OpenLLM-France/wikimedia huggingface dataset:
# A Dictionary of Greek and Roman Antiquities/Abrogatio magistratus

ABROGA´TIO MAGISTRA´TUS The deposition of a magistrate from his office by any legal process was, strictly speaking, unknown to the Roman constitution (Becker, Rhein. Mus. N. S., 4.293). The only legitimate termination of the magistrate's power was his own abdication. But (1) it was in the power of a superior magistrate to forbid an inferior one to exercise his official functions (vetare quicquam agere pro magistratu): thus the dictator L. Quinctius in B.C. 458 suspended the consul L. Minucius from his office (Liv. 3.29, 2; Dionys. A. R. 10.25); and. this action was followed by the abdication of Minucius. (2) The people, by the exercise of its sovereign legislative power, could put an end to a magistrate's tenure of office. Thus, according to the tradition followed by Cicero (Cic. Brut. 14, 53; de Off. 3.10, 40), and held by Schwegler (2.43, note 2) to be older than that of Livy and Dionysius, one of the first two consuls was deposed from his consulship (Brutus ... collegae suo imperium abrogavit). The right of the people to do this was never challenged, and was admitted in terms by the Lex Cassia (cf. Ascon. p. 78), ut quem populus damnasset cuive imperium abrogasset in senatu non esset. There are no other instances of the abrogatio of a consul, except in the troubled times of the Civil Wars; e. g. Cinna (Vell. 2.20: ex auctoritate senatus consulatus ci abrogatus est), who refused to regard it, because the deposition proceeded from the senate, not from the people. But there are two cases of the actual abrogation: of proconsular imperium (cf. Appian, Iber. 83; Asconius, p. 78), and two more in which it was threatened (Liv. 27.20, 21; 29.19, 6). The strict legality of the deposition of the tribune M. Octavius by the people, on the proposal of Ti. Gracchus, was never called in question, and Mommsen now withdraws the statement made in his earlier editions that “deposition was a constitutional impossibility” (cf. Gesch. 2.88; Röm. Staatsr. i. pp. 512-3). See also Lex.
# A Dictionary of Music and Musicians/Valleria, Alwina

[ A. C. ]
# A Dictionary of Music and Musicians/Vander Straeten, Edmond

​VANDER STRAETEN, Edmond, distinguished Belgian musician, and writer on music, and author of 'La Musique aux Pays-Bas,' a work still in progress and destined to be a monument of erudition and research—was born at Oudenarde in Flanders, Dec. 3, 1826. He was educated for the law, first at Alost, and afterwards in the University of Ghent. On his return to Oudenarde, he continued the cultivation of his taste for music, in combination with numismatics and archæology, the last-named pursuit powerfully influencing the determination of his career. While in his native town he organised and directed performances of excerpts from operatic works, and in 1849 himself set to music a three-act drama, entitled 'Le Proscrit.' At this early age he began that research in the rich musical archives of his native country which he has since given to the public in his literary works. M. Vander Straeten next became secretary to Fétis, who was then Director of the Brussels Conservatoire, at the same time continuing his studies in harmony and counterpoint, the latter under Fétis, with whom he entered into active collaboration, in cataloguing the historical section of the Royal Library and contributing numerous articles to Fétis's biographical dictionary. He thus spent fourteen years in preparation for his own historical productions. During this time he acted as musical critic to 'Le Nord,' 'L'Écho du Parlement,' and 'L'Étoile Beige,' and wrote, as well, in various reviews. Although adoring the southern genius of Rossini, he never ceased to advocate the claims of Weber, and also of Wagner, as his operas came out.
The first volume of 'La Musique aux Pays-Bas' appeared in 1867, and marks the period of his entire devotion to the publication of his archæological discoveries. He had formed an important library of materials for the musical history of the Low Countries, and had also collected musical instruments bearing upon his studies, including his beautiful Jean Ruckers clavecin of 1627, figured in his third volume.
The Belgian Government now charged M. Vander Straeten with artistic and scientific missions which involved his visiting Germany, Italy, France, and Spain. He visited Weimar in 1870, for the model representations of Wagner's operas, and his reports are alike distinguished by æsthetic sentiment and clearness of analytical vision. He has been appointed quite recently by his government, in concert with the Académie Royale, on the committee for the publication of ancient ​Belgian compositions, and it is confided to him to collect the materials for this noble undertaking. The question of the birthplace of the 15th-century composer Tinctoris, which had been claimed for Nivelles in Brabant, aroused a violent controversy. M. Vander Straeten is, however, admitted to be victorious, having adduced proofs that place the locality in West Flanders, and form an important chapter of his fourth volume.
[ A. J. H. ]
# A Dictionary of Music and Musicians/Valeriano, Cavalliere

