OpenLLM-France/wikimedia huggingface dataset:
# An Etymological Dictionary of the German Language/Schoß

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​ Schoß (1.), m., ‘‘shoot, sprout, sprig,’ from the equiv. MidHG. schoȥ (ȥȥ), n., and with the same meaning even OHG. scoȥ, n., and scoȥȥa, f.; allied to the root skū̆t, ‘to shoot.’ From the OHG. word with the LG. dental is derived Fr. écot, ‘stump of a tree.’ To this ModHG. Schößling, from MidHG. schüȥȥelinc, is allied.
Schoß (2.), ‘tax, scot,’ from MidHG. (MidG.) schoȥ, m., ‘tax, rent’; comp. Du. schot, AS. sčęot (E. scot), ‘tax, score.’ The great antiquity of the West Teut. cognates is attested by the Rom. loan-words, Ital. scotto, ‘score,’ Fr. écot, ‘score.’ The Teut. words are formed from the root skū̆t, ‘to shoot,’ which in AS. sceótan, ‘to shoot,’ has also the secondary meaning, ‘to contribute money.’
Schoß (3.), Schooß, m., ‘lap,’ from MidHG. schôȥ, m., f., and n., OHG. scôȥ, scôȥo, scôȥa, m. and f., ‘skirt of a garment, petticoat, lap’ (to this Lombard. scoss, ‘lap,’ is allied). Comp. Goth. skauts, m., ‘border, hem of a garment,’ OIc. skaut, n., ‘tuft, corner, end, skirt,’ AS. sčeát, ‘corner, wedge, bosom’ (whence AS. sčŷte, ‘cloth,’ E. sheet), Du. schoot; allied to the root skū̆t, ‘to shoot.’ It is uncertain whether the orig. sense was a descending or hanging part of the dress or a projecting corner of the land, or whether (as in the similar cases of Franse and Gehren) the skirt was so named from its resemblance to a missile?. See Schote (2).
# An Etymological Dictionary of the German Language/Schraube

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​ Schraube, f., ‘screw,’ from the equiv. late MidHG. schrûbe, f.; allied to Du. schroef (E. screw), Ic. skrúfa; these terms, some of which may have been borrowed, and hence do not correspond exactly in sound, are essentially ModTeut. Note Suab. schrauf, Bav. schraufen (compared with Swiss štrûbe). Origin obscure.
# An Etymological Dictionary of the German Language/Schote

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​ Schote, Schaude, m., ‘simpleton,’ ModHG. only, formed from Hebr. schôtèh, ‘foolish.’
Schote (1.), f., ‘pod, cod, shell,’ from MidHG. schôte, schotte, f., ‘pod, seed-case, pericarp’; allied to OIc. skauðer, pl., ‘sheath.’ Connected with the root skū̆, ‘to cover,’ which is discussed under Scheune.
Schote (2.), f., ‘sheet’ (of a sail), ModHG. only, formed from LG.; comp. Du. schooten, AS. sčeáta, ‘pes veli’ (sceát-lîne, ‘propes’), E. sheet. These are identical with HG. Schoß (3). The AS. word is recorded the earliest; comp. Boot, Ebbe. From LG. is also derived Ital. scotta, ‘cable.’
# An Etymological Dictionary of the German Language/Schramme

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​ Schramme, f., ‘slight wound or scratch,’ from MidHG. schram (mm), f., ‘sword wound’; comp. Du. schram, ‘scratch,’ OIc. skráma, ‘wound’; allied to MidHG. schramen, ‘to open, tear open,’ schram, ‘hole.’
# An Etymological Dictionary of the German Language/Schrank

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​ Schrank, m., ‘cupboard, chest, press,’ from MidHG. schranc (k), m., ‘that which shuts off, railing, enclosure, barrier, enclosing, space shut off, cupboard.’ From the meaning ‘enclosure, space shut off,’ which still appears in the fem. form Schranke, the early ModHG. signification ‘cupboard’ was developed. The corresponding OHG. scranch, m., ‘deception, deceit,’ points to the vb. schränken, root skrank, ‘oblique.’ The subst. does not occur elsewhere; in Francon., Hess., and LG. Schank is used; in Swiss chašte or šăfrâti, Alsat. špint. See the following words.
# An Etymological Dictionary of the German Language/Schranke

