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Scan 71
Cyclopedia of music and musicians, 1888
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1AMNER
3April 9, 1614. Church composer, one of the most famous contrapuntists of his time. He was for several years Hof-Kapellmeister at Munich. Works: Sacræ cantiones, for four, five, and six voices (Munich, 1540); Kurze Motetten von vier, fünf und sechs Stimmen, auf verschiedene Heiligen-Festtage gerichtet (ib., 1554); Liber sacratissimarum, for five voices (Vienna, Creuzer, 1582); Missæ quatuor (ib., 1588); Sacræ cantiones (Munich, Berg, 1590); Patrocinium musices, Missæ (ib., 1591); Missæ quatuor, for four, five, and six voices (ib., 1593).—Allgem. d. Biogr., i. 404; Fétis.
5AMNER, JOHN, born towards the end of the 16th century, died in 1641. Organist and choirmaster at Ely Cathedral, where he succeeded George Barcroft in 1610. Mus. Bac., Oxon., 1613. Works: Sacred Hymns of three, four, five, and six parts, for voices and vyols (1615); Anthems, etc.
7AMON, JOHANN ANDREAS, born at Bamberg in 1763, died at Wallerstein, Bavaria, March 29, 1825. He was first instructed in singing by the court singer Madame Fracasini, and on several instruments by Concertmeister Blauerle; then became the pupil of the famous horn virtuoso Giovanni Punto, and was taken by him to Paris, where he studied composition under Sacchini in 1781–82. He travelled for several years with Punto, accompanying, and leading the orchestra in his concerts; in 1789 he became musical director at Heilbronn, where also he taught the violin and pianoforte, and in 1817 was made Kapellmeister to the Prince of Oettingen-Wallerstein. Of his compositions, about fifty-two, consisting of symphonies, concertos, sonatas, duets, trios, quartets, quintets, marches, and songs, were published by Simrock in Bonn, Schott in Mainz, André at Offenbach, Hug at Zürich, Bachmann at Hanover, Gombart at Augsburg, Bossler at Speyer, Falter in Munich, Pleyel and Janet in Paris, Castaud at Lyons; among those left in manuscript are twenty-seven instrumental works, German songs, and a German Re-quiem. He wrote also two masses, besides smaller church compositions, cantatas, and two operettas, of which one, Der Sultan Wampum, was performed with little success in 1791.—Allgem. mus. Zeitg., xxvii. 366; Fétis; Schilling.
9AMORE CONJUGALE, L'. See Leonora.
11AMORE TRADITORE, cantata for a bass voice, with pianoforte accompaniment, by Johann Sebastian Bach. Published by the Bach-Gesellschaft, 1861.
13AMORITA. See Pfingsten in Florenz.
15AMOUR SACRÉ DE LA PATRIE. See Muette de Portici.
17AMOUR, VIENS FINIR. See Domino noir.
19AMOUROUX, CHARLES, French composer, contemporary. Organist of the cathedral at Bordeaux. He played the music of his opera, La Reine d'Ellore, or Reine et bergère, at a private concert in Bordeaux in 1865, and brought out Il a été perdu un Roi, opéra comique, at the Gymnase, Paris, in 1867. He received honourable mention from the Saint Cecilia Society of Bordeaux for his Attende, Domine, a choral for solos, chorus, and orchestra, given at the Bordeaux Cathedral in 1873.—Fétis, Supplément, i. 14.
21AMPHION ANGLICUS. See Blow, John.
23AMPHITRYON, opera in three acts, text by Sedaine, music by Grétry, represented at the Académie Royale de Musique, Paris, July 15, 1788, without success. Amphitryon, comedy by Dryden, music (overture, act-tunes, and songs) by Henry Purcell, London, 1690; Anfitrione, Italian opera, music by Gasparini, Rome, 1707; Amphitryōe, Portuguese opera, by José da Silva, Lisbon, 1736; Amphitryon, Swedish opera, by J. M. Kraus, Stockholm, 1792; opéra-comique in one act, scene laid in Spain, text by Nuitter and Beaumont, music by Lacome, Théâtre Taitbout, Paris, April 5, 1875.
25AMTMANN, PROSPER, born in Austria, early part of the nineteenth century.
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