Nabokov, Nicolas [Nikolay]
Noferi, Giovanni Battista
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- Nogueira, Ilza
- Nohl, (Karl Friedrich) Ludwig
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Noferi, Giovanni Battista(d London, 26 Feb 1782). Italian violinist and composer. He spent most of his working life in London, where his op.1, a set of violin sonatas with continuo, was published in 1757. Three years later he was living in Cambridge, publishing his op.2 with a dedication to his ‘friend and master’, the violinist Felice Giardini; he also played in Norwich. By 1762 he had returned to London, leading a charitable benefit there, but his career was largely that of an orchestral violinist, with only rare appearances as a soloist. He did, however, promote benefit concerts most years from 1774 to 1781, with prestigious performers from the Bach-Abel circle; and he achieved a modest reputation for his pleasantly tuneful compositions. In 1777 he was engaged by the King's Theatre as a composer of ballet music, which he sometimes accompanied on the guitar; and for the 1781–2 season he was advertised as ‘leader for the dances’. But on 20 February 1782 he suffered a stroke during a public rehearsal of a new ballet, and he died a few days later. WORKSall published in London unless otherwise stated
BIBLIOGRAPHYBDA S. McVeigh: The Violinist in London's Concert Life, 1750–1784: Felice Giardini and his Contemporaries (New York, 1989) C. Price, J. Milhous and R.D. Hume: Italian Opera in Late Eighteenth-Century London, i: The King's Theatre, Haymarket, 1778–1791 (Oxford, 1995) SIMON McVEIGH Nogueira, Ilza(b Salvador, Bahia, 25 Dec 1948). Brazilian composer and teacher. She graduated in literature (1971) and music (1972) from the Federal University of Bahia, where she studied the piano with Pierre Klose and composition with the Swiss-Brazilian composer Ernst Widmer. In 1972 she received a German government fellowship to study with Mauricio Kagel at the Hochschule für Musik, Cologne. She was appointed to teach music at the Federal University of Paraíba in 1978. From 1982 to 1985 she pursued doctoral work in composition at the State University of New York at Buffalo under the supervision of Lejaren Hiller and in 1990 was a postdoctoral fellow at Yale University. Since 1985 she has been an associate professor at the Federal University of Paraíba. As a researcher, she has focussed on the work of her teacher Widmer. Her earlier compositions (1969–78) are characterized by the use of extra-musical and electro-acoustic materials; later works (after 1982) reflect her contact with serialism and set theory. She is the author of a number of articles and papers on musical theory and analysis. WORKS(selective list)
CRISTINA MAGALDI Nohl, (Karl Friedrich) Ludwig(b Iserlohn, 5 Dec 1831; d Heidelberg, 15 Dec 1885). German writer on music and editor. After education at the Duisburg Gymnasium, he studied law, in accordance with his father’s wishes, at the universities of Bonn, Heidelberg and Berlin, and, at the last of these, music under S.W. Dehn and Friedrich Kiel. In 1853 he entered the Prussian Civil Service as referendarius, but in 1856 he became ill and had to undertake a journey to France and Italy. He returned to Berlin in 1857 and continued his musical studies under Kiel. In 1858 he finally abandoned law and settled at Heidelberg, receiving the degree of Doctor of Philosophy in 1860. In the following year he went to Munich, where in 1865 Ludwig II appointed him an honorary professor in the university. In 1872 he returned to live in Heidelberg, where he taught music history and aesthetics until his death; he died on 15 December 1885, not 16 December as is given in some sources. In his time, and up to the 1920s, Nohl’s name was widely known, principally for his popular works on Beethoven and Mozart, but also for his editions of their letters and of those by other composers. Nohl’s biographies included discussions of the music and, in the case of Liszt whom he knew personally, of reminiscence. His collections of letters and reviews reflect his wide interests in composers’ attitudes and contemporary reception of new works, and his book on chamber music (dealing with Haydn, Mozart and Beethoven) reveals his interest in the process of listening. His extreme devotion to Wagner, to whom he dedicated his major Beethoven study as ‘the master of masters’, led him to misinterpret the development of music drama before Wagner (in his Gluck und Wagner). WRITINGSDie Zauberflöte: Betrachtungen über die Bedeutung der dramatischen Musik in der Geschichte des menschlichen Geistes (Heidelberg, 1862) Mozart (Stuttgart, 1863, 2/1877 as Mozart’s Leben, rev. 3/1906 by P. Sakolowski; Eng. trans., 1877 and 1880/R) Beethoven’s Leben (Vienna and Leipzig, 1864–77, rev. 2/1909–13 by P. Sakolowski) Beethovens Brevier: Sammlung der von ihm selbst ausgezogenen oder angemerkten Stellen aus Dichtern und Schriftstellern alter und neuer Zeit (Leipzig, 1870, rev. 2/1901 by P. Sakolowski) Gluck und Wagner: über die Entwicklung des Musikdramas (Munich, 1870) Die Beethoven-Feier und die Kunst der Gegenwart (Vienna, 1871) Beethoven nach den Schilderungen seiner Zeitgenossen (Stuttgart, 1877; Eng. trans., 1880, 2/1895) Haydn (Leipzig, c1880, rev. 1931 by A. Schnerich; Eng. trans., 1883/R, as Life of Haydn) Allgemeine Musikgeschichte (Leipzig, 1881, rev. 1917 by M. Chop) Liszt (Leipzig, 1882; Eng. trans., 1884/R, as Life of Liszt) Das moderne Musikdrama: für gebildete Laien (Vienna, 1884/R) Das geschichtliche Entwickelung der Kammermusik und ihre Bedeutung für den Musiker (Brunswick, 1885/R) WILLIAM BARCLAY SQUIRE/MICHAEL MUSGRAVE Yüklə 10,2 Mb. Dostları ilə paylaş:
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