Uccelli [née Pazzini], Carolina Uccellini, Marco
Ussel, Gui d'. See Gui d'Ussel. Ustād
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Ussel, Gui d'.See Gui d'Ussel. Ustād.Honorific title (derived from Arabic ustādh: ‘master’) for a Muslim master musician in India, Pakistan, Afghanistan, Iran and neighbouring regions. The term is applied only to males, and is also used for a highly regarded teacher, writer, poet or visual artist. To be called an ustād implies that one has studied over a long period of time and that one has a circle of students. The title Ustād, preceding the musician's name (e.g. Ustād Salāmat Ali Khān), is used within classical music genres. It may be awarded by an official committee or may come into gradual use, applied generally and informally through social consensus. In eastern Afghanistan and northern Pakistan ustāz is an alternative form. In western Afghanistan the title Ustā (preceding the name, e.g. Ustā Karīm) is applied to low status players of the shawm (sornā) and drum (dohol) duo. JOHN BAILY Ústí nad Labem(Ger. Aussig). City in north Bohemia with a Czech-German cultural history. The neo-Baroque Stadttheater was built in 1907–8 by the architect Alexander Graf, with decoration by Eduard Veit; it was repaired in 1947 and reconstructed in 1987–93 with 524 seats. Primarily German, it was first run by the actress Maria Pospischil (Pospíšilová, 1909–13). A later prosperous managing director, Alfred Huttig (1920–29), engaged the conductor Adolf Kienzl (1921–2), a pupil of Zemlinsky, and organized the Maifestspiele with celebrated guest singers, giving such works as Mahler's Das Lied von der Erde. Subsequent conductors during Huttig's regime included Josef Kribs (1924–5), Bruno Zilzer (1925–7), who presented Zemlinsky's Es war einmal, and Viktor Ullman (1927–8), whose repertory included Tristan (in its Ústí première), Ariadne auf Naxos, The Kiss and Jonny spielt auf. There was also, from the time of Czech independence in 1918, a two-month Czech season alongside the eight-month German one, with visiting opera troupes from Olomouc and České Budějovice. In 1945 the Divadlo Severu (Northern Theatre) brought Czech opera from Teplice. Then came the Ústecko-Karlovarská Zpěvohra (Musical Theatre of Ústí and Karlovy Vary), which played in those two cities, followed in 1952 by the Divadlo Zdeňka Nejedlého (Zdeněk Nejedlý Theatre) in Ústí. It toured regularly to Most, Teplice and elsewhere, and formed links with the opera in nearby Dresden. In 1990 it came under the jurisdiction of the municipality and was renamed the Městské Divadlo Ústí nad Labem (Ústí Town Theatre). Its repertory ranges from Baroque to contemporary works, and has included works on the grand scale, such as Boris Godunov (1952 and 1967), Der fliegende Holländer (1954) and Tristan (1972, the first Czech performance since 1945). The theatre orchestra also gives regular concerts, and played Verdi's Requiem at the neighbouring site of the Theresienstadt concentration camp. Conductors who worked in Ústí included Josef Bartl (1946–52) and František Vajnar (1974–80), and among singers in the company were Vladimír Bauer (1952–6), Naděžda Kniplová (1957–9), Vilém Přibyl (1960–61) and Václav Zítek (1960–69). Musical education takes place in three music schools, two piano schools and two zither schools. There is also a great tradition of choral singing, led by the Ústecký Pěvecký Sbor (Ústí Singing Choir, founded 1956), the Chorea Academica of the Pedagogical Faculty (1959) and the Ústecký Dětský Sbor (Ústí Children's Choir). The State Scientific Library includes a music department, and there is a regional station of Czech Radio. BIBLIOGRAPHYGroveO (E. Herrmannová) F. Kuttin: 20 Jahre Stadttheater Aussig, iii (Ústí nad Labem, 1929), 241–7 EVA HERRMANNOVÁ Ustinoff, Nicolai.See Gedda, Nicolai. Ustvol'skaya, Galina Ivanovna(b Petrograd, 17 June 1919). Russian composer. She studied at the music college attached to the Leningrad Conservatory (1937–9) and then with Shostakovich and Steinberg at the Conservatory itself (1939–47) and later undertook postgraduate studies there (1947–50). Her education was interrupted by a period of service at a military hospital during World War II. She taught composition at the music college attached to the Leningrad Conservatory (1947–75); throughout her time there, her class was the centre of attraction for the most gifted students, among whom were the composers Banevich, Tishchenko and Veselov. Shostakovich so admired Ustvol'skaya's music that he incorporated some of her ideas into his own works; for example, the second subject of the finale of her Trio for clarinet, violin and piano (1949) appears in his Fifth String Quartet, op.92 and in the Suite op.145 (No.9, ‘Immortality’). In Ustvol'skaya's earliest works of her student years teachers noted the strength, clarity and originality of her talent. In her works of the 1940s and 50s, some of which were programmatic, she was attracted by sunny images of childhood (the orchestral suites Detskaya (‘The Children's Room’) and Pionyorskaya) and by the energy of youth (the suite Sportivnaya). She then wrote works in genres and fields from which she later turned away – a