OpenLLM-France/wikimedia huggingface dataset:
# A Dictionary of Music and Musicians/Daughter of St. Mark, The

From volume 1 of the work.
​DAUGHTER OF ST. MARK, THE. An opera in 3 acts, founded on 'La reine de Chypre,' words by Bunn, music by Balfe; produced at Drury Lane Nov. 27, 1844.
# A Dictionary of Music and Musicians/Danneley, John

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

From volume 1 of the work.
[ C. F. P. ]
# A Dictionary of Music and Musicians/Hensel, Fanny

From volume 1 of the work.
​HENSEL, Fanny Cecile, the eldest of the Mendelssohn-Bartholdy family, born at Hamburg Nov. 14, 1805, and therefore more than 3 years older than her brother Felix. She was regularly instructed in music, and Mendelssohn used to say that at one time she played better than he. (See also Devrient, Recoll, p. 3). Oct. 3, 1829, she married W. Hensel, a painter, of Berlin (1794–1861 ), and on May 17, 1847, died suddenly. Her death shook her brother terribly, and no doubt hastened his own, which happened only 6 months later. Felix's letters show how much he loved her, and the value which he placed on her judgment and her musical ability. He called her 'the Cantor.' 'Before I can receive Fanny's advice,' says he, 'the Walpurgisnight will be packed up … I feel convinced she would say "Yes," and yet I feel doubtful' (Letter, April 27, 1831). 'Fanny may add the second part,' says he, in sending a Song without words (Dec. 11, 1830). Again, 'I have just played your Caprices … all was unmixed delight' (Jan. 4, 40). Still, indications are not wanting of certain over-earnestness, not to say pedantry, which was occasionally too severe for her more plastic brother. (See Letter, April 7, 34, on Melusina; 'Goethe and Mendelssohn,' p. 47, etc.)
Six of her songs were published with his without indication, viz. Op. 8, Nos. 2, 3, 12; Op. 9, Nos. 7, 10, 12. She also published in her own name 4 books of melodies and Lieder for P.F. solo; 2 ditto of songs for voice and P.F.; 1 ditto of Part-songs—'Gartenlieder' (republished by Novello 1878); and after her death a few more songs and P.F. pieces were printed, and a Trio for P.F. and Strings in D, reaching in all to op. 11. For her letters, journals, and portrait see 'Die Familie Mendelssohn,' by S. Hensel (Berlin 1879).
She is buried in the Mendelssohn portion of the Friedhof at the Hallethor, Berlin, and a line of her music is engraved on the tombstone:—
[ G. ]
# A Dictionary of Music and Musicians/Her Majesty's Theatre

​HER MAJESTY'S THEATRE. See King's Theatre.
# A Dictionary of Music and Musicians/Hermann, Jacob Z.

From volume 1 of the work.
​HERMANN, Jacob Z. See Zeugheer.
# A Dictionary of Music and Musicians/Henstridge, Daniel

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

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

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

From volume 1 of the work.
​HENSELT, Adolph, born May 12, 1814, at Schwabach in Bavaria, and since 1838 resident at St. Petersburg, had lessons from Hummel, but can hardly be called Hummel's disciple, since his method of treating the pianoforte differs as much from Hummel's as our concert-grands differ from the light Viennese instruments of 1820. Henselt's ways at the keyboard may be taken as the link between Hummel's and Liszt's; that is to say, with Hummel's strictly legato touch, quiet hands and strong fingers, Henselt produces effects of rich sonority something like those which Liszt gets with the aid of the wrists and pedals. But as such sonority, apart from ​any rhythmical accentuation, depends in the main upon the widespread position of chords and arpeggii, the component notes of which are made to extend beyond the limits of an octave, Henselt's way of holding the keys down as much as possible with the fingers, over and above keeping the dampers raised by means of the pedals, does not seem the most practical; for it necessitates a continuous straining of the muscles such as only hands of abnormal construction or fingers stretched to the utmost by incessant and tortuous practice can stand. We have the testimony of Mendelssohn that his speciality in 1838 was 'playing wide-spread chords, and that he went on all day stretching his fingers over arpeggios played prestissimo.' And even up to the present time, he is said to waste an hour daily upon mere Dehnungs-studien, i.e. studies of his own invention for extending the stretch of the hand, and training the fingers to work independently. Nevertheless, be his method of touch needlessly cumbrous or not, if applied to effects à la Chopin and Liszt, the result under his own hands is grand; so grand indeed, that though his appearances in public have been fewer than those of any other celebrated pianist, he has been hailed by judges like Robert Schumann and Herr von Lenz as one of the greatest players. His representative works are two sets of twelve Etudes each, op. 2 and 5, which, though not so surprisingly original, deserve to be ranked near Chopin's, inasmuch as they are true lyrical effusions of considerable musical value, over and above their setting forth some specially characteristic or difficult pianoforte effect. Henselt has also published a Concerto (in F minor op. 16), likely to survive, a trio, stillborn, and a number of smaller salon pieces, like 'Frühlingslied,' 'Wiegenlied,' Impromptu in C minor, 'La Gondola,' etc.—gems in their way.
[ E. D. ]
# A Dictionary of Music and Musicians/Herculanum

