OpenLLM-France/wikimedia huggingface dataset:
# A Dictionary of Music and Musicians/Stiastný, Bernard

​STIASTNÝ, Bernard Wenzel, violoncellist, born at Prague in 1770. Little is known of him except that he was probably professor at the Conversatoire, to which he dedicated his work on the violoncello. It is remarkable for what may be almost called a treatise on the accompaniment of recitative as it was then practised, and which our own Lindley brought to such perfection as will probably never be heard again. He dedicates no less than 30 pages to this subject, of which 29 consist of examples of all the forms and harmonies then in use. He has however strangely omitted to figure the bass.
Stiastný, Jean, brother of the above, born at Prague in 1774. We know scarcely anything of his career. He seems to have studied harmony and the violoncello at Prague, under his brother, but he must have soon left that city as he is described on the title of his op. 3 as 'Violoncelle de S.A.R. le Grand Due de Frankfort.' According to Fétis he was musical director at Nuremberg in 1820, and from thence went to Mannheim. He is known to have been in London, and he dedicated two of his finest compositions to Lindley and Crosdill, as well as his three duets op. 8 to Sir W. Curtis. His last and perhaps finest work was published and probably written in London. He was also in Paris, where he arranged his op. 11 for cello and piano, and he has dedicated his op. 3 to the pupils of the Conservatoire. There exists a beautiful French edition of his six grand duets op. 1, and also of his two sonatas op. 2, the latter in score. I heard from one who knew him, that he was nervous and diffident in the highest degree, and this may account for his having left no mark or record of himself as a performer. But his compositions for the violoncello must render his name immortal, for though the list of his works only amount to 13, the originality and purity of them all entitle him to rank among the very first writers for the instrument. He is often called the Beethoven of the violoncello, nor can that be considered too high praise. A list of his works follows:—
Op. 1. 6 grand duets for 2 cellos, dedicated to his brother. Op. 2. 2 sonatas for cello solo with accompaniment for a 2nd cello. Op. 3. Divertissement for cello solo with accompaniments for tenor and 2nd cello. Op. 4. 12 'Petites pièces pour violoncello et basse à l'usage de commençants.' Op. 5. 6 pièces faciles for cello and bass. Op. 6. 3 grand duets for 2 cellos. Op. 7. Concertino for cello with accompaniments for flute, 2 tenors, cello, and contrabass, dedicated to Lindley, who said it was the finest piece ever written for the instrument. Played by the late Mr. Hancock. Op. 8. 3 duets for 2 cellos. Op. 9. 6 pièces faciles tor cello and bass. Op. 10. Andante with variations for cello solo with accompaniments for flute, 2 violins, tenor, and cello, dedicated to Crosdill. Op. 11. 6 solos for cello and bass. Op. 12. Theme with variations and rondo with quartet accompaniment. Op. 13. Grand trio for cello solo with accompaniment for tenor and 2nd cello published in London by Welsh & Hawes, but unknown on the Continent. The finale, a rondo in 6-8, begins as follows:—
[ G. H. ]
# A Dictionary of Music and Musicians/Stich, Johann

​STICH, Johann Wenzel, known as Punto, eminent horn-player, born about 1755 in Bohemia. Was taught music and the French-horn by Matiegka and Hampel of Dresden, at the expense of Count Thun. On his return to the Count's household he considered himself ill-treated, took offence, and ran away with some of his comrades. To avoid recognition he Italianized his name to Punto, and travelled in Germany and France, settling for a time in Würzburg, Treves, Coblenz, Paris, etc., and attracting considerable attention. In Paris he made the acquaintance of Mozart, who composed for him a Sinfonie concertante for flute, oboe, horn, and bassoon, never played and now unfortunately lost. 'Punto plays magnificently' (bläst magnifique) writes Mozart to his father. In 1788 he was engaged by Mara (with Graff, Fischer, and Florio) for her concerts at the Pantheon, London (?). In Vienna, Beethoven composed his sonata for PF. and horn (op. 17) for him, and they played it together without rehearsal, at Punto's concert, April 18, 1800. It was received enthusiastically, and at once encored. After this Punto made another tour with Dussek, returned to Prague and gave a concert at the theatre there in 1801. He died after a long illness Feb. 16, 1803, and his epitaph runs
Omne tulit punctum Punto, cui Musa Bohema Ut plausit vivo, sic morienti gemit.
[ C. F. P. ]
# A Dictionary of Music and Musicians/Stiehl, Heinrich

