Faà di Bruno, Giovanni Matteo [Horatio, Orazio] 83
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- Bu səhifədəki naviqasiya:
- Fumagalli.
- (1) Disma Fumagalli
- (2) Adolfo Fumagalli
- WORKS
- (3) Polibio Fumagalli
- (4) Luca Fumagalli
- (5) Mario Fumagalli
- BIBLIOGRAPHY
Full organ(Ger. volles Werk; It. organo pleno, pieno). An organ registration. Perhaps because the early monastic Blockwerk organ apparently created a loud and undifferentiated noise, ‘full organ’ in the sense of ‘loud organ’ has always meant the use of as few (or as many) stops as will make the maximum of impression with the minimum consumption of wind. Before the invention of stop actions, the undivided Blockwerk of Principals was itself the full organ throughout north-west Europe; since then, with the introduction of flute and reed stops and the separation of the Blockwerk into several single or multiple ranks, organ makers have been careful, when allowed, to specify which stops are likely to give the best effect. Each school has its own kind of full organ, some having more than one, depending on the period and the kind of music concerned. In France, for instance, the organ in the church of St Michel, Bordeaux (1510), was given seven new jeux, the loudest of which was apparently a grand jeu. The classical Grand jeu comprised the reeds and the jeu de tierce of both Great organ and Positif, and the Plein jeu was based on the diapason or principal ranks, including mixtures, of both Great organ and Positif. In Italy, the ripieno (or pieno) was based on single ranks, excluding flutes (Antegnati, 1608) and sometimes including (Principal) Tierce ranks. The character of the congregation-accompanying Hoofdwerk in Flanders and the Netherlands, changed in character from vocal (Krewerd, 16th century) to bright and sharp (Arp Schnitger, 17th century) and to French style (Gouda, 1736). In England the terms ‘full organ’ and ‘Great Organ’ were inevitably practically interchangeable since there were very rarely any manual couplers. William Russell's Voluntaries (first book, 1804) specified ‘Full Swell’ as well as ‘Full Organ’; his second set (1812) has ‘Full Organ without the Trumpet’. John Marsh (1791), a sensitive player, suggested five ‘kinds of the full Organ’ to be obtained by adding stops to the basic Great chorus. The Spanish plé (16th century) indicated the chorus in general, and lleno (17th century) the main Mixture. From das Werck at Haguenau (1491; the total chorus Mixture excluding the Diapason and Zimbel) to Mattheson's treatises of 1721, the German organ progressed towards an ideal of heavier and thicker plena for massive effects in Preludes, Toccatas and Fantasies, in which reeds were not used. Praetorius and Werkmeister insisted that the narrower-scaled (strings) and wide-scaled (flutes) ‘families’ of stops should not be used together. PETER WILLIAMS, MARTIN RENSHAW
FRANCESCO BUSSI Fumagalli (1) Disma Fumagalli(b Inzago, nr Milan, 8 Sept 1826; d Milan, 9 March 1893). Pianist and composer. He studied the piano (with Antonio Angeleri) and composition at the Milan Conservatory; from 1857 until his death he was professor of the piano there. He became an honorary professor of the Congregazione Pontificia and of the Accademia di S Cecilia in Rome and a member of the Società Filarmonica of Florence. His daughter Carla (b Milan, 8 Sept 1858; d Brembate, nr Bergamo, 8 Oct 1949) studied with him and became a noted concert pianist. His 334 compositions, all for piano, follow the style of his younger brother (2) Adolfo Fumagalli, showing less talent but with a mastery of technique and the stile brillante; they are quite unaffected by the movement, then becoming strong, that aimed at the revival of Italian instrumental music along Classical lines. They include nocturnes, capriccios, divertimentos, scherzos, fantasies on opera themes and, above all, exercises and studies, among them the Preparazione alla Scuola della velocità op.209 di C. Czerny: 12 nuovi studi diteggiati (Milan, n.d.). Noteworthy are La rassegnazione op.22 (Milan, n.d.), the Concerto in A op.83 for piano and string orchestra (Milan, 1856) and the Canto della filatrice op.334 (Milan, n.d.), his