OpenLLM-France/wikimedia huggingface dataset:
# A First Series of Hymns and Songs/Descriptive Songs

SCHOOL SONGS
AND
Poetry,
TO WHICH
MUSIC IS ADAPTED.
Part III.
DESCRIPTIVE AND AMUSING PIECES ON GENERAL SUBJECTS,
FOR THE USE OF SCHOOLS, ETC.
LONDON BURNS AND LAMBERT,
17 PORTMAN STREET.
School Songs and Poetry,
To which music is adapted.
IN PREPARATION,
PART I.
Sacred Series.
ON SUBJECTS SACRED, MORAL, AND ECCLESIASTICAL.
NOTICE.
Part III. of "School Songs and Poetry" forms a continuation of tho Juvenile Series, Part II., suited to more general use. It contains a collection of school poetry adapted either for general purposes as a reading book, or for recitation and singing. For this latter purpose the pieces are connected with appropriate airs, published separately under the title of the "Young Singer's Book of Songs," where they are arranged, with the words, for the voice and the pianoforte (Burns and Lambert).
The Introduction, admitted on all hands to be so desirable, of the recreation of singing into the school-room, often meets with an impediment, in the difficulty of commanding at all times the services of a competent music-master. The airs, however, to which the songs in this collection are adapted in the "Young Singer's Book of Songs" are for the most part so easy and ​singable, that in the absence of the music lesson, where the managers of a school could procure even the occasional visits of any person with a voice competent to sing them to the children in the school-room, there are few children in a school who would not rapidly pick up the airs from imitation. On this plan, if those of the children who had the readiest natural ear and voice for a tune were allowed to learn the air by themselves first, the practice of singing might afterwards from them, rapidly spread throughout the school, to an extent quite sufficient for the purposes of recreation. Even where there is a music lesson in the school conducted by a professional person, it may often be prudent to take special care that the design of school-singing, which is to promote a spirit of healthy social cheerfulness and animation, is not overlooked in the desire to produce a few skilful pupils.
H. F.
LIST OF CONTENTS,
With the Titles of the Pieces alphabetically arranged.
N.B.—The words of the Songs by Mrs. Howitt. the Rev. Ed. Caswall, Mrs. Hemans, H. F., and others, are copyright.
ALPHABETICAL INDEX,
Referring to the First Line of each Piece.
N.B—The numbers here referred to also correspond with the numbers of the tunes in the Young Singer's Book of Songs.
# A First Series of Hymns and Songs/Descriptive Songs/Ariel's Song—Where the Bee sucks

From The Tempest
44. Ariel's Song—Where the Bee sucks.
Where the bee sucks, there lurk I;
In a cowslip's bell I lie;
There I crouch when owls do cry:
On the bat's back I do fiy,
After sunset, merrily.
Merrily, merrily shall I live now,
Under the blossom that hangs on the bough.
Merrily, merrily shall I live now,
Under the blossom that hangs on the bough.
# A First Series of Hymns and Songs/Catholic Hymns/Star of Jacob

26. Star of Jacob.
Star of Jacob, ever beaming
With a radiance all divine,
Mid the stars of highest heaven
Glows no purer ray than thine!
​All in stoles of snowy whiteness,
Unto thee the angels sing;
Unto thee the virgin choirs,—
Mother of th' eternal King!
Joyful in thy path they scatter
Roses white and lilies fair;
Yet with thy celestial beauty
Rose nor lily may compare.
Oh, that this low earth of ours,
Answ'ring to th' angelic strain,
With thy praises might re-echo,
Till the heavens replied again.
# A First Series of Hymns and Songs/Catholic Hymns/The holy Angel Guardian

21. The holy Angel Guardian. (October 2d.)
Kind Angel guardian, thanks to thee
For thy so watchful care of me;
Oh, lead me still in ways of truth,
Dear guide of childhood and of youth.
Kind Angel guardian, let my tears
Implore thee too for riper years;
Oh, keep me safe in wisdom's way.
And bring me back if I should stray.
​When angry passions fill my soul,
Subdue them to thy meek control;
Through good and ill, oh, ever be
A guide, a guard, a friend to me.
And when death's hand shall seal mine eyes,
Oh, bear my spirit to the skies,
And teach me there my voice to raise
In hymns of never-ending praise.
# A Dictionary of Music and Musicians/Use

