Nabokov, Nicolas [Nikolay]
Nagovitsin, Vyacheslav Lavrent'yevich
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Nagovitsin, Vyacheslav Lavrent'yevich(b Magnitogorsk, 21 Dec 1939). Russian composer. He attended the Leningrad Conservatory (1958–63) where he studied the violin with Belyakov and composition with Salmanov and Voloshinov. He then took a postgraduate course under Shostakovich (1963–6) before heading the music department of the Leningrad Academic Comedy Theatre, working as an editor and directing the composition course at the Musorgsky College. In 1970 he was appointed to teach polyphony and composition at the Leningrad Conservatory and in 1989 he became senior lecturer in the music theory department. He has written a number of works concerning the teaching of polyphony and compositional technique. His own style combines various 20th-century methods – such as serial monothematicism – with a certain formal academicism but also encompasses an interest in folklore (he wrote the first Buryat string quartet). He orchestrated and edited Musorgsky's unfinished operas Salammbô and Zhenit'ba (‘The Marriage’) for productions at the Mariinsky Theatre. WORKS(selective list)
WRITINGS‘Slovo molodyozhi: otvetï na anketu zhurnala o putyakh razvitiya sovetskoy muzïki’ [A word to young people: replies to a journal questionnaire on ways of developing Soviet music], SovM (1968), no.7, pp.39–40 ‘Vïsokaya kul'tura, chelovecheskoye obayaniye’ [High culture and human charm], V.N. Salmanov: materialï, issledovaniya, vospominaniya, ed. S. Salmanova and G. Belov (Leningrad, 1982), 227–31 BIBLIOGRAPHYL. Ėntelis: ‘Molodost' vsekh pokoleniy: vtoraya “Muzïkal'naya vesna”’ [The youth of all generations: the second ‘Musical Spring’], Smena (29 April 1966) S. Balasanian: ‘Yarkiy prazdnik: XII “Leningradskaya muzïkal'naya vesna”’ [A brilliant festival: the eleventh ‘Leningrad Musical Spring’], Vecherniy Leningrad (15 April 1976) L. Dan'ko: ‘Volnuyushchiye temï sovremennosti’ [The thrilling topics of contemporary life], Vecherniy Leningrad, (28 Nov 1977) P. Griffiths: ‘The Marriage (Edinburgh Festival)’, The Times (16 Aug 1991) V. Tsïtovich: ‘Ne pora il obratit'vnimaniye?’ [Is it not time to pay attention?], SovM (1991), no.5, pp.38–40 I. Raiskin: ‘K yubileyu Vyacheslava Nagovitsina’ [For the anniversary of Vyacheslav Nagovitsin], Peterburg-klassika (2000), no.2, pp.39–40 IOSIF GENRIKHOVICH RAYSKIN Nag’s head swell.See Swell, §2. Nai.Romanian Panpipes. Naich [Naixh, Naxhe], Hubert [Huberto, Hubertus, Robertus](b ? Liège, c1513; d ?Rome, c1546). Several musicians bearing variants of this name were active at the collegiate church of St Martin in Liège from the early to late 16th century. One was an acolyte about 1501, and chaplain and cantor from 1516 until about 1550. Another was duodenus in 1553 and 1561 and was still appearing in the church records in 1598. The Naich who was active as a madrigalist in Rome in the years c1540–56, however, was probably a third figure, ‘Hubertus Naxhe junior’, who was duodenus from 1529 until 1532. Whether the composer was ‘Ubretto’ in a lost painting by Sebastiano del Piombo, described by Vasari, is uncertain, as is his possible identification with the ‘Bruett’ cited by Doni (I marmi) as a companion of Verdelot in Florence; both seem unlikely on chronological grounds. Naich’s one solo publication, Exercitium seraficum, a volume of madrigals published by Antonio Blado in Rome about 1540 (and, according to Gesner, reprinted in Venice), identifies him as a member of an ‘accademia degli amici’ gathered around the Florentine expatriate banker Bindo Altoviti in Rome. This academy may have been an informal group of musicians and poets. It seems likely that Arcadelt, whose Quinto libro of 1544 includes seven pieces by Naich, was a member as well. Six of these pieces are also in the Exercitium; a seventh, Spargi tebro di fior, refers to ‘Margherita’, possibly Margaret of Austria who married Ottavio Farnese in Rome in 1538. Arcadelt had published six note nere madrigals in Veggio’s Madrigali of 1540; Naich may have learnt about the new madrigal type at that time. He contributed a number of pieces in this subgenre to Gardane’s Primo libro … a misura di breve (RISM 154217). He is represented by seven madrigals in Rore’s Secondo libro a 5vv (154417); but no clear musical relationship to Rore is evident. Naich’s note nere madrigals are perhaps his most characteristic work. They tend to begin with comparatively broad declamatory gestures followed by the quick and sometimes syncopated patter characteristic of the type. One of them, Proverb'ama chi t'ama, setting a truncated stanza of a Petrarchan canzone (cv), is closely modelled on a setting by Nola (published 1545 but clearly written earlier).
WORKSEditions:Huberti Naich opera omnia, ed. D. Harrán, CMM, xciv (1983) [N]The Anthologies of Black-Note Madrigals, ed. D. Harrán, CMM lxxiii/1 (1978) [H]
BIBLIOGRAPHYEinsteinIM E. Rodocanachi: Rome au temps de Jules II et de Léon X (Paris, 1912) J. Quitin: ‘A propos des Hubert Naich de Liège et d’un tableau de la Galleria Pitti à Florence’, RBM, xi (1957), 134–40 E. Sindona: ‘È Hubert Naich e non Jacob Hobrecht il compagno cantore del Verdelot nel quadro della Galleria Pitti’, AcM, xxix (1957), 1–9 J. Haar: ‘The note nere Madrigal’, JAMS, xviii (1965), 22–41 H.C. Slim: A Gift of Madrigals and Motets (Chicago, 1972) L. Bernstein: ‘The Bibliography of Music in Conrad Gesner's Pandectae (1548)’, AcM, xlv (1973), 119–63 D. Harrán: ‘Hubert Naich, musicien, académicien’, FAM, xxviii (1981), 177–94 JAMES HAAR Yüklə 10,2 Mb. Dostları ilə paylaş:
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