​STIEHL, Heinrich, born at Lübeck, Aug. 5, 1829, second son of T. D. Stiehl, an esteemed organist there. He studied at Lübeck and Weimar, and at Leipzig under Moscheles, Gade, and Hauptinann. In 1853 he settled in St. Petersburg as organist to the St. Peter's Church, and Director of the Sing-Akademie. In 1867 he moved to Vienna, and after staying there two years went on to Italy. In 1872 and 1873 he was in London, and from Oct. 1874 to 1877 resided in Belfast as conductor of the Philharmonic Society and founder of the Cecilia Society there. He then returned to London, and in 1880 was called to Reval in Russia, where he holds the leading position as professor of music, organist, and conductor of the Musical Society of the town, in which he is indefatigable and most successful in the revival, practice, and performance of the best music, and is universally liked and esteemed. He gave an excellent performance of Bach's Matthew-Passion (the first in Russia) on March 17, 1883, and repeated it at St. Petersburg April 6.
[ G. ]
# A Dictionary of Music and Musicians/Stimpson, James

​STIMPSON, James, a well-known Birmingham musician, born at Lincoln Feb. 29, 1820, son of a lay vicar of the cathedral, who removed to Durham in 1822, where James became a chorister in 1827. In February 1834 he was articled to Mr. Ingham, organist of Carlisle Cathedral; in June 1836 was appointed organist of St. Andrew's, Newcastle; and in June 1841, on Ingham's death, was made organist of Carlisle.
In February 1842 James Stimpson was unanimously chosen organist at the Town Hall and St. Paul's, Birmingham, out of many competitors, and in the following year justified the choice by founding the Festival Choral Society and its Benevolent Fund, in connection with the Triennial Festivals. He continued organist and chorus-master to the Society until 1855. His activity, however, did not stop here. In 1844 he was instrumental in starting the weekly Monday Evening Concerts, of which, in 1859, he took the entire responsibility, to relinquish them only after heavy losses in 1867.
In 1845 Mr. Stimpson had the satisfaction of having the pedals of the Town Hall organ increased from 2 to 2½ octaves, so that he was able to perform the works of J. S. Bach unmutilated. He is still organist of the Town Hall, and gives weekly recitals throughout the year to audiences varying from 600 to 1000. In the absence of a permanent orchestra—a fact remarkable in a town of the wealth, importance, and intelligence of Birmingham—many a young amateur has derived his first taste for classical music from the excellent programmes of Mr. Stimpson. He was permanent organist of the Birmingham festivals, and Mendelssohn's last visit there was to conduct 'Elijah' for Mr. Stimpson's benefit April 25, 1847. He introduced Sims Reeves and Charles Halle to Birmingham, and laboured from 1849 until 1868, in many ways, in the service of good music, gaining thereby the gratitude and respect of his fellow townsmen. He has been Professor of Music at the Blind Institution for 25 years.
[ G. ]
# A Dictionary of Music and Musicians/Stirling, Elizabeth

[ G. ]
# A Dictionary of Music and Musicians/Stevens, Richard

[ W. H. H. ]
# A Dictionary of Music and Musicians/Stewart, Robert

​STEWART, Sir Robert Prescott, Knight, Mus. Doc., sou of Charles Frederick Stewart, librarian of the King's Inns, Dublin, was born in Dublin, Dec. 16, 1825. He was educated as a chorister of Christ Church Cathedral, Dublin, of which he was appointed organist at the early age of 18. In 1844 he was appointed organist of Trinity College, Dublin. In 1846 he became conductor of the University of Dublin Choral Society, the members of which defrayed the expenses of the performance of his music for degrees of Mus. Bac. und Mus. Doc., which took place in 1851, besides presenting him with his graduate's robes and a jewelled baton. In 1852 he became a vicar-choral of St. Patrick's Cathedral, and in 1861 was appointed Professor of Music in the University of Dublin. For the great Peace Festival held at Boston in America, in 1872, he composed a fantasia on Irish airs for orchestra, organ, and chorus. On this occasion he received knighthood from the Lord Lieutenant (Earl Spencer). In 1873 he was appointed conductor of the Dublin Philharmonic. Amongst Sir Robert Stewart's many compositions, his glees deserve particular mention. In this branch of his art he has won numerous prizes and well-merited renown. His more important works include an ode for the opening of the Cork Exhibition of 1852; 'Ode on Shakespeare,' produced at the Birmingham Festival 1870; a 'Church Hymnal,' which has passed through three editions; and two Cantatas, 'A Winter Night's Wake' and 'The Eve of S. John.'
[ W. H. H. ]
# A Dictionary of Music and Musicians/Stifellio

