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Архитектура Аудит Военная наука Иностранные языки Медицина Металлургия Метрология Образование Политология Производство Психология Стандартизация Технологии |
Uolrich von Liehtenstein.
See Ulrich von Liechtenstein. Upbeat (Ger. Auftakt, Vortakt). In a measured Rhythm, that impulse that immediately precedes, and hence anticipates, the Downbeat, which is the strongest of such impulses (see ex.1); an anticipatory note or succession of notes, sometimes referred to as an ‘upbeat figure’, occurring before the first barline of a piece, section or phrase. An alternative expression for ‘upbeat figure’ is ‘anacrusis’ (from Gk. ana: ‘up towards’ and krousis: ‘to strike’; Fr. anacrouse), a term borrowed from poetry where it refers to one or more unstressed extrametrical syllables at the beginning of a line.
The occurrence of upbeats at more than one level in a rhythmic scheme is illustrated in ex.2: the upbeat, in the metric sense of the term, occurs at b, though at a local level the semiquaver at c is an upbeat to the note at the downbeat of the following bar (d); at a lower level, the semiquaver at a is an upbeat to the note at b. Anacruses are often found embedded at several levels in musical works. In ex.3, the first rhythmic group at the smallest level is initiated by the two-note (B–C) anacrusis leading to the downbeat of b.1. The first two bars, in turn, function as an anacrusis to the downbeat of b.3.
In the early 19th century Momigny formulated the thesis that a well-formed rhythmic unit always proceeds from upbeat to downbeat. Riemann later universalized this idea as the principle of Auftaktigkeit, that is, the notion that the prototypical beginning for rhythmic groups of any size is anacrustic. The expressive potentials of anacrustic rhythms in terms of performance timing and nuancing were extensively explored by Lussy, who identified as many as 20 different kinds of anacruses, such as ‘ornamental’, ‘accelerating’, ‘suspensive’ etc. An anacrusis is in essence an initiation on a non-accent, and as such it is rhythmically unstable: its most fundamental characteristic is the forward rhythmic impulse it generates towards the accent. Certain writers have therefore extended the term still further and applied it to whole spans of tonal instability, arguing that a whole phrase, for instance, can be heard as an anacrusis to its own cadence. BIBLIOGRAPHY J.-J. Momigny: La seule vraie théorie de la musique (Paris, 1821/R) H. Riemann: Musikalische Dynamik und Agogik (Hamburg, 1884) M. Lussy: L’anacrouse dans la musique moderne (Paris, 1903) E.T. Cone: Musical Form and Musical Performance (New York, 1968) MINE DOĞANTAN Up-bow. See Bow, §II. Upper Volta. See Burkina Faso. Uppman, Theodor (b San Jose, CA, 12 Jan 1920). American baritone. He received his vocal training at the Curtis Institute, Stanford University and the University of Southern California. He won praise as Pelléas in a concert performance of the opera by the San Francisco SO under Monteux in 1947, with Maggie Teyte as Mélisande. Uppman’s light, high baritone and boyish appearance made him a particularly suitable choice, and he repeated the role in his débuts with the New York City Opera (1948) and the Metropolitan (1953); he also made a speciality of Papageno. In London he sang the title role in the première of Britten’s Billy Budd (1951, Covent Garden), a performance subsequently issued on CD and revealing how apt vocally Uppman was for the role. He repeated the part in Paris and, on television, in the USA. He also created roles in Carlisle Floyd’s The Passion of Jonathan Wade (1962, New York City Opera), Villa-Lobos’s Yerma (1971, Santa Fe), Pasatieri’s Black Widow (1972, Seattle) and Bernstein’s A Quiet Place (1983, Houston). Uppman’s Metropolitan repertory included Guglielmo, Piquillo (La Périchole), Eisenstein (Die Fledermaus), Taddeo (L’italiana in Algeri), Harlequin (Ariadne auf Naxos) and Marcello. MARTIN BERNHEIMER/R Uppsala. City in Sweden. Its musical life has been largely determined by the city’s having been the seat of the Archbishop of Sweden since 1273 (which Gamla Uppsala had been since 1164) and the site of the oldest university in Scandinavia, founded in 1477. The cathedral houses the relics of St Eric (d 1160), for whom a rhymed Office was composed. A chief promoter of the Eric cult was Nils Alleson, who studied in Paris during the 1270s and as archbishop from 1292 laid down regulations for the cathedral choir, which on occasion sang polyphony (organum). After the Reformation, Gregorian chant was slowly supplanted by Lutheran chorale melodies which were codified in the chorale book compiled by Harald Vallerius in 1697. It was used in all Swedish churches until replaced in 1820–21 by the chorale book of J.C.F. Haeffner. After Haeffner’s time oratorios were performed in the cathedral by the Filharmoniska Sällskap (Philharmonic Society, 1849–c1920) and the Akademiska Kapell and later by the cathedral's own musical forces. In 1867 a regular cathedral choir was founded by J.A. Josephson and in 1920 a boys’ choir (Uppsala Domkyrkas Gosskör) was instigated by Archbishop Nathan Söderblom. In 1927 H. Weman inaugurated a series of evening services with concert performances. The university’s significance for musical life in Uppsala began after its reorganization in 1593. King Gustavus II Adolphus’s preliminary statutes of 1621 included provision for an ‘Archimedes’ professor who was to lecture on music and the other liberal arts, according to the system of Johann Thomas Freig. Practical and particularly instrumental music assumed a prominent place with the appointment of Jonas Columbus to the chair of poetry and music in 1628. Since the time of Olof Rudbeck’s first appointment as rector magnificus (1661–2) the university has had an instrumental ensemble, later called the Akademiska Kapell, second in age among orchestras in Sweden only to that of the royal chapel (the present opera orchestra). Although its main function today is to contribute to academic ceremonies, it also gives regular concerts as part of the concert association. Rudbeck also took over the direction of a collegium musicum. Under his best-known pupil Harald Vallerius (lecturer in mathematics from 1680 and professor from 1690) several dissertations on questions of music theory were published. His work was carried on by J.A. Bellman (d 1709) and from 1724 by Eric Burman. The university’s excellence in the theory and practice of music at this time won the praise of Johann Mattheson (1740). Musical life in Uppsala revived around E.G. Geijer, the professor of history and musician, and J.C.F. Haeffner, director musices (leader of the orchestra) at the university from 1808. Under Haeffner a male choir tradition on the German model became established. His compositions for male choir provided a focus for unity for the students, who were influenced by the nationalist ideas of the Romantic movement. As a result the Uppsala Studentkårs Allmänna Sångförening (Uppsala Students' Choral Union) was founded in 1830 and received its statutes in 1842. Its period of greatest activity was under Oscar Arpi during the 1850s and 1860s; it is now a mixed choir. In 1853 the Sångsällskap Orphei Drängar, an élite male student choir, was founded, and particularly under I.E. Hedenblad, Hugo Alfvén and Eric Ericson it has made concert tours in Europe and the USA and gained an international reputation. The Academic Chamber Choir (1957), a mixed choir, grew out of the musical activities of the Norrlands Nation (Norrland Student Club). Regular concert organizations were not established until the 20th century. A Konsertförening (Concert Association), founded in 1916 and reconstituted in 1942, gave a subscription series of orchestral concerts. In 1977 the Upplands Musikstiftelse took over, in its turn succeeded by Musik i Uppland. This incorporated the Municipal Chamber Orchestra, a string ensemble of professional musicians founded in 1968, and the State Regional Music organization, which had its origin in the Uppsala military music corps. The planning for a professional orchestra was the work of the then director musices, Carl Rune Larsson. In 1902 the Sällskap för Kammarmusik was established and conducted by W. Lundgren; from 1930 to 1936 chamber music was encouraged by the Mellersta Sveriges Kammarmusikförening (Mid-Swedish Chamber Music Society) and thereafter by the Kammarmusikförening. The Värmlands Nations Musikcirkel (music circle of the Värmland students’ club) was particularly active in promoting contemporary music in the 1940s and the Sällskap Samtida Musik (Contemporary Music Society) was founded in 1949. The Joculatores Upsalienses was founded in 1965 by a group of young musicologists specializing in the performance of early music on period instruments. University lectures in music history were instituted in 1864 by the director musices J.A. Josephson; in 1927 C.-A. Moberg gave the first series of lectures in musicology and from 1947 to 1961 occupied what was the first chair of musicology in Sweden. His successors were Ingmar Bengtsson (to 1985) and Erik Kjellberg. Education in music for school-age children is given mainly in the Municipal Music School (1950). The university library, the largest in Sweden, has extensive music holdings including medieval liturgical manuscripts and printed and manuscript music from the 16th century to today (see Libraries). BIBLIOGRAPHY S.C. Bull: ‘Ole Bull and Uppsala Students’, Magazine of Music, iii (1886), 109 only T. Norlind: ‘Musiken i Uppsala under 1600-talet’, Kult och konst, iv (1908), 29 G. Kallstenius: Blad ur Uppsalasångens historia (Stockholm, 1913) G. Kallstenius: Uppsalasången 1913–1930 (Uppsala, 1930) I. Milveden: ‘Tradition och förnyelse i Uppsalastiftets musikliv’, Uppsala ärkestift i ord och bild (Stockholm, 1954), 445 E. Haeger: ‘Haeffner och universitetsmusiken i Uppsala’, STMf, xxxix (1957), 114–25 G. Taube: Musik, dans, språk och andra akademiska färdigheter i Uppsala (Uppsala, 1963) C.H. Martling and H. Weman: Uppsala domkyrkokör 100 år (Uppsala, 1967) A. Hallenberg: ‘Musiklivet i Uppsala’, Musik-kultur, xxxiii (1969), 14 F. Bohlin: ‘Musik-in i Uppsala: en idé att ta efter’, Musiklivet – Vår sång, xliv/2 (1971), 4 A. Hallenberg: ‘Kommunala musikskolan, Uppsala’, Musik-kultur, xxxv/6 (1971), 6 B. Kyhlberg: Musiken i Uppsala under stormaktstiden, 1 (Stockholm, 1974) Akademiska kapellet i Uppsala under 350 år: en översikt från ‘chorus musicus’ till symfonisk samverkan (Uppsala, 1977) L. Jonsson: Ljusets riddarvakt: 1800-talets studentsång utövad som offentlig samhällskonst (Uppsala, 1990) CARL-ALLAN MOBERG/JAN OLOF RUDÉN Upright bass. A colloquial term for the Double bass. Upright [vertical] pianoforte (Fr. piano droit; Ger. Piano; It. pianoforte). A piano with strings stretched vertically, rather than horizontally as in grand and square pianos. Upright pianos began to be made soon after Cristofori's invention. The earliest surviving instrument, signed Domenico del Mela (1683–c1760) and dated 1739, is in the Museo del Conservatorio di L. Cherubini, Florence. An unsigned, undated one ascribed to him is in Milan. Del Mela may have been associated with Cristofori; one of the latter's wills mentions bequests to a del Mela family. Doubtless based on the vertical harpsichord (clavicytherium), the upright piano was further developed in the mid-18th century. C.E. Friderici of Gera invented a Pyramidenflügel (Ger.: ‘pyramid piano’) which was effectively a grand piano set on its head with the strings running diagonally in a symmetrical case. Three instruments ascribed to Friderici are known, two dated 1745. A few others were made later in the 18th century. In 1795 William Stodart of London