​USE. A term traditionally applied to the usage of particular Dioceses, with regard to variations of detail in certain Plain Chaunt Melodies sung in the Service of the Roman Catholic Church, more especially in those of the Psalm-Tones. 'Heretofore,' says the Preface to the Book of Common Prayer, 'there hath been great diversity in saying and singing in Churches within this Realm, some following Salisbury Use, some Hereford Use, and some the Use of Bangor, some of York, some of Lincoln.'
[ W. S. R. ]
# A Dictionary of Music and Musicians/Vaet, Jacques

​VAET, Jacques (or Jacob), Flemish composer of the 16th century, attached to the imperial Kapelle at Vienna in the capacity of chanter and apparently also of court-composer, as early as 1520–1526, when he wrote a motet 'in laudem eerenissimi principis Ferdinandi archiducis Austriae.' After a long life of this servicehe was appointed 'obrister Kappelmeister,' Dec. 1, 1564, and died Jan. 8, 1567. That he remained active as a composer to the court, is shown by his motet 'in laudem invictissimi Romanorum imperatoris Maximiliani II.,' who ascended the throne in July 1564.Both motets were printed in P. Ioannelli's 'Novus Thesaurus Musicus,' Venice, 1568, which also contains a motet 'in obitum Iacobi Vaet.' F. Haemus, in his 'Poemata' (Antwerp 1578), has an elegy 'in obitum Iacobi Vasii, Caesaris Maximiliani archiphonasci,' which is quoted byM. vander Straeten.
[ R. L. P. ]
* ↑ The name is also written Vaedt and Waet. Owing to the latter spelling the composer was often confused with an entirely different person, Jacques (or Giaches) de Wert, a mistake which appeared in the first edition of Fétis' Dictionary. Compare the remarks of M. Vander Straeten, La Musique aux Pays-bas iii. 197 f.; 1875.
* ↑ Vaet's birthplace is unknown, but one Jean Vaet, who may be of his family, has been discovered as living at Ypres in 1499: Vander Straeten, i. 120; 1867.
* ↑ Vander Straeten, v. 79, 102; 1880.
* ↑ Compare Fétis viii. 291 a (2nd ed.); Ambros, Geschichte der Musik. iii. 324.
* ↑ Vol. i. 119 f.
* ↑ Eitner, Bibliographie der Musik-Sammelwerke, pp. 886–888; cp. Fétis viii. 291 b.
* ↑ See for instance the extract in Vander Straeten iv. 64; 1878
* ↑ Vol. viii. 292 a.
* ↑ Vol. iii. 325.
# A Dictionary of Music and Musicians/Vagans

