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Purcell composed an Elegy, text by Nahuiu
Tate, on his death, from which it is inferred
that he died young. Grove ; Fc'tis ; Haw-
kins, Hist,, v. 18 ; Mendel.

FAENABY, GILES, born in Truro,
Cornwall, England, second half of 16th cen-
tury, died (?). Composer, graduated at
Oxford as Mus. Bac., July 9, 1592. He was
one of the composers employed by Thomas
Este to harmonize the tunes for the " Whole
Book of Psalms" (1592). Works: Canzonets
to foure voyces with a song of eight parts
(London, 1598) ; Madrigal, " Come, Cha-
ron, Come," in MS. ; Music in Queen Eliza-
beth's Virginal Book, preserved in the Fitz-
william Museum, Cambridge. Grove; Fetis;
Larousse ; Burney, Hist., iii. 112 ; Hawkins,
Hist, iii. 367 ; Eitter, Music in England, 129.

I 'A UN ACE (Pharuaces), Italian opera,
music by Caldara, represented in Venice,
1703. The hero is Pharuaces, son ofMith-
ridates, King of Pontus, whose revolt led to
his father's death. The same subject has
been treated also by Pollarolo, Venice, 1718 ;
Bononciui, London, 1723 ; Vinci, Venice,
1724 ; Vivaldi, Venice, 1726 ; Eiualdo da
Capua, Italy, about 1740 ; Arena, Eome,
1742 ; Traetta, Naples, 1750 ; Perez, Eome,
1750 ; Guglielmi, Italy, about 1765 ; Sarti,
Venice, 1776 ; Sterkel, Naples, 1780 ; Ur-
bani, Dublin, 1784.

FAEEANT, EICHAED, born in first half
of 16th century, died at Windsor, Nov. 30,
1580. He was one of the Gentlemen of the
Chapel Royal up to 1564 ; Master of the
Children of St. George's Chapel, Windsor,



42



FAIIUENC



and probably organist, in 1564-69 ; and
again Gentleman of the Chapel Royal, from
1569 until his death. Works : High Ser-
vice, in G minor and A minor, in Tudway's
Collection, British Museum ; The anthems,
"Call to remembrance," and, "Hide not
Thou thy Face, O Lord," preserved in the
collections of Barnard and Boyce. The
anthem, "Lord, for Thy tender mercies'
sake," assigned to him, is attributed by ear-
lier writers to John Hilton ; and the anthem,
" OLord Almighty," is questionably assign-
ed to him by Tudway. Grove ; Fe-
tis ; Barney, Hist, iii. 11; Hawkins,
Hist, iii. 249 ; Hitter, Music in Eng-
land, 39 ; Naumann (Ouseley), i. 679.

FARRENC, JEANNE LOUISE, born
(Dumont) in Paris, May 31, 1804, died
there, Sept. 15, 1875. Pianist, pupil of
Moscheles, Hummel, and Reicha. In 1821
she married Aristide Farreuc (born at Mar-
seilles, April 9, 1794, died in Paris, Feb. 12,
1869), flutist and writer on music, with whom
she made several professional journeys. She
was professor of the pianoforte at the
Conservatoire, Paris, from 1842 to 1873.
Works : Etudes, sonatas, etc., for the piano-
forte ; Sonatas for pianoforte, violin, and
violoncello ; Duos ; 2 quintets ; a sestet ; a
nonet ; 2 symphonies ; and 3 overtures for
full orchestra. Iu 1869 she was awarded by
the Acadeniie des Beaux-Arts the prize for
chamber music. Her Tresor des Pianistes
(20 parts, Paris, 1861-72) contains master-
pieces of all the classical writers from the
16th century downwards. Her daughter,
Victoriue Louise Farrenc (1826-1859), was
also a pianist and wrote music for her in-
strument. Fetis, iii. 186; do., Supplement,
i. 314 ; Grove ; Larousse.

