Nabokov, Nicolas [Nikolay]
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- Bu səhifədəki naviqasiya:
- Nuno, Jaime
- BIBLIOGRAPHY
- Nuorvala, Juhani (Aarne Kaleva)
- WORKS
Nunn, Trevor (Robert)(b Ipswich, 14 Jan 1940). English director. After studying at Cambridge and gaining a director’s scholarship to the Belgrade Theatre, Coventry, he joined the Royal Shakespeare Company in 1965, becoming its youngest artistic director in 1968, a post he held until 1986. His early success at the company made generous use of original music and choreographed movement. For The Comedy of Errors (1976) Nunn and composer Guy Woolfenden used the text as the book for a musical comedy. In 1981 he directed Lloyd Webber’s Cats, employing many of his stylistic solutions to its staging from his Dickens production, The Life and Adventures of Nicholas Nickleby (1980): a troupe of performers playing many parts, the use of shared narration, ingenious use of ‘fringe’ techniques, and designs by John Napier, which literally thrust the performance into the heart of the audience. Subsequent collaborations with Lloyd Webber on Starlight Express (1984), Aspects of Love (1989) and Sunset Boulevard (1993) lacked the originality of Cats and became progressively more conventional. Although Cats became the longest running musical in theatre history, in purely commercial terms its success was exceeded by Les misérables, directed by Nunn with John Caird for the Royal Shakespeare Company in 1985; quasi-operatic, Les misérables suited Nunn’s bold and fluid style. Of his opera productions, including Idomeneo, Così fan tutte and Billy Budd for Glyndebourne, only Porgy and Bess (1988) truly benefited from his approach. Nunn’s grounding in Elizabethan and Jacobean drama suited him well for the changing musical theatre of the 1980s, where the wit and sophistication of musical comedy were supplanted by heightened emotion and a non-cerebral appeal, more akin to the operatic experience. Nunn contributed to the move towards the musical as ‘event’. Ironically, when he replaced the ailing Michael Bennett, late in the development of Chess (1986), he produced his finest achievement in the genre. He was appointed director of the Royal National Theatre in 1997. ROBERT HOWIE Nuno, Jaime(b S Juan de las Abadesas, nr Ripoll, 8 Sept 1824; d Bayside, NY, 18 July 1908). Catalan composer. He was a choirboy at Barcelona Cathedral from 1833 to 1840 and later studied briefly in Italy with Mercadante. On returning to Catalonia, he conducted local orchestras at Sabadel and Tarrasa and composed church music and dance music until becoming a military reservist in 1845. In 1851 he was sent to Havana as director of the band of the Queen’s Regiment with a commission to organize Cuban military bands on the same model. In 1854 the Mexican president Santa Anna invited him to Mexico City with the rank of infantry captain. On 6 May 1854 Santa Anna initiated a competition for new music to fit the text of the national anthem written in November 1853 by Francisco González Bocanegra. The judges, all native Mexicans, awarded first prize to Nuno’s anonymously submitted music on 14 August 1854, and it was given its première in the Gran Teatro Santa Anna, later renamed Nacional, on 15 September 1854, conducted by Giovanni Bottesini. Two months after Santa Anna’s deposition on 9 August 1855, Nuno followed him to Havana and from there went to New York in the company of the contralto Vestivalí. In 1857 he directed the orchestra that played at Thalberg’s concerts there, in 1860 he conducted an opera company doing a season at the Teatro Tacón in Havana and in 1862 he was contracted to direct a touring Italian opera troupe organized in New York by Mazzolini and Biaceki. During the 1864 visit of this troupe to Mexico City he spent five months conducting opera at the Teatro Imperial (formerly Nacional). The troupe then visited Havana, and was eventually dissolved in 1869. Recommended by Gustave Schirmer, Nuno next established himself as a singing teacher and church organist in Buffalo. Invited to Mexico City for a third stay in 1901, he arrived on 12 September for a triumphal tour lasting a month. In 1904 he made a fourth visit, this time in search of a suitable invitation to settle there. Received coldly, he returned to Buffalo and in 1906 settled with his son at Auburndale, Bayside, where he died. BIBLIOGRAPHYB. Beltrán: Historia del himno nacional mexicano (Mexico City, 1939), 51, 57–60, 70–77, 111–49 J.C. Romero: Verdadera historia del himno nacional mexicano (Mexico City, 1961), 79–141 R. Stevenson: ‘Jaime Nuno after the Mexican National Anthem’, Inter-American Music Review, ii/2 (1979–80), 103–16 ROBERT STEVENSON Nuorvala, Juhani (Aarne Kaleva)(b Helsinki, 5 Dec 1961). Finnish composer. He studied composition with Hämeenniemi at the Sibelius Academy in Helsinki (1984–5, 1986–91, diploma 1991) and musicology and aesthetics at Helsinki University during the 1980s. He has also studied with Murail (1987, 1989) and Lindberg (1985); he spent 1993–4 in New York, where his teacher was Del Tredici. In addition he has attended composition courses directed by Cage, Grisey, Nono, Takemitsu and Andriessen, among others. Nuorvala’s music has exhibited many different styles. The transition from one style to the next has not been a slow process: often a new work has had quite a different stylistic goal to its predecessor. In the 1980s his interests lay closest to minimalism and the spectral music as represented by his teacher Murail, and in the 1990s pulsation and polyrhythmics became more clearly apparent. The early Kajauksia, väreitä (‘Rings and Ripples’, 1985) for female voice and six players has minimalist ingredients. Pinta ja säe (‘Surface and Phrase’, 1991), which won an award in the Vienna Modern Masters competition, is more obviously spectral music. The work is built on a positioning of contrasts: long tunes, often coloured by micro-intervals, form the ‘surface’ while more elastic melodic figures are the ‘phrases’. Both pulsation and Nuorvala’s earlier devotion to rock music are particularly noticeable in the orchestral work Notturno urbano (1996), the main theme of which takes its cue from rock music, and in the earlier Dancescapes (1992) for string quartet. Kellarisinfonia (‘Garage Symphony’, 1995) has also felt the impact of rock and jazz. It approaches big band music, yet its harmonies are atonal. Twitching Gait (1993), composed during his studies in New York, is built on alternating polyrhythmic figures, and some of its melodic characteristics veer towards jazz. Nuorvala has been called Finland’s most ‘American’ composer; his crossover approach, using elements of jazz and rock, is indeed conspicuously unusual among younger Finnish composers.
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