Education
Andrew Ashe was educated at Woolwich Military Academy in London, England where, at the early age of nine, he showed a great disposition for music and devoted a portion of his weekly allowance to pay for lessons on the violin which he received from the master of the Royal Artillery band.
The young votary made such progress, that in a short time his school-fellows preferred dancing to his fiddle to their usual gymnastic exercises between school hours. When he was twelve years old, a lawsuit, which had been pending for many years between a neighbouring nobleman and his grandfather (Nicholas Ashe), was settled to the disadvantage of Nicholas Ashe. As a result, his parents could no longer support him at Woolwich and they planned to have him return to Ireland.
Patron
Previously to this proposed removal, Count Bentinck, a relation of the Portland family, and a colonel in the British service, happened to be riding by the academy at Woolwich Military Academy, and perceiving young Ashe in tears, with his letter of recall in his hand, asked him what was the matter; he replied, sobbing that his family were ruined by a lawsuit, and that he was desired to return home to Ireland, as his friends could not afford to keep him any longer at Woolwich. The humane nobleman, struck with the boy's apparent grief; was induced to make further inquiry about him from the master of the academy; and a correspondence between the count and the child's parents commenced in consequence, which terminated in young Ashe's removal to the house of the count, who shortly after took him to the Island of Minorca, where his regiment then was.
*Note: When researching Count Bentinck it appears that it was likely Baron, Lieut. Colonel Volkier Rudolph Bentinck that was Andrew Ashe's patron. He is the only Bentinck listed as a Lieut. Colonel in Minorca at the time when Andrew went to Minorca. This info is found in a book called "A list of the general and field-officers, as they rank in the army".
Violin
The Count arranged for him to be instructed on the violin from an eminent Italian master under whom he improved so much that he was soon looked upon as a musical prodigy for his age. He next accompanied his protector on a long tour through Spain, Portugal, France, and Germany and finally settled with him on his estates in Holland. While living in The Hague, young Ashe's education was directed towards the goal of him becoming a confidential servant on the Count's estates. However, the boy was too far advanced in music and too devoted to it to permit him to pay the required attention to study for the intended office of land steward.
New Flute Designed
He had now acquired a pretty general knowledge of various wind instruments having attended the regular practice of his patron's regimental band. About this time, he began to take an interest in the flute, but it was a rather limited instrument and, after considerable application, he relinquished it due to its great imperfections. Shortly after this, Sieur Vanhal, (brother of the acclaimed musician of that name) arrived at the Hague from London bringing a flute made by Richard Potter and announced a concert in which he was to perform a concerto with six keys.
As this was the first of these improved instruments to reach Holland, there was some excitement to see where these keys could be placed on a flute, and no one was so actively curious in this respect as young Ashe. He lost no time in offering his services on the violin and promising the Count's patronage of the concert which he accordingly obtained for Vanhal. In Vanhal's hands, these additional keys on the flute were only ornamental as he had not learned how to use them properly. However, when young Ashe tried them and found that they produced all the half notes as full and round as the tones natural to the instrument in its unkeyed state he made up his mind to have this flute at any cost, which he accomplished at a considerable price through the Count's indulgence.
From about 1774, Andrew Ashe gave up the violin and dedicated his entire attention to his newly acquired purchase. After some months of application, the celebrated Wendling, who was the successor to Quartz (the king of Prussia's master), came to the Hague and Andrew took some lessons from him. On his second visit, Wendling told him his new flute was a bad one, that the long keys on the bottom joint spoiled the instrument, and that the small keys were of no use particularly in quick passages. These observations from the master did not correspond with what Andrew thought of its excellence and induced him to discontinue his lessons as soon as a proper respect for such a distinguished professor would permit. After a few years of incessant application, Andrew became the admiration of Holland chiefly from the uncommon fullness of the tone in those more abstruse keys in music which could not be produced from the other flutes then in general use.
Brussels
Flushed with the admiration which he was experiencing, Andrew now wanted to launch himself into the world and his patron, Count Bentinck, permitted him to go on a handsome salary as musician to Lord Torrington, who was then on the point of moving from Holland to Brussels.
Later, he was employed in the household of Charles, 12th Viscount Dillon who also resided in Brussels.
Notes from the Memoirs of Madame de La Tour du Pin concerning Charles Dillon and his wife:
"When Charles Dillon married Henrietta Phipps they lived in Brussels, not daring to return to England on account of his numerous debts. At that time he was still a Catholic and it was not until later that he had the unpardonable weakness to change his religion and become a Protestant in order to be eligible for a legacy of £15,000 from his maternal great-uncle, Lord Lichfield, who had made this a condition of the legacy."...
"My [great]uncle the Archbishop (of Narbonne) had lived in the house in Rue du Bac for twenty years without paying his niece, Mme Dillon, a farthing in rent On the excuse that she lived there herself, he had not even paid for repairs. Yet my [great]uncle had even then had more than 300,000 francs in church benefices. It is true that he had paid some gambling debts of my father's, for he was afflicted with that wretched passion as were his two brothers. Lord Dillon (Charles) and Henry Dillon. I have never known how much my uncle paid, but have heard it said that the debts were considerable...." from the Memoirs of Madame de La Tour du Pin, p29
Henrietta-Maria Phipps died at 25 years on Sep. 1, 1782 in Brussels, Belgium.
That nobleman was a great patron of the opera and wished his musician to have the position of first flute in the opera orchestra. Since there were, at this period of 1778 and 1779, a great number of English at Brussels who were a material support to the opera, they demanded a public trial of skill between the resident flute of the opera and the young Ashe which accordingly took place at the first rehearsal of the season. Although it was admitted that the resident flute, Sieur Vanhall, was by far the most experienced musician and flute player, Ashe gained general approbation and the position by his superiority of tone. In this school of musical improvement, the young flutist remained for a few years in Brussels.
Dublin, Ireland
Then, a wealthy, young Irish gentleman by the name of Mr. Whyte, who was a great amateur of music, expressed the intention of making a grand continental tour. As Andrew Ashe was by this time a general linguist in addition to his flute playing, Mr. Whyte proposed to take Ashe with him, to which Andrew agreed immediately. After Andrew relinquished all his engagements, letters arrived calling Mr. Whyte back to Ireland. As Andrew had been thinking of the land of his birth for a long time, he willingly accepted Mr. Whyte's offer of accompanying him to Dublin. Not long after his arrival, he was engaged for the Rotunda concerts which were then brilliantly supported. Here, he remained for a few years, and the great applause, with which his performance always met, was a stimulus to his further improvement.
