Page:A Dictionary of Music and Musicians vol 1.djvu/567
In a little Symphony of Haydn's in B major part of the Minuet reappears in the Finale; and the same thing is done by Beethoven in the C minor Symphony. In his Sonata called 'Les Adieux, l'Absence, et le Retour' (which is an instance of programme music), the last two movements, slow and fast, pass into one another; as is also the case in the Sonata Appassionata. In his Quartet in C♯ minor all the movements are continuous. The same device is adopted by Mendelssohn in his Scotch Symphony and Concertos, by Schumann in the D minor Symphony—the title of which expressly states the fact—and by Liszt in Concertos. Schumann also in his Symphonies in C and D minor connects his movements by the recurrence of figures or phrases.
an identical figure reappear in the different movements, as in the Sonatas in B♭, op. 106, and in A♭, op. 109, and the Quartet in B♭. Such a device as this was not altogether unknown to Mozart, who connects the Minuet and Trio of the Quintet in G minor, by making a little figure which appears at the final cadence of the Minuet serve as the basis of the Trio—the Minuet ending and the Trio beginning
[ C. H. H. P. ]
FORMES, Karl, bass singer, son of the sexton at Mühlheim on the Rhine, born Aug. 7, 1810. What musical instruction he had he seems to have obtained in the church choir; but he first attracted attention at the concerts for the benefit of the cathedral fund at Cologne in 1841. So obvious was his talent that he was urged to go on the stage, and made his début at Cologne as Sarastro in the Zauberflöte, Jan. 6, 42, with the most marked success, ending in an engagement for three years. His next appearance was at Vienna. In 1849 he came to London, and sang first at Drury Lane in a German company as Sarastro on May 30. He made his appearance on the Italian stage at Covent Garden, March 16, 1850, as Caspar in 'Il Franco Arciero' (Der Freischütz). At the Philharmonic he sang first on the following Monday, March 18. From that time for some years he was a regular visitor to London, and filled the parts of Bertram, Marcel, Rocco, Leporello, Beltramo, etc. In 1857 he went to America, since which he has led a wandering life here and there. [App. p.637 "he visited England again in 1888, appearing at Mr Manns's benefit concert, April 21. (Died Dec. 1889)"]
For volume, compass, and quality, his voice was one of the most magnificent ever heard. He had a handsome presence and excellent dispositions for the stage, and with self-restraint and industry might have taken an almost unique position.His brother Theodore, 16 years his junior, born June 24, 1826, the possessor of a splendid tenor voice and great intelligence, made his début at Ofen in 1846, and from 57 to 64 was one of the most noted opera singers of Germany. He too has been in America, and is now singing second-rate parts at small German theatres.
[ G. ]
[ J. M. ]
[ V. de P. ]