OpenLLM-France/wikimedia huggingface dataset:
# A Course in Miracles/Workbook for Students/I will receive whatever I request

I will receive whatever I request.
No one desires pain. But he can think that pain is pleasure. No one would avoid his happiness. But he can think that joy is painful, threatening and dangerous. Everyone will receive what he requests. But he can be confused indeed about the things he wants; the state he would attain. What can he then request that he would want when he receives it? He has asked for what will frighten him, and bring him suffering. Let us resolve today to ask for what we really want, and only this, that we may spend this day in fearlessness, without confusing pain with joy, or fear with love.
Father, this is Your day. It is a day in which I would do nothing by myself, but hear Your Voice in everything I do; requesting only what You offer me, accepting only Thoughts You share with me.
# A Course in Miracles/Workbook for Students/I will not hurt myself again today

I will not hurt myself again today.
Let us this day accept forgiveness as our only function. Why should we attack our minds, and give them images of pain? Why should we teach them they are powerless, when God holds out His power and His Love, and bids them take what is already theirs? The mind that is made willing to accept God's gifts has been restored to spirit, and extends its freedom and its joy, as is the Will of God united with its own. The Self which God created cannot sin, and therefore cannot suffer. Let us choose today that He be our Identity, and thus escape forever from all things the dream of fear appears to offer us.
Father, Your Son can not be hurt. And if we think we suffer, we but fail to know our one Identity we share with You. We would return to It today, to be made free forever from all our mistakes, and to be saved from what we thought we were.
# A Course in Miracles/Workbook for Students/I will not be afraid of love today

I will not be afraid of love today.
If I could realize but this today, salvation would be reached for all the world. This the decision not to be insane, and to accept myself as God Himself, my Father and my Source, created me. This the determination not to be asleep in dreams of death, while truth remains forever living in the joy of love. And this the choice to recognize the Self Whom God created as the Son He loves, and Who remains my one Identity.
Father, Your Name is Love and so is mine. Such is the truth. And can the truth be changed by merely giving it another name? The name of fear is simply a mistake. Let me not be afraid of truth today.
# A Course in Miracles/Workbook for Students/I will not use the body's eyes today

I will not use the body's eyes today.
Father, Christ's vision is Your gift to me, and it has power to translate all that the body's eyes behold into the sight of a forgiven world. How glorious and gracious is this world! Yet how much more will I perceive in it than sight can give. The world forgiven signifies Your Son acknowledges his Father, lets his dreams be brought to truth, and waits expectantly the one remaining instant more of time which ends forever, as Your memory returns to him. And now his will is one with Yours. His function now is but Your Own, and every thought except Your Own is gone.
The quiet of today will bless our hearts, and through them peace will come to everyone. Christ is our eyes today. And through His sight we offer healing to the world through Him, the holy Son whom God created whole; the holy Son whom God created One.
# A Dictionary of Music and Musicians/Robin Hood

From volume 3 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Robin des Bois

From volume 3 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Robinson, John

From volume 3 of the work.
​ROBINSON, John, born 1682, was a chorister of the Chapel Royal under Dr. Blow. He subsequently became organist of St. Lawrence, Jewry, and St. Magnus, London Bridge. Hawkins, in his History, describes him as 'a very florid and elegant performer on the organ, inasmuch that crowds resorted to hear him'; and elsewhere says: 'In parish churches the voluntary between the Psalms and the First Lesson was anciently a slow, solemn movement, tending to compose the minds and excite sentiments of piety and devotion. Mr. Robinson introduced a different practice, calculated to display the agility of his fingers in allegro movements on the cornet, trumpet,
# A Dictionary of Music and Musicians/Roche, Edmond

From volume 3 of the work.
[ G. ]
App. p.773
[ M. ]
# A Dictionary of Music and Musicians/Robin Adair