[ J. M. ]
# A Dictionary of Music and Musicians/Van Bree, Johann

[ G. ]
# A Dictionary of Music and Musicians/Vallace, Guglielmo

[ G. ]
# A Dictionary of Music and Musicians/Van Os, Albert

[ V. de P. ]
# A Dictionary of Music and Musicians/Van den Eeden, Gilles

[ G. ]
* ↑ Thayer. i. 10, 17, 24. The name is spelt Vandeneet, and Van den Eede.
* ↑ Thayer i. 114; Schindler (1st ed.) p. 19.
# A Dictionary of Music and Musicians/Vampyr, Der

[ G. ]
# A First Series of Hymns and Songs/Catholic Hymns/Hymn to the Good Shepherd

29. Hymn to the Good Shepherd.
Loving Shepherd of thy sheep,
Keep thy lamb, in safety keep:
Nothing can thy power withstand,
None can pluck me from thy hand.
Loving Shepherd, thou didst give
Thine own life that I might live;
May I love thee day by day,
Gladly thy sweet will obey.
Loving Shepherd, ever near,
Teach thy lamb thy voice to hear;
Suffer not my steps to stray
From the straight and narrow way.
Where thou leadest may I go,
Walking in thy steps below;
Then before thy Father's throne,
Jesu, claim me for thine own.
# A First Series of Hymns and Songs/Catholic Hymns/Litany of the Childhood of Jesus

31. Litany of the Childhood of Jesus.
By the name which thou didst take,
Suffering early for our sake;
Name ador'd on bended knee,
Name of grace and majesty,—
Chorus.
Child of Mary, hear our cry!
Thou wert little once as we;
Hear the loving Litany
We, thy children, sing to thee.
By the joy of Simeon blest,
When he clasp'd thee to his breast;
By the widow'd Anna's song,
Pour'd amid the wondering throng,—
Child of Mary, &c.
By thine angel-bidden flight
Into Egypt in the night;
By thy home at Herod's death
In despised Nazareth,—
Child of Mary, &c.
By thy tender mother's fears,
By her many sighs and tears,
As she sought thee night and day,
Turning back upon her way,—
Child of Mary, &c.
By her wond'ring love and awe,
In the Temple when she saw
Thee, her child, so young and fair,
Wiser than the wisest there,—
Child of Mary, &c.
# A First Series of Hymns and Songs/Catholic Hymns/Morning Hymn

HYMNS
for
Morning and Evening.
1. Morning Hymn.
Now doth the sun ascend the sky,
And wake creation with its ray:
Be present with us, Lord most high,
Through all the actions of the day.
Create in us a heart sincere,
Simplicity of word and will;
And may the morn, so pure, so clear,
Its own sweet calm in us instil.
Keep us, eternal Lord, this day,
From every sinful passion free;
Grant us in all we do and say.
In all our thoughts to honour thee.
For all day long on heaven's high tower
There stands thy sentinel, who spies
Our every action hour by hour,
From early dawn till daylight dies.
​So when the evening stars appear,
And in their train the darkness bring,
May we, O Lord, with conscience clear,
To Thee our grateful praises sing.
# A First Series of Hymns and Songs/Catholic Hymns/Litany of the Birth of Jesus

