Nabokov, Nicolas [Nikolay]
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- BIBLIOGRAPHY
- Nystroem, Gösta
- WORKS Principal publisher: Nordiska Musikförlaget dramatic
- N.Z. Cracoviensis
Nystedt, Knut(b Oslo, 3 Sept 1915). Norwegian composer. His first teachers were Arild Sandvoild (organ) and Reimar Riefling (piano). He later studied theory and composition with Brustad and in the USA with Copland in 1947; Fjeldstadt gave him instruction in conducting. Between 1946 and 1982 Nystedt held the position of organist and choirmaster at the Torshov Church in Oslo. In 1950 he founded Det norske solistkor, with which he toured throughout the world, often presenting new works in the choral repertory. The group quickly acquired an outstanding reputation. Nystedt’s first compositions were in a national Romantic style, making conscious use of folkloric elements within a modal harmonic and melodic language. After World War II he moved rapidly in the direction of neo-classicism, influenced primarily by Hindemith as well as Poulenc and Honegger; the extrovert and strongly rhythmic Symphony for Strings op.26 (1950) is typical of this period. With the renewal of Norwegian church music in the late 1950s Nystedt composed a collection of motets for the Protestant liturgy and was subsequently a much sought-after choral composer in the USA. In the 1960s he became attracted to the timbral developments in the music of Ligeti and Penderecki. This preoccupation is evident in the cantata Lucis creator optime op.58 (1968), one of his most significant works, in which he reaped the benefits of his practical experience in both choral and orchestral music. In the 1970s Nystedt played a significant role in introducing neo-romantic and pluralist traits into Norwegian music. In works such as Shells (1973) he developed new choral techniques with, again, a strong emphasis on timbral possibilities. Characteristic of his compositional technique is his integration of modern timbral experiments into a tonal framework with clear traditional points of reference. With unfailing artistry he has shown a remarkable ability to adapt new musical developments to his own, personal style. His inventiveness continued unabated in the 1980s and 90s. WORKS(selective list)
BIBLIOGRAPHYN. Grinde: Norsk musikkhistorie (Oslo, 1971, 3/1981; Eng. trans., 1991) B. Kortsen: Contemporary Norwegian Chamber Music (Bergen, 1971) M.E. Stallcop: The A Cappella Choral Music of Knut Nystedt (diss., Arizona State U., 1975) J. Fongaard: ‘Forskjellige faser i Knut Nystedts utvikling som kvartettkomponist’, Studia musicologica norvegica, ix (1983), 136–50 H. Herresthal, ed.: Festskrift til Knut Nystedt (Oslo, 1985) HARALD HERRESTHAL Nystroem, Gösta(b Silvberg, Dalarna, 13 Oct 1890; d Särö, 9 Aug 1966). Swedish composer and painter. The son of a headmaster, organist, amateur painter and botanist, he grew up in Österhaninge. His father encouraged him to play the piano and gave him lessons in harmony and composition; until he was 11 he sang in the church choir, and from the age of 12 he deputized for his father as organist. At 15 he began private piano and harmony studies with Lundberg and Bergenson in Stockholm, and in the next year, after he had been refused admission to the conservatory, he studied in Strängnäs to become a primary-school teacher. He was able to study at the Swedish Royal Academy of Music in 1913–14, while taking private composition lessons from Hallén, but he was discontented there and went to Copenhagen, where he studied painting and composition for four years. After brief music studies in Germany he went to Paris in 1920, and there he remained for 12 years in the company of Scandinavian and French artists. He had lessons in composition and instrumentation from d’Indy and Sabaneyev and in conducting from Chevillard. After his return to Sweden he became a pugnacious music critic for the Göteborgs Handels- och sjöfartstidning (1932–47). He made painting trips along the Mediterranean coasts of Spain and France, and he held exhibitions in Copenhagen, Stockholm and Paris. Apart from his father, the greatest influences to which he admitted were from painters: Piero della Francesca, Braque and Adrian-Nilsson. As a composer Nystroem worked best on a large scale, sufficient to allow his music to grow steadily and organically from its initial ideas. Much of his early work, including a piano concerto, a ballet and two oratorios all written in a late Romantic style, was lost when he moved to Paris in 1920. In such works as the symphonic poem Ishavet (‘The Arctic Ocean’, 1924–5) he revealed a powerful and individual, though somewhat ornate, orchestration influenced by Debussy, Ravel and Stravinsky's The Rite of Spring. Thereafter he was influenced by his study of Baroque polyphony, and during the 1930s he achieved a synthesis of neo-Baroque features and Romantic emotional ardour. For example, in the Concerto no.1 for string orchestra (1929–30) and the Sinfonia breve (1929–31), the latter an artistic breakthrough, he brought together strict linear construction, polyrhythm and harsh dissonance, producing a style that was found shocking at the time. This style was