OpenLLM-France/wikimedia huggingface dataset:
# A Dictionary of Music and Musicians/Chromatic

From volume 1 of the work.
​CHROMATIC is a word derived from the Greek χρωματίκος, the name of one of the ancient tetrachords, the notes of which were formerly supposed to be similar to the scale known as 'chromatic' in modern times. It is applied to notes marked with accidentals, beyond those normal to the key in which the passage occurs, but not causing modulation. A scale of semitones does not cause modulation, and is called a chromatic scale, as in the following from the Andante of Mozart's symphony in D—
which remains in the key of G throughout; and various chords, such as that of the augmented sixth, and the seventh on the tonic, are chromatic in the same manner. The following example, from Beethoven's sonata in B♭ (op. 106), is in the key of D:—
With regard to the writing of the chromatic scale, the most consistent practice is obviously to write such accidentals as can occur in chromatic chords without changing the key in which the passage occurs. Thus taking the key of C as a type the first accidental will be D♭, as the upper note of the minor 9th on the tonic; the next will be E♭, the minor 3rd of the key, the next will be F♯, the major 3rd of the super-tonic—all which can occur without causing modulation—and the remaining two will be A♭ and B♭, the minor 6th and 7th of the key. In other words the twelve notes of the chromatic scale in all keys will be the tonic, the minor 2nd, the major 2nd, the minor 3rd, the major 3rd, the perfect 4th, the augmented 4th, the perfect 5th, minor 6th, major 6th, the minor 7th and the major 7th.
Thus in Mozart's Fantasia in D minor, the chromatic scale in that key, beginning on the dominant, is written as follows—
in Beethoven's Violin Sonata in G (op. 96), the chromatic scale of that key is written thus, beginning on the minor 7th of the key—
and as a more modern instance, the chromatic scale of A which occurs in Chopin's Impromptu in F major, is written by him thus—
beginning on the minor 3rd of the key.
The practice of composers in this respect is however extremely irregular, and rapid passages are frequently written as much by Mozart and Beethoven as by more modern composers in the manner which seemed most convenient for the player to read. Beethoven is occasionally very irregular. For instance, in the last movement of the Concerto in G major he writes the following—
[ C. H. H. P. ]
# A Dictionary of Music and Musicians/Chrysander, Friedrich

From volume 1 of the work.
[ A. M. ]
[ R. M. ]
# A Dictionary of Music and Musicians/Ciampi, Legrenzio

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

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

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

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

From volume 1 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Christus am Oelberge

From volume 1 of the work.
​CHRISTUS AM OELBERGE. The original title of Beethoven's Mount of Olives.
# A Dictionary of Music and Musicians/Ciaja, Azzolino della

From volume 1 of the work.
[ M. C. C. ]
# A Channel Passage and Other Poems/At a Dog’s Grave

Previously printed in the Souvenir of the Charing Cross Hospital Bazaar, 1899, pp. 189-190.
AT A DOG'S GRAVE
I
The daily death divine that shuts up sight,
Sleep, that assures for all who dwell therein
Good night.
The shadow shed round those we love shines bright
As love's own face, when death, sleep's gentler twin,
From them divides us even as night from light.   Shall friends born lower in life, though pure of sin,
Though clothed with love and faith to usward plight,
Perish and pass unbidden of us, their kin, Good night?
II
Not all men so beloved and mourned shall lie
As many of these, whose time untimely came
To die.
His years were full: his years were joyous: why
Must love be sorrow, when his gracious name
Recalls his lovely life of limb and eye?
If aught of blameless life on earth may claim
Life higher than death, though death's dark wave rise high, Such life as this among us never came
To die.
III
Planted, shall sweeten April's flowerful air
About a grave that shows to night and day
White violets there.
A child's light hands, whose touch makes flowers more fair,
Keep fair as these for many a March and May
The light of days that are because they were.
It shall not like a blossom pass away; It broods and brightens with the days that bear
Fresh fruits of love, but leave, as love might pray,
White violets there.
# A Channel Passage and Other Poems/Carnot

