Nabokov, Nicolas [Nikolay]
North American Indian music
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- Bu səhifədəki naviqasiya:
- WRITINGS
- Northern Ireland.
- WORKS
- BIBLIOGRAPHY
North American Indian music.See Amerindian music and United States of America, §II, 4. Northcott, Bayan (Peter)(b Harrow on the Hill, 24 April 1940). English music critic and composer. He read English at Oxford (BA 1962) and worked as an English teacher (1964–70). Musically self-taught up to this point, he studied composition with Alexander Goehr and Jonathan Harvey at the University of Southampton (BMus 1971) and then became a music critic for the New Statesman in 1973 and the Sunday Telegraph in 1976; in 1986 he was appointed chief music critic of The Independent and throughout his career he has contributed regularly to Music and Musicians, Tempo and the Musical Times. From 1987 to 1994 he was a member of the management council of the Holst Foundation, for which he now acts as a consultant and he was made a director of NMC Recordings in 1991. During Northcott's early years as a critic, he concentrated on 20th-century music, especially postwar British and American music. In his later writings, he has broadened his interests to include the whole Western art music tradition. His numerous concise and germane articles on the music of contemporary composers have for three decades informed a wide audience of significant developments in modern music. He began composing in the late 1970s and many of his pieces comprise reworkings of classical procedures in his own terms; for example, his Sonata for solo oboe op.1 (1978) is a study in how a single line can variously imply its own accompaniment, after the example of Bach's solo sonatas. Other major works include Hymn to Cybele (1983), Sextet (1985), commissioned and performed by the Fires of London, Concerto for Horn and Ensemble (1996), and Ave Regina Celorum/Alleluia (1997), composed for the Gothic Voices and performed for the first time to critical acclaim at the Cheltenham Festival in 1997. WRITINGS‘Goehr the Progressive’, Music and Musicians, xviii/2 (1968–9), 36–8, 78 only ‘Peter Maxwell Davies’, Music and Musicians, xvii/8 (1968–9), 36–40 ‘Fauré our Contemporary’, Music and Musicians, xviii/8 (1969–70), 32–6, 80–81 ‘Nicholas Maw’, Music and Musicians, xviii/9 (1969–70), 34–43, 82 only ‘Tippett Today’, Music and Musicians, xix/3 (1970–71), 34–40 ‘Boulez's Theory of Composition’, Music and Musicians, xx/4 (1971–2), 32–6 ‘Elliott Carter: Continuity and Coherence’, Music and Musicians, xx/12 (1972), 28–36 ‘Jonathan Harvey’, Music and Musicians, xxi/7 (1973), 34–40 ‘Robin Holloway’, MT, cxv (1974), 644–6 ‘Since Grimes: a Concise Survey of the British Musical Stage’, Musical Newsletter, iv/2 (1974), 7–11, 21–2 ‘Per Nørgårds Tredje Symfoni: a View from Abroad’, DMt, li (1976–7), 145–7 [in Dan.] ‘Carter the Progressive’, Elliott Carter: a 70th-Birthday Tribute (London, 1978), 4–7, 10–11 ‘Oliver Knussen’, MT, cxx (1979), 727–32 ‘Holloway: the Works for Large Orchestra’, Tempo, no.129 (1979), 9–13 ed.: The Music of Alexander Goehr: Interviews and Articles (London, 1980) [incl. ‘The Recent Music’, 88–103] ‘Notes on Copland at 80’, MT, cxxii (1980), 686–9 ‘Arthur Berger: an Introduction at 70’, MT, cxxiii (1982), 323–6 ‘In Search of Walton’, MT, cxxiii (1982), 179–84 ‘Fascinatin' Modulation’, New York Review of Books (31 May 1984) [on Elliott Carter] ‘Catching up on Wolpe’, Tempo, no.154 (1985), 11–14 ‘Notes on Auden’, MT, cxxxiv (1993), 6–8, 68–72
‘The Fine Art of Borrowing: Britten and Stravinsky’, 47th Aldeburgh Festival (1994), 14–19 [programme book] ‘Françis Poulenc’, BBC Music Magazine, vii/5 (1998–9), 39–45 ROSEMARY WILLIAMSON Northern Ireland.For a discussion of the musical traditions of Northern Ireland, see Belfast and Ireland. Northern Sinfonia Orchestra.Chamber orchestra founded in 1961 in Newcastle upon Tyne. Norton, (George) Frederic(k)(b Salford, 11 Oct 1869; d Holford, Somerset, 15 Dec 1946). English composer and baritone. He was educated at Manchester Grammar School, studied singing with Francesco Paolo Tosti and, in 1894, joined the Carl Rosa Opera Company, taking such roles as Valentin (Faust) and Devilshoof (The Bohemian Girl). By the early 1900s he had progressed to reciting monologues on the variety stage and had also written some light songs and stage works. His childrens' play Pinkie and the Fairies made some mark at His Majesty's Theatre, London, in 1908, but nothing to presage the huge success of the musical comedy Chu Chin Chow, which opened at the same theatre on 31 August 1916 and ran for a record 2238 performances. The work was an oriental pantomime, in which Norton himself would occasionally take the role of Ali Baba. The show's escapism and wistfully nostalgic tunes, produced at the lowest point of World War I, exactly matched the needs of troops home on leave. Today, its music seems texturally basic, and even at the time was criticized for lacking inspiration; yet the Cobbler's Song went into the repertory of most bass-baritones, and was sung worldwide. No other Norton stage work found comparable success, but the gentle lilt and piquant chromaticisms of his barcarolle La siesta, in both orchestral and piano versions, achieved great popularity for a time. WORKS(selective list) all theatres in London
BIBLIOGRAPHYP.L. Scowcroft: ‘Garland No.5: English Light Music Composers: George Frederick Norton’, The British Music Society News, no.69 (1996), 213 only P.L. Scowcroft: British Light Music: a Personal Gallery of Twentieth-Century Composers (London, 1997) GEOFFREY SELF Yüklə 10,2 Mb. Dostları ilə paylaş:
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