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Архитектура Аудит Военная наука Иностранные языки Медицина Металлургия Метрология Образование Политология Производство Психология Стандартизация Технологии |
Ustvol'skaya, Galina Ivanovna
(b Petrograd, 17 June 1919). Russian composer. She studied at the music college attached to the Leningrad Conservatory (1937–9) and then with Shostakovich and Steinberg at the Conservatory itself (1939–47) and later undertook postgraduate studies there (1947–50). Her education was interrupted by a period of service at a military hospital during World War II. She taught composition at the music college attached to the Leningrad Conservatory (1947–75); throughout her time there, her class was the centre of attraction for the most gifted students, among whom were the composers Banevich, Tishchenko and Veselov. Shostakovich so admired Ustvol'skaya's music that he incorporated some of her ideas into his own works; for example, the second subject of the finale of her Trio for clarinet, violin and piano (1949) appears in his Fifth String Quartet, op.92 and in the Suite op.145 (No.9, ‘Immortality’). In Ustvol'skaya's earliest works of her student years teachers noted the strength, clarity and originality of her talent. In her works of the 1940s and 50s, some of which were programmatic, she was attracted by sunny images of childhood (the orchestral suites Detskaya (‘The Children's Room’) and Pionyorskaya) and by the energy of youth (the suite Sportivnaya). She then wrote works in genres and fields from which she later turned away – a number of vocal works such as the ballad Son Stepana Razina (‘Stepan Razin's Dream’) and the cantata Chelovek s gorï vïsokoy (‘The Man from the Mountain High’) and film scores; although some of the latter were later arranged in suite form, she did not return to these fields after the mid-1950s. Soon after this she also ceased to use folk-song themes either in direct quotation or in stylized form; she had, for example, used material from a bïlina (heroic folktale) in Son Stepana Razina and the Sinfonietta. The orchestral piece Podvig geroya (‘A Hero's Exploit’) won an All-Union prize and was written for the 40th anniversary of the October Revolution, while the symphonic poem Ogni v stepi (‘Fires in the Steppe’) was composed for the 40th anniversary of the Komsomol. At the same time, Ustvol'skaya worked on the First Symphony and instrumental pieces such as the Octet; this led to a turning-point in her work and the abandonment of previous ideas, themes and forms. Ustvol'skaya's First Piano Sonata may be regarded as the starting point in her compositional evolution. Although her early pieces reflect the influence of Shostakovich (which she decisively repudiated in an interview in the 1990s), this influence and the neo-classicism of the Piano Concerto were quickly left behind, and she developed a pathetic, declamatory quality comparable with Musorgsky and Mahler, although the tragic dimension of her music soon developed hitherto unprecedented heights and depths. The strong, ascetic style of her mature works stands apart from mainstream contemporary techniques. The profound, emotional world of her music is polarized between the opposing forces of silence and tense protest. Abrupt changes in mood are effected through extreme shifts in texture and dynamics: meditative moments, with broad textures and dynamics as low as ppppp, are contrasted with raging sections of dense textures and fffff dynamic markings. At times, bar-lines are dispensed with and lines move independently of each other, invoking, in appearance at least, different types of psalmodic chant – Gregorian plainsong, Russian Orthodox chant (znamennīy rospev) or the mourning ritual of the folk tradition. At other times, Ustvol'skaya introduces bars with single beats, the presence of a strong beat without its antithesis giving the music hypnotic power. Another characteristic technique involves chains of single notes, or clusters, of equal duration moving along the diatonic scale. The means of musical expression used by Ustvol'skaya are maximally hyperbolized and taken to their extreme limits. This finds expression in her dynamic, articulation and agogic markings. In her mature works, Ustvol'skaya has concentrated on composing for instruments. Although several other symphonies include voice, vocal parts are usually very