OpenLLM-France/wikimedia huggingface dataset:
# A Child's Garden of Verses/The Lamplighter

XXX
THE LAMPLIGHTER
MY tea is nearly ready and the sun has left the sky;
It's time to take the window to see Leerie going by;
For every night at teatime and before you take your seat,
With lantern and with ladder he comes posting up the street.
Now Tom would be a driver and Maria go to sea,
And my papa's a banker and as rich as he can be;
But I, when I am stronger and can choose what I'm to do,
O Leerie, I'll go round at night and light the lamps with you!
For we are very lucky, with a lamp before the door, And Leerie stops to light it as he lights so many more;
And O! before you hurry by with ladder and with light,
O Leerie, see a little child and nod to him to-night!
# A Child's Garden of Verses/The Land of Nod

XVII
THE LAND OF NOD
FROM breakfast on through all the day
At home among my friends I stay;
But every night I go abroad
Afar into the land of Nod.
All by myself I have to go,
With none to tell me what to do—
All alone beside the streams
And up the mountain-sides of dreams.
The strangest things are there for me,
Both things to eat and things to see,
And many frightening sights abroad
Till morning in the land of Nod.
Try as I like to find the way,
I never can get back by day,
Nor can remember plain and clear
The curious music that I hear.
# A Child's Garden of Verses/The Sun's Travels

XXIX
THE SUN'S TRAVELS
THE sun is not a-bed, when I
At night upon my pillow lie;
Still round the earth his way he takes,
And morning after morning makes.
While here at home, in shining day,
We round the sunny garden play, Each little Indian sleepy-head
Is being kissed and put to bed.
And when at eve I rise from tea,
Day dawns beyond the Atlantic Sea,
And all the children in the West
Are getting up and being dressed.
# A Child's Garden of Verses/The Swing

XXXIII
THE SWING
HOW do you like to go up in a swing,
Up in the air so blue?
Oh, I do think it the pleasantest thing
Ever a child can do!
Up in the air and over the wall,
Till I can see so wide,
Rivers and trees and cattle and all
Over the countryside—
Till I look down on the garden green,
Down on the roof so brown—
Up in the air I go flying again,
Up in the air and down!
# A Dictionary of Music and Musicians/Crescentini, Girolamo

From volume 1 of the work.
[ J. M. ]
# A Dictionary of Music and Musicians/Crivelli, Gaetano

From volume 1 of the work.
[ J. M. ]
# A Dictionary of Music and Musicians/Crosdill, John

From volume 1 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Crociato in Egitto, Il

From volume 1 of the work.
​CROCIATO IN EGITTO, IL, heroic opera in two acts; words by Rossi; music by Meyerbeer; produced at the Fenice, Venice, in 1824, and at the King's Theatre, London, June 30, 1825 [App. p.601 "July 23"]. Velluti appeared in it, probably the last castrato heard in London.
# A Dictionary of Music and Musicians/Croft, William

From volume 1 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Croce, Giovanni dalla

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

From volume 1 of the work.
​CROOK (Fr. Corps de rechange; Germ. Ton; Bogen). A name given to certain accessory pieces of tubing applied to the mouthpiece of brass instruments for the purpose of altering the length of the tube, and thus raising or lowering their pitch. Since these instruments can only play one scale, the sole method of enabling them to play another is to transpose the fundamental note, and this is done by the crooks. The largest number of crooks is required by the French horn, which is occasionally written for in every key, from the treble B♮ down to A♭ in the bass octave.
[ W. H. S. ]
# A Dictionary of Music and Musicians/Crespel, Guillaume

From volume 1 of the work.
​CRESPEL, Guillaume, a Belgian musician living in the latter half of the 15th century, and composer of a lament on the death of Ockenheim, which is of historical importance as giving what may be considered an authentic list of the most distinguished pupils of that master:—
'Agricola, Verbonnet, Prioris, Josquin des Prés, Gaspard, Brumel, Compère, Ne parlez plus de joyeux chants, ne ris, Mais composez un ne recorderis Pour lamenter nostre Maistre et bon père.'
[ J. R. S. B. ]
# A Dictionary of Music and Musicians/Creyghton, Robert

