Scan 38
Baker S Biographical Dictionary Of Musicians Third Edition, 1919
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1Golden West), Golaud (Pelléas et Mélisande). Principal rôles: Count Luna (Trovatore), Lord Ashton (Lucia), Mephistopheles (Faust), des Grieux (Manon), Escamillo (Carmen). Amato is regarded as one of the finest operatic baritones.
3Am'bros, August Wilhelm, distinguished musical historiograph and critic; b. Mauth, n. Prague, Nov. 17, 1816; d. Vienna, June 28, 1876; divided his student-years at Prague Univ. between law and music; was app. Public Prosecutor at Prague in 1850, but continued his musical work and study, and in 1856 attracted general notice by his essay on Die Grenzen der Musik und Poesie (2nd ed. Leipzig, 1885; Engl. transl. N. Y., 1893), a study in musical aesthetics put forth in reply to Hanslick's Vom Musikalisch-Schonen, and a treatise of high and lasting value as a corrective to Hanslick's extreme views. This was followed by Culturhistorische Bilder aus dem Musikleben der Gegenwart (1860; 2nd ed. Leipzig, 1865), a collection of admirable essays; he was then (1860) engaged by Leuckart of Breslau (now in Leipzig) to write a History of Music, his principal work, and a life-task destined to render him famous. In 1869 he was app. prof. of music, Prague Univ., and prof. of mus. history at Prague Cons.; 1872, app. to a position in the Ministry of Justice, Vienna, and also prof. in the Cons. at Vienna. In gathering the materials necessary for the history, he spent years of labor in the libraries of Munich, Vienna, and several Italian cities, having leave of absence for this purpose, and likewise a grant of money from the Vienna Academy. Vol. iii, down to Palestrina, appeared 1868; A. died before completing the fourth, which was edited from his notes and materials by C. F. Becker and G. Nottebohm; a fifth vol. was published (1882) by O. Kade from further collected materials, and W. Langhans has written a sequel, in a more popular style (under the title, Geschichte der Musik des 17., 18. und 19. Jahrhunderts), bringing the work up to date (2 vols., 1882-6). A list of names and general index were also published by W. Bäumker in 1882. A 2nd ed. (Leuckart, Leipzig, 1880) of the original 4 vols. has been printed; contents: Vol. i, The Beginnings of Music, Mus. of the Antique World, of the Greeks, etc.; vol. ii, from the Christian era down to the First Flemish School; vol. iii, from the Netherlanders to Palestrina; vol. iv, Palestrina, his contemporaries and immediate successors. Vol. i has been rewritten, not wholly to its advantage, by B. Sokolovsky. Vols. ii and iii are of peculiar value. Vol. ii was republ. (1892) in a new revision by H. Reimann; likewise vol. iv (1909), by H. Leichtentritt; vol. v was revised and enlarged (1911) by O. Kade.—Two series of entertaining essays, Bunte Blätter (1872-74; 2nd ed. by E. Vogel, 1896), are interesting to either amateurs or professionals. Ambros was also an excellent practical musician, being a fine pianist, and the composer of an opera, Bretislav a Jitka, overtures to Othello and the Magico prodigioso, several piano-pcs., numerous songs, and 2 masses, a Stabat Mater, etc.
5Ambrose (Ambrosius), b. Trier (Trèves), A.D. 333; d. Milan, Apr. 4, 397; elected Bishop of Milan in 374; canonized after death. Celebrated for his regulation (384) and development of singing in the Western Churches, by the introduction and cultivation of ritual (antiphonal and congregational) song, as practised at the time in the Eastern Church, and by the consequent adoption of the 4 authentic church-modes; his indisputable authorship of many sacred songs has earned him the title of 'Father of Christian Hymnology.' It does not appear that St. Ambrose was acquainted with the use of the letters A-G as signs of notation; his reputed authorship of the 'Ambr. Chant,' Te Deum laudamus, is mythical.—Bibliography: Biraghi, Inni sinceri e carmi di S. Ambrogio (Milan, 1862); G. M. Dreves, Aurelius Ambrosius, der Vater des Kirchengesanges (Freiburg, 1893); A. Mocquereau, Notes sur l'influence de l'accent et du cursus tonique latins dans le chant ambrosien (Paris, 1897); A. Steier, Untersuchungen uber die Echtheit der Hymnen des Ambrosius (Leipzig, 1903); P. Wagner, Ursprung und Entwicklung der liturgischen Gesangsformen bis zum Ausgange des Mittelalters (Leipzig, 1910); E. Garbagnati, Riviste sull' antica salmodia ambrosiana (Rome, 1912).
7Ambrose, Paul, b. Hamilton, Ont., Oct. 11, 1868. Pupil of his father and A. R. Parsons (pf.), B. O. Klein (cpt.), and D. Buck (orch.); 1886-90, organist in N. Y. City; since 1890 supervisor of mus. instruction in the state schools of New Jersey. Composer of songs, part-songs and pf.-pieces.
9d'Ambrosio, Alfredo, b. Naples, June 13, 1871; d. Nice, Jan. 2, 1915. Pupil at the Cons. of Naples of E. Bossi (comp.); st. vl. 1889-90 in Madrid with Sarasate; then two years with Wilhelmj in London; lived in Nice as teacher and leader of a string quartet. Wrote an opera, Pia de Tolomei; a ballet, Ersilia; a str.-quartet; a str.-quintet; 2 concertos f. vl. and orch.; about 40 comps. for vl. (Romanza in D, Canzonetta, etc.).
11Am'(m)erbach, Elias Nikolaus, contrapuntist and organist; b. Naumburg, circa 1530; d. Leipzig, Jan. 27, 1597. From 1560, organist of the Thomaskirche, Leipzig; publ. (Leipzig, 1751) an Orgel- oder Instrument-Tabulatur, a work important as bearing his-
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