OpenLLM-France/wikimedia huggingface dataset:
# A Dictionary of Music and Musicians/Composition Pedals

From volume 1 of the work.
​COMPOSITION PEDALS. As up to within the last century English organs were quite unprovided with pedals, the notes required to be played had to be lowered exclusively by the fingers of the two hands; and as a hand could rarely be spared for changing the combination of stops during the performance of a piece of music, the same stops that were prepared previously to its commencement had generally to be adhered to throughout. When the instrument had two manuals of full compass, as was the case with all the most complete examples, a change from forte to piano, and back, was practicable, and ​represented almost the full amount of contrast then available; and the departments which are now called the 'great' and 'choir' organs were then not unfrequently named from this circumstance the 'loud' and the 'soft' organs. When the organ possessed but one complete manual, the means for even this relief, either by change of row of keys or shifting of stops by the hands, were not readily presented; and this difficulty pointed to the necessity for some contrivance for obtaining it by the foot; and the invention of the 'shifting movement,' as it was called, was the result.
Father Smith's smaller organs, generally consisting of a Great manual of full compass and an echo to middle C, were usually supplied with an appliance of this kind. On depressing the controlling pedal all the stops smaller than the principal, including the reed, were silenced; and on letting it rise they again sounded, or at least so many of them as had in the first instance been drawn. The pedal was hitched down when in use, and when released the sliders were drawn back into position by strong springs.
Shifting movements remained in use for small organs up to the commencement of the present century, about which time they were superseded by the late Mr. Bishop's invention called 'Composition Pedals,' in which the contending springs were done away with, and the stops were left to remain as the pedal arranged them until another pedal, or a hand, made a readjustment. We can now say a 'hand,' because a few years before the invention of Mr. Bishop's appliances pedals for drawing down the lower notes of the manuals had been added to English organs, so that a hand could be spared for the above purpose.
[ E. J. H. ]
# A Dictionary of Music and Musicians/Comte Ory, Le

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

From volume 2 of the work.
[ W. S. R. ]
Appendix, pp.709–10
[ W. S. R. ]
# A Dictionary of Music and Musicians/Manzoletto

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

From volume 2 of the work.
[ P. D. ]
# A Dictionary of Music and Musicians/Manual

From volume 2 of the work.
[ E. J. H. ]
# A Dictionary of Music and Musicians/Manchester

From volume 2 of the work.
​MANCHESTER. The oldest musical association in this city is The Gentlemen's Concerts, which can be traced back to 1749, and probably existed some time previously to that date. The orchestra was formerly composed of amateurs and professional members, but is now entirely professional. Ten monthly orchestral concerts are given each year at the Concert Hall. Mr. Charles Halle has been the Conductor since May 1850.
The Manchester Choral Society was formed about the year 1840, for the purpose of performing the leading oratorios and choral works of Handel, Haydn, Mozart, Mendelssohn, etc. Its members were professional and amateur indiscriminately; the accompaniment was limited to the organ; and the concerts, which became very popular, were held in the Royal Institution.
The Hargreaves Choral Society was founded in 1841, on the bequest of a large sum of money, and an extensive library of choral music, by Mr. Hamer Hargreaves, for the formation of a society for the practice of sacred choral music, with an instrumental band. The concerts were supported by 150 performers, under the direction of Mr. John Waddington, through whose care and skill the performances attained a degree of completeness never before reached in the North of England. The Society had the honour of introducing Elijah to Manchester on April 20, 1847, under the direction of the composer. It was dissolved in 1849, mainly in consequence of a difficulty in obtaining suitable accommodation.
Mr. Charles Halle's Grand Concerts were begun in 1857, and still continue weekly at the Free Trade Hall, from the last week in October to the first week in March. 20 concerts are given each season, 12 miscellaneous, and 8 choral. The programmes embrace the newest and most interesting orchestral works, concertos and solo compositions played by the best artists, and solo vocal works by eminent singers. The concerts are conducted by Mr. Halle, and the chorus, which is 250 strong and remarkably efficient, is under the control of Mr. Edward Hecht. The reputation of the band is great, and they are frequently engaged at Liverpool, Leeds, Bradford, Edinburgh, and other towns in the North.
[ G. ]
# A Dictionary of Music and Musicians/Manier