From volume 3 of the work.
​ROBIN ADAIR or EILEEN AROON. This air first became popular in England in the second half of the last century, through the eminent Italian singer Tenducci. He was one of the original singers in Arne's opera of 'Artaxerxes,' produced in 1762, and was afterwards engaged by Dr. Arne to accompany him to Ireland, where he probably learnt this song. It is certain that he sang 'Eileen Aroon' in the Irish language, the words being written out phonetically for him. He sang also at Ranelagh Gardens, and an edition with the Irish words 'sung by Signor Tenducci,' was published in London with music on a half sheet. In Ireland he had drawn especial attention to the air, and among the English-speaking part of the population several songs of local interest were written to it, making Robin Adair the burthen. For these, which do not in any way concern the tune, the curious are referred to the indexes to the 3rd, 4th, and 5th ​series of 'Notes and Queries.' It is here sufficient to show by the correspondence between the poet Burns and George Thomson, that the air was known as 'Robin Adair' before Braham reintroduced it here. In the published correspondence between Thomson the music publisher, for whom Haydn and Beethoven both harmonized Scotch airs, and Burns, Thomson, writing in August, 1793, says, 'I shall be glad to see you give Robin Adair a Scottish dress. Peter [Pindar] is furnishing him with an English suit for a change, and you are well matched together. Robin's air is excellent, though he certainly has an out-of-the-way measure as ever poor Parnassian wight was plagued with.' To this Burns answered in the same month: 'I have tried my hand on "Robin Adair," and, you will probably think with little success; but it is such a cursed, cramp, out-of-the-way measure, that I despair of doing anything better to it.' He then sends 'Phillis the fair,' and, a few days later, writes again, 'That crinkum-crankum tune, "Robin Adair," has been running in my head, and I succeeded so ill on my last attempt, that I have ventured, in this morning's walk, one essay more.' He then encloses 'Had I a cave.'
It is difficult to tell who wrote the words of the present song of Robin Adair. The name of the author is not upon the original title-page. Peter Pindar's songs (Dr. John Wolcott's) are not included in his collected works, being then the copyright of Messrs Goulding & D'Almaine, who bought all for an annuity of £250, and, as Peter was christened in 1738 and died in 1819, it was a dear bargain. The popularity of Robin Adair dates from Braham's benefit at the Lyceum Theatre on December 17, 1811. He then sang the air with great applause, but as the vowels are long in 'Eileen,' and short in 'Robin,' he introduced the acciaccatura, which Dr. Burney calls the Scotch snap.' The change will be more intelligible in notes than in description. Thus:—
We give the line in its accurate transliteration, as kindly supplied by Dr. P. W. Joyce, the eminent Irish collector:—
Tioch-faidh nó'n bhfan faidh tu, Eibhlin a rutin?
[ W. C. ]
# A Dictionary of Music and Musicians/Robson, Joseph

​ROBSON, Joseph, organ builder. See Flight, vol. i. p. 532, and Flight, vol. iv. App. p. 636.
# A Dictionary of Music and Musicians/Roberts, Varley

From volume 3 of the work.
​ROBERTS, J. Varley, Mus. Doc., native of Stanningley, near Leeds, born Sept. 25, 1841. He exhibited much early ability for music, and at twelve was appointed organist of S. John's, Farsley, near Leeds. In 1862 he became organist of S. Bartholomew's, Armley, and in 1868 received his present appointment of organist and choirmaster of the parish church, Halifax, after a competitive trial, Dr. E. G. Monk acting as umpire. In 1871 he graduated Mus. Bac., and in 1876 Mus. Doc., at Christ Church, Oxford. During his organistship at Halifax, upwards of £3000 have been raised to enlarge the organ, originally built by Snetzler—the instrument upon which Sir Wm. Herschel, the renowned astronomer, formerly played—and it is now one of the finest and largest in the North of England.
[ G. ]
# A Dictionary of Music and Musicians/Robinson, Anastasia

From volume 3 of the work.
​ROBINSON, Anastasia, was daughter of a portrait painter, who, becoming blind, was compiled to qualify his children to gain their own livelihood. Anastasia received instruction from Dr. Croft, Pier Giuseppe Sandoni, and the singer called The Baroness, successively. She appeared as Ariana in Handel's 'Amadigi,' May 25, 1715; and in 1720 at the King's Theatre as Echo in Domenico Scarlatti's opera, 'Narcisso.' She afterwards sang in the pasticcio of 'Muzio Sczevola,' in Handel's 'Ottone,' Floridante,' 'Flavio,' and 'Giulio Cesare'; in Buononcini's 'Crispo' and 'Griselda,' and other operas. Her salary was £1000 for the season, besides a benefit-night. She possessed a fine voice of extensive compass, but her intonation was uncertain. She quitted the stage in 1723, on being privately married to the Earl of Peterborough, who did not avow the marriage until shortly before his death in 1735, although, according to one account, she resided with him as mistress of the house, and was received as such by the Earl's friends. According to another account, she resided with her mother in a house near Fulham, which the Earl took for them, and never lived under the same roof with him, until she attended him in a journey in search of health, a short time before his death. The Countess survived until 1750. There is a fine portrait of her by Faber after Vanderbank, 1727.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Robinson, Thomas

