|
Архитектура Аудит Военная наука Иностранные языки Медицина Металлургия Метрология Образование Политология Производство Психология Стандартизация Технологии |
|
|
Архитектура Аудит Военная наука Иностранные языки Медицина Металлургия Метрология Образование Политология Производство Психология Стандартизация Технологии |
Uspensky, Viktor Aleksandrovich
(b Kaluga, 19/31 Aug 1879; d Tashkent, 9 Oct 1949). Russian composer and ethnomusicologist. He studied composition with Lyadov, and also the harp at the St Petersburg Conservatory (1908–13), and in 1918 he was a co-founder of the Tashkent Conservatory, where he served as director and harmony lecturer. In 1925 he took part in an ethnographical expedition to the Turkmen SSR, continuing this work with three further expeditions, on which he was joined by Belyayev and later Mosolov, to the Fergana Basin and the Turkmen SSR (1927–8), another to the Fergana Basin (1931) and research in the Uzbek SSR. He held posts at the Uzbek Music Technical School as director of the national music department (1928–34), theory lecturer (from 1936) and director of the department of theory and composition (from 1936). In addition, he worked at the academic research institute for the arts in the folklore department and in the laboratory for the reconstruction of Uzbek folk instruments, holding appointments as academic assistant (1932–48) and subsequently director. Among his honours were the titles People's Artist of the Turkmen SSR (1927) and People's Artist of the Uzbek SSR (1937). WORKS (selective list)
WRITINGS with V.M. Belyayev: Turkmenskaya muzïka (Moscow, 1928) Uzbekskaya vokal'naya muzïka (Tashkent, 1950) BIBLIOGRAPHY BDRSC SKM J.B. Pekker: V.A. Uspenskiy (Moscow, 1953, 2/1958) DETLEF GOJOWY Uspensky, Vladislav Aleksandrovich (b Omsk, 7 Sept 1937). Russian composer. He studied at the Music College attached to the Moscow Conservatory under Frid, whilst benefiting from consultations with Kabalevsky (1955–7). He then attended the Leningrad Conservatory, studying under Arapov (1957–62), and later, as a postgraduate, under Shostakovich (1962–5). He runs the composition class at the St Petersburg Conservatory, and was appointed professor in 1982. He is the secretary of the Russian Union of Composers, and is a People's Artist of Russia (1988). Uspensky has composed in almost all of the major musical genres and in a wide variety of styles. Thus, alongside Interventsiya (‘Intervention’), an opera with a traditional dramatic structure, one also finds the opera-pamphlet Voyna s salamandrami (‘War Against the Salamanders’), which gained especial popularity in its television version. The latter incorporates elements of the political theatre piece in the spirit of Brecht and Weill. Besides instrumental concertos, in which he preserves many of the traditional attributes of the genre, he has also written works such as Muzïka dlya skripki i orkestra (‘Music for Violin and Orchestra’) and Muzïka dlya strunnïkh i udarnïkh (‘Music for strings and percussion’) which are based on free, rhapsodic structures. In his oratorio S toboy i bez tebya (‘With You and Without You’) Uspensky introduces snatches of popular songs. Concerts devoted to the composer's works and the performance of individual compositions have taken place in all the major cities of Russia, and also in England, France, Germany, Israel, Japan and other countries. Uspensky's songs have entered the repertory of variety artists, and have gained widespread popularity throughout Russia. WORKS (selective list)
WRITINGS ‘Velikoy otechestvennoy voyne posvyashchayetsya: o sobstvennïkh sochineniyakh’ [Dedicated to the Great Patriotic War: concerning the composer's own works], SovM (1980), no.6, p.128 only ‘Chto uslïshal kompozitor’ [What the composer heard], Rasskazï leningradskikh kompozitorov o svoey muzïke, iii (Leningrad, 1987), 40–53 ‘O P.A. Serebryakove’ [On Serebryakov], Pavel Serebryakov: vospominaniya, stat'i, materialï (St Petersburg, 1996), 108–11 BIBLIOGRAPHY D. Shostakovich: ‘Muzïka, rozhdyonnaya segodnya’ [The music born today], Literaturnaya gazeta (4 Dec 1968) S. Khentova: ‘V rabote nad operoy’ [During work on the opera], O muzïke i muzïkantakh nashikh dney (Leningrad and Moscow, 1976), 178–92 [on the opera Interventsiya] A. Yusfin: ‘Vladislav Uspenskiy’, Kompozitorï Rossii, iii (Moscow, 1983), 239–62 N. Entelis: Vladislav Uspenskiy, monograficheskiy ocherk [Uspensky, an essay in monographic form] (Leningrad, 1987) MIKHAIL GRIGOR'YEVICH BYALIK Usper [Sponga, Spongia, Sponza], Francesco (b Parenzo [now Poreč], Istria, c1560/61; d Venice, 24 Feb 1641). Italian composer, organist and priest. The family name was originally Sponga. He studied with Andrea Gabrieli and must therefore have settled in Venice before 1586. He had previously served as a priest in Capodistria. In the late 1580s he was the tutor of Cesare Usper (d 1589), son of Lodovico Usper (d 1601), a lawyer and minor official of the confraternity of S Giovanni Evangelista, Venice, to whom Francesco dedicated his Ricercari. Adopting the surname of this patron, Francesco Usper devoted much of his life to the confraternity, which he served as organist (1596–1607), chaplain (1607–24), choirmaster (1624–6), manager (capo) of the adjoining church (1626–41) and administrative officer (mansionario) (1631–41). He was also sporadically active elsewhere in Venice. He was organist at the church of S Salvatore by 1614 and it was in this capacity that he was cited in 1615 for having provided one of the imitative subjects worked out in two canons for four voices in Romano Micheli’s collection Musica vaga et artificiosa. He collaborated with G.B. Grillo and Monteverdi in the composition of a requiem mass (now lost) for the Medici Grand Duke Cosimo II performed at the church of SS Giovanni e Paolo in May 1621; he wrote the gradual and tract. He served at S Marco as a substitute organist for Grillo in 1622 and early in 1623. However, he was disappointed in 1623 and again the following year in his attempts to attain a permanent position as organist there. In 1617 and 1623 he was engaged for the feast of S Roche (16 August) at the confraternity dedicated to the saint. He lived near S Maria Gloriosa dei Frari in the parish of S Stin. Usper was unusually sensitive to words in his vocal works and to form in his instrumental works. He continued certain popular local customs of the later 16th century by including a battle madrigal in his 1619 collection and some polychoral psalm settings in that of 1627. He saw himself as an exponent of conservative styles of composition, which he contrasted in the preface of his 1614 collection with the ‘strepitoso’ (raucous) music then coming into fashion. Such conservatism did not, however, prevent his composing skilfully and effectively in the newer accompanied and concerted styles. His instrumental works, although few in number, are significant for various reasons. The four arie francesi in his first publication are among the earliest Venetian ensemble canzonas. His two sinfonias, two canzonas, two capriccios and single sonata in the 1619 collection show notable advances in the differentiation of instrumental genres. One sinfonia, proclaimed by Einstein as a forerunner of the concerto grosso, features concertino passages for recorder and chitarrone alternating with a homophonic ritornello for string orchestra; but string instruments and trombones still form the nucleus of his orchestra, as they did for Giovanni Gabrieli. The recent recovery of all the parts from the 1619 collection (removed from Berlin in World War I) in the library of the Jagiellonian University, Kraków, has facilitated more extensive study of Usper’s mature compositions. Five undated sacred vocal works have also been recovered (in D-PI). Secular vocal works by Usper were published in collections that appeared in Nuremberg (1604) and Copenhagen (1606) but may have been assembled in Venice by pupils and associates of Giovanni Gabrieli; the Danish composer Borchgrevinck, who edited the 1606 anthology, was such a pupil. WORKS
BIBLIOGRAPHY A. Einstein: ‘Ein Concerto Grosso von 1619’, Festschrift Hermann Kretzschmar (Leipzig, 1918/R), 26–8 D. Arnold: ‘Music at a Venetian Confraternity in the Renaissance’, AcM, xxxvii (1965), 62–72 E. Selfridge-Field: Venetian Instrumental Music from Gabrieli to Vivaldi (Oxford, 1975, 3/1994) E. Stipčević: ‘Francesco Sponga-Usper: compositore veneziano di origine istriana – considerazioni preliminari’, Atti del Centro di ricerche storiche di Rovigno, xvi (1985–6), 165–231 G. Vio: ‘Musici veneziani dei primi decenni del seicento: discordie e busterelle’, Rassegna veneta di studi musicali, v–vi (1989–90), 375–85 S. Bonta: ‘The Use of Instruments in the Ensemble Canzona and Sonata in Italy, 1580–1650’, Recercare, iv (1992), 23–43 ELEANOR SELFRIDGE-FIELD Usper [Sponga, Sponza], Gabriele (b ?Parenzo [now Poreč], Istria; fl 1609–32). Italian composer and organist, nephew and apparently pupil of Francesco Usper. He lived with his uncle in Venice. In 1609 he unsuccessfully sought appointment as organist at the confraternity of S Giovanni Evangelista. He composed 13 Madrigali concertati for two to four voices (Venice, 2/1623), and had earlier contributed two sinfonias, a psalm setting (Laudate dominum), an Ave regina for alto solo, a Credo for five voices and two other sacred vocal works to Francesco’s Messa, e salmi (1614) and two sonatas, a sinfonia and two polychoral motets to his Compositioni armoniche (1619). He also composed one vocal work in manuscript in the Stadtarchiv, Pirna (see Usper, Francesco). Gabriele Usper’s works are much more modern than his uncle’s. The bassoon is emphasized in the pieces published in 1619 (one of which includes imitations of the bagpipe and lira da braccio), and Monteverdi’s influence is apparent in his madrigals. BIBLIOGRAPHY G. Radole: ‘Musica e musicisti in Istria nel Cinquecento e Seicento’, Atti e memorie della Società istriana di archaeologia e storia patria, xii (1965), 210ff E. Selfridge-Field: Venetian Instrumental Music from Gabrieli to Vivaldi (Oxford, 1975, 3/1994) E. Stipčević: ‘Francesco Sponga-Usper: compositore veneziano di origine istriana – considerazioni preliminari’, Atti del Centro di ricerche storiche di Rovigno, xvi (1985–6), 165–231 E. Stipčević: ‘Gabriele Sponga-Usper: compositore manierista’, Musica, storia, folklore in Istria: studi e contributi offerti a Giuseppe Radole (Trieste, 1987), 81–96 ELEANOR SELFRIDGE-FIELD |
Последнее изменение этой страницы: 2019-04-19; Просмотров: 227; Нарушение авторского права страницы