OpenLLM-France/wikimedia huggingface dataset:
# 1911 Encyclopædia Britannica/Vieuxtemps, Henri

See also Henri Vieuxtemps on Wikipedia; and our 1911 Encyclopædia Britannica disclaimer.
​VIEUXTEMPS, HENRI (1820–1881), Belgian violinist and composer, was born at Verviers, on the 20th of February 1820. Until his seventh year he was a pupil of Lecloux, but when De Bériot heard him he adopted him as his pupil, taking him to appear in Paris in 1828. From 1833 onwards he spent the greater part of his life in concert tours, visiting all parts of the world with uniform success. He first appeared in London at a Philharmonic concert on the 2nd of June 1834, and in the following year studied composition with Reicha in Paris, and began to produce a long series of works, full of formidably difficult passages, though also of pleasing themes and fine musical ideas, which are consequently highly appreciated by violinists. From 1846 to 1852 he was solo violinist to the tsar, and professor in the conservatorium in St Petersburg. From 1871 to 1873 he was teacher of the violin class in the Brussels Conservatoire, but was disabled by an attack of paralysis in the latter year, and from that time could only superintend the studies of favourite pupils. He died at Mustapha, in Algiers, on the 6th of June 1881. He had a perfect command of technique, faultless intonation and a marvellous command of the bow. His staccato was famous all over the world, and his tone was exceptionally rich and full.
# A Dictionary of Music and Musicians/Cancan

From volume 1 of the work.
[ G. C. ]
# A Dictionary of Music and Musicians/Campanini, Italo

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

From volume 1 of the work.
​CAMPANOLOGY (from campana and λογος), the art and mystery of Bells and Bell-ringing. See Bell, Change, Carillon, Cambridge Quarters, Chimes [App. p.576 added "Cambridge Quarters" to this list].
The following list of works on Campanology, published during the present century, is given in Rev. Woolmore Wigram's 'Change-ringing disentangled' (1871) as those most useful to ringers in general.
1. On the Bells themselves:—'Belfries and Ringers,' H. T. Ellacombe; 'Clocks and Bells,' E. B. Denison; 'Account of Church Bells,' W. C. Lukis.
[ G. ]
# A Dictionary of Music and Musicians/Camporese, Violante

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

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

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

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

From volume 1 of the work.
​CANARIE. A now antiquated dance, deriving its name from the Canary Islands, whence it is said to have been introduced, in which the two partners danced alternately before each other with the gestures of savages (Littré). It was greatly in vogue at the time of Louis XIV. According to some authorities, however, it is of Spanish origin. It is a species of gigue, usually in 3-8 or 6-8 time, the distinctive peculiarity of which is that the first note of the bar is almost always dotted. In this respect it resembles the Loure, but differs from it in its tempo, the Canarie being moderately quick and the Loure somewhat slow. It always commences on the first beat of the bar, and consists of two short periods, each repeated. The following example, dating from the 17th century, is quoted from F. L. Schubert's 'Die Tanzmusik':—
[ E. P. ]
# A Consecration

* information about this edition.
* sister projects: Wikidata item.
Not of the princes and prelates with periwigged charioteers Riding triumphantly laurelled to lap the fat of the years,-- Rather the scorned -- the rejected -- the men hemmed in with the spears;
The men of the tattered battalion which fights till it dies, Dazed with the dust of the battle, the din and the cries, The men with the broken heads and the blood running into their eyes.
Not the be-medalled Commander, beloved of the throne, Riding cock-horse to parade when the bugles are blown, But the lads who carried the koppie and cannot be known.
Not the ruler for me, but the ranker, the tramp of the road, The slave with the sack on his shoulders pricked on with the goad, The man with too weighty a burden, too weary a load.
The sailor, the stoker of steamers, the man with the clout, The chantyman bent at the halliards putting a tune to the shout, The drowsy man at the wheel and the tired lookout.
Others may sing of the wine and the wealth and the mirth, The portly presence of potentates goodly in girth;-- Mine be the dirt and the dross, the dust and scum of the earth!
THEIRs be the music, the colour, the glory, the gold; Mine be a handful of ashes, a mouthful of mould. Of the maimed, of the halt and the blind in the rain and the cold -- Of these shall my songs be fashioned, my tales be told. AMEN.
This work is in the public domain in the United States because it was published before January 1, 1929.
The longest-living author of this work died in 1967, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 56 years or less. This work may be in the public domain in countries and areas with longer native copyright terms that apply the rule of the shorter term to foreign works.
Public domainPublic domainfalsefalse
# A Dictionary of Music and Musicians/Lecocq, Alexandre