Previously printed in The Nineteenth Century, July 1894, p. 1.
CARNOT
Death, winged with fire of hate from deathless hell
Wherein the souls of anarchs hiss and die,
With stroke as dire has cloven a heart as high
As twice beyond the wide sea's westward swell
The living lust of death had power to quell
Through ministry of murderous hands whereby
Dark fate bade Lincoln's head and Garfield's lie
Low even as his who bids his France farewell.
France, now no heart that would not weep with thee
Loved ever faith or freedom. From thy hand The staff of state is broken: hope, unmanned
With anguish, doubts if freedom's self be free.
The snake-souled anarch's fang strikes all the land
Cold, and all hearts unsundered by the sea.
June 25, 1894.
# A Channel Passage and Other Poems/Cromwell's Statue

Previously printed in The Nineteenth Century, July 1895, pp. 1-2.
CROMWELL'S STATUE
What needs our Cromwell stone or bronze to say
His was the light that lit on England's way
The sundawn of her time-compelling power,
The noontide of her most imperial day?
His hand won back the sea for England's dower;
His footfall bade the Moor change heart and cower;
His word on Milton's tongue spake law to France
When Piedmont felt the she-wolf Rome devour.
From Cromwell's eyes the light of England's glance
Flashed, and bowed down the kings by grace of chance, The priest-anointed princes; one alone
By grace of England held their hosts in trance.
The enthroned Republic from her kinglier throne Spake, and her speech was Cromwell's. Earth has known No lordlier presence. How should Cromwell stand With kinglets and with queenlings hewn in stone?
Incarnate England in his warrior hand Smote, and as fire devours the blackening brand Made ashes of their strengths who wrought her wrong, And turned the strongholds of her foes to sand.
His praise is in the sea's and Milton's song; What praise could reach him from the weakling throng That rules by leave of tongues whose praise is shame— Him, who made England out of weakness strong?
There needs no clarion's blast of broad-blown fame To bid the world bear witness whence he came Who bade fierce Europe fawn at England's heel And purged the plague of lineal rule with flame.
There needs no witness graven on stone or steel
For one whose work bids fame bow down and kneel; Our man of men, whose time-commanding name
Speaks England, and proclaims her Commonweal.
June 20, 1895.
# A Channel Passage and Other Poems/Advert

MR. SWINBURNE'S WORKS.
MR. SWINBURNE'S COLLECTED POEMS. In 6 vols, Crown 8vo. 36s. net, (Sold only in Sets.) In course of publication.
SELECTIONS FROM THE POETICAL WORKS OF ALGERNON CHARLES SWINBURNE. Fcp. 8vo. 6s.
ATALANTA IN CALYDON. Crown 6vo, 6s.
CHASTELARD: a Tragedy. Crown &vo. 7s.
POEMS AND BALLADS, First Series. Crown 8vo. of fep. Bvo, 9s.
POEMS AND BALLADS. Second Series. Crown 8vo. 9s.
POEMS AND BALLADS. Third Series, Crown 8vo. 7s.
SONGS BEFORE SUNRISE. Crown 8vo. 10s. 6d.
BOTHWELL: a Tragedy. Crown 8vo. 12s. 6d.
SONGS OF TWO NATIONS. Crown 8vo. 6s.
GEORGE CHAPMAN. (Sec Vol. II. of George Chapman's Works.) Crown 8vo. 6s.
ESSAYS AND STUDIES. Crown 8vo. 12s.
ERECHTHEUS: a Tragedy. Crown 8vo. 6s.
A NOTE ON CHARLOTTE BRONTË. Crown 8vo. 6s.
A STUDY OF SHAKESPEARE. Crown 8vo, 6s.
SONGS OF THE SPRINGTIDES. Crown 8vo. 6s.
STUDIES IN SONG. Crown 8vo. 7s.
MARY STUART: a Tragedy. Crown 8vo. 8s.
TRISTRAM OF LYONESSE, &c. Crown 8vo. 9s.
A CENTURY OF ROUNDELS. Small 4to, 8s.
A MIDSUMMER HOLIDAY, &c. Crown 8vo. 7s.
MARINO FALIERO: a Tragedy. Crown 8vo. 6s.
A STUDY OF VICTOR HUGO. Crown 8vo, 6s.
MISCELLANIES. Crown 8vo. 12s.
LOCRINE: a Tragedy. Crown 8vo. 6s.
A STUDY OF BEN JONSON. Crown 8vo. 9s.
THE SISTERS: a Tragedy. Crown 8vo, 6s.
ASTROPHEL, &c. Crown 8vo. 7s.
STUDIES IN PROSE AND POETRY. Crown 8vo. 9s.
THE TALE OF BALEN. Crown 8vo. 7s.
ROSAMUND, Queen of the Lombards. Crown 8vo, 6s.
London: CHATTO & WINDUS, 111 St. Martin's Lane, W.C.
Layout 2
# A Channel Passage and Other Poems/After the Verdict