patented an upright grand with a rectangular case. Behind silked doors, the space in the upper right-hand side had shelves on which books and other objects could be kept. These instruments, placed on legs, stood about 2·5 metres high. The keys passed under the wrest plank and soundboard, the hammers striking the strings from behind. German and Austrian makers such as Joseph Wachtel and Jakob Bleyer (1778–1812) began making ‘giraffe’ pianos in about 1804. These instruments were so-called on account of their shape, which followed in graceful curves the contour of the strings and ended at the upper left with a kind of scroll (see Pianoforte fig.15). Many makers, notably Franz Martin Seuffert (1773–1847) and Matthäus Andreas (André) Stein (1776–1842) of Vienna, made this form of upright grand, and a drop-action version of the Viennese action was devised for it. Many giraffes had multiple pedals, including janissary and bassoon stops. Vertical instruments occupied wall space rather than floor space, but the pyramids, giraffes, and upright grands required high ceilings. In the early 19th century, experiments with small uprights began. In 1800 Mathias Müller of Vienna made his ‘Ditanaclasis’, standing about 154 cm high, and in the same year John Isaac Hawkins of Philadelphia patented his ‘portable grand pianoforte’ standing only about 140 cm. These were the earliest instruments in which the strings reached to the floor. Later forms were Robert Wornum's ‘cottage piano’ (the first model of which was created in 1811) and ‘piccolo piano’ (1826), the latter only 98 cm high, and the ‘piano droit’ of Johannes Roller and Nicolas Blanchet (Paris, 1827). In 1828 Jean Henri Pape (Paris) invented his ‘pianino’ or ‘piano-console’, which was the vehicle for the earliest cross-stringing. Earlier, Thomas Loud (i) had proposed oblique stringing, like that in Friderici's pyramids, for small uprights (he was granted a British patent in 1802). French makers excelled in ‘pianinos’ of the sort that Pape pioneered. All of these forms were aimed at families living in modest homes, and, as European cities grew, apartments. Some larger types were the symmetrical Lyraflügel (Ger.: ‘lyre piano’) of Johann Christian Schleip (d c1877), Berlin, which had a lyre-shaped upper case, and the ‘harp piano’ (especially by Kuhn & Ridgeway, Baltimore) which exposed the strings above the keyboard. As compasses were extended, uprights required longer strings and taller cases. In Britain, ‘cabinet pianos’, standing perhaps 1·5 metres high with cases extending to the floor and tuning pins at the top, supplanted upright grands, and on the continent, uprights began to take on the shapes more familiar today. Steinway & Sons pioneered uprights shorter than the cabinet pianos incorporating all of the firm's innovations: cross-stringing on a single-piece iron frame, metal action frame (which helped to avoid warping of the action parts), sostenuto pedal, duplex scale, and single bridge. That form dominated the piano market until the Great Depression of the 1930s. Modifications have consisted mainly of a standardization of sizes. ‘Full’ uprights are about 120 to 130 cm. ‘Studios’ stand about 115 cm high, the ‘console’ piano about 105 cm, and the ‘spinet’ a tiny 90 cm (now almost entirely abandoned). Even the larger cases can accommodate only short, stiff strings. The solutions to the problems of the upright have by no means been solved, though Darrell Fandrich of Seattle, Washington, has completely redesigned the action, which has never been satisfactory. David Klavins of Bonn designed an enormous upright, over 3·5 metres tall, straight-strung, whose bottom string is 3 metres long. The keyboard is at the top of the instrument, and the pianist sits on a platform over 2 metres above the floor. Its sound is said to be astounding, as is its price. EDWIN M. GOOD Upshaw, Dawn (b Nashville, TN, 17 July 1960). American soprano. While studying at the Manhattan School of Music, she took the title role in Hindemith's Sancta Susanna (1983), then Echo in Ariadne auf Naxos at the Spoleto Festival (1984). She was engaged by the Metropolitan under the Development of Young Artists Program, progressing from small parts to Sophie (Werther), Sister Constance of St Denis and Blanche (Dialogues des Carmélites), Ilia, Zerlina, Pamina, Susanna, Despina and Gretel. At the Salzburg Festival (from 1987) her roles have included Susanna and the Angel (Messiaen's Saint François d'Assise). She has appeared at the Aix-en-Provence Festival as Despina and Anne Trulove, one of her most vivid parts which, like several of her Mozart roles, she has recorded. Upshaw took the title role in Handel's Theodora at Glyndebourne in 1996, an interpretation recorded on video. Like all her portrayals, this was notable for its intense sincerity and conviction. With her pure, slender tone, frank manner and ease of communication she has had notable success on the recital platform, and has made delightful recordings of lieder, works by American composers and songs from musicals. ALAN BLYTH Upton, George Putnam (b Roxbury, MA, 25 Oct 1834; d Chicago, 19 May 1919). American journalist and writer on music. After taking the AM from Brown University in 1854, he began a long journalistic career in Chicago, where he wrote the city's first music criticism. He served on the Chicago Tribune as music critic (1863–1881) and as senior editor until 1905. After the great fire of 1871, he helped restore the city's concert life by founding a choral society known as the Apollo Club. He was music consultant to the Newberry Library when it assembled its collection (1885–7). Upton, like so many other New Englanders who dedicated themselves to the cultural development of America's frontier cities, wrote numerous popular books for the education of American audiences. Some of these appeared in Spanish and Braille editions; he also translated several books from German, including Nohl's biographies of composers. A staunch supporter of Theodore Thomas, he was instrumental in the foundation of the Chicago Orchestra. His Musical Memories (1908) chronicles Chicago's early music history. WRITINGS Woman in Music (Chicago, 1880, 2/1886/R) The Standard Operas (Chicago, 1886, enlarged 3/1912/R, rev. 4/1928 by F. Borowski, new edn 1947 as The Standard Opera Guide) The Standard Oratorios (Chicago, 1887) The Standard Cantatas (Chicago, 1888/R) The Standard Symphonies (Chicago, 1889/R) Musical Pastels (Chicago, 1902) The Standard Light Operas (Chicago, 1902) ed.: Theodore Thomas: a Musical Autobiography (Chicago, 1905) with G. Hack: Edward Remenyi (Chicago, 1906) Musical Memories: my Recollections of Celebrities of the Half Century, 1850–1900 (Chicago, 1908) The Standard Concert Guide (Chicago, 1908, 2/1917, rev. 3/1930/R by F. Borowski) The Standard Concert Repertory (Chicago, 1909, 2/1917) The Standard Musical Biographies (Chicago, 1910) The Song: its Birth, Evolution, and Functions (Chicago, 1915) BIBLIOGRAPHY Biographies of the Leading Men of Chicago (Chicago, 1868), 452 L. Elson: The History of American Music (New York, 2/1915), 327 Obituary, Chicago Tribune (20 May 1919) J. Mussulman: Music in the Cultured Generation (Evanston, IL, 1971), 77–185 passim M.A. Feldman: George P. Upton: Journalist, Music Critic and Mentor to Early Chicago (diss., U. of Minnesota, 1983) MARY ANN FELDMAN Upton, William Treat (b Tallmadge, OH, 17 Dec 1870; d Adelphi, MD, 19 Jan 1961). American organist, pianist, teacher and musicologist. He studied music at Oberlin College and Conservatory (BA 1896, MusB 1904, MA 1924) and the piano with Leschetizky in Vienna (1896–8) and Josef Lhévinne in Berlin (1913–14). He taught the piano at Oberlin Conservatory (1894–1936) and served as organist at the Calvary Presbyterian Church, Oberlin (1903–18). His interest in contemporary American art song led to his major and probably most enduring work, the revision and expansion of O.G.T. Sonneck's Bibliography of Early Secular American Music, first published in 1905 and still central to American scholarship. His biographies of A.P. Heinrich and W.H. Fry have not been superseded. In 1945 Oberlin College awarded him an honorary doctorate in music. WRITINGS ‘The Songs of Charles T. Griffes’, MQ, ix (1923), 314–28 ‘Some Recent Representative American Song-Composers’, MQ, xi (1925), 383–417 ‘Nature in Song’, The Chesterian, vii (1925–6), 181–92 ‘Our Musical Expatriates’, MQ, xiv (1928), 143–54 ‘Changing Types of Song in the Last Fifty Years’, The Musician, xxxiv/2 (1929), 13, 36 only Art-Song in America: a Study in the Development of American Music (New York and Boston, 1930/R; suppl., 1938/R) ‘Frederic Ayres (1876–1926)’, MQ, xviii (1932), 39–59 ‘Intellectual Sincerity in Modern Music’, The Chesterian, xv (1933–4), 158–67 ‘Aspects of the Modern Art-Song’, MQ, xxiv (1938), 11–30 Anthony Philip Heinrich: a Nineteenth-Century Composer in America (New York, 1939/R) ‘Secular Music in the United States 150 Years Ago’, PAMS 1941, 105–11 ed.: O.G.T. Sonneck: Bibliography of Early Secular American Music (Washington DC, 2/1945, repr. 1964 with preface by I. Lowens) The Musical Works of William Henry Fry in the Collection of the Library Company of Philadelphia (Philadelphia, 1946) William Henry Fry, American Journalist and Composer-Critic (New York, 1954/R) RODNEY H. MILL Urania. The Muse of astronomy. See Muses. Uranova. See Sandunova, elizaveta semyonovna. Urban VIII. Pope and music patron, member of the Barberini family. Urbana-Champaign. Twin cities in Illinois, USA, site of the university of Illinois school of music. Urbánek, František Augustin (b Moravské Budějovice, 24 Nov 1842; d Prague, 4 Dec 1919). Czech music publisher, father of Mojmír Urbánek. After his Gymnasium studies in Znojmo and Brno he was employed from 1862 by the bookseller and publisher J.L. Kober in Prague, for whom he became general manager (1866–70). In 1872 he established his own bookselling and publishing firm in Prague, where he first produced pedagogical publications and school textbooks. During the 1870s he gradually began to publish music, bringing out new works by Smetana, almost all of Fibich's compositions, and the early works of Foerster, Novák, Suk, Janáček, Křička, Axman and others. His series Dalibor, Lumír, Zora, Vesna, Lyra and Vlasta were important in the development of choral song; he also published tutors for the piano, violin, flute and harmonium as well as books on music (including Janáček's O skladbě souzvukův a jejich spojův in 1897) and the journals Dalibor (1879–99) and Kalendář českých hudebníků (1881–1908), serving as editor of both for some years. Besides reviewing Czech books and scores for the journal Oestrreich-ung. Buchhändler-Correspondenz (from 1864), he published Knihopisný slovník (‘Book dictionary’, 1865) and published and edited the Věstník bibliografický (‘Bibliographical bulletin’, 1869–84). In 1913 his sons František Augustin and Vladimír became partners in the firm and its name was changed to F.A. Urbánek a synové. The firm was nationalized in 1949. BIBLIOGRAPHY ČSHS V. Nejdl: 30 let českého hudebního nakladatele 1872–1902 [30 years of a Czech music publisher] (Prague, 1902) L.K. Žižka: Mistři a mistříčkové: vzpomínky na české muzikanty let 1881–1891 [Masters and lesser masters: reminiscences of Czech musicians] (Prague, 1939, enlarged 2/1947) Vzpomínka k stoletému výročí narozenin českého nakladatele Fr. A. Urbánka a na sedmdesát let trvání závodu: 1842–1872–1942 [Recollections on the 100th anniversary of the birth of the Czech publisher Urbánek and on the 70 years of the firm's existence] (Prague, 1942) A. Zach: Stopami pražských nakladatelských domů [In the steps of Prague publishing houses] (Prague, 1996), 15–17 ZDENĚK CULKA Urbánek, Mojmír (b Prague, 6 May 1873; d