Scan 28
Grove's dictionary of music and musicians;, 1904
10 lines. Read by computer on 5 September 2026. Printed page 15. See the scan on archive.org.
1of Fasch's scholars, who, as Beethoven used to say, pressed round him and could not applaud for tears (Thayer's Beethoven, ii. 13). The Academy at that date was about ninety strong, but at the time of Fasch's death, August 3, 1800, it had increased to 147. In accordance with a wish expressed in his will, the Academy performed Mozart's Requiem to his memory—for the first time in Berlin. The receipts amounted to 1200 thalers, an extraordinary sum in those days, and were applied to founding a Fund for the perpetual maintenance of a poor family. In 1801 Zelter published his Life—a brochure of sixty-two pages 4to, with a portrait. In 1839 the Academy published Fasch's best sacred works in six volumes. A seventh, issued by the representatives of Zelter, contains the mass and the canon above alluded to. Of his oratorio 'Giuseppe riconosciuto,' performed in 1774, one terzetto alone remains, Fasch having destroyed the rest, together with several other works composed before the 16-part mass. As a master of composition in many parts, Fasch is the last representative of the great school of sacred composers which lasted so long in Italy, and his works are worth studying. They combine the severity of ancient forms with modern harmony and a fine vein of melody, and constitute a mine which would well repay investigation. [For list of extant works, see the Quellen-Lexikon.] F. G.
3FAURÉ, GABRIEL URBAIN, born May 13, 1845, at Pamiers (Ariège), studied at Paris with Niedermeyer, the founder of the École de Musique religieuse; also under Dietach and Saint-Saëns. His first appointment on leaving the school in 1866 was that of organist at St. Sauveur, Rennes; in 1870 he returned to Paris, and after holding the posts of accompanying organist at St. Sulpice and principal organist at St. Honoré, became maître de chapelle at the Madeleine, [where he became organist in 1896; in the same year he was appointed a professor of composition in the Conservatoire]. He became known as a composer by his touching and original songs, of which a selection of twenty was published by Hamelle, and 'Le Poème d'Amour' by Durand and Schoenewerk, but his compositions in this class are very numerous. [Among the most remarkable of his later lyrics may be mentioned 'Après un rêve,' 'En Prière,' and 'Les Roses d'Ispahan.'] He has also published many piano-forte pieces; at the Société Nationale de Musique he produced a Cantique de Racine, duets for female voices, and a violin sonata, afterwards played at the Trocadéro, on July 5, 1878, which last has become popular in Germany. Among his most remarkable works, besides a Berceuse and Romance for violin and orchestra, a beautiful Élégie for violoncello, two Quartets for piano and strings (1882 and 1887), two for strings alone, and a Violin Concerto, we may mention an Orchestral Suite (Salle Herz, Feb. 13, 1874), a pretty 'Chœur des Djinns' (Trocadéro, June 27, 1878), a symphony in D minor (Châtelet, March 15, 1885), a one-act operetta, 'L'Organiste,' at the Salle Duprez, 1885, a Requiem (Madeleine, Jan. 16, 1888), and a choral work, 'La Naissance de Vénus' (Colonne Concerts, 1895, Leeds Festival, 1898). ['Madrigal,' op. 35, for vocal quartet and orchestra; 'Pavane,' op. 50, for orchestra and chorus ad lib.; five Mélodies, op. 58, to Verlaine's poems; a piano quintet, op. 60; 'La Bonne Chanson,' op. 61; nine songs to Verlaine's words, are among the most important of his recent works.] Music to various plays has been written from time to time, such as that to Dumas's 'Caligula' (Odéon, 1888), Ed. Harancourt's 'Shylock' (adapted from Shakespeare, Odéon, 1889), Maeterlinck's 'Pelléas et Mélisande' (English version produced at the Prince of Wales's Theatre, June 21, 1898), and Lorrain and Hérold's 'Prométhée' (Béziers, 1900). In 1885 and 1893 the Prix Chartier was awarded to him. In 1892 he succeeded Guiraud as Inspecteur des Beaux-Arts, and in June 1905 succeeded Théodore Dubois as Director of the Paris Conservatoire.
5A. J.
7FAURE, JEAN-BAPTISTE, son of a singer in the church at Moulins, where he was born, Jan. 15, 1830. When he was three the family removed to Paris, and when he was seven his father died. In 1843 he entered the solfeggio class in the Conservatoire, and soon after the maîtrise of the Madeleine, where he was under Trévaux, an excellent teacher, to whom he owes his sound knowledge of music. After the breaking of his voice he took up the piano and double bass, and was for some time a member of the band at the Odéon theatre. When his voice had recovered he joined the chorus of the Théâtre Italien, and in Nov. 1850 again entered the Conservatoire, and in 1852 obtained the first prizes for singing and for opéra-comique. He made his début Oct. 20, 1852, at the Opéra Comique, in Massé's 'Galathée,' after which he advanced steadily through various rôles until his creation of the parts of Justin in Grisar's 'Chien du Jardinier'; the Duke of Greenwich in Auber's 'Jenny Bell,' in 1855; the Marquis d'Hérigny in Auber's 'Manon Lescaut'; the Marquis de Valbreuse in Clapisson's 'Sylphe'1 in 1856; Crêvecœur in Gevaert's 'Quentin Durward' in 1858; Hoël in Meyerbeer's 'Pardon du Ploermel' in 1859 placed him in the front rank. [Among his greatest successes were the parts of Malipieri in 'Haydée'; Peter the Great in 'L'Étoile du Nord'; and the title rôle in Nicolo's 'Joconde.' On Sept. 28, 1861, he made his first appearance at the Opéra as Julien de Medicis in Poniatowski's 'Pierre de Medicis,' and remained there as principal baritone for nearly seventeen years. His new parts were in Massé's 'La Mule de Pedro,' in 1863; Nelusko in 'L'Africaine,'
91 First produced at Baden Baden. Faure achieved a notable tour de force therein, singing baritone on the stage and tenor behind the scenes.
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