Nabokov, Nicolas [Nikolay]
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- Nottebohm, (Martin) Gustav
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Nottara, Constantin(b Bucharest, 1/13 Oct 1890; d Bucharest, 19 Jan 1951). Romanian composer and violinist. He studied theory with Kiriac-Georgescu, composition with Castaldi and the violin with Robert Klenck at the Bucharest Conservatory (1900–07), and then continued his studies under Enescu and Berthelier (violin) in Paris (1907–9) and under Klinger (violin) and Schatzenhalz (composition) at the Berlin Royal Academy (1909–13). His career as a violinist embraced orchestral playing in the Bucharest PO (1905–7, 1918–20), leading a string quartet (1914–33) and teaching at the Bucharest Conservatory (1916–47). In addition Nottara was conductor of the Bucharest Municipal Orchestra (1929–32) and of the Radio Bucharest SO (1933–8). He was also active as a critic. His father had been a great actor, and Nottara was from the outset of his career attracted to writing for the theatre; his operas are strongly influenced by the verismo manner, but his ballets are more personal in their reference to Romanian folklore. This also formed the source for much of his concert music, which often has an idyllic pastoral serenity. His violin miniatures became deservedly popular. WORKS(selective list) stage
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BIBLIOGRAPHYT. Arghezi: ‘Vioara d–lui Constantin Nottara’ [Nottara’s Violin], Bilete de papagal (31 July 1929) O.L. Cosma: Opera românească (Bucharest, 1962) Z. Vancea: Creaţia muzicală românească, sec. XIX–XX (Bucharest, 1968), 310–12 V. Cosma: Muzicieni români: lexicon (Bucharest, 1970), 332–4 G. Constantinescu and others: Ghid de operă [Opera guide] (Bucharest, 1971) VIOREL COSMA Nottebohm, (Martin) Gustav(b Lüdenscheid, Westphalia, 12 Nov 1817; d Graz, 29 Oct 1882). German musicologist, teacher and composer. After studying in Berlin (1838–9) and in Leipzig (1840–45), where he knew and was taught by both Mendelssohn and Schumann, he moved permanently to Vienna in 1846. There he gave lessons in theory and the piano, composed, and in later years devoted himself increasingly to various scholarly activities. His circle of friends included Brahms, Joachim and many of the important scholars of his day. Although Kalbeck, in his biography of Brahms, described Nottebohm’s character in unflattering terms, Brahms and Nottebohm were frequent companions and even lodged together for a time in 1870. Brahms also referred private pupils to Nottebohm and recommended his scholarly articles to the publishers Rieter-Biedermann. Nottebohm’s compositions, mostly small piano pieces and chamber works with piano, achieved no lasting popularity, and it is for his scholarly accomplishments that he is remembered, though the full significance of his work has become somewhat obscured. At a decisive period for musicology, he and such contemporaries as Jahn, Köchel, Pohl, Thayer, Spitta and Chrysander developed a new approach to biography, based on documentary fact rather than personal reminiscence, and a new methodology for editing music through critical evaluation of all the available source materials. Nottebohm, one of the first acknowledged experts in textual criticism, was asked by Breitkopf & Härtel in 1862 to work on the revised edition of Beethoven’s works, a project that extended to 1865. These editorial duties probably led to his preparing for Breitkopf & Härtel a thematic catalogue of Beethoven’s works (published in 1868) to supplant the firm’s anonymously compiled earlier catalogue (1851). This and Nottebohm’s Schubert thematic catalogue, which appeared in 1874, remained standard reference sources until the 1950s, when they served as the bases for Kinsky’s Beethoven and Deutsch’s Schubert catalogues. From 1875 Nottebohm worked on the edition of Mozart’s works; his death prevented him