Nabokov, Nicolas [Nikolay]
Nason. See under Organ stop. Nassarre [Nasarre], Pablo
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- BIBLIOGRAPHY
- Nast, Minnie
- Nastasijević, Svetomir
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Nason.See under Organ stop. Nassarre [Nasarre], Pablo(b Aragon, c1654; d Zaragoza, c1730). Spanish theorist, composer and organist. Documentation concerning his life is scanty, but we do know that he was blind from infancy, studied the organ with Pablo Bruna, entered the Franciscan order (at 22, according to early biographers) and served throughout his career as organist of the monastery of S Francisco at Zaragoza. From evidence in his publications he must have been born at least ten years earlier than 1664, the date of birth traditionally given. His first work was Fragmentos músicos; a second edition (by José de Torres) is much longer and is provided with music examples. Its four sections deal with plainchant, mensuration, counterpoint and dissonance treatment, using dialogue form and concentrating on practical considerations; for the treatment of speculative matters Nassarre referred the reader to his Escuela música, which was already in preparation but did not finally appear until 1723–4, representing, in his own words, a labour of 50 years. Its two volumes total over 1000 pages; each is divided into four books of 20 chapters. Comparable to Cerone in comprehensiveness, ranging from fanciful speculation to practical matters, its topics include definitions and the effects of music, plainchant, the metres and modes of polyphonic music, an exhaustive description of instruments, harmonic combinations, strict counterpoint, free composition, performing practices (particularly embellishment) and the activities of the church musician. Nassarre remained faithful to the conservative Spanish tradition, defending it against Italian innovations; his work maintained unquestioned authority among later Spanish theorists until the attacks of Eximeno, who referred to him as ‘an organist by birth and a blind man by profession’ and attempted to overthrow the Pythagorean view of music that he had so staunchly upheld. Of his few surviving compositions one is a toccata surprisingly in the style of an Italian concerto. WORKS
WRITINGSFragmentos músicos (Zaragoza, 1683, enlarged 2/1700 by J. de Torres) Escuela música, según la práctica moderna (Zaragoza, 1723–4/R) [rev. 1980 with study by L. Siemens Hernàndez] BIBLIOGRAPHYF. Latassa: Biblioteca nueva de los escritores aragoneses que florecieron desde el año de 1500 (Pamplona, 1798–1802) M. Menéndez y Pelayo: Historia de las ideas estéticas en España (Madrid, 1883–91; rev. 3/1962 by E. Sánchez Reyer) D. Forrester: Pablo Nasarre’s ‘Fragmentos músicos’: Translation and Commentary (diss., U. of Georgia, 1969) F.J. León Tello: La teoria española de la música en los siglos XVII y XVIII (Madrid, 1974) ‘La teoná del órgano y del organista de P. Nassarre’, El órgano español I: Madrid 1981, 99–107 L. Siemens Hernàndez: ‘Un dictamen de Pablo Nassarre (1694) probablemente relacionade con la polémica musical de Paredes y Durón’, Nassarre, ii (1986), 173–84 A. Zaldívar Gracia: ‘“Escuela Música” de Fray Pablo Nassarre y la música de las esferas’, ibid., 115–35 C. Johnson, ed.: An Historical Survey of Organ Performance Practices and Repertoire, i: Spain 1550–1830 (Boston, 1994) ALMONTE HOWELL/JUAN JOSÉ CARRERAS Nast, Minnie(b Karlsruhe, 10 Oct 1874; d Füssen, 20 June 1956). German soprano. She studied at the Karlsruhe Conservatory and made her début at Aachen in 1897. She sang in Dresden from 1898 to 1919 and then taught there until the bombing of the city in 1945. She toured the USA and Canada in 1905 and was also heard in Russia, the Netherlands and England, where, at Covent Garden, her principal roles were Aennchen, Marzelline and Eva. This was in the 1907 winter season; its tragic sequel, the shipwreck in which many of the company lost their lives, made her determined never to go overseas again. She sang mostly light and soubrette roles, specializing in Mozart and, in 1911, creating the part of Sophie in Der Rosenkavalier. Her technical accomplishment and clear tone are well preserved in some early solo recordings; she also recorded her original part in the trio from Der Rosenkavalier and sang Micaëla in the first recording of Carmen. J.B. STEANE Nastasijević, Svetomir(b Gornji Milanovac, 1 April 1902; d Belgrade, 17 Aug 1979). Serbian composer. An architect by profession, he played the violin and the viola in various orchestras and chamber ensembles (1920–32) in Belgrade. He also worked as assistant stage manager at the Belgrade Opera (1935–6) and as general secretary of the music programme at Radio Belgrade (1940–41). Nationalistic ideas, in both text and music, are characteristic of his compositions; his style is predominantly diatonic and homophonic, and often achieves an archaic and folklike sonority. His best opera, Djuradj Branković (1938), a dramatic portrayal of the tragic destiny of a Serbian emperor, is close in style to Russian historical operas, with melodic recitative, modal diatonic harmony and leitmotifs. Among his other works, he composed orchestral suites that served as a basis for ballets (e.g. Sabor, ‘The Country Fair’, 1927) and concertos that emphasize the role of the soloist. WORKS(selective list) stage
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BIBLIOGRAPHYG. Brili: Svetomir Nastasijević: neimar balkanske muzike [Nastasijević: the builder of Balkan music] (Belgrade, 1966) V. Peričić: Muzički stvaraoci u Srbiji [Musical creators in Serbia] (Belgrade, 1969) G. Krajačić: Opere i baleti Svetomira Nastasijevića (Belgrade, 1976) ROKSANDA PEJOVIĆ Yüklə 10,2 Mb. Dostları ilə paylaş:
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