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

​WEBER FAMILY, known for their connection with Mozart, who first knew them in Mannheim, and married the third daughter. The father,
Fridolin, born 1733 at Zell (in Breisgau), studied law at Freiburg, and succeeded his father as bailiff of the Schonau estates. He was a clever violinist, and the Elector Karl Theodor invited him and his brother Franz Anton to Mannheim, where however, according to Mozart, he occupied quite a subordinate position as copyist, prompter, and supernumerary violinist in the band. In 1756 he married Marie Cacilie Stamm of Mannheim. His brother, and junior by a year, Franz Anton, was the father of Carl Maria von Weber, who was thus Mozart's first cousin by marriage. Mozart writing to his father about Fridolin Weber's four daughters, says, 'I have never met before with such a variety of dispositions in one family.' The eldest,
Josepha, was a bravura singer, with a high and flexible voice, but a poor musician. Mozart wrote for her the part of the Queen of Night in the 'Zauberflöte' and a bravura air (Köchel, No. 580). She married in 1789 Hofer, violinist at Schikaneder's theatre, and after his death Meyer, a bass-singer, who sang Pizarro in 'Fidelio.' She died in 1820. The second,
Aloysia, born 1750, was Mozart's first love. Her voice was exceptionally high, and extremely pleasant in tone, though perhaps rather weak for the stage. In 1780 she was engaged for the opera in Vienna, and married an actor at the court theatre, named Lange, who died in 1827. Mme. Lange made several professional tours before her final retirement in 1808. She died at Salzburg in 1839. Mozart wrote for her the part of Constanze in the 'Entführung,' 6 airs (Köchel, Nos. 294, 316, 383, 418, 419, 538), and a rondo (No. 416). The third,
Constanze, born 1763 at Zell, became Mozart's wife. When the Archbishop of Salzburg dismissed Mozart from his household in Vienna, the latter took up his abode with Frau Weber (her husband had died of apoplexy), then living with three of her daughters, Aloysia being married, in a house called 'Zum Auge Gottes,' in the Peters-Platz. Here began the love affair which caused Mozart's father so much anxiety. The marriage took place Aug. 4, 1782, and in nine years Constanze was left a widow. For the support of herself and children she made several professional tours. In 1809 she married a Danish official named Nissen, but in 1826 was again left a widow, and died at Salzburg March 6, 1842. The youngest of the four,
[ C. F. P. ]
* ↑ See ante, vol. ii. 387.
* ↑ Ib. ii. 460.
* ↑ Ib. ii. 406.
# A Dictionary of Music and Musicians/Weckerlin, Jean Baptiste

​WECKERLIN, Jean Baptiste, born at Guebwiller in Alsace, Nov. 9, 1821, son of a manufacturer. So strong were his musical instincts, that though educated for trade, he ran ​away to Paris, and in 1844 entered the Conservatoire, where he learned harmony under Elwart, and composition under Halévy. Not succeeding in the Institut examinations, he left the school, and took to teaching and composition. Eager to produce, and very industrious, he let slip no opportunity of making himself known, and attempted all branches of composition, though soon finding that success at the theatre was out of the question. Musical bibliography was his main resource, and he brought to light many curious old compositions, such as the 'Ballet comique de la Reyne,' which was given with others of the same class, at the concerts of the Societé de Sainte Cecile, of which he was chorus-master from 1850 to 55. He also made a fine collection of scarce books of poetry, with airs in notation, and song-writers, which he turned to account in his Collections of national airs. In 1863 be was selected to form the library of the newly-founded 'Société des Compositeurs de Musique,' and in 1869 was placed Auber in the Library of the Conservatoire, of which he became head-librarian Sept. 9, 1876—a post which he still (1885) fills with success.
His vocal and operatic works include 6 operas; 2 ode-symphonies; 2 antique dramas; a large number of choruses for female voices and for male do.; 6 Quatuors de Salon; various extensive collections of pieces, and over 300 airs for voice and PF.; a Mass and sundry Motets. His instrumental works comprise a Symphony and Suite, both for full orchestra; arrangements, etc.
His bibliographical works are as follows:—
'Chansons populaires des provinces de la France' (1860), with Champfleury; 'Les Echos du Temps passé,' 3 vols.; 'Les Echos d'Angleterre'; 'Album de la Grandmaman,' 20 old melodies; 'Chansons et Rondes pour les enfants' (1885); 'Chansons de France pour les petits Français' (1885); 'Ballet comique de la Reine'; Cambert's operas 'Pomone,' and 'Les Peines et les Plaisirs de l'Amour'; 'Le Bourgeois Gentilhomme,' divertissements by Molière and Lully. Various articles in the 'Bulletin de la Société des Compositeurs'; 'Musiciana,' extracts from rare books (Paris, 1877); 'Chansons populaires de l'Alsace,' 2 vols. (1883); and 'La Bibliothèque du Conservatoire de musique,' 1 vol. 8vo (1885), a catalogue raisonné of the books in the Réserve.
[ G. C. ]
# A Dictionary of Music and Musicians/Weelkes, Thomas

