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Scan 23
Grove's dictionary of music and musicians, 1904
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12. So picturesque and effective a feature as the Fanfare has not been neglected by Opera composers. No one who has heard it can forget the effect of the two flourishes announcing the arrival of the Governor in 'Fidelio,' both in the opera and in the two earlier overtures. True to the fact, Beethoven has written it in unison (in the opera and the later overture in B♭, in the earlier overture in Eb, with triplets). Other composers, not so conscientious as he, have given them in harmony, sometimes with the addition of horns and trombones. See Spontini's 'Olympie'; Meyerbeer's 'Struensee,' Act 2; Ambroise Thomas's 'Hamlet,' and many more. A good example is that in 'Tannhäuser,' which forms the basis of the march. It is for three Trumpets in B.
3Weber has left a short one—'kleiner Tusch'—for twenty Trumpets in C (Jähns's Thematic Cat. No. 47 a). [Tusch.]
53. The word is also employed in a general sense for any short prominent passage of the brass, such as that of the Trumpets and Trombones (with the wood wind also) near the end of the fourth movement in Schumann's Eb Symphony; or of the whole wind band in the opening Andante of the Reformation Symphony. G.
7FANING, EATON, the son of a professor of music, was born at Helston in Cornwall, May 20, 1850. He received his first instruction on the pianoforte and violin from his parents, and performed at local concerts before he was five years old. In April 1870, he entered the Royal Academy of Music, where he studied under Sir W. Sterndale Bennett, Dr. Steggall, Signor Ciabatta, and Messrs. Sullivan, Jewson, Aylward, and Pettit, and carried off successively the bronze medal (1871), silver medal for the Pianoforte (1872), Mendelssohn Scholarship (1873), bronze medal for Harmony (1874), and the Lucas silver medal for Composition (1876). In 1874 Mr. Faning was appointed Sub-Professor of Harmony, in 1877 Assistant-Professor of the Pianoforte, and Associate, and in 1878 Professor of the Pianoforte. He also played the violoncello and drums in the orchestra. On July 18, 1877, Mr. Faning's operetta, 'The Two Majors,' was performed at the Royal Academy, which event led to the establishment of the Operatic Class at the institution. A comic operetta, 'Mock Turtles,' was produced at the Savoy Theatre in 1881, and another, 'The Head of the Poll,' at the German Reed Entertainment in 1882. At the same date Mr. Faning occupied the posts of Professor and Conductor of the Choral Class at the National Training School, and Professor of the Pianoforte at the Guildhall School of Music; the latter post he resigned in July 1885, when he was appointed Director of the Music at Harrow School. [He filled this post with much credit, and important musical results, until 1901, when he retired. He examined for the Associated Board of the R.A.M. and the R.C.M. in South Africa in 1901.] From the opening of the Royal College of Music until July 1885 he taught the Pianoforte and Harmony, and until Easter 1887 also conducted the Choral Class at that institution. For a good many seasons he conducted a 'Select Choir' at Messrs. Boosey's Ballad Concerts. Mr. Faning was for some time conductor of the London Male Voice Club, and of the Madrigal Society. [He took the degree of Mus.B. at Cambridge in 1894, and of Mus.D. in 1900. For this last his exercise was a mass in B minor.] His compositions include two operettas, a symphony in C minor, two quartets, an overture, a Magnificat and Nunc Dimittis for full orchestra (performed at St. Paul's at the Festival of the Sons of the Clergy), besides anthems, songs, duets, and part-songs, among which the 'Song of the Vikings,' for four-part chorus with pianoforte duet accompaniment, has attained wide popularity. [An interesting article on Faning appeared in the Musical Times for 1901, p. 513.]
9W. B. S.
11FANISKA. Cherubini's twenty-first opera; in three acts; words by Sonnleithner from the French. Produced at the Kärnthnerthor Theatre, Vienna, Feb. 25, 1806.
13FANTASIA is a term of very respectable antiquity as applied to music, for it seems to be sufficiently established by both Burney and Hawkins in their Histories that it was the immediate predecessor of the term Sonata, and shares with the term RICERCAR the honour of having been the first title given to compositions expressly for instruments alone. It seems itself to have been a descendant of the madrigal; for when madrigals, accompanied as they commonly were by instruments playing the same parts with the voices, had to a certain extent run their course as the most popular form of chamber compositions, the possibility of the instruments playing the same kind of music without the voices was not far to seek. Hawkins remarks that the early Fantasias 'abounded in fugues and little responsive passages and all those other elegances observable in the structure and contrivance of the madrigal.' They were written for combinations of various instruments, such as a 'Chest of Viols,' and even for five 'Cornets' (Zinken). There are examples of this kind by very ancient English composers, and some also
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