From volume 2 of the work.
​MANIER, (Ger.), lit. 'manner'; derived, like our word 'manner,' through the French manière, a manner, and manier, to handle, from the Latin manus, a hand. It has two entirely distinct meanings, one dealing with the æsthetics of music, the other with its technicalities. In the first of these connections the word signifies 'mannerism,' or the faulty adherence to some peculiarity in style, bringing such peculiarity into undue prominence. It is the abuse of individuality, without which quality no composer can be truly great. The German word is always used in this sense of reproach; it never has the meaning of 'individuality.'
[ J. A. F. M. ]
# A Dictionary of Music and Musicians/Mantua

From volume 2 of the work.
[ C. M. P. ]
# A Dictionary of Music and Musicians/Crotch, William

From volume 1 of the work.
​CROTCH, William, Mus. Doc., was born at Norwich, July 5, 1775. His father, a master carpenter, who combined a taste for music and mechanics, had constructed for himself a small organ. When little more than two years old the child evinced a strong desire to get to this instrument, and being placed before it, contrived shortly to play something like the tune of 'God, save the King,' which he soon was able to play with its bass, and other tunes. His ear was remarkably sensitive, and readily distinguished any note when struck, or detected faulty intonation. The Hon. Daines Barrington, a well-known amateur, published an interesting account of him, and Dr. Burney communicated to the Royal Society an account, which was printed in the Philosophical Transactions for 1779. In the spring of 1780 [App. p.601 "Oct. 1779"] the child was brought to London, and performed in public on the organ. Besides his musical ability he displayed considerable skill in drawing, to which art he remained attached through life, and attained to much eminence in it. In 1786 Crotch went to Cambridge, and remained there about two years as assistant to Dr. Randall, the Professor of Music, and organist of Trinity and King's Colleges, and Great St. Mary's Church. At fourteen years of age he composed an oratorio, 'The Captivity of Judah,' which was performed at Trinity Hall, Cambridge, June 4, 1789. In 1788 he removed to Oxford, where he studied, under the patronage of the Rev. A. C. Schomberg, of Magdalen College, with a view of entering the church. His patron dying, he resumed the profession of music, and in September, 1790, was appointed, on the death of Thomas Norris, organist of Christ Church. On June 5, 1794, he graduated as Bachelor of Music. In March, 1797, he succeeded Dr. Philip Hayes, deceased, as organist of St. John's College, and Professor of Music in the University. On Nov. 21, 1799, he proceeded Doctor of Music, composing as his exercise Dr. Joseph Warton's 'Ode to Fancy,' the score of which he afterwards published. From 1800 to 1804 he delivered lectures in the Music School. In 1812 he produced his oratorio 'Palestine,' which was received with great favour, and also published a treatise on the 'Elements of Musical Composition.' About 1820 he was appointed music lecturer at the Royal Institution, London, and on the establishment of the Royal Academy of Music in 1822 was placed at its head as principal. [App. p.601 "He lectured at the Royal Institution in 1804, 5 and 7, and again from 1820 onwards."] On June 10, 1834, he produced at Oxford, on the installation of the Duke of Wellington as Chancellor, an oratorio, 'The Captivity of
[ W. H. H. ]
# A Dictionary of Music and Musicians/Crotchet

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

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

From volume 1 of the work.
​CROSS, Thomas, an engraver of music in the latter part of the 17th and early part of the 18th centuries. He resided in Catherine Wheel Court, on the south side of Snow Hill, near Snow Hill Conduit. At a time when printing by metal types was the almost universally adopted means for placing music before the public, he commenced the issue of a long succession of single songs engraved on copper plates by the graver, and printed on one side only of the leaf, and led the way to the general adoption of that method of printing music. Henry Hall, organist of Hereford Cathedral, mentions him in some verses prefixed to Dr. Blow's 'Amphion Anglicus,' 1700;
'While at the shops we daily dangling view False concord by Tom Cross engraven true.'
And again in some lines prefixed to the second book of Purcell's 'Orpheus Britannicus,' 1702;
'Then honest Cross might copper cut in vain.'
It is probable that he engraved some of the earlier publications of the elder Walsh.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Cross, Thomas (violin maker)

