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Scan 30
Dictionary of music, 1908
16 lines. Read by computer on 3 September 2026. Printed page 22. See the scan on archive.org.
1chorales, and also wrote new music to the text-book of Graun's "Tod Jesu."—(2) Anna A., Duchess of Weimar, mother of the Grand-duke Ernst August, b. Oct. 24, 1739, d. Apr. 10, 1807; composed the operetta Erwin und Elmire (text by Goethe).—(3) Marie A. Friederike, Princess of Saxony, sister of King John of Saxony; b. Aug. 10, 1794, Dresden, d. there, Sept. 18, 1870. As a writer of comedies she was known under the name "Amalie Heiter;" composed also church music and several operas (Una donna, Le tre cinture, Die Siegesfahne, Der Kanonenschuss, etc.).
3Amarevole, con amarezza (Ital.), bitter, sad.
5Amarezza (Ital.), bitterness, sadness.
7Amateur (Fr.; Ital. Dilettante), a lover of music who does not pursue the art professionally. At the present day the word A. is used in a somewhat depreciatory sense, but formerly this was by no means the case. In 1768 Boccherini dedicated his first stringed quartets "ai veri dilettanti e cognositori di musica." The taste of dilettanti was not always so thoroughly bad, nor so favourable to shallow, affected, ephemeral music as it is to-day; chamber-music was more cultivated at home by non-professionals, and music was more seriously studied and better played, than at the present day. Dilettantism now means a superficial and mannered study of art, whether as composer or executant. An A. is one who has learnt nothing properly; and musicians of this class should strive to obtain for their name more honourable recognition.
9Amati, (1) the family of celebrated violin-makers at Cremona of the 16th and 17th centuries, whose instruments are now considered real treasures. The eldest A., who evolved the violin from the viol, was Andrea (c. 1530-1611). He still continued to make viols of various sizes; his younger brother and partner, Nicola, made principally bass viols, and of excellent quality, between the years 1568 and 1586. Antonio A. (b. 1555, d. 1635), Andrea's eldest son, devoted himself almost exclusively to violins, the size of which, however, varied much at that period (1589-1627). He was for some time associated with his brother, Girolamo (c. 1556 to Nov. 2, 1630), a younger son of Andrea's, but inferior to him in skill, and all of whose violins are somewhat large. The most eminent A. was Nicola, son of Girolamo, b. Dec. 3, 1596, d. April 12, 1684, who had as pupils Andrea Guarneri and Antonio Stradivari. The Amati violius are valued not so much for the fulness as for the softness and purity of their tone. Nicola A. was succeeded by his son Girolamo, b. Feb. 26, 1649, d. Feb. 21, 1740, the last representative of the family, but far inferior to his father. Giuseppe A., who at the beginning of the 17th century made violins and basses at Bologna, which are said to have a fine clear tone, may possibly have belonged to the same family.—(2) Vincenzo (Amatus), doctor of theology and maestro at Palermo Cathedral about 1665; b. Jan. 6, 1629, Cimmina (Sicily), d. July 29, 1670, Palermo. He published sacred compositions and an opera (L'Isauro, 1664).—(3) Antonio and Angelo, brothers, organ-builders at Pavia about 1830.
11Ambitus (Lat.), compass; the A. of a melody is the distance from the lowest to the highest note in it. One speaks also of the A. of a Church Mode (whether it be from A—a or C—c, etc.).
13Ambo (Lat.). This was the name in the more ancient Christian Churches of a small reading-desk placed before the railing of the presbytery, in front of, or on the steps of which (in gradibus ambonis), the Gradual (Responsorium graduale or gradale) was sung, and hence its name.
15Ambros, August Wilhelm, musical historian, b. Nov. 17, 1816, Mauth, near Prague, d. June 28, 1876, Vienna, a nephew of R. Kiesewetter, who also rendered signal service as an historian of music. A. studied jurisprudence, but, at the same time, worked diligently at music. He, indeed, entered government service, and in 1850 was appointed Prosecuting Attorney at Prague, but he was also active as a musical critic, and produced some compositions of his own. His reputation as a writer on music dates from the publication of his pamphlet, "Die Grenzen der Poesie und Musik" (1856, 2nd ed. 1872), an answer to Hanslick's essay, "Vom Musikalisch-Schönen," which brought him into contact with Liszt and others. In 1860 he received a commission from the publisher Leuckart (C. Sander) at Breslau to write a "History of Music," which task he almost fulfilled, and in the most brilliant manner. Unfortunately, he died before completing the 4th volume, treating of the time of Palestrina and the beginnings of modern music (Vols. 1-4, 1862-78). The 2nd and 3rd volumes are of special value, the former treating of the music of the Middle Ages, the latter of the Netherland School. The new "Westphalized" edition of the first volume, published by B. v. Sokolowski, must be rejected as an impiety towards the author. O. Kade, making use of the materials left behind by Ambros, published in 1882 a fifth volume (a collection of examples to the 3rd volume); W. Bäumker, in the same year, a list of names and table of contents; and W. Langhans (q.v.), a continuation of the work up to the present time, and written in a somewhat lighter style. For the extensive journeys for the purpose of study which his work rendered necessary, A. not only obtained leave of absence, but received a money grant from the Vienna Academy. In 1869 he was appointed Supplementary Professor at Prague University, and at the same time member of the board of directors and teacher of the history of music at the Prague Conservatorium. In 1872 he was called to Vienna, where, together
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