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Архитектура Аудит Военная наука Иностранные языки Медицина Металлургия Метрология Образование Политология Производство Психология Стандартизация Технологии |
Ugolinus de Maltero Thuringi.
See Anonymous theoretical writings (Cat. no.107). Ugoni, Francesco (b ? Maleo, nr Milan, bap. 24 Aug 1587; d after 1616). Italian composer and organist. He is known only by Giardinetto di ricreatione: canzoni et madrigali … libro primo (Milan, 1616; ed. M.G. Genesi, Trento, 1997), for one to five voices and continuo, from which it appears that he was priest and organist of the collegiate church of Maleo Lodigiano. He dedicated the collection to Bernardo Belloni, who was principe of the Accademia dei Novelli at nearby Codogno, judge of Maleo and Cavacurta, and author of most of the 22 texts. The single instrumental French chanson in the collection is entitled La Bellona in his honour, and some of the madrigals are dedicated to other members of the Accademia dei Novelli. According to Schmitz, ‘all of Ugoni's work seems to be an artistically productive fusion of the stile nuovo and Renaissance polyphony, although with a distinct predominance of the latter’. A canzone entitled La Ugona, which appears in a collection of Floriano Canale (Venice, 1600), possibly refers to Ugoni. BIBLIOGRAPHY EitnerQ SchmidlD E. Schmitz: ‘Zur Geschichte des italienischen Continuo-Madrigals im 17. Jahrhundert’, SIMG, xi (1909–10), 509–28, esp. 516 M. Donà: La stampa musicale a Milano fino all’anno 1700 (Florence, 1961), 33–4 M. Toffetti: ‘“Et per che il mondo non entri in sospetto di adulatione […]”: titoli e dediche delle canzoni strumentali sullo sfondo dell'ambiente musicale milanese fra Cinque e Seicento’, Ruggiero Giovannelli e il suo tempo: Palestrina and Velletri 1992, 601–36 SERGIO LATTES (with AUSILIA MAGAUDDA, DANILO COSTANTINI) Ugrino. German firm of music publishers. In 1921 Gottlieb Harms and Hans Henny Jahnn founded the firm in Hamburg; in 1923 it was registered as an ‘association for safeguarding the interests of the Ugrino religious community, publishing section’. Hilmar Trede joined the firm in 1925 as director. The first undertaking (in 1921) was a complete edition of the works of Vincent Lübeck which was followed by complete editions of Scheidt and Buxtehude. Jahnn was forced to emigrate in 1933, and apart from works already in preparation when he left, which continued to appear until 1935, publishing did not resume until his return in 1952. In 1956 the firm was again incorporated in the commercial register. After Jahnn’s death in 1959 it was taken over by his daughter Signe Trede. On 1 October 1971 the VEB Deutscher Verlag für Musik in Leipzig acquired the publishing rights of Ugrino, which still continues to produce works by Buxtehude, Gesualdo, Scheidt, Schlick and others. On 1 January 1992 Breitkopf & Härtel acquired Deutscher Verlag für Musik, but it still exists in Leipzig as an independent firm. BIBLIOGRAPHY Musikverlage in der Bundesrepublik Deutschland und in West-Berlin (Bonn, 1965), 69–70 THEODOR WOHNHAAS Uhde, Hermann (b Bremen, 20 July 1914; d Copenhagen, 10 Oct 1965). German baritone. He studied as a bass at Philipp Kraus’s opera school in Bremen, where he made his début as Titurel in Parsifal (1936). After some years at Freiburg and Munich he first appeared in baritone roles at The Hague in 1942. A prisoner-of-war from 1944 to 1947, he then sang regularly at Hamburg, Vienna and Munich. He scored a great success at Covent Garden with the Munich company as Mandryka in Arabella (1953), and later with the resident company as Gunther and Telramund, roles in which he was generally recognized as unsurpassed in his lifetime. He sang at Bayreuth and Salzburg, and made a particular impression at the Metropolitan Opera with his Wozzeck, sung in English. He created many roles, including Creon in Orff’s Antigonae (which, like his performance of Wagner’s Dutchman, is still impressive on record). He died during a performance of Bentzon’s Faust III. (A. Williamson: ‘Hermann Uhde’, Opera, xii (1961), 762–9) J.B. STEANE Uhde, Johann Otto (b Insterburg, East Prussia, 12 May 1725; d Berlin, 20 Dec 1766). German composer and violinist. From the age of eight he was an apt student of the violin, and at 14, after his father had become a high court councillor in Berlin, he became a favoured soloist at the musical soirées of the minister von Happe. In Berlin he studied the violin with the Brunswick orchestra leader Simonetti, and keyboard and composition with Christoph Schaffrath. As an adult, inspired by the Berlin Opera, he became a good solo singer. In 1743 he entered the university in Frankfurt an der Oder as a student of law, and from 1746 until his death he carried on a distinguished legal career in Berlin. Uhde was one of the most talented among the large and influential number of mid-18th-century German amateurs of music. Like such amateurs as the lawyer Krause and the poet Gerstenberg, he helped to develop a new attitude towards the lied as a form of poetical expression; unlike them, he showed considerable versatility as a composer. According to Hiller, several of Uhde's compositions were published anonymously in Berlin; this probably refers to anthologies such as the Musikalisches Mancherley. His musical estate is now in Harvard University Library, Cambridge, Massachusetts. WORKS
