Francois = Joseph feh Thijs

Francois = Joseph feh Thijs

Portal classical music

Francois = Joseph feh Thijs (François-Joseph Fétis, March 25, 1784 Mons - March 26, 1871 Brussels) is Belgian composer, music teacher, musicologist.

Table of contents

Life

It was the most influential music commentator of the 19th century. "All countries musician series of biographies Biographie universelle des musiciens" becomes the important music documents even today.

Hainaut stateMonsI am from の. I receive music education by father. I make 7 years old and show ability for composition and I make 9 years old and take office as the organist of the local サント = ヴォードル church. I go to Paris in 1800 and receive Francois = Adrian bellboy L dew and Jean = Batty strike re, discipline of Louis = バルテレミ plastic Dale at the House of Paris music.

In 1806, I expect the rediscovery of the original form of the Rome ceremony etiquette sacred song and re-establishment and work on the revision. I start writing of "the all countries musician series of biographies" that became the representative writing at the same time in a year (as for the announcement 1834).

I am appointed in 1821 by Professor ex-Emperor Paris music. I publish the first music technical periodical "ルヴュー musical" in France in 1827. I leave Paris to take office as the House of Brussels music director and Imperial Court master of court music for a request of the Belgian king Leopold first in 1833.

It was the founder of the regular concert in the House of Brussels music and continued the conduct until the year of a person's death and opened a free open lecture about history of music and the music aesthetics. From an opera and an oratorio to a simple song, I compose a large quantity of works, and there are a symphony and the work such as 協奏交響曲, too.

Music review

Feh Thijs is more important by writing than composition. There are a history book and a theory book such as "history of composition expatiation Curiosités historiques de la musique" (1850 Paris) and "history of music Histoire universelle de musique" (from 1869 to 1876 Paris) such as joint work "guide Méthode des méthodes de piano (1837 Paris) with イグナツ Moscheles of the piano how to play".

The criticism about the composer of the same period is famous, too. When "I do not belong to the art that we can recognize as music, and the thing which Berlioz composed is short of him in the basic ability in the music art, the writer is convinced". With "ルヴュ ミュジカル" published on February 1, 1835, Berlioz also cursed selfish revision for the score of Beethoven whom feh Thijs performed for such a critical remark that "the law of harmony that only piled up a sound in a way that what's called hobby for the melody was not a circle, and there was only the poorest concept about rhythm, and, in particular, not to admire was boring with a monotone at all." about [fantasy symphony] with the highest praise [¹].

I did not loosen the handle of the attack about Wagner elsewhere either.

Reactionary may show the critical tone about the music of the same period of feh Thijs, but the musicology-like writing is pioneer and avoids the principle of own country center (ethnocentrism) and a now center-oriented point of view in an exceptional thing for the 19th century. In addition, unlike a trend at the time, I was not going to catch history of music in progressivism sense of history. I was going to arrest you as "the thing which changed" consistently, and, as the thing which advanced towards an aim, even what improved did not worsen, and a condition new consistently considered music to add. There were not the times and what's called which did not create art and music culture, and feh Thijs believed that the times and art and music appropriate to the environment existed. I start a detailed study about not only the Renaissance music but also a European folk song and the music culture of the non-West. In other words, feh Thijs built the basics of field of arts and sciences which came to be called ethnomusicology later.

The precious collection of books was purchased posthumously by the Belgian government and became the collection of books of the House of Brussels music. Although there are many incorrect points, nonetheless the historic writing becomes the document of the intentionality for a history of music researcher.

Education

It is feh Thijs to have completed the basics of strict counterpoint of the House of Paris music method. Feh Thijs maintained the counterpoint to the House of France Paris music school while referring to a counterpoint course of グラドゥス ad パルナッスム of Fuchs. Because a rule and teaching are different from the counterpoint of Antonin レイハ, opposition happened in a feh Thijs group and a レイハ group, but it is a feh Thijs group to have put victory. Therefore, criticism in itself that I do not imitate for the Renaissance era is really irrelevant, and the counterpoint doctrine before the sheet of music of many owners and the classic period is really referred to in counterpoint doctrine of feh Thijs.

Feh Thijs is this this <Traitédu contrepoint et de la fugue contenant l'exposéanalytique des règles de la composition musicale depuis deux jusqu'àhuit parties réelles＞For the common sense that wrote を at the time, "strict counterpoint "・" imitation form "・" fugue" is <counterpoint of the wide sense in a bundle＞であり was the title of a book such as "counterpoint and fugue" and was sold in one book. It is a later story that the doctrine that it is said that these contents are too enormous in one book, and differentiated in a "counterpoint" course and a "fugue" course was maintained.

Japanese College of Music makes the counterpoint of this method required, but, as for the Japanese translation, there is not even the doctrine that mentioned feh Thijs without being started from publishing company of any place.

