(b Grönenbach, Allgäu, bap. 18 Dec 1761; d Durach, c1807). German composer. The son of an official in the princely establishment at Kempten, he studied at the Heiligkreuz monastery in Memmingen and at the University of Dillingen. In 1787 he was admitted to the priesthood and became vicar-choral to the Prince-Abbot of Kempten, where he played the double bass and the cello in the court and chamber ensembles. When Kempten was incorporated into the state of Bavaria, Fehr became priest in charge, and school inspector, at Durach near Kempten. Long before Beethoven, he composed a setting of Schiller’s An die Freude, published with a set of keyboard dances (Bregenz, 1798); he also published XII Lieder fürs Klavier gesetzt (Kempten, 1796) and Sammlung XII auserlesener Lieder zur angenehmen Unterhaltung fürs Clavier (Bregenz, 1797). A duet setting of the Salve regina also survives (D-Bsb), but his Vesperae de Dominica setting has disappeared.
(b Bülach, canton of Zürich, 17 June 1887; d Winterthur, 27 April 1963). Swiss musicologist. He studied Romance languages and musicology in Zürich, where he took the doctorate in 1912 with a dissertation on Zeno and his librettos. After a period of study in Italy, Fehr was employed in Zürich (1912–18) and Winterthur (1918–52) as a teacher of French and Italian, writing books on music history in his spare time. From 1917 he was librarian and later president (1923–57) of the Allgemeine Musikgesellschaft, Zürich; as the successor of Hermann Suter, he was also president of the Neue Schweizer Musikgesellschaft, now the Schweizerische Musikforschende Gesellschaft (1919–32). The main emphasis in Fehr’s writings was on Swiss music history, particularly that of Zürich and Winterthur; he wrote a standard work on Richard Wagner’s years in Switzerland.
Apostolo Zeno und seine Reform des Operntextes: ein Beitrag zur Geschichte des Librettos (diss., U. of Zürich, 1912; Zürich, 1912)
Spielleute im alten Zürich (Zürich, 1916)
Der alte Musiksaal beim Fraumünster (1717–1897) (Zürich, 1918)
Unter Wagners Taktstock: dreissig Winterthurer und Zürcher Briefe aus der Zeit der Wagnerkonzerte in Zürich 1852 (Winterthur, 1922)
Hans Conrad Ott-Usteri und seine Aufzeichnungen über das zürcherische Musikleben, 1834–1866 (Zürich, 1927)
Alter Orgelbau im Zürichbiet (Männedorf, 1928)
Das Musikkollegium Winterthur 1629–1837 (Winterthur, 1929)
Die wandernden Theatertruppen in der Schweiz: Verzeichnis der Truppen, Aufführungen und Spieldaten für das 17. und 18. Jahrhundert (Einsiedeln, 1949)
with L.Caflisch: Der junge Mozart in Zürich (Zürich, 1952)
Musikalische Jagd (Zürich, 1954)
Das Musikkollegium Winterthur 1837–1953 (Winterthur, 1959)
E.Nievergelt: Max Fehr, 1887–1963 (Zürich, 1968) [incl. list of writings]
Italian family of music printers. They were active in the 17th century. In 1615 the first publication by Andrea Fei (bc1579; d 6 Feb 1650), an edition of Guidetti’s Directorium chori, appeared at Rome. In 1620 he opened a second house in Bracciano, apparently as publisher to the duke, and quickly put out an edition of Arcadelt’s first book of madrigals. Both branches continued during the rest of the printer’s life, and both published music sporadically over the next two decades. Between 1640 and 1647 Fei published more music at both addresses, much of it being financed by others, in particular the Roman bookseller G.D. Franzini. Several volumes in a largely conservative output were edited by Florido de Silvestri. In 1657 Andrea’s son Giacomo Fei (bc1603; d 21 April 1682) inherited the firm and retained the Bracciano branch for some years. He seems to have printed mostly music until 1670, when his output declined rapidly. Almost 40 editions survive, concentrating on sacred music by Roman composers such as Francesco Foggia, Bonifatio Gratiani and Domenico Mazzocchi. There are also a few editions of spiritual villanellas (P.P. Sabbatini) and madrigals (Natali), as well as new editions of G.F. Anerio and Palestrina.