From volume 2 of the work.
[ G. C. ]
* ↑ In London, at St. James's Theatre (French), June 21, 73.
* ↑ Ditto, at St. James's Theatre (French), May 17, 73; at Royal Philharmonic Theatre (English, Byron), Oct. 4. 73.
* ↑ Ditto, at Criterion Theatre (English, Reece), Nov. 28, 74.
* ↑ Ditto, at Opera Comique (French), June 6, 74; at Royal Philharmonic Theatre (English), Oct. 3, 74.
Appendix p.698:
[ A. C. ]
# A Dictionary of Music and Musicians/Leeves, William

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

From volume 2 of the work.
​LEGGIERO(Ital., also Leggieramente), lightly. The word is usually applied to a rapid passage, and in pianoforte playing indicates an absence of pressure, the keys being struck with only sufficient force to produce the sound. Leggiero passages are usually, though not invariably, piano, and they may be either legato or staccato; if the former the fingers must move very freely and strike the keys with a considerable amount of percussion to ensure distinctness, but with the slightest possible amount of force. Examples of legato passages marked leggieramente are found in the 25th variation of Beethoven's Op. 120, and in the finale of Mendelssohn's Concerto in G minor (which also contains the unusual combination of forte with leggiero); and of staccato single notes and chords in the finale of Mendelssohn's Concerto in D minor.
[ F. T. ]
# A Dictionary of Music and Musicians/Ledger lines

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Lefébure-Wély, Louis

From volume 2 of the work.
[ G. C. ]
# A Dictionary of Music and Musicians/Leeds Musical Festival

From volume 2 of the work.
[ G. ]
Appendix p.698:
[ M. ]
# A Dictionary of Music and Musicians/Leffler, Adam

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

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

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

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

From volume 2 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Pinafore, H.M.S.

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

From volume 2 of the work.
​PINTO, Thomas, son of a Neapolitan of good family, born in England, at 11 played Corelli's concertos, and led the concerts in St. Cecilia's Hall in Edinburgh. His reading at sight was marvellous; he would even turn the book upside down, and play correctly from it in that position. His great gifts inclined him to carelessness, from which he was fortunately roused by the appearance of Giardini. After 1750 he played frequently as leader and soloist in benefit concerts, at the Worcester and Hereford Festivals, at Drury Lane Theatre, and, after Giardini, at the King's Theatre. His first wife was Sibilla Gronamann, daughter of a German pastor; after her death he married (1766) Miss Brent, the celebrated singer, who died in 1802. [See Appendix.] A speculation with regard to Marylebone Gardens, into which he had entered with Dr. Arnold, failed, and he took refuge in Scotland, and finally in Ireland, where he died in 1773. A daughter by his first wife married a Londoner named Sauters, and had a son
[ C. F. P. ]
# A Dictionary of Music and Musicians/Pietoso

[ M. ]
# A Dictionary of Music and Musicians/Pilgrime von Mekka, Die

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

From volume 2 of the work.
​PINSUTI, Ciro (Il cavaliere), native of Sinalunga, Siena, where he was born May 9, 1829. He was grounded in music and the piano by his father; at ten he played in public; at eleven, being in Rome, he was made honorary member of the Accademica Filarmonica, and was taken to England by Mr. Henry Drummond, M.P., in whose house he resided until 1845, studying the pianoforte and composition under Cipriani Potter, and the violin under H. Blagrove. In 1845 he returned home, and entered the Conservatorio at Bologna, where he attracted the notice of Rossini, and became his private pupil. In 1847 he took his degree at Bologna, and remained there another year under Rossini's eye. In 1848 he went back to England and started as a teacher of singing, dividing his time between London and Newcastle, where he founded a Musical Society which still exists. Since that time Mr. Pinsuti's head-quarters have been in London, though he keeps up his connection with Italy by frequent visits. Thus he brought out his first opera, 'Il Mercante di Venezia,' at Bologna, Nov. 8, 1873, and a second, 'Mattia Corvino,' at the Scala at Milan, March 24, 1877. Both operas have been very successful in Italy, and the theatre at Sinalunga is now the 'Teatro Ciro Pinsuti.' In 1859 he composed the Te Deum for the annexation of Tuscany to the Italian ​kingdom, and was decorated with the order of SS. Maurice and Lazarus. In 1878 King Humbert further created him a knight of the Italian crown. In 1871 he was selected to represent Italy at the opening festival of the International Exhibition, and contributed a hymn in A♭ to words by Lord Houghton, beginning, 'people of this favoured land."
[ G. ]
# A Dictionary of Music and Musicians/Piffero

