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Scan 254
Dictionary of music, 1908
28 lines. Read by computer on 3 September 2026. Printed page 246. See the scan on archive.org.
1Beethoven, however, in his sonata in E (Op. 109) has obtained by that means a magnificent effect.
3(7) S—Q—S.
4(8) Q—S—Q—S, etc.
6By using these one-movement and cyclic abstract forms in music, differing according to the number and character of instruments employed, and according to the aim and style, there arise many concrete forms, of which the name already awakens a different conception, viz.:
7A. for purely instrumental music: Études, prelude, fantasia, song without words, air, theme with variations, etc., dances (allemande, bourrée, branle, chaconne, czardas, gaillarde, galop, gavotte, gigue, hornpipe, loure, mazurka, minuet, passacaglia, passamezzo, passepied, pavana, polka, polonaise, rigaudon, sarabande, schottisch, siciliana, tambourin, waltz, etc.), march (funeral march, etc.), fugue, toccata, suite, partita, sonata, fantasia, duo, trio, quatuor (quartet), quintuor (quintet), sextuor (sextet), septuor (septet), octet, nonet, divertissement, serenade, cassation, concerto, overture, symphony. B. for vocal music: Song, part-song, canzone (chanson), romance, ballad, bicinium, tricinium, duet, terzet, quartet, etc., antiphon, psalmody, sequence, hymn, chorale, motet, madrigal, ode, mass, requiem, etc. C. for accompanied vocal music for stage or otherwise: recitative, arioso, cavatina, aria, concerto, cantata, oratorio, opera, Passion, romance, ballad, legend, etc. (Cf. articles under respective names.)
9Formes, the name of two brothers, celebrated opera-singers—(1) Karl Joseph (bass), b. Aug. 7, 1816, Mühlheim, on the Rhine, d. Dec. 15, 1889, New York; he made his début in 1841 as Sarastro at Cologne, and was engaged in 1843 at Mannheim, where he was very popular; but in 1848 he took part in the revolution, and was forced to flee. From 1852 to 1857 he was engaged at the Royal Italian Opera in London, and afterwards divided his time between America and Europe. As late as 1874 he met with great success in Berlin.
10(2) Theodor (tenor), b. June 24, 1826, Mühlheim, d. Oct. 15, 1874, Endenich, near Bonn; made his début in 1846 at Ofen, was then engaged at Vienna, Mannheim (1848), and at the Berlin Court Opera (1851–66), and travelled with his brother through America. After a temporary loss of voice, he appeared once again at Berlin, and with brilliant success, but lost his reason, and had to be placed in an asylum. Taubert and Dorn wrote rôles for him.
11Another, belonging to the same family, was the baritone singer, Wilhelm F., b. Jan. 31, 1834, at Mühlheim, d. March 12, 1884, New York.
13Formschneider. (See Graphäus.)
15Förner, Christian, b. 1610, Wettin, d. there, 1678, was a famous organ-builder, whose instruments at Halle-a.-S. (Ulrichskirche) and Weissenfels (Augustusburg) still exist. He was the inventor of the "Windgänge" (q.v.).
17Forster, (1) Georg, physician at Nuremberg, and editor of collections of songs and motets, b. Amberg, and entered the University of Wittenberg on Oct. 15, 1534, practised first in Amberg, then in Würzburg; he was appointed by the Duke of Bavaria physician at Heidelberg, and went through the French campaigns. After 1544 he settled in Nuremberg, and d. there Nov. 12, 1568. The principal service which he rendered to music was the collecting and editing of secular songs with harmonies (five parts); they appeared at Nuremberg between 1539 and 1556, and form a real treasury of choice melodies entitled "Volkslieder."
18(2) Georg, for a short time, deputy capellmeister at the Saxon court at Dresden, was, according to Walther, cantor in Zwickau (1556), and in Annaberg (1564). In 1568 he went as performer of the double-bass to Dresden, became vice-capellmeister in 1581, principal capellmeister in 1585, after the departure of Pinelli, and d. Oct. 16, 1587. He has hitherto only found a place in dictionaries by being confounded with the physician (1) (see Monatshefte für Musik-Geschichte, I. 1, etc.)
19(3) Nikolaus (Fortius), celebrated contrapuntist of the 16th century at the court of Joachim I. of Brandenburg, but only a mass à 16 of his is known by name.
20(4) Kaspar (also written Förster), b. 1617, Danzig, d. March, 1673, at the Olivan monastery, near Danzig; he was for many years capellmeister at Copenhagen, lived for a time also at Venice, and was famous as a composer and theorist. His works, however, have completely disappeared.
22Forster, (1) William, English violin-maker, b. May 4, 1739, Brampton, Cumberland, d. 1808; he was also the publisher of many of Haydn's works (eighty-three symphonies, twenty-four quartets, etc.).
23(2) William, English violin-maker, son of the above, b. Jan., 1764, London, d. July 24, 1824; some of his instruments are of a high order of merit.
25Förster, (1), Christoph, b. Nov. 30, 1693, Bebra (Thuringia), d. Dec. 6, 1745; for many years he was ducal Saxon capellmeister at Merseburg, in 1745 capellmeister at Rudolstadt, and was a very prolific composer (symphonies, organ pieces, pf. pieces, cantatas, etc.).
26(2) Emanuel Aloys, b. 1757, Neurath (Austrian Silesia), d. Nov. 19, 1823, Vienna, where he lived for many years as a teacher of music. He published many instrumental works (pf. sonatas, variations, stringed quintet, stringed quartets, pf. quartets, a pf. sextet, Notturno concertante for strings and wind), some songs, a "Huldigungskantate," and published an "Anleitung zum Generalbass" (1805).
27(3) Adolph M., a well-known American
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