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

From volume 1 of the work.
​DAUVERGNE, ANTOINE, violin-player and composer, born at Clermont-Ferrand in 1713. He was a pupil of his father, leader of the band at Clermont. In 1739 he went to Paris to complete his studies, and very soon played with success at the Concert spirituel and entered the band of the King and of the Opera. It is however more as a composer of operas than as a violin-player that Dauvergne claims our attention. Up to his time an opéra comique meant merely a vaudeville, a comic play interspersed with couplets. In his first opera, 'Les Troqueurs,' Dauvergne adopted the forms of the Italian intermezzi, retaining however spoken dialogue in place of recitative, and thereby introduced that class of dramatic works, in which French composers have ever since been so eminently successful. Dauvergne wrote 15 operas in all. Fétis also enumerates 15 motets of his composition, trios for two violins and bass (1740), sonatas for the violin, and two sets of symphonies in four parts (1750).
[ P. D. ]
# A Dictionary of Music and Musicians/Davies, Misses

From volume 1 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Davidoff, Charles

From volume 1 of the work.
​DAVIDOFF, Charles, eminent cello-player, born at Goldingen in Courland March 15, 1838, received his first musical instruction from H. Schmitt at Moscow. His bent was to mathematics, which he studied in the Moscow university from 1854 to 58, but at length decided to embrace music as his profession, and then learned the cello under C. Schuberth at St. Petersburg, and composition under Hauptmann at Leipzig. His first appearance in public was at the Gewandhaus Dec. 15, 59, after which he at once became leading cello in that orchestra and Professor at the Conservatoire, vice Grützmacher. In 1862 he was appointed solo cello to the Emperor of Russia, and professor at the new music school and Conservatoire of St. Petersburg. Davidoff made his first appearance in London at the Philharmonic on May 19, 1862, in a concerto ​of his own. His position among cello-players is high. His tone is expressive, his intonation certain, especially in the higher registers, and his execution extraordinary, and there is great individuality in his style. He has composed much both for the cello and piano. [App. p.819 "Date of death, Feb. 26, 1889."]
# A Dictionary of Music and Musicians/Davies, Fanny

[ G. ]
# A Dictionary of Music and Musicians/Davenport, Francis

[ A. C. ]
# A Dictionary of Music and Musicians/Davidde Penitente

From volume 1 of the work.
​DAVIDDE PENITENTE. A 'cantata' for 3 solo voices, chorus, and orchestra, to Italian words by an unknown author, adapted by Mozart in 1785 from his unfinished mass in C minor (K. 427), with the addition of a fresh soprano and fresh tenor air, for the widows' fund of the Society of musicians (Tonkünstler-Societät); and performed on March 13 and 15, 1785, in the Burgtheatre at Vienna.
# A Dictionary of Music and Musicians/Davide, Giacomo

From volume 1 of the work.
​DAVIDE, Giacomo, a very great Italian tenor, better known as 'David le pere,' born at Presezzo, near Bergamo, in 1750. Possessing a naturally beautiful voice, he made the best use of it by long and careful study. To a pure and perfect intonation he joined good taste in the choice of style and ornament. Having studied composition under Sala, he was able to suit his fioriture to the harmony of the passage he wished to embroider; but he was even more distinguished in serious and pathetic music, and that of the church, than in bravura. Lord Mount-Edgcumbe heard him at Naples in 1785, and thought him excellent in opera. In that year he went to Paris, sang at the Concert Spirituel, and made a great sensation in the 'Stabat' of Pergolese. Returning to Italy, he sang during two seasons at the Scala. In 90 he was at Naples again, and in 91 he came to London. Owing, however, to the Pantheon having been licensed as the King's Theatre, it was impossible to obtain a licence for the Haymarket Theatre, at which Davide was engaged, except for concerts and ballets. This, and the want of good singers to support him, prevented him from becoming as well known here as he deserved. 'He was undoubtedly the first tenor of his time,' says Lord Mount-Edgcumbe, 'possessing a powerful and well-toned voice, great execution as well as knowledge of music, and an excellent style of singing. He learned to pronounce English with tolerable correctness, and one of his last performances was in Westminster Abbey, at the last of the Handel festivals.' In 1802 he was at Florence; and, although 52 years of age, had still all his old power, and was able to sing every morning in some church, and at the opera every evening. He returned in 1812 to Bergamo, where he was appointed to sing at the church of Santa Maria Maggiore. It is said that he sang at Lodi in 1820; but he was then no more than the shadow of his former self. He formed two pupils, one of whom was his son, and the other Nozzari. Davide died at Bergamo December 31, 1830.
[ J. M. ]
# A Dictionary of Music and Musicians/Davidsbündler

