Nabokov, Nicolas [Nikolay]

Nachahmung

(Ger.: ‘imitation’).

(1) In any music other than the purely abstract or ‘absolute’, the copying of sounds of nature or everyday life, or the expression of emotions by musical means (see Affects, theory of the; Programme music; Rhetoric and music; Word-painting).

(2) In counterpoint, the process of Imitation.

Nachbaur, Franz (Ignaz)

(b Giessen, nr Friedrichshafen, 25 March 1835; d Munich, 21 March 1902). German tenor. After studying in Milan with Lamperti and at Stuttgart with Pišek, he made his début in 1857 at Pessau, then appeared at Meiningen, Cologne, Hanover, Prague (1860–63), where he sang Lionel in Flotow's Martha and Gounod's Faust, and Darmstadt (1863–8), where his roles included Gounod's Romeo. He began a 23-year association with the Hofoper, Munich, on 24 June 1867 as Flotow’s Alessandro Stradella and sang Walther at the first performance of Die Meistersinger (1868), Froh at the première of Das Rheingold (1869), the title role in Rienzi (1871) and Radames in Aida (1877). In 1878 he sang Lohengrin in Rome and in 1882 made his London début as Adolar in Weber’s Euryanthe at Drury Lane. He also sang in Berlin, Hamburg and Moscow. His farewell appearance in Munich on 13 October 1890, when he sang Chapelou in Adam’s Le postillon de Lonjumeau, was his 1001st performance at the Hofoper. Although he sang many heavy, dramatic roles including Siegmund (Die Walküre), a superb technique preserved the suppleness and lyricism of his voice throughout a long career.

BIBLIOGRAPHY

E. Newman: The Life of Richard Wagner (London, 1933–47/R)

H. Wagner: 200 Jahre Münchner Theaterchronik, 1750–1950 (Munich, 1958, 2/1965)

ELIZABETH FORBES

Nachini [Nacchini, Nachich, Nachik, Nakik, Nanchini], Pietro [Nakič, Petar]

(bap. Podgrebaća, Bulič, Dalmatia, Feb 1694; d Conegliano, Treviso, 16 April 1769). Italian organ builder. His place of birth was then part of the Venetian Republic. He studied philosophy at Sebenico, theology in Venice (he became a friar) and organ building under Giovanni Battista Piaggia, also in Venice. By his industry and excellent workmanship he established himself as the principal organ builder of his time in Venice, Dalmatia and the surrounding area. For a short period in 1729 he worked with Pierantoni and Pescetti.

The development of the Italian organ under Nacchini may be seen in the specifications of two fine organs surviving in Venice. The first, an organo doppio built in 1737 for S Martino (rebuilt by Gaetano Callido in 1799; restored, 1983–4), has two manuals (unusual in Italy at this time; see Organ, §V, 10) of 59 keys each (C'D'E'F'G'A'–d''', short first octave) and a pedal-board of 20 pedals (CDEFGA–b, short octave). The first three keys of the organo grande, and the first eight each of the organo piccolo and Pedal department, are coupled to the corresponding pipes of the next octave. The grande consists of a divided Principale (12') and six Ripieno stops, Voce umana, Flauto in ottava (6', divided), Flauto in XII, Cornetta (13/5', treble only), Violetta (divided, 4' in the bass), Tromboncini (8', divided). Piccolo: Principale (8') and four Ripieno stops (Ottava divided), Flauto in ottava (4', divided), Cornetta (13/5', treble only), Tromoncini (8', divided). The division of the bass and treble is between a and b. Pedal: Contrabbassi 16', Ottava di Contrabbassi, Tromboni. The second, op.160, for S Maria dei Derelitti, the church of the Ospedaletto (1751; restored 1983), had one manual, C (short) to c''', 45 notes; nine separate ranks of chorus stops from Principale (8' divided), to Trigesimasesta, Voce umana, Flauto in ottava (4'), Flauto in XII, Cornetta soprani, Tromboncini (8' divided); Pedal (C to g, 17 notes): Contrabassi 16', Ottava 8'; Tiratutti; Rollante.

Other surviving organs include: S Rocco, Venice (1743; restored, 1959 and in practically original condition); op.98, San Servolo, near Venice (1745; restored, 1989; nearly original condition), op.158, Muzzana del Turgnano, Udine (1750, restored, 1971); all have one manual of 45 keys (C–c''' with short first octave) and 17 pedals.

Nacchini built about 500 organs. He invented the tiratutti a manovella, a stop-knob which brings on the whole of the ripieno ranks. His pupils included Francesco Dacci (Dazzi), Gaetano Callido (at some time between 1748 and 1763), who may be considered his successor, and Franz Xaver Chrismann, who incorporated many features of Nacchini's Italian style into a new and particular type of Austrian organ.

BIBLIOGRAPHY

Trassunto dei titoli di benemerenza e dei servigni prestati in guerra ed in pace dalla Famiglia Nachich … alla sudditanza della Serenissima Repubblica (Venice, 1975)

S. dalla Libera: L'arte degli organi a Venezia (Venice, 1962/R)

L. Nassimbeni: ‘Nuovi documenti sulla presenza dell'organaro don Pietro Nachini in Friuli’, Metodi e ricerche, new ser., xiv/2 (1995), 71–85

L. Nassimbeni: ‘Gli ultimi anni di vita dell'organaro Pietro Nachini e il suo testamento’, L'organo, xxxi (1997), 149–63

GUY OLDHAM/UMBERTO PINESCHI

Nachsatz

(Ger.).

Consequent phrase. See Antecedent and consequent.

Nachschlag

(Ger.).

A term used to denote particular ornaments. See Ornaments, §§8–9.

Nachspiel

(Ger.).

See Postlude. The term, used to signify a concluding voluntary, appears in the organ works of C.-L.-J. André and Rinck.