last composition. Fumagalli (2) Adolfo Fumagalli(b Inzago, 19 Oct 1828; d Florence, 3 May 1856). Pianist and composer, brother of (1) Disma Fumagalli. After studying with the organist Gaetano Medaglia in Inzago and then at the Milan Conservatory from 23 November 1837 to 7 September 1847 under Pietro Ray (counterpoint) and Angeleri (piano), he made a successful début in Milan in 1848. He then embarked on a very well-received series of concert tours in the major cities of Italy, France and Belgium. In 1854 he returned to Italy, where he alternated between concert tours and composing until his death. He was considered the most gifted of the brothers and one of the principal virtuosos of the first half of the century. In Belgium he was called the ‘Paganini of the piano’ because of his technical mastery, especially in the left hand, and the brilliance and expressiveness of his tone. Rossini praised him for his cantabile playing, and the critic Filippo Filippi observed in him ‘the growing originality of ideas constructed most simply and most faultlessly, restraint in ornamentation …, freedom from the commonplace and banal’. Today his compositions, which number more than 100, seem rather loosely constructed and mannered salon pieces, in spite of their idiomatic piano writing and their merit as studies. WORKSall for piano
Fumagalli (3) Polibio Fumagalli(b Inzago, 26 Oct 1830; d Milan, 21 June 1900). Organist, pianist and composer, brother of (1) Disma Fumagalli. He studied the organ, the piano and composition at Milan Conservatory, where in 1873 he was appointed professor of the organ, a post which he held until his death. For more than 20 years he was maestro di cappella at the church of S Celso in Milan and a much sought-after piano teacher. He wrote some chamber music, including a Trio de bravoure op.281, for flute, oboe and clarinet with piano accompaniment, songs and more than 200 piano and organ works, such as Ascetica musicale, a collection of 15 organ pieces op.235 (Milan, n.d.), an organ Toccata and Fugue op.298 (New York, n.d.) and two organ sonatas opp.269 and 290. Fumagalli (4) Luca Fumagalli(b Inzago, 29 May 1837; d Milan, 5 June 1908). Pianist and composer, brother of (1) Disma Fumagalli. He studied at the Milan Conservatory, where he was taught the piano by Angeleri, and became a highly successful concert pianist and composer in Italy, Paris (1860) and the USA. For a time he was head of the piano faculty of the Philadelphia Conservatory and on returning to Milan devoted himself to teaching and composing. After his brother Adolfo he was the best-known member of the family. His numerous piano compositions are pleasant and elegant, tending sometimes more towards intimacy than brilliant display, and complying with the instrumental renaissance of the latter part of the century in Italy. Besides the usual transcriptions and paraphrases of operatic arias, his original compositions for the piano include Crâneries et dettes de coeur: 14 studi fantastici (Milan, n.d.). He composed one opera, Luigi XI (libretto by Carlo d’Ormeville; Florence, Pergola, 29 March 1875), a Sinfonia marinaresca and other orchestral works. Ricordi published his edition of all Beethoven’s piano sonatas and some works by Clementi and others. Fumagalli (5) Mario Fumagalli(b Milan, 4 Sept 1864 ; d Rome, 17 Sept 1936). Baritone and actor, son of (4) Luca Fumagalli. He studied singing, but was forced to abandon his career when he lost his voice. He became a theatre director and a teacher of acting at the S Cecilia school in Rome. In his final years he was also librarian of the Conservatorio di S Cecilia. BIBLIOGRAPHYDEUMM (F. Bussi) FétisB MGG1 (R. Allorto) RicordiE SchmidlD F. Filippi: Della vita e delle opere di Adolfo Fumagalli (Milan, 1857) L.A. Villanis: L’arte del pianoforte in Italia da Clementi a Sgambati (Turin, 1907) A. Della Corte: La critica musicale e i critici (Turin, 1961), 517–18 S. Martinotti: ‘Poetiche e presenze nel pianismo italiano dell’Ottocento’, Quaderni della RaM, no.3 (1965), 181–94 S. Martinotti: Ottocento strumentale italiano (Bologna, 1972) Yüklə 17,54 Mb. Dostları ilə paylaş:
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