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Архитектура Аудит Военная наука Иностранные языки Медицина Металлургия Метрология Образование Политология Производство Психология Стандартизация Технологии |
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Архитектура Аудит Военная наука Иностранные языки Медицина Металлургия Метрология Образование Политология Производство Психология Стандартизация Технологии |
Ulanova, Galina Sergeyevna
(b St Petersburg, 28 Dec 1909/10 Jan 1910; d Moscow, 21 March 1998). Russian dancer. See Ballet, §3(iii). Ulbrich, Maximilian (b Vienna, 16 Jan 1743; d Vienna, 20 Sept 1814). Austrian composer. His father Anton Ignaz Ulbrich (b Bohemia, c1706; d Vienna, 14 Dec 1796) was a trombonist in the Hofkapelle of Empress Elisabeth Christine from 1741 to 1750, and a trombonist and bass singer in the Hofkapelle of Empress Maria Theresa from 1750 until his death (though occasionally replaced as a singer by J.M. Vogl after 1794); he was also a composer and author of religious writings, patriotic poems and the oratorio text ‘Das durch den Tod erhaltene Leben von dem wunderthätigen Blut-Zeug Jesu Christi Johann von Nepomuk’ (Vienna, 1759), set to music by Christoph Sonnleithner. Maximilian Ulbrich attended the Jesuit seminary in Vienna, and studied harmony and composition under G.C. Wagenseil and the organ and sacred music under J.G. Reutter. He entered the service of the Lower Austrian Stände (estates of the realm) as an accountant in 1770, became assistant bookkeeper in 1790, bookkeeper in 1800, and was pensioned off in 1804. He organized a large public concert in Vienna in 1782, and was repeatedly invited to perform as a bass singer, cellist and pianist in chamber music at the court of Emperor Joseph II. His best-known work is the oratorio Die Israeliten in der Wüste, performed by the Tonkünstler-Societät orchestra in 1779 and 1783; he also wrote three operas, church music and a number of instrumental works. Two of Maximilian Ulbrich's brothers were also musicians: Johann Ulbrich (fl 1780s) became a trombonist in the Hofkapelle in 1787; and Anton Michael Ulbrich (b Vienna, c1754; d Vienna, 5 May 1830) was a trombonist in the Hofkapelle from 15 July 1793 until his death. WORKS MSS in A-Wgm unless otherwise stated
BIBLIOGRAPHY KöchelKHM E. Hanslick: Geschichte des Concertwesens in Wien (Vienna, 1869–70/R), 32–3 H. Vogg: Franz Tuma (1704–1774) als Instrumentalkomponist (diss., U. of Vienna, 1951), 88ff B.H. van Boer: ‘The Travel Diary of Joseph Martin Kraus’, JM, viii (1990), 266–90 OTHMAR WESSELY Ulehla, Ludmila (b Flushing, NY, 20 May 1923). American composer, pianist and teacher of Czech descent. She began writing music at the age of five and later studied at the Manhattan School of Music (BMus 1946, MMus 1947), where her composition teacher was Vittorio Giannini. She became a professor at the Manhattan School in 1947 and was chairperson of the composition department there from 1970 to 1989; she received the President’s Medal for Distinguished Faculty Service from the school in 1998. Additionally she taught at the Hoff-Barthelson Music School, Scarsdale, New York (1968–91), and acted as chairperson of the American Society of University Composers (1972–3) and programme chairperson for the National Association for American Composers and Conductors (1967–74). She has received awards and grants from ASCAP and Meet the Composer. Although Ulehla’s musical language is contemporary, the legacy of the classical canon as well as Slav influences have clearly contributed to its evolution. Her works are tonal, but are not organized by key; emphasis is given to the function of phrases rather than bar-lines, and the balance of contrast and unity helps to articulate formal structures. Her writings include Contemporary Harmony: Romanticism through the Twelve-Tone Row (New York, 1966/R). WORKS (selective list)
