Nabokov, Nicolas [Nikolay]

Nisle [Nissle, Nüssle, Nüsslin, Nusle, Niesle].

German family of horn players and composers.

(1) Johannes Nisle

(2) Johann Wilhelm Friedrich Nisle

(3) Christian David Nisle

(4) (Johann) Martin (Friedrich) [Jean Frédéric, Giovanni] Nisle

HORACE FITZPATRICK/THOMAS HIEBERT

Nisle

(1) Johannes Nisle

(b Geislingen, 28 Feb 1735; d Sorau [now Żary, Poland], 22 May 1788). He was ‘Hautboist’, presumably playing horn, in the Duke of Württemberg’s infantry from 1758. A pupil of the Strasbourg-born horn virtuoso Jean-Joseph Rodolphe, he was a court musician at Stuttgart under Jommelli from 1765, becoming principal horn there in 1767, and from 1 October 1773 to 30 October 1777 was second horn to Johann Türrschmidt at the Oettingen-Wallerstein court. Later he held posts at the courts in Neuwied, Hilburghausen (around 1785) and Meiningen. He frequently made concert tours, often accompanied by his sons. Schubart said that ‘as a second horn he is virtually without an equal. His double-tongue, his crescendo, the ease with which he takes the pedal C, his facility and particularly his portamento raise him to the level of an eagle among horn players’. He composed a septet and an octet (in A-Wgm), formerly attributed to another member of the family.

Nisle

(2) Johann Wilhelm Friedrich Nisle

(b Ludwigsburg, 7 Jan or Feb 1768; d Stuttgart, 5 March 1839). Son of (1) Johannes Nisle. He was taught several instruments by his father and as a boy played the horn in public. From 1805 to 1835 he was first cellist at the Stuttgart court. He is sometimes confused with his brother (4) Martin Nisle.

Nisle

(3) Christian David Nisle

(b Ludwigsburg, 16 Oct 1772; d after 1839). Son of (1) Johannes Nisle. A child prodigy, he played in public at the age of five, resting the horn on the table on which he stood (Gerber, Neues historisch-biographisches Lexikon), and by the age of eight he had toured with his father, and at 12 he was peforming concertos by Punto. Gerber ranked Christian’s playing with that of the virtuosos Punto and Dauprat, noting that he performed with the precision and flexibility of a singer. He and his brother (4) Martin served the Prince of Wittgenstein-Berleburg at Freiburg from 1798 and von Vegh at Vereb, Hungary, until 1809. In 1839 he was teaching in Münster.

Nisle

(4) (Johann) Martin (Friedrich) [Jean Frédéric, Giovanni] Nisle

(b Neuwied, 18 Dec 1780; d after 1861). Son of (1) Johannes Nisle. He was second horn to his brother (3) Christian David Nisle in a duo. The brothers often travelled and played triple concertos with their father. Martin studied with H.C. Koch at Rudolstadt (composition and piano), and at the University of Rostock. He went to Vienna (1806) and served von Vegh at Vereb, Hungary, with (3) Christian David until 1809. Until about 1818 he was in Catania, Sicily, where he taught, composed and founded a music school. He returned to Germany in 1821, played the viola at the Stuttgart court (until 1824), and spent periods of time in Switzerland, Berlin (1828–9), Bunzlau (1835–6) and elsewhere. He is sometimes confused with his brother (2) Johann Wilhelm Friedrich Nisle.

WORKS

(selective list)

printed works published in Vienna, n.d., unless otherwise stated

Chamber: 12 Duettinos, 2 hn, op.1 (Berlin, by 1816); 6 Trios, 2 hn, vc, op.2 (Berlin, by 1816); 6 Echos, 2 hn, op.3 (Berlin, by 1816); 12 Duettinos, 2 hn, op.4 (Berlin, by 1816); 12 grands duos, hn, pf, op.5 (Oranienburg, 1805); 2 Sonatas, pf, cor de chasse, op.6 (Oranienburg, n.d.); 3 Duos, 2 vn, op.13 (Leipzig, 1807); Sonata, vn, hn, pf, op.15 (Leipzig, c1818–19); Duos, 2 vn, op.18; Trio, pf, vn, hn/vc, op.20; Str Qnt, op.21; Grand Trio, pf, vn, vc, op.24; Qnt, fl, vn, va, 2 hn/bn/vc, op.26; Grand quintuor, fl, 2 vn, va, vc, op.27; Gran quintetto, 2 vn, 2 va, vc, op.30; 6 Duos, pf, hn/vc, op.51 (Berlin, 1840); Fantasie, pf, hn (Leipzig, 1818); 3 Trios, 2 vn, vc (Naples, n.d.); L’amicizia, vn, pf (Milan, n.d.); 6 Solos, vn (Naples, n.d.); Adagio et polonaise, 2 hn, orch (D-SWl); string quartets (Fétis)