​CROSS, Thomas. See London Violin Makers, vol. ii. p. 164 b.
# A Dictionary of Music and Musicians/Crown Diamonds, The

From volume 1 of the work.
​CROWN DIAMONDS, THE, the English version of Auber's opera 'Les Diamans de la Couronne'; produced at the Princess's Theatre, London, May 2, 1844, Mme. Anna Thillon as Catarina.
# A Dictionary of Music and Musicians/Cruvelli, Jeanne

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

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

From volume 1 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Crouch, F. Nicholls

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

​SCHÖNE MINKA. The name by which a certain very popular Ruthenian or Little Russian song is generally known. (The music and original words are given by Pratsch, 'Sobranie russkikh narodnuikh pyesen,' end of vol. i., and the literal German version in Fink, 'Musikalischer Hausschatz,' No. 157.)
[ R. M. ]
# A Dictionary of Music and Musicians/Schönstein, Carl

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

[ V. de P. ]
# A Dictionary of Music and Musicians/Schwarbrook, Thomas

[ V. de P. ]
# A Dictionary of Music and Musicians/Schwarzspanierhaus, The

​SCHWARZSPANIERHAUS, THE, or House of the Black Spaniards, into which Beethoven removed at the beginning of October 1825, and where he died March 26, 1827. The political and ecclesiastical relations between the two bigoted catholic countries Austria and Spain, in the 16th and 17th centuries, were very close and intimate. The Infanta, Marianne, daughter of Philip III of Spain, on her departure (1629) for Vienna, to become the wife of Ferdinand, took with her Prior Benedict von Pennalosa Mondragon, to establish a branch house of the once famous Benedictines of Montserrat in her new abode. Notwithstanding the very serious and earnest objections of the military authorities, she prevailed upon the Emperor to build a monastery on the outer border of the northern glacis, and the corner-stone was laid with great ceremony November 15, 1633. Fifty years afterwards (1683), on the approach of the Turks, the buildings were burnt, as a step necessary to the defence of the city. After the repulse of the Turks and the restoration of peace, Anton Vogel, a Viennese novice of the order, travelled through Italy, Spain and Portugal, and collected funds sufficient to rebuild the monastery of which he was, not unnaturally, then made Prior. This is the present Schwarzspanierhaus. On the accession of Joseph II. to the throne of his mother, Maria Theresa, the few remaining monks were sent into the Schottenhof or 'Scotch' Cloister, and the building was sold. The name originated thus:—A few minutes' walk west of the edifice was another monastery, also originally Spanish, of 'Trinitarians.' Their costume was white; that of their neighbours black. Hence the two became distinguished in local parlance as the 'White Spaniards' and 'Black Spaniards' (Weisse Spanier, and Schwarze Spanier), and that too, long after the last monk of Spanish blood had passed away.
South: looking towards Vienna.
Court.
| a. Stair and Entrance. b. Ante-rooms. c. Beethoven's bedroom (23 ft. 6 in. × 21 ft. 6 in.). | d. Stove. e. Bed. f. Kitchen. |
The Schwarzspanierhaus is that long range of building, with an old church at its western end, which stands in the rear of the new Votive Church at Vienna. Counting from the old church, the fifth to the ninth windows in the upper story were those of Beethoven's lodging, of which the above is a plan. The sixth and seventh windows were in the large front room, (c), and, in the corner opposite the sixth stood the bed on which he died. By raising himself in bed, he could see across the glacis the house—now long since demolished—in which Lichnowsky and Peter Erdödy lived; and a few doors to the west, that of Pasqualatti, where he himself had so long had a lodging.
From the window, again, looking to the right, diagonally across the square, could be seen the 'Rothe Haus,' the residence of Breuning.
[ A. W. T. ]
# A Dictionary of Music and Musicians/Schuppanzigh, Ignaz