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​ Schranke, f., ‘railing, barrier, limit,’ from MidHG. schranke, f., with the same meanings as MidHG. schranc, m.; see the preceding word.
# An Etymological Dictionary of the German Language/Schorf

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​ Schorf, m., ‘scurf, scab,’ from the equiv. MidHG. schorf, OHG. scorf, m.; corresponding to MidDu. scorf, ModDu. schurft, AS. sčęorf, scurf, E. scurf, Ic. skurfur, ‘scurf, scab.’ Comp. schürfen.
# An Etymological Dictionary of the German Language/Schranz

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​ Schranz, m., ‘flatterer, parasite; slit, cleft,’ from MidHG. schranz, m., ‘breach, rift, cleft, hole, wound, slashed garment, an overdressed young man (with slashed sleeves, &c.), fop’; with the last of these varied meanings ModHG. Hofschranze, ‘flattering courtier,’ is connected. On the other hand, the prim. meaning ‘rift’ points to a connection with Schrunde, so that two roots skrant and skrand, have to be assumed in Teut.
# An Etymological Dictionary of the German Language/Schreck

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​ Schreck, m., ‘fright, terror, scare,’ from MidHG. schrëcke, m., allied to schrecken, vb., from MidHG. schrëcken, OHG. scrëcchôn, ‘to start up, spring up, spring, leap'; the early sense (comp. the evolution in meaning of sich entsetzen) is preserved in the compound Heuschrecke. From this vb. comes the causative schręcken, ‘to cause to spring up, terrify.’ In connection with the intensive form OHG. scrëcchón, comp. further OHG. scricch, MidHG. schric(ck), m., ‘starting up suddenly, fright'; Du. schrikken, ‘to frighten,’ Scand. skrika, ‘to glide.’ The root is essentially HG.
# An Etymological Dictionary of the German Language/Zitze

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​ Zitze, f., ‘nipple, teat,’ from the equiv. late MidHG. (rare) zitze, f.; comp. the corresponding LG. titte, f., Du. tet, f., AS. tit, m. (plur. tittas), E. teat, Swiss tisse, ‘teat.’ The usual word for ‘teat’ in OHG. is tutta, tuta, f., tutto, tuto, m.; MidHG. tutte, tute, f., tütal, n.; comp. Tüttel. In Romance occur the cognate words — Ital. tetta, zizza, zezzolo, ‘teat,’ Fr. tette, f., teton, tetin, m., ‘nipple,’ Span. teta, as well as Ital. tettare, Span. tetar, Fr. teter, ‘to suck’; the double forms with t and z imply that these words were borrowed from Teut.
# An Etymological Dictionary of the German Language/Zoll

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​ Zoll (1.), m., ‘inch,’ from the equiv. MidHG. zol, m. and f., which is probably identical with MidHG. zol, m., ‘cylindrical piece, log’; comp. MidHG. îszolle, ‘icicle.’
Zoll (2.), m., ‘duty, toll, dues,’ from MidHG. and OHG. zol, m., ‘custom-house, toll, duty’; corresponding to the equiv. OSax. and AS. tol, E. toll, Du. tol, OIc. tollr. Usually regarded as borrowed from MidLat. telonium, Gr. τελώνιον, ‘custom-house, toll.’ The Ger. words are, however, in spite of the lack of a Goth. *tulls (for which môta occurs; comp. Maut), so old, and correspond so closely, that they must be regarded as of genuine Teut. origin. Zoll is connected with the root tal (appearing in zählen and Zahl), of which it is an old partic. in no- (ll from ln), and hence it signified originally ‘that which is counted.’ —
Derivative Zöllner, m., ‘collector,’ receiver of customs,’ from MidHG. zolnœre, zolner, OHG. zollanâri, zolneri, m. Corresponding to AS. tolnêre, tollêre, E. toller, Du. tollenaar, OFris. tolner, Dan. tolder; comp. OSax. tolna, ‘toll.’
# An Etymological Dictionary of the German Language/Zone