BIBLIOGRAPHY D. Amram: Vibrations (New York, 1968), 221–2 Who’s Who of American Women (Chicago, 8/1972) SAM DI BONAVENTURA Ulenberg, Kaspar (b Lippstadt, Westphalia, 1549; d Cologne, 16 Feb 1617). German theologian, poet and composer. He studied theology in Wittenberg and, before his conversion to Catholicism in 1572, was a Lutheran pastor in Lippstadt. From 1575 to 1583 he worked as a priest in Kaiserswerth near Düsseldorf, and later in various churches in Cologne. He was also head of the Lorenz Gymnasium from 1592 to 1615, and rector of the university between 1610 and 1612. The Counter-Reformation had a considerable influence on him, which can be seen in his sole musical publication: Die Psalmen Davids in allerlei teutsche gesangreimen bracht (Cologne, 1582; ed. in DRM, iii, 1955; text ed. in Wackernagel). Ulenberg’s psalter is the Catholic counterpart to the various Protestant psalters. The 80 tunes are stylistically similar to the Genevan psalm melodies and may have been composed by Ulenberg himself. Although its musical merit has been questioned, a wide circulation of the psalter attests to its considerable popularity at the time: eleven editions appeared up to 1710, sometimes under different titles. Lassus, with his son Rudolf, published the first 50 psalms in three-part settings under the title Teutsche Psalmen (RISM 158812; ed. W. Lipphardt, Kassel, 1928/R) and Konrad Hagius published two collections of four-voice settings of the entire psalter (one Düsseldorf, 1589 and the other Oberusel, 1606). Abraham Praetorius based his song motets of 1592 on the Ulenberg psalter. Ulenberg also made a German translation of the Bible (Cologne, 1630) intended as a Catholic alternative to Luther’s. BIBLIOGRAPHY MGG1 (W. Lipphardt) A. Meshovius: De vita, moribus et obitu… Caspari Ulenbergii (Cologne, 1638) P. Wackernagel: Das deutsche Kirchenlied von der ältesten Zeit bis zu Anfang des XVII. Jahrhunderts, v (Leipzig, 1877) J. Solzbacher: ‘Die Psalmen Davids, in allerlei deutsche Gesangreime gebracht durch Kaspar Ulenberg, Köln 1582’, KJb, xxxiv (1950), 41–55 S. Fornaçon: ‘Kaspar Ulenberg und Konrad von Hagen’, Mf, ix (1956), 206–13 J. Overath: Untersuchungen über die Melodien des Liedpsalters von Kaspar Ulenberg (Cologne, 1582) (Cologne, 1960) WALTER BLANKENBURG Ulfung, Ragnar (Sigurd) (b Oslo, 28 Feb 1927). Norwegian tenor. He studied at Oslo and Milan, making his stage début in 1952 at Oslo as Magadoff (The Consul). He sang Faust at Bergen and in 1955 went to Göteborg, where he sang Jeník, Don Ottavio, the Duke of Mantua, Fra Diavolo and Don José. In 1958 he was engaged at the Royal Opera, Stockholm, where he created the Deaf Mute in Blomdahl’s Aniara (1959) and sang Canio, Hoffmann, Alfredo, Cavaradossi, Tom Rakewell, Lensky and Gustavus III, which he also sang in Edinburgh (1959) and on the company’s visit to Covent Garden (1960). There he returned as Don Carlos (1963), Mime and Herod, and created the title role in Taverner (1972). At Hamburg he sang Turiddu, Erik and Števa in Jenůfa (also on the company’s visit to New York in 1967) and created Christopher in Werle’s Resan (1969). He made his San Francisco début as Chuck (Schuller’s The Visitation), returning for Riccardo, Valzacchi and Mime, the role of his Metropolitan début (1972). Ulfung’s repertory included Fatty (Aufstieg und Fall der Stadt Mahagonny), Captain (Wozzeck), Loge, Aegisthus (1972, La Scala), Otello (1983, Stockholm) and Jadidja (American première of Penderecki’s Die schwarze Maske at Santa Fe, 1988). A brilliant actor with an incisive voice, he excelled as Herod and Mime. He has also directed many operas, including a Ring cycle in Seattle. BIBLIOGRAPHY N. Benvenga: ‘Ragnar Ulfung’, Opera, xxvi (1975), 837–42 ALAN BLYTH Ulhart [Ulhard], Philipp (d Augsburg, 1567 or 1568). German printer. In 1522 he began printing in Augsburg, using the typefaces of Sigmund