Scan 120
Groves Dictionary Of Music And Musicians,vol.1 Ed.3, 1904
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1belonged to William Corbett (q.v.) and bears his initials; it was one of those bequeathed by Corbett to Gresham College, though the bequest was not accepted.
3This instrument is typical of Andrea Amati's work, and differs little in form and design from that of all the Amati family. Indeed, except for the f holes, which are broadened in the middle and are more archaic in appearance, it is very similar to the violins of Nicolo, Andrea's famous grandson. The table and back are far from being high-modelled, the scroll is beautifully chiselled, the general outline is, like the work of all the family, extremely graceful, and the workmanship admirable. It has not been sufficiently well understood that all the traditions established by Andrea were followed consistently by his sons and descendants, and that, although each of these did display the charm of originality in regard to small details of their work, all the Amatis, from Andrea to his great-grandson Girolamo, adhered to the same pattern and design. This is even the case as regards measurement; thus all the Amatis worked in two sizes of violins, and it was not reserved for Nicolo to experiment with the 'grand Amati' pattern as has been so commonly stated. Andrea and all the family, down to Nicolo's son Girolamo, made both small and large violins, and it must be supposed that in these early days in the history of the violin some players preferred the one and some the other pattern. The amber-coloured varnish is also characteristic of all the Amatis. There are a few violas and violoncellos known to be by Andrea Amati.
5(2) ANTONIO (b. 1550; d. 1638); and (3) GEROLAMO (or Gironimo) (b. 1551; d. 1635) were sons of Andrea. They carried on the high traditions of craftsmanship established by their father and occupied during their lifetime the highest position among violin-makers, working at Cremona and adding much to the fame of their native town. They have been generally known as 'the brothers Amati,' and were lifelong partners in their business, nevertheless their instruments are distinguishable by certain small details on which their particular individuality is impressed, even though the main features and design were, as already stated, common to the work of the whole family. They made a large number of violins as well as violas and violoncellos.
7(4) NICOLO (b. Sept. 3, 1596; d. Aug. 12, 1684) was son of Girolamo the younger of the two brothers. He described himself habitually on his labels as 'Antonii nepos et Hieronymi filius.' From the brothers he inherited the business, maintaining the very high level of craftsmanship and adhering to the same designs. Nicolo is generally reputed the greatest of the Amatis; this is due to several causes: by his time the reputation of the Amati violins was widespread, and Nicolo profited from the fact that he inherited an already great name; moreover, during a long life he made a very large number of instruments of the highest class, certainly in no way inferior to those of his predecessors. Then again, he was in his own time supreme and without a rival in his special craft. One further fact has helped his reputation since his lifetime, namely, that Antonio Stradivari was his pupil.
9(5) GIROLAMO (b. 1649; d. 1740) was a son of Nicolo. For one further generation he carried on the high family tradition of violin-making, working on the same lines. But he was inevitably overshadowed by his more highly gifted fellow-pupil, Antonio Stradivari, and, as a result, he has not perhaps enjoyed the reputation he deserved, for his instruments are scarcely, if at all, inferior to those of the earlier Amatis. It was the more masculine qualities developed by Stradivari that made for a new standard in violin-making during his time. Nicolo, a younger brother of Andrea, is mentioned in former editions of this Dictionary; recent research yields no evidence that such a person ever existed. Other authorities have mentioned a Giuseppe Amati, but no instruments by such a maker are known.
11E. H. F., with information furnished by Mr. Alfred Ebsworth Hill.
13AMATI (AMATUS), VINCENZO, DD. (b. Sicily, Jan. 6, 1629; d. Palermo, July 29, 1670), an eminent church composer and maestro di cappella. He published 2 collections of masses, psalms (Palermo, 1656), concerti sacri 2-5 parts, and an opera, 'L' Isauro' (Aquila, 1664) (Gerber 2).
15AMATO, PASQUALE (b. Naples, 1878), Italian baritone. As a young singer with his reputation to make he came to England in 1904, appearing in the autumn season and playing, among other parts, Escamillo in 'Carmen.' Though he revealed a very agreeable voice he was for the time being quite overshadowed by Mario Sammaco—heard in London for the first time during that season. Amato won his fame later at the Metropolitan in New York, sharing in many successes with Caruso. The two singers made together some exceptionally good and widely sold gramophone records. Amato was in a big position in America when illness checked his career. He was in England on a brief visit during the war and sang at a charity concert at Queen's Hall, his selections being the inevitable 'Prologue' and 'Largo al factotum.' S. H. P.
17AMBER WITCH, THE, romantic opera in 4 acts, libretto by H. F. Chorley, music by Wallace; produced, Her Majesty's Theatre, Feb. 28, 1861.
19AMBIELA, MIGUEL (b. Aragon, 1665; d. Toledo, Mar. 23, 1733), a secular priest and composer of church music. From 1700 until 1707 he was musical director of the new
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