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Scan 229
Grove's dictionary of music and musicians;, 1904
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1bers and friends every work of merit within its powers of performance.
3Mr. Joseph Robinson held the office of conductor from the foundation of the Society until 1847, when he resigned and was succeeded by Dr., afterwards Sir Robert P. Stewart, on whose death in 1894 the present conductor, Mr. Charles G. Marchant, Mus.B., was appointed.
5The following list shows the larger works (many of them frequently repeated) which in addition to those mentioned above have been performed at the Society's concerts. Several large selections from operas containing a choral element have been given, as Mozart's 'Idomeneo,' 'Zauberflöte,' and 'Don Giovanni,' Weber's 'Der Freischütz' and 'Oberon,' etc.:—
7Bach. Passion (St. John); Magnificat; B minor Mass.
8Balfe. Mazeppa.
9Beethoven. Mass in C; Mount of Olives; Ruins of Athens; King Stephen; Calm Sea and Prosperous Voyage.
10Carlissini. Jonah.
11Cherubini. Requiem Mass.
12Coleridge Taylor. Hiawatha.
13Costa. Ell.
14Cowen. The Corsair.
15Gade. The Erl-King's Daughter; Spring's Message; Psyche; The Crusaders.
16Gadsby. The Lord of the Isles; Alice Brand.
17Gollmick. The Heir of Lynne.
18Handel. Saul; Joshua; Esther; Theodora; The Dettingen Te Deum.
19Hiller. Lorelei.
20Macfarren. The Sleeper awakened; John the Baptist.
21Mendelssohn. Elijah; St. Paul; Lauda Sion; Athalie; Christus; The First Walpurgis Night; Lorelei; Hymn of Praise.
22Monk. The Bard.
23Mozart. Requiem; Grand Mass in C minor.
24Palestrina. Missa Papae Marcelli.
25Purcell. Dido and Aeneas.
26Rossini. Stabat Mater.
27Smart. The Bride of Dunkerron.
28Spohr. Last Judgment; Psalm lxxxiv.
29Stanford. Phaedrig Crohoore.
30Stewart. A Winter Night's Wake; The Eve of St. John (both written for the Society); Tercentenary Ode.
31Sullivan. Martyr of Antioch; Te Deum; On Shore and Sea; The Golden Legend.
32Van Bree. St. Cecilia's Day.
33Verdi. Requiem Mass.
34Weber. Jubilee Cantata; Music in 'Preciosa'; Liebe und Natur.
36For many years the old-fashioned regulations compelled the Society to employ only the choristers of the Cathedrals for the treble parts in the chorus, and, on occasions when boys' voices were inadequate, to give its concerts outside the college walls, but in 1870 permission was granted to admit ladies as associates, and since that time they have taken part in the concerts of the Society.
38The Society meets weekly for practice from November to June, and usually gives three concerts during the season.
40In 1903 an amateur orchestra was formed in connection with the Society by Mr. Marchant, the conductor. Weekly meetings of this band are held for practice of the music to be played at the Society's concerts. In addition to the accompaniment to the choral works, the band gives performances of orchestral works. They have already played Mozart's G minor, E flat and Jupiter Symphonies, Schubert's tragic Symphony, and some smaller works. G. A. c.; revised by L. M'C. L. D.
42UP BOW. See Mixed Bowings, vol. iii. p. 220.
44UPPER PARTIALS. The higher or more acute partial tones. See Overtones and Partial Tones.
46UPRIGHT PIANOFORTE. See Pianoforte, vol. iii. pp. 726–7, etc.
48URBANI. [See Valentini.]
50URBANI, Pietro, was born in Milan in 1749, and obtained in that city the degree of Doctor of Music. He appears to have been an excellent theoretical musician, and his singing was considered good and tasteful. He came to London, but about 1780 made his way into Scotland. In Glasgow he resided three years, singing Scottish songs, and in 1784 he was in Edinburgh, being engaged at the St. Cecilia Hall Concerts. He was eminent as a teacher, and his arrangements of the vocal melodies of Scotland were much admired. Between 1792 and 1804 he issued six folio books of his arrangements of Scottish songs, and these are remarkable for being the first to have opening and concluding symphonies, and elaborate accompaniments which employ two violins, viola, and pianoforte.
52The books were dedicated to different Scottish ladies of title, and some of the poetry was by Burns, who knew and esteemed the musician. About 1795–96 Urbani entered into a music-selling and publishing business, and the firm of Urbani and Liston was at 10 Princes Street, Edinburgh, until about 1808–9. It was then broken up, and Urbani's books of Scottish song were reissued by other firms. He attempted to introduce Handel's Oratorios to the Glasgow and Edinburgh public, but this entailed heavy losses, and with the failure of his music business Urbani retired, broken in health and fortune, to Dublin. He died there, in South Cumberland Street, in poverty, leaving his widow destitute. Two of his operas were performed in Dublin, viz.: 'Il Farnace' and 'Il Trionfo di Clelia.'
54URHAN, Chrétien, born Feb. 16, 1790, at Montjoie, near Aix-la-Chapelle, was the son of a violinist. He early showed great taste for music, and while still untaught began to compose for his two favourite instruments, the violin and piano. The Empress Josephine happening to hear him at Aix-la-Chapelle, was so struck with his precocious talent that she brought him to Paris, and specially recommended him to Lesueur. The composer of 'Les Bardes' was then at the height of his popularity both with the public and the Court, and his countenance was of as much service to Urhan as his lessons in composition. Urhan entered the orchestra of the Opéra in 1816, was promoted first to a place among the first violins, and finally, on Baillot's retirement (1831), to that of first violin-solo. As a concert-player he made his mark as one of the foremost violinists of the day with Mayseder's brilliant compositions, which he was the first to introduce in Paris. He was frequently heard at the concerts du Conservatoire, of which he was one of
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