Major works

Chamber music

• 3 Streichquartette vor 1800
• Sextett für Streichquartett und Klavier zu vier Händen
• " Grand Duo " für Violine und Klavier
• 3 Streichquintette (1860–1862)
• Konzertouvertüre (1854)
• 1. Sinfonie in Es-Dur (1862)
• 2. Sinfonie in g-moll (1883)
• Fantaisie symphonique für Orgel und Orchester (1865)
• Konzert h-Moll für Flöte und Orchester (1869)

Church music

• Messe zu fünf Stimmen (1810)
• Requiem zum Tode der Königin Louise-Marie (1850)
• Te Deum zum Geburtstag König Leopold I. (1856)
• " Domine salvum fac regem nostrum " zur Thronbesteigung König Leopold II. (1865)

Stage work

• L' Amant et le mari (Komische Oper in 2 Akten Urauf. 8.Juni 1820 Paris, Théâtre Feydeau)
• Les Sœurs jumelles (Komische Oper in 1 Akt Urauf. 5.Juli 1823 Paris, Théâtre Feydeau)
• Marie Stuart en Ecosse (Lyrisches Drama in 3 Akten Urauf. 30.Aug. 1823 Paris, Théâtre Feydeau)
• Phidias Oper in 2 Akten (1824 Paris)
• Le Bourgeois de Reims (Komische Oper, 1 Akt Urauf. 7.Juni 1825 Paris, Théâtre Feydeau)
• La vieille (Komische Oper 1 Akt Urauf. 14.März 1826 Opéra-Comique Paris)
• Le Mannequin de Bergame (Komische Oper 1 Akt, Urauf. 1.März 1832 Paris, Théâtre Ventadour)

Writing

• Galerie des musiciens célèbres, compositeurs, chanteurs et instrumentistes, contenant leurs portraits lithographiés par les meilleurs artistes, des fac-similés, et leurs notices biographiques, Paris, l'auteur, s. d.
• Manuel des compositeurs, directeurs de musique, chefs d'orchestre et de musique militaire, ou Traitéméthodique de l'harmonie, des instruments, des voix et de tout ce qui est relatifàla composition,àla direction etàl'exécution de la musique, Paris, l'auteur, s. d.
• Manuel des principes de musique,àl'usage des professeurs et desélèves de toutes lesécoles de musique, particulièrement desécoles primaires (2éd.), Paris, M. Schlesinger, s. d.
• Traitéde l'accompagnement de la partition sur le piano ou l'orgue, Paris, Pleyel, s. d.
• La musique miseàla portée de tout le monde: exposésuccinct de tout ce qui est nécessaire pour juger de cet art, et pour en parler sans l'avoirétudié, Paris, 1830 (2éd.: Paris, Paulin, 1834).
• Curiosités historiques de la musique, complément nécessaire de La Musique miseàla portée de tout le monde, Paris, Janet & Cotelle, 1830.
• Biographie universelle des musiciens et bibliographie générale de la musique, Paris, 1834-1835 (2édition: Paris, Firmin-Didot, 1860, reproduite en fac-similé: Paris, Tchou, coll.«Bibliothèque des introuvables», 2001, 5 volumes, 5000 pages ^[2]).
• Ref-Biographie universelle musiciens et bibliographie musique, Fétis, Pougin, Suppl.1, 1878.
• Méthode des méthodes de piano, ou Traitéde l'art de jouer de cet instrument basésur l'analyse des meilleurs ouvrages qui ontétéfaitsàce sujet, Paris, M. Schlesinger, 1837.
• Histoire générale de la musique depuis les temps les plus anciens jusqu'ànos jours, Paris, Firmin-Didot, 1869-1876, 5 volumes.
• Mémoire sur l'Harmonie Simultanée des Sons Chez les Grecs et les Romains, Paris, Chez Aubri, 1859.
• Esquisse de l'histoire de l'harmonie considérée comme art et comme science systématique, Paris, Bourgogne et Martinet, 1840.
• Traitédu contrepoint et de la fugue contenant l'exposéanalytique des règles de la composition musicale depuis deux jusqu'àhuit parties réelles,..., Paris, C.-M. Ozi.
• Traitécomplet de la théorie et de la pratique de l'harmonie, Paris, Schlesinger, 1844. (2eédition, 1844)

