Nabokov, Nicolas [Nikolay]
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- Naudot, Jacques-Christophe
- WORKS
- BIBLIOGRAPHY
Naudé, Gabriel(b Paris, 2 Feb 1600; d Abbeville, 30 July 1653). French bibliographer and composer. He studied medicine in Paris and Padua. In 1633 he received the honorary title of médecin du roi. As librarian to Cardinal Mazarin, he established in 1644 the first public library in France; the Fronde of the Paris parlement (1648–53) ordered that it be sold, and Naudé purchased many of the medical books. He then left for Stockholm, where he danced in the court entertainments of Queen Christina during the first half of 1653. His participation is documented by a piece by him headed ‘Galliard Mons: Nau ae’ [Naudé] (in a manuscript at S-Uu, ed. in MMS, viii, 1976). Other dances bearing the ascription ‘Noë’ are possibly by him or by Stephen Nau. He died on his way back to France. (J.J.S. Mráček: ‘An Unjustly Neglected Source for the Study and Performance of Seventeenth-Century Instrumental Dance Music’, IMSCR XI: Copenhagen 1972, 563–75) JAROSLAV MRÁČEK Naudot, Jacques-Christophe(b c1690; d Paris, 26 Nov 1762). French composer, flautist and teacher. He is sometimes erroneously referred to as Jean-Jacques. First heard of in 1719, when he was identified as a ‘master of music’ in a marriage document, Naudot published his first compositions in 1726. According to Quantz’s autobiography, Naudot was among the flautists then active in Paris. He was described by Walther (1732) as a ‘flourishing’ French flautist, and in 1739 was one of three flautists (with Lucas and Michel Blavet) whose ‘rare talent’ for the flute caused the poet Denesle to dedicate his poem Syrinx, ou L’origine de la flûte to them. Although it seems clear that Naudot was well known in Paris as a player, it is not known where he played; perhaps it was mainly in private salons, for the dedications to many of his works show that he had a number of aristocratic and bourgeois pupils and patrons. He may have taught the hurdy-gurdy and musette as well as the flute. Naudot was a freemason, and on 7 May 1737 was elected ‘superintendent of music’ for the Coustos-Villeroy lodge; in the same year he brought out the earliest collection of masonic songs to appear in France. Between 1726 and 1742 he published a long line of compositions, principally for the flute; thereafter they appeared less regularly, and after 1752 he published no more. When he died in 1762, an official document described him as a ‘master of flute and of music’. (Giannini mistranslates ‘m.e’ in this document as ‘merchant’, and hence uses it as the basis for an unfounded hypothesis about Naudot’s association with the flute trade.) Among Naudot’s compositions, of special importance are the flute concertos of op.11, probably published between 1735 and 1737, which were the second printed set of flute concertos to appear in all Europe (preceded only by Vivaldi’s VI Concerti a flauto traverso, op.10). In these concertos Naudot showed himself to be a master of the Italian concerto and of a technically advanced flute style full of rapid scalic runs and broken-chord figuration. Naudot’s early solo sonatas for flute and continuo, generally in four movements, already showed a leaning towards this style. By op.9 he had developed a new type of moderate-tempo third movement, called ‘Aria’, which was adopted by his contemporaries Boismortier and Blavet. In his later flute works Naudot occasionally approached the galant style in his slow movements, and his fast movements became more clearly phrased, concise and lightly flowing. Most of his duet and trio sonatas are lighter in vein than the solo works, except for the last trios (op.15), three-movement works which contain elements of the Italian symphonic style (just beginning to be heard in Paris) as well as skilfully worked out fugues. Apart from his flute works, Naudot produced a set of difficult sonatas for hurdy-gurdy and continuo (op.14) of which three exploit double stops more thoroughly than any other composer’s works for the instrument, a set of concertos designed principally for a solo hurdy-gurdy or musette (op.17), dedicated to the hurdy-gurdy virtuoso Danguy l’aîné, and a number of lightweight pieces for hurdy-gurdies or musettes. He also published two books of simple pieces for two hunting horns or trumpets and, in his collection of masonic songs, two marches for hunting horns, flutes, oboes and continuo and his only known vocal work, a ‘Duo pour les Francs-maçons’. Though Naudot wrote much music that was frivolous, his best works were important in contributing to the greater virtuosity the flute was gaining in French music in the 1730s and in helping to strengthen the role of the Italian style and of the solo concerto in French woodwind literature. They also comprise some of the most rewarding pieces produced by the French flute school. His works were reprinted many times and must have been well liked by the amateur players of his day.
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BIBLIOGRAPHYLabordeMP WaltherML F.W. Marpurg: ‘Nachricht von verschiedenen berühmten Violinisten und Flötenisten itziger Zeit zu Paris’, Historisch-kritische Beyträge zur Aufnahme der Musik, i (Berlin, 1754–5), 473 J.J. Quantz: ‘Herrn Johann Joachim Quantzens Lebenslauf, von ihm selbst entworfen’, Historisch-kritische Beyträge zur Aufnahme der Musik, ed. F.W. Marpurg, i (Berlin, 1754–5), 238 [Eng. trans. in P. Nettl: Forgotten Musicians (New York, 1951), 311] M. Brenet: ‘La librairie musicale en France de 1653 à 1790’, SIMG, viii (1906–7), 401–66, esp. 430, 439 L. de La Laurencie and G. de Saint-Foix: ‘Contribution à l’histoire de la symphonie française vers 1750’, Année musicale, i (1911), 1–123, esp. 22–5 G. Cucuel: ‘Notes sur quelques musiciens, luthiers, éditeurs et graveurs de musique au XVIIIe siècle’, SIMG, xiv (1912–13), 243–9 T.J. Underwood: The Life and Music of Jacques-Christophe Naudot (diss., North Texas State U., 1970) J.M. Bowers: The French Flute School from 1700 to 1760 (diss., U. of California, Berkeley, 1971) A. Devriès: Edition et commerce de la musique gravée à Paris dans la première moitié du XVIIIe siècle (Geneva, 1976), 231–2 J.M. Bowers: ‘A Catalogue of French Works for the Transverse Flute, 1692–1761’, Recherches sur la musique française classique, xviii (1978), 102, 110, 116–17, 121 J. Morehen: ‘Masonic Instrumental Music of the Eighteenth Century: a Survey’, The Music Review, xlii (1981), 219–21 R.A. Green: ‘Eighteenth-Century French Chamber Music for Vielle’, EMc, xv (1987), 469–79 R. Cotte: La musique maçonnique et ses musiciens (Le Mans, 2/1991) T. Giannini: Great Flute Makers of France: the Lot and Godfroy Families, 1650–1900 (London, 1993) R.A. Green: The Hurdy-Gurdy in Eighteenth-Century France (Bloomington, IN, 1995) JANE M. BOWERS Yüklə 10,2 Mb. Dostları ilə paylaş:
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