English music publisher, based in London. The firm was established in 1965 as an offshoot of the book publishers Faber and Faber, for the prime purpose of publishing Benjamin Britten’s music after his withdrawal from Boosey & Hawkes in 1964. In 1988 Faber Music separated from Faber and Faber and became an independent company. In addition to Britten’s output from 1964 and many of his previously unpublished earlier works, Faber Music publishes and promotes the works of an outstanding group of English composers including Vaughan Williams, Holst, Frank Bridge, Robert Simpson, Malcolm Arnold, Nicholas Maw, Jonathan Harvey, David and Colin Matthews, Oliver Knussen, George Benjamin and Thomas Adès, and the Australian composer Peter Sculthorpe. Its constant underlying philosophy is to identify and support talented young contemporary composers.
Faber Music also issues concert works by Paul McCartney, the music of a growing number of composers working principally in film and television, most notably Carl Davis, and a number of music theatre works including Lloyd Webber’s Cats.
It publishes a wide range of printed music, and has developed an extensive education catalogue and a strong and varied list of choral publications. It has issued important performing and scholarly editions including John Dowland’s Collected Lute Music, operas by Monteverdi and Cavalli, early keyboard music, masses and other large-scale choral works by Haydn, Mozart, Schubert, Weber, Purcell and others. Other publications include Brian Newbould’s realization of Schubert’s Tenth Symphony and Deryck Cooke’s performing version of Mahler’s Tenth Symphony.
Faber, Benedikt [Benedictus]
(b Hildburghausen, Lower Franconia, 1573; d Coburg, 28 April 1634). German composer. Research has yet to be undertaken on his life and work. He seems to have been a fellow student of Melchior Franck at the choir school at Augsburg in the 1590s. He probably went to Coburg about 1600; on title-pages of works that he published between 1607 and 1631 he described himself as a musician at the Saxe-Coburg court chapel. A few of his occasional compositions were printed together with a number of similar pieces by Franck, who had become Kapellmeister there and for whose wedding in 1607 he composed a motet. His music is often similar in style and technique to Franck’s. He did not adopt the basso continuo, and he favoured essentially homophonic double-choir settings for eight voices. These two features indicate the conservative nature of his music.
Compositions in the following works of M. Franck (all pubd in Coburg): Cantica gratulatoria (1608), Gratulationes musicae (1609), Gratulationes musicae (1610), Vincula natalitia (1611), Gratulationes musicae (1611), Concentus musicae (1613), Musicalische Glückwünschung (1614), Zwey neue Hochzeitgesänge (1614)
Herr Gott durch deine Güte, 4vv; Exultate justi, 6vv; both D-Bsb
J.E.Schirmer: Geschichte des Hochwürdigen Ministerii der Stadt Coburg von der Reformation bis auf unsere Zeiten (MS, D-Cs, c1780)
H.Wilk: Melchior Franck und die Coburger Musikkultur um 1600 (diss., U. of Munich, 1962)
K.Hofmann and H.Hartmann: ‘Über Leben und Werk eines Coburger Kantors und Komponisten’, Jb der Coburger Landesstiftung (1972), 241–56
ADAM ADRIO/DOROTHEA SCHRÖDER
(b Kützen, nr Merseburg, c1520; d after 1554). German music theorist. In 1545 he entered the University of Leipzig and in the following year he received the baccalaureate degree. After becoming a magister in 1547 he enrolled in 1549 at the University of Tübingen, where in 1554 he was awarded the degree of doctor of medicine. Meanwhile he had become a music teacher at the university and had published the treatise on which his fame rests, Musices practicae erotematum libri II (Basle, 1553).
Faber’s treatise exhibits both conservative and progressive traits. It follows the format of Sebald Heyden’s De arte canendi, for it also consists of two books, the first on the elements of music and the second on the intricacies of mensural notation. Faber’s book 1, however, discusses at length the philosophy of music, an appropriate subject for a university textbook. He borrowed numerous music examples from Heyden, including Ockeghem’s well-known Prenez sur moy and the Kyrie II from Isaac’s Missa ‘Quant j’ay au cueur’. He was one of the few theorists who followed Heyden’s theory of a single tactus that could be applied to all mensurations. Although Faber praised Glarean’s theory of 12 modes, he still adhered to the eight-mode system. His progressive thought is shown in comments on musica ficta and particularly on an outstanding example of it, Matthias Greiter’s Passibus ambiguis for four voices. This extraordinary composition contains written-out accidentals and modulates by a downward circle of 5ths from F to F, the chord on which the composition ends.
E.E.Lowinsky: ‘Matthaeus Greiter’s Fortuna: an Experiment in Chromaticism and in Musical Iconography’, MQ, xlii (1956), 500–19; xliii (1957), 68–85
C.A.Miller: ‘The Dodecachordon: its Origins and Influence on Renaissance Musical Thought’, MD, xv (1961), 155–66, esp. 163–6
G.Pietzsch: Zur Pflege der Musik an den deutschen Universitäten bis zur Mitte des 16. Jahrhunderts (Hildesheim, 1971), 77, 141
C.A.Miller, ed. and trans.: S. Heyden: De arte canendi, MSD, xxvi (1972)