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​ Zone, f., ‘zone,’ ModHG. only, from the equiv. Lat.-Gr. ζώνη.
# An Etymological Dictionary of the German Language/Zitz

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​ Zitz, Zits, m., ‘chintz,’ from the equiv. Du. sits, chits, E. chintz. The ultimate source of the word is Bengalî chits, ‘variegated cotton.’
# An Etymological Dictionary of the German Language/Zobel

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​ Zobel, m., ‘sable (Mustella zibellina), sable-fur,’ from the equiv. MidHG. zobel, m.; borrowed from Russ. sobol (comp. Dan. zobel). From the same source are derived MidLat. sabellum (OFr. sable, E. sable) and sabellinus, whence Ital. zibellino, Span. zebellina, Fr. zibeline.
# An Etymological Dictionary of the German Language/Zofe

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​ Zofe, f., ‘maid, wanting-woman,’ ModHG. only, formed from MidHG. zâfen (zôfen), ‘to draw, arrange suitably, nurse, adorn’; zâfe, f., ‘ornament’; hence Zofe, lit. ‘adorning maid.’
# An Etymological Dictionary of the German Language/Zitter

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​ Zitter, Zieter, f., ‘thill, shaft,’ from the equiv. MidHG. zieter, OHG. ziotar, zieter, m. and n. The latter can hardly represent *ziohtar (allied to ziehen) on account of AS. teóder, E. tether, OIc. tjóðr, ‘rope.’ The unintelligible ModHG. word was popularly, but wrongly, connected with zittern (dial. Zetter, Zitterstange).
# An Etymological Dictionary of the German Language/Zitwer

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​ Zitwer, m., ‘zedoary,’ from the equiv. MidHG. zitwar, zitwan, OHG. citawar, zitwar, m.; from MidLat. zeduarium, the source of which is Arab. zedwâr. The zedoary was introduced into European medical science by the Arabs (comp. also Ital. zettovario, Fr. zédoaire, E. zedoary).
# An Etymological Dictionary of the German Language/Zober

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​ Zober, see Zuber.
# An Etymological Dictionary of the German Language/Zitteroch

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​ Zitteroch, m., ‘herpetic eruption,’ from the equiv. MidHG. ziteroch, OHG. zittaroh (hh), m. (ttr remains unpermutated as in zittern); corresponding to AS. tëter, E. tetter, to tetter. Allied in the non-Teut. languages to Sans. dadru, dadruka, ‘cutaneous eruption,’ Lith. dedervine, ‘tether, scab,’ and Lat. derbiosus (from derdviosus?). AS. tëter is based like Sans. dadru on an Aryan ​de-dru-, a reduplicated form (like Biber); OHG. zittaroh is borrowed from it.
# Anecdotes of Great Musicians/Anecdote 125

125.—CHOPIN'S TECHNIC.
The coming of Chopin into the field of piano composition marked a new era in the treatment of that instrument, both in the technic of composition and in the technic of interpretation. While nearly every great composer felt called on to essay the various forms of composition and for a variety of instruments, Chopin devoted himself exclusively to the piano, using the orchestra only as incidental to his piano works.
The technic of the schools that had preceded him was inadequate to the performance of his compositions, so much so that even as great a player as Moscheles confessed himself unequal to the task of properly playing Chopin's music.
In this connection, it is related that Chopin went to Kalkbrenner, a celebrated pianist and teacher of Paris, hoping to get some valuable technical instruction from a man of such celebrity. Kalkbrenner criticised his playing severely and advised Chopin to attend his classes in the Conservatoire to learn the proper fingering. Chopin answered this advice by placing one of his own ​"Études" on the piano and asking Kalkbrenner to play it. But the arrogant old fellow was utterly unable to do it, for he found his old style of technic inadequate to the demands made upon it by the music of the younger composer.
# Anecdotes of Great Musicians/Anecdote 121