[ W. H. H. ]
# A Dictionary of Music and Musicians/Wechselnote, Die Fux'sche

​WECHSELNOTE, DIE FUX'SCHE—Fux's Changing-note. A term supposed to represent in the Strict or ancient style of Counterpoint a very striking 'licence,' of which Palestrina and his contemporaries sometimes made use. The Third Species of Simple Counterpoint—i.e. Four notes against one—demanded that 'discords by transition' (or, as we should now say, Passing-notes) should be approached and quitted by conjunct degrees. In spite of this rule the composers of that time allowed themselves to proceed by a skip from the second or fourth note in the bar (provided it be a discord) to the third below, ascending afterwards to the note on which the discord should properly have resolved itself. The following examples show that this note can appear in two different places in the bar:—
This licence was but rarely used by the old masters, and rather as an interesting exception. It has, however, given rise to much discussion among theorists. Some admired it for its gracefulness, some objected to it. Under the name of Nota Cambiata, Changing-note, and Wechselnote, they have attempted to explain or justify it by eaying that the note which the composers had skipped could be supplied by imagination, thus—
But this explanation attempts to account for the licence by a process contrary to the composers' intentions, and even purposely avoided by them. It may frequently be observed in the history of the development of music, that able and gifted musicians have chosen what is right by instinct, regardless of its contradicting the then existing rules. We, however, have a complete system of harmony at our disposal—which the old masters had not—and can therefore regard the licence as perfectly justifiable. We must now remark that Examples 1 and 2 ought not to come under the same heading, as they have often hitherto done; each demands and admits of a totally different and separate explanation. According to our present musical terminology, in neither case would the note marked * be called a Changing-note. To us, in Ex. 1, this note would appear to be a Passing-note, which proceeds regularly, though not immediately, to the expected interval. B passes to A, interrupted by G. Such interruptions are quite familiar to us. A striking analogy in the music of our time is to be found in the interrupted resolution of another discord (though on a different beat in the bar), namely the Suspension, which is of frequent occurrence nowadays;
In Example 2, on the contrary, the B * is, from our point of view, nothing more than an Anticipation of the chord of G which immediately follows. In this manner the figure can be well explained, justified, or at least shown to be fully admissible. In the course of time this melodic phrase seems to have lost favour, for we seldom find it used by later generations. By Bach, Handel, and some of their successors, it is only employed in recitatives, and even there it is limited to the skip to the third below; an Anticipation being the result.
[ F. L. ]
# A Dictionary of Music and Musicians/Wedding of Camacho, The

[ G. ]
# A Dictionary of Music and Musicians/Wehli, Karl

[ G. ]
# A Defense of the Constitutions of Government of the United States of America/Vol. 1

(1787)
/Preface
/Preliminary Observations
Chapter 1: Of Modern Democratic Republics
Chapter 2: Aristocratic Republics
Chapter 3: Monarchical or Regal Republics
Chapter 4: Opinions of Philosophers
Chapter 5: Writers on Government
Chapter 6: Opinions of Historians
Chapter 7: Ancient Democratical Republics
Chapter 8: Ancient Aristocratical Republics
Chapter 9: Ancient Monarchical Republics
Chapter 10: Conclusion
# A Dictionary of Music and Musicians/Fournier, Pierre

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

From volume 1 of the work.
​FRA DIAVOLO, OU L'HOTELLERIE DE TERRACINE. Opéra comique in 3 acts; words by Scribe, music by Auber. Produced at the Opéra comique Jan. 28, 1830; in London—in English, adapted by Rophino Lacy—at Drury Lane, Nov. 3, 1831; in Italian, at the Lyceum by the Royal Italian Opera July 4–11, 1857.
# A Dictionary of Music and Musicians/Framery, Nicolas

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

From volume 1 of the work.
[ C. F. P. ]
# A Dictionary of Music and Musicians/Forza del Destino, La

From volume 1 of the work.
​FORZA DEL DESTINO, LA. Tragic Opera by Verdi, libretto by Piave; in 4 acts. Produced at St. Petersburg 30 Oct. (11 Nov.) 1862, and at Her Majesty's Theatre, London, June 22, 1867.
# A Dictionary of Music and Musicians/Fougt

