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Scan 826
Dictionary of music, 1896
33 lines. Read by computer on 3 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1ever, the notation is identical, since the double-bass sounds an octave lower, and the piccolo flute, an octave higher than the written notes).
3Untersatz, in the organ, a Gedackt of 32 ft.
5Unterstimme (Ger. "under voice"), the lowest part of a composition in several parts; the term is opposed to "middle parts" and "upper part."
7Uomo, man; "primo u.," principal male singer on a stage (as prima donna is the first female), the chief tenor singer, formerly (during the 17th and 18th centuries) also the first sopranist (Evirato).
9Upbeat is the name given to the apparently incomplete bar at the beginning of a piece or phrase, as, for example, in
11 one of two readings
12 one of two readings
14the quaver standing alone at the beginning. As, in fact, in our system of notation, the bar-line is always placed before the part of the bar which forms the centre of gravity of the bar motive (see Metre), all metrical bar motives which commence on an unaccented part have their bar line somewhere in the middle. There is nothing more false than to separate such an upbeat from what follows, and to look upon the notes between two bar lines as comprehending the motive. On the contrary it may be asserted generally, that in pieces which commence with a full bar (on the "one") it is necessary to see how much at the end of the bar belongs as upbeat to the next one. For the upbeat is not only a possible form, but the real point of departure, the punctum saliens of all musical formation. (Cf. Metre, Art of.)
16Upper-dominant. (See Dominant.)
18Upper part, is the term applied, in music of several parts or voices, to the highest. In modern music the upper part is especially the one bearing the melody (formerly the middle voice, the tenor), wherefore it is also named the melodic part. It may reasonably be supposed that the upper part described as Cantus, instead of, as formerly, Discantus, is a proof that, already in the 16th century, the U. P. began to be felt as the ruling one.
20Urban, (1) Christian, theorist, b. Oct. 16, 1778, Elbing, town musician there, afterwards at Berlin, and finally town musical director at Dantzig. He published: "Ueber die Musik, deren Theorie und den Musikunterricht" (1823); "Theorie der Musik nach rein naturgemässen Grundsätzen" (1824); and a prospectus of 16 pages: "Ankündigung meines allgemeinen Musikunterrichtssystems und der von mir beabsichtigten normalen Musikschule" (1825). He also wrote an opera, Der goldne Widder, and music to Schiller's "Braut von Messina."
22(2) Heinrich, gifted composer, b. Aug. 27, 1837, Berlin, pupil of Hubert Ries, Laub, Hellmann, and others, lives in Berlin, since 1881 teacher at Kullak's Academy. He has composed a symphony, "Frühling" (Op. 16), an overture "Fiesco" (Op. 6), and "Scheherazade" (Op. 14), a violin concerto, violin pieces, songs, etc.
24(3) Friedrich Julius, brother of the former, b. Dec. 23, 1838, Berlin, was solo soprano in the Royal Cathedral Choir under Neithardt, and private pupil of H. Ries and Hellmann (violin), Grell (theory), Elsler and Mantius (singing), and since 1860 has been much sought after as a teacher of singing at Berlin; he also holds appointments as singing-master at schools. His "Kunst des Gesanges" is an educational work well spoken of by the press; he has also published songs.
26Urbanek, Ian, b. Jan. 31, 1809, Slanin (Bohemia), distinguished violinist, student at Prague Conservatorium (Pixis); he was afterwards leader at the Königstädt Theatre, Berlin.
28Urfey, Thomas d', famous English singer who died at an advanced age, Feb. 26, 1723. He published "Wit and Mirth, or Pills to Purge Melancholy" (1719), and a collection of ballads and songs, in part of his own composition.
30Urhan, Chrétien, violinist and composer, b. Feb. 16, 1790, Montjoie near Aix la Chapelle, d. Nov. 2, 1845, Paris. He received his first violin instruction from his father, and trained himself in pianoforte playing and composition, until in 1805 the Empress Josephine of France, to whom he had been presented at Aix la Chapelle, placed him under Le Sueur for further training in composition; on the pianoforte he never received any lessons. He devoted his attention to the viola d'amour which had fallen into oblivion (Meyerbeer wrote for him a solo in Les Huguenots), and followed the example of Woldemar (q.v.) in adding a fifth string to the violin, i.e. the c-string a fifth below, so that the violin included viola compass ("Alt violine" Violin-alto); he also distinguished himself as violist in Baillot's Quartet party. In 1816 he entered the orchestra of the Grand Opéra, of which he was later on solo violinist; he was also for a long time organist of St. Vincent de Paul. U.'s printed compositions are: 2 Quin-tettes romantiques for two violins, 2 violas and 'cello, quintet for 3 violas, 'cello, and double bass (with drum ad libitum), 3 Duos romantiques for pianoforte for four hands, pf. pieces, and songs.
32Urio, Francesco Antonio, Italian church composer, b. probably 1660, Milan; in 1690 he was Franciscan monk at Rome, and maestro of the Church of the Twelve Apostles, and as such he published his Op. 1, "Motetti di concerto a 2, 3, e 4 v. con violini e senza." In addition, the following works of his are known: "Salmi concertati a 3 v. con violini" (Op. 2); an oratorio,
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