Nabokov, Nicolas [Nikolay]
Yüklə 10,2 Mb.
|
- Bu səhifədəki naviqasiya:
- (1) Johann Gottlieb Naumann
- WORKS stage
- (2) Emil Naumann
- WORKS vocal
- (3) (Karl) Ernst Naumann
- BIBLIOGRAPHY
Naumann.German family of musicians. (1) Johann Gottlieb Naumann (2) Emil Naumann (3) (Karl) Ernst Naumann BIBLIOGRAPHY DIETER HÄRTWIG/LAURIE H. ONGLEY (1), DIETER HÄRTWIG (2, 3) Naumann (1) Johann Gottlieb Naumann(b Blasewitz, nr Dresden, 17 April 1741; d Dresden, 23 Oct 1801). Composer and conductor. He received his first musical training at the Kreuzschule in Dresden, and in May 1757 went to Italy as travelling companion of the Swedish violinist Anders Wesström. In Padua Tartini took an interest in him, as did Padre Martini in Bologna (1762) and Hasse in Venice. In 1762 he made his début in Venice as an opera composer with the intermezzo Il tesoro insidiato. At Carnival 1764 he collaborated with two other composers in the opera buffa Li creduti spiriti, and in the same year, on Hasse’s recommendation, he was engaged as second church composer at the Dresden court. There he was promoted to church and chamber composer (1765) and then to Kapellmeister (1776). He made further visits to Italy (1765–8, 1772–4), where his operas were successful, as they were elsewhere in Europe (Le nozze disturbate was produced by Haydn in Eszterháza in 1780). His Armida on a libretto by Bertati was one of several spin-offs of a Durandi/De Rogatis composite making the rounds in Italy – this one with direct links to Haydn’s opera of the same title. In 1777, through the negotiations of Count Löwenhjelm, the Swedish diplomat in Dresden, Naumann was appointed to reform the Stockholm Hovkapell and assist Gustavus III with his opera plans. His work there culminated in the operas Cora och Alonzo, performed at the inauguration of the new opera house in Stockholm in 1782, and Gustaf Wasa in 1786, based on an idea of the king’s and long regarded as the Swedish national opera. In 1785–6 he was guest opera composer and conductor in Copenhagen, where he also reformed the Hofkapelle and improved the organization of the court opera. For Copenhagen he composed the tuneful and charming Danish opera Orpheus og Eurydike (1786). After refusing an offer to continue his reforms in Copenhagen, Naumann accepted a favourable lifelong contract as Oberkapellmeister in Dresden (1786). He also became a leading figure in the musical life of the city, conducting two concert series and directing performances of oratorios. He visited Berlin several times at the request of Friedrich Wilhelm II, and in 1788–9 he produced Medea and Protesilao at the Royal Opera House, Berlin, where he was guest conductor and composer. In 1792 he married Catarina von Grodtschilling, daughter of a Danish vice-admiral. Naumann’s extraordinarily large output includes about 25 stage works, one French and 11 Italian oratorios (most for the Catholic Hofkirche in Dresden), German choral cantatas, 21 masses and many other sacred pieces, Italian and German solo cantatas, lieder and a few instrumental works. He was the most important personality in the music history of Dresden between Hasse and Weber, as well as one of the most esteemed musicians in Europe in the late 18th century and one of the last German composers to study in Italy. His early operas were in the Neapolitan and neo-Neapolitan styles, but showed the influence of Hasse, Martini and the buffo art of Galuppi, Piccinni and Paisiello. This synthesis of styles was achieved in his festival opera La clemenza di Tito (1769), which established opera seria at the Dresden opera house, and in Solimano (Carnival 1773). But he gradually drew away from this starting-point and