Performance in Cork, Ireland in 1788
In the summer of 1788, there is mention of a visit to Cork by the celebrated flautist Andrew Ashe which appeared in the Hibernian Chronicle:
"We are happy to announce to all lovers of Music the arrival of Mr. Ashe in this city, whose distinguished abilities on the Flute have been universally admitted throughout Europe, his generous off to perform gratis for the Infirmary reflects additional credit on his musical talents, and will, we are persuaded induce a discerning public to honour his night with their friendly patronage."
The following advertisement appeared in the same issue of the Chronicle:
Great Room, George's-Street [now Oliver Plunkett Street]. Mr. Ashe's Night. (By particular desire) On Thursday Evening, the 14th instant, will be a GRAND CONCERT OF MUSIC, in which Mr. Ashe means to introduce several pieces of his own Composition for the Flute, also a concerto for Two Flutes, both instruments to be played by himself. The Orchestra will consist of the Music Society, and other gentlemen who have consented to give their kind support on the above occasion. [Then the inevitable:] After the Concert A BALL. The performance to begin precisely at 9 o'clock. Tickets each 4s 4d may be had at Messrs Knights, Printers, A. Edwards, Bookseller, at the Printers hereof, and of Mr. Ashe, Ann-Street, Cork. Particulars at large in the Bills.
In the event this concert was postponed until the following Wednesday, allowing the full programme to be advertised in the next issue of the Hibernian Chronicle as follows:
Act I
Sinfonia – Stamitz
Quarteto, Flute – Pleyel
Song: 'Though Bacchus may boast' – Mr. Bowden
Overture – Haydn
Act II
Double Concerto on Two Flutes – Mr. Ashe
Song (by particular desire) 'How sweet the Love' – Mr. Johnson
Concerto, Flute – Mr. Ashe
Duetto 'As I saw fair Clora' – Bowden and Johnson
To conclude with a Full Piece
After the Concert A BALL
It seems it was worth Ashe's while to remain in Cork for a couple of months for he gave a concert just before leaving at the end of September. If one considers that Ashe was perhaps the eighteenth-century equivalent of James Galway it may help to put the visit in perspective. Indeed the parallel is quite close – Ashe was also born in the northern part of the country, in Lisburn, County Antrim, in 1758.
London, England and the Great Composers Johann Peter Saloman and Franz Joseph Haydn
Ashe's fame reached England and the late Mr. Salomon, who had in 1791 brought over the great composer Haydn for his concerts in Hanover Square, was anxious to have a suitable orchestra for his works. After hearing Andrew Ashe perform at the Rotunda concerts, Salomon was so pleased with Ashe's intonation and tone that he gave him a very liberal engagement for Hanover Square. On 24 February 1792, Ashe made his first public appearance in London at Salomon's second concert in a manuscript concerto of his own composition which was filled with such novelty as to excite very considerable admiration. Through his association with the German violinist, composer, conductor and musical impresario, Johann Peter Salomon, Ashe was invited to perform with the famous Austrian composer Joseph Haydn.
Salomon had moved to London in the early 1780s and a decade later brought Haydn to London for two sojourns, in 1791-2 and 1794-5. It was during these visits that Salomon and Haydn premiered the symphonies that Haydn composed for England – Andrew Ashe was the flautist for these concerts.
Hanover Square Rooms, London, where Haydn, Saloman and Ashe performed
After this favourable debut, he became and remained the reigning first flute both as an orchestra and concerto player at all the established concerts in London. Upon the abdication of Monzani, Ashe was appointed principal flute at the Italian opera in London and he held that position for several years.
In August 1794, Franz Joseph Haydn went to Bath with the flautist Andrew Ashe and the singing teacher and composer Giambattista Cimador. Here, he spent a few days in the summer house of the castrato Venanzio Rauzzini; for Rauzzini (and in memory of Rauzzini's dog), Haydn writes the canon "Turk was a faithful dog, and not a man" (Hob. XXVIIb:45).
In London in 1795, Haydn takes part in many concerts including one on June 8 with flautist Andrew Ashe.
Andrew Ashe is credited with giving Haydyn's symphony the nickname of "The Surprise Symphony". Haydyn thanked him for giving it such an appropriate name.
Marriage
On 19 September 1799 at Cheltenham, Andrew Ashe married Mary Comer (1777-1843), a pupil of the celebrated Rauzzini, and she herself gained much celebrity as a vocal performer. They had several children and more than one of his daughters became successful public performers both as vocalists and as performers on the harp and piano. One of his sons, Edward David Ashe (1814-1895) was a Commander in the Royal Navy, and then settled in Canada where he was appointed the Director of the Observatory in Quebec.
Director of the Bath and Bristol Concerts
Upon the death of Rauzzini in 1810, Andrew Ashe was unanimously elected Director of the Bath and Bristol concerts which he conducted with great ability for twelve years. Then in the winter of 1821/22, as a consequence of the times being unpropitious for public undertakings, he was induced to relinquish their management after losing a considerable sum of money in the last four years of his direction. In 1822 he was appointed a professor in the newly established Royal Academy of Music in London, but retired to Dublin where he lived in Ely Place.
Retirement
Ashe stepped out of retirement on several occasions performing publicly in Dublin. Sometime between 1826-1829 Ashe relocated from 15 Dawson Street to 21 Ely Place, Dublin.
Financial Woes and Marriage of Andrew's Daughter Mary Ashe
After the Bath Concert financial woes, Ashe's financial situation became increasingly perilous. This may be why Edward Carleton Cumberbatch (1795-1835) was disinherited by his marriage on August 6, 1822 to Ashe's eldest daughter Mary Gertrude Honoria (1804-1847). A year before the marriage, Edward's father, Edward Carleton Cumberbatch (1765-1821), nearing death, wrote his will on July 13, 1821. He left his estate, including two sugar plantations in Barbados, the 'Nicholas Plantation' and the nearby 'Ebworth Plantation' –
"in the trust of his two brothers for a period of five years on the condition that his son, Edward, did not marry any daughter of Andrew Ashe…during these five years. If he did then he would inherit just 300 pounds per year for his life and the estate would pass to Edward's sister Sarah (1797-1862), who had married Charles Cave (1796-1887) in 1818."
On August 1, 1821, nearly three weeks after writing this will, Edward Senior died. Edward Junior decided in favour of love and married Mary Ashe on August 6, 1822. He then "took holy orders and was Headmaster of Hitchin Grammar School, Hertfordshire. In 1834, Edward's sister Sarah inherited the Nicholas and Ebworth plantations as well as additional land in Speightstown, St. Peter, Barbados.
Death
Andrew Ashe passed the last few years of his life in Dublin where he died in 1838, and his funeral took place on 30 April 1838 at Merrion near Dublin.
His fame as a performer rested on his technical proficiency and the unique tone of his playing; he published note of his own musical compositions.
Note: Ashe wrote a manuscript autobiography which is in the library of the University of Glasgow.
