Nabokov, Nicolas [Nikolay]
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- WORKS
- Nocetti [Noceti, Nuceti], Flaminio
- Nocturnae orationes
- BIBLIOGRAPHY
Nobutoki, Kiyoshi(b Osaka, 29 Dec 1887; d Tokyo, 1 Aug 1965). Japanese composer. After studying the cello (1906–10) then composition and conducting (until 1915) at the Tokyo Music School he went in 1920 to Germany to study with Georg Schumann for two years. Returning to Japan, he taught at the Tokyo Music School (1923–32) and was elected to the Japanese Arts Academy in 1942. Before World War II he was a leading composer of songs and choruses, but after the war he virtually gave up composition and withdrew to a quiet retirement, particularly because of his feeling of responsibility for his involvement in Japanese militarism: his Umi yukaba (‘If I go to the ocean’, 1937) became the most popular military song of the period and his cantata Kaidō tōsei (‘Along the Coast, Conquer the East’, 1940) was written to commemorate the 2600th anniversary of the foundation of Japan. His music combined a conventional German compositional technique with a typically Japanese subtlety of expression. His 1925 translation of Franz Wüllner's Chorübungen der Münchener Musikschule (Munich, 1876) has become the most popular textbook of vocal pedagogy in Japan. In 1964 he received the Order of Cultural Merit. WORKS(selective list)
MASAKATA KANAZAWA Nocetti [Noceti, Nuceti], Flaminio(b Parma; d Parma, in or after 1618). Italian composer and organist. He must have been active as a musician by about 1600 since Scipione Cerreto mentioned him in his Della prattica musica (Naples, 1601/R). From the title-pages of his publications it can be deduced that at least from 1603 to 1618 he was organist of the Benedictine abbey of S Giovanni Evangelista, Parma, and he dedicated some of his music to members of the Farnese family, rulers of Parma. As a composer he is known only for sacred music, much of it for eight voices or other comparatively large numbers of voices. (N. Pelicelli: ‘Musicisti in Parma nel secolo XVII’, NA, x (1933), 116–26, 314–25) WORKSall except anthologies published in Venice
ARGIA BERTINI Nocturnae orationes(Lat.). See Nocturns. Nocturne(Fr.; Ger. Nachtstück). A piece suggesting night, usually quiet and meditative in character, but not invariably so. The Italian term Notturno occurs frequently as a title in 18th-century music, but the French form of the word was not used until John Field applied it to some lyrical piano pieces written between about 1812 and 1836. The first three were published in Leipzig in 1815, two of them having been published in 1812 with minor differences as ‘Romances’. Field’s nocturnes are historically important as antecedents of Chopin’s. The writing is clearly idiomatic, exploiting the sounds available on the newer pianos; the sustaining pedal, in particular, enabled Field to expand the range of the harmonic accompanying patterns beyond those of the Alberti bass, which of necessity lay under the hand. The melodies of his nocturnes transferred to the keyboard the cantilena of Italian opera, to which he had been exposed in Russia in the early 1800s (see ex.1). According to Liszt, who wrote a preface to the first collected edition of Field’s nocturnes (Leipzig, 1859), they ‘opened the way for all the productions which have since appeared under the various titles of Songs without Words, Impromptus, Ballades, etc., and to him we may trace the origin of pieces designed to portray subjective and profound emotion’. 
Although the emotional range of most of Field’s nocturnes is not wide, and the phrase structure sometimes tediously predictable, the restrained elegance of his musical language and imaginative keyboard figuration made a great impression on subsequent Romantic composers, especially Chopin, who admired both Field’s playing and his compositions. Nocturnes were composed by most pianist-composers of the time, including Liszt (whose famous Liebesträume song transcriptions were subtitled ‘nocturnes’), Schumann (Nachtstücke op.23), J.B. Cramer, Czerny, Kalkbrenner, Thalberg, Henri Bertini and Theodor Döhler among them. Chopin’s 21 nocturnes, however, hold a pre-eminent place in the history of the genre. The celebrated Nocturne in E Chopin’s nocturnes (especially op.48 no.1) display an intensity well beyond the range of Field and a high degree of melodic invention (ex.2). His remarkable harmonic sophistication, too, is often couched in keyboard textures of a contrapuntal complexity that never seems redundant or forced. Moreover, several diverge from Field’s basic ABA formal outline. The otherwise suave op.32 no.1 in B major ends unexpectedly in B minor with an abrupt, recitative-like coda that appears in emotional terms to contradict all that has gone before, while op.15 no.3 in G minor is in a highly unusual AB form with no recapitulation of the initial material.
Although the apogee of the pianistic nocturne was reached with Chopin, it continued to be a popular genre. French composers were particularly attracted to the form: Fauré wrote 13 nocturnes, and Satie, d’Indy and Poulenc contributed to the repertory. Liszt’s late works include the nocturne En rêve (1885) and celebrated nocturnes were also composed by Glinka, Balakirev, Tchaikovsky (op.10 no.1 in F major and op.19 no.4 in C In some of the works already mentioned the effusive lyricism that had characterized many of the nocturnes of Field and Chopin was replaced by an attempt to capture the fevered visions and dreams of the night or to evoke its natural sound world in musical terms that may be very far from those of the drawing-room. Schumann’s Nachtstücke illustrate this change of emphasis, which was pursued much further by 20th-century composers such as Hindemith in his Suite ‘1922’ for piano (1922), Vaughan Williams in A London Symphony (1912–13; revised 1920), Britten in the nocturne of his Serenade for tenor, horn and strings (1943) and Lennox Berkeley in the slow movement of his Divertimento in B MAURICE J.E. BROWN/KENNETH L. HAMILTON Yüklə 10,2 Mb. Dostları ilə paylaş:
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