[ G. ]
# A Dictionary of Music and Musicians/Stevenson, John

[ W. H. H. ]
# A Dictionary of Music and Musicians/Tower Drums, The

​TOWER DRUMS, THE. Handel frequently borrowed a pair of kettledrums from the Master-General of the Ordnance for his own performances of his oratorios; and as they were kept in the Tower of London, they were usually called 'the Tower Drums.' They were in frequent request after his death, including the Commemoration Festival in Westminster Abbey in 1784. Dr. Burney, in his account of this Festival, says they were taken by Marlborough at the battle of Malplaquet in 1709.
A much larger pair, 39 and 35 inches in diameter, were made expressly for that Festival ​from the design of a Mr. Asbridge, of Drury Lane orchestra, and have since obtained the name of 'Tower Drums,' from a notion that the head of one of them was made from the skin of a lion in the Tower menagerie. These drums came into the possession of the late T. P. Chipp, the well-known kettledrummer, and on the sale of his instruments were bought by H. Potter & Co., military musical instrument makers. They added a brass T-shaped key to each tuning-screw, and presented them (1884) to the Crystal Palace Company, who have placed them in their large orchestra.
[ V. de P. ]
# A Dictionary of Music and Musicians/Toy Symphony

[ M. ]
# A Dictionary of Music and Musicians/Touch (bell-ringing)

[ W. B. S. ]
# A Dictionary of Music and Musicians/Tourjée, Eben

​TOURJÉE, Eben, Mus. Doc., father of the Conservatory or class system of musical instruction in America, was born at Warwick, Rhode Island, June 1, 1834. His family being in humble circumstances it became necessary to put him to work at the early age of eight; but his thirst for knowledge was so great, that he soon became a laborious student at the East Greenwich seminary. Having a good alto voice he sang in the choir of the Methodist Church, learning his part by rote. But it chanced that the organist was about to withdraw, and young Tourjée was invited to fill her place. He was at that time but thirteen, and knew absolutely nothing of the instrument; but he managed to pick out the tunes required for the following Sunday, and played them with such success that he was appointed to the position. He at once began to study with a teacher in Providence, often walking thirteen miles each way. At the age of fifteen he became clerk in a music store in Providence, and thus had opportunities for study which he did not fail to improve. At the age of seventeen he opened a music store in Fall River, where he also taught music in the public schools and formed classes in piano, voice, and organ, charging the moderate sum of one dollar to each pupil for twenty lessons. This was in 1851, and was really the beginning of the class system, which he has since so largely developed. He also edited and published a musical paper with much ability. He afterwards removed to Newport, and continued his work as organist and choirmaster of Old Trinity Church there, and as Director of the local Choral Society. In 1859 he founded a Musical Institute at East Greenwich, where ​he had an opportunity of carrying out his ideas regarding class-teaching, under more favourable auspices than before. In 1863 he visited Europe, in order to gain information regarding the methods employed in France, Germany, and Italy in conservatory teaching. He took this opportunity of studying with many eminent masters, amongst others August Haupt, of Berlin. On his return to America he removed to Providence, and established the 'Providence Conservatory of Music,' which had great success. In 1867 he extended his work by founding 'The New England Conservatory of Music,' in Boston, and continued for a time to keep both schools in operation. He drew round him the most eminent teachers in Boston, and placed a good musical education within the reach of the poorest students. In 1869 his executive and organising abilities were made use of by the projectors of the great 'Peace Jubilee,' and there is no doubt that the success of that enterprise was largely due to his efforts. During the same year the degree of Doctor of Music was conferred upon him by Middletown University. Since the foundation of Boston University he has been the highly honoured Dean of the College of Music attached thereto. But his greatest work has been the establishment of the great Conservatory just mentioned, from which have graduated thousands of pupils, filling honourable positions as teachers, pianists, organists, and vocalists, and proving themselves able musicians.
[ G. ]
# A Dictionary of Music and Musicians/Towers, John

