Scan 569
A dictionary of music and musicians (1450-1889), 1900
8 lines. Read by computer on 11 September 2026. Printed page 557. See the scan on archive.org.
1them with the copyright of the oratorio, and prepared a petition to parliament praying that a bill might be passed to secure to them the right in perpetuity; but Handel indignantly repudiated any such intention, and the petition never reached the House. On the completion of the chapel Handel presented it with an organ, which he opened on May 1, 1750, when the attendance was so large that he was compelled to repeat the performance. The composer by his will bequeathed 'a fair copy of the score and all the parts of the Messiah' to the Hospital, and on his death a dirge and funeral were performed in the chapel on May 26, 1759, under the direction of his amanuensis, John Christopher Smith, who, with his full concurrence, had been appointed the first organist. In July 1774 Dr. Burney proposed to the governors a scheme for forming a Public Music School at the Hospital for the training of the children; but strong opposition was raised to it, and it was never proceeded with. The chapel services are still noteworthy for their music, in which the professional choir is assisted by the children, under the direction of Mr. Willing, the organist. (1878.) [C.M.]
3FOURNEAUX, NAPOLÉON, born May 21, 1808, at Léard (Ardennes), originally a watchmaker, improved the Accordion. In 1830 he settled in Paris; in 36 bought Chameroy's organ-factory, and introduced great improvements in the manufacture of all reed instruments blown by wind. At the exhibition of 1844 he received a silver medal for his 'orgues expressives.' He originated the idea of the percussion action in harmoniums. He died at Aubanton (Aisne), July 19, 1846. [M.C.C.]
5FOURNIER, PIERRE SIMON, engraver and type-founder, born in Paris Sept. 15, 1712, died there Oct. 8, 1768. He greatly improved the engraving of music in France, which up to his day was still effected by punches on the model of those cut by Hautin in 1525. He replaced the lozenge-shaped notes by round ones, and made music altogether easier to read, although his notes were still thin and poor compared to those of later times. He published 'Essai d'un nouveau caractère de fonte pour l'impression de la musique, etc.' (Paris 1756), and a 'Traité historique et critique sur l'origine et les progrès des caractères de fonte pour l'impression de la musique' (Paris 1765), which, though incomplete and occasionally incorrect, contains interesting information on music printing in France. Giacomo Falconi of Venice seems to have attained a similar result almost simultaneously with Fournier. Falconi published at Venice in 1765 'Manifesto d'uno nuova impresa di stampare la musica, etc.'; and Paolucci's 'Arte pratica di contrapunto' (1765) was printed in the new characters. [M.C.C.]
7FOURTH is an interval comprising two whole tones and a semitone. It is called a fourth because four notes are passed through in going from one extreme of the interval to the other, for which reason the Greeks called it διὰ τεσσα-
The computer misreads some letters and numbers. Where a name matters to you, read the scan.