BIBLIOGRAPHY EitnerQ FétisB GerberL LedeburTLB J.A. Hiller: ‘Lebenslauf des Herrn Johann Otto Uhde’, Wöchentliche Nachrichten und Anmerkungen die Musik betreffend, ii (Leipzig, 1767/R), 143–7 P. Wollny: ‘Anmerkungen zu einigen Berliner Kopisten im Umkreis der Amalienbibliothek’, JbSIM 1998, 143–61 EUGENE HELM/PETER WOLLNY Uhl, Alfred (b Vienna, 5 June 1909; d Vienna, 8 June 1992). Austrian composer. A pupil of Franz Schmidt at the Vienna Music Academy, he received the diploma in composition (1932) with honours. He subsequently secured a position as Kappelmeister of the Swiss Festspielmusik in Zürich, composing scores for a variety of cultural and industrial films. He returned to Vienna in 1938 and in 1940 was drafted into the Austrian Army. From 1940 to 1942 he commanded a French prison camp in Neumarkt. He joined the faculty of the Vienna Music Academy in 1945, where he taught theory, orchestration and composition until his retirement in 1980. He was the recipient of the Vienna Schubert Prize (1943), the Austrian State Prize (1960), the Vienna Music Prize (1961), the Viennese Gold Medal of Honour (1969) and the Austrian Badge of Honour for Service and Arts (1980). He also served as the president of the Austrian Gesellschaft der Autoren, Komponisten und Musikverleger (1970) and the Künstler-Union (1976). Synthesizing elements from neo-classicism, atonality, serialism and traditional tonal and contrapuntal idioms, Uhl's style combines technical sophistication and musical charm. The wit and humour, rhythmic inventiveness, thematic development and advanced harmonic language of his works give his music a vitality that is at once engaging and appealing. WORKS (selective list)
BIBLIOGRAPHY H. Rutz: ‘The Rising Generation of Austrian Composers’, The Chesterian, xxv (1951), 73–86 H. Fiechtner: ‘ Neue Träger des grossen österreichischen Staatspreises’, Musica, xiv (1960), 247 A. Witeschnik: Alfred Uhl: eine biographische Studie (Vienna, 1966) [incl. list of works] C. Ottner: ‘ Alfred Uhl – Marcel Rubin’, Österreichische Musikzeitschrift, xlii/12 (1987), 595–7 D.J. Laubacher: A Portfolio of Compositions and the Music of Viennese Composer Alfred Uhl (diss., U., of California, 1990) S. Schibli: ‘ Alfred Uhl – In Memoriam’, NZM, Jg.153, no.7–8 (1992), 97 only J.M. Hinson: A Stylistic Analysis of Three Selected Trios (DMA diss., Florida State U., 1995) J.M. HINSON Uhlig, Theodor (b Wurzen, nr Leipzig, 15 Feb 1822; d Dresden, 3 Jan 1853). German theorist, critic and composer. The illegitimate son of King Friedrich August II of Saxony, he studied with Friedrich Schneider in Dessau (1837–40) and joined the Dresden orchestra as a violinist in 1841. Although he was initially hostile to Wagner, study of Tannhäuser and of the essay on Beethoven's Ninth Symphony (1846) turned him into one of the earliest, most loyal and most articulate of Wagner's defenders. His ‘great seriousness and his quiet but unusually firm character’ attracted the attention of Wagner, who also wrote in his autobiography that Uhlig ‘had grasped with clear understanding and perfect agreement those very tendencies of mine which many musicians of apparently wider culture than his own regarded with almost despairing horror, as being dangerous to the orthodox practice of their art’. He remained a close friend of Wagner, whose correspondence with him is filled with enlightening personal and professional details (Uhlig's letters to Wagner have not survived). With Uhlig's untimely death to consumption in 1853, Wagner lost one of the few ‘progressive’ commentators from the early 1850s (besides Liszt) whose opinions Wagner supported. Uhlig attacked Meyerbeer and Le prophète in 1850–51 in the Neue Zeitschrift für Musik, at the same time defending Tannhäuser, Lohengrin and Wagner's operatic practice in general. He allowed his sympathies for Berlioz, Weber, Mendelssohn and Schumann to be diminished by his devotion to Wagner; but he is important for being one of the first critics to write about music with reference to the issues raised by Wagner, as not merely a limited aesthetic sensation or a matter for technical theory but as part of the cultural life of a country and an epoch. Nevertheless, Uhlig's articles tended to focus more on purely musical issues than Wagner's writings. Uhlig's thought also had a reciprocal influence upon Wagner's own writings, for example in the reception of Beethoven. Uhlig's theoretical writings include a study of phrase structure that greatly impressed Wagner, and one of errors in the printed scores of Beethoven's symphonies. His review of an article by Liszt drew from the composer an admiring letter (25 June 1851). Uhlig's compositions, which ran to 84 opus numbers, include Singspiele, symphonies, chamber music and songs. WRITINGS L. Frankenstein, ed.: Musikalische Schriften (Regensburg, 1914) [incl. most of Uhlig's pubd writings, omits shorter polemic articles and reviews] BIBLIOGRAPHY H. von Wolzogen, ed.: Richard Wagner’s Briefe an Theodor Uhlig, Wilhelm Fischer, Ferdinand Heine (Leipzig, 1888; Eng. trans., 1890/R) M. Ahrend: Theodor Uhlig (Bayreuth, 1904) M. Gregor-Dellin, ed.: Richard Wagner: Mein Leben (Munich, 1963, 2/1976; Eng. trans., 1983) S. Spencer and B. Millington, eds.: Selected Letters of Richard Wagner (London, 1987) J. Thym: ‘Schumann in Brendel's Neue Zeitschrift für Musik from 1845 to 1856’, Mendelssohn and Schumann: Essays on their Music and its Context (Durham, NC, 1984), 21–36 C. Berktold: ‘Theodor Uhlig und Richard Wagners Das Judenthum in der Musik’, Musik in Bayern, xlix (1994), 65–78 JOHN WARRACK/JAMES DEAVILLE Uhlmann. Austrian family of wind instrument makers and musicians. The firm was founded by Johann Tobias Uhlmann (b Kronach, Upper Franconia, 8 June 1778; d Vienna, 12 May 1838), who was granted a licence to trade in Vienna in 1810; he took the oath of citizenship in 1817. In addition to his instrument-making activities he was an