Uccelli [née Pazzini], Carolina Uccellini, Marco
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- BIBLIOGRAPHY
- ‘Ugav (Heb.). Ancient Jewish instrument, possibly a reed-pipe or form of organ. See Biblical instruments, §3(xii). Ughi, Uto
- Ugo de Lantinis.
- WORKS sacred
Ugarte, Floro M(elitón)(b Buenos Aires, 15 Sept 1884; d Buenos Aires, 11 June 1975). Argentine composer and teacher. He received his earliest musical training from Hercules Galvani (violin) and Cayetano Troiani (harmony) in Buenos Aires. Later, he attended the Paris Conservatoire, where he studied harmony with Pessard and Lavignac and counterpoint, orchestration and composition with Félix Fourdrain. After completing his education in 1913, he returned to Buenos Aires, where he held various teaching positions, including professorships at the Conservatorio Nacional de Música and the Universidad Nacional de La Plata. He served as a member of the Comisión Nacional de Bellas Artes and as president of the Sociedad Nacional de Música (later the Asociación Argentina de Compositores). He had a longstanding association with the Teatro Colón, serving on its board of directors (1924–7) and acting as technical director (1930) and general director (1937–43, 1946, 1956) of the theatre. Ugarte is recognized as one of the leading composers of his generation and a principal proponent of Argentine musical nationalism. His early works show traces of French Impressionism; later, he infused his style and melodic, rhythmic and harmonic suggestions derived from Argentine folk music. His works of the 1940s and beyond reveal an abstract compositional approach, avoiding overt folkloric references. Ugarte composed in all genres. His one-act fairy-tale opera, Saika (1918), and his indigenous ballet, El junco (1944), both received performances at the Teatro Colón. His Violin Sonata (1928) stands as one of the most important works of the Argentine chamber music repertoire. His charming song, Caballito criollo (1928) reveals a potent use of national idioms and expressive capabilities within a concentrated form. WORKS(selective list)
BIBLIOGRAPHYM. Kuss: ‘La contribución de Floro Ugarte a la formación del teatro lírico argentino’, Heterofonía vii/6 (1974), 17–21 M. Kuss: Nativistic Strains in Argentine Operas Premiered at the Teatro Colón (1908–1972) (PhD diss., UCLA, 1976) R. García Morillo: Estudios sobre música argentina (Buenos Aires, 1984), 255–68 C. García Muñoz: ‘Floro Ugarte (1884–1975)’, Revista del Instituto de Investigación Musicológica Carlos Vega, vi (1985), 79–88 [catalogue of works] DEBORAH SCHWARTZ-KATES ‘Ugav(Heb.). Ancient Jewish instrument, possibly a reed-pipe or form of organ. See Biblical instruments, §3(xii). Ughi, Uto(b Busto Arsizio, 21 Jan 1944). Italian violinist. He began playing the violin as a child and first appeared in public at the age of seven, performing the Bach D minor Chaconne. A meeting with George Enescu at the Accademia Musicale Chigiana in Siena in the early 1950s led to his going to Paris for two years as one of Enescu's last pupils. He then studied at the Geneva Conservatoire and toured with the pianist Lamar Crowson before beginning an international career. Since 1979 he has helped to organize a festival in Venice, and from 1987 to 1992 he directed the Accademia di Santa Cecilia Chamber Orchestra in Rome. For some time he has spent a third of his year in Italy, where he is based in Rome, and the other months on tour. Ughi is an archetypal Italian violinist, with a strong technique and a large tone of great beauty which he deploys in a repertory ranging from the Italian Baroque to the 20th century. His recordings include many of the large-scale concertos as well as some by Tartini; Beethoven sonatas with Wolfgang Sawallisch at the piano; and Bach's unaccompanied works. He has the use of two violins: the 1701 ‘ex-Kreutzer’ and the 1744 ‘ex-Grumiaux’ Guarneri ‘del Gesù’. TULLY POTTER Ugo de Lantinis.See Lantins, de. Ugolini, Vincenzo(b Perugia, c1580; d Rome, 6 May 1638). Italian composer, singer and teacher. He was a pupil of G.B. Nanino at the choir school at S Luigi dei Francesi, Rome, from June 1592 to 31 October 1594. On 1 May 1600 he was engaged as a bass there. From February 1603 to 6 December 1609 he was maestro di cappella of S Maria Maggiore, Rome; after a severe illness in January 1606 he could no longer fulfil his obligations and in order to recover his health was granted leave of absence from Rome from May to September that year. From 1610 he worked at Benevento Cathedral and from 1614 was director of music to Cardinal Arrigoni in Rome. From 1 August 1616 to 31 July 1620 he was maestro di cappella of S Luigi dei Francesi. On 