Nabokov, Nicolas [Nikolay]
Nanchini, Pietro. See Nachini, Pietro. Nancy
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Nanchini, Pietro.See Nachini, Pietro. Nancy.City in north-east France, capital of the former province of Lorraine, now the département of Meurthe-et-Moselle. Founded in the 11th century, Nancy became the capital of the Duchy of Lorraine in the 12th century. In 1339 Duke Raoul founded the collegiate church of St Georges, where Charles II (1391–1431) installed an organ and established a choir school. His successor René I employed 12 singers in the chapel and organized sumptuous musical entertainments including singing, dancing and pantomime for the visit of Charles VII of France and the wedding of Margaret of Anjou and Henry VI of England in 1444–5. René II (1473–1508) established a minstrel's school at Pont-à-Mousson in 1477, built an organ at St Georges in 1487, strengthened the choir and appointed as choirmaster Pierrequin de Therache (1492). His successor Antoine I (1508–44) retained Therache until 1527, when he appointed Matthieu Lasson. Antoine was an ardent music lover, and separated the Musiciens de Chambre from the Chapelle, using choristers (‘les petits chantres de Monseigneur’) and instrumentalists (viols, lutes and shawms) for his levées and dinners. Under René II and Antoine alike, musical life at Nancy enjoyed close connection with that of the French royal court. Charles III (1545–1608), raised at the French court, employed many musicians including F.M. Caietain and L’Estocart. He introduced masquerades, ballets and concerts for ceremonial and family occasions. During the reign of Duke Henri II (1608–24) the court ballet continued in vogue, and, with the annual carnivals, provided employment for the duke’s string band, which included French, English and Italian musicians. Intermedii in the Italian manner, divertissements and ballets accompanied the accession of Charles IV in 1624 but the musical life at court was interrupted by the Thirty Years War (1618–48), a plague (1630) and the occupation of Lorraine by French troops (1633–59). After his restoration Charles revived musical entertainments, mounting ballets and carousels in 1664, 1665 and 1669. Occupied once more by the French between 1670 and 1698, Lorraine was subsequently returned to Duke Leopold, who married King Louis XIV’s niece and imitated the pomp of Versailles, appointing Lully’s pupil Desmarets as surintendant de musique and C.M. Magny as maître de ballet. The two collaborated in a divertissement entitled Le temple de l’Astrée, performed at the inauguration of an opera house in 1709. Several operas by Lully and Desmarets followed while the latter also directed his motets at St Georges with the duke’s musicians-in-ordinary, whose numbers had been increased from 12 to 35. François III (1729–37) gave his protection to an Académie de Musique active between 1731 and 1756, which gave twice-weekly concerts of music by Campra, Mouret and others. The last Duke of Lorraine, Stanislas Leszczynski (1737–66), sought to make Nancy one of the palatial cities of Europe: the municipal theatre, the Pavillon de la Comédie, housed near the Place Stanislas from 1755 until it burnt down in 1906, mounted operas and opéras comiques by Rameau, Rousseau, Favart, Philidor, Monsigny, Pergolesi, Grétry and Gluck. The cathedral, built for Duke Leopold, had a new organ by Du Pont (1757) and an excellent choir directed by Joseph-Antoine Lorenziti. The disbanding of the court after Lorraine’s union with France (1766), the Revolution and the ensuing wars had a detrimental effect on the city’s musical life. The Conservatoire Municipal founded in 1882 achieved national status in 1968; its directors have included Joseph Guy Ropartz (1894–1919), Alfred Bachelet (1919–29) and Marcel Dautremer (1946–7). The conservatory offers courses in singing, the piano and wind instruments. The Grand Théâtre de Nancy, designed by Hornecher, was built in 1919; its annual season (October to June) includes several operas, in addition to operettas, ballets and performances by visiting companies. Under the direction of Antoine Bourseiller it achieved critical acclaim during the 1980s for many enterprising productions, including Henze’s Boulevard Solitude and Tippett’s King Priam. BIBLIOGRAPHYA. Jacquot: La musique en Lorraine (Paris, 1882, 2/1882/R) G. Rapartz: Le Conservatoire et les concerts de Nancy 1881–1897 (Nancy, 1897) A. Jacquot: Les musiciens lorrains (Paris, 1904) A. Jacquot: Les facteurs d’orgue et de clavecin lorrains (Paris, 1910) F. Raugel: ‘Les orgues de la cathédrale de Nancy’, L’Orgue, nos.122–3 (1967), 131–3 A. Bourseiller: ‘L’Opéra – Théâtre de Nancy’, Le théâtre lyrique français 1945–1985, ed. D. Pistone (Paris, 1987), 353–4 R. Freedman: ‘The Chansons of Mathieu Lasson: Music at the Courts of Lorraine and France, ca. 1530’, JM, viii (1990), 316–56 R. Freedman: ‘Pastourelle jolie: the Chanson at the Court of Lorraine, ca. 1500’, JRMA, cxviii (1991), 161–200 FRANK DOBBINS Nani.Maltese family of musicians. Together with the Bugeja family, they dominated Maltese church music during the 19th and early 20th centuries. (1) Angelo Nani (2) Emmanuele Nani (3) Paolo Nani (4) Anton Nani (5) Paul [Paolo] Nani WORKS(selective list)
