Nabokov, Nicolas [Nikolay]

Noyers, Jean de.

See Tapissier, Johannes.

Nozeman [Noseman], Jacob

(b Hamburg, 30 Aug 1693; d Amsterdam, 10 Oct 1745). Dutch composer, violinist and organist. He was the son of the travelling actor Johannes Nozeman and was born during one of his father's tours. He grew up in The Hague and Leiden, where his father most often performed. His brother Gillis Nozeman became a dancing-master in Leiden. Jacob moved to Amsterdam, probably shortly after his father's death in 1710. He played at the theatre there from 1714 to 1716, and in 1719 he became organist of the Remonstrantse Kerk, remaining in this post until his death. Shortly after his death a fine portrait of him was engraved by C.F. Fritsch.

His violin sonatas are well written; typical of the period, they are a mixture of the sonata da chiesa and da camera types. The op.1 set are in the italianate Baroque style, and they are all in minor keys. The more versatile and detailed pieces of op.2 are typical of the transition from the late Baroque to the early pre-Classical style, and are all in major keys. As late as 1782 Michel Corrette included movements and fragments from Nozeman's op.2 in his L'art de se perfectionner dans le violon. Nozeman's op.4, unfortunately lost, included pastorales, musettes and païsennes for harpsichord.

WORKS

op.

1	[VI] Sonate, vn, bc (Amsterdam, c1725); nos.1, 3, 4, ed. W. Noske (Amsterdam, 1954)
2	VI sonate, vn, bc (Amsterdam, c1735)
3	Merkmans Gezangen (13 songs) (P. Merkman), 1–2vv, bc, 3 with 1–2 insts (Amsterdam, 1739); 3 ed. H. Schouwman (Amsterdam, 1960)
4	La bella Tedesca, hpd (Amsterdam, c1742), lost
5	VI sonate, vc, bc (Amsterdam, c1745), lost
Dutch songs, 1v, in H. van den Burg: Mengelzangen (Amsterdam, 2/1717)
Trio sonatas, NL-DHgm

BIBLIOGRAPHY

E.F. Kossmann: Das niederländische Faustspiel des 17. Jahrhunderts (De hellevaart van Dokter Joan Faustus) (The Hague, 1910), 122–7

J.G. Schönau: ‘Jacob Nozeman: Opus 3’, Haerlem jaarboek 1933, 64–9

H. Junkers: Niederländische Schauspieler und Niederländisches Schauspiel im 17. und 18. Jahrhundert in Deutschland (The Hague, 1936), 103–9

W.H. Thijsse: ‘Jacobus Nozeman (1693–1745)’, Mens en Melodie, iii (1948), 83–5

W. Noske, ed.: Introduction to J. Nozeman: Sonate Op.1, nos. 1, 3, 4 (Amsterdam, 1954)

RUDOLF A. RASCH

Nozzari, Andrea

(b Vertova, Bergamo, 1775; d Naples, 12 Dec 1832). Italian tenor. He studied in Bergamo and made his début in 1794 at Pavia. After singing in Rome, Milan, Parma and Bergamo, in 1803 he was engaged at the Théâtre Italien in Paris, appearing in Paer’s Principe di Taranto and Griselda, Paisiello’s Nina and Cimarosa’s Il matrimonio segreto. From 1812 he was engaged in Naples, where he sang in Spontini’s La vestale, Mayr’s Medea in Corinto and Gluck’s Iphigénie en Aulide. At the S Carlo he created roles in eight operas by Rossini: Leicester in Elisabetta, regina d’Inghilterra (1815); Rinaldo in Armida (1817); Osiride in Mosè in Egitto and Agorante in Ricciardo e Zoraide (1818); Pyrrhus in Ermione and Roderick Dhu in La donna del lago (1819); Erisso in Maometto II (1820) and Antenore in Zelmira, as well as the title role of Donizetti’s Alfredo il grande (1823). At the Teatro del Fondo he created the title role of Rossini’s Otello (1816), amazing the public with the force and agility of his singing and the nobility of his bearing. He retired in 1825.

ELIZABETH FORBES

NSA.

See National Sound Archive.

Nucci, Leo

(b Castiglione dei Pepoli, Bologna, 16 April 1942). Italian baritone. A pupil of Giuseppe Marchese, he sang Rossini’s Figaro at Spoleto in 1967, then sang in the chorus at La Scala during further study and made his fully professional début in 1975 at Venice as Schaunard. He appeared at La Scala in 1976 as Figaro, at Covent Garden in 1978 as Miller (Luisa Miller), and as Anckarstroem (Un ballo in maschera) at the Metropolitan in 1980, the Paris Opéra in 1981 and Salzburg in 1989. Nucci’s repertory also includes Marcello, Lescaut, Sharpless, Mamm’ Agata (Le convenienze ed inconvenienze teatrali), Barnaba (La Gioconda), Yevgeny Onegin and Gounod’s Mercutio, but his sonorous voice, strong technique and histrionic ability are best displayed in Verdi, in such roles as Giorgio Germont, Luna, Macbeth, Posa, Amonasro, Rigoletto, Iago and Falstaff, and in Donizetti. Nucci’s many Verdi recordings sometimes lack subtlety of characterization, though he is heard to advantage on disc as Anckarstroem (with Karajan) and as Donizetti’s Malatesta and Belcore.

ELIZABETH FORBES

Nucci, Lucrezio.

Italian music printer who worked with Giovanni Battista Gargano until 1617 when his place was taken by Matteo Nucci.