OpenLLM-France/wikimedia huggingface dataset:
# 1922 Encyclopædia Britannica/Ravel, Maurice

See also Maurice Ravel on Wikipedia, and the disclaimer.
​RAVEL, MAURICE (1875-), French musical composer, was born at Ciboure, France, March 7 1875, and received his musical education at the Paris conservatoire, under Fauré, Pessard and Bériot. His compositions include, besides songs, pianoforte music, and chamber music, the Scheherazade overture (1911), Rhapsodie Espagnole (1907), and the one-act opera L'Heure Espagnole (1907), first produced at Covent Garden in 1919.
# 1922 Encyclopædia Britannica/Reading, Rufus Daniel Isaacs, 1st Earl of

See also Rufus Isaacs, 1st Marquess of Reading on Wikipedia, and the disclaimer.
​READING, RUFUS DANIEL ISAACS, 1st Earl of (1860–), British lawyer and statesman, was born in London Oct. 10 1860, of a Jewish family. He was educated at University College school, and later at Brussels and Hanover, and after a brief experience of the London Stock Exchange he was called to the bar in 1887. He speedily earned the reputation of a brilliant lawyer, and in 1898 became a Q.C. In 1904 he entered the House of Commons as Liberal member for Reading, and in 1910 was made solicitor-general and knighted. The same year he became attorney-general, and in June 1912 was given a seat in the Cabinet the first attorney-general to be so distinguished. In Oct. 1912, Sir Rufus Isaacs’s name came under unfavourable discussion during the course of the enquiry into the Marconi contracts, but on the retirement of Lord Alverstone in 1913 he was appointed Lord Chief Justice of England. On the outbreak of the World War his advice on financial questions was of great value to the Government, and he was responsible for some of the most important measures immediately taken by the Treasury in connexion with the situation in the “City.” Both at this time and later, his services in the sphere of national finance were, indeed, invaluable. In 1915 he went to the U.S.A. as head of the Anglo-French loan mission, earning golden opinions. He was raised to the peerage as Viscount Reading in 1916, and in 1917 again went as special envoy to America. On his return he was created Earl of Reading, and in 1917, on the retirement of Sir Cecil Spring-Rice, owing to ill-health, went to Washington for a brief period as high commissioner and special ambassador. At the beginning of 1921 he was appointed Viceroy of India in succession to Lord Chelmsford, and resigned the lord chief justiceship. Lord Reading married, in 1887, Alice, daughter of Albert Cohen. His only child, Gerald Rufus Isaacs, Viscount Erleigh (b. 1889), married in 1914 the daughter of Sir Alfred Mond.
# 1922 Encyclopædia Britannica/Rennenkampf, Paul

See also Paul von Rennenkampf on Wikipedia, and the disclaimer.
RENNENKAMPF, PAUL (1854-1918), Russian general, was born in 1854 and entered the army in 1873. On passing out of the Academy of the General Staff in 1882, he was appointed to the General Staff. From 1895 to 1899 he commanded a regiment and in 1900 he was promoted to the rank of general. In the war with China in 1900 he distinguished himself by his resolute action when commanding a column in Manchuria. In the war with Japan 1904-5 he commanded first a Cossack division, and later large forces of all arms, and again won distinction by his energy. From 1905 to 1913 he was a corps
commander and in 1913 he was appointed to command the troops of the Vilna Military District. At the beginning of military operations in Aug. 1914 he commanded the I. Army which invaded Eastern Prussia. His inaction during the battle of Tannenberg, where the neighbouring army of Samsonov was destroyed Aug. 26-29, was a bitter disappointment, and, by the masses of the people, he was even accused of treachery. Personally brave, daring in small actions, Rennenkampf, as an army commander, showed himself in the strategic sphere alternately rash and timid, owing to his inability to grasp the situation as a whole. At the beginning of 1915 he was recalled from his duties of army commander, and later, under the pressure of public indignation, he was dismissed from the service. In 1918 he was killed by the Bolsheviks.
# A Dictionary of Music and Musicians/Motif

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

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Motetus

From volume 2 of the work.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Mountain Sylph, The

