Nabokov, Nicolas [Nikolay]
Yüklə 10,2 Mb.
|
- Bu səhifədəki naviqasiya:
- Neighbour note.
- WRITINGS
- EDITIONS
- BIBLIOGRAPHY
- Neikrug, Marc (Edward)
- WORKS
Neidlinger, Gustav(b Mainz, 21 March 1910; d Bad Ems, 26 Dec 1991). German bass-baritone. He studied in Frankfurt with Otto Rottsieper and made his début in 1931 at Mainz, where he remained until 1934, taking supporting buffo bass roles. After an engagement in Plauen (1934–6) he joined the Hamburg Staatsoper, where his roles included Kecal, Bartolo and van Bett in Zar und Zimmermann. In 1950 he moved to the Württembergisches Staatsoper, Stuttgart, where his roles included Leporello, Iago, Falstaff, Ochs, Faninal, Barak and Kaspar in Egk’s Der Zaubergeige. He appeared at Bayreuth from 1952 to 1975 as Alberich, Kurwenal, Klingsor, the Nightwatchman, Hans Sachs and Telramund. He sang with the Stuttgart company at the Royal Festival Hall, London, in 1955 as Pizarro and Kurwenal, and at the 1958 Edinburgh Festival as Lysiart (Euryanthe) and Kurwenal. In 1963 he made his Covent Garden début as Telramund. He did not sing in New York until 1972, when he appeared at the Metropolitan as Alberich. He was a guest at most European opera houses during the 1950s and 60s, appearing regularly at the Vienna Staatsoper from 1956. His Alberich, which he recorded under both Böhm and Solti, was sung with a smoothness and even beauty of tone quite unusual in the part. HAROLD ROSENTHAL/R Neighbour note.See Auxiliary note. Neighbour, O(liver) W(ray) [Tim](b Merstham, Surrey, 1 April 1923). English bibliographer and musicologist. In 1946 he joined the department of printed books at the British Museum. He studied modern languages at Birkbeck College (BA 1950), and joined the museum music room staff in 1951. He succeeded Alec Hyatt King as British Library Music Librarian in 1976; he retired in 1985. Neighbour’s contributions to musical scholarship have been diverse. Many of his writings relate to his work at the British Library and are concerned with source evaluation and music bibliography. In collaboration with Alan Tyson he provided a useful bibliographical tool on the dating of 19th-century English music. His other main areas of research are the music of two very different composers: Byrd and Schoenberg. In the 1950s he argued convincingly against the then prevalent view of Schoenberg’s 12-note music as an intellectual exercise in rejection of tradition. His study of Byrd’s instrumental works is an impressive model of historical criticism which combines manuscript studies with sensitivity to musical style and formal evolution, to deal with the many problems of chronology and authenticity. During this time at the British Library, he made many notable additions to the collections and was much concerned with the preparation of the Catalogue of Printed Music in the British Library (London, 1981–7). WRITINGS‘In Defence of Schönberg’, ML, xxxiii (1952), 10–27 ‘The Evolution of Twelve-Note Music’, PRMA, lxxxi (1954–5), 49–61 ‘A Talk on Schoenberg for Composers’ Concourse’, The Score, no.16 (1956), 19–28 ‘Ralph Vaughan Williams 1872–1958’, The Score, no.24 (1958), 7–13 with A. Tyson: English Music Publishers’ Plate Numbers in the First Half of the Nineteenth Century (London, 1965) Consort and Keyboard Music of William Byrd (London, 1978) ed.: Music and Bibliography: Essays in Honour of Alec Hyatt King (New York, 1980) ‘Orlando Gibbons (1583–1625): the Consort Music’, EMc, xi (1983), 351–7 ‘Veraltete Sentimentalität: Arnold Schoenberg in Defence of Richard Strauss’, Festschrift Albi Rosenthal, ed. R. Elvers (Tutzing, 1984), 253–7 ‘Brahms and Schumann: Two Opus Nines and Beyond’, 19CM, vii (1984–5), 266–70 ‘Some Anonymous Keyboard Pieces Considered in Relation to Byrd’, Byrd Studies, ed. A.M. Brown and R. Turbet (Cambridge, 1992), 193–201 ‘CPM: Some Quirks and Caveats’, Music Publishing and Collecting: Essays in Honor of Donald W. Krummel, ed. D. Hunter (Urbana, IL, 1994), 205–14 EDITIONSR. Schumann: Sonata no.3 in A minor, for violin and piano (London, 1956) A. Schoenberg: String Quartet in D major, 1897 (London, 1966) Three Anonymous Keyboard Pieces Attributed to William Byrd (London, 1973) BIBLIOGRAPHYC. Banks, A. Searle and M. Turner, eds.: Sundry Sorts of Music Books: Essays on the British Library Collections presented to O.W. Neighbour (London, 1993) [incl. A.H. King and H. Cobbe: ‘Tim Neighbour: an Appreciation’, 1–5, and selective list of writings, 6–9] ROSEMARY WILLIAMSON Neikrug, Marc (Edward)(b New York, 24 Sept 1946). American composer and pianist. From 1964 to 1968 he studied with the opera composer Klebe at the Hochschule für Musik in Detmold. Subsequently he attended SUNY, Stony Brook (MM in composition, 1971). He has received two awards from the NEA and commissions from, among others, the Houston SO, the St Paul Chamber Orchestra, the Berlin Deutsche Oper, the Pittsburgh SO and the Aldeburgh Festival. He has served as a contemporary music consultant for the St Paul Chamber Orchestra (1978–85) and as the founder and director of Melbourne Summer Music in Australia from 1986. Whether writing in an atonal or a chromatically tonal idiom, Neikrug is above all a harmonist. His orchestral works, which move in long, carefully orchestrated chordal blocks punctuated by virtuoso, repetitive fragments of melody, reveal the influence of the composer Nørgård. Attacks of acoustically based harmonies and chord clusters lend his duo sonatas their rhythmic drive. Among his best-known works is the theatre piece Through Roses (1979–80), which dramatizes the nightmares of a Jewish violinist who survived in a concentration camp by playing for members of the SS; the film version received prizes at both the Besançon Film Festival (1981) and the International Film and Television Festival, New York (1982). His opera, Los Alamos (1988), the first American work to be commissioned by the Deutsche Oper, states its anti-nuclear position by juxtaposing commentaries on the ‘star wars’ programme and rituals practised by the Pueblo Indians. Pueblo culture also inspired Neikrug’s Pueblo Children’s Songs for soprano and piano (1995). As a pianist, Neikrug has appeared in a duo with the violinist Pinchas Zukerman – they gave the first performance of Neikrug’s Duo and the Sonata concertante – and was the soloist in the first performance of his Piano Concerto. He has conducted a number of performances of his works by American and European orchestras.
SEVERINE NEFF Yüklə 10,2 Mb. Dostları ilə paylaş:
|