[ G. ]
# A Dictionary of Music and Musicians/Tracker

[ J. S. ]
# A Dictionary of Music and Musicians/Tourdion

​TOURDION, or TORDION. 'A turning, or winding about; also, a tricke, or pranke; also, the daunce tearmed a Round.' (Cotgrave.) The early French dances were divided into two classes, 'Danses Basses' or 'Danses Nobles,' and 'Danses par haut.' The former of these included all regular dances, the latter were mere improvised romps or 'baladinages.' The regular Basse Dance consisted of two parts, the first was twice repeated, and the last, or 'Tourdion,' was probably something like our modern round dances. The Tourdion was therefore the French equivalent for the German Nachtanz, Proportio, or Hoppeltanz, and the Italian Saltarello. [See vol. iii. p. 221b.] Tabourot says that the Tourdion was nearly the same as the Galliard, but the former was more rapid and smooth than the latter. [See vol. i. p. 578a.] Hence he defines it as a 'Gaillarde par terre,' i.e. a galliard deprived of its characteristic jumps and springs. Both dances were in 3-time. The following is the tune of the Tourdion given in the 'Orchésographie':
[ W. B. S. ]
# A Dictionary of Music and Musicians/Tours, Berthold

[ G. ]
# A Poem by Letitia Elizabeth Landon (L. E. L.) in Portraits of the Children Of the Nobility, 1838/Frances Diana Manners Sutton

* HON. FRANCES DIANA MANNERS SUTTON,
* Daughter of Viscount Canterbury
* Artist J. BostockEngraver H. Robinson
The text here is taken from The Monthly Review, 1838, Vol.I, Page 130
"The Portrait of the Hon. Frances Diana Manners Sutton, Daughter of Viscount Canterbury.By L. E. L.
Her hands are filled with early flowers, the lily and the rose, The violet, that at the foot of some old ash-tree grows;
And hyacinths, the deep, the blue, within whose purple bells,
A hist'ry of the olden time, a classic sorrow dwells.
Her eyes are not upon them—her deep and earnest eyes,
Where something not like childhood's thought in shadowy silence lies:
Her eyes are not upon them; and yet they fill her soul. With all the dreaming fancies that own their sweet control.
The sweet control of Nature, it teacheth that fair child
To love the true and beautiful, the dreaming and the wild;
I feel those downcast lashes oft drop unbidden tears:
How many things are in that face for anxious hopes and fears?
To think—to feel—alas! how much is said in these brief words!—
The music and the misery of life's divinest chords.
To think—to feel—it is that makes the suffering on this earth;
And yet are they immortal signs of an immortal birth.
Upon that young and serious brow is feeling and is thought,
With all the dreaming poetry by summer blossoms brought:
What hath the future in its hours, thou gentle girl! for thee?
An anxious and a lovely thing, that opening mind will be.
There are the hopes that rise at first upon the skylark's wing;
Alas! unlike that skylark's song, they sadden as they sing:
The generous confidence that writes upon life's first bright line,
The kindly impulses that make the fervid heart a shrine.
Long may they linger at thy side: for hope, and youth, and love,
These are the angels that bring down their heaven from above;
A blessing, holy, infinite, beneath such presence lives;
"Tis thine, if that fair face but keeps the promise that it gives."
# A Poem by Letitia Elizabeth Landon (L. E. L.) in The Literary Examiner, 1824/Lines on Seeing a Portrait of Keats

This poem is recorded on spenserians.cath.vt.edu under John Keats and my text here has been transcribed from there, in the absence of access to the original, which is in The Literary Examiner, on 12th September, 1824, page 581.
The poem also appears on cityoflondon.gov.uk under Keats House, Remembering Keats.
LINES ON SEEING A PORTRAIT OF KEATS.
The dark curls cluster round thy graceful head, And hang o'er thy pale forehead, where the mind Her visible temple hath; upon thy lip Is throned a rich and melancholy smile, So sad, it seems prophetic of the doom That hangs o'er thy young life, and thine eye wears An inward look where outward things but pass Unnoticed: thou dost hold communion with Thoughts dark and terrible; a blight hangs o'er The spring flowers of thy youth; the seeds of death Are sown within thy bosom, and there is Upon thee consciousness of fate. The light That lingers on thy face is as a star, The last remaining one, a shadowy beam Of those which have been. Ardent hopes were thine, Dreams of the laurel and of high renown, Ere health departed; and on thy wan lip And hope-forsaken cheek a spirit burns, Which will not wholly pass till in the grave. I looked upon thee, youthful minstrel! thou Wert like the lovely presence of a dream; Such shapes as come when, o'er the sleeper's brain, The memory floats of some wild, saddening tale; And he has slept, his inmost spirit filled With sorrow's beautiful imaginings, Or as th' Endymion of thine own sweet song. I look'd upon thy open brow, and felt Almost an interest like to life in thee; Thine influence is upon the heart; thou can'st Awaken such sweet sympathies, we think Of youth, of genius, gathered like the rose In the first blushing of its purple morn; Of a bright harp, whose chords for aye are mute, But whose rich breathings are remembered still; Whose tone can never be forgotten. L. E. L.
# A Poem by Letitia Elizabeth Landon (L. E. L.) in The Literary Magnet, 1825/To Alaric A. Watts

