OpenLLM-France/wikimedia huggingface dataset:
# Anecdotes of Great Musicians/Anecdote 232

232.—A COMPLIMENT FROM HAYDN.
In a broad course of musical reading one is continually coming across scathing criticisms and slighting remarks made by the great musicians concerning each other's works. But it is natural perhaps, that men of so ​great genius should see the world through their own spectacles and not feel like allowing another man credit for seeing it through his.
But, on the other hand, we have many instances showing the thorough appreciation some have had for the works of others, and for the promise they gave of greater things. Haydn was one of the best dispositioned men, and from him we would naturally expect to hear pleasant things and gentle criticisms.
When Cherubini first met Haydn, in Vienna, in 1805, the latter was seventy-three years of age, while Cherubini was still in the forties, and just beginning to compose the works that made him famous. The old veteran handed to the younger man one of his latest compositions, remarking—
"Permit me to style myself your musical father, and to call you my son."
No greater compliment could have been paid the younger man. Encouraged and impressed by Haydn's friendliness, Cherubini could not, on parting, restrain his tears.
# Anecdotes of Great Musicians/Anecdote 235

235.—CAMPANINI AS A SOLDIER.
Seldom do we find an operatic singer in the battlefield taking his part in his country's battles. Of those who have been delighted with the tenor voice of Signor Campanini, few have known that they were applauding a brave soldier, as well as a finished singer.
He was one of the first to volunteer to serve under Garibaldi at Marsala, and his zeal and bravery were so great that while yet little more than a youth he obtained the post of sergeant. At the battle of Capua, during the fiercest fighting, he was wounded by two sabre cuts; he still carries the scars, one on the right cheek and the other on the neck.
But this did not stop his fighting, and had it not been for a severe fever which nearly killed him, it is very likely that the brave volunteer would never have left the campaign. At this time he had never thought of such a thing as being a singer, but he soon after obtained admission to the Parma conservatory of music, where he made surprising progress. To-day he is one of the foremost tenors and has attained this enviable position of his own merit and exertion.
Of the many singers upon the concert stage we venture to say that there are few, if any, with a like record for soldiering and singing.
# Anecdotes of Great Musicians/Anecdote 229

229.—A COMICAL REVENGE.
That eccentric prima donna of the French stage, Madame La Maupin, some of whose pranks we have mentioned in another sketch, after passing her prime and losing her voice and prestige, was glad to accept whatever offered as a means of earning her livelihood; and so we find her as lady-in-waiting to the Spanish Countess Marino. But that misfortunes had not broken her spirit or destroyed her sense of humor, we may see from this incident:—
Feeling that she had been ill-used and harshly spoken to on a certain occasion, she determined to have a harmless revenge. My lady was preparing to attend a grand ball, and called on La Maupin to dress her hair, as one of her duties was to assist at the toilet of the Countess. When the task was completed the Countess gave a hasty glance into the glass, and relying on her maid's skill did not make a careful examination of her coiffure. The feathers in her head-dress were tastily placed, and so, complimenting the maid, the lady hastened away.
Upon her entrance into the ball-room she noticed that she seemed to cause attention and even illy-suppressed mirth. But the reason she did not discover until she had paraded around the room, and some good friend, taking pity on her, informed her that her back hair was tastefully trimmed with little red radishes! Exit Countess! She returned home in a great rage to vent her anger on the unlucky Maupin; but the bird had flown, feeling that she had obtained her revenge by making the sharp-tongued Countess the laughing-stock of the town.
# Anecdotes of Great Musicians/Anecdote 23

