Nabokov, Nicolas [Nikolay]
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Nascimbene, Mario(b Milan, 28 Nov 1913). Italian composer. He studied composition and conducting at the Milan Conservatory with Pizzetti and Renzo Bossi, and graduated in 1935. He then studied film music at the Accademia di S Cecilia in Rome with Masetti, and made his cinema début with Ferdinando Maria Poggioli’s L’amore canta (1941). In all he has composed more than 300 film scores. A skilled craftsman with an ability to extract the most from sometimes weak materials, Nascimbene was one of the first composers to acquire the ability to manipulate emotions, typical of the film specialist. His resulting achievements, while conceptually banal, were highly effective on a psychological level, with the abandonment of traditional hierarchies and the adoption of musically organized sound effects, such as the noise of a typewriter in Roma ore undici (1952) and Cronaca di un delitto (1953). He made equally effective use of primitive sounds and instruments including whistling and the jew’s harp, as in Giorni d’amore (1954) and Uomini e lupi (1957), and the electro-acoustic manipulation of orchestral instruments, for example in Alexander the Great (1956), The Vikings (1958) and Barabbas (1961). As well as important collaborations with directors such as Valerio Zurlini, Nascimbene is probably the Italian composer who has worked most with directors from the USA (Joseph Mankiewicz, Charles Vidor, King Vidor), and the UK (Val Guest, Jack Clayton, Jack Cardiff, Don Chaffey). He has been awarded three Nastri d’argento and one David di Donatello. WORKS(selective list)
BIBLIOGRAPHYM. Giusti, ed.: ‘Conversazione con Mario Nascimbene’, Filmcritica, xxxi (1980), 234–6 M. Nascimbene: Malgré moi musicista (Venice, 1992) SERGIO MICELI Nascimbeni [Nasimbeni], Stefano(b Mantua; fl 1588–1619). Italian composer. In 1588 he contributed to Alfonso Preti’s L’amorosa caccia (RISM 158814), a collection devoted to native Mantuan composers. In 1600 he was for a short period maestro di cappella of Mantua Cathedral, and between April 1609 and August 1612 succeeded Gastoldi as maestro di cappella of the ducal chapel of S Barbara in Mantua; he had taken holy orders by the date of this appointment. He apparently left Mantua in 1612 and is later recorded as maestro di cappella of S Andrea in Portogruaro, near Concórdia, between May 1614 and the second half of 1615; this post was also held by Lodovico Viadana, his predecessor at Mantua Cathedral. WORKS
BIBLIOGRAPHYBertolottiM EitnerQ P. Canal: Della musica in Mantova (Venice, 1881/R) P.M. Tagmann: Archivalische Studien zur Musikpflege am Dom von Mantua (1500–1627) (Berne, 1967) P.M. Tagmann: ‘La cappella dei maestri cantori della Basilica Palatina di Santa Barbara a Mantova (1565–1630)’, Civiltà mantovana, iv (1970), 376–400 L. Mari: Fedeltà alla tradizione e fermenti innovativi nelle messe a otti voce di Stefano Nascimbeni (thesis, U. of Pavia, 1990–91) PIERRE M. TAGMANN Nascimento, Milton(b Rio de Janeiro, 26 Oct 1942). Brazilian composer, singer and instrumentalist. As a child he was taken by his adoptive parents to Três Pontas in Minas Gerais, where his mother taught him the piano. He also learned the accordion, guitar and bass. At 15 he formed his own vocal group, Luar de Prata, which included Wagner Tiso, a keyboard player and arranger who worked with Nascimento throughout his career. In 1963 he moved to Belo Horizonte where he mostly played jazz and also met his future partners, the musicians Fernando Brant and the brothers Márcio and Lô Borges, with whom he co-authored many pieces. He began to compose on a regular basis in 1963 and two years later was recognized as best performer at the first Festival of Brazilian Popular Music. In 1966 the pop singer Elis Regina recorded his song Canção do Sal, and in 1967 his prize-winning Travessia, with lyrics by Brant, was included on his first album Milton Nascimento, later reissued as Travessia. In the next year he recorded the LP Courage in the USA for A&M Records with the participation of Herbie Hancock and Airto Moreira, and also performed in USA and Mexico with João Gilberto and Art Blakey. Upon his return to Brazil in 1969 he recorded two albums, Milton Nascimento and Milton, in which he began a long cultivation of Minas Gerais themes. The second of these albums included his great hits Para Lennon e McCartney, Canto Latino and Clube da Esquina. In 1971 he worked on the album Clube da Esquina (1972), whose most significant songs included San Vicente, somewhat reminiscent of Chilean tonada style, Saidas e Bandeiras and the lively and sophisticated Nada Será Como Antes. His next album, Milagre dos Peixes, represented a tour de force in vocal effects, particularly effective in their content as almost all the lyrics were banned by the military government censors. In 1975 Nascimento participated in Wayne Shorter’s album Native Dancer, and in 1976 released his own Minas and Gerais, in which he explored Brazilian and other Latin American folk sources and styles. His own aesthetic orientation in the 1980s was based on a political agenda poetically expressed, as in Sentinela (1980) and especially Missa dos Quilombos (1982), a statement against poverty and oppression which radically mixes Afro-Brazilian musical instruments and rhythms with Catholic hymns. In 1989 he turned his attention to the plight of the native communities of the Amazon, resulting in the album Txai (1990), which contains excerpts of traditional Indian music. In 1994 he made his début at Carnegie Hall, followed by appearances in Canada and Europe. The attraction of his music is undoubtedly due to its sophisticated novelty, Nascimento’s extraordinary vocal ability, and the extremely refined and socially conscious poetry.
BIBLIOGRAPHYM.A. Marcondes, ed.: Enciclopédia da música brasileira: Erudita, folclórica, popular (São Paulo, 1977, 2/1998) A. Romano de Sant’Anna: Música popular e moderna poesia brasileira (Petrópolis, 1978) P. Scarnecchia: Musica Popolare Brasiliana (Milan, 1983) C.A. Perrone: Masters of Contemporary Brazilian Song (Austin, TX, 1989) M. Borges: Os sonhos nos envelhecem: histórias do Clube da Esquina (São Paulo, 1996) C. McGowan and R. Pessanha: The Brazilian Sound (Philadelphia, 1998) GERARD BÉHAGUE Yüklə 10,2 Mb. Dostları ilə paylaş:
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