Nabokov, Nicolas [Nikolay]
Nielsen, Hans [Fonteio, Giovanni; Fonteijo, Giovanni]
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- BIBLIOGRAPHY
- Nielsen, Inga
- Nielsen, (Karl Henrik) Ludolf
- WORKS
Nielsen, Hans [Fonteio, Giovanni; Fonteijo, Giovanni](b ?Roskilde, c1580; d ?Copenhagen, 1626 or later). Danish composer and lutenist. He was one of the group of Danes sent to Venice to study with Giovanni Gabrieli in 1599. After a year he returned to Copenhagen and was put in the charge of Melchior Borchgrevinck but was again in Venice for the period 1602–4. He then became a lutenist at the Danish court. During the years 1606–8, however, he was again studying abroad, this time at Wolfenbüttel with Gregorio Huet. From 1608 to 1611 he was once more a lutenist at the Danish court, but when the royal chapel was reduced because of the outbreak of war he took the opportunity to enrol as a student at Heidelberg University. He apparently stayed there for only a year and incurred debts. In 1623 he succeeded Mogens Pedersøn as deputy director of the royal musical establishment, Copenhagen, but on 15 December 1624 he either retired or was dismissed. The last record of him is a small payment of arrears made to him in May 1626 for expenses he had incurred on behalf of the choirboys who had been in his charge. As a composer he is known only by Il primo libro de madrigali a 5 voci (Venice, 1606), published under his italianized name Giovanni Fonteio. It contains 21 madrigals (one of which is also in RISM 16055, ed. in Dania Sonans, ii–iii, Copenhagen, 1966–7) and displays a fluent command of relatively up-to-date techniques found in the Italian madrigal. An incomplete motet, Beati omnes qui timent Dominum, which appears in a manuscript from the 1620s (in PL-GD) ascribed to Johannes Fontesio, may be by Nielsen. BIBLIOGRAPHYDBL (N. Schiørring) N. Bolin: ‘Heinrich Schützens dänische Kollegen’, Concerto, v (1984), 45–61 H. Eppstein: ‘Vergleichende Madrigalanalysen: Hans Nielsen, Mogens Pedersøn: Udite amanti; Hans Nielsen, Heinrich Schütz: Fuggi, fuggi, o mio core’, Heinrich Schütz und die Musik in Dänemark: Copenhagen 1985, 275–88 J.P. Jacobsen: ‘“T'amo mia vita” by Claudio Monteverdi, Hans Nielsen and Mogens Pedersøn’, Heinrich Schütz und die Musik in Dänemark: Copenhagen 1985, 289–98 JOHN BERGSAGEL/OLE KONGSTED Nielsen, Inga(b Holbaek, 2 June 1946). Danish soprano. After studying in Vienna and Stuttgart, she made her début in 1971 at Gelsenkirchen; engagements followed at Münster, Berne and Frankfurt. She sang a flowermaiden at Bayreuth (1979); her roles at this period included Zerlina, Blonde, Ilia, Norina, Nannetta and Aennchen. She sang Donna Clara in Zemlinsky’s Der Zwerg with the Hamburg Staatsoper at Edinburgh in 1983, later recording the role, and created Minette in Henze’s The English Cat at Schwetzingen, repeating the role in the French and American premières of the opera in Paris and Santa Fe (1985). Nielsen sang Amenaide (Tancredi) at Wexford (1986), Konstanze at Salzburg and for her Covent Garden début (1987), Fiordiligi at Strasbourg (1989) and Christine (Intermezzo) at Geneva (1991). More recently, as her pure-toned, agile soprano has grown in volume, she has taken on such roles as Agathe, Salome, the Marschallin, Ursula (Mathis der Maler), which she sang at Covent Garden in 1995, and Elsa, which she first sang at Hamburg in 1998. Nielsen is equally active as a concert singer, and has recorded works including Bach cantatas and his St John Passion, Schumann’s Der Rose Pilgerfahrt and Mahler’s Eighth Symphony, in addition to roles in Mozart’s Il re pastore and Heise’s King and Marshall. ELIZABETH FORBES Nielsen, (Karl Henrik) Ludolf(b Nørre Tvede, nr Naestved, 29 Jan 1876; d Copenhagen, 16 Oct 1939). Danish composer. He moved to Copenhagen in 1892 to study the violin. At the Royal Danish Conservatory (1896–8) he studied with Valdemar Tofte (violin), J.D. Bondesen (theory) and Albert Orth (piano). As a composer he was self–taught, and his earliest compositions date from his first years in Copenhagen. From 1898 he was a viola soloist in the Tivoli orchestra, and from 1903 also assistant conductor. Active as a chamber musician, particularly in the Bjørvig Quartet, in 1903 he was one of the founders of the Association of Danish Composers. He worked increasingly as a private instructor in theory and composition, and between 1914 and 1920 conducted the amateur symphony orchestra Euphrosyne. He was the first musical consultant for the newly formed Danish State Broadcasting Company (1926–32), and he additionally composed and arranged a number of pieces for the radio orchestra. Nielsen achieved his greatest success with his many romances, but the emphasis in his fairly extensive output is on orchestral music, which is generally of a high quality. Stylistically he expanded the Danish Romantic tradition by combining in an original way elements of symbolism, French Impressionism and German late Romanticism with the often national subjects of his works. His predilection for cyclic themes was unusual in Danish music of the period, and he seems to have been the first Danish composer to work with whole-tone and pentatonic scales. His later works increasingly emphasize counterpoint and bitonality. After the outbreak of war in 1914 he did not write music for a number of years. At that time, his most ambitious works, the Third Symphony and the choral work Babelstaarnet (‘The Tower of Babel’), met with an indifferent reaction from the Danish public. His only notable success thereafter was the ballet Lackschmi (1921). From the 1930s Nielsen came to be regarded as conservative in musical circles, and after his death his works largely disappeared from the repertory. WORKS(selective list)
BIBLIOGRAPHYG. Lynge: Danske Komponister i Begyndelsen af det 20. Aarhundrede [Danish composers at the beginning of the 20th century] (Copenhagen, 1917) JENS CORNELIUS Yüklə 10,2 Mb. Dostları ilə paylaş:
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