FASCH, JOHANN FRIEDRICH, bom at
Buttelstildt, Saxe- Weimar, April 15, 1688,
died at Zerbst, Anhalt, in 1758 (1759?).
Dramatic composer, pupil of Kuhuau at the
Thomasschule iu Leipsic (1702-7), where he
became a good pianist, and studied compo-
sition from the works of Telemann. In
1710 he accepted a call to the court of



Naumburg, for which he composed three
operas, then visited Italy, and after his re-
turn to Leipsic went to Darmstadt to study
harmony and counterpoint under Graupner
and Griinewald. Having occupied different
positions at Gera (1715), Zeitz (1720), and
in the service of Count Morziu in Bohemia
(1721), he was appointed Hofkapellmeister
at Zerbst iu 1722. Works : Berenice, op-
era, given at Zerbst, 1725 ; 2 sacred canta-
tas, for four voices and orchestra ; Orato-
rios ; Masses ; Motets ; Passions. In the





I Royal Library at Dresden are in MS. : 45
concertos for violin, flute, oboe, bassoon,
etc., with accompaniment ; 61 overtures for
orchestra ; 12 trios, and 13 symphonies for
string- and wind-instruments. Allgem. d.
Biogr., vi. 576 ; Fetis ; Marpurg, Histo-
rischkritische Beitriige (Berlin, 1757), iii.
124 ; Mendel ; Schilling.

FASCH, KARL FRIEDRICH CHRIS-
TIAN, born in
Zerbst, Nov. 18,
1736, died in Ber-
lin, Aug. 3, 1800.
Son and pupil of
Johanu Friedrich
Fasch in organ
and theory, of
HOckh for violin,
and in Strelitz of

Hertel in all branches. He became in 1756
accompanist to Frederick the Great, his
duty being, alternately with C. P. E. Bach,

j to play the harpsichord to the king's flute.
In 1774-76 he directed the Court Opera. In
1792 a small choral society for which he had
written pieces obtained a hall in the Acad-
emy building, and became the Berlin Sing-
akademie, the prototype of many such insti-
tutions all over Germany. He was its first
artistic director, and was succeeded by his
pupil Zelter. Shortly before his death he
caused to be burned all his compositions




FASCIIINGSSC11WANK



written previous to the mass for 16 voices.
Works : Yasco da Gama, opera, given in
Vienna, 1792; Mass for 16 voices ; Chorals;
Psalms ; Requiem ; Funeral cantata ; Can-
ons ; Cantatas ; Harpsichord pieces. Some
of his manuscript music is in the Berlin
Royal Library. His principal works were
published by the Singakademie in liS39.
Zelter, K.' F. C. Fasch (Berlin, 1801) ;
Allgem. d. Biogr., vi. 576 ; Fetis ; Mendel.

FVSCHIXUSSCHWAXK AUS WIEN
(Carnival Jest from Vienna), for pianoforte,
1>\ Robert Schumann, op. 26, composed 1839.
It consists of live movements, three of which
are among the brightest and most attrac-
tive creations of the composer. The point
of the jest lies in the first movement, in
which the Marseillaise, at that time inter-
dicted in Vienna, is surreptitiously intro-
duced. External influences are easily recog-
nizable in the other three movements, where
certain moods are represented in the firmly
fixed forms of the Romance, the Scherzino,
and the Finale in rondo form. Maitlaud,
60 ; Ilicmann, 7'-'.

F \STKF. JOSFPH, born at Flushing.
June 22, 178:5, died at The Hague, April 1:5.
ls|-j. Instrumental and vocal computer;
entered the service of a French regiment
in isn:;. was stationed at Flushing and at
Dunkirk in 1S04, went with the regiment
to Germany in 180."). and took part in the
batik- of Austcrlit/. ; returned home in 1806,
and, having afterwards lived at Alkmaarand
Middelburg (1807), settled at The Hague,
where he became a member of the royal
orchestra, and professor at the Conserva-
toire in l.s:>0. Works : 12 songs for 2
voices ; 12 do. for 3 voices ; 6 do. for 2 so-
pranos and contralto; Compositions for flute,
clarinet, and pianoforte. Fetis, Supple-
ment, i. 316 ; Mendel, Ergiinz., 101 ; Viotta.

