Uccelli [née Pazzini], Carolina Uccellini, Marco
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- Uttini, Francesco Antonio Baldassare
Utrecht, Heinrich(b Minden; d Celle, Jan 1633). German composer, instrumentalist and organist. From 1611 until his death he was an instrumentalist in the Hofkapelle of Duke Christian of Brunswick-Lüneburg at Celle and also carried out the duties of castle organist there: in the preface to his publication of 1624 he stated that he had earned his living at the court for over 13 years. He was also associated with composers at the court of Bückeburg (William Brade, Thomas Simpson, Nicolaus Bleyer). In 1620 or 1622 he met Michael Praetorius. His two collections of suites contain a total of 60 stylized dances – both single and paired – for small varying ensembles. WORKS
BIBLIOGRAPHYEitnerQ B. Engelke: Musik und Musiker am Gottorfer Hofe, i (Breslau, 1930), 26–7 H. Müller: ‘Heinrich Utrecht: Instrumentalist, Organist, Komponist am Hofe Herzog Christian des Älteren zu Celle’, Cellesche Zeitung (25 April, 2, 9 May 1992) H. Müller: ‘Der Celler Komponist Heinrich Utrecht schrieb die in ihrer Autorschaft umstrittene Violinsonate der Pariser Handschrift’, Celler Chronik, vi (1994), 47–54 HORST WALTER/HARALD MÜLLER Uttini, Francesco Antonio Baldassare(b Bologna, 1723; d Stockholm, 25 Oct 1795). Italian composer and conductor, active in Sweden. He received his musical education from Padre Martini and, according to Fétis, from Perti and Sandoni in Bologna. In 1743 he was elected to membership in the Accademia Filarmonica and produced his first opera, Alessandro nelle Indie, in Genoa. During the next ten years he achieved some fame as a composer of both operas (mostly opere serie) and oratorios throughout Italy, joining the Mingotti theatre troupe in 1752 as resident composer. It was in that troupe that he met his first wife, the singer Rosa Scarlatti (1727–75). His first tour to northern Europe (1752) resulted in the opera Siroe, performed in Hamburg, and in the following years he directed L’olimpiade and Zenobia in Copenhagen; he also presented numerous pasticcios in Rostock and elsewhere, of which only one, Armide, survives (1754; D-ROu). In 1755 members of the Mingotti troupe including Uttini were invited by Queen Lovisa Ulrika to visit Stockholm and perform operas for the court. For the newly built theatre at Drottningholm he composed the opera Il re pastore, which was later printed in score. About this time he also composed a flute concerto and a set of harpischord sonatas. After the troupe disbanded, Uttini remained in Stockholm as the queen's private court kapellmästare, writing mostly Italian opere serie but also instrumental chamber works, symphonies and cantatas. He also began his long career as a conductor. In 1762 he turned his attention to settings of French opéra comique texts, such as Favart’s Soliman II and Quinault’s Psyché. He was appointed Hovkapellmästare to replace Per Brandt in 1767, and the following year his trio sonatas op.1 were published in London by the Swedish printer Fougt. In 1772 he was commissioned by Gustavus III to provide the music for the first Swedish grand opera, Thetis och Pelée, which was successfully performed the following year. During the next ten years he turned towards larger works such as Birger Jarl och Mechtilde (1774, with H.P. Johnsen) and Aline, drottning uti Golconda (‘Aline, Queen of Golconda’, 1776); he added choruses to Swedish versions of Racine’s Athalie (1776) and Iphigénie (1777), and wrote ballet music and prologues to Gluck’s operas. After 1778 his role as principal conductor of the hovkapell was mainly taken over by other musicians and he gradually retired from concert life. From 1781 onwards he was a board member of the Catholic congregation in Stockholm. By 1788, when he retired, he had largely ceased to compose; he married his second wife, the singer Sophia Liljegren (1765–95), in the same year. Uttini’s early musical style conforms to the opera seria style of the period; his operas of 1766 onwards, however, tend to show a greater reliance on the orchestral accompaniment, often resulting in colourful scores. In his Swedish operas, the use of folk melodies is occasionally noticeable. His orchestral writing favours sharp keys and brilliant instrumental combinations. His five symphonies, with their occasional layered crescendos, demonstrate the influences of Mannheim, while his chamber works reflect an older galant style. WORKSstage
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BIBLIOGRAPHYFétisB E. Sundström: ‘F.A. Uttini och Adolf Fredriks italienska operatrupp’, STMf, xiii (1931), 5–44 S. Walin: Beiträge zur Geschichte der schwedischen Sinfonik (Stockholm, 1941) M. Tegen: ‘Uttinis tryckta triosonater op.1’, STMf, xliii (1961), 311–20 E. Sundström: ‘Francesco Antonio Uttini som musikdramatiker’, STMf, xlv (1963), 33–93 L. Hedwall: Den svenska synfonin (Stockholm, 1983) A. Beijer: Les troupes françaises à Stockholm 1699–1792: listes de répertoire (Uppsala, 1989) M. Tegen: ‘Uttini’s Thetis och Pelée’, Gustavian Opera: an Interdisciplinary Reader in Swedish Opera, Dance and Theatre 1771–1809, ed. I. Mattsson (Stockholm, 1991), 236–52 BERTIL H. VAN BOER, MARTIN TEGEN Yüklə 3,09 Mb. Dostları ilə paylaş:
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