Previously printed in The Nineteenth Century, October 1899, p. 521. The Verdict in question was that which concluded the Dreyfus trial.
AFTER THE VERDICT
France, cloven in twain by fire of hell and hate,
Shamed with the shame of men her meanest born,
Soldier and judge whose names, inscribed for scorn,
Stand vilest on the record writ of fate,
Lies yet not wholly vile who stood so great,
Sees yet not all her praise of old outworn.
Not yet is all her scroll of glory torn,
Or left for utter shame to desecrate.
High souls and constant hearts of faithful men
Sustain her perfect praise with tongue and pen Indomitable as honour. Storms may toss
And soil her standard ere her bark win home:
But shame falls full upon the Christless cross
Whose brandmark signs the holy hounds of Rome.
September 1899.
# A Channel Passage and Other Poems/Barking Hall: A Year After

Previously printed in The Nineteenth Century, February 1898, pp. 169-170.
BARKING HALL: A YEAR AFTER
Still the sovereign trees
Make the sundawn's breeze
More bright, more sweet, more heavenly than it rose,
As wind and sun fulfil
Their living rapture: still
Noon, dawn, and evening thrill
With radiant change the immeasurable repose
Wherewith the woodland wilds lie blest
And feel how storms and centuries rock them still to rest.
Still the love-lit place Given of God such grace That here was born on earth a birth divine
Gives thanks with all its flowers
Through all their lustrous hours,
From all its birds and bowers
Gives thanks that here they felt her sunset shine
Where once her sunrise laughed, and bade
The life of all the living things it lit be glad.
Soft as light and strong
Rises yet their song And thrills with pride the cedar-crested lawn And every brooding dove.
But she, beloved above
All utterance known of love,
Abides no more the change of night and dawn,
Beholds no more with earth-born eye
These woods that watched her waking here where all things die.
Not the light that shone
When she looked thereon
Shines on them or shall shine for ever here.
We know not, save when sleep
Slays death, who fain would keep
His mystery dense and deep,
Where shines the smile we held and hold so dear.
Dreams only, thrilled and filled with love,
Bring back its light ere dawn leave nought alive above.
Nought alive awake
Sees the strong dawn break
On all the dreams that dying night bade live.
Yet scarce the intolerant sense Of day's harsh evidence
How came their word and whence
Strikes dumb the song of thanks it bids them give,
The joy that answers as it heard
And lightens as it saw the light that spake the word.
Night and sleep and dawn
Pass with dreams withdrawn:
But higher above them far than noon may climb
Love lives and turns to light
The deadly noon of night. His fiery spirit of sight
Endures no curb of change or darkling time.
Even earth and transient things of earth
Even here to him bear witness not of death but birth.
# A Channel Passage and Other Poems/Apostasy

