[벨기에]François-Joseph Fétis

François-Joseph Fétis

(1784-1871/ 정조8년-고종8년,87세)was a Belgian musicologist, composer, critic and teacher.

오르간 연주자 겸 작곡가이기도 했다. 어렸을 때부터 바이올린·피아노·오르간을 연주했으며 9세에 바이올린 협주곡을 작곡했다.

1800년에 파리 음악원에 입학했고, 1803년 음악공부를 계속하기 위해 빈으로 갔다. 1806년 부유한 집안의 여자와 결혼하여 가톨릭 전례성가와 의전에 대한 장기간의 연구를 시작했다. 1811년 가세가 기울자 이론적인 연구와 작곡에 전념해 1821년 파리 고등음악원의 교수가 되었다. 그때부터 줄곧 고전적인 〈대위법 및 푸가이론 Traité du contrepoint et de la fugue〉(1825)과 자신이 창간하고 집필한 잡지 〈라 레뷔 뮈지칼 La Revue Musicale〉(1827~35)에 실린 논문들을 포함해서 일련의 학구적인 논문들과 방법론적 저서들을 발표했다. 1827년 음악원의 사서로 임명되었고, 1832년 옛 음악을 다루는 일련의 연주회 겸 강연회를 시작했다. 1833년 벨기에의 레오폴 1세의 악장과 브뤼셀 왕립음악원의 원장이 되었고 1845년에는 벨기에 왕립학술원 회원이 되었다. 그가 죽은 뒤 그가 지니고 있던 귀중한 도서는 브뤼셀의 국립도서관에 기증되어 보관되고 있다.

그의 오페라, 교회음악, 실내악, 관현악, 피아노 작품들 중 그 어느 것도 현재 연주되는 곡은 없다. 그의 이름은 그가 쓴 저서로 기억되고 있을 따름이다. 지금까지도 그 중요성을 인정받고 있는 것으로는 8권으로 된 〈총음악가전 및 일반적 음악문헌…… Biographie universelle des musiciens……〉(1835~44)이 있는데 부정확한 것이 많지만 지금도 여전히 매우 귀중한 연구 자료가 되고 있다. 또한 악기·음악사·음악이론에 관해서도 방대한 양의 저술을 남겼다. 때로 공상적이며 입증되지 않은 사실이나 견해를 제시하고 있음에도 불구하고 음악에 대한 그의 과학적인 접근은 다음 세대 학자들에게 중대한 영향을 미쳤다.< 다음 백과>

----------------------------------------------------------------------

He was one of the most influential music critics of the 19th century, and his enormous compilation of biographical data in the Biographie universelle des musiciens remains an important source of information today. His wife, Adélaïde Robert, was the daughter of the French politician Pierre-François-Joseph Robert.

 

He was born in Mons, Hainaut, and was trained as a musician by his father, who followed the same calling. His talent for composition manifested itself at the age of seven, and at nine years old he was an organist at Sainte-Waudru, Mons.

 

In 1800 he went to Paris and completed his studies at the Conservatory under such masters as Boïeldieu, Jean-Baptiste Rey and Louis-Barthélémy Pradher.

In 1806 he undertook the revision of the Roman liturgical chants in the hope of discovering and establishing their original form. In this year he also began his Biographie universelle des musiciens, the most important of his works, which did not appear until 1834.

In 1821 he was appointed professor at the Paris Conservatory. In 1827 he founded the Revue musicale, the first serious paper in France devoted exclusively to musical matters. Fétis remained in the French capital till 1833, when at the request of Leopold I, he became director of the conservatory of Brussels and the king's chapelmaster.

He also was the founder, and, until his death, the conductor of the celebrated concerts attached to the conservatory of Brussels, and he inaugurated a free series of lectures on musical history and philosophy. He produced a large quantity of original compositions, from the opera and the oratorio to the simple chanson, including several musical hoaxes, the most famous of which is the "Lute concerto by Valentin Strobel", premiered with Fernando Sor as soloist.

In 1856, he worked closely with Jean-Baptiste Vuillaume in writing a fascinating treatise about Antonio Stradivari (Antoine Stradivari, luthier célèbre). It includes detailed chapters on the history and development of the violin family, old master Italian violin makers (including the Stradivari and Guarneri families) and an analysis of the bows of François Tourte.

Fetis had the privilege to have Paganini, Schumann and Berlioz as contemporaries and to work with the violin maker and dealer, Jean Baptiste Vuillaume. Fetis's work provides a unique window into the times and as such is a particularly valuable reference for the modern researcher, dealer and player.

More important perhaps than his compositions are his writings on music. They are partly historical, such as the Curiosités historiques de la musique (Paris, 1850), and the Histoire générale de la musique (Paris, 1869—1876); and partly theoretical, such as the Méthode des méthodes de piano (Paris, 1840), written in conjunction with Moscheles.

While Fétis's critical opinions of contemporary music may seem reactionary, his musicological work was ground-breaking, and unusual for the 19th century in attempting to avoid an ethnocentric and present-centered viewpoint. Unlike many others at the time, he did not see music history as a continuum of increasing excellence, moving towards a goal, but rather as something which was continually changing, neither becoming better nor worse, but continually adapting to new conditions. He believed that all cultures and times created art and music which were appropriate to their times and conditions; and he began a close study of Renaissance music as well as European folk music and music of non-European cultures. Thus Fétis built the foundation for what would later be termed comparative musicology.

Fétis died in Brussels. His valuable library was purchased by the Belgian government and presented to the Brussels conservatory. His historical works, despite many inaccuracies, remain of great value for historians.

His pupils included Luigi Agnesi, Jean-Delphin Alard, Juan Crisóstomo Arriaga, Louise Bertin, William Cusins, Julius Eichberg, Ferdinand Hérold, Frantz Jehin-Prume, Jacques-Nicolas Lemmens, Adolphe Samuel, and Charles-Marie Widor.  <영어위키백과에서 발췌>

 

Symphony No.1 in E-flat major (1862 /78세)

Mov.I: Allegro animato 00:00
Mov.II: Poco adagio 10:49
Mov.III: Intermezzo. Allegro con moto 22:25
Mov.IV: Rondo. Allegro con moto 28:38

Orchestra: Orchestre Symphonique de la RTBF
Conductor: Brian Priestman

================================================================================

 

* Fantaisie Symphonique for organ and orchestra

Organ: Anne Froidebise
Orchestra: Orchestre Symphonique de la RTBF
Conductor: Brian Priestman

 

===============================================================================

 

* Flute Concerto in B-minor (1869 / 82세) -composed for the Böhm-flute, at the time

a new instrument in France.

 

Picture: Jacques Sablet - La Campagne romaine

 

Mov.I: Allegro 00:00
Mov.II: Adagio 08:02
Mov.III: Allegro ma non troppo 11:53

Flute: Gaby Pas-van Riet
Orchestra: Radio-Sinfonieorchester Stuttgart
Conductor: Fabrice Bollon