BIBLIOGRAPHYL. Farrugia: Del maestro Dr. Paolo Nani (Malta, 1904) G. Muscat-Azzopardi: ‘Paolo Nani’, Malta letteraria, i/2 (1904), 50–52 V. Caruana dei Conti Gatto: Malta artistica illustrata, ii: Musica (Malta, 1910) U. Rolandi: Musica e musicisti in Malta (Livorno, 1932) R. Mifsud Bonnici: Mużiċisti kompożituri maltin u ghawdxin tal-bieraħ u tal-lum [Maltese composers of yesterday and today] (Malta, 1951) D. Danzuso and G. Idonea: Musica, musicisti e teatri a Catania (Palermo, 1984) C. Attard: Five Generations of Nani Musicians (diss., U. of Malta, 1986) [with list of works] J. Vella Bondin: ‘Paul Nani: the Closing of an Era’, Sunday Times [Malta], 9 Nov 1986 J. Vella Bondin: ‘Anton Nani and his Requiem’, Sunday Times [Malta] (29 Oct 1989) S. Attard: The Operas of Anton Nani (diss., U. of Malta, 1991) G. Bonello: ‘New Light on the First Nanis in Malta’, Sunday Times [Malta] (21 March 1993) F. Bruni: Musica sacra a Malta (Malta, 1993) J. Vella: ‘Music’, Malta: Culture and Identity, ed. H. Frendo and O. Friggieri (Malta, 1994), 159–79 J. Vella Bondin: ‘Il-Kappella Nani fis-seklu dsatax’ [The Nani cappella during the 19th century], Programm Filarmonika Santa Marija Mosta, ed. J.J. Camilleri (Malta, 1994), 71–5 JOSEPH VELLA BONDIN Nani (1) Angelo Nani(b Venice, 16 March 1751; d Valletta, Malta, 27 Feb 1844). Violinist and impresario. He was the son of Girolamo Nani, a Venetian notary, who was the author of an important criminal code and treasurer to the Council of Ten, as well as an amateur violinist. Angelo studied with his father and Nasari, and during a concert tour with the flautist J.-D. Rapp arrived in 1766 in Malta, where his virtuosity impressed Grandmaster Manoel Pinto, who appointed him chamber musician. His marriage on 11 April 1768 to Ninfa Schembri precluded further advancement within the Order of St John, but for a time he led the orchestra at the Manoel Theatre. According to the French scholar Davolos (cited in Bonello) Nani was one of the most gifted violinists of his day, ‘who, for the graciousness of his bowing, outshines perhaps even the famous Lully’. Nani was also impresario of the Manoel from 1783 to 1787 and from 1791 to 1793. Of his 12 children, (2) Emmanuele, Agostino (1782–1846) and Vincenzo (1775–c1840) were violinists and composers. Nani (2) Emmanuele Nani(b Valletta, 15 March 1769; d Valletta, 26 Feb 1860). Violinist and composer, son of (1) Angelo Nani. He studied with his father and Vincenzo Anfossi. His fame as a virtuoso spread to Italy, where he was much in demand both as an instrumentalist and as a conductor. In about 1791 he was in Modena and Lucca, and at the invitation of the doge went to Venice, where he performed with Giuseppe Rovelli, Alessandro Rolla and Gaetano Grossi, celebrated musicians at the court of the Duke of Parma. In 1794 he was in Sicily as leader of the orchestras of the Palazzo Biscari and Principe S Domenica theatres. A poem from this time probably written by Giovanni Sardo designates him ‘l’illustre Nani’ and ‘Nani divino’. In 1821–2 he was again in Sicily, at the new Teatro Comunale Provvisorio in Catania. Most of Nani’s dated works were written between 1832 and 1835, when he was again at the Teatro Comunale Provvisorio and reputedly first violinist at Catania Cathedral. His settings of the ‘Qui sedes’ and ‘Quoniam’, the Duos concertants for two violins and the overtures in ‘Pot Pourri’ (composed while on a concert tour in Egypt) contain brilliant violin writing, reflecting the fine technique he must have possessed. WORKS(selective list)
