sworn into both of them in the month of October in that year Dr. Boyce has, in his first volume of Cathedral Music, published a complete service by Farrant in G Minor; a very fine composition, and certainly superior to that of his contemporary Tallis, though the latter has generally engrossed all the praise bestowed on competitors of this class and age. Boyce very justly mentions the works of Farrant as "peculiarly solemn, and adapted for the purpose of the church," an opinion repeated by Sir John Hawkins; but Dr. Burney finds them, though "grave and solemn," somewhat "dry and uninteresting." The fact is, that this historian had no feeling for our venerable church harmony; and moreover, though educated in a choir, seems to have associated nothing of a pleasurable kind with that music to which he must daily have been accustomed in his earliest years. Besides the above-mentioned, there are two full anthems by Farrant in Boyce's collection, "Call to remembrance," and "Hide not Thou thy face," the latter altered by Dean Aldrich. These still, we believe, continue to be used at Whitehall chapel on Maunday-Thursday, when the sub-almoner distributes the royal charity. Many of Farrant's services and anthems exist in MS. The beautiful little anthem, entitled—Lord, for tender mercies' sake—attributed to him, is a work of much later date, possibly of John Hilton, who died during the Commonwealth.—E. F. R.
FARRAR. See Ferrar.
FARRAR, Timothy, an eminent magistrate of New Hampshire, was born at Concord, Massachusetts, in 1747, and died at the advanced age of one hundred and two years in 1849. He combined for some time the occupations of farmer and teacher, and, being a man of education and character, soon attracted the notice of his countrymen. He carried a musket a short time in the war of liberation, and was soon after made justice of the court of common pleas. In 1802 he was appointed chief justice of the supreme court, but, frightened at the long journeys he would have to make, he declined the honour. He retired from the bench in 1816, and spent the rest of his long life in rural occupations. Farrar was a most upright judge.—R. M., A.
FARREN, Eliza, Countess of Derby, one of the few actresses whose charms and accomplishments have taken them from the stage, and made them wives and mothers of the nobility of England. Eliza Farren was born in 1759, and died in 1829. Her father was a surgeon at Cork; but proving unsuccessful in his profession he took to the stage, and dying while still young, left his family in poverty. Eliza made her first appearance in 1773; four years afterwards she played at the Haymarket, and subsequently at Covent Garden and Drury Lane. It was while conducting the private theatricals at the duke of Newcastle's residence in Privy Gardens that she first met the earl of Derby. She was married to him in 1797. She maintained a spotless character, and was received at court by George III.—R. M., A.
FARRINGTON, Mrs. See Partin, Sarah P.
FASCH, Carl Friedrich Christian, a musician, famous as the founder of the Berliner Singacademie, was born at Zerbst on the 18th of November, 1736, and died at Berlin on the 3rd of August, 1800. His father, Johann Friedrich, was an erudite musician, who laboured long and zealously for the advancement of his art, though, from his works being nearly all unpublished, he is very little known at the present time. He was born at Buttelstadt on the 15th of April, 1688; he sang as a boy in the chapel of the duke of Weissenfels (the dilettante who first perceived the genius of Handel). He went to Leipzig, where he was engaged in the choir of the Thomaskirche, and where he applied himself to the study of the organ and of harmony, and produced several compositions; he entered himself at the university of this city, and formed a musical society among the students. He produced some operas at Raumsbourg, the merit of which interested the duchess in his favour, who gave him a pension to pay the cost of a sojourn in Italy, where he might continue his musical studies; he went afterwards to Darmstadt to receive instruction in counterpoint from Graupner and Grünewald. He held successively at Zeitz, and at the palace of Prince Morzini in Bohemia, the office of organist, and in 1722 was appointed kapell-meister to the prince of Anhalt Zerbst, which engagement he held till his death in 1759. Carl Fasch suffered from an extremely delicate constitution, in consideration of which he was not set to any study; but he applied himself undirected to the practice of the harpsichord, and made some successful attempts at composition. His strong inclination being observed, his father no longer delayed to give him regular instruction. In 1756 he was engaged as chamber