Scan 123
Groves Dictionary Of Music And Musicians,vol.1 Ed.3, 1904
22 lines. Read by computer on 18 September 2026. No printed page number was found. See the scan on archive.org.
1AMES
2organ pedals, are also occasionally added and provided with reeds of 16- and 8-feet pitch. The names given to the stops vary with different makers, the plan most usually adopted being to call them by the names of the organ stops which they are intended to imitate, e.g. diapason, principal, hautboy, gamba, flute, etc. Two recent improvements in the American organ should be mentioned—the automatic swell, and the vox humana. The former consists of a pneumatic lever which gradually opens shutters placed above the reeds, the lever being set in motion by the pressure of wind from the bellows. The greater the pressure, the wider the shutters open, and when the pressure is decreased they close again by their own weight. In this way an effect is produced somewhat similar, though far inferior, to that of the expression stop on the harmonium. The vox humana is another mechanical contrivance. In this a fan is placed just behind the sound-board of the instrument, and being made to revolve rapidly by means of the pressure of wind, its revolutions meet the waves of sound coming from the reeds, and impart to them a slightly tremulous, or vibrating quality.
4The principle of the American organ was first discovered about 1835 by a workman in the factory of Alexandre, the most celebrated harmonium-maker of Paris. Alexandre constructed a few instruments on this plan, but being dissatisfied with them because of their want of expressive power, he soon ceased to make them. The workman subsequently went to America, carrying his invention with him. The instruments first made in America were known as 'Melodeons,' or 'Melodiums,' and the American organ under its present name, and with various improvements suggested by experience, was first introduced by Messrs. Mason & Hamlin of Boston, about the year 1860. Since that time it has obtained considerable popularity both in America and in this country.
6A variety of the American organ was introduced in 1874 by Messrs. Alexandre under the name of the 'Alexandre Organ.' In this instrument, instead of the single channel placed above the reeds there are two, one opening out of the other. The effect of this alteration is to give a quality of tone more nearly resembling that of the flue-stops of an organ. The reeds are also broader and thicker, giving a fuller tone, and being less liable to get out of order (cf. Vocalion).
8E. P.
10AMES, JOHN CARLOVITZ (b. Westbury-on-Trym, near Bristol, Jan. 8, 1860; d. Torquay, July 21, 1924), pianist and composer, was educated at Charterhouse, Edinburgh University and Stuttgart Conservatorium. He also studied music at Dresden under Franz Wüllner. He was a prominent member of the I.S.M. and other musical societies in London.
12AMILIE
13His incidental music to 'Richard II.' was produced by Tree at His Majesty's Theatre, and that to 'Bonnie Dundee' (Laurence Irving) at the Adelphi Theatre. He composed a four-act opera, 'The Last Inca,' 2 piano concertos, a violin concerto (played in London by Sauret, 1910), choral works and chamber music. C.
15AMEYDEN, CHRISTIAN (b. Oirschot, Brabant, c. 1534; d. Rome, Nov. 20, 1605), studied under his uncle, a singer at Antwerp Cathedral. On Mar. 1, 1564, he was a tenor in the Papal Chapel at Rome, but was dismissed with 13 others on Aug. 31, 1565. On Mar. 10, 1569, he was appointed as singer, canon and prebendary at the Paulinian Chapel, but returned to the Papal Chapel where he became an 'Abbate' in 1572, and in 1573 'Punctator' of the Papal Chorus. In 1588 he celebrated his 'Jubilacum sanctissimum' and received dispensation from daily service. In 1593 and 1594 he was chosen as maestro di cappella of the Vocal College, and 1598 he was pensioned. A 5-part Mass is in the library of the Sistine Chapel, and a Magnificat a 4 v. In Orlando Lassus' 3rd book of Madrigals (1563, p. 30) is a number 'Quel dolce suon' (van der Straeten, vi., Haberl, Jahrb. 1891, 85). E. v. d. s.
17AMICIS, ANNA LUCIA DE (b. Naples, c. 1740), a very celebrated singer, said to have been a pupil of the famous Vittoria Tesi (Gerber). She was at first successful only in opera buffa, in which she sang in London in 1763, appearing in 'La Cascina,' a pasticcio, given by John Christian Bach, and other similar pieces. Bach, however, thought so highly of her that he wrote for her in serious opera, in which she continued afterwards to perform until she left the stage. Burney says she was the first singer who sang rapid ascending scales staccato, mounting with ease as high as E in alt. Her voice and manner of singing were exquisitely polished and sweet; and 'she had not a movement that did not charm the eye, nor a tone but what delighted the ear.' In 1771 she retired, and married a secretary of the King of Naples, named Buonsollazzi. In 1773 she sang in Mozart's early opera, 'Lucio Silla,' at Milan, the principal part of Giunio. On this occasion she exerted herself much in behalf of the young composer, who took great pains to please her, and embellished her principal air with new and peculiar passages of extraordinary difficulty. The incidents of the first night of the opera are described in a letter of Leopold Mozart. In 1789 she still sang well, though nearly fifty years old. J. M.
19AMICO FRITZ, L', opera in 3 acts; text by Suaratoni after the Erckmann-Chatrian story; music by Mascagni. Produced Rome, Teatro Costanzi, Oct. 31, 1891; Covent Garden, May 23, 1892; Philadelphia, June 8, 1892.
21AMILIE, OR THE LOVE TEST, romantic opera in 3 acts; words by J. T. Haines; music
The computer misreads some letters and numbers. Where a name matters to you, read the scan.