[ G. ]
# A Dictionary of Music and Musicians/Vaisseau-Fantôme, Le

[ G. ]
# A Dictionary of Music and Musicians/Valentini, Valentino

​VALENTINI, Valentino URBANI, usually called; a celebrated evirato, who came to London, Dec. 6, 1707, very early in the history of Italian opera in England. Nothing is known of his birth or early career; but he seems to have arrived here, possessed of a contralto voice of small power, which fell afterwards to a high tenor, and with an opera, 'Il Trionfo d'Amore,' in his pocket. The translation of this piece he entrusted to Motteux; and he subsequently sold to Vanbrugh, for a considerable sum, the right of representation. The Baroness, Margherita de l'Epine, Mrs. Tofts, and Leveridge, sang with him in this opera ('Love's Triumph'), and, if the printed score may be trusted, they all, including Valentini, sang English words. The piece was produced at the end of February, 1708, and he took a benefit in it on March 17. Meanwhile, he had already sung (Dec. 1707) as Orontes, a 'contra-tenor,' in 'Thomyris,' Hughes understudying the part. Valentini's dress in this piece cost £25 17s. 3d., a very large sum in those days; his turban and feathers cost £3 10s., and his 'buskins' 12 shillings. We find him (Dec. 31, 1707) joining with the 'Seigniora Margaritta [de l'Epine], Mrs. Tofts, Heidegger, and the chief members of the orchestra, in a complaint against the dishonesty and tyranny of Rich. They claimed various amounts, due for salaries, 'cloaths,' etc. Valentini's pay was fixed at £7 10s. a night, as large a sum as any singer then received; but he seems to have had difficulty in extracting payment of it from Vanbrugh.
There, is extant a curious letter, in which M. de l'Epine appeals to the Vice-Chamberlain (Coke) for 'juste reuange' for the 'impertinance* of which 'cette creature' [Valentini] had been guilty, in preventing her from singing one of her songs, a few days before; and declares that she would never suffer 'ce monster, ennemi des hom̃es des fam̃es et de Dieu,' to sing one of her songs without her singing one of his! The letter is simply endorsed by the Vice- Chamberlain, 'Mrs. Margarita about Mr. Valentin.'
Valentini sang, with Nicolini, in 'Pyrrhus and Demetrius,' a part which he resumed in 1709. Nicolini and he sang their music to the Italian words, while the rest of the company sang in English, as was not unusual in the gallimaufries of the time. Valentini reappeared (1710) in 'Almahide,' and (1711) in the original cast of 'Rinaldo,' as Eustazio, a tenor. In 1712 he sang another tenor part, that of Silvio in 'Pastor Fido'; and in the following year another, Egeo in 'Teseo,' as well as that of Ricimer in 'Ernelinda.' In that season (1713) he again joined in a petition, with Pepusch and his wife, la Galeratti, and other artists, for the better regulation of their benefits. Then, as in modern times, operatic affairs were too frequently ​enlivened with petitions, squabbles, and litigation: impresarios were tyrants, and singers were hard to manage. Valentini sang again in 'Creso,' 1714, after which his name appears no more 'in the bills.'
[ J. M. ]
* ↑ The Coke papers, in the writer's possession.
* ↑ Ibid.
* ↑ Busby.
* ↑ The Coke papers.
# A Dictionary of Music and Musicians/Vaccaj, Nicola

[ G. ]
# A Dictionary of Music and Musicians/Valentini, Pietro

​VALENTINI, Pietro Francesco, a great contrapuntist, scholar of G. M. Nanini; died at Rome 1654. Various books of canons, madrigals, canzonets, etc., by him, were published before and after his death, of which a list is given by Fétis. His canons were his greatest achievement, and two of them are likely to be referred to for many years to come. The first, on a line from the Salve Regina, is given by Kircher (Musurgia, i. 402), and was selected by Marpurg, more than a century later (1763), as the theme of seven of his Critical Letters on music, occupying 50 quarto pages (ii. 89). He speaks of the subject of the canon with enthusiasm, as one of the most remarkable he had ever known for containing in itself all the possible modifications necessary for its almost infinite treatment—for the same qualities in fact which distinguish the subject of Bach's 'Art of Fugue' and the 'Et vitam venturi' of Cherubim's great 'Credo.'
The first subject is:—
which gives direct rise to three others; viz.—
Second subject, the first in retrograde motion.
Third subject, the first inverted.
Fourth subject, the second in retrograde.
Each of these fits to each or all of the others in plain counterpoint, and each may be treated in imitation in every interval above and below, and at all distances, and may be augmented or diminished, and this for 2, 3, 4, 5 or 6 voices. Kircher computes that it may be sung more than 3000 different ways.
The second canon—'Nel nodo di Salomo (like a Solomon's knot) a 96 voci'—consists of the common chord of G,
[ G. ]
# A Dictionary of Music and Musicians/Utrecht

