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Scan 19
Dictionary of music and musicians, 1908
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1Ayres, 1675, to The Theater of Music, 1685-87, and to D'Urfey's Third Collection of Songs, 1685. In 1686 he published 'A Consort of Musick in four parts, containing thirty-three Lessons beginning with an Overture,' and in 1690 'A Second Consort of Musick in four parts, containing eleven Lessons, beginning with a Ground.' [In Apollo's Banquet is 'Mr. Farmer's Magot for violins'; Farmer also wrote music for 'The Princess of Cleve' in 1682 (Brit. Mus. Add. MSS. 29,283-5).] Purcell composed an elegy, written by Nahum Tate, upon his death (printed in Orpheus Britannicus, ii. 35), from which it is certain that he died before 1695. w. h. h.
3FARNABY, GILES, Mus.Bac., was of the family of Farnaby of Truro. He commenced the study of music about 1580 [was living in London in 1589 (Churchwardens' accounts of St. Helen's, Bishopsgate)], and on July 7, 1592, graduated at Oxford as Bachelor of Music; stating in his supplicat that he had studied music for twelve years (Wood's Fasti, ed. Bliss, i. 257). He was one of the ten composers employed by Thomas Este to harmonise the tunes for his 'Whole Booke of Psalmes' published in 1592. In 1598 he published 'Canzonets to foure voyces, with a song of eight parts,' with commendatory verses prefixed by Antony Holborne, John Dowland, Richard Alison, and Hugh Holland. A madrigal by Farnaby, 'Come, Charon, come,' is in the Royal College of Music, and another, 'Contrue my meaning,' has been edited by W. B. Squire. w. h. h.
5There are a number of pieces by him in the Fitzwilliam Virginal Book (see VIRGINAL MUSIC), among which is a curious composition for two virginals, and a transcription for virginals of his own madrigal 'Daphne on the Rainebowe.' The same volume contains four pieces by his son, Richard Farnaby, of whom nothing is known. Giles Farnaby contributed harmonies to some of the tunes in Ravenscroft's Psalter (1621). Wood's statement that he was a native of Truro is probably correct, though the name does not occur in the Visitation of Cornwall of 1620. Thomas Farnaby's wife came from Launceston. He lived most of his life in London and Sevenoaks, and his descendants remained in Kent; but the early history of the family is obscure, and the connection between Giles and Thomas Farnaby the Kentish schoolmaster cannot be traced. [Additions by w. b. s., and from the Dict. of Nat. Biog.]
7FARRANT, JOHN. According to Hawkins there were two musicians of this name, who both flourished about the year 1600. It is quite probable that there was only one, who was organist of Ely in 1567-72; of Hereford, 1592-93;1 Christ Church, Newgate Street, London, and Salisbury Cathedral, 1598-1602. A service attributed to Richard Farrant is the work of John Farrant (West's Cathedral Organists, pp. 29, 41, 78).
9FARRANT, RICHARD, was one of the Gentlemen of the Chapel Royal in the 16th century. The date of his first appointment is not known, [he was a member of the chapel in the reign of Edward VI.] but he resigned in April 1564, on becoming Master of the Children of St. George's Chapel, Windsor, of which he is said to have been also a lay vicar and organist. During his tenure of office at Windsor he occupied 'a dwelling house within the Castle, called the Old Commons.' On Nov. 5, 1569, he was re-appointed a Gentleman of the Chapel Royal, and remained such until his death, which occurred on Nov. 30, 1580. Farrant's church music merits all the eulogy which has been bestowed upon it for solemnity and pathos. The service printed by Boyce in G minor and given by Tudway (Brit. Mus., Harl. MSS. 7337 and 7338) in A minor [is almost certainly by John Farrant, who was possibly his son]. His two anthems, 'Call to remembrance' and 'Hide not Thou Thy face' were for many years performed on Maundy Thursday during the distribution of the royal bounty. The beautiful anthem, 'Lord, for Thy tender mercies' sake' (the words from Lydley's Prayers), was long assigned to Farrant, although it is attributed by earlier writers to John Hilton. Tudway (Harl. MSS. 7340) gives another anthem —'O Lord, Almighty,' full, four voices—as his, but this is questionable. [Various payments for the plays produced at Court by Farrant's boys are entered in the Acts of the Privy Council, under dates between 1566 and 1579.]
11His son, DANIEL, was one of the first authors who set lessons 'lyra way' for the viol, after the manner of the old English lute or bandora, in the time of Charles I. [He was violist in the King's band between 1606 or 1607 and 1625 (Nagel, Annalen der englischen Hofmusik in the Monatshefte f. Musikgesch. 1894-95). A book of organ pieces by him is in the Cathedral library of Durham.] w. h. h. Additions from Mr. G. E. P. Arkwright, the Quellen-Lexikon, etc.
13FARRENC, JACQUES HIPPOLYTE ARISTIDE, born at Marseilles, April 9, 1794, died in Paris, Jan. 31, 1865, composed some pieces for the flute, but is best known as a writer on music. He took an important part in the second edition of Fétis's Biographie universelle, and wrote the biographical notices in Madame Farrenc's Trésor des Pianistes. He also contributed critiques to La France musicale, and La Revue de Musique ancienne et moderne (Rennes, 1858). Some of his valuable notes and unpublished articles are among the MSS. in the library of the Paris Conservatoire.
15His wife LOUISE—born in Paris, May 31, 1804; died there, Sept. 15, 1875—was a sister of the sculptor Auguste Dumont, and aunt of Ernest Reyer. She studied under REICHA, and at an early age could compose both for the orchestra
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