Nabokov, Nicolas [Nikolay]
Noblement (Fr.). See Nobilmente. Noblet, Charles
Yüklə 10,2 Mb.
|
- Bu səhifədəki naviqasiya:
- WORKS
- BIBLIOGRAPHY
- Nobre, Marlos
- WRITINGS
Noblement(Fr.). See Nobilmente. Noblet, Charles(b Abbeville, 26 April 1715; d Paris, 26 Oct 1769). French organist, harpsichordist and composer. A second cousin of Pierre Février, he was organist of Ste Catherine, Abbeville from 1728 until 1737 before taking up the post of harpsichordist at the Ecole de Chant of the Paris Opéra on 1 September 1737. While filling these positions, he was made organist also to several Parisian convents and parishes: the church of the Mathurins (1 October 1738), Ste Madeleine-en-la-Cité (1 March 1739), Ste Opportune (19 September 1742) and the church of the Jacobins in the rue St-Honoré (1 July 1761), occupying these posts until his death. His elder sister Marie-Geneviève Nicole Noblet (1712–c1800) often acted as his substitute. On 1 April 1739 he replaced Chéron as harpsichordist to the Opéra, retaining that post until 1 April 1768. He was also extremely active as a teacher; his pupils included Mlle Du Guesclin, the Comte de St Florentin and Princesse Pignatelli. In 1753 he was vigorously attacked in J.-J. Rousseau’s Lettre sur la musique française. Of his compositions, only his collection of harpsichord pieces (1757) is outstanding; they are in a rather conservative style except for some pieces such as Les bouffons, which irresistibly conjures up the opera buffa. WORKS
BIBLIOGRAPHYChoron-FayolleD; FétisB L. Eloy de Vicq: La musique à Abbeville, 1785–1856: souvenirs d’un musicien (Abbeville, 1876), 65–66 G. Servières: Documents inédits sur les organistes français des XVIIe et XVIIIe siècles (Paris, 1924), 18 E. Kocevar: Charles Noblet (1715–1769), ‘musicien du roy en son académie royalle de musique’ (diss., U. of Paris, Sorbonne, 1990) E. Kocevar: ‘Charles Noblet (1715–1769): trente années au service de Louis XV et des parisiens, ou L’irrésistible ascension d’un organiste abbevillois’, Bulletin de la Société d’émulation historique et littéraire d’Abbeville, xxvii/3 (1993), 307–317 E. Kocevar: Collégiale Sainte-Opportune de Paris: orgues et organistes 1535–1790 (Dijon, 1996) E. Kocevar: Cécile Louise Calvière et Marie-Geneviève Nicole Noblet: deux femmes organistes aux destins semblables’, Histoire, humanisme et hymnologie: mélanges offerts au professeur Edith Weber, ed. P. Guillot and L. Jambou (Paris, 1997), 131–40 ÉRIK KOCEVAR Nobre, Marlos(b Recife, 18 Feb 1939). Brazilian composer, pianist and conductor. A student of the piano and theory, he graduated from the Pernambuco Conservatory in 1955 and from the Ernani Braga Institute in 1959, and then studied composition under Koellreutter (1960) and Guarnieri (1961–2) in São Paulo. In 1959 he received his first composition prize in the competition Música e músicos do Brasil held by Radio MEC, and subsequently he was awarded over 30 prizes in national and international competitions, ranging from the Broadcast Music Award (New York, 1961) to the UNESCO prize (1974) for Biosfera. A fellowship from the Rockefeller Foundation took him to the Instituto Torcuato di Tella in Buenos Aires, where he familiarized himself with the newest techniques and studied with Ginastera, Messiaen, Dallapiccola and Malipiero (1963–4), gaining the Master’s degree in composition. He has made little use of electronic music, though he studied it with Asuar in Buenos Aires and Ussachevsky at the Columbia-Princeton Center (1968). Some of his best-known early compositions, such as Variações rítmicas and Ukrinmakrinkrin, date from this period in Buenos Aires. Returning to Rio de Janeiro he worked as music coordinator of the Guanabara Tourism Secretaiat (1965), then after studying with Bernstein, Goehr and Schuller at the Berkshire Music Center, Tanglewood (1969), he held numerous positions in Brazilian musical life. Among these are general coordinator of the Brazilian Music Council of UNESCO (1970, 1990s), music director of Radio MEC, general secretary of the Brazilian Musician’s Union (1972), director of the National Institute of Music of the Brazilian National Foundation for the Arts (1976–9) and president of the Brazilian Academy of Music (1985–91) and the International Music Council of UNESCO (1986–7). He has received commissions from the Brazil SO (1973–6), the Goethe Institute, Radio Suisse Romande and the Spanish Ministry of Culture (1992); he was composer-in-residence of the Brahms-Haus (1980–81) and received a Guggenheim Fellowship (1985–6). He has held visiting professorships at Indiana University (1981), Yale (1992), the Juilliard School (1996) and the University of Arizona (1997). His work has been recognized through the Order of Merit (Brasília, 1988), the Order of Rio Branco (1989) and the Ordre d’Arts et Lettres (France, 1994). Nobre has conducted such orchestras as the Suisse Romande, the Orchestre Philharmonique de Radio-France and the Royal Philharmonic, London. His eclectic academic background is paralleled by influences from different periods and styles of music. The influence of Bartók and Lutosławski can be seen in his juxtaposition of diatonic folk material with dissonant harmonies, polyrhythmic structures, rhythmic drive, textual effects and non-traditional scales. A national identity is evident in all his works, though as he does not rely on patterns from folk and popular idioms his music cannot be seen as nationalistic. The development of his musical language went through several phases, from tonal to modal, polytonal and atonal. Variações rítmicas was the first work in which he combined serial methods with typically Brazilian rhythms; in Ukrinmakrinkrin he first used aleatory procedures. Subsequently he made extensive use of serialism (e.g. Canticum instrumentale) and aleatory techniques (e.g. Concerto breve and Mosaico). By the late 1980s he began to rely more frequently on tonal formal structures and on a combination of traditional and contemporary elements.
WORKS(selective list)
WRITINGS‘Notação musical’, Music in the Americas: Bloomington, IN, 1967, 148–57 ‘Música brasileña contemporánea’, Revista de cultura brasileña, xxxii (1971), 103 ‘Nueve preguntas a Marlos Nobre’, RMC, no.148 (1979), 37–47 ‘Tendências da criação musical contemporânea’, Revista da Sociedade Brasileira de Música Contemporânea, no.1 (1994), 71–86 BIBLIOGRAPHYP. Earls: Review of Ukrinmakrinkrin and Mosaico, YIAMR, viii (1973), 182 G. Béhague: Music in Latin America: an Introduction (Englewood Cliffs, NJ, 1979) V. Mariz: História da música no Brasil (Rio de Janeiro, 1981, 4/1994) J.M. Neves: Música brasileira contemporânea (São Paulo, 1981) M.L. Corker Nobre: ‘Sonancias III, opus 49 de Marlos Nobre’, LAMR, xv (1994), 226–43 GERARD BÉHAGUE Yüklə 10,2 Mb. Dostları ilə paylaş:
|
-cl, pf, perc, 1968; Sonancias, pf, perc, 1972; Homage to Rubinstein, pf, 1973; 4 momentos, gui, 1974–6; Sonancias III, 2 pf, perc, 1980; Str Qt no.2, 1985; Reminiscencias, gui, 1991; Sonante I, mar, 1994; Solo II, b cl, 1994; Str Qt no.3, 1997