From volume 1 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Eximeno, Antonio

From volume 1 of the work.
[ F. G. ]
# A Dictionary of Music and Musicians/Evovae

​EVOVAE (Euouae vel Euouæ). A technical word, formed from the vowels of the last clause of the 'Gloria Patri'—seculorum. Amen; and used, in mediaeval Office-Books, as an abbreviation, when, at the close of an Antiphon, it is necessary to indicate the Ending of the Tone adapted to the following Psalm, or Canticle.
The following example, indicating the Second Ending of the First Tone, is taken from an Office-Book printed at Magdeburg in 1613.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Euryanthe

From volume 1 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Evers, Carl

From volume 1 of the work.
[ M. C. C. ]
# A Dictionary of Music and Musicians/Exposition

[ C. H. H. P. ]
# A Dictionary of Music and Musicians/Evacuatio

[ W. S. R. ]
# A Dictionary of Music and Musicians/Evans, Charles

From volume 1 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Ewer and Co.

[ A. J. H. ]
# A Dictionary of Music and Musicians/Extemporising Machine

From volume 1 of the work.
[ F. T. ]
# A Dictionary of Music and Musicians/Lady Henriette

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Lacombe, Louis

​LACOMBE, Louis. See vol. ii. p. 732b, and add date of death, 1884.
# A Dictionary of Music and Musicians/Lacy, Michael

From volume 2 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Lafont, Charles

From volume 2 of the work.
​LAFONT, Charles Philippe, an eminent violinist, was born at Paris in 1781 [App. p.694 "Dec. 1"]. Fétis relates that he got his first instruction on the violin from his mother, a sister of Bertheaume, a well-known violinist of that period, whom he also accompanied on his travels through Germany, performing successfully, when only eleven years of age, at Hamburg, Oldenburg and other towns. On his return to Paris he continued his studies under Kreutzer; and soon appeared at the Théâtre Feydeau, though not as a violinist, but as a singer of French ballads. After some time he again took up the violin, this time under the tuition of Rode, and soon proved himself a player of exceptional merit. Fétis credits him with a perfect intonation, a pure and mellow, though somewhat feeble tone, great powers of execution, and a remarkable charm of expression. From 1801 to 1808 he travelled and played with great success in France, Belgium, Holland, Germany and Russia. In 1808 he was appointed Rode's successor as solo-violinist to the Emperor of Russia, a position in which he remained for six years. In 1812 [App. p.694 "1816"] he had a public contest with Paganini at Milan. In 1815 he returned to Paris, and was appointed solo-violinist to Louis XVIII. In 1831 he made a long tour with Henri Herz, the pianist, which occupied him till 1839 [App. p.694 "Aug. 23"], when his career was suddenly ended by a carriage accident in the south of France, through which he lost his life.
[ P. D. ]
# A Dictionary of Music and Musicians/Lagarde

From volume 2 of the work.
[ J. M. ]
# A Dictionary of Music and Musicians/Laguerre, Jean

