OpenLLM-France/wikimedia huggingface dataset:
# 1922 Encyclopædia Britannica/Moltke, Helmuth von

See also Helmuth von Moltke the Younger on Wikipedia, and the disclaimer.
MOLTKE, HELMUTH VON (1848-1916), Prussian general, chief of the German general staff at the outbreak of the World War, was born at Gersdorf in Mecklenburg on May 23 1848, and was the nephew of the great Moltke. From 1902 to 1904 he was in command of the 1st Div. of the Guards Corps with the rank of lieutenant-general. In 1906 he was appointed chief of the general staff of the army. He was responsible for the general conduct of the German operations at the beginning of the World War and is now known to have been acting upon the plan for the invasion of the north-east of France and a rapid advance upon Paris which had been drawn up by his great predecessor, Gen. von Schlieffen. In important particulars, however, he appears to have deviated from Schlieffen's plan, and in particular to have failed to concentrate sufficient force in the blow which was delivered on the north-east. He has likewise been charged with having failed to coordinate the positions of the German forces on the eve of the battle of the Marne, and having allowed to be issued confusing orders which contributed to the German defeat in that decisive battle. About the same time his health had become seriously impaired, and on Oct. 25 1914 he was relieved of his post and was succeeded by Gen. von Falkenhayn. He was entrusted in Berlin with the office of chief of the home substitute for the general staff (Der stellvertretende Generalstab), which had the task of organizing and forwarding the reserves and of controlling the Territorial army corps, corresponding to those at the front. General von Moltke died suddenly at a celebration in the Reichstag building on June 18 1916. He left memoirs entitled Die “Schuld” am Kriege, which up to 1921 had not yet been published.
# 1922 Encyclopædia Britannica/Monro, Sir Charles Carmichael

See also Sir Charles Monro, 1st Baronet on Wikipedia, and the disclaimer.
​MONRO, SIR CHARLES CARMICHAEL (1860- ), British general, was born June 15 1860 and joined the army in 1879. In 1897-8 he saw service at Malakand, in the Mohmand country, in Bajaurandin Tirah, and he was on the staff in S. Africa during the war, for which he was promoted brevet lieutenant-colonel. He was afterwards commandant of the School of Musketry, and he commanded a brigade from 1907 to 1911. Promoted major- general in 1910, he had charge of a Territorial division in 1912-3 and was then transferred from this to the II. Div. of the Expeditionary Force, which he commanded in the first campaign in France in 1914. On the splitting up of General French's forces into two armies at the end of 1914, Monro was placed in command of the I. Army Corps, and he was shortly afterwards given the K.C.B. Then, on a III. Army being organized in July 1915, having acquitted himself admirably as a divisional and as a corps commander in the field, he was given charge of this. He, however, occupied the position for only three months, as he was chosen in October to take over command of the Mediterranean Expeditionary Force and to decide whether the campaign in the Gallipoli Peninsula was to be continued; he was at the same time promoted lieutenant-general for distinguished service. Monro now acted with rare decision under most difficult circumstances. Although the Government was disposed to cling to the peninsula he insisted upon its abandonment, and he was after some delay allowed to have his way, ​with the result that the forces were withdrawn from a most dangerous position without appreciable loss under his general superintendence. His great services on this occasion were recognized by his being given the G.C.M.G., and then, having accomplished what was required in the Near East, he returned to the western front to succeed Sir Douglas Haig in command of the I. Army. He served in that capacity until Oct. 1916, when he was selected to be commander-in-chief in India, with the rank of full general.
In his new sphere of responsibility Sir Charles Monro proved himself to be a military administrator of the foremost rank. By untiring energy and skilful organization he succeeded in adding substantially to the strength of the native army, in creating a number of fresh regiments, and in greatly developing the non-combatant and hospital services on progressive lines. The consequence was that he was enabled to dispatch considerable and badly needed reinforcements to Mesopotamia and to Egypt and Palestine; the triumphs gained by General Allenby in Syria after he had been obliged to send off a large part of his army to the western front in the spring of 1918, were indeed in no small measure due to the work that had been accom- plished by the commander-in-chief in India. Monro received the G.C.B. and he remained in India until 1920, when he returned to England.
# 1922 Encyclopædia Britannica/Monet, Claude

