Faà di Bruno, Giovanni Matteo [Horatio, Orazio] 83

Faberton (?Ger.). See under Organ stop. Fábián, Márta

Yüklə 17,54 Mb.
ölçüsü17,54 Mb.
1   ...   5   6   7   8   9   10   11   12   ...   500



See under Organ stop.

Fábián, Márta

(b Budapest, 27 April 1946). Hungarian cimbalom player. She began playing at the age of eight. She studied at the Budapest Conservatory (1960–64), and later with Ferenc Gerencsér at the Liszt Academy of Music (where the cimbalom faculty was created for her) graduating in 1967. She was a member of the Budapest State Dance Ensemble (1967–73) and a soloist with the Budapest Chamber Ensemble from 1969. In 1968 she played for the Wuppertal Opera, and made her first appearance as a soloist in Darmstadt. She has been a guest performer at the Darmstadt, Zagreb, Graz, Lucerne, Witten and Warsaw festivals, with the ensemble Die Reihe, and in Paris. Her playing combines great artistry with an impressive rhythmic vitality, and she has invented several new effects for the cimbalom. She is a specialist in contemporary music and has recorded many of the works dedicated to her by contemporary composers, among whom are György Kurtág, Emil Petrovics, István Láng, László Sáry, Endre Székely and Sándor Szokolay. The cimbalon part in Boulez’s Eclat/Multiples (1970) was also composed for Fábián.


Fabini, (Félix) Eduardo

(b Solís de Mataojo, Lavalleja, 18 May 1882; d Montevideo, 17 May 1950). Uruguayan composer and violinist. He studied the violin at the Conservatorio Musical La Lira, Montevideo, and attended the Brussels Conservatory (1900–03) as a pupil of Thomson (violin) and De Boeck (composition). At the end of his studies he was awarded the first prize in violin before returning to Montevideo. He gave concerts in Europe, Argentina, Brazil and Uruguay, and in 1910 he joined the Asociación Uruguaya de Música de Cámara. Together with Broqua and Cluzeau-Mortet, Fabini founded a new nationalist style in Uruguay. The best-known work in this style is the symphonic poem Campo (1913), first performed in Montevideo by Vladimir Shavitch on 29 April 1922 and again in Buenos Aires in 1923, with Richard Strauss conducting. Campo and La isla de los ceibos (1924–6), another symphonic poem, were recorded by RCA Victor in the USA. He wrote further orchestral pieces: Melga sinfónica (1931), Mburucuyá(1933) and the ballet Mañana de reyes (1937). Next in importance are several tristes for piano and voice and piano. He also composed other vocal and choral works, chamber music and pieces for guitar.


R. Lagarmilla: Eduardo Fabini (Montevideo, 1954)

Compositores de América/Composers of the Americas, ed. Pan American Union, ii (Washington DC, 1956), 50–7

M. Ficher, M.Furman Schleifer and J.M. Furman: Latin American Classical Composers: a Biographical Dictionary (Lanham, MD, and London, 1996)


Fabordon [fabordón, fabourden, fabourdon].

See Faburden; Fauxbourdon; and Falsobordone.

Fabre d'Olivet, Antoine

(b Ganges, 8 Dec 1767; d Paris, 27 March 1825). French writer and musician. The son of a Protestant merchant family, he devoted himself mainly to literature, studying music as a hobby. During the French Revolution he made his name by writing songs and hymns, as well as the libretto of Toulon sauvé, set to music by Jean-Baptiste Rochefort (1794). He wrote the libretto for a fairy opera (Le miroir de la vertu) and several tragédies lyriques (Cornélie et César, Alcée et Sapho, Hermione). He wrote both the text and the music of a philosophical drama Le sage d'Indostan (1796), which was intended for performance by the handicapped. His quartets for two flutes, viola and cello were published by Ignace Joseph Pleyel in 1800. In the same year he became a theosophist and turned to the study of classical ideas. Inspired by an article in Rousseau's Dictionnaire de musique, he took up Charles-Henri de Blainville's theories of the ‘third mode’, and in 1804 composed Hymne à Apollon and an ode, Les souvenirs mélancoliques, in the ‘Greek mode’. He re-used the mode in some passages of an oratorio sung on 25 December 1804 at St Louis-du-Louvre, Paris, on the occasion of Napoleon's coronation. Many of his articles were published posthumously in La musique expliquée comme science et comme art.

For Fabre d'Olivet the function of music was not simply aesthetic but above all moral, spiritual and magical. Musical laws, laid down by the initiated for the uplifting of humanity, expressed the harmony of the cosmos (hence the numerical connotations of harmonies and the relationship between musical sounds and the planets). For this reason he held the music of ancient cultures (Egypt, India, China and Greece) to be vastly superior to that of modern Western civilization.


Notions sur le sens de l'ouïe en général, et en particulier sur la guérison de R. Grivel sourd-muet de naissance (Paris, 1811, enlarged 2/1819)

La musique expliquée comme science et comme art et considérée dans ses rapports analogiques avec les mystères religieux, la mythologie ancienne et l'histoire de la terre (Paris, 1896, 3/1928; Eng. trans., 1987)



C. Pierre: Les hymnes et chansons de la Révolution: aperçu général et catalogue (Paris, 1904)

L. Cellier: Fabre d'Olivet: contribution à l'étude des aspects religieux du romantisme (Paris, 1953)

J. Godwin: L'ésotérisme musical en France (1750–1950) (Paris, 1991), 58–86

M. Barral: ‘Fabre d'Olivet (1767–1825): Le troubadour, poésies occitaniques du XIIIe siècle (1803)’, Cahiers Roucher-André Chénier, xii (1992), 45–61


Dostları ilə paylaş:
1   ...   5   6   7   8   9   10   11   12   ...   500

Verilənlər bazası müəlliflik hüququ ilə müdafiə olunur ©genderi.org 2019
rəhbərliyinə müraciət

    Ana səhifə