oboist at the Theater an der Wien. In 1831 his sons Leopold and Jakob entered the firm, which already had become one of the most important in the Austrian lands, producing wind instruments of all kinds and exporting them to the rest of Europe as well as to Egypt, Persia and Brazil. Jakob Uhlmann (bap 19 Dec 1803; d 18 Nov 1850) received his licence to trade in 1830 and was also an oboist in the Hofmusikkapelle from 1843. He died of typhoid. His son Jakob (b 1837) is recorded at the same address during the following years. The fact that Jakob Uhlmann junior (d 10 Sept 1871) was also an oboist has caused some confusion. The younger Jakob played in the orchestra of the court opera, and from 1866 taught at the conservatory of the Gesellschaft der Musikfreunde. He died of pulmonary tuberculosis aged 34. Leopold Tobias Uhlmann (b 22 Feb 1806; d 8 March 1878) learned his father's trade and applied for his ‘freedom’ in 1825. In 1830 he received a patent in connection with improvements to the double-piston or Vienna valve (see Valve (i); for illustration see Horn, fig.1b), developed by Joseph Riedl and Josef Kail. The new valve was quieter, more airtight and produced less friction. Although Uhlmann used this valve in horns, trumpets and trombones, it was to prove useful only for the horn; with minor alterations it is still used today in the so-called Vienna horn in F. Uhlmann also made improvements to the ophicleide, providing it too with Vienna valves (see Ophicleide, §3). In 1843 he applied for patents for four other improvements: a mouthpiece in which the volume of the cup changes according to lip pressure; a new process for making the flare; an improved rotary valve; and auxiliary keys to improve intonation. Uhlmann was appointed wind instrument maker to the Austro-Hungarian court in 1874. His advertisements proudly mention the firm's exports to both Russia and America, and the nine medals won at trade and international exhibitions. After Leopold Uhlmann's death his son of the same name continued the family business. In 1900 the Erste Productivgenossenschaft der Musikinstrumentenmacher (workers' cooperative; founded 1892) took over the stock of the workshop. Joseph Uhlmann (b 31 Dec 1807; d 1 May 1859) also joined his father's business and appears in the Vienna registers as an independent instrument maker of wind instruments from 1846 onwards. BIBLIOGRAPHY Waterhouse-I Langwill H. Haupt: ‘Wiener Instrumentenbauer von 1791–1815’, SMw, xxiv (1960), 120–84 H. Fitzpatrick: ‘Notes on the Vienna Horn’, GSJ, xiv (1961), 49–51 H. Ottner: Der Wiener Instrumentenbau 1815–1833 (Tutzing, 1977) R. Dahlqvist: ‘Some Notes on the Early Valve’, GSJ, xxxiii (1980), 111–24 H. Heyde: Das Ventilblasinstrument (Leipzig, 1987) R. Hopfner: Weiner Musikinstrumentenmacher, 1766–1900 (Tutzing, 1999) RUDOLF HOPFNER Uilleann [union] pipes. A type of bellows-blown bagpipe known in Ireland from the early 18th century and now widely played. In the 19th century they were known as ‘union pipes’; the present term was only coined at the turn of the 20th century and comes from the Irish word uille (‘elbow’). (see Bagpipe, §4, and Ireland, §II, 6 and fig.2. Uissel, Gui d'. See Gui d'Ussel. Ujfalussy, József (b Debrecen, 13 Feb 1920). Hungarian musicologist. He studied the piano and composition at the Debrecen Music School and took a degree in classics at the university, where he also took his doctorate (1944) with a dissertation on the structure of Homer’s epics; concurrently he worked as a university assistant and taught at a secondary school (1943–6). At the Budapest Academy he studied composition with Veress, conducting with Ferencsik, musicology with Szabolcsi and Bartha and folk music with Kodály (1946–9). He was a member (1948) and then head (1951–5) of the music department of the Ministry of Culture before returning to the academy as professor of music aesthetics and theory (1955). In 1961 he joined the staff of the Bartók Archives (from 1969 the Institute of Musicology) of the Hungarian Academy of Sciences. He became a corresponding member of the Hungarian Academy of Sciences in 1973, having succeeded Szabolcsi as president of the musicological commission and director of the Institute of Musicology in 1973. In 1985 he became a regular member of the Hungarian Academy of Sciences, and from 1985 until 1993 was its vice-president. Between 1980 and 1988 he was rector of the Music Academy. He is president of the Hungarian Aesthetics Society and a member of the Académie Européenne des Sciences, des Arts et des Lettres (Paris), and the executive committee of the International Association for Aesthetics. He was awarded the Erkel Prize in 1961, the Kossuth Prize in 1966, the Apáczai Csere János Prize in 1985, and the Herder Prize in 1987. József Ujfalussy is one of the leading personalities of Hungarian musicology. His research has focussed mainly on the works of Mozart, Debussy, Bartók and Kodály; his scholarly temperament, however, is best characterized by an approach to genre and semantics that encompasses the whole of music literature and concentrates on the meaning within the music. WRITINGS ‘A “Hunyadi László” és irodalmí előzményei’ [Erkel’s opera Hunyadi László and its literary antecedents], ZT, ii (1954), 219–30 [with Eng. summary] ed.: Bartók-breviárium: levelek, írások, dokumentumok [Bartók breviary: letters, writings, documents] (Budapest, 1958, 3/1980) Achille-Claude Debussy (Budapest, 1959) ‘Egy különös formacsoport Haydn zongoraműveiben’ [A curious form-group in Haydn’s piano works], ZT, viii (1960), 283–93 [with Ger. summary] ‘Einige inhaltliche Fragen der Brückensymmetrie in Bartóks Werken’, Liszt-Bartók: Budapest 1961, 541–7 ‘Erkel Ferenc és szövegkönyvei’ [Erkel and his librettos], ZT, ix (1961), 37–43 [with Ger. summary] ‘Intonation, Charakterbildung und Typengestaltung in Mozarts Werken’, SMH, i (1961), 93–145 A valóság zenei képe [The musical image of reality] (Budapest, 1962); abridged Ger. version as ‘Entstehungsprozess der musikalischen Logik’, Studia philosophica Academia scientiarum hungaricae, xi (1966), 163–223 ‘A zenei jelentés logikájának vázlata’ [Outlines of the logic of musical meaning], Magyar tudomány, 4th ser., lxix (1962), 673–82 ‘Zoltán Kodály et la naissance du Psalmus Hungaricus’, SM, iii (1962), 357–66 ‘Die Logik der musikalischen Bedeutung’, SMH, iv (1963), 3–20 Bartók Béla (Budapest, 1965, 3/1976; Eng. trans., 1971) ‘Ästhetisch-philosophische Probleme der Musik des 20. Jahrhunderts’, SMH, viii/1–4 (1966), 71–100 ‘Ein Vorwort zum zeitgenössischen ungarischen Musikschaffen’, ÖMz, xxi (1966), 615–19 [Music in Ungarn issue] ‘Hangmontázs vagy zene?’ [Sound-montage or music?], in I. Fábián: A huszadik század zenéje (Budapest, 1966), 215–20 Az esztétika alapjai és a zene [The basis of aesthetics and music] (Budapest, 1968, 2/1984) ‘Bartók Béla: Kontrasztok, hegedűre, klarinétra és zongorára (1938)’ [Bartók: Contrasts for violin, clarinet and piano], Magyar zene, ix (1968), 342–53 ‘Az Allegro barbaro harmóniai alapgondolata és Bartók hangsorai’ [The basic idea of harmony in Allegro barbaro, and Bartók’s scales], Szabolcsi Bence 70. Születésnapjára, ed. F. Bónis (1969), 323–32 ‘Dramatischer Bau und Philosophie in Beethovens VI. Symphonie’, SMH, xi (1969), 439–47 ‘Eksztázis és katarzis’ [Ecstasy and catharsis], Nagyvilág, xiv (1969), 1379–85 Farkas Ferenc (Budapest, 1969) ‘Kodály és Debussy’ [Kodály and Debussy], Muzsika, xv/12 (1972), 37–9 ‘A műfaj kategória sorsa és jelentősége a zeneesztétikában’ [Method and significance of genre classification in music aesthetics], Magyar zene, xvi (1975), 12–24 ‘Anmerkungen zur Frage des Vokalen in der Musik’, Vztah hudby a slova z teoretického a historického hlediska: Brno XI 1976, 35–40 ‘Funkció: terminológia és logika’, Zeneelmélet, stiluselemzés: a Bárdos Lajos 75. szuletésnapja alkalmából tartott zenetudományi konferencia anyaga [Music theory, stylistic analysis] (Budapest, 1977), 7–18 ed.: A Liszt Ferenc Zeneművészeti Főiskola 100 éve [100 years of the Liszt Academy of Music] (Budapest, 1977) ‘1907–8 in Bartóks Entwicklung’, SMH, xxiv (1980), 519–25 Zenéről, esztétikáról: cikkek, tanulmányok [On music, on aesthetics: articles, studies] (Budapest, 1980) ‘Béla Bartóks Entwicklung vor dem Ersten Streichquartett’, GfMKB: Bayreuth 1981, 167–9 ‘Béla Bartók: Werk und Biographie’, SMH, xxiii (1981), 5–16 ‘Die Synthese Béla Bartóks: zum 100. Geburtstag des Komponisten’, ÖMz, xxxvi (1981), 129–33 ‘Premisszák a Bartók zene megértéséhez’ [Premises for the understanding of Bartók’s music], Magyar zene, xxii (1981), 335–45 ‘Bartha Dénes, a magyar zenetörténet kutatója’ [Dénes Bartha, scholar of Hungarian music history], Magyar zene, xxv (1984), 195–207 ‘Zenetudomány és pszichológia’ [Musicology and psychology], Pszichológia, no.4 (1984), 129–37 Tamino a válaszúton: drámai párbeszéd és zenei cselekmény [Tamino at the crossroads: dramatic dialogue and musical action] (Budapest, 1986) ‘Debussy és Liszt’, Magyar zene, xxviii (1987), 115–18 ‘Debussy et Bartók’, Silences, no.4 (1987), 165–70 ‘Zur Dialektik der Kategorie der Gattung in der Musik’, Festschrift für Ernst Hermann Meyer zum sechzigsten Geburtstag (Berlin, 1988), 557–78 ‘Prélude a l'après-midi d'un faune: zu Mallarmés Gedicht und Debussys Musik’, Verbalisierung und Sinngehalt: über semantische Tendenzen im Denken in und über Musik heute, ed. O. Kolleritsch (Vienna, 1989), 184–8 ‘Zur Deutung der 5. und 6. Symphonie Beethovens’, 1789–1989: musique, histoire, démocratie: Paris 1989, 101–6 Haláltánc: variácó, építkezés, modális transzformáció Liszt Ferenc zenéjében [Dance of death: variation, construction and modal transformation in the music of Franz Liszt] (Budapest, 1990) ‘Kodály and Debussy’, Bulletin of the International Kodály Society (1991), no.1, pp.19–23 ‘Az ifjú Kodály életprogramja’ [The young Kodály’s life programme], Kodály Zoltán és Szabolcsi Bence emlékezete, ed. F. Bónis [Remembrance of Zoltán Kodály and Bence Szabolcsi] (Kecskemét, 1992), 7–9 ‘Béla Bartók: Widmung, ein autobiographises Dokument’, Zwischen Aufklärung und Kulturindustrie: Festschrift für Georg Knepler zum 85. Geburtstag, i (Hamburg, 1993), 153–6 ‘Über Musik und Programm in Bartóks Schaffen’, SMH, xxxv (1993–4), 243–7 ‘A képek kora Debussy alkotásaiban’ [Pictures in Debussy’s early creations], Muzsika, xxxviii (1995), no.2, pp.6–9; no.3, pp.15–18 ‘Bartók Béla “romantikus korszaka”’ [Bartók’s ‘romantic period’], Muzsika, xxxviii/9 (1995), 15–18 BIBLIOGRAPHY D. Zoltai: ‘Egy gondolatgazdag zeneesztétikai müröl’ [On a significant work of music aesthetics], Magyar zene, iv (1963), 50–61 [on Ujfalussy: A valóság zenei képe] J. Ujfalussy: Magyar tudomány, new ser., xviii (1973), 817 [autobiography] ISTVÁN KECSKEMÉTI/ZSUZSANNA DOMOKOS Ukelele. See Ukulele. Ukmar, Vilko (b Postojna, Slovenia, 10 Feb 1905; d Kamnik, Slovenia, 24 Oct 1991). Slovenian composer and writer on music. He studied law at the University of Ljubljana (1924–8, diplôme 1931) and music at the conservatory there (1924–30); he continued his musical studies with Schmidt in Vienna (1931–2) and at the Zagreb Academy (1932–4). From 1934 to 1943 he was professor of music history at the Ljubljana Academy of Music, also serving as director of the opera company (1939–45); he returned to lecture in music history and aesthetics at the Academy (1947–75) and at the University (1962–79). Initially writing in a Romantic vein, he was drawn to Expressionism and the use of 12-tone techniques. WRITINGS with D. Cvetko and R. Hrovatin: Zgodovina glasbe [Music history] (Ljubljana, 1948) Glasba v preteklih dobah [Music of past times] (Ljubljana, 1955, rev. 2/1972 as Glasba v preteklosti [Music of the past]) Razvoj glasbe [The development of music] (Ljubljana, 1961) WORKS (selective list)