30. Litany of the Birth of Jesus.
By the word to Mary giv'n,
By thy first descent from heav'n,
By thine infant form so fair,
Chorus.
Babe of Bethlehem, hear our cry!
Thou wert helpless once as we;
Hear the loving Litany
We, thy children, sing to thee.
By thy poor and lowly lot,
By the manger and the grot,
By thy little feet and hands,
Folded fast in swaddling bands,—
Babe of Bethlehem, &c.
By the worship shepherds paid,
By the gifts that sages made,
Gold and myrrh and incense sweet,
Laid in homage at thy feet,—
Babe of Bethlehem, &c.
By St. Joseph's thoughts amaz'd,
When he first upon thee gaz'd,
And his Lord and Maker saw
Laid upon a bed of straw,—
Babe of Bethlehem, &c.
And oh. more than all the rest,
By the joy of Mary's breast
When she, kneeling, first ador'd
Thee, her child and yet her Lord,—
Babe of Bethlehem, &c.
# A First Series of Hymns and Songs/Catholic Hymns/Mother of Mercy

36. Mother of Mercy.
Mother of Mercy, day by day
My love of thee grows more and more;
Thy gifts are strown upon my way,
Like sands upon the great sea-shore.
Though poverty and work and woe
The masters of my life may be;
In darkest hours, who does not know
That all is light with love of thee?
Ah, little know they of thy worth
Who would thy love deny to me;
For what did Jesus love on earth
One-half so tenderly as thee?
Oh, gain me grace to love thee more;
Thy Son will give if thou wilt plead:
And, Mother, when life's cares are o'er.
Oh, I shall love thee then indeed.
My Lord, when his three hours were run,
Bequeath'd thee from the cross to me;
And oh, how can I love thy Son,
Sweet Mother, if I love not thee?
# A First Series of Hymns and Songs/Catholic Hymns/Litany of the Resurrection of Jesus

33. Litany of the Resurrection of Jesus.
By the first bright Easter-day,
When the stone was roll'd away; ​By the glory round thee shed
At thy rising from the dead,—
Chorus.
King of glory, hear out cry!
Make us soon thy Joys to see;
Hear the loving Litany
We, thy children, sing to thee.
By thy mother's fond embrace,
By her joy to see thy face,
When, all bright in radiant bloom,
Thee she welcom'd from the tomb,—
King of glory, &c.
By the joy of Magdalen,
When she saw thee once again,
And entranc'd in rapture sweet.
Knelt to kiss thy sacred feet,—
King of glory, &c.
By their Joy who greeted thee
'Mid the hills of Galilee;
By thy keys of might divine,
Vested in St. Peter's line,—
King of glory, &c.
By thy parting blessing giv'n
As thou didst ascend to heav'n;
By the cloud of living light
That receiv'd thee out of sight,—
King of glory, &c.
# A First Series of Hymns and Songs/Catholic Hymns/May Jesus Christ be praised!

34. May Jesus Christ be praised!
When morning gilds the skies,
My heart awaking cries,
May Jesus Christ be prais'd!
Alike at work and prayer,
To Jesus I repair:
May Jesus Christ be prais'd!
The sacred minster bell,
It peals o'er hill and dell: May, &c.
Oh, hark to what it sings,
As Joyously it rings.
May, &c.
When you begin the day,
Oh, never fail to say,
May, &c. And at your work rejoice
To sing with heart and voice,
May, &c.
Be this at meals your grace,
In every time and place,
May, &c.
Be this, when day is past,
Of all your thoughts the last,
May, &c.
To God the Word on high
The hosts of angels cry,
May, &c. Let children too upraise
Their voice in hymns of praise: May, &c.
​Let earth's -wide circle round
In joyful notes resound:
May, &c. Let air and sea and sky
Through depth and height reply,
May Jesus Christ he prais'd!
# A First Series of Hymns and Songs/Catholic Hymns/If e'er my heart in riper years

41. If e'er my heart in riper years.
If e'er my heart in riper years
Shall beat with anguish, grief, or fears,
My Jesus he will hear each moan,
And gently say, "Thou'rt not alone."
​Though fled were every earthly friend
On whom I might or could depend
Though left by all, to all unknown,
He still will say, "Thou'rt not alone."
Though cherish'd ones around me die,
And sever'd be each earthly tie;
I still may seek my Saviour's throne,
And hear him say, "Thou'rt not alone."
So too, when all my years are past,
And life her race hath run at last.
My God, thou wilt not me disown,
To whom thou saidst, "Thou'rt not alone."
# A First Series of Hymns and Songs/Catholic Hymns/Litany of the Passion of Jesus

