Uccelli [née Pazzini], Carolina Uccellini, Marco
Urfey, Thomas d’. See D’Urfey, Thomas. Urhan [Auerhahn], Chrétien
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Urfey, Thomas d’.See D’Urfey, Thomas. Urhan [Auerhahn], Chrétien(b Montjoie, nr Aix-la-Chapelle [now Aachen, Germany], 16 Feb 1790; d Paris, 2 Nov 1845). French viola player, violinist and composer of German descent. He received his first violin lessons from his father and taught himself to play many other instruments. After hearing him play in Aix-la-Chapelle in 1804, the Empress Josephine encouraged him to go to Paris, where he became a pupil and member of the household of J.-F. Le Sueur. Between 1807 and 1815 he played with the orchestra of the Chapelle Royale, and in 1814 he joined the Opéra orchestra, becoming first violin in 1823 and violin soloist in 1836, and playing the viola as well. In 1827 he became organist at St Vincent-de-Paul and in 1828 leader of the Société des Concerts du Conservatoire. He was well known for his improvising and sight-reading on many instruments (including the violon-alto, a violin with a C string added to give it a viola range) and, above all, for his viola playing. Urhan was a member of the Baillot Quartet (1824–37) and played the viola in Anton Bohrer’s quartet (1830–31), which introduced Beethoven’s late quartets to the Paris public. Berlioz asked him to perform the viola solo in the première of Harold en Italie, and Meyerbeer wrote the viola d’amore solo in the first act of Les Huguenots for him. He was a devout Catholic, and sought special dispensation from the Archbishop of Paris to play in the Opéra orchestra, reading prayers in the entr’actes and keeping his back turned to the stage during the performance to avoid the worldly temptations on show. Urhan’s promotion of the music of Bach and Handel and his support of the yearly Beethoven and St Cecilia festivals were important influences in Paris musical life. Furthermore, his arrangements of Schubert’s music introduced several works to a French audience for the first time. His spiritual and mystical mind, coupled with his musical integrity, made a profound impression on the young Liszt, who became his close friend and who asked him to play the violin in his performances of Beethoven’s chamber music at the Salle Erard in early 1837. He was the godfather and teacher of Julius Stockhausen. In his later years he suffered from depression, withdrawing more and more into himself and performing only the required duties of his church and Opéra positions. His compositions were well-received by Berlioz and others as examples of a new musical sensibility, marked by exceptional sparseness; the song Celui que j’aime tant is constructed using only two notes, while his second Quintette romantique (for string quintet and four bassoons) depicts the victory of austere heavenly melodies (played by the viola) over the empty virtuosity of earthly music (represented by the first violin). In all his mature compositions, the use of third-related harmonic shifts, alternation of major and minor modes and the appearance of dance melodies bear clear witness to the influence of Schubert. A predilection for long note values, extreme dynamics, non-functional repetitive harmonies, odd instrumental combinations, omission of bar lines and interpolation of poetic texts between staves transforms this influence into a frequently bizarre mixture of pious simplicity and subjective extravagance. WORKS(selective list) printed works published in Paris
BIBLIOGRAPHYFétisB G. Kastner: Obituary, RGMP, xii (1845), 385–7, 392 only A. Förster: ‘Christian Urhan: ein sonderausgeprägter Kunstfürst und Heilskämpfer’, Studien und Mitteilungen aus dem Benediktiner- und dem Cistercienser-Orden, xxv (1904), 266, 600, 769; xxvi (1905), 109, 305, 626; xxvii (1906), 120, 428, 659; pubd separately (Maredret, 1907) J.G. Prod’homme: Les symphonies de Beethoven (1800–1827) (Paris, 1906/R, 3/1909), 459ff [Urhan’s review of Beethoven’s Ninth Symphony] P. Garnault: ‘Chrétien Urhan (1790–1845)’, RdM, xi (1930), 98–111 J.-M. Fauquet: Les sociétés de musique de chambre à Paris de la Restauration à 1870 (Paris, 1986) BENJAMIN WALTON Uriarte, Eustaquio de(b Durango, Vizcaya, 2 Nov 1863; d Motrico, Guipúzcoa, 17 Sept 1900). Spanish musicologist and music journalist. In 1878 he entered the Augustinian order at Valladolid, where he received his early musical training, and in 1888 he went to the monastery of Silos, near Burgos, devoting himself to the study of Gregorian chant reform as advocated by the Benedictine monks of Solesmes in France. In 1889 he participated in the music section of the first Congresso Católico of Madrid. Uriarte's major work, the Tratado teórico-práctico de canto gregoriano, is not only a treatise on the elements of Gregorian chant, but a panegyric on the need for modern restoration based on the methods of Joseph Pothier of the Solesmes school and the resolutions calling for reform adopted at the Madrid Congress of 1890. Essentially, these reforms included the gradual abolition of the 19th-century Medicean liturgical books then used in Spain, the use of Pothier's newly revised chant books which were based upon the original medieval sources, and the performance of these corrected melodies in a free, non-mensural rhythmic style. Uriarte was a prolific music journalist and contributed many articles on chant reform, music aesthetics and criticism, and opera, particularly to the Ciudad de Dios. In 1895, under the patronage of the Archbishop of Madrid, a group including Uriarte and Felipe Pedrell formed the Asociación Isidoriana de la Reforma de la Música Religiosa. Uriarte taught at the new Augustinian college in Guernica from 1896, and in 1899 he was transferred to Palma, Mallorca. WRITINGSLa restauración del canto gregoriano (Valladolid, 1889) Tratado teórico-práctico de canto gregoriano según la verdadera tradición (Madrid, 1890 [dated 1891], 2/1896) Concepto racional é histórico de la música religiosa (Madrid, 1892) Orígenes é influencia del romanticismo en la música (Lugo, 1892) Preface to C. Echegaray: Di mi país: miscelánea histórica y literaria (San Sebastian, 1901) ed. L. Villalba: Estética y crítica musical (Barcelona, 1904/R) [selected newspaper articles and addresses] BIBLIOGRAPHYL. Villalba: ‘El padre Uriarte’, Estética y crítica musical del padre Uriarte, ed. L. Villalba (Barcelona, 1904/R), v–xxxvi JOHN A. EMERSON Yüklə 3,09 Mb. Dostları ilə paylaş:
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