FATAL OATH. See Oberon.

FATINITZA, operetta in three acts, text
by Zell and Genee, music by Franz von
Suppe, first represented in Vienna, Jan. ">,
1876. The libretto is an adaptation of La
Circassienne, opera-comique by Scribe and



Auber. On its production in Paris, the
same year, a French text was supplied by
A. Delacour and Victor Wilder, in which a
woman plays the role of the young Russian
officer of Scribe's libretto. Fatiuitza was
given in London in 1878.

FATTORINI, GABRIELE, born at Fa-
euza, Roman States, lived in the beginning
of the 17th century. A work by him, in the
Lyceo, Bologna, entitled : " I Sacri Cou-
ceiti a 2 voci col basso generate " (1608),
is supposed to be a reprint of his Sacri Con-
certi a 2 voci commodi da cantare col or-
gano (Venice, 1600). This is interesting
as being one of the first works of the kind
ever produced, it marking the origin of the
new forms of religious music. His masses
are in the Royal Library, Munich. Fe-
tis ; Gerber ; Mendel.

FAUBEL, JOSEF, born at Aschaffeu-
burg, June 12, 1801, still living, 1889 (?).
Virtuoso on the clarinet, attached, when only
ten years old, to the orchestra of the Grand
Duke of Frankfort. In 1813, when that
State ceased to exist, he was enrolled in a
regiment of the city of Frankfort, and took
part in the campaign against France in
I sl(. After Iris return he devoted himself
to a thorough study of his instrument, and
in 1816 appeared with great success in
Frankfort, and in 1818 in Munich, where he
was at once engaged as court musician for
I the royal orchestra. There Barmann became
his great model, and his perseverance in
emulating him won him much well-deserved
applause on concert tours in North Ger-
many (1825), Vienna (1831), Switzerland
(1833), Paris (1S37), and Holland (1841).
He has composed solos, variations, duos,
etc., for his instrument. Fetis ; Mendel.

FAUCON, LE, opera-comique in one
act, text by Sedaine, music by Monsigny,
represented at the Italiens, Paris, March
19, 1772. The subject is from Boccaccio.

FAUCONIER, BENOIST CONSTANT,
born at Fontaiue-l'Eveque, April 28, 1816,
died at Thuin, Feb. 16, 1877. Pianist, pu-
pil at the Brussels Conservatoire, under



41



FAUGUES



Michelot and Fetis, and became accom-
panist at the Conservatoire in 1839. After
making a professional tour with his wife
and Felix Godefroid, he settled in Paris
in 1840, but was in Rome in 1846-184.8.
"Works : Uu an d'avenir, opera-conrique, one
act, given in Brussels about 1850 ; La pa-
gode, opera-coinique, two acts, text by
Saint-Georges, Paris, Sept. 26, 1859;
Masses, op. 88, 89, 90, 91, 117 ; Quartets
for violin, pianoforte, etc., with orchestral
accompaniment ; Pianoforte music ; Violin
music ; Hymns, songs, etc. Fetis ; do., Sup-
plement, i. 317 ; Mendel ; do., Ergiinz., 101.

FAUGUES (Fauques, Fagus, La Fage),
VINCENT, Flemish composer, born about
1415. He was a disciple of Guillaume Du-
fay and a writer of considerable merit.
His masses were much used during the
pontificate of Nicholas VI. (1447-55).
Ambros gives part of his "Omme Anno,"
a mass preserved in MS. in the Pontifical
Chapel. Fetis ; Kiesewetter, Gesch. ; Men-
del ; Nautnann (Ouseley), i. 317.

