Nabokov, Nicolas [Nikolay]
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- Neele, Perrot [Peron, Peros] de.
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Neel, (Louis) Boyd(b Blackheath, London, 19 July 1905; d Toronto, 30 Sept 1981). English conductor. A naval officer who became a doctor and then a professional musician, he was educated at the Royal Naval College, Dartmouth; he studied medicine at Cambridge and in London and music theory at the GSM. In 1932 he founded the Boyd Neel Orchestra, which made its début at the Aeolian Hall, London, on 22 June 1933. Drawn from the best young string players, the orchestra quickly formed a distinctive style and repertory. Britten composed his Variations on a Theme of Frank Bridge for them, which they played at the 1937 Salzburg Festival, so establishing Britten's international reputation and their own. As well as string works by Elgar, Holst, Vaughan Williams, Britten, Dvořák, Grieg, Tchaikovsky, Bloch (Concerto grosso) and Stravinsky (Apollon Musagète), the orchestra was particularly associated with the revival of Baroque string music, then little known or played by too cumbersome an orchestra. Based on 18 players, the group developed a true and lively chamber character, well suited to the music of such composers as Torelli, Vivaldi and Geminiani, and the concertos of Mozart (often with Kathleen Long or Frederick Grinke). Neel had an instinctive gift for tempos and clean textures in Bach and Handel: among the orchestra's fine recordings, those of Handel's Grand Concertos op.6, pioneering when they were made, still held their own when they were reissued in the more critically informed 1970s. Under Neel the orchestra toured widely: in Britain and Europe, in Australia and New Zealand in 1947, and in Canada and the USA in 1952. During World War II Neel returned to medicine but also entertained the forces and performed at the National Gallery Concerts in London; Britten wrote his Prelude and Fugue for the orchestra's tenth anniversary. Neel then conducted the Sadler's Wells Opera (1945–6), the D'Oyly Carte Opera (1948–9) and the Robert Mayer Children's Concerts (1946–52). In 1953 he was appointed dean of the Royal Conservatory of Music and head of the music faculty of Toronto University. His academic duties centred on the teaching of orchestral conducting and planning the new Edward Johnson Building, opened in 1962. He formed in 1954 the Hart House Orchestra, the Canadian counterpart of the Boyd Neel Orchestra, which toured North America, and appeared at the Stratford Festival (Ontario) in 1955, the Brussels World Fair in 1958 and the Aldeburgh Festival in Britain in 1966. Neel retired as dean in 1971, having substantially raised the prestige of music in the university. He continued as musical director of the Hart House Orchestra and director of the Sarnia (Ontario) Light Opera Festival. He was made a CBE in 1953 and an officer of the Order of Canada in 1972. WRITINGSThe Story of an Orchestra (London, 1950) ‘The String Orchestra’, Benjamin Britten: a Commentary on his Works from a Group of Specialists, ed. D. Mitchell and H. Keller (London, 1952/R) BIBLIOGRAPHYMy Orchestras and other Adventures: the Memoirs of Boyd Neel (Toronto, 1985) [incl. discography] R. Wimbush: ‘Boyd Neel’, Gramophone, i (1972–3), 178–9 DIANA McVEAGH, EZRA SCHABAS Neele, Perrot [Peron, Peros] de.See Perrot de Neele. Nees, Vic(b Mechelen, 8 March 1936). Belgian composer and conductor, son of Staf Nees. He studied at the Antwerp Conservatory with Marcel Andries, Renaat Veremans, Mortelmans and Decadt, and he won the De Vleeshouwer Prize in the composition class of Flor Peeters. He then specialized in choral conducting with Kurt Thomas in Hamburg. From 1961 to 1970 he worked as a producer for choral music with Belgian Radio and Television (BRT). He was the conductor of the BRT Choir from 1970 until his retirement in 1996. In 1994 he became a member of the Belgian Royal Academy. Both as a conductor and a composer he exerted great influence on Flemish choral music, conducting all over the world and winning many composition prizes. His works consist almost completely of vocal music. Already in his earliest works he broke consciously away from the Flemish Romantic tradition and based his approach on German 20th-century choral music and Renaissance and early Baroque vocal music, particularly the works of Schütz. Nees composes in a pictorial and expressive way, using key words in the text as his starting-point. Traditional means are combined with innovations such as repetitive elements (Lesbia), clusters (Rachel) and complex rhythms (Looft de Heer). WORKS(selective list)
BIBLIOGRAPHYH. Heughebaert: ‘Ontmoeting met koorkomponist Vic Nees’, Gamma, xxvi/3 (1974), 8–12 R. Leens: ‘Vic Nees: een veelzijdig koorcomponist’, Adem, xvii (1981), 126–9 K. Theuwissen: ‘De cirkelgang van een inwendig lied’, Ons erfdeel, xxxv (1992), 256–60 P. van Moergastel: ‘Vic Nees: compositeur belge’, International Choral Bulletin, xii/3 (1993), 47–8 K. Nijs: ‘De eerstelijnszorg van huisdirigent Vic Nees’, Muziek en woord, xxii/3 (1996), 2–3 YVES KNOCKAERT Yüklə 10,2 Mb. Dostları ilə paylaş:
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