(d ?1575). Italian composer. Giani described him as a Servite priest and provided the date of his death. Although only the final gathering (including the tavola) has survived from the canto partbook of his Madrigali a sei voci libro primo the melodic style of these pieces suggests, in their repetition, the influence of the lighter idioms. The gathering itself is misbound as the third of a Vincenti edition of a Marenzio publication (in GB-Ob); comparison of the typography of the two shows that the Farina book was also printed by Vincenti and suggests that the error in assembling the book arose from the simultaneous productions of the two publications. Since posthumous publication of music by minor composers is rare in this period, the accuracy of Giani’s death-date is called into question. A book of four-voice madrigals, of which no copies are now known, was recorded in Gardano’s Indici of 1591 (MischiatiI I:163) and in an early 17th-century manuscript inventory of the ducal library at Innsbruck. It was presumably from this publication that Peter Philips selected Morirò cor mio for inclusion in Phalèse’s Melodia olympica (RISM 159110). This piece also appears among six four-voice madrigals by Farina in a set of early 17th-century English manuscript partbooks (in GB-Lcm) which once belonged to William Firmage, suggesting that the other five madrigals also were copied from the lost publication.
A.Giani: Annalium sacri ordinis fratrum servorum B. Mariae Virginis a suae institutionis exordio centuriae quatuor (Florence, 1622, rev. 2/1719–25 by A.M. Garbi), 153
F.Waldner: ‘Zwei Inventarien aus dem XVI. und XVII. Jahrhundert über hinterlassene Musikinstrumente und Musikalien am Innsbrucker Hofe’, SMw, iv (1916), 128–47
Fariñas (Canteros), Carlos
(b Cienfuegos, province of Las Villas, 28 Sept 1934). Cuban composer and teacher. He studied at the Conservatory in Havana under Harold Gramatages and José Ardévol, and in 1956 completed his compositional studies with Copland in the USA. He taught from 1960 onwards, and from 1967 to 1977 was in charge of the music department of the National Library of Cuba. He founded the chair of Management of Sound and the Study of Electroacoustic and Computer Music at the Instituto Superior de Arte (1988), of which he is also the director and the professor of composition.
There are three compositional stages in his career: national-neoclassical (1953–64), avant garde (1964–75, and with elements of nationalism, 1975–84), and postmodern (1984–). His works have been performed in Cuba, Europe and the USA. His compositional language is responsive to the most advanced techniques of contemporary music and is expressed through a great diversity of forms, from the most traditional to the most experimental structures.
Stage: Yagruma (ballet), orch, perc, elecs, 1973–5; Retrato de Teresa, largo metraje, orch, 1977–8; Quai west, 1986
Orch: Variaciones, fl, str orch, 1956; Muros, rejas y vitrales, 1969–71; El bosque ha echado a andar, orch, 8 perc, 1976; Nocturno de enero, 1991; Vn Conc., 1995; Gui Conc., 1996
Chbr: Tiento II, 2 pf, perc, 1969; In rerum natura, cl, hp, vn, vc, perc, 1972; 7 hojas en forma de verano, pf, 1977; Conjuro, homenaje a John Cage, pf, 1993
M.Rodríguez López: Siete hojas en forma de verano: vida y obra de Carlos Fariñas (Havana, 1991)
MARINA RODRÍGUEZ LÓPEZ
French family of musicians of the 17th and 18th centuries, most of them resident in Italy. In addition to the three discussed separately below, there was a Robert Farinel, called ‘the elder’, and Agostino, Stefano and Domenico Farinelli, the first three of whom were violinists at the court of Savoy in Turin, where Domenico is described simply as ‘instrumentalist’.
(b Billom; d Turin, April 1672). Instrumentalist and composer. He was the younger brother of Robert Farinel and father of Agostino and Stefano Farinelli. He was a maître joueur d’instruments and worked at the Savoy court from 1620 until his death. He composed the ballet La primavera trionfante nell’inverno in 1657.
(2) Michel Farinel
(bGrenoble, bap. 23 May 1649; d La Tronche, nr Grenoble, 18 June 1726). Violinist and composer. He was the eldest son of Robert Farinel. He was a pupil of Carissimi in Rome, and he also visited Portugal and England (1675–9). He was in France in 1672. He married the harpsichordist Marie-Anne Cambert (b Paris, c1647; d La Tronche, nr Grenoble, 30 April 1724), the daughter of Robert Cambert. He went with her to Madrid in 1679 as a member of a group of performers led by Henry Guichard and became superintendent of music and ballets to the Spanish queen (Marie-Louise, daughter of the Duke of Orléans). On his return to France he bought a position as violinist at the court of Louis XIV at Versailles in 1688, but in 1689 he retired to Grenoble, where he became maître de chapelle to the nuns at the convent at Montfleury, and directed concerts at the abbey of Ste Cécile. On 14 August 1692 he was installed as contrôleur alternatif du payeur des gages des officiers du Parlement du Dauphiné, a post which he sold on 9 May 1726. In 1696 he set to music a Recueil de vers spirituels by Henry Guichard. Both the words and the music (which is lost) were written for the nuns of Montfleury; each piece was to be illustrated by a dance. He also wrote a set of variations for violin and continuo on the folia, which was known in England as Farinel’s Ground; it was published by John Playford in The Division Violin (London, 168510), and the ground is the basis of several pieces published in England about this time. Farinel also wrote his autobiography, which is now lost.
(b Grenoble, 15 Jan 1655; d Venice, c1725). Violinist and composer, second son of Robert Farinel. He was Konzertmeister at the court at Hanover in 1680 and at the court at Osnabrück from 1691 to 1695. He later returned to Hanover and was ennobled by the elector, who, on becoming King George I of England in 1714, appointed him resident in Venice. Between 1722 and 1724 he made several visits to Grenoble to collect debts from his brother Michel. At this time he described himself as commissaire du roi d'Angleterre.
E.Maignien: Les Artistes grenoblois (Grenoble, 1887)
J.-G.Prod’homme: ‘Les musiciens dauphinois’, SIMG, vii (1905–6), 70–79
S.Cordero di Pamparato: ‘I musici alla corte di Carlo Emanuele I di Savoia’, Biblioteca della Società storica subalpina, cxxi (1930), 31–142
M.Benoit: ‘Les musiciens français de Marie-Louise d’Orléans, reine d’Espagne’, ReM, no.226 (1955), 48–60
M.T.Bouquet: Musique et musiciens à Turin de 1648 à 1775 (Turin, 1968)