From volume 3 of the work.
[ W. H. H. ]
# A Dictionary of Saintly Women/Adalsendis

​St. Adalsendis or Adalsind, Adalasenda.
# A Dictionary of Saintly Women/Adela (4)

​St. Adela (4), of Bohemia, Abdela.
# A Dictionary of Saintly Women/Adaloja

​St. Adaloja, Hadeloga, abbess of Kitzingen.
# A Dictionary of Saintly Women/Adausia

​St. Adausia or Adavisa, Aug. 29, M. at Rome. Boll. AA.SS.
# A Dictionary of Saintly Women/Adela (1)

​B. Adela (1), Nov. 23. c. 630 or 664. Of the blood of the dukes of Austrasia. Mother of St. Tron, or Trudo, or Truyen, priest. Buried on her own estate at Zeleem, near Dist, in Brabant. Some of Adela's bones are preserved in the Benedictine monastery founded by her son, at the place since called St. Trond. He died in 693. Le Mire, Fasti Belg. Butler, Lives of the Fathers, "St. Tron," Nov. 23. Gynecæum.
# A Dictionary of Saintly Women/Adalasenda

​St. Adalasenda, Dec. 25, June 30 (Adalsendis, Adalsind), V. Daughter of St. Rictrude, and nun under her at ​Marchiennes. Died very young, but had already attained to great perfection in holiness. One of a family of saints. Butler, Lives. Pétin, Dic. Hag., says, Nun, under her sister, St. Eusebia, at Hamay.
# A Dictionary of Saintly Women/Adalinda

​St. Adalinda, the Empress Adelaide.
# A Dictionary of Saintly Women/Addula

​St. Addula, Adela of Pfalzel.
# A Dictionary of Saintly Women/Adela (2)

​St Adela (2), Dec. 24 (Addula, Athela, and perhaps Adolena), founder and abbess of Pfalzel (Palatiolum), † c. 734. St. Irmina of Horres and St. Adela of Pfalzel were daughters of Dagobert II., king of Austrasia, sometimes called Saint, and honoured Dec. 23. Adela married Alberic, and had several children. About 700, being a widow, she took the veil in a monastery built for her by Dagobert and St. Modwald, or Rodoald, archbishop of Treves, at Pfalzel on the Moselle. The archbishop's sister, St. Severa, was the first abbess, and was succeeded by Adela. She is probably that Adolena to whom St. Elfleda wrote to bespeak her kindness and hospitality for another English abbess on her way to Rome, supposed to be B. Withburga (2). St. Boniface visited her convent on his way from Frisia to Thuringia, about 722. She had at the time a grandson, named Gregory, staying with her, a boy of fourteen or fifteen, who read aloud from the Holy Scriptures while the nuns and their guest were at dinner. St. Boniface remarked that he read very well, and bade him explain the passage. This the boy could not do, and Boniface took up the subject and preached to the whole community with so much eloquence and impressiveness that Gregory told his grandmother he must go with the holy man and become his pupil. Adela objected to let her darling go and travel in heathen lands and unexplored wilds; but he feared no danger, and far from listening to any dissuasion, he said if his grandmother would not give him a horse, as became the grandson of a king, he would follow the missionaries on foot. Adela saw in the earnestness of the child a divine call, and furnished him with what was necessary for the expedition. From that day Gregory never left St. Boniface, until he witnessed his martyrdom at Docking, or Dockum, in Friesland.
Achéry and Mabillon give a copy of Adela's will, in which she leaves everything to her convent, except an estate which she bequeaths to her son Alberic. They call her "pious" rather than "saint," as her worship seems uncertain. She is commemorated in the French Martyrology, Dec. 24, and honoured with her sister Irmina in several martyrologies.
Wion, Lignum Vitæ, p. 520, calls her "Saint Athela." Vies des Saintes de France. Lelong, Bibl. Hist de France. Achéry and Mabillon, AA.SS. O.S.B., II. 498, Sæc. iii. pars. i. p. 531, etc. Pétin, Dic. Hag. Brower, Sidera. Ceillier, Auteurs sacrés, Adela, Irmina. and Clotilda form one of the Triads, who were probably heathen tribal goddesses. The pilgrimages to their shrines and the rites there observed retain traces of paganism. Eckenstein.
# A Dictionary of Music and Musicians/Schnyder von Wartensee, Xavier