Andrew Ashe was educated at Woolwich Military Academy in London, England where, at the early age of nine, he showed a great disposition for music and devoted a portion of his weekly allowance to pay for lessons on the violin which he received from the master of the Royal Artillery band.
The young votary made such progress, that in a short time his school-fellows preferred dancing to his fiddle to their usual gymnastic exercises between school hours. When he was twelve years old, a lawsuit, which had been pending for many years between a neighbouring nobleman and his grandfather (Nicholas Ashe), was settled to the disadvantage of Nicholas Ashe. As a result, his parents could no longer support him at Woolwich and they planned to have him return to Ireland.
Patron
Previously to this proposed removal, Count Bentinck, a relation of the Portland family, and a colonel in the British service, happened to be riding by the academy at Woolwich Military Academy, and perceiving young Ashe in tears, with his letter of recall in his hand, asked him what was the matter; he replied, sobbing that his family were ruined by a lawsuit, and that he was desired to return home to Ireland, as his friends could not afford to keep him any longer at Woolwich. The humane nobleman, struck with the boy's apparent grief; was induced to make further inquiry about him from the master of the academy; and a correspondence between the count and the child's parents commenced in consequence, which terminated in young Ashe's removal to the house of the count, who shortly after took him to the Island of Minorca, where his regiment then was.
*Note: When researching Count Bentinck it appears that it was likely Baron, Lieut. Colonel Volkier Rudolph Bentinck that was Andrew Ashe's patron. He is the only Bentinck listed as a Lieut. Colonel in Minorca at the time when Andrew went to Minorca. This info is found in a book called "A list of the general and field-officers, as they rank in the army".
Violin
The Count arranged for him to be instructed on the violin from an eminent Italian master under whom he improved so much that he was soon looked upon as a musical prodigy for his age. He next accompanied his protector on a long tour through Spain, Portugal, France, and Germany and finally settled with him on his estates in Holland. While living in The Hague, young Ashe's education was directed towards the goal of him becoming a confidential servant on the Count's estates. However, the boy was too far advanced in music and too devoted to it to permit him to pay the required attention to study for the intended office of land steward.
New Flute Designed
He had now acquired a pretty general knowledge of various wind instruments having attended the regular practice of his patron's regimental band. About this time, he began to take an interest in the flute, but it was a rather limited instrument and, after considerable application, he relinquished it due to its great imperfections. Shortly after this, Sieur Vanhal, (brother of the acclaimed musician of that name) arrived at the Hague from London bringing a flute made by Richard Potter and announced a concert in which he was to perform a concerto with six keys.
As this was the first of these improved instruments to reach Holland, there was some excitement to see where these keys could be placed on a flute, and no one was so actively curious in this respect as young Ashe. He lost no time in offering his services on the violin and promising the Count's patronage of the concert which he accordingly obtained for Vanhal. In Vanhal's hands, these additional keys on the flute were only ornamental as he had not learned how to use them properly. However, when young Ashe tried them and found that they produced all the half notes as full and round as the tones natural to the instrument in its unkeyed state he made up his mind to have this flute at any cost, which he accomplished at a considerable price through the Count's indulgence.
From about 1774, Andrew Ashe gave up the violin and dedicated his entire attention to his newly acquired purchase. After some months of application, the celebrated Wendling, who was the successor to Quartz (the king of Prussia's master), came to the Hague and Andrew took some lessons from him. On his second visit, Wendling told him his new flute was a bad one, that the long keys on the bottom joint spoiled the instrument, and that the small keys were of no use particularly in quick passages. These observations from the master did not correspond with what Andrew thought of its excellence and induced him to discontinue his lessons as soon as a proper respect for such a distinguished professor would permit. After a few years of incessant application, Andrew became the admiration of Holland chiefly from the uncommon fullness of the tone in those more abstruse keys in music which could not be produced from the other flutes then in general use.
Brussels
Flushed with the admiration which he was experiencing, Andrew now wanted to launch himself into the world and his patron, Count Bentinck, permitted him to go on a handsome salary as musician to Lord Torrington, who was then on the point of moving from Holland to Brussels.
Later, he was employed in the household of Charles, 12th Viscount Dillon who also resided in Brussels.
Notes from the Memoirs of Madame de La Tour du Pin concerning Charles Dillon and his wife:
"When Charles Dillon married Henrietta Phipps they lived in Brussels, not daring to return to England on account of his numerous debts. At that time he was still a Catholic and it was not until later that he had the unpardonable weakness to change his religion and become a Protestant in order to be eligible for a legacy of £15,000 from his maternal great-uncle, Lord Lichfield, who had made this a condition of the legacy."...
"My [great]uncle the Archbishop (of Narbonne) had lived in the house in Rue du Bac for twenty years without paying his niece, Mme Dillon, a farthing in rent On the excuse that she lived there herself, he had not even paid for repairs. Yet my [great]uncle had even then had more than 300,000 francs in church benefices. It is true that he had paid some gambling debts of my father's, for he was afflicted with that wretched passion as were his two brothers. Lord Dillon (Charles) and Henry Dillon. I have never known how much my uncle paid, but have heard it said that the debts were considerable...." from the Memoirs of Madame de La Tour du Pin, p29
Henrietta-Maria Phipps died at 25 years on Sep. 1, 1782 in Brussels, Belgium.
That nobleman was a great patron of the opera and wished his musician to have the position of first flute in the opera orchestra. Since there were, at this period of 1778 and 1779, a great number of English at Brussels who were a material support to the opera, they demanded a public trial of skill between the resident flute of the opera and the young Ashe which accordingly took place at the first rehearsal of the season. Although it was admitted that the resident flute, Sieur Vanhall, was by far the most experienced musician and flute player, Ashe gained general approbation and the position by his superiority of tone. In this school of musical improvement, the young flutist remained for a few years in Brussels.
Dublin, Ireland
Then, a wealthy, young Irish gentleman by the name of Mr. Whyte, who was a great amateur of music, expressed the intention of making a grand continental tour. As Andrew Ashe was by this time a general linguist in addition to his flute playing, Mr. Whyte proposed to take Ashe with him, to which Andrew agreed immediately. After Andrew relinquished all his engagements, letters arrived calling Mr. Whyte back to Ireland. As Andrew had been thinking of the land of his birth for a long time, he willingly accepted Mr. Whyte's offer of accompanying him to Dublin. Not long after his arrival, he was engaged for the Rotunda concerts which were then brilliantly supported. Here, he remained for a few years, and the great applause, with which his performance always met, was a stimulus to his further improvement.