From volume 2 of the work.
​LAGUERRE, Jean, commonly called Jack, was the son of Louis Laguerre, the artist who painted the greater part of Verrio's large picture in St. Bartholomew s Hospital, the 'Labours of Hercules' in chiar'oscuro at Hampton Court, the staircase at Wilton, etc., and is immortalized by Pope in the line
'Where sprawl the saints of Verrio and Laguerre.'
This painter came to England in 1683, and died in 1721, his son Jean having, as it is supposed, been born about 1700. The lad was instructed by his father for his own profession, and had already shown some ability; but, having a talent for music, he took to the stage, where he met with fair success. It must be he whom we find, under the name of Mr. Legar, playing the part of Metius in Camilla (revived), 1726, which had formerly (1706 and 8) been sung by Ramondon, a low tenor. Again, he is advertized (Daily Journal, March 13, 1731) as sustaining the added role of Corydon in 'Acis and Galatea,' 'for the benefit of M. Rochetti, at Lincoln's Inn Theatre Royal, on Friday, 26th,' his name being spelled as in the cast of 'Camilla.' [App. p.694 "add that in 1737 he sang in Capt. Breval's 'Rape of Helen' the part of Mercury, and that his name was correctly spelt in the cast."] He died in London in 1748.
Laguerre has been described as 'a high fellow, a great humourist, wit, singer, player, caricaturist, mimic, and a good scene-painter; and, according to the notions of that merry age, known to everybody worth knowing.' He engraved a set of prints of 'Hob in the Well,' which had a great sale, though indifferently executed; but we also owe to his point an exceedingly clever etching, 'The Stage Mutiny' (Br. Mus. Cat. 1929), in which we have caricature-portraits of Colley and Theo. Gibber (as Pistol), Highmore, Mrs. Wilks, Ellis, Griffin, Johnson, and others. Hogarth did not disdain to copy this interesting print, having used it on the show-cloth in 'Southwark Fair' (Br. Mus. Cat. 1960).
As a painter, Laguerre was the author of the portrait of Mary Tofts, not the singer but the pretended rabbit-breeder, engraved by J. Faber in mezzotint. He also painted the portrait of Spiller for the Spiller's Head tavern, as we learn from that actor's epitaph, which begins thus:—
'The butchers' wives fall in hysteric fits; For, sure as they're alive, poor Spiller's dead; But, thanks to Jack Laguerre, we've got his head.'
[ J. M. ]
# A Dictionary of Music and Musicians/Laidlaw, Anna

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Lady of the Lake, The

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Lahee, Henry

​LAHEE, Henry, born at Chelsea in April, 1826, held the post of organist at Holy Trinity Church, Brompton, from 1847 to 1874, and is well known also as a professor and composer. His music is thoroughly English in character, and is influenced by the traditions of our old part-song writers. Mr. Lahee has been the victor in various prize competitions for glees and madrigals: in 1869 with 'Hark, how the birds' (Bristol); in 1878, with 'Hence, loathed Melancholy' (Manchester); in 1879, with 'Away to the hunt' (Glasgow); and in 1880 and 1884, with 'Love in my bosom' and 'Ah! woe is me' (London Madrigal Society). Equally good work can be seen in his other choral songs, such as 'The Unfaithful Shepherdess,' 'Love me little, love me long,' and the popular 'Bells,' and in his anthems no less than in his various songs and instrumental pieces.
[ L. M. M. ]
# A Dictionary of Music and Musicians/Lacy, John

From volume 2 of the work.
​LACY, John, bass singer, born in the last quarter of last century, was a pupil of Rauzzini at Bath. After singing in London he went to Italy, where he became complete master of the Italian language and style of singing. On his return he sang at concerts and the Lenten oratorios, but although he possessed an exceptionally fine voice and sang admirably in various styles, circumstances prevented him from taking any prominent position. In 1818 he accepted an engagement at Calcutta, and, accompanied by his wife, left England, to which he never returned. Had he remained here he would most probably have been appointed successor to Bartleman.
[ W. H. H. ]
# 1922 Encyclopædia Britannica/Széll, Koloman

