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Longman Dictionary of Contemporary English
fretwork
noun
EXAMPLES FROM CORPUS
▪ A definite tick in the margin here for the quality of the fretwork.
▪ The fretwork is well up to Valley Arts standard, with nothing that offends the eye or fingers in any way.
▪ The houses were linked together with heavy fretwork windows so that you could not see the sky.
▪ There are a few rattles here and there, but in general the fretwork is quite well finished.
▪ They reacted against factory-produced Victorian furniture with its frilly fretwork, clawed feet and laminated woods.
The Collaborative International Dictionary
Fretwork

Fretwork \Fret"work\, n. [6th fret + work.] Work adorned with frets; ornamental openwork or work in relief, esp. when elaborate and minute in its parts. Hence, any minute play of light and shade, dark and light, or the like.

Banqueting on the turf in the fretwork of shade and sunshine.
--Macaulay.

Douglas Harper's Etymology Dictionary
fretwork

also fret-work, "ornamental work consisting of frets," c.1600, from fret (n.1) + work (n.).

Wiktionary
fretwork

n. ornamental woodwork either carved in low relief or cut through with a fretsaw

WordNet
fretwork

n. framework consisting of an ornamental design made of strips of wood or metal [syn: lattice, latticework]

Wikipedia
Fretwork

Fretwork is an interlaced decorative design that is either carved in low relief on a solid background, or cut out with a fretsaw, coping saw, jigsaw or scroll saw. Most fretwork patterns are geometric in design. The materials most commonly used are wood and metal. Fretwork is used to adorn furniture and musical instruments. The term is also used for tracery on glazed windows and doors. Fretwork is also used to adorn/decorate architecture, where specific elements of decor are named according to their use such as eave bracket, gable fretwork or baluster fretwork, which may be of metal, especially cast iron or aluminum.

Fretwork patterns originally were ornamental designs used to decorate objects with a grid or a lattice. Designs have developed from the rectangular wave Greek fret to intricate intertwined patterns. A common misconception is that fretwork must be done with a fretsaw. However, a fretwork pattern is considered a fretwork whether or not it was cut out with a fretsaw.

Computer numerical control (CNC) has brought about change in the method of timber fretwork manufacture. Lasers or router/milling cutting implements can now fashion timber and various other materials into flat and even 3D decorative items.

Fretwork (music group)

Fretwork is a consort of viols based in England, United Kingdom. Formed in 1986, the group consisted of six players, while it is currently five viols. Its repertoire consists primarily of music of the Renaissance period, in particular that of Elizabethan and Jacobean England, arrangements of the music of Johann Sebastian Bach, and contemporary music written for them.

The group has toured all over the world, with tours of Japan and the United States, and three visits to Russia, the first in 1989, when it was still a part of the Soviet Union. They initiated a series of courses for voices and viols on the Greek island of Evvia with Michael Chance, and have also been invited twice to teach on the annual Conclave of the Viola da Gamba Society of America.

In addition to its performances of early music, Fretwork has been active in commissioning new works for viol consort. Its 1997 recording Sit Fast includes new works by such composers as Gavin Bryars, Tan Dun, and Elvis Costello. It has also commissioned music from Sir John Tavener, Michael Nyman, Alexander Goehr, George Benjamin, Duncan Druce, Fabrice Fitch, Gavin Bryars, Barry Guy, Poul Ruders, Simon Bainbridge, Ivan Moody, John Woolrich, Thea Musgrave, Peter Sculthorpe, Sally Beamish, Andrew Keeling and Orlando Gough.

Fretwork has recorded a series of discs for Virgin Classics and currently records for Harmonia Mundi USA. Recent discs include 'Alio Modo' (arrangements of keyboard music by Bach), Chansons by Alexander Agricola and Fabrice Fitch and a disc of consort songs with Emma Kirkby.

