and 3 duos for 2 violins, 9 quartets for strings, 3 trios for 2 violins and bass, several overtures, a symphony, and a number of songs. He also wrote operas, which were performed with much success at Munich and elsewhere. All these works are written in an easy and correct style, but, being without higher artistic value, are now entirely forgotten.
FRAMERY, Nicolas Étienne
, author and musician, born March 25, 1745; when quite young was appointed 'Surintendant de la musique' to the Comte d'Artois. He wrote both words and music of 'La Sorcière par hasard' (1783), a comic opera, and of 'Médée,' a prize libretto, which was to have been set by Sacchini, had not his death intervened. It was never performed. Framery was a skilful adapter of French words to Italian operas. As an author he published—A criticism on Gluck in the 'Mercure' for Sept. 1776; 'Le Musicien pratique' (Paris 1786), a poor translation of Azopardi's 'Il Musico prattico,' rearranged by Choron in 1824; articles on Haydn, Della-Maria, etc.; besides editing from 1771 to 78 the 'Journal de Musique,' founded by Mathon-de-la-Cour in 1764; the 'Calendrier musical,' 1788–9, a continuation of Mathon-de-la-Cour's 'Almanach musical' (1775); and taking part with Ginguené and Feytou in the musical dictionary of 'l'Encyclopédie méthodique,' afterwards completed by Momigny; and in the 'Dictionnaire des beaux-arts' of the Académie. He was a Correspondant of the Institut. After copyrights had been recognised by law Framery established an agency for enforcing the rights of authors throughout France. He died in Paris Nov. 26, 1810, leaving MS. notices of Gaviniès and various other musicians.
FRANCESINA, LA, Elizabeth Duparc, detta
, a French singer, who sang for some years in Italy, where she acquired her sobriquet. In the autumn of 1736 she came to London, and 'had the honour to sing (with Merighi and Chimenti) before her majesty, the duke, the princesses, at Kensington, and met with a most gracious reception; after which the Francesina
performed several dances to the entire satisfaction of the court.' (London Daily Post, Nov. 18.) The accomplishment of dancing, however, she does not seem to have kept up. Her name as a public singer is not found until Jan. 7, 1738, when she played Clotilda in Handel's 'Faramondo' on its first representation, the first part ever written for her by the great German. She seems to have had an easy, warbling, style of execution, which Burney calls 'lark-like,' and pleased both composer and public. La Francesina appeared again in Pescetti's 'Conquista del Vello d'Oro' and in Handel's 'Serse' that same year; and in 1739 she took part in 'Acis,' 'Saul,' 'Israel,' and 'Dryden's Ode.' In 1740 she reappeared in 'L'Allegro,' and in 'Imeneo' by the same composer; the latter 'advertised for Nov. 29, but deferred for near a fortnight, on account of the indisposition of Francesina.' (Burney.) On January 10, 1741, she sang in Handel's last opera 'Deidamia,' in which, according to Burney, 'Nascondi l'usignol
, which finishes the first act is a light, airy, pleasing movement, suited to the active throat of the Francesina.' In 1744 and 45 she took part in Handel's 'Joseph,' 'Belshazzar,' and 'Hercules'; she had quitted the stage, 'but constantly attached herself to Handel, and was first woman in his oratorios for many years.' (Burney.) She enjoys the doubtful honour of having sung the four Italian songs which Handel was compelled to 'intermix' in 'Israel in Egypt' in 1739, to carry it over a third performance. In 1737 her portrait was engraved by J. Faber in mezzotint from a painting by George Knapton. It is a half-length, and represents a pleasant, intelligent woman; she holds a book, on a page of which are the words, 'Ua sei amabile speranza,' the beginning, probably, of one of her favourite songs.
[App. p.639 "August-Joseph
"], born at Lille April 10, 1808, learned the rudiments of the Cello from a player named Mas, entered the Paris Conservatoire in March 1825, at once attracted the notice of Levasseur and Norblin the Professors, and in his first year took the first prize for his instrument. He then joined the orchestra of the Ambigu-comique, in 27 that of the Opera, and in 28 fixed himself at the Theatre des Italiens. In conjunction with Alard and Ch. Halle he formed an annual series of classical quartets, which held the highest rank. Franchomme was in Paris at the time of Mendelssohn's visit, in the winter of 31, and is mentioned by Hiller (Mendelssohn, 19) as one of the artists who most warmly appreciated him. They were just of an age, and knowing Mendelssohn's predilection for the cello it is not difficult to believe that they often 'made music' together. He was very intimate with Chopin, and was one of those who witnessed his last sufferings and received his latest words. Franchomme has travelled very little, and a visit to England in 1856, when he played at the Musical Union, appears to be almost his only journey. He has been Professor at the Conservatoire since Jan. 1, 1846. Franchomme's playing is remarkable for a command over technical difficulties of all kinds, very pure intonation, and a beautiful and expressive singing tone. He is the possessor of the cello of Duport, said to be the finest Stradivarius in existence, for which he gave £1000. His compositions consist chiefly of potpourris and variations, with one concerto. He has also published with Chopin a Duo on airs from 'Robert le Diable,' another with Bertini, and a third with our own Osborne. His Adagios are much esteemed. [App. p.639 "he died in Paris Jan. 22, 1884."]
FRANCISCELLO, a great violoncellist of the early part of last century, but of whom neither the date nor place of birth or death are known, and who in fact would have left no trace of his existence but for the fact that he was heard by Quantz, Benda, and Geminiani. He seems to have first appeared in Rome shortly after the death of Corelli (1713). He was at Naples in 1725; Quantz heard him there, and Geminiani, there or in Rome, was witness to the rapture