FAURE, GABRIEL, French composer,
contemporary. Pianist, pupil at the Ecole
de Musique Religieuse, Paris, where he won
the first prize for pianoforte, and a prize for
harmony, 1860, and one for composition in
1861. Works : Symphony for orchestra ;
Cantique de Racine, chorus ; Sonata for
violin and pianoforte ; Duos for 2 female
voices ; Vocal melodies. Fetis, Supple-
ment, i. 320 : Mendel, Ergiiuz., 102.

FAURE, JEANBAPTISTE, born at Mou-
lius (Allier), France,
Jan. 15, 1830, living in
Paris, 1889. Baritone
singer and composer,
pupil at the Paris Con-
servatoire in 1843 in
solfege, then at the
Maitrise of the Ma-
deleine under Trevaux,
and subsequently of
Ponchard and Moreau-
Sainti at the Conservatoire. In 1852 he
won the 1st prize for singing and the 1st





prize for opera-comique. He made his de-
but, Oct. 20, 1852, at the Opera Comique
as Pygmalion in Masse's Galatee, sang in
London in 1860, in Berlin in 1861, and in
the same year made his first appearance at
the Opera, where he soon acquired great
reputation in leading roles, especially in
Don Giovanni, L'Africaine, Thomas's Ham-
let, and Gounod's Faust. He alternated
many years between London and Paris, and
has sung also in Italy and Russia. He was
for a time in 1857 professor of singing at
the Paris Conservatoire and in 1874 at that
of Brussels. He is a man of wide general
culture and his compositions are highly
creditable. Works : 25 melodies for voice
and pianoforte ;
20 melodies for O\ \
do. ; C h u r c h (

music ; Piano-
forte music. Fetis ; do.. Supplement, i.
318 ; Larousse ; Grove, i. 571 ; Mendel,
Ergiinz., xii. 101.

FAUSSE MAGIE, LA, opera-comique in
two acts, in verse, text by Marmontel, mu-
sic by Gretry, represented at the Comedie
Italienne, Paris, Feb. 1, 1775. It contains
a famous duet between two old men,
" Quoi ! c'est vous qu'elle prefere ! " which
was long popular. La fausse magie was re-
produced in 1828 and again in 1863. It
has been reinstrumented by Eugene Pre-
vost.

FAUST, German opera in two acts, text
by J. C. Bernhard, music by Spohr, first
represented at Fraukfort-on-the-Main, in
1818. The opera was written at Vienna, in
1813, for the Theater an der Wien, but for
some reason was not produced. The li-
bretto has little resemblance to Goethe's
poem, the first part of which had been pub-
lished in 1805, but follows more closely the
popular legend. It was successful, and was
soon produced at Cassel, Berlin, and else-
where. It was given in London by a German
company, at the Prince's Theatre, May 21,
1840. In 1852, Spohr went to London to
adapt the work for the Italian stage. He



FAUST



composed for it recitatives in place of the
spoken dialogue, and made other additions
and alterations. In this new form it was
produced with great success, under his own
direction, at Covent Garden, July 15, 1852,
with Castellan, Ronconi, Formes, and Tam-
berlik in the principal parts. The first mu-
sical-dramatic representation of the Faust
legend seems to have been the English pan-
tomime, The Necromancer ; or, Harlequin
Dr. Faustus, by John Ernest Galliard, pro-
duced in London, 1723. Other early ones
are : Doktor Fausts Zaubergiirtel (Magic
Girdle), by Phanty, Vienna, 1790 ; Harle-
quin and Faustus, Samuel Arnold, London,
1793 ; Doktor Faust, by Ignaz Walter, Han-
over, 1797 ; Fausts Leben und Thaten (Life
and Acts), Josef Strauss, 1815 ; Fausts
Leben, Thaten, und Hollenfahrt (Descent to
Hell), by Lickl, Vienna, 1815 ; Faust, by
"Wenzel Miiller, Vienna, 1818 ; do., by J.
von Seyfried, Vienna, 1820 ; do., by Beau-
court, Paris, 1827 ; do., by Angelique Ber-
lin, ib., 1831 ; do., by Lindpaintner, Stutt-
gart, 1832 ; do., ballet, by Adolph A<l;mi.
I'.irK IMiii ; do., by de Pellaert, Brussels.
1834; do., by Kietz, Diisseldorf, 183G ;
Fausto, by Gordigiani, Florence, 1837;
Faust and Marguerite, by "Wilhelm Meyer-
Lutz, London, 1855 ; Faust, musical drama
in four acts and prelude, by Heiurich Ziill-
ner, given with success in Munich, Oct. 19,
1887. There have been many burlesques of
the legend, and it has also been a prolific
theme for a great deal of incidental music,
in the form of overtures, symphonies, etc.
K. Eugel, Bibliotheca Faustiana (Olden-
burg, 1874) ; Edwards, Lyrical Drama, i.
149.

