Uccelli [née Pazzini], Carolina Uccellini, Marco
Ungarelli [Ungherelli, Ongarelli], Rosa
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- BIBLIOGRAPHY
- Ungaresca [ungarescha]
- Ungarischer Tanz
- Unger, Andreas
- WORKS
Ungarelli [Ungherelli, Ongarelli], Rosa(b Bologna; fl 1709–32). Italian singer. She was the wife of Antonio Maria Ristorini, with whom she achieved international fame as an interpreter of comic intermezzos. Troy writes that she was a soprano, but according to Strohm she was a contralto. She began as a singer of opera seria, appearing in three productions at Florence in winter 1709–10; but in spring 1714 she performed intermezzos at Parma with Giovanni Battista Cavana and by 1716 had formed a partnership with Ristorini that was to last for at least 17 years. Their performance of Niccolò Orlandini’s Il marito giocatore e la moglie bacchettona at Pistoia in 1725 is described at length by the diarist Giovanni Cosimo Rossi-Melocchi. He particularly admired Ungarelli’s acting: she used ‘gestures that would have moved a stone’ and ‘words that would have liquefied bronze … her gestures and manner on the stage are something that cannot be believed by one who has not seen them. For this reason I gave her the name “Man-killer”. And she really is not pretty; God help us if she were’. BIBLIOGRAPHYC.E. Troy: The Comic Intermezzo: a Study in the History of Eighteenth-Century Italian Opera (Ann Arbor, 1979) F. Piperno: ‘Appunti sulla configurazione sociale e professionale delle “parti buffe” al tempo di Vivaldi’, Antonio Vivaldi: teatro musicale, cultura e società: Venice 1981, ii, 483–97 F. Piperno: ‘Buffe e buffi (considerazioni sulla professionalità degli interpreti di scene buffe ed intermezzi)’, RIM, xviii (1982), 240–84 R. Strohm: Essays on Handel and Italian Opera (Cambridge, 1985), 252 M. Talbot: ‘Tomaso Albinoni’s Pimpinone and the Comic Intermezzo’, ‘Con che soavità’: Studies in Italian Opera, Song, and Dance, 1580–1770, ed. I. Fenlon and T. Carter (Oxford, 1995), 236–7 COLIN TIMMS Ungaresca [ungarescha](It.). A name used outside Hungary for a dance in the Hungarian style. In western Europe Hungarian dances appeared by the late 14th century in the ballet des nations (dances in a variety of national styles staged in court entertainments). The ungaresca is first mentioned by name in Milan in 1490, but at that time it probably had not acquired the lively, heavily accented character of 16th-century examples: a report of a Sforza wedding in 1494 notes that the allemande was danced ‘andante, like an ungaresco’ (cited in Pirro, Histoire de la musique). No choreography for the dance is known. The earliest printed ungaresche, dating from the late 16th century, are found in dance collections for viol consort (Mainerio's Primo libro de balli, 1578) and in lute and keyboard tablatures (Wolff Heckel's Lautten Buch of 1556 and Jakob Paix's Orgel Tabulaturbuch, 1583). Two Ungarische Paraden in Nörmiger's Tabulaturbuch (1598) exhibit the accented anapaests and dotted rhythms that became characteristic of the Style hongrois in the 19th century. There seems to be no relationship between the ungaresca and several dances called ‘Ungaro’ or ‘Ongaro’ (e.g. by Bernhard Jobin and Giovanni Picchi) which are based on a single tune. MATTHEW HEAD
Ungaro, Jacomo(fl c1473–1513). Type cutter, active in Italy. On 26 September 1513 he submitted a petition to the Venetian senate requesting a 15-year privilege to print mensural music. In the petition he expressed concern that others would ‘harvest the fruits of his labour’ after he had ‘discovered the way to print mensural music [canto figurato]’ in the city where he had been a cutter of letters for 40 years. The previous privilege holder, Petrucci, was by then living in Fossombrone in the papal states. The senate awarded Ungaro an exclusive privilege, but he is not known to have exercised it. Apparently he had cut Petrucci’s music type; Petrucci had been awarded a privilege for printing music in Venice in 1498. Because of his long tenure in Venice, Ungaro may well have been responsible for the first mensural music type used in Venice in 1480 and for several of the 24 plainchant types used there between 1482 and 1500, some of which are remarkably similar. Under the name Magistro Jacomo Todesco he was employed as a type founder by Aldo Manuzio and was remembered in Manuzio’s will of 1506. BIBLIOGRAPHYDugganIMI A. Vernarecci: Ottaviano de' Petrucci da Fossombrone, inventore dei tipi mobili metallici fusi della musica nel secolo XV (Bologna, 1882) S. Boorman: Petrucci at Fossombrone: a Study of Early Music Printing, with Special Reference to the Motetti de la Corona (1514–1519) (diss., U. of London, 1976) M. Lowry: The World of Aldus Manutius: Business and Scholarship in Renaissance Venice (Ithaca, NY, 1979) M.K. DUGGAN Unger, Andreas(b in or nr Augustusburg, Saxony, c1605; d Naumburg, bur. 29 Dec 1657). German composer. He attended the Thomasschule, Leipzig, and then Leipzig University, where he matriculated in 1625 and took the master’s degree in 1631. After several years in minor educational posts in Leipzig he was from 1633–4 until his death civic Kantor at St Wenzel, Naumburg; however, his applications of 1630 and 1657 for the post of Thomaskantor at Leipzig appear to indicate that he felt himself to be suited to that important position. Unger’s enthusiasm as a music collector, his delight in new sonorities and his artistic taste made Naumburg an important centre in Thuringia for the transmission of the new central German church music of the first half of the 17th century. His musical legacy to St Wenzel included musical instruments that still survive today (D-Bim); his very valuable music library, including numerous unica – among them individual works by Schütz, autographs, and works of Leipzig musicians that they presented to him – was available only in part and for a limited period (in Königsberg from about 1870 to 1945). In the late manuscript works, of which only the continuo parts survive, Unger wanted to demonstrate to student composers the art of setting sacred texts to music. WORKS
BIBLIOGRAPHYR. Wustmann: Musikgeschichte Leipzigs, i: Bis zur Mitte des 17. Jahrhunderts (Leipzig and Berlin, 1909/R), esp. 208 A. Werner: ‘Die alte Musikbibliothek und die Instrumentensammlung an St. Wenzel in Naumburg an der Saale’, AMw, viii (1926), 390–415 W. Braun: ‘Andreas Unger und die biblische Historie in Naumburg an der Saale’, Jb für Liturgik und Hymnologie, vii (1962), 172–9 W. Braun: ‘Mitteldeutsche Quellen der Musiksammlung Gotthold in Königsberg’, Musik des Ostens, v (1969), 84–96, esp. 89 D. Krickeberg: ‘Die alte Instrumentensammlung der Naumburger Wenzeskirche im Spiegel ihrer Verzeichnisse’, Jb des Staatlichen Instituts für Musikforschung Preussischer Kulturbesitz (1978), 7–30 W. Braun: Deutsche Musiktheorie des 15. bis 17. Jahrhunderts, ii: Von Calvisius bis Mattheson (Darmstadt, 1994), 339–42 WERNER BRAUN Yüklə 3,09 Mb. Dostları ilə paylaş:
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