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

From volume 1 of the work.
​HENSCHEL, Georg, born Feb. 18, 1850, at Breslau, made his first appearance as a pianist at 12 years of age. In 1867 he entered at the Leipzig Conservatorium under Moscheles, Richter and Gotze. His next move, in 1870, was to Berlin, where he studied composition under Kiel and singing under Adolph Schulze. Since that date Heir Henschel's reputation as a concert singer has been steadily increasing. His voice is a baritone of great power, richness, and compass. His style is pure, his repertoire large, and he is always conscientious and loyal to the composer. His own compositions are numerous and varied, embracing solo and part songs; choruses; a gipsy serenade with orchestra; a serenade for stringed orchestra in canon form; the 130th Psalm for solos, 5-part chorus, and orchestra (op. 30).
Mr. Henschel made his first appearance in England Feb. 19, 1877, and has now (1879) taken up his residence here.
[App. p.671 "Additions will be found under Symphony Orchestra, vol. iv. 43, and Boston Musical Societies, Appendix, vol. iv. p. 555. In the winter of 1885–6 Mr. Henschel started a series of sixteen concerts, called the London Symphony Concerts, at which he appeared as conductor for the first time in England. An interesting feature of the series was that each programme contained a composition by a living English composer, many of whom were introduced to the public for the first time in this way. From Easter 1886 to Easter 1888 he was Professor of Singing (vice Mme. Goldschmidt), at the Royal College of Music, London. [ M. ]"]
[ G. ]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Hayward (Bernard)

​HAYWARD (BERNARD), (?) bookseller in Manchester, 1643. Only known from the imprint to a pamphlet entitled Manchester's Joy for Derbie's overthrow … Printed for Bernard Hayward, 1643.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Harward, or Haward (Humphrey)

​HARWARD, or HAWARD (HUMPHREY), bookseller in London; George on Ludgate Hill over against Bell-Savage, 1647-8. Publisher of political pamphlets, notably a series issued in 1648 by the Dissenters, of which the following was the most important: Reasons presented by the Dissenting Brethren against certain propositions concerning Presbyteriall Government … London, Printed by T. R. and E. M. for Humphrey Harward … 1648, 4$^o$.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Hayes (John)

​HAYES (JOHN), printer in London; Little Wood Street, 1658-66. Possibly a descendant of Lawrence Hayes, who was publishing up to 1637. [Arber, v. 241.] He was one of the eleven printers who in 1660 or 1661 drew up a petition for the incorporation of printers into a body distinct from the Company of Stationers. [Plomer, Short History, p. 200.] In 1662 Sir R. L'Estrange seized several books at the office of this printer, a list of which is extant. John Hayes was ruined by the Great Fire of 1666. [Ibid., 202 and 225.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Head (Richard)