from supervising preparation of the Bach edition. Nottebohm’s most original work, however, resulted from his close study of Beethoven’s manuscripts, above all the sketches and exercises. These had already attracted some attention as curiosities among collectors and had been consulted by Thayer and others for purposes of establishing the chronology of Beethoven’s works, but Nottebohm was the first to study them systematically. He sought out the manuscripts in libraries and private collections and described them in a series of short articles dealing with points of textual, chronological and purely musical interest. In addition, he published two longer monographs which surveyed in detail the contents of individual sketchbooks. These articles and monographs provided procedural models and source materials for a century of further scholarship on Beethoven’s sketches. Most of the short articles, which appeared originally in various journals, were later revised and incorporated into two books: Beethoveniana (1872) and Zweite Beethoveniana (published posthumously in 1887). A third book, Beethovens Studien (1873), elaborated a subject treated on a smaller scale in the articles, Beethoven’s studies in counterpoint and declamation, clarifying the confused account that Ignaz Ritter von Seyfried had published in 1832. Nottebohm’s manuscript studies led to substantial revisions of the chronology of Beethoven’s works and to an improved understanding of his creative processes. Although Nottebohm insisted that the significance of his observations was essentially biographical rather than aesthetic, it was musical curiosity that led him to examine the sketches and exercises, and it was his exceptional knowledge of Beethoven’s works and his facility in relating the sketches to them that earned him the great respect of his contemporaries. Thayer deferred to Nottebohm openly in matters of musical judgment, and Nottebohm’s work was assimilated almost at once into the biography of Beethoven begun by Thayer and completed by Deiters and Riemann. WRITINGSEin Skizzenbuch von Beethoven (Leipzig, 1865, rev. 2/1924/R by P. Mies; Eng. trans., 1979) Thematisches Verzeichniss der im Druck erschienenen Werke von Ludwig van Beethoven (Leipzig, 2/1868; repr. with bibliography by E. Kastner, 1913, as Ludwig van Beethoven: thematisches Verzeichnis, 2/1925/R) Beethoveniana (Leipzig, 1872R) [essays, mostly first pubd in AMZ, 1863–71] Beethoven's Studien, i: Beethoven's Unterricht bei J. Haydn, Albrechtsberger und Salieri (Leipzig, 1873/R) [first pubd, abridged, in AMZ, new ser., 1863–4, and rev. in Beethoveniana] Thematisches Verzeichniss der im Druck erschienenen Werke Franz Schuberts (Vienna, 1874) Mozartiana (Leipzig, 1880/R) Ein Skizzenbuch von Beethoven aus dem Jahr 1803 (Leipzig, 1880, rev. 2/1924/R by P. Mies; Eng. trans., 1979) ed. E. Mandyczewski: Zweite Beethoveniana (Leipzig, 1887/R) [essays, mostly first pubd in Musikalisches Wochenblatt, 1875–9] BIBLIOGRAPHYADB (C.F. Pohl) E. Mandyczewski: Namen- und Sachregister zu Nottebohms Beethoveniana und Zweite Beethoveniana (Leipzig, 1888/R) H. Clauss, ed.: Gustav Nottebohms Briefe an Robert Volkmann (Lüdenscheid, 1967) [incl. biographical essay and Nottebohm-Schumann correspondence] L. Lockwood: ‘Nottebohm Revisited’, Current Thought in Musicology, ed. J.W. Grubbs (Austin, 1976), 139–92 D. Johnson: ‘Beethoven Scholars and Beethoven's Sketches’, 19CM, ii/1 (1978), 3–17 R. Federhöfer-Königs: ‘Das Wiener Musikleben der Jahre 1846–1848 in der Korrespondenz Gustav Nottebohm-Robert Schumann’, Studien zur Musikwissenschaft, xxxvii (1986), 47–101 M. Schwager: ‘Nottebohm Revisited: Beethoven's op.14 no.1 in Perspective’, Studi musicali, xvi (1987), 157–69 I. Fellinger: ‘Unbekannte Mozart-Studien Nottebohms’, GfMKB: Baden, nr Vienna 1991, 587–99 DOUGLAS JOHNSON Yüklə 10,2 Mb. Dostları ilə paylaş:
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