Nabokov, Nicolas [Nikolay]
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Neuhaus, Rudolf(b Cologne, 3 Jan 1914; d Dresden, 7 March 1990). German conductor. He studied privately with Abendroth and at the Cologne Musikhochschule (1932–4), obtaining his first appointment as music director at the Landestheater, Neustrelitz (1934–44). In 1945 he became conductor at the Landestheater, Schwerin, and Generalmusikdirektor from 1950. Later he was active in Dresden, conducting at the Staatsoper and teaching at the Hochschule für Musik. He conducted most of the new operas performed at Dresden during his time there, including the premières of Finke's Der Zauberfisch (1960), Kunad's Maître Pathelin (1969), and works by Cikker, Egk, Khrennikov, Wagner-Régeny and others. A frequent guest conductor in Berlin and Leipzig, he distinguished himself in Wagner and in contemporary operas, including the première of Schwaen's Leonce und Lena at the Berlin Staatsoper (1961). Neuhoff.See Niehoff family. Neukomm, Sigismund Ritter von(b Salzburg, 10 July 1778; d Paris, 3 April 1858). Austrian composer, pianist and scholar. His chief importance is as a transitional figure between Classicism and Romanticism. His father, David Neukomm (1749–1805), was a schoolmaster and teacher in a teacher training college; his mother, Cordula (née Rieder, 1753–1814), who was related to Michael Haydn, was a singer in the service of the Archbishop of Salzburg. Neukomm received his first musical tuition at the age of seven from the Salzburg Cathedral organist, Franz Xaver Weissauer, and later became a pupil of Michael Haydn, who was responsible for his theoretical studies. On 1 December 1790 he entered the Benedictine Gymnasium in Salzburg, and subsequently studied philosophy and mathematics at Salzburg University. In about 1792 he became honorary organist at the university church, and in 1796 chorus master at the Salzburg court theatre. At the end of March 1797 he went to Vienna to become a pupil of Joseph Haydn, with whom he studied for seven years; numerous dedications and remarks made in later years testify to his lifelong veneration of his third teacher. His arrangements of works by Haydn were for the most part done with the composer’s blessing; Haydn sanctioned arrangements by Neukomm of The Creation, Il ritorno di Tobia, The Seasons and Arianna a Naxos. He undertook for Haydn the arrangement of 43 Scottish songs, and transcribed Haydn symphonies and oratorios for harmonium and piano. In Vienna Neukomm also gave piano and singing lessons; his pupils included Anna Milder and Franz Xaver Mozart. On 5 May 1804 he left Vienna for St Petersburg, where he became Kapellmeister at the German Theatre. On his way back from Russia to Vienna in 1808 he met the composer and teacher Karl Friedrich Zelter in Berlin. Between mid-November 1808 and February 1809 he visited Joseph Haydn every day. On 7 November 1809 he arrived in Paris, which was to be his principal home for the rest of his life. Apart from a few brief periods of absence, his first stay in Paris lasted four years, and he soon made the acquaintance of such leading musicians as Cherubini, Gossec, Grétry and Monsigny. In 1814, as pianist to Prince Talleyrand, he attended the Congress of Vienna. There his C minor Requiem was performed before the distinguished company on 21 January 1815, and he was invested as Chevalier of the Légion d’Honneur; this was his only claim to the title of ‘knight’. In 1816 the Duke of Luxembourg took him to Rio de Janeiro, where he acted as teacher to the court of John VI of Portugal and made the music of Haydn and Mozart in particular known in South America. Leaving Rio de Janeiro on 15 April 1821, he arrived back in Paris on 23 October and there enjoyed the special patronage of Talleyrand, the Princess of Vaudemont and the Duke of Orléans, later King Louis Philippe. The year 1826 saw the fulfilment of Neukomm’s youthful ambition to travel in Italy and he visited Genoa, Florence, Rome, Naples, Bologna, Venice and Milan. His first trip to England took place in April 1829, and henceforth England was his second home. In his autobiography he declared ‘I am, according to the English, the foreigner who has composed the greatest quantity of music to English words’. His compositions, which he conducted, were performed at all the major music festivals of England, Scotland and Ireland, and he travelled throughout the British Isles. In late 1834 and early 1835 he travelled as far as the north African coast, visiting Algiers and the surrounding district. In 1837 he conducted his Grand Military Te Deum at the unveiling of the Gutenberg monument in Mainz. In 1838, after an absence of 29 years, he returned to Salzburg, but the same year embarked on an extended tour of Switzerland which lasted into March 1839. 