Prague, 29 Sept 1919). Czech music publisher, son of František Augustin Urbánek. After an apprenticeship with his father and experience in Germany, France, England and the USA, he founded his own publishing house in Prague in 1900. The firm published music by Foerster, Novák, Suk, Říhovský and Janáček. Besides books on music Urbánek published the journal Dalibor (from 1900). He owned a keyboard instrument shop and in 1908 set up the Mozarteum concert hall; he also ran a successful concert agency, and after World War I acquired a music printing works. After his death, his widow Iška Urbánková ran the firm, followed from 1925 by his son Mojmír Urbánek. The firm was nationalized in 1949. BIBLIOGRAPHY N. Simeone: The First Editions of Leoš Janáček (Tutzing, 1991), 20–21, 110–11 A. Zach: Stopami pražských nakladatelských domů (Prague, 1996), 45–8 ZDENĚK CULKA Urbani, Peter (b Milan, 1749; d Dublin, 1816). Italian singer, composer and impresario. He is said to have obtained a MusD from the University of Milan; he then went to London with his countryman Rontzini in search of work, spent unspecified years there and in Dublin, appeared singing Scottish songs at concerts in Glasgow between 1781 and 1784, and settled in Edinburgh in 1784. In Edinburgh he sang at the Musical Society concerts in St Cecilia's Hall and published six volumes of Scottish songs, including original songs of his own; he ran a music shop and publishing house with Edward Liston at 10 Princes Street from 1795, wrote a singing instruction manual, and lost a lot of money mounting Handel's oratorios. Around 1808 he returned to Dublin, destitute, and died there in 1816. Two operas by him were performed in Dublin during the 1784–5 season, but many of his compositions seem to be lost. Robert Burns met Urbani in 1793 and described him as ‘a narrow, contracted creature’. Burns, always easy-going, put up with Urbani's vanity and commercial self-interest for the sake of his fine singing and the promotion he was giving to Scottish songs, but refused to give him lyrics already promised to George Thomson. Urbani is sometimes credited with inspiring Burns to write Scots wha hae, but this is based on a misreading of Burns's letter to Thomson of August 1793. WORKS
WRITINGS The Singer's Guide (Edinburgh, c1795) BIBLIOGRAPHY D. Fraser-Harris: Saint Cecilia's Hall in the Niddry Wynd (Edinburgh, 1899, 2/1911/R), 123–31 D. Johnson: Music and Society in Lowland Scotland in the 18th Century (London, 1972), 146, 148 J.A. Mackay, ed.: Robert Burns: Complete Letters (Ayr, 1987), 468, 636, 639, 645 DAVID JOHNSON Urbani, Valentino. See Valentini. Urbanner, Erich (b Innsbruck, 26 March 1936). Austrian composer and conductor. He studied at the Vienna Music Academy, where his teachers included Karl Schiske and Hanns Jelinek (composition), Grete Hinterhofer (piano) and Hans Swarowsky (conducting). He also attended the Darmstadt summer courses and composition masterclasses run by Fortner, Stockhausen and Maderna. In 1961 he was appointed to a post at the Vienna Music Academy, where he became professor in 1969. From 1986 to 1989 he served as director of the Institut für Elektroakustik und Experimentelle Musik. In his compositions he has attempted to draw on experience subjectively and with musical imagination. With this goal in mind, he has developed forms that are clearly structured with respect to sound and gesture so that they can be recognized by the listener. Always open to current musical developments and trends, he nevertheless adopts only what is relevant to him, not committing himself in any particular direction. He has remarked: In a time of the most diverse trends, but also in a time of uncertainty as to what is still avant garde and what is conservative, it is important to realize very clearly that innovations are to be located less than ever in the area of material and rather more in the way the composer copes formally. WORKS (selective list)
BIBLIOGRAPHY LZMÖ [incl. further bibliography] O. Costa: ‘Retrospektiven von Erich Urbanner’, Das Fenster: Tiroler Kulturzeitschrift, xxix (1979), 251 only R. Kapp: ‘Gespräch IV: Erich Urbanner (26. Mai 1996): Darmstadt 1957–60’, Darmstadt-Gespräche, ed. M. Grassl and R. Kapp (Vienna, 1996), 63–79 SIGRID WIESMANN Urbino (Lat. Urbinum Metaurense). Italian city in the Marche. It reached the summit of its cultural achievement during the late 15th and early 16th centuries, first during the reigns of Federigo da Montefeltro (1444–82; named duke in 1474) and his son Guidubaldo (1482–1508) and then, on the extinction of the Montefeltro line, during the early years of the reign of Francesco Maria I della Rovere (1508–38), who inherited succession. The Rovere rule lasted until 1631, when Francesco Maria II della Rovere abdicated and Urbino, along with such subject towns as Gubbio, Pesaro, Fano and Cagli, was incorporated into the domain of the papal states. There is little record of musical activity before Federigo's rule. Four chant books used at the cathedral survive from the 14th century, and a document of 1439 mentions that the cathedral then employed 12 singers. During the period of Federigo's rule Urbino became a leading Italian cultural centre. Although court records have not been found, Federigo's support of music is well attested. The Florentine bookseller Vespasiano da Bisticci stated that Federigo employed excellent singers and instrumentalists, including six ‘trombetti’, two ‘tamburini’ and two organists, as well as two dancing-masters. The numerous intarsias decorating Federigo’s Gubbio and Urbino studies (for illustration see Clavichord, fig.3) give further evidence of his particular fondness for instruments; according to Vespasiano, he especially liked organs and ‘istrumenti sottili’. Among the intarsias at the Urbino studiolo there is also a representation of the well-known chanson J'ay pris amours, which was the basis of a lauda in the allegorical performance Amore al tribunale della pudicizia produced in honour of Federico d'Aragona's visit to Urbino in 1474. Federigo's fondness for the courtly chanson also prompted him to acquire an important chansonnier (I-Rvat Urb.lat.1411) for his vast personal library. The manuscript, with its many chansons by Du Fay and Binchois, was given to Federigo's court chancellor by Piero di Cosimo de' Medici. Another testament to Federigo's interest in music is the painting La musica (London, National Gallery) by Justus of Ghent, a Flemish painter in Federigo's employ; its allegorical depiction of music, art and science accurately represents Federigo's wide-ranging humanistic interests. Notwithstanding the brilliance of Federigo's court (it was also host to Bramante, Piero della Francesca and Raphael, who was born at Urbino), Urbino was not one of the leading musical centres in Italy; it attained that position only during the reign of Guidubaldo. Guidubaldo succeeded his father in 1482 and married Elisabetta Gonzaga of Mantua in 1489. Elisabetta, a singer and lutenist, shaped the city's cultural life and helped to make it – along with Mantua and Ferrara – one of the birthplaces of the Italian national style. Among the musical and literary notables who graced the court during this period were the poet-extemporizer Bernardo Accolti (‘l'unico Aretino’), the musician-dancer Barletta (said to be Elisabetta's favourite musician), Cardinal Pietro Bembo, the poet Vincenzo Collo (Calmeta), Bernardo Dovizi (Cardinal Bibbiena, adviser to the future Leo X), whose comedy La calandria had its first performance at Urbino, the sculptor-musician Giovan Cristoforo Romano, the poet-courtier Giuliano de' Medici (youngest son of Lorenzo the Magnificent), the dancer Roberto da Bari, the singers Gasparo Siciliano and Terpandro (the latter famous for his improvising), and Baldassare Castiglione, whose Il libro del cortegiano was inspired by and in part depicts the cultural life at the court. Castiglione wrote that the polyphony of the Franco-Flemish composers was performed at the court (he mentioned a performance of a Josquin motet which, however, no-one liked until it was identified), but it was clearly the lighter Italian frottola style that was preferred, especially when performed by a solo singer with instrumental accompaniment. The court also favoured theatrical productions with music, for example Castiglione's Tirsi, for which the music may have been supplied at least in part by Bartolomeo Tromboncino. The musical chapel of the cathedral, the Cappella del SS Sacramento, received its official charter during Guidubaldo's reign (7 August 1507). Francesco Maria I della Rovere, adopted nephew of Guidubaldo, succeeded him in 1508. He continued the patronage of music, and his court was host to both the Medici lutenist Giovanni Maria Hebreo and the organist Marco Antonio Cavazzoni (‘da Bologna, detto d'Urbino’), who probably began his association with Cardinal Bembo there. It may have been Francesco Maria I who initially supported the publication of Petrucci's Motetti de la corona (1514–19); Petrucci, born at Fossombrone, was a native of the Duchy of Urbino and returned there temporarily in 1514. By the end of Francesco Maria's reign in 1538, if not before, Urbino, which had been plagued by political troubles from 1516 to 1522, had lost its circle of intellectuals and its standing as a national cultural centre. During the reigns of the next Rovere dukes, Guidubaldo II (1538–74) and Francesco Maria II (1574–1631), Urbino was only a provincial musical centre. Among the more prominent musicians at the court were Girolamo Parabosco, who visited Urbino in 1548, the Spaniard Sebastiano Ravál, an associate of Victoria, who also had contacts with Francesco Maria II, and Paolo Animuccia, brother of Giovanni and maestro di cappella to the dukes in the 1560s and 1570s. Other items of musical interest are Andrea Gabrieli's madrigal Goda hor beato il Pò (1574), which pays homage to Francesco Maria II and his duchess, Lucrezia d'Este, Marenzio's third book of six-part madrigals, which is dedicated to Lucrezia, and the performance in 1621 of the festival intermedio L'Ilarocosmo, overo Il mondo lieto by Pietro Pace, who spent many years in the service of the della Rovere family. A description of the musical activities at Urbino during the late 16th century appears in the dedication of the Novellette a sei voci (1594) of Simone Balsamino, the Venetian choirmaster who was born at Urbino. The most noteworthy musicians there after the 16th century were Pietro Scarlatti, brother of Domenico, who served as maestro di cappella at the cathedral from 1705 to 1708, P.B. Bellinzani, maestro di cappella 1730–34 and Francesco Morlacchi, an opera composer at the Saxon court from 1811, who was at the cathedral 1807–8. BIBLIOGRAPHY B. Castiglione: Il libro del cortegiano (Venice, 1528/R; Eng. trans., 1561/R; new Eng. trans., 1967); ed. E. Bonora (Milan, 1972) G. Radiciotti: Contributi alla storia del teatro e della musica in Urbino (Pesaro, 1899) G. Vanzolini: ‘Musica e danza alla corte di Urbino nel Rinascimento’, Marche illustrate, iv (1904), 325 G. Radiciotti: I musicisti marchigiani dal secolo XVI al XIX (Rome, 1909) A. Saviotti: ‘La musica alla corte dei duchi di Urbino’, Cronaca musicale, xiii (1909), 110, 150, 185, 216; xiv (1910), 199 G. Radiciotti: ‘Due musicisti spagnoli del secolo XVI in relazione con la corte di Urbino’, Al Maestro Pedrell: escritos heortásticos (Tortosa, 1911), 225–32 A. Einstein: ‘Ein Madrigaldialog von 1594’, ZIMG, xv (1913–14), 202–14 A. Saviotti: ‘Una rappresentazione allegorica in Urbino nel 1474’, Atti e memorie dell'Accademia Petrarca di scienze, lettere ed arti, new ser., i (1920), 180–236; pubd separately (Arezzo, 1920) B. Ligi: ‘La cappella musicale del duomo di Urbino’, NA, ii (1925), 1–369 W. Osthoff: Theatergesang und darstellende Musik in der italienischen Renaissance (15. und 16. Jahrhundert) (Tutzing, 1969) H.C. Slim: ‘Gian and Gian Maria: some Fifteenth- and Sixteenth-Century Namesakes’, MQ, lvii (1971), 562–74 A.M. Giomaro: Strutture amministrative, sociali e musicali nella Urbino dei duchi: la cappella del SS. Sacramento (Urbino, 1994) ALLAN W. ATLAS Urfey, Thomas d’. See D’Urfey, Thomas. Urhan [Auerhahn], Chrétien (b Montjoie, nr Aix-la-Chapelle [now Aachen, Germany], 16 Feb 1790; d Paris, 2 Nov 1845). French viola player, violinist and composer of German descent. He received his first violin lessons from his father and taught himself to play many other instruments. After hearing him play in Aix-la-Chapelle in 1804, the Empress Josephine encouraged him to go to Paris, where he became a pupil and member of the household of J.