still unpublished as a whole. It contains copies of a vast number of letters and documents, many of which no longer exist; of memoranda and remarks scribbled by Beethoven in pocket-books and journals; of the personal recollections of his intimate friend Zmeskall; and of a few printed materials dating from 1830 to 37. Mr. Thayer appears to have been the first of Beethoven's biographers to make systematic use of this important source, and it is from the 1st volume of his Biography (p. ix) that the above information is obtained.
FISH, William, born in Norwich in 1775, became, early in life, a violinist in the theatre there. He was next a teacher of music, then principal oboist at the theatre, etc., and eventually leader of the band at the concerts. He numbered among his pupils Edward Taylor, afterwards professor of music in Gresham College, and George Perry, afterwards leader of the band of the Sacred Harmonic Society. He died, at a very advanced age, about 1863 or 4. He composed numerous songs, and other vocal pieces, and concertos for various instruments.
FISHER, John Abraham, Mus. Doc., was born at Dunstable, 1744. He became a student of the violin under Pinto, and made his first appearance in public in July 1765 at the King's Theatre, in a concert for the benefit of the Musical Fund. About 1770 he married a daughter of Powell the actor, and became, in her right, proprietor of a sixteenth share in Covent Garden Theatre. He composed for that and other theatres the music for the following pantomimes, viz. 'The Monster of the Wood,' 1772; 'The Sylphs,' 1774; 'Prometheus,' 1776; and 'The Norwood Gipsies,' 1777; and also music for the opening of 'Macbeth.' [App. p.636 "and the music to Craddock's tragedy 'Zobeide' (Covent Garden, 1771)."] On July 2, 1777, an oratorio by Fisher, entitled 'Providence,' was performed in the Sheldonian Theatre at Oxford, and on the 5th of the same month the composer (as a member of Magdalen College) accumulated the degrees of Bachelor and Doctor of Music. His oratorio was performed in Freemasons' Hall, London, on May 28, 1778, for the benefit of the Middlesex Hospital, and again in 1780. On the death of his wife Fisher disposed of his interest in Covent Garden Theatre, and started on a professional tour through Russia and Germany. In 1784 he reached Vienna, where he induced the youthful Anna Selina Storace to become his second wife—contrary to the advice of all her friends. The union proved an unhappy one, and in a short time the parties separated and the wife never after used her husband's name. The Emperor, incensed at Storace's having had to submit to blows from her husband, ordered Fisher to quit his dominions. He then went to Dublin and gave concerts in the Rotunda. When or where his existence terminated is unknown. Besides the above-named compositions Fisher published some symphonies for orchestra.
FITZWILLIAM, Edward Francis, son of Edward and Frances Fitzwilliam both actors and singers born in 1824. He was educated for the musical profession, and devoted himself especially to the study of composition. In 1853 he published a set of 12 songs which were much admired, and in the same year was appointed director of the music at the Haymarket Theatre, where he produced an operetta called 'Love's Alarms,' and music for some minor pieces. About 1855 he married Miss Ellen Chaplin, a member of the Haymarket company, so well known as Mrs. E. Fitzwilliam. His compositions were distinguished by an intelligence which gave promise of great excellence when he should have fully mastered the technicalities of his art—a hope disappointed by his early death, after a lingering illness, on Jan. 20, 1857. Besides the songs above mentioned, he published a Te Deum, and a hymn, 'O incomprehensible Creator.' A quartet from the former is given by Mr. Hullah in his 'Sacred Music for Family Use.'
FITZWILLIAM COLLECTION, THE. In the year 1816 Viscount Fitzwilliam died, leaving to the University of Cambridge, of which he was a member, the annual interest on £100,000 in money, and a large number of valuable paintings, books, engravings, and other works of art. Of these a collection of MS. music forms a portion. Its most prominent features are the Virginall-book of Queen Elizabeth; a volume of anthems in the handwriting of Henry Purcell, and another in that of Dr. Blow, containing various pieces not yet printed; and a miscellaneous collection embracing the works of more than 250 composers, mostly of the 17th and 18th centuries, and chiefly of the Italian school; as for instance Clari, 3 Masses, 3 Dixit Dominus, a Stabat, a Confitebor etc.; Leo, a Mass, 2 Miserere, 3 Dixit—à 5, à 8 (in autograph) and à 10; an Oratorio etc; Colonna, a Magnificat, a Confitebor, a Domine ad adjuvandum, a Beatus vir, a Dixit etc; Jomelli, a Miserere, a Dixit (à 8), 2 Operas, an Oratorio, etc.; Bononcini, a Mass (á 8), an Opera, a Psalm, Cantatas, etc.; Pergolesi, a Mass, a Kyrie and Gloria (à 10), portions of a Dixit etc.; Durante, a Messa de' Morti (à 8), a Litany and Motets. In addition to these there is the autograph of a Symphony in F, 'di me Giuseppe Haydn 787,' and some interesting MSS. in Handel's autograph. Kelway is said to have been employed by Lord Fitzwilliam to collect for him in Italy.
A portion of the above music was published by the late Vincent Novello in 1825 by permission of the University authorities. The list is as follows:—
Bonno, Cum Sancto.
Bononcini, Eterna fac.
Do. In te Domine. Orch.
Do. Sanctus. Orch.
Do. Te ergo quæsumus.
Cafaro, Amen.
Carissimi, Dulce te.
Do. Et sic laudabimus.
Do. Gaudeamus omnes.
Do. O felix anima.
Do. Surgamus, eamus.
Clari, Amen. Orch.
Do. Cujus animam. Orch.
Do. Cum Sancto. Orch.
Do, Cum Sancto. Orch.
Clari, Cum Sancto.
Do. De profundis. Orch.
Do. Domine Deus. Orch.
Do. Gloria Patri, Alto Solo. Orch.
Do. Gloria Patri. Orch.
Do. Gratias agimus.
Do. Kyrie eleison. Orch.
Do. Kyrie eleison. Orch.
Do. Lætatus sum, à 8.
Do. O quam tristis. Orch.
Do. Quæ mœrebat. Orch.
Do. Quando corpus. Orch.
Do. Quando corpus.
Do. Qui tollis.
Do. Sancta Mater.
