Uccelli [née Pazzini], Carolina Uccellini, Marco



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Urbánek, Mojmír


(b Prague, 6 May 1873; d Prague, 29 Sept 1919). Czech music publisher, son of František Augustin Urbánek. After an apprenticeship with his father and experience in Germany, France, England and the USA, he founded his own publishing house in Prague in 1900. The firm published music by Foerster, Novák, Suk, Říhovský and Janáček. Besides books on music Urbánek published the journal Dalibor (from 1900). He owned a keyboard instrument shop and in 1908 set up the Mozarteum concert hall; he also ran a successful concert agency, and after World War I acquired a music printing works. After his death, his widow Iška Urbánková ran the firm, followed from 1925 by his son Mojmír Urbánek. The firm was nationalized in 1949.

BIBLIOGRAPHY


N. Simeone: The First Editions of Leoš Janáček (Tutzing, 1991), 20–21, 110–11

A. Zach: Stopami pražských nakladatelských domů (Prague, 1996), 45–8

ZDENĚK CULKA


Urbani, Peter


(b Milan, 1749; d Dublin, 1816). Italian singer, composer and impresario. He is said to have obtained a MusD from the University of Milan; he then went to London with his countryman Rontzini in search of work, spent unspecified years there and in Dublin, appeared singing Scottish songs at concerts in Glasgow between 1781 and 1784, and settled in Edinburgh in 1784.

In Edinburgh he sang at the Musical Society concerts in St Cecilia's Hall and published six volumes of Scottish songs, including original songs of his own; he ran a music shop and publishing house with Edward Liston at 10 Princes Street from 1795, wrote a singing instruction manual, and lost a lot of money mounting Handel's oratorios. Around 1808 he returned to Dublin, destitute, and died there in 1816. Two operas by him were performed in Dublin during the 1784–5 season, but many of his compositions seem to be lost.

Robert Burns met Urbani in 1793 and described him as ‘a narrow, contracted creature’. Burns, always easy-going, put up with Urbani's vanity and commercial self-interest for the sake of his fine singing and the promotion he was giving to Scottish songs, but refused to give him lyrics already promised to George Thomson. Urbani is sometimes credited with inspiring Burns to write Scots wha hae, but this is based on a misreading of Burns's letter to Thomson of August 1793.

WORKS


Operas: Il Farnace, Il trionfo di Clelia, Dublin 1784–5, lost

6 Sonatas, hpd, op.5 (Edinburgh, c1785)

A Selection of Scotch Songs, harmonised and improved, i–vi (Edinburgh, 1792–1804), vols.i–iv for 1v with 2 vn, va, vc; vols.v–vi for 1v with vn, vc, pf

A Favourite Selection of Scotch Tunes, 2 fl/vn (Edinburgh, c1795)

Many single songs, pf fantasies on popular tunes, Scottish song arrs. (for fuller information, see RISM)

WRITINGS


The Singer's Guide (Edinburgh, c1795)

BIBLIOGRAPHY


D. Fraser-Harris: Saint Cecilia's Hall in the Niddry Wynd (Edinburgh, 1899, 2/1911/R), 123–31

D. Johnson: Music and Society in Lowland Scotland in the 18th Century (London, 1972), 146, 148

J.A. Mackay, ed.: Robert Burns: Complete Letters (Ayr, 1987), 468, 636, 639, 645

DAVID JOHNSON


Urbani, Valentino.


See Valentini.

Urbanner, Erich


(b Innsbruck, 26 March 1936). Austrian composer and conductor. He studied at the Vienna Music Academy, where his teachers included Karl Schiske and Hanns Jelinek (composition), Grete Hinterhofer (piano) and Hans Swarowsky (conducting). He also attended the Darmstadt summer courses and composition masterclasses run by Fortner, Stockhausen and Maderna. In 1961 he was appointed to a post at the Vienna Music Academy, where he became professor in 1969. From 1986 to 1989 he served as director of the Institut für Elektroakustik und Experimentelle Musik. In his compositions he has attempted to draw on experience subjectively and with musical imagination. With this goal in mind, he has developed forms that are clearly structured with respect to sound and gesture so that they can be recognized by the listener. Always open to current musical developments and trends, he nevertheless adopts only what is relevant to him, not committing himself in any particular direction. He has remarked:

In a time of the most diverse trends, but also in a time of uncertainty as to what is still avant garde and what is conservative, it is important to realize very clearly that innovations are to be located less than ever in the area of material and rather more in the way the composer copes formally.


WORKS


(selective list)

Ops: Der Gluckerich, oder Tugend und Tadel der Nützlichkeit (musical burlesque, 3, R. von Mayenburg, after G. de Maupassant), 1963, Vienna, 27 May 1965; Ninive, oder Das Leben geht weiter (op, 7 scenes, H. Vogg), 1987, Innsbruck, 24 Sept 1988

Orch: Pf Conc., 1958; Concertino, fl, orch, 1959; Conc., ob, chbr orch, 1966; Rondeau, 1967; Vn Conc., 1971; Conc. ‘Wolfgang Amadeus’, 2 orch, 3 trbn, cel, 1972; Pastorale, 1975; Sinfonietta 79, chbr orch, 1979; Vc Conc., 1981; Double Conc., fl, cl, orch, 1984; Conc., sax qt, str, 1989

Vocal: Das Ahnenbild (F. Hölderlin), S, pf, 1961, Vienna, 8 Nov 1993; 5 Songs, Mez, ens, 1961; Requiem, S, A, T, B, mixed chorus, orch, 1982–3

Chbr and solo inst: Sonatina no.2, pf, 1957; Str Qt no.2, 1957; Schlag- und Klangfiguren, perc, 1964; Adagio, pf, 1966; 4 Stücke, va, 1967; Improvisation III, fl, ob, cl, bn, str qt, db, perc, 1969; Solo, vn, 1971; Str Qt no.3, 1972; Nachtstück, rec ens, 1978; Nonett 1991, fl, cl, b cl, trbn, gui, pf, vn, vc, db, 1981; Variation, pf, 1981; Ballade, gui, 1982; Emotionen, sax qt, 1984; quasi una fantasia, 6 konzertante Stücke, 15 insts, 1993; Zyklus, org, 1993; begegnung – variation – wiederbegegnung, 12 insts, 1996; Formen im Wandel, pf, 1996

BIBLIOGRAPHY


LZMÖ [incl. further bibliography]

O. Costa: ‘Retrospektiven von Erich Urbanner’, Das Fenster: Tiroler Kulturzeitschrift, xxix (1979), 251 only

R. Kapp: ‘Gespräch IV: Erich Urbanner (26. Mai 1996): Darmstadt 1957–60’, Darmstadt-Gespräche, ed. M. Grassl and R. Kapp (Vienna, 1996), 63–79

SIGRID WIESMANN



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