Nani (3) Paolo Nani(b Valletta, 18 Nov 1814; d Valletta, 22 March 1904). Church musician and composer, nephew of (2) Emmanuele Nani on his brother's side. He studied with Giuseppe Burlon and Emmanuele Muscat and graduated as a lawyer, but then went to study with Zingarelli, Donizetti and Ruggi at the Naples Conservatory. Donizetti is reputed to have held him in high esteem, presenting him with his own silver filigree pen. In August 1838 he returned to Malta to form his own independent cappella, offering musical services to churches without their own. The cappella became extremely popular, with a cult following that verged on hysteria. Between 1841 and 1887 he was maestro concertatore at the Manoel Theatre and subsequently at the Royal Opera House, where he gained experience of operatic idioms that influenced his own compositions. He was a member of the Accademia Filarmonica of Bologna, and his popularity found final expression in the most impressive funeral ever accorded a Maltese musician. Of Nani’s 250 extant works, only 11 are non-liturgical, and 120 were written between 1838 and 1869 for his rapidly expanding cappella. Many works reveal a high level of inspiration and an assured harmonic and contrapuntal technique that justifies Donizetti’s admiration. His forceful but highly melodious and theatrical style, skilful orchestration and use of brass instruments resulted in controversial liturgical creations. Muscat-Azzopardi wrote that Nani’s music possessed ‘il brio di Rossini ed il sentimento di Bellini’; there is also a dramatic quality reminiscent of Verdi, especially in the splendid antiphons which are perhaps his most significant works. WORKS(selective list) sacred vocalall with orchestra
other works
Nani (4) Anton Nani(b Valletta, 6 Oct 1842; d Valletta, 25 Feb 1929). Composer, church musician and impresario, son of (3) Paolo Nani. He studied with his father, Giuseppe Burlon and G. Spiteri Fremond in Malta and with Aniello Barbati and Nicola De Giosa in Naples, where he lived from 1867 to 1879, and where he composed the majority of his mature works including his first opera, Zorilla (1870). He took over the Nani cappella after his return from Naples, although most of the music performed continued to be his father’s. Anton himself, though not a prolific composer, did compose some of the masterpieces of Maltese church music, especially the Requiem Mass, written as a memorial for his mother and awarded a gold medal at the 1886 London Universal Exhibition. Nani also developed an interest in opera, and was impresario of the Royal Opera House, Valletta, from 1885 to 1889, during which time the theatre’s facilities were improved. The popularity of the Nani cappella continued undiminished into the 20th century, but the Motu proprio on sacred music of Pius X in 1903 meant that the Nanis' music, highly operatic and heavily orchestrated, was no longer liturgically acceptable. Anton Nani at first refused to compose in accordance with the new stipulations, and by the time he did, beginning with his Mass in F (1908), many churches had started employing maestri di cappella willing to comply. With Anton Nani, Maltese Romanticism reached its peak, and his Requiem is probably the single composition that best represents it. Although even his shorter works show an attention to orchestral colouring and tonal structure, it was in longer works such as his three operas, the Requiem, the Responsories for Wednesday of Holy Week and O salutaris hostia that he excelled. His ability to handle large structures gave them a substance, energy and purpose that few Maltese composers have attained. WORKS(selective list) stage
sacred vocalall with orchestra
other works
Nani (5) Paul [Paolo] Nani(b Valletta, 23 Dec 1906; d Sliema, 6 Sept 1986). Composer and conductor, son of (4) Anton Nani. He studied with his father and Carlo Fiamingo and, after 1928, in Rome with Didonato and Wolf-Ferrari. On his return to Malta in 1936 he set about reviving the Nani cappella, winning back some of the churches formerly associated with it, and, in the manner of his forefathers, composing new liturgical works for them. Between 1936 and 1952 he organized a remarkable series of concerts during which he introduced novel orchestral and vocal forms and new composers to the Maltese public. To service these concerts, he opened in 1936 a music studio where over 200 musicians received training and in 1939 he set up the Malta SO. As a conductor, Paul Nani was greatly gifted. His massive frame and rugged face, allied to a wide-ranging language of hand gestures, exerted immense suggestive powers, his inner vision of a score taking on an aesthetic and aural form that often became a virtuoso interpretation, especially of works by Maltese and English composers for which he had intuitive sympathy. After 1952 a changing social and political environment put an end to these initiatives. Moreover, the dictates of the Vatican II Ecumenical Council meant changes to traditional liturgical music and led to Nani's retirement after 1967. Joseph Gatt was appointed director of the cappella in 1978. Yüklə 10,2 Mb. Dostları ilə paylaş:
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