References

• Francis Pieters: Grootmeesters van de Simfonie en de Blaasmuziek in: FEDEKAMNIEUWS - Tweemaandelijks orgaan van de Fedekam Vlaanderen, 26e jaargang, Nr. 6, december 1981, pp. 475–476
• Gérard Pinsart: Ces musiciens qui ont fait la musique. Autographes et manuscrits musicaux du 16e au 20e siècle, catalogue d'exposition, (Musée Royal de Mariemont du 26 octobre 1985 au 31 mars 1986), Morlanwelz, Musée Royal de Mariemont, 1985-86, 251 p.
• Bernard Huys: François-Joseph Fétis, FontesArtis Musicae. 30 (1983), S. 29-30.
• Godelieve Becquart-Robyns: François-Joseph Fétis maitre de chapelle de Leopold 1er, Revue Belge de Musicologie. Belgisch Tijdschrift voor Muziekwetenschap. 26/27 (1972/73), S. 130-142.
• Jozef Robijns, Miep Zijlstra: Algemene muziekencyclopedie, Haarlem: De Haan, (1979) -1984, ISBN 978-90-228-4930-9
• Robert S. Nichols: Fétis' theories of tonalite, and the aesthetics of music, Revue Belge de musicologie. Belgisch Tijdschrift voor Muziekwetenschap. 26/27 (1972/73), S. 116-129.
• Mary I. Arlin: Fétis' Contribution to practical and historical music theory, Revue Belge de Musicologie. Belgisch Tijdschrift voor Muziekwetenschap. 26/27 (1972/73), S. 106-115.
• François Lesure: L'affaire Fétis, Revue Belge de Musicologie. Belgisch Tijdschrift voor Muziekwetenschap. 28/29/30 (1974-76), S. 214-221.
• Paul Tinel: François-Joseph Fétis, père de la musicologie et polémiste, Académie Royale de Belgique. Bulletin de la Classe des Beaux-Arts. 53 (1971), S. 136-144.
• Victor van Hemel: Voorname belgische toonkunstenaars uit de 18de, 19de en 20ste eeuw, Antwerpen: Cupido-Uitgave, 1958, 84 p.
• Robert Wangermée: François-Joseph Fétis. Musicologue et compositeur, Academie Royale de Belgique. Classe des Beaux-Arts. Memoires, Tome VI, Fasc 4, Bruxelles: Palais des Academies 1951. 355 S.
• Albert van der Linden: Une mission de François-Joseph Fétis en Italie, en 1841, Rivista Musicale Italiana. 53 (1951), S. 61-72.
• Jacques Stehman: Histoire de la musique en Belgique, Ministere de la Defense Nationale, 1950
• Charles Leirens: Belgian music, New York: Belgian Information Centre, 1943, 40 p.
• L.E. Jooris: Memorial usuel: des musiciens et dilettanti, Bruxelles: Imprimerie A. et C. Denis Preres, 1911
• Dan Fog, Nana Schiodt, Hans Danelund: Hagens samling i Det kongelige Biblioteks Handskriftafdeling. Kilder til dansk musikhistorie samlet af S.A.E Hagen, Kobenhavn: Det kongelige Bibliotek, 1981, 167 p.
• Ernst Tittel: Die Wiener Musikhochschule. Vom Konservatorium der Gesellschaft der Musikfreunde zur staatlichen Akademie für Musik und Darstellende Kunst, in: Ehrenmitglieder: A. der Gesellschaft bzw. des Konservatoriums, Wien: Lafite, [1967], 111 p.
• Louis Gustave Vapereau: Dictionnaire universel des contemporains, etc ..., 4e ed., Paris: 1893
• Charles Victoire Alfred Langue onder het pseudoniem: Alfred Dantes: Dictionnaire biographique et bibliographique ... des hommes les plus remarquables dans les lettres, les sciences et les arts, etc ..., Paris: 1875
• Johann Christian Ferdinand Hoefer: Nouvelle biographie generale, etc ..., Paris: 1852-66, 46 vols.
• Lawrence Archbold, William John Peterson: French organ music from the Revolution to Franck and Widor, Rochester, New York: University of Rochester Press, 1995, 323 p.
• Orpha Ochse: Organists and organ playing in nineteenth-century France and Belgium, Bloomington: Indiana University Press, 1994, 271 p.
• David Damschroder, David Russell Williams: Music theory from Zarlino to Schenker - A bibliography and guide, Stuyvesant, NY: Pendragon Press, 1990
• Ursula Pesek, Hans-Peter Schmitz: Flötenmusik aus drei Jahrhunderten: Komponisten: Werke: Anregungen, Basel: Bärenreiter, 2. Auflage, 1993, 320 p., ISBN 978-3-7618-0985-3
• Jamie Croy Kassler: The science of music in Britain, 1714-1830 - A catalogue of writings, lectures and inventions. In two volumes, New York: Garland, 1979
• Franz Stieger: Opernlexikon - Teil II: Komponisten. 1, Band A-F, Tutzing: Hans Schneider, 1975-1983, 371 p., ISBN 3-7952-0203-5
• Franz Stieger: Opernlexikon - Teil II: Komponisten. 2, Band G-M, Tutzing: Hans Schneider, 1975-1983, 373-772 p., ISBN 3-7952-0228-0
• Rudolf Vogler: Die Musikzeitschrift signale für die musikalische Welt 1843-1900, Regensburg: Gustav Bosse Verlag, 1975
• Gösta Morin, Carl-Allan Moberg, Einar Sundström: It is rev. och utvidgade uppl., Stockholm: Sohlmans musiklexikon -2 Sohlman Förlag, 1975-1979, 5 v.
• Gustaf Hilleström: Utlandska ledamöter, in: It is Kungl. Matrikel 1771-1971 Musikaliska Akademien, Strängnäs: Nordiska Musikförlaget i distribution, 1971, 286 p.
• Marc Honneger: Dictionnaire de la musique, Paris: Bordas, 1970-76
• Zenei lexikon, Budapest: Zenemukiado Vallalat, 1965
• Lauro Ayestaran: Fétis, un Precursor del Criterio Etnomusicologico en 1869, Primera Conferencia Interamericana de Etnomusicologia. Cartagena de Indias 1963. 1965. S. 13-37.
• Charles Edward Wunderlich: A history and bibliography of early American musical periodicals, 1782-1852, A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the University of Michigan, 1962, 783 p.
• Joaquín Pena, Higinio Anglés, Miguel Querol Gavalda: Diccionario de la Música LABOR, Barcelona: Editorial Labor, 1954, 2V, 2318P.
• Daniel Fryklund: Nagra Fétis-Brev a propos ett nyutkommet arbete, Svensk tidskrift for musikforskning. 34 (1952), S. 123-139.
• Daniel Fryklund: Societe internationale de musicologie. 1er congres Liege 1930. Compte rendu, in: Eine schwedische Sammlung von Briefen von und an Fétis, Guildford, 1931.
• Daniel Fryklund: Contribution a la connaissance de la correspondence de Fétis, Svensk Tidskrift för Musikforskning, vol. 12, 1930, p. 85-154
• Theodore Baker: Baker's biographical dictionary of musicians - Fourth edition, New York: G. Schirmer, 1940
• Carlo Schmidl: Dizionario universale dei musicisti, Milan: Sonzogno, 1937, 2V p.
• Paul Frank, Wilhelm Altmann: Kurzgefasstes Tonkünstler Lexikon: für Musiker und Freunde der Musik, Regensburg: Gustave Bosse, 1936, 730 p.
• Tobias Norlind: Allmänt musiklexikon, Stockholm: Wahlström & Widstrand, 1927-28, 2V p.
• Edmund Sebastian Joseph van der Straeten: History of the violoncello, the viol da gamba - Their precursors and collateral instruments. - With biographies of all the most eminent players of every country, London: William Reeves, 1915
• Eugene Rapin: Histoire du piano et des pianistes, Bologna: Forni Editore, 1904
• Constant Pierre: Le Conservatoire National de musique et de declamation - Documents historique et administratifs, Paris: Imprimerie Nationale, 1900

