Nabokov, Nicolas [Nikolay]
Nittauff [Nittau, Nietow, Nitthauf], Gottlieb
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- BIBLIOGRAPHY
- Nivers, Guillaume Gabriel [Guilaume]
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Nittauff [Nittau, Nietow, Nitthauf], Gottlieb(bap. Stockholm, 11 May 1685, bur. Gothenburg, May 1722). Swedish organist and composer. He was the son of court trumpeter Johan Nicolaus Nittauff, who emigrated to Sweden from Germany in the 1670s in the service of Gustav Wrangel. There is evidence that as a boy Nittauff performed under Gustav Düben at the Swedish royal court; thus the composers in the Düben Collection, particularly Buxtehude, may have been early influences. He was hired in 1705 at the Jakobskyrka in Stockholm; the church council minutes record that he had studied in Hamburg with ‘a great master’ who is not identified. Although it could have been Reincken, stylistic comparison and circumstantial evidence point rather to Vincent Lübeck. Nittauff became organist at Gothenburg Cathedral in 1710 and died there in 1722. His known works, all for organ, consist of seven short preludes, probably intended as improvisational models, and two prelude and fugue pairs which display aspects of the North German stylus phantasticus (all ed. J. Sheridan, Bibliotheca organi sueciae, ii, Stockholm, 1996). BIBLIOGRAPHYT. Norlind: Fran tyska kyrkans glansdagar: bilder ur svenska musikens historia fran Vasaregenterna till karolinska tidens slut. Stormaktstidens senare skede 1660–1720 (Stockholm, 1944–5) E. Kjellberg: Kungliga musiker i Sverige under stormaktstiden. Studier kring deras organisation, verksamheter och status ca. 1620–ca. 1720 (diss. U. of Uppsala, 1979) K. Hagdahl, B. Malmros and M. Åberg: St Jacobs kyrka i musikhistorien 1993–1643: 350 år i backspegeln (Uppsala, 1993) J. Sheridan: ‘Gottlieb Nittauff, Swedish Organist’, Early Keyboard Journal, xiv (1996), 7–41 JOHN SHERIDAN Nivers, Guillaume Gabriel [Guilaume](b ?Paris, c1632; d Paris, 30 Nov 1714). French organist, composer and theorist. He came from a prosperous family; his father, a ‘bourgeois de Paris’, was farmer to the bishop. He married in 1668 and had one son. Nothing is known about his musical training, though he is assumed to be the Guillaume Nivers who received the MA degree from Paris University in 1662. He became organist of St Sulpice in the early 1650s and retained the post until his death. To it he later added three other remunerative positions: on 19 June 1678 he was named one of the four organists of the royal chapel; in 1681 he replaced Du Mont as master of music to the queen; and in 1686 he was given charge of the music at the Maison Royale St Louis, the convent school at St Cyr for young ladies of noble birth. Despite some friction with the school's founder, Mme de Maintenon, documented in her correspondence, he continued in this last post in association with Moreau and Clérambault until his death, establishing and conducting chants and motets in the chapel and participating as harpsichordist in various dramatic productions, notably Racine's Esther and Athalie. His will, dated 1711, gives a detailed picture of the comfortable circumstances of his last years and of his piety and devotion to the church. Nivers' three Livres d'orgue were the first published works to establish the distinctive styles and forms of the French organ school of the late 17th and early 18th centuries, and most subsequent publications seem to have been modelled on them. The distinction of this school lay in its unique fusion of three diverse practices: those relating to the Catholic liturgy, to current fashions in secular music and to the well-developed and highly uniform French classical organ. All of Nivers's pieces are relatively brief versets intended for alternation with the choir in the divine service. They are either arranged in suites according to the eight church modes (books 1 and 3), or based on the plainsongs of mass, Te Deum and various hymns and sequences in current use (book 2). Among the forms of the individual pieces the cantus firmus movements, preludes and fugues suggest the traditional counterpoint of the church, while the duos, récits, diminutions and dialogues reflect the secular realms of the dance, instrumental solo or vocal air. All the pieces are plentifully supplied with the agréments or embellishments developed by composers of lute and harpsichord music; yet all are also designed to exploit the distinctive colours of the French