Nabokov, Nicolas [Nikolay]
Nyert, Pierre de. See Niert, Pierre de. Nyeuwenhuys [Nyhoff]
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- Nylandensis, Theodoricus Petri.
- WORKS (selective list) dramatic
Nyert, Pierre de.See Niert, Pierre de. Nyeuwenhuys [Nyhoff].See Niehoff family. Nygryn, Georg.See Černý, Jiří. Nyiregyházi, Ervin(b Budapest, 19 Jan 1903; d Los Angeles, 13 April 1987). American pianist of Hungarian birth. At the age of two he began to play the piano, and at four he started to compose; as a child prodigy, he was the subject of a detailed study (see Révész). He took piano lessons first with Lamond and, from 1914, with Dohnányi. His public appearances, including a performance of Liszt’s Second Piano Concerto under Nikisch in Berlin (1918) and a New York début (1920), aroused highly favourable comment. His career, however, failed to develop, and although he performed occasionally in the 1920s and 30s (Schoenberg was much impressed by his free, romantic style in 1935) he was reduced to working chiefly in film studios in the Los Angeles area. He continued to compose, and is thought to have written over 700 works. In 1974, in San Francisco, he was again heard in a semi-private recital, and made such an impression that he was taken up by those interested in the history of piano playing, notably the International Piano Archives, and made several recordings. In style he was influenced by Liszt, Busoni and Paderewski; his slow tempos, textual freedoms and individuality of interpretation aroused particular comment. BIBLIOGRAPHYG. Révész: Erwin Nyiregyházy: psychologische Analyse eines musikalisch hervorragenden Kindes (Leipzig, 1916; Eng. trans., 1925/R as The Psychology of a Musical Prodigy) 
Nylandensis, Theodoricus Petri.See Theodoricus Petri Nylandensis. Nyman, Michael (Laurence)(b London, 23 March 1944). English composer. He studied composition with Alan Bush at the RAM (1961–4) and musicology with Dart at King's College, London (1964–7). He also spent time collecting folk music in Romania (1965–6). After showing early promise as a composer, he fell silent for almost a decade, during which he worked variously as an editor, librettist and performer, and as a music critic for The Spectator, The Listener and the New Statesman. It was in The Spectator in 1968 that he first applied the description ‘minimal’ to music, though the claim that he introduced the term to music criticism has been disputed (see Strickland, 241–4). Nyman's earliest work, dating from the mid-1970s, shows the influence of John Cage's aesthetics and the techniques of experimental and minimalist music, both of which he had charted in his book Experimental Music (London, 1974). For instance, the multiple piano piece 1–100 (1976) employs a series of 100 chords, descending gradually across the range of each piano part in a circle-of-fourths motion, to control both the note-to-note details and the overall form. Durations meanwhile are indeterminate, the performers proceeding through the music at their own pace. Like many musicians associated with the English experimental movement, Nyman found himself teaching in fine art rather than music departments, holding posts (from the late 1960s) at Trent Polytechnic, Nottingham University and Goldsmith's College, London. These liberating creative environments led him towards a tactile and intuitive approach to sound and timbre. Pre-existing materials form the basis of much of his early music, including In Re Don Giovanni (1977) and his first film scores for the director Peter Greenaway. While his use of quotation suggests parallels with the early work of Bryars and Christopher Hobbs, the techniques of layering, stratifying, reordering and superimposing that Nyman uses to transform his material more closely resemble those of film and popular music production. Also during this period he began to develop with an ensemble of his own the vibrant and uncompromising sound world of the ‘street band’ he had employed for the National Theatre's production of Goldoni's Il Campiello (1976). The Michael Nyman Band fused the abrasive, amplified timbres and motoric rhythms