-F. Le Sueur. Between 1807 and 1815 he played with the orchestra of the Chapelle Royale, and in 1814 he joined the Opéra orchestra, becoming first violin in 1823 and violin soloist in 1836, and playing the viola as well. In 1827 he became organist at St Vincent-de-Paul and in 1828 leader of the Société des Concerts du Conservatoire. He was well known for his improvising and sight-reading on many instruments (including the violon-alto, a violin with a C string added to give it a viola range) and, above all, for his viola playing. Urhan was a member of the Baillot Quartet (1824–37) and played the viola in Anton Bohrer’s quartet (1830–31), which introduced Beethoven’s late quartets to the Paris public. Berlioz asked him to perform the viola solo in the première of Harold en Italie, and Meyerbeer wrote the viola d’amore solo in the first act of Les Huguenots for him. He was a devout Catholic, and sought special dispensation from the Archbishop of Paris to play in the Opéra orchestra, reading prayers in the entr’actes and keeping his back turned to the stage during the performance to avoid the worldly temptations on show. Urhan’s promotion of the music of Bach and Handel and his support of the yearly Beethoven and St Cecilia festivals were important influences in Paris musical life. Furthermore, his arrangements of Schubert’s music introduced several works to a French audience for the first time. His spiritual and mystical mind, coupled with his musical integrity, made a profound impression on the young Liszt, who became his close friend and who asked him to play the violin in his performances of Beethoven’s chamber music at the Salle Erard in early 1837. He was the godfather and teacher of Julius Stockhausen. In his later years he suffered from depression, withdrawing more and more into himself and performing only the required duties of his church and Opéra positions. His compositions were well-received by Berlioz and others as examples of a new musical sensibility, marked by exceptional sparseness; the song Celui que j’aime tant is constructed using only two notes, while his second Quintette romantique (for string quintet and four bassoons) depicts the victory of austere heavenly melodies (played by the viola) over the empty virtuosity of earthly music (represented by the first violin). In all his mature compositions, the use of third-related harmonic shifts, alternation of major and minor modes and the appearance of dance melodies bear clear witness to the influence of Schubert. A predilection for long note values, extreme dynamics, non-functional repetitive harmonies, odd instrumental combinations, omission of bar lines and interpolation of poetic texts between staves transforms this influence into a frequently bizarre mixture of pious simplicity and subjective extravagance. WORKS (selective list) printed works published in Paris
BIBLIOGRAPHY FétisB G. Kastner: Obituary, RGMP, xii (1845), 385–7, 392 only A. Förster: ‘Christian Urhan: ein sonderausgeprägter Kunstfürst und Heilskämpfer’, Studien und Mitteilungen aus dem Benediktiner- und dem Cistercienser-Orden, xxv (1904), 266, 600, 769; xxvi (1905), 109, 305, 626; xxvii (1906), 120, 428, 659; pubd separately (Maredret, 1907) J.G. Prod’homme: Les symphonies de Beethoven (1800–1827) (Paris, 1906/R, 3/1909), 459ff [Urhan’s review of Beethoven’s Ninth Symphony] P. Garnault: ‘Chrétien Urhan (1790–1845)’, RdM, xi (1930), 98–111 J.-M. Fauquet: Les sociétés de musique de chambre à Paris de la Restauration à 1870 (Paris, 1986) BENJAMIN WALTON Uriarte, Eustaquio de (b Durango, Vizcaya, 2 Nov 1863; d Motrico, Guipúzcoa, 17 Sept 1900). Spanish musicologist and music journalist. In 1878 he entered the Augustinian order at Valladolid, where he received his early musical training, and in 1888 he went to the monastery of Silos, near Burgos, devoting himself to the study of Gregorian chant reform as advocated by the Benedictine monks of Solesmes in France. In 1889 he participated in the music section of the first Congresso Católico of Madrid. Uriarte's major work, the Tratado teórico-práctico de canto gregoriano, is not only a treatise on the elements of Gregorian chant, but a panegyric on the need for modern restoration based on the methods of Joseph Pothier of the Solesmes school and the resolutions calling for reform adopted at the Madrid Congress of 1890. Essentially, these reforms included the gradual abolition of the 19th-century Medicean liturgical books then used in Spain, the use of Pothier's newly revised chant books which were based upon the original medieval sources, and the performance of these corrected melodies in a free, non-mensural rhythmic style. Uriarte was a prolific music journalist and contributed many articles on chant reform, music aesthetics and criticism, and opera, particularly to the Ciudad de Dios. In 1895, under the patronage of the Archbishop of Madrid, a group including Uriarte and Felipe Pedrell formed the Asociación Isidoriana de la Reforma de la Música Religiosa. Uriarte taught at the new Augustinian college in Guernica from 1896, and in 1899 he was transferred to Palma, Mallorca. WRITINGS La restauración del canto gregoriano (Valladolid, 1889) Tratado teórico-práctico de canto gregoriano según la verdadera tradición (Madrid, 1890 [dated 1891], 2/1896) Concepto racional é histórico de la música religiosa (Madrid, 1892) Orígenes é influencia del romanticismo en la música (Lugo, 1892) Preface to C. Echegaray: Di mi país: miscelánea histórica y literaria (San Sebastian, 1901) ed. L. Villalba: Estética y crítica musical (Barcelona, 1904/R) [selected newspaper articles and addresses] BIBLIOGRAPHY L. Villalba: ‘El padre Uriarte’, Estética y crítica musical del padre Uriarte, ed. L. Villalba (Barcelona, 1904/R), v–xxxvi JOHN A. EMERSON Uribe Holguín, Guillermo (b Bogotá, 17 March 1880; d Bogotá, 26 June 1971). Colombian composer. He studied the violin with Ricardo Figueroa at the Bogotá Academy of Music (later renamed the National Conservatory) and from 1895 with Narciso Garay. In 1903–4 he visited New York and Mexico City and in 1905 he was appointed to teach the violin and solfège at the Bogotá Academy, where he also founded an orchestra. In 1907 he won a government grant to study with d’Indy at the Schola Cantorum, Paris. After further studies in Brussels he returned in 1910 to Bogotá, where he was appointed director of the National Conservatory (1910–35). In 1919 he made a return visit to Paris. Uribe Holguín was the most influential Colombian composer of his generation, and his output extends to 120 opus numbers. He favoured orchestral, chamber and piano composition and employed an enriched harmonic language, the result of his late-Romantic training, personal contact with Falla and Joaquín Turina, and his admiration for Debussy. The Trozos en el sentimiento popular for piano, which includes music in the style of the pasillo, bambuco and joropo, is an example of his music based on Colombian folk idioms. WORKS (selective list)
WRITINGS Curso de armonía (Bogotá, 1936) Vida de un músico colombiano (Bogotá, 1941) [autobiography] ‘Como piensan los artistas colombianos: contra el nacionalismo musical’, Revista de las Indias, xxx/96 (1947), 351–7 Principal publisher: Patronato Colombiano de Artes y liencias Bogotá BIBLIOGRAPHY Compositores de América/Composers of the Americas, ed. Pan American Union, xviii (Washington DC, 1955), 89–98 H. Caro Mendoza: ‘Guillermo Uribe Holguín’, Revista de la Universidad Nacional de Colombia no.5 (1970), 117–46 [incl. work-list] G. Rendón: ‘Maestros de la música: Guillermo Uribe Holguín, 1880–1971’, Música, no.50 (1975), 2–16; no.51 (1975), 2–21 E.A. Duque: Guillermo Uribe Holguín y sus 300 trozos en el sentimiento popular (Bogotá, 1980) E.A. Duque: Guillermo Uribe Holguín: músico (Bogotá, 1986) [incl. work-list] ROBERT STEVENSON/ELLIE ANNE DUQUE Urio, Francesco Antonio (b Milan, ?1631/2; d Milan, 1719 or later). Italian composer and Franciscan friar. A Francesco Urio, aged 40, is listed as a member of the Venetian instrumentalists' guild in 1672, but it is not known whether he is identifiable with Francesco Antonio. The latter was maestro di cappella at Spoleto Cathedral in 1679, then at Urbino (1681–3), Assisi and Genoa (dates unknown). In April 1682 he was nominated for the post of maestro di cappella of the collegiate church of S Maria Maggiore in Spello, but there is no evidence that he ever held it. According to the title-page of his Motetti op.1, he was maestro di cappella of the basilica of SS Apostoli, Rome, in 1690; the motets were composed for and dedicated to Cardinal Pietro Ottoboni, in whose concerts Urio may have been involved. From 1693 to 1695 he was maestro di cappella at Pistoia; Pougin said he wrote a cantata (1696) and two oratorios (1701 and 1706) ‘pour le service’ of Prince Ferdinando de' Medici, but there appears to be no evidence of any permanent appointment at Florence. The title-page of his Salmi concertati reveals that he was maestro di cappella of the Frari, Venice, in 1697, and he held the same post at S Francesco, Milan, during the period 1715–19. Urio is now known mainly for his Te Deum, of which Handel owned a copy and from which he borrowed. Robinson (1908) suggested that the work was composed by Handel at the village of Urio on Lake Como, but that theory is now discredited. Three copies are known to survive: the first (GB-Lcm 1033) belonged to John Stafford Smith in 1780; the second (Lbl Add. MS 31478) was transcribed in 1781 from an ‘Italian Copy’ that ‘formerly belonged to Mr Handel’ and was then ‘in the Collection of Dr Samuel Howard’; and the third, now in the Paris Conservatoire collection, was once the property of Edmund Thomas Warren. The work is ascribed to Urio in all three. In the first two sources he is described as a ‘Jesuit of Bologna’ and ‘Bolognese’, a mistake suggested perhaps by the prominence of the trumpet parts. In the first and third sources the Te Deum is dated ‘Apud 1682’ and ‘1660’ respectively; it is not certain whether either date is correct, but to judge from the style of the work the former seems nearer the mark. The Te Deum provided the basis for passages in Handel's Dettingen Te Deum, Saul, Israel in Egypt and L'Allegro il Penseroso ed il Moderato. How it came into his hands is not known, but in view of Urio's apparent relations with Ferdinando de' Medici and Cardinal Ottoboni, it seems possible that Handel first saw it in Florence or Rome. Though sometimes prone to squareness, it is an impressive piece, encompassing a wide range of moods. Apart from the trumpet, there are obbligatos for cello (‘Patrem immensae majestatis’) and violin with graces in Corelli's manner (‘Fiat misericordia tua’), a vigorous duet in 12/8 for soprano and bass (‘Tu Rex gloriae’) and a gentle trio in 3/4 for soprano, alto and bass (‘Tu ad dexteram’) – all bound together by spirited choruses in homophonic and fugal styles. In view of the quality of this work, it seems a pity that only one of Urio's oratorios appears to survive. WORKS
