OpenLLM-France/wikimedia huggingface dataset:
# A Compendium of Irish Biography/Barrington, Sir Jonah

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​Barrington, Sir Jonah, was born 1760 or '67, the fourth of sixteen children of John Barrington of Knapton, near Abbeyleix, Queen's County. His pleasing presence, lively conversation, talents, and pushing activity, contributed largely to his advance in public life. He was called to the Bar, 1788, and two years afterwards, as Member for Tuam, he entered Parliament, where, he says, "I directed my earliest effort against Grattan and Curran, and on the first day of my rising, exhibited a specimen of what I may now call true arrogance." He was rewarded by Government for his arrogance, in 1793, by a sinecure in the Custom-house, worth £1,000 a-year, and a silk gown. He lost his seat in 1798; but sat for Banagher in 1799. He boldly voted against the Union, though it deprived him of his sinecure and stopped his further advancement. Nevertheless, most inconsistently, he acted as government procurer for bribing at least one member to vote for it. In 1803 he was an unsuccessful candidate for the city of Dublin in the Imperial Parliament, although Grattan, Curran, Ponsonby, and Plunket voted for him. The Government now thought he was worth buying again, and accordingly made him judge in the Admiralty Court, and knighted him. In 1809 he published, in five parts, the first volume of the Historic Memoirs of Ireland. It is thought that he was induced to delay the second volume—the Government shrinking from the exposure of their conduct in carrying the Union, and it was understood that to purchase his silence he was permitted to reside in France from about 1815, and act as judge by deputy. This foreign residence was, indeed, necessitated by embarrassments arising from his extravagant mode of living, and the dishonourable stratagems he often resorted to in business transactions. In 1827, he published two volumes of Personal Sketches of his own Time. In 1830, by an address from both Houses of Parliament, he was removed from the Bench, in consequence of well-proven misappropriation of public moneys. In 1833 appeared the third volume of Personal Sketches, and in the same year the delayed volume of his Historic Memoirs. This book was subsequently reproduced in a cheaper form as The Rise and Fall of the Irish Nation. His works are interesting, racy, and valuable—although his statements of fact cannot always be depended on—containing much of personal incident, related in a fascinating style. He died at Versailles, 8th April 1834.$^{(1)}$
* ↑ Barrington, Sir Jonah, Personal Sketches of his own Time: Townsend Young, LL.D. 2 vols. London, 1869.
* ↑ Notes and Queries. London, 1850–'78.
# A Compendium of Irish Biography/Barry, John

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​Barry, John, Commodore, was born near Tacumshin, County of Wexford, in 1745. He went to sea at fourteen; the colony of Pennsylvania became his adopted country, and when twenty-five he had risen to be the commander of the Black Prince, one of the finest traders between Philadelphia and London. Early in the War of Independence, he was given a naval command by Congress, and was one of the first to fly the United States flag at sea. In 1777, he was publicly thanked by Washington for his naval services. It is stated that Lord Howe vainly endeavoured to tempt him from his allegiance by the offer of the command of a British ship-of-the-line. In 1778 and '79, he commanded the Relief, and was accorded the rank of Commodore. In 1781, he carried the United States' agent to France in his new vessel, the Alliance, and on his way back captured two British cruisers—the Atalanta and Trespasa, in an engagement in which he was badly wounded. Later on the same year, he had the honour of conveying Lafayette and Count Noailles to France. From the conclusion of the war until his death, he was constantly occupied in superintending the progress of the United States navy; indeed he has been called by some naval writers the father of the American navy. He died in September 1803, and was buried in Philadelphia.
# A Compendium of Irish Biography/Beaufort, Daniel Augustus

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​Beaufort, Daniel Augustus, Rev., LL.D., son of a French Protestant refugee, was born at Barnet, 1st October 1 739. As curate to his father, and afterwards as rector of Collon, County of Louth (to which living he was presented by his ​friend the Right Hon. John Foster), he distinguished himself in the foundation of Sunday schools, and in the preparation of elementary educational works. He is most worthy of note, however, on account of his Map and Memoir of Ireland—the latter published at considerable expense, under the encouragement of the Marquis of Buckingham, when Lord-Lieutenant. Lowndes describes his Memoir, as "An exceedingly valuable work, containing a succinct account of the civil and ecclesiastical state of Ireland, and an index of all the places which appear on the author's map." He was one of the founders of the Royal Irish Academy. He died May 1831, aged 91.
* ↑ Authors, Dictionary of British and American: S. Austin Allibone. 3 vols. Philadelphia, 1869–'71.
* ↑ Biographical Dictionary, Imperial: Edited by John F. Waller. 3 vols. London, N. D.
# A Compendium of Irish Biography/Barry, Sir David