modelled his later operas, such as Orpheus, Medea and Protesilao, on the work of Gluck and the French operas with choruses and ballets. Naumann’s most popular opera, Cora, is notable for its melodies, and quickly spread as a concert opera in German translation (see illustration); the overture presages Der Freischütz. Naumann considered Gustaf Wasa, with its popular march tunes and echoes of Baroque music, his best work. The operas of his last period in Dresden, such as La dama soldato (1791) and Aci e Galatea (1801), contain elements of opera semiseria. Together with the poet Gottfried Körner, he seriously put forward the idea of a German national opera. Aware of the literary manifestations of the Sturm und Drang, Naumann used an extremely sensitive and intimate style representative of early Romanticism in his later works, above all in the church music, Italian solo cantatas and lieder. Particularly innovatory are the harmony, the recurring motifs, the cultivation of woodwind and the choice of texts, which increasingly emphasize nature worship and the cult of elevated friendship. His Vater unser, in the style of a lyrical choral cantata, was esteemed for many years beside Graun’s Tod Jesu and Haydn’s Creation. Naumann’s songs, of which his masonic lieder were the most popular, are similar to those of Hiller and the Berlin lied composers. His early instrumental music is in the style of Tartini, but later he was influenced by the Viennese Classical style (for example, in the keyboard concerto). He also wrote several works, including a set of 12 sonatas, for the glass harmonica, in which he took such a strong interest from 1780, both as a solo instrument and in chamber groups, that he occasionally suffered nervous disorders from its effects. WORKSstage
sacred
other vocal
instrumental
Naumann (2) Emil Naumann(b Berlin, 8 Sept 1827; d Dresden, 23 June 1888). Scholar and composer, grandson of (1) Johann Gottlieb Naumann. A son of M.E. Adolph Naumann, a professor of medicine, he studied with Schnyder von Wartensee and Mendelssohn (1842–4) and received the doctorate from Berlin University in 1867. He was a composer and scholar in Bonn and later in Berlin, where he held the post of Hofkirchen-Musikdirektor from 1850 and edited a cycle of psalms for the church year in 1855. He moved in 1873 to Dresden, where he lectured on music history at the conservatory and was appointed professor. He published numerous pamphlets on music aesthetics and music history, among them Musikdrama oder Oper? (1876), in which he turned against Wagner’s Bayreuth productions. His Illustrierte Musikgeschichte (1880–85), which was translated into several languages and went through many editions, is his most widely known book. His compositions, reminiscent of the style of Mendelssohn and Spohr, include three stage works, sacred music, lieder, two overtures and a few other instrumental pieces. His sister, Ida Naumann Becker (d 1897), was a singer and lied composer. WORKSvocal
instrumental
WRITINGS‘Über den Einfluss deutscher Tonkunst im Auslande’, Neue Berliner Musikzeitung, vi (1852), 9–11 Über Einführung des Psalmengesanges in die evangelische Kirche (Berlin, 1856) [also in Nachklänge, 1872] Das Alter des Psalmengesänges (diss., U. of Berlin, 1867) Die Tonkunst in der Culturgeschichte (Berlin, 1869–70) Ludwig van Beethoven: zur hundertjährigen Geburtstagsfeier (Berlin, 1871) [also in Nachklänge, 1872] Deutsche Tondichter von Sebastian Bach bis auf die Gegenwart (Berlin, 1871, 6/1896) Nachklänge: eine Sammlung von Vorträgen und Gedenkblättern (Berlin, 1872) Deutschlands musikalische Heroen in ihrer Rückwirkung auf die Nation (Berlin, 1873) Das goldene Zeitalter der