121.—SOME LIBERAL MUSICIANS.
The great musicians have been noted for their openhandedness and generosity, and some carried it to the extreme of the spendthrift. Prominent among those who devoted large sums to charity were Liszt, the wonderful pianist, and the "Swedish Nightingale," Jenny Lind.
​It is told of Mozart that, not finding any money in his pocket to give to an importunate beggar, he hastily sketched a song on some blank paper, and told the mendicant to present it at a certain publisher's and he would receive a good sum. The beggar did so, and received the money. But if this is true, why was Mozart himself so often in need of money? Why did he not present his own songs and draw the cash for himself?
Rossini, although having a reputation for stinginess, was liberal toward his old parents. After the first three performances of each new opera he produced he would send them two-thirds the amount he received for composing it.
# Anecdotes of Great Musicians/Anecdote 127

127.—SECURING MUSIC UNDER DIFFICULTIES.
Of the two hundred and forty-seven men of the name of Bach who were known as musicians, there were over fifty who were distinguished as composers and performers. In that part of Germany where the most of these quiet, home-loving people lived, they had been for generations so prominent in local musical affairs that the town musicians were. known as "the Bachs," even after there had ceased to be any of the name among them.
But of all the Bachs, John Sebastian was "the" Bach. He is generally known as simply "Sebastian," for the name "Johann" is found so constantly in the family that to use it alone would fail to distinguish the particular "Johann" that was meant. Out of the twenty-three most prominent Bachs, the first name of sixteen was "Johann" and six of them was labeled as "Johann Christoph." But there was only one "John Sebastian," and it is an incident in his early youth that we here relate.
​At the age of ten years, little John Sebastian lost both his parents and was taken from Eisenach to Ohrdruff, where he made his home with his elder brother, one of the "John Christophs." The little fellow had begun his musical study with his father, and now continued under the tuition of his distinguished elder brother. Even at this age, his great genius began to manifest itself, for he would come to his lessons with his music learned by heart. Soon he began to aspire to higher and more difficult music than his teacher would allow him. It seems that John Christoph had laid away on the upper shelf of a certain cupboard a manuscript volume of pieces by Buxtehude, Frohberger, Pachelbel and other noted composers of that day, and this book the little Sebastian modestly requested be given him for study. His brother curtly refused and locked up the cupboard. But the young seeker after knowledge was not to be so easily defeated.
Determined to gain possession of the coveted treasure, he one night managed to get his hands through the openings of the latticed cupboard door, and, rolling up the manuscript, drew it out. Then for six months he would utilize the moonlight nights copying the music, and each night would again place it back in its proper place. But at the end of that time his nocturnal occupation was discovered and the brother was cruel enough to confiscate the result of his hard labor, and, it is said, burned it before the boy's eyes.
# Anecdotes of Great Musicians/Anecdote 119

119.—THE "HARMONIOUS BLACKSMITH."
If all the stories of musicians and their work were to be sifted for that which is the plain truth, unembellished by fancy, we fear that the number that stood the test would not make a very cumbrous volume. It is not a hard matter to concoct a pretty fair story, and it is much easier to embellish one—not, however, that the writer knows from experience. One of the stories of this suspected class is that so frequently told of Händel's air and variations called "The Harmonious Blacksmith."
The story runs thus: One day when this composer was out taking a ramble, a sudden storm came up and drove him for shelter into a convenient blacksmith's shop. While there he watched the men at work and was attracted by the melodious tones of the hammers as they struck the anvil. He kept the scene in mind and later wrote this piece, giving in it a musical imitation of the occasion.
If the reader will play this piece and then listen to the din made by some muscular son of Vulcan, we believe he will, with the writer, be unable to hear the anvil strokes in Händel's air; or when surrounded by the noise of the shop we defy him to see the parallel between the clank of the hammers and Händel's smooth and pleasant melody.
# Anecdotes of Great Musicians/Anecdote 12