1840 was spent in France, Germany, Switzerland and Italy, 1841 in Switzerland, and his itinerary for 1842 took in England, Germany and Austria. Neukomm’s name is closely associated with the festivities on the occasion of the unveiling of the Mozart monument in Salzburg (4–6 September 1842). Neukomm himself delivered the panegyric at the unveiling ceremony, he conducted Mozart’s ‘Coronation’ Mass (k317) and Requiem, and also composed for the celebrations the hymn Österreich. For Mozart, as for Haydn, he had lifelong admiration. His desire to introduce seldom-played works by Mozart to his contemporaries led to his transcribing much of Mozart’s music for harmonium and piano. For the rest of his life Neukomm continued to travel widely. He was buried in the Montmartre cemetery in Paris. In 1804 Neukomm embarked on a thematic catalogue of all his own works in chronological order, which he maintained until his death. The catalogue of 1265 items gives details of the place and date of composition of each individual piece, and also contains autobiographical information. Allowing for compositions dating from earlier than 1804 and others that he forgot to enter into his catalogue, Neukomm was the composer of some 1300 works. His output as a whole still remains to be investigated. In his study of the oratorios, Pellegrini-Brandacher concluded that On the one hand Neukomm represents the continuation of the Classical tradition up to Brahms. But on the other hand his oratorios were an important early stage of the sort of dramatic approach that is found in Wagner: firstly in the involvement of the composer in shaping the text; secondly in the displacement of the aria in favour of accompanied recitative; and thirdly in the … exploitation of … instrumental colours. Neukomm’s songwriting is particularly indebted to the Classical tradition, especially to Haydn; but Romantic traits appear, notably in the middle-period and late songs. As an author Neukomm made a name for himself principally in the Revue et gazette musicale de Paris. Neukomm’s sister Elisabeth (1789–1816) was a renowned soprano, who ‘filled all circles of Vienna with rapture’. One of his nephews, Edmond Neukomm (1840–1903), was a French writer on music. WORKSdrawn from Neukomm’s MS catalogue, F-Pn; most MSS in F-Pn stage
sacred
other vocaltexts, mostly secular, in English, French, German, Italian, Latin, Spanish
instrumental
WRITINGSAnleitung, sich des musikalischen Chronometers zu bedienen (Vienna, 1815) Esquisse biographique (Paris, 1859) BIBLIOGRAPHYF. Rochlitz: Für Freunde der Tonkunst, iii (Leipzig, 1830, rev. 3/1868 by A. Dörffel) G. Pellegrini-Brandacher: Sigismund Ritter von Neukomm (und seine Oratorien) (diss., U. of Munich, 1936) G. Pellegrini-Brandacher: ‘Sigismund Ritter von Neukomm: ein vergessener Salzburger Musiker’, Mitteilungen der Salzburger Landeskunde, lxxvi (1936), 1–67 L.H. Corrêa de Azevedo: ‘Sigismund Neukomm, an Austrian Composer in the New World’, MQ, xlv (1959), 473–83 M. Vignal: ‘A Side-Aspect of Sigismund Neukomm’s Journey to France in 1809’, Haydn Yearbook 1963–4, ii, 81–7 A. Seebohm: Das deutsche Klavierlied Sigismund Neukomms: ein Beitrag zur Musikgeschichte des frühen 19. Jahrhunderts (diss., U. of Vienna, 1968) R. Angermüller: ‘Zwei Selbstbiografien von Joseph Weigl’, DJbM, xvi (1971), 46–85 R. Angermüller: ‘Sigismund Ritter von Neukomm: ein Beitrag zu seiner Biographie und seinem Verhältnis zu Wolfgang Amadeus Mozart’, MISM, xx/3–4 (1972), 5–21 R. Angermüller: ‘Sigismund Ritter von Neukomm (1778–1858) und seine Lehrer Michael und Joseph Haydn: eine Dokumentation’, Haydn-Studien, iii (1973–4), 29–42 R. Angermüller: Sigismund Neukomm: Werkverzeichnis, Autobiographie, Beziehung zu seinen Zeitgenossen (Munich, 1977) R. Angermüller: Das Salzburger Mozart Denkmal: eine Dokumentation (bis 1845) (Salzburg, 1992) T.G. Waidelich: ‘“aufs sparsamste begleitetes Recitativ, ohne Bestimmung der Töne”: Sigismund Neukomms “musik-rhythmische” Notierung der chöre zu Schillers Braut von Messina (1805)’, Weber-Studien, vi (2000), forthcoming RUDOLPH ANGERMÜLLER Yüklə 10,2 Mb. Dostları ilə paylaş:
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