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Scan 394
The New Encyclopedia of Music and Musicians, 1924
20 lines. Read by computer on 17 September 2026. Printed page 358. See the scan on archive.org.
1for his share in making the harmonica or 'musical glasses' a practical instrument, if he did not absolutely invent it (about 1760). As a printer, he was connected with some of the earliest music-publishing in America (in Philadelphia). He played the guitar well, was much interested in practical music and wrote more or less upon musical aesthetics (1765). G, A.
3Franko, Sam (New Orleans, 1857). American violinist and conductor, pupil of Joachim, Vieuxtemps, Léonard and Hollaender, in 1871–80 concertizing in Germany and at Paris, from 1880 played in the Mendelssohn Quintette Club of Boston, from 1884 was in Thomas' Orchestra in New York, becoming concertmaster, besides playing viola in the Philharmonic Society and for many years giving chamber-music concerts. In 1900–09 he gave orchestral programs of 17th–18th century music, which in 1910–14 he continued at Berlin. Since 1915 he has been active again in New York along similar lines, besides teaching many able pupils. Has written many violin-pieces and made valuable transcriptions of rare works. G.
5Franz, Karl (Langenbielau, 1738–1802, Munich). Silesian hornist and noted virtuoso on the baryton, in court-service at Olmütz from 1758, at Eisenstadt from 1763 (under Haydn), at Presburg from 1776, and at Munich from 1784. G.
7Franz, Robert (Halle, 1815–1892, do.) [name originally Knauth, dropped after 1847]. Eminent Saxon song-composer and musical editor, pupil of Fr. Schneider, but with diligent self-culture, becoming known in 1843 as a genius highly valued by discerning critics. He soon was made organist at the Ulrichskirche in Halle, after a time conductor of the Singakademie and in 1859 music-director at the University (Ph.D. 1861). But even soon after 1840 his hearing became slightly impaired and other symptoms of nervous disorder gradually appeared. By 1864 he was almost totally deaf and was subject to painful hallucinations, so that in 1868 he was forced to retire from all public work. To aid in his support a fund of about $25,000 was raised by admirers in Germany and America. Meanwhile he turned largely from composition to the elaborate revision for modern presentation of numerous great works of Bach and Handel, in which he achieved a second striking reputation. His place as one of the greatest masters of the song was made secure by a series of more than 350 works. The extreme sympathy and fullness of expression of these, with their extraordinary perfection of workmanship, set him at once in the same high rank with Schubert and Schumann. His peculiar gift doubtless was more akin to that of Schumann, but had its own intense individuality. Besides the songs he wrote Psalm 117 (8-part) and a Kyrie (4-part) for chorus a cappella, a choral liturgy for the Evangelical service, 12 part-songs and 6 chorals. His most important arrangements or revised editions were of Bach's St. Matthew Passion, Christmas Oratorio, Magnificat, Funeral Ode and 10 cantatas, and of Handel's Messiah, L'Allegro, Jubilate and about 35 arias or duets from operas. He also published monographs on the Bach Magnificat (1863) and on the principles of such revisions (1871), these being included in his Gesammelte Schriften, 1910, edited by Bethge. Memoirs by Liszt, 1855, Schuster, 1874, La Mara (in Musikal. Studienköpfe, iii), Waldmann, 1894, Procházka, 1894, Golther, 1907 (letters), Bethge, 1908, etc. G.
9Fränzl, Ferdinand (Schwetzingen, 1770–1833, Mannheim), son of the following. Able Badenese violinist, pupil of his father, Richter, Pleyel and Mattei, from 1782 in the electoral orchestra at Munich, becoming concertmaster in 1789 and Karl Cannabich's successor as director in 1806, but with long tours from 1784 in France, Italy and Russia (1802). He retired on pension in 1827. Wrote a symphony, overtures, 9 violin-concertos, a double concerto for two violins, 6 string-quartets, violin-trios and duets, several operas and operettas, the choral work Das Reich der Töne, etc. G.
11Fränzl, Ignaz (Mannheim, 1736–1811, do.). Badenese violinist, from 1747 in the Mannheim Orchestra, in 1774 becoming concertmaster, but not continuing when the orchestra was transferred to Munich in 1778. In 1790–1803 he was director of the court-opera at Mannheim. Before this he made wide concert-tours with his son (see above). Wrote a variety of orchestral and chamber-music.
13Frauenlob. See Heinrich von Meissen.
15Frederick the Great [Friedrich II], King of Prussia (Berlin, 1712–1786, Potsdam). Musically noted as flutist and patron, pupil of Hayn and Quantz. From 1734 he maintained a band at Reinsburg and from 1740 (as king) set up a more ambitious establishment at Potsdam and in 1742 erected a new opera-house in Berlin. In 1746 he issued an order for regular discipline in singing in all public schools and gymnasia in the kingdom. He acquired most of the earliest Silbermann pianos. Wrote over 100 works, mostly for flute, but including an opera (1747), an overture, marches, etc. Memoirs (musical) by K. F. Müller, 1847, and Thouret, 1895, '98. G.
17Frédérix, Gustave (Liège, 1834–1894, Brussels). Well-known Belgian critic of literature, art, the drama and music, from 1859 writing for the Indépendence Belge. Works published in 1900.
19Frege, Livia, née Gerhard (Gera, 1818–1891, Leipzig). Gifted Saxon singer, pupil of Pohlenz, first appearing at Leipzig in 1832 (with Clara Wieck) and making her stage-début in 1833, in 1835–36 at the Berlin Opera, but later (after marrying Dr. Woldemar Frege) singing only in concert. She was a valued friend of Mendelssohn and David, and long maintained a select chorus of 50 voices (conducted by H. Langer, band led by David). See dissertation on Leipzig musical society by F. Schmidt, 1912. G.
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