32. Litany of the Passion of Jesus.
By the blood that flow'd from thee
In thy bitter agony,
By the scourge so meekly borne,
By thy purple robe of scorn,—
Chorus.
Jesu, Saviour, hear our cry!
Thou wert suffering once as we;
Hear the loving Litany
We, thy children, sing to thee.
By the thorns that crown'd thy head,
By thy sceptre of a reed.
By thy footstep faint and slow,
Weigh'd beneath thy cross of woe,—
Jesu, Saviour, &c.
By the nails and pointed spear,
By thy people's cruel jeer,
By thy dying prayer which rose
Begging mercy for thy foes,—
Jesu, Saviour, &c.
By the darkness thick as night,
Blotting out the sun from sight;
By the cry with which in death
Thou didst yield thy parting breath,—
Jesu, Saviour, &c.
By thy weeping mother's woe,
By the sword that pierc'd her through,
When in anguish standing by,
On the cross she saw thee die,—
Jesu, Saviour, &c.
# A First Series of Hymns and Songs/Catholic Hymns/Saint Teresa

22. Saint Teresa. (October 16th.)
Sweet Saint, in thy young childhood's day
The thought was in thy infant head,
That it were sweet to die for Christ,
And for the faith thy blood to shed.
But God decreed thee not to fall
By sword of Paynim, Turk, or Moor;
A living death of martyrdom
His love reserv'd thee to endure.
Thy youthful follies oft deplor'd
To us have made thee still more dear;
Since we in them have come to know
Thy candour and thy truth sincere.
For when thy Lord, with sweet reproof,
Had made to thee thine errors known,
At once thy frank and loving heart
Was wholly kept for him alone.
Oh, what a strange instructive scene
Thy life thenceforth began to be!
Now suffering dread unheard-of pain,
Now lost in wondrous ecstacy.
​Now contemplating things divine,
Beyond the power of man to tell;
Now in appalling vision plung'd,
Amid the hopeless cries of hell.
O sweet Teresa, now at last,
Thy labours o'er and heaven won,
Thou lovest God without restraint,
And shinest brighter than the sun.
Ah, then, from thy fair throne above
Obtain for us thy children here,
To imitate thy childhood's love,
In after life to persevere.
# A Dictionary of Music and Musicians/Hebenstreit

​HEBENSTREIT. See Dulcimer, Pantaleon, Pianoforte, vol. ii. p. 712, etc.
# A Dictionary of Music and Musicians/Hecht, Eduard

​HECHT, Eduard, born at Dürkheim im Haardt, Nov. 28, 1832. He was trained at Frankfort by his father, a respected musician, then by Jacob Rosenhain, Christian Hauff, and Messer. In 1854 he came to England and settled in Manchester, where he remained until his death. From a very early date in the history of Mr. Charles Hallés Concerts, Hecht was associated with him as his chorus-master and ​sub-conductor. But in addition to this he was conductor of the Manchester Liedertafel from 1859 to 1878; from 1860 conductor of the St. Cecilia Choral Society; and from 1879 conductor of the Stretford Choral Society. In 1875 he was appointed Lecturer on Harmony and Composition at Owens College; and was also Examiner in Music to the High Schools for Girls at Manchester and Leeds. In addition to these many and varied posts Mr. Hecht had a large private practice as teacher of the piano. These constant labours, however, did not exhaust his eager spirit, or deaden his power of original composition. Besides a Symphony played at Mr. Hallés Concerts; a chorus, 'The Charge of the Light Brigade,' well known to amateurs; 'Eric the Dane,' a cantata; another chorus with orchestra, 'O, may I join the choir invisible'—all great favourites with singing societies—Mr. Hecht's works extend through a long list of pianoforte pieces, songs, part-songs, trios, two string quartets, inarches for military band, etc., closing with op. 28.
[ G. ]
# A Dictionary of Music and Musicians/Heap, Swinnerton