organ, whether the full-organ qualities of the plein jeu or grand jeu, the colourful solo qualities of the Trompette, Cornet, Cromorne, Vox humana and Tierce, or the sparkling alternation of different banks of sound in dialogue or echo effects. The prefatory material is among the most valuable of the period; it discusses modes, embellishments, fingering, touch, tempos and register. Nivers is less remembered today as a composer of sacred vocal music and an editor of Gregorian chant. His work on plainchant falls within the context of Catholic reform, which favoured the re-use of ancient Gregorian chant in various forms. He was one of the most important musicians involved in this movement, as a reviver composer, theorist and pedagogue. His comprehensive knowledge of ancient Gregorian chant inspired him to write in a multiplicity of styles, including the purest Gregorian style, following 17th-century criteria (e.g. chants for Cluny) a form of plainchant ornamented and using leading notes in the style of Du Mont's plainchant masses (e.g. most of the pieces in the books written for nuns); and a monodonic chant with a distinctive free and variable rhythm, including ornaments and textual repetitions, named ‘chant varié’ or ‘motet’ (e.g. some pieces for St Cyr or for nuns, and the Lamentations of 1704). He also wrote motets for one and two treble voices with continuo, which in their use of agréments and irregular recitative-like rhythms, are representative of a French style still relatively unaffected by Italian influence. Nivers' theoretical works, highly regarded in his day, are still of great interest. The Traité de la composition was widely known outside France and was highly spoken of by Brossard in the 18th century. A succinct practical treatise, its topics include intervals, modes, cadences, part-writing and fugue. Of his two books on Gregorian chant the longer Dissertation is of interest because it offers a 17th-century aesthetic of plainsong (which partly explains his own editions of it) and gives detailed documentation of the role of the organ in the liturgy. Finally his brief treatise on continuo playing, one of the first on this subject to be published in France, is a useful guide to the accompaniment of motets, and plainchant ‘with wisdom and modesty’. WORKSinstrumental
vocal
liturgical editionsall published in Paris; dates are of all known editions
WRITINGSTraité de la composition de musique (Paris, 1667, 4/1712); Eng. trans. in Music Theorists in Translation, iii, ed. A. Cohen (Brooklyn, NY, 1961) Dissertation sur le chant grégorien (Paris, 1683) L'art d'accompagner sur la basse continue (see Motets à voix seule) Méthode certaine pour apprendre le plein-chant de l'eglise (Paris, 1698, 7/1749) BIBLIOGRAPHYApelG BenoitMC M. Garros: ‘L'art d'accompagner sur la basse-continue d'après Guillaume-Gabriel Nivers’, Mélanges d'histoire et d'esthétique musicales offerts à Paul-Marie Masson (Paris, 1955), ii, 45–51 M. Garros: Biography of Nivers in Deuxième livre d'orgue, ed. N. Dufourcq (Paris, 1956) P. Hardouin: ‘Quatre Parisiens d'origine: Nivers, Gigault, Jullien, Boyvin’, RdM, xxxix–xl (1957), 73–8 M. Garros: ‘Les motets à voix seule de Guillaume Gabriel Nivers’, IMSCR VII: Cologne 1958, 108–10 N. Dufourcq: ‘A travers l'inedit: Guillaume-Gabriel Nivers’, RMFC, i (1960), 206–9 M. Bert: ‘La musique à la maison royale Saint-Louis de Saint-Cyr’, RMFC, iii (1963), 55–71; iv (1964), 127–31; v (1965), 91–127 G. Beechey: ‘Guillaume Gabriel Nivers (1632–1714): his Organ Music and his “Traité de la composition”’, The Consort, no.25 (1968–9), 373–83 W. Pruitt: ‘Bibliographie des oeuvres de G.G. Nivers’, RMFC (1973), 133–56 G. Beechey: ‘Guillaume Gabriel Nivers (1632–1714) and his Litanies de la sainte vierge’, RMFC, xv (1975), 80–90 W. Pruitt: ‘The Organ Works of Guillaume Gabriel Nivers (1632–1714)’, RMFC, xiv (1974), 7–81; xv (1975), 47–79 D. Launay: La musique religieuse en France du Concile de Trente à 1804 (Paris, 1993) D. Herlin: Catalogue du fonds musical de la Bibliothèque de Versailles (Paris, 1995) J. Duron, ed.: Plain-chant et liturgie en France au XVIIe siècle (Paris, 1997) [incl. articles on Nivers by R. Scherr, P. Ranum, M. Brulin] M. Brulin: Le verbe et la voix, la manifestation vocale dans le culte en France au XVIIe siècle (Paris, 1998) C. Davy-Rigaux: L'oeuvre de plain-chant de G.G. Nivers (diss., U. Tours, 1999) ALMONTE HOWELL/CÉCILE DAVY-RIGAUX Yüklə 10,2 Mb. Dostları ilə paylaş:
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