Scan 334
Grove's Dictionary of Music and Musicians Volume 2, 1927
16 lines. Read by computer on 11 September 2026. Printed page 286. See the scan on archive.org.
1with equal favour as Scarpia and Tonio. During a special season in Paris he made his mark in all these characters and also as Amonasro.
2H. K.
3Fornasari, Luciano, a bass singer, who made his appearance about 1828 in Italy. In 1831 he was singing at Milan; the next three years he passed at New York. He sang at the Havana in 1835, and in 1836 in Mexico. Returning to Europe he obtained an engagement at Lisbon in 1840, and remained there two years. After this he made a tour in his native country, singing with success at Rome, Modena, Palermo, Turin and Trieste. In 1843 (Fétis is wrong in fixing it in 1845) Fornasari appeared in London, where he continued to sing till 1846. Fétis says he had a good voice and sang with method.
4J. M.
5Fornsete, John de, see Sumer is icumen in.
6Forqueray (Forqueroy, Forcroix), (1) Antoine (b. Paris, 1671; d. Nantes, June 28, 1745), a famous viola da gambist, pupil of his father. At the age of 5 he played before Louis XIV., who called him his 'little wonder.' On Dec. 31, 1689, he became a member of the royal chamber music.
7(2) Jean Baptiste Antoine (b. Paris, Apr. 3, 1700), son of Antoine, was, like his father, a prodigy who played at the age of 5 before the same monarch, and was afterwards appointed as gambist in the royal chamber music. He was considered the greatest gambist of his time, and composed a book of fine pieces for his instrument which was published by his son,
8(3) Jean Baptiste (b. Paris, c. 1728), also a viola da gambist, though less distinguished than his father. He contributed some pieces to his father's book. Marpurg speaks of him in 1750 as organist of the church of St. Mary (E. v. d. Straeten, History of the Violoncello). E. v. d. s.
9Forster, Georg (b. Amberg, c. 1514; d. Nürnberg, 1568), a physician by profession, but also a musician of considerable attainments, deserves notice here chiefly as being the editor of a comprehensive collection of German secular songs for four voices, which appeared in five Books published at Nürnberg from 1539–56. The best composers of the time are represented, including Isaac and Senfl, and of the 380 numbers contained in it Forster himself contributes 37. Many of the songs are Volkslieder, contrapuntally treated in the earlier German and Flemish manner. In the first Book, 1539, Forster has handed down to us Isaac's beautiful setting of 'Inspruck, ich muss dich lassen.' (See Choral.) Forster also edited two volumes of sacred works, 1540 and 1542. The second is a collection of Psalms, which opens with Josquin's 'Qui habitat' for 24 voices, and concludes with a 'Deo Gratias' for 36, which Eitner conjectured to be the piece by Okeghem referred to by Ornithoparcus and Glarean. A few other sacred works by Forster himself are contained in other collections. Winterfeld gives Forster's setting of 'Vom Himmel hoch' for five voices. The second part of Forster's collection of Weltliche Lieder was reprinted in score by Eitner in 1904.
10J. R. M.
11Forster, (1) William (b. Brampton, Cumberland, May 4, 1739; d. Westminster, Dec. 14, 1808), eminent violin-maker, son of William, and grandson of John Forster, makers of spinning-wheels and violins. He was taught both trades by his father, and also learned to play on the violin. He came, as a cattle-drover, to London in 1759, took up his abode in Prescott Street, Goodman's Fields, and for a time endured much privation from inability to obtain suitable employment. Ultimately he was engaged by a music-seller on Tower Hill named Beck, and the violins made by him being much improved and quickly sold, he started in business on his own account in Duke's Court, St. Martin's Lane, whence he shortly removed into St. Martin's Lane, and speedily attained great reputation. Forster afterwards added to his business that of a music-seller and publisher, and in that capacity in 1781 entered into an agreement with Haydn for the purchase and publication in England of that master's compositions, and between that date and 1787 published 83 symphonies, 24 quartets, 24 solos, duets and trios, and the 'Seven Last Words.' About 1785 he removed into the Strand (No. 348), where the business was carried on until the pulling down of Exeter Change. In 1795 he issued a copper medal or token, halfpenny size, bearing—
12Obverse, 'Wm. Forster, Violin, Tenor and Violoncello Maker, No. 348, Strand, London.' Prince of Wales's feathers in the field. Reverse, the melody of 'God save the King' in the key of G. A crown in the field, above it 'God save the King,' beneath it '1795.'
13Forster died at the house of his son, 22 York Street, Westminster.
14W. H. H.
15(2) William (b. 1764; d. 1824), son of the above-mentioned, and generally known as 'Royal' Forster, from his title 'Music Seller to the Prince of Wales and the Duke of Cumberland.' Like his father, he made large numbers of violins which once enjoyed a high reputation. By making the bellies of their instruments thin, and increasing the weight of the blocks and linings, the Forsters obtained, while the instrument was still new, a strong and penetrating tone, which found high favour with Lindley and his school. Being well made and finished, and covered with excellent varnish, their instruments have much that commends them to the eye. The Forsters copied both Stainer and Amati. 'Royal' Forster had two sons: (3) William (1788–1824), the eldest, devoted himself to other pursuits, and made but few instruments; but the second, (4) Simon Andrew
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