DICTIONARY OF MUSIC - El Atril

FARNABY FAIiKEXC 13
Ayres, 1675, to The Theater of Manie, 1685-87, Joliii Farrant (West's Cailiedred Organists, ppt.
and to
1685.
D'Urfey's Third Collection of Sougs,
In 1686 he published 'A Consort of
29, 41, 78). M.
FARRANT, Ricn,Ai;D, was one of the Gentle-
Mustek in four parts, containing tliirty-three men of the Chapel Royal in the 16th century.
Lessons beginning witli an Overture, ' and in
' 1690 A Second Consort of Jlusick in fourjjarts,
The date of his first apjiointment is not known,
[he was a member of tlic chajiel in the reign
containing eleven Lessons, beginning with a of Edward VI.] but he resigned in April
1564, on becoming Master of tlie Children of
Ground.' [In Apollo's Banquet is, 'Mr. Farmer's
Magot for violins' ; Farmer also wrote music for
'The Princess of Oleve' in 168'2 (Brit. Mus. Add.
MSS. '29,283-5).] Purcell composed an elegy,
written by Ivahnni Tate, upon his death (printed
in Orpheus Britannieus, ii. 35), from which it
is certain that he died before 1695. "sv. H. H.
FARNABY, Giles, Mus.Bac, was of the
family of Farnaby of Truro. He commenced
the study of music about 1580 [was living in
London in 1589 (Churcliwardens' accounts of
St. Helen's, Bishopsgate)], and on July 7, 1592,
graduated at Oxford as Bachelor of Music ;
stating in his supplicat that he had studied music
for tw"elve years (Wood's Fasti, ed. Bliss, i. 257).
He was one of the ten composers employed by
Thomas Este to harmonise the tunes for his
' Whole Booke of Psalmes ' published in 1592.
In 1598 he published 'Canzonets to foure voyces,
with a song of eight parts, ' with commendatory
verses prefixed by Antony Holborne, John Dowland,
Richard Alison, and Hugh Holland. A
Come, Charon, come,' is
madrigal by Farnaby, '
in the Royal College of Music, and another,
'Construe my meaning,' has been edited by
W. B. Squire. w. H. H.
There are a number of pieces by him in
the Fitzunlliani Virginal Book (see Virginal
Music), among which is a curious composition
fortwo virginals, and a transcription forvirginals
of his own madrigal 'Daphne on the Raineliowe.'
The same volume contains four pieces by his
son, Richard Farnaby, of whom nothing is
known. Giles Farnaby contributed harmonies
to some of the tunes in Ravenscroft's Psalter
(1621). Wood's statement that he was a native
of Truro is probably correct, though the name
does not occur in the Visitation of Cornwall
of 1620. Thomas Farnaby's wife came from
Launceston. He lived most of his life in London
and Sevenoaks, and his descendants remained
but the early history of the family is
in Kent ;
obscure, and the connection between Giles and
Thomas Farnaby the Kentish schoolmaster cannot
be traced. [Additions by vv. c. .s., and
fronr the Dirt, of Nat. Bioff.]
FARRANT, John. According to Hawkins
there were two nmsicians of this name, who both
flourished about the year 1600. It is quite
probable tliat there was only one, wdio was organ-
ist of Ely in 1567-72 ; of Hereford, 1592-93 ;'
Christ Church, Newgate Street, London, and
Salisbury Cathedral, 1598-1602. A service
attributed to Richard Farraut is the work of
' ' He w;i3 sconced lor railing and contumelious speecheB to Mr.
Cuatoa in the hall at supper.time ' (Havergal's Fasti Mereforde^ucs)
St. George's Chapel, Windsor, of which he is
said to have been also a lay vicar and organist.
During his tenure of office at Windsor he occupied
' a dwelling house within the Castle, called the
Old Commons.' On Nov. 5, 1569, he was reappointed
a Gentleman of the Chapel Royal, and
remained such until liis death, which occurred
on Nov. 30, 1580. Farrant's church music
merits all the eulogy wdiioh has been bestowed
upon it for solemnity and pathos. The service
printed by Boyce in G minor and given by Tudway
(Brit. Mus. , Harl. MSS. 7337 and 7338) in A
minor [is almost certainly by John Farrant, wdio
was possibly liis son]. His two anthems, ' Call
' to remembrance and ' Hide not Thou Thy face '
were for many years performed on j\laundy
Thursday during the distribution of the royal
bounty. The beautiful anthem, 'Lord, for Thy
' tender mercies' sake (the words from Lydley's
Prayers), was long assigned to Farrant, although
it is attributed by earlier writers to John Hilton.
Tudway (Harl. MSS. 7340) gives another anthem
— '
Lord, Almighty,' full, four voices— as his,
but this is questionable. [Various payments for
tlie plays jiroduced at Court by Farrant's boys
are entered in the Acts of the Privy Council,
under dates between 1566 and 1579.]
His son, Daniel, was one of the first authors
who set lessons ' ' lyra way for the viol, after the
manner of the old English lute or bandora, in
the time of Charles I. [He was violist in the
King's band between 1606 or 1607 and 1625
(Nagel, Annalen der englisehen Hofmusik in the
Monatshefte f. Musikgesch. 1894-95). A book
of organ pieces by him is in the Cathedral library
of Durham.] w. h. H. Additions from Mr. G.
E. P. Arkwright, the QueUen-Lexikon, etc.
FARRENC, Jacques Hippolyte Aristide,
horn at Marseilles, April 9, 1794, died in Paris,
Jan. 31, 1865, composed some pieces for the flute,
but is best known as a writer on music. He took
an important part in the second edition of Fetis's
5iO(7J'a^j7j;'ci(?iji'erseW(', and wrote thebiographical
notices in Madame Farrenc's Tresor des Pianist es.
He also contributed critiques to La France
'inusieale, and La Bci'ue de Musique o.neienne
et moderne (Rennes, 1858). Some of his valuable
notes and unpublished articles are among
the MSS. in the library of the Paris Conserva-
toire.
Hiswife Louise—born in Paris, MaySl, 1804 ;
died there, Sept. 15, 1875—was a sister of the
sculptor Auguste Dumont, and aunt of Ernest
Reyer. She studied under Reicha, and at an
early age could compose both for the orchestra