Performance in Cork, Ireland in 1788
In the summer of 1788, there is mention of a visit to Cork by the celebrated flautist Andrew Ashe which appeared in the Hibernian Chronicle:
"We are happy to announce to all lovers of Music the arrival of Mr. Ashe in this city, whose distinguished abilities on the Flute have been universally admitted throughout Europe, his generous off to perform gratis for the Infirmary reflects additional credit on his musical talents, and will, we are persuaded induce a discerning public to honour his night with their friendly patronage."
The following advertisement appeared in the same issue of the Chronicle:
Great Room, George's-Street [now Oliver Plunkett Street]. Mr. Ashe's Night. (By particular desire) On Thursday Evening, the 14th instant, will be a GRAND CONCERT OF MUSIC, in which Mr. Ashe means to introduce several pieces of his own Composition for the Flute, also a concerto for Two Flutes, both instruments to be played by himself. The Orchestra will consist of the Music Society, and other gentlemen who have consented to give their kind support on the above occasion. [Then the inevitable:] After the Concert A BALL. The performance to begin precisely at 9 o'clock. Tickets each 4s 4d may be had at Messrs Knights, Printers, A. Edwards, Bookseller, at the Printers hereof, and of Mr. Ashe, Ann-Street, Cork. Particulars at large in the Bills.
In the event this concert was postponed until the following Wednesday, allowing the full programme to be advertised in the next issue of the Hibernian Chronicle as follows:
Act I
Sinfonia – Stamitz
Quarteto, Flute – Pleyel
Song: 'Though Bacchus may boast' – Mr. Bowden
Overture – Haydn
Act II
Double Concerto on Two Flutes – Mr. Ashe
Song (by particular desire) 'How sweet the Love' – Mr. Johnson
Concerto, Flute – Mr. Ashe
Duetto 'As I saw fair Clora' – Bowden and Johnson
To conclude with a Full Piece
After the Concert A BALL
It seems it was worth Ashe's while to remain in Cork for a couple of months for he gave a concert just before leaving at the end of September. If one considers that Ashe was perhaps the eighteenth-century equivalent of James Galway it may help to put the visit in perspective. Indeed the parallel is quite close – Ashe was also born in the northern part of the country, in Lisburn, County Antrim, in 1758.
London, England and the Great Composers Johann Peter Saloman and Franz Joseph Haydn
Ashe's fame reached England and the late Mr. Salomon, who had in 1791 brought over the great composer Haydn for his concerts in Hanover Square, was anxious to have a suitable orchestra for his works. After hearing Andrew Ashe perform at the Rotunda concerts, Salomon was so pleased with Ashe's intonation and tone that he gave him a very liberal engagement for Hanover Square. On 24 February 1792, Ashe made his first public appearance in London at Salomon's second concert in a manuscript concerto of his own composition which was filled with such novelty as to excite very considerable admiration. Through his association with the German violinist, composer, conductor and musical impresario, Johann Peter Salomon, Ashe was invited to perform with the famous Austrian composer Joseph Haydn.
Salomon had moved to London in the early 1780s and a decade later brought Haydn to London for two sojourns, in 1791-2 and 1794-5. It was during these visits that Salomon and Haydn premiered the symphonies that Haydn composed for England – Andrew Ashe was the flautist for these concerts.
Hanover Square Rooms, London, where Haydn, Saloman and Ashe performed
After this favourable debut, he became and remained the reigning first flute both as an orchestra and concerto player at all the established concerts in London. Upon the abdication of Monzani, Ashe was appointed principal flute at the Italian opera in London and he held that position for several years.
In August 1794, Franz Joseph Haydn went to Bath with the flautist Andrew Ashe and the singing teacher and composer Giambattista Cimador. Here, he spent a few days in the summer house of the castrato Venanzio Rauzzini; for Rauzzini (and in memory of Rauzzini's dog), Haydn writes the canon "Turk was a faithful dog, and not a man" (Hob. XXVIIb:45).
In London in 1795, Haydn takes part in many concerts including one on June 8 with flautist Andrew Ashe.
Andrew Ashe is credited with giving Haydyn's symphony the nickname of "The Surprise Symphony". Haydyn thanked him for giving it such an appropriate name.
Marriage
On 19 September 1799 at Cheltenham, Andrew Ashe married Mary Comer (1777-1843), a pupil of the celebrated Rauzzini, and she herself gained much celebrity as a vocal performer. They had several children and more than one of his daughters became successful public performers both as vocalists and as performers on the harp and piano. One of his sons, Edward David Ashe (1814-1895) was a Commander in the Royal Navy, and then settled in Canada where he was appointed the Director of the Observatory in Quebec.
Director of the Bath and Bristol Concerts
Upon the death of Rauzzini in 1810, Andrew Ashe was unanimously elected Director of the Bath and Bristol concerts which he conducted with great ability for twelve years. Then in the winter of 1821/22, as a consequence of the times being unpropitious for public undertakings, he was induced to relinquish their management after losing a considerable sum of money in the last four years of his direction. In 1822 he was appointed a professor in the newly established Royal Academy of Music in London, but retired to Dublin where he lived in Ely Place.
Retirement
Ashe stepped out of retirement on several occasions performing publicly in Dublin. Sometime between 1826-1829 Ashe relocated from 15 Dawson Street to 21 Ely Place, Dublin.
Financial Woes and Marriage of Andrew's Daughter Mary Ashe
After the Bath Concert financial woes, Ashe's financial situation became increasingly perilous. This may be why Edward Carleton Cumberbatch (1795-1835) was disinherited by his marriage on August 6, 1822 to Ashe's eldest daughter Mary Gertrude Honoria (1804-1847). A year before the marriage, Edward's father, Edward Carleton Cumberbatch (1765-1821), nearing death, wrote his will on July 13, 1821. He left his estate, including two sugar plantations in Barbados, the 'Nicholas Plantation' and the nearby 'Ebworth Plantation' –
"in the trust of his two brothers for a period of five years on the condition that his son, Edward, did not marry any daughter of Andrew Ashe…during these five years. If he did then he would inherit just 300 pounds per year for his life and the estate would pass to Edward's sister Sarah (1797-1862), who had married Charles Cave (1796-1887) in 1818."
On August 1, 1821, nearly three weeks after writing this will, Edward Senior died. Edward Junior decided in favour of love and married Mary Ashe on August 6, 1822. He then "took holy orders and was Headmaster of Hitchin Grammar School, Hertfordshire. In 1834, Edward's sister Sarah inherited the Nicholas and Ebworth plantations as well as additional land in Speightstown, St. Peter, Barbados.
Death
Andrew Ashe passed the last few years of his life in Dublin where he died in 1838, and his funeral took place on 30 April 1838 at Merrion near Dublin.
His fame as a performer rested on his technical proficiency and the unique tone of his playing; he published note of his own musical compositions.
Note: Ashe wrote a manuscript autobiography which is in the library of the University of Glasgow.
