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

From volume 2 of the work.
​MONTICELLI, Angelo Maria, was born at Milan about 1710. He first appeared in opera at Rome in 1730, and, having a beautiful face and figure, began in that city, where no women were then allowed upon the stage, by representing female characters. His voice was clear and sweet, and singularly free from defects. 'He was,' says Burney, 'a chaste performer, and … a good actor.' In 1731 and 32 he appeared at Venice with Carestini, Bernacchi, and Faustina. He came to London in the autumn of 1741, and made his début here in the pasticcio 'Alessandro in Persia.' In the beginning of 1742, after other attempts, another opera was brought out by Pergolese, called 'Meraspe, o L'Olimpiade,' the first air of which, 'Tremende, oscuri, atroci,' in Monticelli's part, was sung for ten years after the end of the run of this opera; and 'the whole scene, in which "Se ceroa se dice" occurs, was rendered so interesting by the manner in which it was acted as well as sung by Monticelli that the union of poetry and music, expression and gesture, have seldom had a more powerful effect on an English audience' (Burney).
He continued to perform in London through 1743; and in 1744 he sang, in 'Alfonso,' songs of more bravura execution than he had previously attempted. During 1745 and 1746 Monticelli still belonged to our Opera; and in the latter year he sang in Gluck's 'Caduta de' Giganti,' and described one of his songs as an 'aria Tedesca' from the richness of the accompaniment. The 'Antigono' of Galuppi (produced May 13) was the first opera in which Monticelli appeared on our stage. He sang at Naples with la Mingotti in the same year, and afterwards at Vienna. In 1756 Hasse engaged him for the Dresden Theatre; and in that city he died in 1764.
[ J. M. ]
# A Dictionary of Music and Musicians/Moonlight Sonata

From volume 2 of the work.
​MOONLIGHT SONATA. An absurd title which for years has been attached both in Germany and England to the Sonata quasi una fantasia in C♯ minor, the second of the two which form together Beethoven's op. 27. It is dedicated to the 'Damigella Contessa Giulietta Guicciardi.' The title is said to have been derived from an expression of Rellstab the criticcomparing the first movement to a boat wandering by moonlight on the Lake of Lucerne. In Vienna it is sometimes known as theLaubensonate, from a tradition that the first movement was composed in the leafy-alley (Laubengang) of a garden.
Op. 27 was published—'for the harpsichord or pianoforte'—in March 1802. Its dedication, on which so much gratuitous romance has been built, appears from the statement of the countess herself to have been a mere accident. [See vol. i. 181a.] Beethoven, perhaps in joke, laughed at its popularity, and professed to prefer the Sonata in F♯ minor (op. 78). [See vol. i. 188a.]
* ↑ Lenz, Beethoven et ses trois styles, i. 225.
* ↑ Lenz, B. eine Kunststudie, Pt. 2, 79.
# A Dictionary of Music and Musicians/Mooser, Aloys

From volume 2 of the work.
[ G. ]
# A Cyclopaedia of Female Biography/Hayes, Catharine

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HAYES, CATHARINE,
Is a public singer, celebrated for her full rich soprano voice, and her power of giving unrivalled effect to the pathetic ballad music of her native country, Ireland, where she was born about the year 1820, in the town of Limerick. She was of humble parentage, and her musical powers developed themselves very early, gaining for her friends and patrons who undertook the charge of procuring for her the necessary instructions. In 1839 she was placed under the care of Signor Sapio, of Dublin; here she remained three years, occasionally singing at public concerts, always with a manifest increase of power and musical proficiency. At about the end of this period Grisi and Mario visited Dublin, and Miss Hayes, who heard them in "Norma," at once determined to give her attention to the lyric drama. She went to Paris, and studied under Emmanuel Gracia, the instructor of Malabran and Jenny Lind. Here she remained for about eighteen months, and then by the advice of her teacher, repaired to Milan, and placed herself under the tuition of Signor Renani, in order to acquire the dramatic facility necessary for her chosen career. In 1846 she made her debût at the opera house of Marseilles; her success was most decided, and she was offered an engagement, which she accepted, as primæ donna at La Scala, in Milan. On her first appearance there the enthusiasm caused by her singing was such, that she was called twelve times before the curtain. From Milan she went, in 1846, to Vienna, and the year after to Venice; thence through the principal Italian cities, making everywhere the same favourable impression, which was confirmed on her appearance in London, in 1849.
In 1851 Miss Hayes visited America, and remained for a time in California, gathering golden opinions, and the more substantial ore itself. In 1855 we hear of her at the Sandwich Islands, and at a later period in Australia and British India, so that her musical tour is as extensive as it is, no doubt, profitable. Miss Hayes is thought to be greatest in tender and pathetic characters, such as those of the Linda and Lucia of Denizetta. Before her appearance no Irishwoman had ever reached the higher flights of the operatic muse.
# A Cyclopaedia of Female Biography/Helena, of Monobasus

