Nabokov, Nicolas [Nikolay]
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Norgate, Edward(b Cambridge, Feb 1581; d London, bur. 23 Dec 1650). English organist, heraldic artist and possibly instrument maker. He was the son of Robert Norgate (d 1587), Master of Corpus Christi College, Cambridge. Subsequently Norgate’s mother married Nicholas Felton, later Bishop of Ely, in whose house he was brought up. Norgate went to London, where he served the king in numerous capacities. In 1611 he was granted the office of tuner of the king’s virginals, organs and other instruments jointly with Andrea Bassano until the latter’s death in 1626. He is usually referred to as Keeper of the Organs, and payments were made to him for building a new organ at Richmond (£120 in 1639) and at various times between 1629 and 1641 for repairing the organs and virginals at other royal palaces. These payments may have been for arranging and overseeing the work rather than for carrying it out himself. During this period he held the post alone, but in 1642 it was granted jointly with his son Arthur, thereafter ‘to the longer liver of them’. With the onset of the Civil War this arrangement had no practical consequences; but although Arthur survived the Restoration, the post passed to John Hingeston (2 July 1660). Norgate was also reputed a fine organist. On 25 March 1646 Sir William Swann (an amateur musician living in Holland) wrote to Constantijn Huygens: ‘yesterday wee have bin in our devotions … in the presence of one Mr Northget, a great lover of musike and a verre good organist … he is one of the kings servants, clarke of the signet office, and one of his Maytes heraults, and verre well knowen to Mr Laynier’. He was made Windsor Herald (in 1633), and for most of his working life he was engaged in writing and illuminating royal patents, diplomatic correspondence and other documents. He travelled a good deal: to Brussels as an agent for the purpose of buying pictures for the queen’s cabinet at Greenwich, and to Italy on a similar errand for the Earl of Arundel. His first wife, Judith Lanier (sister of Nicholas Lanier), must have died before 1619, for in that year he married Ursula Brighouse. In May 1632 a warrant for an allowance of 15s. a day was made to Norgate towards ‘the diet and lodging of Signior Antonio Van Dike and his servants, to begin from April 1st last’ for the duration of Van Dyck’s stay.
IAN SPINK Nørholm, Ib(b Copenhagen, 24 Jan 1931). Danish composer. He began piano studies at the age of nine and organ lessons at the age of 15. In 1949 he composed a chamber opera based on Andersen's Sneglen og rosenhaekken (‘The Snail and the Rose Tree’). In the following year he entered the Royal Danish Conservatory in Copenhagen, where he studied theory with Holmboe, history with Hjelmborg, and form and analysis with N.V. Bentzon and Høffding. Between 1954 and 1956 he completed examinations in theory and history, teaching, church music and organ performance. He was music critic for the Copenhagen newspaper Information (1956–64) and became assistant organist at Elsinore Cathedral in 1957. He began teaching part-time at the Copenhagen Conservatory in 1961. In 1964 he was appointed organist at the Bethlehems kirken, Copenhagen, and also teacher of theory and history at the conservatory in Odense, becoming later a lecturer there (1967–73). He was then appointed lecturer in theory at the Copenhagen Conservatory, and was professor of composition from 1981. He was head of the Danish section of the ISCM (1973–8, board member from the early 1960s) and a member of Statens Kunstfond (1971–4). Awards he has received include the Lange-Müller Stipendium, the Axel Agerbys Mindelegat, the Carl Nielsen Prize (1971) and the Anckerske Legat. He was knighted in 1981. The earliest works by Nørholm, who achieved recognition with his Symphony no.1 op.10 (1956–8), were in the Danish lyrical and tonal tradition which evolved in the post-Nielsen modernist era. He began, however, to participate in the debate which arose between composers of the Danish tradition and those who wished to meet the challenge of the international avant garde. He joined the group of young Danes who, on Nørgård's initiative, met periodically from 1959 to analyse music by such composers as Boulez and Stockhausen. Together with other members of Nørgård's group, Nørholm attended the ISCM Festival in Cologne in 1960, an event which made a deep impact upon him. In 1960 and 1962 he also attended the international summer courses in Darmstadt. As a board member of the ISCM section, he was involved in the Fluxus festival in Copenhagen in 1962 which further impressed him. These experiences led him to try out different techniques during the following decade: predetermined serialism (the ‘tabular’ Trio, 1959), structuralism and sonorism (Fluctuations, 1962, awarded the Gaudeamus Prize in 1964), graphic notation (Relief II, 1963), aleatory features and the use of extra-musical implements (Directions: inconnue, 1962–4, for solo violin with mechanical toys). This last was a preliminary study for the television opera Invitation til skafottet (‘Invitation to a Beheading’, 