From volume 2 of the work.
​PIFFERO is really the Italian form of the English word Fife, and the German Pfeife. In the 'Dizionario della Musica' it is described as a small flute with six finger-holes and no keys. But the term is also commonly used to denote a rude kind of oboe, or a bagpipe with an inflated sheepskin for reservoir, common in Italy, and occasionally to be seen about the streets of London, the players being termed Pifferari. [See Pastoral Symphony, vol. ii. p. 670 b.]
Spohr, in his Autobiography (Dec. 5, 1816), quotes a tune which he says was played all over Rome at that season by Neapolitan pipers, one playing the melody on a sort of 'coarse powerful oboe,' the other the accompaniment on a bagpipe sounding like three clarinets at once. We give a few bars as a specimen.
[ W. H. S. ]
# A Dictionary of Music and Musicians/Piozzi, Gabriel

From volume 2 of the work.
[ W. H. H. ]
# A Course in Miracles/Workbook for Students/My sight goes forth to look upon Christ's face

My sight goes forth to look upon Christ's face.
I ask Your blessing on my sight today. It is the means which You have chosen to become the way to show me my mistakes, and look beyond them. It is given me to find a new perception through the Guide You gave to me, and through His lessons to surpass perception and return to truth. I ask for the illusion which transcends all those I made. Today I choose to see a world forgiven, in which everyone shows me the face of Christ, and teaches me that what I look upon belongs to me; that nothing is, except Your holy Son.
Today our sight is blessed indeed. We share one vision, as we look upon the face of Him Whose Self is ours. We are one because of Him Who is the Son of God; of Him Who is our own Identity.
# A Course in Miracles/Workbook for Students/My thoughts do not mean anything

My thoughts do not mean anything.
This idea applies to all the thoughts of which you are aware, or become aware in the practice periods. The reason the idea is applicable to all of them is that they are not your real thoughts. We have made this distinction before, and will do so again. You have no basis for comparison as yet. When you do, you will have no doubt that what you once believed were your thoughts did not mean anything.
This is the second time we have used this kind of idea. The form is only slightly different. This time the idea is introduced with "My thoughts" instead of "These thoughts," and no link is made overtly with the things around you. The emphasis is now on the lack of reality of what you think you think.
This aspect of the correction process began with the idea that the thoughts of which you are aware are meaningless, outside rather than within; and then stressed their past rather than their present status. Now we are emphasizing that the presence of these "thoughts" means that you are not thinking. This is merely another way of repeating our earlier statement that your mind is really a blank. To recognize this is to recognize nothingness when you think you see it. As such, it is the prerequisite for vision.
Close your eyes for these exercises, and introduce them by repeating the idea for today quite slowly to yourself. Then add:
    This idea will help to release me from all that I now believe.
The exercises consist, as before, in searching your mind for all the thoughts that are available to you, without selection or judgment. Try to avoid classification of any kind. In fact, if you find it helpful to do so, you might imagine that you are watching an oddly assorted procession going by, which has little if any personal meaning to you. As each one crosses your mind, say:
    My thought about ______ does not mean anything.
    My thought about ______ does not mean anything.
Today's thought can obviously serve for any thought that distresses you at any time. In addition, five practice periods are recommended, each involving no more than a minute or so of mind searching. It is not recommended that this time period be extended, and it should be reduced to half a minute or less if you experience discomfort. Remember, however, to repeat the idea slowly before applying it specifically, and also to add:
    This idea will help to release me from all that I now believe.
# A Course in Miracles/Workbook for Students/My present happiness is all I see

My present happiness is all I see.
Unless I look upon what is not there, my present happiness is all I see. Eyes that begin to open see at last. And I would have Christ's vision come to me this very day. What I perceive without God's Own Correction for the sight I made is frightening and painful to behold. Yet I would not allow my mind to be deceived by the belief the dream I made is real an instant longer. This the day I seek my present happiness, and look on nothing else except the thing I seek.
With this resolve I come to You, and ask Your strength to hold me up today, while I but seek to do Your Will. You cannot fail to hear me, Father. What I ask have You already given me. And I am sure that I will see my happiness today.
# A Course in Miracles/Workbook for Students/My sinlessness protects me from all harm

My sinlessness protects me from all harm.
My sinlessness ensures me perfect peace, eternal safety, everlasting love, freedom forever from all thought of loss; complete deliverance from suffering. And only happiness can be my state, for only happiness is given me. What must I do to know all this is mine? I must accept Atonement for myself, and nothing more. God has already done all things that need be done. And I must learn I need do nothing of myself, for I need but accept my Self, my sinlessness, created for me, now already mine, to feel God's Love protecting me from harm, to understand my Father loves His Son; to know I am the Son my Father loves.
You Who created me in sinlessness are not mistaken about what I am. I was mistaken when I thought I sinned, but I accept Atonement for myself. Father, my dream is ended now. Amen.
# A Course in Miracles/Workbook for Students/My thoughts are images that I have made