[ W. B. S. ]
# A Dictionary of Music and Musicians/Valentino, Henri

​VALENTINO, Henri Justin Armand Joseph, eminent French conductor, born at Lille, Oct. 14, 1787. His father, of Italian origin, was an army-chemist, and intended him for a soldier, but his talent for music was so decided that he was allowed to follow his own bent. At 12 he was playing the violin at the theatre, at 14 was suddenly called upon to supply the place of the conductor, and henceforth made conducting his special business. In 1813 he married a niece of Persuis, the composer, on whose recommendation he became in 1818 deputy-conductor of the Opéra under R. Kreutzer, and in 1820 was rewarded with the reversion of the title of first conductor conjointly with Habeneck. The decree did not take effect till Kreutzer's resignation in 1824, when the two deputies had long been exercising the function of conductor in turn. Amongst the works produced under Valentino's direction between 1827 and 1830, maybe mentioned 'Moïse,' 'La Muette de Portici,' 'Guillaume Tell,' and 'Le Dieu et la Bayadère.' He also held from April 10, 1824, the reversion after Plantade of the post of Maitre de chapelle honoraire to the King, but this he lost by the Revolution of 1830, which also brought about changes at the Opéra. Dr. Véron, the new director, inaugurated his reign by cutting down salaries, and Valentino, determined not to sacrifice the musicians who served under him to his own interests, resigned. He soon after succeeded Crémont as chief conductor of the Opéra Comique, an enviable post which he occupied from April 1831 to April 1836. Here he produced 'Zampa,' 'Le Pré aux Clercs,' 'Le Prison d'Edimbourg,' 'Le Châlet,' 'Robin des Bois' ('Der Freischütz'), 'Le Cheval de Bronze,' 'Actéon,' and 'L'Eclair.' On the direction of all these popular works he bestowed a care, zeal, and attention to nuances beyond all praise.
On resigning the Opéra Comique, Valentino settled at Chantilly, but was soon offered the direction of the popular Concerts of classical music. Fascinated by the idea of rivalling the Concerts of the Conservatoire, and spreading the taste for high-class instrumental music, he courageously put himself at the head of the enterprise. The spot selected was the hall at 251 Rue St. Honoré, where Musard had given masked balls and concerts of dance-music, and which was now destined to hear the classical masterpieces interpreted by a first-rate orchestra of 85 players—and all for 2 francs! But the public was not ripe for classical music, and preferred the 1 franc nights and dance-music, under a less eminent conductor. The 'Concerts Valentino,' started in Oct. 1837, came to an end in April 1841, but the name of their founder remained attached to the hall where so many schemes of amusement have failed since then.
Valentino then retired to Versailles, and lived in obscurity for 24 years. He was indeed asked in 1846 to return to the Opéra, but declined. He had married again, and the last few years of his life were passed in the midst of his family and a few intimate friends. He died at Versailles Jan. 28, 1865, in his 78th year.
[ G. C. ]
# A Dictionary of the Book of Mormon/Jared (II)

​JARED. One of the most unscrupulous and bloodthirsty of the ancient Jaredites. In early life he rose in rebellion against Omer, his father, eventually dethroned him, and held him a captive for many years, while he (Jared) occupied the throne. Some of Omer's younger sons, incensed at the treatment to which their father was subjected, raised an army and totally routed the forces of the usurper. Jared was taken prisoner and only saved his life by humble submission to his father. At first he kept his promise, but his ambition would not remain dormant. He sighed and wearied for the kingly authority, until his unrest became marked by all. He had a daughter ​who shared her father's feelings, and at her instigation he sent for a friend of Omer's named Akish, through whom he hoped to regain the throne. An entertainment of some kind, by which Jared's daughter could be introduced, was given. By prearrangement with her father, she danced before Akish, and so exhibited the beauties of her person and the graces of her movements that he became desperately enamored of her. As she anticipated, Akish asked Jared to give her to him as a wife. The latter consented, but on most revolting conditions. The father and daughter had planned that the price of her hand was to be the head of her grandfather, the king. Did ever ambition conceive a more unnatural crime? Akish, though a friend of Omer, consented to the proposed terms, and to help him in his treason Jared suggested to him, again at the instance of his daughter, the plans and oaths common among the antediluvians, originally used by Cain, by which the wicked accomplished their vile and bloody purposes. He consented, Omer was driven from the throne, though by God's mercy his life was spared; Jared was again proclaimed king, and Akish became his son-in-law. Soon the latter coveted the royal dignity; possibly the woman who plotted the death of her grandfather was willing to sacrifice her father also that she might be queen; such a supposition is not improbable. At any rate, Jared was slain on his throne while giving audience to his people, by some of the members of the secret society of assassins that he had been the means of calling into existence; and Akish reigned in his stead.
# A Dictionary of the Book of Mormon/Jaredites