Education
Andrew Ashe was educated at Woolwich Military Academy in London, England where, at the early age of nine, he showed a great disposition for music and devoted a portion of his weekly allowance to pay for lessons on the violin which he received from the master of the Royal Artillery band.
The young votary made such progress, that in a short time his school-fellows preferred dancing to his fiddle to their usual gymnastic exercises between school hours. When he was twelve years old, a lawsuit, which had been pending for many years between a neighbouring nobleman and his grandfather (Nicholas Ashe), was settled to the disadvantage of Nicholas Ashe. As a result, his parents could no longer support him at Woolwich and they planned to have him return to Ireland.
Patron
Previously to this proposed removal, Count Bentinck, a relation of the Portland family, and a colonel in the British service, happened to be riding by the academy at Woolwich Military Academy, and perceiving young Ashe in tears, with his letter of recall in his hand, asked him what was the matter; he replied, sobbing that his family were ruined by a lawsuit, and that he was desired to return home to Ireland, as his friends could not afford to keep him any longer at Woolwich. The humane nobleman, struck with the boy's apparent grief; was induced to make further inquiry about him from the master of the academy; and a correspondence between the count and the child's parents commenced in consequence, which terminated in young Ashe's removal to the house of the count, who shortly after took him to the Island of Minorca, where his regiment then was.
*Note: When researching Count Bentinck it appears that it was likely Baron, Lieut. Colonel Volkier Rudolph Bentinck that was Andrew Ashe's patron. He is the only Bentinck listed as a Lieut. Colonel in Minorca at the time when Andrew went to Minorca. This info is found in a book called "A list of the general and field-officers, as they rank in the army".
Violin
The Count arranged for him to be instructed on the violin from an eminent Italian master under whom he improved so much that he was soon looked upon as a musical prodigy for his age. He next accompanied his protector on a long tour through Spain, Portugal, France, and Germany and finally settled with him on his estates in Holland. While living in The Hague, young Ashe's education was directed towards the goal of him becoming a confidential servant on the Count's estates. However, the boy was too far advanced in music and too devoted to it to permit him to pay the required attention to study for the intended office of land steward.
New Flute Designed
He had now acquired a pretty general knowledge of various wind instruments having attended the regular practice of his patron's regimental band. About this time, he began to take an interest in the flute, but it was a rather limited instrument and, after considerable application, he relinquished it due to its great imperfections. Shortly after this, Sieur Vanhal, (brother of the acclaimed musician of that name) arrived at the Hague from London bringing a flute made by Richard Potter and announced a concert in which he was to perform a concerto with six keys.
As this was the first of these improved instruments to reach Holland, there was some excitement to see where these keys could be placed on a flute, and no one was so actively curious in this respect as young Ashe. He lost no time in offering his services on the violin and promising the Count's patronage of the concert which he accordingly obtained for Vanhal. In Vanhal's hands, these additional keys on the flute were only ornamental as he had not learned how to use them properly. However, when young Ashe tried them and found that they produced all the half notes as full and round as the tones natural to the instrument in its unkeyed state he made up his mind to have this flute at any cost, which he accomplished at a considerable price through the Count's indulgence.
From about 1774, Andrew Ashe gave up the violin and dedicated his entire attention to his newly acquired purchase. After some months of application, the celebrated Wendling, who was the successor to Quartz (the king of Prussia's master), came to the Hague and Andrew took some lessons from him. On his second visit, Wendling told him his new flute was a bad one, that the long keys on the bottom joint spoiled the instrument, and that the small keys were of no use particularly in quick passages. These observations from the master did not correspond with what Andrew thought of its excellence and induced him to discontinue his lessons as soon as a proper respect for such a distinguished professor would permit. After a few years of incessant application, Andrew became the admiration of Holland chiefly from the uncommon fullness of the tone in those more abstruse keys in music which could not be produced from the other flutes then in general use.
Brussels
Flushed with the admiration which he was experiencing, Andrew now wanted to launch himself into the world and his patron, Count Bentinck, permitted him to go on a handsome salary as musician to Lord Torrington, who was then on the point of moving from Holland to Brussels.
Later, he was employed in the household of Charles, 12th Viscount Dillon who also resided in Brussels.
Notes from the Memoirs of Madame de La Tour du Pin concerning Charles Dillon and his wife:
"When Charles Dillon married Henrietta Phipps they lived in Brussels, not daring to return to England on account of his numerous debts. At that time he was still a Catholic and it was not until later that he had the unpardonable weakness to change his religion and become a Protestant in order to be eligible for a legacy of £15,000 from his maternal great-uncle, Lord Lichfield, who had made this a condition of the legacy."...
"My [great]uncle the Archbishop (of Narbonne) had lived in the house in Rue du Bac for twenty years without paying his niece, Mme Dillon, a farthing in rent On the excuse that she lived there herself, he had not even paid for repairs. Yet my [great]uncle had even then had more than 300,000 francs in church benefices. It is true that he had paid some gambling debts of my father's, for he was afflicted with that wretched passion as were his two brothers. Lord Dillon (Charles) and Henry Dillon. I have never known how much my uncle paid, but have heard it said that the debts were considerable...." from the Memoirs of Madame de La Tour du Pin, p29
Henrietta-Maria Phipps died at 25 years on Sep. 1, 1782 in Brussels, Belgium.
That nobleman was a great patron of the opera and wished his musician to have the position of first flute in the opera orchestra. Since there were, at this period of 1778 and 1779, a great number of English at Brussels who were a material support to the opera, they demanded a public trial of skill between the resident flute of the opera and the young Ashe which accordingly took place at the first rehearsal of the season. Although it was admitted that the resident flute, Sieur Vanhall, was by far the most experienced musician and flute player, Ashe gained general approbation and the position by his superiority of tone. In this school of musical improvement, the young flutist remained for a few years in Brussels.
Dublin, Ireland
Then, a wealthy, young Irish gentleman by the name of Mr. Whyte, who was a great amateur of music, expressed the intention of making a grand continental tour. As Andrew Ashe was by this time a general linguist in addition to his flute playing, Mr. Whyte proposed to take Ashe with him, to which Andrew agreed immediately. After Andrew relinquished all his engagements, letters arrived calling Mr. Whyte back to Ireland. As Andrew had been thinking of the land of his birth for a long time, he willingly accepted Mr. Whyte's offer of accompanying him to Dublin. Not long after his arrival, he was engaged for the Rotunda concerts which were then brilliantly supported. Here, he remained for a few years, and the great applause, with which his performance always met, was a stimulus to his further improvement.