Grimm, who had in turn acquired them from Erhard Oeglin. Ulhart’s first efforts in publishing, as Schottenloher showed, were devoted almost exclusively to promoting the cause of various Reformed sects then active in Augsburg, particularly that of the Anabaptists, whose leaders included his friends Jacob Dachser and Sigmund Salminger. On 7 March 1523 in an attempt to curb sectarianism, the city council required Ulhart and seven other Augsburg printers to swear a formal oath that they would not publish anonymously. The order was rescinded shortly afterwards, and almost 200 anonymous pamphlets can be traced from typographical evidence to Ulhart’s press from the period 1523–9. In connection with the vigorous persecution of the Anabaptists he was imprisoned for eight days in 1526 and arrested again in 1528, but released for lack of evidence. In 1548 he became a citizen of Augsburg, though his reputation as a printer had been established long before. After his death the business was continued by his son, also called Philipp (d 1579 or 1580), and was bought in 1581 by Valentin Schönig, son-in-law of the Augsburg printer Melchior Kriesstein. As well as religious publications, which included the writings of Luther and other Reformation leaders, Ulhart printed various theoretical works and school plays, many of which contain religious songs. In music, however, he is known principally for issuing collections edited by Sigmund Salminger; the volume of 1537 contains settings of hymns and psalms. The two volumes of 1545 and 1548 contain works for the Catholic liturgy, many of them unica, by well-known Netherlandish composers. BIBLIOGRAPHY MGG1 (T. Wohnhaas) P. Wackernagel: Bibliographie zur Geschichte des deutschen Kirchenliedes im XVI. Jahrhundert (Frankfurt, 1855/R) P. Wackernagel: Das deutsche Kirchenlied von der ältesten Zeit bis zu Anfang des XVII. Jahrhunderts, i (Leipzig, 1864/R), 389, 407–8 K. Schottenloher: Philipp Ulhart, ein Augsburger Winkeldrucker und Helfershelfer der ‘Schwärmer’ und ‘Wiedertäufer’ (1523–1529) (Munich, 1921/R1967) [incl. list of pubns] A. Dresler: Augsburg und die Frühgeschichte der Presse (Munich, 1952), 23–4 J. Benzing: Die Buchdrucker des 16. und 17. Jahrhunderts im deutschen Sprachgebiet (Wiesbaden, 1963, 2/1982) C.P. Clasen: Anabaptism: a Social History, 1525–1618 (Ithaca, NY, 1972) K. Ameln, M. Jenny and W. Lipphardt, eds.: Das deutsche Kirchenlied: kritische Gesamtausgabe der Melodien, i: Verzeichnis der Drucke von den Anfängen bis 1800, RISM, B/VIII/1 (1975) S.D. Jacoby: The Salminger Anthologies (diss., Ohio State U., 1985) MARIE LOUISE GÖLLNER Ulïbïshev [Oulibicheff], Aleksandr Dmitryevich (b Dresden, 13 April 1794; d Lukino, nr Nizhniy-Novgorod, 24 Jan/5 Feb 1858). Russian writer on music. He was the son of the Russian ambassador at Dresden, and received his early musical education in Germany. In an autobiographical sketch he described himself as being ‘a musician since the age of seven, a passable violinist, a singer when necessary, and acquainted with the principles of composition’. In 1810 he moved to Russia and in 1812 entered the civil service. He worked as a translator in the Ministry of Foreign Affairs from 1816 and later was responsible for editing the journal Le conservateur impartial and the Journal de St Pétersbourg. After resigning from his post in 1830, he retired to his estate at Lukino. Ulïbïshev is known principally for his articles on music, many of which were published in the Journal de St Pétersbourg, and for two important books. In 1830 he began work on a comprehensive biographical and musical study of Mozart. He had known and admired Mozart’s works since his early years in Dresden, and did much to encourage their popularity in Germany. His book, written in French, was complete by June 1840, and its three volumes were published in Moscow in 1843 under the title Nouvelle