13 June 1620 he was chosen as successor to Francesco Soriano, who had retired as maestro of the Cappella Giulia at S Pietro. He took up the post in July at a salary of only five scudi a month, while Soriano still received ten scudi; from August 1621, after Soriano's death, he was paid the entire salary of 15 scudi. On 16 February 1626 he was discharged, probably because he refused to take part in a public composition contest with Paolo Agostini, who was appointed to succeed him the following day. According to Vincenzo Giustiniani (Discorso sopra la musica), he was in Parma for a short period in 1628, for the Duke's wedding to Margarita de' Medici, sister of the grand duke of Tuscany. From May 1631 until his death he was again maestro di cappella of S Luigi dei Francesi. Orazio Benevoli was among his pupils. Though clearly rooted in the 16th-century polyphonic style, Ugolini's music is also influenced by innovations taking place around 1600. In his first book of Sacrae cantiones, the setting for double choir is often interspersed with passages for solo voice or a few voices only, and rapidly performed passaggi predominate in the Alleluia sections. Features of this new stylistic approach are present in greater diversity in the Motecta sive sacrae cantiones (Venice, 1616). The solo motets in particular contain extensive virtuoso passaggi of considerable difficulty, requiring trained singers to perform them (see, for instance, the introit motet Dies sanctificatus, with trills within extensive chains of coloratura writing, and the motet Congratulamini, with rapid runs and long coloratura passages calling for considerable vocal range). The Motecta sive sacrae cantiones (Rome, 1619) contains works characteristic of the concerto style in Roman church music of around 1620. Strong rhythmic contrasts are created by the alternation of extensive coloratura sections and parlando passages, and by frequent changes of meter. Short, rhythmically concise soggetti, repeated in sequence or taken up in imitation by the other voices, enliven the concertato interplay. In the solo motets the continuo forms the function of a supporting bass for extensive melodic sections interspersed with coloratura passages and ornamentation. Internal contrasts, provided by the alternation of rapid and sustained passages, serve to illustrate the text. The Motecta et missae, liber secundus (Rome, 1622), represent a stylistically interesting symbiosis of the modern concertato style and polyphonic setting in the form of the anachronistic art of the canon. These works are a significant reflection of the situation in Rome at the time, when Romano Micheli was enlivening the scene from 1620–50 with his numerous polemical writings, and urging his contempories to write canonic compositions. Ugolini employs canons for four to 12 voices almost exclusively in the Sanctus movements (the Osanna and Benedictus) of his masses. The only exception is the Missa sopra il vago Esquilino, which also has a canon in the Agnus Dei. In the manner of the riddle canon of the Netherlands, the solution is hidden in an accompanying Latin motto. However, the resolutio is always expressed. By comparison with Ugolini’s earlier works, an increasing sublimation and depth of expression is perceptible in this collection. Important connotations of meaning are sometimes taken to ardent heights by the repetition of words in connection with short melodic sections in sequence (as in the motet Accipe munus). Extensive melismas and the repetition of short motifs in sequence, as in the Christe of the Missa sopra il vago Esquilino, and the occasional insertion of solo passages (as in the Credo of the Missa Beata Virgo Maria, 12vv), emphasize the new stylistic attitude of these compositions. The collection is an important, and in its musical structure a specifically Roman, contribution to the concertato mass of the first quarter of the 17th century. WORKSsacred
secular
BIBLIOGRAPHYA. Liberati: Lettera scritta … in risposta ad una del Sig. Ovidio Persapegi (Rome, 1685), 28 A. Cametti: ‘La scuola dei pueri cantus di S. Luigi dei Francesi in Roma e i suoi principali allievi (1591–1623)’, RMI, xxii (1915), 593–641 V. Raeli: Da Vincenzo Ugolini ad Orazio Benevoli nella cappella della Basilica liberiana (1603–1646) (Rome, 1920) H.-W. Frey: ‘Die Kapellmeister an der französischen Nationalkirche San Luigi dei Francesi in Rom im 16. Jahrhundert’, AMw, xxii (1965), 272–93; xxiii (1966), 32–60 J.M. Llorens: Le opere musicali della Cappella Giuliai: Manoscritti e edizioni fino al '700 (Vatican City, 1971) KLAUS FISCHER Yüklə 3,09 Mb. Dostları ilə paylaş:
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