PAUL GRIFFITHS/IVAN KLEMENČIČ Ukraine. Country in Europe. It is located in the Steppes to the south of the central Russian upland, with an area of 603,700 km2 and a population of 50.8 million (2000 estimate). Ukraine is a historic land, but historically unrevealed. Its political and cultural history has not enjoyed an extended independent existence for centuries. Consequently, Ukrainian culture has had a series of sporadic emergences, between which it kept its identity welded to each of the societies that controlled Ukrainian politics, whether Russian, Polish or Austro-Hungarian. Discussion of Ukrainian culture has always been in the context of countries and empires that ruled various parts of it and its accomplishments were used as fodder to build other cultures opposed to its development, even its existence. In a sense, Ukrainian culture has lived in diaspora in its own homeland. I. Art Music II. Traditional music VIRKO BALEY (1), SOPHIA HRYTSA (2) Ukraine I. Art Music 1. To 1800. 2. The 19th century. 3. The 20th century. BIBLIOGRAPHY Ukraine, §I: Art music To 1800. The early history of music in Ukraine is centred on Kiev. However, Kiev, and thus Ukraine, fell in political importance in the 13th and 14th centuries, and between the 14th and 17th centuries the principal purveyors of formal music instruction were the church brotherhoods, who were particularly active in Lwów (now L'viv), Peremyshl (now Przemyśl), Ostrog (now Ostrih) and Luzk (now Lutsk), as well as Kiev. Although set up primarily for religious education, music instruction was a significant part of the curriculum. An important development in music occurred when the Polish-Lithuanian union of 1569 brought the Ukrainian Church under Western influence. Western musical theories and polyphony were adapted at the Mohyla Academy (1615–1915) in Kiev, the central institution of higher learning in 17th-century eastern slavdom. By the second half of the 16th century neumatic notation had been replaced with the five-staff system called kyivs'ke znamya. The intellectual revolution of the 1600s was given a decisive push by the first great Ukrainian composer and theorist, Nikolay Dilets'ky. He was well equipped for the task of Westernizing Ukrainian music, since he had received an excellent education at the Jesuit academy in Vilnius and was familiar with new developments in Polish music. One of the most prolific composers in eastern Europe, Diletsky wrote the first work on the new music theory to issue from eastern Europe (Grammatika peniya musikiyskago, published in various editions between 1677 and 1681). Dilets'ky (and by extension the Mohyla Academy, which trained composers such as F. Ternopil's'ky, Y. Zahvoys'ky, H. Skovoroda (1722–94), Berezovs'ky (1745–77), H. Rachyns'ky (1777–1843), and Artemy Vedel (1767?–1808), determined the course of the development of music on the territory which then encompassed Ukraine, Belorussia, Lithuania and Russia. For this new style of multi-voiced choral compositions, known as partesniy spiv (‘part singing’), Dilets'ky provided the theoretical and practical foundation. This resulted in the primacy of the polyphonic style in Kiev and led to the development of the genre of the ‘partesniy’ (‘choral’) concerto. This particularly slavonic mixture of Baroque, and later Classical, styles became firmly established in Kiev and other parts of Ukraine and was transmitted to Moscow via Ukrainian singers and composers who worked there. The popularity and importance of the ‘partesniy’ concerto is attested by the fact that in 1697 two music registers belonging to the L'viv Dormition Brotherhood record 398 works by Ukrainian composers for three to 12 voices (the majority, 120, for eight voices). In 1738 the Hlukhiv Singing School was founded. As Ukraine began to reach its musical maturity in the 18th century, its accomplishments started to serve, and be absorbed by, Russia's musical development, so that in the early 19th century Kiev lost its musical primacy to Moscow. More and more musicians were being engaged in Russia and forced to develop a musical life there. This trend had already started at the end of the 17th century when the tsar summoned Diletsky to Moscow to teach the rudiments of polyphonic style, and continued with the appointment in the early 18th century of I. Popovsky as the precentor of the imperial court choir and the recruitment of singers from Ukraine. It became more pronounced when the Rozumovs'ky (Razumovsky) family (which produced the last hetman of Ukraine, to 1764) established itself in St Petersburg and began hiring gifted musicians from Ukraine (e.g. M. Poltorats'ky). The flowering of the Ukrainian school can clearly be seen in the work of three masters: Artemy Vedel, Berezovs'ky and Dmytro Bortnyans'ky. The last two also studied elsewhere in Europe, and upon their return were to remain in St Petersburg: Berezovs'ky, very briefly before his suicide, and Bortnyans'ky for the rest of his productive life. In their best and most original work, notably in the genre of the a cappella choral concerto, the two styles of Baroque and Classical are synthesized into a choral style of symphonic proportion and dramaturgy. Ukraine, §I: Art music The 