Nabokov, Nicolas [Nikolay]
Neupma. See Neuma. Neuschel [Neuschl, Neischl, Neyschl, Meuschel]
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- Bu səhifədəki naviqasiya:
- BIBLIOGRAPHY
- Neusidler [Newsidler, Neusydler, Neysidler, Neusiedler].
- (1) Hans Neusidler
- INTABULATIONS
- (2) Melchior Neusidler
- (3) Conrad Neusidler
Neupma.See Neuma. Neuschel [Neuschl, Neischl, Neyschl, Meuschel].German family of brass instrument makers. The oldest Nuremberg dynasty of brass instrument makers, it was founded by Hans Neuschel the elder (d Nuremberg, 1503 or 1504). The city awarded him the title of master coppersmith in 1479 and in 1487 he is recorded as having made a trumpet and slides (Ziehstücke) for either trumpets or trombones. Hans Neuschel the younger (d Nuremberg, 1533), a son of Hans the elder, was the most famous member of the family – the Meuschelstrasse in Nuremberg is named after him. He was both an instrument maker and a trombonist. A document from 1491 in which he was appointed Stadtpfeifer (confirmed in 1499), attributed by Jahn to his father, probably applies to him. In 1493 he additionally became a master coppermith. He is said to have improved the art of trombone making in 1498. His instruments carried the hallmark of the imperial crown. By order of Emperor Maximilian I, in 1512, his likeness was included in one of Hans Burgkmair I's woodcuts for the series Maximilian's Triumphal Procession. The command to the artist was: ‘On the same chariot there shall be five shawm, trombone and crumhorn players; and Neyschl shall be the master’. Pope Leo X ordered silver trombones from him, which he delivered personally. His brother Lienhard (d Nuremberg, 1515) worked with him in his shop. According to Nickel, Georg [Jörg] Stengel (d Nuremberg, 1557), ‘genannt Neuschel’ – he assumed the family name in 1535 – was the adopted son or perhaps the nephew of Hans the younger, from whom he learnt his trade. He later took over the Neuschel workshop, and his privilege of carrying Hans's hallmark was renewed by Emperor Charles V in 1551. Besides making brass instruments, he was also a dealer in woodwind and percussion instruments. He sold 12 ‘deutsche’ and 12 ‘welsche’ trumpets and two military kettledrums to the King of Poland for 200 guilders, and other complete sets of trumpets for similar prices to courts in Berlin, Copenhagen, Dresden, London and Munich. An order placed in 1541 by Duke Albrecht of Prussia, however, was apparently never delivered because that monarch refused to pay more than 60 guilders. A tenor trombone – actually a cut-down bass, of which only the bell end may be regarded as authentic – made by Georg in 1557 is in the collection of the Kunsthistorisches Museum, Sammlung alter Musikinstrumente, Vienna. Nickel has shown that the Neuschels may have been related to the other great family of brass instrument makers, the Schnitzers, as Georg's wife Anna was apparently the widow of the Munich Stadtpfeifer Anton Schnitzer. Anna's presumed son, Anton Schnitzer the elder, learnt brass instrument making from his stepfather, on whose death he took over the Neuschel workshop.
