DICTIONARY OF MUSIC - El Atril

112 FROHLICH FKUYTIERS
one with Italian title, the other with Italian and
German. Tlie copies qnoted in other works
with dates 1695, 1714, are printed from the
same plates, but with ditl'erent titles. 2. ' Diverse
, . . etc., Prima continuazione. Mog. 1696.'
3. ' Suites de Clavecin, par Giacorao Frobergue,'
Amsterdam, Roger (a copy of the first edition
in the Fitzwilliam Museum, Cambridge). The
second edition is in the library at Berlin, where
are also several autograph vols, of Froberger's
dated 1619 and 1656, containing, amongst
others, some of the pieces in the above collec-
tions. The Imperial Library at Vienna also
contains a MS. of 222 sheets of Toccatas,
Caprices, etc. [see the QuelUn-Lex Ikon. A large
selection of the clavier and organ works was
published in the Denkmdler d. Tonkimst -in
Oesterreieh (see Dexkmalek), edited by Guido
Adler ; they were alteiwards republished alone,
in two volumes (Artaria, and Breitkopf &
Hiirtel)]. F. G.
FRUHLICH. There were four sisters of
this name, all natives of Vienna.
1. The eldest, Nanette (Anna), bom Sepjt.
19, 1793, a piupil of Hummel for the piano, and
of Hauss and Siboni for singing, became an
excellent artist in both branches. From 1819
to 1854 she was teacher of singing at the Conservatorium
of Vienna, where she trained many
dramatic and concert singers, since celebrated.
She will be always gratefully remembered for
having induced F. Scliubert to write the following
pieces:— 'Gott ist mein Hirt' (Psalm xxiii.),
op. 132; and 'Gott in der Natur,' op. 133.
both for four-part female chorus ; 'Nachthelle,
op. 134, for tenor solo and four -part male
chorus; the Serenade ('Zogernd, leise '), op.
135, for alto solo and four-part female chorus ;
the Song of Miriam, op. 136 ; and Des Tages
"VVeihe ('Schioksalslenker'), op. 146, for soprano
solo and chorus. Grillparzer wrote the words
for the Serenade and the Song of Miriam also
at her instigation.
2. B.VRBARA, born Augnst 30, 1797, excelled
both as a coutralto singer and a jiainter of portraits
and flowers. She married Ferdinand
Bogner, a government employe and eminent
flute player, who was honorary professor at the
Gonservatorium from 1821 until his death in
1845.
3. Josephine, born Deo. 12, 1803, a distinguished
singer, jiupil of her sister at the
Gonservatorium (1819-21), made her debut at
concerts so successfully that she was immediately
engaged for the court theatre(1821-22). Shortly
afterwards, however, she went to Copenhagen,
and completed her studies under Siboni, who had
settled there. As a concert singer she was very
well received in Denmark, Norway, and Sweden,
aud was appointed private singer to the King
of Denmark. Later she went to Italy, and sang
in tlie operas of Venice (1829) and Milan (1831)
with brilliant success. The Societa ApoUinea of
Venice elected her an honorary member. After
her retui'n to Vienna she seldom appeared at
concerts, and turned her attention alnmst
entirely to teaching singing. She died May 7,
1878.
4. Kathaeina, born June 10, 1800, though
not a musician, must not be omitted 11 oni tins
band of sisters. Her cultivated mind and
sympathetic disposition eminently fitted her to
be the intimate friend and associate of the great
Austrian poet Grillparzer, who was deeply susceptible
to music, and jiassed the greater part
of his life in tlie house of these sisters until his
death in 1872. It was ' Kathi ' especially,
with her quiet, unassuming ways, whom the
poet reverenced as his purest ideal, and who
inspired many of his poems. She died March
3, 1879. c. F. p.
FROTTOLE, early Italian songs, of which
nine books, containing each on an average sixtyfour,
were published by Petrucci at Venice
between 1504 and 1509. Many of them are
by Tromboneino, who so far may be called the
Gordigiani of his day. As far as can be gathered
from the account of Ambros,' the Frottola was
essentially a popular melody, or street-song,
treated with a certain amount of contrivance.
It stood midway between the strict and complicated
Madrigal, and the Villotta or Vilanella,
which was a mere harmonisation of a tune ; and
in fact as the use of counterpoint increased it
disappeared, its better elements went into the
Madrigal, its lower into the Vilanella. The
words of the Frottole were often comic (in fact
the word is a synonym for a joke) but still
oftener extremely sentimental. Ambros (iii.
478) cites some in which the song of the cicada
and the mewing of a cat are imitated. The
poem was in verses, sometimes very numerous.
The music was set almost exclusively for four
voices. Besides those printed at Venice, a book
of twenty-two was published at Rome by Junte
in 1526. See Ambros, as below, Eitner's BibJio-
graphic, and Vogel's Biblioihck dcr gcdrucLicn
v^cltlwlicn Vocahausik Italiens. G.
FRUYTIERS, Jan, Flemish poet and musician
of the 16th century, was living at Antwerp
in 1565. He was a Lutheran, and author of the
words and music of * Ecclesiasticus of dc wijse
spiroken Jesu des soons Syrach,' etc. (Antwerp,
Selvius, 1565), a metrical translation of the book
of Ecclesiasticus. The music is printed in the
fine type of Plantin. This scarce book is the
more rcmai'kable as it was published by permission
of Margaret of Parma, Governess of the
Netherlands, only a few months before she
enforced the decrees against the heretics which
brought about the War of the Gueux. The
melodies are chiefly popular Flemish airs. The
35th Cantique (Ecclus. xxiv.) is set to a French
' dance of the 1 5th century, called L'homme
arme,'—not to be confounded with the celebrated
1 G'^diichte. iii. 464-4Sa.