From volume 3 of the work.
​SCHNYDER VON WARTENSEE, Xavier, so called from his castle at the S.E. end of the Lake of Constance, was born at Lucerne, of a noble family, April 18, 1786. His career would naturally have been one in accordance with his rank, but the Revolution, and a strong inward feeling, drove him in the direction of music. Until 1810 he had no teaching but what he could get from books and practice. In that year he went to Zürich, and then to Vienna, with the wish to become a pupil of Beethoven. He was however compelled to take lessons from Kienlen—perhaps a better teacher than Beethoven would have been. After a few years in the Austrian capital he returned to Switzerland, made the campaign of 1815 against the French, then became teacher in the Pestalozzian institute at Yverdun, and at length in 1817 settled at Frankfort, and lived there as teacher of composition and director of various musical institutions till his death, Aug. 30, 1868. During this latter period he was much esteemed as a teacher, and had many pupils, among them our countryman Pearsall.
[ G. ]
# A Dictionary of Music and Musicians/Schobert

From volume 3 of the work.
[ G. ]
* ↑ See Letter, Oct. 17, 1777.
* ↑ Weltzmann, 'Geschichte des Clavierspiels.'
* ↑ Grimm (new ed.) vii. 422.
# A Dictionary of Music and Musicians/Schott (publishers)

From volume 3 of the work.
​SCHOTT (B. Schott's Söhne), the well-known firm of music-publishers at Mayence. This business, the largest of the kind except Breitkopf & Härtel's, was founded in 1773 by Bernhard Schott, and carried on after his death in 1817 by his sons Andreas (born 1781, died 1840), and Johann Joseph (born 1782, died 1855), who in the early part of this century set up a house of their own at Antwerp (afterwards removed to Brussels) which gave them an advantage both in suppressing pirated editions, and in dealing with the French and Italian composers then in vogue. In 1838 they founded a branch in London, superintended by a third brother, Adam [App. p.785 " (living afterwards as bandmaster in Canada and India, where he died)"], and conducted with great success since 1849 by J. B. Wolf (born 1815, died 1881). Another branch in Paris soon followed. Peter, a younger brother of Franz Philipp, and grandson of Bernhard, lived in Brussels and managed the business of the branches there and in Paris, forwarding at the same time the circulation of the Mayence publications. Besides these four independent houses the firm has depôts in Leipzig, Rotterdam, and New York. Franz Philipp (born 1811), grandson of Bernhard, took part in the business from 1825, and managed it after the death of his father Andreas, first in partnership with his uncle Johann Joseph, and after his death by himself. Since his death in Milan in 1874 the business has been carried on with the old traditions by Peter Schott (a son of the Brussels Peter), Franz von Landwehr (a nephew of the family), and Dr. L. Strecker. The Schotts have for long been music-publishers to the court. [App. p.785 "Schott's sons have been music publishers to the Court since 1824."]
At a time when the book and music trade was regulated by no fixed laws, the correct and elegant editions of Mayence found a ready entrance into foreign countries, and the firm was thus stimulated to keep ahead of rivals by making constant improvements in music-printing and engraving. They were the first to use lithography for this purpose, an important turning-point in the printing of music. Their copyright publications now amount to over 23,000, including Beethoven's latest quartets, 9th Symphony, and Mass in D, nearly all the operas of Donizetti, Rossini, Adam, and Auber, most of Rink's organ-music, [App. p.785 "'der Choralfreund,' in 9 volumes; 'École pratique de la modulation,' op. 99; 'Gesangstudien' (vocalises, méthode de chant, etc.) by Bordese, Bordogni, Concone, Fétis, Gavaudé, Garcia, Lablache, Abbé Mainzer, Rossini, Rubini, Vaccai, etc."] and, to come to later times, Wagner's 'Meistersinger' and 'Ring des Nibelungen.' The establishment has been enlarged by the addition of a printing-office (where have been printed, among others, Gottfried Weber's theoretical works, the periodical 'Cäcilia,' 1824–1848, etc.) and in 1829 of a piano-factory, which however was given up in 1860 on account of the extension of the main business.
[ C. F. P. ]
# A Dictionary of Music and Musicians/Schneider, Friedrich