FAUST, grand opera in five acts, text by
Michel Carre and Jules Barbier, music by
Charles Gounod, first represented at the
Theatre Lyrique, Paris, March 19, 1859 ;
and at the Academic Imperiale de Musique,
March 3, 1869. The libretto, an adapta-
tion of Goethe's poem, follows the first part
pretty closely. The original cast in Paris
was as follows :



Faust M. Barbot.

Mephistopheles M. Balauque.

Marguerite Mine Miolan-Carvalho.

Valentin M. Isrnael.

Siebel Mile Faivre.

Marthe Mine Duclos.

The same parts were sung at the Academic,
in 1869, by Colin, Faure, Nilsson, Devoyod,
and Mauduit. This work at once placed
Gounod in the front rank of living compos-
ers. It had even a greater success on the
Continent than in Paris, and it has been per-
formed on all the principal stages of the
world. It was first given in London, at
Her Majesty's Theatre, June 11, 1863, and,




Miotan-Carvalho, as Marguerite.

in an Italian version, as Faust e Margherita,
at Coveut Garden, July 2, 1863. An Eng-
lish version, text by Chorley, was played at
Her Majesty's Theatre, Jan. 23, 1864. It
was first performed in Germany at Darm-
stadt, 1861, as Faust, and in Berlin, 1863, as
Margarethe. Its first representation in New
York took place at the Academy of Music,
Nov. 25, 1863. The first act, which is in the
nature of a prelude, introduces Faust in his
study with Blephistopheles. In act second is
the Kerinesse, in which Marguerite is intro-
duced. In the third is the garden scene,
which leads to Marguerite's fall. In the
fourth, or cathedral act, occurs the death
of Valentin and his malediction upon his



16



FAUST



sister. The fifth, or prison act, includes '
Marguerite's death in prison and her apo-
theosis. The most popular of the numbers
are the weird drinking song of Muphisto-
plu'K's, " Veau d'or ; " the phrase of the old
man at the Kermesse, "Aux jours de cli-
mauche;"the cavatina by Faust, "Salut, de-
meure chaste et pure ; " the ballad sung by
Marguerite at the spinning-wheel, "II utait
un roi de Thulu ;" the love scene, "Lais-
sez-moi coutenipler ton visage ; " the pas-
sionate duet between Faust and Marguerite,
"0 uuit d'amour, ciel radieux ; " and the sol-
diers' chorus, "Gloire immortelle de nos
a'ieux." The role of Marguerite, created by
Mine Carvalho, has been since worthily
filled by Patti, Lucca, Nilsson, and Valleria.
Edwards, Lyrical Drama, i. 46, 165.

FAUST, musical portrait, for full orches-
tra, by Anton Rubinstein, op. GS. Pub-
lished by Siegel.

FAUST, GAEL, born at Neisse, Silesia,
Feb. 18, 1825, still living, 1889. Dance
music composer, pupil of Herrling at Anna-
berg, was bandmaster in two regiments
from 1853 to 18G5, when he left the mili-
tary service to conduct a concert-orchestra
at Breslau ; in 18G9 he was appointed city
music director at Waldeuburg. His com-
positions, consisting exclusively of dances
and marches, number more than 200, and
are popular in North Germany, but will
not bear comparison with those of the Vien-
nese composers. Fetis, Supplement, i. 321 ;
Mendel.