BIBLIOGRAPHY AllacciD FétisBS E. Prout: ‘Urio's “Te Deum” and Handel's Use thereof’, MMR, i (1871), 139–53 F. Chrysander: ‘Francesco Antonio Urio’, AMZ, new ser., xiii (1878), 513–19, 529–35, 545–50, 561–4, 577–81, 625–9, 641–3, 657–64, 785–9, 801–06, 817–23; xiv (1879), 6–10, 21–6, 36–40, 71–4, 86–9, 101–04, 118–23 S. Taylor: The Indebtedness of Handel to Works by Other Composers (Cambridge, 1906/R), 117ff P. Robinson: Handel and his Orbit (London, 1908/R) P. Robinson: ‘A Recently Discovered Important “Uria” MS’, Bulletin de la Société ‘Union musicologique’ , vi (1926), 1–10 P. Robinson: ‘Handel, or Urio, Stradella and Erba’, ML, xvi (1935), 269–77 L. Lindgren: ‘Count Rudolf Franz Erwein von Schönborn (1677–1754), and the Italian Sonatas for Violoncello in his Collection at Wiesentheid’, Relazioni musicali tra Italia e Germania nell'età barocca: Como, 1995, 257–302, esp. 284 COLIN TIMMS Urlinie (Ger.: ‘fundamental line’). In Schenkerian analysis (see Analysis, §II, 4), the conceptual upper voice of a piece in its simplest terms, represented by the diatonic conjunct descent to the tonic from the 3rd, 5th or octave. The interval encompassed by the Urlinie and the register in which it appears are determined by the piece itself, together with the criteria the analyst uses to fix its starting point. Because Urlinie was the first term Schenker coined in connection with his new analytical method, it became the word most closely identified with his method, as well as the one whose meaning changed most radically in the course of his later theoretical writings. Schenker used Urlinie for the first time in the foreword to his critical edition with commentary (the Erläuterungsausgabe) of Beethoven’s Piano Sonata in A op.101, published in 1920 (see Analysis, §II, 4 fig.18). Yet it is clear from his analysis of op.101, and in the essays in his next series of publications (Der Tonwille, 1921–4), that the term was at first understood not as an archetypal melodic line, but rather as a reduction of the surface of a piece that left its phrase structure and broad harmonic-contrapuntal outline intact. The Urlinie of these earlier analyses is not only polyphonic in texture, but often preserves the bar-lines of the piece in question. Thus the original meaning of Urlinie corresponds rather more closely to what Schenker was eventually to call the musical ‘foreground’ of a piece (see Layer), and explains why he continued to use the expression Urlinie-Tafel for the musical representation of the foreground layer in his analyses. The term is often rendered into English as ‘fundamental line’, but some writers believe that it is so specialized, so quintessentially Schenkerian, that it is better left untranslated. WILLIAM DRABKIN Urlus, Jacques [Jacobus] (b Hergenrath, 9 Jan 1867; d Noordwijk aan Zee, 6 June 1935). Dutch tenor. He studied in Amsterdam with Cornelie van Zanten and others and made his operatic début in Utrecht in 1894 as Beppe (Pagliacci). He sang with the Netherlands National Opera, 1894–9, then in Leipzig, 1900–14. One by one he mastered the leading Wagnerian parts, for which his robust yet sensitive singing and declamatory gifts well fitted him. He made his London début at Covent Garden in spring 1910 as Tristan during the Beecham opera season. In 1911 he was called to Bayreuth, where his first part was Siegmund. He sang regularly at the Metropolitan Opera, 1913–17, becoming its foremost Wagnerian tenor. From 1917 onwards he accepted no fixed engagements, but settled in the Netherlands and toured extensively in Europe and the USA. He was also an excellent concert singer. His many recordings, 1903–24, chronicle every facet of his career and confirm his fine-grained voice and innate sense of style. He published an autobiography, Mijn loopbaan (‘My career’; Amsterdam, 1930). BIBLIOGRAPHY O. Spengler: Jacques Urlus (New York, 1917) P. and J. Dennis: ‘Jacques Urlus’, Record Collector, xxvi (1980–81), 245–81 [with discography] CARL L. BRUUN/ALAN BLYTH Urmawī, al-. See Safī al-Dīn. Urner, Catherine Murphy (b Mitchell, IN, 23 March 1891; d San Diego, 30 April 1942). American composer and singer. At the University of California, Berkeley, she won the first George Ladd Prix de Paris, enabling her in 1920 to go to Paris to study composition with Koechlin, who considered her remarkably gifted. From 1921 to 1924 she was director of vocal music at Mills College, Oakland, California. She was active as a composer and singer in the USA, France and Italy, and first performances of her music were given in Paris by the Société Musicale Indépendante and at the Salle Pleyel. A talented singer, she specialized in Amerindian melodies, which she used in many of her compositions to create a stark, poetic effect. Through her teaching Urner transmitted the classical French heritage of Koechlin; she translated several of his treatises and arranged for him to give lectures in California. Koechlin regarded her as influential upon his own modal–contrapuntal style. She collaborated with him on various works and he orchestrated her Esquisses normandes (1929), the first performance of which was given by the Bay Area Women’s Philharmonic in Berkeley in 1990. In 1937 Urner married the Californian composer and organist Charles Shatto. WORKS (selective list)
BIBLIOGRAPHY E.K. Kirk: ‘A Parisian in America: the Lectures and Legacies of Charles Koechlin’, CMc, xxv (1978), 50–68 C. Shatto and D. Zea: The Musical Works of Catherine Urner (MS, 1983, The F. Eugene Miller Foundation, Carpinteria, CA) D. Zea: ‘Composer Profile: Catherine Urner’, ILWC Journal (1994), Feb, 20 only ELISE KIRK U Roy [Beckford, Ewart] (b Kingston, Jamaica, 1942). Jamaican DJ and rapper. He was a pioneer of Kingston’s sound systems and rose to fame in 1968 through his partnership with the creator of dub, King Tubby. By eliminating the vocal tracks on the master tape of a recording U Roy created instrumental beds on which he would (see Rap §1) at dances, often commenting on the events of the day. His first recording, Earth’s Rightful Ruler, was made for Lee Perry and is arguably the first DJ record. By the time of the album Version Galore (Trojan, 1971) U Roy had established his style by using rock steady tracks from ‘Duke’ Reid’s Treasure Isle Records, especially those of the Paragons, retaining key phrases of the vocals and answering them with unique, syncopated, extemporized poetry. With the producer Prince Tony Robinson, he created a number of albums including the most eccentric collection Dread Inna Babylon (Virgin, 1975) and Natty Rebel (Virgin, 1976). U Roy’s success inspired others such as Dennis Alcapone, Scotty and Big Youth to begin recording DJ discs and helped to create the standard format of Jamaican seven-inch records; the vocal version on the A-side and the instrumental, which can be used by DJs in dance halls, on the other. He is considered by many to be the father of American rap music which was popularized by Jamaican immigrants living in New York’s outer boroughs. ROGER STEFFENS Urquhart, Thomas (fl London, c1650–80). English or Scottish violin maker. He was probably a pupil of Jacob Rayman, and was more or less a contemporary of Edward Pamphilon. Urquhart was the most accomplished craftsman of the three. An early, small-sized violin bearing a label with the date 166– (last digit illegible) is of extraordinary delicacy, with a golden varnish of the highest quality. Later instruments are slightly more robust, but excellently finished, and often have a fine red varnish of almost Italian character. These instruments are capable of very fine tone, and can often be distinguished from provincial Italian work of the period only by the intriguingly worked scroll, which is incised at the chin and marked with small prickings around the volute. Unfortunately many of the scrolls and labels were removed by unscrupulous dealers and replaced with more Italianate substitutes. It is likely that some of his work was relabelled and sold in his own lifetime by John Shaw, an eminent instrument dealer and music publisher of the period, who was appointed ‘instrument maker to his Majesty’ in 1687. Apart from the record of a Thomas Urquhart buried at St Giles-in-the-Fields, London, in 1698, no information about Urquhart’s life has yet been unearthed. The family name of Urquhart certainly derives from Inverness, and has led some writers to conclude that he was Scottish. BIBLIOGRAPHY W. Sandys and S.A. Forster: The History of the Violin (London, 1864) W.M. Morris: British Violin Makers (London, 1904, 2/1920) CHARLES BEARE, JOHN DILWORTH Urrede [Urreda, Urede, Vreda, Vrede, Wreede], Juan de [Johannes] (fl 1451–c1482). South Netherlandish composer, active in Spain. He was born in Bruges, the son of Rolandus de Wreede, who was organist at St Donatian until 1482. In 1451 Johannes was refused a clerkship at St Donatian on the grounds that father and son could not work in the same institution, but in 1457 he secured a similar position at the church of Our Lady. His name disappears from the records in 1460, and it is assumed that he left Bruges for Spain at this time, although he does not reappear until 1476, when he was paid as a member of the household of the first Duke of Alba, García Alvarez de Toledo, cousin to King Ferdinand. Urrede (the Castilian form of his name) may have served the duke for some years previously, but on 17 June 1477 he was appointed singer and maestro de capilla of the Aragonese royal chapel, his salary being backdated to 1 April of that year. The account books of the royal household reveal that he was employed until at least 1482, but in the meantime it would appear that he also applied to the professorship of Salamanca University, a position that, despite his request for changes to the system of electing new professors, he did not secure. After 1482 there is no further record of Urrede, although the royal household registers are missing for the period immediately following this and he may have served a few years longer. Possibly he died in the period between 1482 and 1484, although there is some evidence to suggest he may have lived substantially longer. Urrede was not the only Netherlandish composer to work in Spain during this period, but he was certainly the most internationally renowned. Ramis de Pareia, the Spanish musical theorist and professor of music at Bologna University, described him as ‘carissimus noster regis Hispaniae capellae magister’, and he was also praised by the Italian theorist Giovanni Spataro (one of Ramis’s pupils), who, in his Tractato di musica (Venice, 1531), commended Urrede’s use of proportion in the Benedictus of a Mass (which would appear to have been lost). Unlike his Spanish-born colleagues, Urrede also enjoyed the prestige of having his works widely circulated: his compositions are preserved in French and Italian as well as Iberian sources. Two compositions especially were widely known and were repeatedly borrowed as the basis for new polyphonic compositions or instrumental settings. One of these is the famous canción Nunca fue pena mayor, the poem being attributed to the Duke of Alba and written about 1470. According to Anglès, Urrede’s three-part setting is based on a popular Spanish tune. Belmonte borrowed Urrede’s superius as the tenor of his canción Pues mi dicha non consiente. Both Pierre de La Rue and Francisco de Peñalosa wrote a Missa ‘Nunca fue pena mayor’. Bartolomeo Tromboncino parodied the beginning in his setting of Nunqua fu pena magiore. The tenor was borrowed in an anonymous piece without text in Petrucci’s Canti C (RISM 15043), f.21v, and in another in I-Bc Q18, f.46v. The