See also Claude Monet on Wikipedia, and the disclaimer.
MONET, CLAUDE (1840-), French painter (see 18.694). In his later years Monet worked at his painting solely in the neighbourhood of Giverny, where he lived, and devoted himself to the study of modifications in the aspect of a limited number of subjects caused by changes in the light and the seasons. On the motive of the “Bassin aux Nymphéas” he produced a series of twelve large compositions. Another series, painted in 1913, is the “Arceaux Fleuris,” which represents a corner of his garden at Giverny. In 1918 he produced a number of similar studies under the general title of “Saule Pleureur.”
# 1922 Encyclopædia Britannica/Minto, Gilbert John Ellitt-Murray-Kynynmond, 4th Earl of

See also Gilbert Elliot-Murray-Kynynmound, 4th Earl of Minto on Wikipedia, and the disclaimer.
MINTO, GILBERT JOHN ELLIOTT-MURRAY-KYNYNMOND, 4th Earl of (1845-1914), English statesman (see 18.564), died at Minto House, Hawick, March 1 1914.
# A Dictionary of Music and Musicians/Hunter, Anne

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

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

From volume 1 of the work.
​HUMMEL, Johann Nepomuk, a classic of the pianoforte—but a dull classic—was the son of a musician, born at Presburg Nov. 14, 1778, and died at Weimar, Oct. 17, 1837. He is the principal representative of a manner of treating the pianoforte which rested upon the light touch and thin tone of early Viennese instruments, and grew together with the rapid improvements in the manufacture of pianos in Germany from the beginning of the century to about 1830. Hummel is important to pianists as the author of those academical stock-pieces, the Concertos in A minor and B minor, the Septet, op. 74, the Sonatas in F♯ minor, op. 81, and D major, op. 106, and of an elaborate instruction-book, which was published some years too late to make its mark.
Brought up in Mozart's house, deemed the main conservator of Mozartian traditions, an expert conductor and a good teacher, the leading German pianist, a very clever extempore player, and a ready writer of all classes of music from pianoforte solos to masses and operas,—Hummel in his prime, circa 1818, was treated by the mass of professed musicians as the equal of Beethoven! Endowed with curiously little inventive power, rarely warm, and quite incapable of humour or of passion, but fully equipped with every musical virtue that can be acquired by steady plodding, he appears expressly cut out for the hero of respectable mediocrity. The formidable size, conventional shape, and uniformly careful workmanship of his pieces, and particularly the 'brilliant' treatment of the pianoforte part, misled his contemporaries to accept him as a master of the first order.
It was about 1786, whilst Hummel's father was conducting the band at the theatre of Schikaneder,—Mozart's friend and the author of the libretto to Die Zauberflöte—that the boy, who had made considerable progress in singing and piano-playing, became the inmate of Mozart's house, and for two years enjoyed Mozart's instruction. From 1788 to 95 he travelled as a pianist in the care of his father through Germany, Denmark, England and Holland, and on his return to Vienna resumed his studies in counterpoint under Albrechtsberger, and had the advice of Haydn and Salieri regarding composition. From April 1, 1804, to May 1811, he was capellmeister to Prince Esterhazy, doing the work Haydn had formerly done. After teaching and composing ​for some years at Vienna, he was called, in 1816, to the post of conductor to Stuttgart, and subsequently, in 1820, to Weimar, from whence, in the suite of the grand-duchess Maria Paulowna he went to Russia, and there met with a reception, the cordiality of which was not exceeded, and rarely equalled, in the various journeys he undertook between 1825 and 33 to France, Holland, and England, where in the latter year he conducted operas.
[ E. D. ]
# A Dictionary of Music and Musicians/Humphreys, Samuel