19th century. In the 19th century, Ukrainian culture became victim to increasing repression in the Russian Empire, culminating in the Ems Ukase of 1876, which forbade the dissemination of Ukrainian culture except for travelling troupes presenting musical comedy of the vaudeville variety. From the end of the 18th century into the middle of the 19th, instrumental music had begun to be written by such composers as 0leksandr Lizogub, H. Rachyns'ky and Yo. Vytvyts'ky (1813–1866). Large estates also had their own private serf orchestras and, mostly anonymous, composers wrote a great deal of Gebrauchsmusik for them. In western Ukraine (which was under Austro-Hungarian rule and did not have similar restrictions), musical activity first centered in Peremyshl, then moved to Lemberg (now L'viv). In Peremyshl, a group of semi-professional composers (chief among them Mykhaylo Verbyts'ky, the composer of the present national anthem, and I. Lavrivsky (1822–73), developed a distinctive school of Ukrainian music aimed at the amateur and tied to folklore. It was also used as a tool of Prosvita (‘Enlightenment’) societies, uniquely Galician organizations formed to promote Ukrainian populist ideals. There were Prosvita societies in eastern Ukraine after 1905 as well. Other composers who worked in the same vein were V. Matyuk (1852–1912), Isidor Vorobchievici (1836–1903, educated at the Vienna Music Academy) and Anatol' Vakhnyanyn, active in Lemberg and the composer of the opera Kupalo. The first important 19th-century Ukrainian work was for the stage. Tradition holds that 19th-century Ukrainian national music began with Semen Hulak-Artemovs'ky's The Cossacks beyond the Danube (1863, St Petersburg). Italian tradition provides the basis, but there is a Ukrainian colour in the harmonic and melodic structure, as well as in the use of folk tunes. It is a marvellous and clever work that combines musical sophistication and Ukrainian vaudeville. The cornerstone of Ukrainian 19th-century music is the work of composer, pianist, choral conductor, ethnomusicologist and teacher Mykola Lysenko, who, with his opera Taras Bulba (composed 1880–91, after Gogol''s novel), forged a national style. After settling in Kiev in 1876, Lysenko began to create a Ukrainian style based on folk music; he also aided in the revival of Ukrainian language and the attempt to separate the achievements of Ukraine from those of Russia. Lysenko was acknowledged to be the leading figure in Ukrainian music circles but because of his strong national and political beliefs, he was shunned by the influential Russian Musical Society. In 1904 he established in Kiev the Muzychno-Dramatychna Shkola (Music and Drama School; among its students were the composers Levko Revuts'ky and Kirill Stetsenko. Lysenko's achievements were considerable but uneven. Although a few composers wrote symphonies, such as Mykhailo Kalachevs'ky's Ukrainian Symphony in A minor (1876) and V. Sokals'ky's (1863–1919) symphony in G minor (1892), the main focus of late 19th-century composers was on choral music and opera. In this period Petro Sokals'ky composed Mazepa (1858–9), May Night (1876) and The Siege of Dubno (1878). Although not produced professionally, these works created a musically distinctive Ukrainian language, though modelled on Czech as well as Russian national operas. Other Ukrainian composers who wrote operas under these difficult circumstances were Vakhnyanyn (Kupalo, 1870), Mykola Arkas (1852–1909; Kateryna, 1899), Borys Pidhorts'ky (The Spark of Kupalo, 1901), Denis Sichyns'ky (1865–1909; Roskolyana, 1908) and Stetsenko (the miniatures Polonianka, Lesychka, kotyk ta pivnyk). In all these the material is based on Ukrainian history or on plots drawn from works by Shevchenko or Gogol', and the use of folk tunes to establish Ukrainian identity. Ukraine, §I: Art music The 20th century. The creative and pedagogical activities of Lysenko were particularly influential. Professional organizations in L'viv, such as Lysenko Higher Institute of Music (established in 1903) and Boyan Music Society, and Muzychno-Dramatychna Shkola (Music and Drama School), established in Kiev in 1904, which in 1918 became the base for Muzychno-Dramatychny Institut im. Lysenka (The Lysenko Institute of Music and Drama), put an end to the amateur aspects of Ukrainian music. Increased contacts between eastern and western Ukraine (stimulated by efforts to circumvent the tsarist ban on Ukrainian publications by setting up publishing houses in L'viv), further reduced the composers' isolation and led to a growth in professionalism. Ironically, another important institution was the Russian Musical Society, which in addition to sponsoring concerts, established music schools in a number of Ukrainian cities in the 19th century which developed into conservatories. In 1913 the Kiev Conservatory was so formed, and its second principal (1914–20) was Glière, who after Lysenko was most effectual. In its early years the conservatory boasted an excellent staff, producing a number of important performers, among them Vladimir Horowitz. The first two decades of the 20th century were thus critical in establishing a group of professional composers and teachers such as Mykola Leontovych, Yakir Stepovy, Stetsenko in Kiev, Filaret Kolessa in L'viv, Stanislav Lyudkevych, and Fedir Akimenko in Khar'kiv. One of the first masterpieces of this period was Lyudkevych's symphonic cantata, The Caucasus (1902–13). It is a monumental choral symphony, inspired by the choral concerto tradition of 18th-century Ukraine, and a work of considerable power and originality. Another composer of importance was Leontovych, the