biographie de Mozart, suivie d’un aperçu sur l’histoire générale de la musique et de l’analyse des principales oeuvres de Mozart. Wilhelm von Lenz, a Russian of German descent who lived in St Petersburg, in his book Beethoven et ses trois styles (St Petersburg, 1852) severely attacked Ulïbïshev for the denunciatory judgment on the works of Beethoven's last period which he had expressed in the ‘Aperçu’. Ulïbïshev answered with Beethoven, ses critiques et ses glossateurs (Paris, 1857, German version by Ludwig Bischoff, Leipzig, 1859), in which he stoutly defended his previous position, exciting general indignation. Ulïbïshev was Balakirev's most important early patron. His well stocked music library, which included all the recent works of Russian composers, especially those of Glinka whom he greatly admired, was of incalculable importance to the boy, who lived in nearby Nizhniy-Novgorod. He avidly absorbed the music of most of the composers represented in the library, including, besides Russian composers, Chopin, Schumann, Liszt and the late string quartets of Beethoven. Impressed by his piano playing as well as his precocious compositional ability, Ulïbïshev encouraged him and took him in late 1855 to St Petersburg, where he introduced him to Glinka, Dargomïzhsky, the Stasov brothers and others of importance in the musical world. His death early in 1858 was a blow to Balakirev since the financial support he had hitherto discreetly received from Ulïbïshev ceased after his death. BIBLIOGRAPHY H. Laroche: ‘O zhizni i trudakh Ulïbïsheva’ [About the life and works of Ulïbïshev]: introduction to the Russ. trans. of his Nouvelle biographie de Mozart, suive d'un aperçu sur l'histoire générale de la musique et de l'analyse des principales oeuvres de Mozart (Moscow, 1890) Yu. Kremlyov: Russkaya mïsl' o muzïke [Russian thinking on music] (Leningrad, 1954) S.M. Lyapunov and A.S. Lyapunova: ‘Molodïye godï Balakireva’ [Balakirev's Youth], E. Frid and others, eds.: Miliy Alekseyevich Balakirev: vospominaniya i pis'ma [Reminiscences and letters] (Leningrad, 1962), 7–71 E. Garden: Balakirev: a Critical Study of his Life and Music (London, 1967), 21–46 GEOFFREY NORRIS/EDWARD GARDEN Ullinger, Augustin (b Ranoldsberg, Upper Bavaria, 27 March 1746; d Freising, 30 July 1781). German composer, organist and teacher. From 1760 he attended the electoral Gymnasium in Munich and was active as a composer and music teacher. About 1776 he became chamber composer and court organist to the Freising Prince-Bishop Ludwig Josef von Welden. According to Lipowsky he was taught by Placidus von Camerloher. Ullinger was among the best composers of his time in Upper Bavaria. His numerous sacred works were very popular; as late as 1803 they were described in the Allgemeine musikalische Zeitung as combining seriousness with dignity and clarity. Ullinger was probably the brother of the organist Sebastian Ullinger (b c1740), who in 1763 married the widow of Bartholomäus Miller and succeeded him as organist of St Jakob at Wasserburg am Inn; a Salve regina (D-WS) is the only extant work attributable to Sebastian Ullinger, but it shows him to have been an excellent musician. Franz Ullinger (fl c1770–80) is credited with a mass, offertory, two litanies and an aria, copied about 1770–89 (D-WEY); he may be identifiable with Augustin Ullinger. WORKS
