Nabokov, Nicolas [Nikolay]
Nordqvist, Gustaf (Lazarus)
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- BIBLIOGRAPHY
- Nordraak [Nordraach], Rikard
- WORKS
Nordqvist, Gustaf (Lazarus)(b Stockholm, 12 Feb 1886; d Stockholm, 28 Jan 1949). Swedish composer and organist. He studied the organ, the piano and composition at the Stockholm Conservatory (1901–10) and was a pupil of Willner in Berlin (1913). He was organist of the Adolf Fredrik Church, Stockholm (1914–49) and principal organ teacher at Wohlfart's music school (1926–49). From 1925 until his death he also taught harmony at the conservatory, where in 1944 he was appointed professor. His best-known works are among the c200 solo songs, in a lyrical and moderate late Romantic style; he also composed cantatas and other choral works, religious music, a violin sonata and pieces for the piano and organ. BIBLIOGRAPHYL. Hedwall: ‘Gustaf Nordqvist 1886–1986’, Musikrevy, 41 (1986), no.3–4 L. Hedwall: ‘Nordqvist, Gustaf Lazurus’, Svenskt biografiskt lexikon, 27 (1990–91), with detailed work list ANDERS LÖNN Nordraak [Nordraach], Rikard(b Christiania [now Oslo], 12 June 1842; d Berlin, 20 March 1866). Norwegian composer. As a child he studied with Herman Neupert, a music dealer and publisher, and composed some little piano pieces. His father intended him to become a businessman and at 15 he was sent to Copenhagen for training; however, he was able to take lessons from the Danish singer and composer C.L. Gerlach, and in 1859 continued his studies in Berlin, where he became a pupil of Theodor Kullak (piano) and Friedrich Kiel (composition). After only six months he had to return to Christiania, where he studied for two years under Rudolph Magnus; during this period he became a member of the Nye Norske Selskab (New Norwegian Society), where he met L.M. Lindeman and Ole Bull, and came under the influence of the new national movement in art and literature. His op.1, four dances for piano, was published at this time. In 1861 Nordraak returned to Berlin and his former teachers and worked there for two years. In 1864 he went to Copenhagen, where, with Grieg, C.F.E. Horneman and Gottfred Matthison-Hansen, he founded the music society Euterpe, whose aim was to perform works by young Scandinavian composers. At this time several of Nordraak’s works (some with texts by his cousin Bjørnstjerne Bjørnson) were published: Romancer og sange op.1a, Fem sange (‘Five Songs’) op.2, the incidental music for Bjørnson’s Maria Stuart i Skotland and the Norwegian national anthem Ja, vi elsker dette landet (‘Yes, we Love this Land’), which was first sung on 17 May 1864, Norway’s national day, and quickly became a popular favourite. He went to Berlin again in 1865 and spent the rest of his short life there. Nordraak’s importance in Norwegian music history lies mainly in the strong national fervour, the love of Norwegian folk music, and the passionate belief in the future of Norwegian music which he was able to generate in his contemporaries, especially his friend Grieg. Grieg, who composed a funeral march to Nordraak’s memory, wrote about their first meeting: I will never forget this impression. Suddenly it seemed as if a mist fell from my eyes and I knew what I wanted. It was not exactly the same as what Nordraak wanted, but I believe the way to myself went through him. In his short lifetime Nordraak’s compositions were necessarily few; according to Grinde: it was only natural that some of them bore the marks of an inexperienced composer. All the same, his best works bear witness to an astonishing maturity and indicate that his artistic personality was already clearly defined. Of Grieg’s contemporaries he is the only one whose style is independent of Grieg’s. He had not only developed more quickly than Grieg, but in an entirely different direction. Nordraak’s music is simple: his melodies are usually diatonic, sometimes based on triads; his harmonic language is artfully economical. What he sought was purity and clarity, not complexity of sound or effect. His direct approach is perhaps most evident in the songs, whose form is nearly always strophic, with the piano accompaniment playing a subordinate role.
all in NV; first published in Christiania/Oslo unless otherwise stated incidental music
unaccompanied male choruses
other works
BIBLIOGRAPHYNBL (D.M. Johansen) N. Jappe, ed.: ‘Rikard Nordraaks breve til familien Sanne og Louis Hornbeck’ [Nordraak’s letters to the Sanne family and Hornbeck], Norsk musikkgranskning årbok 1937, 23–51 Ø. Anker: ‘Rikard Nordraak: dagbok 1859–60 og to brev’, Norsk musikkgranskning årbok 1940, 9–36 Ø. Anker: ‘En liten Nordraak-bibliografi’, Norsk musikkgranskning årbok 1940, 37–44 L. Greni: Rikard Nordraak (Oslo, 1942) O. Gurvin: ‘Rikard Nordraaks musikk og dei nasjonale føresetnadene for han i kunstmusikken’ [Nordraak’s music and conditions in national art music], Syn og segn, xlviii (1942), 209–16 D. Schjelderup-Ebbe: ‘Et nyfunnet orkesterpartitur med Rikard Nordraaks musikk til Bjørnstjerne Bjørnsons “Maria Stuart i Skotland”’ [A newly found orchestral score containing Nordraak's music for Bjørnson's Maria Stuart i Skotland], SMN, i (1968), 102–31 N. Grinde: Norsk musikkhistorie (Oslo, 1971, 3/1981, abridged 4/1993; Eng. trans. 1991), 163–7 F. Benestad and D. Schjelderup-Ebbe: Edvard Grieg: mennesket og kunstneren [Grieg: the man and the artist] (Oslo, 1980) H. Herresthal: Med spark i gulvet og quinter i bassen: musikalske og politiske bilder fra nasjonalromantikkens gjennombrudd i Norge (Oslo, 1993) KARI MICHELSEN Yüklə 10,2 Mb. Dostları ilə paylaş:
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