From volume 3 of the work.
​SCHNEIDER, Friedrich johann Christian, composer, teacher, and conductor, born Jan. 3, 1786, at Alt-Waltersdorf, near Zittau, composed a symphony as early as 10. In 1798 entered the Gymnasium of Zittau, and studied music with Schönfelder, and Unger. In 1804 he published 3 PF. sonatas, and having entered the University of Leipzig in 1805 carried on his musical studies to such purpose that in 1807 he became organist of St. Paul's, in 1810 director of the Seconda opera, and in 1812 organist of St. Thomas's church. There he remained till 1821, when he became Capellmeister to the Duke of Dessau, whose music he much improved, and founded in the town a Singakademie, a schoolmaster's choral society, and a Liedertafel. In 1829 he founded a musical Institute, which succeeded well, and educated several excellent musicians, Robert Franz among the number. Schneider was also an industrious composer, his works comprising oratorios—'Das Weltgericht' (1819), 'Verlorne Paradies' (1824), 'Pharao' (1828), 'Christus das Kind,' and 'Gideon' (1829), 'Getsemane und Golgotha' (1838) [App. p.785 "A fuller list of his oratorios will be found in vol. ii. p. 555a"]; 14 masses; Glorias and Te Deums; 25 cantatas; 5 hymns; 13 psalms, 7 operas; 23 symphonies; 60 sonatas; 6 concertos; 400 Lieder for men's voices, and 200 ditto for a single voice—all now forgotten except the men's part-songs. Schneider directed the musical festivals of Magdeburg (1825), Nuremberg (1828), Strasburg (1830), Halle (1830 and 35), Halberstadt (1830), Dessau (1834), Wittenberg (1835), Coethen (1838 and 46), Coblenz and Hamburg (1840), Meissen (1841), Zerbst (1844), and Lübeck (1847). He also published didactic works—'Elementarbuch der Harmonie und Tonsetzkunst' (1820), translated into English (London, (1828); 'Vorschule der Musik' (1827); and 'Handbuch des Organisten' (1829–30). The oratorio of the 'Sündfluth' was translated into English as 'The Deluge' by Professor E. Taylor, published in London and probably performed at one of the Norwich festivals.
[ F. G. ]
# A Dictionary of Music and Musicians/Schnetzler

​SCHNETZLER. See Snetzler, and vol. ii. P. 597.
# A Dictionary of Music and Musicians/Schober, Franz von

From volume 3 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Schoberlechner, Franz

From volume 3 of the work.
​SCHOBERLECHNER, Franz, born at Vienna, July 21, 1797. Hummel composed for him his 2nd Concerto, in C, which he performed in public with success when only ten years old. The precocious child was taken under the patronage of Prince Esterhazy, and sent to Vienna, to study under Forster. From 1814 he travelled in Austria and Italy. While at Florence he composed a requiem, and a buffa opera, 'I Virtuosi teatrali.' In the next year, having been appointed chapel-master to the Duchess of Lucca, he wrote 'Gli Arabi nelle Gallie,' and subsequently, at Vienna, in 1820, 'Der junge Onkel.' In 1823 he went to Russia. He seems to have written to Beethoven, before starting, for letters of introduction. The maestro, however, wrote across his letter, 'an active fellow requires no other recommendation than from one respectable family to another,' and gave it back to ​Schindler, who showed it to Schoberlechner, and, no doubt at his desire, again urged Beethoven to comply with the request. Beethoven however did not know Schoberlechner, and had no very high opinion of him, as he played chiefly bravura pieces, and pompously paraded all his titles and decorations, which gave occasion for many a sarcastic remark from Beethoven.
At St. Petersburg he recommended himself to dall' Occa, a professor of singing, whose daughter he married in 1824. After travelling in Germany and Italy, the pair returned to St. Petersburg in 1827, where Mme. Schoberlechner was engaged for three years at the Italian Opera at a salary of 20,000 roubles. Her husband composed for her an opera, 'Il Barone di Dolzheim,' which had some success. After a few more years wandering, Schoberlechner retired to a country house near Florence. His last opera was 'Rossane,' produced at Milan, Feb. 9, 1839. He died at Berlin on Jan. 7, 1843.
His published works are chiefly for the pianoforte; a list of them is to be found in Fétis's 'Biographie des Musiciens.' His wife,
[ F. A. M. ]
# A Dictionary of Music and Musicians/Schott, Anton

From volume 3 of the work.
[ A. C. ]
# A Dictionary of Music and Musicians/Finger, Gottfried

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

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

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

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

[ M. ]