most brilliant and original product of the Lysenko school in Ukrainian music. Between 1908 and 1918 Leontovych dispensed with the traditional Lysenkovian aesthetic and began to compose in a vividly expressive and figuratively rich fusion of Ukrainian improvisational polyphony, sophisticated imitative counterpoint, Impressionist harmonic refinements and dramatic complexity though rooted firmly in genuine folk tradition. In this he rivalled similar attempts by Bartók and Kodály. Between 1917 and the establishment of Soviet Ukraine in 1922, Ukraine experienced enormous social and political changes. A number of different governments ruled, each with its own cultural programme. During the 1920s many important artistic personalities emerged: P. Kozyts'ky (1893–1960), Viktor Kosenko, Mykhaylo Verykivs'ky, Msykola Kolyada, Volodymyr Femelidi, Borys Yanovs'ky and Mykola Vilinsky. In western Ukraine, at that time part of Poland, Lyudkevych was joined by Vasyl' Barvyns'ky, Adam Soltys (1890–1968) and Mykola Kolessa in developing the Galician school. Opera companies, symphony orchestras, choral ensembles, and various folk groups were established in all the major cities of Ukraine. The two most important names to emerge in the 1920s were Levko Revuts'ky and Borys Lyatoshyns'ky. Their creative outlooks defined the two divergent attitudes in Ukrainian music for the rest of the century: on the one hand the view that to be Ukrainian, music had to have a direct connection with folk music, and on the other that it could develop independently of folklore and still retain its national character. Revuts'ky did most of his important work in the 1920s, including the Symphony no.2 (1926–7), which gave a new twist to the Lysenko tradition. But the composer of genius was Lyatoshyns'ky. He initiated the modern movement in Ukraine with a series of intense and highly expressive works that reflected a central preoccupation with expressionism: Piano Trio no.1 (1922), two piano sonatas (1924, 1925), Violin Sonata (1926), String Quartet no.3 (1928) and Symphony no.2 (1935–6). He also experimented with folk music, and in such works as the Overture on Four Ukrainian Themes (1927) and the opera The Golden Ring (1929) integrated folklorism into his style with considerable success. Lyatoshyns'ky was influenced by the then prevalent romantic vitalism, a loosely defined Ukrainian artistic current that shared with other modernist movements of the day an exuberant belief in the dawning of a new age and which was an alternative to the primitivization of the arts that was beginning to take place throughout the USSR in the 1930s. Unfortunately, it came into being almost simultaneously with the advent of Socialist realism, a dogma that first discouraged and then forbade such developments. In Ukraine this was gradually accomplished by dissolving various competing musical societies and replacing them with a single Union of Composers of Ukraine in 1932, which executed the party's dictates with terrible efficiency. The result was a wholesale retreat from the sort of composing done in the 1920s. Typical works were the Symphony no.1 (1937) by K. Dankevych (1895–1968), the Piano Concerto (1937) by M. Skoruls'ky (1887–1950), Lyatoshyns'ky's second opera, Shchors (1938), the symphony-cantata My Ukraine (1942) by Andry Shtoharenko, and operas such as The Young Guard (1947) by Yuly Meytus, Taras Shevchenko (1964) by Heorhy Mayboroda and The Destruction of the Squadron (1967) by Vitaly Hubarenko. The most famous Ukrainian socialist realist opera was K. Dankevych's Bohdan Khmel'nytsky (1951, 2nd version 1953, 3rd version 1977). Socialist realism also produced some exemplary work, e.g. Lyatoshyns'ky's great Symphony no.3 (1951, rev. 1954), in which the two sides, the expressionistic and the national, are most successfully integrated. By the end of 1956 committees were being formed to begin the slow process of rehabilitating the cultural leaders of the 1920s and 30s – the thaw had begun. This post-Stalinist thaw brought in a new renaissance, reminiscent of the 1920s. In Kiev the so-called Kiev avant garde, all of them students of Lyatoshyns'ky, broke with the still prevailing dogma of socialist realism (similar positions were taken in L'viv by Andry Nikodemowicz, and in Khar'kiv by Valenty Bibyk). The musical dignitaries who ruled at that time found the emergence of avant-gardism not only difficult to accept but ideologically suspect, if not intolerable. But by the mid-1970s atonality had become accepted. Stravinsky was rehabilitated and Ukrainian music was developing in many different directions. These included the new folklorism of Myroslav Skoryk, the eclectic and overtly national post-Romantic expressionism of Yevhen Stankovych, the intellectual structuralism of Hrabovs'ky, the neo-expressionism of Volodnyr Zahortsev, the neo-classicism of Ivan Karabyts, the Christian aesthetic of Alemdar Karamanov, the monolithic directness of Bibyk and the mystical and mytho-poetic polystylistics of Sil'vestrov. In the last decade of his life Lyatoshyns'ky triumphantly returned to his first style in such works as the Polish Suite (1961), Symphony no.4 (1963), and the extraordinary cycles for unaccompanied chorus (1964–66). The interrupted, non-linear history of Ukrainian politics and culture has affected the Ukrainian artistic mentality, producing a way of thinking that often defies standard logic. In music, this attitude takes the form of extreme introspection, involving the use of fantastic colours, and an inward lyrical quality that permeates even the most exuberant passages. A hyperbolic atmosphere pervades, in which events that are strange