​HEAD (RICHARD), author and bookseller; The Heart and Bible in Little Britain, 1666-7. Born in Ireland about 1637. His father is believed to have been John Head, B.A., New Inn Hall, 1628, who became a nobleman's chaplain and was killed in Ireland by the rebels in 1641. Richard and his mother, after many sufferings, reached England, and Winstanley says that after studying for a short time at Oxford at the same hall as that from which his father had graduated, Richard Head was apprenticed to a Latin bookseller in London, and that he afterwards married and set up for himself. He gives no dates, but makes these events occur before the publication of Head's first work, the play of Hic et Ubique, which was written in Ireland and printed in London in 1663, that is before he was twenty-two years of age. There is no confirmation of this story. The earliest date at which Richard Head's name is found in the imprint of a book is the year 1666, when he issued Saml. Hieron's Fair Play on both sides. 4$^o$. [B.M. 1077, h. 71 (4).] In the same year Richard Head and Francis Kirkman jointly issued a book of jests entitled Poor Robin's Jests, of which a copy is noted by Hazlitt. In the Luttrell Collection is a broadside dated 1667 entitled The Citizens Joy for the re-building of London, which was also one of Head's publications. His career as a bookseller was a short one, as he was a great gambler and was ruined by losses at play. He is said to have been drowned in 1686 when crossing to the Isle of Wight. Head is chiefly remembered as the author of The ​English Rogue in which a thief's career is set forth. The work became popular, and Francis Kirkman issued several additions to it, until its author began to doubt whether he would ever make an end of pestering the world with them. [Head (R), Proteus Redivivus: Epistle Dedicatory.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Hatfield (Richard)

​HATFIELD (RICHARD), bookseller (?) in London, 1647. Only known from the imprint to the following pamphlet: A Declaration from the Right Honourable, the Lord Major, Aldermen, and Commons of the City of London, Presented to His Excelleney [sic] Sir Thomas Fairfax … Imprinted at London for Richard Hatfield, 1647. [b.m E. 401 (11).]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Heath (Thomas)

​HEATH (THOMAS), bookseller in London; Russell Street, neere the Piazza of the Covent Garden, 1651-54. Issued an edition of Sidney's Arcadia, 1651; Ed. Chamberlayne's Rise & Fall of … the Count Olivares, 1652, and a few plays.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Heathcoat, or Heathcote (Nathaniel)

​HEATHCOAT, or HEATHCOTE (NATHANIEL), bookseller in London; Gilded Acorn in St. Paul's Churchyard, 1656. Only known from the imprint to the following pamphlet: Stephens (Nath.), Plain and easie calculation, 1656. [Harl 5965 (158).]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Hebb (Andrew)

​HEBB (ANDREW), bookseller in London; Bell in St. Paul's Churchyard, 1625-48. Took up his freedom June 22nd, 1621. [Arber, iii. 685.] On May 6th, 1625, all the copyrights and parts belonging to Thomas Adams were transferred to Andrew Hebb. Andrew Hebb died October 28th, 1648, "of a dropsie." [Smyth's Obituary, p. 26.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Helder (Thomas)

​HELDER (THOMAS), bookseller in London; Angel in Little Britain, 1666-85. In 1667 he issued an edition of a very popular book of humour called Wits Recreations, or Recreations for Ingenious Headpieces, but he is chiefly remembered as one of the booksellers whose name appeared on the 1669 title-page of Paradise Lost. His name is first met with in the Hearth Tax Roll for the half-year ending Lady Day, 1666, where he is returned as having three hearths. [P.R.O. Lay Subsidy, 252/32.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Hearne, Herne, or Heron (Richard)

​HEARNE, HERNE, or HERON (RICHARD), printer in London; neer Smith-Field, 1632-46. Probably one of Adam Islip's apprentices, for that printer at his death in 1639 left Richard Hearne his "printing presses, letters and implements used for printing," besides a sum of £100. [P.C.C. 151, Harvey.] Hearne had taken up his freedom February 6th, 1632, and his first book entry in the Registers of the Company was T. Heywood's Pleasant Dialogues, entered on August 29th, 1635. [Arber, iii. 687; iv. 347.]
# A Dictionary of Music and Musicians/Erbach, Christian

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

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

From volume 1 of the work.
​ERNANI. Italian opera in 4 acts, by Verdi, founded on the Hernani of Victor Hugo; produced at Venice in March 1844. On its production at the Théâtre-Italien, Paris—Jan. 6, 1846—the libretto was altered in obedience to the wish of Victor Hugo. The personages were changed from Spaniards to Italians, and the name of the piece was altered to 'Il Proscritto.' In England Ernani was first played at Her Majesty's Theatre, March 8, 1845.
# A Dictionary of Music and Musicians/Erba, Don Dionigi