It is not certain if Michel’angelo Fei is related to the above. He printed at Orvieto, in partnership with Rinaldo Ruuli during the 1620s. Five musical books appeared before 1626. Ruuli continued to print various titles, including seven of sacred music, until 1639.
(b Mogilno, nr Poznań, 22 Sept 1894; d Warsaw, 31 March 1967). Polish musicologist and composer. Ordained priest in 1916, he received his musical education in Kraków and Lwów and studied musicology first with Adolf Chybiński at the University of Lwów (1921–5) and then with Peter Wagner at Freiburg (1927–8). In 1925 he took the doctorate with a dissertation on the sacred works of Pękiel at Lwów University and in 1946 he completed the Habilitation at the University of Poznań with a work on Chopin’s rondos. He taught theory and history of music at the Kraków Conservatory (1927–30, 1935–9) and was a professor at the State College of Music in Warsaw (1930–32). He was head of the musicology department at the University of Wrocław (1946–52) and rector of the State College of Music at Wrocław (1948–52). From 1952 until his death he was a professor and later head of the music history department at Warsaw University. From 1958 he was also director of the Church Music Institute at the Catholic University of Lublin. He edited the series Wydawnicto Dawnej Muzyki Polskiej from 1952 and Antiquitates Musicae in Polonia from 1960. In his work as a scholar he continued the line initiated by Chybiński and was concerned primarily with the history of Polish music. His intensive studies, many of them pioneering, were carried out mainly on Polish medieval music and the chorale in Poland.
Kompozycje religijne Bartłomieja Pękiela [Pękiel’s sacred compositions] (diss., U. of Lwów, 1925)
‘Wojciech Dębołęcki, kompozytor religijny z pierwszej połowy XVII wieku’ [Dębołęcki, composer of sacred works from the first half of the 17th century], Przegląd teologiczny, vii (1926), 1–56
‘Polska muzyka religijna’ [Polish sacred music], Muzyka, iv/7–9 (1927), 75–88
‘Przyczynki do dziejów kapeli królewskiej w Warszawie za rządów kapelmistrzowskich Marka Scacchiego’ [Contributions to the history of the royal chapel in Warsaw under the musical directorship of Marco Scacchi], KM, no.1 (1928), 20–34; no.2 (1929), 125–44; repr. in Studia nad muzyką polskiego renesansu i baroku (Kraków, 1980), 243–88
‘“Audite mortales” Bartłomieja Pękiela’, KM, no.4 (1929), 366–96
with J. Woronczak and E. Ostrowska: Bogurodzica (Wrocław, 1962)
‘Musikalische Beziehungen zwischen Wien und Warschau zu Zeit Wiener Klassiker’, SMw, xxv (1962), 174–82
‘Mittelalterliche Choralprobleme in Polen’, Musik des Ostens, ii (1963), 84–90
‘Muzyka liturgiczna w polskim średniowieczu’, Musica medii aevi, i (1965), 9–52; Eng. trans. as ‘Liturgical Music in Mediaeval Poland’, Polish Musicological Studies, i (1977), 58–124
‘Dzieje polskiej muzyki religijnej w zarysie’ [An outline of the history of Polish religious music], Roczniki teologiczno-kanoniczne, xii/4 (1965), 5–50
‘Polska pieśń średniowieczna’ [Polish song of the Middle Ages], Musica medii aevi, ii (1968), 52–70
Opera musicologica Hieronymi Feicht (Kraków, 1975–80)
B.Pękiel: Audite mortales, WDMP, iv (1929, 2/1968) [with K. Sikorski]; Missa pulcherrima ad instar Pranestini, WDMP, xvii (1938, 4/1984) [with W. Gieburowski]; Magnum nomen Domini: Resonet in laudibus, WDMP, xix (1948, 4/1980); 2 Patrem, WDMP, lii (1963, 2/1969); Missa brevis, WDMP, lxii (1966, 2/1993)