EVI - electronic valve instrument

Dramatic: To Catch a Thief (sound effects for film), 1954; Crucible (sound effects for opera by R. Ward), 1956; Glittering Gate (sound effects for opera by P. Glanville-Hicks), 1956; Macbeth (incid music, J. Duffy), 1956; Mathematics (TV score), tape, 1957; The Boy who Saw Through (film score), 1959; No Exit (film score), 1962; Line of Apogee (film score), 1967; Mourning Becomes Electra (sound effects for the opera by M. Levy), 1967; The Cannibals (incid music), 1969; 2 Images for the Cptr Piece (film score), 1969; Duck, Duck (film score), 1970; We (incid music for radio play), 1970; Flibbertygibbet (sound effects for musical by W. Wright), 1971

Tape: Transposition, Reverberation, Experiment, Composition, 1951–2; Sonic Contours, 1952; Underwater Valse, 1952; Tape Rec Piece, 1956; Metamorphoses, 1957; Improvisation on 4711, 1958; Linear Contrasts, 1958; Studies in Sound, 1958; Studies in Sound, Plus, 1959; Wireless Fantasy (De Forrest Murmurs), 1960; Of Wood and Brass, 1964–5; Suite from Music for Films, 1967; Cptr Piece, 1968; 4 Miniatures, c1968; 2 Sketches for Cptr Piece no.2, 1971; Conflict (An Elec Scene from Creation), 1973–5

Tape and vv or insts: Creation Prologue, 4 choruses, tape, 1960–61; 3 Scenes from Creation, 1960–71, rev. 1973: Prologue ‘Enuma elish’, 2 choruses, tape; Interlude, S, Mez, tape; Epilogue ‘Spell of Creation’, S, chorus; Colloquy, orch, tape rec, various chairs, 1976; 2 Experiments, EVI, tape, 1979, collab. N. Steiner; Celebration 1980, EVI, 6 wind, str, tape, 1981, rev. as Divertimento 1980–81, EVI, 3 wind, 3 brass, str, perc, tape; Mimicry, a sax, tape, 1982; Dialogues and Contrasts, brass qnt, tape, 1984

Other: Omnia computatas est, cptr + org, 1967; 4 Studies, cl, EVI, 1979; Pentagram, ob, EVI, 1980; Novelette pour Bourges, EVI, pf, 1983

Works with Luening: Incantation, tape, 1953; Rhapsodic Variations, orch, tape, 1953–4; A Of Identity (ballet), tape, 1954; Poem in Cycles and Bells, orch, tape, 1954; Carlsbad Caverns (TV score), tape, 1955; King Lear (incid music), 1956 [3 versions]; Back to Methuselah (incid music), tape, 1958; Ulysses in Nighttown (incid music), tape, 1958; Concerted Piece, orch, tape, 1960; Incredible Voyage (TV score), tape, 1968, collab. Shields, Smiley

Recorded interviews in US-NHoh

WRITINGS

‘Sound Materials in the Experimental Media of Musique Concrète, Tape Music and Electronic Music’, JASA, xxix (1957), 768 only

‘The Processes of Experimental Music’, Journal of the Audio Engineering Society, vi (1958), 202–8)

‘Columbia-Princeton Electronic Music Center’, RBM, xiii (1959), 129–31

‘Applications of Modern Technology in Musicology, Music Theory, and Composition in the United States’, Yugoslav-American Seminar on Music: Sveti Stefan 1968, 123–42

with O. Luening: Electronic Music 1952: the First Compositions (New York, 1977)

BIBLIOGRAPHY

EwenD

C. Whittenberg: ‘Ussachevsky’s Film Music’, American Composers Alliance Bulletin, xi/1 (1963), 5 only

J. Paulson: The History, Current Status and Possible Future of Electronic Music as Exemplified in the Works of Vladimir Ussachevsky (Thesis, U. of Utah, 1976)

S.H. Duehlmeier: Vladimir Ussachevsky: Life and Works with Emphasis on the Piano Compositions (diss., Boston U., 1985)

M.L. Mecham: The Choral Music of Vladimir Ussachevsky (diss., U. of Illinois, Urbana-Champaign, 1985)

Vladimir Ussachevsky: in Celebration of his Seventy-Fifth Birthday (Salt Lake City, UT, 1987)

R. Harksock and C. Rahkonen: Vladimir Ussachevsky: a Bio-Bibliography (Westport, CT, 2000)

CHARLES WUORINEN/CARL RAHKONEN

Ussel, Gui d'.