Performance in Cork, Ireland in 1788
In the summer of 1788, there is mention of a visit to Cork by the celebrated flautist Andrew Ashe which appeared in the Hibernian Chronicle:
"We are happy to announce to all lovers of Music the arrival of Mr. Ashe in this city, whose distinguished abilities on the Flute have been universally admitted throughout Europe, his generous off to perform gratis for the Infirmary reflects additional credit on his musical talents, and will, we are persuaded induce a discerning public to honour his night with their friendly patronage."
The following advertisement appeared in the same issue of the Chronicle:
Great Room, George's-Street [now Oliver Plunkett Street]. Mr. Ashe's Night. (By particular desire) On Thursday Evening, the 14th instant, will be a GRAND CONCERT OF MUSIC, in which Mr. Ashe means to introduce several pieces of his own Composition for the Flute, also a concerto for Two Flutes, both instruments to be played by himself. The Orchestra will consist of the Music Society, and other gentlemen who have consented to give their kind support on the above occasion. [Then the inevitable:] After the Concert A BALL. The performance to begin precisely at 9 o'clock. Tickets each 4s 4d may be had at Messrs Knights, Printers, A. Edwards, Bookseller, at the Printers hereof, and of Mr. Ashe, Ann-Street, Cork. Particulars at large in the Bills.
In the event this concert was postponed until the following Wednesday, allowing the full programme to be advertised in the next issue of the Hibernian Chronicle as follows:
Act I
Sinfonia – Stamitz
Quarteto, Flute – Pleyel
Song: 'Though Bacchus may boast' – Mr. Bowden
Overture – Haydn
Act II
Double Concerto on Two Flutes – Mr. Ashe
Song (by particular desire) 'How sweet the Love' – Mr. Johnson
Concerto, Flute – Mr. Ashe
Duetto 'As I saw fair Clora' – Bowden and Johnson
To conclude with a Full Piece
After the Concert A BALL
It seems it was worth Ashe's while to remain in Cork for a couple of months for he gave a concert just before leaving at the end of September. If one considers that Ashe was perhaps the eighteenth-century equivalent of James Galway it may help to put the visit in perspective. Indeed the parallel is quite close – Ashe was also born in the northern part of the country, in Lisburn, County Antrim, in 1758.
London, England and the Great Composers Johann Peter Saloman and Franz Joseph Haydn
Ashe's fame reached England and the late Mr. Salomon, who had in 1791 brought over the great composer Haydn for his concerts in Hanover Square, was anxious to have a suitable orchestra for his works. After hearing Andrew Ashe perform at the Rotunda concerts, Salomon was so pleased with Ashe's intonation and tone that he gave him a very liberal engagement for Hanover Square. On 24 February 1792, Ashe made his first public appearance in London at Salomon's second concert in a manuscript concerto of his own composition which was filled with such novelty as to excite very considerable admiration. Through his association with the German violinist, composer, conductor and musical impresario, Johann Peter Salomon, Ashe was invited to perform with the famous Austrian composer Joseph Haydn.
Salomon had moved to London in the early 1780s and a decade later brought Haydn to London for two sojourns, in 1791-2 and 1794-5. It was during these visits that Salomon and Haydn premiered the symphonies that Haydn composed for England – Andrew Ashe was the flautist for these concerts.
Hanover Square Rooms, London, where Haydn, Saloman and Ashe performed
After this favourable debut, he became and remained the reigning first flute both as an orchestra and concerto player at all the established concerts in London. Upon the abdication of Monzani, Ashe was appointed principal flute at the Italian opera in London and he held that position for several years.
In August 1794, Franz Joseph Haydn went to Bath with the flautist Andrew Ashe and the singing teacher and composer Giambattista Cimador. Here, he spent a few days in the summer house of the castrato Venanzio Rauzzini; for Rauzzini (and in memory of Rauzzini's dog), Haydn writes the canon "Turk was a faithful dog, and not a man" (Hob. XXVIIb:45).
In London in 1795, Haydn takes part in many concerts including one on June 8 with flautist Andrew Ashe.
Andrew Ashe is credited with giving Haydyn's symphony the nickname of "The Surprise Symphony". Haydyn thanked him for giving it such an appropriate name.
Marriage
On 19 September 1799 at Cheltenham, Andrew Ashe married Mary Comer (1777-1843), a pupil of the celebrated Rauzzini, and she herself gained much celebrity as a vocal performer. They had several children and more than one of his daughters became successful public performers both as vocalists and as performers on the harp and piano. One of his sons, Edward David Ashe (1814-1895) was a Commander in the Royal Navy, and then settled in Canada where he was appointed the Director of the Observatory in Quebec.
Director of the Bath and Bristol Concerts
Upon the death of Rauzzini in 1810, Andrew Ashe was unanimously elected Director of the Bath and Bristol concerts which he conducted with great ability for twelve years. Then in the winter of 1821/22, as a consequence of the times being unpropitious for public undertakings, he was induced to relinquish their management after losing a considerable sum of money in the last four years of his direction. In 1822 he was appointed a professor in the newly established Royal Academy of Music in London, but retired to Dublin where he lived in Ely Place.
Retirement
Ashe stepped out of retirement on several occasions performing publicly in Dublin. Sometime between 1826-1829 Ashe relocated from 15 Dawson Street to 21 Ely Place, Dublin.
Financial Woes and Marriage of Andrew's Daughter Mary Ashe
After the Bath Concert financial woes, Ashe's financial situation became increasingly perilous. This may be why Edward Carleton Cumberbatch (1795-1835) was disinherited by his marriage on August 6, 1822 to Ashe's eldest daughter Mary Gertrude Honoria (1804-1847). A year before the marriage, Edward's father, Edward Carleton Cumberbatch (1765-1821), nearing death, wrote his will on July 13, 1821. He left his estate, including two sugar plantations in Barbados, the 'Nicholas Plantation' and the nearby 'Ebworth Plantation' –
"in the trust of his two brothers for a period of five years on the condition that his son, Edward, did not marry any daughter of Andrew Ashe…during these five years. If he did then he would inherit just 300 pounds per year for his life and the estate would pass to Edward's sister Sarah (1797-1862), who had married Charles Cave (1796-1887) in 1818."
On August 1, 1821, nearly three weeks after writing this will, Edward Senior died. Edward Junior decided in favour of love and married Mary Ashe on August 6, 1822. He then "took holy orders and was Headmaster of Hitchin Grammar School, Hertfordshire. In 1834, Edward's sister Sarah inherited the Nicholas and Ebworth plantations as well as additional land in Speightstown, St. Peter, Barbados.
Death
Andrew Ashe passed the last few years of his life in Dublin where he died in 1838, and his funeral took place on 30 April 1838 at Merrion near Dublin.
His fame as a performer rested on his technical proficiency and the unique tone of his playing; he published note of his own musical compositions.
Note: Ashe wrote a manuscript autobiography which is in the library of the University of Glasgow.