piece was sung in two plays written by the Portuguese poet Gil Vicente, and instrumental arrangements appeared in the Capirola Lutebook, written about 1517, and in Petrucci’s Intabolatura de lauto, libro primo (15075). Also widely known and much quoted by later composers was the hymn Pange lingua, based on the Toledan chant melody. Two settings of this hymn are ascribed to Urrede: one, included in the hymn cycle in E-TZ 2–3, is also found, slightly modified, in E-Bbc 454, and in at least ten other sources (almost all of Iberian or Latin-American provenance); the second is a unicum in E-SE, where it is attributed to ‘Johanes Urede’. Especially notable are the keyboard arrangements of the first version: the earliest extant is by Antonio de Cabezón, printed in the Cifra nueva (1557) of Luis Venegas de Henestrosa, but there are many later settings by Juan Cabanilles, among others. A number of masses based on Urrede’s hymn survive, some as late as the 17th century. Other liturgical works include a setting of the Magnificat (part of which was also arranged for keyboard by Gonzalo de Baena before 1540), the Nunc dimittis and the Kyrie and Gloria ‘Spiritus et alme’ of a Missa de Beata Virgine, copied into one of the manuscripts for the Sistine Chapel in about 1481. The Magnificat and Nunc dimittis are preserved in a section of a manuscript in Paris (F-Pn n.a.fr.4379) that has been shown to belong to the manuscript E-Sco 7-I-28 (see Fallows, 1992), one of the two sources to contain all three of Urrede’s extant songs. All three songs, originally for three voices (although versions for four voices survive of Nunca fue pena mayor and Muy triste será mi vida), were likewise copied into the Cancionero Musical de Palacio (E-Mp 1335), before 1500; indeed, Nunca fue pena mayor is the first song in the collection, which has led scholars to consider whether the manuscript was begun for the Duke of Alba or possibly for Prince Juan, only son of the Catholic Monarchs, who resided briefly in Salamanca until his untimely death in 1497. Urrede’s compositions reflect the blend of Flemish and Spanish elements that is characteristic of the other arts in the Iberian peninsula during this period. He adopted the song form (canción) and chant tradition of his new homeland, but continued to write in a musical idiom that clearly showed the influence of the Franco-Burgundian school in which he would have been trained in Bruges. He, together with other composers of his generation such as Enrique (de Paris) and Johannes Cornago, who were also educated in the North, were key figures in the transmission and development of this idiom in the Spanish kingdoms in the mid-15th century. WORKS Sacred
Secular
BIBLIOGRAPHY StevensonSM StrohmM Vander StraetenMPB, vi, viii J., J.F.R. and C. Stainer, eds.: Early Bodleian Music: Sacred and Secular Songs (London, 1901/R), i: Facsimiles, ii: Transcriptions Duke of Alva: ‘Disquisiciones acerca del cantor flamenco Juan de Wrede’, Boletín de la Real academia de la historia, lxxv (1919), 199–200 J.B. Trend: The Music of Spanish History to 1600 (Oxford, 1926/R) H. Anglès: ‘El “Pange lingua” de Johannes de Urreda, maestro de capilla del Rey Fernando el Católico’, AnM, vii (1952), 193–200 R. Gerber: ‘Spanische Hymnensätze um 1500’, AMw, x (1953), 165–84 T.W. Knighton: Music and Musicians at the Court of Fernando of Aragon, 1474-1516 (diss., U. of Cambridge, 1984), i, 301 D. García Fraile: ‘La cátedra de la Universidad de Salamanca durante diecisiete años del siglo XV (1464–1481)’, AnM, xlvi (1991), 57–101 D. Fallows: ‘I fogli parigini del Cancionero Musical e del manoscritto teorico della Biblioteca Colombina’, RIM, xxvii (1992), 25–40 O. Rees: ‘Texts and Music in LisbonBN 60’, RdMc, xvi (1993), 1515–33 B. Turner: ‘Spanish Liturgical Hymns: a Matter of Time’, EMc, xxiii (1995), 472–82 D. Fallows: ‘A Glimpse of the Lost Years: Spanish Polyphonic Song, 1450–70’, Songs and Musicians in the Fifteenth Century (Aldershot, 1996), 19–36, esp. 32 T. Knighton: ‘A Newly Discovered Keyboard Source (Gonzalo de Baena’s Arte nouamente inuentada pera aprender a tanger, Lisbon, 1540): a Preliminary Report’, PMM, v (1996), 81–112 TESS KNIGHTON Urreta [Urrueta] (Arroyo), Alicia (b Veracruz, 12 Oct 1933; d Mexico City, 20 Dec 1987). Mexican composer and pianist. She began six years of piano study with Joaquín Amparán in Mexico City in 1948. In 1952 she entered the Conservatorio Nacional de Música, studying harmony with Rodolfo Halffter, and other subjects with Hernández Moncada, León Mariscal and Sandor Roth. After graduation she continued studying the piano privately with Alfred Brendel and Alicia de Larrocha, and she studied acoustics and electronic music at the Schola Cantorum in Paris. From 1957, while titular pianist of the Orquesta Sinfónica Nacional and instructor in acoustics at the Instituto Politécnico Nacional, she was the chosen performer in the Mexico City premières of all works including piano by Stockhausen, Cage, Gilbert Amy, Manuel Enríquez and Halffter. Meanwhile she composed many works showing her mastery of the avant-garde techniques emanating from Darmstadt. These works favour aleatory procedures with a Boulez-like notion of control: specific markings indicate the exact durations of particular passages and precise dynamic contours; pedalling too is indicated. In the 1970s she co-founded the Festival Hispano-Mexicano de Música Contemporánea, founded the Camerata de México and made recordings (for Voz Viva de México and Creaciones Cisne). Her many awards include prizes for the music for the film El ídolo de los orígenes (1967) and for incidental dramatic music, and a citation for her own mixed-media creation, Pequeña historia de la música (1980). Her incidental music for plays kept her name constantly before the Mexico City public. In 1981 the Orquesta Sinfónica Nacional gave the first performance of her concerto for amplified piano and orchestra, Arcana, in which she herself was the soloist; the première of her Esferas poéticas was given in 1983 by the same orchestra. Manuel Enriquez, Halffter, Mario Lavista and Héctor Quintanar are among those who dedicated works to her. WORKS (selective list)
BIBLIOGRAPHY E. Pulido: ‘Con Alicia Urreta’, Heterofonía, iv/22 (1972), 23 E. Pulido: ‘La mujer mexicana en la música Alicia Urreta’, Heterofonía, iv/24 (1972), 24 50 años de música: Palacio de Bellas Artes (Mexico City, 1986), 513, 527 [pubn of the Instituto Nacional de Bellas Artes] E. Pulido: ‘Mexico’s Women Musicians’, The Musical Woman: an International Perspective, ii: 1984–5, ed. J.L. Zaimont and others (Westport, CT, 1987), 327–8 ROBERT STEVENSON Urroz, José [Urros, Joseph] (d early 18th century). Spanish organist and composer. He was first organist of Avila Cathedral and apparently a musician of some distinction; his name also appears in the records of the church of Santiago de Compostela for 24 January 1710. He was cited as an authority approving the Escuela música of Pablo Nassarre (Zaragoza, 1724). His only known works are a Te Deum for eight voices with continuo, a Magnificat, a mass with organ accompaniment and three canciónes and nine versos for organ; the organ music is transcribed in B. Hudson: A Portuguese Source of Seventeenth-Century Iberian Organ Music: MS 1577, Loc.B, 5, Municipal Library, Oporto, Portugal (diss., Indiana U., 1961). BARTON HUDSON Urrutia Blondel, Jorge (b La Serena, 17 Sept 1905; d Santiago, 5 July 1981). Chilean composer and musicologist. He studied at the Instituto Nacional de Santiago and at the Law School of the University of Chile, while studying music privately under Pedro Humberto Allende and Domingo Santa Cruz. As an active participant in the music organization movement associated with the Sociedad Bach, under the leadership of Santa Cruz, he joined the society’s board of directors. After being nominated secretary of the National Conservatory of Music, he was awarded a scholarship for further studies in Europe: he studied in Paris under Koechlin, Dukas and Boulanger, and in Berlin under Hindemith and Mersmann (1928–31). On his return he was appointed professor of theory and composition at the National Conservatory; his various subsequent positions during the 1940s and 50s included those of secretary and acting dean of the Facultad de Ciencias y Artes Musicales of the University of Chile, and research member of the Instituto de Investigaciones Musicales. As a composer Urrutia Blondel initially cultivated a nationalist style but later adopted elements of post-impressionism (e.g. in Pastoral de Alhué, 1937) and neo-classicism. His work as a musicologist consisted chiefly of analytic studies of 20th-century music in Chile and of folk music research, particularly in the northern provinces of Chile. WORKS (selective list)
WRITINGS ‘Claude Debussy crítico, y su libro Monsieur Croche antidilettante’, Marsyas, no.2 (1927) ‘La obra sinfónica de Beethoven y algunos aspectos de su orquestación’, Marsyas, no.1 (1927) ‘Bach en la evolución musical chilena’, Revista de arte, no.4 (1935) ‘Apuntes sobre los albores de la historia musical chilena’, Boletín latino-americano de música, iii (1937), 89–96 ‘Gabriela Mistral y los músicos chilenos’, RMC, no.9 (1946), 11–17; no.52 (1957), 22–3 ‘Algunos aforismos sobre Alfonso Leng’, RMC, no.54 (1957), 69–71 ‘Reportaje de un músico a Rapa-Nui’, RMC, no.60 (1958), 5–47 ‘Apunte sobre Próspero Bisquertt’, RMC, no.67 (1959), 56–61 ‘Mis momentos con Igor Strawinsky: impresiones y conversaciones con el gran músico ruso durante su estada en Santiago’, RMC, no.73 (1960), 39–60 ‘Algunas proyecciones del folklore y etnología musicales de Chile’, RMC, no.79 (1962), 95–107 ‘Algunos casos de Isamitt como caso’, RMC, no.97 (1966), 49–53 ‘Carlos Lavín, compositor’, RMC, no.99 (1967), 61–84 ‘Danzas rituales en las festividades de San Pedro de Atacama’, RMC, no.100 (1967), 44–80; pubd separately (Santiago, 1968) ‘Danzas rituales en la provincia de Santiago’, RMC, no.103 (1968), 43–76 ‘Los “Sonetos de la muerte” y otras obras sinfónicas de Alfonso Letelier’, RMC, no.109 (1969), 11–32 ‘Doña Isidora Zegers, 1803–1869’, RMC, nos.113–14 (1971), 3–17 ‘“Tres momentos musicales”, Europa 1971’, RMC, nos.115–16 (1971), 15–29 with S. Claro: Historia de la música en Chile (Santiago, 1973) BIBLIOGRAPHY V. Salas Viú: La creación musical en Chile, 1900–1951 (Santiago, 1952) Compositores de América/Composers of the Americas, ed. Pan American Union, xiv (Washington DC, 1968) [incl. list of writings] S. Claro: Panorama de la música contemporánea en Chile (Santiago, 1969) R. Escobar and R. Yrarrazaval: Música compuesta en Chile, 1900–1968 (Santiago, 1969) GERARD BÉHAGUE Ursatz (Ger.). In Schenkerian analysis (see Analysis, §II, 4), the basic contrapuntal design that underlies the structure of a piece or movement; the final result of successive harmonic-contrapuntal ‘reductions’ in a Layer analysis, and thus the representation of its musical Background. The term is often rendered in English as ‘fundamental structure’. The upper voice of the Ursatz, called the Urlinie (‘fundamental line’), consists of a diatonic stepwise descent to the tonic from the 3rd, 5th or octave; the interval it encompasses and the register in which it appears depend on the analysis, i.e. the content of the previous layers and, ultimately, the piece itself. The lower voice, which encapsulates the harmonic motion of the piece, consists of a tonic, followed by a dominant and a return to the tonic; this is called the Arpeggiation (ii) of the bass (Ger. Bassbrechung) since it involves movement between two notes belonging to the tonic triad. Thus the upper and lower parts of the Ursatz both exhibit a ‘horizontal’ unfolding of the tonic triad. Two common Ursatz forms in C major are given in ex.1.