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HELENA,
Wife and sister of Monobasus, King of Adiabena, and mother of Irates, the successor of Monobasus, flourished about the year 50. Though Irates was one of the younger sons of the king, yet, being his favourite, he left the crown to him at his death. In order to secure the throne to him, the principal officers of the state proposed to put those of his brothers to death who were inimical to him; but Helen would not consent to this. Helen and Irates were both converts to the Jewish faith. When Helen saw that her son was in peaceable possession of the throne, she went to Jerusalem to worship and sacrifice there. When she arrived in that city, there was a great famine prevailing there, which she immediately exerted herself effectually to relieve, by sending to different places for provisions, and distributing them among the poor. After the death of Irates, Helen returned to Adiabena, where she found that her son Monobasus had succeeded to the throne; but she did not long survive her favourite son Irates.
# A Cyclopaedia of Female Biography/Hedwig, Amelia von

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HEDWIG, AMELIA VON,
One of the most celebrated German poetesses, was born at Weimar, August 16th., 1776. Her maiden name was Von Imhoff. When ​only eight, she could speak English and French as readily as her own tongue; and her talent for poetry had already begun to develop itself. When she was twelve she lost her father; and the lady who took charge of her kept her so constantly occupied, that she had no time for writing. She was about fourteen when she went to live at Weimar, where she became acquainted with several of the most celebrated poets of the time. Schiller, happening to see a poem of hers, invited her to his house at Jena, where she became acquainted with Goethe. She was afterwards appointed Lady of the court at Saxe Weimar, where she was married to Lieutenant-General Von Hedwig. Madame Von Hedwig was a poetess of the higher order, one whom Goethe praised for her true Parnassian inspirations. At his request she composed the "Legend of the Three Wise Men of the East," a romance in twelve cantos. She also wrote a number of legends, all displaying great poetic genius; while her lyrics, her patriotic songs, and her idyls, have added many a leaf to her wreath. She was a fertile prose writer, and also translated several works from the Swedish. William Howitt says of this popular author, "Her well-known Saga of the Wolfsbrunnen near Heidelberg, was taken bodily possession of by Grattan, author of 'Highways and Byways,' who lived for some time near the scene of the Saga. His 'Legend of the Wolfsbrunnen' is literally that of Madame Von Hedwig, except that he has inverted her story, putting her first part second, and the second first." Nor is Mr. Grattan the first man who has stolen from the literature of female writers, the plots, ideas, and even whole productions, that have made his best title to fame.
# A Cyclopaedia of Female Biography/Helena, St.

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HELENA, ST.,
The Empress, mother of Constantine, and one of the saints of ​the Roman Catholic communion, owed her elevation to her beauty. She was of obscure origin, born at the little village of Drepanum, in Bithynia, where we hear of her first as a hostess of an inn. Constantius Chlorus saw her, fell in love with her, and married her; but, on being associated with Dioclesian in the empire, divorced her to marry Theodora, daughter of Maximilian Hercules. The accession of her son to the empire drew her again from obscurity; she obtained the title of Augusta, and was received at court with all the honours due to the mother of an emperor. Her many virtues riveted the affection of her son to her, yet she did not hesitate to admonish him when she disapproved his conduct.
When Constantine embraced Christianity she also was converted; and when nearly eighty, went on a journey to the Holy Land, where she is said to have assisted at the discovery of the true cross of Christ, reported by zealous devotees to have been accompanied by many miracles. She died soon after, in the year 828, at the age of eighty. Helena left proofs, wherever she went, of a truly Christian liberality; she relieved the poor, orphans, and widows; built churches, and shewed herself, in all respects, worthy the confidence of her son, who gave her unlimited permission to draw on his treasures. At her death he paid her the highest honours, had her body sent to Rome to be deposited in the tomb of the emperors, and raised her native village to the rank of a city, with the name of Helen polls. She shewed her prudence and political wisdom by the influence she always retained over her son, and by the care she took to prevent all interference of the half-brothers of Constantine—sons of Constantius Chlorus and Theodora, who, being brought into notice by the injudicious liberality of the emperor, were massacred by their nephews as soon as they succeeded their father in the empire.
The true British name of this excellent princess was Tiboen; that of Helena, or "the pitiful," was given to her by the Romans, on account of her compassionate disposition. Drayton says—
"Of all the Christian world, that empress most renowned, Constantius' fair wife."
# A Cyclopaedia of Female Biography/Hendel-Schütz, Henrietta

