Nabokov, Nicolas [Nikolay]
Numerology. See Numbers and music. Nummi, Seppo (Antero Yrjönpoika)
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Numerology.See Numbers and music. Nummi, Seppo (Antero Yrjönpoika)(b Oulu, 30 May 1932; d Tampere, 1 Aug 1981). Finnish composer, critic and music administrator. He studied composition with Kilpinen (1949–54) and made several study trips abroad (e.g. to China, Italy, France and Germany). He was librarian of the Sibelius Academy, Helsinki (1956–61), music critic of the daily papers Kauppalehti and Uusi Suomi (1956–70), programme director of the Jyväskylä Arts Festival (1956–9 and 1962–8) and director of the Helsinki Festival (1969–77). He retired in 1977 and moved to Rome, where he devoted himself to composition. His belief in music as a social force was reflected in his many activities: he was founding member of the Finnish Music Library Association (1954) and the Finnish section of Jeunesses Musicales (1957), and he introduced the concept of the modern art festival to Finland. As a writer he had a special talent for exciting public debate. Before his involvement in music administration he occasionally performed as an accompanist of lieder. He was a conservative as a composer: he carried on the tradition of the German lied, citing Schumann, Wolf, Kilpinen and the Italian Renaissance madrigal as his main sources of inspiration. He wrote about 250 songs on ancient Chinese poetry (e.g. Li-Tai-Po, Jyan-Tsen and Tu-Fu) and on contemporary Finnish poetry. Other works included five madrigals (1959–60), some chamber music and piano pieces. The vocal lines of his lieder have some archaic and on occasion exotic features, and the piano accompaniment is clear and delicately drawn, like a woodcut. WRITINGSwith T. Mäkinen: Musica fennica (Helsinki, 1965) Finland i dag – modern musik (Stockholm, 1967) Laulujen keskeltä [From between the songs], ed. L. and P. Nummi (Keuruu, 1982) Arktinen sinfoniaviha [The Arctic hate of symphony], ed. K. Aho (Tampere, 1994) BIBLIOGRAPHYE. Tawaststjerna: ‘Seppo Nummi’, Scènes historiques (Keuruu, 1992), 216–20 Suomalaisia säveltäjiä [Finnish composers], ed. E. Salmenhaara (Helsinki, 1994), 350–53 E. Salmenhaara: Uuden musiikin kynnyksellä [On the threshold of new music], Suomen musiikin historia [A history of Finnish music], iii (Porvoo, 1996) ILKKA ORAMO Nunc dimittis(Lat). The canticle of Simeon, Luke ii.29–32, sung at Compline in the Latin rite and as the second canticle at Evensong in the Anglican Church. At Compline it is sung with an antiphon to the appropriate psalm tone (e.g. LU, 271, 784); in the Office of the Dead it is sung without antiphon ‘in directum’ (LU, 1744); at the Feast of the Purification before Mass it is sung with the antiphon Lumen ad revelationem gentium between each verse (v.4, textually identical with the antiphon, being omitted: LU, 1357). The Nunc dimittis was set in polyphony rather rarely before 1550, but there is an anonymous setting with the antiphon Lumen in the Pepys manuscript of about 1465 (GB-Cmc Pepys 1236) and a Nunc dimittis by Costanzo Festa. There are several settings each by Palestrina and Lassus, and one by Victoria; a large number are also found in the various collections of music for Compline published in Italy during the 17th century, when attendance at this Office seems to have been a fashionable act of piety. A paired Magnificat and Nunc dimittis by Tallis anticipates later Anglican practice, in which these canticles are regularly set, either on their own or in the context of a Full Service (see Canticle, §4, and Service). From England also come organ compositions based on certain antiphons to the Nunc dimittis, namely two anonymous settings and one by Redford of Glorificamus te, and three settings by Redford and one by Wynslate of Lucem tuam (EECM, vi, 1966; MB, i, 1951, 2/1962). BIBLIOGRAPHYHarrisonMMB J. Roche: ‘Music diversa di Compietà: Compline and its Music in Seventeenth-Century Italy’, PRMA, cix (1982–3), 60–79 JOHN CALDWELL Nunes, Em(m)anuel (Tito Ricoca)(b Lisbon, 31 Aug 1941). Portuguese composer. He studied composition in Lisbon with Francine Benoit at the Academia de Amadores de Música (1959–63) and with Fernando Lopes Graça at the University (1962–4). He attended summer courses at Darmstadt (1963–5), moved to Paris (1964), then attended the Hochschule für Musik in Cologne (1965–7), studying with Pousseur (composition), Jaap Spek (electronic music) and George Heike (phonetics) and taking courses with Stockhausen. He returned to Paris in 1970 and a year later and won a premier prix for aesthetics at the Paris Conservatoire. With a grant from the Portuguese government (1976–7) and as composer-in-residence in Berlin at the invitation of the Deutscher Akademischer Austauschdienst (1978–9), he organized courses at the University of Pau and at the Hochschule für Musik in Freiburg. Since 1979 he has lived alternately in Paris and Oeldorf (Cologne). From 1981 he has run seminars in composition in Lisbon sponsored by the Gulbenkian Foundation and has organized conferences and seminars in various European and North American cities. Since 1986 he has been professor of composition at the Institut für Neue Musik in Freiburg and is regularly asked to lecture at the Paris Conservatoire. Many of his works have been performed during festivals and on the radio throughout Europe. Nunes's work can be divided into three periods. The first, starting with Degrés (1965) and ending with Impromptu pour un voyage I (1973), displays a preference for open forms and the spatial distribution of instruments. The second phase, starting with The Blending Season (1973), is typified by the use of electro-acoustics (either live or on tape) and by greater instrumental effects; the first vocal compositions belong to this phase. The third phase opens with Nachtmusik I (1977–8), the start of a large cycle entitled Die Schöpfung. The agogic, temporal and spatial aspects are significant features of this cycle, one of the highlights of which is Tif'ereth (1978–85). Throughout his work, two constants are evident. The first is the linking of works in pairs, such as Purlieu and Dawn Wo, or Fermata and Ruf, in which one is presented as a complement (in the sense of a positive or negative entity) to the other. The second is the revision or development of works which gives rise, on the one hand, to new versions and, on the other, to a new form of complementarity. This applies to 73 Oeldorf 75 – I and II, where the enlargement of the body of instruments modifies the discursive outline of the work, producing not a modified version, but a new work intimately associated with the first. WORKS
BIBLIOGRAPHY15° encontros Gulbenkian de música contemporânea (Lisbon, 1991) E.X. Macías: ‘Passus: esbozo para una aproximación al universo creativo de Emmanuel Nunes’, Colóquio-artes, lxxxviii (1991), 54–62 E.X. Macías: Tif'ereth de Emanuel Nunes: o esplendor emblemático do espaço (Oporto, 1991) P. Szendy: ‘Réécrire: Quodlibet d'Emmanuel Nunes’, Genesis, iv (1993), 111–32 ADRIANA LATINO Yüklə 10,2 Mb. Dostları ilə paylaş:
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