Ulloa Berrenechea, Ricardo

(b San José, 15 April 1928). Costa Rican composer, critic and painter. He studied piano at the National Conservatory of Music with Guillermo Aguilar Machado, and took private lessons with Carlos Enrique Vargas. In 1953 he went to Madrid, where he studied painting and aesthetics, and attended the Madrid Royal Conservatory where he obtained the Higher Diploma in Piano Studies.

On his return to Costa Rica he taught piano, harmony and analysis for many years at the Castella Conservatory, taught the piano at the Autonomous University of Central America, and lectured at the University of Costa Rica. At the same time he worked as an art critic for the most important newspapers and reviews in Costa Rica, among them La nación and La república. As a painter his work has achieved international recognition. He has won numerous awards for his paintings, poetry and compositions, and is the author of La música y sus secretos (San José, 1979). His works combine a fundamentally tonal idiom with a modernist use of dissonance. He is the most important composer of lieder in Costa Rica.

WORKS

(selective list)

Orch: Sinfonietta, str

Chbr: Andante and Allegro, 2 pf, 1975; Danza diabólica, 1980; Elegía, 2 pf, 1980; Str Qt ‘Indio’, 1980

Piezas: ob, pf, 1977; vn, pf, 1981; fl, pf, 1987

Songs: Angel del camino (U.B. Rìcardo), S, pf, 1972; Poesía y cristal (Rìcardo), B, Bar, pf, 1973; Donde habite el Olvido (Luis Cernuda), Mez, pf, 1976; Lieder de amor, soledad y tierra (Rìcardo), S, pf, 1982

BIBLIOGRAPHY

B. Flores Zeller: La música en Costa Rica contemporánea (San José, 1975), ii, 154–5

B. Flores Zeller: La música en Costa Rica (San José, 1978), 135–6

JORGE LUIS ACEVEDO VARGAS

Ullrich, Hermann

(b Mödling, nr Vienna, 15 Aug 1888; d Vienna, 27 Oct 1982). Austrian music historian and critic. While he was a law student in Vienna he also studied musicology with Adler. He graduated in law in 1911, and completed his musical education in Salzburg after World War I, with Felix Petyrek (piano) and Bernhard Paumgartner (conducting and instrumentation). He began his work as a music critic in Salzburg (1922) and wrote for the Vienna Neue Freie Presse (1926–38). After a break in exile in London (1939–46), he was music critic of the newspaper Neues Österreich (1946–67) while working as a judge. He was also a regular contributor to the Österreichische Musikzeitschrift. As a music historian he studied the Austrian composer Julius Bittner, the writings of Viennese music critics before the 1848 revolution, and Maria Theresia von Paradis, the blind pianist of Mozart's time (for his articles see Paradis, maria theresia von). He also composed works for orchestra, chamber orchestra and string quartet, other chamber music and lieder, and was second president of the supreme court until 1958.

WRITINGS

Fortschritt und Tradition (Vienna, 1956) [essays and reviews]

Julius Bittner (Vienna, 1968)

‘Beethoven-Pflege im Wiener Vormärz’, ÖMz, xxvi (1971), 17–36

Die blinde Glassharmonikavirtuosin Marianne Kirchgessner und Wien: eine Künstlerin der empfindsamen Zeit (Tutzing, 1971)

‘Musikkritik und -kritiker im Wiener Vormärz’, ÖMz, xxvi (1971), 353–65

‘Aus vormärzlichen Konzertsälen Wiens’, Jb des Vereines für Geschichte der Stadt Wien, xxviii (1972), 106–30

Alfred Julius Becher: der Spielmann der Wiener Revolution (Regensburg, 1974)

‘Ludwig van Beethoven's letzte Oratorienpläne: eine Studie’, SMw, xxxiii (1982), 21–47

RUDOLF KLEIN

Ulm.

German city on the Danube. An imperial residence in the Middle Ages, and later a free imperial city, Ulm was one of the most important trade centres of southern Germany between the 14th and 16th centuries. Its position on the river Danube linked it with Vienna and eastern Europe. After the Napoleonic Wars it became part of the kingdom of Württemberg and its hinterland was divided between Württemberg and Bavaria.

The minstrel Meinloh von Sevelingen was born in the nearby village of Söflingen, and around 1430 Oswald von Wolkenstein came to the city as a member of the court of Emperor Sigismund. Ulm Minster, the city’s principal church, had an organ from about 1416; a second organ was built in 1439 and enlarged in 1488. In 1530 Ulm embraced the Reformation and iconoclasts destroyed the organs in the following year. After Lutheranism was established in the city in 1571, a new organ was built by Kaspar Sturm from Regensburg (1576–8, enlarged 1597–9). A completely new organ was built by E.F. Walcker from Ludwigsburg between 1849 and 1856; it was replaced in 1969 by Walcker's Opus 5000. The minster's outstanding organists, some of whom were also composers, were Adam Steigleder (1595–1625), Sebastian Anton Scherer (1671–1712), Konrad Michael Schneider (1712–52), Johann Kleinknecht (1712–51), Johann Christoph Walther (1751–70) and, in the 20th century, Hans Jakob Haller and Edgar Rabsch. The specification of the organ in the Pauluskirche (built 1910, renewed 1970 and 1996) was influenced by Max Reger.

From about 1600 polyphonic music flourished in the minster. It was performed by 24 choristers, who attended the Gymnasium Academicum, where they received a musical education. Catholic church music was cultivated at St Michael zu den Wengen, a house of Augustinian canons, where Caspar Schollenberger (1673–1735), Joseph Lederer (1733–96), Johann Georg Niederländer (1736–94) and Michel Methic (1748–1807) lived and composed. Plays with music were staged there from the early 16th century.

The city employed musicians from the 14th century; in 1434 it received the imperial patent to maintain trumpeters and trombonists. There were some families of musicians (Maier, Oberhofer, Eberlin, Schmidtberger, Schwartzkopf) whose members were employed by the city for two or more generations. Benedictus Ducis (1532) and Hans Leo Hassler (1604–8) spent short periods in Ulm, but had little effect on its musical life. Members of the Kleinknecht family, Johann Wolfgang, Johann Stephan and the composer Jacob Friedrich (1772–94), held leading positions in the Hofkapelle at Bayreuth.

A guild of Meistersinger existed by 1517; it provided occasional theatrical performances, some with music, and survived until 1839, when the last four members of the guild handed over its flag and insignia to the Liederkranz ‘as the natural successor and representative of the old Meistersinger tradition in the new era’. From around 1667 until well after 1700 Baroque instrumental music was cultivated by a collegium musicum made up of professional and amateur musicians. The printed and manuscript music of the Schermar library, representing the music collected by patrician families in about 1600, was catalogued by Clytus Gottwald in 1993.

Music printing and instrument making flourished in Ulm for a time. The organ builders Jörg Falb (c1470), Martin Grünbach (c1500), Gilg Taiglin (c1530), Hans Ehemann (c1650) and the Schmahl family (18th and 19th centuries) and the lute and violin makers Konrad Christoph Lacher (c1575), Christoph and Georg Unseld (c1600), Georg Negele (c1615) and one of the Eberlins (c1620) all ran workshops in the city. Balthasar Kühn (d 1667) and Johann Görlin (d 1663) and their heirs printed and published the works of composers living in Ulm and the neighbouring imperial cities.

Before the first theatre was built in the Binderhof by Joseph Furttenbach (1641), the Meistersinger and pupils and students of the Gymnasium staged plays in various rooms in the town. In 1781 the Theater im Binderhof was replaced by the Komödienhaus. Both theatres were frequently visited by touring companies from outside the city. In 1870 the Komödienhaus was granted the status of a Stadttheater (municipal theatre) and in 1920 it established its own orchestra, conducted by Herbert von Karajan from 1929 to 1934. The Stadttheater was destroyed in 1945; performances continued in a provisional theatre until a new building was opened in 1969. In 1993 a purpose-built concert hall, the Einsteinsaal, was opened at the new congress centre. The following year the theatre orchestra was renamed the Philharmonisches Orchester der Stadt Ulm.

Since the early 19th century concerts have been promoted by musical societies such as the Liederkranz (founded 1824), the Oratorienchor and the Orchesterverein Ulm/Neu-Ulm. In the 19th century military bands also played an important part in the city's musical life: Carl Ludwig Unrath (1828–1908) conducted a band in Ulm between 1851 and 1872 and Carl Teike (1864–1922) composed his famous march Alte Kameraden in the city. Musical education in Ulm is provided principally by the Städtisches Schul- und Jugendmusikwerk and the members of the Philharmonisches Orchester.