Andrew Ashe was educated at Woolwich Military Academy in London, England where, at the early age of nine, he showed a great disposition for music and devoted a portion of his weekly allowance to pay for lessons on the violin which he received from the master of the Royal Artillery band.
The young votary made such progress, that in a short time his school-fellows preferred dancing to his fiddle to their usual gymnastic exercises between school hours. When he was twelve years old, a lawsuit, which had been pending for many years between a neighbouring nobleman and his grandfather (Nicholas Ashe), was settled to the disadvantage of Nicholas Ashe. As a result, his parents could no longer support him at Woolwich and they planned to have him return to Ireland.
Patron
Previously to this proposed removal, Count Bentinck, a relation of the Portland family, and a colonel in the British service, happened to be riding by the academy at Woolwich Military Academy, and perceiving young Ashe in tears, with his letter of recall in his hand, asked him what was the matter; he replied, sobbing that his family were ruined by a lawsuit, and that he was desired to return home to Ireland, as his friends could not afford to keep him any longer at Woolwich. The humane nobleman, struck with the boy's apparent grief; was induced to make further inquiry about him from the master of the academy; and a correspondence between the count and the child's parents commenced in consequence, which terminated in young Ashe's removal to the house of the count, who shortly after took him to the Island of Minorca, where his regiment then was.
*Note: When researching Count Bentinck it appears that it was likely Baron, Lieut. Colonel Volkier Rudolph Bentinck that was Andrew Ashe's patron. He is the only Bentinck listed as a Lieut. Colonel in Minorca at the time when Andrew went to Minorca. This info is found in a book called "A list of the general and field-officers, as they rank in the army".
Violin
The Count arranged for him to be instructed on the violin from an eminent Italian master under whom he improved so much that he was soon looked upon as a musical prodigy for his age. He next accompanied his protector on a long tour through Spain, Portugal, France, and Germany and finally settled with him on his estates in Holland. While living in The Hague, young Ashe's education was directed towards the goal of him becoming a confidential servant on the Count's estates. However, the boy was too far advanced in music and too devoted to it to permit him to pay the required attention to study for the intended office of land steward.
New Flute Designed
He had now acquired a pretty general knowledge of various wind instruments having attended the regular practice of his patron's regimental band. About this time, he began to take an interest in the flute, but it was a rather limited instrument and, after considerable application, he relinquished it due to its great imperfections. Shortly after this, Sieur Vanhal, (brother of the acclaimed musician of that name) arrived at the Hague from London bringing a flute made by Richard Potter and announced a concert in which he was to perform a concerto with six keys.
As this was the first of these improved instruments to reach Holland, there was some excitement to see where these keys could be placed on a flute, and no one was so actively curious in this respect as young Ashe. He lost no time in offering his services on the violin and promising the Count's patronage of the concert which he accordingly obtained for Vanhal. In Vanhal's hands, these additional keys on the flute were only ornamental as he had not learned how to use them properly. However, when young Ashe tried them and found that they produced all the half notes as full and round as the tones natural to the instrument in its unkeyed state he made up his mind to have this flute at any cost, which he accomplished at a considerable price through the Count's indulgence.
From about 1774, Andrew Ashe gave up the violin and dedicated his entire attention to his newly acquired purchase. After some months of application, the celebrated Wendling, who was the successor to Quartz (the king of Prussia's master), came to the Hague and Andrew took some lessons from him. On his second visit, Wendling told him his new flute was a bad one, that the long keys on the bottom joint spoiled the instrument, and that the small keys were of no use particularly in quick passages. These observations from the master did not correspond with what Andrew thought of its excellence and induced him to discontinue his lessons as soon as a proper respect for such a distinguished professor would permit. After a few years of incessant application, Andrew became the admiration of Holland chiefly from the uncommon fullness of the tone in those more abstruse keys in music which could not be produced from the other flutes then in general use.
Brussels
Flushed with the admiration which he was experiencing, Andrew now wanted to launch himself into the world and his patron, Count Bentinck, permitted him to go on a handsome salary as musician to Lord Torrington, who was then on the point of moving from Holland to Brussels.
Later, he was employed in the household of Charles, 12th Viscount Dillon who also resided in Brussels.
Notes from the Memoirs of Madame de La Tour du Pin concerning Charles Dillon and his wife:
"When Charles Dillon married Henrietta Phipps they lived in Brussels, not daring to return to England on account of his numerous debts. At that time he was still a Catholic and it was not until later that he had the unpardonable weakness to change his religion and become a Protestant in order to be eligible for a legacy of £15,000 from his maternal great-uncle, Lord Lichfield, who had made this a condition of the legacy."...
"My [great]uncle the Archbishop (of Narbonne) had lived in the house in Rue du Bac for twenty years without paying his niece, Mme Dillon, a farthing in rent On the excuse that she lived there herself, he had not even paid for repairs. Yet my [great]uncle had even then had more than 300,000 francs in church benefices. It is true that he had paid some gambling debts of my father's, for he was afflicted with that wretched passion as were his two brothers. Lord Dillon (Charles) and Henry Dillon. I have never known how much my uncle paid, but have heard it said that the debts were considerable...." from the Memoirs of Madame de La Tour du Pin, p29
Henrietta-Maria Phipps died at 25 years on Sep. 1, 1782 in Brussels, Belgium.
That nobleman was a great patron of the opera and wished his musician to have the position of first flute in the opera orchestra. Since there were, at this period of 1778 and 1779, a great number of English at Brussels who were a material support to the opera, they demanded a public trial of skill between the resident flute of the opera and the young Ashe which accordingly took place at the first rehearsal of the season. Although it was admitted that the resident flute, Sieur Vanhall, was by far the most experienced musician and flute player, Ashe gained general approbation and the position by his superiority of tone. In this school of musical improvement, the young flutist remained for a few years in Brussels.
Dublin, Ireland
Then, a wealthy, young Irish gentleman by the name of Mr. Whyte, who was a great amateur of music, expressed the intention of making a grand continental tour. As Andrew Ashe was by this time a general linguist in addition to his flute playing, Mr. Whyte proposed to take Ashe with him, to which Andrew agreed immediately. After Andrew relinquished all his engagements, letters arrived calling Mr. Whyte back to Ireland. As Andrew had been thinking of the land of his birth for a long time, he willingly accepted Mr. Whyte's offer of accompanying him to Dublin. Not long after his arrival, he was engaged for the Rotunda concerts which were then brilliantly supported. Here, he remained for a few years, and the great applause, with which his performance always met, was a stimulus to his further improvement.