A recent disc is Birds on Fire: Jewish Music for Viols which presents some of the music composed by Italian-Jewish composers from the Bassano & Lupo families, who came to England to work at the court of Henry VIII in 1540. It also includes music by Salamone Rossi and Leonora Duarte. Finally it includes the first recording of 'Birds on Fire' itself, a three-part piece by Orlando Gough written for Fretwork in 2001. This work is based on the novel by Aaron Appelfeld "Badenheim 1939", telling the story of a group of Jews who holiday in a resort near Vienna in the spring of 1939. The town gradually becomes a ghetto, and the band of musicians gradually rediscover their Jewish roots to break out from the Vienese schmalz to play klezmer tunes.

A recent album is its second recording of the complete Fantazias by Henry Purcell, including the two In Nomines, for HMU (Harmonia Mundi USA). It was selected as Editor's Choice in the July issue of Classic FM Magazine; where Fretwork's playing was described as "all one could wish for." It has won the Gramophone Award on the Baroque Instrumental section 2009.

In 2008, they recorded two tracks on Ryuichi Sakamoto's album 'out of noise', and they have subsequently issued their latest recording - 'The Silken Tent' - in Japan only on Sakamoto's label Commmons.

Fretwork was featured on the soundtracks of two Jim Jarmusch movies, Coffee and Cigarettes (2003) and Broken Flowers (2005). Other filmtracks include The Da Vinci Code, Kingdom of Heaven, The Crucible, La Fille d'Artagnant and many others. It has also recorded for Robbie Williams (Supreme) and Loreena McKennitt (for the album An Ancient Muse).

In March 2011, Richard Campbell committed suicide, losing the battle against a melancholy depression he had been fighting for years. His loss is keenly felt by all his colleagues.

Usage examples of "fretwork".

He looks very small against the massive filigree of the birdcage, a white plastic spaceman doll floating in front of a shifting, faceted fretwork of spun glass.

Number twelve was a semi-detached cottage with bullnosed corrugated-iron roof and a Victorian fretwork castiron trellis beneath the eaves.

Number twelve was a semidetached cottage with bullnosed corrugated-iron roof and a Victorian fretwork castiron trellis beneath the eaves.

Their doorways and deep-set windows were framed with carved fretwork and pillars of ancient design.

A full moon bleached the open fretwork of a dozen new homesites behind them.

It was surrounded firstly by wide verandas and white fretwork eaves and then by five acres of lawns and flowering trees.

Clothes and ornaments, were broidered and purfled and picked out in sindle-whorls and fretwork, spirals and enamel inlays.

White stars arrayed a fretwork of black boughs, and the green star of the south was a shining leaf among them.

There was the village church, glistening white in its pre-Revolutionary splendor, the massive houses, the giant elms, the mar-velous green common with a fretwork bandstand in the middle where Charles Bromley often delivered patriotic addresses, and straight ahead the lawyer's residence from which Mrs.

Quarter-ton limestone building blocks mixed widi gargoyles and fretwork and fragments of glass avalanched across the pavement.

The fingers of one hand idly stroked the fretwork on a Chinese Chippendale table, and her insides foundered like the storm-tossed boat in the painting.

There was only the Viewer, slumped forever in his sour seat, the bald shells of his eyes boiling in pictures, a biblical flood of them, all saturated tones and deep focus, not one life-size, and the hands applauding, always applauding, palms abraded to an open fretwork of gristle and bone, the ruined teeth fixed in a yellowy smile that will not diminish, that will not fade, he's happy, he's being entertained.

Caged in supporting fretwork, the aero-keel rose in a perfect curve far above her head, to where the great hull opened out like a giant lily.

General dealers and tailors and tinsmiths and halaal butcherk occupied the ground-floor shops of the decrepit Victorian building while from the cast-iron fretwork of the open balconies above him a festival of drying laundry, and the convoluted streets were clarr.

It was lightly built, of cast bronze fretwork, but inlaid with gold and gems in a pattern that flared out behind the seat like a peacock's tail.