​HEAP, C. Swinnerton. See Swinnerton Heap, vol. iv. p. 9.
# A Dictionary of Music and Musicians/Heil Dir im Siegerkranz

From volume 1 of the work.
​HEIL DIR IM SIEGERKRANZ. A German national song, written by Heinrich Harries, a Holstein clergyman, for the birthday of Christian VII of Denmark, and published in the Flensburg Wochenblatt of Jan. 27, 1790, 'to the melody of the English God save great George the King.' It was originally in 8 stanzas, but was reduced to five and otherwise slightly modified for Prussian use by B. G. Schumacher, and in this form appeared as a 'Berliner Volkslied' in the Spenersche Zeitung of Dec. 17, 1793. The first stanza of the hymn in its present form is as follows:—
'Heil Dir im Siegerkranz, Herrscher des Vaterland's, Heil König Dir! Fühl' in des Thrones Glanz, Die hohe Wonne ganz, Liebling des Volks zu sein Heil König Dir!'
# A Dictionary of Music and Musicians/Heinefetter, Sabina

​HEINEFETTER, Sabina, born at Mainz, Aug. 19, 1809 (Mendel gives her date as 1805, but the above is probably correct), in early life supported her younger sisters by singing and playing the harp. In 1825 she appeared as a public singer at Frankfort, and afterwards at Cassel, where Spohr interested himself in her artistic advancement. She subsequently studied under Tadolini in Paris, where she appeared at the Italiens with great success. From this time until her retirement from the stage in 1842, she appeared in all the most celebrated continental opera-houses. In 1853 she married M. Marquet of Marseilles, and died Nov. 18, 1872. Her sister,
Clara, born Feb. 17, 1816, was for several years engaged at Vienna, under the name of Madame Stöckl-Heinefetter. She made successful appearances in Germany, and died Feb. 24, 1857. She and her elder sister died insane. A third sister,
[ M. ]
# A Dictionary of Music and Musicians/Heidegger, John

From volume 1 of the work.
​HEIDEGGER, John James, by birth a Fleming, as it is supposed, arrived in England in necessitous circumstances in 1707. Swiny was still sole manager of the Opera-house, but Heidegger was probably the person ('tho' musick is only his diversion') to whom Motteux alluded in his Preface to 'Thomyris,' as the selector of the songs in that opera. In 1708 he undertook the management, and held it until the end of the season of 1734 with varying success; but ended by acquiring a large fortune. He had the address to procure a subscription which enabled him to put 'Thomyris' on the stage, and by this alone he gained 500 guineas. He introduced Ridotti and masquerades at the Opera; and, in allusion to this, Dr. Arbuthnot inscribed to him a poem, 'The Masquerade,' in which he is more severe on his ugliness than on his more voluntary vices. Pope describes him as—
'With less reading than makes felons 'scape, Less human genius than God gives an ape;'
and commemorates his personal charms in the lines,—
'And lo! her bird (a monster of a fowl), Something betwixt an Heideggre and owl.'
(Dunciad, bk. 1.)
and a little print, below which are the words '—Risum teneatis amici?' translates his words into a caricature, representing a chimæra with the head of Heidegger. His face is preserved also in a rare etching by Worlidge, and in a capital mezzotint by Faber (1749) after Vanloo. Lord Chesterfield, on one occasion, wagered that Heidegger was the ugliest person in the town; but a hideous old woman was, after some trouble, discovered, who was admitted to be even uglier than Heidegger. As the latter was pluming himself on his victory, Lord Chesterfield insisted on his putting on the old woman's bonnet, when the tables were turned, and Lord Chesterfield was unanimously declared the winner amid thunders of applause.
Heidegger was commonly called the 'Swiss Count,' under which name he is alluded to in 'A Critical Discourse on Operas and Musick in England,' appended to the 'Comparison between the French and Italian Musick and Operas' of the Abbe" Raguenet, and in Hughes's 'Vision of Charon or the Ferry-boat.'
[ J. M. ]
# A Dictionary of Music and Musicians/Heighington, Musgrave

From volume 1 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Heimkehr aus der Fremde

