DICTIONARY OF MUSIC - El Atril

FLYING DUTCHMAN FORSTER 69
of the ' flute- work.' Also, if the covers of the
pipes of a closed metal-stop be punctured, and
a narrow tube—in Germany called a reed, in
France a cliinmey— be inserted, the stop then
becomes a member of the Hute-work under the
name Jiohr-fotc, ^liiU a ejtcmbiic, or 'Metal
stopped-Diapason (or Flute) with chimneys.'
A unison cylindrical stop will be occasionally
met with labelled as a member of the flute-work.
All stops the pipes of which taper upwards, as
the Spitz-flcite and Gemshorn ;
all three- or four-
sided open wood pipes, as the Hohl-fliite, Clara-
bella, Wald-flute, Oboc-Hute, and Suabe-flute ;
and most string-toned stops, as Salicional and
Viol d'Aniore,— are members of the Flute-work.
The invention of the conical, the string-toned,
and the other stops classified as flute-work,
dates back no farther than the beginning of the
16th century. e. j. h.
FLYING DUTCHMAN, THE. See Flie-
GENDE Hollander.
FODOR, Joseph, violin player, born in 1752
at Venloo. In 1766 he studied under Franz
Benda at Berlin, and having acquired great
proficiency, travelled for a number of years
in Germany, the Netherlands, and France,
establishing his reputation as an eminent
violinist. In 1794 he went to St. Petersljurg,
and remained there up to his death, Oct. 3,
1828. Spohr, who heard him in 1803, considered
him wanting in feeling and taste, and
objects to his unsteady manner of bowing, but
acknowledges his great technical skill. His
numerous compositions—nine Concertos and
Solos for the Violin, Duos for Violins, and many
Quartets for Strings, are well written and met
with much success in their time. [List in the
Qiitllen-Lexil-on.^ The famous singer, Mme.
Fodor-Mainvielle, w'as his daughter, and his
two younger brothers, Chap.les and Anton,
were clever pianists and composers. P. D.
FODOR-MAINVIELLE, Josephine, celebrated
singer, born 1793 in Paris, where her
father, Joseph Fodor the violinist, had settled
in 1787. In 1794 her parents removed to St.
Petersburg, where she played both pianoforte
and harp when only eleven. Three years after
she became known as a singer, and in 1810
made her first appearance at the court theatre
in Floravanti's ' Cantatrici villanelle, ' which
was repeated sixty times, so successful was her
performance. In 1812 she married the actor
Mainvielle, and travelled with him to Stockholm,
Copenhagen, returning to Paris, where
she was engaged for the Opera Comiqiie. Her
first appearance, August 9, 1814, was a comparative
failure ; it was evident that French
opera was not her province, and she was transferred
in Nov. of the same year to the Theatre
Italien, then under Mme. Catalani's management.
Here she remained till the beginning of
1816, when she left for London. In London she
sang for three seasons as prima donna, and was
listened to with respect, though she was never a
warm ' favourite. Don Giovanni '
wiis brought
out at the King's Theatre in 1817, and Zerlina
was her best cliaracter. In July 1818 she went
to Italy, i-eturning to Paris early in the following
year, after Catalan! had given up the opera.
Rossini's ' Barbiere ' was then given for the first
time in Paris (Oct. 26, 1819), and she played
Rosina, as well as Kinctta, Agnese, and other
first-rate parts. In 1822, suHering severely
from dyspepsia, she was advised to try the
milder climate of Naples, which so completely
restored her that she appeared at San Carlo as
Desdemoiia, Semiramide, and Zelmira, creating
in all twenty new parts. In the following year
she sang for a whole season in "N'ienna, but
returned to Naples and remained there till
1825, when she again went to Paris. On Dec.
9 .she appeared in 'Semiramide,' but her voice
failed and she was oomjielled to leave the stage.
This misfortune was followed by a hoarseness
which jirevented her singing again in Paris. The
management having declined to fulfil their contract,
she brought a succession of actions against
them, and finally accejited a compromise in
1828. After her return to Naples her voice so
far improved that she sang again at San Carlo,
but its })eculiar charm was gone, thougli her
style was as fine as ever, and served as a model
for no less a singer than Henrietta Sontag.
Mendelssohn saw a great deal of her at Naples
in 1831, and his very favourable impression
may be learned from his letters (April 27, 1831).
Her last appearance was at Bordeaux in 1833,
after which she retired into jiriA'ate life.
"When at her jirime, Fodor's voice was not
only poA\'erful but extremely sweet and round,
with a jicculiarly charming accent, and a faultless
intonation. She was very painstaking, and
acquired by practice a flexibility ^^ith which
she was not naturally gifted. Her daughter
Entiichetta, also a singer of merit, was very
successful at the Kbnigstadt Theatre (not the
Friedrich-Wilhelmstadt Tlieatre) in Berlin, between
the years 1846 and 1849. F. a.
FORSTER, Emanuel Aloys, composer of
good chamber-music, born at Niederstein, (,41atz,
Silesia, Jan. 26, 1748. In his 3'outh he studied
music by himself, and composed industriously,
while obeying his father by attending the Latin
school, and working under him as an accountant
at a tavern. He afterwards served in the
Prussian army, and in 1776 resolved to go to
Vienna in orcler to cultivate music thoroughly.
There he soon became one of the most valued
teachers of thorough-bass and composition, and
his works were universally respected as the
products of sound thought and earnest study.
In 1802 he published his ' Anleitung zum
' Generalbass (Traeg) with 146 examples, a clear
practical work still of vahie. In 1805 it was
republished by Brcitkopf & Hartel, and a new
edition by Artaria in 1823. Fiirster added three