BIBLIOGRAPHY

MGG2 (E. Stiefel, C. Gottwald)

A. Weyermann: Nachrichten von Gelehrten, Künstlern und anderen merkwürdigen Personen aus Ulm (Ulm, 1798)

T. Schön: ‘Geschichte des Theaters in Ulm’, Diözesanarchiv von Schwaben, xvii (1899); xviii (1900)

K. Blessinger: Studien zur Ulmer Musikgeschichte im 17. und 18. Jahrhundert (Ulm, 1913)

H. Mayer: ‘Hans Leo Hassler in Ulm (1604–1608)’, Ulm und Oberschwaben, xxxv (1958), 210–35

R.W. Sterl: ‘Der Orgelbauer Kaspar Sturm in Ulm (1576–1599)’, Ulm und Oberschwaben, xxxviii (1967), 101–31

G. Kleemann: ‘Die Orgelbauerfamilie Schmahl’, Acta Organologica, vii (1973), 71–105

H.E. Specker: Stadtgeschichte (Ulm, 1977)

L. Prütting, ed.: Zum Beispiel Ulm: Stadttheater als Kulturpolitische Lebensform (Ulm, 1990)

A. Krause-Pichler: Jakob Friedrich Kleinknecht 1722–1794 (Weissenhorn, 1991)

C. Gottwald: Katalog der Musikalien in der Schermar-Bibliothek Ulm (Wiesbaden, 1993)

ADOLF LAYER/CHRISTIAN BROY

Ulrich [Uolrich] von Liechtenstein [Liehtenstein, Lichtenstein]

(b Styria, c1200; d 26 Jan 1275). German poet and Minnesinger from a famous Styrian family. His political career is amply documented; the rest of his life is described in his principal work, Frauendienst (completed 1255; ed. K. Lachmann and T. von Karajan, Berlin, 1941/R; ed. F.V. Spechtler, Göppingen, 1987). This long strophic poem also includes his 57 songs (which are also contained in the Manessesche Liederhandschrift) and his one Leich, but no music survives. Frauendienst contains numerous important references to music, to the art of composition, to methods of making contrafacta and to the use and performance of secular music, both vocal and instrumental. Less attention has been paid to his Frauenbuch (ed. F.V. Spechtler, Göppingen, 1989), which was written in the mid-13th century and is transmitted only in one manuscript of the early 16th century.

BIBLIOGRAPHY

MGG1 (U. Aarburg)

U. Aarburg: Ulrich von Lichtenstein: Autobiographie und Persönlichkeit (diss., U. of Frankfurt, 1965)

J.D. Müller: ‘Ulrich von Liechtenstein’, Die deutsche Literatur des Mittelalters: Verfasserlexikon, ed. K. Ruh and others (Berlin, 2/1977–)

A.H. Touber: ‘Ulrichs von Liechtenstein unbekannte Melodie’, Amsterdamer Beiträge zur älteren Germanistik, xxvi (1987), 107–18

For further bibliography see Minnesang.

BURKHARD KIPPENBERG/LORENZ WELKER

Ulster Orchestra.

Orchestra founded in 1966 in Belfast.

Ultraphon.

German and Dutch record company. It was founded in Berlin in 1921 by the scientist Heinrich J. Kuechenmeister. Initially it was concerned with instruments and sound reproduction; in 1925 it marketed, through its subsidiary Tonapparate, a record player with paired pickup arms, soundboxes and horns working with a time lapse of one-sixth of a second. From 1927, working with Herbert Grenzebach of Elektrophon, it set new standards of recorded quality, and in 1929 it began issuing records. For orchestral recordings, Grenzebach used multiple microphones including one at 20 metres' distance for echo effects. Records of standard groovecut were 30 and 25 cm, 78 r.p.m. but 20 cm discs with narrow groove were also made (on the Orchestrola label), as were 40cm discs at 33 r.p.m. with an inside start, for use with films.

Soon after its first records were issued, the firm merged with Orchestrola-Vocalion (including the Clausophon, Adler and Orchestrola labels). The firm set up numerous subsidiaries abroad, including the group of firms in Czechoslovakia that in 1946 were amalgamated as Supraphon. More than 2000 titles were produced in two and a half years, but the policy of high quality and cost led to the firm's being unable to weather the economic crisis and in 1932 it went out of business and its stock was taken over by Telefunken, who abandoned the Ultraphon label in 1933.

The company had access to salon and dance music through Orchestrola-Vocalion. Its own recordings covered a wide spectrum, with artists including Paul Bender, Paul Schöffler, Erich Kleiber, Carl Schuricht, Alexander von Zemlinsky, Georg Kulenkampff and Moriz Rosenthal; Die Dreigroschenoper was recorded in 1930 with its original cast, including Lotte Lenya, and sacred music recorded in churches was issued on the Musica Sacra label. There were also recordings of dance music and cabaret.

BIBLIOGRAPHY

H. Sieben: Herbert Grenzebach: ein Leben für die Telefunken-Schallplatte (Düsseldorf,1991)

B. Englund and M. Elfström: Ultraphon: Telefunken/Pallas, Svenska Diskografier, ix (Stockholm, 1994)

N. Nitsche and A. Sieghardt: Telefunken-Firmendiscographie, (Bonn and Vienna, 1999)

RAINER E. LOTZ

Umělecká Beseda

(Cz.: ‘Artistic Society’).

Prague society of musicians and other artists, founded in 1863. See Prague, §§3–4.

Umfang

(Ger.).

See Range.

Um-Kalthoum, Ibrahim.

See Umm Kulthum.

Umkehrung

(Ger.).

See Inversion.

Umlauf, Carl Ignaz Franz

(b Baden, nr Vienna, 19 Sept 1824; d Vienna, 25 Feb 1902). Austrian zither player, composer and teacher. After completing a tradesman's training to comply with his father's wish he studied the violin with Jansa and music theory with Sechter and made music his career. Inspired by popular enthusiasm for the zither he became absorbed in designing as well as playing the instrument and, together with the zither manufacturer Anton Kiendl, developed the ‘Viennese zither’, distinguished from other, usually Bavarian, instruments by its tuning and number of strings. He also drew attention to the bowed zither and to the Elegiezither, a larger instrument particularly suited to concert performance because of its fuller tone. In Vienna he directed the first public zither school, and from 1844 made concert tours throughout Europe; he was appointed Hofmusikus by the Austrian imperial court. His 18 volumes entitled Salon-Album für Zitherspieler, containing original compositions and transcriptions, were popular in his day. Although his ‘Viennese tuning’ has been replaced by so-called ‘normal tuning’, his zither method, Neue vollständige theoretisch-praktische Zitherschule (Vienna, 1859), superseded other famous zither methods of his time (Weigel, 1838; Ruthardt, 1846 and Buchecker, 1854), and has held its place to the present day.

BIBLIOGRAPHY

J.E. Bennert: Illustrierte Geschichte der Zither (Luxembourg, 1881) [incl. Umlauf's autobiography, pp.44–6]

J. Brandlmeier: Handbuch der Zither (Munich, 1963)

HORST LEUCHTMANN

Umlauf [Umlauff], Ignaz

(b Vienna, 1746; d Meidling, nr Vienna, 8 June 1796). Austrian composer, conductor and viola player, father of Michael Umlauf. His name first appears as fourth viola player in the Vienna court orchestra in 1772, from which year his Singspiel Die Insul der Liebe probably dates. By 1775 he had advanced to the post of principal viola player in the German Theatre orchestra, and by 1778 he was highly enough regarded to be given the commission to write the first work for Joseph II’s new ‘German National Singspiel’, Die Bergknappen, to a libretto by Joseph Weidmann. Umlauf was appointed Kapellmeister to the new venture at a modest 600 florins a year, less than some of the singers received. Four further works by him were given before the first closure of the Singspiel company in 1783, including Die schöne Schusterin oder Die pücefarbenen Schuhe (1779), which, partly because of the much-loved Marianna Weiss in the title role, had over 60 performances in 23 years and was also staged in at least four other Vienna theatres, and Das Irrlicht (1782), which also exceeded the 30 repetitions of Die Bergknappen.

By 1783 Umlauf had advanced to the position of Salieri’s deputy Kapellmeister at a salary of 850 florins a year, and he also had the responsibility (and additional remuneration) for instructing seven boy choristers. After the closure of the National-Singspiel in 1788 he was appointed second Kapellmeister to the Hofkapelle. He played the keyboard continuo at the performance Mozart conducted on 26 February 1788 of C.P.E. Bach’s oratorio Die Auferstehung und Himmelfahrt Jesu; and on 6 March 1789 he directed the singers in the Messiah performance in Mozart’s orchestration and under his direction. On the occasion of Leopold’s coronation at Frankfurt in 1790 Umlauf made his only lengthy journey from Vienna, being part of the official entourage of the emperor. He died shortly after his appointment as music teacher to the imperial children.

Umlauf was the most successful Viennese Singspiel composer before Dittersdorf began to establish himself in this popular genre in the mid-1780s; he was studious and careful and had a marked melodic gift (his air ‘Zu Steffen sprach im Traume’ from Das Irrlicht was a particular favourite, as witness Eberl’s set of variations long attributed to Mozart). His tendency to juxtapose such stylistic features as Italian coloratura arias and homely Austrian songs and dances is characteristic but by no means original; the best of his scores would still prove viable, not only because of their effective orchestration but also because, despite the occasionally jerky effect of rapid key change, they reveal sufficiently marked gifts of dramatic timing and musical characterization to make Mozart’s comments (e.g. the letters of 21 December 1782 and 5 February 1783, admittedly discussing Welche[s] ist die beste Nation?, one of his least successful scores) seem rather intolerant. It was no doubt mainly due to a lack of resilience and power of development, however, that his last success dates from his 36th year, a few months before the première of Mozart’s Die Entführung aus dem Serail: none of Umlauf’s last three Singspiele achieved double figures in the repertory lists, and by the time of his death only Die schöne Schusterin and Das Irrlicht were still being performed.