brief and non-traditional. They are either conceived as an instrumental line, albeit the principal one, or used to recite a proclamation or prayer (e.g. the speaker's role in symphonies no.2–4). Avoiding the traditional orchestra, she composes for unique ensembles, for very unusual combinations of soloists. Nevertheless, the composer maintains that the works are not chamber music and are unconnected with the early music renaissance. Although Ustvol'skaya uses sacred texts, her music is not religious in an Orthodox sense, nor, in the composer's opinion, does it have any specifically religious meaning. Her music is linked to the St Petersburg tradition of Dostoyevsky and Andrey Bely. She has spent her entire life in the city, where, unconnected with any groups or associations, she leads an enclosed and externally isolated life (she has made only one trip abroad, to Amsterdam in 1995). WORKS (selective list)
BIBLIOGRAPHY L. Rappoport: Galina Ustvol'skaya (Moscow, 1959) K. Yuzhak: ‘Iz nablyudeniy nad stilem G. Ustvol'skoy’ [Observations on Ustvol'skaya's style], Stilevïye tendentsii v sovetskoy muzïke 1960–1970gg, ed. A.N. Kryukov (Leningrad, 1979), 83–103 B. Kats: ‘Sem' vzglyadov na odno sochineniye’ [Seven views of one work], SovM (1980), no.2, pp.9–17 L. Andreyev: ‘Zametki o stile Galinï Ustvol'skoy’ [Notes on Ustvol'skaya's style], Muzïki Rossii, ed. Ye. Grosheva and A. Grigor'yeva, iv (1982), 240–60 O. Malov, ed.: Metodicheskiye rekomendatsii k osvoyeniyu notnogo teksta v fortepiannoy muzïke XX veka [Methodical recommendations on working with 20th century piano music] (Leningrad, 1984), 41–2 A. Sanin: ‘Galina Ustvol'skaya: slovo skazano’ [Ustvol'skaya: the word is said], SovM (1990), no.10, pp.10–15 L. Blois: ‘Shostakovich and the Ustvol'skaya Connexion: a Textual Investigation’, Tempo, no.182 (1992), 10–18 V. Suslin: ‘Muzïka dukhovnoy nezavisimosti: Galina Ustvol'skaya’ [Music of spiritual independence: Ustvol'skaya], Muzïka iz bïvshego SSSR, ed. V. Tsenova and V. Barsky, ii (Moscow, 1992), 141–56 A. Gnatenko: ‘Iskusstvo kak ritual: razmïshleniya o fenomene Galinï Ustvol'skoy’ [Art as ritual: reflections on the phenomenon of Ustvol'skaya], MAk (1995), nos.4–5, pp.24–32 O. Gladkova: Galina Ustvol'skaya: muzyka kak navashdenie (St Petersburg, 1999) LYUDMILA KOVNATSKAYA Ut. The first degree of the Guidonian Hexachord. See also Solmization, §I. In French usage, the note C. See Pitch nomenclature. Utendal [Utenthal, Ausm Thal], Alexander (b Netherlands, c1530–40; d Innsbruck, 7 May 1581). Netherlandish composer. According to his own account he was in the service of the house of Habsburg from an early age. He was presumably a member of the court chapel of the widowed Queen Maria of Hungary, sister of the Emperor Ferdinand I. In 1564 he went as an alto into the court choir of the emperor's son, Archduke Ferdinand, at Prague. On becoming governor of the Tyrol the archduke took up residence at Innsbruck, and Utendal accompanied him there in 1566. In the Innsbruck court chapel he also gave the choristers music lessons, becoming deputy Kapellmeister probably not later than 1572. He held this post until his death, rejecting an offer in 1580 to succeed Scandello as Kapellmeister of the Dresden court chapel. Utendal's work embraces a wide range of sacred and secular forms: much of his music is polyphonic in texture, richly scored and containing both chromatic and polychoral elements, in the manner of the more progressive Netherlandish composers of the time, such as Lassus, Christian Hollander and Ivo de Vento. His songs are in general characterized by the predominance of the upper voice, the text being dramatically treated in madrigalian fashion; he derived most of his German songs from traditional and popular sources. Although he certainly did not have the same importance as Jacob Regnart, who succeeded him at Innsbruck, he was greatly esteemed by his contemporaries: his compositions were included in many printed collections and manuscripts of the time and his name was frequently mentioned in literary sources of the late 16th century. Joachim Burmeister, in his Musica poetica (Rostock, 1606), named him with Leonhard Lechner and Johann Knöfel as a representative of the stylus sublimis. A feature of his works is the careful notation of accidentals involving the early use of the natural instead of the sharp sign to cancel a flat. WORKS Editions: Geistliche und weltliche Lieder, ed. F. Commer (Berlin, 1870)Musica sacra, xx, ed. F. Commer (Regensburg, 1879)Ausgewählte Madrigale, xlii, xlix, ed. W. Barclay Squire (Leipzig, 1913)Acht Lied- und Choralmotetten, Cw, xxx, ed. H. Osthoff (1934/R)
