Scan 74
Groves Dictionary Of Music And Musicians,vol.1 Ed.3, 1904
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1country. He wrote operas and ballads for London, Berlin and St. Petersburg, which capitals he also visited personally.
3Adam attempted three kinds of dramatic composition, viz. (1) the grand opera, in which he utterly failed, (2) the ballet, in which he produced some charming melodies, and (3) the comic opera, the one and only real domain of his talent. As the most successful of his works in these respective branches of art we mention (1) 'Richard en Palestine,' (2) 'Giselle,' and (3) 'Le Postillon de Longjumeau.' Subjoined is a list of the more important of Adam's stage works, with the dates of their first performances:
5Le Châlet, 1834; 'Le Postillon de Longjumeau,' 1836 (Adam's best and most successful work); 'Le Brasueur de Preston,' 1838; 'Le Roi d'Yvetot,' 1842; 'Cagliostro,' 1844; 'Richard en Palestine,' same year; also the ballets of 'Faust,' 1832 (written for London); 'La Jolie Fille de Gand,' 1839; and 'Giselle,' 1841.
7A memoir by Arthur Pougin was published in 1876.
9F. H., rev.
11ADAM, JOHANN (b. Dresden, 1725), became a viola-player in the Electoral Chapel, which position he held until 1772. He left in MS. symphonies, ballets, and oboe concertos, which prove him a composer of no mean talent. Burney speaks of him as one of the last of Hasse's famous orchestra.
13E. V. d. S.
15ADAMBERGER, VALENTIN (b. Munich, July 6, 1743; d. Vienna, Aug. 24, 1804), was remarkable for his splendid tenor voice and admirable method.
17He was taught singing by Valesi, at whose instance he went to Italy, where he met with great success under the Italianised name of Adamonti. He was recalled to Vienna by the Emperor Joseph and made his first appearance at the German opera at the Hof-und-National-Theater there, Aug. 21, 1780. In the interim, however, he had visited London, where he sang in Sacchini's 'Creso' at the King's Theatre in 1777. In 1789 he entered the Imperial Chapel. Later in life he became renowned as a teacher of singing. It was for him that Mozart composed the part of Belmonte in the 'Seraglio,' as well as the fine airs 'Per pietà,' 'Aura che intorno,' and 'A te, fra tanti affanni' (Davidde Penitente). He also appeared in the 'Schauspiel-Director' of the same master. In 1782 he married Maria Anna (d. 1804), daughter of Jacquet the actor, herself a noted actress. Fétis and others give Adamberger's name as Joseph, and his death as on June 7, 1803—both incorrect. Mozart's letters contain frequent references to him, and always of an affectionate and intimate character. Through all the difficulties and vicissitudes of theatrical life, nothing occurred to interrupt their intercourse, though evidence is not wanting that Adamberger's temper was none of the best. Mozart took his advice on musical matters, and on one occasion names him as a man 'of whom Germany may well be proud.'
19C. F. P.
21ADAM DE FULDA, see FULDA.
22ADAM DE LA BASSÉE, see BASSÉE.
23ADAM DE LA HALE, see HALE.
24ADAMI DA BOLSENA, ANDREA (b. Bolsena, Oct. 1663; d. Rome, July 22, 1742) was, on the recommendation of Cardinal Ottoboni (Corelli's patron), appointed master of the Pope's Chapel, and acting professor of music. While in this post Adami wrote Osservazioni per ben regolare il Coro dei Cantori della Cappella Pontificia, etc. (Rome, 1711), which is in reality a history of the Papal Chapel, with 12 portraits and memoirs of the principal singers. (See SISTINE CHOIR.)
25C. F. P.
27ADAM LE ROY, see ADENEZ.
28ADAMONTI, see ADAMBERGER, Valentin.
30ADAMS, ABRAHAM, wrote The Psalmist's New Companion, containing an Introduction to the Grounds of Musick . . . 41 psalm tunes, 21 anthems, 1 funeral hymn. About 1760 he lived at Shoreham, Kent, as stated on the title-page of the 6th edition of the above work, published by Thompson & Son. A twelfth edition appeared about 1790, published by 'Messrs. Thompson.' Both Brown and Stratton (Brit. Mus. Biog.), as well as Q.-L., state that he was organist at the parish church of St. Marylebone.
32E. V. d. S.
34ADAMS, CHARLES (b. 1834; d. Charlestown, Mass., July 3, 1900), tenor singer, one of the first American singers—Clara Louise Kellogg was another—who earned distinction on the operatic stage in Europe.
36From 1867–76, with an interval of one year, he was a leading tenor in Vienna. He returned to America in 1877 and appeared in German opera in 1877–78, singing the title part in the first American production of 'Rienzi.' In his later years he was a successful teacher in Boston. He came to England in 1865 and in October of that year sang 'Vasco di Gama' at Covent Garden in the English version—denounced by Chorley as very bad—of 'L'Africaine.' Louisa Pyne was the Selika. Earlier in the same season he sang in 'Masaniello.' On the testimony of one English musician who can recall his appearances in London, Adams had a peculiarly bright and resonant voice. Among his favourite parts were Lohengrin and Tannhäuser. (See Amer. Supp.)
37S. H. P.
39ADAMS, JAMES B., musician and composer of the latter part of the 18th and beginning of the 19th centuries. He contributed with Smart to a musical play 'The Paphian Doves' in 1773, and wrote a large number of songs; also three sonatas for the pianoforte or harpsichord and flute or violin, op. 4 (1790).
41E. V. d. S.
43ADAMS, JOHN (b. Paisley, Jan. 15, 1876), tenor, was taught first by the late James Patterson, at one time organist of Paisley Abbey, and sang for some time in Scotland. Coming to London in 1910 to study with Victor
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