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Scan 334
Grove's Dictionary of Music and Musicians, 1927
28 lines. Read by computer on 11 September 2026. Printed page 290. See the scan on archive.org.
1Three books of harpsichord pieces (c. 1750), as well as some single pieces for harpsichord and one for pianoforte, signed Fouquet, are probably by him (Q.-L.).
3FOURNEAUX, (1) J. B. NAPOLÉON (b. Léard, Ardennes, May 21, 1808; d. Aubanton, Aisne, July 19, 1846), originally a watchmaker, improved the Accordion. In 1830 he settled in Paris; in 1836 bought Chameroy's organ factory, and introduced great improvements in the manufacture of all reed instruments blown by wind. At the exhibition of 1844 he received a silver medal for his 'orgues expressives.' He originated the idea of the percussion action in harmoniums.
5His son (2) J. L. NAPOLÉON (b. 1830) improved the construction of the 'orgues expressives,' and invented the melodina (1855).
7BIBL.—CONSTANT PIERRE, Les Facteurs d'instruments de musique, les luthiers et la facture instrumentale (Paris, 1893). M. C. C.
9FOURNIER, PIERRE SIMON (b. Paris, Sept. 15, 1712; d. there, Oct. 8, 1768), engraver and type-founder, was the son of Jean Claude Fournier, director of the type foundry of Le Bé. He greatly improved the engraving of music in France, which up to his day was still effected by punches on the model of those cut by Hautin in 1525. He replaced the lozenge-shaped notes by round ones, and made music altogether easier to read, although his notes were still thin and poor compared with those of later times. He published Essai d'un nouveau caractère de fonte pour l'impression de la musique, etc. (Paris, 1756), and a Traité historique et critique sur l'origine et les progrès des caractères de fonte pour l'impression de la musique (Paris, 1765), which, though incomplete and occasionally incorrect, contains interesting information on music printing in France. Giacomo Falconi of Venice seems to have attained a similar result almost simultaneously with Fournier. Falconi published at Venice in 1765 Manifesto d' una nuova impresa di stampare la musica, etc.; and Pao-lucci's Arte prattica di contrapunto (1765) was printed in the new characters.
11M. C. C.; addn. M. L. P.
13FOURTH is an interval comprising two whole tones and a semitone. It is called a fourth because four notes are passed through in going from one extreme of the interval to the other, for which reason the Greeks called it διὰ τεσσαρων—Diatessaron. The ratio of the vibrational numbers of its limiting sounds is 3 : 4. It is in fact a perfect consonance, though regarded as a discord in the old diatonic style.
15C. H. H. P.
17FOX STRANGWAYS, ARTHUR HENRY (b. Norwich, Sept. 14, 1859), is a writer on musical subjects, whose most distinctive service has been the foundation of Music and Letters, a quarterly publication devoted to music.
19He was educated at Wellington College and Balliol College, Oxford (M.A., 1882), and studied music for two years (1882–84) at the Berlin Hochschule. He did not, however, enter the musical profession but became an assistant master at Dulwich College (1884–86) and at Wellington College (1887–1910). He went to Wellington as a form master, but took over the music mastership in succession to Alan GRAY (q.v.) (1893–1901). He relinquished the musical direction to become tutor (House Master in College) (1901–10). During that time he had paid a vacation visit to India (1903) and, his interest in Indian music being aroused, he determined on a more extensive tour when he resigned his mastership at Wellington. From Oct. 1910 to May 1911 he travelled in Hindostan studying the theory of this music from native sources and making many phonographic records of its performance. The result was a treatise, The Music of Hindostan (1914), which remains by far the most important work on the subject in the English language. While engaged on this, Fox Strangways settled in London and undertook (1911) some concert criticisms for The Times, a little later becoming a regular member of its staff. In 1925 he left The Times to become musical critic to the Observer.
21After the war (1919) he determined to found at his own risk and under his own editorship a quarterly journal, in which musicians rather than professed critics should discuss at length matters concerning their art. The first number of Music and Letters was published in Jan. 1920, and a double number devoted to Beethoven celebrated the centenary of the composer in March 1927. The several numbers deal with innumerable aspects of music by writers of standing, most of whom are specialists in their subjects. Fox Strangways's personal contributions have been specially concerned with the problems of translating German songs into English verse. Music and Letters has published a whole series of such translations, including many by Fox Strangways. He has also lectured on this subject before the Musical Association and other bodies.
23FRA DIAVOLO, OU L'HÔTELLERIE DE TERRACINE, opéra-comique in 3 acts; words by Scribe, music by Auber. Produced Opéra-Comique, Jan. 28, 1830; in English, adapted by Rophino Lacy, Drury Lane, Nov. 3, 1831; in Italian, Lyceum, July 4–11, 1857.
25FRÄNZL. Two violinists, father and son.
26(1) IGNAZ (b. Mannheim, June 3, 1736; d. there, 1811/12) became a member of the Mannheim orchestra (1747) and its leader (1774). On the removal of the court to Munich (1778) he remained at Mannheim, where he became musical director of the 'Hoftheater' (1790–1803). He composed symphonies, violin concertos and chamber music. (Riemann.)
27His son (2), FERDINAND (b. Schwetzingen, Palatinate, May 24, 1770; d. Mannheim, Nov.
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