​FOUGT. See Music-Printing in Appendix.
# A Dictionary of Music and Musicians/Fourneaux, Napoléon

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

From volume 1 of the work.
[ C. H. H. P. ]
# A Dictionary of Music and Musicians/Foundling Hospital

From volume 1 of the work.
[ C. M. ]
# A Hundred and Seventy Chinese Poems/Illness

ILLNESS
Sad, sad — lean with long illness;
Monotonous, monotonous — days and nights pass. The summer trees have clad themselves in shade;
The autumn "Ian" already houses the dew. The eggs that lay in the nest when I took to bed
Have changed into little birds and flown away.
The worm that then lay hidden in its hole
Has hatched into a cricket sitting on the tree.
The Four Seasons go on for ever and ever:
In all Nature nothing stops to rest
Even for a moment. Only the sick man's heart
Deep down still aches as of old!
# A Hundred and Seventy Chinese Poems/Last Poem

LAST POEM
They have put my bed beside the unpainted screen;
They have shifted my stove in front of the blue curtain.
I listen to my grandchildren, reading me a book;
I watch the servants, heating up my soup.
With rapid pencil I answer the poems of friends;
I feel in my pockets and pull out medicine-money.
When this superintendence of trifling affairs is done,
I lie back on my pillows and sleep with my face to the South.
THE END
# A Hundred and Seventy Chinese Poems/How I sailed on the Lake till I came to the Eastern Stream

HOW I SAILED ON THE LAKE TILL I CAME TO THE EASTERN STREAM
By Lu Yu
Of Spring water,— thirty or forty miles: In the evening sunlight,— three or four houses. Youths and boys minding geese and ducks: Women and girls tending mulberries and hemp. The place,— remote: their coats and scarves old: The year,— fruitful: their talk and laughter gay. The old wanderer moors his flat boat
And staggers up the bank to pluck wistaria flowers.
# A Hundred and Seventy Chinese Poems/Kept waiting in the Boat at Chiu-k'ou Ten Days by an adverse Wind

KEPT WAITING IN THE BOAT AT CHIU-K'OU TEN DAYS BY AN ADVERSE WIND
White billows and huge waves block the river crossing;
Wherever I go, danger and difficulty; whatever I do, failure. Just as in my worldly career I wander and lose the road,
So when I come to the river crossing, I am stopped by contrary winds. Of fishes and prawns sodden in the rain the smell fills my nostrils;
With the stings of insects that come with the fog, my whole body is sore. I am growing old, time flies, and my short span runs out,
While I sit in a boat at Chiu-k'ou, wasting ten days!
# A Hundred and Seventy Chinese Poems/Lament of Hsi-chün

LAMENT OF HSI-CHÜN
About the year 110 B. C. a Chinese Princess named Hsi-chün was sent, for political reasons, to be the wife of a central Asian nomad king, K'un Mo, king of the Wu-sun. When she got there, she found her husband old and decrepit. He only saw her once or twice a year, when they drank a cup of wine together. They could not converse, as they had no language in common.
My people have married me
In a far corner of Earth:
Sent me away to a strange land,
To the king of the Wu-sun.
A tent is my house, Of felt are my walls;
Raw flesh my food
With mare's milk to drink.
Always thinking of my own country, My heart sad within.
Would I were a yellow stork
And could fly to my old home!
# A Hundred and Seventy Chinese Poems/Having climbed to the topmost Peak of the Incense-burner Mountain

HAVING CLIMBED TO THE TOPMOST PEAK OF THE INCENSE-BURNER MOUNTAIN
Up and up, the Incense-burner Peak! In my heart is stored what my eyes and ears perceived. All the year — detained by official business;
To-day at last I got a chance to go. Grasping the creepers, I clung to dangerous rocks;
My hands and feet — weary with groping for hold. There came with me three or four friends,
But two friends dared not go further. At last we reached the topmost crest of the Peak;
My eyes were blinded, my soul rocked and reeled. The chasm beneath me — ten thousand feet;
The ground I stood on, only a foot wide. If you have not exhausted the scope of seeing and hearing. How can you realize the wideness of the world? The waters of the River looked narrow as a ribbon,
P'ēn Castle smaller than a man's fist. How it clings, the dust of the world's halter! It chokes my limbs: I cannot shake it away. Thinking of retirement, I heaved an envious sigh, Then, with lowered head, came back to the Ants' Nest.
# A Hundred and Seventy Chinese Poems/Li Fu-jēn