musician and clavicinist to Frederick the Great, when his duty was, in alternate months with C. P. E. Bach, to be in constant attendance on the monarch, in order to play to him, and to accompany his flute solos. This appointment called him to Berlin, where he remained for the rest of his life. The great expenses of the Seven Years' war compelled the king to retrench his domestic establishment; and Fasch, thus thrown out of his engagement, had no resource but to give lessons for his livelihood. Such was his want of self-reliance at this time, and such his superstitious feeling, that he made it a practice to task himself every morning with an arithmetical problem, his success in which he regarded as an omen of whether or not he was in a fit state for musical composition. If his sum proved correct, he wrote some piece as a point of duty; but if it had one false figure, he applied himself to other occupations. Fasch for a time neglected his art, and devoted himself to the fabrication of models for military and nautical instruments for the purposes of the war. In 1774 he was appointed accompanyist on the pianoforte at the opera; and he held this engagement for two years, until Reichardt, who had resigned this office when he started on his travels, returned to resume it. Reichardt brought with him the score of a mass for sixteen voices by Orazio Benevoli, the complicated contrivances of which so interested Fasch, that he wrote one in imitation of it. This differs widely in the style of its counterpoint and modulations from the monotony of its prototype; it is the most esteemed of its author's productions. He was much disappointed in being unable to meet with a choir that could sing his composition; so, in 1789, he began to assemble parties at his house for the practice of choral singing; and these meetings produced such good results, that in three years he was able to establish the singing academy of Berlin, which still continues its effective operations, and has been the model for similar schools in almost every town where the German language is spoken. On the death of the founder of this now universally-celebrated institution, his pupil, Zelter, the friend of Göthe, and the teacher of Mendelssohn, succeeded him in its direction, and completed the original design in all its details. In 1792 Fasch produced "Vasco di Gama," an opera, which proved his incompetency to this class of writing. He was far more successful in his compositions for the church; but his reputation mainly rests on his planning of the academy, which is his enduring monument.—G. A. M.
FASTOLF, Sir John, an English general, who gained a great reputation for valour and military skill in the French wars. He was descended of an ancient Norfolk family, and was born about 1377. He was a ward of the famous John, duke of Bedford, regent of France, and served under Thomas of Lancaster, afterwards duke of Clarence, who was lord-lieutenant of Ireland. There, in 1408, he married a rich young widow, Milicent Lady Castlecomb, whose first husband, Sir Stephen Scrope, had been deputy to the lord-lieutenant. Soon after his marriage, Fastolf was appointed to a command under the English regency in France, and, according to Caxton, "exercised the warres in the royaume of France and other countries, by fourty yeres enduring," throughout the reigns of Henry IV., V., and VI. In 1415, on the capture of Harfleur by Henry V., Fastolf was appointed lieutenant of that important town, in conjunction with the duke of Dorset, the king's uncle. He fought with great distinction at the battle of Agincourt, in which he is said to have been wounded, and was rewarded for his bravery on that occasion by a grant of lands in Normandy. In the same year he defeated a strong body of the French near Harfleur, and shortly after successfully defended that town against a vigorous assault of the constable of France. He subsequently took part in the capture of Caen, Falaise, and various other towns and fortresses, and for his eminent services at the great siege of Rouen in 1417, was made governor of Conde Noveau, and shortly after received the honour of knighthood, along with an estate near Harfleur. In 1423 he was appointed lieutenant for the king and regent in Normandy, and governor of the counties of Anjou and Maine. In 1425 he besieged and took several towns and fortresses; and for these important services he was elected, with special honours, knight-companion of the order of the garter. In the following year he was superseded in the government of Anjou and Maine by Lord Talbot—an unfortunate step, for it laid the foundation of a jealousy between these two great captains, which was never completely removed. In 1428 Sir John was commissioned to
