Uccelli [née Pazzini], Carolina Uccellini, Marco
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- Ullman [Ullmann, Ulman, Uhlman], Bernard
- Ullmann, Jakob
Ullinger, Augustin(b Ranoldsberg, Upper Bavaria, 27 March 1746; d Freising, 30 July 1781). German composer, organist and teacher. From 1760 he attended the electoral Gymnasium in Munich and was active as a composer and music teacher. About 1776 he became chamber composer and court organist to the Freising Prince-Bishop Ludwig Josef von Welden. According to Lipowsky he was taught by Placidus von Camerloher. Ullinger was among the best composers of his time in Upper Bavaria. His numerous sacred works were very popular; as late as 1803 they were described in the Allgemeine musikalische Zeitung as combining seriousness with dignity and clarity. Ullinger was probably the brother of the organist Sebastian Ullinger (b c1740), who in 1763 married the widow of Bartholomäus Miller and succeeded him as organist of St Jakob at Wasserburg am Inn; a Salve regina (D-WS) is the only extant work attributable to Sebastian Ullinger, but it shows him to have been an excellent musician. Franz Ullinger (fl c1770–80) is credited with a mass, offertory, two litanies and an aria, copied about 1770–89 (D-WEY); he may be identifiable with Augustin Ullinger. WORKS
BIBLIOGRAPHYLipowskyB MGG1 (R. Münster) [incl. more detailed list of works] R. Münster and R. Machold: Thematischer Katalog der Musikhandschriften der ehemaligen Klosterkirchen Weyarn, Tegernsee und Benediktbeuern (Munich, 1971) B.S. Brook: Thematic Catalogues in Music: an Annotated Bibliography (Hillsdale, NY, 1972) R. Münster and others: Thematischer Katalog der Musikhandschriften der Benediktinerinnenabtei Frauenwörth und der Pfarrkirchen Indersdorf, Wasserburg am Inn und Bad Tölz (Munich, 1975) G. Haberkamp: Thematischer Katalog der Musikhandschriften der Fürstlich Oettingen-Wallerstein’schen Bibliothek Schloss Harburg (Munich, 1976) ROBERT MÜNSTER Ullman [Ullmann, Ulman, Uhlman], Bernard(b Budapest, ?1817; d 2 Oct 1885). American impresario. He probably arrived in America about 1842. He managed Henri Herz (1846–9), Camillo Sivori (1847–8), Henriette Sontag (1852–4), Thalberg (1856–8) and Vieuxtemps (1857–8). From 1857 to 1860 Ullman and Maurice Strakosch, partly financed by Thalberg, produced opera at the Academy of Music in New York, engaging such singers as Anna de La Grange, Elena d’Angri, Marietta Piccolomini and Adelina Patti. Ullman managed the performers both individually and as a company, splitting the troupe for tours and using solo recitals to help offset losses from opera; nevertheless, the company went bankrupt in 1860. In spring 1862 Ullman moved to Europe, where he managed Carlotta Patti (1865–9) and Christine Nilsson (1876–7); he returned to America in 1875–6 as Hans von Bülow’s manager. He was one of the first impresarios to measure success commercially rather than artistically; some of his innovations later became standard managerial practice. BIBLIOGRAPHYM. Maretzek: Crotchets and Quavers (New York, 1855/R in Revelations of an Opera Manager in 19th Century America) H. Herz: Mes voyages en Amérique (Paris, 1866; Eng. trans., 1963) M. Maretzek: Sharps and Flats (New York, 1890/R in Revelations of an Opera Manager in 19th Century America) L.M. Lerner: The Rise of the Impresario: Bernard Ullman and the Transformation of Musical Culture in Nineteenth Century America (diss., U. of Wisconsin, 1970) R.A. Lott: ‘Bernard Ullman: Nineteenth-Century American Impresario’, A Celebration of American Music: Words and Music in Honor of W. Wiley Hitchcock, ed. R.A. Crawford, R.A. Lott and C.J. Oja (Ann Arbor, 1990), 174–91 WILLIAM BROOKS Ullmann, Jakob(b Freiberg, Saxony, 12 July 1958). German composer and organist. He attended the Naumburg Church Proseminar (1975–8) and studied in Dresden at the School of Sacred Music of the Lutheran Church of Saxony (1979–82). From 1980 to 1982 he was a composition student of Herchet. Denied admission to the masterclass of the DDR Academy of Arts because of his refusal to perform military service, he continued his studies privately with Friedrich Goldmann. In 1982 he settled in Berlin, where he has worked as a freelance composer and author. When Cage's music was first presented in East Berlin in 1990, Ullmann met Cage, and until the latter's death conducted an intensive exchange of ideas with him. Ullmann has described his compositional development as reflecting a ‘search for ways of making peripheral ideas, assumptions and the historically conditioned structure of “sounds themselves” perceptible’. Initially influenced by Schoenberg, he used serialism as the prerequisite for his work on sound (Komposition für 10 instrumente, 1982). Later compositions explore the world of silence between noise and sound. His aim has been not to achieve the audibility of unheard sound, but to expose the ‘simplest and most natural of tonal realities’. Important tools in his work are mathematical formulas, computer programs and chance; in his compositions scientific and artistic thinking enter into an innovative synthesis. Another important element of his work is political criticism, which he transforms into music: disappearing notes illustrate the fate of the ‘disappeared’ of Latin American in la CAncin del †nGEl desaparecido (1987–8), and non-semantic language memorializes those murdered in the Soviet gulags in Voice, Books and FIRE (from 1990). Ullmann understands quiet and a lack of expressivity as prerequisites for preventing the ideological misuse of his music. Both are component parts of a compositional aesthetic based on a rejection of market values and a commitment to the alteration of human emotion and thought. WORKS(selective list)
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