Scan 121
Groves Dictionary Of Music And Musicians,vol.1 Ed.3, 1904
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1AMBLEVILLE
3cathedral (El Pilar) at Saragossa, and from 1710 until his death maestro de capilla at Toledo. His MS. works in the Chapter Library there include:
5Eight Massae, a 'Liber secundus epigrammatum seu motetorum in honorem Beatae Mariae Virginis,' and a Stabat Mater for four voices.
7Other MSS. are preserved in the cathedral at Oviedo. Eitner mentions two partsongs with Spanish words (see M. f. M. 15, 33, Nos. 9 and 10).
9J. B. T.
11AMBLEVILLE, CHARLES D', Jesuit of the Maison Clermont at Paris, wrote 'Octonarium, seu canticum B.V., etc. (Paris, 1634); 'Harmonia sacra' (Paris, 1636).
13AMBREVILLE, L. D', see BOROSINI.
15AMBROGETTI, GIUSEPPE (b. 1780), an excellent buffo, who appeared in 1807, and at Paris in 1815 in 'Don Giovanni'; at the opera in London in 1817, where he was very successful; and in Dublin in 1819. His voice was a bass of no great power, but he was an excellent actor, with a natural vein of humour, though often put into characters unsuited to him as a singer; yet he acted extremely well, and in a manner too horribly true to nature, the part of the mad father in Paër's opera, 'Agnese,' while that of the daughter was sung by Camporese. He remained until the end of the season of 1822. He married Teresa Strinasacchi the singer. He joined the Reformed Cistercians (Trappists) at Mount Melleray Abbey, Ireland, in 1833.
17J. M.; addns. W. H. G. F.
19AMBROS, AUGUST WILHELM (b. Vysoké Myto, Bohemia, Nov. 17, 1816; d. Vienna, June 28, 1876). Czech by birth, yet by virtue of his Geschichte der Musik (Breslau, Leuckart, the 4th vol. of which, reaching to Monteverde and Frescobaldi, appeared July 1878) he must be considered the greatest German authority on all questions concerning the history of European music from ancient Greece to comparatively modern times.
21In spite of being at the same time a hard-worked employé in the Austrian Civil Service and an enthusiastic musician and littérateur, pianist, composer, critic and historian—his indomitable pluck and perseverance enabled him to put forward a formidable array of writings on the history and aesthetics of music, all of which bear the stamp of a rich, highly cultured and very versatile mind. They are as remarkable for their many-sided learning and accuracy as for their lucid arrangement and brilliant diction.
23Ambros's father, postmaster and gentleman farmer, was a good linguist and excellent mathematician; his mother, a sister of KIESEWETTER (q.v.), was a good pianist of the old school and an accomplished singer. They gave him every chance to acquire the elements of modern culture at the gymnasium and subsequently at the university of Prague; drawing, painting, poetry were not forgotten; music only, which fascinated him above all things, and for instruction in which he passionately longed, was strictly prohibited. Nevertheless he learnt to play the piano on the sky, and worked hard by himself at books of Counterpoint and Composition. In 1840, after a brilliant career and with the title of doctor juris, he left the university and entered the office of the Attorney-General, where he steadily advanced. Soon after 1850, when he married, his reputation as a writer on musical matters spread beyond the walls of Prague. He answered Hanslick's pamphlet, Vom musikalisch Schönen, in a little volume, Die Grenzen der Poesie und der Musik, 1858, which brought down upon him, especially in Vienna, a shower of journalistic abuse, but which procured for him on the other hand the friendship and admiration of many of the foremost German musicians. It was followed by a series of essays: Culturhistorische Bilder aus dem Musikleben der Gegenwart, 1860, which were widely read and appeared in a second edition (Leipzig, Mathes) in 1865. Thereupon the firm of Leuckart engaged him to begin his Geschichte der Musik, his life's work. From 1860-64 he was making researches towards it in the Court Library at Vienna, at Venice, Bologna, Florence and Rome. In 1867 he ransacked the Royal Library at Munich, one of the richest in Europe, and in 1868, 1869 and 1873 went again to Italy extending his quest as far as Naples. The third volume, reaching to Palestrina, was published in 1868. The fourth volume (above mentioned) was edited from his notes by C. F. Becker and G. Nottebohm; a fifth, issued in 1882, was edited by Otto Kade, and a sequel by Langhans brings the work down to the 19th century. In 1872 and 1874 he published two series of Bunte Blätter, being essays on isolated musical and artistic subjects, written in a sparkling non-technical manner, but full of interesting matter. He was professor of the history of music at the University of Prague from 1869. In 1872 he was appointed to a position in the Ministry of Justice at Vienna, and made a professor in the Conservatorium. He appeared in public repeatedly as a pianist; his compositions, a national Bohemian opera 'Bretislav and Jitka,' Overtures to 'Othello,' and Calderon's 'Magico Prodigioso'; a number of pianoforte pieces, 'Wanderstücke,' 'Kinderstücke,' 'Landschaftsbilder'; numerous songs; a Stabat Mater, two Masses in B flat and A minor, etc., are strongly influenced by Schumann. A revised and enlarged edition of the Geschichte edited by Hugo LEICHENTRITT (q.v.) appeared in 1909.
25E. D., with addns.
27AMBROSE, SAINT (b. Treves, 340; d. Milan, Apr. 4, 397), was Bishop of Milan from 374. His influence on ecclesiastical music is discussed under AMBROSIAN MUSIC (q.v.).
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