LI FU-JEN
The sound of her silk skirt has stopped. On the marble pavement dust grows. Her empty room is cold and still. Fallen leaves are piled against the doors. Longing for that lovely lady How can I bring my aching heart to rest?
Is it or isn't it?
I stand and look.
The swish, swish of a silk skirt.
How slow she comes!
# A Hundred and Seventy Chinese Poems/Inviting Guests

CHAPTER FOUR
INVITING GUESTS
By Ch'ēng-kung Sui [died A. D. 273]
I sent out invitations To summon guests. I collected together All my friends. Loud talk And simple feasting: Discussion of philosophy, Investigation of subtleties. Tongues loosened And minds at one. Hearts refreshed By discharge of emotion!
# A Hundred and Seventy Chinese Poems/Introduction (Part I)

PART I
INTRODUCTION
Principal Chinese Dynasties
| Han, 206 B. C.–A. D. 220. Wei, 220–264. Chin, 265–419. [Northern Wei, ruled over the North of China, 386–532.] Liang, 502–556. | Sui, 589–618. T'ang, 618–905. Sung, 960–1278. Yüan [Mongols], 1260–1341. Ming, 1368–1640. Ch'ing [Manchus], 1644–1912. |
# A Dictionary of Music and Musicians/Rolla, Alessandro

From volume 3 of the work.
[ P. D. ]
# A Dictionary of Music and Musicians/Romani, Felice

From volume 3 of the work.
​ROMANI, Felice, a famous Italian littérateur, born at Genoa, January 31, 1788. He was educated for the law, but soon forsook it for more congenial pursuits, and was in early life appointed to the post of poet to the royal theatres, with a salary of 6000 lire. The fall of the French government in Italy drove him to his own resources. He began with a comedy, 'L'Amante e l'Impostore,' which was very successful, and the forerunner of many dramatic pieces. But his claim to notice in a dictionary of music rests on his opera-librettos, in which he was for long the favourite of the Italian composers. For Simone Mayer he wrote 'Medea' (1812), 'La Rosa bianca e la Rosa rossa,' and others; for Rossini, 'Aureliano in Palmira,' and 'Il Turco in Italia'; for Bellini, 'Bianca e Faliero,' 'La Straniera,' 'La Sonnambula,' 'Il Pirata,' 'Norma,' 'I Capuletti,' and 'Beatrice di Tenda'; for Donizetti, 'Lucrezia,' 'Anna Bolena,' 'L'Elisir d'amore,' and 'Parisina'; for Mercadante, 'Il Conte d'Essex'; for Ricci, 'Un Avventura di Scaramuccia'; and many others, in all fully a hundred. As editor for many years of the 'Gazzetta Piemontese,' he was a voluminous writer.
[ G. ]
# A Dictionary of Music and Musicians/Rokitansky, Victor

From volume 3 of the work.
​ROKITANSKY, Victor, Freiherr von, of Hungarian origin, the son of a celebrated physician at Vienna, where he was born, July 9, 1836. He studied singing chiefly at Bologna and Milan. He first appeared in England at concerts in 1856. In 62 he made his début at Prague in 'La Juive,' and fulfilled a very successful engagement there of two years. In 63 he made a few appearances at Vienna, and in 64 obtained an engagement there, and has been a member of the opera company ever since. His voice is a basso-profondo of great compass and volume, very equal in all its range; he has a commanding presence, and is an excellent actor. His operas include La Juive, Robert le Diable, Les Huguenots, Don Juan, Zauberflöte, Guillaume Tell, Le Prophete, Aïda, Faust, Medea, and Wagner's operas.
On June 17, 65, he reappeared in London at Her Majesty's as Marcel with very great success, and then sang there for four consecutive seasons, and was greatly esteemed. He played with success as Rocco, Sarastro, Leporello, Il Commendatore, Oroveso, Falstaff, Osmin (June 30, 66, on production in Italian of Mozart's 'Entfuhrung'), and Padre Guardiano in 'La Forza del Destino.' He returned for the seasons of '76 and '77 in some of his old parts, and played for the first time the King in 'Lohengrin,' and Giorgio in 'I Puritani.'
[ A. C. ]
# A Dictionary of Music and Musicians/Roll-Call

From volume 3 of the work.
​ROLL-CALL. [See Signals.]
# A Dictionary of Music and Musicians/Rogers, Roland

[ W. B. S. ]
# A Dictionary of Music and Musicians/Rolle

From volume 3 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Romano, Alessandro

From volume 3 of the work.
[ P. D. ]
# A Dictionary of Music and Musicians/Romance