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

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

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

From volume 1 of the work.
​HUNGARIAN MUSIC. [See Magyar.]
# A Dictionary of Music and Musicians/Hunt, Arabella

From volume 1 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Africaine, L'

From volume 4 of the work.
[ M. ]
# A Dictionary of Music and Musicians/Agitato

From volume 1 of the work.
​AGITATO (Ital.), also Con Agitazione, 'agitated,' 'restless.' This adjective is mostly combined with 'allegro' or 'presto' to describe the character of a movement. In the somewhat rare cases in which it occurs without any other time-indication (e. g. Mendelssohn's 'Lieder ohne Worte,' Book i., No. 5, 'Piano agitato' [App. p.518 "The direction 'Piano agitato' is probably a mere misprint for the 'Poco agitato' found in German editions"]) a rather rapid time is indicated.
# A Dictionary of Music and Musicians/Aevia

From volume 4 of the work.
​AEVIA (Aeuia or Ævia). A technical word formed from the vowels of Alleluia; and used, in Mediæval Office Books, as an abbreviation, in the same manner as Evovae—which see.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Affettuoso

From volume 1 of the work.
[ E. P. ]
# A Dictionary of Music and Musicians/Afranio

From volume 1 of the work.
​AFRANIO, lived in the beginning of the 16th century, a canon of Ferrara, and reputed inventor of the bassoon, on the ground of a wind instrument of his called Phagotum, which is mentioned, and figured in two woodcuts, at p. 179 of the 'Introductio in Chaldaicam linguam' of Albonesi (Pavia, 1539), a work dedicated by the author to his uncle Afranio. The instrument sufficiently resembles the modern bassoon or fagotto to make good Afranio's right; but the book does not appear to contain any account of it.
# A Dictionary of Music and Musicians/Aengstlich

From volume 1 of the work.
​AENGSTLICH (Germ, 'fearfully'). A word which calls for notice here only on account of its use by Beethoven at the head of the recitative in his Missa Solennis, 'Agnus Dei, qui tollis peccata mundi, miserere nobis.' In this most dramatic and emotional part of his great work Beethoven seems to realise the 'prayer for internal and external peace' which he gives as a motto to the entire 'Dona': the fierce blasts of the trumpets alternating with the supplications of the voices bring before us the enemy at the very gates. As in the case of Accelerando Beethoven has accompanied the German word with its Italian equivalent tramidamente.
# A Dictionary of Music and Musicians/Afzelius, Arvid

From volume 1 of the work.
​AFZELIUS, Arvid August, born 1785, a Swedish pastor and archaeologist; edited conjointly with Geijer a collection of Swedish national melodies, 'Svenska Folkvisor,' 3 vols. (Stockholm, 1814-16, continued by Arwidsson), and wrote the historical notes to another collection, 'Afsked af Svenska Folksharpan' (Stockholm, 1848).
# A Dictionary of Music and Musicians/Aerts, Egidius

From volume 1 of the work.
[ M. C. C. ]
# A Dictionary of Music and Musicians/Affilard, Michel l'

From volume 1 of the work.
​AFFILARD, Michel l', a tenor singer in the choir of Louis XIV from 1683 to 1708, with a salary of 900 livres. His work on singing at sight, 'Principes très faciles,' etc., in which the time of the airs is regulated by a pendulum,—precursor of the metronome—passed through seven editions (Paris, 1691; Amsterdam, 1717.)
# A Dictionary of Music and Musicians/Agazzari, Agostino

