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Scan 52
grove's dictionary of music and musicians, 1916
14 lines. Read by computer on 11 September 2026. Printed page 32. See the scan on archive.org.
1call Fevin a contemporary of Josquin. Although he died a few years before the great master, he was probably born forty years after the date of Josquin's birth. Had it not been for his premature death, might not the 'Felix Jodoci emulator,' as Glarean calls him, have lived on to work by the side of Lassus and share with him the glory of a brighter period? Surely there was in 'that noble youth, whose modesty was equal to his genius' (again we quote Glarean), every element of greatness, except perhaps physical strength, requisite for making his name stand with those of Clement and Gombert in the gap between Josquin and Lassus. But although Fevin can never be the hero of any chapter in musical history, there is little doubt that when the compositions of his time become once more generally known, the few works which he has left behind him will find favour as soon as any, on account of the peculiar charm which veils his most elaborate workmanship, and the simplicity of effect which seems to come so naturally to him, and so well agrees with the personal character for which Glarean admired him. We give the following list of his works, and the various collections in which they appear:—(1) Three masses, 'Sancta Trinitas,' 'Mente tota,' and 'Ave Maria,' from a book of five masses (Petrucci, Fossombrone, 1515). The only known copy of this work, with all the parts, is in the British Museum. Burney has given two beautiful extracts from the first mass in his History. (2) Three masses, 'Ave Maria,' 'Mente Tota,' and 'De Feria,' in 'Liber quindecim Missarum' (Andreas Antiquis, Rom. 1516), a copy of which is in the Mazarin Library at Paris. (3) Six motets from the first book of the 'Motetti della corona' (Petrucci, Fossombrone, 1514). (4) A motet, 'Descende in hortum meum,' and a fugue, 'Quae es ista,' from the 'Cantiones selectae ultra centum' (Kriesstein, Augsburg, 1540). (5) Two lamentations, 'Migravit Juda' and 'Recordare est,' from the collection by Le Roy and Ballard, Paris, 1557. (6) Detached movements from masses in Eslava's 'Lira-sacro-Hispana.' (7) One magnificat from Attaignant's fifth book for four voices, and two motets from his eleventh book (Paris, 1534). (8) One piece in the 'Bicinia Gallica,' etc. (Rhau, Wittenberg, 1545). (9) Three masses, 'O quam glorifica luce,' 'Requiem,' and 'Mente tota,' in the 'Ambraser Messen' at Vienna, and three MS. motets in same library. (10) A mass, 'Salve sancta parens,' the only copy of which is in the Royal Library at Munich. There is a three-part song of his, 'Je le l'airray,' in Brit. Mus. Harleian MS. 5242; and fragments of two masses in Burney's musical extracts, Add. MSS. 11,581-2. For other MSS. see Quellen-Lexikon. J. R. S.-B.
3FEVIN, ROBERT DE, born at Cambrai, was maestro di cappella to the Duke of Savoy at the beginning of the 16th century. A mass, on 'Le vilayn jaloys' was printed among those of Antoine de Fevin's, by Petrucci in 1515; this and other masses are in the Sistine Chapel in MS. and a mass on 'La sol fa mi' in the Munich library. The composer was probably a relation of Antoine de Fevin. (Quellen-Lexikon and Riemann's Lexikon.)
5FIALA, JOSEPH, eminent oboist, born 1751 at Lobkowitz in Bohemia. He taught himself the oboe, for which he had a perfect passion, but being a serf was compelled to menial labour in the Schloss. He ran away and was recaptured, upon which his mistress the Countess Lobkowitz, ordered his front teeth to be pulled out that he might be incapable of playing: but some of the nobility of Prague interceded for him with the Emperor, who commanded him to be set free. He first entered Prince Wallerstein's band, and in 1777 that of the Elector at Munich. He was afterwards in that of the Archbishop of Salzburg where he made the intimate acquaintance of the Mozarts. In 1785 he was suddenly discharged by the Archbishop, with a loss of 200 florins, on which Mozart not only urged him to come to Vienna, but offered him a good engagement. After a residence of some years in Russia he became in 1792 capellmeister to Prince Fürstenberg at Donaueschingen, where he died in 1816. He published [two symphonies (MS. in the Royal Library at Berlin)] two sets of quartets (Frankfort and Vienna, about 1780-86), 'Six duos pour violon et violoncelle' (Augsburg, 1799), and two sets of trios for flute, oboe, and bassoon (Ratisbon, 1806), besides MS. concertos for flute, oboe, bassoon, and violoncello. He played several other instruments well, especially the violoncello and double bass, and was evidently a man of mark.
7M. C. C.
9FIASCO (a flask). 'Faire fiasco,' 'to make a fiasco,' i.e. a complete failure—a phrase of somewhat recent introduction. The term, though Italian, is not used by the Italians in this sense, but first by the French and then by ourselves. The date and origin of the expression are unknown to Littré; but it is tempting to believe the image to be that of a flask falling and breaking—or, as our own slang has it, 'coming to utter smash.'
11G.
13FIBICH, ZDENKO, son of the chief forester at Všebořic near Czáslau in Bohemia, was born there on Dec. 21, 1850. After pursuing general studies in Vienna and Prague (where his natural inclination for music showed itself so emphatically that at fourteen he had not only composed a symphony in E flat but actually conducted a first performance of part of it), Fibich entered the Leipzig Conservatorium in 1865. There he remained until 1867, studying under Moscheles, Richter, and Jadassohn, and there he produced a G minor symphony among a great number of compositions. But of more importance to him than the composition of such works at this time was the immense influence upon him of Schu-
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