​SCHUPPANZIGH, Ignaz, celebrated violinist, born 1776, in Vienna, where his father was a professor at the "Realschule. He adopted music as a profession about the time of Beethoven's arrival in Vienna (end of 1792), and that he early became known as a teacher we gather from an entry in Beethoven's diary for 1794 'Schuppanzigh three times a week, Albrechtsberger three times a week.' Beethoven was studying the viola, which was at that time Schuppanzigh' s instrument, but he soon after abandoned it for the violin. Before he was 21 he had made some name as a conductor, and in 1798 and 99 directed the Augarten concerts. The 'Allgemeine musikalische Zeitung' of May 1799, after describing the concerts, remarks that 'the zeal shown by Herr Schuppanzigh in interpreting the compositions produced, make these concerts models worth following by all amateur associations of the kind, and by many conductors.' In Oct. 1800, however, the same writer doubts 'whether Schuppanzigh is really a great conductor,' and as a matter of fact the concerts declined. On the other hand, Seyfried speaks of him as a 'thoroughly energetic, and highly gifted orchestral player.' Beethoven, who had also appeared at the Augarten concerts, kept up a singular kind of friendship with Schuppanzigh. They were so useful to each other that, as Thayer says, they had a great mutual liking, if it did not actually amount to affection. They used neither 'Du' nor 'Sie' in addressing each other, but 'Er'—a characteristic trait of both men. Schuppanzigh was good-looking, though later in life he grew very fat, and had to put up with many a joke on the subject from Beethoven. 'Mylord Falstaff' was one of his nicknames (letter to Archduke in Nohl, Neue Briefe, p. 75). The following piece of rough drollery, scrawled by Beethoven on a blank page at the end of his Sonata op. 28, is here printed for the first time:—
Lob auf den Dicken.
[ F. G. ]
# A Dictionary of Music and Musicians/Schulze, J. F. and Sons

​SCHULZE, J. F. and Sons, a firm of organbuilders, whose founder, J. F. Schulze, was born at Milbitz-bei-Paulinzella, Thuringia, in 1794, and began his manufactory there in 1825. His first organs were for Horba (with 10 stops), and Milbitz (21 stops). In 1825 he moved to Paulinzella, where his business largely increased. At this period his principal organs were those for Bremen cathedral, and Solingen. In 1851, the firm—then J. F. Schulze and Sons—sent an organ to the International Exhibition in Hyde Park, which obtained a prize medal and was the beginning of much work done for England. This is now in the Town Hall, Northampton. In 1854 they built the great organ in the Marienkirche at Lübeck. J. F. Schulze died in 1858, but was succeeded by his three sons, the most distinguished of whom was Heinrich Edmund, who introduced many new and valuable improvements. On the rebuilding of the parish church of Doncaster, England, after the fire in 1853, the construction of the organ was entrusted to the Schulze firm, and it proved a very great success. Besides this fine instrument, their most important organs are in Bremen, Düsseldorf, Söst, and Aplerbeck. H. E. Schulze died in 1878 at the age of 54, and shortly after, on the death of the surviving brother, the firm ceased to exist.
[ W. B. S. ]
# A Dictionary of Music and Musicians/Schunke, Louis

[ G. ]
# A Dictionary of Music and Musicians/Transition

​TRANSITION is a word which has several different senses. It is most commonly used in a vague way as synonymous with modulation. Some writers, wishing to limit it more strictly, use it for the actual moment of passage from one key to another; and again it is sometimes used to distinguish those short subordinate flights out of one key into another, which are so often met with in modern music, from the more prominent and deliberate changes of key which form an important feature in the structure of a movement. The following example from Beethoven's Sonata in B♭, op. 106, is an illustration of the process defined by this latter meaning of the term; the transition being from F♯ minor to G major and back:—
[ C. H. H. P. ]
# A Dictionary of Music and Musicians/Tractulus

​TRACTULUS. I. A kind of Neuma, used before the completion of the Stave. [See Neuma].
[ W. S. R. ]
# A Dictionary of Music and Musicians/Transformation of Themes

​TRANSFORMATION OF THEMES. See Metamorphosis in Appendix, vol. iv. p. 717.
# A Dictionary of Music and Musicians/Tractus

[ W. S. R. ]
# A Dictionary of Music and Musicians/Training School for Music, The National

