Nabokov, Nicolas [Nikolay]
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- BIBLIOGRAPHY
- Neutralization (i).
- Neutralization (ii)
- Neuwirth, Gösta
- WORKS
Neuss, Heinrich Georg(b Elbingerode, 11 March 1654; d Wernigerode, 30 Sept 1716). German composer, theologian and poet. His father died when he was two years old, therefore after attending the grammar schools at Osterwieck, Quedlinburg and Halberstadt he was forced through economic necessity to become a private tutor at Wernigerode before going on to study theology at Erfurt University from 1677 to 1680. After another period as a private tutor he became a deputy headmaster in 1683, and headmaster in 1684, at Blankenburg; he later became deacon at the church in the Heinrichstadt district of Wolfenbüttel. There, with two other clergymen, he held Pietist conventicles, which, however, were forbidden by ducal edict of 1692. After a brief stay at Hedwigsburg he became travelling preacher to Duke Rudolph August of Brunswick, who made him superintendent at Remlingen in 1695. In the same year he became a doctor of theology of the University of Giessen. Finally in 1696 Count Ernst von Stolberg summoned him to Wernigerode as superintendent and church councillor. He later took lessons with Heinrich Bokemeyer by post, but their correspondence has not survived. He also invented a pitch pipe as well as a tuning device for keyboard instruments, which he called ‘mensa’. Neuss’s main work is Hebopfer zum Bau der Hütten Gottes: das ist Geistliche Lieder, welche zur Andacht, Aufmunterung und Erbauung unsers Christenthums in allerhand Fällen zu gebrauchen (Lüneburg, 1692, 2/1703). With the 70 or so melodies that he wrote for his poems he made an important contribution to the Pietist continuo song. He also included a few melodies by J.C. Horn and J.P. Krieger and even one or two operatic arias of the time. The Hebopfer attracted much attention in its day, and the Geistreiches Gesangbuch of Athanasius Freylinghausen (1704–14 and several later editions), the most influential collection of Pietist songs, contains 37 pieces from it. Neuss also published Brunnenlieder, den Brunnengästen zu Pyrmont mitgeteilt (Pyrmont, 1706) and is said to have written a wedding song in 1712; he wrote an introduction to Andreas Werckmeister’s Der edlen Musikkunst, Würde, Gebrauch und Missbrauch (1691), but a theoretical work sometimes attributed to him, De musica parabolica, is probably not by him. BIBLIOGRAPHYADB (Brümmer) WinterfeldEK, ii ZahnM S. Kümmerle: Encyklopädie der evangelischen Kirchenmusik, ii (Gütersloh, 1890/R) C. Mahrenholz and O. Söhngen, eds.: Handbuch zum evangelischen Kirchengesangbuch, ii/1 and suppl. (Göttingen, 1957–8) WALTER BLANKENBURG/DOROTHEA SCHRÖDER Neutralization (i).A means of handling chromatic notes introduced into diatonic contexts, whereby raised notes ascend and lowered ones descend (in a way analogous to the treatment of the 6th and 7th degrees of the minor scale). Such treatment avoids false relations and results in smoother and more convincing modulation. The term ‘neutralization’ was used in this sense, and in the sense of Neutralization (ii), by Schoenberg. JANNA SASLAW
The term ‘neutralization’ was used in this sense, and in the sense of Neutralization (i), by Schoenberg. JANNA SASLAW
Neuwirth’s works, influenced by the experiences of his wartime childhood, delight in the objet trouvé, follow dream-like logic and rely on detailed proportional structures. Finding in Schreker's music a repressed, dark side to the culturally conditioned notion of progress, he embraced 15th-century numerology as an alternative type of musical thinking. His opera Eine wahre Geschichte (1981) juxtaposes rock and chamber ensembles, drawing on his memories of early cinema and the theatre. In Sei Murrum Phonies (1990–92) he treats the orchestra both as a totality of polyphonically related solo lines and as a collection of homogenous groups. The Marcel Proust cycle Gestern und Morgen (1953–96), a ten-part work for various combinations of instruments and voices, provides the most comprehensive overview of his style: the String Trio (no.4) resembles Rodolphe Berger’s Hier et demain (around 1895) in its reverberation of ‘lost time’, a theme also present in Hier et demain – seul (no.1) and Vieux songe (no.2); the exact proportions of Schandbuch der gewarnten Liebe (no.3) reveal the influence of Josquin. WORKS(selective list)
BIBLIOGRAPHYLZMÖ [incl. writings list and further bibliography] A. von Moos, ed.: Chant du Singe: Zwölf Anagramme, zugedacht Gösta Neuwirth (Berlin, 1990) J. Stenzl: Traum und Musik, Musik-Konzepte (1991), 8–102 [special issue] MATTHIAS BRZOSKA Yüklə 10,2 Mb. Dostları ilə paylaş:
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