DICTIONARY OF MUSIC - El Atril

38 FILIPPI
as some intervalswere looked upon as too familiar
to require indication, sucli as tlie octave and
the tilth and the third, or any of them in
combination with other intervals ; thus a 7 by
itself would admit of any or all of them being
taken without being indicated, as (c) ; and a 9
would aiimit of a fifth and a third, as(rf) ; and
a 6 of a third, but not of a fiftli, as (e) ; and a 4
of a fifth and an octave, as (/). When a 2 was
written alone over a note it admitted also of a
sixth and a fourth, as ; (g) but more commonly
the 4 was written with tlie 2, and the sixth only
was understood ; and this seems to be the only
case in which notes other than the octave or fifth
or third are left to be understood.
"T-r
"When notes were chromatically altered the
accidental was added by the side of the figure
representing that note (7b), or for sharpening a
note a line was dra^vn through the figure or by
its side, as at (7i), and as it was not customary to
write tlie 3 , when the third was to be chromatically
altered the accidental was placed by itself with the
bass note—thus a simple JJ, b, or tl, implied a JJ,
b, or 5, 3rd. When the bass moved and any or all
of the notes of the harmony above it stood still,
it was common to indicate this by a line drawn
from the figures indicating the notes which
remained stationary to the place where they
moved again, and if the notes happened to be
snch as were usually left to be understood by
the player, the lines were drawn over the bass
from the point in which it began to move under
the imjjlied chord. Whenever the bass was to
be unaccompanied by harmony, the words 'Tasto
Solo ' were written.
The figures were usually written in their
numerical order, though for special purposes they
might be reversed when the composer required a
particular disposition of the notes, and similar
emergencies often caused the 8 or the 5 or the 3
to be inserted if it was indispensalile that the
notes represented by those figures should not be
missed out. See Thoroughbas.s. o. h. h. p.
FILIPPI, FiLiPPO, born at Vicenza, .Ian. 13,
1830, studied law at Padua, and took his degree
there in 1853. He had ah-eady taken up the
cudgels on behalf of Verdi's 'Rigoletto,' and
soon afterwards devoted himself entirely to music
and musical criticism. He was editor of the
FILLUNGER
Gazsetta Musicale of Milan, and critic of the
Perseveranza, from 1859. His influence was
strongly exerted on behalf of Wagner, and the
early acceptance of Wagner in Italy must be
ascribed in part to his writings ; his pamphlet,
liicr.ardo U'agner, was translated into German
and published in 1876 ; a series of musical
essays, as Musica e ilusicisti, appeared in 1879,
and a monograph on the life and works of
Fumagalli is of some value. He composed
chamber-music, pianoforte pieces, and songs.
He died at Milan, June 25, 1887. (Eiemann
and Baker's Dictionaries.)
M.
FILLE DU REGIMENT, LA. Opera in two
acts ; words by Bayard and St. Georges ; music
by Donizetti.
Produced at the Opera Comique,
Feb. 11, 1840. In London, as 'La Figlia di
Reggimento,' at Her Majesty's (.Jenny Lind),
May 27, 1847 ; and as 'The Daughter of the
Regiment ' (Fitzball) at Surrey Theatre, Dec. 21,
1847.
FILLUNGER, Marie, born in Vienna, Jan.
27, 1850, studied in the Vienna Con-servatorium
from 1869 to 1873 under Mme. Marchesi. On
the advice of Brahms she went to the Hochschule
in Berlin in 1874, remaining there until 1879,
when she went to Frankfort, following Mme.
Schumann. While still a student of the Hoch-
schule, she appeared with great success in public,
singing mainly in oratorio, in North Germany,
Holland, and Switzerland. Early in 1889 she
made her first appearance in London at a Popular
Concert, where her singing of Schubert's songs
stamped her at once as a great interpretative
artist, while the exquisitely beautiful quality of
her soprano voice gave peculiar charm to all she
sang. Soon after her debut, she sang Beethoven's
' Ah, perfido !
' and Schubert's ' Die Allmaclit,'
at the Crystal Palace (Feb. 25), and at the same
place undertook the soprano solo in the Choral
Symphony (March 4, 1889), for which engagements
she had in the first instance come to
England. Her success both in orchestral music
and in songs was so marked that she made London
her home, and since that time hasbeen recognised
as one of the most highly accompilished singers of
the best music. It is characteristic of her that
she has never sung anything unworthy of the
high artistic position she has won for herself, and
her name will always be identified mth music
of the noblest class. She phrases with the
delicacy and nmsicianship tliat are generally
associated with the gi-eat violinists, and whether
in Schubert, in which her first successes were
made ; in Brahms, whose songs she sings with
deep expression and beauty of style ; or in Bach,
some of whose solo cantatas she has made her
own, her singing is marked by the highest
qualities. In 1891 she went with Sir Charles
and Lady Halle to Australia and took part with
them in forty-eight concerts ; in 1895 she accompanied
these artists to South Africa, singing
in twenty-four concerts. In 1904 she accepted