Nabokov, Nicolas [Nikolay]
Ninna [nanna, ninna-nanna, nonna, nonna pastorale, nonna in pastorale]
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Ninna [nanna, ninna-nanna, nonna, nonna pastorale, nonna in pastorale](It.: ‘lullaby’). A category of vocal Christmas Pastoral, comprising lullabies to the child Christ, cultivated in Italy at least from the 17th century. The term may in this sense be synonymous with ‘pastoral’. A ‘Nenia [sic] al bambino Giesù’ in the Pastorali concenti al presepe of Francesco Fiamengo (Venice, 1637) seems to be the earliest example of the category. A ‘Canzonetta spirituale sopra alla nanna’ entitled Hor ch’è tempo di dormire appears in Tarquinio Merula’s Curtio precipitato (1638); the basso continuo of its first section consists exclusively of the two-note motif shown in ex.1, a motif which resembles that found in Schütz’s Christmas History (Pastoral, ex.4). Manuscripts in Naples (at I-Nf and elsewhere) include ninne from the 1670s, exhibiting pastoral characteristics, by Cristoforo Caresana, and 18th- and 19th-century ninne by a number of composers, including Durante and Paisiello. Weinmann has described a Pastorale ossia ninna nanna by Cimarosa (from Naples and now at D-Rp), which he implausibly claimed as a model for F.X. Gruber’s Stille Nacht. The tradition has yet to be studied. 
BIBLIOGRAPHYK. Weinmann: ‘Ein Vorläufer von “Stille Nacht, heilige Nacht”: zum 100. Geburtstag des Weihnachtliedes’, ZMw, i (1918–19), 130–37 GEOFFREY CHEW Ninot le Petit [Jo. le Petit, Nynot](fl c1500). ?French composer. His identity is subject to dispute, partly because Ninot is a diminutive of Jean/Giovanni, the most common name of the time, and because ‘le petit’ is unlikely to be a family name. That the motets In illo tempore, Psallite Noe and Si oblitus fuero appear in the Vatican manuscript C.S.42 with ascriptions to ‘Jo. le Petit’ (and as a group in I-Fn II.I.232, ascribed ‘Ninot’) has encouraged identification with the singer Johannes Baltazar alias Petit, who was in the papal chapel from 1488 until shortly before his death, reported by the chapter of Narbonne (where he held a prebend) on 17 May 1502. A letter in French, addressed to Giovanni de' Medici and dated 17 February (almost certainly 1493), is also signed ‘J. Petit alias Baltazar’. Further details are in Hudson’s edition. But the mention of ‘Nynot’ among the eloquent composers listed in the secunda pars of Moulu's motet Mater floreat suggests that he was still alive well after 1502 and implies that he was associated with the French royal chapel. None of his music is known from sources before about 1495; and most of it is in a style that suggests composition in the years 1500–1520. Litterick (following Lesure's earlier proposal) therefore argued that he is far more likely to be the Jean Lepetit who was maître de la psallette at Langres Cathedral in 1506–10, thereafter canon until 1529. The appearance of Ninot's mass in the Casale Monferrato choirbooks alongside works of Brubier and Hottinet Barra, who preceded and followed Lepetit as maître at Langres, may well support this identification; the mass, which is far more compact in style than his other music, may be one of his latest works. Ninot's motets show the structural and harmonic clarity typical of longer motets by composers of the French royal chapel at the beginning of the 16th century, and include contrasting triple sections. They closely resemble the works of Févin in some respects (such as the long, unimitated duos), in others (such as rhythmic variety) those of Mouton; the refrain form of Psallite Noe appears to be specifically modelled on Mouton's Sancti Dei omnes. Planxit autem David, the source for whose ascription to Ninot seems more authoritative than those that ascribe it to Josquin, is so different in form, counterpoint and melodic and harmonic style that it is much more likely to be by Josquin (despite dissimilarities with his style as well). Of Ninot's four-voice chansons, 13 appear together as a group in the manuscript I-Fc Basevi 2442. These are extended and light-hearted works, contrasting imitation with homophonic sections, often with sharp changes of pace, and built on texts evidently cobbled together from other material, mainly of a popular nature. Whether they were composed before 1500 or over the next two decades, they still mark Ninot as the leading composer of that genre. Only Mon seal plaisir follows a forme fixe: it appears in earlier sources and is more traditional in style. So is Si bibero, which evidently makes humorous reference to a group of works with similar titles by various older composers: Si dedero (Agricola), Si ascendero (Craen), Si dormiero (?La Rue) and so on. The two extremely compact canonic chansons fit into a tradition that dates back to the 1470s.
Edition: Ninot le Petit: Collected Works, ed. B. Hudson, CMM, lxxxvii (1979) [H] sacred
secularWorks lacking bassus are unique to I-Fc Basevi 2442, of which one partbook is lost
doubtful works
BIBLIOGRAPHYF. Lesure: ‘La maîtrise de Langres au XVIe siècle’, RdM, lii (1966), 202–3 H.M. Brown: ‘Words and Music in Early 16th-Century Chansons: Text Underlay in Florence, Biblioteca del Conservatorio, Ms Basevi 2442’, Formen und Probleme der Uberlieferung mehrstimmiger Musik im Zeitalter Josquins Desprez: Wolfenbuttel 1976, 97–141 N. Davison: ‘Continental Cousins of the In nomine Family?’, MR, lii (1991), 1–11 H. Meconi: ‘Sacred Tricinia and Basevi 2439’, I Tatti Studies, iv (1991), 151–99 L. Litterick: ‘Who Wrote Ninot's Chansons?’, Papal Music and Musicians in Late Medieval and Renaissance Rome: Washington DC 1993, 240–69 DAVID FALLOWS, JEFFREY DEAN Yüklə 10,2 Mb. Dostları ilə paylaş:
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