Nabokov, Nicolas [Nikolay]
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- WRITINGS
- BIBLIOGRAPHY
- Nowak, Leopold
- EDITIONS
Novotný, Václav Juda(b Vesce, nr Telč, 17 Sept 1849; d Prague, 1 Aug 1922). Czech writer on music and composer. While studying history and philosophy in Prague he attended Ambros’s music history lectures and studied with Bennewitz (violin), František Blažek (harmony) and Pivoda (singing). At first he was a violinist at the Provisional Theatre and then turned to music journalism, contributing to Dalibor (which he also edited, 1875, 1879–80), Hudební revue and other journals and newspapers. He was a personal friend of Smetana, and went with him in 1875 to consult foreign specialists about the composer’s deafness. He also accompanied Dvořák on his second visit to England in 1884. His translations of almost 100 opera librettos into Czech were valuable in building up the National Theatre repertory; his revisions (Dvořák’s King and Charcoal Burner, Smetana’s Dalibor and The Two Widows) were less successful. His reputation as a composer rests chiefly on his songs and some 300 skilful folksong arrangements, though he also composed two operas, church music, choruses and vocal duets. WRITINGS‘Obrázek ze života hudební kritiky petrohradské’ [A picture of the life of St Petersburg music criticism], Dalibor, i (1873), 413–16, 422–4 ‘Rukopis královédvorský a literatura hudební: kritický nástin’ [The Dvůr Králové manuscript and musical literature: a critical outline], Dalibor, i (1873), 257–61, 265–7, 273–6, 291–4 [on Fibich’s Záboj, Slavoj a Luděk] ‘Sonata a symfonie – symfonická báseň nástin historického vývinu těchto forem’ [Sonata, symphony, symphonic poem: an outline of the historical development of these forms], Dalibor, i (1873), 117–21, 127–9, 135–6, 145–8, 153–6, 161–4, 169–71, 177–9, 193–6, 201–3, 209–12 ‘O vývínu písně národní a jejím významu’ [The development of folksong and its significance], Dalibor, ii (1874), 1–3, 9–10, 17–20, 25–7, 33–6, 41–3, 49–51 ‘Smetanova vlastenecká zpěv[ohra] “Libuše”’ [Smetana’s patriotic opera Libuše], Dalibor, ii (1874), 345–7, 353–5, 361–4, 369–71, 377–9 ‘Toman a lesní panna: symfonický obraz Zdeňka Fibicha: kritický rozbor’ [Toman and the Wood Nymph: a symphonic picture by Zdeněk Fibich: critical analysis], Dalibor, ii (1874), 265–7, 273–7; repr. in Zdeněk Fibich: sborník dokumentů a studií, ed. A. Rektorys (Prague, 1951), i, 42–56 ‘Josef Haydn v Čechách’ [Haydn in Bohemia], Dalibor, i (1879), 60–62 ‘Černohorci: romantická opera ve třech jednáních’ [Bendl’s Montenegrins: a romantic opera in three acts], Dalibor, iii (1881), 211–13, 219–20, 229–30, 245–8 ‘Fibichovy skladby’ [Fibich’s compositions], Dalibor, iii (1881), 73–4, 89–91, 99–101 [Blaník, String Quartet, Piano Quartet] ‘Nové myšlenky o krásnu hudebním’ [New thoughts on beauty in music], Dalibor, iii (1881), 9–10, 25–6, 41–3 ‘O moderním houslařství’ [Modern violin making], Dalibor, iii (1881), 179–81 “‘Starý ženich”’ [The Elderly Suitor], Dalibor, iv (1882), 65–7, 82–4, 122–4, 154–6, 245–8 Uvedení do Smetanovy slavnostní zpěvohry Libuše [An introduction to Smetana’s ceremonial opera Libuše] (Prague, 1882) ‘Nevěsta messinská’ [The Bride of Messina], Pokrok (29 March 1884; 30 March 1884); repr. in Zdeněk Fibich: sborník dokumentů a studií, ed. A. Rektorys (Prague, 1951), i, 90–96 ‘Dvořákových “Slovanských tanců” řada druhá’ [Dvořák’s Slavonic Dances, 2nd ser.], Dalibor, viii (1886), 353–4, 363–5, 395–7, 401–3 [untitled article on Fibich’s Hedy], Hlas národa (14 Feb 1896); repr. in Zdeněk Fibich: sborník dokumentů a studií, ed. A. Rektorys (Prague, 1951), i, 166–71 ‘Z mých vzpomínek na Bedřicha Smetanu: Dvě vdovy’ [From my reminiscences of Bedřich Smetany: The Two Widows], HR, i (1908), 4–7, 65–9, 129–34 ‘Mé první styky se Smetanou’ [My first contacts with Smetana], HR, ii (1909), 253–9 ‘Pestré obrazy z Dvořákova života’ [Colourful pictures from Dvořák’s life], Dalibor, xxxii (1910), 206, 213, 293
JOHN TYRRELL Nowak, Leopold(b Vienna, 17 Aug 1904; d Vienna, 27 May 1991). Austrian musicologist. He studied the piano and organ at the Vienna Academy, and musicology with Adler and Lach at Vienna University (1923–7), where he took the doctorate in 1927 with a dissertation on the Gesellschaftslieder of Heinrich Finck, Paul Hofhaimer and Heinrich Isaac. In 1932 he completed the Habilitation with a work on the history of the basso ostinato, and subsequently taught at Vienna University until 1973. In 1946 he succeeded Robert Haas as director of the music collection of the Österreichische Nationalbibliothek. The building had been largely destroyed by bombing, but under his direction it was rebuilt and opened to the public in 1954. During his time in office (until 1969) he also organized and catalogued a series of exhibitions, including those on Bruckner (1946) and Bach (1950), and he did much for the preservation of Bruckner documents and records. He was also interested in Catholic church music and Austrian folk music and was a member of the Vienna diocesan commission for church music and the Vienna Catholic academy. He became a member of the Gesellschaft zur Herausgabe der Denkmäler der Tonkunst in Österreich in 1930 and of the Music Research Commission of the Austrian Academy of Sciences in 1946. Nowak was a centrally important Bruckner scholar. His major achievement was the preparation of a critical edition of Bruckner's complete works. In 1946 he became the musicological director of the undertaking, and was personally responsible for new, revised editions of nearly all the symphonies and masses, which are widely accepted as authoritative. He also contributed extensively to the biographical and critical literature on Bruckner. Nowak also worked on Haydn and Mozart. For the new Mozart edition he produced a critical edition of the Requiem, which makes an unprecedentedly clear distinction between Mozart's incomplete autograph text and the text as amended by Eybler and Süssmayr. He was awarded the Goldene Mozart Medaille in 1985.
WRITINGSÜber Anton Bruckner: gesammelte Aufsätze, 1936–1984 (Vienna, 1985) [ÜAB] Das deutsche Gesellschaftslied bei Heinrich Finck, Paul Hofhaymer und Heinrich Isaac (diss., U. of Vienna, 1927); enlarged as ‘Das deutsche Gesellschaftslied in Österreich von 1480 bis 1550’, SMw, xvii (1930), 21–52 Grundzüge einer Geschichte des Basso ostinato (Habilitationsschrift, U. of Vienna, 1932; Vienna, 1932) ‘Zur Geschichte der Musik am Hofe Kaiser Maximilians I.’, Mitteilungen des Vereines für Geschichte der Stadt Wien, xii (1932), 71–91 Franz Liszt (Innsbruck, 1936) Te Deum laudamus: Gedanken zur Musik Anton Bruckners (Vienna, 1947) ‘Die Musikhandschriften aus Fuggerschem