BIBLIOGRAPHY LipowskyB MGG1 (R. Münster) [incl. more detailed list of works] R. Münster and R. Machold: Thematischer Katalog der Musikhandschriften der ehemaligen Klosterkirchen Weyarn, Tegernsee und Benediktbeuern (Munich, 1971) B.S. Brook: Thematic Catalogues in Music: an Annotated Bibliography (Hillsdale, NY, 1972) R. Münster and others: Thematischer Katalog der Musikhandschriften der Benediktinerinnenabtei Frauenwörth und der Pfarrkirchen Indersdorf, Wasserburg am Inn und Bad Tölz (Munich, 1975) G. Haberkamp: Thematischer Katalog der Musikhandschriften der Fürstlich Oettingen-Wallerstein’schen Bibliothek Schloss Harburg (Munich, 1976) ROBERT MÜNSTER Ullman [Ullmann, Ulman, Uhlman], Bernard (b Budapest, ?1817; d 2 Oct 1885). American impresario. He probably arrived in America about 1842. He managed Henri Herz (1846–9), Camillo Sivori (1847–8), Henriette Sontag (1852–4), Thalberg (1856–8) and Vieuxtemps (1857–8). From 1857 to 1860 Ullman and Maurice Strakosch, partly financed by Thalberg, produced opera at the Academy of Music in New York, engaging such singers as Anna de La Grange, Elena d’Angri, Marietta Piccolomini and Adelina Patti. Ullman managed the performers both individually and as a company, splitting the troupe for tours and using solo recitals to help offset losses from opera; nevertheless, the company went bankrupt in 1860. In spring 1862 Ullman moved to Europe, where he managed Carlotta Patti (1865–9) and Christine Nilsson (1876–7); he returned to America in 1875–6 as Hans von Bülow’s manager. He was one of the first impresarios to measure success commercially rather than artistically; some of his innovations later became standard managerial practice. BIBLIOGRAPHY M. Maretzek: Crotchets and Quavers (New York, 1855/R in Revelations of an Opera Manager in 19th Century America) H. Herz: Mes voyages en Amérique (Paris, 1866; Eng. trans., 1963) M. Maretzek: Sharps and Flats (New York, 1890/R in Revelations of an Opera Manager in 19th Century America) L.M. Lerner: The Rise of the Impresario: Bernard Ullman and the Transformation of Musical Culture in Nineteenth Century America (diss., U. of Wisconsin, 1970) R.A. Lott: ‘Bernard Ullman: Nineteenth-Century American Impresario’, A Celebration of American Music: Words and Music in Honor of W. Wiley Hitchcock, ed. R.A. Crawford, R.A. Lott and C.J. Oja (Ann Arbor, 1990), 174–91 WILLIAM BROOKS Ullmann, Jakob (b Freiberg, Saxony, 12 July 1958). German composer and organist. He attended the Naumburg Church Proseminar (1975–8) and studied in Dresden at the School of Sacred Music of the Lutheran Church of Saxony (1979–82). From 1980 to 1982 he was a composition student of Herchet. Denied admission to the masterclass of the DDR Academy of Arts because of his refusal to perform military service, he continued his studies privately with Friedrich Goldmann. In 1982 he settled in Berlin, where he has worked as a freelance composer and author. When Cage's music was first presented in East Berlin in 1990, Ullmann met Cage, and until the latter's death conducted an intensive exchange of ideas with him. Ullmann has described his compositional development as reflecting a ‘search for ways of making peripheral ideas, assumptions and the historically conditioned structure of “sounds themselves” perceptible’. Initially influenced by Schoenberg, he used serialism as the prerequisite for his work on sound (Komposition für 10 instrumente, 1982). Later compositions explore the world of silence between noise and sound. His aim has been not to achieve the audibility of unheard sound, but to expose the ‘simplest and most natural of tonal realities’. Important tools in his work are mathematical formulas, computer programs and chance; in his compositions scientific and artistic thinking enter into an innovative synthesis. Another important element of his work is political criticism, which he transforms into music: disappearing notes illustrate the fate of the ‘disappeared’ of Latin American in la CAncin del †nGEl desaparecido (1987–8), and non-semantic language memorializes those murdered in the Soviet gulags in Voice, Books and FIRE (from 1990). Ullmann understands quiet and a lack of expressivity as prerequisites for preventing the ideological misuse of his music. Both are component parts of a compositional aesthetic based on a rejection of market values and a commitment to the alteration of human emotion and thought. WORKS (selective list)
