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Scan 477
Grove's Dictionary of Music and Musicians, 1928
20 lines. Read by computer on 12 September 2026. Printed page 421. See the scan on archive.org.
1and some cadenzas in his sonatas remind one, almost of de Bériot. E. v. d. s.
3UGALDE, DELPHINE, née BEAUCÉ (b. Paris, Dec. 3, 1829; d. there, July 19, 1910). She was taught music by her mother, an excellent musician and teacher of singing, and a good comedian; and singing by Moreau-Sainti and, according to Soubies and Malherbe, by Cinti-Damoreau. She married a Spanish musician, Ugalde (d. 1858). In July 1848 she made her début at the Opéra-Comique as Angèle ('Domino noir'), became a great favourite, being a brilliant singer and actress, and remained there until 1858, except for a short season at the Variétés in a revival of Favart's 'Trois sultanes.' At the former theatre she sang in the many successful new operas of the period, viz. in 'Le Caïd,' 'Songe d'une nuit d'été,' and as Eros in 'Psyché' (A. Thomas), 'Les Monténégriens' (Limnander), 'Le Toréador' (Adam), 'La Fée aux Roses' and 'Dame de Pique' (Halévy), 'Galathée' (Massé), etc. In 1851, on leave of absence, she sang at Her Majesty's as Nefte in 'L'Enfant prodigue' and Corilla in Gnecco's 'Prova,' with moderate success. She sang here again in 1857 in concerts, with better effect. On Aug. 28, 1858, she sang as Leonora ('Trovatore') at the Opéra, for Roger's benefit. She was then engaged at the Lyrique, where she made a great success as Susanne, Blonde, Reiza, as the heroine in Massé's 'Fée Carabosse' and the hero in Semet's 'Gil Blas.' Later she sang there again as Papagena and Taven ('Mireille'), having in the meantime sung at the Opéra-Comique, and in 1863 at the Bouffes as Roland in 'Les Bavards' (Offenbach). She sang there again, under the management of Varcollier, her second husband, as Eurydice in 'Orphée aux Enfers,' and in 1867 in an operetta of her own composition, 'La Halte au moulin,' favourably reviewed at the time. In 1870 she sang at the Opéra-Comique for the last time, as Juana in 'Déa' (Jules Cohen), and in 1871 at the Athénée in 'Javotte' (Jonas). Among her pupils were Marie Sass of the Opéra (a successful Elizabeth in 'Tannhäuser' and Sélika in 'L'Africaine') and her own daughter (by her second husband) known as Marguerite Ugalde who, after successful débuts at the Opéra-Comique in the 'Fille du régiment' and as Niklausse on the production of 'Contes d'Hoffmann,' became identified with opéra-bouffe, in which she made a reputation.
5A. C.; rev. M. L. P.
7UGOLINI, VINCENZO (b. Perugia), a 16th-17th century church composer of the Roman school. He was a pupil of Bernardino Nassini, and teacher of Benevoli. Appointed maestro di cappella of Santa Maria Maggiore, Rome, in 1603 1 he was attacked in 1604 by a severe illness which left him in delicate health for the rest of his life. Although he had to interrupt his work, he was left in the possession of his place on account of his exceptional merit. In 1609 he went to Benevento as maestro di cappella of the cathedral, but in 1614 he was in the service of Cardinal Arigoni at Rome, and from 1616-20 he was at the French church of St. Louis at Rome. In the latter year he succeeded Soriano at the Cappella Giulia of St. Peter's, Rome, where he remained until 1626, when he resigned, but remained active until 1630 or after, as the dedication of his 12-part psalms is signed in the latter year. He was one of the most learned church musicians and a profound and dignified representative of Palestrina's school. He composed 2 books of 5-part madrigals (1615); 4 books of 1-4-part motets with continuo (1616-19); 2 books of 8-part psalms (1620); 2 books of 8 and 12-part masses and motets (1622); 1 book of 8-part psalms and Vespers with bass for the organ (1628); 1 book of 12-part Vesper-psalms and motets, one with a bass for the organ (1630); various sacred songs, etc., in collective volumes.
9E. v. d. s.
11UHLIG, THEODOR (b. Wurzen, near Leipzig, Feb. 15, 1822; d. Dresden, Jan. 3, 1853), learnt the violin from Schneider at Dessau, in 1837-1840, and entered the royal band at Dresden in 1841. His compositions, though very numerous, and ranging over a wide variety of forms, are not as important as his theoretical works, Die Wahl der Taktarten, Die gesunde Vernunft und das Verbot der Fortschreitung in Quinten, and Druckfehler in der Symphonie-Partituren Beethovens; nor is he as famous for these as for the fact that Wagner corresponded with him during an interesting period of the great composer's career. The letters were published in 1888. (Riemann.)
13M.
15UILLEANN PIPES. This is the correct name of the Irish domestic pipes, a name which, by a strange Anglicised corruption, was for a century written 'Union.' (See PLATE IV. No. 7.) The Uilleann pipes are to be identified with the 'woollen' bagpipes of Shakespeare (Merchant of Venice), but the etymology is from the Irish uilleann = the elbow, inasmuch as the wind is supplied by a bellows acted on by the elbow, whereas the Irish Piob Mor (or warpipe) is blown by the mouth. For long, the name was supposed to be derived from the period of the Union between England and Ireland (1800), but there are numerous references to players on the 'Union pipes' between the years 1750 and 1780. At the close of the 16th century they came into vogue, but the instrument was much improved in the 18th century, and Burney praises it highly in 1780. Uilleann pipes are made in Dublin, Belfast and Cork, and there are Pipers' Clubs in each of those cities. (See BAGPIPE; IRISH MUSIC.)
17W. H. G. F.
191 Riemann says 1592-1603.
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