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

From volume 2 of the work.
​OPÉRA, GRAND. 1. A French Opera, sung throughout, with the accompaniment of the full Orchestra, to the entire exclusion of spoken dialogue. The finest examples we possess are, Rossini's 'Guillaume Tell,' Cherubini's 'Les Abencerrages,' and Spontini's 'La Vestale': the most popular are, Meyerbeer's 'Robert le Diable,' 'Les Huguenots,' and 'Le Prophète.' [See Opera, 19th Period, vol. ii. p. 525.]
[ W. S. R. ]
# A Dictionary of Music and Musicians/Opéra Comique

From volume 2 of the work.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Operetta

From volume 2 of the work.
​OPERETTA. A little Opera, generally of a buffo character, too short to furnish an evening's amusement, but useful as an Afterpiece, or Intermezzo. We can scarcely point out more charming examples of the style than Mozart's 'Il Direttor della Commedia' (the Italian version of his 'Schauspieldirektor') and Rossini's 'L'Inganno felice.' Both these little masterpieces are in one Act; and this condition is really an essential characteristic of the Operetta; but, of late years, Operettas in two Acts have been not at all uncommon, as in the case of Mr. Arthur Sullivan's 'H.M.S. Pinafore'—the most successful work of the kind on record. Pieces extending to this length are prevented, for the most part, from taking rank as true Operas, either by triviality of subject, or by the evanescent character of the Music by which it is accompanied, and are, therefore, correctly described as Operettas in two Acts, notwithstanding the anomaly implied in the title.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Opus

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

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

From volume 2 of the work.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Opera Buffa

From volume 2 of the work.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Orazzi e Curiazi

From volume 2 of the work.
[ G. ]
# A Dictionary of Artists of the English School

A DICTIONARY OF ARTISTS.
A DICTIONARY OF ARTISTS
OF THE
ENGLISH SCHOOL:
PAINTERS, SCULPTORS, ARCHITECTS, ENGRAVERS AND ORNAMENTISTS:
WITH NOTICES OF THEIR LIVES AND WORK.
BY SAMUEL REDGRAVE, JOINT-AUTHOR OF 'A CENTURY OF PAINTERS OF THE ENGLISH SCHOOL.'
New Edition revised to the present date.
A painfull work it is, I'll assure you, and more than difficult, wherein what toyle hath been taken, as no man thinketh, so no man believeth, but he that hath made the triall.'—Ant. à Wood.
LONDON: GEORGE BELL AND SONS, YORK STEEET, COVENT GARDEN.
1878.
[The right of Translation is reserved.]
Bungay
CLAY AND TAYLOR, PRINTERS.
Biographical Notice of Samuel Redgrave Preface Editor's Note to the Second Edition Note
A - B - C - D - E - F - G - H - I - J - K - L - M - N - O - P - Q - R - S - T - U - V - W - Y - Z
Supplement
This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.
Public domainPublic domainfalsefalse
# A Dictionary of Artists of the English School/Editor's Note to the Second Edition

Editor's Note to the Second Edition.
The first edition of this Dictionary being exhausted, it has become necessary to publish a second. This has been revised and corrected in many instances by the Compiler himself, who continued to labour upon the work till his death in 1876; since which time it has been carried on by a member of his family. A short Memoir of the Author has been appended, about 150 lives added, and the Dictionary carried down to the date of the present year. Any corrections of errors in this work will be thankfully received, and the help already given by friends is here gratefully acknowledged.
F. M. R.
Kensington,
    October, 1878.
# A Dictionary of Artists of the English School/Note

DICTIONARY
OF
ARTISTS OF THE ENGLISH SCHOOL.
NOTE.
Royal Academy of Arts, London: P.R.A., President; R.A., Royal Academician; A.R.A., Associate; A.E., Associate Engraver.
Royal Scottish Academy, Edinburgh: R.S.A., Royal Scottish Academician; A.R.S.A., Associate; H.R.S.A., Honorary Scottish Academician.
Royal Hibernian Academy, Dublin: R.H.A., Academician; A.R.H.A., Associate.
# A Book of Nursery Songs and Rhymes/One Michaelmas Morn

​XV. ONE MICHAELMAS MORN
One Michaelmas morn I awoke in a fright, And got up in the dawn, before it was light. ​I sat myself down the world to admire, And saw the black berries grow on the green brier.
Then when I walked further, I chanced to see A cow and a pretty maid under a tree.
I stepped to the damsel, and to her said I, 'A penn'orth of milk, if you please—I am dry.
'Look yonder,' she said, 'the black cow with her tail Has spilt all the milk and kicked over the pail.'
# A Book of Nursery Songs and Rhymes/On Christmas Day in the Morning

