Nabokov, Nicolas [Nikolay]
Nicolaï, Willem (Frederik Gerard)
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- BIBLIOGRAPHY
- Nicolas, Ernest.
- Nicolau, Antonio
Nicolaï, Willem (Frederik Gerard)(b Leiden, 20 Nov 1829; d Bloemendaal, nr Haarlem, 24 April 1896). Dutch conductor, organist, teacher and composer. After attending the Leiden music school (1842–9), which in 1844 opened an organ department specially for him, he continued his studies at the Leipzig Conservatory with Moscheles, Rietz and C.F. Becker and completed his organ studies with Johann Schneider in Dresden. In 1852 he taught the organ at the royal music school in The Hague; from 1857 he also conducted the orchestra there. From 1863 to 1865 he also directed the choir of the Rotterdam section of the Maatschappij tot Bevordering der Toonkunst, where he performed little-known oratorios by Handel. In 1865 he was appointed director and composition teacher of the royal music school which he brought to a high standard. He also directed the choir of the Toonkunst in The Hague (1860–70) and the De Toekomst orchestra (1865–96), with whom he gave the first Dutch historical orchestral concert (1868). As editor of the monthly Caecilia from 1871 to his death, he wrote a series of articles on Wagner, beginning in 1875. His own music is conventional and includes the song collection Loverkens op.12 (on old Dutch texts edited by A.H. Hoffmann von Fallersleben) and an oratorio Bonifacius, which was often performed during his lifetime both in the Netherlands and abroad. BIBLIOGRAPHYE. Reeser: Een eeuw Nederlandse muziek (Amsterdam, 1950, 2/1986) J. Kasander: 150 jaar Koninklijk Conservatorium (The Hague, 1976), 33–43 JAN TEN BOKUM Nicolas [?Guillaume](fl ?1533–78). French composer. 60 chansons for three to six voices were attributed to ‘Nicolas’ in collections published in Paris between 1547 and 1578. Five printed by Attaingnant between 1547 and 1550 may have been composed by Guillaume Nicolas, singer and chaplain in the chapel of François I in 1533. These five songs comprise an extended rustic narrative (La, la, la que ne m'ayme, 154710), set in the syllabic style of Janequin, and four courtly épigrammes using the more homophonic manner of Sermisy. 55 more chansons (40 ed. in SCC, xx, 1991) attributed to ‘Nicolas’ by Le Roy & Ballard between 1559 and 1578 may otherwise be by Nicolas de La Grotte. This might be thought more likely in view of the chronology although the poems are mostly anecdotal épigrammes by Marot and his contemporaries, set in a light, imitative style quite different from the strophes of Ronsard set homophonically in the publications specifically devoted to La Grotte. Many of the five- and six-voice pieces ascribed to Nicolas in the Meslanges (Paris, 1560; 15722) are reworkings of melodies taken from earlier polyphonic settings by Sermisy, Richafort, Janequin and Lassus. However, nine four-voice chansons in a collection of 1564 (15648) are original compositions in the resolutely chordal manner of the newer voix de ville; another chanson, a setting of Du Bellay’s En ce mois delicieux, evokes the style and structure of the newly imported Italian villanella. These works often feature triadic melodies, some rather unvocal leaps (diminished 4ths, 7ths and 10ths) as well as a number of harmonic crudities (2nds, 7ths, augmented and diminished triads). WORKSonly those definitely by Nicolas; for 4vv unless otherwise stated
BIBLIOGRAPHYF. Lesure and G. Thibault: Bibliographie des éditions d’Adrian Le Roy et Robert Ballard (1551–1598) (Paris, 1555), suppl., RdM, xl (1957), 166–72 D. Heartz: Pierre Attaingnant, Royal Printer of Music (Berkeley, 1969) F. Dobbins: ‘Joachim Du Bellay et la musique de son temps’, Du Bellay: Angers 1989, ed. G. Cesbron (Angers, 1990), 587–605 FRANK DOBBINS Nicolas, Ernest.See Nicolini, Ernest. Nicolas Liégeois.See Champion family, (2). Nicolas the Serb(fl late 14th century). Serbian composer. He is known for a Slavonic theotokion preserved in GR-ATSgreat lavra ε 108 and for a Cheroubikon setting in Greek which appears in GR-An 928. Both manuscripts are dual-language (Slavonic and Greek) akolouthiai, the former dating from the end of the 14th century and the latter compiled and written about a century later by Isaiah the Serb. The theotokion is the earliest known example of a Slavonic Kalophonic chant; it is a moderately florid setting ending with a kratēma. (A. Jakovljević: ‘Musical Works of Serbian Composers Stefan and Nikola the Serb from 14th-Century Bilingual Anthology of Great Lavra (E–108)’, Balcanica, xv, 1984, pp.69–82) DIMITRI CONOMOS Nicolau, Antonio(b Barcelona, 8 June 1858; d Barcelona, 26 Feb 1933). Spanish composer and conductor. After studying the piano with Juan Bautista Pujol and composition with Balart, he embarked on a medical career, which he soon abandoned in favour of composition. After living in Paris for eight years, he finally settled in Barcelona in 1886. He belonged, with Luis Millet, Alió y Brea, Vives and Enrique Morera, to the generation that succeeded Pedrell, and is important not only as a composer but also as one of the outstanding Catalan conductors of the 19th century, and as a leader in the revival of Catalan music. Primarily a composer of choral music, Nicolau also wrote several important operas. The first, the four-act Constanza, is deeply rooted in the Romantic tradition. It was first performed at the Liceo on 10 April 1878 but, owing to the unexpected withdrawal of the tenor, Carlo Bulterini, the first two acts had to be omitted; it was later performed in its entirety at the Teatro Principal. Another of his dramatic works, Un rapto, was performed in Madrid shortly before the opening of the Exposición Universal in Barcelona (1888), and was acclaimed by both public and critics. His last opera, El corazón de fuego, was given its first performance at the Teatro Tivoli in Barcelona in 1895 at the same time as Nicolau was turning to Wagner, whose Ring he conducted in March 1896. The Danza Anakota from El corazón features frequently in concerts in Barcelona. Some of Nicolau’s earliest works were performed by the Orfeó Català, and he soon composed regularly for the group. As a result his style of composition evolved considerably: he abandoned his early orchestral style and looked for inspiration to traditional Catalan music, though straight quotations from folk music were rare in his music. Some of his choral works, based on texts by Jacint Verdaguer (including El noi de la Mare and La mort de l’escolà), achieved great popularity and placed Nicolau at the centre of the so-caled Escuela del Orfeó Català. He continued to compose choral music until 1930.
WORKS
BIBLIOGRAPHYRevista musical catalana, cccli (1993) [monograph ded. to Nicolau] M. Valls: La música catalana contemporánia (Barcelona, 1960) X. Aviñoa: La música y el modernisme (Barcelona, 1985) EMILIO CASARES Yüklə 10,2 Mb. Dostları ilə paylaş:
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