Nabokov, Nicolas [Nikolay]
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- Nicolai [Nicolay], Valentino [Valentin]
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Nicolai, Philipp(b Mengeringhausen, nr Kassel, 10 Aug 1556; d Hamburg, 26 Oct 1608). German theologian, poet and composer. His principal education was with Friedrich Beurhaus in Dortmund, Joachim à Burck and Ludwig Helmbold in Mühlhausen, and Gockel in Korbach. In 1574 he began his theological training in Wittenberg which continued from 1575 to 1579 in Erfurt and again in Wittenberg. After private studies at the Volkhardinghausen Monastery near Mengeringhausen, he became pastor in 1583 at Herdecke (Westphalia). In 1586/7 he was private minister of the Lutheran Hauskirche in Cologne. From 1588 to 1596 he was pastor in Altwildungen. Nicolai's strict adherence to Lutheranism prevented his graduating at Marburg University, then inclined to the Reformed faith; he was only able to receive his degree in 1594 after completing his studies under Aegidius Hunnius at Wittenberg. From 1596 to 1601 he was pastor in Unna and then at St Katharinen, Hamburg. Nicolai wrote numerous theological works, mostly polemical, but he also produced several volumes of poetry. His importance as a composer lies entirely in his devotional book, Der Freudenspiegel des ewigen Lebens (Frankfurt, 1599/R), many editions of which were published up to 1674. This work, written at Unna during an outbreak of the plague, contains his two most famous songs: Wie schön leuchtet der Morgenstern and Wachet auf, ruft uns die Stimme. The texts recall the medieval mysticism of Bernhard. Both melodies antedate Nicolai and show formal affinities with those of the Meistersinger, particularly with those of the Strasbourg tradition; they quickly became well known and have since been significant in the history of Protestant sacred music. BIBLIOGRAPHYMGG1 (W. Blankenburg) L. Curtze: D. Philipp Nicolai's Leben und Lieder (Halle, 1859) V. Schultze: Philipp Nicolai (Mengeringhausen, 1909) W. Blankenburg: ‘Die Kirchenliedweisen von Philipp Nicolai’, Musik und Kirche, xxvi (1956), 172–6 W. Blankenburg: ‘Neue Forschungen über Philipp Nicolai’, JbLH, iv (1958–9), 152–3 W. Thoene: Friedrich Beurhaus und seine Musiktraktate (Cologne, 1959) W. Blankenburg: ‘Die Entwicklung der Hymnologie seit etwa 1950’, Theologische Rundschau, xliv (1979), 239–79, esp. 264–9 J. Pannekoek: ‘Das Pfarrergeschlecht Nicolai zu Mengeringhausen’, Geschichtsblätter für Waldeck, lxxvi (1988), 55–115 A.M. Steinmeier-Kleinhempel: “Von Gott kompt mir ein Frewdenschein”: die Einheit Gottes und des Menschen in Philipp Nicolais “FrewdenSpiegel dess ewigen Lebens” (Frankfurt, 1991) H.-O. Korth and D. Wissemann-Garbe: ‘Philipp Nicolai und seine Lieder’, Die Pest, der Tod, das Leben: Philipp Nicolai - Spuren der Zeit: Beiträge zum Philipp-Nicolai-Jahr 1997, ed. P. Kracht (Unna, 1997), 59–80 A. Kadelbach:: ‘Die geistlichen Lieder Philipp Nicolais und die höfische Akrostichtradition’, Hof- und Kirchenmusik in der Barockzeit. Hymnologische, theologische und musikgeschichtliche Aspekte, ed. F. Brusniak and R. Steiger (Sinzing, 1999), 221–45 WALTER BLANKENBURG/FRIEDHELM BRUSNIAK Nicolai [Nicolay], Valentino [Valentin](fl 1775–?1798). Composer and pianist of unknown origin, active in England and France. Biographical information is scant, even in early music lexicons. As he first gained some notoriety in London, he may have been connected to the German F. Nicolai, a page to Queen Charlotte and a violinist with J.C. Bach and Abel in the queen’s chamber band. Valentino’s compositions appeared in London from about 1776, with his address variously given as Charlotte Street, Portland Place or South Moulton Street. From 1782 his works were reprinted on the Continent. Comparison of English and French publications suggests that he was in Paris between 1782 and 1788 but returned to London, where his opp.9 and 10 were printed ‘for the author’ by 1789. He was again living in Paris in the late 1790s at rue Dominique no.206 Faubourg-Germain. According to Choron and Fayolle he died in Paris about 1798. Certain of Nicolai’s sonatas (opp.3, 11) were extremely popular and remained so well into the 19th century, being reprinted in the USA, Europe and Dublin. The Sonata in C op.3 no.1 was especially successful and, according to Burney, was ‘for many years taught in every school in the kingdom’. This sonata illustrates Nicolai’s vitality and facile style, convincingly synthesizing a variety of instrumental effects fashionable at the time. Burney, who had but modest success as a composer, was evidently a trifle peevish in claiming that Nicolai’s popularity ‘may probably have been more owing to the sprightliness and pleasantry of his style than to the depth or orthodoxy of his knowledge’, but he admired the piano duets in which the composer ‘displayed a considerable share of good taste, ingenuity and fancy’. In the sonatas for violin and piano, op.7, Nicolai projected a true duality and used the title ‘duo concertante’ or ‘duet’, but these were evidently less popular than the sonatas with optional violin parts. The modest technical requirements of the keyboard concertos suggest that they were intended for amateurs and there is no record of a public performance in London. He was possibly the co-author with Felice Bambini of the Nouvelle méthode pour pianoforte suivie de doigtés (Paris, n.d.); both composers were apparently in Paris during the 1780s. WORKS
BIBLIOGRAPHYBurneyH Choron-FayolleD EitnerQ FétisB GerberL GerberNL JohanssonFMP NewmanSCE SainsburyD Catalogue thématique des oeuvres de clavecin, composé par V. Nicolai (Paris, c1800) [bound with op.8 in B-Bc] C.S. Terry: Johann Christian Bach (London, 1929, 2/1967) R.R. Kidd: The Sonata for Keyboard with Violin Accompaniment in England (1750–1790) (diss., Yale U., 1967), 344 T.B. Milligan: The Concerto and London’s Musical Culture in the Late Eighteenth Century (Ann Arbor, 1983) RONALD R. KIDD Yüklə 10,2 Mb. Dostları ilə paylaş:
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