BIBLIOGRAPHY SennMT O. Kade: ‘Nachtrag zu Alexander Utenthal oder Utendal’, MMg, viii (1876), 52–61, esp. 59, 115–16 J. Lechthaler: Die kirchenmusikalischen Werke von Alexander Utendal (diss., U. of Vienna, 1919) H.J. Moser: ‘Das deutsche Chorlied zwischen Senfl und Hassler’, JbMP 1928, 43–58, esp. 51 G. Gruber: Das deutsche Lied in der Innsbrucker Hofkapelle des Erzherzogs Ferdinand 1567–1596 (diss., U. of Vienna, 1928) H. Osthoff: Die Niederländer und das deutsche Lied, 1400–1640 (Berlin, 1938/R) W. Senn: ‘Innsbrucker Hofmusik’, ÖMz, xxv (1970), 659–70 HELLMUT FEDERHOFER Uthman, Muhammed. See Osman, Muhammed. Utrecht. City in the Netherlands. The earliest musical records concern church music. Before the Reformation, which was completed in 1580, there were five minsters or collegiate churches (the cathedral of St Maarten or Domkerk, St Salvator or the Oud Munster, St Pieter, St Jan and the Mariakerk), four parish churches (the Buurkerk, Jacobikerk, Nicolaikerk and Geertekerk) and several monastic churches and chapels. In the 11th and 12th centuries each of the minsters had a cantor, who led the choristers in singing plainchant. In 1342 the cathedral founded a house for its choristers, the ‘koraalhuis’; to assist the rector scolarum in the performance of polyphonic music, the first succentor was appointed there in 1415. The religious life of the citizens was focussed on the parish churches. Little is known about music in the monasteries and convents: only one manuscript of songs (c1500), probably from the St Agnes convent, has survived (MMN, vii). During the 15th and 16th centuries the prince-bishop of Utrecht had a court ensemble; in the second half of the 15th century David of Burgundy employed eight instrumentalists and about 20 singers. The presence of minsters and parish churches stimulated bell casting and organ building. By the 14th century all the churches had organs. In addition to native builders such as the Talp family, builders from elsewhere worked in the city. Anthonie van Elen from Maastricht built a new organ for the Domkerk in 1434, and Peter Gerritsz of Hoorn arrived in about 1455; his son and grandson built many organs in and around Utrecht. From the mid-18th century to the early 20th the main organ builders were the Bätz and Witte families (1740–1902), Abraham Meere (1785–1840) and the Maarschalkerweerd family (1850–1920). Among the surviving historic organs are those of the Domkerk (1831, Bätz), Jacobikerk and Geertekerk, and the auditorium of the university. Bell casting, important in the city since the 14th century, was stimulated by the appointment of Jacob van Eyck as carillonneur in 1625; three years later he became director of the Utrecht bell works. It was he who discovered a connection between a bell's shape and its overtone structure, and consequently found how to tune a bell. This he brought into practice in cooperation with the great bellfounders François and Pieter Hemony. As a recorder player he gave public performances on the Janskerkhof during summer evenings, for which his salary was raised in 1649. Music in the open air was further performed by the city musicians. The earliest Utrecht city records (1380) refer to four of them, and from 1597 until about 1650 there were six. In 1631 the instrumental Collegium Musicum Ultrajectinum was founded as an organization of musical amateurs from the upper circles using the city musicians as a professional core. In the 17th century the collegium's repertory included English and German consort music as well as canzonas and sonatas by Italian composers such as Uccellini, Merula, Buonamente and Legrenzi. From 1738 onwards the collegium had the use of a music room on the Vredenburg square. Among the last musicians known to have performed there were Leopold, Wolfgang and Nannerl Mozart, who gave a concert on 21 April 1766. Later in the same year the collegium moved to the choir of the Mariakerk, which was fitted up as a concert hall. In 1844 it was replaced by the Gebouw voor Kunsten en Wetenschappen. This symphonic hall, the oldest in the Netherlands, was taken over by the conservatory in 1974, burnt down in 1988 