WORKS

Stage

all Singspiele; first performed in Vienna, unless otherwise stated

Die Insul [Insel] der Liebe (J.H.F. Müller), ?1772

Die Bergknappen (1, J. Weidmann), Burg, 17 Feb 1778, A-Wn, KR; ed. in DTÖ, xxxvi, Jg.xviii/1 (1911/R)

Die Apotheke (2, J.J. Engel), Burg, 20 June 1778, Wn

Die schöne Schusterinn oder Die pücefarbenen Schuhe (2, G. Stephanie the younger, after Ferrières), Burg, 22 June 1779, Wn (facs. in GOB, xiii, 1986)

Das Irrlicht [Der Irrwisch] oder Endlich fand er sie (3, Stephanie, after Bretzner), Burg, 17 Jan 1782, Wn

Welche[s] ist die beste Nation? (2, C.H. von Ayrenhoff), Burg, 13 Dec 1782

Die glücklichen Jäger (3, Stephanie), Kärntnertor, 17 Feb 1786

Der Ring der Liebe oder Zemirens und Azors Ehestand (3, P. Weidmann or ? K.E. Schubert), Kärntnertor, 3 Dec 1786 [sequel to A. Grétry: Zémire et Azor], extracts, Wgm

Melide (4), ?unperf., Wgm (?autograph)

Other works

Sacred vocal: Missa, D, CZ-Bm; Lauretanische Litanei, 4vv, insts, A-Wn; Ad aram pietatis, off, CZ-Bm; other works, A-GÖ, KR

Inst: Pf Conc., 6 fl qts (arr. from Die Bergknappen), Str Qt (arr. from Die Apotheke): Wn; Conc., 2 pf, and arrs. for wind insts listed in contemporary catalogues

BIBLIOGRAPHY

ADB (R. Eitner)

MGG1 (E. Badura-Skoda)

WurzbachL

J.H.F. Müller: Theatral Neuigkeiten (Vienna, 1773)

G. Nottebohm: Beethoveniana (Leipzig, 1872/R)

O. Teuber and A. von Weilen: Die Theater Wiens (Vienna, 1903 ii/2/1)

R. Haas: Introduction to I. Umlauf: Die Bergknappen, DTÖ, xxxvi, Jg.xviii/1 (1911/R)

B. Glossy and R. Haas, eds.: Wiener Comödienlieder aus drei Jahrhunderten (Vienna, 1924) [incl. 2 vocal numbers from Umlauf Singspiels]

L.H. Skrbensky: ‘Drei deutsche Tonkünstler: Christian Umlaufft, Ignaz Umlauff, Michael Umlauff’, Mitteilungen zur Geschichte der Familien Umlauff, ii (Prague, c1926)

R. Haas: Wiener Musiker vor und um Beethoven (Vienna, 1927)

F. Hadamowsky: Das Theater in der Wiener Leopoldstadt, 1781–1860 (Vienna, 1934)

A. Bauer: Opern und Operetten in Wien (Graz and Cologne, 1955)

O.E. Deutsch, ed.: Mozart: die Dokumente seines Lebens (Kassel, 1961; suppl., 1978, ed. J.H. Eibl; Eng. trans., 1965/R)

R. Reuter and E. Wächtler: ‘Die künstlerische und historische Bedeutung des Singspiels “Die Bergknappen” von Ignaz Umlauf am Beginn der Geschichte der deutschen Nationaloper’, Freiberger Forschungshefte, xlviii (1965), 9–35

F. Hadamowsky: Die Wiener Hoftheater (Staatstheater), 1776–1810, i (Vienna, 1966); ii, 1811–1974 (Vienna, 1975)

O. Michtner: Das alte Burgtheater als Opernbühne von der Einführung des deutschen Singspiels (1778) bis zum Tod Kaiser Leopolds II (Vienna, 1970)

J. Groat: Leben und Singspiele des Ignaz Umlauf (diss., U. of Vienna, 1984)

A. Ziffer: Kleinmeister zur Zeit der Wiener Klassik (Tutzing, 1984)

J.A. Rice: ‘Vienna under Joseph II and Leopold II’, The Classical Era: from the 1740s to the end of the 18th Century, ed. N. Zaslaw (London, 1989), 126–65

J. Krämer: Deutschsprachiges Musiktheater im späten 18. Jahrhundert: Typologie, Dramaturgie und Anthropologie einer populären Gattung (Tübingen, 1998)

D. Link: The National Court Theatre in Mozart’s Vienna: Sources and Documents, 1783–1792 (Oxford, 1998)

PETER BRANSCOMBE

Umlauf [Umlauff], Michael

(b Vienna, 9 Aug 1781; d Baden, nr Vienna, 20 June 1842). Austrian composer, conductor and violinist, son of Ignaz Umlauf. At an early age he became a violinist in the Vienna court orchestra; the first of a series of ballet scores for the court theatres dates from 1804. He is listed in the theatre almanac of 1809 as Kapellmeister Gyrowetz’s deputy, and by the 1815 almanac he had advanced to fourth of the six Kapellmeister at the court theatres. Umlauf retired in 1825 during Barbaia’s direction of the court opera, and applied without success for the post of second Kapellmeister at the Stephansdom. It was 1840 before he again came to the fore, this time as music director at the two court theatres, but his lengthy absence had left him quite out of touch and he soon retired again, dying not long after.

Umlauf’s name is most familiar from his connections with Beethoven, whose works he several times conducted. In 1814 it was he who, at the revival of Fidelio, directed the performance; on other occasions, too, it was Umlauf whom the orchestra and singers followed, rather than the deaf and impetuously conducting composer. As a composer Michael Umlauf enjoyed less esteem than his father, but his ballet scores (especially Paul und Rosette, which was played 65 times in the court theatres and was also given in the Leopoldstadt Theatre) were popular in their day. He wrote three Singspiele.

WORKS

Stage

first performed at Vienna, Kärntnertortheater, unless otherwise stated

Das Fest der Liebe und der Freude (Spl, 2, J. Perinet), Eisenstadt, 12 April 1806

Der deutsche Grenadier, oder Die Medaille (Spl, 1, ? F.J.M. Babo), 8 July 1812, A-Wn

Das Wirtshaus von Granada (Spl), c1812, ?unperf., vs (Vienna, n.d.)

Ballets: Amors Rache (S. Gallet), Vienna, Burg, 18 Oct 1804; Gleiches mit Gleichem (Gallet), 11 June 1805, Wn; Paul und Rosette oder Die Winzer (J. Corally), 5 March 1806, Wn; Die Spiele des Paris auf dem Berge Ida (P. Taglioni, after [?P.] Gardel), 11 July 1806; Les Abencerrages et les Zegris ou Les tribus ennemies (Corally), 24 Nov 1806; Die Hochzeit des Gamacho oder Don Quixote (Taglioni, after Milon), 7 March 1807; Der Quacksalber und die Zwerge (Il ciarlatano) (P. Angiolini), 25 Feb 1810, arr. pf (Vienna, 1810); Das eigensinnige Landmädchen (Angiolini), 9 April 1810, Wn (arr. wind insts); Der Fassbinder (Vigano), 1 Jan 1811, arr. pf (Vienna, 1811); Aeneas in Carthago (Gioja), 5 Oct 1811, Wn (arr. wind insts); Die Weinlese (P. Rainoldi), Vienna, Leopoldstadt, 10 July 1813; Lodoiska (Taglioni), 18 July 1821 (acts I & II, M. Umlauf, act III, Gyrowetz); Der Tyroler Jahrmarkt, ?unperf.

Other works

all MSS in A-Wn

Sacred vocal: Missa, D, 4vv, insts, org; 3 grads, 1–4vv, insts; 3 offs, 4–5vv, insts (1 autograph)

Pf: numerous dances, mostly arrs. of ballet music, pubd Vienna

BIBLIOGRAPHY

R. Haas: ‘Zur Wiener Ballettpantomime um den Prometheus’, NBeJb 1925, 84–103

For further bibliography see Umlauf, Ignaz.

PETER BRANSCOMBE

Umm Kulthum [Ibrāhīm Um Kalthum]

(b Tammay al-Zuhayra, El Mansura, Egypt, ?1904; d Cairo, 3 Feb 1975). Egyptian singer. She was born to a poor family. Her father, al-Shaykh Ibrāhīm al-Baltājī, was an official of the local mosque; he sang religious songs (al-inshād al-dīnī) and recited the story of the Prophet Muhammad's life (al-qissa al-nabawiyya) for weddings and other festive occasions in nearby villages. Umm Kulthum learned to sing as a child by listening to him teaching her older brother Khālid. When he discovered the unusual strength of his daughter's voice, her father asked her to join the family ensemble. She sang religious songs normally performed by males and appeared dressed as a boy to avoid the disapprobation that her father might face as a result of putting his daughter on stage. Other singers began to encourage al-Shaykh Ibrāhīm to move the family to Cairo, which was a centre of musical performance and commercial recording.

After more than five years of performing in the north-eastern cities of Egypt and in Cairo, the family moved to the capital in 1923. The requirements of performance in a cosmopolitan city prompted Umm Kulthum to alter her musical style and her appearance. She added new popular songs and historic Arabic poems to her repertory and replaced the vocal accompaniment provided by her father and brother with a prestigious takht, a small ensemble consisting of violin, qānūn, riqq and ‘ūd. She adopted the modest yet rich and Europeanized dress of the wealthy Muslim ladies of the city.