​XLIV. ON CHRISTMAS DAY IN THE MORNING
Dame, get up and bake your pies, Bake your pies, bake your pies, Dame get up and bake your pies On Christmas day in the morning.
Dame, what makes your maidens lie, Maidens lie, maidens lie? Dame, what makes your maidens lie On Christmas day in the morning?
​Dame, what makes your ducks to die, Ducks to die, ducks to die? Dame, what makes your ducks to die On Christmas day in the morning?
Their wings are cut, they cannot fly, Cannot fly, cannot fly; Their wings are cut, they cannot fly On Christmas day in the morning.
# A Book of Nursery Songs and Rhymes/On Saturday night be all my care

​LIX.
On Saturday night be all my care To powder my locks and curl my hair: And Sunday morning my love will bring To marry me fair with a golden ring.
# A Book of Nursery Songs and Rhymes/My Johnny was a Shoemaker

​XVIII. MY JOHNNY WAS A SHOEMAKER
My Johnny was a shoemaker, And dearly he loved me; My Johnny was a shoemaker, But now he's gone to sea. With nasty pitch to soil his hands, And sail the stormy sea. My Johnny was a shoemaker.
His jacket was deep sky blue, And curly was his hair; His jacket was deep sky blue, It was as I declare. To reef the topsail now he's gone, And sail across the stormy sea. My Johnny was a shoemaker.
And he will be a captain, by and by, With a brave and gallant crew. ​And he will be a captain, by and by, With a sword and a spyglass too. And when he is a captain bold He'll come back to marry me. My Johnny was a shoemaker.
# A Book of Nursery Songs and Rhymes/New-Year's Day

​XLIX. NEW-YEAR'S DAY
I saw three ships come sailing by, Come sailing by, come sailing by; I saw three ships come sailing by, On New-Year's day in the morning.
​And what do you think was in them then, Was in them then, was in them then? And what do you think was in them then, On New-Year's day in the morning?
Three pretty girls were in them then, Were in them then, were in them then. Three pretty girls were in them then, On New-Year's day in the morning.
One could whistle, and one could sing, The other could play on the violin, Such joy there was at my wedding, On New-Year's day in the morning.
# A Book of Nursery Songs and Rhymes/One, two, buckle my shoe

​LXXXIII.
101, 202One, two, buckle my shoe; 103, 204Three, four, shut the door; 105, 206Five, six, pick up sticks; 107, 208Seven, eight, lay them straight; 109, 2010Nine, ten, a good fat hen; 1011, 2012Eleven, twelve, who will delve? 1013, 2014Thirteen, fourteen, draw the curtain; 1015, 2016Fifteen, sixteen, maids in the kitchen; 1017, 2018Seventeen, eighteen, who is waiting? 1019, 2020Nineteen, twenty, my stomach's empty, Please, mamma, give me some dinner.
# A Book of Nursery Songs and Rhymes/Nice Young Maidens

​XIII. NICE YOUNG MAIDENS
Here's a pretty set of us, Nice young maidens, Here's a pretty set of us, Nice young maidens. Here's a pretty set of us, All for husbands at a loss, But we cannot tarry thus, Nice young maidens, Nice young maidens.
Now I'll give you good advice, Nice young maidens, Now I'll give you good advice, If you won't be over nice, You'll get husbands in a trice, Nice young maidens.
​Now I'll recommend a plan, Nice young maidens, Now I'll recommend a plan, If you'll get a little man, You must do the best you can, Nice young maidens.
Now I'll leave you all to choose, Nice young maidens, Now I'll leave you all to choose, If you've an offer, don't refuse, For if you should a husband lose, You'll die an old maiden, Fidgety old maiden.
# A Book of Nursery Songs and Rhymes/Old Mother Hubbard