FAUST-OUVERTURE, EINE (A Faust
Overture), for orchestra, by Richard Wag-
ner, written in Paris, 1839-40 ; first per-
formed in Dresden, July 22, 1S44. This
work, the first in Wagner's true style, was
conceived after a rehearsal of Beethoven's
Ninth Symphony at the Conservatoire. It
was intended as the first movement of a
Faust symphony, but was finally laid aside
until 1855, when it was revised, given at a
concert in Zurich, and published. It is a
masterpiece of instrumentation. It was
given in New York, by the Philharmonic



Society, in 185G-7, and in Boston, by the
Philharmonic Society, Jan. 3, 1857. Grove,
iv. 351.

FAUST, SCENEN AUS GOETHE'S
(Scenes from Goethe's Faust), for soli,
chorus, and orchestra, by Robert Schu-
mann, composed in 1844, 1847, 1849, 1850,
1853, published in 1858 (Breitkopf & Har-
tel). In musical importance, as in extent,
this is to be regarded as the greatest work
of the composer's later years. It is divided
as follows : Part I. No. 1. Scene iin Garten
(Garden Scene), 1849 ; No. 2. Gretchen vor
Jem Bild der Mater dolorosa (Margaret
before the picture of the Mater dolorosa),
1849; No. 3. Scene in Dom (Cathedral
Scene), 1849. Part H No. 4. Ariel, Son-
neuaufgang (Sunrise), 1849 ; No. 5. Mitter-
nacht (Midnight), 1850; No. 6. Faust's
Tod (Faust's Death), 1853. Part HI. No.
7. Faust's Verklarung (Faust's Transfigura-
tion), subdivided into seven scenes (April,
1847). The third part contains the most
valuable numbers, and in it all Schumann's
noblest qualities as a composer are seen to
the best advantage. His purity of emotion,
his keenness of spiritual insight, here find
their proper sphere. The airy, incorporeal
world of spirits in which this portion takes
place is most faithfully reproduced in the
music. This third part includes the whole
last scene of the second part of Goethe's
poem ; Schumann wrote two versions of the
concluding Chorus Mysticus, one to be used
when the whole work was given, the other
when the third part was performed sepa-
rately. Begun at the height of his maturity
(1S44), various portions were finished at dif-
ferent times, and the overture was written
in 1853. The first part was performed in
Leipsic, Dresden, and Weimar, Aug. 29,
1849, on the 100th anniversary of Goethe's
birth. The first performance of the com-
plete composition took place in Leipsic, at
the Gewandhaus, under the direction of
Carl Reinecke, Dec. 4, 1862. Maitland, 92,
Reissmann, 198 ; Ainbros, Bunte Blatter,
ii. 169 ; Samml. mus. Vort., i. 121.



47



FAI'ST



FAUST-SYMPHONIE, EINE (A Faust,
Symphony), in three character-pictures, af-
ter Goethe, and a chorus, for orchestra and
men's voices, by Franz Liszt, dedicated to
Hector Berlioz. Part I. Faust; H. Mar-
garete ; IH. Mephistopheles. Published in
score and parts ; also for pianoforte, two
hands (Schuberth). Tretbar, Analytical
Review of A Faust Symphony.

FAUST, ZWi:i EPISODEN AUS LE-
NAU'S (Two Episodes from Leuau's Faust,
i.e., Nikolaus Leuau's drama of that title).
for orchestra, by Franz Liszt. I. Der
michtliche Zug ; H. Der Tauz ill der Dorf-
scheuke (Mephisto-Walzer). Published in
score and parts ; also for pianoforte, two
and four hands (Schuberth).