23.—HÄNDEL'S PERSUASIVENESS.
There was a day when players and singers so ruled directors and composers that the latter hardly knew whether they could call their lives their own. But that day is past, and Händel was one who prominently assisted in bringing about the new order of things. Two instances will serve to show how he controlled his unruly singers.
When Carestini was given the beautiful aria "Verdi prati," in "Alcina," he sent it back to Händel saying it was too trivial for him to sing in public. Handel rushed off to the singer's rooms and, foaming with rage, yelled to the astonished Italian:
"You tog! Don't I know bedder ash yourself vat ish best for you do sing? If you do nod sing all de song vat I gifs you, I will not pay you ein stiver!"
Nor could this choleric composer be bullied by the weaker sex. At a rehearsal of one of his operas, the great soprano, Cuzzoni gave him great trouble by her impudence. Finally she refused to sing a certain aria. Händel concluded the time had come to see who was master; so he rushed onto the stage, and, catching the astonished prima donna around the waist, he dragged her to an open window, crying: "I always knew you was a very teufel, but I vill show you I am Beelzebub, de prince of de teufels!" Then he threatened to throw her out headlong unless she promised to sing the song. Cuzzoni was frightened half to death, and begged to be released, promising to do anything he might require.
# Anecdotes of Great Musicians/Anecdote 233

233.—A PARTICULAR PRIMA DONNA.
Bizet found many difficulties in the production of his celebrated opera, "Carmen." One, which gave him the most trouble, was the dissatisfaction expressed by his prima donna with the aria she was to sing on her first appearance on the stage. He had originally written an air in six-eight time, graceful enough, but not particularly characteristic. This would not do at all for the singer, as she wanted something which would make her first appearance effective. Bizet produced in succession no fewer than thirteen different versions of "Carmen's" aria d'entrata, but none of them realized the prima donna's ideal. Bizet's imagination was exhausted, and the lady was as dissatisfied as ever.
In despair he bethought him of an old Spanish air ​which had struck his fancy while he was looking through a collection of songs years before, when his ideas of "Carmen" were still undeveloped. With the aid of this melody he composed the "Habañera," with which she at last professed herself contented. The singer's instinct was quite right, for not only does the famous air express the character of the wayward gypsy in a nutshell, and put it before the audience in vivid colors at the outset of the piece, but it was one of the few numbers which was praised unreservedly by the critics at the first performance, and it still remains as popular as ever.
# Anecdotes of Great Musicians/Anecdote 234

234.—MENDELSSOHN'S KINDNESS.
Henry Chorley, an English critic and musical writer of much note, on one of his trips to the continent went to Leipzig for the purpose, among other things, of meeting Mendelssohn and hearing some of his works.
Shortly after his arrival he was taken with an acute attack of illness and confined to his room, a small apartment in a crowded German inn. He had met Mendelssohn and other musicians before his illness. It is not pleasant to be sick among strangers in a foreign land, and his feelings were not of the most enjoyable kind.
His illness had been known but a few hours when he heard a heavy tramping up the stairs. It stopped at his door.
"Who is there?" he called.
"A grand piano to be put in your room," was the reply, "and Dr. Mendelssohn is coming directly."
And soon Dr. Mendelssohn did come, with his warm smile and hearty greeting.
"If you like," said he, "we will make some music here to-day, since you must not go out," and down he sat and began to play a lot of music about which Chorley had expressed some curiosity the day before. For hours Mendelssohn stayed there delighting, as Chorley ​modestly said, "an obscure stranger as zealously and cheerfully as if his time could not be measured by gold, and as if his company was not eagerly and importunately sought by the 'best of the best,' who repaired to Leipzig with little purpose but to seek his acquaintance."
# Anna Karenina (Dole)/Part One

Vronsky pleading with Anna.
Original Drawing by E. Boyd Smith.
* Chapter 1
* Chapter 2
* Chapter 3
* Chapter 4
* Chapter 5
* Chapter 6
* Chapter 7
* Chapter 8
* Chapter 9
* Chapter 10
* Chapter 11
* Chapter 12
* Chapter 13
* Chapter 14
* Chapter 15
* Chapter 16
* Chapter 17
* Chapter 18
* Chapter 19
* Chapter 20
* Chapter 21
* Chapter 22
* Chapter 23
* Chapter 24
* Chapter 25
* Chapter 26
* Chapter 27
* Chapter 28
* Chapter 29
* Chapter 30
* Chapter 31
* Chapter 32
* Chapter 33
* Chapter 34
# An Etymological Dictionary of the German Language/Vließ

