Nabokov, Nicolas [Nikolay]

Nurïmov, Chary

(b Bairam-Alisk, 1 Jan 1941). Turkmen composer. He graduated from the Gnesin Institute in Moscow where he studied with Litinsky and after some postgraduate work joined the Ashkhabad Institute of Arts (1972). He became head of the Turkmen Composers' Union in 1977 and has received numerous awards and prizes including People's Artist of the Turkmen Republic (1986) and the State Prize of the USSR (1987). He wrote the first Turkmen ballet, Gibel' sukhoveya (‘Death of the Arid Wind’), in 1967. This and his other works – which include a popular Trumpet Concerto – combine Western tradition with Turkmen folk music; some of his compositions were inspired by the beauty of particular melodies found in Turkmen songs and dances.

WORKS

(selective list)

Sym. no.3, 1963–88; Gibel' sukhoveya [Death of the Arid Wind] (ballet), 1967; Tpt Conc., 1968; Tekinskiye freski [The Tekin Frescoes], 11 insts, 1969; Conc.- Poem, 1v, orch, 1971; Bessmertiye [Immortality] (ballet), 1972; Gazel'l [Ghazels], ob, perc, pf, str, 1976; Kugitanskaya tragediya [A Kughitang Tragedy] (ballet), 1977; 3 Qts, 1980–86; Dagestan Conc. [no.1], 1984; Dagestan Conc. [no.2], 1985; film scores, incid music, choral music and songs

RAZIA SULTANOVA

Nürnberg

(Ger.).

See Nuremberg.

Nürnberger.

German family of bowmakers. Christian Gottlob Nürnberger (b Markneukirchen, 31 Dec 1792; d Markneukirchen, 17 Aug 1868), whose father and grandfather were both violin makers, was the first bowmaker of the family, being first recorded as such in 1823. His son, Franz Albert Nürnberger (i) (b 19 Aug 1826; d 26 May 1894) made very high quality bows in an old German style; they are unsigned. Franz Albert (i) and his son, Franz Albert (ii) (b Markneukirchen, 24 April 1854; d Markneukirchen, 15 Feb 1931), were founding members of the Bogenmacherinnung Markneukirchen, where they are recorded as Albert sen. and Albert jun.

Franz Albert (ii) began a very successful business relationship with the Wurlitzer Company, Cincinnati, early in the 20th century. About this time he began to offer a new Tourte-type model, which became the typical ‘Nürnberger bow’. His bows are made of the finest materials and they were as highly regarded as those of his French counterparts. His son, Carl Albert Nürnberger (b Markneukirchen, 28 Oct 1885; d Markneukirchen, 2 March 1971), became his successor. It was Carl Albert, working with his brother Philipp Paul (b 29 Jan 1882; d 6 April 1946), who perfected the ‘Nürnberger bow’. His bows were played by some of the most famous artists of his time, including Fritz Kreisler, Eugène Ysaÿe and David Oistrakh. Carl Albert was succeeded by his son, Karl Albert (b 22 April 1906; d 9 Oct 1972), and grandson, Christian Albert (b 12 Dec 1947).

Expert knowledge is required to distinguish the work of the various members of the family, as the stamp albert nürnberger was used for most of the 20th century.

BIBLIOGRAPHY

LügendorffGL

J. Roda: Bows for Musical Instruments of the Violin Family (Chicago, 1959)

KLAUS GRÜNKE

Nussio, Otmar

(b Grosseto, 23 Oct 1902; d Lugano, 22 July 1990). Swiss conductor, composer and flautist of Hungarian descent. He studied at Milan and in Rome under Respighi, then in 1936 settled in Zürich, teaching the flute at the conservatory until 1938 when he became director of the Orchestra della Radio della Svizzera Italiana until 1966; he maintained this position until 1968; his other function was head of programming of the musical department of Radio della Svizzera italiana. In 1953 he founded the Concerti di Lugano, of which he was the artistic director until 1966. His music avoids modern elements and is characterized by a faithfulness to traditional forms, a descriptive quality and skilful orchestration. His celebratory Vita ticinese (1941) reveals his attachment to the typically Swiss Festspiel. In his later years he turned to poetry: his collection Il caleidoscopio d’un ottuagenario was published in 1985.

WORKS

(selective list)

Poemetto, orch, 1928; Fl Conc., 1936; Vita ticinese, solo vv, chorus, orch, 1941; Moglie e marito, ob, bn, str, 1944; Le avventure di Gianni, incid music, 1949; Escapades musicales, orch, 1949; I sette peccati capitali, chorus, orch, 1949; Rubensiana, orch, 1950; Hommages musicaux, orch, 1954; Le bal des voleurs, ballet, 1955; Canti e danze d’Illiria, orch, 1955; Conc. classico, hpd/pf, str, 1955; Portraits musicaux, orch, 1955; Notturno di Valdemosa, orch, 1956; Pf Conc., 1960; Cant. ticinese, solo vv, chorus, orch, 1962; Poet at Fort Moultrie, orch, 1967; Passatempo donchisciottesco, cl, orch, 1971; Alborada, orch, 1971; chbr music, incl. 3 vn sonatas, vc sonata, Cervantesca, fl, bn, tpt, orch, 1988

Principal publishers: Ah & Simrock, Boosey & Hawkes, Carisch, Chappell, Universal

WRITINGS

‘Suoni e fortuna’, Rivista di Lugano (1984–5) [autobiography]

BIBLIOGRAPHY

G. Pedrazzi: 50 anni di Radio della Svizzera Italiana (Lugano, 1983)

F.A. Vitali: Radio Monte Ceneri (Locarno, 1990)

KURT VON FISCHER/R/CARLO PICCARDI

Nüssle.

See Nisle family.

Nut (i)

(Fr. sillet; Ger. Sattel, Obersattel; It. capo tasto). In string instruments, the thin ridge inserted between the pegbox and fingerboard, and at a right angle to them (see Violin, fig.5). It is generally of ebony or other hardwood, but sometimes of ivory (especially in early instruments). The strings, secured at the lower end of the instrument, run over the bridge and then over the nut to the pegs or other tightening devices. The nut serves to raise the strings sufficiently above the fingerboard to allow the open strings to sound freely in a given length from nut to bridge and, like the bridge, it holds the strings at fixed distances apart by means of grooves cut in its top.

For the meaning of ‘nut’ when speaking of a bow see Frog.

DAVID D. BOYDEN/R