GISELA NAUCK Ullmann, Viktor (Josef) (b Teschen [now Český Těšín], Czech Republic, 1 Jan 1898; d Auschwitz [Oświęcim], 18 Oct 1944). German-Czech composer of Austrian birth. The son of an Austrian officer, he entered Vienna University as a law student in 1918. Late in the same year he enrolled in Arnold Schoenberg's composition seminar, having been prepared for its demands by theory tuition he had received from Josef Polnauer since 1914. He had also studied piano with Eduard Steuermann. At Schoenberg's suggestion, he was made a founder-member of the committee of the Verein für Musikalische Privataufführungen. Ullmann did not complete his university course but moved to Prague in May 1919, and there joined the music staff of the Neues Deutsches Theater under Alexander Zemlinsky, becoming chorus master and répétiteur in 1920 and conductor in 1922. Apart from his work in the opera house he spent his time composing, and enjoyed early successes with performances of the Sieben Lieder with piano (performed 1923), the Octet (1924), his incidental music for Klabund's Kreidekreis (1925) and the Symphonische Phantasie (1925). Also in 1925 he composed the first version of his Variationen und Doppelfüge über ein Klavierstück von Arnold Schoenberg, based on Schoenberg's op.19, no.4. His String Quartet no.1 had its first performance in 1927. In the autumn of 1927 he spent a season as head of the opera in Aussig (now Ústí nad Labem), where he gave dazzling proof of his conducting talent. On his return to Prague he remained without a permanent post for a year. Performances of his Concerto for Orchestra, in Prague (1929) and Frankfurt (1930), aroused great interest. The second version of the Schoenberg-Variationen, performed by Franz Langer at the 1929 festival of the ISCM, in Geneva, brought Ullmann to international attention. He was engaged by the Zürich Schauspielhaus as a conductor and composer of incidental music (1929–31). Coming under the influence of Rudolf Steiner's anthroposophy, he gave up every kind of musical activity over the next two years, and ran an anthroposophical bookshop in Stuttgart ‘in order to render direct service to the anthroposophical movement’. He left Germany after the National Socialist seizure of power, and returned to Prague where, from the middle of 1933, he lived once again the life of a freelance musician. In addition to his teaching, journalism and radio broadcasting, he was active in Leo Kestenberg's Internationale Gesellschaft für Musikerziehung and in Prague's music societies, both German and Czech. He attended Alois Hába's courses in quarter-tone composition from 1935 to 1937, and built on his 1929 success in Geneva with an orchestrated version of the Schoenberg-Variationen, which won the Emil Hertzka Prize in 1934. He won the Hertzka prize again in 1936 with his opera Der Sturz des Antichrist, based on a dramatic sketch by Albert Steffen, but negotiations to get the work performed in Vienna (1935) or Prague (1937) failed. A number of other works were performed in Prague during the later 1930s, including the Piano Sonata no.1, the Sechs Lieder for soprano and piano op.17 (texts by Albert Steffen), and the String Quartet no.2, which was also given by the Prague Quartet at the 1938 ISCM festival in London. There were, however, no public performances of works composed after 1938 (Slawische Rhapsodie, the Piano Concerto, the opera Der zerbrochene Krug). In the summer of 1942 he was able to give a set of those of his works which he had published himself to a friend for safe keeping. On 8 September 1942 Ullmann was sent to the Terezín concentration camp, where he soon became one of the leading figures in the music section of the so-called Freizeitgestaltung, the programme of organizing the inmates' ‘leisure’. He had an important influence on musical life in the camp as director of the