| Expand abbreviations An Etymological Dictionary of the German Language/Annotated/Vließ | Random word Special:RandomInCategory/Kluge's Etymological Dictionary of the German Language |
​ Vließ, see Flies.
# An Etymological Dictionary of the German Language/Vierteil

| Expand abbreviations An Etymological Dictionary of the German Language/Annotated/Vierteil | Random word Special:RandomInCategory/Kluge's Etymological Dictionary of the German Language |
​ Vierteil, n., ‘quarter’; for the suffix, see Teil.
# An Etymological Dictionary of the German Language/Vogt

| Expand abbreviations An Etymological Dictionary of the German Language/Annotated/Vogt | Random word Special:RandomInCategory/Kluge's Etymological Dictionary of the German Language |
​ Vogt, m., ‘overseer, steward, bailiff,’ from MidHG. vogt, voget, OHG. fógat (*fogā́t), m.; from MidLat. vocâtus, with the pronunciation of the Lat. v like f, as in Vers, Vesper (comp. Käfig). The MidLat. term is for advocatus (whence OHG. pfogát); comp. Fr. avoué, ‘defender of a church or abbey, attorney.’ MidLat. advocatus signified lit. ‘legal assistant,’ whence the meanings ‘guardian’ (MidHG. and ModHG. dial.) and ‘patron, protector.’ MidHG. voget denotes also ‘the protector of the Romish Church, King or Emperor of Rome, king and ruler (generally),’ and further ‘governor, legal official.’
# An Etymological Dictionary of the German Language/Vormund

| Expand abbreviations An Etymological Dictionary of the German Language/Annotated/Vormund | Random word Special:RandomInCategory/Kluge's Etymological Dictionary of the German Language |
​ Vormund, m., ‘guardian, tutor,’ from MidHG. vormunt (d), also vormunde, vormünde, m., ‘intercessor, protector, guardian,’ OHG. foramunto, m., ‘intercessor.’ Allied to Mund (2), under which another equiv. word is mentioned (comp. also Vogt).
# An Etymological Dictionary of the German Language/Vogel

| Expand abbreviations An Etymological Dictionary of the German Language/Annotated/Vogel | Random word Special:RandomInCategory/Kluge's Etymological Dictionary of the German Language |
​ Vogel, m., ‘bird, fowl,’ from the equiv. MidHG. vogel, OHG. fogal, m.; a common Teut. term; comp. Goth. fugls, AS. fugol. E. fowl, Du. vogel, OSax. fugal, m., ‘bird.’ This specifically Teut. word has no exact correspondence in non-Teut. Teut. fugla- is perhaps derived from the Teut. root flug, ‘to fly,’ thus connecting the word with Geflügel (for which gevügele occurs, however, in MidHG.) as the collective of Vogel. Others prefer to connect it with Fuchs, which is regarded as ‘the animal with a tail.’ There is no term in Teut. corresponding to Lat. avis, Sans. vi, ‘bird.’
# An Etymological Dictionary of the German Language/Volk

| Expand abbreviations An Etymological Dictionary of the German Language/Annotated/Volk | Random word Special:RandomInCategory/Kluge's Etymological Dictionary of the German Language |
​ Volk, n., ‘people, nation, soldiery, troops,’ from the equiv. MidHG. volc (k), OHG. folc, n. (rarely m.); corresponding to OSax. folk, Du. volk, AS. folc, E. folk; OIc. fólk, ‘people, troops, detachment.’ The latter seems to be the primary meaning, from which Lith. pulkas, ‘heap, crowd,’ and OSlov. plŭkŭ, ‘troops,’ are borrowed. The connection of the word with Lat. vulgus is uncertain, for it is very dubious whether the Lat. word and the Teut. cognates can be based on a primary form, qelgos, qolgos.
# An Etymological Dictionary of the German Language/Vielfraß