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HENDEL-SCHÜTZ, HENRIETTA.
This celebrated woman, in whom her native country recognises one of its first tragic actresses, and her age the greatest pantomimic artist, was the daughter of the eminent tragedian, Schüler. From her fourth year, she received instruction in declamation and dancing. In the latter art she was so accomplished, even when a child, that she was engaged for the ballet of the Berlin Royal Theatre, of which her father was a member. The celebrated Engel, at that time director of the Berlin Theatre, seems to have duly appreciated her rare talents, for he took her to his house, and instructed her in history, mythology, versification, languages, and declamation. In her sixteenth year, she united herself to the excellent tenor-singer, Eunike, in Berlin, and both were engaged, first at the Prince's Theatre, at Maintz, then at Bonn. There she was undoubtedly ​prima donna. In the year 1792, they were invited to Amsterdam, where the new German theatre opened for the first time, (November 11th., 1793,) with Kotzebue's drama, "The Indians in England." She performed the part of Gurii, and the audience was enraptured. The French Revolutionary war, which seemed to threaten Holland soon put an end to the German theatre. Mrs. Eunike, therefore left Amsterdam, and went to Frankfurt-on-the-Maine, in October 1794. There her talent for pantomime was awakened by the celebrated painter, Pfarr. He showed her, among others, Rehberg's plates of the attitudes of Lady Hamilton; also some drawings of William Fischbein, a German, in Naples. After these models she studied the art of pantomime; but she spent twelve years in practising, before she ventured on a public exhibition. It is generally acknowledged, that the Hendel-Schütz has much enlarged and elevated this art.
This lady was the wife of no less than four husbands, the last having been Mr. Schütz, Professor of the Fine Arts in the University at Halle, which being closed by Napoleon, Professor Schütz exchanged the academical course for the theatrical profession, and acquired, both in tragedy and comedy, an honourable place among the German dramatic artists. Mr. and Mrs. Schütz did not limit themselves to the principal cities of Germany, but visited also Russia, Sweden, and Denmark, and their fame spread far and wide. In the summer of 1819, they went to Paris, where the pantomimic talent of Mrs. S. was acknowledged in the most select circles by competent judges. They settled afterwards in Halle, where Mr. S. was again engaged as professor. The general conclusion is, that Mrs. Hendel-Schütz, as a pantomimic artist, stands unrivalled in Germany.
# A Cyclopaedia of Female Biography/Helena, Ap Eudda

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HELENA, AP EUDDA,
Was, like her relative and namesake, St. Helena, one of the earliest patrons of Christianity in Britain. She was the daughter of Eudda, or Octavius, as the Romans called him, Duke of the Wiccii, or people of Worcester, who having married Guala, sister of St. Helena, received with her as a bridal dowry the kingdom of North Wales. The hand of the Princess Helena, with the reversion of these possessions, was bestowed on Maximus, a Roman general and senator, nearly allied to the imperial family by his mother's side, and being a son of the British King Llewelyn.
Maximus, afterwards, in the year 888, assumed to himself the dignity of Emperor of Spain, Gaul, and Britain, of whose people he seems to have had the willing allegiance. By him St. Martin, when he was diffusing the light of Christianity throughout Gaul, was received with every demonstration of respect and honour, and the beautiful Helena, now Empress of the West, insisted on waiting on the holy man, and sat at his feet listening to the precious truths of which he was the bearer. According to Sulpicious ​Severus—"The queen on this occasion ministered like Martha, and heard like Mary."
When a reverse of fortune took place, and Maximus, conquered by Theodosius, Emperor of the East, fell a victim to popular fury at Aquileia, Helena was in Britain, and the spot where she received the tidings of her husband's death is still pointed out by the Welsh people, in the beautiful vale of Festinivy, where the springs called Fynnon Helen are said to have sprung from her tears.
# A Cyclopaedia of Female Biography/Helena, daughter of Constantine the Great