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Mounsey

From volume 2 of the work.
​MOUNSEY. The name of two English lady organists and musicians. The elder of the two, Ann Sheppard, was born in London April 17, 1811, and studied under Logier. She is alluded to by Spohr in hisaccount of his visit to Logier's academy in 1820. In 1828 she was elected organist to a church at Clapton; in 1829 to St. Michael's, Wood Street, E.C., and in 1837 to St. Vedast's, Foster Lane, where she still plays. In 1834 Miss Mounsey became a member of the Philharmonic Society. In 1843 she gave the first of six series of Classical Concerts, at Crosby Hall, London, for one of which (that of 1844) Mendelssohncomposed 'Hear my Prayer,' for voices and organ. In 1853 she married Mr. W. Bartholomew, and in 1855 composed the oratorio of 'The Nativity,' which was performed in the same year under the direction of Mr. Hullah at St. Martin's Hall. Mrs. Bartholomew is well known in London as a teacher; she has published upwards of 100 songs, 40 part-songs, and a large number of works for piano and for organ.
[ G. ]
* ↑ Autobiography, ii. 99, 100.
* ↑ See his letter, in Polko's Reminiscences, p. 220. The autograph is now in the South Kensington Museum.
# A Dictionary of Music and Musicians/Motion

From volume 2 of the work.
​MOTION is change of pitch in successive sounds, when they are allotted to a single part or voice, or to groups of parts or voices which sound simultaneously. The motions of a single part are classified according as the successive steps do or do not exceed the limits of a degree of the scale at a time, the former being called 'disjunct,' and the latter 'conjunct' motion. The following examples illustrate the two forms:—
| Conjunct | Beethoven. |
| etc. ||
| Disjunct | Bach. |
| etc. ||
The independent motions of different parts sounding together constitute counterpoint, and are classified according to their relations, as 'contrary,' 'similar,' and 'oblique' motions. In the first the parts either distinctly converge or diverge, one rising when the other falls. In the second the parts either rise or fall together, though not necessarily at equal distances. The third refers to one part only, which moves up or down while another stands still.
[ C. H. H. P. ]
# A Dictionary of Music and Musicians/Mottl, Felix

[ C. A. ]
# A Dictionary of Music and Musicians/Mount-Edgcumbe, Richard

From volume 2 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Langshaw, John

From volume 2 of the work.
​LANGSHAW, John, was employed about 1761, under the direction of John Christopher Smith, in setting music upon the barrels of an organ, of much larger size than had been theretofore used for barrels, then being constructed for the Earl of Bute, which he did 'in so masterly a manner that the effect was equal to that produced by the most finished player.' In 1772 he became organist of the parish church of Lancaster, and died in 1798.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Laniere, Nicholas

From volume 2 of the work.
[ W. H. H. ]
[App. p.697
​Recent investigations have brought to light several important facts concerning this musician and his family, which was of English, not Italian, origin. The two following entries from the registers of Holy Trinity, Minories, establish the approximate date of his birth, and the fact that his father and maternal grandfather were court musicians:—'1585. Oct. 12. John Lannyer of East Greenwich, Musician to the Queen's Maj$^{tie}$, & Frances Galliardello, dau$^r$. of the late dec$^d$. Mr. Mark Anthony Galliardello, also an ancient Musician to sundrie Most Noble Princes as King Henry the 8, Edward the 6, Queen Mary, and now to our Noble Queen Eliz:—were married.' '1588. Sept. 10. Nicholas son of John Lannyer Musician to Her Majesty, bapt.' In the Visitation of Kent, 1663, his name, spelt Lanier, with those of several of his descendants, appears as 'of Greenwich,' and in the Greenwich registers, under date Feb. 24, 1665–6, the entry is found: 'Mr. Nicholas Laniere buried away ' (i.e. elsewhere). (Information from A. S. Gatty, Esq., York Herald.)
# A Dictionary of Music and Musicians/Large

From volume 2 of the work.
​LARGE (Lat. Maxima, Old Eng. Maxim). The longest note used in measured music. In ancient MSS., the Large appears as an oblong black note, corresponding with the Double-Long described in the Ars Cantus Mensurabilis of Franco of Cologne. Franchinus Gafforius, writing in 1496, figures it as an oblong white note, with a tail descending on the right hand side; which form it has retained, unchanged, to the present day.
In the Great Mode Perfect, the Large is equal to three Longs: in the Great Mode Imperfect, to two. [See Mode.] The Rest for the Perfect Large stretches, in a double line, across three spaces; that for the Imperfect Large, across two.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Lange