Her first success came with commercial recording. In 1924 and 1925 she recorded 14 songs for Odeon. These sold remarkably well, probably because of her large audience in the countryside and the fact that record players and recordings were appearing in public places such as coffee houses. Subsequent contracts with Gramophone and Odeon provided Umm Kulthum with a growing audience beyond the concert halls of Cairo and a substantial income that allowed her to choose her performing venues. By 1928 she was one of the most successful performers in Cairo.

In 1934 Umm Kulthum performed for the inaugural broadcast of the Egyptian state radio station, and radio became her principal means of reaching her audience. In the late 1930s she arranged for live broadcasts of her Thursday night concerts, which carried these events into homes and coffee houses during ‘prime time’. These concerts developed into a series held on the first Thursday of every month from October or November until June; they became Umm Kulthum's most famous activity and lasted until the onset of her final illness in 1973. She also appeared in six musical films, beginning with Widād in 1935 and ending with Fatma in 1948, but film never became a primary medium for her.

She worked with the major composers of her day, presenting them with poetry of her choice and supervising the composition of her repertory. Riyād al-Sunbātī, Muhammad al-Qasabjī, Zakariyyāh Ahmad and Muhammad ‘Abd al-Wahāb, among others, wrote songs for her. She recorded almost 300 songs, among the most famous of which are al-Atlāl (written by al-Sunbātī), Inta ‘Umrī (‘Abd al-Wahhāb), Raqq al-Habīb (al-Qasabjī) and Huwa Sahīh (Ahmad).

Umm Kulthum had a powerful voice and wide range with uniform strength throughout. She developed control that allowed her to extend phrases and to alter resonance and placement in delicate and artistic ways, and she applied these skills to the affective delivery of lines of poetry, inventing multiple renditions of important lines. In so doing, she advanced the historic Arab art of sung poetry.

During the 1950s and 60s she became a major cultural figure. She supported the initiatives of President Jamāl ‘Abd al-Nāsir and, following Egypt's defeat in the 1967 war, launched a series of concerts to replenish the Egyptian treasury, beginning in Paris and continuing throughout the Arab world. When she died, she was called ‘the voice and face of Egypt’.

BIBLIOGRAPHY

N.A. Fu'ād: Umm Kulthūm wa-‘asr min al-fann [Umm Kulthūm and an era of art] (Cairo, 1976)

M. Shūsha: Umm Kulthūm: hayāt naghm [Umm Kulthūm: the life of a melody] (Cairo, 1976)

G. Braune: Die Qasīda im Gesang von Umm Kultūm: die arabische Poesie im Repertoire der grössten ägyptischen Sängerin unserer Zeit (Hamburg,1987)

G. Braune: Umm Kultūm: ein Zeitalter der Musik in Ägypten: die moderne ägyptische Musik des 20. Jahrhunderts (Frankfurt, 1994)

V. Danielson: ‘The Voice of Egypt’: Umm Kulthūm, Arabic Song and Egyptian Society in the Twentieth Century (Chicago, 1997)

VIRGINIA DANIELSON

UMP.

See United Music Publishers.

Umstatt, Joseph

(b Vienna, 5 Feb 1711; d Bamberg, 24 May 1762). Austrian composer. According to the parish register in St Stephen’s, Vienna, he was the second of five children of the court painter to the widowed Empress Anna Amalia of Austria. He was probably educated in Vienna. In 1749 he held an appointment in Dresden as musical director at the court of Count Brühl, where he became acquainted with J.A. Hasse and J.C.F. Bach. On 20 October 1752 he was appointed Kapellmeister and court composer to the Prince-Bishop J.P. von Frankenstein and his successor in Bamberg. The following years, up to his death, were his most creative.

Umstatt composed in nearly all the forms of his time, both sacred and secular, and his works demonstrate the gradual change from Baroque polyphony to the Classical style. This can be seen in his masses (which include cantata masses in several movements, of both the missa solemnis and missa brevis types) where fugues stand alongside homophonic and cantabile sections. In his Missa pastoritia he made extensive use of folksong melodies and shepherd calls. The ‘stylus mixtus’ of J.J. Fux is Umstatt’s starting-point, but he also attempted to develop an individual style. He composed solo concertos for violin, flute, harpsichord and pantaleon. In his concertos Umstatt modified the Vivaldian concerto form, giving the solo episodes greater weight and prolonging them by comparison with the tuttis; virtuoso passages for the soloist play an important part in the harpsichord concertos. Umstatt’s use of sequence may be seen as conservative, but various flourishes, figurations and rhythmical formulas are a part of galant style.

His 11 surviving symphonies are mostly in three movements (two have an additional minuet and trio). Most of his thematic material is of broken-chord, triadic matter; his music sometimes remains on this harmonic plane, whereas in the works of his contemporaries (such as Monn or Wagenseil) melodic lines often follow the opening chordal flourishes. In most of his symphonic movements there is a second theme in the dominant key, which does not return later in the movement. His development sections, in the common manner of the time, consist of modulating sequences with occasional use of motifs from the principal theme; and the reprises are short and incomplete, repeating only the closing section of the exposition.

Umstatt’s music is typical of the older generation of the Viennese school; stylistically, his music stands alongside that of Monn and other better-known contemporaries, though Umstatt’s works do not reflect a special personal style.

WORKS

Extant

1 kbd sonata in Oeuvre mêlée, iv (Nuremberg, 1755); 4 pieces in Raccolta della megliore sinfonie (Leipzig, 1762); Voluntary and Fugue in Clementi: Selection of Practical Harmony for the Organ or Piano Forte (London, 1801)

8 masses; Ky and Gl; 3 requiems; 1 Stabat mater; 6 short sacred works; 2 cants.

11 syms; 9 concs. for hpd, 6 for vn, 4 for fl; 2 trio sonatas; 2 parthias with clarinos; 11 intradas; 1 sonata, vc, hpd; 13 sonatas and partitas, other short pieces, hpd

MS sources: A-GÖ, KR, Wgm, Wn; CZ-Bm, Pnm; D-Bsb, Dlb, EB, KA; F-Pn

Lost

Works by Umstatt, possibly including some of the surviving ones mentioned above, are listed in two catalogues in D-BAa as follows:

Musica composta in Dresda: 3 syms; 5 concs. for hpd, 1 for org, 1 for fl, 4 for pantaleon; 6 minuets; 1 partita, str; 3 duets, 2 hpd; 1 sonatina, 1 arietta, hpd; 2 trios with lute; 1 solo, vc; 3 cants.; 2 masses; 1 motet; 1 alleluia

Inventario della musica composta per la corte di Bamberg … 1752–62: 34 syms.; 13 syms. and church sonatas; 12 concs. and partitas; 11 masses; 3 requiems; 7 Vespers; 17 offs; 8 hymns; 2 orats; 1 TeD; 14 cants.

Breitkopf thematic catalogue: 6 syms.; 3 sonatas, 2 vc, db; 4 sonatas, db; 2 arias

Other lost works: 1 symphony, formerly A-LA; 1 fugue, Wn; La vittima d’amore (orat), D-LEt; 6 parthias, 6 pf sonatas, FétisB; 4 pf sonatas, GerberL

BIBLIOGRAPHY

BrookB

G. Reichert: Zur Geschichte der Wiener Messenkompositionen in der ersten Hälfte des 18. Jahrhunderts (diss., U. of Vienna, 1935)

R. Laugg: Studien zur Instrumentalmusik im Zisterzienserkloster Ebrach (diss., U. of Erlangen, 1953)

C. Pollack: Viennese Solo Keyboard Music, 1740–1770: a Study in the Evolution of the Classical Style (diss., Brandeis U., 1984)

HANS MICHEL

Umstimmung

(Ger.).

See Scordatura.

Ün, Ekrem Zeki

(b Istanbul, 23 Nov 1910; d Dublin, 24 March 1987). Turkish composer, violinist and conductor. He studied the violin with Line Talluel, Marcel Chailley and Jacques Thibaud and harmony with L. Laurant and Alexandre Cellier at the Ecole Normale de Musique in Paris; he also took composition lessons from Dandelot. His compositional style evolved throughout his career. His impressionistic early compositions reflect his education in Paris; later he was influenced by the philosophy of Henri Bergson and began to incorporate the melodic and rhythmic modal systems of Turkish traditional music. While Ün considered his works written after 1965 to be images of Eastern mysticism, his earlier compositions often cultivated national themes, as in his symphonic poem Yurdum (‘My Country’). Ün also wrote several books on music education in Turkey.

WORKS

(selective list)

Orch: Pf Conc. no.1, 1955; Yurdum [My Country], sym. poem, 1955; Eng Hn Conc., 1956; Rhapsody, vc, orch, 1956; Vn Conc., 1961–81; Suite, 1969; Rhapsody, fl, str, 1972; Beyaz Geceler [White Nights], timp, str, 1975; Fl Conc., 1975; Pf Conc. no.2, 1976

Chbr and solo inst: Yunus'un Mezarında, fl, pf, 1933; Ülkem [My Country], vc, pf, 1933; Andante, solo vn, str qt, 1933; Str Qt no.1, 1935; Str Qt no.2, 1937; Sonata, vn, pf, 1963; Sonata, ob, pf, 1971; Trio, ob, cl, pf, 1979; Sözsüz Türkü, vc, pf, 1980; Bağdaşmazlık, 2 gui, 1982; Duo, vn, va, 1985; pieces for solo pf, solo vn; choral works, songs

MÜNİR NURETTİN BEKEN

Una corda

(Ger. Verschiebung).