Studio für neue Musik, as a critic (he wrote 26 reviews: see Schuttz, ‘Viktor Ullman’, 1993), and as performer and composer. Other prisoners – the singers Walter Windholz and Hedda Grab-Kernmayr, the pianist Edith Steiner-Kraus and the conductor Rafael Schächter – gave able performances of his music. The music for a dramatized version of ballads by Villon, the settings of poems by C.F. Meyer op.37, and the Piano Sonata no.6 received several performances before an appreciative audience. Ullmann's Terezín manuscripts were preserved from destruction by Professor Emil Utitz who gave them to H.G. Adler after the war. Ullmann was taken to Auschwitz on a ‘liquidation transport’ on 16 October 1944, and died in the gas chamber two days later. Ullmann's development as a composer falls into three main periods. In the first, from 1920 to the early 1930s, the initial influence on his work was that of Schoenberg, but already from about 1924 he looked increasingly to Berg. He testified to his admiration for Wozzeck in a number of letters and articles. The Schoenberg-Variationen combine strict formal construction with playful pianistic verve. The second phase began in about 1933, when he began to change his style. At this point he took up an intermediate stance, with the intention of ‘exploring what remains to be discovered in the realms of tonally functional harmony or filling the gap between romantic and “atonal” harmony’. Dissonant harmony which nonetheless retains links to functional tonality and polyphonic writing characterized the structures of the first four piano sonatas and the song cycles of the second half of the 1930s, as well as his most important stage work, Der Sturz des Antichrist. In this opera he followed Berg's example in using the formal types of ‘absolute’ music (such as sonata form and fugue) as the basis of his structures. In the final years, the primitive and brutal facts of life in Terezín did not succeed in destroying his creativity. The works he composed there were marked on the one hand by the formal and expressive mastery Ullmann had acquired during the last years in Prague, and on the other by the demands of musical life in the concentration camp, where the pre-eminent need was for Gebrauchsmusik that was both satisfying and accessible. The songs and choruses on Yiddish and Hebrew texts and the music for a dramatized version of Villon's ballads belong in the latter category. The masterpieces in Ullmann’s Terezín output are the String Quartet no.3, the settings of Hölderlin and Meyer, the melodrama on Rilke's Die Weise von Liebe und Tod des Cornets Christoph Rilke and the one-act opera Der Kaiser von Atlantis. Like many other artists of the interwar years, Ullmann was a victim of National Socialist racial and social policies. His works had been highly regarded in Prague's musical life, but when the German army entered Czechoslovakia in March 1939 they had come immediately under the ban on performances of Jewish music. The majority of his manuscripts were destroyed during the Protectorate. Thirty years passed after his violent death before the process of rediscovering his work began with the Amsterdam première of his chamber opera Der Kaiser von Atlantis (1975). Performances of other works followed, primarily of works composed in Terezín, but also of the piano sonatas and some of the song cycles, as well as some of the orchestral pieces (Variations op.3b, Slawische Rhapsodie op.24, Piano Concerto op.25). Since then, with premières of the Rilke melodrama (1994), Der Sturz des Antichrist (1994) and Der zerbrochene Krug (1996), all Ullmann's major works have been rescued from the cache of suppressed and forgotten music that was taboo for so many years after the war. WORKS (selective list) Stage
Instrumental
Vocal
