which he was no mean performer. Lord MountEdgcumbe describes his voice as 'weak and uncertain'; while another critic calls it 'sonorous and powerful,' but excepts from his successful rôles that of Sancho in the 'Villeggiatori bizarri,' which he rather foolishly excuses on the plea that he was 'too much the gentleman to play the clown' (Monthly Mirror). All agree, however, that Naldi was extremely clever, could write very fair verses and compose very tolerable music; had an accurate ear; could play the piano and cello very well; and read at sight with perfect ease and intonation. As an actor, he was excellent, and played with 'irresistible humour, effect, judgment, and truth.' A good portrait-sketch of him, as Figaro in 'Le Nozze,' 'Drawn and Etched expressly for the British Stage,' appeared in Feb. 1818. In the next year, he was engaged at Paris, where he made his début in 'Così fan tutte'; but his powers were much faded. He returned once more to London in that, his last, season: and in the following year, at Paris, met an untimely death, in the apartments of his friend Garcia, by the bursting of a newly-invented cooking-kettle, a trial of which he had been invited to witness. His daughter, Mlle. Naldi, made her début in 1819. She sang at Paris in 1822–3, and is said (by Fétis) to have 'shared the public applause with Pasta for some years, particularly in Tancredi and Romeo e Giulietta.' Without attaching implicit credit to this statement, we may believe that she was an excellent singer, and that she was a loss to the stage when she retired (1824), having married the Conte di Sparre, after which she was no more heard, except in her own salon, or those of her friends.
[ J. M. ]
NALSON, Rev. Valentine, Sub-chanter of York Cathedral in the early part of the 18th century, composed an Evening Service in G, and also, on the occasion of the Peace of Utrecht in 1713, a Morning Service in the same key, both which are contained in the Tudway Collection, Harl. MSS. 7341 and 7342. Some anthems by him are also extant. He died in 1722.
[ W. H. H. ]
NANINI,[1] Giovanni Bernardino, was born, about the middle of the 16th century, at Vallerano, where he studied Counterpoint under his elder brother, Giovanni Maria. Removing, at a later period, to Rome, he held the appointment of Maestro di Cappella, first at the Church of S. Luigi de' Francesi, and afterwards at that of S. Lorenzo in Damaso. Beyond this, little is known of his personal history; though it is certain that he took a prominent part in the management of his brother's Music School,—an institution to which some of the most celebrated Composers of the period were indebted for their early training. The exact date of his death has not been ascertained, and can only be surmised from that of his latest publication, which was printed in 1620.
As a Composer, G. B. Nanini takes rank among the best Masters of his time; but his works are, for the most part, far less characteristic of the true Polyphonic style than those of his brother. He was one of the first who ventured so far to depart from the traditions of the Roman School as to write Church Music with Organ Accompaniment; and his later productions bear evident marks of that 'progress' which ultimately led to its extinction. His published works are, a volume of delightful Madrigals entitled, 'Madrigali, a 5 voci,' Lib. I. (Venice, 1579, 1588, 1598); Idem, Lib. II. (Venice, 1599); Id., Lib. III. (Rome, 1612); 'Mottecta, à i. ii. iii. iv. v. voc. una cum gravi voce ad organi sonum accomodata, Lib. I.' (Roma, 1608); Id., Lib. II. (Rome, 1611); Id., Lib. III. (Rome, 1612); Id., Lib. IV. (Rome, 1618); 'Salmi, à 4 voc. con l'organo' (Rome, 1620); and 'Venite, exultemus Domino, à 3 voc. col' organo' (Assisi, 1620). In addition to these important works, many Madrigals, and other detached compositions, will be found in the collections published by Phalesius, and others, at the beginning of the 17th century: and many more still remain in MS. Of these last, the most important are, some Psalms and Motets for 8 Voices, and a Salve Regina for 12, formerly in the collection of the Abbé Santini; and a Treatise on Counterpoint, written, in conjunction with Giov. Maria, perhaps for the use of the pupils in the Music School. Proske has included four of his Psalms in the 'Musica Divina.'
[ W. S. R. ]
NANINI, Giovanni Maria, elder brother of the preceding, was also a native of Vallerano, where he is believed to have been born, about 1540. In early youth he studied Counterpoint, at Rome, under Claude Goudimel, in whose Music School he and Palestrina are said to have been, for a time, [2]fellow-students. His education completed, he returned to his birth-place, as Maestro di Cappella: but when, in consequence of Palestrina's acceptance of office at the Vatican Basilica, it became necessary, in 1571, to elect a new Maestro di Cappella for the Basilica Liberiana (S. Maria Maggiore), he was invited to Rome, as the fittest person upon whom the vacant preferment could be bestowed; and he continued to hold the appointment, until 1575, when he resigned it in favour of Ippolito Tartaglini.
Finding his talents now fairly appreciated, Giov. Maria established a public Music School—the first ever opened in Rome by an Italian in the management of which he was assisted by his brother, Giov. Bernadino, as well as by Palestrina himself, who constantly gave instruction to the pupils, and took a lively interest in the institution. The School prospered exceedingly; and was frequented by more than one talented youth whose genius afterwards bore abundant fruit. Nanini's reputation as a learned Contrapuntist, and gifted Composer, was secured. His work were received at the Sistine Chapel with marks of special approbation; and on Oct. 37, 1577, he
- ↑ Sometimes incorrectly spelled Nanino.
- ↑ This, at least, is the generally-received tradition. But, assuming 1540 as the correct date of G. M. Nanini's birth, he was Palestrlna's junior by 16 years: and this difference of age is considered, both by Ambros and Proske, to Justify the belief that the two Composers did not study under Goudimel at the same time.
