Nabokov, Nicolas [Nikolay]
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- Nicholson, Paul (Shannon)
- Nicholson [Nicolson], Richard
Nicholson, Charles(b Liverpool, ? bap. 12 Aug 1795; d London, 26 March 1837). English flautist. He was taught by his father Charles Nicholson, also a flautist of note, and held in turn most of the chief appointments in London orchestras, including those at the Drury Lane and Covent Garden theatres and, from about 1823, the Opera and the Philharmonic Society; he also appeared as a soloist at provincial festivals and played several of his own flute compositions at the Philharmonic. On the opening of the RAM in 1823 he was appointed professor of the flute. Esteemed for his technical brilliance and the nobility of his adagio playing, Nicholson was probably the most controversial flautist of his time. His very powerful and somewhat hard tone was not universally admired, though it was regarded as a model in England. His great physical strength enabled him to exploit to the full a flute with unusually large finger-holes and embouchure, originally designed by his father. Commercial royalties on this instrument contributed much to his income. Nicholson's publications include flute concertos, fantasias, duets and some good instruction books. WORKS(selective list)
BIBLIOGRAPHYBrown-StrattonBMB DNB (J.C. Hadden) Grove1 (W.H. Husk) LangwillI7 Quarterly Musical Magazine and Review, v (1823), 85–7 B.E. Spell: Selected Aspects of Performance Practice in the Flute Tutors of Charles Nicholson (diss., Michigan State U., 1990) PHILIP BATE/CHRISTINA BASHFORD Nicholson, Paul (Shannon)(b London, 31 Dec 1952). English harpsichordist, organist and conductor. After studying the organ with John Wellingham and the harpsichord with Roy Truby, he took a music degree at York University in 1974, studying the organ there with Nicholas Danby. He made his début in 1973 at the Harrogate Festival and has subsequently performed with many of the leading early music ensembles and orchestras in Britain. Nicholson has conducted the Orchestra of the Age of Enlightenment, the Parley of Instruments and the Norwegian Chamber Orchestra, and has toured as harpsichordist and organist in Europe and North America. His recordings include solo harpsichord works and the complete organ concertos of Handel, 18th-century English keyboard concertos and the virginal music of Peter Philips. Nicholson is admired as an accomplished and tasteful musician whose interpretations are founded on a broad knowledge of the performing practices of the 17th and 18th centuries. HOWARD SCHOTT Nicholson [Nicolson], Richard(bap. 26 Sept 1563; d Oxford, 1639). English organist and composer. He may be the person of this name who was a chorister at Durham Cathedral from 1576 to 1580 and whose baptism is recorded in the St Oswald’s (Durham) parish register for 26 September 1563. He appears to have spent all his working life in Oxford. On 23 January 1595 he was appointed Informator choristarum (and probably also organist) at Magdalen College, a position which he held until the year of his death. He took the Oxford BMus degree in 1596. In 1626 he became the first master of the Music Praxis under William Heyther's foundation (the position was subsequently incorporated into that of professor of music). He held this university position until his death. Nicholson's extant compositions, although few in number, embrace many of the most important genres of the period. His finest work is When Jesus sat at meat, an extended consort anthem with viol accompaniment for the feast of St Mary Magdalene. Like his full anthem O pray for the peace of Jerusalem it is preserved in an important set of partbooks which form part of the original Music School collection of music books donated by Heyther in 1626. Another consort anthem with viol parts, O Lord, consider my distress, survives in the Music School manuscripts. In one partbook (GB-Ob Arch. f.e.24) it is attributed to ‘R N’, a fact which has led some writers to regard it as the work of Nicholson, but it is possible that it was merely copied by him and that the composer was the Durham Cathedral organist Edward Smith (d 1612), to whom the anthem is ascribed in the Durham Cathedral manuscripts. Nicholson's music survives in manuscript only, and some works are of uncertain attribution. Four madrigals and two secular consort songs, which are preserved anonymously in one of the major sources of his music (GB-Lbl Add.17797), are probably his. Three religious consort songs in the same manuscript are sometimes attributed to him; but these also appear in a set of partbooks copied in the 1580s (Och 984–8) and are therefore probably by an older composer. Nicholson's most interesting composition is a madrigal cycle for three voices based on the popular Elizabethan romance of Joan and John. In 11 distinct sections, the cycle treats their courtship, Joan's illness and apparent death, her recovery and their subsequent happiness. Unfortunately only two of the three voice parts of this unusual work have survived (in CL, Lbl, Lcm). There is no musical connection between this madrigal cycle and the consort song with the same title. Nicholson's compositions, in particular his consort songs, show him to have been a composer with a gift for melody and a technique that can rarely be faulted. Although his music seems to have enjoyed only a limited circulation, the fact that he contributed to Morley's Triumphes of Oriana (RISM 160116) suggests that even at that early date he was held in high regard by his contemporaries. WORKSEditions:Consort Songs, ed. P. Brett, MB, xxii (1967) [contains all the consort songs] [B]Madrigals, ed. J. Morehen, EM, xxxvii (1976) [contains all the madrigals] [M]
works of uncertain attribution
BIBLIOGRAPHYN.C. Carpenter: Music in the Medieval and Renaissance Universities (Norman, OK, 1958/R), 158, 161, 171 G. Spearitt: ‘The Consort Songs and Madrigals of Richard Nicholson’, Musicology, ii (1965–7), 42–52 J.M. Ward: ‘Joan qd John and other Fragments at Western Reserve University’, Aspects of Medieval and Renaissance Music: a Birthday Offering to Gustave Reese, ed. J. LaRue and others (New York, 1966/R), 832–55 G.D. Spearitt: ‘Richard Nicholson and the “Joane, Quoth John” Songs’, SMA, ii (1968), 33–42 R.T. Daniel and P. le Huray: The Sources of English Church Music, 1549–1660, EECM, suppl.i (1972) C. Monson: ‘Richard Nicolson: Madrigals from Jacobean Oxford’, EMc, vi (1978), 429–35 JOHN MOREHEN Yüklə 10,2 Mb. Dostları ilə paylaş:
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