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Scan 30
Biographical dictionary of musicians : with a bibliography of English writings on music, 1886
36 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1AMADEI (Roberto). Italian comp. and org., B. Loreto, Nov. 29, 1840. Comp. operas, motets, etc.
3AMAT (Paul Leopold). French comp. of romances, songs, and operettas. Flourished in the present century. B. Toulouse, 1814. D. Nice, Oct. 31, 1872.
5AMATI (Andrea). Italian violin-maker, B. Cremona [1520]. D. [1577].
6The founder of the "Cremona" school of violin-making. Connoisseurs affect to distinguish this maker's instruments, which are very rare, by their small build.
8AMATI (Antonio). Son of above, Italian violin-maker, B. 1550. D. 1635.
9This maker worked some time with his brother Hieronimo. His instruments are small in size, but possess a pleasantly sweet tone.
11AMATI (Hieronimo). Son of Andrea, Italian violin-maker, B. ? D. 1638.
12The instruments of this maker are generally superior to those of Antonio or Andrea. The tone which they are capable of producing is more powerful, and of a better quality.
14AMATI (Nicolo). Italian violin-maker, son of Hieronimo Amati, B. Cremona, Sept. 3, 1596. D. Aug 12, 1684.
15The most celebrated maker of this family. His violins are accounted superior to those of Joseph Guarnierius, and are highly valued.
17AMBROS (August Wilhelm). Hungarian comp., writer, and pianist, B. Mauth, near Prague, Nov. 17, 1816. D. Vienna, June, 28, 1876. Author of several important works on musical history and criticism. Prof. of music at the University of Prague, 1869. Mem. of the University of Vienna, 1872. He spent the years 1860 till 1868 in collecting material for his "History of Music," the publication of which is now completed.
19WORKS.—Die Gränzen der Poesie und Musik, Prague, 1856; Bunte Blätter, Skizzen und Studien für Freunde der Musik und der bildenden Kunst, 2 vols; Die Musik als Culturmoment in der Geschichte; Robert Franz, eine Studie; Geschichte der Musik, Breslau, 1862-8. Kinderstücke; Wanderstücke, and other pieces for the Pf. A Stabat Mater; Two Masses; Songs, etc.
21His history is written in a very readable and agreeably brilliant style, and is a most valuable contribution to recent musical literature. His ideas on English music require revision.
23AMBROSE (St.) Eminent Father of the Christian Church, was B. in Gaul, 340 A.D. Studied at Rome. D. [397].
24Ambrose introduced into the church service the practice of antiphonal singing. This usage originated in the Eastern Church, and was subsequently transplanted by S. Ambrose into the church at Milan, of which he was bishop. The composition of the "Te Deum laudamus" has been ascribed, erroneously, to him.
26AMICIS (Anna Lucia de). Italian vocalist, B. Naples, 1740. Début in London, 1763. Date of death unknown.
28AMMON (Antoine Blaise). French comp., B. Imot in the Tyrol, Jan. 2, 1572. D. Munich, 9 April, 1614. Composer of Masses, Motets, Psalms, etc.
30AMNER (John). English comp. and org., B. towards end of 16th century. Org. and choir-master at Ely Cath., 1610-41. Mus. Bac. Oxon, 1613. D. 1641.
31WORKS.—A Sacred Collection of Hymnes, of three, foure, five, and six Parts, for voices and vyols, 1615; Anthems, etc.
33AMNER (Ralph). English bass vocalist, son of the above, was a lay clerk at Ely in 1604, and Gent. of H.M. Chapels Royal. D. Windsor, 1644.
35AMON (Johann Andreas). German comp., B. Bamberg. 1763. Director of music at Heilbronn, 1789. Chap.-master to the Prince of Wallerstein, 1817-1825. D. Mar. 29, 1825.
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