1965, broadcast 1967), based on Nabokov's novel; in its stylistic diversity it can be seen as the starting-point for Nørholm's ‘pluralism’ (or postmodernism, at a time when this term had not yet been coined). The work's librettist was Paul Borum, who for the following three decades was Nørholm's partner in the creation of several text-based compositions. With works like Strofer og marker (‘Stanzas and Squares’, 1965 and 1966) and Flowers from the Flora of Danish Poetry (1966) Nørholm became associated with the ‘new simplicity’ movement in Denmark at that time; the simplicity of the compositions was a reaction against the excessive intricacy of some avant-garde works. His string quartets from 1966, From my Green Herbarium and September–October–November, on the other hand, tended towards pluralism in their application of the collage principle to a blending of different styles. In spite of its links with these fashionable trends, Nørholm's music maintained its personal touch of expression. His central work from 1971, the 55-minute-long Second Symphony Isola bella, commissioned and first performed by the Danish RSO, was a full-scale embodiment of Nørholm's experience that different stylistic expressions, contrary to later postmodern belief, were equally involving. Ranging from pure naivety to complex, avant-garde sophistication, they served as what Nørholm described as ‘an experiment to create a whole musical life’. This was achieved not by the use of pastiche but by structural differentiation, involving an array of tonal techniques – ranging from use of the major/minor modes to dodecaphony – as immediately perceptible symbols of expression. Similar utilization of stylistic diversity in a programmatic context is found in the two subsequent symphonies, A Day's Nightmare (1973), describing the ‘general existential neurosis’ of modern daily life, and Modskabelse (‘Decreation’, 1978–9), with solo vocalists and two choruses, based on texts by Borum on the genesis of man and the universe, and on the evolution of human knowledge. In this huge cantata, however, the obvious juxtaposition of styles is superseded as a formal principle by the use of strict procedures of construction. This had also been the case in works such as the chamber opera Den unge park (‘The Young Park’, 1970), in which the continuous conversation between schematically drawn characters is carried by a leitmotif technique in a contrapuntal setting. A similar technique is at play in the following opera, the Garden Wall (1976), whereas Sandhedens Haevn (‘Truth's Revenge’, 1985), after a marionette comedy by Blixen, is based mainly on intuitively created material. This constant shifting between construction and intuition is the driving force in Nørholm's creativity, and is also a source of continuing renewal. Thus, while a personal stylistic synthesis based on what might be called ‘integrated bitonality’ is apparent in some works, for example the Violin Concerto (1971) or the Fifth and Ninth Symphonies (1980 and 1990 respectively), a more eclectic tendency is present in other compositions, especially the long series of works that continue the tradition of Danish vocal lyricism, from Summer Sceneries (1967) through to Elverspejl (‘Elf's Mirror’, 1996). The programmatic function of pluralism within a symphonic context, still prominent in the Sixth Symphony (‘Moralities’, 1981), has since then been replaced by the interplay between soloist and orchestral individuals, groups and tutti in the series of solo concertos (this was already inherent in the Second Symphony). Again, attempts at stylistic categorization are constantly undermined by unexpected twists even within the smallest chamber pieces, such as the sudden use of a train whistle in the unprogrammatic piece for solo cello In the Middle of Darkness (1994), reminiscent of Direction: inconnue of 30 years earlier. In the programme note for his Seventh Symphony ‘Ecliptic Instincts’ (1982) Nørholm relates this continuing change of direction to ‘the deep-rooted European restlessness, as an acceptable condition for our equally inexhaustible dynamism’. WORKSstage and orchestral
vocal
chamber and instrumental
BIBLIOGRAPHYGroveO (W.H. Reynolds) I. Nørholm: ‘Vokale aspekter’, DMt, xxxvii (1962), 104–8 G. Dirckinck-Holmfeld: ‘Seks unge’, Nutida musik, vi/5 (1962–3), 31–7 G. Colding-Jørgensen: ‘En dansk opera’, Nogle danske komponister, ed. B. Olsen and I. Knudsen (Copenhagen, 1970–71), 63 [Danish Radio publication] M. Andersen: ‘Isola bella genoplevet’, DMt, lx (1985), 314–35 M. Andersen: ‘At høre Nørholm’, DMt, lxii (1989), 137–43 P. Borum, A. Hytten and S. Pade: ‘Tema: Ib Nørholm’,DMt, lxv/5 (1990–91), 146–69 J. Brincker: ‘Portrait of Ib Nørholm’, Musical Denmark, xliv/1 (1991), 5–7 M. Andersen: ‘Tonaliteter: om struktur og betydning i Ib Nørholms symfonier of om tonalitet som faenomen og begreb’, Dansk årbog for musikforskning, xxiii (1995), 39–62 J. Brincker: ‘Direction: inconnue’, Festskrift Jan Maegaard, ed. M. Andersen, N.B. Foltmann and C. Røllum-Larsen (Copenhagen, 1996), 269–75 MOGENS ANDERSEN Yüklə 10,2 Mb. Dostları ilə paylaş:
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