12.—PLAYING LIKE "ZWEI GOTTS."
De Pachmann, the pianist, is so full of whimsicalities, of grimaces and odd doings, and withal is such a superb player, that he has been characterized by one epigrammatic writer as "having the soul of an angel in the body of an ape," and by another as "a combination of specialized wisdom and undifferentiated dam-foolism."
An instance of this latter element of his character took place after a recent recital of his in New York. A pianist of some note went on the stage to congratulate him on his brilliant performance. He found De Pachmann pacing up and down the stage exclaiming in fury:—
"Ach Gott! Dese Ameriken beeples, how dey do—dey know not museek! I vill go back to my Jermamie. Here dey know notings. I blay like von Gott and vat dey do?"
Taking his hand, the visitor tried to assuage his wrath by saying, "Yes, yes, Mr. Pachmann, you did play like a god."
Whereupon the irrepressible combination of egotism and genius burst forth:—
"Blay like von gott! I blay like zwei gotts, and dey do notings!"
# Anecdotes of Great Musicians/Anecdote 122

122.—HOW PAGANINI SECURED HIS FAVORITE FIDDLE.
When Paganini had only reached his seventeenth year, he had already tasted the enjoyments of flattery and applause. Having thrown off the restraints of his father's control, he plunged into all kinds of dissipation, especially into gambling, a vice that was universal in Europe at that time. Many a night did this youthful gambler lose all the proceeds of more than one concert in the gambling room; and he was at one time even obliged to raise money on his violin as security to pay his gambling debts.
On one occasion, when the youthful violinist was announced for a concert at Leghorn, he had pawned his violin, and had to make some arrangement to borrow one for use at the concert. Hearing that a certain French merchant of the place possessed a very fine "Guarnerius," he applied to him for the loan of it. This gentleman generously granted his request and placed this valuable instrument in his hands.
After the concert, when Paganini returned the borrowed violin, its owner, who himself was no mean ​violinist, and who had heard Paganini's performance, exclaimed:—
"I will never profane the strings which your fingers have touched. The instrument is yours!"
Paganini's delight may be imagined, for there was hardly to be found in the world an instrument superior to this one. He used it throughout his wonderful career and at his death left it to his native city of Genoa, where it rests in its glass case, having been played by but one since his death, by his pupil, Sivori, who died in 1894.
# Anecdotes of Great Musicians/Anecdote 126

126.—SPOHR AS A HORN PLAYER.
Ludwig Spohr, besides being a violinist and composer of note, was a man of much resource, and had a goodly fund of humor. He relates many interesting experiences in his "Autobiography," from which we get the following story. He tells us that in 1808, when Napoleon entertained various sovereigns of Europe at Erfurt, there was announced to be given before these potentates some of the great French tragedies, by actors brought from Paris for the occasion, prominent among whom was the great Talma. Spohr and some of his pupils took a pedestrian trip from Gotha to Erfurt, more in the hopes of seeing this celebrated French tragedian than the assembled sovereigns.
On their arrival they found, much to their chagrin, that the common people were not to be admitted to the theater, as every seat was reserved for the royal personages and their suites. This was a dilemma. But Spohr was equal to it. He had come there to see Talma, and see him he did. He sought out four musicians of the theater orchestra and bribed them to allow himself and his pupils to take their places in the theater. But even then he was met by another obstacle. Three of these musicians were violin or 'cello players. So far as they were concerned all was well, for Spohr's pupils could play those instruments. But the fourth was a horn player; and here came the trouble, for none of the four visitors could play that instrument.
There was nothing for it but Spohr must learn to play the horn; so he set about it, practiced all day, and by evening was ready to play his part. At the theatre they ​were placed with their backs toward their royal audience, and forbidden to look around to satisfy their curiosity concerning the rulers of the earth. But Spohr was also equal to this emergency, for he had provided himself with a small mirror, and by this means was able to see at least the reflections of the sovereigns of Europe. But he finally became so absorbed in the magnificent acting of the tragic artists that he handed over the mirror to his pupils and gave his entire attention to the stage.
The severe practice that he had been through in learning to play the horn at such short notice, resulted in a pair of swollen and painful lips. On his return to Gotha, when his young wife expressed surprise and alarm at his negro-like appearance, he coolly told her that his lips had come to that condition by the frequent kissing of the pretty Erfurt women. But when the truth came out the joke was on him.