| Expand abbreviations An Etymological Dictionary of the German Language/Annotated/Vielfraß | Random word Special:RandomInCategory/Kluge's Etymological Dictionary of the German Language |
​ Vielfraß, m., ‘glutton, Ursus gulo,’ ModHG. only, a corruption of Scand. fjallfress, m., ‘mountain bear.’ —
# An Etymological Dictionary of the German Language/Visier

| Expand abbreviations An Etymological Dictionary of the German Language/Annotated/Visier | Random word Special:RandomInCategory/Kluge's Etymological Dictionary of the German Language |
​ Visier, n. ‘visor,’ borrowed in the 15th cent. from the equiv. Ital. visiera, Fr. visière.
# An Etymological Dictionary of the German Language/Vizdom

| Expand abbreviations An Etymological Dictionary of the German Language/Annotated/Vizdom | Random word Special:RandomInCategory/Kluge's Etymological Dictionary of the German Language |
​ Vizdom, m., ‘viceregent,’ from MidHG. viztuom, m., ‘governor, administrator’; formed from vicedominus, whence also Fr. vidame.
# An Etymological Dictionary of the German Language/W

* A - B - C - D - E - F - G - H - I - J - K - L - M - N - O - P - Q - R - S - T - U - V - W - Z
* Waare
* Wabe
* wabern
* Waberlohe
* wach
* Wachholder
* Wachs
* wachsen
* Wachtel
* Wacke
* wackeln
* wacker
* Wade
* Waffe
* Waffel
* Wage
* Wagen
* Wagner
* wagen
* wägen
* Wahl
* Wahlstatt
* Walküre
* Wahn
* Wahnsinn
* wahr
* wahren
* währen
* Wahrung
* wahrnehmen
* Wahrsager
* Währwolf
* Wahrzeichen
* Waid
* Waidmann
* Waise
* Wald
* Walfisch
* walken
* Walküre
* Wall
* Wallach
* wallen
* wallen
* Walnuß
* Walroß
* Walstatt
* walten
* Walze
* wälzen
* Wamme
* Wams
* Wand
* Wandel
* wandern
* Wange
* Wank
* wann
* Wanne
* Wanst
* Wanze
* Wappen
* Ware
* warm
* warnen
* Wart
* Warte
* warten
* -wärts
* warum
* Wärwolf
* Warze
* was
* waschen
* Wase
* Wasen
* Wasser
* Wat
* Wate
* waten
* Watte
* Wau
* weben
* Wechsel
* Weck
* wecken
* Wedel
* weder
* Weed
* Weg
* Wegbreite
* wegen
* Wegerich
* wegen
* weh
* wehen
* Wehr
* Weib
* Weibel
* weich
* Weichbild
* Weichen
* weichen
* Weichsel
* Weid
* Weide
* Weide
* Weiderich
* weidlich
* weifen
* Weigand
* weigern
* Weihe
* weihen
* Weihrauch
* Weiher
* weil
* weiland
* Weiler
* Wein
* weinen
* weis
* Weise
* Weisel
* weissagen
* Weistum
* weiß
* weit
* Weizen
* welch
* Welf
* welk
* Welle
* Wels
* welsch
* Welt
* Wende
* Wendeltreppe
* wenden
* gewandt
* wenig
* wenn
* wer
* werben
* Werd
* werden
* Werder
* werfen
* Werft
* Werft
* Werg
* Wergeld
* Werk
* Wermut
* Wert
* Wert
* Werwolf
* Wesen
* Wespe
* Weste
* Westen
* wett
* Wetter
* Wetterleuchten
* wetzen
* wichsen
* Wicht
* wichtig
* Wicke
* Wicke
* Wickel
* Widder
* wider
* Widerpart
* Widersacher
* widerspenstig
* Widerthon
* widerwärtig
* widrig
* widmen
* wie
* Wiebel
* Wieche
* Wiedehopf
* wieder
* Wiege
* wiegen
* wichern
* Wiemen
* Wiese
* Wiesel
* wild
* Wildbret
* Wildfang
* Wildschur
* Wille
* willfahren
* willkommen
* Willkür
* wimmeln
* wimmern
* Wimpel
* Wimper
* Wind
* Winde
* Windel
* winden
* Windhund
* Windsbraut
* Wingert
* Wink
* Winkel
* winken
* winseln
* Winter
* Winzer
* winzig
* Wipfel
* Wippe
* wir
* Wirbel
* wirken
* wirr
* wirsch
* Wirsching
* Wirt
* Wirtel
* Wisch
* Wispel
* wispeln
* wissen
* wittern
* Wittib
* Wittum
* Witwe
* Witz
* wo
* Woche
* Wocken
* Woge
* wohl
* wohlfeil
* wohlgeboren
* Wohlthat
* wohnen
* wölben
* Wolf
* Wolke
* Wolle
* wollen
* Wollust
* Wonne
* worfeln
* worgen
* Wort
* Wrack
* Wucher
* Wuchs
* Wucht
* wühlen
* Wulst
* wund
* Wunder
* Wunsch
* Würde
* würdig
* Wurf
* würgen
* Wurm
* wurmen
* Wurst
* Wurz
* würzen
* Wurzel
* Wust
* wüst
* Wüste
* Wut
# Anecdotes of Great Musicians/Anecdote 47

