A term used to designate the members of a choir of soloists, as opposed to those of the cappella or ripieno choir. According to Schütz’s preface to his polychoral Psalmen Davids (1619), the coro favorito is to be accompanied only by an organ, whereas the cappella should use colla parte instrumental doublings and massed voices to form a contrasting ensemble. The practice of adding optional ripieno choirs to polychoral psalm settings was widespread in Italy during the time when Schütz studied with Giovanni Gabrieli in Venice; earlier publications giving similar performing directions include Girolamo Giacobbi’s Salmi concertati a due e piu chori (1609) and Lodorico Viadana’s Salmi a quattro cori per cantare e sonare (1612). In the instructions printed in the basso continuo partbook of Viadana’s psalms, the term ‘choro favorito’ is used to describe the choir of solo voices which is to be accompanied softly by the organist without passaggi or diminutions, or by the organ and chitarrone, giving free reign to the soloists who are to ‘sing in the modern style’.
P.Winter: Der mehrchörige Stil (Frankfurt, 1964)
W.Ehmann: Introduction to Heinrich Schütz: Neue Ausgabe sämtlicher Werke, xxiii (Kassel, 1971)
Favre [Faure], Antoine
(b ?Lyons, ?c1670; d after 1737). French violinist and composer. His father, Durand Favre, was a violinist from Lyons who, with Antoine, was hired as a member of the newly founded Lyons Opéra in 1687. According to the Supplément aux lyonnais dignes de mémoire (1757), an unreliable document apparently consulted by Fétis, Antoine Favre followed the singer Françoise Journet when she left Lyons to join the Paris Opéra about 1705. There seems to be no evidence supporting Fétis's claim that Favre joined the Paris Opéra orchestra at this date; nor can references to an unidentified ‘Faure’ active as a violinist in Paris in the last two decades of the 17th century be linked conclusively with either Antoine or his father. In 1713 Favre is first mentioned as a member of the petit choeur of the Opéra orchestra. In 1731 he was granted a six-year privilege which preceded the publication of his two sets of violin sonatas. Only the second of these, a group of six modest sonatas consisting of contrasting dance movements, is extant. In 1737 Favre, still a Musicien de l'orchestre de l'Opéra de Paris, composed a divertissement for the one-act comedy L'heure du berger by Boizard de Pontault. As there are no further references to Favre's activities after this date, it is impossible to verify Boisgelon's statement, taken over by Fétis, that Favre died in Lyons in 1747.
Premier livre de sonates, vn (Paris, 1731), lost [mentioned in Boivin's catalogue, 1742]
Second livre de sonates, vn (Paris, 1731) [with collection of 5 marches]
Livre de menuets, 2 vn, b (Paris, n.d.), ?lost [mentioned in Boivin's catalogue, 1742]
Divertissement in L'heure du berger (comédie, F.-C.B. de Pontault and C.F. Pannard), Paris, Théâtre Français, 12 Nov 1737; pubd (Paris, 1738)
2 menuets in Suite des Dances … par Philidor l'aîné, vns, obs (?Paris, 1712)
L.Vallas: Un siècle de musique et de théâtre à Lyon 1688–1789 (Lyons, 1932/R)
M.Benoit: Versailles et les musiciens du roi, 1661–1733 (Paris, 1971)
(b Saintes, Charente-Maritime, 26 July 1905; d Paris, 25 April 1993). French musicologist and composer. He studied counterpoint and fugue with André Gédalge (1924–6), conducting with d’Indy (1925–8) and composition with Dukas (1928–32) at the Paris Conservatoire; he also attended the lectures of Pirro (1932–5) and Masson (1932–7) at the Sorbonne, taking the doctorat ès lettres in 1944 with a dissertation on the life and works of Boieldieu. From 1928 to 1944 he was professor of musical education in the Ecoles de la Ville, Paris, and at the Ecole Normale d’Instituteurs, Paris. He was appointed inspector of musical education in the schools of the Département de la Seine in 1944, and from 1956 until his retirement in 1975 was inspector general of public instruction. He published papers on the teaching of music and sol-fa textbooks of great interest to educationists. His musicological research was largely on French music: he wrote an exhaustive study of Boieldieu and edited his piano works; he was a specialist on piano music of the early 19th century and published the correspondence and interesting studies of Dukas. His compositions include dramatic works, works for piano, chamber ensemble and orchestra, and songs, among which are several subtle harmonizations of French folksongs.
Boieldieu: sa vie, son oeuvre (diss., U. of Paris, 1944; Paris, 1944–5, vol.i repr. 1977)
‘L’opéra-comique en France au XVIIIe siècle’, ‘Le théâtre en France sous la Révolution et l’Empire’, ‘L’école italienne au début du XIXe siècle’, La musique des origines à nos jours, ed. N. Dufourcq (Paris, 1946, 3/1959), 192–5, 302–7, 307–9
Paul Dukas: sa vie, son oeuvre (Paris, 1948)
Musiciens français modernes (Paris, 1953)
La musique française de piano avant 1830 (Paris, 1953/R)