APOSTASY
Et Judas m'a dit: Traître!—Victor Hugo
I
Truths change with time, and terms with truth. To-day
A statesman worships union, and to-night
Disunion. Shame to have sinned against the light
Confounds not but impels his tongue to unsay
What yestereve he swore. Should fear make way
For treason? honour change her livery? fright
Clasp hands with interest? wrong pledge faith with right?
Religion, mercy, conscience, answer—Yea.
To veer is not to veer: when votes are weighed,
The numerous tongue approves him renegade Who cannot change his banner: he that can
Sits crowned with wreaths of praise too pure to fade.
Truth smiles applause on treason's poisonous plan:
And Cleon is an honourable man.
II
Move now the men whose blameless error cast
In prison (ah, but love condones the past!)
Their subject knaves that were—their lords that ride Now laughing on their necks, and now bestride
Their vassal backs in triumph. Faith stands fast Though fear haul down the flag that crowned her mast
And hope and love proclaim that truth has lied.
Turn, turn, and turn—so bids the still small voice,
The changeless voice of honour. He that stands
Where all his life he stood, with bribeless hands,
With tongue unhired to mourn, reprove, rejoice,
Curse, bless, forswear, and swear again, and lie,
Stands proven apostate in the apostate's eye.
III
Chides blackness, and the snake recoils aghast In fear of poison when a bird flies past. Thersites brands Achilles as a craven; The shoal fed full with shipwreck blames the haven For murderous lust of lives devoured, and vast Desire of doom whose feast is mercy's fast: And Bacon sees the traitor's mark engraven Full on the front of Essex. Grief and shame Obscure the chaste and sunlike spirit of Oates At thought of Russell's treason; and the name Of Milton sickens with superb disgust The heaving heart of Waller. Wisdom dotes,
If wisdom turns not tail and licks not dust.
IV
With reptile rebels at her heel of old,
Set hard her heel upon them, and controlled
The cowering poisonous peril. How should she Cower, and resign her trust of empire? Free
As winds and waters live the loyal-souled
And true-born sons that love her: nay, the bold
Base knaves who curse her name have leave to be The loud-tongued liars they are. For she, beyond
All woful years that bid men's hearts despond,
Sees yet the likeness of her ancient fame
Burn from the heavenward heights of history, hears
Not Leicester's name but Sidney's—faith's, not fear's—
Not Gladstone's now but only Gordon's name.
# A Dictionary of Music and Musicians/Speyer, Wilhelm

​SPEYER, or SPEIER, Wilhelm, composer, was born June 21, 1790, at Frankfort-on-the-Main, where he died April 5, 1878. He received his musical education at Offenbach under Thieriot (the friend of Weber) and André. He was already a prominent violinist when he went to Paris in 1812, to become a pupil of Baillot, from whose instruction and from the acquaintance of such men as Cherubini, Boieldieu, Méhul, etc., he derived much benefit. Returning to Germany afterwards, he settled down at Frankfort and exchanged the musical profession for that of a merchant, but continued to compose—at first chiefly chamber music. He published string quartets and quintets, and also violin duets, which are still looked upon as standard works in that class of composition. He afterwards devoted himself chiefly to vocal music, and it is as a writer of songs that his name is best and most widely known. Amongst his Lieder—of which he published several hundred—many, such as 'The Trumpeter,' 'Rheinsehnsucht' (My heart's on the Rhine), 'Die drei Liebchen,' etc., acquired an extraordinary popularity. He also wrote vocal quartets and some choral works.
[ G. ]
# A Dictionary of Music and Musicians/Speechley, Henry