​LXXIV. OLD MOTHER HUBBARD
Old Mother Hubbard Went to the cupboard, To get her poor dog a bone; When she came there The cupboard was bare, And so the poor dog had none.
She went to the baker's To buy him some bread, But when she came back The poor dog was dead.
​She went to the joiner's To buy him a coffin, But when she came back The poor dog was laughing.
She took a clean dish To get him some tripe, But when she came back He was smoking his pipe.
She went to the fishmonger's To buy him some fish, But when she came back He was licking the dish.
She went to the ale-house To buy him some beer, But when she came back The dog sat in a chair.
She went to the tavern For white wine and red, But when she came back The dog stood on his head.
She went to the hatter's To buy him a hat, But when she came back He was feeding the cat.
​She went to the barber's To buy him a wig, But when she came back He was dancing a jig.
She went to the fruiterer's To buy him some fruit, But when she came back He was playing the flute.
She went to the tailor's To buy him a coat, But when she came back He was riding a goat.
She went to the cobbler's To buy him some shoes, But when she came back He was reading the news.
She went to the sempstress To buy him some linen, But when she came back The dog was spinning.
She went to the hosier's To buy him some hose, But when she came back He was dress'd in his clothes.
​The dame made a curtsey, The dog made a bow; The dame said, Your servant! The dog said, Bow, wow!
# A Book of Nursery Songs and Rhymes/Old King Cole

​LXVIII.
Old King Cole Was a merry old soul, And a merry old soul was he. He called for his pipe, And he called for his glass, And he called for his fiddlers three. Every fiddler, he had a fiddle, And a very fine fiddle had he. Twee-tweedle-dee, tweedle-dee, went the fiddlers. Oh, there's none so rare As can compare With King Cole and his fiddlers three.
# A Dictionary of Music and Musicians/Ayrton, William

From volume 1 of the work.
[ E. F. R. ]
# A Dictionary of Music and Musicians/Ayton, Fanny

From volume 4 of the work.
[ A. C. ]
# A Dictionary of Music and Musicians/Baban, Gracian

From volume 1 of the work.
​BABAN, Gracian, a Spanish composer, musical director in the cathedral of Valencia from 1650 to 1665. His masses and motets, written for several choirs, are preserved at Valencia. A Psalm of his is given by Eslava.
# A Dictionary of Music and Musicians/Ayrton, Edmund

From volume 1 of the work.
[ E. F. R. ]
# A Dictionary of Music and Musicians/B

From volume 1 of the work.
​B.The name of the seventh degree of the natural scale of C. In French and Italian it is called Si, and in German H (Ha), the name B being given to our B♭. The reason of this anomalous arrangement is explained in the article Accidentals.
B is an important note in the history of the musical scale, since its addition to the hexachord of Guido, which contained only six notes, transformed the hexachord at once into the modern scale of seven sounds, and obviated the necessity for the so-called mutations or changes of name which were required whenever the melody passed beyond the limits of the six notes forming a hexachord (see that word). The date of the first recognition of a seventh sound in addition to the six already belonging to the hexachord is uncertain, but Burmeister, writing in 1599, speaks of the additional note as nota adventitia, from which it would appear that it had not then come into general use.
At the time when the necessity for the introduction of accidentals began to be felt, B was the first note which was subjected to alteration, by being sung a semitone lower, and as it was considered that this change had the effect of making the melody softer and less harsh, the altered B (B♭) was called B molle, while the original B received the name of B durum. It should be borne in mind that the modern German designations B dur and B moll (which answer to our B flat major and B flat minor) have nothing to do with the older Latin names, as the melody which contained the B molle, and was on that account called cantus mollis, was identical with the modern key of F major.
It is on account of B having been the first note to which a flat was applied that the name of the flat in German is B (also written Be), and that scales having flat signatures are called B-Tonarten.
[ F. T. ]
# A Dictionary of Music and Musicians/Babell, William

From volume 1 of the work.
[ E. F. R. ]
# A Dictionary of Music and Musicians/Baccusi, Ippolito

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

From volume 1 of the work.
​AZOR AND ZEMIRA, or the Magic Rose, in three acts; the English version of Spohr's opera Zemire und Azor, produced at Covent Garden Theatre, April 5th, 1831.
# A Dictionary of Music and Musicians/Azzopardi, Francesco

From volume 4 of the work.
​AZZOPARDI, Francesco. A learned Italian theorist of the latter half of the last century, from whose work, 'Il musico prattico,' published in the form of a French translation only (Paris, 1786), Cherubini quotes some interesting examples, in his 'Course of Counterpoint and Fugue.'
[ W. S. R. ]
# A Dictionary of Music and Musicians/Babbini, Matteo

From volume 1 of the work.
[ J. M. ]
# A Dictionary of Music and Musicians/Heller, Stephen