See Gui d'Ussel.

Ustād.

Honorific title (derived from Arabic ustādh: ‘master’) for a Muslim master musician in India, Pakistan, Afghanistan, Iran and neighbouring regions. The term is applied only to males, and is also used for a highly regarded teacher, writer, poet or visual artist. To be called an ustād implies that one has studied over a long period of time and that one has a circle of students. The title Ustād, preceding the musician's name (e.g. Ustād Salāmat Ali Khān), is used within classical music genres. It may be awarded by an official committee or may come into gradual use, applied generally and informally through social consensus. In eastern Afghanistan and northern Pakistan ustāz is an alternative form. In western Afghanistan the title Ustā (preceding the name, e.g. Ustā Karīm) is applied to low status players of the shawm (sornā) and drum (dohol) duo.

JOHN BAILY

Ústí nad Labem

(Ger. Aussig).

City in north Bohemia with a Czech-German cultural history. The neo-Baroque Stadttheater was built in 1907–8 by the architect Alexander Graf, with decoration by Eduard Veit; it was repaired in 1947 and reconstructed in 1987–93 with 524 seats. Primarily German, it was first run by the actress Maria Pospischil (Pospíšilová, 1909–13). A later prosperous managing director, Alfred Huttig (1920–29), engaged the conductor Adolf Kienzl (1921–2), a pupil of Zemlinsky, and organized the Maifestspiele with celebrated guest singers, giving such works as Mahler's Das Lied von der Erde. Subsequent conductors during Huttig's regime included Josef Kribs (1924–5), Bruno Zilzer (1925–7), who presented Zemlinsky's Es war einmal, and Viktor Ullman (1927–8), whose repertory included Tristan (in its Ústí première), Ariadne auf Naxos, The Kiss and Jonny spielt auf. There was also, from the time of Czech independence in 1918, a two-month Czech season alongside the eight-month German one, with visiting opera troupes from Olomouc and České Budějovice.

In 1945 the Divadlo Severu (Northern Theatre) brought Czech opera from Teplice. Then came the Ústecko-Karlovarská Zpěvohra (Musical Theatre of Ústí and Karlovy Vary), which played in those two cities, followed in 1952 by the Divadlo Zdeňka Nejedlého (Zdeněk Nejedlý Theatre) in Ústí. It toured regularly to Most, Teplice and elsewhere, and formed links with the opera in nearby Dresden. In 1990 it came under the jurisdiction of the municipality and was renamed the Městské Divadlo Ústí nad Labem (Ústí Town Theatre). Its repertory ranges from Baroque to contemporary works, and has included works on the grand scale, such as Boris Godunov (1952 and 1967), Der fliegende Holländer (1954) and Tristan (1972, the first Czech performance since 1945). The theatre orchestra also gives regular concerts, and played Verdi's Requiem at the neighbouring site of the Theresienstadt concentration camp. Conductors who worked in Ústí included Josef Bartl (1946–52) and František Vajnar (1974–80), and among singers in the company were Vladimír Bauer (1952–6), Naděžda Kniplová (1957–9), Vilém Přibyl (1960–61) and Václav Zítek (1960–69).

Musical education takes place in three music schools, two piano schools and two zither schools. There is also a great tradition of choral singing, led by the Ústecký Pěvecký Sbor (Ústí Singing Choir, founded 1956), the Chorea Academica of the Pedagogical Faculty (1959) and the Ústecký Dětský Sbor (Ústí Children's Choir). The State Scientific Library includes a music department, and there is a regional station of Czech Radio.

BIBLIOGRAPHY

GroveO (E. Herrmannová)

F. Kuttin: 20 Jahre Stadttheater Aussig, iii (Ústí nad Labem, 1929), 241–7

EVA HERRMANNOVÁ

Ustinoff, Nicolai.

See Gedda, Nicolai.

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