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Scan 476
Grove's Dictionary of music and musicians, 1927
18 lines. Read by computer on 3 September 2026, twice; the two readings disagreed in places. Printed page 420. See the scan on archive.org.
1UBER, (1) CHRISTIAN BENJAMIN (b. Breslau, Sept. 20, 1746; d. there, 1812), studied law at Halle and became a barrister at Breslau in 1774, holding eventually some high offices at the law courts. At Halle he continued his early musical studies under Türk. Uber's house at Breslau became the rendezvous of distinguished musicians, artists and literary men, and every Wednesday and Saturday public performances took place there, ranging from chamber music to opera; sometimes also a play would be given, owing to the presence of some famous actor. Uber was a talented composer, and wrote a comic opera in 3 acts, 'Clarisse,' an ode from the history of 'Miss Fanny Welkes' (Weelkes ?) (1772); a divertimento for harpsichord, 2 violins, 2 flutes, 2 horns, viola and bass (1777); 6 divertimentos for harpsichord, flute, violin, 2 horns and bass (1783); 6 trios for harpsichord, violin and violoncello, and a number of harpsichord sonatas with and without accompaniment of other instruments.
3(2) CHRISTIAN FRIEDRICH HERMANN (b. Breslau, Apr. 22, 1781; d. Dresden, Mar. 2, 1822), son of Christian Benjamin, studied law at Halle University, and music under Türk, for whom he deputised as conductor of the subscription concerts, where he played a violin concerto in D, of his own composition, and also brought out a cantata, 'Das Grab,' both being well received. Soon after he devoted himself entirely to music, became chamber musician to Prince Louis Ferdinand of Prussia, after whose death in 1806 he was first violinist at Brunswick; and in 1808 he became Kapellmeister at the Opera, Cassels, where he wrote several French operas ('Les Marins'), an Intermezzo 'Der falsche Werber,' music to Schiller's 'Der Taucher,' Klingemann's 'Moses,' etc. In 1814 he was Kapellmeister at Mayence theatre (opera, 'Der frohe Tag') and in 1816 musical director of Seconda's theatrical troupe at Dresden. Having long been in delicate health he retired into private life at Leipzig, but in 1818 accepted the position of cantor and musical director of the 'Kreuzkirche,' Dresden. There he wrote, among other works, an Easter cantata and a Passion ('Die letzten Worte des Erlösers'), which proved his swan song, as he was buried on Good Friday 1822, the day of its first performance.
5(3) ALEXANDER (b. Breslau, 1783; d. there, 1824), another son of Christian Benjamin, started his musical career as violinist but soon exchanged the violin for the violoncello, which he studied under Jäger. He was an intimate friend of C. M. v. Weber, Berner and Klingohr. In 1804 he toured with great success as a violoncellist in South Germany. In 1820 he settled at Basle, where he married a singer, returning to Breslau in 1821, and becoming Kapellmeister to Prince Schönaich-Carolath in 1823, which post he held till his death. He composed several concertos, variations, etc., for violoncello, several overtures, vocal music, etc. (Schilling; Mendel; E. van der Straeten, Hist. of the Violoncello).
7UBERTI, ANTONIO (b. Verona, 1697; d. Berlin, Jan. 20, 1783), of German parents named Hubert, was a pupil of Porpora, and was usually called Porporino from that circumstance. He was an eminent singer in the Italian opera in Germany, and was appointed chamber singer to Frederick the Great at Berlin. His most distinguished pupil was Mme. Mara. (Riemann.)
9UBERTI, GIULIO (b. Milan, 1805; d. 1876), poet, patriot and teacher of declamation. Together with his friends, Modena and Mazzini, by the power of the pen he succeeded in raising the youth of Italy to action against the tyranny of a foreign domination, and to the establishment of the national independence. His poems are noticed at length by Cesare Cantù in his History of Italian Literature. He lived at Milan the greater portion of his life, engaged as a teacher of declamation. He numbered Malibran and Grisi amongst his pupils, and was the last of the masters of declamation who still preserved the old traditions of classical tragic acting. He died by his own hand in 1876, a patriot but a republican to the end.
11U.C., see UNA CORDA.
13UCCELLINI, DON MARCO, of Modena, master of the instrumental music of the Duke of Modena, 1645; also maestro di cappella at Modena Cathedral, 1654. In 1669 he appears again under the former title only. Fétis's statement that he was maestro di cappella at the court of Parma appears to lack confirmation. He wrote psalms for 3-5 concerted parts with instruments, and litanies of the Holy Virgin, 5 v., with instruments, op. 6 (Venice, 1654); Canto dell' ozio regio, opera di musica (1660); 3 books of 'sonate,' arie, correnti, etc., published between 1639 and 1645; sonatas or canzonas for violin solo and bass, op. 5 (Ven., 1649); 'Compositioni armoniche' for violin and other instruments, in 4 and 5 parts, lib. 7 (Antwerp, 1668); Sinfonie boscarecie for solo violin and bass with addition of 2 other violins, op. 8 (Antwerp, 1669; other ed., 1677). His violin compositions prove him a virtuoso who was probably unequalled in his time, as he already made use of the 6th position. Schering1 mentions Sinfonici concerti, brievi e facili (1667), in which, so he says, the violin soli show here and there a distinct concerto character, one of two readings
14UCCELLINI, DON MARCO, of Modena, master of the instrumental music of the Duke of Modena, 1645; also maestro di cappella at Modena Cathedral, 1654. In 1669 he appears again under the former title only. Fétis's statement that he was maestro di cappella at the court of Parma appears to lack confirmation. He wrote psalms for 3-5 concerted parts with instruments, and litanies of the Holy Virgin, 5 v., with instruments, op. 6 (Venice, 1654); Canto dell' ozio regio, opera di musica (1660); 3 books of 'sonate,' arie, correnti, etc., published between 1639 and 1645; sonatas or canzonas for violin solo and bass, op. 5 (Ven., 1649); 'Compositioni armoniche' for violin and other instruments, in 4 and 5 parts, lib. 7 (Antwerp, 1668); Sinfonie boscarecie for solo violin and bass with addition of 2 other violins, op. 8 (Antwerp, 1669; other ed., 1677). His violin compositions prove him a virtuoso who was probably unequalled in his time, as he already made use of the 6th position. Schering¹ mentions Sinfonici concerti, brievi e facili (1667), in which, so he says, the violin soli show here and there a distinct concerto character, one of two readings
161 Geschichte des Instrumentalkonzerts, p. 26. one of two readings
17¹ Geschichte des Instrumentalkonzerts, p. 26. one of two readings
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