​TRAINING SCHOOL FOR MUSIC, THE NATIONAL, was founded by the Society of Arts. The subject had been in the air since the year 1866, a Musical Committee had been appointed, and in 1873 a meeting was held at Clarence House, the Duke of Edinburgh in the chair, at which it was resolved that it is desirable to erect a building at a cost not exceeding £20,000 for the purposes of a Training School for Music at Kensington, in connexion with the Society of Arts. A site on the immediate west side of the Albert Hall was granted by the Commissioners of 1851, the construction of the building, on the design of Captain F. Cole, R.E., was undertaken by Mr. (now Sir) Charles J. Freake, at his own cost; the first stone was laid on Dec. 18, 1873, and the School was opened at Easter 1876, with 82 free scholarships, of which 4 were founded by the Society of Arts, 2 by members of the Society, 5 by Mr. Freake, 10 by the Corporation of London, 14 by City Guilds, 33 by provincial towns, and the remainder by private donors. The scholarships were of the value of £40 a year each, and were founded for five years, by subscription renewable at the end of that term; they carried free instruction for the same period, and were obtainable 'by competitive examination alone.' The Duke of Edinburgh was chairman of the Council, Mr. (now Sir Arthur) Sullivan was appointed Principal, with a staff of Teachers; in 1881 he was succeeded by Dr. Stainer as Principal, and the School continued to flourish till Easter 1882, when it came to an end owing to the determination arrived at to establish the Royal College of Music on a wider and more permanent basis. The College, on its formation, took over the building, furniture and fittings, organ and music, and a balance at the banker's of £1100. The instruction in the Training School was systematic and thorough, and in proof of its efficiency during the short period of its existence it is sufficient to name Eugene D'Albert, Frederic Cliffe, Annie Marriott, and Frederic King, as having received their education there.
[ G. ]
# A Dictionary of Music and Musicians/Tranquillo

[ G. ]
# A Dictionary of Music and Musicians/Tramidamente

[ G. ]
# A Dictionary of Music and Musicians/Transcription

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

[ J. A. F. M. ]
# A Dictionary of Music and Musicians/Semiquaver

​SEMIQUAVER (Lat. Semifusa; Ital. Semicroma, Biscroma, Semifusa; Germ. Sechzehntel, Sechzehntheil-Note; Fr. Double croche). The sixteenth part of a Semibreve.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Semet, Théophile

​SEMET, Théophile, born at Lille, Sept. 6, 1824. The prizes for the cello and harmony which he gained at the local Conservatoire procured him a grant from the municipality to study in Paris, and he entered Halévy's class for composition, but left without obtaining a prize, in order to take to teaching. He was, however, a thorough artist, and his vein of original melody and refined harmony soon made him known. His first work was merely a few songs and some charming orchestral music for 'La petite Fadette,' vaudeville in 2 acts (Variétés, Dec. 28, 1850), but he at length procured, through his fellow-pupil Carvalho, a better opportunity, and his 'Nuits d'Espagne,' 2 acts (May 26), and 'La Demoiselle d'honneur,' 3 acts (Dec. 30), were both produced in 1857 with success at the Théâtre Lyrique; 'Gil Blas' (March 26, 1860), an opéra-comique in 5 acts, and 'Ondine,' 3 acts (Jan. 7, 1863)—the former his most popular piece—followed at the same theatre, but his next work, 'La petite Fadette' (Sept. 11, 1869), libretto by Carré (he was evidently a great admirer of Georges Sand), was produced at the Opéra Comique. In this work—revived at Lille, April 1881, with enthusiastic applause—there is much colour and expression, and great charm, indeed all Semet's works contain real gems of melody and harmony. Their drawback is their difficulty.
Besides his operas he composed songs for a piece called 'Constantinople' (1854); melodies; a cantata (performed at the Opéra, Aug. 15, 1862); airs de ballet for 'Les Pirates de la Savane' (1867), and many part-songs, some of which, especially 'La Danse des Sylphes,' are remarkable.
[ G. C. ]
# A Dictionary of Music and Musicians/Semele

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

[ W. S. R. ]
# A Dictionary of Music and Musicians/Semicroma

[ W. S. R. ]
# A Dictionary of Music and Musicians/Sembrich, Marzella

[ A. C. ]
# A Dictionary of Music and Musicians/Semifusa

[ W. S. R. ]
# A Dictionary of Music and Musicians/Seidl, Anton

[ C. A. ]
# A Dictionary of Music and Musicians/Weber, Gottfried

[ L. M. M. ]
# A Dictionary of Music and Musicians/Wednesday Concerts

[ A. C. ]