of rock with the string and brass writing of the classical tradition. For more than a decade, it provided Nyman with plenty of scope for timbral variety, dynamic flexibility and textural contrast, from the forthright articulation and rhythmic propulsion of the score for Greenaway's The Draughtsman's Contract (1982) to the gentle, understated textures of the chamber opera The Man who Mistook his Wife for a Hat (1986). Increasingly during the 1990s, however, Nyman sought ways in which to incorporate this sound into an extended orchestral context, or even, for instance in the Trombone Concerto (1995), to dispense with it altogether. Whereas Nyman's compositions during the 1980s referred explicitly to the works of past composers, the works of the following decade were marked by a concern with self-quotation, in particular the reworking of materials drawn from film scores or other dramatic contexts into independent, large-scale concert pieces. The score for Prospero's Books (1990), itself partly derived from La traversée de Paris (1989), proved particularly fertile in this respect: it gave rise not only to a suite (1994), but also to Ariel Songs (1990–91), Masque Arias (1991) and parts of Noises, Sounds and Sweet Airs (1994), otherwise based largely on La princesse de Milan (1989). The 1990s also saw a significant change in Nyman's style: a move towards a more intimate expressivity characterized by sustained and resonant textures, and a broader approach to melodic writing. Early examples are found in the more reflective moments of Prospero's Books (1990) and the subtle shifts of mood and emphasis in the Six Celan Songs (1990). Allied with this lyricism was an increasing gravitation towards folk music. In the String Quartet no.3 (1990) Nyman drew on the Romanian sources he had studied in the 1960s, while in the score for Jane Campion's The Piano (1992) a series of traditional Scottish melodies is subjected to melodic, rhythmic and harmonic transformations. Though Nyman draws on his knowledge and experience of American minimalism, distinctive elements of his musical language set it apart from those influences. He has spoken of his more ‘intuitive’ approach to process, in which ‘the ear rather than the process is the initial and final arbiter’ (1977, p.7). Moreover, the prominence of the bass in his music, as well as suggesting the influence of rock, creates a harmonic stability and rootedness more characteristic of the European tonal tradition than of American minimalism. It is this often curious confluence of classical harmonic functions and rock rhythms and textures that provides Nyman's music with a rich and effective fusion of the codes of ‘high’ and popular art. WORKS(selective list) dramatic
michael nyman bandfor a combination of the following: 2 s sax + a sax, bar sax + fl/pic, hn, tpt, b trbn/euphonium, pf, 3 vn, va, 2 vc, b gui
other works
WRITINGS‘Minimal Music’, The Spectator (11 Oct 1968) Experimental Music: Cage and Beyond (London, 1974, 2/1999) ‘Hearing/Seeing’, Studio International, no.192 (1976), 233–43 ‘Music’, Studio International, no.193 (1977), 6–8 ‘A Walk through H: the Musical Score’, Catalogue of British Film Institute Productions 1977–8 (London, 1978), 91–2 BIBLIOGRAPHYL. Simon: ‘Music and Film: an Interview with Michael Nyman’, Millennium Film Journal, x/11 (1982), 223–34 D. Rivière and D.Caux: ‘Entretien avec Michael Nyman’, Peter Greenaway (Paris, 1987), 74–91 G. Heldt: ‘“… Breaking the Sequence Down Beat by Beat”: Michael Nyman's Music for the Films of Peter Greenaway’, Film und Fernsehwissenschaftliches Kolloquium: Berlin 1989 (Münster, 1990), 177–88 E. Strickland: Minimalism: Origins (Bloomington, IN, 1993) J. Vogt: ‘Zur Rolle der Filmmusik im postmodernen Kino: die Filme Peter Greenaways und ihre Musik von Michael Nyman’, Musikpädagogische Forschungsberichte, iii (1993), 165–88 R. Mugno: ‘Sinesteticitá dell'esperienza artistica: il sodalizio cinematico-grafico Nyman/Greenaway’, Note su note, ii/2 (1994), 149–99 K.R. Schwarz: Minimalists (London, 1996) PWYLL AP SIÔN Yüklə 10,2 Mb. Dostları ilə paylaş:
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