Carel Anton Fodor

Carel Anton Fodor or Carolus Antonius Fodor (Venlo [According to Karl Gustav Fellerer, "Musikbeziehungen zwischen den Nördlichen niederlanden und dem Reich im 18. Jahrhundert", "Tijdschrift van de Vereniging voor Nederlandse Muziekgeschiedenis" 30.1 (1980:51-69) pp. 58 and 67, note 74.] 12 April 1768 — Amsterdam 22 February 1846) was a Dutch pianist, conductor and the most prominent composer of his generation in the Netherlands, working in the manner of Joseph Haydn.

He accompanied his older brother, Carolus Emanuel, to Paris at the age of thirteen, to complete his musical studies, perhaps visiting Russia, [In 1794 his brother Joseph Fodor (1752-1828), a violinist, left Paris for Saint Petersburg, where he remained the rest of his life. (Fellerer 1980:67 note 73).] but returning to Amsterdam in 1790. Concertising in Amsterdam and The Hague, he built a solid reputation in Dutch musical circles as a pianistic virtuoso.

In 1798 he married Geertruida Tersteeg. At the death of Bartholomeus Ruloffs in 1801 he was named conductor of the orchestra of Felix Meritis, which he was to lead for twenty-five years. In the following year he was nominated to the position of the orchestra Eruditio Musica. In 1808 Louis Napoleon appointed him to head the Instituut voor Wetenschappen, Literatuur en Schone Kunsten, precursor of the "Koninklijke Nederlandse Academie van Wetenschappen", the Royal Netherlands Academy of Arts and Sciences. [Jeroen van Gessel, "'Om de kunst te ondersteunen en den smaak te zuiveren en te verfijnen'. Het Koninklijk Instituut en de muziek (1808-1851)'" "Tijdschrift van de Koninklijke Vereniging voor Nederlandse Muziekgeschiedenis", 49.2 (1999:69-97) p. 70.] In 1811 he established, with Johann Wilhelm Wilms and some others the series of Tuesday concerts.

Antoine Fodor published two symphonies (Opp. 12 and 19), eight piano concertos and considerable output of chamber music, in which the piano plays the leading role, and songs on Dutch texts. His opera "Numa Pompilius" has been lost. [List of works in Fellerer 1980:67 note 74.]

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