While the Ursatz, seen from an analytical point of view, is the reduction of a piece to its simplest harmonic and contrapuntal terms, it may also be understood compositionally as the initial elaboration of the tonic triad, and thus the starting-point for the explanation of a piece in terms of growth and development. It is for this reason that Ursatz is the first concept developed in the definitive formulation of Schenker’s theories, Der freie Satz (1935), and also the starting-point – both graphically and verbally – of all his later analyses. Like its companion term Urlinie, the meaning of Ursatz changed in the course of Schenker’s development as a theorist. In the early to mid-1920s it denoted something a little more elaborate: ex.2 shows the Ursatz of the first movement of Mozart’s G minor Symphony in Das Meisterwerk in der Musik, ii (1926). By the time of the ‘Eroica’ analysis (1930), this level of elaboration would have been called the ‘erste Schicht’ or ‘first [middleground] layer’.
WILLIAM DRABKIN Ursillo, Fabio (b Rome, late 17th century; d Tournai,1759). Italian composer and lutenist active in the south Netherlands. He was in Rome in 1720, and some time after that, probably at Rome or Naples, met Count François-Ernest of Salm-Reifferscheid, the future Bishop of Tournai, and in 1725 followed him to Tournai. He is said to have been a man of difficult character; he changed his employment several times, working for the Chevalier d’Orléans, grand prior of France (1730), then returning to the bishop’s service in 1733, moving to the Württemberg court in 1744, and finally settling in 1746 with the bishop; he also had opportunities to perform in Brussels, notably at the court. The bishop guaranteed him an annual income of 1200 livres as well as food, lodging, fuel, light and ten Spanish pistoles for clothing. In 1759 his widow, disregarding her husband’s periods of work elsewhere, claimed food and lodging for herself on the strength of the 34 years during which he had been in the bishop’s service. Fétis confused Ursillo with the Neapolitan composer Fabio. WORKS
BIBLIOGRAPHY Choron-FayolleD EitnerQ FétisB MGG1 (F. Degrada) Vander StraetenMPB, i C. Piot: ‘La musique attachée à la maison du comte de Salm’, Bulletin de l’Académie royale des sciences, des lettres et des beaux-arts de Belgique, 2nd ser., xlix (1880), 693 J. Warichez: Les deux derniers évêques de Tournai sous l’ancien régime (Tournai, 1911), 15ff J. Remacle: Jean-Marie Rousseau et la maîtrise de la cathédral de Tournai au 18e siècle (diss., U. of Leuven, 1974) PHILIPPE MERCIER Ursino, Gennaro (b Roio del Sangro, nr Chieti, 1650; d Naples, in or after 1715). Italian composer. At the age of 12 he entered the Conservatorio della Pietà dei Turchini, Naples, where he was taught by Giovanni Salvatore. From 1675 he was chief assistant to Francesco Provenzale, director of this conservatory, whom he succeeded after his retirement in April 1701; he remained in this position until 1705. He was also assistant to Salvatore, then director of the Conservatorio dei Poveri di Gesù Cristo, from September 1686; he was appointed his successor in 1688 and held this position until 1695. He served too as maestro di cappella of SS Annunziata (1701–15), S Maria in Portico and the Jesuit college. He composed music (now lost) for three dramatic works given at religious institutions in Naples: the comedy Pandora (1690), Il trionfo della croce nella vittoria di Costantino (a ‘scherzo drammatico’ to a text by Giacomo Badiale, 1690, revived 1701) and Iratus in coelos impetus (an ‘armonica fabula’, 1697). A few motets by him survive (in I-Nf); most are for small forces, sometimes with concertato violin parts, but three are for four choirs. KEITH A. LARSON Ursinus [Ursus], Johann. See Beer, Johann. Urso, Camilla (b Nantes, France, 13 June 1842; d New York, 20 Jan 1902). French violinist, active in the USA. She was a child prodigy and at the age of seven became the first girl admitted to the Paris Conservatoire, where she took the first prizes in all her subjects. She came to the USA in 1852, and made her début in New York on 29 October. She appeared in three concerts with the singer Marietta Alboni, then in a series of concerts in New England with the Germania Musical Society. In 1853 she toured with the Germanians and Henriette Sontag. In 1855 she withdrew from public life to Nashville, resuming her career in 1863 with extensive tours of Europe and the USA, as well as Australia (1879, 1894) and South Africa (1895). She appeared in chamber groups and as a soloist with leading orchestras, and was noted for her performances of the Beethoven and Mendelssohn concertos. She retired from concert life in 1895 and settled in New York, where she taught violin and helped to further the activities of the newly formed Women’s String Orchestra. She was an outspoken advocate of professional and economic equality for women as orchestral musicians. BIBLIOGRAPHY C. Barnard: Camilla: a Tale of a Violin (Boston, 1874) A.R. Coolidge: ‘Urso, Camilla’, Notable American Women, ed. E.T. James, J.W. James and P.S. Boyer (Cambridge, MA, 1971) S. Kagan: ‘Camilla Urso: a Nineteenth-Century Violinist’s View’, Signs, ii (1977), 727 A.F. Block: ‘Two Virtuoso Performers in Boston: Jenny Lind and Camilla Urso’, New Perspectives on Music: Essays in Honor of Eileen Southern, ed. J. Wright and S.A. Floyd (Warren, MI, 1992), 355–72 SUSAN KAGAN Urspruch, Anton (b Frankfurt, 17 Feb 1850; d Frankfurt, 7 Jan 1907). German composer, pianist and teacher. He studied composition with Ignaz Lachner and Joachim Raff, and in 1871 went to Weimar to complete his piano studies with Liszt, where his contact with the Weimar circle had a decisive effect on his subsequent development. He then devoted himself to composition, and became in 1878 teacher and, from 1883, professor of counterpoint and composition at the Hoch Conservatory in Frankfurt. Urspruch's compositions were only moderately influenced by the developments taking place at the end of the 19th century and little, if at all, by Wagner. He wrote three operas, Der Sturm (libretto by Pirazzi, after Shakespeare), and Das Unmöglichste von allem and Heilige Cäcilie, both to his own librettos (the orchestration of the last is complete only for Act 1, and sketched for Acts 2 and 3; a complete piano score survives); his other works comprise a large number of songs, both for chorus and for solo voice, a symphony, a piano concerto, a piano quintet and other chamber music, and piano works. His compositions (all in D-F) were popular in their day and are characterized by harmonic originality (including both unusual chromatic progressions and reminders of 16th-century vocal polyphony), ingenious contrapuntal treatment and progressive orchestral style (e.g. Die Frühlingsfrier, a setting of Klopstock's Ode for tenor, chorus and orchestra). He also worked for a revival of Gregorian chant, his extensive research resulting in his publication of Der gregorianische Choral und die Choralfrage (Stuttgart and Munich, 1901). BIBLIOGRAPHY R. Batka: ‘Die Oper “Das Unmöglichste von allem”’, Bohemia (3 Dec 1899) ‘Anton Urspruchs Frühlingsfeier’, Rheinische Musik-Zeitung, i/10 (1900), 109 F. Volbach: ‘Anton Urspruch: ein Gedenkblatt’, Die Musik, vi/2 (1906–7), 288–90 A. Rosser: ‘Anton Urspruch’, Neue Zürcher Zeitung (15 Feb 1907) THEODORA KIRCHER-URSPRUCH Ursprung, Otto (b Gunzlhofen, Upper Bavaria, 16 Jan 1879; d Schondorf, nr Munich, 14 Sept 1960). German musicologist. He studied philosophy and theology at the Freising Hochschule and Munich University from 1899 to 1904, when he was ordained priest; after four years of pastoral work he began to study music, first privately with Gottfried Rüdinger and then with Sandberger and Kroyer at Munich University, where he took the doctorate in 1911 with a dissertation on Jacobus de Kerle. He was attached to St Cajetan's, Munich (1912–26), serving as an army chaplain during World War I, and then as honorary canon to the court church, All Saints, until its closure by the Nazis in 1940; he was honorary professor of music history at Munich University (1932–49). Ursprung's dissertation on Kerle's part in the reforms of the Council of Trent led to his major work, a comprehensive and fundamental survey of Catholic church music, in which he combined his knowledge as a theologian and music historian. His other writings, developing from this primary concern, dealt with the aesthetic bases of church music, the relationship between Gregorian and ancient music, the growth of liturgical music drama, and early Spanish music. He wrote an important book on Munich's musical history and produced editions of works by Kerle and Senfl. WRITINGS Jacobus de Kerle (1531/2–1591): sein Leben und seine Werke (diss., U. of Munich, 1911; Munich, 1913) ‘Spanisch-katalanische Liedkunst des 14. Jahrhunderts’, ZMw, iv (1921–2), 136–60 ‘Die Gesänge der hl. Hildegard’, ZMw, v (1922–3), 333–8 ‘Vier Studien zur Geschichte des deutschen Liedes’: ‘“Mein traut Gesell, mein liebster Hort”: ein Neujahrslied aus ca.1300’, ‘Die Mondseer Liederhandschrift und Hermann “der Münch von Salzburg”’, ‘Wolflin von Lochammer's Liederbuch: ein Denkmal Nürnberger Musikkultur um 1450’, ‘Der Weg von den Gelegenheitsgesängen und dem Chorlied über die Frühmonodisten zum neueren deutschen Lied’, AMw, iv (1922), 413–19; v (1923), 11–30, 316–26; vi (1924), 262–323 ‘Der vokale Grundcharakter des diskantbetonten figurierten Stils’, Musikwissenschaftlicher Kongress: Basle 1924, 364–74 Restauration und Palestrina-Renaissance in der katholischen Kirchenmusik der letzten zwei Jahrhunderte (Augsburg, 1924) ‘Der Hymnus aus Oxyrhynchos (Ende des III. Jahrhunderts: ägyptischer Papyrusfund)’, Theologie und Glaube, xviii (1926), 387–419 ‘Palestrina und Deutschland’, Festschrift Peter Wagner, ed. K. Weinmann (Leipzig, 1926/R), 190–221 ‘Der kunst- und handelspolitische Gang der Musikdrucke von 1462–1600’, Beethoven-Zentenarfeier: Vienna 1927, 168–74 Münchens musikalische Vergangenheit von der Frühzeit bis zu Richard Wagner (Munich, 1927) ‘Alte griechische Einflüsse und neuer gräzistischer Einschlag in der mittelalterlichen Musik?’, ZMw, xii (1929–30), 193–219, 375–8 ‘Die Chorordnung von 1616 am Dom zu Augsburg: ein Beitrag zur Frage der Aufführungspraxis’, Studien zur Musikgeschichte: Festschrift für Guido Adler (Vienna, 1930/R), 137–42 Die katholische Kirchenmusik (Potsdam, 1931) ‘Musikkultur in Spanien’, Handbüch der Spanienkunde, ed. P. Hartig and W. Schellberg (Frankfurt, 1932), 329–57 ‘Des Johannes Werlin aus Seeon grosses Liederwerk (1646–7) als praktisch durchgeführte Poetik’, ZMw, xvi (1934), 321–43, 426 only ‘Um die Frage nach dem arabischen bzw. maurischen Einfluss auf die abendländische Musik des Mittelalters’, ZMw, xvi (1934), 129–41, 355–7, 427 only ‘Celos usw., Text von Calderón, Musik von Hidalgo: die älteste erhaltene spanische Oper’, Festschrift Arnold Schering, ed. H. Osthoff, W. Serauky and A. Adrio (Berlin, 1937/R), 223–40 ‘Das Sponsus-Spiel’, AMf, iii (1938), 80–95, 180–92 ‘Die Ligaturen: ihr System und ihre methodische und didaktische