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Larghetto

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Langsam

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Lanner, Joseph

From volume 2 of the work.
​LANNER, Joseph, born at Vienna, April 12, 1801; son of a glove-maker; early showed a talent for music, taught himself the violin, and by means of theoretical books learned to compose. Next came the desire to conduct an orchestra; and in the meantime he got together a quartet party, in which the viola was taken by Strauss, his subsequent rival. They played potpourris from favourite operas, marches, etc., arranged by Lanner. He next composed waltzes and Ländler, first for a small, then for a full orchestra, and performed them in public. His popularity increased rapidly, and important places of amusement eagerly competed for his services. He also appeared in most of the provincial capitals, but declined all invitations abroad. He conducted the dance music in the large and small Redoutensaal, and also that at the court balls, alternately with Strauss. As a mark of distinction he was appointed Capellmeisterof the 2nd Bürger-regiment. When thus at the height of prosperity he died, April 14, 1843; and was buried in the churchyard of Döbling, near Vienna. A memorial tablet was placed on the house in which he was born, May 15, 1879.
Lanner may be considered the founder of our present dance-music. His galops, quadrilles, polkas, and marches, but especially his waltzes and Ländler, bear traces of the frank, genial disposition which made him so beloved. All his works, from op. 1. ('Neue Wiener Ländler') to his swan-song ('Die Schönbrunner') are penetrated with the warm national life of Vienna. The titles often contain allusions to contemporaneous events and customs, and thus have an historical interest. His printed works amount to 208, and he left others unpublished. The following numbers are dedicated to crowned heads, and distinguished persons—op. 74, 81, 85, 91, 101, 110–12, 115–16, 120, 128, 131–32, 138 ('Victoria-Walzer' dedicated to Queen Victoria), 143, 146, 155, 161–62. The 'Troubadour-Walzer,' op. 197, are dedicated to Donizetti, and the 'Norwegische Arabesken,' op. 145, to Ole Bull. Diabelli published op. 1–15; Haslinger 16–32, and 170–208; Mechetti 33–169.
[ C. F. P. ]
# A Dictionary of Music and Musicians/Lanzetti, Salvatore

​LANZETTI, Salvatore. See vol. iv. p. 299b.
# A Dictionary of Music and Musicians/Laporte, Pierre

From volume 2 of the work.
[ W. H. H.]
# A Dictionary of Music and Musicians/Largo

From volume 2 of the work.
​LARGO, i.e. broad, an Italian term meaning a slow, broad, dignified style. Handel employs it often, as in the Messiah in 'Behold the Lamb of God,' 'He was despised,' and 'Surely.' Haydn uses it for the Introduction and first Chorus in the 'Creation,' as well as in the Introduction to the 3rd Part. Beethoven employs it only in P.F. works, and it is enough to mention some of the instances to show what grandeur and deep feeling he conveyed by this term,—op. 7; op. 10, no. 3; op. 37; op. 70, no. 1; op. 106. He often accompanies it with passionato, or some other term denoting intense expression. Mendelssohn uses it for 'broad' in the Andante of his [App. p.697 "Quartet in E♭"] op. 12.
[ G. ]
# A Danish and Dano-Norwegian Grammar/Interjections

INTERJECTIONS.
244. The interjections proper are natural sounds, hardly to be counted among the forms of articulate speech, consequently they are beyond the domain of grammar. We shall here only mention that the D.-N. equivalents of halloo hallo, halloi, hei are not used as a salute; as regards interjectional phrases may be mentioned that the equivalents of how do you do hvorledes har De det, hvorledes staar det til med Dem are only used when it is really intended to ask about somebody’s health. As a simple greeting is employed: god Dag good day! (god Morgen, god Aften, good morning, good evening, and when leaving god Nat good night). Om Forladelse! beg your pardon! undskyld! excuse me; tör jeg spörge? if I may ask? Tak! thanks, thank you. Mange Tak, Tusind Tak many thanks, a thousand thanks! ingen Aarsag! don’t mention it, not at all; værsgo! (i. e. vær saa god, in which form it is written) if you please, please (when fetching or offering somebody something); vær saa venlig (N. vær saa snil) at gjöre det for mig please do it for me; strax paa Öieblikket at once, right away.
​The English Sir in yes, sir; no, sir is not translated unless when speaking to a superior or a person, of rank in which case the title is added: ja, Hr. Kaptain (N. Kaptein) yes, Captain; nei, Hr. General no, General. But ma’m, madam, is translated Frue (Mrs.) or Fröken (Miss) according to circumstances: Nei, Fröken, det tror jeg ikke no ma’m, I don't think so; Nei, Frue, det har jeg aldrig sagt no, ma’m; that I have never said.
# A Danish and Dano-Norwegian Grammar/Conjunctions