A name often used for the left or ‘soft’ pedal on the piano, or, in piano music, a direction to play with this pedal depressed. In a modern grand piano this pedal shifts the action sideways so that the hammers strike only two of the three strings provided for each note in the treble and only one of the two strings provided for each note in the bass, while continuing to strike the single strings of the extreme bass. In pianos of the 18th and early 19th centuries, the una corda pedal caused the action to be shifted so far that the hammers struck only one string throughout the entire range of the instrument, giving the pianist a choice between ‘tre corde’ (when the pedal was not depressed), ‘due corde’ (partly depressed) and ‘una corda’ (depressed completely). In some instruments a stop could be set to limit the shifting of the action to the ‘due corde’ position, but several composers, most notably Beethoven, wrote explicitly for both ‘due corde’ and ‘una corda’.

The effect produced by depressing the una corda pedal on a grand piano is not merely one of reduced volume, but also of a change in timbre, so that the sound is not only softer but less brilliant than that from all three strings. (On an upright piano the corresponding pedal merely moves the hammers closer to the strings, so as to shorten their stroke, and the resulting reduction in volume is not accompanied by any change in timbre.)

The una corda is found on two of the three surviving Cristofori pianos (1722, 1726), but is incompatible with the design of the first (1720). It has been a feature of most grand pianos since the latter part of the 18th century, becoming standard on English instruments rather earlier than on German or Austrian ones.

BIBLIOGRAPHY

D. Rowland: A History of Pianoforte Pedalling (Cambridge, 1993)

S. Pollens: The Early Pianoforte (Cambridge, 1995)

EDWIN M. RIPIN/DAVID ROWLAND

Unda maris

(Lat.).

See under Organ stop.

Underholtzer, Rupert.

See Unterholtzer, Rupert.

Underlay.

See Text underlay.

Underworld.

British techno group. It was originally formed as a duo in 1988 by Karl Hyde (vocals and technology) and Rick Smith (guitars and technology), who had performed together as a 1980s synth-pop band, Freuer. A début album Underneath the Radar (Sire, 1988) and the subsequent Change the Weather (Sire, 1989) fared badly, and the pair temporarily disbanded. After the advent of acid house, they began working with the London DJ Darren Emmerson as Lemon Interrupt, and the Underworld name was resurrected for the single Rez which became a seminal post-rave anthem. They developed largely instrumental techno and ‘big beat’ music with trademark rhythm and processed vocal effects, a combination that has been recreated live to acclaim. They released two singles as Lemon Interrupt on the influential Junior Boys Own label (Dirty/Minneapolis and Bigmouth/Eclipse). The band's three albums – Dubnobasswithmyheadman (JBO 1993), Second Toughest in the Infants (JBO 1995) and Beaucoup Fish (JBO 1999) – explored ambient and chill-out territories and saw them gain commercial success, not least through many festival and concert appearances and the massive exposure gained when the director Danny Boyle chose Born Slippy as the main theme for his film Trainspotting. Like many bands of their era, some of their greatest moments can also be heard in their remixes of other artists, most notably Björk, Sven Väth and Leftfield.

IAN PEEL

Undezime

(Ger.; It. undicesima).

See Eleventh.

UNESCO

[United Nations Educational, Scientific and Cultural Organization]. International organization, the musical activities of which are supervised by the International Music Council.

Unferdorfer, Marx.

See Unverdorben, Marx.

Unfolding

(Ger. Ausfaltung).

In Schenkerian analysis (see Analysis, §II), a method of Prolongation whereby the separate voices of a contrapuntal idea are amalgamated as a single line. Ex.1 shows the derivation by unfolding of the opening bars of the first theme from the finale of Beethoven's Cello Sonata in A op.69.

WILLIAM DRABKIN

Ung, Chinary

(b Takeo, 24 Nov 1942). American composer of Cambodian birth. Having heard no Western classical music until his late teens, he was first attracted to 19th-century Romanticism and then to a wider spectrum of Western music. One of the first graduates of the Ecole de Musique, Phnom Penh, he received a diploma in clarinet performance (1963) before emigrating to the USA on an Asia Foundation scholarship the following year. He continued his studies at the Manhattan School and received a DMA with distinction from Columbia University (1974), where his principal composition teacher was Chou Wen-chung. During a hiatus from composing (1974–85), he assisted family members in escaping from Cambodia, and turned his attention to the study of Khmer cultural and musical traditions. He has taught at the University of Pennsylvania, Arizona State University and the University of California, San Diego, among others. His numerous honours include awards from such institutions as the American Academy of Arts and Letters, the NEA, and the Guggenheim, Koussevitzky, Ford, Rockefeller and Barlow foundations. The 1989 University of Louisville Grawemeyer Award for composition (Inner Voices, 1986), brought him international recognition.

Ung's music is a blend of Asian aesthetics and contemporary Western techniques. He has remarked, ‘If East is yellow, and West is blue, then my music is green’. His works are often influenced by mental images of geometrical shapes, past events or natural phenomena. A skilled orchestrator, he combines instrumental timbres in a unique and colourful way. In 1987 he began a series of compositions employing a musical spiral concept. In these works, groups of notes or extended phrases are continually expanded to create ‘new and newer’ forms.

WORKS

Orch: Anicca, 1971; Inner Voices, 1986; Grand Spiral (Desert Flowers Bloom), sym. band, 1990, orchd 1991; Triple Conc., vc, pf, perc, orch, 1992; Water Rings, 1994; Antiphonal Spirals, 1995

Vocal: Tall Wind (e.e. cummings), S, fl, ob, vc, gui, 1970; Mohori, Mez, fl, ob, vc, gui, hp, 2 perc, 1973; Spiral II, Mez, pf, tuba, 1989; … Still Life After Death, amp S, a fl, cl, vn, vc, pf, perc, 1995; Grand Alāp, 1v + vc, 1v + perc, 1996; Rising Light (Bhagavad-Gita, J. Rumi, R. Tagore, W. Whitman), B, boys' chorus, SATB, orch, 1997; Radiant Samadhi 8-part chorus, 1999

Chbr and solo inst: Por, perc ens, 1968; Khse Buon, vc/va, 1980; Child Song, fl, vn, va, vc, hp, 1985; Spiral I, vc, pf, perc, 1987; Spiral III, str qt, 1990; Spiral VI, cl, vn, vc, pf, 1992; Spiral VII, a fl, eng hn, b cl, hn, bn, 1994; Rising Spirals, gui, 1996; Luminous Spirals, vc, shakuhachi, gui, 1997; Seven Mirrors, pf, 1997

BIBLIOGRAPHY

C. McCurdy: ‘East Meets West in Chamber Music’, Chamber Music, v (1988), 20–21

M. Swed: ‘American Composer: Chinary Ung’, Chamber Music, xiii (1996), 14–15

JOHN KAYS

Ungarelli [Ungherelli, Ongarelli], Rosa

(b Bologna; fl 1709–32). Italian singer. She was the wife of Antonio Maria Ristorini, with whom she achieved international fame as an interpreter of comic intermezzos. Troy writes that she was a soprano, but according to Strohm she was a contralto. She began as a singer of opera seria, appearing in three productions at Florence in winter 1709–10; but in spring 1714 she performed intermezzos at Parma with Giovanni Battista Cavana and by 1716 had formed a partnership with Ristorini that was to last for at least 17 years.

Their performance of Niccolò Orlandini’s Il marito giocatore e la moglie bacchettona at Pistoia in 1725 is described at length by the diarist Giovanni Cosimo Rossi-Melocchi. He particularly admired Ungarelli’s acting: she used ‘gestures that would have moved a stone’ and ‘words that would have liquefied bronze … her gestures and manner on the stage are something that cannot be believed by one who has not seen them. For this reason I gave her the name “Man-killer”. And she really is not pretty; God help us if she were’.

BIBLIOGRAPHY

C.E. Troy: The Comic Intermezzo: a Study in the History of Eighteenth-Century Italian Opera (Ann Arbor, 1979)

F. Piperno: ‘Appunti sulla configurazione sociale e professionale delle “parti buffe” al tempo di Vivaldi’, Antonio Vivaldi: teatro musicale, cultura e società: Venice 1981, ii, 483–97

F. Piperno: ‘Buffe e buffi (considerazioni sulla professionalità degli interpreti di scene buffe ed intermezzi)’, RIM, xviii (1982), 240–84

R. Strohm: Essays on Handel and Italian Opera (Cambridge, 1985), 252

M. Talbot: ‘Tomaso Albinoni’s Pimpinone and the Comic Intermezzo’, ‘Con che soavità’: Studies in Italian Opera, Song, and Dance, 1580–1770, ed. I. Fenlon and T. Carter (Oxford, 1995), 236–7

COLIN TIMMS

Ungaresca [ungarescha]

(It.).

A name used outside Hungary for a dance in the Hungarian style. In western Europe Hungarian dances appeared by the late 14th century in the ballet des nations (dances in a variety of national styles staged in court entertainments). The ungaresca is first mentioned by name in Milan in 1490, but at that time it probably had not acquired the lively, heavily accented character of 16th-century examples: a report of a Sforza wedding in 1494 notes that the allemande was danced ‘andante, like an ungaresco’ (cited in Pirro, Histoire de la musique). No choreography for the dance is known. The earliest printed ungaresche, dating from the late 16th century, are found in dance collections for viol consort (Mainerio's Primo libro de balli, 1578) and in lute and keyboard tablatures (Wolff Heckel's Lautten Buch of 1556 and Jakob Paix's Orgel Tabulaturbuch, 1583). Two Ungarische Paraden in Nörmiger's Tabulaturbuch (1598) exhibit the accented anapaests and dotted rhythms that became characteristic of the Style hongrois in the 19th century. There seems to be no relationship between the ungaresca and several dances called ‘Ungaro’ or ‘Ongaro’ (e.g. by Bernhard Jobin and Giovanni Picchi) which are based on a single tune.