perfected and brought to a dramatic culmination in the Sinfonia espressiva (1932–5), where an ever more intensified development through the four movements leads from the sound of a solo violin to a fully orchestrated, fugued mass of sound. Later Nystroem’s music became more harmonic in conception and more lyrical in expression; nature, and in particular the sea, became a dominant stimulus. Marine Impressionism had already featured in The Arctic Ocean, a description of a voyage in the northern Arctic with Amundsen, and the manner was pursued in the incidental music to The Tempest (1934), the Sånger vid havet (‘Songs by the Sea’, 1942), the Sinfonia del mare (1947–8), which, built in an effective symphonic curve around the song ‘Det enda’ (‘The Only Thing’), brought Nystroem popularity, the opera Herr Arnes penningar (‘Herr Arne’s Money’, 1958) and the powerful Concerto ricercante (1959), constructed in one sweeping stream. His last works saw a return to taut contrapuntal structure combined with a mature, elegiac tone, as in the Sinfonia seria (1963), the Sinfonia tramontana (1965) and the two string quartets. WORKSPrincipal publisher: Nordiska Musikförlaget dramatic
orchestral
choral and chamber
songsfor 1v, pf unless otherwise stated
WRITINGS‘Nya strömningar i skandinavisk musik’, En bok tillägnad Torgny Segerstedt (Göteborg, 1936), 169 ‘5 musikminnen’, Musiklivet – Vår sång, xxxiii (1960), 68 ‘Blandt musikkens urostifter vil jeg ikke vaere med’, Musikalske selvportraetter, ed. T. Meyer, J. Müller-Marein and H. Reinhardt (Copenhagen, 1966), 209–13
BIBLIOGRAPHYL. Sabaneyev: ‘Gösta Nystroem: a New Swedish Composer’, MT, lxix (1928), 1084–5 W. Seymer: ‘Gösta Nystroem’, Svenska män och kvinnor, ed. N. Bohman and T. Dahl (Stockholm, 1942–55) M. Pergament: ‘Gösta Nystroem: Swedish Composer’, ML, xxvii (1946), 66–70 N. Lindgren: Gösta Adrian-Nilsson/GAN (Stockholm, 1949) B. Wallner: ‘Och Sabenejev var hans profet’, Nutida musik, vi/4 (1962–3), 6–8 P.L.K. Christensen: The Orchestral Works of Gösta Nystroem: a Critical Study (London, 1965) [incl. work-list] H. Connor: Samtal med tonsättare (Stockholm, 1971) G. Bergendal: 33 svenska komponister (Stockholm, 1972) J.H. Yoell: The Nordic Sound (Boston, 1974) J.O. Rudén: ‘Sinfonia del mare av Gösta Nystroem: en otidsenlig (?) analys’ [Sinfonia del mare by Nystroem: an unfashionable (?) analysis], Kungl. musikaliska akademien årsskrift 1978, 25–51 A. Hodgson: Scandinavian Musik: Finland and Sweden (London, 1984) [incl. selective discography] L. Hedwall: ‘Som ett blommande mandelträd’, Musikrevy, xlv (1990), 286–91 L. Reimers: Gösta Nystroem: Life and Works (Stockholm, 1992) [pubn of the Swedish Music Information Centre] ROLF HAGLUND N.Z. Cracoviensis(fl 1st half of the 16th century). Polish composer and organist. Eight works attributed to ‘N.Z.’ and one to ‘N.Z. Crac.’, are known from the organ tablature from the monastery of the Holy Ghost, Kraków (this large manuscript of 362 pages, written about 1548, was destroyed during World War II, but there is a microfilm in the Isham Memorial Library, Cambridge, Massachusetts). Six of these nine compositions were also copied in Jan z Lublina’s tablature (PL-Kp 1716; ed. in CEKM, vi, 1964–7), five without ascription while the sixth is initialled N.C. It is not known whether this is a copyist’s error for N.Z., or whether N.Z. is identifiable with N.C. (i.e. Nicolaus Cracoviensis, also called Mikołaj z Krakowa), who also has works attributed to him in the two tablatures. All N.Z.'s pieces are based on cantus firmi, seven on chorale melodies and two on sacred songs. The chorale-based works are all in four parts: these are Kyrie ‘Fons bonitatis’ and Sanctus solemne, both intended for alternatim performance, the introit Gaudeamus omnes, Ecce panis (a single stanza from the sequence Lauda Sion; an anonymous piece in PL-Kp 1716 based on the entire sequence may also be by him), the antiphon for St Stanislaus Ortus de Polonia (ed. Z.M. Szweykowski, Muzyka w dawnym Krakowie, Kraków, 1964) and the hymns Crux fidelis and Tantum ergo. The works based on song melodies are Nasz Zbawiciel [Our Saviour] (ed. in MAP, ii/4, 1994) and Cristus iam surrexit; both are in three parts. The cantus firmi usually migrate; free counterpoint with instrumental traits dominates, but imitation is used in some works. Dominant-tonic cadences are comparatively frequent. Nasz Zbawiciel is in the form of variations: the song melody is heard first in the lowest part, then in the middle and highest parts. BIBLIOGRAPHYZ. Jachimecki: Tabulatura organowa z biblioteki klasztoru Św Ducha w Krakowie z roku 1548 [The organ tablature of 1548 from the library of the monastery of the Holy Ghost, Kraków] (Kraków, 1913) B. Brzezińska: Repertuar polskich tabulatur organowych z pierwszej połowy XVI wieku [The repertory of Polish organ tablatures from the first half of the 16th century] (Kraków, 1987) P. Poźniak: ‘Le vocal et l'instrumental dans les tablatures manuscrites polonaises du XVIe siècle’, Le concert des voix et des instruments à la Renaissance: Tours 1991, 671–88 PIOTR POŹNIAK Yüklə 10,2 Mb. Dostları ilə paylaş:
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