and was rebuilt with a modern interior, leaving the size of the original main hall intact. A second orchestra formed of university students, the Utrechtsch Studenten Concert, was founded in 1823 and remains in existence. Among the 19th-century musicians who performed in Utrecht under the auspices of either the collegium or the Studenten Concert were the Schumanns, Vieuxtemps, Wieniawski, Joachim, von Bülow and Brahms. The Utrecht SO was formed at the end of the 19th century through the amalgamation of the collegium with the band of the civic militia, and was first directed by J.H. Kufferath and Richard Hol, Kufferath being also director of the Utrecht section of the Maatschappij tot Bevordering der Toonkunst. Wouter Hutschenruyter, Jan van Gilse, Carl Schuricht, Willem van Otterloo, Paul Hupperts, Corneliu Dumbraveanu and Hubert Soudant were among the later chief conductors. The orchestra's history came to an end in 1985, when it merged into the newly established Netherlands PO, which has Amsterdam as its home. Utrecht takes second place in Dutch musical life after Amsterdam. Concert life was invigorated in 1979 by the building of the Muziekcentrum Vredenburg, designed by Herman Hertzberger. The complex, comprising a large concert hall and a small recital room, is visited by the leading Dutch orchestras. The radio orchestras from Hilversum have it as a second home, for live concerts. In 1982 the Holland Festival of Early Music was instituted in Utrecht, taking place at the Muziekcentrum Vredenburg and several historical locations. It is one of the world's leading festivals focussing on historically informed performance practice. BIBLIOGRAPHY J.J. Dodt van Flensburg, ed.: Archief voor kerkelijke en wereldlijke geschiedenissen, inzonderheid van Utrecht [Archive for sacred and secular history, particularly of Utrecht] (Utrecht, 1838–48) J.J. Dodt van Flensburg and F.C. Kist: ‘De geschiedenis der muzijk te Utrecht van 1400 tot op onzen tijd’ [The history of music in Utrecht from 1400 to our own time], Caecilia: Algemeen muzikaal tijdschrift van Nederland, iii–xiii (Utrecht, 1846–56) J.C.M. van Riemsdijk: Het Stads-muziekcollegie te Utrecht (Collegium Musicum Ultrajectinum), 1631–1881 (Utrecht, 1881) M.A. Vente: Die Brabanter Orgel: zur Geschichte der Orgelkunst in Belgien und Holland im Zeitalter der Gotik und der Renaissance (Amsterdam, 1958, enlarged 2/1963) W. Noske and W. Paap: Geschiedenis Utrechts Symfonie Orkest (Utrecht, 1964) M.A. Vente: Ommegang door Utrechts muzikaal verleden [Tour of Utrecht’s musical past] (Utrecht, 1965) C.C. Vlam and M.A. Vente, eds.: Bouwstenen voor een geschiedenis der toonkunst in de Nederlanden (Amsterdam, 1965–71) F. Peeters and M.A. Vente: De orgelkunst in de Nederlanden van de 16de tot de 18de eeuw [The art of the organ in the Netherlands from the 16th century to the 18th] (Antwerp, 1971; Eng. trans., 1971) W. Paap: Muziekleven in Utrecht tussen de beide wereldoorlogen [Musical life in Utrecht between the two world wars] (Utrecht, 1972) G. Oost: De orgelmakers Bätz (1739–1849): een eeuw orgelbouw in Nederland (Alphen aan den Rijn, 1981) W. Dijkstra and S. Westra, eds.: Het Utrechtsch Studenten Concert 1823–1993 (Utrecht, 1993) THIEMO WIND Utrecht, Heinrich (b Minden; d Celle, Jan 1633). German composer, instrumentalist and organist. From 1611 until his death he was an instrumentalist in the Hofkapelle of Duke Christian of Brunswick-Lüneburg at Celle and also carried out the duties of castle organist there: in the preface to his publication of 1624 he stated that he had earned his living at the court for over 13 years. He was also associated with composers at the court of Bückeburg (William Brade, Thomas Simpson, Nicolaus Bleyer). In 1620 or 1622 he met Michael Praetorius. His two collections of suites contain a total of 60 stylized dances – both single and paired – for small varying ensembles. WORKS
BIBLIOGRAPHY EitnerQ B. Engelke: Musik und Musiker am Gottorfer Hofe, i (Breslau, 1930), 26–7 H. Müller: ‘Heinrich Utrecht: Instrumentalist, Organist, Komponist am Hofe Herzog Christian des Älteren zu Celle’, Cellesche Zeitung (25 April, 2, 9 May 1992) H. Müller: ‘Der Celler Komponist Heinrich Utrecht schrieb die in ihrer Autorschaft umstrittene Violinsonate der Pariser Handschrift’, Celler Chronik, vi (1994), 47–54 HORST WALTER/HARALD MÜLLER |
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