Uccelli [née Pazzini], Carolina Uccellini, Marco

Ulloa, Pedro de

(b ?Madrid, 1663; d ?Madrid, 1721). Spanish mathematician. He became a Jesuit in 1678, taught grammar and philosophy at the college of his order at Oropesa, and later was transferred to Madrid as a professor of mathematics at the Imperial College and cosmographer for the Supreme Council of the Indies. His major work is his two-volume Elementos matemáticos (Madrid, 1706). He also published Música universal, ô principios universales de la música (Madrid, 1717), a small volume of only 104 pages, despite its ambitious title. The book contains an Aprobación by José de Torres. Theoretical rather than practical, it approaches music through the disciplines of mathematics, logic and rhetoric. Its topics include interval ratios, temperament, modulation, modes and their affects, harmonic combinations and musical styles. He touches upon certain topics rarely mentioned in the conservative Spanish theory of his time, including equal temperament (which he recommended for keyboard instruments), the reduction of the modes to major and minor and the doctrine of the Affections. The work was often cited as authoritative by Spanish theorists later in the century.

BIBLIOGRAPHY

SubiráHME

M. Soriano Fuertes: Historia de la música española (Madrid, 1855–9)

R. Mitjana y Gordón: ‘La musique en Espagne’, EMDC, I/iv (1920), 1913–2351, esp. 2117

M.N. Hamilton: Music in Eighteenth Century Spain (Urbana, IL, 1937/R)

H. Anglès and J. Subirá: Catálogo musical de la Biblioteca nacional de Madrid, ii (Barcelona, 1949)

F.J. León Tello: La teoría española de la música en los siglos XVII y XVIII (Madrid, 1974)

J.M. Muneta: ‘Evolución de la modalidad desde el gregoriano al siglo XVIII’, Nassarre, xi/1–2 (1995), 345–66

ALMONTE HOWELL

Ulloa Berrenechea, Ricardo

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

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

WORKS

(selective list)

Orch: Sinfonietta, str

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

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

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

BIBLIOGRAPHY

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

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

JORGE LUIS ACEVEDO VARGAS

Ullrich, Hermann

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

WRITINGS

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

Julius Bittner (Vienna, 1968)

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

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

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

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

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

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

RUDOLF KLEIN