From volume 1 of the work.
​HELLER, STEPHEN, born May 15, 1815, at Pesth, is an accomplished pianist, and author of a large number of pieces for his instrument, mostly on a small scale, but generally elegant in form and refined in diction. He has for the last twenty-five years enjoyed great popularity amongst cultivated amateurs in France and England. His first publication was a set of Variations in 1829, and his latest (Jan. 1879) is a Sonatina (op. 147). Next to his numerous Etudes and Preludes, the best of his publications consist of several series of morceaux put forth under quaint titles, such as 'Promenades d'un Solitaire' (taken from Rousseau's letters on Botany), 'Blumen-Frucht-und-Dornen Stücke' (from Jean Paul), 'Dans les Bois,' 'Nuits blanches,' etc. A 'Saltarello' on a phrase from Mendelssohn's Italian symphony (op. 77), five Tarantellas (op. 53, 61, 85, 87), a Caprice on Schubert's 'Forelle' (known as La Truite), are pieces wherein Heller rings the changes on his stock of musical material with delicate ingenuity, and exhibits less of that wearisome reiteration of some short phrase, without either development or attempt at attractive variety in treatment, which of late has grown into mannerism with him. He has also put forth four solo sonatas which have left no trace, and, together with Ernst the violinist, a set of 'Pensées fugitives' for piano and violin, which have met with great and deserved success amongst dilletante players.
[ E. D. ]
# A Dictionary of Music and Musicians/Helmore, Thomas

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

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

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

[ M. ]
# A Dictionary of Music and Musicians/Hellmesberger

From volume 1 of the work.
​HELLMESBERGER, a distinguished family of musicians in Vienna. Georg, the father, born April 24, 1800, son of a country schoolmaster, and chorister in the court chapel, entered the Conservatorium of the Gesellschaft der Musikfreunde and learnt the violin from Böhm and composition from E. Förster. In 1821 he was appointed assistant teacher, and in 1833 professor at the Conservatorium, where he formed a host of distinguished pupils, including his two sons, until he retired on a pension in 67. In 1829 he became conductor of the Imperial opera, and in 1830 a member of the court chapel. This unassuming man, who lived only for his art, was leader at innumerable concerts, published many compositions for his instrument, and died universally respected at Neuwaldegg on Aug. 16, 1873. His eldest son Georg, born in Vienna, 1828 (?), made a successful concert-tour through Germany and England with his father and brother in 1847, but chiefly devoted himself to composition, which he studied under Rotter. When barely 21 he was appointed concert-meister at Hanover, where he brought out two operas, 'Bürgschaft' and 'Die beide Königinnen.' He died Nov. 12, 1852, leaving numerous MSS. His brother
[ C. F. P. ]
# A Dictionary of Music and Musicians/Henley, Phocion

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

From volume 1 of the work.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Chollet, Jean

[ A. C. ]
# A Dictionary of Music and Musicians/Chipp, Edmund

From volume 1 of the work.
​CHIPP, Edmund Thomas, Mus. Doc. Cantab., eldest son of the late T. P. Chipp (well known as the player of the 'Tower drums'), born Christmas Day, 1823, educated in her Majesty's Chapel Royal, St. James's. Studied the violin under Nadaud and Tolbecque, and entered the Queen's private band in 1844 [App. p.587 adds that "he was in the Queen's private band from 1843 to 1845"]. Became known as an organist of some repute, and in 47 succeeded Dr. Gauntlett at St. Olave's, a position he resigned on being elected organist to St. Mary-at-Hill, Eastcheap. On Mr. Best's retirement from the Panopticon, Mr. Chipp was chosen to succeed him as organist [App. p.587 gives date of appointment as 1855], and retained the appointment until the close of that institution. He was invited to become organist to Holy Trinity, Paddington [App. p.587 gives date of appointment as 1856], where he remained until his appointment as organist of the Ulster Hall, Belfast, in 62. In 66 he was appointed organist to the Kinnaird Hall, Dundee, and also to St. Paul's Church, Edinburgh. In the following year the position of organist and Magister Choristarum to Ely Cathedral was offered him, a position which he still (1877) occupies. [App. p.587 adds that "he took the degree of Mus. B. at Cambridge in 1859, and that of Mus. D. in 1860. He died at Nice, Dec. 17, 1886. (Dict. of Nat. Biog.)"]
The works produced by this composer are the Oratorio of 'Job'; 'Naomi, a Sacred Idyl'; a book of 24 sketches for the organ, and various minor works, songs, etc.
# A Dictionary of Music and Musicians/Choice of Hercules, The

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

From volume 1 of the work.
[ G. ]