CONJUNCTIONS.
243. The conjunctions are divided into co-ordinating and sub-ordinating; both these classes are again divided according to their signification into several subdivisions.
The grammarians mostly enumerate the conjunctions belonging to the several classes, but we shall here only mention those of special importance or about the use of which there is anything to remark.
A. Co-ordinating:
og and; baade–og both–and; in the same meaning: saa vel–som as well–as: jeg saarel som du or saavel jeg som du I as well as you; dels–dels partly–partly; snart–snart now–now; han er snart kold, (og) snart varm now he feels cold, now warm; eller or; enten–eller either–or; hverken–eller neither–nor; thi for; men but.
​B. Subordinating:
da when, as; indicates both time and cause; da lian kom, var jeg allerede gaaet when he came I was already gone; da han har forbrudt sig, maa han straffes as he has offended, he must be punished; siden since (temp. and causal); forsaavidt (som) in so far as; hvis, dersom, om if; hvis ikke, medmindre if not, unless; skjönt, endskjönt, omendskjönt although, admit something actually existing; om end, selv om though, even if, admit something supposed; at that: jeg ved at De har været her I know that you have been here; at may also be omitted: jeg ved De liar været her I know you have been here; forat in order that. Ex.: Kjöbmanden sendte sin Sön til Udlandet, forat han skulde lære Sprog the merchant sent his son abroad in order that he should learn languages (also forat læere Sprog to study languages, see § 228;) jeg lægger op Penge, forat jeg kan nyde en sorgfri Alderdom I lay money by in order to be able to enjoy a comfortable old age (or for at kunne nyde en sorgfri Alderdom); jeg gav ham en Krone, forat han skulde give den til Tiggeren I gave him a Crown to give to the beggar. The infinitive construction is regularly employed when the infinitive and the predicate verb have the same subject, and often when the subject of the infinitive is the object of the predicate verb; in other cases forat must be used with a sentence. (Obs. for with an infinitive at written separately: for at, while the conjunction is written as one word: forat); forat ikke (or after a verb signifying fear forat) lest; Ex. Borgerne brændte Byen, forat den ikke skulde falde i Fiendens Hænder the citizens burned the town, lest it should fall into the hands of the enemies; Borgerne var bange for, at Byen skulde falde i Fiendernes Hænder the citizens were afraid, lest the town should fall into the hands of the enemies; saa at so as to; Ex. mine Reisefæller har forladt mig, saa at (or ​only: saa) jeg er nu ganske alene my traveling companions have left me, so I am now perfectly alone; Stedet er saa öde, at det er formeligt uhyggeligt the place is so desolate that it is (or: as to be) dismal; end than; han er större end jeg he is larger than I (colloquially is said: han er storre end mig he is larger than me but only: Hr. Persen har et större Hus end jeg Mr. P. has a larger house than I); dette er noget ganske andet, end hvad vi saa igaar this is something quite different from what we saw yesterday.
# A Cyclopaedia of Female Biography/Rigby, Miss

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RIGBY, MISS,
Has not contributed as much to our current literature as many other English authoresses—but the few volumes for which the world is indebted to her, place her in the very first class among writers of tales and travels. It chanced that the elder sister of this lady married an Esthonian baron, who has established his residence on his family estates;—she was induced to visit this expatriated relative, and hence we obtained "Letters from the Baltic," published in 1841. This work at once made its way with the public and reviewers. Solid information and novelty of description conveyed in the most graceful style, brightened by wit, animated by the enthusiasm of an artistic taste, such are the attractive qualities of "Letters from the Baltic." We know of no other book that gives so clear, so true, and so detailed an account of life in the Russian Empire. "Russia, the country where the learned man wastes his time, the patriot breaks his heart, and the rogue prospers," such is her concluding observation on quitting St. Petersburg. In 1846 appeared "Livonian Tales;" they are three in number, and all well written.
# A Cyclopaedia of Female Biography/Robert, Clemence

