Uccelli [née Pazzini], Carolina Uccellini, Marco
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- Bu səhifədəki naviqasiya:
- Universal Edition.
- 2. Publications.
- BIBLIOGRAPHY
Unit orchestra.The name originally given by Robert Hope-Jones to the type of organ he designed to substitute for instrumental players in theatres. It later became better known as the Cinema organ (in the USA, the theater organ). Unit organ.A type of Extension organ. See also Organ, §VI, 4. Universal Edition.Austrian firm of publishers. 1. History.Universal Edition (UE) was founded in Vienna on 1 June 1901 by three Viennese publishers: Josef Weinberger, Adolf Robitschek and Bernhard Herzmansky sr (of Doblinger). The original idea probably came from Weinberger and the banker Josef Simon (Johann Strauss’s brother-in-law). UE’s initial aims were described in the Neue Wiener Tagblatt on 9 August 1901: ‘The new music publisher is a joint venture founded by leading publishers of Austria-Hungary. … As well as publishing the classics and significant instructive works, it will also publish compositions by important modern masters’. The main purpose of UE at the outset was to provide an Austrian edition of the standard repertory which could compete successfully with those of Peters and Breitkopf & Härtel. The firm’s financial position was strengthened by the instruction from the Austrian Ministry of Education on 5 July 1901 that all Austrian music schools should buy UE publications in preference to German editions. Further stability was offered by Weinberger who undertook to purchase a substantial quantity of UE’s output. Weinberger also provided the firm with its first premises, in his own building at 11 Maximilianstrasse (later Mahlerstrasse). In 1914 it moved to the Musikvereinsgebäude where it remains. In 1904 UE purchased the firm of Aibl, which had published a number of major works by Richard Strauss and Reger. The rapid expansion of the catalogue was made possible not only by such outright purchases, but also by issuing under licence, in UE wrappers, a large number of works from other publishers. In 1907 Emil Hertzka (b Budapest, 3 Aug 1869; d Vienna, 9 May 1932) was appointed managing director of UE, with far-reaching consequences. Along with the senior editor Josef V. von Wöss Hertzka changed the firm’s publishing policy, concentrating almost exclusively on new music. He presided over the most exciting years in UE’s history and after his death Paul Stefan wrote: ‘When the history of the music of our time is written, Hertzka’s name will stand above all others as the great originator’. Alfred Kalmus joined the firm in 1909; he remained until his death in 1972, apart from the years 1923–5 when he established the Wiener Philharmonischer Verlag. Hans Heinsheimer joined in 1923 as head of the opera department, a post he held until 1938. Alfred Schlee (b Dresden, 19 Nov 1901; d Vienna, 16 Feb 1999) began working for the company in 1927. Hertzka’s successors were Hugo Winter and Kalmus, but the changing political climate drove Kalmus to leave Vienna in 1936, the year he established UE London, and in 1938 Winter was dismissed by the Nazis; Heinsheimer left Vienna on 11 March 1938, the day before the Anschluss. In 1940 all the shares in UE were acquired by Johannes Petschull (b Diez, 8 May 1901), who also worked as managing director of C.F. Peters during the war years. Alfred Schlee remained in Vienna throughout the war, maintaining such contact as was possible with UE composers and, in particular, helping Webern by employing him as arranger and reader. Schlee also made frequent trips to Switzerland during the war, usually to promote Webern’s music and to acquire Rolf Liebermann and Frank Martin for UE. The rapid reconstruction of UE after the war owed much to the energetic initiatives of Schlee in Vienna and Kalmus in London. In 1949 the London branch became independent from Boosey & Hawkes under whose aegis it had operated during the war; on 5 June 1951 UE Vienna was re-established, with restoration of all the original shareholders’ rights and three directors: Schlee, Kalmus and Ernst Hartmann. From that time UE, both in Vienna and London, once again established itself as the pre-eminent European publisher of modern music, a position which it maintains with authority to the present day. The remarkable achievement of UE was well described by Franz Schreker in 1926: ‘It has not only encouraged and sponsored the modern music movement, it has founded it’. Wiener Urtext Edition was established by UE in succession to the Wiener Urtext Ausgabe, and European American Music was founded in New Jersey in 1977; both enterprises were jointly funded with Schott. In 1999 EAM changed operation to EAMDC joining forces with Warner in Miami.
