Nabokov, Nicolas [Nikolay]
Nenia [naenia; exequiae, exsequiae]
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- BIBLIOGRAPHY
- Nenna, Pomponio
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Nenia [naenia; exequiae, exsequiae](Lat.; Ger. Nänie). Funeral song in ancient Rome in praise of a dead person, analogous to the Greek Thrēnos (threnody). It was generally sung by praeficae (professional female mourners) or by female relatives of the dead person, to the accompaniment of one or more tibiae, or to the lyra; the tuba and cornu were also used for funeral music, often as purely instrumental music. The praeficae with their assistants probably sang the nenia in the manner of a litany; it may have consisted of traditional formulae. Others present might also have taken up the song. The nenia was intended to banish the maleficent influence of the spirits of the underworld; in this sense it is said to survive today in remote parts of Italy. The term was also used in antiquity for the ending of a song or poem. The word ‘nenia’ was revived in a humanistic spirit by Erasmus in his Naenia in Johannes Ockeghem musicorum principem (set to music by Johannes Lupi), and later in a more general sense, that is, not in commemoration of an individual, in the Nänie by Schiller (set by Goetz, 1874; Brahms, op.82, 1880–81; and Orff, 1956). The term ‘exequiae’ was used in the title of the Musicalische Exequien (Dresden, 1636) by Schütz; this is a setting of various German texts used in funeral rites, to commemorate Heinrich von Reuss.
GEOFFREY CHEW/THOMAS J. MATHIESEN Nenna, Pomponio(b Bari, bap. 13 June 1556; d ? Rome, before 22 Oct 1613). Italian composer. He was the son of Giovanni Battista Nenna (1508–after 1565), author of a treatise on nobility and a city official of Bari. The Emperor Charles V, at his coronation at Bologna in 1530, had given the elder Nenna the Order of the Golden Spur, with its hereditary title of ‘Cavaliere di Cesare’, which Pomponio put on title-pages of his publications. Nenna’s teacher was probably Stefano Felis; he may have been taught by Giovanni Jacopo de Antiquis, Giovanni de Marinis and Rocco Rodio, who were in Bari when he was growing up. His first printed works were four villanellas in collections of 1574 edited by Antiquis. His first book of five-voice madrigals (1582) is dedicated to Fabrizio Carafa, Duke of Andria (murdered by Gesualdo in 1590), who had nominated Nenna as governor of Andria, near Bari. Micheli stated that he met Nenna when the latter was in Gesualdo’s service in Naples (c1594–9). It has often been supposed that Nenna taught Gesualdo and that – because of publication dates and similarities in style and the coincidence of some phrases in their madrigals – Gesualdo was influenced by him and borrowed from him. Three points argue that, on the contrary, it was Nenna who was influenced by, and borrowed from, Gesualdo, though because his second and third books of five-part madrigals are lost the question cannot be settled definitively. First, if Giovanni Pietro Cappuccio’s dedications of Gesualdo’s fifth and sixth books (both 1611) are to be believed, Gesualdo composed the works in them as early as 1596, on his return from Ferrara, but kept them from widespread circulation. Second, Nenna borrowed from at least one other composer (Caccini), and throughout his career he adapted his madrigal style to prevailing tastes. Third, his treatment of parallel passages of text is less vivid than Gesualdo’s. Salvio reported that in 1606 Nenna took part in chess games and social gatherings at the home of Don Ferrante di Cardona in Naples. Judging from the dedications of his madrigal books, he remained in Naples until 1607 and was in Rome by 1608. Nicola Tortamano’s dedication of Nenna’s book of four-voice madrigals, dated 22 October 1613, speaks of honouring his memory, so he probably died shortly before this. Through the three style periods of Nenna’s madrigals – those defined by his early works, his earlier years in Naples and his later Neapolitan and Roman years – certain trends are discernible: they become shorter and more imitative while using phrase repetition more often. The most striking feature of the first five-voice book is what may be called ‘cadence ostinato’: a cadence-like pattern of chords is repeated up to ten times at regular intervals of two to four semibreves, sometimes produced by motifs repeated at identical pitch levels by different voices. Two-thirds of the madrigals open with this technique. The effect is similar to that produced by echoes in the works of Andrea and Giovanni Gabrieli for cori spezzati. Nenna’s fourth and fifth five-voice books and his four-voice book are Neapolitan in style: they contrast durezze e ligature with rapid imitated motifs often doubled in 3rds and 10ths in many different combinations, but the former are less original and extended, and the latter less often stretched out of shape, than in the works of Gesualdo. The fifth book is only the second collection to use a sizable number of texts by Marino: seven pieces are settings of him. The four-voice madrigals published in 1613 were probably composed much earlier; two of them appeared in 1604 in a book of madrigals by Alessandro di Costanzo (this edition is lost but a later one, RISM 161613, is extant). Nenna’s last three books share several stylistic features: they are less chromatic and dissonant than the earlier books; text declamation is quicker and repetition commoner than in contemporary Neapolitan madrigals; there is more frequent counterpointing of two motifs with differing texts in a single point, a characteristic of the Roman madrigal. The seventh book was particularly popular, for it was reprinted four times up to 1624 and was copied in the 17th century with English words (in GB-Ob Tenbury 1015). Ferdinando Archilei assembled Nenna’s eighth book in 1618 and included in it works by Gesualdo and Gervasio Melcarne; it also contains a madrigal from Macque’s sixth book (1613) but without attribution to him. Nenna’s two books of responsories have fewer harmonic, textural and rhythmic contrasts than his madrigals. WORKSsecular
sacred
BIBLIOGRAPHYR. Micheli: Preface to Musica vaga et artificiosa (Venice, 1615) A. Salvio: Il puttino altramente detto, Il cavaliero Errante del Salvio (Naples, 1634), 43–4 G. Petroni: Della storia di Bari dagli antichi tempi sino all’anno 1856 (Naples, 1857–8), 581ff D. Fryklund: ‘Musikbibliografiska anteckningar’, STMf, x (1928), 158–203, esp. 175 G. Watkins: Gesualdo: the Man and his Music (London, 1973, 2/1991) G.E. Watkins: ‘A Madrigal in Four Voices: La mia doglia s’avanza (1613) by Pomponio Nenna (c.1550–c.1618)’, Notations and Editions: a Book in Honor of Louise Cuyler, ed. E. Borroff (Dubuque, IA, 1974), 48–54 J. Kurtzman: ‘An Early 17th-Century Manuscript of Canzonette e Madrigaletti Spirituali’, Studi musicali, viii (1979), 149–71 A. Pompilio: I madrigali a quattro voci di Pomponio Nenna (Florence, 1983) KEITH A. LARSON Yüklə 10,2 Mb. Dostları ilə paylaş:
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