Uccelli [née Pazzini], Carolina Uccellini, Marco

Unterbrechung

(Ger.). See Interruption.

Untergreifen

(Ger.). See Motion from an inner voice.

Unterholtzer [Underholtzer, Niederholtzer], Rupert [Ruprecht]

(b Salzburg, c1505–10; d ?Venice, ?after 1542). Austrian composer. His father was Thomas Unterholtzer, a tailor who had business links with Venice. He is described (in CH-Bu F.X.1–4, Nr.90) as ‘discipulus illius Finckii Salisburgensis’. Heinrich Finck went to Salzburg with Cardinal Matthäus Lang in 1519 after the latter's enthronement as archbishop and remained as composer to the cathedral chapter probably until 1527. If Unterholtzer was born about 1510, he could have been a choirboy in Finck's Kapelle and later could have learned composition from him. He was ordained and in 1528 studied at Ingolstadt University, but he then became a merchant like his father. He went to Venice on business and married an Italian. In 1556 his son Thomas was made a citizen of Salzburg.

Unterholtzer studied music seriously only in his youth, but nonetheless he left his mark. Together with Gregor Peschin, Johannes Stomius and Wilhelm Waldner he belonged to that group of composers in Salzburg in the early 16th century who took part in the humanistic movement and who were certainly influenced by Paul Hofhaimer, also working in Salzburg. Unterholtzer's motets and secular songs appeared in several collections of the time, but were also circulated in manuscripts as far afield as Regensburg, Basle and Hamburg. The extent of his output is not known, and a study of his work and its dependence on that of Finck has not been made.

WORKS

Ad Dominum cum tribulare, 4vv, 1539^9; Ecco ego mitto vos, 5vv, 1540^7; Laudate pueri Dominum, 4vv, 1542^6; Oime patientia, 3vv, 1541^2; Oime patientia, 4vv, ed. in Rhau: Musikdrucke, iii (1959), 25; O Thoma Didyme, 3vv, 1541^2; Valde honorandus est, 4vv, ed. in Rhau: Musikdrucke, iii (1959), 117; Was nit sol sein, 4vv, ed. in MMg, xxvi (1894), 96; Patris sapientia, 4vv, CH-Bu F.X.1–4, Nr.90; 3 Latin tricinia in D-Rp B.220–22

BIBLIOGRAPHY

H.J. Moser: Paul Hofhaimer: ein Lied- und Orgelmeister des deutschen Humanismus (Stuttgart and Berlin, 1929, enlarged 2/1966)

H. Spies: ‘Geschichte der Domschule zu Salzburg’, Mitteilungen der Gesellschaft für Salzburger Landeskunde, lxxviii (1938), 1–88

H. Spies: ‘Beiträge zur Musikgeschichte Salzburgs im Spätmittelalter und zu Anfang der Renaissancezeit’, Mitteilungen der Gesellschaft für Salzburger Landeskunde, lxxxi (1941), 41–96

L. Hoffmann-Erbrecht: Henricus Finck, musicus excellentissimus (1445–1527) (Cologne, 1982), 53

LOTHAR HOFFMANN-ERBRECHT

Unterklang

(Ger.).

See under Klang (ii).

Untersatz

(Ger.).

The term for pipes of the larger pedal stops, placed on a chest below (and at the back of) the main chest of organs in north and central Germany, c1575–1825. See under Organ stop.

Unverdorben [Unferdorfer], Marx [Marc, Max]

(fl ?mid-16th century). German lute maker, active mainly in Italy. He was a cousin of Luca and Sigismondo (i) Maler and married Angela, the daughter of Giovanni Gisoli (also known as Batilori), with whom Luca Maler made a contract in 1527. In 1530 Maler's son Sigismondo (ii) was apprenticed to Unverdorben for a year, and Unverdorben is mentioned as a beneficiary in Luca Maler's first will, also dated 1530. Shortly afterwards he appears to have moved to Venice, although legacies to the daughters of ‘Marco Oserdoni, lute maker of Venice’ in Maler's second and last will of 1552 suggest that the family connection was maintained.

The Fugger inventory of 1566 (see Stockbauer, and Smith) includes ‘Eine grosse alte Lauten von Max Unverdorben’. A few of his instruments survive, though none are in original condition. These include a fine multi-rib yew instrument (in Fenton House, London), labelled ‘Marx Unverdorben in Venetia 158…’, which was rebuilt as a 13-course baroque lute by Buchstetter of Regensburg in 1747. The Victoria and Albert Museum, London, has a very striking lute back composed of a complex and unsupported marquetry of different woods (no.193-1882). The Museo Municipal della Musica, Barcelona, has a seven-course lute with a 13-rib back of quilted maple (no.408). The Lobkowitz collection in the Czech Republic has one instrument converted in the 18th century (this was formerly in the Národní Muzeum, Prague). Another instrument, remade as a theorbo, is in the Museo di Strumenti Musicali, Rome (no.37).

The stylistic disparity and the date of the Fenton House lute suggest that at least two generations of Unverdorbens are represented in the surviving instruments.

BIBLIOGRAPHY

VannesE

J. Stockbauer: Die Kunstbestrebungen am bayerischen Hofe (Vienna, 1874/R)

M.W. Prynne: ‘A Note on Marx Unverdorben’, LSJ, i (1959), 58 only

C. Challen: ‘The Unverdorben Lute at Fenton House: Conservation in Practice’, EMc, vii (1979), 166–73

D.A. Smith: ‘The Musical Instrument Inventory of Raymond Fugger’, GSJ, xxxiii (1980), 36–44

C. Gonzales Marcos: ‘Les Luths du Museu de la Mùsica de Barcelone’, Musique ancienne, xix (1985), 62–77

S. Toffolo: Antichi strumenti veneziani: 1500–1800, quattro secoli di liuteria e cembalaria (Venice, 1987)

S. Pasqual: ‘Laux Maler (c.1485–1552)’, Bollettino della società italiana del liuto, xxii (1997), 3–11; xxiii (1997), 4–13; Eng. trans. in Lute News, no.51 (1999), 5–15

LYNDA SAYCE