[ V. de P. ]
# A Dictionary of Music and Musicians/Space

[ G. ]
# A Dictionary of Music and Musicians/Spaun, Joseph

​SPAUN, Joseph, Freiherr von, musical amateur, renowned for his great affection for Schubert; born at Linz, Nov. n, 1788, of a family originally Swabian, but settled in Austria. Joseph, the second child of Franz von Spaun, Syndicus of Upper Austria, attended the Latin school, passed through a course of philosophy, in 1806 entered the Imperial Stadt-Convict at Vienna, and began to study law. Music was diligently pursued in his new sphere, and Spaun heartily joined, playing the violin, and, as the oldest boy, conducting the pupils' little band. On one occasion he became aware of a small boy in spectacles, who stood behind him playing his part like a master. This was Schubert, who, after he had got over his first shyness, attached himself devotedly to Spaun and confided to him his delight in composing, and his want of music-paper. This want Spauu supplied, and thus secured Schubert's lifelong gratitude. [See vol. iii. p. 320.] In September 1809 Spaun entered the Government service, and in 1811 was placed in the Lottery department; in 1839 became Regierungsrath, and in 1841 Hofrath; in 1859 was ennobled and received the freedom of the city of Vienna, and in 1861 retired. He died Nov. 25, 1865, at his daughter's house at Linz, and, in accordance with his own wish, was buried in the churchyard of Traunkirchen (near Gmunden) where he spent his summers and had a villa. The whole of his official life, except two short breaks at Linz in 1818 and Lemberg in 1825, was passed in Vienna, where he married Fanny von Roner in 1818. He had five children, of whom one son, Joseph, was killed at the battle of Novara.
[ C. F. P. ]
# A Dictionary of Music and Musicians/Sowinski, Albert

[ G. ]
# A Dictionary of Music and Musicians/Spark, William

[ G. ]
# A Dictionary of Music and Musicians/Soupir

[ G. ]
# A Dictionary of Music and Musicians/Speidel

[ G. ]
# A Dictionary of Music and Musicians/Highland Fling

From volume 1 of the work.
​HIGHLAND FLING. A step in dancing, peculiar to the Scotch Highlands. The name is commonly transferred to the dance itself. The term 'fling' expresses the kicking gesture which characterises it. When a horse kicks by merely raising one leg and striking with it, he is said, in grooms' parlance, to 'fling like a cow.' The performer dances on each leg alternately, and flings the other leg in front and behind. The Highland Fling, in which three, four, or more persons may take part, is danced to the music of the Strathspey. The following is a specimen:—
Marquis of Huntly's Highland Fling.
[ E. J. P. ]
# A Dictionary of Music and Musicians/Hiles, Henry

​HILES, Henry, born Dec. 3, 1826, at Shrewsbury, received instruction from his brother John; he was organist successively at Shrewsbury, as his brother's deputy; at Bury in '46; at Bishopwearmouth in '47; St. Michael's, Wood Street, in '59; at the Blind Asylum, Manchester, in '60; at Bowdon in '61; at St. Paul's, Manchester, 1864–67. In 1852–9 he travelled round the world on account of ill-health. He received the degrees of Mus.B. Oxon, '62, and Mus.D. '67. In the latter year he resigned his post of organist; in '80 he became lecturer on harmony and composition at Owens College, and at the Victoria University; he was one of the promoters of the National Society of Professional Musicians in 1882. He has been conductor of several musical societies, and is now editor and proprietor of the 'Quarterly Musical Review,' a modern namesake, established 1885, of the well-known magazine of that name. His compositions include 'The Patriarchs,' oratorio, '72; 'War in the Household,' operetta, '85, from the German of Castelli ('Häusliche Krieg'), originally composed by Schubert; 'Fayre Pastorel' and 'The Crusaders,' cantatas; settings of Psalms xlvi. and xcvi; several anthems, services and part-songs; Prelude and Fugue in A; Do. in D minor, a Sonata in G minor, 6 Impromptus, 2 Sets, 'Festival March,' etc. for organ; pianoforte pieces and songs. He has written books on music, 'Grammar of Music,' 2 vols., Forsyth Bros. 1879; 'Harmony of Sounds,' 3 editions, '71, '72, '79; First Lessons in Singing, Hime & Addison, Manchester, '81; 'Part Writing or Modern Counterpoint,' Novello '84.
[ A. C. ]
# A Dictionary of Music and Musicians/Hildebrand, Zacharie

[ V. de P. ]
# A Dictionary of Music and Musicians/Hill

​HILL. See London Violin Makers, vol. ii.
# A Dictionary of Music and Musicians/Heyther, William

