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Scan 38
grove's dictionary of music and musicians, 1916
26 lines. Read by computer on 11 September 2026. Printed page 18. See the scan on archive.org.
1(if he be the author of the second short treatise on discant in MS. Lansdowne 763: see Chilston) becomes at once intelligible. Chilston writes thus:—'Faburden (i.e. the tenor part) hath but two sights (i.e. sites or positions), a third above the plain-song in sight, the which is a sixth from the treble in voice: and an even with the plain-song in sight, the which is an eighth from the treble in voice. These two accords (i.e. the sixth and eighth below the treble) the faburdener must rule by the mean (i.e. the alto) of the plain-song, for when he shall begin his faburden, he must attend to the plain-song and set his sight even with the plain-song and his voice in a fifth below the mean¹ and after that set his sight always above the plain-song in a third: and, as oft as he will, he may touch the plain-song (i.e. descend to the octave below the treble) and void therefrom, except twice together, for that may not be, inasmuch as the plain-song sight is an eighth to the treble and a fifth to the mean (alto), and so to every degree he is a perfect accord, and two perfect accords of one nature may not be sung together in no degree of discant.'
3In the Trent Codices are numerous examples of faux-bourdons by Dufay, Binchois, and other composers of the 15th century. An example by Dufay, printed at p. 163 of Dr. Adler's first volume of transcripts from these MSS., illustrates very clearly the method employed, the introduction of embellishments and cadences in the plain-song of the treble part, the movement of the tenor from the octave below to the sixth and vice versa, and the manner in which the alto supplied the inner harmony extempore.
5J. F. R. S.
7FAVORITE, LA. Opera in four acts; words by Royer and Waëtz, music by Donizetti. Produced at the Académie Royale, Dec. 2, 1840; in London, as 'La Favorita,' at Her Majesty's, Feb. 16, 1847.
9FAWCETT, JOHN, born at Wennington, Lancashire, Dec. 8, 1789, was originally a shoemaker, but abandoned that calling to follow the profession of music, at Bolton-le-moors. He composed three sets of Psalm and Hymn Tunes, published at various periods under the titles of The Voice of Devotion, The Harp of Zion, The Cherub Lute, and Miriam's Timbrel (1862), which are still very popular in Lancashire. In 1840 he edited and arranged the accompaniments to a collection of psalm and hymn tunes and other pieces selected by Joseph Hart, the music publisher, entitled 'Melodia Divina.' An oratorio of his composition, called 'Paradise,' was published in 1853. He died at Bolton, Oct. 26, 1867. His third son,
11JOHN FAWCETT, jun., Mus.Bac., was born about 1824, and when only eleven years old obtained the appointment of organist at St. John's Church, Farnworth. Seven years later he succeeded an elder brother as organist of the parish church, Bolton. In 1845, leaving a sister to discharge his duties at Bolton, he came to London and entered the Royal Academy of Music, where he studied under Sterndale Bennett. During his stay in London (about twelve months) he officiated as organist of Curzon Chapel. On Nov. 4, 1852, he was admitted to the degree of Bachelor of Music at Oxford, his exercise, a cantata, entitled 'Supplication and Thanksgiving,' performed on the previous day, being highly commended by the Professor of Music, Sir H. R. Bishop. Fawcett died, after a short illness, at his residence in Manchester, July 1, 1857.
13W. H. H.
15FAY. See Dufay.
17FAYOLLE, FRANÇOIS JOSEPH MARIE, born in Paris, August 15, 1774; after a brilliant career at the Collège de Juilly, entered the corps des ponts et chaussées in 1792, and became 'chef de brigade' of the École polytechnique on its foundation in 1794. Here, under the instruction of Prony, Lagrange, and Monge, he studied the higher mathematics, but without neglecting literature, and with Fontanes' assistance translated a great part of the Æneid. Of his verses the following line has alone survived:—
19Le temps n'épargne pas ce qu'on a fait sans lui.
21Though forgotten as a mathematician and a poet, Fayolle has acquired a solid reputation for his services to musical literature. He studied harmony under Perne, and the violoncello under Barni, but abstained from printing his compositions; and contented himself with publishing Les quatre Saisons du Parnasse (Paris, 1805-9), a literary collection in sixteen vols. 12mo, for which he wrote many articles on music and musicians. He also furnished the greater part of the biographical notices in the Dictionnaire historique des Musiciens, published under the names of Choron and himself (two vols. Paris, 1810-11), a work to which Fétis is much indebted. In 1813 he published Sur les drames lyriques et leur exécution. He collected materials for a History of the Violin, of which, however, only fragments appeared, under the title Notices sur Corelli, Tartini, Gaviniés, Pugnani, et Viotti, extraites d'une histoire du violon (Paris, 1810). After the fall of Napoleon, Fayolle came to England, where he taught French, and wrote for the Harmonicon. On the eve of the Revolution of 1830 he returned to Paris, and resumed his old occupation as a musical critic. Among his later works may be mentioned a pamphlet called Paganini et Bériot (Paris, 1830), and the articles on musicians in the supplement to Michaud's Biographie Universelle. He died Dec. 2, 1852, at Ste. Perrine, a house of refuge in Paris.
23G. C.
25FAYRFAX, ROBERT, Mus.Doc., is believed to have been descended from the ancient Yorkshire family of that name. He is said to have
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