See also Kálmán Széll on Wikipedia, and the disclaimer.
SZÉLL, KOLOMAN (1845-1915), Hungarian statesman, was born on June 8 1845. He studied at Pest and Vienna, and in 1867 became deputy for the district of St. Gotthard. He very quickly won the reputation of being remarkably well informed on economic and financial questions. Széll was one of Deák's intimates, whose ward, the daughter of the Hungarian poet Vörösmarty, he had married. In 1875 he was Finance Minister in the Cabinet of Koloman Tisza, and as such imposed on himself the task of restoring the shattered credit of Hungary. In 1878 he concluded with Austria the first economic Ausgleich. At that time the single Austrian bank was changed, in conformity with this arrangement, into the dualistic Austro-Hungarian bank, and Széll consolidated the Hungarian Rentes, and nearly succeeded in balancing the State finances. As he feared that this balance would again be upset by the occupation of Bosnia and Herzegovina, he resigned from the Cabinet, incurring thereby the displeasure of the Crown. He still kept his seat in Parliament, and as deputy constantly criticized the financial policy of the Tisza Cabinet. At the beginning of the eighties Széll founded the Hungarian Mortgage Credit Bank, of which he was governor until the end of his life. He opened entirely new sources of credit for Hungarian agriculture. He declined repeated offers of the portfolio of Finance. When the Banffy Ministry suffered a serious crisis at the end of 1898 and was compelled to resign in Feb. 1899, Széll was entrusted with the formation of a new Cabinet. By means of the Pact of Feb. 23 1899 he restored parliamentary peace. On the basis of the so-called Széll formula the new Ausgleich with Austria until the year 1907 was concluded after long negotiations. The most important result of this was that Hungary attained the status of an independent customs area, but, under the arrangement for reciprocity, still maintained intact the existing conditions of the Customs Union with Austria. In 1901, under Széll's Ministry, the new elections resulted in a Liberal victory. A year later began the struggle for the reform of the national defence, and Széll introduced in 1902 the law for increasing the number of recruits, in exchange for which the Independent party wanted concessions to the principle
of nationality. The obstruction against the provision for defence lasted from the end of Jan. to April 4 1903, and resulted in the suspension of the constitution (“Ex lex” condition). Széll sought to wear down the opposition by delay. As part of the majority would not agree to this, he resigned on June 16 1903. When his successor, Count Stephen Tisza, on Nov. 18 1904 brought about a split in the Liberal party by forcing through Parliament new rules of procedure, Széll joined Count Andrassy in the secession from the party. Under the Coalition Cabinet of Wekerle, Széll was chosen president of the Constitutional party. He tried continually, but in vain, to bridge the opposition between Tisza and Andrassy. He died on Aug. 16 1915. (E. v. W.)
# 1922 Encyclopædia Britannica/Tarkington, Booth

See also Booth Tarkington on Wikipedia, and the disclaimer.
TARKINGTON, [NEWTON] BOOTH (1869-), American writer, was born in Indianapolis, Ind., July 29 1869. After studying at Phillips Academy, Exeter, Mass., he entered Purdue University, Lafayette, Ind., but two years later transferred to Princeton, where he graduated in 1893. At first he intended to follow a business career, but after a few years devoted his time to writing. He was elected to the Indiana House of Representatives for the term 1902-3. In 1918 he received the degree of Litt.D. from Princeton. In 1920 he was elected to the American Academy of Arts and Letters. The same year he was engaged as a writer of photo-plays by the Goldwyn Pictures Corporation. His first story, The Gentleman from Indiana, was published in 1899, having appeared already as a serial in McClure's Magazine. In 1900 his reputation was established by Monsieur Beaucaire, which he successfully dramatized (with E. G. Sutherland) in 1901. In 1919 he was awarded the Pulitzer Prize by Columbia University for his novel, The Magnificent Ambersons (1918).
His other stories include The Two Vanrevels (1902); Cherry (1903); The Conquest of Canaan (1905); Guest of Quesnay (1908); Beauty and the Jacobin: an Interlude of the French Revolution (1912); Penrod (1914); Penrod and Sam (1916); Ramsey Milholland (1919); Alice Adams (1921). His plays include Cameo Kirby (1907); Your Humble Servant (1908); Mister Antonio (1916); The Country Cousin (1917, with Julian Street); The Gibson Upright and Up From Nowhere (1919, both with Harry Leon Wilson); Clarence (1919).
# 1922 Encyclopædia Britannica/Swete, Henry Barclay