MATTHEW HEAD

Ungarischer Tanz

(Ger.).

See Verbunkos.

Ungaro, Jacomo

(fl c1473–1513). Type cutter, active in Italy. On 26 September 1513 he submitted a petition to the Venetian senate requesting a 15-year privilege to print mensural music. In the petition he expressed concern that others would ‘harvest the fruits of his labour’ after he had ‘discovered the way to print mensural music [canto figurato]’ in the city where he had been a cutter of letters for 40 years. The previous privilege holder, Petrucci, was by then living in Fossombrone in the papal states. The senate awarded Ungaro an exclusive privilege, but he is not known to have exercised it. Apparently he had cut Petrucci’s music type; Petrucci had been awarded a privilege for printing music in Venice in 1498. Because of his long tenure in Venice, Ungaro may well have been responsible for the first mensural music type used in Venice in 1480 and for several of the 24 plainchant types used there between 1482 and 1500, some of which are remarkably similar. Under the name Magistro Jacomo Todesco he was employed as a type founder by Aldo Manuzio and was remembered in Manuzio’s will of 1506.

BIBLIOGRAPHY

DugganIMI

A. Vernarecci: Ottaviano de' Petrucci da Fossombrone, inventore dei tipi mobili metallici fusi della musica nel secolo XV (Bologna, 1882)

S. Boorman: Petrucci at Fossombrone: a Study of Early Music Printing, with Special Reference to the Motetti de la Corona (1514–1519) (diss., U. of London, 1976)

M. Lowry: The World of Aldus Manutius: Business and Scholarship in Renaissance Venice (Ithaca, NY, 1979)

M.K. DUGGAN

Unger, Andreas

(b in or nr Augustusburg, Saxony, c1605; d Naumburg, bur. 29 Dec 1657). German composer. He attended the Thomasschule, Leipzig, and then Leipzig University, where he matriculated in 1625 and took the master’s degree in 1631. After several years in minor educational posts in Leipzig he was from 1633–4 until his death civic Kantor at St Wenzel, Naumburg; however, his applications of 1630 and 1657 for the post of Thomaskantor at Leipzig appear to indicate that he felt himself to be suited to that important position. Unger’s enthusiasm as a music collector, his delight in new sonorities and his artistic taste made Naumburg an important centre in Thuringia for the transmission of the new central German church music of the first half of the 17th century. His musical legacy to St Wenzel included musical instruments that still survive today (D-Bim); his very valuable music library, including numerous unica – among them individual works by Schütz, autographs, and works of Leipzig musicians that they presented to him – was available only in part and for a limited period (in Königsberg from about 1870 to 1945). In the late manuscript works, of which only the continuo parts survive, Unger wanted to demonstrate to student composers the art of setting sacred texts to music.

WORKS

Vogelfang der Schäferin Filli, wedding song, 3vv, bc (Leipzig, 1630), lost

Hüpferling oder Hopfen-König, Frau Venus und ihr Sohn, wedding song, 3vv, bc (Leipzig, 1633); ed. in Wustmann

Iterinarium amatorium spirituale, geistliche Liebes-Reise, Wo ist dein Freund hingegangen, 3–20vv, bc (Leipzig, 1633), lost

Anxietas Davidica spiritualis, Herr, die Angst meines Herzens ist gross, funeral song, 5–10vv (Jena, 1650), lost

Da er solches mit ihnen redet, madrigal, 5 or 10vv, bc, c1650, D-NAUs* (b only)

Ich habs gesagt und zugesagt, conc., 3–46vv, c1650, NAUs* (b only)

Wohl dem, der in Gottes Furcht steht, conc., 3–46vv, c1650, NAUs* (b only)

Die Aufferstehung Jesu Christi, 5, 6, 10vv, c1650, NAUs* (b only)

Passion, lost, cited in Werner

BIBLIOGRAPHY

R. Wustmann: Musikgeschichte Leipzigs, i: Bis zur Mitte des 17. Jahrhunderts (Leipzig and Berlin, 1909/R), esp. 208

A. Werner: ‘Die alte Musikbibliothek und die Instrumentensammlung an St. Wenzel in Naumburg an der Saale’, AMw, viii (1926), 390–415

W. Braun: ‘Andreas Unger und die biblische Historie in Naumburg an der Saale’, Jb für Liturgik und Hymnologie, vii (1962), 172–9

W. Braun: ‘Mitteldeutsche Quellen der Musiksammlung Gotthold in Königsberg’, Musik des Ostens, v (1969), 84–96, esp. 89

D. Krickeberg: ‘Die alte Instrumentensammlung der Naumburger Wenzeskirche im Spiegel ihrer Verzeichnisse’, Jb des Staatlichen Instituts für Musikforschung Preussischer Kulturbesitz (1978), 7–30

W. Braun: Deutsche Musiktheorie des 15. bis 17. Jahrhunderts, ii: Von Calvisius bis Mattheson (Darmstadt, 1994), 339–42

WERNER BRAUN

Unger [Ungher], Caroline [Karoline, Carolina, Carlotta]

(b Stuhlweissenburg [now Székesfehérvár], 28 Oct 1803; d Florence, 23 March 1877). Austrian mezzo-soprano. The daughter of Johann Karl Unger, a professor at the Theresian Academy, she had her first singing lessons with Joseph Mozatti and Ugo Bassi. Later she studied with Aloysia Weber, J.M. Vogl and finally with Domenico Roncini in Milan. She made her début on 24 February 1824 in Vienna at the Kärntnertortheater as Dorabella in Così fan tutte. She and Henriette Sontag sang in the première of Beethoven's Ninth Symphony on 7 May 1824.

The next year Unger followed the impresario Domenico Barbaia to Italy; as early as 1825, the cartellone of Naples listed her as one of the prime donne among the women singers engaged for the season. She enjoyed further success in Turin, Bologna, Genoa, Milan and Rome. At La Scala she sang Isoletta in the première of Bellini's La straniera on 14 January 1829. In May 1830 she shone in Rossini's Il turco in Italia and Pacini's La sposa fedele. Early in 1833 she was engaged by the Teatro della Pergola in Florence, and from October 1833 she sang in the Théâtre Italien in Paris, where she was acclaimed in Bellini's I Capuleti ed i Montecchi. After nine years of absence she returned to Naples in May 1834, and in autumn 1835 was the first German-speaking singer there in the role of Norma. On 4 February 1836 she sang in the première of Donizetti's Belisario at the Teatro La Fenice in Venice, where two years later she created the title role of Donizetti's Maria di Rudenz. By 1837 she had a repertory of more than 100 roles. She made guest appearances in 1839 as Anna Bolena and Norma in Dresden, where the contemporary music press wrote of ‘her excellent method of singing, and the truth and ardour of her dramatic expression’. In 1841 she married the French writer and translator of Goethe's Faust François Sabatier, and ended her stage career in Italy, laden with honours. She continued to sing on the concert platform, and besides her performances in opera, became an outstanding interpreter of lieder by Mozart and Schubert. After her retirement from the operatic stage, Unger began to reveal a considerable talent as a composer of lieder. A British private collector owns two autograph volumes (one of them subsequently printed for private circulation; copy in A-Wgm) that bear witness to her ability in a repertory extending from brief settings of Goethe, Heine and other Romantic poets, to lengthy ballad-like settings of French poems by her husband.

One of the few 19th-century Austrian singers to enjoy her greatest triumphs in Italy, Unger was an outstanding exponent of bel canto. Donizetti and Bellini wrote parts for her, and Rossini, who spoke of her possessing ‘the ardour of the south, the energy of the north, brazen lungs, a silver voice and a golden talent’, engaged her to sing in his operas. According to Fétis she was large and attractive, and had a fine, broad tone except in her upper register, in which there was some harshness and forcing. Her greatest strength, however, was her power of expression, which allowed her to triumph over such rivals as Wilhelmine Schröder-Devrient.

BIBLIOGRAPHY

ES (R. Celletti)

FétisB

GSL

‘Karoline Unger’, Dresdener Abendzeitung (1 March 1826)

‘Karoline Unger in Padua’, Allgemeine Theaterzeitung, xxv/174–6 (1832)

F. Liszt: ‘Karoline Unger’, Allgemeine Theaterzeitung, xxxii/76 (1839)

P. Sabatier: La cantatrice Carlotta Ungher (Geneva, 1963)

P. Branscombe: ‘Schubert and the Ungers: a Preliminary Study’, Schubert Studies, ed. B. Newbould (Aldershot, 1998), 209–19

P. Branscombe: ‘Schubert und Nestroy (mit einem Seitenblick auf die Familie Unger)’, Schubert und seine Freunde, ed. E. Badura-Skoda and others (Vienna, 1999), 279–90

URSULA KRAMER (with PETER BRANSCOMBE)

Unger, Georg

(b Leipzig, 6 March 1837; d Leipzig, 2 Feb 1887). German tenor. Having abandoned theological studies, he made a successful début as an opera singer at Leipzig in 1867, which led to further engagements in several German cities. At Mannheim in June 1874, on the recommendation of Ernst Frank, Unger sang to Hans Richter, who was touring Germany auditioning singers for the première of Wagner's Ring in 1876. Unger sang from Tannhäuser and went to Bayreuth in July 1874 to learn the part of Loge with Richter. Eventually, however, he was given the roles of Froh and Siegfried, although performing both roles proved too demanding and caused Unger to miss performances, and he was replaced as Froh in the second cycle to save his voice for the more taxing role of Siegfried. After his appearance in London at the Wagner Festival of 1877, the composer no longer used him. He returned to Leipzig, where he sang until 1881.