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ROBERT, CLEMENCE,
Is a Parisian, and one of the most popular contributors to public amusement among the writers of the Roman Feuilleton. Her stories are for the most part interesting; generally they are based upon some historical event. "Vincent de Paule" is one of the best, in which the evangelical piety of that father of the fatherless is beautifully described. It would be useless and impossible to give a catalogue of all the productions of so fertile a pen, but we will mention some of the most noted of her tales:—"Louise de Lorraine;" "Anne de Mantoue;" "Le Capitaine Mandrin:" "Le Cardinal Wolsey;" "Jeanne de Castille." The style of this lady is clear and expressive; her sentiments are always delicate and refined. There is in the minds of many, a brand of impropriety upon French novels—this, with one or two notorious exceptions, is just only when applied to the writings of Frenchmen—the romances of the lady authors are almost universally free from any taint of indelicacy, and their morality is based upon the truths of religion.
# A Cyclopaedia of Female Biography/Rich, Frances

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RICH, FRANCES.
Youngest daughter of Oliver Cromwell, was born in December, 1638. She was probably handsome, as she received many splendid offers of marriage; among others, one from Charles the Second himself, then in exile. Cromwell refused, saying that "Charles would never forgive the death of his father." The Duke d'Enghien, eldest son of the Prince de Condé was another suitor of Frances Cromwell. On the 11th. of November. 1667, she married Robert Rich, grandson and heir to Robert, Earl of Warwick, the protector settling £16,000 on his daughter. Mr. Rich died three months after the marriage, and some time after, Mrs. Rich married Sir John Russel, by whom she had several children. She died January the 27th., 1721, at the age of eighty-four.
# A Cyclopaedia of Female Biography/Riedesel, Frederica, Baroness de

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RIEDESEL, FREDERICA, BARONESS DE,
Was the daughter of Masson, the Prussian minister of state, and was born in Brandenborgh in 1746. In 1763, she married Lieutenant-Colonel Baron de Riedesel, who was appointed, in 1777, to the command of the Brunswick forces in the British service in America, and his wife accompanied him there with her three young children. She was with that part of the army commanded by General Burgoyne, during all their disasters, till the defeat at Saratoga, exposed often to privations and dangers from which many of the soldiers would have shrunk. After the capitulation of Burgoyne, Riedesel, who was taken prisoner, was sent to Cambridge, and afterwards to Virginia, but in 1779, was allowed to go to New York. His wife accompanied him in all his wanderings. In 1780, General Riedesel was exchanged; in 1781, they went to Canada; and in 1783, they returned to Germany, where the husband died, in 1800. After this event, the baroness resided in Berlin, where she died, in 1808. She founded there an asylum for military orphans, and an alms-house for the poor in Brunswick.
# A Cyclopaedia of Female Biography/Ristori, Adelaide

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RISTORI, ADELAIDE,
Is a tragic actress, whose powerful delineations of passion have ​placed her, as many think, on an equality with Rachel and Siddons. She is a native of Civitale di Friuli, in Lombardo-Venetia, and wan born In 1822. Her introduction into theatrical circles took place at a very early age; when only four years old, she was accustomed, at Rome, to play children's parts in simple dramas; and when fourteen, was enabled to sustain the part of Francesca de Rimini in the sad though sweet tragedy of that name. She studied with great care and diligence, and seems thoroughly to have imbued her soul with the noble sentiments and lofty asperations of her assumed characters. In 1846, while performing at Rome, her hand was solicited in marriage by an Italian nobleman, and shortly after she became the Marquise Capranica del Grillo. After this union she relinquished the stage for awhile, but, like a dethroned monarch, she sighed to return to her seat of dominion, and the opportunity, or the excuse, for doing so soon came. An old friend and patron of hers fell into distress, and she offered to give three performances for his benefit. The success of these was so great, and the solicitations for a continuance of her dramatic career became so urgent, her own wishes, too, were so strongly urged, that her husband consented, notwithstanding the objections of his noble relations, that she should return to the stage; and this she did after a two years' retirement, which seems to have much enriched and improved her faculties.
After a long series of triumphs in Italy, she made her first public appearance in Paris in the summer of 1855, when the Great Industrial Exhibition was open, and the city unusually full of foreigners. She met with an enthusiastic reception from the public, and the critics were loud in their praise. In 1856, she came to London, and performed at the Lyceum Theatre such characters as Mary Queen of Scots, Medea, etc., displaying in each high tragic power and rare knowledge of human nature. Her acting is simple and majestic, and she depends little on meretricious ornament or display of any sort. Her figure is tall and well rounded; she has an intelligent face, lit up with lustrous black eyes, and thrown out by a setting of hair, dark and abundant. Such is "the Ristori," which is still her stage name, although in private circles she claims the title of an Italian marquise.