From volume 3 of the work.
​ROMANCE (Germ. Romanze). A term of very vague signification, answering in music to the same term in poetry, where the characteristics are rather those of personal sentiment and expression than of precise form. The Romanze in Mozart's D minor PF. Concerto differs (if it differs) from the slow movements of his other Concertos in the extremely tender and delicate character of its expression; in its form there is nothing at all unusual; and the same may be said of Beethoven's two Romances for the violin and orchestra in G and F (op. 40 and 50), and of Schumann's 'Drei Romanzen' (op. 28). Schumann has also affixed ​the title to 3 movements for oboe and PF. (op. 94), and to a well-known piece in D minor (op. 32, no. 3), [App. p.773 "add the three pieces by Schumann, op. 28"] just as he, or some one of his followers [App. p.773 "omit the words or some one of his followers"], has used the similar title, 'in Legendenton.' The Romance which forms the second movement of his symphony in D minor, is a little poem full of sentimental expression.
[ G. ]
# A Naval Biographical Dictionary/Langley, William

Layout 4
​LANGLEY. (Lieut., 181.5. f-p., 10; h-p., 32.)
William Langley entered the Navy, 2 April, 1805, as Master’s Mate, on board the Sir Edward Hughes 38, Capts. Hood Hanway Christian, Gilbert Heathcote, and Edw. Ratsey, attached to the force in the East Indies. Removing, in Oct. 1807, to the Cumberland 74, he was for five years employed in that ship on the Mediterranean and North Sea stations under the orders of Capts. Hon. Philip Wodehouse, Elias Harvey, Robt. Clephane, Robt. Waller Otway, and Thos. Baker; after which we find him, from Oct. 1812 until promoted to the rank of Lieutenant 3 Feb. 1815, serving on board the Impètueux 74, flag-ship off Lisbon of the late Sir Geo. Martin, Magicienne 36, Capt. Hon. Wm. Gordon (under whom he witnessed the fall of St. Sebastian in Sept. 1813), and Prince 98, and Montagu 74, commanded at Spithead and Cork by Capts. Geo. Fowke and Peter Heywood. He has since been on half-pay.
# A Naval Biographical Dictionary/Lanphier, Vernon

Layout 4
​LANPHIER. (Retired Commander, 1846. f-p., 13; h-p., 35.)
Vernon Lanphier entered the Navy, In the spring of 1799, as Midshipman, on board the Terrible 74, Capt. Wm. Wolseley, in which ship he went to the Mediterranean and back in pursuit of a French fleet. He was next, between Feb. 1800, and Nov. 1801, employed off the coasts of France and Spain in the Triton 32, Capts. Sir John Gore and Robt. Lewis Fitzgerald, and San Josef 110, Capts. W. Wolseley and Jas. Carpenter; after which we find him, from June, 1803, until Aug. 1808, serving on board the Spartiate 74, Capts. John Manley and Sir Fras. Laforey. . During that period he assisted in chasing a French squadron to the West Indies, returned with Lord Nelson to Europe in quest of the combined fleets of France and Spain, aided in blockading the enemy in Cadiz harbour, and shared in the glories of Trafalgar. On leaving the Spartiate, as above, Mr. Lanphier was nominated Acting-Lieutenant of the Leonidas 38, Capts. Jas. Dunbar and Anselm John Griffiths; in which frigate (being confirmed to her by commission dated 26 Nov. 1808) he continued to serve, off Toulon, in the Adriatic, and on the Irish station, until May, 1812. While in the Adriatic he saw a good deal of boat-service, contributed to the capture of a variety of vessels, and co-operated in the reduction. In Oct. 1809 and April, 1810, of Cephar Ionia and Santa Maura, on which latter occasion he was slightly wounded. His last appointment was, 1 Dec. 1813, to the Vengeur 74, Capt. Tristram Robt. Ricketts, with whom he served on the coasts of France and America until Oct. 1814, when his health obliged him to invalid. He accepted his present rank 13 April, 1846. Agents- Messrs. Ommanney.
# A Naval Biographical Dictionary/Lang, Edward Wollaston

Layout 4
​LANG. (Lieutenant, 1842.)
Edward Wollaston Lang entered the Navy (from the Royal Naval College) 13 Jan. 1833; passed his examinatiqp 5 April, 1837; and was promoted to the rank of Lieutenant while serving as Mate in the Southampton 50, flag-ship at the Cape of Good Hope of Sir Edw. Durnford King, 12 May, 1842. He was then appointed to the Fantome 16, Capt. Philip Geo. Haymes, on the South American station; and since 16 May, 1843, has been employed in the Pacific on board the Fisgard 42, Capt. John Alex. Duntze. Agents – Messrs. Halford and Co.