BIBLIOGRAPHY T. Veidl: ‘Viktor Ullmann: der Lineare’, Auftakt, ix (1929), 77–8 V. Helfert and E. Steinhard: Geschichte der Musik in der Tsechoslovakischen Republik (Prague, 1936, 2/1938 as Die Musik in der Tsechoslovakischen Republik) M. Bloch: ‘Viktor Ullmann: a Brief Biography and Appreciation’, Journal of the Arnold Schoenberg Institute, iii (1979), 150–77 J. Ludvová: ‘Viktor Ullmann’, HV, xvi (1979), 99–122 J. Karas: Music in Terezín 1941–1945 (New York, 1985) I. Schultz: ‘Viktor Ullmann: Jude, Anthroposoph, “entarteter” Musiker’, Anthroposophen und Nationalsozialismus, ed. B. Hansen (Flensburg, 1991), 5–26 H. Klein, ed.: Viktor Ullmann: Materialien, Verdrängte Musik, ii (Hamburg, 1995) [incl. V. Ullmann, ‘Der fremde Passagier: ein Tagebuch in Versen mit einem aphoristischen Anhang’, 101–25 and ‘Der 30. Mai 1431, Oper in zwei Akten: Textbuch’, 147–77] I. Schultz: “‘… ich bin schon lange ein begeisterter Verehrer Ihres Wozzeck”: Viktor Ullmann und Alban Berg’, Musiktheorie, vii (1992), 113–28 I. Schultz: ‘Viktor Ullmann: zwei Prager Karrieren’, Der jüdische Beitrag zur Musikgeschichte Böhmens und Mährens: Regensburg 1992, 42–53 M. Kuna: Musik an der Grenze des Lebens: Musikerinnen und Musiker in nationalsozialistischen Konzentrationslagern und Gefängnissen (Frankfurt, 1993) I. Schultz: ‘Victor Ullmann: pozapomenutý život hudebníka zničené generace’ [Viktor Ullmann: the forgotten life of a musician of a shattered generation], HV, xxx (1993), 3–10 I. Schultz, ed.: Viktor Ullmann: 26 Kritiken über musikalische Veranstaltungen in Theresienstadt, Verdrängte Music, iii (Hamburg, 1993) I. Schultz: Verlorene Werke Viktor Ullmanns im Spiegel zeitgenössischer Presseberichte, Verdrängte Musik, iv (Hamburg, 1994) Viktor Ullmann: Dornach 1994 ‘[…]es wird der Tod zum Dichter’: Berlin 1995 H.G. Klein: ‘Eine Werkliste Viktor Ullmanns aus dem Jahre 1942’, Musica Reanimata-Mitteilungen, no.14 (1995), 1–9 I. Schultz: ‘Der Prolog zum “Kaiser von Atlantis”: ein Schlüssel zum Verständnis der Theresienstädter Oper von Viktor Ullmann’, Musica Reanimata-Mitteilungen, no.17 (1995), 1–19 U. Prinz, ed.: Viktor Ullmann: Beiträge, Programme, Dokumente, Materialen (Kassel, 1998) INGO SCHULTZ Ulloa, Pedro de (b ?Madrid, 1663; d ?Madrid, 1721). Spanish mathematician. He became a Jesuit in 1678, taught grammar and philosophy at the college of his order at Oropesa, and later was transferred to Madrid as a professor of mathematics at the Imperial College and cosmographer for the Supreme Council of the Indies. His major work is his two-volume Elementos matemáticos (Madrid, 1706). He also published Música universal, ô principios universales de la música (Madrid, 1717), a small volume of only 104 pages, despite its ambitious title. The book contains an Aprobación by José de Torres. Theoretical rather than practical, it approaches music through the disciplines of mathematics, logic and rhetoric. Its topics include interval ratios, temperament, modulation, modes and their affects, harmonic combinations and musical styles. He touches upon certain topics rarely mentioned in the conservative Spanish theory of his time, including equal temperament (which he recommended for keyboard instruments), the reduction of the modes to major and minor and the doctrine of the Affections. The work was often cited as authoritative by Spanish theorists later in the century. BIBLIOGRAPHY SubiráHME M. Soriano Fuertes: Historia de la música española (Madrid, 1855–9) R. Mitjana y Gordón: ‘La musique en Espagne’, EMDC, I/iv (1920), 1913–2351, esp. 2117 M.N. Hamilton: Music in Eighteenth Century Spain (Urbana, IL, 1937/R) H. Anglès and J. Subirá: Catálogo musical de la Biblioteca nacional de Madrid, ii (Barcelona, 1949) F.J. León Tello: La teoría española de la música en los siglos XVII y XVIII (Madrid, 1974) J.M. Muneta: ‘Evolución de la modalidad desde el gregoriano al siglo XVIII’, Nassarre, xi/1–2 (1995), 345–66 ALMONTE HOWELL |
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