Outside link

• Books with "Fétis" as author (Google Books)
• Books with occurrences of "Fétis" (Google Books)
• Texts with occurrences of "Fétis" (archive.org)
• Biographie universelle des musiciens (2nd edition) at Google Books:
  • Vol. 1, 1860 (478 pages) Aaron – Bohrer (+vol. 2)
  • Vol. 2, 1861 (484 pages) Boildieu – Derossi (+vol. 1)
  • Vol. 3, 1862 (480 pages) Désargus – Giardini
  • Vol. 4, 1862 (491 pages) Gibbons – Kazynski
  • Vol. 5, 1863 (480 pages) Kechlina – Martini (+vol. 6)
  • Vol. 6, 1864 (496 pages) Martini, leP – Pérolle (+vol. 5)
  • Vol. 7, 1864 (548 pages) Perotti – Scultetus (+vol. 8)
  • Vol. 8, 1865 (527 pages) Sebastiani – Zyka (+vol. 7)
• Biographie universelle des musiciens (supplement by Arthur Pougin) at Google Books:
  • Vol. 1, 1878 (480 pages) Abadie – Holmes
  • Vol. 2, 1880 (691 pages) Holmes, Mlle Augusta – Zwingli

Footnote

1. For written by ^ H Berlioz, Tachibana west way, reason "symphony Tsunogawa library of Beethoven", 1,959 years, it is 170p.
2. ^ Cf notice BnF FRBNF37703350, ISBN 2-84575-044-7 (vol. 1). - ISBN 2-84575-045-5 (vol.2). - ISBN 284,575-046-3 (vol. 3). - ISBN 2-84575-047-1 (vol. 4). - ISBN 2-84575-048-X (vol. 5)

•   Including the next encyclopedia text that a copyright became extinct for this article in the United States of America: Chisholm, Hugh, ed. (1911). "^{Article name required}". Encyclopædia Britannica (11th ed.). Cambridge University Press. 

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