From volume 1 of the work.
​ERBA, Don Dionigi, a much esteemed composer of Milan at the end of the 17th century. Like Marcello and Astorga he was of noble birth, and appears never to have filled any office. The title of Don given him by Quadrio, and that of 'R$^d$' mentioned below, show that he was in holy orders. In 1694 he took part with Valtellina in the composition of the opera of Arion, and in 1695 with Besozzi and Battestini in that of Artemio. But Erba's interest to us lies in the fact that he is not improbably the composer of a Magnificat for 3 choirs, from which Handel borrowed more or less closely for several pieces in the second part of Israel in Egypt. A complete copy of this work, entitled 'Magnificat. Del R$^d$ Sgr. Erba,' is in the library of the Sacred Harmonic Society, and a partial one (ending in the middle of a sheet), in Handel's writing, without title or date, in Buckingham Palace. Opinions are divided as to whether it is an original composition of Handel's Italian time (1707–10), or of Erba. In favour of the former are Mr. Schœlcher and Professor Macfarren (Preface to Israel in Egypt for the S. H. S.). It is obvious that but for the existence of the MS. by Handel the question would never have been raised. The whole evidence is examined at great length and pains by Dr. Chrysander (Handel, i. 168–178), whose conclusion is strongly in favour of its being Erba's. He shows that the date of Handel's MS. is probably 1735–40 (Israel was 1738); that it has marks of being a copy and not an original composition; that the paper is not Italian, but the same with that used for his English works; and that the style of the music differs materially from Handel's style whether early or late. In addition it might be urged that it is extremely improbable that in a copy of a work of Handel's his powerful name would be displaced on the title in favour of the insignificant one of Erba.
The pieces in which the Magnificat is employed are, according to Mr. Macfarren, as follows:—
The Lord is my strength.  He is my God.  The Lord is a man of war.  The depths have covered them.  Thy right hand, Lord.  Thou sentest forth thy wrath.  And with the blast.  The earth swallowed them.  Thou in Thy mercy.
[ G. ]
# A Dictionary of Music and Musicians/Ernst, Heinrich

From volume 1 of the work.
​ERNST, Heinrich Wilhelm, celebrated violin-player, was born at Brünn in Moravia in 1814. As a pupil of the Vienna Conservatoriun he had Böhm for his master on the violin, and studied counterpoint and composition under Seyfried. He afterwards received instruction from Mayseder, and soon achieved great proficiency on his instrument. When sixteen he made his first tour and played with much success at Munich, Stuttgart and Frankfort. At that time Paganini was travelling in Germany, and Ernst, greatly fascinated by this extraordinary artist, followed him from town to town in order to become familiar with the peculiarities of his style and technique. Towards the end of 32 he went to Paris, and lived there for six years, studying and repeatedly playing in public. Between 1838 and 44 he travelled over a great part of Europe, meeting everywhere with enormous success. On his appearing in Leipzig Schumann greeted him with one of those genial criticisms which are so characteristic of him ('Gesammelte Schriften,' Jan. 14, 1840.) On April 15, 1844 he made his first appearance at the Philharmonic, after which he regularly came to London for the season and soon settled there entirely. After some years however his health began to fail, and he had to give up playing in public. He died at Nice October 8, 1865, after a painful and protracted illness. Ernst's playing was distinguished by great boldness in the execution of technical difficulties of the most hazardous character. At the same time his cantilène was full of deep feeling, and his tone had a peculiar charm. The warm impulsive nature of the man was reflected in his fiery passionate style. But it must not be supposed that he was a mere virtuoso. Ernst was a thorough musician, and although critics have found fault with his reading of classical music, on the other hand very competent judges have pronounced him to have been an excellent quartet-player.
[ P. D. ]
# A Dictionary of Music and Musicians/Escudier, Marie et Léon

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

[ M. ]
# A First Series of Hymns and Songs/Catholic Hymns/The last Farewell

38. The last Farewell. (A Hymn on Death.)
Come, my soul, and let us dwell
On each lingering last farewell,
Which at no far distant day
Thou perforce wilt have to pay
To whatever here below
Shall have made thy joy or woe.
Fare ye well—I hear thee sigh—
Fare ye well, O earth and sky! Morning's golden tissued ray,
Changing hours of night and day,
Wood and valley, sea and shore,
I may see your face no more!
Fare ye well, affections vain.
Full of pleasure, full of pain;
Home and friends and kindred dear,
All that was my comfort here;
My poor eyes are closing fast,
Now I look on you my last.
Dimmer, dimmer grows the light!
Now 'tis thick descending night! Oh, when next again I see,
What a sight awaiteth me!
Speechless standing, all alone,
Right before the judgment throne.
# A First Series of Hymns and Songs/Descriptive Songs/A Narrow Brooklet