and fantastic somehow seem quite natural. Between the late 1960s and the mid-80s a large number of works were written that illustrate this quixotic tendency. Some of the better known are Autumn Music (1966) by Huba, Drama (1970–71) and Quiet Songs (1974–84) by Sil'vestrov, When the Fern Blooms (1978) and Chamber Symphony no.4 (1987) by Stankovych, Symphony no.3 ‘In the Style of Ukrainian Baroque’ (1980) by Levko Kolodub, Chamber Cantata no.3 (1982) of Oleh Kiva and When? (1987) by Hrabovs'ky. There is now in Ukraine a younger generation of composers who have achieved international recognition. Among these are, in Kiev, Volodymyr Runchak and V. Zubytsky; in Khar'kiv, Oleksandr Shchetyns'ky and Oleksandr Grinberg; in L'viv, Yury Lanyuk; and in Odessa, Karmela Tsepkolenko. A number of Ukrainian composers, or composers of Ukrainian descent, live and work in diaspora: Valery Kikta (in Russia), Hrabovs'ky (in the USA since 1990), Bibyk (in Israel since 1998), M. Kouzan (in France), George Fiala and L. Melnyk (in Canada) and Virko Baley (in the USA). The presence of many Ukrainian composers and performing ensembles on European, Asian and American stages and in recording studios has greatly increased since independence, while two in particular, the National Honoured Academic Symphony Orchestra of Ukraine and the Kiev Camerata, have made recordings since 1955. Festivals have also proliferated, the principal ones being the Kyiv Music Festival and Premières of the Season (annual since 1990) and Kontrasty (Contrasts) in L'viv (annual since 1995). An equally remarkable development in Ukrainian music has been the gradual emergence of historians and musicologists. Although a number of ethno-musicological studies were done in the 19th and early 20th centuries, the seminal works on Ukrainian music were Pylyp Kozytsky's Spiv i muzyka v Kirsky akademiïza 300 rokiviï isnuvannya (‘Singing and music in Kiev Academy during 300 years of its existence’) (1917) and by M. Hrinchenko's Istoriya ukraïns'koï muzyky (1922). In the period of the late 1950s and early 60s M. Hordiychuk, O. Shreier-Tkatchenko, Y. Malyshev and L. Arkhimovych did important work. In 1964 Muzychna Ukraïna began to publish an annual, Ukraïns'ke muzykoznavstvo (‘Ukrainian musicology’), on a wide variety of subjects. A pioneering issue was no.6 (1971), which was devoted to Ukrainian music of the 16th to 18th centuries. Prominent among Ukrainian musicologists in recent years have been Herasymova-Persyds'ka (specializing in the Baroque and Diletsky), V. Samokhvalov, M. Kopytsya (both on Lyatoshyns'ky), O. Zin'kesych and S. Pavlyshyn (on contemporary composers) and T. Husarchuk (on Arteny Vedel). See also Kharkiv, Kiev, L'viv, Odessa. Ukraine, §I: Art music BIBLIOGRAPHY P. Kozyts'ky: Spiv i muzyka v Kivsky akademïïza 300 rokivïï isnuvannya (1917) [Singing and music at the Kiev Academy during its 300 years of existence] (Kiev, 1971) M. Hrinchenko: Istoriya ukrainskoï muzyky (Kiev, 1922; Eng. trans., 1961) V. Barvyns'ky: ‘Ohliad istorïï ukraïns'koï muzyky’ [A survey of the history of Ukrainian music], Instoriya ukraïns'koï kultury, ed. I. Kryp'yakevych (Lwów, 1937) B. Kudryk: Ohlyad istorïi ukrains'koï tserkovnoï muzyky [Outline of the history of Ukrainian church music] (Lwów, 1937) V. Dovzhenko: Narysy z istorïi ukrains'koï radyanskoï muzyky [Study of the history of Soviet Ukrainian music] (Kiev, 1957–67) A. Rudnytsky: Ukraïns'ka muzyka: istorychno-krytychny ohlyad [Ukrainian music: a historical and critical outline] (Munich, 1963) L. Arkhimovych and others: Narysy z istorïï ukraïns'koï muzyky [Outline of the history of Ukrainian music] (Kiev, 1964) Ukrains'ke Muzykoznavstvo [Ukrainian musicology] (Kiev, 1963–98) M. Hordiychuk: Ukraïns'ka radyans'ka symfonichna muzyka [The symphonic music of the Soviet Ukraine] (Kiev, 1969) O. Shreier-Tkatchenko: Istoriya ukrayns'koy dozhovtnevoy muzïkï [The history of Ukrainian music before the October Revolution] (Kiev, 1969) V. Samokhvalov: Chertïy muzïkal'nogo mïshleniya B. Lyatoshinskogo (Kiev, 1970, 2/1977, as Chertï simfonizma B. Lyatoshinskogo) Yu.V. Keldïsh, ed.: Muzïkal'naya ėntsiklopediya (Moscow, 1973–82) N. Herasymova-Persyds'ka: Khorovyi kontsert na Ukraini v XVII–XVIII st. [The choral concerto in Ukraine during the 17th and 18th centuries] (Kiev, 1978) O. Shreier-Tkatchenko, ed.: Istoryia ukraïns'koï muzyky (Kiev, 1980) N. Herasymova-Persyds'ka: Partesniy kontsert v istorii muzïkal'noy kul'turï [The Partesny concerto in the history of musical culture] (Moscow, 1983) D. Saunders: The Ukrainian Impact on Russian Culture, 1750–1850 (Downsview, ON, 1985) O. Zin'kevïch: Dinamika obnovleniya: ukrainskaya simfoniya na sovremennoy ėtapye v svete dialektiki traditsii i novatorstva (1970–1980-kh godov) [The dynamics of revival: Ukrainian contemporary symphonic music as part of the dialectics of tradition and innovation, in the period 1970–80] (Kiev, 1986) Y. Stanishevsky: Operny teatr Radyans'koï Ukrainy [Opera theatre in Soviet Ukraine] (Kiev,1988) M. Hordiychuk and others, eds.: Istoriya ukraïns'koï muzyky (Kiev 1989–) L. Arkhimovych, ed.: Istoriya Ukraïns'koï Radyans'koï muzyky [The history of Soviet Ukrainian music] (Kiev,1990) V. Kudryts'ky, ed.: Mysteztvo Ukrainy: Ėntsyklopedia (Kiev, 1995–) M. Stepanenko, ed.: Ukraïns'kiy Muzuchniy Archkiv, i: Tsentrmuzinform (Kiev, 1995) V. Kudryts'kyi, ed.: Mysteztvo Ukrainy: Biohrafichniy dovidnyk (Kiev, 1997) Ukraine II. Traditional music 1. Historical background and general features. 2. Vocal music. 3. Music of the Carpathians. 4. Epics. 5. Research. BIBLIOGRAPHY Ukraine, §II: Traditional music |
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