked the tobacco towns with Sonny Terry, and later in Memphis. Fuller was the outstanding exponent, though not an innovator, of the eastern or Piedmont style of blues. Influenced by Blind Blake, Blind Gary Davis and Buddy Moss, he formulated an eclectic style, playing fast runs and swinging rag rhythms on the guitar (often against cross-rhythms on a washboard) to accompany his gritty singing. Davis played for him on the traditional Rag Mama Rag (1935, Voc.), one of his earliest successes. Fuller adapted old songs such as the British ballad Our Goodman, which became Cat Man Blues (1936, Voc.). Although he was probably at his best with fast ragtime themes such as Step it up and go (1940, Voc.), he was also a master of slow blues, for example Weeping Willow (1937, Decca). Generally he played with finger picks, but on Homesick and Lonesome Blues (1935, Voc.) he used a slide to brilliant effect. From late 1937 Fuller was regularly accompanied by the virtuoso harmonica player Sonny Terry in pieces such as Pistol Slapper Blues (1938, Voc.) and the ribald I want some of your pie (1939, Voc.), one of Terry’s favourite themes. He also accompanied Terry on several brilliant harmonica improvisations, notably Harmonica Stomp (1940, OK).

BIBLIOGRAPHY

SouthernB

B. Bastin: Cryin’ for the Carolines (London, 1971)

P. Oliver: Blues Off the Record: Thirty Years of Blues Commentary (London, 1983)

B. Bastin: Red River Blues: the Blues Tradition in the Southeast (Urbana, IL, 1986)

PAUL OLIVER

Fuller, David (Randall)

(b Newton, MA, 1 May 1927). American musicologist, harpsichordist and organist. He attended Harvard University (BA 1949, AM 1950), received the John Knowles Paine Travelling Fellowship (1960–61), and gained the doctorate in 1965 with a dissertation on 18th-century French harpsichord music. He studied the organ with Biggs, William Self and André Marchal, and the harpsichord with Albert Fuller (no relation). His teaching career included positions at Robert College (Istanbul), Bradford Junior College, Dartmouth College, and SUNY, Buffalo, where he was professor of music (1963–97). French music of the 17th and 18th centuries, performance practices of this period, and automatic musical instruments are his main areas of interest. His publications include editions of the keyboard works of Armand-Louis Couperin (1975) and of two ornamented organ concertos by Handel, op.4 nos.2 and 5, as played on an early barrel organ (1980). He was joint editor of A Catalogue of French Harpsichord Music, 1699–1780 (1990) and he has written articles for a number of scholarly journals. With William Christie he has recorded Couperin's Simphonie de clavecins and the second Quatuor pour deux clavecins. Fuller's erudite, polished and witty writing shows him to be an exemplary musicologist. He is also a sensitive performer on the harpsichord and organ.

LARRY PALMER

Fuller Maitland, J(ohn) A(lexander)

(b London, 7 April 1856; d Carnforth, Lancs., 30 March 1936). English critic, editor and musical scholar. Poor health disrupted his early nonconformist education and apart from three terms at Westminster School he was, by necessity, taught privately. His musical education began in 1872 when he took piano lessons with Ernst Pauer. In 1875 he entered Trinity College, Cambridge, where he became friends with Stanford and W.B. Squire, whose elder sister he married in 1885, and with whom he participated fully in the flourishing activities of the Cambridge University Musical Society. After graduation in 1882 he studied the piano with Dannreuther and Rockstro; both took a keen interest in early music, but it was Rockstro who introduced him to harpsichord playing. Although he cultivated a reputation as an exponent of the piano and harpsichord, it was in the field of antiquarian studies and musical journalism that he found his true vocation. He was invited by Grove to write articles for his Dictionary of Music and Musicians (1878–90), and he was appointed music critic of the Pall Mall Gazette (1882–4). In 1884 he moved to The Guardian before succeeding Hueffer at The Times in 1889, holding the post until his retirement in 1911.

