Naumann, Siegfried, Swedish conductor, teacher, and composer; b. Malmö, Nov. 27, 1919. He received instruction in violin, theory, and composition from his father, then studied with Wolf (violin) and Myrtelius (instrumentation), and also took courses with Melchers, Mann, and Broström at the Stockholm Musikhögskolan (1942–45). After conducting the Örnsköldsvik Music Soc. (1945–49), he studied composition with Pizzetti at Rome’s Accademia di Santa Cecilia (1949–53); also with Malipiero and Orff. He later received instruction in conducting at the Salzburg Mozarteum and with Furtwängler and Scherchen. He was conductor of the Gävleborgs Sym. Orch. (1954–55). In 1962 he founded the Musica Nova ensemble, which he conducted on tours of Scandinavia, Germany, and England; was its conductor until 1977. He taught conducting at the Stockholm Musikhögskolan (1963–83), becoming a prof, there in 1976. He then taught at the Malmö Musikhögskolan and Teaterhögskolan (from 1983). He wrote three syms. and some other works in a traditionally acceptable infra- modern idiom, but at the age of 40 decided to adopt an austere structural style governed by serial procedures and diversified by aleatory passages. To mark this decisive avatar, he designated his first serial work, Ruoli (Roles) for 4 Clarinets, as op.l (1959). Among his subsequent works were: 7 Sonetti di Petrarca for Tenor, Harp, Vibraphone, and 4 Cellos (1959); Phaedri: 4 Fabulae for Soloists, Chorus, and 8 Instruments (1961); Improvviso sopra 28 strutture for Keyboard and Percussion Instruments (1961); Transformations for Orch. (1962; Gävleborg, April 29, 1962); Risposte I for Flute and Percussion (1963), II for Piano, Hammond Organ, Electric Guitar, Trombone, and Percussion (1963), and III for Flute, Percussion, Harp, and Strings (1994); II cantico del sole for Soloists, Chorus, 10 Solo Instruments, and Orch. (1963; Stockholm, Sept. 14, 1966); Cadenza for 9 Players (1964); Missa in onore della Madonna de Loreto for Chorus, Organ, and Percussion (1964); Spettacolo I for Soprano and Orch. (1967) and II for 3 Soloists, Chorus, and Orch. (1969); Estate for Chamber Orch. (1968); Ljudposter (Soundposts) for Wind Orch. (1970); Due cori su testi latini for Chorus, Double Bass, Hammond Organ, and Percussion (1970); Teatro strumentale for Chamber Ensemble (1971); II cielo del ponte a Moriano, dialogue for Tenor, Chorus, and Chamber Orch. (1972); Materialstudier i improvisation for Orch. (1974); Fanfarer for Wind Ensemble (1974–76); Strutture per Giovanni, Version B for Wind Orch. (1980); Ljudspel/Giuoco di suono for 3 Instrumental Groups (1984); Och la’rka slàr och Skãnes somrar ila for Chorus and Orch. (Malmö, Sept. 8, 1985); Strutture for Orch. (1986); Tripla for Flute, Cello, and Piano (1987); Arie di battaglia for Soprano, Tenor, and Orch. (Stockholm, Nov. 26, 1989); II pianot della Madonna: Lauda drammatica for Soprano, Tenor, Baritone, Chorus, and Orch. (1990); Skâne for Contralto and Orch. (1992); Versi da Francesco d’Assisi for Soprano, Flute, and Percussion (1992); Cadenze for Voices and Instruments (1993); Spel Musica for 9 Clarinets (1995); Fanfara di nozze for Trumpet (1996); Quartetto for Saxophones (1997); Concerto for Organ and Winds (1998).
—Nicolas Slonimsky/Laura Kuhn/Dennis Mclntire