Darstellung’, AcM, xi (1939), 1–16 ‘Die antiken Transpositionsskalen und die Kirchentöne’, AMf, v (1940), 129–52 ed.: K. Huber: Musikästhetik (Ettal, 1954) ‘Hildegards Drama Ordo virtutum: Geschichte einer Seele’, Miscelánea en homenaje a Monseñor Higinio Anglés (Barcelona, 1958–61), 941–58 EDITIONS Jacobus de Kerle: Ausgewählte Werke, 1. Teil: die Preces speciales etc. für das Konzil von Trent (1562), DTB, xxxiv, Jg.xxvi (1926/R) with E. Löhrer: Ludwig Senfl: Sieben Messen, EDM, 1st ser., v (1936) BIBLIOGRAPHY Obituaries: NZM, Jg.121 (1960), 373 only; W. Zentner, Musica, xiv (1960), 740 only H. Schmid: ‘Otto Ursprung zum Gedächtnis’, Mf, xiv (1961), 131–8 [incl. complete list of pubns] KARL GEIRINGER Ursuleac, Viorica (b Czernowitz [Cernăuţi, now Chernovtsy], 26 March 1894; d Ehrwald, Tyrol, 23 Oct 1985). Romanian soprano. She studied in Vienna and made her début at Agram in 1922 as Charlotte. She sang at Cernăuţi, the Vienna Volksoper and the Frankfurt Opera, whose conductor, Clemens Krauss, she later married. In 1930 she moved to Vienna, in 1935 to the Berlin Staatsoper and finally with Krauss to the Staatsoper in Munich (1937–44). She created the leading soprano roles in Strauss’s Arabella (1933, Dresden), Friedenstag (1938, Munich) and Capriccio (1942, Munich) and sang the title role in the public dress rehearsal of Die Liebe der Danae (1944, Salzburg). She also appeared in Elektra, Der Rosenkavalier, Die Frau ohne Schatten, Ariadne auf Naxos and Die ägyptische Helena. Strauss dedicated Friedenstag jointly to Krauss and Ursuleac, and some of his songs to Ursuleac; in all she sang 506 performances of 12 Strauss roles during her career. Ursuleac also created the leading soprano roles in Sekles’s Die zehn Küsse (1926, Frankfurt), Krenek’s Der Diktator (1928, Wiesbaden) and d’Albert’s Mister Wu (1932, Dresden). She appeared regularly at Salzburg, 1930–34 and 1942–3. She made her only Covent Garden appearance in 1934, when she sang in the English premières of Arabella and Švanda the Bagpiper and as Desdemona. Her repertory of 83 roles also included Senta, Sieglinde, Tosca, Turandot and Elisabeth de Valois. Her recordings of the Marschallin, Ariadne, Arabella and, above all, Maria (from a live performance of Friedenstag by the original cast) confirm her lasting reputation as a Strauss interpreter. BIBLIOGRAPHY O. von Pandor: Clemens Krauss in München (Munich, 1955) S. von Scanzoni: Richard Strauss und seine Sänger (Munich, 1961) L. Rasponi: The Last Prima Donnas (New York, 1982), 130–39 I. Cook and A. Frankenstein: ‘Remembering Viorica Ursuleac’, Opera, xxxvii (1986), 22–8 HAROLD ROSENTHAL/ALAN BLYTH Urteaga, Irma (Graciela) (b San Nicolás, Argentina, 7 March 1929). Argentine composer and pianist. She studied in Buenos Aires at the National Conservatory and at the Instituto del Teatro Colón, where she studied choral and orchestral conducting. She later taught at both institutions. Between 1974 and 1978 she was director of the opera studio and house répétiteur at the Teatro Colón, where she later directed an opera workshop (1984–93); she did similar work for Ecuador Opera during the 1986–8 seasons. Urteaga’s compositions, mainly vocal works, have won several prizes. She acknowledges the influence of Prokofiev and Bartók and then of Berg and Penderecki in her early works, and later developed her own style, which is essentially neo-romantic, with occasional use of avant-garde techniques. This combination is particularly apparent in La maldolida (1987), a humorous and affectionate operatic parody. WORKS
BIBLIOGRAPHY L. Kurucz: Vademecum de la música argentina (Buenos Aires, 1983) P. Adkins Chiti: Donne in musica (Rome, 1982) B. Luccheli: Guía de la música argentina (Buenos Aires, 1985) D. Grela: Catálogo de obras musicales argentinas 1950–92 (Santa Fe, 1993) M. Ficher, M.F. Schleifer and J.M. Furman: Latin American Composers: a Biographical Dictionary (Lanham, MD, and London, 1996) W.A. Roldán: Diccionario de música y músicas (Buenos Aires, 1996) RAQUEL C. DE ARIAS Urtext (Ger.: ‘original text’). A term used in studying and editing musical sources to signify the earliest version of the text of any composition, musical or otherwise, a version that is usually no longer extant; it is also used to signify a modern edition of earlier music which purports to present the original text, without editorial addition or emendation. (See Editing.) The concept was developed in the study of biblical and medieval texts, where no autograph or (in most cases) other contemporary source survives. Since the act of copying always introduces changes in the text, deliberately or otherwise, the absence of a Holograph means that many details are subject to question. The value of the search for a musical Urtext is debatable. On one hand, it would of course be interesting to know exactly what a composer wrote. But, on the other, there is no evidence that any composer before, at the earliest, the late 18th century was concerned that the holograph should be followed exactly. If a composer saw the notated version as one among a number of equally possible alternatives, then any other versions in the extant sources may have equal validity. Nevertheless, the processes of stemmatics remain of great value, for they help to validate the surviving versions, to indicate what they represent – as regional versions, as evidence for performing practices, or as records of special occasions – and occasionally to reveal actual decisions on the composer’s part. This touches on a second difficult area in the search for any ‘original’ version: that of changes made by the composer during and (particularly) after the act of composition. The doctrine of the ‘Fassung letzter Hand’ – that the last version, carrying the composer’s final thoughts, is deemed to be the only one worth recovering – raises serious questions about when a composer believed a work was complete and finished. Some composers (Liszt, Bruckner and Boulez are obvious examples) clearly go through continuing rethinkings of works: there are then apparently several Urtexts, representing different versions. Other composers make smaller changes, sometimes affecting little more than the mode of notation, so that it cannot be said which version is the only possible and its source the single provider of an Urtext. This claim that a modern edition is an ‘Urtext’ is difficult to support. As the foregoing makes clear, any original text rarely exists for music composed before the 18th century, and any attempt at its reconstruction is not only impossible but also of questionable value. Even for music from 1700 on, few sources can be transcribed into a modern edition without editorial intervention. With manuscripts as difficult to read as those of Beethoven, many of the scratches and splotches require interpretation, and many of these even involve pitches. For other composers, there are similar problems with the placing of dynamic marks, the duration of slurs, a confusion between accents and crescendo signs or between staccato and marcato marks, and so on. Finally, again, many composers revise both details and large-scale elements, and it is not always possible to establish which version was the later. Any of these requires editorial intervention and renders suspect the claims of any modern Urtext edition. Because of these elements, an Urtext edition is no less a reflection of its times than one with an avowed editorial intervention, as has been recognized for the various editions of Bach’s music. BIBLIOGRAPHY P. Bleier: ‘Urtextausgaben – erwünscht und unerwünscht’, NZM, cxix (1958), 744–6 G. Feder: ‘Urtext und Urtextausgaben’, Mf, xii (1959), 432–54 G. von Dadelsen: ‘Die “Fassung letzter Hand” in der Musik’, AcM, xxxiii (1961), 1–14 K.H. Füssl: ‘Urtext-Ausgaben: Probleme und Lösungen’, ÖMz, xxviii (1973), 510–14 C.-H. Mahling: ‘Urtextausgabe – Kritische Ausgabe: Voraussetzung für “richtige” Interpretation?’, Vom Notenbild zur Interpretation, ed. E. Thom and R. Bormann (Magdeburg, 1978), 26–30 L. Finscher: ‘Gesamtausgabe – Urtext – Musikalischer Praxis: zum Verhältnis von Musikwissenschaft und Musikleben’, Musik, Edition, Interpretation: Gedenkschrift Günter Henle, ed. M. Bente (Munich, 1980), 193–8 H. Meister: ‘Die Praxis der “gelenkten Improvisation” und der “Urtexte”: ein editorisches Problem?’, Musik, Edition, Interpretation: Gedenkschrift Günter Henle, ed. M. Bente (Munich, 1980), 355–68 K. Rönnau: ‘Bemerkungen zum “Urtext” der Violinsoli J.S. Bachs’, Musik, Edition, Interpretation: Gedenkschrift Günter Henle, ed. M. Bente (Munich, 1980), 417–22 W. Boetticher: ‘Zum Problem eines Urtextes bei Robert Schumann und Anton Bruckner’, GfMKB: Bayreuth 1981, 404–7 L. Somfai: ‘Manuscript versus Urtext: The Primary Sources of Bartók’s Works’, SM, xxiii (1981), 17–66 R. Pascall: ‘Brahms and the Definitive Text’, Brahms: Biographical, Documentary and Analytical Studies, ed. R. Pascall (Cambridge, 1983), 59–75 S. Boorman: ‘The Uses of Filiation in Early Music’, Text: Transactions of the Society for Textual Scholarship, i (1984), 167–84 P. Badura-Skoda: ‘Das Problem “Urtext”: ein fiktives Interview zwischen dem Musikkritiker Joachim Császár und Paul Badura-Skoda’, Musica, xl (1986), 222–8 P. Brett: ‘Text, Context, and the Early Music Editor’, Authenticity and Early Music, ed. N. Kenyon (London, 1988), 83–114 K. Levy: ‘Charlemagne’s Archetype of Gregorian Chant’, JAMS, xl (1987), 1–30 L. Somfai: ‘Arbitary or Historic Reading of the Urtext?’, MJb 1987–8, 277–84 M. Betz: ‘Bearbeitung, Rekonstruktion, Ergänzung: Der erste Satz der Sonate A-Dur bwv1032 für Flöte und obligates Cembalo von J.S. Bach’, Tibia, xiii (1988), 158–63 G. von Dadelsen: ‘Über Quellenausfall und Hypothesenbildung’, Das musikalische Kunstwerk … Festschrift Carl Dahlhaus, ed. H. Danuser and others (Laaber, 1988), 127–30 M. Querbach: ‘Der konstruierte Ursprung: zur Problematik musikalischer Urtext-Ausgaben’, NZM, cxlix (1988), 15–21 C. Cai: ‘Was Brahms a Reliable Editor? Changes made in Opuses 116, 117, 118 and 119’, AcM, lxi (1989), 83–101 G. Feder: ‘Das Autograph als Quelle wissenschaftlicher Edition’, Musikerautographe: Vienna 1989, 115–44 D. Franklin: ‘Reconstructing the “Urpartitur” for WTC II: a Study of the London Autograph (BL, Add. Ms.35021)’, Bach Studies, ed. D. Franklin (Cambridge, 1989), 240–79 E. Hettrich: ‘Autograph – Edition – Interpretation’, Musikerautographe: Vienna 1989, 165–84 J. Kallberg: ‘Are Variants a Problem? “Composer’s Intentions” in editing Chopin’, Chopin Studies, iii (1990), 257–67 G. Feder and H. Unverricht: ‘Urtext ed edizione Urtext’, La critica del testo musicale: metodi e problemi della filologia musicale, ed. M. Caraci Vela (Lucca, 1995), 75–96 A.M. Grassi: ‘Varianti d’autore e varianti di trasmissione nel Trio op.114 di Johannes Brahms: osservazioni sui testimoni manoscritti e a stampa’, La critica del testo musicale, ed. M. Caraci Vela (Lucca, 1995), 325–57 S. Boorman: ‘The Musical Text’, Redefining Music, ed. N. Cook and M. Everist (London, 1997), 695–725 STANLEY BOORMAN Urucungu. See Berimbau. |
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