From volume 1 of the work.
​AGAZZARI, Agostino, was a cadet of a noble family of Siena, and born on Dec. 2, 1578. He passed the first years of his professional life in the service of the Emperor Matthias. After a time he came to Rome, where he was chosen Maestro di Cappella at the German College (before 1603) at the church of S. Apollinaris, and subsequently at the Seminario Romano. An intimacy grew up between him and the well-known Viadana, of Mantua, and he was one of the earliest adopters of the figured bass. In the preface to his third volume of 'Motetti' (Zanetti, Rome, 1606), he gives some instructions for its employment. In 1630 he returned to Siena, and became Maestro of its cathedral, a post which he retained till his death, probably in 1640. Agazzari was a member of the Academy of the Armonici Intronati. His publications are numerous, and consist of Madrigals, Motetts, Psalms, Magnificats, Litanies, etc., republished in numerous editions at Rome, Milan, Venice, Antwerp, Frankfort, and elsewhere. His one substantive contribution to the scientific literature of music is a little work of only sixteen quarto pages, entitled 'La Musica Ecclesiastica, dove si contiene la vera diffinizione della Musica come Scienza non più veduta e sua nobilta' (Siena, 1638); the object of which is to determine how church music should best conform itself to the Resolution of the Council of Trent. Palestrina, however, had worked at a clearer practical solution of that problem than any which the speculations of a scientific theorist could possibly evolve. On the authority of Pitoni, a pastoral drama, entitled 'Eumelio,' has been ascribed to Agazzari. It was undoubtedly performed at Amelia, and printed by Domenico Domenici at Roncilione in 1614 (Allacci, 'Dramaturgia'); but no author's name is affixed either to music or libretto.
[ E. H. P. ]
# A Chinese and English vocabulary, in the Tie-chiu dialect/Sie
### Sie.
#### 燒$^1$

    To burn; burn up; scorch. ​

#### 惜$^{-4}$

    Regard or affection for; to compassionate; pity; sparing.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Sin
### Sin.
#### 神$^{-1}$

    Divinity; God; whatever is worshiped; spirit; divine; spiritual.

#### 辰$^{-1}$

    Time; the sun, moon and stars; from 7 to 9 o'clock A.M.

#### 宸$^{-1}$

    A retired apartment; the imperial apartments.

#### 晨$^{-1}$

    The morning; dawn; light; clear; bright.

#### 繩$^{-1}$

    A cord; a line; to line, or make a straight mark with a line; to warn; restrict.

#### 蠅$^{-1}$

    Name of an insect; a specious; intriguing flatterer.

#### 身$^1$

    The body; trunk of a tree; hull of a ship; I; me.

#### 申$^1$

    To extend; stretch; explain; again; from 3 to 5 o'clock P.M.

#### 伸$^1$

    To spread out; straighten; to vindicate the cause of the injured.

#### 呻$^1$

    To recite; to sigh; moan.

#### 紳$^1$

    A girdle for the waist; to gird; gentlemen.

#### 新$^1$

    Fresh; new; to renew; to reform.

#### 辛$^1$

    Acrid; pungent; bitter; distress; toil; suffering.

#### 莘$^1$

    A medicinal sudorific plant; many; long.

#### 騂$^1$

    A horse of red and yellow color; carnation color.

#### 愼$^2$

    Careful; attentive; still; sincere; cautious.

#### 剩$^3$

    Overplus; surplus; remainder; not only.

#### 信$^{3-}$

    Sincere; true to one's word; to believe; trust; a letter.

#### 汛$^{3-}$

    To sprinkle with; speed; to expedite; haste.

#### 訊$^{3-}$

    To interrogate; examine; accuse; reprove; direct.

#### 迅$^{3-}$

    To go with speed; quick; hasty; sudden.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Sit
### Sit.
#### 實$^{-4}$寔$^{-4}$

    Truth; true; sincere; real; full; solid; the kernel; grain; fruit.

#### 殖$^{-4}$

    To fatten; to plant; cause to grow or flourish; erect.

#### 失$^4$

    To lose; fail; miss; neglect; failure; loss.

#### 室$^4$

    A dwelling; house; family; wife.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Siap
### Siap.
#### 涉$^{-4}$

    To ford a stream; to pass through; to step upon; to implicate; involve.

#### 洩$^{-4}$

    To desist or rest from; to be dissipated; leak out; diminish.

#### 泄$^{-4}$

    To drain off; flow out; leak; to purge; put away; mixed.