EDWARD H. TARR Neusidler [Newsidler, Neusydler, Neysidler, Neusiedler].German family of lutenists and composers. The first two discussed below are among the leading figures in 16th-century German lute music. (1) Hans Neusidler (2) Melchior Neusidler (3) Conrad Neusidler HANS RADKE/WOLFGANG BOETTICHER, CHRISTIAN MEYER Neusidler (1) Hans Neusidler(b Pressburg [now Bratislava], c1508–9; d Nuremberg, 2 Feb 1563). Composer, lutenist, intabulator and lute maker. He arrived at Nuremberg early in 1530; on 21 February he received from the city council a residence permit for one year, on 13 September he married a Nuremberg girl, and on 17 April 1531 he took the oath as a citizen. His finances apparently improved as a result of his marriage, for he was soon in a position to purchase a house with a courtyard on the Zotenberg behind the fruit market. He was highly regarded as a lute teacher and between 1536 and 1549 published eight books of lute music. In judicial records of 1550 he was twice described as a lute maker. He and his wife had 13 children, which caused him such financial embarrassment that he was forced to appeal to the city council for help and eventually to sell his house. His wife died in January 1556, and no doubt because of his many small children he remarried on 4 May; he had four more children by his second marriage, and his second wife died in August 1562. Together with Hans Judenkünig and Hans Gerle, Hans Neusidler was one of the principal figures in the early history of lute music in Germany. His lutebooks contain a rich and varied repertory, embracing arrangements of German songs, chansons, Italian madrigals, motets, German and Italian dances and free, improvisatory preludes. The pieces vary in difficulty, but apart from the two-part (tenor and bass) arrangements for beginners, reduced from fuller vocal originals, three-part works (descant, tenor, bass) are in the majority; four-part pieces appear only in the third of the 1544 books and in that of 1549. In the second 1536 book, explicitly intended for experienced players, the vocal originals are transformed into instrumental works by means of virtuoso passage-work. Favourite pieces from the earlier books reappear in later ones, usually with modifications. The first 1536 book, intended for beginners, contains an important introduction on lute playing (Eng. trans. in M. Southard and S. Cooper: ‘A Translation of Hans Newsider: Ein newgeordnet küenstlich Lautenbuch … (1536)’, Journal of the Lute Society of America, xi, 1978, pp.5–25ff). Neusidler’s method, designed for use without a teacher, was the first to give exercises marked with fingering for the left hand, thus facilitating the playing of polyphonic music. The placing of one to four dots above each letter of the tablature indicates the stopping finger; one dot indicates the forefinger, two dots the middle finger, and so on. Neusidler also set great store by legato playing; he used a cross (+) beside a letter to indicate a sustained note. He demanded that runs be struck by alternating thumb and first finger, the latter being indicated by a dot, and he considered the correct use of this technique to be the greatest art of lute playing. No particular directions are given for the playing of chords by the right hand. The opening, fundamental pieces in the first 1536 book are marked ‘Kleines Fundament’ and ‘Grosses Fundament’. The ensuing two- and three-part pieces are supplied in part with fingering for the left hand, in part with fingering for the right hand. The last 30 pieces, which are the most heavily ornamented, have no fingerings; nor do the contents of the second 1536 book. Neusidler did not develop his method in his later books but reproduced it more or less complete.
all for lute; all published in Nuremberg
Neusidler (2) Melchior Neusidler(b Nuremberg, 1531; d Augsburg, 1590). Intabulator, composer and lutenist, eldest son of (1) Hans Neusidler (not his brother as Koczirz suggested). His date of birth and relationship to his father can be deduced from his portrait at the age of 43 in his Teütsch Lautenbuch (1574; see illustration) and the date of his father’s marriage (see above). In 1551 he applied to the German emperor for a ten-year privilege for the printing of his works. He soon moved to Augsburg, acquired a citizen’s rights there and on 31 December 1552 relinquished his Nuremberg citizenship. He was the leader of the so-called ‘stille musica’, a group of musicians hired to play on festive occasions in