Solo pf: Siciliano, variations, op.11 (Leipzig, 1807); Marche, op.12 (Leipzig, 1807); Andante, variations, op.15 (Leipzig, 1807); Divertissements et fantaisies (Fétis)

Other: Lieder, 1v, pf (Leipzig, 1798); Ov., orch, op.22; Die Musik, cantata, 1v, chorus, orch, op.40 (Bonn, 1835); Sinfonia, 2 vn, 2 va, b, fl, 2 ob, 2 hn, 2 tpt, timp (D-BE)

BIBLIOGRAPHY

EitnerQ; FétisB; GerberL; GerberNL; MGG1 (E. Stiefel); MGG1 suppl.; SchillingE

J.G. Meusel: Teutsches Künstlerlexikon oder Verzeichnis der jetztlebenden teutschen Künstler (Lemgo, 1788, 2/1808–14/R)

C.F.D. Schubart: Ideen zu einer Ästhetik der Tonkunst (Vienna, 1806/R), 154–5

C. Israel: Frankfurter Concert-Chronik von 1731–1780 (Frankfurt, 1876/R), 50, 65

G. Bereths: Die Musikpflege am kurtrierischen Hofe zu Koblenz-Ehrenbreitstein (Mainz, c1964), 222, 250

B. Brüchle and D. Lienhard: Horn Bibliographie, iii (Wilhelmshaven, 1983)

Nisnevich, Sima Gerasimovna

(b Igumen [Cherven'], province of Minsk, 20 Jan/2 Feb 1914; d Minsk, 5 March 1985). Belarusian musicologist. After graduating in physics and mathematics at the University of Belorussia (1936), she studied composition, and historical and theoretical disciplines with Aladau at the Conservatory of Belorussia (1935–41). On returning to Minsk, after her evacuation to the Urals during World War II, she taught the history of music at the Conservatory of Belorussia from 1944 to 1983, becoming a senior lecturer in 1974. She also worked for the Belarusian Academy of Sciences' Institute of Ethnography and Folklore and was actively involved in the Belarusian Union of Composers. Her main areas of study were the distinctive features of professional Belarusian music and the interpretation of folklore in Belarusian operas, ballets and symphonies. Other areas of interest included music education. She wrote a number of music textbooks and programmes for lecture courses, and much of her published work, for example the anthology of Belarusian musical literature (1959–61) and the history of Belarusian Soviet music, of which she was co-author (1971), was intended for use in colleges and universities. She also prepared scholarly editions of Belarusian traditional music, including Zhartounïye pesni (‘Humorous Songs’, 1974) and Pesni pra kakhannye (‘Songs about Love’, 1978). Her brother, the critic Izidor Gerasimovich Nisnevich (b Minsk 8/21 Dec 1914; d Minsk, 25 Oct 1977) wrote a number of portraits of professional musicians, including Tat'yana Lopatina (Moscow, 1962), Grigory Romanovich Shirma (Moscow, 1964, 2/1971) and Kampazitar Nestar Sakalouski (‘The Composer Sakalouski’, 1969). A complete list of his publications can be found in Nisnevich, I.G.: Muzïkal'no-kriticheskiye stat'i (‘Nisnevich: Musical and Critical Articles’), ed. T. Dubkova (Leningrad, 1984).

WRITINGS

‘Narodnaya pesnya u tvorchastsi P. Chaykouskaga’ [Folksong in the work of Tchaikovsky], Litaratura i mastatstva (1940) [in Belarusian], 9–11

‘G. Geynye u muzïtsï suchasnikau’ [Heine in contemporary music], Litaratura i mastatstva (1941) [in Belarusian]

‘Shekspir i Servantes u muzïtsï’ [Shakespeare and Cervantes in music], Litaratura i mastatstva (1941) [in Belarusian]

‘Belaruskaya savetskaya muzïka za 30 god’ [Thirty years of Belarusian Soviet music], Belarus' (1947), no.12 [in Belarusian], 9–11

‘Belaruski narodnï melas u baletsye “Knyaz” vozera' V. Zalatarova’ [Belarusian folk melodies in Zolotaryov's ballet Knyaz'Hozero], Litaratura i mastatstva (1948) [in Belarusian]

‘Zauvagi ab meladïchnay i ladavay strukturï belaruskay narodnay pesni’ [Observations on the melodic and modal structure of the Belarusian folksong], Vestsï AN BSSR (1948), no.3, 73–81

Belaruskaya simfanichnaya muzïka [Belarusian symphonic music] (Minsk, 1951) [in Belarusian]

‘Masavïya pesni belaruskikh kampazitarau’ [Mass songs by Belarusian composers], Belarus' (1951), no.7 [in Belarusian], 26 only

