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

Fornerod, Aloÿs-Henri-Gérard

(b Montet-Cudrefin, 16 Nov 1890; d Fribourg, 8 Jan 1965). Swiss composer. He studied music in Pully, Lausanne, and from 1909 at the Schola Cantorum in Paris under d’Indy (composition), Sérieyx (counterpoint) and Lejeune (violin). For one term (1910–11) he followed Pfitzner’s orchestration course, at Strasbourg and then returned to Lausanne, where he played the violin in the symphony orchestra (1911–13) and conducted choirs (1916–18) for which he wrote several religious pieces. His conducting work continued with the Choeur des Alpes of Montreux and then the Harmonie des Alpes of Bex (1932–8). He worked as a theory teacher in Lausanne at the Institut de Ribaupierre (1921–49) and the conservatory (from 1926); he also taught in Morges (1940–47) and Saint Maurice, Valais (1948–54), and from 1954 until his death he was director of the Fribourg Conservatoire. In addition, he worked as a critic for the Tribune de Lausanne and the Semaine littéraire of Geneva, and from 1960 to 1965 he was French editor of the Revue musicale suisse.

WORKS

(selective list)

Stage: Oedipe roi, op.5 (incid music), chorus, orch; Antigone, op.5b (incid music), chorus, orch, 1952; Geneviève, op.36 (opéra comique, J. Bruyr, after Boccaccio), 1951–2, Lausanne, 1954

Orch: Sym. no.1, F, op.1, 1915–17, disowned; Sym. no.2, E, op.8, 1919–22, disowned; Pastorale, op.19, vn, orch, arr. vn, pf; Le voyage de printemps, op.28, 1940–41; Suite, orch; Pf Conc., op.29, 1943–4; Prométhée enchaîné, op.34, 1948; Deuxième concert, op.35, chbr orch, 1949

Sacred vocal: 3 Motets, op.2, SATB, 1918; 3 Motets, op.4, SATB, 1918; Ave Maria, op.6, 1v, org, 1919; Messe brève, op.12, SATB (1926); 3 Motets, op.15, SATB; Angelus Domini, op.22, chorus; Messe brève, op.23, SAB, org, 1934; Missa septimi toni, op.25, SATB, 1935; Salve regina, op.26, SATB; TeD, op.37 (Ronsard), solo vv, chorus, orch, 1954; Messe solennelle ‘Ancilla Domini’, op.38, solo vv, chorus, orch, 1957; Ps ciii, op.41, male chorus, 1959; Hymne à la très-sainte Trinité, op.43 (G. de Reynold), chorus, brass, db, perc, 1961; Ave Maria, op.44, male chorus

Secular vocal: 2 choeurs, op.7 (T. de Banville), 1921; Elaine, op.9, solo vv, male chorus, orch, 1923; 2 mélodies, op.10, ?1924; 3 mélodies, op.13, before 1927; Une jeune fille parle, op.17 (Moréas), chorus, c1927; Chanson de toile, op.18 (Fornerod), 1v, pf, unpubd; Déesse aux yeux d’azur, op.20 (Moréas), female chorus, orch/pf; Madrigal, op.21 (Calderón, trans. J.P. Florian), 1v, pf, 1930; 5 chansons françaises, op.30, 1v, pf, 1944; 4 chansons de Savoie, op.32, 1v, pf, 1947; Bucoliques, op.33 (Virgil, trans. X. de Magallon), 1v, pf, 1947; 9 vocalises, op.46, 1v, pf, unpubd; other songs and choral pieces

Chbr: Sonata, op.11, vn, pf, 1925; Concert, op.16, 2 vn, pf (1959); Sonata, op.24, vc, pf, 1934; Divertissement pastoral, op.31, ob, cl, bn, 1946; Str Qt, op.47, 1964; other pieces

Kbd: 4 interludes dans les tons grégoriens, op.3, org, 1920; 2 petites pièces, op.14, pf, 1927; Le voyage de printemps, op.27, suite, pf, 1940–41; Sonatine, op.39, pf, 1959; other pieces

Principal publishers: Foetisch, Henn

MSS Lausanne, Bibliothèque Cantonale et Universitaire

WRITINGS

Les tendances de la musique moderne (Lausanne, 1924)

La musique et le pays, Ordre et tradition, viii (Lausanne, 1928)

Henryk Opienski (Lausanne, 1942)

‘Petit cours sur l’orchestre’, Feuilles musicales, vii (1954), 170; viii (1955), 4, 55, 126, 174; ix (1956), 31, 101

‘Jean Binet: 1893–1960’, SMz, c (1960), 166–71

‘Traité de la réponse: étude de la Fugue’, SMz, cii (1962), 21–8, 89–94

BIBLIOGRAPHY

P.-A. Gaillard: ‘Aloÿs Fornerod: pour son 70e anniversaire’, SMz, c (1960), 366 only

Revue musicale de Suisse romande, xviii/2 (1965) [Fornerod issue]

Liste des oeuvres d’Aloÿs Fornerod (Zürich, 1970)

J. Thévoz: Aloÿs Fornerod, mon maître (Lyons, 1973)

Hommage à Aloÿs Folherod (Pully, 1975)

J. Viret: Aloÿs Fornerod ou le Musicien et le Pays (Lausanne, 1982)

J.L. Matthey: Inventaire du Fonds musical Aloÿs Fornerod, Bibliothèque Cantonale et Universibize (Lausanne, 1982)

ETIENNE DARBELLAY

Forns y Cuadras, José

(b Madrid, 12 Jan 1898; d Geneva, 6 Sept 1952). Spanish musicologist and composer. He studied music at the Madrid Conservatory, where he was taught composition by Emilio Serrano and won the conservatory’s composition prize (1919). From 1921 to his death he held the chair of music history and aesthetics at the Madrid Conservatory. As a composer he wrote mostly zarzuelas (including El toque de oración, La veneciana and Flores de lujo) and scores for various films. But he was more influential in disseminating knowledge of the history and aesthetics of music, particularly through his two books, Estética aplicada a la música (Madrid ?1924, 7/1943), and Historia de la música (Madrid, 1925–33), which have appeared in several editions and for many years were standard textbooks in nearly every conservatory in Spain as well as many in Latin America. He was also notable for his untiring defence of the rights of Spanish musicians (having also taken the doctorate in law), through various national and international societies of which he was a member.

JOSÉ LÓPEZ-CALO