Performance in Cork, Ireland in 1788
In the summer of 1788, there is mention of a visit to Cork by the celebrated flautist Andrew Ashe which appeared in the Hibernian Chronicle:
"We are happy to announce to all lovers of Music the arrival of Mr. Ashe in this city, whose distinguished abilities on the Flute have been universally admitted throughout Europe, his generous off to perform gratis for the Infirmary reflects additional credit on his musical talents, and will, we are persuaded induce a discerning public to honour his night with their friendly patronage."
The following advertisement appeared in the same issue of the Chronicle:
Great Room, George's-Street [now Oliver Plunkett Street]. Mr. Ashe's Night. (By particular desire) On Thursday Evening, the 14th instant, will be a GRAND CONCERT OF MUSIC, in which Mr. Ashe means to introduce several pieces of his own Composition for the Flute, also a concerto for Two Flutes, both instruments to be played by himself. The Orchestra will consist of the Music Society, and other gentlemen who have consented to give their kind support on the above occasion. [Then the inevitable:] After the Concert A BALL. The performance to begin precisely at 9 o'clock. Tickets each 4s 4d may be had at Messrs Knights, Printers, A. Edwards, Bookseller, at the Printers hereof, and of Mr. Ashe, Ann-Street, Cork. Particulars at large in the Bills.
In the event this concert was postponed until the following Wednesday, allowing the full programme to be advertised in the next issue of the Hibernian Chronicle as follows:
Act I
Sinfonia – Stamitz
Quarteto, Flute – Pleyel
Song: 'Though Bacchus may boast' – Mr. Bowden
Overture – Haydn
Act II
Double Concerto on Two Flutes – Mr. Ashe
Song (by particular desire) 'How sweet the Love' – Mr. Johnson
Concerto, Flute – Mr. Ashe
Duetto 'As I saw fair Clora' – Bowden and Johnson
To conclude with a Full Piece
After the Concert A BALL
It seems it was worth Ashe's while to remain in Cork for a couple of months for he gave a concert just before leaving at the end of September. If one considers that Ashe was perhaps the eighteenth-century equivalent of James Galway it may help to put the visit in perspective. Indeed the parallel is quite close – Ashe was also born in the northern part of the country, in Lisburn, County Antrim, in 1758.
London, England and the Great Composers Johann Peter Saloman and Franz Joseph Haydn
Ashe's fame reached England and the late Mr. Salomon, who had in 1791 brought over the great composer Haydn for his concerts in Hanover Square, was anxious to have a suitable orchestra for his works. After hearing Andrew Ashe perform at the Rotunda concerts, Salomon was so pleased with Ashe's intonation and tone that he gave him a very liberal engagement for Hanover Square. On 24 February 1792, Ashe made his first public appearance in London at Salomon's second concert in a manuscript concerto of his own composition which was filled with such novelty as to excite very considerable admiration. Through his association with the German violinist, composer, conductor and musical impresario, Johann Peter Salomon, Ashe was invited to perform with the famous Austrian composer Joseph Haydn.
Salomon had moved to London in the early 1780s and a decade later brought Haydn to London for two sojourns, in 1791-2 and 1794-5. It was during these visits that Salomon and Haydn premiered the symphonies that Haydn composed for England – Andrew Ashe was the flautist for these concerts.
Hanover Square Rooms, London, where Haydn, Saloman and Ashe performed
After this favourable debut, he became and remained the reigning first flute both as an orchestra and concerto player at all the established concerts in London. Upon the abdication of Monzani, Ashe was appointed principal flute at the Italian opera in London and he held that position for several years.
In August 1794, Franz Joseph Haydn went to Bath with the flautist Andrew Ashe and the singing teacher and composer Giambattista Cimador. Here, he spent a few days in the summer house of the castrato Venanzio Rauzzini; for Rauzzini (and in memory of Rauzzini's dog), Haydn writes the canon "Turk was a faithful dog, and not a man" (Hob. XXVIIb:45).
In London in 1795, Haydn takes part in many concerts including one on June 8 with flautist Andrew Ashe.
Andrew Ashe is credited with giving Haydyn's symphony the nickname of "The Surprise Symphony". Haydyn thanked him for giving it such an appropriate name.
Marriage
On 19 September 1799 at Cheltenham, Andrew Ashe married Mary Comer (1777-1843), a pupil of the celebrated Rauzzini, and she herself gained much celebrity as a vocal performer. They had several children and more than one of his daughters became successful public performers both as vocalists and as performers on the harp and piano. One of his sons, Edward David Ashe (1814-1895) was a Commander in the Royal Navy, and then settled in Canada where he was appointed the Director of the Observatory in Quebec.
Director of the Bath and Bristol Concerts
Upon the death of Rauzzini in 1810, Andrew Ashe was unanimously elected Director of the Bath and Bristol concerts which he conducted with great ability for twelve years. Then in the winter of 1821/22, as a consequence of the times being unpropitious for public undertakings, he was induced to relinquish their management after losing a considerable sum of money in the last four years of his direction. In 1822 he was appointed a professor in the newly established Royal Academy of Music in London, but retired to Dublin where he lived in Ely Place.
Retirement
Ashe stepped out of retirement on several occasions performing publicly in Dublin. Sometime between 1826-1829 Ashe relocated from 15 Dawson Street to 21 Ely Place, Dublin.
Financial Woes and Marriage of Andrew's Daughter Mary Ashe
After the Bath Concert financial woes, Ashe's financial situation became increasingly perilous. This may be why Edward Carleton Cumberbatch (1795-1835) was disinherited by his marriage on August 6, 1822 to Ashe's eldest daughter Mary Gertrude Honoria (1804-1847). A year before the marriage, Edward's father, Edward Carleton Cumberbatch (1765-1821), nearing death, wrote his will on July 13, 1821. He left his estate, including two sugar plantations in Barbados, the 'Nicholas Plantation' and the nearby 'Ebworth Plantation' –
"in the trust of his two brothers for a period of five years on the condition that his son, Edward, did not marry any daughter of Andrew Ashe…during these five years. If he did then he would inherit just 300 pounds per year for his life and the estate would pass to Edward's sister Sarah (1797-1862), who had married Charles Cave (1796-1887) in 1818."
On August 1, 1821, nearly three weeks after writing this will, Edward Senior died. Edward Junior decided in favour of love and married Mary Ashe on August 6, 1822. He then "took holy orders and was Headmaster of Hitchin Grammar School, Hertfordshire. In 1834, Edward's sister Sarah inherited the Nicholas and Ebworth plantations as well as additional land in Speightstown, St. Peter, Barbados.
Death
Andrew Ashe passed the last few years of his life in Dublin where he died in 1838, and his funeral took place on 30 April 1838 at Merrion near Dublin.
His fame as a performer rested on his technical proficiency and the unique tone of his playing; he published note of his own musical compositions.
Note: Ashe wrote a manuscript autobiography which is in the library of the University of Glasgow.
Family Members
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