Nabokov, Nicolas [Nikolay]
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- Niederholtzer, Rupert.
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Nieder, Fabio(b Trieste, 27 October 1957). Italian composer. He studied composition in Trieste with Giulio Viozzi (1973–81) and with Lutosławski in Croatia in 1977. Many of his compositions have been commended at festivals such as the Gaudeamus Week or have won first prizes; he teaches composition at the Trieste Conservatory. The characteristic middle-European ambience of his native city, with its mixture of Italian, German and Slav influences, has shaped his development as a composer. Sound, gesture and the spatial placing of the performers often acquire a symbolic value: improvization co-exists with canonic forms and mathematical structures (Kresnick, 1986). His economic approach exploits individual sounds and creates a static quality (Diapente, for string quartet explores the potential of the interval of a fifth). As well as quoting folk melodies (Wåldgschroa, 1996, which uses a yodel melody from Salzkammergut), Nieder also makes use of vocal techniques from various cultures (Love Songs on a White Surface, for soprano, baritone and 11 performers). WORKS(selective list)
BIBLIOGRAPHYR.J. Brembeck: ‘Begnadeter Manierist: Der Komponist Fabio Nieder’, NZM, clix/1 (1998), 34–6 M. Girardi: ‘Nieder: comporre senza schemi’, Giornale della Musica, no.145 (1999), 9 [interview] LICIA MARI Niederholtzer, Rupert.See Unterholtzer, Rupert. Niedermeyer, (Abraham) Louis(b Nyon, 27 April 1802; d Paris, 14 March 1861). Swiss composer and educationist. He received his first music lessons from his father, and at the age of 15 went to Vienna to study with Moscheles (piano) and E.A. Förster (composition). In 1819 he went to Italy to study with Fioravanti in Rome and with Zingarelli in Naples, where he familiarized himself with the vocal writing of the Renaissance, and formed a lasting friendship with Rossini. It was on Rossini’s advice that his first opera, Il reo per amore, was produced there in 1820, enjoying some success. The following year he went to Geneva, where he gave piano lessons and began writing songs, among them a setting of Lamartine’s Le lac, which immediately became popular. From 1823 he lived in Paris, apart from a period in Brussels (1834–6) when he taught the piano at the institute founded by Gaggia. Soon after arriving in Paris and again due to the influence of Rossini, his stage works began to be performed there, but none of them was successful, not even Robert Bruce, in which Niedermeyer adapted to a French libretto Rossini’s score for La donna del lago. After the failure of his last opera, La fronde, he devoted himself to sacred compositions. In 1853 he reopened the school of church music which Choron had founded in 1818; under the name of the Ecole Niedermeyer, it quickly established itself in the forefront of French musical education, assisted by a grant from the state. In addition to a general education, the pupils received tuition in plainchant and accompanying Gregorian chant. Saint-Saëns was one of its teachers, Fauré, particularly influenced by attitudes to modal harmony, one of its early pupils. In his Traité théorique et pratique, a treatise on the practice of plainsong (Paris, 1857, with several later editions), in which ‘modern harmony is submitted to the form of the ancient modes’, he collaborated with Joseph d’Ortigue, with whom he also founded a periodical for sacred music, La maîtrise (1857–61), whose purpose was to uphold the liturgical traditions of church music practice. As a composer Niedermeyer was most successful in his secular songs and church music. He gave new life to the declining song genre and re-established close ties between the musician and the foremost poets of the time (Lamartine, Hugo etc.). Saint-Saëns wrote that Niedermeyer was the first to break the mould of the old-fashioned French romance, creating a ‘new and superior genre, analogous to the German lied’. Indeed, he prepared the way for the ‘mélodie française’ of the next generation of songwriters, particularly Duparc, Debussy and Fauré. His gift for attractive melody and fluent style is also apparent in his sacred music; the famous sacred aria Pietà, Signore, usually attributed to Stradella, is now thought to be his work. He devoted himself energetically to a revival of traditional methods of performing the Catholic liturgy, particularly through the work of the Ecole Niedermeyer, which aimed to turn out church musicians with a comprehensive knowledge of both Gregorian chant and the works of the masters of vocal polyphony. In this emphasis, the school differed significantly from other music schools of that time. WORKSall printed works published in Paris operasperformed in Paris unless otherwise stated
other works
WRITINGSwith J. d’Ortigue: Traité théorique et pratique de l’accompagnement du plain-chant (Paris, 1857, 2/1878; Eng. trans., 1905) BIBLIOGRAPHYA. Niedermeyer: Louis Niedermeyer: son oeuvre, son école (Paris, 1867) H. Kling: Le centenaire d’un compositeur suisse célèbre: L. Niedermeyer (Paris, 1902) M. Galerne: L’école Niedermeyer: sa création, son but, son développement (Paris, 1928) G. Lefèvre and H. Heurtel: ‘L'école de musique classique Niedermeyer’, EMDC, II/vi (1931), 3617–21 J.C. Kidd: Louis Niedermeyer’s System for Gregorian Chant Accompaniment as a Compositional Source for G. Fauré (diss., U. of Chicago, 1974) Based on MGG1 by permission of Bärenreiter GUY FERCHAULT/JAQUELINE GACHET
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