#### 倐$^{-4}$

    Hastily; rapidly; instantly; in a short time.

#### 燮$^{-4}$

    To adjust; preserve order; to harmonize; to mature.

#### 霎$^4$

    A short time; a moment; a small rain; a slight shower.

#### 濇$^4$

    Rough; not slippery or smooth.

#### 澀$^4$

    Rough; the ripple on the surface of water.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Sien
### Sien.
#### 墠$^{-1}$

    A place for sacrifice; a level place at the foot of the alter; wild or common ground.

#### 嬋$^{-1}$

    Elegance or beauty of motion; beautiful.

#### 蟬$^{-1}$

    An insect of the cricket kind; poison.

#### 禪$^{-1}$

    To resign; to transfer; meditation; abstraction; sacrifice to heaven.

#### 仙$^1$

    Genii of mountains and hills; demigods.

#### 珊$^1$

    Coral; gems.

#### 僊$^1$

    Deathless; immortal.

#### 銑$^2$

    Metal which is burnished and glossy; a small chisel.

#### 哂$^2$

    To smile; to laugh at.

#### 癬$^2$

    Ringworms; a scab which spreads over the skin.

#### 矧$^2$

    To stretch still more; still more; how much more.

#### 善$^{-3}$

    Good; excellent; virtuous; felicitous; dexterous; benevolent.

#### 繕$^{-3}$

    To repair; put in order; to provide; to write out.

#### 膳$^{-3}$

    The flesh of victims; good food duly prepared.

#### 腎$^{-3}$

    The kidneys; to lead; to induce.

#### 擅$^{-3}$

    To assume; usurp; to take or do without right or authority.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Sim
### Sim.
#### 諶$^{-1}$

    True; sincere; truth; sincerity.

#### 忱$^{-1}$

    Sincere; true; devoted.

#### 心$^1$

    The heart; mind; affections; intention; motive. ​

#### 芯$^1$

    Name of an herb or shrub.

#### 審$^2$

    To investigate clearly; to judge; decide; to restrain.

#### 嬸$^2$

    A younger brother's wife; also a father's brother's wife.

#### 甚$^{-3}$

    In an extreme degree; very; superlative.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Siam
### Siam.
#### 暹$^{-1}$

    The sun rising and increasing in splendor; Siam.

#### 簷$^{-1}$

    The eaves of a roof hanging out over the wall.

#### 蟾$^{-1}$

    A species of toad.

#### 贍$^{-1}$

    Plentiful; sufficient for; to bestow; give to the poor.

#### 參$^1$

    Ginseng.

#### 韯$^1$

    Small; fine; wild leeks which grow on hills.

#### 纖$^1$

    Fine silk; delicate; small ornaments for clothes; near. ​

#### 䜟$^1$

    A species of divination; a prognostic; to repent.

#### 森$^1$

    A forest; abundant; majestic; sombre; sham-wood.

#### 閃$^2$

    To shun; evade; pass away quickly, as lightning.

#### 陜$^2$

    Name of a province west of Honan.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Siet
### Siet.
#### 設$^4$

    To arrange; establish; institute; to suppose.

#### 紲$^4$絏$^4$

    To tie; bind; fasten with cords; bonds; a bridle.

#### 褻$^4$

    Rags; defiled; to defile; to treat with contempt; to insult.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Sio
### Sio.
#### 潚$^1$

    Deep clear water; name of a river; rinsing rice.

#### 簫$^1$

    A reed; name of a musical instrument.

#### 蕭$^1$

    Name of a bitter herb; a barrier; waving; solitary.

#### 宵$^1$

    Obscure; night; small.

#### 捎$^1$

    To select from; to brush away; eradicate; reject.

#### 消$^1$

    To thaw; melt; digest; dissipate; consume.

#### 硝$^1$

    Nitre; salt-petre.

#### 逍$^1$

    To saunter about for amusement.

