Faà di Bruno, Giovanni Matteo [Horatio, Orazio] 83
Furmedge, Edith. English contralto, wife of Dinh Gilly. Furno, Giovanni
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Furmedge, Edith.English contralto, wife of Dinh Gilly. Furno, Giovanni(b Capua, 1 Jan 1748; d Naples, 20 June 1837). Italian teacher and composer. He entered the S Onofrio conservatory, Naples, on 11 March 1767 and was a pupil there of Cotumacci. A maestrino from August 1772, he had a comic opera, L’allegria disturbata, produced at the Teatro Nuovo in Carnival 1778 (when he is said still to have been a student teacher at the conservatory). Another, L’impegno, was given there in 1783. On Cotumacci’s death in 1785 Furno became counterpoint master at the conservatory, and when Insanguine died in 1795, Furno and Rispoli succeeded him as joint primi maestri. When the Loreto and S Onofrio conservatories fused in 1797, Furno remained on the faculty as teacher of partimento, a post he held at the Naples Conservatory in its various transformations until his retirement in 1835. He died in the great cholera epidemic of 1837. Furno taught some of the most important Italian composers of the early 19th century, including Bellini, Mercadante, the Ricci brothers and Lauro Rossi. Florimo remembered him as a dedicated, patient and affectionate teacher who followed the traditional methods of the Durante school and preferred practical demonstration to theoretical explanation. According to a report in the Allgemeine musikalische Zeitung (xxiii, 1821, 857), he was then ‘unanimously’ considered the conservatory’s best teacher. His Regole per accompagnare i partimenti was published (Milan, n.d.); several manuscript versions are in the Naples and Milan conservatory libraries. Furno was of little importance as a composer. WORKSonly those extant
BIBLIOGRAPHYFlorimoN S. di Giacomo: Il Conservatorio di Sant’Onofrio a Capuana e quello della Pietà dei Turchini (Palermo, 1924) DENNIS LIBBY Furrer, Beat(b Schaffhausen, 6 Dec 1954). Austrian composer of Swiss birth. He studied the piano at the Schaffhausen Conservatory before attending the Vienna Hochschule für Musik, where he studied with Haubenstock-Ramati (composition) and Suitner (conducting). In 1985 he founded the Société de l'Art Acoustique (now the Klangforum Wien). He was appointed to a professorship in composition at the Graz Hochschule für Musik in 1992. He has also served as composer-in-residence at the Lucerne International Festival. He has described his compositional motivation as follows: ‘I am always interested in finding out what keeps mankind in such random movement, cutting himself off from nature as if in a blind rage. I want to try to understand the great change that is about to take place without our even noticing it'. It is from this concern that the tonal transformations and discontinuities in his music derive; his works contain sequences of movement and rhythmic patterns, either simple or complex, that are gradually distorted and shifted. In the String Quartet no.1 (1984) harmony and rhythm are superimposed on top of each other like sheets of foil; in Nuun (1996) the organization of time, sound and pitch develops increasing plasticity; and in Stimmen for chorus and percussion (1996), transitions from noise to sound echo through a wide range of dimensions. In later works, filtered and distorted structures and the effects of interrupted sound allow a certain clarity to emerge. WORKS(selective list)
BIBLIOGRAPHYC. Becher: ‘Der freie Fall des Architekten: Beat Furrers Oper “Die Blinden”’, NZM, Jg.151, no.7–8 (1990), 34–40 P. Oswald: ‘Chiffrierte Botschaften des Lebens: Beat Furrer: “Poemas”’, Melos, xlviii/3 (1986), 33–55 SIGRID WIESMANN Yüklə 17,54 Mb. Dostları ilə paylaş:
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