DICTIONARY OF MUSIC - El Atril

124 FULL ORGAN FUX
Fulda, of very advanced character for the period ;
and an Enchiridion, published at Magdeburg,
' in 1673, contains a Motet Ach hiiltf mich layd
und senlich klag. ' [See list of MS. compositions
in the Quellcn-Lcxitun, where it is pointed out
that his reference to himself as 'irmsicus ducalis'
indicates that he held a court position, possibly in
the service of the Bishop of Wurzburg. ] w. s. K.
FULL ORGAN. This term, when standing
alone, generally signifies that the chief manual,
or Great Organ, is to be used, with all its stops
brought into requisition. Sometimes the term
is em[iloyed in an abbreviated form, and with
an alh.K indicating that a portion only of the
stops is to be played upon— as 'Full to Fifteenth.
In thelSth century the e.xpressions ' Full Organ,'
'Great Organ,' and 'Loud Organ,' were severally
used to indicate the chief mauual organ. [See
Org.-vn.] e. j. h.
FUMAGALLI, Adolfo, born Oct. 19, 1828,
at Inzago in the province of Milan, received instruction
in music and the pianoforte from Angeloni
at the Conservatorio, Milan, and in 1848
made his debut in tliat town as a pianist. He
made a great success afterwards as a brilliant
fantasia player at Turin, Paris, and Belgium,
and in ISoi returned to Italy. He died at
Florence, May 3, 1856, quite suddenly, after a
three days' illness, having played at a concert
there on the 1st. His compositions include
fantasias, capriccios, and other light drawing-
room pieces, ' among which Les Clochettes,' opi.
21 (with orchestra), was popular at the time.
His brothers, Disma (1826-93), Polibio (born
1830), and Luc.v were also pianists ; of these
the best known is Luca, born May 29, 1837.
In 1860 he played in Paris. In 1875 an opera
of his, ' Luigi XL,' was produced at the Pergola,
Florence. A. c.
FUNDAMENTAL BASS is the root note
of a chord, or the root notes of a succession of
chords, whi^-h might happen to be the actual
bass of a short succession of chords all in their
first positions, but is more likely to be partly
imaginary, as in the following short succession
of com|ilete chords, which has its fundamental
bass below on a separate stave
tsaaisfeart
|5Eg^g|g^E^|^^
Fiiiiihim^nti'l H
Rameau was the first to develop the theory
of a fundamental bass, and held that it might
' as a general I'ule proceed only in perfect Fourths
or Fifths upwards or downwards.' Helmholtz
defines it as ' the compound tone which repre-
sents the chord, as distinguished from its bass,
that is, the tone which belongs to the lowest
part.' c. II. H. V.
FURIANT, a movement of a fiery, impulsive
character, such as would be classed under the
general name of scherzo. Like 'Dumka,' it
has been introduced into the terminology of
classical nursic by Dvorak, who uses both
frequently in his chamber music.
FUX, JoHANN Joseph, born 1660 of a
peasant family in the hamlet of Hirtenfeld, near
Gratz in Styria. Nothing is known of his eai-ly
life or studies, as he refused to give information
on the subject even to Mattheson for his Orund-
lage einer Ehreii]}forte (Hamburg, 1740 ; see
p. 340, letter dated 1718). From 1696, however,
all is clear. In that year he A\'as appointed
den
married a Viennese,
organist to the ecclesiastical foundation ' Zu
Schotten ' in Vienna ; and
by whom he had no children. In 1698 he hecame
court composer, in 1705 second, and in
1712 first, capellmeister to the cathedral of St.
Stephen. In 1713 he was appointed vice-
capellmeister to the court, and capjcUmeister
to the Dowager Empress Wilhelmine Araalie.
This post he resigned in 1718, as he had done
that at the cathedral in 1715 upon his piromotion
to be head capellmeister to the court. He
received many proofs of court favour. To the
King of the Romans—Archduke, afterwards
Empieror, Joseph I.—he dedicated his first opus.
Coiiccntusmusico-instrumentalis in seven partitas
(Felseoker, Nuremberg, 1701), and the ' Missa
Canonica '
(1718) ; and to the Emperor Charles
VI. his most important work Gradus ad Farnassnm
(1725). In 1723, when laid up with gout,
the Emperor Charles had him conveyed in a
litter to Prague, that he might be present at
the pjerformance of his opera ' Costanza e For-
tezza, ' written for the coronation. Fux died at
Vienna, Feb. 13, 1741, and was buried at St.
Stephen's. Among his best pupils were Zelenka,
Muffat, Tuma, and Wagenseil. An oil-painting
of him in the costume of the period is in the
museum of the Gesellschaft der Musikfreunde
at Vienna. Fux considered his art in a serious
light, and was held in general respect. He was
courteous to all, and eminently kind and just
in his dealings with the musicians under him.
As a composer he was most industrious ; 405
works by him are still in existence : 50 masses ;
3 requiems ; 57 vespers and psalms ; 22 litanies
and completoria ; 1 2 graduals ; 1 4 offertoriums ;
22 motets ; 106 hymns ; 2 Dies irse ; 1 Domine;
1 Libera (290 church-works in all) ; 10 oratorios
18 ofieras (of which 6 were grand operas —
' dramme per musica '— and the other 12 ' componimenti
per camera ' and ' teste teatrali per
musica ') ; 29 partitas and overtures ; and 8
pieces for clavier. [See also list in Quellen-
Lrxiko7i.^ The greater part of these compositions,
either copied or in autograph, are in the
Imperial Library at Vienna ; and the Gesell-
schaft der Musikfreunde also possesses a considerable
number.
Of his works only few are printed : his Con-
centus, already mentioned, 'Elisa,' festa teatrale