50. A Narrow Brooklet.
A narrow brooklet ill befits
The ship in gallant trim,
When bound across the ocean waves,
With precious freight to swim.
So, too, the heart confined to earth
A stranded object lies,
Meant by its Maker to maintain
Communion with the skies.
Oh, my poor bark, so long aground,
Expand thy drooping sail,
Forsake this narrow inland coast,
And catch the open gale.
It ill becomes thine origin,
Thy destiny sublime,
To stay immers'd in vanities
Upon the shore of time.
Let not a shallow earthly pool
That noble keel detain;
'Tis bound with precious freight to cross
Th' illimitable main.
# A First Series of Hymns and Songs/Catholic Hymns/St. Aloysius

18. St. Aloysius. (June 31st.)
Dear Saint, who on thy natal day
To Mary's tender care was given,
And did beneath her gentle sway
Almost unsinning pass to heav'n:
Sweet flower which lov'd to bloom unknown,
A Saint 'mid worldly pomp and pride;
Who at the footstep of a throne
Knew nought but Jesus crucified:
Blest youth, who cast a crown away,
To be with Christ despis'd and poor;
Teach us to walk our humble way,
Content, though little be our store.
May no repining fill our breast
Amid the ills of poverty;
Oh, make us feel that we are blest,
To be thus poor with Christ and thee!
Teach us like thee to shrink from sin,
Like thee to love sweet purity;
That we from Mary's heart may win
The love she once bestow'd on thee.
Thus safe beneath her gentle sway,
Oh, may the grace to us be giv'n,
To pass from earth some happy day,
And join thee in the courts of heav'n.
# A First Series of Hymns and Songs/Descriptive Songs/A-Hunting we will go

From Fielding's play Don Quixote in England.
22. A-Hunting we will go.
The dusky night rides down the sky,
And ushers in the morn;
The hounds all join in glorious cry,
The huntsman winds his horn.
Chorus—Then a hunting we will go, &c.
Sly Reynard, he like lightning flies,
His cunning's wide awake;
To gain the race he eager tries,
His forfeit life the stake.
When a hunting we do go, &c.
​Away he goes, he flies, the rout
Their steeds all spur and switch;
Some are thrown in, and some thrown out,
And some lie in the ditch.
But a hunting we will go, &c.
But now his strength to faintness worn,
The hounds have seized their prey;
Then hungry, homewards we return,
To hunt another day,
When a hunting we will go, &c.
# A First Series of Hymns and Songs/Catholic Hymns/St. Anne, Mother of the B. V. Mary

19. St Anne, Mother of the B. V. Mary. (July 26th.)
Spotless Anna, Juda's glory,
Through the Church from east to west
Every tongue proclaims thy praises,
Holy Mary's mother blest!
Saintly kings and priestly sires
Blended in thy sacred line;
Thou in virtue all before thee
Didst excel by grace divine.
Link'd in bonds of purest wedlock,
Thine it was for us to bear,
By the favour of high heaven,
Our immortal Virgin star.
From thy stem in beauty budded
Ancient Jesse's mystic rod;
Earth from thee received the mother
Of the eternal Son of God.
All the human race benighted
In the depths of darkness lay,
"When in Anne it saw the dawning
Of the long-expected day.
# A First Series of Hymns and Songs/Catholic Hymns/The Holy Name of Jesus

8. The Holy Name of Jesus.
Jesu, the very thought of thee
With sweetness fills my breast;
But sweeter far thy face to see,
And in thy presence rest.
​Nor voice can sing, nor heart can frame,
Nor can the memory find,
A sweeter sound than thy blest Name,
O Saviour of mankind.
O Jesu, thou the beauty art
Of angel worlds above;
Thy Name is music to the heart,
Enchanting it with love.
O hope of every contrite soul,
O Joy of all the meek,
How kind art thou to those who fall,
How good to those who seek!
But what to those who find? ah, this
Nor tongue nor pen can shew:
The love of Jesus, what it is,
None but his lov'd ones know.
O Jesu, spotless Virgin flower,
Our life, our joy, to thee
Be praise, beatitude, and power
Through all eternity.