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Scan 1010
Baker's biographical dictionary of musicians, 1919
18 lines. Read by computer on 8 September 2026. Printed page 968. See the scan on archive.org.
1Liebe, with the Engl. title Memories, and Storm's Immensee; has edited Theodore Thomas's autobiography (2 vols.; 1905).
3Urbach [oor'bāh], Otto, b. Eisenach, Feb. 6, 1871. Pupil of Müller-Hartung and B. Stavenhagen in Weimar, of B. Scholz, I. Knorr and E. Humperdinck in Frankfort, of F. Draeseke in Dresden, and of K. Klindworth in Berlin; winner of the Liszt stipend (1890) and of the Mozart stipend (1893); since 1898 prof. of pf. at the Dresden Cons.; made Kgl. Prof. in 1911.—Works: An opera, Der Müller von Sans-Souci (Frankfort, 1896); an overture, Bergfahrt; a str.-quartet, Horsila; septet for wind-instrs.; suite for vl. and pf.; pf.-pcs.; many songs.
5Urban [öör'bahn], Friedrich Julius, brother of Heinrich U.; b. Berlin, Dec. 23, 1838; was solo boy-soprano in the Domchor under Neithardt, and a private pupil of H. Ries and Hellmann (violin), Grell (theory), and Elsler and Mantius (singing). He taught singing in Berlin schools, and was in great request as a singing-teacher. Publ. Die Kunst des Gesangs; some songs and choruses.
7Urban, Heinrich, b. Berlin, Aug. 27, 1837; d. there Nov. 24, 1901. Studied under Ries, Laub, Hellmann, and others; also at Paris. Gifted violinist and composer; from 1881 teacher at Kullak's Acad.; was a noted theorist.—Works: Op. 6, Overture to Schiller's Fiesco; op. 10, Dramatische Szene for vl. and orch.; op. 14, Scheherazade, concert-overt.; op. 16, Frühling, symphony in G; op. 17, Romanze for vl. and orch.; op. 18, Barcarole for vcl. and orch.; op. 20, Ouvertüre zu einem Fastnachtsspiele; op. 22, vln.-concerto; op. 25, Der Rattenfänger von Hameln, 'Fantasiestück' for orch. (after J. Wolff's Aventiure); pcs. for vl. and pf.; songs.
9Urba'ni, Valentino. See VALENTINI.
11Urfey, Thomas d', b. Exeter, Engl., c. 1649; d. London, Feb. 26, 1723. A playwright, producing about 30 stage-pieces, the songs in some of which were set to music by Purcell. He himself wrote and sang many songs, publ. in his Wit and Mirth; or, Pills to Purge Melancholy (4 vols., about 1706; augmented to 6 vols., in 1719–20). He also publ. (1683–5) 3 sets of his songs, set to music by eminent composers.—See Q.-Lex. (under D'URFEY).
13Urhan [ü-rāhn'], Chrétien, b. Montjoie, n. Aix-la-Chapelle, Feb. 16, 1790; d. Paris, Nov. 2, 1845. Violinist, pupil of Le Sueur in composition; revived the viole d'amour, playing in Baillot's Quartet; from 1816 he was violinist (later soloist) in the Opéra orch. In the Cons. Concerts he employed a 5-stringed violin (violon-alto, with the accordatura c-g-d1-a1-e2), producing charming effects (see WOLDEMAR). He was for years organist at St.-Vincent-de-Paul.—Works: 2 Quintettes romantiques f. 2 violins, 2 violas, and 'cello; quintets f. 3 violas, 'cello and d.-bass, w. drums ad lib.; 3 Duos romantiques f. pf. 4 hands; 2 solo pieces f. pf.; songs.
15Urich [ü-rēsh'], Jean, b. on island of Trinidad, Sept. 9, 1849. St. in Paris with B. Damcke and C.-F. Lenepveu (1868), and in London with Charles Gounod (1871–4); founder (1890) of the 'Édition Paul Dupont' in Paris, and dir. of 'Le Figaro musical.' Works: The operas l'Orage (Brussels, 1879); Flora Macdonald (Bologna, 1885); Le Pilote (Monte Carlo, 1889); Le Carillon (Aix-les-Bains, 1895); Hermann und Dorothea (Berlin, 1899); La Cigale et la Fourmi (as The Cicada, London, 1912); Tsing-Tau (ib., 1914; 1-act); Ariane (not prod.; overture perf. in Paris, 1904); also a concerto for 2 pfs. and some chamber-music.
17Urlus [ür'lūs], Jacques, famous dramatic tenor; b. Hergenrath, n. Aix-la-Chapelle, Jan. 9, 1867. When he was 10 his parents moved to Tilburg, Holland, and there he received his first musical instruction from an uncle, Kapellm. and choral cond.; in Utrecht, where his parents settled in 1884, he attended the technical high school to prepare for a course in engineering; although he sang there in a church-choir and 2 choral societies, he had no intention of becoming a singer. While he was serving his year in the Dutch army, the fine quality of his voice attracted the attention of his colonel; with some difficulty the latter persuaded him to study with Richard Hol, the munic. music-dir.; he then continued his studies in Amsterdam with H. Nolthenius (1893–4), A. Averkamp (1894–7) and, at the Cons., with Cornelia van Zanten (1894–6). De Groot, hearing him in a concert, eng. him for the Dutch Opera in Amsterdam; succ. début as Beppo in Pagliacci (Sept. 20, 1894); sang there till 1900; 1900–15, at the Stadtth. in Leipzig, also singing as a star in the principal theatres of Germany, Austria, France, Belgium and England; in 1911 he sang for the first time in Bayreuth (Siegmund); in 1912, '13 and '14 at the Wagner festivals at La Monnaie, Brussels. Amer. début Boston (Feb. 12, 1912) as Tristan; from 1913–17 he sang the Wagner rôles at the M. O. H. (first appearance as Tristan, Feb. 8, 1913). His favorite rôles are Tristan, Siegfried, Siegmund and Lohengrin. As an interpreter of the Wagnerian rôles he has no superior; his voice, ranging from G-c2, is a superb organ under perfect control; he is one of the few Wagner singers who never impair the natural beauty of their tone by forcing.
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