number of vocal works such as the ballad Son Stepana Razina (‘Stepan Razin's Dream’) and the cantata Chelovek s gorï vïsokoy (‘The Man from the Mountain High’) and film scores; although some of the latter were later arranged in suite form, she did not return to these fields after the mid-1950s. Soon after this she also ceased to use folk-song themes either in direct quotation or in stylized form; she had, for example, used material from a bïlina (heroic folktale) in Son Stepana Razina and the Sinfonietta. The orchestral piece Podvig geroya (‘A Hero's Exploit’) won an All-Union prize and was written for the 40th anniversary of the October Revolution, while the symphonic poem Ogni v stepi (‘Fires in the Steppe’) was composed for the 40th anniversary of the Komsomol. At the same time, Ustvol'skaya worked on the First Symphony and instrumental pieces such as the Octet; this led to a turning-point in her work and the abandonment of previous ideas, themes and forms. Ustvol'skaya's First Piano Sonata may be regarded as the starting point in her compositional evolution. Although her early pieces reflect the influence of Shostakovich (which she decisively repudiated in an interview in the 1990s), this influence and the neo-classicism of the Piano Concerto were quickly left behind, and she developed a pathetic, declamatory quality comparable with Musorgsky and Mahler, although the tragic dimension of her music soon developed hitherto unprecedented heights and depths. The strong, ascetic style of her mature works stands apart from mainstream contemporary techniques. The profound, emotional world of her music is polarized between the opposing forces of silence and tense protest. Abrupt changes in mood are effected through extreme shifts in texture and dynamics: meditative moments, with broad textures and dynamics as low as ppppp, are contrasted with raging sections of dense textures and fffff dynamic markings. At times, bar-lines are dispensed with and lines move independently of each other, invoking, in appearance at least, different types of psalmodic chant – Gregorian plainsong, Russian Orthodox chant (znamennīy rospev) or the mourning ritual of the folk tradition. At other times, Ustvol'skaya introduces bars with single beats, the presence of a strong beat without its antithesis giving the music hypnotic power. Another characteristic technique involves chains of single notes, or clusters, of equal duration moving along the diatonic scale. The means of musical expression used by Ustvol'skaya are maximally hyperbolized and taken to their extreme limits. This finds expression in her dynamic, articulation and agogic markings. In her mature works, Ustvol'skaya has concentrated on composing for instruments. Although several other symphonies include voice, vocal parts are usually very brief and non-traditional. They are either conceived as an instrumental line, albeit the principal one, or used to recite a proclamation or prayer (e.g. the speaker's role in symphonies no.2–4). Avoiding the traditional orchestra, she composes for unique ensembles, for very unusual combinations of soloists. Nevertheless, the composer maintains that the works are not chamber music and are unconnected with the early music renaissance. Although Ustvol'skaya uses sacred texts, her music is not religious in an Orthodox sense, nor, in the composer's opinion, does it have any specifically religious meaning. Her music is linked to the St Petersburg tradition of Dostoyevsky and Andrey Bely. She has spent her entire life in the city, where, unconnected with any groups or associations, she leads an enclosed and externally isolated life (she has made only one trip abroad, to Amsterdam in 1995). WORKS(selective list)
BIBLIOGRAPHYL. Rappoport: Galina Ustvol'skaya (Moscow, 1959) K. Yuzhak: ‘Iz nablyudeniy nad stilem G. Ustvol'skoy’ [Observations on Ustvol'skaya's style], Stilevïye tendentsii v sovetskoy muzïke 1960–1970gg, ed. A.N. Kryukov (Leningrad, 1979), 83–103 B. Kats: ‘Sem' vzglyadov na odno sochineniye’ [Seven views of one work], SovM (1980), no.2, pp.9–17 L. Andreyev: ‘Zametki o stile Galinï Ustvol'skoy’ [Notes on Ustvol'skaya's style], Muzïki Rossii, ed. Ye. Grosheva and A. Grigor'yeva, iv (1982), 240–60 O. Malov, ed.: Metodicheskiye rekomendatsii k osvoyeniyu notnogo teksta v fortepiannoy muzïke XX veka [Methodical recommendations on working with 20th century piano music] (Leningrad, 1984), 41–2 A. Sanin: ‘Galina Ustvol'skaya: slovo skazano’ [Ustvol'skaya: the word is said], SovM (1990), no.10, pp.10–15 L. Blois: ‘Shostakovich and the Ustvol'skaya Connexion: a Textual Investigation’, Tempo, no.182 (1992), 10–18 V. Suslin: ‘Muzïka dukhovnoy nezavisimosti: Galina Ustvol'skaya’ [Music of spiritual independence: Ustvol'skaya], Muzïka iz bïvshego SSSR, ed. V. Tsenova and V. Barsky, ii (Moscow, 1992), 141–56 A. Gnatenko: ‘Iskusstvo kak ritual: razmïshleniya o fenomene Galinï Ustvol'skoy’ [Art as ritual: reflections on the phenomenon of Ustvol'skaya], MAk (1995), nos.4–5, pp.24–32 O. Gladkova: Galina Ustvol'skaya: muzyka kak navashdenie (St Petersburg, 1999) LYUDMILA KOVNATSKAYA Yüklə 3,09 Mb. Dostları ilə paylaş:
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