Nabokov, Nicolas [Nikolay]
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- Nigg, Serge
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Nigetti, Francesco(b Florence, 26 April 1603; d Florence, 14 Feb 1681). Italian organist, theorist and composer. His earliest musical education probably took place in the Florentine Compagnia dell'Arcangelo Raffaello, in which he enrolled on 1 January 1613. He certainly studied both composition and the organ with Marco da Gagliano (maestro di cappella of the confraternity) and completed his musical education with Frescobaldi while the latter was in Florence in the service of the Medici court (between 1628 and 1634). On 11 December 1629 he became maestro di cappella and organist of Prato Cathedral and from 19 August 1649 until his death was first organist of Florence Cathedral. For more than 30 years he devoted himself to the construction and perfection of a Vicentino-inspired instrument, a ‘cembalo omnicordo’ called ‘Proteus’, which was very difficult to play. It had five manuals for the division of each ordinary scale-degree into five parts, for the supposed imitation of the three Greek genera and for the production of both large and small semitones; after his death it went to his pupil G.M. Casini and then to Bresciani. Though Bonini declared that Nigetti's compositions were prized in their day like precious stones, only three pieces by him, of no great interest, are known to have survived. They are a solo song, a duet and a trio, all with continuo (all are in I-Bc Q49 and the last two also appear, anonymously, in CZ-Pnm Sign.II.La 2; the solo song is edited in AMI, v, n.d., 37). BIBLIOGRAPHYP. Nettl: ‘Über ein handschriftliches Sammelwerk von Gesängen italienischer Frühmonodie’, ZMw, ii (1919–20), 83–97 N. Fortune: ‘A Florentine Manuscript and its Place in Italian Song’, AcM, xxiii (1951), 124–36 P. Barbieri: ‘Il cembalo omnicordo di Francesco Nigetti in due memorie inedite di G.B. Doni (1647) e B. Bresciani (1719)’, RIM, xxii (1987), 34–113 G. Giacomelli: ‘Fortuna dell'opera frescobaldiana in Toscana attraverso il carteggio di Francesco Nigetti (1618–1657)’, L'organo, xxv (1987–8), 97–112 EDMOND STRAINCHAMPS Nigg, Serge(b Paris, 6 June 1924). French composer. After initial studies with Ginette Martenot, he entered the Paris Conservatoire at the age of 17, studying fugue and counterpoint with Plé-Caussade and harmony with Messiaen. He left the Conservatoire in 1946 and took up studies in 12-note technique with Leibowitz. The path that Nigg's music subsequently took was marked by sudden enthusiasms and violent rejections and may be seen as a reflection of the contradictions of the immediate postwar years. Although Messiaen remained for him ‘the awakener’ and was a strong influence on his earliest works (e.g. Timour), Nigg was one of the first French composers to master 12-note composition, as his Variations of 1947 demonstrate: he viewed serial procedures as a fertile form of discipline and as the logical culmination of musical evolution. Moved by a concern over communication, he soon formed the desire to ‘express no longer the symbols of the past, but the events of our time in every form capable of reaching the largest possible public’ (Leibowitz). In such works as Le fusillé inconnu (1949) he proceeded to challenge the hermeticism of serial technique; together with Désormière he founded the French Association of Progressivist Musicians and made several journeys to eastern Europe. Pursuing his populist convictions, he turned away from forms that he saw as ideologically limiting to devote himself, in the main, to large-scale choral pieces, capable of making a strong and immediate impression. It was when he was in his early 30s that Nigg composed the works that he later considered his most important: the Piano Concerto no.1 and the Violin Concerto. Other compositions in conventional forms followed, displaying Nigg's rigorous handling of structure, while a series of orchestral pieces (the Jérôme Bosch-Symphonie, Le chant du dépossédé, Visages d'Axel and Fulgur) bears witness to his imaginative powers. During this period he gave lectures in the USA (1967) and in the USSR (1970); in 1967 he was appointed principal inspector of music, with special responsibility for vocal art. One of the abiding characteristics of Nigg's music is a certain mixture of tenderness and aggressiveness reminiscent of Ravel, the composer with whom he has the deepest affinity. Nigg demands an artisan-like respect for the composer's craft and a strict self-discipline and this approach is very evident in his music. His lyricism blossoms most abundantly in orchestral works, of which Visages d'Axel is a most accomplished example; in such pieces a wide variety of elements – modal, polytonal or atonal harmony and serialism – are always finely controlled within a tight fabric. From 1974, when he reached 50, in a surge of creativity, Nigg embarked on new symphonic works: Les fastes de l'imaginaire, Mirrors for William Blake (a symphony for orchestra and piano), and Millions d'oiseaux d'or (a title taken from Rimbaud) first performed in Boston Symphony Hall (1981). Percussion, celesta and harps are prominent among the instrumental forces employed in these three works, and in the Poème, given its première in Quebec in 1990. During this same period Nigg was awarded several prizes. He became president of the Société Nationale de Musique in 1982, and in the same year he took on the newly created course in instrumentation and orchestration at the Paris Conservatoire. He was elected to the Institut de France (Académie des Beaux-Arts) in 1989, and in 1995 he took on the heavy responsibility of the presidency for its bicentenary year and celebrations. WORKS(selective list) orchestral
vocal
chamber and instrumental
WRITINGS‘Réponse à une enquête’, Contrepoints no.3 (1946), 78 ‘Réponse à une enquête: les jeunes musiciens devant le dodécaphonisme’, Journal musical français no.3 (1954), 10 ‘La musique symphonique française de Berlioz à nos jours’, Konzertbuch, ii, ed. K. Schönenwolf (Berlin, 1960), 861 ‘La Musique, création absolue de l'homme?’, Les Actes des Colloques du Bicentenaire de l’Institut de France (Paris, 1995), 109 only BIBLIOGRAPHYR. Leibowitz: L'artiste et sa conscience (Paris, 1950) C. Rostand: La musique française contemporaine (Paris, 1952, 4/1971; Eng. trans., 1955/R) B. Gavoty and D. Lesur: Pour ou contre la musique moderne (Paris, 1957) A. Goléa: ‘Panorama de la musique française moderne’, Tendances, no.6 (1960), 24 J. Roy: Présences contemporaires: musique française (Paris, 1962) BRIGITTE MASSIN Yüklə 10,2 Mb. Dostları ilə paylaş:
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