BIBLIOGRAPHY

E. Newman: The Life of Richard Wagner, iv (London, 1947/R), 410–11

H. Pleasants: The Great Singers (New York, 1966), 233

W. Herrmann: ‘Von Unger bis Cox: die Galerie der Mannheimer Heldentenöre’, Ein Leben für die Oper (Laaber, 1982), 83–9

J.A. FULLER MAITLAND/CHRISTOPHER FIFIELD

Unger, Gerhard

(b Bad Salzungen, Thuringia, 26 Nov 1916). German tenor. He studied in Eisenach and at the Berlin Hochschule für Musik, and in 1947 was engaged at Weimar, where he sang lyric roles such as Tamino, Alfredo and Pinkerton, and David, his most popular role at that period of his career, at Bayreuth (1951–2). In 1952 he moved to the Berlin Staatsoper and in 1961 to Stuttgart, where he remained until 1982. A member of the Hamburg Staatsoper (1962–73), he appeared at the Vienna Staatsoper, La Scala, the Paris Opéra, the Metropolitan and in Salzburg, where in 1961 he sang Pedrillo (Die Entführung aus dem Serail), another favourite role, which he repeated over 300 times. In the 1970s and 80s he specialized in character roles, such as the Captain (Wozzeck), Skuratov (From the House of the Dead), Brighella (Ariadne auf Naxos), the Italian Singer (Der Rosenkavalier) and, above all, Mime in both Das Rheingold and Siegfried, which he sang widely in Europe and North and South America. Unger was also admired as a singer of Bach. His highly placed, bright, clear-toned voice hardly changed as he grew older, so that in 1980 he could still carry conviction as Pedrillo at Bregenz. He recorded many of his roles, including Pedrillo, Monostatos, Brighella, David and Alwa (Lulu).

WOLFRAM SCHWINGER/ELIZABETH FORBES

Unger, (Ernst) Max

(b Taura, Saxony, 28 May 1883; d Zürich, 1 Dec 1959). German musicologist and conductor. He went to the Leipzig Conservatory in 1904, studying piano with A. Ruthardt, composition with H. Zöllner, musical aesthetics with A. Seidl, at the same time attending Riemann's lectures on music history at the university. In 1906 he became conductor at the Vereinigte Leipziger Schauspielhäuser and a year later a teacher at the Bromberg Conservatory. He spent a year in London carrying out research on Clementi. After his return to Leipzig in 1908 he continued his studies with Riemann and took the doctorate in 1911 with a dissertation on Clementi. He was conductor of the Leipzig Madrigal Society (1912–14) and editor of the Neue Zeitschrift für Musik (1919–20). From 1932 to 1939 he lived in Zürich, where he made a catalogue of H.L. Bodmer's collection of Beethoven manuscripts. He lived in Volterra between 1939 and 1957, then returning to Zürich.

His research on Clementi, who had met Beethoven in 1807, enabled Unger to date several problematic Beethoven letters. This directed him to Beethoven's letters in general and he collected material for a new complete edition. His study of Clementi's correspondence also enabled Unger to prove that Beethoven's prospect of marriage in 1810 concerned Therese Malfatti. On his death, his library and notes were acquired by the Beethoven Archives in Bonn.

WRITINGS

‘Muzio Clementi and his Relations with G. Chr. Haertel of Leipsic as Shown by Letters of Clementi’, MMR, xxxviii (1908), 246–7, 270–73

Auf Spuren von Beethovens ‘unsterblicher Geliebten’ (Langensalza, 1910)

Von Mendelssohn-Bartholdys Beziehungen zu England (Langensalza, 1910)

Muzio Clementis Leben (diss., U. of Leipzig, 1911; Langensalza, 1914/R)

ed.: Beethoven über eine Gesamtausgabe seiner Werke (Bonn, 1920)

Ludwig van Beethoven und seine Verleger S.A. Steiner und Tobias Haslinger in Wien, Ad. Mart. Schlesinger in Berlin (Berlin and Vienna, 1921/R)

Beethovens Handschrift (Bonn, 1926)

ed.: Eine Schweizer Beethovensammlung: Katalog (Zürich, 1939)

Ein Faustopernplan Beethovens und Goethes (Regensburg, 1952)

KARL GEIRINGER/R

Ungher, Karoline.

See Unger, Caroline.

Ungler, Florian

(b Bavaria; d Kraków, 1536). Polish printer of German birth active in Kraków. From 1510 to 1516 he worked with other printers, including Jan Haller, but later he established his own printing house. He was the first in Poland to publish music in mensural notation (printed from woodblock), in his editions of musical theorists. His total output was over 240 titles. When he died his widow continued the business until her death in 1551, when Siebeneicher acquired the firm for the Szarfenberg publishing house (see Szarfenberg, Maciej).

BIBLIOGRAPHY

Pzywecka-SameckaDM

H. Bułhak: ‘Ungler’, Słownik pracowników książki polskiej [Dictionary of the Polish book trade], ed. I. Treichel (Warsaw, 1972)

TERESA CHYLIŃSKA

Union Chapel, Islington.

London nonconformist chapel. See London, §I, 7(ii).

Unión Musical Ediciones.

Spanish firm of music publishers. See under Unión Musical Española.

Unión Musical Española.

Spanish firm of music publishers. At the end of the 19th century Ernesto Dotesio Paynter established a music shop in Bilbao, and also engaged in music publishing. On 14 March 1900 he founded the music publishing firm Casa Dotesio, having in 1898 bought the Casa Romero, one of the most important publishing houses in Spain; this was founded by Antonio Romero y Andía in 1856, and was active throughout the second half of the 19th century. In the weeks following its foundation the Casa Dotesio absorbed other important houses, including Zozaya, Fuentes y Asenjo and, most significant, Eslava (founded by Bonifacio San Martín Eslava); the Casa Romero and Eslava are notable for having published many 19th-century Spanish works, not only in large numbers but also exquisitely printed. In the following years the Casa Dotesio continued to absorb other smaller publishers. On 26 May 1914 it changed its name to Unión Musical Española, a name that better reflected the character of the firm, since it had united all the previously disparate parts of the nation’s music publishing under one roof, and continued to do so in subsequent years. In 1942 it acquired the Editorial Orfeo Tracio, which in turn had absorbed such important houses as Vidal Llimona y Boceta, Luis Tena and Salvat. The firm also serves as a music shop, and was for many years the most important in Spain. In 1993 the firm's archive was transferred to the Instituto de Ciencias Musicales (in E-Msa). The publishing side of the firm was purchased in 1990 by Music Sales and thereafter operated as Unión Musical Ediciones.

The Unión Musical Española and Unión Musical Ediciones have continually fostered the development of Spanish music. They have published works by all the major 20th-century Spanish composers, notably Eduardo Toldrá, Regino Sainz de la Maza and Graciano Tarragó, the sole publisher. Most important possibly are the editions of historic Spanish music, including such monumental collections as La Tonadilla Escénica, edited by José Subirá, the sonatas of Antonio Soler, edited by Samuel Rubio, and numerous editions of songs, as well as music for guitar, organ and other instruments (C.J. Gosálvez Lara: La edición musical española hasta 1936, Madrid, 1995).

JOSÉ LÓPEZ-CALO

Union pipes.

See Uilleann pipes. See also Bagpipe, §4 and Ireland, §II, 6.

Unison [prime]

(Fr. unisson; Ger. Prime; It. prima).

(1) Two or more notes sounding the identical pitch, usually though not necessarily at the same time. In a number system with semitone = 1, tone = 2, the unison ‘interval’ is equivalent to zero. It would be theoretically possible to call the interval C–C an ‘augmented unison’ but in practice it is normally referred to simply as a chromatic semitone. Similarly, Enharmonic notation may produce unison between notes with different letter names (e.g. F = G ).

(2) The simultaneous execution of one polyphonic part by more than one performer or performing group (e.g. the first violin section of an orchestra), either at exactly the same pitch or at the interval of an octave, double octave etc. (see also Doubling (ii)); such execution is said to be ‘in unison’ and is often indicated in scores by the Italian all’unisono.

(3) ‘Rhythmic unison’ is an informal equivalent for a Homorhythmic texture.

JULIAN RUSHTON

Unisono, all'.

See All'unisono.

Unitarian church music.

Unitarianism is a religious movement whose origins lie in the Reformation, when dissenting groups of anti-Trinitarian believers emerged in Switzerland, Poland and Transylvannia. The Unitarian Church has traditionally subscribed to no formal creed, rejecting the doctrines of the Trinity and the Divinity of Christ and stressing the unipersonality of God. In America the Church has formally adopted the Universalist belief that no one is condemned to eternal punishment, salvation being ultimately granted to all. The dominant characteristic of present-day Unitarianism is the emphasis on individual responisbility in spiritual matters. This recognition of individual belief has encouraged the toleration and acceptance of a variety of practices and forms or worship and the use of different musical styles. Unitarian believers are found in more than 20 countries throughout the world, including Transylvania, where there is still a strong presence, but the following discussion is limited to Great Britain and the USA.

