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Scan 1011
Baker's biographical dictionary of musicians, 1919
14 lines. Read by computer on 8 September 2026. Printed page 969. See the scan on archive.org.
1Urso [oör'soh], Camilla, born Nantes, France, June 13, 1842; d. New York, Jan. 20, 1902. Distinguished violin-virtuoso, a pupil of Massart in Paris. Accompanied by her father, she played in New York, Boston, Philadelphia, etc. (from 1852–5), with great success, particularly in concerts of Alboni and Sontag. The next seven years she spent in retirement, perfecting herself, and on her reappearance (1862) as a mature artist, she was accepted in America and Europe as a violinist of the first rank. From that time on she vibrated between the continents, her tours being an uninterrupted succession of triumphs; in 1879 and '94 she visited Australia; after a phenomenally successful tour of South Africa (1895) she settled permanently in New York, appearing only on rare occasions. Shortly before her reappearance in 1862 she married Frédéric Luères in Paris.
3Ur'spruch [oor'sprööh], Anton, pianist and comp. of distinction; b. Frankfort-on-Main, Feb. 17, 1850; d. there Jan. 11, 1907. Pupil of Ignaz Lachner and M. Wallenstein, later of Raff and Liszt. Teacher of pf.-playing at the Hoch Cons.; from 1887, at the Raff Cons., Frankfort.—Works: Opera Der Sturm [after Shakespeare's Tempest] (Frankfort, 1888); a comic opera, in a Prologue and 3 acts, Das Unmöglichste von Allem (Karlsruhe, 1897; U. wrote both text and music); op. 26, Die Frühlingsfeier f. ten. solo, ch. and orch.; op. 30, Menschenloos f. male ch. and orch.; op. 24, Ave Maris Stella f. ch., org. and orch., op. 9, pf.-concerto; op. 14, symphony in Eb; op. 21, pf.-quintet in D; op. 12, pf.-trio in Bb; op. 28, vl.-sonata in D m.; op. 29, vcl.-sonata in D; op. 11, Notturno and Romanze for vl. and small orch.; op. 1, Sonata quasi fantasia for pf. 4 hands; op. 13, Variationen und Fuge (on a theme of Bach's) for 2 pfs.; pf.-pcs. (op. 7, Deutsche Tänze, 5 books; books 1 and 2 arr. for orch.); songs. Also wrote Der gregorianische Choral (1901).
5Ur'sus. See BÄHR.
7Utti'ni, Francesco Antonio Bartolommeo, b. Bologna, 1723; d. Stockholm, Oct. 25, 1795. In 1743 he became a member of the Accademia filarmonica in Bologna, and in 1751 its pres.; after a short stay at Hamburg (Oct., 1754) he went as cond. of an Italian opera company to Stockholm, where he remained till his death; 1767–87, Hofkapellm. at the opera there, for which he wrote 7 Italian and 5 French operas. Historically he is important as the comp. of the earliest operas on Swedish texts; the first, Thetis och Peleus, was written for the inauguration of the new opera house (Jan. 18, 1773); the other 3 are Aline, drottning af Golconda [A., Queen of G.] (1776), Athalie (1776) and Iphigenie (1777). A great admirer of Gluck, he brought out all of the master's works in Stockholm, and in his own Swedish operas attempted, unsuccessfully, to imitate the new dramatic style. He also wrote 2 oratorios, Giuditta and La Passione di Gesù Cristo; 3 symphonies and about 25 triosonatas.
9V
11Vaccai, Niccolò, born Tolentino, Papal States, Mar. 15, 1790; d. Pesaro, Aug. 5, 1848. Pupil of Jannaconi (cpt.) at Rome, and from 1812 of Paisiello (dramatic comp.) at Naples, producing his first opera, I Solitari di Scozia, at the Teatro Nuovo, 1815. Ill fortune on the stage caused him to adopt the vocation of a singing-teacher; though up to 1845 he brought out 16 operas, one of which, Giulietta e Romeo (Milan, 1825), was much applauded, and made the rounds of Italian theatres; its third act was generally substituted for that of Bellini's Capuleti e Montecchi.—V. taught at Venice (1818–21), Trieste (1821–23), Vienna (1823), Paris (1829–31), and London (1832), with ever-increasing reputation. Returning to Italy, he succeeded Basili in 1838 as prof. of comp., and censor, at the Milan Cons., retiring to Pesaro in 1844. Besides operas, he wrote 4 ballets, cantatas, and church-music; with Coppola, Donizetti, Mercadante and Pacini he comp. the funeral cantata for Malibran; further, vocal duets, arias, and romances; an excellent and oft-republ. Metodo pratico di canto italiano per camera; and 12 ariette per camera, per l'insegnamento del belcanto italiano.—Cf. G. Vaccai, Vita di N. V. (Bologna, 1882).
13Valdrighi [vahl-drē'gē], Luigi Francesco, Conte, born Modena, 1837; d. there April 20, 1899. For his valuable researches regarding music and musicians in Modena he was made hon. member of the Acad. of Arts and Sciences there, and of the Accad. Santa Cecilia in Rome. His coll. of early musical instrs., exhibited in Bologna (1889), he bequeathed to the Museum of his native city. Under the collective title 'Musurgiana' he publ. a number of monographs on the music and musicians of Modena (1879–93); in the 'Memorie della Accad. modenese' he wrote I Bononcini di Modena (1882), Cappelle, concerti e musiche di casa d'Este (1884) and Sincrono documento intorno al metodo per suonare il Phagotus d'Afranio (1895); also publ. Ricerche sulla liuteria e violineria modenese antica e moderna (1878) and Nomocheliurografia antica e moderna (1884; with 2 suppls., 1888 and '94). Together with G. Ferrari-Moreni he completed A. Candini's Cronistoria dei teatri di Modena (1883).—Cf. E. Zoccoli, Il Conte L. F. V. . . . nota con lettere di A. Boito (Modena, 1899).
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