See also Henry Barclay Swete on Wikipedia, and the disclaimer.
​SWETE, HENRY BARCLAY (1835–1917), English theologian, was born at Bristol March 14 1835. He was educated at King’s College, London, and Caius College, Cambridge, and in 1858 was ordained. After some years of work in various country curacies and livings he became in 1869 theological lecturer and tutor at Caius College. In 1881 he became examining chaplain to the Bishop of St. Albans, and the following year was appointed professor of pastoral theology at King’s College, London. In 1890 he succeeded Westcott as regius professor of divinity at Cambridge, and retained this position until 1915, when he retired with the title of emeritus professor. He was in 1911 appointed an hon. chaplain to the King. Swete’s works on Biblical texts are of the highest importance. In 1887 he published the first volume of his edition of the Greek text of the Old Testament, completing the series in 1894 (3rd ed. 1901–7), while in 1898 appeared the Greek text of the Gospel of St. Mark, with notes and introduction (2nd ed. 1902) and in 1906 that of the Apocalypse of St. John (2nd ed. 1907). He was the editor of Cambridge Theological Essays (1905) and Cambridge Biblical Essays (1909), and was a contributor to Smith and Wace's Dictionary of Christian Biography (1882–87) and Hastings's Dictionary of the Bible (1899–1900). He also produced many historical and critical works, including The Apostles’ Creed in Relation to Primitive Christianity (1894; 3rd ed. 1899); Church Services and Service Books before the Reformation (1896); Patriotic Study (1902); The Appearances of Our Lord after the Passion (1907; 2nd ed. 1908), and The Last Discourse and Prayer of Our Lord (1913). He died at Hitchin May 10 1917.
# 1922 Encyclopædia Britannica/Szilagyi, Desider

See also Dezső Szilágyi on Wikipedia, and the disclaimer.
SZILAGYI, DESIDER (1840-1901), Hungarian statesman and jurist, was born at Nagyvarad (Grosswardein) on April 1 1840. He studied law at Budapest, Vienna, and in Germany, and early attracted attention by his articles on law and politics. As head of a section in the Hungarian Ministry of Justice he travelled on a commission from the Government to England to study there the conditions of the administration of justice, of which he had a knowledge then equalled by few. Brought up wholly in Liberal
ideas, Szilagyi took a conspicuous part in the codification work of the Ministry of Justice. Deputy in 1871, professor of public law and politics at Budapest University in 1874, he was in 1877 one of the leaders of the Opposition, which, however, he left in 1886. In 1887 he was returned to Parliament by Pozsony (Pressburg) as an independent member. He became Minister of Justice in 1889. From this time to 1894 he directed his efforts principally towards a radical reform of the whole administration of the courts. In 1894 he took a conspicuous part in ecclesiastical legislation, with which his name is permanently connected. Article XXXI. of the Law of Civil Marriage, and articles XXXII. and XXXIII. on the religion of the children and on State registration, were the result of his active cooperation. After the appointment of Baron Banffy, the former president of the Hungarian House of Deputies, as prime minister, Szilagyi was elected president of the House on Jan. 21 1895, which office he retained until 1899. A man of extensive knowledge, spotless character and wide vision, and a brilliant orator, he was one of the most considerable of the Hungarian statesmen of his day. He died on July 3 1901.
See Szilagyi's Speeches (4 vols., in Hungarian, Ed. Fayer).
    (E. v. W.)
# A Dictionary of Music and Musicians/Ou peut-on Être Mieux qu'au sein de sa Famille?

From volume 2 of the work.
​OU PEUT-ON ÊTRE MIEUX QU'AU SEIN DE SA FAMILLE? 'Where can one be better than in the bosom of one's family?' A quartet in Grétry's 'Lucile' (1769), which has become historical from its having been sung on several occasions—as for instance at Versailles, July 15, 1789; at Carlton House at the first visit of George III. and Queen Charlotte to the Prince of Wales, Feb. 3, 1795; and at Korythnia, on the retreat from Moscow, Nov. 15, 1812. The air is as follows:—
[ G. ]
* ↑ Not a duet, as stated under Grétry, vol. i. 628a.
* ↑ See Veillons au salut [App. p.737 "in Appendix"].
# A Dictionary of Music and Musicians/Over-blowing

From volume 2 of the work.
[ E. J. H. ]
# A Dictionary of Music and Musicians/Otto, Ernst

From volume 2 of the work.
​OTTO, Ernst Julius, born at Königstein Sept. 1, 1804; though always musical, was not educated exclusively for music. On the contrary, he passed his 'maturity examination' at Dresden in 1822 with honour, and studied theology for three years at Leipzig. While doing this he worked at music with Schicht and Weinlig. His compositions are of a solid character—oratorios; masses; an opera ('Schloss am Rhein') performed at Dresden 1838, and another at Augsburg; sonatas; cycles of songs for men's voices, etc. In 1830 he was appointed Cantor at Dresden, a post which he held with honour to himself up till his death, March 5, 1877.
[ G. ]
# A Dictionary of Music and Musicians/Oulibicheff, Alexander von

From volume 2 of the work.
[ F. G. ]