‘Cheshski vucholï (L. Kuba) ab belaruskikh narodnïkh pesnyakh’ [The Czech scholar (Kuba) on Belarusian folksongs], Litaratura i mastatstva (1956) [in Belarusian]

‘Opera “U pushchakh Palessya” A. Bagatïrova’ [The opera In the virgin forests of the Polesíyeí by Bogatïryov], Belaruskaye iskusstvo, ed. P. Glebka and M. Luzhanin (Minsk, 1957), 155–76

‘Belorusskaya narodnaya pesnya v obrabotkakh kompozitorov BSSR’ [The Belarusian folksong in the arrangements of Belarusian composers], Nauchnometodicheskiye zapiski Belgoskonservatorii, i, ed. M. Berger, A. Bogatïryov and A. Vashkevich (Minsk, 1958), 141–98

Belorusskaya simfonicheskaya musïka [Belarusian symphonic music] (Minsk, 1959)

Narodnïy artist BSSR, N.I.Aladov [Peoples artist of the BSSR, Aladau] (Minsk, 1959)

ed.: Khrestomatiya po belorusskoy muzïkal'noy literature [An anthology of Belarusian musical literature] (Minsk, 1959–61)

Belorusskaya sovetskaya musïka (material v pomoshch' lektoru) [Belarusian Soviet music (material to assist the lecturer)] (Minsk, 1961)

Belaruskaya narodnaya pesnya u muzïchnay dramaturgii natsïyanal'nïkh oper i baletau [The Belarusian folksong in the musical dramatic plan of national operas and ballets] (Minsk, 1962) [in Belarusian]

V.A. Zolotaryov: Shestaya simfoniya [Zolotaryov: the Symphony no.6] (Leningrad, 1962)

V.A. Zolotaryov (Moscow, 1964)

with I.G. Nisnevich: Ocherki po istorii sovetskoy belorusskoy muzïkal'noy kul'turï [Essays on the history of Soviet Belarusian musical culture] (Moscow, 1964, 2/1969)

Belorusskaya muzïkal'naya literatura: programma kursa dlya muzïkal'nïkh uchilishch [Belarusian musical literature: a lecture course for music colleges] (Minsk, 1965)

Beloruskaya muzïchnaya litaratura: vïchebnï dapamozhnik [Belarusian musical literature: an aid for students] (Minsk, 1966, 3/1981, 3/1981)

Genrïkh Vagner (Minsk, 1969)

N.I. Aladov: muzïkal'nïy kalendar' [A musical calendar] (Moscow, 1970)

with others: Gistorïya belaruskay savetskay muzïki [The history of Belarusian Soviet music] (Minsk, 1971, 2/1976), 11 only

Yaugen Tsikatski [Tikotsky] (Minsk, 1972)

‘Belorusskaya narodnaya pesnya v simfonicheskom tvorchestve natsional'nïkh kompozitorov (1920–1930-e godï)’ [The Belarusian folksong in the work of native composers (1920s and 30s)], Voprosï teorii i istorii muzïki, ed. A.S. Glikman (Minsk, 1976), 3–15

‘K voprosu o belorusskikh operakh Stanislava Monyushko’ [On Moniuszko's Belarusian operas], Stat'i po muzïkal'nomu iskusstvu, ed. K. Stepantsevich (Minsk, 1976), 3–7

‘Nekotorïye printsipï ispol'zovaniya natsional'nogo fol'klora v belorusskoy professional'noy muzïke’ [Certain principles concerning the use of national folklore in Belarusian professional music], Muzïkal'naya kul'tura Belorusskoy SSR, ed. T.A. Shcherbakova (Moscow, 1977), 26–48

with G.S. Glushchenko: Belorusskaya gosudarstvennaya konservatoriya imeni A.V. Lunacharskogo (1932–1982) [The A.V. Lunacharsky State Conservatory of Belorussia (1932–82)] (Minsk, 1984)

BIBLIOGRAPHY

V.A. Sizko: ‘Pra kampazitara i pedagoa’ [On the composer and teacher], Litaratura i mastatstva (13 Nov 1964) [in Belarusian]

A. Yesakau: ‘Pratsa pra belaruskuyu muzïku: o knigye S.G. Nisnevicha “Ocherki po istorii sovetskoy belorusskoy muzïkal'noy kul'turï”’ [A work on Belarusian music: concerning Nisnevich's book Essays on the History of Belarusian Soviet Musical Culture], Belarus' (1967), no.8, p.29 [in Belarusian]

G. Bernandt and I. Yampol'sky: ‘S.G. Nisnevich’, Kto pisal o muzïke, ii (Moscow, 1974), 24 only

TAISIYA SHCHERBAKOVA