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

From volume 1 of the work.
​HIGH MASS (Lat. Missa Solemnis; Fr. Grand-messe; Germ. Grosse Messe). Mass, sung throughout, with full Ceremonial, the Priest being assisted by Deacon and Subdeacon, Master of Ceremonies, Thurifer and two Acolyths. A Mass, sung with equally solemn music, but without the assistance of a Deacon and Subdeacon, and without the use of Incense, is called a Missa cantata, or Sung Mass.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Hill, W., & Son

From volume 1 of the work.
​HILL, W., & SON are organ builders in London. The house was founded by John Snetzler about I755 who was succeeded in 1780 by his foreman, Ohrmann. [Snetzler.] The latter had a partner, W. Nutt, in 1 790, who was afterwards joined by Thomas Elliott about 1803. After Elliott had done business for some time alone, he took as partner, in 1825, William Hill, a Lincolnshire man, who had married his daughter, and died in 1832, Hill remaining alone until 1837, when he was joined by Frederic Davison. After 1838 Davison left to become a partner of John Gray, and the firm became W. Hill & Son. [Gray & Davison.] Hill died Dec. 18, 1870. He deserves the gratitude of English organists fo having, in conjunction with Gauntlett, introduced the CC compass into this country.
[ V. de P. ]
# A Dictionary of Music and Musicians/Hey

​HEY, or HAY. The name of a figure of a dance frequently mentioned by Elizabethan ​writers. Its derivation is unknown; the word may come from the French haie, a hedge, the dancers standing in two rows being compared to hedges. Its first occurrence is Thoinot Arbeau's description of the passages at arms in the Bouffons, or Matassins [see vol. ii. p. 236b], one of which is the Passage de la haye. This was only danced by four men, in imitation of a combat. Mr. Chappell ('Popular Music,' p. 629) remarks that 'dancing a reel is but one of the ways of dancing the hay.… In the "Dancing Master" the hey is one of the figures of most frequent occurrence. In one country-dance "the women stand still, the men going the hey between them." This is evidently winding in and out. In another, two men and one woman dance the hey, like a reel. In a third, three men dance this hey, and three women at the same time, like a double reel.' There is no special tune for the hey, but in Playford's 'Musicks Hand-maid' (1678) the following air, entitled 'The Canaries or the Hay,' occurs:—
[ W. B. S. ]
# A Little Pretty Pocket-book/Rules for Behaviour in Children/Chapter II/At Home

Behaviour when at Home.
$^1$Make a Bow always when you come Home, and be instantly uncovered. 2 Be never covered at Home, especially before thy Parents or Strangers. 3 Never set in the Presence of thy Parents without bidding, though no Stranger be present. ​4 If thou passest by thy Parents at any Place where thou seet them, either by themselves or with Company, bow towards them. 5 If thou art going to speak to thy Parents, and see them engaged in Discourse with Company, draw back and leave thy Business until afterwards, but if thou must speak, be sure to whisper. 6 Never speak to thy Parents without some Title of Respect, viz. Sir, Madam, &c. according to their Quality. 7 Approach near thy Parents at no Time without a Bow. 8 Dispute not, nor delay to obey the Commands of thy Parents. 9 Go not out of Doors without thy Parents leave, and return within the Time by them limited. 10 Come not into the Room where thy Parents are with Strangers, unless thou art called, and then decently; and at bidding go out; or if Strangers come in while thou art with them, it is Manners with a Bow to withdraw. ​11 Use respectful and courteous, but not insulting or domineering Carriage or Language towards the Servants. 12 Quarrel not nor contend with thy Brethren or Sisters, but live in Love, Peace and Unity. 13 Grumble not, nor be discontented at any Thing thy Parents appoint, speak or do. 14 Bear with Meekness and Patience, and without Murmuring or Sullenness, thy Parents Reproofs or Corrections: Nay, though it should happen that they be causless, or undeserved.
# A Little Pretty Pocket-book/Reading

A little Boy and Girl reading.
All good Boys and Girls take Care to learn their Lessons, and read in a pretty Manner; which makes every Body admire them.