Besitz in der Österreichischen Nationalbibliothek’, Die Österreichische Nationalbibliothek: Festschrift … Joseph Bick, ed. J. Stummvoll (Vienna, 1948), 505–15 Joseph Haydn (Vienna, 1951, 3/1966) ‘Das Autograph von Franz Schuberts Rondo in D-dur, Op.138’, ÖMz, viii (1953), 325–33 ‘Das Autograph von Joseph Haydns Cello-Konzert in D-dur, op.101’, ÖMz, ix (1954), 274–9; repr. in Biblos, iii (1954), 80–86 ‘Das Finale von Bruckners VII. Symphonie’, Festschrift Wilhelm Fischer, ed. H. von Zingerle (Innsbruck, 1956), 143–8 [ÜAB] ‘Die Wiener Mozart-Autographen’, ÖMz, xi (1956), 180–87
‘Probleme bei der Veröffentlichung von Skizzen (dargestellt an einem Beispiel aus Anton Bruckners Te Deum)’, Anthony van Hoboken: Festschrift, ed. J. Schmidt-Görg (Mainz, 1962), 115–21 [ÜAB] ‘Symphonischer und kirchlicher Stil bei Anton Bruckner’, Festschrift Karl Gustav Fellerer zum sechzigsten Geburtstag, ed. H. Hüschen (Regensburg, 1962/R), 391–401 [ÜAB]
‘Form und Rhythmus im ersten Satz des Streichquintetts von Anton Bruckner’, Festschrift Hans Engel, ed. H. Heussner (Kassel, 1964), 260–73; repr. in Zur musikalischen Analyse, ed. G. Schuhmacher (Darmstadt, 1974), 185–203 [ÜAB] Reden und Ansprachen (Vienna, 1964) ‘Die Skizzen zum Finale der Es-dur-Symphonie ga99 von Joseph Haydn’, Haydn-Studien, ii (1969–70), 137–66 ‘Die Erwerbung des Mozart-Requiems durch die k.k. Hofbibliothek im Jahre 1838’, Festschrift Josef Stummvoll, ed. J. Mayerhofer and W. Ritzer (Vienna, 1970), 295–310 ‘Metrische Studien von Anton Bruckner an Beethovens III. und IX. Symphonie’, Beethoven-Studien, ed. E. Schenk (Vienna, 1970), 361–71 [ÜAB] ‘Studien zu einer Musiktopographie Niederösterreichs’, ÖMz, xxv (1970), 84–95 ‘Ein Doppelautograph Sechter-Bruckner’, Symbolae historiae musicae: Hellmut Federhofer zum 60. Geburtstag, ed. F. Riedel and H. Unverricht (Mainz, 1971), 252–9 [ÜAB] Anton Bruckner: Musik und Leben (Linz, 1973) ‘Wer hat die Instrumentalstimmen in der Kyrie-Fuge des Requiems von W.A. Mozart geschrieben? Ein vorläufiger Bericht’, MJb 1973–4, 191–201 ‘Die Kompositionen und Skizzen von Hans Rott in der Musiksammlung der Österreichischen Nationalbibliothek’, Beiträge zur Musikdokumentation: Festschrift für Franz Grasberger, ed. G. Brosche (Tutzing, 1975), 273–340 ‘Studien zu den Formverhältnissen in der E-moll-Messe von Anton Bruckner’, Bruckner-Studien, ed. O. Wessely (Vienna, 1975), 249–70 [ÜAB] ‘Eine Bruckner-Entdeckung: das Adagio Nr.2 zur III. Symphonie’, Mitteilungsblatt der Internationalen Bruckner-Gesellschaft, xvii (1980), 5–15 [ÜAB] ‘Die drei Final-Sätze zur IV. Symphonie von Anton Bruckner’, ÖMz, xxxvi (1981), 2–11 [ÜAB] ‘Die Anton Bruckner Gesamtausgabe: ihre Geschichte und Schicksale’, Bruckner Jb 1982–3, 33–67
BIBLIOGRAPHYF. Grasberger, ed.: Bruckner-Studien: Leopold Nowak zum 60. Geburtstag (Vienna, 1964) [incl. A. Ziffer: ‘Leopold Nowak: Lebensgang und Verzeichnis der Veröffentlichungen’, 139] H. Haschek: ‘Leopold Nowak zum 70. Geburtstag’, ÖMz, xxix (1974), 437–74 H. Haschek: ‘Worte des Gedenkens für Hofrat Univ.-Prof. Dr. Leopold Nowak’, Mitteilungsblatt der Internationalen Bruckner-Gesellschaft, xxxvii (1991), 7–9 [incl. biographical information] H. Vogg: ‘In memoriam: Leopold Nowak’, ÖMz, xlvi (1991), 424 RUDOLF KLEIN/BENJAMIN KORSTVEDT Yüklə 10,2 Mb. Dostları ilə paylaş:
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