​JAREDITES, THE. The descendants of Jared and his associates, who were led by the power of God from the Tower of Babel to this continent. Here they became one of the mightiest of nations, and flourished in a manner unsurpassed in the history of the post-deluvian races, until they fell into decay through corruption and iniquity and were ultimately destroyed in a desolating internecine war, at the end of which but one man, Coriantumr, remained as the representative of this once mighty people. The destruction of the Jaredites took place, as nearly as can be gleaned from the record, about the same time as the Nephites reached this land, (say B. C. 590.)
# A Dictionary of the Book of Mormon/Jacob (III)

​JACOB. In the years just previous to the fall of the Nephite commonwealth, (A. C. 30) a relentless persecution was waged against the followers of Christ, when many of the believers, under the color of the law, were unjustly put to death. But though executed by order of the corrupt courts, the proceedings were in the highest degree illegal, as it was contrary to the Nephite law for any prisoner to be put to death unless the warrant therefor had first been signed by the chief governor of all the land. Contrary to the provision of this statute, ​the persecutors of the saints, feeling strong in their numbers and influence, set the law at open defiance, and continued to condemn and execute the Christians. Among those conspicuous for this revengeful and illegal course, was a man of much influence among the corrupt and degraded majority, whose name was Jacob.
The cry of these infamies reached the chief judge, but when he expostulated the offenders treated his requirements with contempt, and broke out in open rebellion, associating themselves together by the same unholy oaths and covenants that had beforetime done so much towards destroying the nation. In these traitorous movements Jacob made himself conspicuous.
The leaders in these conspiracies determined to overthrow the republic and establish a monarchy. To this end the chief judge was assassinated and Jacob proclaimed king.
The result was not as successful as the royalists anticipated. The majority of the people would not be ruled by a king. They preferred rather to break up into numerous tribes, each with its own chieftain and internal regulations; but all these tribes of the people united in their objections to the proclamation of a monarchy.
Jacob, who had with him the majority of the most vile and corrupt of the nation, those who had been most officious and relentless in persecuting the servants of God, did not despair. He imagined that in course of time he would be so greatly strengthened by dissatisfied members of the tribes that he would eventually be able to conquer them and establish his supremacy. For the present he determined to remove, with those who recognized his authority, to the northernmost part of the land, there consolidate his power and found his kingdom. So ably did he carry his intentions into effect that the tribes Were unable to arrest his movements. ​Arrived at the chosen land, Jacob and his people laid the foundation of a magnificent city, to which was given the name of Jacobugath (A. C. 31). His subjects were mostly rich, and their material progress was remarkable, but they exceeded in vice, in depravity, in corruption, all the inhabitants of the continent. Their history is a short one. In the terrible convulsions of nature that marked the sacrifice of the Lord of Life and Glory, Jacobugath, with many other Nephite cities, was entirely consumed by fire. (A. C. 34.) Its population of traitors and murderers was destroyed, that the blood of the prophets and the saints should not come up unto God any more against them. If Jacob was yet alive he undoubtedly perished at this time with his people.
# A Dictionary of the Book of Mormon/Jacobites

​JACOBITES. One of the divisions of the Nephite people. They were the descendants of Jacob, the son of Lehi.
# A Dictionary of the Book of Mormon/Jared

​JARED. The founder of the Jaredite race. He was apparently, one of those engaged in the building of the Tower of Babel. It is presumable that he was a descendant of Shem, as he, and most certainly his brother, held the holy priesthood. We are inclined to believe, from the brief narrative in the Book of Ether, that Jared's brother was the leading spirit of the colony that accompanied these brothers on their toilsome journey to this continent. Of Jared's private character we are told but little, but he appears to have been more conservative, more pliable and less energetic than his brother. The race was named after him, we presume, because one of his sons, Orihah, became its first king, and Jared's thus became the royal family. Jared had four sons and eight daughters: the names of his sons were Jacom, Gilgah, Mahah, and Orihah. Jared lived to a great age. He died and was buried in the land of Moron. (For particulars of the journey of Jared and his people see Jared, Brother of.)
# A Dictionary of the Book of Mormon/Jacob (IV)

​JACOB. The Bible patriarch of that name. Individually he is seldom referred to in the Book of Mormon, but the Israelites are frequently spoken of as the seed or the house of Jacob, and the Lord as the God of Jacob; while the promise is made on several occasions to the righteous that they shall sit down with Abraham, Isaac and Jacob in the kingdom of heaven.