Nabokov, Nicolas [Nikolay]

Naumbourg, Samuel

(b 1815; d 1880). French composer and reformer of synagogue music. See Jewish music, §III, 3(iv).

Nauru.

See Micronesia, §VI.

Naushad [Ali, Naushad]

(b Lucknow, 25 Dec 1919). Indian Hindi film music director. Naushad was among the most successful Hindi film music directors of the 1940s to 1960s, earning widespread fame as a composer of film songs based on Indian classical and folk traditions. As a young boy in Lucknow he spent many hours listening to the orchestra accompanying silent films in a nearby cinema, in defiance of his father's wishes. In his teens he formed a touring theatrical company with its own orchestra, which visited cities in Uttar Pradesh, Gujarat and Rajasthan. After this first experience as a composer, Naushad moved to Mumbai (Bombay) in 1937 seeking work in the Hindi film industry. For a short time he played piano in the orchestra at the Film City studio, Tardeo, but soon acquired work as assistant to music director Khemchand Prakash in Ranjit Movietone. His début as a single music director came in 1940 with Bhavnani Production's Prem nagar. When Naushad became music director at Kardar Studios in 1942, his popularity as a film song composer began to soar. He produced a succession of enormously popular songs in Kardar's films, including those based on his native Uttar Pradesh folksongs in Rattan (1944) and classically based tunes for the historically orientated Shahjahan (1946). A.R. Kardar granted Naushad permission to accept contracts outside the studio, which led to further hit songs in films such as Mehboob Studios' Anmol ghadi (1946) and Andaz (1949) and Wadia Films' Mela (1948), which greatly increased the films' box-office draw.

In the 1950s Naushad drew more heavily on Hindustani classical music, beginning with Baiju bawra in 1952. His film songs based on classical rāgas (such as Tu ganga ki mauj on rāga Bhairavī, Insaan bano on rāga Gujari Todī, and Man tarpat Hari darshan ko aj on rāga Malkauns from Baiju bawra) met with huge success among Indian audiences, and this use of rāgas as a base for film song melodies became a stamp of his musical style.

Naushad continued composing songs for Hindi films into the 1990s, although with increasingly fewer commitments. He has received numerous awards for his contributions to Hindi film music, from a Gold Medal presented by the Gramophone Company of India and Columbia Records in 1947 for the highest number of record sales in India and abroad to Best Music Director awards from Filmfare, the Indian Film Journalist Association, the Film Sansar League, the Bombay Youth Circle, and others. In 1977 he received the Maharashtra State Government Award and in 1982 the Dada Saheb Phalke Award (named after the first Indian silent film maker).

ALISON ARNOLD

Nauss, Johann Xaver

(b c1690; d Augsburg, 15 Nov 1764). German composer, organist and teacher. He went as a young man to Augsburg, where he was twice married, in 1718 and 1742. He was an organist at the collegiate church of St Georg until 1727 and thereafter worked as a teacher until his appointment in 1734 as organist of Augsburg Cathedral. Two of his most important compositions are listed in the 1753 catalogue of the Augsburg publishing firm, J.J. Lotter. Die spielende Muse, welche die Jugend in leichten Praeludien nach den Kirchen-Tönen eingerichteten Versetten, Fugen und Arien auf dem Clavier nach der kurtzen Octave übet, a collection of easy pieces for beginners, was published in five parts by various firms, Lotter producing the last two (1748, 1752); in 1751 the same publisher issued a teaching manual by Nauss, Gründlicher Unterricht den General-Bass recht zu erlernen.

BIBLIOGRAPHY

EitnerQ

MGG1 (A. Layer)

A. Layer, ed.: Katalog des Augsburger Verlegers Lotter von 1753 [CaM, ii] (Kassel, 1964), 12, 20

ADOLF LAYER

Naust.

French firm of woodwind instrument makers. It was founded by Pierre Naust (b ?La Couture, c1660; d Paris 1709). He probably worked for Etienne Fremont (d c1692), and on the latter’s death succeeded him in the business. Naust’s wife Barbe Pelletier Naust (d 1726), a relation of Fremont’s, succeeded to the business on her husband’s death and in 1719 formed a partnership with her foreman and son-in-law Antoine Delerablée. On her death she was succeeded by her daughter Jeanne and Delerablée. The firm was documented as ‘maître faiseur d’instruments de la maison du Roy’ in 1715, and in 1719 and 1721 supplied ‘flûtes’ to the Munich court. An invoice dated 20 December 1721 for a flute with three ‘cors’ (corps de rechange) is the earliest known reference to a four-piece flute with alternate joints; the transition from the three-piece Baroque flute to the four-piece model may have been accomplished in the Naust workshop; they are the only flute makers whose surviving instruments include both types (Giannini, 1993).

See also Lot.

BIBLIOGRAPHY

Waterhouse-LangwillI

YoungHI

T. Giannini: Great Flute Makers of France: the Lot and Godfroy Families, 1650–1900 (London, 1993)

TULA GIANNINI

Nauwach, Johann

(b Brandenburg, c1595; d ?Dresden, c1630). German composer. He went to Dresden as a choirboy about 1607 and spent most of the rest of his life there. In 1612 the Elector of Saxony sent him to Turin and to Florence, where he studied the lute with Lorenzo Allegri and became acquainted with the latest Italian vocal music. In 1618 he was back in Dresden, where five years later he described himself as a chamber musician. His second collection of songs in 1627 was occasioned by the same wedding festivities in Torgau as Schütz's opera Dafne.

Nauwach's two collections of songs are an important link between Italian monodies and the emerging German continuo lied of the 1630s. The Italian Arie (1623) are heavily influenced by Caccini, d'India and other monodists; as in Le nuove musiche there are through-composed madrigals (including an elaborately ornamented version of Caccini's own Amarilli) and strophic dance-songs in AABB form. The musically superior 1627 volume, the first German collection of continuo lieder, is an anthology of various italianate and older German song types and some immediate precursors of the mid-17th-century lied. It includes a set of strophic variations for two voices and continuo based on the romanesca, a madrigal-like lied with embellishments and a three-part villanella or strophic, syllabic dance-lied, all of them similar to Italian models. Wer von Amor ist arrestirt, a solo song, is a setting of a traditional strophic poem and except for the continuo part could belong to the solo lied tradition of the previous century. Nine poems, however, are reform verses by Opitz, and at least four look forward to those found in the continuo lieder of Albert and his imitators.

WORKS

Edition: Das deutsche Sololied und die Ballade, ed. H.J. Moser, Mw, xiv (1957; Eng. trans., 1958)

Libro primo di arie passeggiate, 1v, bc (Dresden, 1623)

Erster Theil teutscher Villanellen, 1, 2, 3vv, theorbo/lute/hpd/other inst (Dresden, 1627)

BIBLIOGRAPHY

MGG1 (C. Engelbrecht)

A. Einstein: ‘Ein unbekannter Druck aus der Frühzeit der deutschen Monodie’, SIMG, xiii (1911–12), 286–96

W. Vetter: Das frühdeutsche Lied (Münster, 1928), ii [incl. edns]

F. Blume: ‘Die Handschrift T 131 der New York Public Library’, Festschrift Karl Gustav Fellerer zum sechzigsten Geburtstag, ed. H. Hüschen (Regensburg, 1962), 51–66

R.H. Thomas: Poetry and Song in the German Baroque (Oxford, 1963) [incl. 2 of Nauwach's songs]

J.H. Baron: Foreign Influences on the German Secular Solo Continuo Lied in the Mid-Seventeenth Century (diss., Brandeis U., 1967)

JOHN H. BARON