Great Britain.

The first anti-Trinitarian congregation in England and Wales was organized in 1651 by John Biddle (1615–62), but the formal beginnings of the Unitarian Church may be dated to 1662, when about 2000 ministers were ejected from the Church of England for refusing to accept the new Book of Common Prayer. These early Nonconformists or Dissenters were originally known mainly as Presbyterians or Independents. In 1689 an Act of Toleration granted them freedom of worship but not of doctrine. Penal Acts against Unitarians continued in force in England until 1813, when the Trinity Acts made legal the use of the term ‘Unitarian’. During the 18th and 19th centuries, however, Unitarian views were often accepted by other Nonconformist Churches in England. Throughout the 19th century and the early 20th two strands of Unitarianism existed side by side, one Presbyterian and more ecumenical, the other distinctively more sectarian and at times militantly Unitarian. Each had its own worship style, hymnbooks and national body. In 1928 the two branches united in the General Assembly of Unitarian and Free Christian Churches.

During the latter part of the 17th century and throughout the 18th and 19th centuries the progress of Unitarian Dissent in England and Wales coincided with the development of the hymn as a replacement for the metrical psalm. Unitarians undoubtedly played an active role in the emergence of the hymn – the Nonconformists’ greatest contribution to worship – although it is difficult to ascribe any particular developments to the Unitarians before the Trinity Acts of 1813. The English Unitarian Church contributed to the large number of hymnbooks published in the 19th century, notably James Martineau’s Hymns for the Christian Church and Home (1840) and the influential Hymns of Faith and Prayer (1874); hymn tunes for the latter were composed by Russell and Basil Martineau. The Essex Hall Hymnal was published in 1902, followed in 1927 by Hymns of Worship, which was the main Unitarian hymnbook in England for over 50 years (a supplement was issued in 1951 and a revision in 1962). Several 19th-century hymn writers achieved recognition beyond the Unitarian Church itself, notably, Sarah Flower Adams (1805–48; composer of Nearer my God to Thee) and John White Chadwick (1840–1904; Eternal Ruler of the Ceasless Round).

The 19th century was also the period when Unitarians sought a more structured approach to worship through the use of liturgies, often with psalms and sung responses. In larger churches the liturgical tradition was particularly strong and usually supported by a large organ and a professional choir. The use of the organ was very much a 19th-century practice, as, for example, at the Old Chapel, Dukinfield, where an organ was installed in 1816 replacing a small group of instrumentalists.

The diverse background of Unitarianism means that the church buildings vary from simple Meeting Houses to quasi-parish churches, and the variation in architecture is reflected in the use of different forms of worship. Unitarian congregations are autonomous, with each church free to organize its own worship and music. Despite this freedom, general patterns of worship have emerged, through the need for a balanced combination of certain common elements, such as hymns, readings, prayers, sermons, music and silence. Some congregations, exceptionally, use a set liturgy (with changing elements) that might include the chanting of psalms and sung responses, but most Unitarian worship is centred on hymns, with various forms of incidental music before, during and after the service. With the decrease in the number of church choirs, the singing of introits and anthems is mostly restricted to special services and occasions.

As in most Nonconformist denominations, congregational singing of hymns is the principal means whereby worshippers can be actively involved in services. Because Unitarianism has no creed, written material takes on a greater significance than in other denominations, and throughout the Church’s history hymnbooks have been an important indicator of belief. Two hymnbooks produced in Britain towards the end of the 20th century, Hymns for Living (1985) and Hymns of Faith and Freedom (1991), express the variety that still exists within Unitarianism, but they are also a response to the need for hymns, and particularly words, that address new issues and use contemporary ideas and symbolism. Of these two books, only Hymns for Living is available with words and music; the texts aim to express contemporary Unitarian thought, ideals and principles, but the music is generally more conservative and familiar, with new material introduced only where necessary.

In Britain there is a 19th-century legacy of large buildings with fine organs (e.g. Mill Hill, Leeds), but the number of such instruments has dimished as congregations have moved to establishments more appropriate to their size and financial resources. Where possible, organs have been modified to suit the new church buildings, as, for example, at the New Meeting (formerly Church of the Messiah) in Birmingham. A number of particularly fine historic instruments have also been relocated, such as the Snetzler organ that was moved from Glasgow Unitarian Church to Glasgow University. In some congregations the musical accompaniment is provided by the piano or, more rarely, by other instruments; recorded music may also be used for accompanying hymns and as occasional music.

The Unitarian Church Music Society, founded during the 1930s at Manchester College, Oxford, largely at the instigation of the then director of music, Harold Spicer, provides a forum for sharing ideas and a stimulus for the more effective use of music in worship. The society’s magazine, Cantemus, often includes a music supplement.

USA.

The first Unitarian church to be established in America was the King’s Chapel at Boston, an Episcopalian congregation that formally adopted Unitarianism in 1782. The movement spread during the last years of the 18th century and in the 19th, especially throughout the Puritan settlements in New England, and the American Unitarian Association was formed in 1825. During the 19th century many Unitarians came to recognize that they shared much common ground with members of the Universalist Church, a movement that had emerged from radical Pietism in 18th-century Germany and was officially established in America in 1793. Hosea Ballou (1771–1852) converted many Universalist ministers to Unitarianism in 1805 with the publication of his Treatise on Atonement, and in 1893 the Unitarian Free Religious Association declared that Universalist doctrine formed the basis of all religions. During the first half of the 20th century the two Churches moved closer together, and in 1961 the Unitarian Universalist Association was founded.

During the late 18th century and the 19th Unitarians and Universalists used similar forms of worship, with an emphasis on hymnody as a means of expressing their beliefs. The Universalist Church issued New Hymns for Various Subjects by Silas Ballou in 1785, and the first Unitarian hymnal was A Collection of Psalms and Hymns for Public Worship published in 1799 for use in King’s Chapel, Boston. Such early hymnbooks contained no tunes, and comparatively few of the texts were newly composed, most being adaptations of existing hymns. Later 19th-century hymnals increasingly contained new works, notably, A Collection of Psalms and Hymns for Sacred Worship, which was published in 1830 by the Rev. Francis Greenwood for the Unitarian congregation of King’s Chapel, Boston, and remained in use for many decades. Several writers associated with the Transcendentalist movement in New England made a particularly important contribution to Unitarian hymn writing; they included Ralph Waldo Emerson (1814–82), Oliver Wendell Holmes (1809–94; Lord of All Being Throned Afar), Edward Hamilton Sears (1810–76; It Came upon the Midnight Clear), Samuel Johnson (Book of Hymns, 1846) and Samuel Longfellow (Hymns of the Spirit, 1864).

Since the late 19th century, Unitarian hymn texts have become gradually more ecumenical, showing a concern for the wider interests of humanity. The Pilgrim Hymnal, published by the Congregational Church in 1904 and designed to reflect the contemporary ‘new theology’, contained 547 hymns, of which over 100 were written by Unitarians. In 1937 the Unitarian and Universalist Commissions on Hymns and Services issued a joint hymnbook, Hymns of the Spirit, which drew on music from diverse sources, such as chorales, plainchant, Jewish cantillation and traditional American tunes; in their appeal to humanists as well as theists, the texts of some of the hymns show the influence of Universalism.

Since the foundation of the Unitarian Universalist Church in 1961 both texts and music of the hymns have continued to reflect Universalist doctrine. In 1964 Hymns for the Celebration of Life included words attributed to the Buddha and a poem from the Bhagavad Gītā. This and later hymnbooks, such as Singing the Living Tradition (1993), contain mainly traditional tunes but also include music of Eastern religions, Hebrew chant and secular music of various periods. The folk style of hymn writing is represented in the works of Universalist composers such as Malvina Reynolds and Carolyn McDade.

Unitarian Universalist churches employ a wide range of styles in their choral and solo vocal repertories, drawing on the traditions of other faiths as well as Western sacred and secular music from the Middle Ages to the present. Instrumental music is also not unusual in services, whether for solo performer, chamber ensemble or a combination of instruments and choir. The choice of texts and music is always determined by the individual congregations according to their particular concerns and musical resources.

BIBLIOGRAPHY

H.W. Foote: American Unitarian Hymn Writers and Hymns (Cambridge, MA, 1959)

H.W. Foote: Three Centuries of American Hymnody (Hamden, CT, 1961)

W.D. Kring: Liberals among the Orthodox (Boston, 1974)

E.B. Navias: Singing our History (Boston, 1975)

A. Christ-Janer, C.W. Hughes and C.S. Smith: American Hymns Old and New (New York, 1980)

J. Goring and R. Goring: The Unitarians (Exeter, 1984)

D.C. Doel: Old Chapel and the Unitarian Story (London, 1994)

A.M. Hill: The Unitarian Path (London, 1994)

DAVID DAWSON, WALTER KLAUSS

Unitas Fratrum.

Original name of the Moravian Church. See Moravians, music of the, §1.

United Arab Emirates [UAE]

(Arab. Imarat al-Arabiya al-Muttahida).

Group of states (formerly known as the Trucial States) on the south coast of the Arabian Gulf and the Gulf of Oman.

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