DICTIONARY OF MUSIC - El Atril

FANCIES FANFAKE
attacks iijion tlic new national school of music.
Famitsin composed two weak but pretentious
operas :
' Sardaiiapalus, ' gii-en in St. Petersburg
in 1S75, but with so little success that he made
no effort to produce his second opera, ' Uriel
Acosta.' His instrumental works include three
quartets, a pianoforte cjuintet, and a ' Russian
Rhapsody ' for violin and orchestra. Two
books of ' Songs for Russian Children' have outlived
his more ambitious attempts. As a
musical antiquary lie did his best work in the
following publications : liussian iluimncrs and
Glee-nun (1SS9) ;
TJie A neient Indo-Chinese Scale
in Europe and Asia, and its appearance in the
Paissian Folk-Songs (1890); The Gusslce : a
Eussian National Instrument (1890) ;
and The
Iiombraand Kindred Instrumenls{lS9l). Famit-
sin died at St. Petersburg, Julv 6, 1S96. R. x.
FANCIES, or FANTASIES", the old English
name for Fantasia, which see. In the various
collections catalogued under the head of ViK-
GINAL Music all three w-ords occur. The name
seems to have been confined to original compositions
as opposed to those which were written
upon a given subject or upon a ground. Sir
Hubert Parry made the Fancy the subject of one
of his lectures—
'Neglected By-ways in JIusic'
— at the Royal Institution in 1900 ; rejiorted in
the Musical Times for 1900, p. 247.
FANDANGO. An Andalusian
M.
dance, a
variety of the Seguidilla, accompanied by the
guitar and castanets. In its original form the
fandango was in 6—8 time, of slow tempo, mostly
in the minor, with a trio in the major ; sometimes,
however, the whole was in a major key.
Laterit took the 3-4 tempo, and the characteristic
Spanish rhythm
j j^
In this
shape it closely resembles the seguidilla and
bolero. One Fandango tuneisgiven b}^ Ha^\kins
(Appendix, No. 33). Another has been rendered
famous through its partial adoption by both
Gluck and ilozart—tlie former in his Ballet of
' Don Juan,' the latter in ' ' Figaro (end of Act
3). It is given in its Spanish form by Dohrn
in the Xcue Zeitsclrrift f. Musik (xi. 163, 7) as
follows :
AiuUndi.
tr. .
i— ^— 1—^1—^—^»*—'- I
3
v!^-^
-0-0. .0^. .0.0. ad nil. h
5":55^-?tfEfE
.J J^
ren>i»rt:e=
erase. / E5 i-B ^^*«.'
i.—F^P:^?:
The rliythm of the castanets was
Mozart's version is known and accessible ;
Gluck's will he found in the Appendix to Jahn's
Mo-art.
There is a curious piece of history said to lie
connected with this dance. S(JOn after its first
introduction, in the 17th centurv, it ^^•a9 condemned
by the ecclesiastical authorities in S]iain
as a 'godless dance.' Just as the Consistory
were about to ja'ohibit it, one of the judges
remarked that it \\'as not fair to condemn any
one unheard. Two celelirated dancers were
accordingly introduced to perl'orm the fandango
before the Consistory. This they did with such
effect, that, according to the old chronicler,
' every one joined in, and the hall of the con-
sistorium was turned into a dancing saloon.'
No more was heard of the condemnation of the
fandango.
Similar dances to the fandango are the
TiK.-VNA, the Polo, and the Jota Aragonesa.
E. r.
FANFARE. A French term of unknown
origin— perhaps Moorish, perliaps onomatopicic
—denotes in strictness a short jiassage for trumpets,
such as is performed at coronations and
other state ceremonies. 1. In England tliey are
knoAvn as 'Flourishes,' and are pla^'cd liy the
Trumpeters of His Slajesty's Housejiold Ca^'alry
to the number of eight, all playing in unison on
E'[> trumpets without vah'es. The following,
beliei-ed to date from the reign of Charles II.,
is the Flourish regulaily used at the opening
of Parliament, and was also performed at the
announcement of the close of the Crimean \\nv,
the visit of Queen Victoria and the Prince of
"Wales to St. Paul's after the Prince's recovery,
and on other occasions :
I
r
I