Nabokov, Nicolas [Nikolay]
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- Nilsson, Christine [Kristina Törnerhjelm
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Nilsson, Bo(b Skelleftehamn, 1 May 1937). Swedish composer. Though living in a small country town (Malmberget) and having had only elementary training from a local music teacher, together with some experience as a jazz pianist, he was able to achieve such skill in handling new techniques, teaching himself from the radio, that at the age of 18 one of his works (the Zwei Stücke) was presented in a West German Radio ‘Musik der Zeit’ concert. In 1957 his Frequenzen was performed at the ISCM Festival, and within a few years he had composed an imposing series of pieces that were played wherever avant-garde music was heard throughout Europe. Nilsson’s compositions of the late 1950s, though often indebted to Boulez in instrumentation and to Stockhausen in technique, show a number of features which have remained characteristic: the deployment of silvery percussion sounds as a backcloth for finely wrought vocal or flute (often alto flute) lines, a ‘nervous’ fluttering of tonal nuances, and a feeling for miniature, calculated forms. The same brilliant and percussive qualities of sound pervade the group of increasingly expansive orchestral works from the Szene sequence (1960–61) through Séance (1963) to the Litanei über das verlorene Schlagzeug (1965). But in Entrée (1962) Nilsson returned to late Romanticism, and later in the 1960s he wrote film and television scores of a simple Swedish lyricism. Nazm (1973), his first large work after a considerable interval, presents a synthesis of prescribed formulae and free improvisation on a Turkish maqām motif for jazz group, solo voices, chorus and orchestra, all amplified. Similar in technique is the belated fourth Szene (1975). Nilsson is certainly one of the most enigmatic and highly gifted Swedish composers of post-war years. WORKS(selective list)
WRITINGS‘Aktuella kompositionsproblem’, Nutida musik, i/2 (1957–8), 6–7 Spaderboken (Stockholm, 1966) [autobiography] Livet i en mössa (Stockholm, 1984) [autobiography] BIBLIOGRAPHYG.M. Koenig: ‘Bo Nilsson’, Die Reihe, vi (1958), 85–8; Eng. trans. in Die Reihe, iv (1960), 85–8 F. Hähnel: ‘Bo Nilsson och hans attityder’, Nutida musik, vi/9 (1962–3), 3–8; Ger. trans. in Melos, xxxi (1964), 176–82 I. Laaban: ‘Bo Nilssons Scener’, Nutida musik, xiii/1 (1964–5), 2–6 M. Rying: Interview, Nutida musik, xvi/3 (1972–3), 34–6 H. Krellmann: ‘Unmögliches als Höchstmass des Möglichen: der vergessene Avantgardist Bo Nilsson’, Musica, xxviii (1974), 329–32; rev., Swed. trans in Nutida musik, xxv/4 (1981–2), 33–5 A. Nilsson: ‘Brev tur och retur den andra sidan: om Gösta Oswalds författarskap och Bo Nilssons Brief an Gösta Oswald’, Nutida musik, xxx/3 (1980–7), 35–41 G. Valkare: Det audiografiska fältet: om musikens förhållande till skriften och den unge Bo Nilssons strategier (diss., U. of Göteborg, 1997) HANS ÅSTRAND Nilsson, Christine [Kristina Törnerhjelm(b Sjöabol, nr Växjö, 20 Aug 1843; d Stockholm, 22 Nov 1921). Swedish soprano. She studied with Franz Berwald in Stockholm, where she sang publicly from an early age, and then with P.F. Wartel, N.-J.-J. Masset and Enrico Delle Sedie in Paris. Her stage début was in 1864 as Violetta in La traviata at the Théâtre Lyrique, where she sang until 1867. She made her London début in 1864 at Her Majesty's Theatre as Violetta, also appearing as Marguerite in Faust. Although contracted to sing in the first performance of Bizet's La jolie fille de Perth at the Théâtre Lyrique, she transferred to the Opéra and sang Ophelia at the première of Thomas' Hamlet (1868) and Marguerite in the Opéra's first performance of Faust (1869) instead. She made her Covent Garden début in 1869 in the title role of Lucia di Lammermoor, and during the season also sang in the first London performance of Hamlet. In 1870 she sang in Benedict's oratorio The Legend of St Cecilia for her benefit at the Paris Opéra, was London's first Mignon at Drury Lane and embarked on a tour of the USA managed by Maurice Strakosch. She sang in the first New York performance of Mignon at the Academy of Music (1871). At Drury Lane Nilsson appeared in Mozart, Meyerbeer, Wagner and Verdi roles and took part in the first performance (sung in Italian) of Balfe's posthumous opera The Talisman (1874). At Her Majesty's Theatre she sang in the first London performance of Boito’s Mefistofele (1880). She travelled extensively, visiting St Petersburg and Moscow several times between 1872 and 1875, and her Brussels début was on 3 April 1875, when she sang Ophelia at the Théâtre de la Monnaie. In 1877 she was heard in Vienna and in 1878 at the Court Theatre, Munich. Returning to New York in 1883 for the opening season of the Metropolitan Opera House, she sang Marguerite in the inaugural performance of Faust (22 October) and the title role in the first local performance of Ponchielli's La Gioconda (20 December), and shortly afterwards she retired from the stage. Her voice, though not large, was pure and brilliant in timbre, immensely flexible and perfectly even in scale for two and a half octaves up to top E. Ophelia, Marguerite and Mignon were probably her finest roles, while an attractive appearance and a graceful stage personality were great assets in such parts as Violetta. Berwald wrote his opera Drottningen av Golconda (‘The Queen of Golconda’) for her, but it was not performed until many years after her death. BIBLIOGRAPHYJ.H. Mapleson: The Mapleson Memoirs (London, 1888); ed. H. Rosenthal (London, 1966) T. Norlind: Kristina Nilsson (Stockholm, 1923) H. Headland: Christine Nilsson: the Songbird of the North (Rock Island, IL, 1943) M. Leche-Löfgren: Kristina Nilsson (Stockholm, 1944) H. Rosenthal: Two Centuries of Opera at Covent Garden (London, 1958) ELIZABETH FORBES Yüklə 10,2 Mb. Dostları ilə paylaş:
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