47.—THE DEVIL'S TRILL.
Tartini was one of the greatest violinists of the last century. He was born at Pirano, in 1692. His parents were determined that he should enter the priesthood, but being unsuccessful in turning the lad that way, persuaded him to study law.
His secret marriage with a beautiful girl being discovered, he had to take flight. Finding refuge in a monastery, he remained there for some time, till he was discovered by a former acquaintance. His whereabouts being reported to the irate parents and a reconciliation being effected, he returned to his young wife, and, making his home at Padua, took up the study of the violin. He became famous in the musical world, and was besought by other countries to visit them that they might hear his wonderful playing, but he could not be tempted to leave his native soil.
The following story, concerning the composition ​entitled "Il Trillo del Diavolo," was told by Tartini himself:—
One night, in the year 1713, while Tartini was yet a young man, he had a most surprising and realistic dream. He dreamed he had made a compact with his satanic majesty, by the terms of which the gentleman with the cloven hoof was, contrary to the usual order of things, always to be at the service of the violinist. After some little time spent in getting acquainted, Tartini handed his violin to his new servant to find out what kind of a fiddler he was; when, to Tartini's utter astonishment, he heard a solo so beautiful, so bewitching, and played with such skill and taste, that it surpassed all the playing that he had ever heard in his life.
Just at this interesting point in the affair, Tartini awoke. Filled with the memory of the beautiful playing he had heard in his dream, he hastened to his instrument, and in his excitement and delight he tried to reproduce some of the strains that fell from the Mephistophelian bow. But, alas, the devil was to pay! for the devil was gone and his music with him.
Nevertheless, Tartini, inspired by the memory of the dream music, took pen and paper, and composed this sonata called "The Devil's Trill."
He declared it to be far inferior to what he heard in his dream; but be that as it may, it certainly excelled in value any other composition that he wrote in the sober moments of daylight, and uninspired by diabolical compact.
# Anecdotes of Great Musicians/Anecdote 48