#### 銷$^1$

    To fuse metals; melt; dissolve. ​

#### 霄$^1$

    Vapor; clouds; halo; sleet; heaven.

#### 搜$^1$

    To shake; toss about; to search; to study the import of.

#### 小$^2$

    Small; petty; contracted; light; a few; young.

#### 劭$^{-3}$

    Exertion; effort; to force one's self; excellence.

#### 紹$^{-3}$

    To connect; to continue in succession; to succeed.

#### 邵$^{-3}$

    High; eminent.

#### 韶$^{-3}$

    An instrument of music; to continue the virtues of a predecessor.

#### 髫$^{-3}$

    Tuft of hair which hangs down from a child's head.

#### 肇$^{-3}$

    To commence; to correct; to devise; project; intelligent.

#### 少$^{3-}$

    Few; small; young; to diminish; to owe; be wanting.

#### 肖$^{3-}$

    Constitutional likeness as between parent and child; legitimate; filial.

#### 數$^{3-}$

    To reckon; count; a number; several; fate; few.

#### 櫢$^{3-}$

    To shake; agitate; brush or shake off.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Sip
### Sip.
#### 什$^{-4}$

    Ten; two files of five persons each; mixed.

#### 襲$^{-4}$

    Double or outer garments; to continue in succession; to invade.

#### 拾$^{-4}$

    To gather together; collect; to inquire about.

#### 習$^{-4}$

    To practice; become accustomed to; repeat over and over; to learn thoroughly.

#### 慴$^{-4}$

    Fearful; timid; cowardly.

#### 摺$^{-4}$

    To fold up; a document folded up; to destroy.

#### 熠$^{-4}$

    Glossy, shining feathers; lustre; effulgence.

#### 濕$^4$

    Damp; moist; hurried; depression of spirit.

#### 隰$^4$

    Low marshy land; a marsh.
# A Dictionary of Music and Musicians/Mousquetaires de la Reine, Les

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Mozarteum of Salzburg, The

From volume 2 of the work.
[ C. F. P. ]
# A Dictionary of Music and Musicians/Mountier

From volume 2 of the work.
[ J. M. ]
# A Dictionary of Music and Musicians/Movement

From volume 2 of the work.
[ J. A. F. M. ]
# A Dictionary of Music and Musicians/Mozartstiftung, The

From volume 2 of the work.
[ C. F. P. ]
# A Dictionary of Music and Musicians/Mozart, Constanze

From volume 2 of the work.
​MOZART, Constanze, Wolfgang's wife (née Weber), born at Zell, in Lower Austria, had a pretty, well-trained voice, and played the piano in a pleasing manner. Mozart dedicated to her, always in affectionate terms, many of his compositions, but, characteristically, finished none of them. She was a good and loving wife, accommodated herself in every thing to her husband's disposition, and restrained him from many heedless actions. He was sincerely attached to her, and she, in return, lavished upon him every care and attention. After Mozart's death she and her two children had a hard struggle for existence, but her necessities were in some measure relieved by the success of concerts which she gave in Vienna, Prague, Berlin, and other cities. In Berlin, the King granted her the use of the Opera-house, and the services of his own band, for a concert, at which she sang. In 1799 she sold all her husband's remaining MSS. to André for 1000 ducats (£500). In 1809 she married George N. Nissen, an official in the Danish diplomatic service, whose acquaintance she had made in Vienna in 1797. Henceforth her life was peaceful and uneventful. On Nissen's retirement from office in 1820 they went to live in Salzburg, where he collected the materials for his 'Mozart-Biographie.' He died in 1826, and Constanze on March 6, 1842, a few hours after the arrival of the model of Mozart's statue.
Of the two sons of Wolfgang and Constanze Mozart, the elder, Karl, first took to commerce, practising music as a pastime, and afterwards became an employé of the Austrian government at Milan, where he died in 1859 [App. p.720 "1858"]. Mendelssohn met him there in 1831, and delighted him by playing the Overtures to Don Giovanni and the Zauberflöte. The younger,
[ C. F. P. ]