From volume 1 of the work.
​HEIMKEHR AUS DER FREMDE. [Son and Stranger.]
# A Dictionary of Music and Musicians/Hedgeland, William

From volume 1 of the work.
[ V. de P. ]
# A Dictionary of Music and Musicians/Hebrides

From volume 1 of the work.
​HEBRIDES. 'Die Hebriden' is one of the names of Mendelssohn's 2nd Concert Overture (in B minor, op. 26), the others being 'Fingals Höhle' and 'Die einsame Insel.' He and Klingemann were at Staffa on Aug. 7, 1829; and the next letter to his family is dated 'Auf einer Hebride,' and contains the first 20 bars of the overture. (See facsimile in 'Die Familie Mendelssohn,' i. 257.) It is said that when he returned to Berlin and was asked by his sisters what he had seen, he went to the piano and played the opening of the overture, as much as to say 'that is what I have seen.' He began it seriously at Rome in the winter of 1830 (see the 'Reisebriefe'), and the first score is dated 'Rome, Dec. 16, 1830,' and entitled 'Die einsame Insel.' This MS. is in the possession of Mr. Felix Moscheles. It was played at the Crystal Palace on Oct. 14, 1871. A second score is dated ' London, June 20, 1832,' and entitled 'The Hebrides'; it is in possession of the family of Sir W. Sterndale Bennett. A comparison between the two was attempted in the C. P. programme book of the above date. The differences are very great, and are chiefly in the middle portion or working out (see letter Jan. 12, 1832). The printed score (Breitkopfs), an 8vo (published Easter 1834), is entitled 'Fingals Höhle.' The parts are headed 'Hebrides,' and do not agree with the score (see bars 7 and 87).
[ G. ]
# A Dictionary of Music and Musicians/Grecco, Gaetano

From volume 1 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Greek Plays, Incidental Music to

​GREEK PLAYS, Incidental Music to. The great interest which has of late years been taken at the English Universities in the performances of Greek dramas in the original has given opportunity for the composition of choruses and incidental music. As these works are of some importance in the history of English music, a list of them is here appended:—
The Agamemnon of Aeschylus; Oxford, June 1880. Music by Walter Parratt. The Ajax of Sophocles; Cambridge, Nov. 28 to Dec. 2, 1882. Music by Sir G. A. Macfarren. The Birds of Aristophanes; Cambridge, Nov. 27, to Dec. 1, 1883. Music by C. Hubert H. Parry. The Eumenides of Aeschylus; Cambridge, Dec. 1 to 5, 1885. Music by C. V. Stanford. The Alcestis of Euripides; Oxford, May 18 to 24. 1887. Music by C. H. Lloyd. The Oedipus Tyrannus of Sophocles; Cambridge, Nov. 22 to 26, 1887. Music by C. V. Stanford.
[ M. ]
# A Dictionary of Music and Musicians/Greatorex, Thomas

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

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

​GREATHEED, Rev. Samuel Stephenson, was born in Somersetshire on Feb. 22, 1813. He received his first instruction in harmony from Mr. W. Chappell Ball, organist of St. Mary's, Taunton. In 1831 he entered at Trinity College, Cambridge, where he graduated B.A. as fourth wrangler in 1835, and was elected to a Fellowship in 1837. In May 1838 he was ordained by Bishop Allen (of Ely), and in the
[ W. B. S. ]
# A Dictionary of Music and Musicians/Greaves, Thomas

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

From volume 1 of the work.
​GREENSLEEVES. An old English ballad and tune mentioned by Shakspeare (Merry Wives, ii. i; v. 5). The ballad—'A new Northerne dittye of the Ladye Greene Sleeves'—was entered in the Stationers' Register Sept. 1580 (22nd of Elizabeth); but the tune is probably as old as the reign of Henry VIII. It was also known as 'The Blacksmith' and 'The Brewer' (Cromwell), and was a great favourite with the Cavaliers. Mr. Chappell (from whom the above is taken, Popular Music, etc., Plate 3, and p. 227–233) gives the tune in its oldest form as follows:—
[ G. ]
# A Dictionary of Music and Musicians/Green, Samuel

From volume 1 of the work.
[ W. H. H. ]