Tonkunst in Venedig (Berlin, 1876) Italienische Tondichter von Palestrina bis auf die Gegenwart (Berlin, 1876, 2/1883) Musikdrama oder Oper? Eine Beleuchtung der Bayreuther Bühnenfestspiele (Berlin, 1876) Zukunftsmusik und die Musik der Zukunft (Berlin, 1877) Darstellung eines bisher unbekannt gebliebenen Stylgesetzes im Aufbau des classischen Fugenthemas (Berlin, 1878) ‘Wolfgang Mozart’, Sammlung musikalischer Vorträge, ed. P. Waldersee, i/6 (Leipzig, 1879/R) Illustrierte Musikgeschichte, i–ii (Berlin and Stuttgart, 1880–85, rev. 2/1908 by E. Schmitz, 10/1934; Eng. trans., 1882–6, ed. F.A.G. Ouseley) Der moderne musikalische Zopf (Berlin, 1880) Erklärung der Musiktafel in Raffael’s ‘Schule von Athen’ (n.p., n.d.) Naumann (3) (Karl) Ernst Naumann(b Freiberg, 15 Aug 1832; d Jena, 15 Dec 1910). Scholar, editor and composer, grandson of (1) Johann Gottlieb Naumann and cousin of (2) Emil Naumann. He studied with Moritz Hauptmann and E.F. Richter in Leipzig and received his doctorate from Leipzig University in 1858. From 1860 to 1906 he was university music director, director of academic concerts and city organist in Jena, and he was appointed professor in 1877. He edited six volumes of Bach’s cantatas and keyboard works for the Bach Gesellschaft’s collected edition (after 1882), a nine-volume edition of Bach’s organ works for practical use (1899–1904) and several of the first publications of the Neue Bach-Gesellschaft (c1901–3). His edition of Haydn’s string quartets, planned for Mandyczewski’s collected edition, was left incomplete. He also published arrangements of works by Beethoven, Handel, Mendelssohn, Mozart and Schumann. His compositions include chamber music, lieder and sacred pieces. WORKSpublished in Leipzig, n.d., unless otherwise stated
WRITINGSÜber die verschiedenen Bestimmungen der Tonverhältnisse und die Bedeutung des pythagoreischen oder reinen Quinten-Systems für unsere heutige Musik (diss., U. of Leipzig, 1858; Leipzig, 1858) Naumann BIBLIOGRAPHYADB (Emil Naumann) EitnerQ ES (W. Bollert) GerberL GerberNL LederburTLB ScheringGO SchmitzG Briefe über Musikwesen besonders Cora in Halle (Quedlinburg, 1781) A.G. Meissner: Bruckstücke zur Biographie J.G. Naumann’s (Prague, 1803–4) F. Rochlitz: ‘Johann Gottlieb Naumann und sein Vater-unser, nach Klopstock’, Für Freunde der Tonkunst, iii (Leipzig, 1830, rev. 3/1868 by A. Dörffel) F. Mannstein: Vollständiges Verzeichniss aller Compositionen des churfürstlich sächsischen Kapellmeisters Naumann (Dresden, 1841) F. Stein: ‘Ernst Naumann’, ZIMG, xii (1910–11), 158–9 [obituary] R. Engländer: Johann Gottlieb Naumann als Opernkomponist (1741–1801) (Leipzig, 1922/R) R. Engländer: Die Dresdner Instrumentalmusik in der Zeit der Wiener Klassik (Uppsala, 1956) I. Forst: Die Messen von Johann Gottlieb Naumann (1741–1801): Untersuchungen zu den Quellen und zu Formproblemen (diss., Bonn U., 1988) H. Åstrand and others: Beiträge zur Biographie J.G. Naumanns (Stockholm, 1991) H. Åstrand: ‘Gustaf Wasa as Music Drama’, Gustavian Opera: an Interdisciplinary Reader in Swedish Opera, Dance and Theatre 1771–1809, ed. I. Mattsson (Stockholm, 1991), 281–92 L. Ongley: Liturgical Music in Late Eighteenth-Century Dresden: Johann Gottlieb Naumann, Joseph Schuster, and Franz Seydelmann (diss., Yale U., 1992) L. Ongley: ‘Johann Gottlieb Naumann: Kirchenmusik im Übergang von der Ära Johann Adolf Hasses zum 19. Jahrhundert’, Musik in Dresden, iii (Laaber, 1998), 53–60 L. Ongley: ‘The Reconstruction of an Eighteenth-Century Basso Group’, EMc, xxvii (1999), 269–82 Yüklə 10,2 Mb. Dostları ilə paylaş:
|
(Vienna, 1804); 20 others, Dlb; copies and individual movts, most in Bsb, some in A-KN, Wgm, Wn, CH-E, D-LEt, SWl