DICTIONARY OF MUSIC - El Atril

FRANCHETTI FRANCK 95
and 1745 she took part in Handel's 'Joseph,'
' Belshazzar, ' and 'Hercules' ; she had (juitted
the stage, ' but constantly attached herself to
Handel, and "was lirst woman in his oratorios for
(Burney). She enjoys the doubtful
' many years
honour of having sung the four Italian songs
which Handel was compelled to ' ' intermix in
'Israel in Egypt' in 1739, to carry it over a
third performance. In 1737 her portrait was
engraved by J. Faber in mezzotint from a painting
by George Knapton. It is a half-length, and
represents a pleasant, intelligent woman ; she
holds a book, on a page of which are the words,
'Ua sei amabile sparanza, ' the beginning, prob-
ably, of one of her favourite songs. j. M.
FRANCHETTI, Alberto, born of wealthy
parents at Turin, Sept. 18, 1860 ; studied at
first under Nicolo Cocoon and Fortunate Magi,
subsequently under Draeseke at Dresden and at
the Munich Conservatorium. From his German
teachers he seems to have learnt very great skill
in the manipulation of masses of sound, such
as are required for operas on a large scale ; yet
the thoroughness of his training has not secured
him a very high position in the estimation of the
best Italian critics, although his private means
have enabled him to command the attention of
the public, and to have his works produced
uniler the most favourable conditions. His
operas are five in number ;
' Asrael, ' in four acts,
was produced at Brescia in 1888, and afterwards
at the Scala, and elsewhere, with great success.
His ' Cristoforo Colombo,' in four acts, produced
at Genoa in October 1892, contains an admirably
worked ensemble in the first act, but appeals
to the public rather by its scenic panorama
of the voyage than by anything else ; the
three-act ' Fior d'Alpe' (Milan, 1894) and the
three-act 'Signer di Pourceaugnac ' (Jtilan,
1897), "were less successful than 'Germania,'
(Milan, 1902). See a detailed analysis in the
Fiiv. 3Ius. Iliil. ix. 377. A synqihony in E
minor completes the number of his works.
Some critics have called Franchetti the Meyerbeer
of modern Italy, and there are certain
points of resemblance between the two, besides
the accident of their outward circumstances,
circumstances, it may be hinted, that are not
always entirely advantageous in the long run.
It is true that Franchetti is at his best when
there are many characters on the stage, or
when insi>ired by some spectacular effect on the
scene. His music is not profoundly emotional,
not very often distinguished, but it is not generally
realised that his workmanshifi is sound and
scholarly, and the fact that be owes little or
nothing to "Wagner, and stands entirely apart
from the hysterical school of Young Italy,
should not be reckoned against him. M.
FKANCHOMME, Augusts Joseph, born at
Lille, April 10, 1808, learned the rudiments
of the violoncello from a player named JIas,
entered the Paris Conservatoire in March 1825,
at once attracted the notice of Levasseur and
Norblin the Professors, and in his first year took
the first prize for his instrument. He then
joined the orchestra of the Ambigu-comique, in
1827 that of the Opera, and in 1828 fixed himself
at the Theatre des Italiens. In conjunction
with Alard and Halle he formed an annual series
of classical quartets, which attained the highest
rank. Franchomme was in Paris at the time of
Mendelssohn's visit, in the winter of 1831, and
is mentioned by Hiller (Meiidcbsohn, 1819) as
one of the artists who most warmly appreciated
him. They were just of an age, and knowing
Mendelssohn's predilection ibr the violoncello
it is not difiicult to believe that they oiten
played together. He was very intimate with
Chopin, and was one of those who witnessed
his last sufi'erings and received his latest words.
Franchomme travelled very little, and a visit to
England in 1856, when he played at the Musical
Union, appears to be almost his only journey.
He was Professor at the Conservatoire from
Jan. 1, 1846. He died in Paris, Jan. 22, 1884.
Franchommc's playing was remarkable for a
command over technical difficulties of all kinds,
very pure intonation, and a beautiful and ex-
pressive singing tone. He was the possessor of
the violoncello of Duport, said to be the finest
Stradivarius in existence, for Avhich he gave
£1000. His com]iOsitions consist chiefly of
potpourris and variations, with one concerto.
He also published with Cho})in a Duo on airs
from 'Robert le DialJe,' another with Bertini,
and a third with Osborne. His Adagios are
much esteemed. [A com}tarison of tlie two
versions of Chopin's Polonaise for pianoforte
and "\aoloncello, in C, op. 3, will show how great
were the improvements in the violoncello part,
which were due to Franchomme.] n.
FRANCISCELLO, a great violoncellist of the
early part of the 18th century, but of whom
neither the date nor place of birth or death are
known, and who in fact »"Ould have left no trace
of his existence but for the fact that he was
heard by Quantz, Benda, and Geminiani. He
seems to have first appeared in Rome shortly
after the death of Corelli (1713). He was at
Naples in 1725 ; Quantz heard him there, and
Geminiani, there or in Rome, was witness to
the ra]iture with which the great Alessandro
Scarlatti accompanied him on tlie harpsichord.
In 1730 he was at Vienna, where F. Benda,
then a young man, was so struck by his style
as to say that it influenced him for ever after.
He is heard of afterwards at Genoa, Avhere ho
may have died about 1750, but notliing is
known. o.
FRANCK, CiiSAR, born Dec. 10, 1822, at
Liege, studied music at first at the Conservatoire
of that Y'lace. Coming to Paris at the age of fifteen,
he entered the Paris Conservatoire (tlien directed
by Cherubini) in Oct. 1837, where he was in
Leborne's class for counterpoint and fugue, and