My thoughts are images that I have made.
It is because the thoughts you think you think appear as images that you do not recognize them as nothing. You think you think them, and so you think you see them. This is how your "seeing" was made. This is the function you have given your body's eyes. It is not seeing. It is image making. It takes the place of seeing, replacing vision with illusions.
This introductory idea to the process of image making that you call seeing will not have much meaning for you. You will begin to understand it when you have seen little edges of light around the same familiar objects which you see now. That is the beginning of real vision. You can be certain that real vision will come quickly when this has occurred.
As we go along, you may have many "light episodes." They may take many different forms, some of them quite unexpected. Do not be afraid of them. They are signs that you are opening your eyes at last. They will not persist, because they merely symbolize true perception, and they are not related to knowledge. These exercises will not reveal knowledge to you. But they will prepare the way to it.
In practicing the idea for today, repeat it first to yourself, and then apply it to whatever you see around you, using its name and letting your eyes rest on it as you say:
    This ______ is an image that I have made.
    That ______ is an image that I have made.
It is not necessary to include a large number of specific subjects for the application of today's idea. It is necessary, however, to continue to look at each subject while you repeat the idea to yourself. The idea should be repeated quite slowly each time.
Although you will obviously not be able to apply the idea to very many things during the minute or so of practice that is recommended, try to make the selection as random as possible. Less than a minute will do for the practice periods, if you begin to feel uneasy. Do not have more than three application periods for today's idea unless you feel completely comfortable with it, and do not exceed four. However, the idea can be applied as needed throughout the day.
# A Course in Miracles/Workbook for Students/My true Identity abides in You

My true Identity abides in You.
Father, I made an image of myself, and it is this I call the Son of God. Yet is creation as it always was, for Your creation is unchangeable. Let me not worship idols. I am he my Father loves. My holiness remains the light of Heaven and the Love of God. Is not what is beloved of You secure? Is not the light of Heaven infinite? Is not Your Son my true Identity, when You created everything that is?
Now are we One in shared Identity, with God our Father as our only Source, and everything created part of us. And so we offer blessing to all things, uniting lovingly with all the world, which our forgiveness has made one with us.
# A Course in Miracles/Workbook for Students/My sinless brother is my guide to peace

Lesson 351
My sinless brother is my guide to peace.
My sinful brother is my guide to pain.
And which I choose to see I will behold.
Who is my brother but Your holy Son? And if I see him sinful I proclaim myself a sinner, not a Son of God; alone and friendless in a fearful world. Yet this perception is a choice I make, and can relinquish. I can also see my brother sinless, as Your holy Son. And with this choice I see my sinlessness, my everlasting Comforter and Friend beside me, and my way secure and clear. Choose, then, for me, my Father, through Your Voice. For He alone gives judgment in Your Name.
# A Course in Miracles/Workbook for Students/No call to God can be unheard nor left unanswered

Lesson 358
No call to God can be unheard nor left unanswered.
And of this I can be sure; His answer is the one I really want.
You Who remember what I really am alone remember what I really want. You speak for God, and so You speak for me. And what You give me comes from God Himself. Your Voice, my Father, then is mine as well, and all I want is what You offer me, in just the form You choose that it be mine. Let me remember all I do not know, and let my voice be still, remembering. But let me not forget Your Love and care, keeping Your promise to Your Son in my awareness always. Let me not forget myself is nothing, but my Self is all.
# A Course in Miracles/Workbook for Students/Love, which created me, is what I am

Love, which created me, is what I am.
I seek my own Identity, and find It in these words: "Love, which created me, is what I am." Now need I seek no more. Love has prevailed. So still It waited for my coming home, that I will turn away no longer from the holy face of Christ. And what I look upon attests the truth of the Identity I sought to lose, but which my Father has kept safe for me.
Father, my thanks to You for what I am; for keeping my Identity untouched and sinless, in the midst of all the thoughts of sin my foolish mind made up. And thanks to You for saving me from them. Amen.
# A Course in Miracles/Workbook for Students/Let not my world obscure the sight of Christ

Let not my world obscure the sight of Christ.
I can obscure my holy sight, if I intrude my world upon it. Nor can I behold the holy sights Christ looks upon, unless it is His vision that I use. Perception is a mirror, not a fact. And what I look on is my state of mind, reflected outward. I would bless the world by looking on it through the eyes of Christ. And I will look upon the certain signs that all my sins have been forgiven me.
You lead me from the darkness to the light; from sin to holiness. Let me forgive, and thus receive salvation for the world. It is Your gift, my Father, given me to offer to Your holy Son, that he may find again the memory of You, and of Your Son as You created him.