the houses of prominent citizens; he also played with the civic musicians in public festivities. In October 1561 he visited Nuremberg, and because of his father’s financial straits he undertook to bring up his three youngest brothers. In 1565 he went to Italy, published two lutebooks at Venice in 1566 and returned to Germany in the same year. In 1574 he supervised the printing of his other lutebook at Strasbourg. He applied unsuccessfully for a post at the Stuttgart court in 1576. On 23 December 1577 he sent Duke Wilhelm V of Bavaria ‘some very good dances’. From September 1580 to May 1581 he was employed as a lutenist by Archduke Ferdinand II at Innsbruck. He numbered among his patrons Octavian II Fugger (a member of the leading Augsburg family), in whose house he often played in 1583 and from whom he received alms when he was old and plagued with gout. Tomaso Garzoni mentioned him as a famous lutenist in the 34th discourse of his Piazza universale (1587). Melchior Neusidler’s two lutebooks of 1566, which are in Italian tablature, contain arrangements of madrigals, motets, chansons and Italian dances, as well as some mostly imitative ricercares, called fantasias by Phalèse in his French tablature versions (1571) and by Neusidler himself in his Teütsch Lautenbuch (1574). The first book includes two dance suites, each consisting of a passamezzo, a saltarello derived from it and then a ripresa. In the Teütsch Lautenbuch this repertory is augmented by German songs and dances. In making his intabulations Neusidler kept wherever possible to the same number of parts as in the vocal originals and enlivened them with diminutions. In a preface to the 1574 book he described the customary six-course lute as inadequate, for ‘now that music has risen to such heights of artistic beauty [one] cannot achieve the full range of pleasing harmonies or fingerings on such a lute’. One could do so, he maintained, only on a seven-course instrument, and he thought it more practical to tune the seventh course only a major 2nd – not a 4th – below the sixth course, which was tuned Gg. INTABULATIONSall for lute
Neusidler (3) Conrad Neusidler(b Nuremberg, bap. 13 Feb 1541; d Augsburg, after 1603). Lutenist and composer, son of (1) Hans Neusidler and younger brother of (2) Melchior Neusidler. In 1562 he moved to Augsburg and on 26 January 1564 renounced his Nuremberg citizenship. He still appeared in the Augsburg tax records in 1604. A subsequent report from the master builders to the city council mentioned that ‘the late’ Conrad Neusidler used to play his lute for weddings and similar festivities. His only extant music consists of some German dances, two intradas and intabulations of 14 German sacred songs, all in the same lute manuscript (D-W Aug.fol.18.7 and 18.8), and two intabulations of motets by Lassus and Johann Eckart (DO G.I.4). A manuscript appendix to the Deutsche Staatsbibliothek copy (now lost) of Rudolf Wyssenbach’s Tabulaturbuch uff die Lutten (155025) contained lute versions of two dances, two chorales and a chanson by him. BIBLIOGRAPHYBrownI MGG1 (K. Dorfmüller) E. Radecke: ‘Das deutsche weltliche Lied in der Lautenmusik des 16. Jahrhunderts’,VMw, vii (1891), 285–336 O. Chilesotti: ‘Di Hans Newsidler e di un’antica intavolatura tedesca di liuto’, RMI, i (1894), 48–59 O. Körte: Laute und Lautenmusik bis zur Mitte des 16. Jahrhunderts (Leipzig, 1901/R) A. Sandberger: Introduction to DTB, viii, Jg.v/1 (1904/R) A. Koczirz: Introduction to DTÖ, xxxvii, Jg.xviii/2 (1911/R) J. Dieckmann: Die in deutscher Lautentabulatur überlieferten Tänze des 16. Jahrhunderts (Kassel, 1931) H.-P. Kosack: Geschichte der Laute und Lautenmusik in Preussen (Kassel, 1935) W. Boetticher: Studien zur solistischen Lautenpraxis des 16. und 17. Jahrhunderts (Berlin, 1943), 317–20, 328, 346, 351–420 A. Layer: ‘Melchior Neusiedler’, Lebensbilder aus dem bayerischen Schwaben, ed. G.F. von Pölnitz and others, v (1956), 180 K. Dorfmüller: Studien zur Lautenmusik in der ersten Hälfte des 16. Jahrhunderts (Tutzing, 1967) A.J. Ness: ‘A Letter from Melchior Newsidler’, Music and Context: Essays for John M. Ward, ed. A.D. Shapiro (Cambridge, MA, 1985), 352–69 H. Minamino: Sixteenth-Century Lute Treatises with Emphasis on Process and Techniques of Intabulation (diss., U. of Chicago, 1988) C. Meyer: Sources manuscrites en tablature: luth et théorbe, catalogue descriptif, i–ii (Baden-Baden, 1991) Yüklə 10,2 Mb. Dostları ilə paylaş:
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