François Joseph Fétis

(redirected from Francois-Joseph Fetis)
Also found in: Dictionary.
The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Fétis, François Joseph


Born Mar. 25, 1784, in Mons; died Mar. 26, 1871, in Brussels. Belgian musicologist and composer.

Fétis studied under L. Cherubini and F. A. Boieldieu at the Paris Conservatory. From 1827 to 1835 he published the newspaper Revue musicale, which he had founded in Paris. In 1833 he became director of the Brussels conservatory and chorus master at the Belgian court.

Head of the Belgian and the French schools of musicology, Fétis was the author of fundamental works on the history and theory of music and on musical lexicography. Especially noteworthy are his biographic dictionary of musicians (vols. 1–8, 1837–44) and General History of Music (vols. 1–5, 1869–76), which are valuable study sources despite Fétis’s occasional conservatism. Fétis is also the composer of operas, symphonies, quartets, and other musical compositions.


Wangermée, R. F. J. Fétis: Musicologue et compositeur. Brussels, 1951.


The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
(18.) Francois-Joseph Fetis, Revue musicale (Paris, 1827), 586.
[Brussels: Leroux, 1835-44]), Francois-Joseph Fetis included an entry confusing Flecha and his nephew.
But Kroll perhaps should have addressed the conflict Seidel's account creates with other noted sources, such as Francois-Joseph Fetis in his Biographie universelle des musiciens el Bibliographie generale de la musique, (Paris: Firmin Didot, 1874), who asserts that failure to progress on the violin (rather than the street fight mentioned by Seidel) caused Hummel to switch from violin to piano.
The early part of the century is heavily represented by Alexandre Choron and Francois-Joseph Fetis, both of whose influences (but especially the latter's) continued to be felt much later.
Daniel-Francois-Esprit Auber, and Ferdinand Herold conclude with virtually identical passages noting that Vincent D'Indy had identified them, along with Giacomo Meyerbeer, Felicien David, and Jacques Offenbach as part of a "Jewish or Semitic school." He then notes, citing Francois-Joseph Fetis, that there is no evidence in nineteenth-century French biographies that the former three had any Jewish ancestry.
Francois-Joseph Fetis, who was an advocate of Farrenc's works through the 1860s, directed the premiere of the First Symphony in Brussels in 1845 and performed the Second and Third symphonies there in 1847 and 1863.
French readers had only unreliable accounts by Francois-Joseph Fetis and Ernest David (documents 164 and 174; are there no French documents from before 1878?), and English readers had to rely mostly on the eighteenth-century writings of John Casper Heck, John Hawkins, and Charles Burney (documents 39, 49a, 50, 67, and 73) until the appearance of the Cyclopedia of Music and Musicians (New York, 1893; document 192) and Alfred Maczewski's Telemann entry in the first edition of Sir George Grove's Dictionary of Music and Musicians (London: Macmillan, 1879-90; document 195).
In their respective instrumentation treatises, Berlioz, Francois-Joseph Fetis, and Jean-Georges Kastner each point out that the alto voice type was unusual in France.
The first to write at length about women composers was Francois-Joseph Fetis, who included more than fifty entries on women in his Biographie universelle des musiciens et bibliographie generale de la musique (Paris: Firmin-Didot, 1835-44 and 1860-84).
In his highly readable essay Wehrmeyer focuses more on basic premises than did McQuere (Russian Musical Thought, 109-164) as he seeks out philosophical roots and affinities with Riemann, Francois-Joseph Fetis, and Ernst Kurth.
Full browser ?