In UE’s early years, from 1901 to 1907, most of its publications were of the classics. Their editing and arranging was entrusted to some of Vienna's leading musicians, including Hellmesberger, Heuberger, Kienzl, Rosé, Schenker, Schoenberg and Zemlinsky. With the appointment of Hertzka as director in 1907 the policy of publishing new music became apparent almost at once: among the ‘recent publications’ listed in the 1910 catalogue are new works by Korngold, Mahler, Schoenberg, Schreker and Zemlinsky. Hertzka made contracts with many of the most important composers of the time, excepting Hindemith, Stravinsky, Prokofiev and the French school. The list of composers contracted to UE before 1938 is imposing: Bartók, Berg, Casella, Delius, Gál, Hába, Hauer, Janáček, Kodály, Krása, Krenek, Mahler, Malipiero, Novák, Schmidt, Schoenberg, Schreker, Schulhoff, Szymanowski, Webern, Weill, Weinberger, Wellesz and Zemlinsky, among many others. With such composers as these it is hardly surprising that UE published many of the most significant works of the time. The firm’s pre-war opera catalogue is particularly notable, including Bartók’s Bluebeard’s Castle (1922), Berg’s Wozzeck (1926) and Lulu (1936), Max Brand’s Maschinist Hopkins (1929), Gál’s Die heilige Ente (1922), Janáček’s Jenůfa (1917), Mr Brouček’s Excursions (1919), Kát’a Kabanová (1922), The Cunning Little Vixen (1924), The Makropulos Affair (1926) and From the House of the Dead (1930), Kodály’s Háry János (1929), Krenek’s Jonny spielt auf (1926), Schoenberg’s Erwartung and Die glückliche Hand (both 1916), Schreker’s Der ferne Klang (1911, vocal score by Berg), Weill’s Dreigroschenoper (1928) and Aufstieg und Fall der Stadt Mahagonny (1930), Weinberger’s Schwanda the Bagpiper (1927) and Zemlinsky’s Der Zwerg (1921). In other genres UE’s list before 1938 is scarcely less impressive, with Bartók’s The Miraculous Mandarin (1927) and Music for Strings, Percussion and Celesta (1937), Berg’s Violin Concerto (1936), Janáček’s Sinfonietta (1927) and Glagolitic Mass (1928), Kodály’s Psalmus hungaricus (1924), Mahler’s Das Lied von der Erde (1911) and Ninth Symphony (1912), Schoenberg’s Gurre-lieder (1912, vocal score by Berg), First Chamber Symphony (1912) and Pierrot lunaire (1914), Webern’s Passacaglia op.1 (1922) and Zemlinsky’s Lyric Symphony (1923). From the time of the Anschluss on 12 March 1938 until the end of the war, UE’s activities were much curtailed; nevertheless, several interesting works were issued by the firm. Only two serve as a grim reminder of the period – Franz Schmidt’s posthumous work Deutsche Auferstehung (1940) and Josef Reiter’s Festgesang an den Führer des deutschen Volkes (1938), a cantata in praise of Hitler. Important publications include Webern’s Das Augenlicht (April 1938), Schmidt’s Das Buch mit sieben Siegeln (1938), Wagner-Régeny’s Johanna Balk (1941, vocal score by Webern), Schoeck’s Schloss Dürande (1942, vocal score by Webern) and Frank Martin’s Le vin herbé (1943), the first of his many works brought out by the firm. After the war UE published works by Berio, Boulez, Bussotti, Cerha, Dallapiccola, Einem, Cristóbal, Halffter, Haubenstock-Ramati, Kagel, Kurtág, Ligeti, Pärt, Pousseur, Rihm, Schnittke, Skalkottas, Stockhausen and Takemitsu. Among the most notable publications are Boulez’s Le marteau sans maître (1955), Stockhausen’s Studie II (1956, the first electronic music to be published), Ligeti's Atmosphères (1961), Kagel’s Staatstheater (1967), Berio’s Sinfonia (1972) and Pärt's Fratres. The younger generation of composers are represented by Georg Friedrich Haas, Furrer and Sotelo. The firm has an established tradition of issuing periodicals. Much the most important of these was Musikblätter des Anbruch (1919–38; Anbruch from 1929), the leading journal of new music, with an inevitable bias towards UE composers. Other journals include Pult und Taktstock (1924–30; ed. E. Stein, 1924–7), Musica divina (1913–38), Schrifttanz (1928–31), the Haydn Yearbook (1962–75) and Die Reihe (1955–62). Since 1968, UE has been publishing the Studien zur Wertungs-forschung (ed. O. Kolleritsch). UE’s book catalogue is also substantial, including Schoenberg’s Harmonielehre (1911), Schenker’s series of Beethoven analyses, Hauer’s theoretical writings and Hába’s Harmonielehre (1927). UE has also been active as a publisher of educational music: the Rote Reihe, started in the 1960s, is a comprehensive attempt to apply new educational methods to the teaching of avant-garde music. From the start, most of UE’s engraving and printing was done by R.v. Waldheim, Josef Eberle & Co. (later called Waldheim-Eberle). In 1960 however, UE purchased the Wiener Notenstecherei which serves as the firm’s production department. UE London was founded by Alfred Kalmus on 1 July 1936 and publishes new music by such British and American composers as David Bedford, Bennett, Birtwistle, Earle Brown, Feldman, Finnissy, Simon Holt, Hoyland, Muldowney, Osborne, Patterson, Rands and Schafer. UE London’s 50th anniversary in 1986 saw the highly successful première of one of its most important publications, Birtwistle’s The Mask of Orpheus. The three young composers in the UE London catalogue are David Sawer, Julian Yu and Jan Wilson. In 1999, Robert Thompson founded UE Inc. New York establishing relationships with composers such as Osvaldo Golijov and Gabriela Ortíz.
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