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See also:FETIS, See also:FRANCOIS See also:JOSEPH (1784–1871) , Belgian composer and writer on See also:music, was See also:born at See also:Mons in See also:Belgium on the 25th of See also:March 1784, and was trained as a musician by his See also:father, who followed the same calling. His See also:- TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental
talent for See also:composition manifested
itself at the See also:age of seven, and at nine years old he was an organist at Sainte-Waudru. In 'Soo he went to See also:Paris and completed his studies at the See also:conservatoire under such masters as See also:Boieldieu, Rey and Pradher. In 1806 he undertook the revision of the See also:Roman liturgical chants in the See also:hope of discovering and establishing their See also:original See also:form. In this See also:year he married the See also:grand-daughter of the See also:Chevalier de Keralio, and also began his Biographie universelle See also:des musiciens, the most important of his See also:works, which did not appear until 1834. In '821 he was appointed See also:professor at the conservatoire. In 1827 he founded the Revue musicale, the first serious See also:paper in See also:France devoted exclusively to musical matters. Fetis remained in the See also:French See also:capital till in 1833, at the See also:request of See also:Leopold I., he became director of the conservatoire of See also:Brussels and the See also:- KING
- KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
- KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
- KING, CHARLES WILLIAM (1818-1888)
- KING, CLARENCE (1842–1901)
- KING, EDWARD (1612–1637)
- KING, EDWARD (1829–1910)
- KING, HENRY (1591-1669)
- KING, RUFUS (1755–1827)
- KING, THOMAS (1730–1805)
- KING, WILLIAM (1650-1729)
- KING, WILLIAM (1663–1712)
king's See also:chapel-See also:master. He also was the founder, and, till his See also:death, the conductor of the celebrated concerts attached to the conservatoire of Brussels, and he inaugurated a See also:free See also:series of lectures on musical See also:history and See also:philosophy. He produced a large quantity of original compositions, from the See also:opera and the See also:oratorio down to the See also:simple chanson.. But all these are doomed to oblivion. Although not without traces of scholarship and technical ability, they show See also:total See also:absence of See also:genius. More important are his writings on music. They are partly See also:historical, such as the Curiosites historiques de la musique (Paris, 1850), and the Histoire universelle de musique (Paris, 1869–1876); partly theoretical, such as the Methode des methodes de piano (Paris, 1837), written in See also:conjunction with See also:Moscheles. Fetis died at Brussels on the 26th of March 1871. His valuable library was See also:purchased by the Belgian See also:government and presented to the Brussels Conservatoire. His See also:work as a musical historian was prodigious in quantity, and, in spite of many inaccuracies and some See also:prejudice revealed in it, there can be no question as to its value for the student.
End of Article: FETIS, FRANCOIS JOSEPH (1784–1871)
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