48.—UNLUCKY MANUSCRIPTS.
Some of the original manuscripts of valuable compositions have occasionally found strange resting places and been put to unforeseen uses. We have read of how Beethoven's cook used some of his precious leaves in kindling a fire and in wrapping up old pots and kettles; how the original pages of some priceless works of Bach ​were used by an ignorant gardener to tie round some young apple trees, thus to preserve them from harm; and how many of Schubert's beautiful melodies lay for years in garrets and in out-of-the-way corners, until resurrected by Schumann and other enthusiasts.
But perhaps the worst misfortune that ever happened to a composer in this line, fell upon Rinaldo di Capua, said to be the originator of the "recitative." Whether this honor justly belongs to him or not is, however, uncertain. Be that as it may, he was an excellent and industrious writer, and accumulated during his years of composition a goodly number of scores.
In his old age, feeling the need of the money they would bring from the publisher, he searched for them, but could find them nowhere. Further inquiries pointed to the probability that a profligate son, who had been the apple of the old man's eye, so to speak, had disposed of this valuable pile of manuscripts to a dealer in waste paper!
# Anecdotes of Great Musicians/Anecdote 50

50.—A QUEEN'S REGARD FOR HER MUSIC TEACHER.
The following, told of Empress Catherine of Russia, shows that queens may be just, as well as quick-tempered or spiteful. It is said that at one time the music teacher of the Empress, Paesiello, a celebrated composer, was the cause of jealousy on the part of a certain marshal. Perhaps it was caused by many favors shown the musician by the queen, who appreciated his worth and talent. At any rate, the marshal became so angered as to give Paesiello a blow, which was returned with such good interest and vigor that the military officer was the surprised recipient of a sound drubbing.
Hastening off to the Empress he made complaint that ​he had been struck by the musician, and to strike a marshal of the Russian empire was worthy of dire punishment. The Empress laughed at his complaint, saying, "Sir, you forgot your dignity in striking an unoffending man and a great artist; and as to rank, it is in my power to make fifty marshals, but not one Paesiello."
# Anecdotes of Great Musicians/Anecdote 52

52.—A WITTY SONGSTRESS.
Sophie Arnould was noted for being one of the wittiest as well as one of the handsomest women in France, and withal could hardly be excelled as a vocalist. On one occasion, while out taking a constitutional, she met a friend, a physician, who was carrying a gun under his arm. In the course of his remarks he mentioned that he was on his way to see a patient. "Ah, doctor," said she, "so you are afraid of your ordinary treatment failing?"
# Anecdotes of Great Musicians/Anecdote 51

51.—AN EARNEST STUDENT.
At the time of the intense Gluck-Piccini rivalry in Paris, there came to that gay city from Belgium an awkward youth who had determined to gain a musical education at whatever hazard, although he had no money to speak of and no immediate prospect of obtaining any.
The rivalry between the two great composers, Gluck and Piccini, was every day growing more intense, and all artistic Paris was taking sides for or against the imported Italian composer, who was finally to be defeated by his more earnest and able rival, Gluck. Our young musician was an ardent disciple of Gluck, and was determined to see the representation of his opera "Iphigenie en Tauride," which was soon to occur.
By the assistance of a friend he managed to gain admittance into the theater where the final rehearsal was held. So enchanted was he by the beauty and nobility of the music that he resolved to hear the public performance as well; but alas! the wherewithal was not forthcoming; he had no money to purchase a ticket. As he sat listening to the rehearsal a happy thought occurred to him; he would hide in one of the boxes and remain there till the performance.
Unfortunately for his plan, he was discovered at the close of the rehearsal by the employees of the house, who proceeded to summarily eject him. But the young man's spirit was aroused and he resisted. Gluck, who had not left the house, heard the disturbance, and coming to investigate it, was told that a young man from the ​country was so anxious to hear his music as to take this method of securing the opportunity.
Pleased with the youth's eagerness for musical instruction and enjoyment, and perhaps somewhat flattered as well, Gluck ordered his release, gave him a ticket to the performance, and later sought to know more of his ardent admirer. This was the beginning of a lasting friendship between the two composers Gluck and Mehul, for the young man later achieved great prominence in the musical world. Mehul composed twenty-five operas and numerous other works, and was paid the highest honors the French nation could bestow. But through all of his successful career he never forgot the debt of gratitude he owed to Gluck for the interest taken in the crude young student, an interest which dated from the incident narrated above.