Nabokov, Nicolas [Nikolay]
Yüklə 10,2 Mb.
|
- Bu səhifədəki naviqasiya:
- WORKS
- BIBLIOGRAPHY
Nordheim, Arne(b Larvik, 20 June 1931). Norwegian composer. He started out as an organ and theory student at the Oslo Conservatory (1948–52), but later turned to composition, studying with Karl Andersen, Bjarne Brustad, Conrad Baden and Holmboe. He also studied musique concrète in Paris (1955) and electronic music in Bilthoven (1959). Nordheim was one of Norway’s first composers to turn towards postwar modernism, and he is among the most internationally recognized. His honours include the Nordic Council Music Prize for Eco in 1972, Italia Prize for The Descent in 1980, the Honorary Prize of the Norwegian Cultural Council in 1990, and the Henrich Steffens Prize (Hamburg) in 1993. He has also played an important organizational role in Norwegian musical life as a member of a number of organizing committees and councils; in 1997 he was elected an honorary member of the ISCM. Although Nordheim draws strongly upon contemporary compositional techniques, he is also influenced by earlier music. His link with tradition is evident not least in the dominent existential themes of solitude, death, love, and landscape – themes already present in the early song cycle Aftonland (1959), a setting of poems by Pär Lagerkvist, which brought him national recognition. But this work also points ahead toward the new sonorities and free atonal style which were to dominate his works in the 1960s and early 1970s. The orchestral Canzona (1961) announced Nordheim internationally, and is representative of his more radical, mature style. It draws inspiration from Giovanni Gabrieli’s canzone, employing space as an independent parameter in the wandering movements of motifs across the orchestra. Another notable work from this period, perhaps Nordheim’s most avant-garde composition, is Eco (1968), a monumental oratorio of human suffering, which uses poems by Salvatore Quasimodo. As so often this work is highly expressive, playing on dramatic contrasts between extended soprano solo lines and sonorous blocks in the choirs and instrumental ensemble. In the 1960s Nordheim devoted much of his attention to electronic music, one of the first in Scandinavia to do so. He would often combine acoustic sources with electronics, as in the masterly Epitaffio (1963) for orchestra and tape, which fully demonstrates his refined sense of tone colour. The orchestral sound, dominated by metallic percussion instruments and clusters of ‘light and dark at the same time’, is inspired by electronic sonorities, and vice versa. The transition between the two media is almost imperceptible, the orchestra at one stage cross-faded with an electronically processed choral version of Quasimodo’s poem Ed è sùbito sera. Nordheim’s orchestral cluster technique is related to the Polish School of Lutosławski and Penderecki, and his Polish orientation also led to his frequent visits, between 1967 and 1972, to the Studio Eksperymentalne of Polish Radio in Warsaw, where many of his most important electronic works – among them Solitaire, Pace and Lux et tenebrae (Poly-Poly) – were realized. The common denominator of these compositions is the human voice, which is often radically transformed electronically. Musical time is another major issue addressed in Nordheim’s electro-acoustic experiments. In Lux et tenebrae, for example, six sound-structures of different length are superimposed, the layers continually being displaced in relation to each other. In Floating (1970) Nordheim transferred this idea to the orchestral medium, the slowly evolving constellations of motifs producing a simultaneous sensation of stasis and development. Later works, such as the important ballet The Tempest (1979), vary this technique by layering different tempos. The Tempest is typical of the works of the late 1970s and early 1980s, in which vocal compositions predominate, some closely related. In particular Doria, The Tempest, Tempora noctis, The Descent, Aurora and Wirklicher Wald have a distinct neo-romantic tendency. However, the earlier neo-expressionistic sonorous masses are still present, if in a background role. Since the early 1980s Nordheim has also composed a number of works for small and large orchestra – such as Tenebrae, Boomerang, Monolith and the Violin Concerto – in which he again draws on expressionism, as well as employing countrapuntal and canonic techniques to build up sonorous blocks. While these procedures in the early 1970s led to massive textures, in which the individual parts tended to melt together, their later usage tends to be more restrained, the music more transparent and melodically distinct. Furthermore, in those works which feature a solo instrument, the melodic component is enhanced by dialogue between soloist and ensemble. Nordheim has gradually established a position as Norway’s ‘national composer’, since 1982 living in Grotten, the honorary residence of the Norwegian state. This role has led to celebratory works, such as music for the opening of the 1994 Winter Olympic Games in Lillehammer. For the same event he composed Draumkvedet, based on a medieval Norwegian epic poem, while to mark the millennium of the city of Trondheim in 1997, his towering oratorio Nidaros was given its première in Trondheim Cathedral. WORKS(selective list) stage
orchestral
vocal
chamber and solo instrumental
other works
BIBLIOGRAPHYP. Wollnick: Arne Nordheims Canzona per orchestra og Epitaffio per orchestra e nastro magnetico (diss., U. of Oslo, 1971) L. Reitan: Arne Nordheims Eco og Floating (diss., U. of Oslo, 1975) Ballade, v/2–3 (1981) [Nordheim issue] R. Davidson, ed.: Arne Nordheim (Copenhagen, 1981) F. Jersonsky-Margalit: Perspectives on Arne Nordheim’s The Tempest (diss., U. of Oslo, 1982) S. Mehren and others, eds.: Arne Nordheim: og alt skal synge! (Oslo, 1991) K. Skyllstad: ‘The Bird and the Time Machine’, Norsk samtidsmusikk g jennom 25 ar: Temaer, Tendenser og Talenter, ed. K. Skyllstad and K. Habbestad (Oslo, 1992), 192–7 H. Aksnes: ‘Arne Nordheim – in Remembrance of Things Past’, Ballade, xvii/4 (1993), 32–7 H. Aksnes: ‘Arne Nordheim: a Nordic Internationalist’, Nordic Sounds, no.3 (1993), 16–20 H. Aksnes: Musikk, tekst og analyse: en studie med utgangspunkt i Arne Nordheims Nedstigningen (Oslo, 1996) D. Østerberg: ‘Nasjonsløs i industrisamfunnet: om Arne Nordheims musikk’, Fortolkende sosiologi II (Oslo, 1997), 157–62 HALLGJERD AKSNES Yüklə 10,2 Mb. Dostları ilə paylaş:
|