Scan 124
Groves Dictionary Of Music And Musicians,vol.1 Ed.3, 1904
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1by W. M. Rooke; produced Covent Garden, Dec. 2, 1837.
3AMIOT (b. Toulon, 1718), a Jesuit priest who went as missionary to China, and in vol. vi. of his Mémoires, published 1776–91, has an important and valuable treatise on Chinese music and instruments. E. v. d. s.
5AMMON, BLASIUS (d. Vienna, June 1590), a Tyrolean musician of the 16th century, was a boy-chorister in the service of the Archduke Ferdinand of Austria, at whose expense he went to Venice to further his musical studies. He ended his days in the Franciscan monastery at Vienna. His published works are as follows (the list is taken from Q.-L.):
71. 'Liber sacratisimularum (quas vulgo introitus appellant) cantionum,' 5 vocum, Vienna, 1582; 2. 'Missae,' 4 vocum, Vienna, 1588 (containing five masses); 3. 'Sacrae cantiones quas vulgo moteta vocant,' 4, 5 and 6 vocum, Munich, 1590; 4. 'Breves et selectae quaedam Motetas,' 4, 5 and 6 vocum, Munich, 1593; 5. 'Introitus dominicales per totum annum,' 4 vocum, Vienna, 1601. Motets, etc., in MS. are preserved in the libraries of Breslau, Munich, Leipzig, etc., and 9 motets are reprinted by Commer, 'Musica Sacra,' vol. xxi.
9BIBL.—CAROLIANUS HUIGENS, Fr. Blasius Ammon (etwa 1560–90). Ein Beitrag zur Geschichte der Kirchenmusik in Österreich. (Vienna Dissertation, 1914.)
11M.
13AMNER, JOHN (d. 1641), organist and master of the choristers of Ely Cathedral. He succeeded George Barcroft in 1610, and held the appointments till his death. He took his degree as Bachelor in Music at Oxford in May 1613; he also graduated as Mus.B. Cantab. in 1640. It has been suggested that certain partbooks in the library at Peterhouse, Cambridge, and in that at Ely Cathedral, were copied out by him, but this has since been discredited by the late Canon Crosby. In 1615 he printed his 'Sacred Hymns of 3, 4, 5, and 6 parts, for Voices and Vols,' dedicated to his 'singular good lord and maister,' the Earl of Bath. This is a collection of the following 26 anthems:
15'Love we in one consenting.'
16'Let false surmises perish.'
17'Away with weak complainings.'
18'O Come, thou spirit divinest.'
19'O Love beseeming well.'
20'Distressed soule.'
21'O yee little flocke.'
22'Fear not.'
23'And they cry.'
24'Love, how from Heaven like starres.'
25'I bring you tidings.'
26'A stranger heere.'
27'My Lord is hence removed and laid.'
29'An elegy in memorie of Master Thomas Hynson.'
30'Sweet are the thoughts.'
31'Come let's rejoice.'
32'Saint Mary, now.'
33'At length to Christ.'
34'I will singe unto the Lord.'
35'Woe is me.'
36'Remember not, Lord, our offences.'
37'An alleluia.'
38'But hee, the God of Love.'
39'The heavens stood all amaz'd.'
40'How doth the Citie remain solitarie.'
41'Hee that descended man to be.'
43The majority of these are set to homely metrical texts, although occasionally a verse taken straight from the Bible is used. They are remarkable for the ingenuous manner (particularly in the matter of accentuation) in which the words are set, and it is only very seldom that any word has more than a single note to it. He gives himself an opportunity for more elaborate contrapuntal writing in the Alleluias, which in the greater number of cases are to be found at the end of the anthems. Strongly rhythmical, and, in the main, consistently cheerful, they might well be described as a collection of sacred madrigals. Many exist in manuscript in various cathedral libraries about the country. The following compositions (in MS.) may also be found:
45SERVICES, ETC.
46First Service (of 4 parts) including T.D., B., K., C., M. and N.D. PH., Yk.
47Third Service (including V., T.D., J., K., C., M. and N.D.), and described in the MS. at PH. as 'dedicated to Deane Cesar.' PH., Yk., Durh. O.B. A 1/253.
48Proces and Venite. PH.
49Proces and Psalm lxxxix. for Christmas Day Eve. PH.
50(Gloria. PH.
51Sursum Corda (without name, but probably by Amner). PH.
53ANTHEMS
54Anthem for Good Friday. Tenb. O.B. /f 871.
55'Consider, all ye passers by.' Ch. Ch. 56-60 (Bass part wanting).
56'Hear, O Lord.' PH.
57'I am for peace' (a 5). Ch. Ch. 56-60 (Bass part wanting).
58'Lift up your heads.' PH. (incomp.).
59'Lord, I am not highminded.' PH. (incomp.).
60'Lord, in thy wrath' (Verse Anthem) Tenb. O.B. /f 70b. Ch. Ch. 6 (organ score).
61'Lord, in thy wrath' (2nd version) Tenb. O.B. /f 372.
62'My shepherd is the living Lord' (a 6). Ch. Ch. 6 (organ score).
63'O come hither' (a 5). PH., Yk.
64'O magnify the Lord' (a 6). Ch. Ch. 6 (organ score).
65'O sing unto the Lord' (a 7). PH. (incomp.).
66'Out of the deep.' PH. (incomp.).
67'The king shall rejoice' (a 6). Ch. Ch. 6 (organ score).
69E. F. R. and J. MK.
71AMNER, RALPH (d. Windsor, Mar. 3, 1663 – 1664), a relation of JOHN AMNER, before mentioned. It appears from the Registers of Ely that he was elected a lay-clerk there in 1604, and was succeeded in 1609 by Michael EAST. On the death of John Amery, gentleman of the Chapel Royal, July 18, 1623, 'Ralph Amner, a basse from Winsore, was sworn in his place.' In Hilton's 'Catch that Catch Can,' 1667, is 'a Catch in stead of an Epitaph upon Mr. Ralph Amner of Windsor, commonly called the Bull Speaker, who dyed 1664; the music composed by Dr. William Child' (Reg. of Ely; Cheque-Book of Chap. Roy., Camd. Soc.). E. F. R.
73AMODEI, CATALDO (b. Sciacca, Sicily; d. Naples, c. 1695). He lived at Naples for some time as maestro di cappella, and published there his 'Cantate a voce sola.' Lib. 1, op. 2 (1685).
75AMOENITATUM MUSICALIUM, HORTULUS PLANTULIS AMOENISSIMIS, etc., a collection of dances and a few songs of various nations, published 'Anno 1622.' The composers' names include: H. L. Hassler, Schein, Gottfr. and Joh. Scholz.
77AMON, JOHANN ANDREAS (b. Bamberg, 1763; d. Wallerstein, Bavaria, Mar. 29, 1825), composer and conductor.
79After lessons on the violin he took up the horn under Punto, with whom he journeyed through France and Germany, giving concerts at various places. During these tours he made the acquaintance of Haydn and Mozart, and in 1781 had instruction in composition from Sacchini at Paris. Chest troubles forced him to abandon the horn, and he then worked at the violin and piano with considerable success. In 1789 he was musical director at Heilbronn, until, in 1817, he accepted the post of Kapellmeister to the Prince of Ottingen-Wallerstein, in whose service he died. His many compositions include 2 operas, symphonies, 2 masses (one a Requiem Mass to be performed at hi
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