Alaric Alexander Watts became the owner of The Literary Magnet soon after this was published.
TO ALARIC A. WATTS, ESQ.
On receiving from him a copy of his 'Poetical Sketches.'
There is a dear and lovely power Dwells in the silence of the flower, When the buds meet the caress Of the bee in their loneliness:— In the song the green leaves sing When they waken and wave in spring; In the voice of the April bird— The first air music the year hath heard; In the deep and glorious light Of the thousand stars at night; In the dreaming of the moon, Bright in her solitary noon; In the tones of the plaining brook; In the light of a first-love look; In each bright and beautiful thing With aught of fine imagining, That power is dwelling. Now need I Name the bright spell of Poesy? And, graceful Bard, it has breathed on thee A breath of the life, which is melody, And given thy lute the touching strain Which the heart but hears to echo again!  Mine is not the hand that flings Living or lasting offerings: Wear thy laurel—not mine the lay That either gives or takes away. Others may praise thy harp,—for me To praise, were only mockery; The tribute I offer is such a one, As the young bird would pour if the sun Or the air were pleasant: thanks, not praise,— Oh, not to laud, but to feel thy lays! L. E. L.
# A Poem of Felicia Hemans in Friendship's Offering, 1829/Music of Yesterday

This appeared in the 1829 edition of The Forest Sanctuary and Other Poems
MUSIC OF YESTERDAY.
BY MRS. HEMANS.
As the murmur and the plaint, and the exulting swell, and the sharp scream, which the unequal gust of yesterday snatched from the strings of a wind-harp.—Coleridge.
The chord, the harp's full chord is hushed,
 The voice hath died away,
Whence music, like sweet waters, gushed,
 But yesterday.
The wakening note, the breeze-like swell,
 The full o'ersweeping tone,
The sounds that sighed "Farewell! farewell!"
 Are gone—all gone.
The love, whose burning spirit passed
 With the rich measure's flow,
The grief to which it sank at last,—
 Where are they now?
They are with the scents, by Summer's breath
 Borne from a rose now shed,
With the words from lips long sealed in death—
 For ever fled!
The sea-shell, of its native deep
 A thrilling moan retains;
But earth and air no record keep
 Of parted strains.
And all the memories, all the dreams
 They woke in floating by,
The tender thoughts, th' Elysian gleams—
 Could these too die?
They died!—as on the water's breast
 The ripple melts away,
When the breeze that stirred it sinks to rest,
 So perished they!
Mysterious in their sudden birth,
 And mournful in their close;
Passing, and finding not on earth
 Aim or repose.
Whence were they?—like the breath of flowers,
 Why thus to come and go?—
A long, long journey must be ours,
 Ere this we know!
# A Poem of Faith

* information about this edition.
* sister projects: Wikidata item.
A POEM OF FAITH
I think that though the clouds be dark, That though the waves dash o'er the bark, Yet after while the light will come, And in calm waters safe at home  The bark will anchor. Weep not, my sad-eyed, gray-robed maid, Because your fairest blossoms fade, That sorrow still o'erruns your cup, And even though you root them up,  The weeds grow ranker.
For after while your tears shall cease, And sorrow shall give way to peace; The flowers shall bloom, the weeds shall die, And in that faith seen, by and by  Thy woes shall perish. Smile at old Fortune's adverse tide, Smile when the scoffers sneer and chide. Oh, not for you the gems that pale, And not for you the flowers that fail;  Let this thought cherish:
That after while the clouds will part, And then with joy the waiting heart Shall feel the light come stealing in, That drives away the cloud of sin  And breaks its power. And you shall burst your chrysalis, And wing away to realms of bliss, Untrammelled, pure, divinely free, Above all earth's anxiety  From that same hour.
This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.
Public domainPublic domainfalsefalse
# A Poem by Letitia Elizabeth Landon (L. E. L.) in The Literary Examiner, 1824

A Poem of Letitia Elizabeth Landon (L. E. L.) in The Literary Examiner, 1824
compiled by Peter J. Bolton
* Lines on Seeing a Portrait of Keats
This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.
Public domainPublic domainfalsefalse