FAUVEL, ANDRE JOSEPH, surnamed
the elder, born in Bordeaux in 1756. Vio-
linist, studied under several masters, par-
ticularly Gervais. He had Rode for a pupil
in 1782, and went with him, in 1787, to Paris,
where he was a member of the orchestra
of the Opera in 1814-34. Published violin
music and a Symphonic Concertante \\hidi
was played at the Lycee des Arts in 1800.
Fetis.

FAVARGER, RENE, born in France
about 1815, died at Ftretat, near Havre,
Aug. 3, 1868. Pianist, lived for many years
in London, where he was in great d< main I
as a teacher. He composed many morceaux
de genre, some of which became popular
even outside of France. Fetis, Supplement,
i. 321.

FAVORITE, LA, grand opera in four
acts, text by Alphonse Royer and Gustavo
AYaez (Van Niewenhuyseu), music by Doni-
zetti, represented at the Academic Royale
de Musique, Paris, Dec. 2, 1840. The work
was written originally in three acts, under
the title of L'ange de Nisida, Theatre de la
Renaissance, and on the closing of that the-
atre was transferred to the Academic, where
a fourth act was added with the collabora-
tion of Scribe. The subject is an adaptation
of Baculard-Darnaud's tragedy, Le comte
de Commiuges. Fernaud, a novice in the



Convent of St. James of Compostella, is
about to take monastic vows when he sees
and loves at sight a lady worshipping in the
cloisters. He confesses his love to Baltha-
sar, his superior, renounces monastic life,
and goes out into the world. The lady who
has inspired his passion is Leonore de Gus-
man, the favourite of Alphonse XI., King
of Castile, who has resolved, though threat-
ened with excommunication, to repudiate




Rosine Stolz, as Leonore.

liis queen and marry her. Fernand, who
does not know her relations with the king,
seeks her retreat, declares his love, and begs
her to fly with him. She reciprocates his
passion but refuses to follow him, and urges
him to go to the wars and win honours for
her sake. He performs signal services
against the Moors, and returns to demand
as a recompense the hand of Leonore. The
king, who has discovered that his mistress
loves Fernand, gives her to him, and hast-



FAWCETT



ens the marriage, meanwhile intercepting
a message sent to Fernaucl by Leouore to
inform him of her relations with the king,
and begging his forgiveness. Feruaud dis-
covers his dishonour when too late, breaks
his sword, and returns for consolation to
his convent. Leouore follows him thither,
and dies at his feet as he comes from the
church where he has pronounced eternal
vows. The music of La Favorite is dramatic,
passionate, and full of melody. Among the
best numbers are the cavatina, " Uu ange,
uue femme iucouuue ;" the duo, " Idole si
douce et si chore ;" the aria, "O nioii Fer-
nand " (Ital., O mio Fernando) ; the chorus,
" Freres, creusous 1'asile ; " and the romnuza,
"Ange si pur" (Spirto gentil), the last trans-
ferred from Donizetti's opera, Le Due
d'Albe. In the original cast Mme Stolz
sustained the part of Leonore ; Duprez, Fer-
nand ; Baroilhet, Alphouse ; and Levasseur,
Balthasar. Up to 1870 it had had 481 rep-
resentations in Paris. The opera was pro-
duced in Italian, as La Favorita, in London,
at Her Majesty's Theatre, Feb. 10, 1847.
Larousse, viii. 107 ; Liszt, Ges. Schr., iii.
110.

FAWCETT, JOHN, born at Boltou-le-
Moors, Lancashire, in 1789, died there, Oct.
20, 1807. Originally a shoemaker, he be-
came a musician in his native town, and
composed three sets of psalm and hymn
tunes, popular in Lancashire, entitled, The
Voice of Harmony, The Harp of Ziou, and
Miriam's Timbrel. He also arranged the
accompaniment of a collection of psalm and
hymn tunes, selected by Joseph Hart, called
" Melodia divina "(1840), and wrote an ora-
torio, Paradise, which was published in
1853. Grove ; Fetis ; Mendel.

FAWCETT, JOHN, born in Bolton-le-
Moors in 1824, died in Manchester, July 1,



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