From Academic Kids

François-Joseph Fétis (March 25, 1784March 26, 1871), Belgian musicologist, composer, critic and teacher. He was one of the most influential music critics of the 19th century, and his enormous compilation of biographical data in the Biographie universelle des musiciens remains an important source of information today.

He was born in Mons, Hainaut, and was trained as a musician by his father, who followed the same calling. His talent for composition manifested itself at the age of seven, and at nine years old he was an organist at Sainte-Waudru.

In 1800 he went to Paris and completed his studies at the Conservatory under such masters as Boïeldieu, Rey and Pradher.

In 1806 he undertook the revision of the Roman liturgical chants in the hope of discovering and establishing their original form. In this year he also began his Biographie universelle des musiciens, the most important of his works, which did not appear until 1834.

In 1821 he was appointed professor at the Paris Conservatory. In 1827 he founded the Revue musicale, the first serious paper in France devoted exclusively to musical matters. Fétis remained in the French capital till in 1833, at the request of Leopold I, he became director of the conservatory of Brussels and the king’s chapelmaster.

He also was the founder, and, till his death, the conductor of the celebrated concerts attached to the conservatory of Brussels, and he inaugurated a free series of lectures on musical history and philosophy. He produced a large quantity of original compositions, from the opera and the oratorio down to the simple chanson.

More important perhaps than his compositions are his writings on music. They are partly historical, such as the Curiosités historiques de la musique (Paris, 1850), and the Histoire universelle de musique (Paris, 1869—1876); partly theoretical, such as the Méthode des méthodes de piano (Paris, 1837), written in conjunction with Moscheles. Some of his criticisms of contemporary composers have become quite famous. He said of Berlioz, "...what Monsieur Berlioz composes is not part of that art which we distinguish as music, and I am completely certain that he lacks the most basic capability in this art." In the Revue musicale issue of February 1, 1835 he wrote of the Symphonie Fantastique, "[Berlioz] had no taste for melody, and but the feeblest notion of rhythm; his harmonies, formed by heaping up piles of tones in the most monstrous way, still managed to be flat and utterly boring."

While Fétis' critical opinions of contemporary music may seem reactionary, his musicological work was ground-breaking, and unusual for the 19th century in attempting to avoid an ethnocentric and present-centered viewpoint. Unlike many others at the time, he did not see music history as a continuum of increasing excellence, moving towards a goal, but rather as something which was continually changing, neither becoming better nor worse, but continually adapting to new conditions. He believed that all cultures and times created art and music which were appropriate to their times and conditions; and he began a close study of Renaissance music as well as European folk music and music of non-European cultures. Thus Fétis built the foundation for what would later be termed comparative ethnomusicology.

Fétis died in Brussels. His valuable library was purchased by the Belgian government and presented to the Brussels conservatory. His historical works, despite many inaccuracies, remain of great value for historians.

This entry is based on the 1911 Encyclopaedia Britannica article.


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