Fuller Maitland's editorial and scholarly work was prolific and varied. Besides the many articles written for the first edition of Grove, he was the assistant editor and he edited the appendix to that edition. He was later the general editor of the second edition (1904–10). He produced important editions of early English keyboard music, notably the Fitzwilliam Virginal Book (1894–9, with Squire) and a volume of 15th-century carols with Rockstro. Other publications include editions of Purcell for the Purcell Society, on whose editorial committee he served as a member, and, with Lucy Broadwood, a pioneering collection of English County Songs (1893), which contributed indirectly to the foundation of the Folk-Song Society in 1898. He was an energetic participant in the Bach revival; his translation, with Clara Bell, of Spitta's biography of Bach (1884–5), and his contribution of The Age of Bach and Handel (1904) to The Oxford History of Music added significantly to the momentum of Bach scholarship in England. He also demonstrated his interest in the 19th century with books on Schumann (1884), Joachim (1905) and Brahms (1911). His championship of the British musical ‘renaissance’ is evident in English Music in the XIXth Century (1902) and The Music of Parry and Stanford (1934). Though inclining by his own admission towards conservatism, he came to appreciate the work of Debussy, Strauss and especially Vaughan Williams and Holst after his retirement.

A Door-Keeper of Music (1929), his autobiography, provides a fascinating chronicle of the ‘intellectual aristocracy’ at the turn of the 20th century. In recognition of his work he received the honorary DLitt from Durham (1928), was made a Fellow of the Society of Antiquaries and an associate of the Belgian Académie Royale des Beaux-Arts. He was also a prominent member of the Musical Association and on the council of the RCM. In 1936 the Fuller Maitland Collection, comprising 7000 volumes of music and music literature, including some manuscripts, was bequeathed to Lancaster Central Library.

WRITINGS

Schumann (London, 1884/R)

with A.H. Mann: Catalogue of the Music in the Fitzwilliam Museum (London, 1893)

Masters of German Music (London, 1894/R)

‘The Notation of the Fitzwilliam Virginal Book’, PMA, xxi (1894–5), 103–12

Henry Purcell, 1658–1696 (Turin, 1895)

The Age of Bach and Handel, OHM, iv (1902, 2/1931/R)

English Music in the XIXth Century (London, 1902/R)

Joseph Joachim (London, 1905)

Brahms (London, 1911/R)

‘The Interpretation of Musical Ornaments’, IMusSCR IV: London 1911, 259–67; also in ML, lii (1911), 647–51

The Consort of Music: a Study of Interpretation and Ensemble (London, 1915/R)

‘Of Defects in Musical Instruments and their Values’, MQ, vi (1920), 91–7

‘Towards Ugliness: a Revision of Old Opinions’, MQ, vi (1920), 317–25

The ‘48’: Bach’s Wohltemperirtes Clavier (London, 1925/R)

The Keyboard Suites of J.S. Bach (London, 1925)

A Scottish Composer of the 16th Century (Robert Carver) (The Hague, 1926)

The Spell of Music: an Attempt to Analyse the Enjoyment of Music (London, 1926/R)

Schumann’s Pianoforte Works (London, 1927)

Schumann’s Concerted Chamber Music (London, 1929)

Bach’s Brandenburg Concertos (London, 1929/R)

The Music of Parry and Stanford (Cambridge, 1934)

editions

with L. Broadwood: English County Songs (London, 1893)

The Works of Henry Purcell, v: Twelve Sonatas of Three Parts (London, 1893); viii: Ode on St. Cecilia’s Day (London, 1897); xxii: Catches, Rounds, Two-Part and Three-Part Songs (London, 1922) [with W.B. Squire]

with W.B. Squire: The Fitzwilliam Virginal Book (London and Leipzig, 1894–9/R, rev. 2/1979–80 by B. Winogron)

Duetti da Camera [Italian chamber duets of the 17th and 18th centuries] (London, 1904) [2 vols.]

The Contemporaries of Purcell (London, 1921) [7 vols. incl. i–iii: John Blow; iii–iv: William Croft; v: Jeremiah Clark; vi–vii: Various Composers]

with W.B. Squire: Twenty-Five Pieces from Benjamin Cosyn's Virginal Book (London, 1923)

with W.B. Squire: William Byrd: Fourteen Pieces for Keyed Instruments (London, 1923)

BIBLIOGRAPHY

J.A. Fuller Maitland: A Door-Keeper of Music (London, 1929) [autobiography]

H.C. Colles: ‘JAFM: vale’, MT, lxxvii (1936), 419–21

M. Campbell: Dolmetsch: the Man and his Work (London, 1975)

JEREMY DIBBLE