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HELENA,
Daughter of Constantine the Great and of Fausta, was given in marriage, by her brother Constantius, to her cousin Julian, when he made him Caesar at Milan, in 355. She followed her husband to his government of Gaul, and died in 359, at Vienna.
# A Cyclopaedia of Female Biography/Helvetius, Madame

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HELVETIUS, MADAME,
Was daughter of Compte Lignville, and married, in 1751, Claude Adrien Helvétius, who afterwards became celebrated for his talents. Madame Helvétius was very beautiful and accomplished. Being the niece of Madame Graffigny, by whom she was brought up, she ​had been educated with great care. Helve'tins was passionately fond of his wife, and after their marriage they lived chiefly in retirement at Voré, enjoying the pure pleasures of domestic life. After his decease, which occurred in 1771, Madame Helvétius removed to Auteuil, where her house became the resort of the most distinguished literati and artists of the time. Among other great men. Dr. Benjamin Franklin was a frequent visitor and a warm friend of Madame Helvétius. She was then far advanced in years; but her good sense, cheerful kindness, and highly cultivated mind, rendered her the favourite companion of intelligent men. She is an example of the superiority of cultivated intellect over personal beauty; her youthful charms were soon gone; her mental graces improved to the last, and made her society sought and her friendship valued as long as she lived.
# A Dictionary of Music and Musicians/Döhler, Theodor

From volume 1 of the work.
[ E. D. ]
# A Dictionary of Music and Musicians/Eastcott, Richard

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

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

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

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

From volume 1 of the work.
[ J. M. ]
# A Dictionary of Music and Musicians/Eager, John

From volume 1 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Départ, Chant du

From volume 1 of the work.
​DÉPART, CHANT DU. This national air was composed by Méhul to some fine lines by Marie Joseph Chenier, for the concert celebrating the fourth anniversary of the taking of the Bastille (July 14, 1794). Chénier was in hiding at the house of Sarrette when he wrote the words, and the original edition, by order of the National Convention, states merely 'Paroles de …; musique de Méhul.' Of all the French patriotic songs this is the only one actually written during the Terror. The first verse is as follows:—
[ G. C. ]
# A Dictionary of Music and Musicians/Dörffel, Alfred

[ H. B. ]
# A Dictionary of Music and Musicians/E

From volume 1 of the work.
​E. The third note of the scale of C. In French and in solfaing, Mi. The first string, or chanterelle, of the violin, and the 4th of the double bass, are tuned to E in their respective octaves. The scale of E major has 4 sharps in the signature; that of E minor 1 sharp; and C♯ and G are their relatives, minor and major. E is the key note of the 'Phrygian' mode in Gregorian music, and C (not B) its Dominant there.
E is not a frequent key in orchestral compositions—probably from difficulties connected with the Clarinets, Horns, and Trumpets. At any rate neither Haydn, Mozart, Beethoven, Mendelssohn, Spohr, Schubert, or Schumann, have written a symphony in E major. The overtures to Fidelio and Midsummer Night's Dream, Deux Journées and Tannhäuser, are exceptions among overtures. In chamber music it is more often employed. Mozart has a fine pianoforte trio in it; Beethoven uses it in 2 sonatas (op. 14, No. 1; 109). Bach's fugue in E (Bk. 2) is perhaps the most widely known of all the immortal 48.
[ G. ]
# A Dictionary of Music and Musicians/Taubert, Karl

