Nabokov, Nicolas [Nikolay]
Nierop, Dirck Rembrandtszoon van
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- BIBLIOGRAPHY
- Niert [Nyert, Niel, Nielle, Denièle], Pierre de
- Niesle.
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Nierop, Dirck Rembrandtszoon van(b Nieuwe Niedorp, North Holland, c1610; d Nieuwe Niedorp, 1682). Dutch amateur scientist. His manuscript notes (dated 1642–4) in a copy of Jacob Vredeman's Isagoge musice (1618; copy now in NL-LE) suggest that this book played an important part in his music education. It is said that he also benefited from talking to Descartes when the latter was at Egmond, near Alkmaar, around 1645–8. Van Nierop wrote many popular scientific books and booklets in Dutch, disseminating among laymen recent discoveries in, for example, astronomy, physics, mathematics and navigation. His brief music treatise Wis-konstige musyka (‘Mathematical music’; Amsterdam, 1659) is of the same nature. In four sections, it includes the fundamentals of acoustics and musical proportions, instructions on the tuning of the cittern and harpsichord, and something about Greek music theory. Further musical material may be found in his Tweede deel op de wiskonstige rekening (‘Second volume on mathematical calculus’; Amsterdam, 1680). BIBLIOGRAPHYC.L. Thijssen-Schoute: Nederlands cartesianisme (Amsterdam, 1954) R.A. Rasch: ‘Six Seventeenth-Century Dutch Scientists and their Knowledge of Music’, Music and Science in the Age of Galileo, ed. V. Coelho (Dordrecht, 1992), 185–210 RUDOLF A. RASCH Niert [Nyert, Niel, Nielle, Denièle], Pierre de(b Bayonne, c1597; d Paris, 12 Feb 1682). French nobleman, courtier, singer and singing teacher. He was an avid musical amateur whose interest in the Italian vocal revolution of the early 17th century had profound effects on French vocal music by the middle of the century. He visited Rome in 1633 in the company of Marshal de Créqui, French Ambassador to the Holy See; there he heard the new Italian style of dramatic singing in the operatic productions of the Barberini family and apparently became acquainted with a number of Italian singers and studied under them. He returned to France in 1635, became ‘premier valet de la garde-robe’ to Louis XIII in 1638 and later ‘premier valet du chambre’ to Louis XIV. He took part in ballets de cour, and one song by him survives (Si vous voulez que je cache ma flame, F-Pn). Luigi Rossi is said to have found his singing so moving that he wept (see ‘Discours’ added to B. de Bacilly: Remarques curieuses sur l’art de bien chanter, Paris, 2/1671 and subsequent edns only). By 1640 he had begun to have a profound influence on musicians of the French court such as Lambert and Bacilly, both of whom studied with him and adopted his italianate concerns for natural prosody, clear pronunciation, subtle declamation and a more sensitive approach to texts. He also urged that more agile diminutions be employed in the improvised variations of the second verses of airs and that they be better related to the meaning and structure of the poetry. His profound influence can be seen in the radical change in the style of airs after 1640 following his precepts and in the paeans of praise with which many court composers dedicated their works to him. He was also admired by several non-musicians, including Jean de La Fontaine, who in 1677 wrote an Epître à M. de Nyert. BIBLIOGRAPHYG. Tallemant der Réaux: ‘De Niert, Lambert et Hilaire’, Historiettes, ed. A. Adam, ii (Paris, 1835, 3/1860/R), 521–8 C. St. Evremond: ‘Sur les opéras’, Oeuvres en prose, iii (Paris, 1966), 129–64, esp. 159 Saint Simon: Mémoires (Paris, 1879–1931), i, 62–4 H. Prunières: L’opéra italien en France avant Lulli (Paris, 1913) A.B. Caswell: The Development of Seventeenth-Century French Vocal Ornamentation and its Influence upon Late Baroque Ornamentation Practice (diss., U. of Minnesota, 1964) AUSTIN B. CASWELL (with GEORGIE DUROSOIR) Niesle.See Nisle family. Nieto, Miguel(b Reus, 17 Oct 1844; d Madrid, Aug 1915). Spanish composer. At the age of nine he was a member of the military band in which his father also served, and when he was 15 his first zarzuela, La toma de Tetuán, was given in Córdoba. He taught the piano in Badajoz from 1861 to 1863; for the next six years he conducted and taught the piano and flute in Valladolid. Settling in Madrid, he was choirmaster of the Teatro Rossini and Teatro Real, and was active as a conductor; most of his nearly 200 zarzuelas were composed during this period, including the very successful Cuadros disolventes (performed in 1896). A dance-tune from this work, Con una falda de percal planchao, became extremely popular in Spain. He also wrote an autobiography, Memorias añejas … que comprenden mi infancia y mi primera juventud hasta los 29 años (Madrid, 1915). WORKS(selective list) zarzuelas
other works
BIBLIOGRAPHYSubiráH J. Subirá and A. Cherbuliez: Musikgeschichte von Spanien, Portugal, Lateinamerika (Zürich, 1957), 137–8 ANTONIO IGLESIAS Yüklə 10,2 Mb. Dostları ilə paylaş:
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