​TAUBERT, Karl Gottfried Wilhelm, one of those sound and cultivated artists who contribute so much to the solid musical reputation of Germany. He was the son of a musician, and was born at Berlin March 23, 1811. Though not actually brought up with Mendelssohn he trod to a certain extent in the same steps, learned the piano from Ludwig Berger, and composition from Klein, and went through his course at the Berlin University 1827–30. He first appeared as a PF. player; in 1831 was made accompanyist to the Court concerts, and from that time his rise was steady. In 1834 he was elected member of the Academy of Arts, in 1841 became music-director of the Royal Opera, and in 1845 Court Kapellmeister—a position which he held till his retirement from the Opera in 1869 with the title of Oberkapellmeister. Since that time he has conducted the royal orchestra at the Court concerts and soirées, in which he has distinguished himself as much by very admirable performances as by the rigid conservatism which has governed the programmes. In 1875 he was chosen member of council of the musical section of the Academy. Among his first compositions were various small instrumental pieces, and especially sets of songs. The songs attracted the notice of Mendelssohn, and not only drew from him very warm praise and anticipation of future success (see the letter to Devrient, July 15, 1831), but led to a correspondence, including Mendelssohn's long letter of Aug. 27, 1831. In these letters Mendelssohn seems to have put his finger on the want of strength and spirit which, with all his real musicianlike qualities, his refined taste and immense industry, has prevented Taubert from writing anything that will be remembered.
The list of his published works is an enormous one: 3 Psalms and a Vater unser; 7 Operas, of which the last, 'Macbeth,' was produced Nov. 16, 1857; Incidental music to 8 dramas, including 'The Tempest' (Nov. 28, 1855); 4 Cantatas; 294 Solo-songs, in 52 nos., besides Duets and Part-songs; 3 Symphonies and a Festival-overture for full orchestra; 2 Trios for PF. and strings; 3 String-quartets; 6 Sonatas for PF. and violin; 6 Sonatas for PF. solo; and a host of smaller pieces. The complete catalogue, with full details of Taubert's career, will be found in Ledebur's 'Tonkünstler-Lexicon Berlins.'
[ G. ]
# A Dictionary of Music and Musicians/Tausch, Julius

​TAUSCH, Julius, born April 15, 1827, at Dessau, where he was a pupil of F. Schneider's. In 1844 he entered the Conservatorium of Leipzig, then in the second year of its existence, and on leaving that in 1846 settled at Düsseldorf. Here he gradually advanced; on Julius Rietz's departure in 1847 taking the direction of the artists' Liedertafel, and succeeding Schumann as conductor of the Musical Society, temporarily in 1853, and permanently in 1855. He was associated in the direction of the Lower Rhine Festivals of 1863, 1866 (with O. Goldschmidt), 1869, 1872, and 1875. In the winter of 1878 he conducted the orchestral concerts at the Glasgow Festival.
[ G. ]
# A Dictionary of Music and Musicians/Tattoo

​TATTOO (Rappel; Zapfenstreich), the signal in the British army by which soldiers are brought to their quarters at night. The infantry signal begins at 20 minutes before the hour appointed for the men to be in barracks, by the bugles in the barrack-yard sounding the 'First Post' or 'Setting of the Watch.' This is a long passage of 29 bars, beginning as follows—
and ending with this impressive phrase:—
This is succeeded by the 'Rolls,' consisting of three strokes by the big drum, each stroke followed by a roll on the side-drums:—
The drums and fifes then march up and down the, barrack-yard playing a succession of Quick marches at choice, till the hour is reached. Then 'God save the Queen' is played, and the Tattoo concludes by the 'Second Post' or 'Last Post,' which begins as follows—
and ends like the 'First Post.' The other branches of the service have their tattoos, which it is not necessary to quote.
[ G. ]
* ↑ The word is derived by Johnson from the French tapotez tout; and its original form seems to have been 'tap-to' (see Count Mansfield's 'Directions of Warre,' 1624), as if it were the signal for the tap-rooms or bars of the canteen to put-to or close. Curiously enough, however, 'tap' seems to be an acknowledged term for the drum—'tap of drum.' Tapoter is probably allied to the German zapfen, the tap of a cask, and zapfenstreich, the German term for tattoo; this also may mean the striking or driving home of the taps of the beer-barrels. The proverbial expression 'the devil's tattoo'—meaning the noise made by a person absorbed in thought drumming with foot or fingers, seems to show that the drum and not the trumpet was the original instrument for sounding the tattoo.
* ↑ For details see Potter's 'Instructions for the Side Drum.'
# A Dictionary of Music and Musicians/Taudou, Antoine

​TAUDOU, Antoine, composer of the modern French school, born at Perpignan, Aug. 24, 1846, early evinced such aptitude for music that he was sent to Paris and entered at the Conservatoire, where he carried off successively the first prizes for solfeggio, violin (1866), harmony (67), fugue (68), and finally, after two years' study of composition with Reber, the Grand Prix de Rome (69). The subject of the cantata was 'Francesca da Rimini,' and the prize score was distinguished for purity and elegance.
[ G. C. ]
# A Dictionary of Music and Musicians/Taylor, Edward

[ W. H. H. ]