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​Barry, Sir David, an eminent physician and physiologist, remarkable for his classical and mathematical acquirements. He was born in Roscommon, 12th March 1780; he completed his medical education at home, and entered the army as an Assistant-Surgeon. Having distinguished himself in the Peninsular War, he settled at Oporto as surgeon to the Portuguese forces. There he married Miss Whately, sister of the future Archbishop. Returning to England in 1820, he perfected himself by further study, and in 1826 published his researches relative to the absorption of poison, and the means of counteracting it by the application of cupping-glasses. He was employed by Government in several medical inquiries, both at home and abroad, and was one of the commissioners in the investigations that led to the Factory Acts, His work on hydrophobia and venomous bites is declared in Allibone "to be very important, and to display great ability." He died in London, of aneurism, 5th November 1835, aged 55.
* ↑ Authors, Dictionary of British and American: S. Austin Allibone. 3 vols. Philadelphia, 1869–'71.
* ↑ Biographical Dictionary: Rev. Hugh J. Rose. 12 vols. London, 1850.
* ↑ Gentleman's Magazine. London, 1731–1868
# A Compendium of Irish Biography/Barry, Spranger

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​Barry, Spranger, a distinguished actor, born in Skinner-row, Dublin, 20th November 1719. His father was a silversmith, and young Barry followed that business until he went on the stage at Smock-alley, about 1744. His success was decided; and in London he for a time divided the public favour with Garrick. In 1757 he built Crow-street theatre, and ruined himself; but afterwards, returning to London, he repaired his fortunes, and stood high with the public until his death in 1777, when he found a tomb in Westminster Abbey. He was remarkable for habits of magnificence and profuse hospitality, and for mean cleverness in putting off creditors. He is described as of a noble, commanding person; his actions were graceful; his features were regular, expressive, and rather handsome; his countenance was open, placid, and benevolent, but mobile, and easily wrought to expressions of haughtiness and contempt. Dibdin describes him as "an actor of most extraordinary merit, which was confined, however, to tragedy and serious parts in comedy. In some respects it is questionable whether he did not excel every actor on the stage. These were in scenes and situations full of tender woe and domestic softness, in which his voice, which was mellifluous to wonder, lent astonishing assistance … but certainly, beyond these requisites, Barry's acting did not extend in any eminent degree." Leigh Hunt says: "Barry was one of the old artificial school, who made his way more by person than by genius."$^{(1775)}$
* ↑ Actors, Representative: W. Clark Russell. London, 1875.
* ↑ Blackburne, Right Hon. Francis, Life: Edward Blackburne. London, 1874.
* ↑ English Stage, Annals of the: Dr. Doran, F.S.A. 2 vols. London, 1864.
* ↑ Walker's Hibernian Magazine. Dublin, 1771–1811. Walker, Joseph C., see Nos. 20, 108.
# A Compendium of Irish Biography/Bathe, William

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​Bathe, William, born in Dublin about 1564. He became a Catholic, and in 1596 went to Flanders, where he entered the Society of Jesus. Travelling in Italy and Spain, he was ultimately appointed Director of the Irish College in Salamanca. He wrote some treatises on music, and others on the study of Latin, the Mysteries of the Faith, etc. He died in Madrid, 17th June 1614.
# A Dictionary of the Targumim, the Talmud Babli and Yerushalmi, and the Midrashic Literature/פ

    פאוטות - פארור
    פארור - פגימה
    פגימה - פגם
    פגם - פגנות
    פגנות - פגר
    פגר - פדי
    פדי - פדרנית
    פדרנית - פוג
    פוג - פוזקמי
    פוזקמי - פוי
    פוי - פולין
    פולין - פומבייני
    פומבייני - פונדקיא
    פונדקיא - פועל
    פועל - פוקלא
    פוקלא - פוריומא
    פוריומא - פורען
    פורען - פוש
    פוש - פזוזא
    פזוזא - פח
    פח - פחותא
    פחותא - פחם
    פחם - פחת
    פחת - פטיט
    פטיט - פטליין
    פטליין - פטפטא
    פטפטא - פטר
    פטר - פי
    פי - פיוט
    פיוט - פיטומת
    פיטומת - פיטקא
    פיטקא - פייסונא
    פייסונא - פילון
    פילון - פילפל
    פילפל - פינקס
    פינקס - פיסא
    פיסא - פיספס
    פיספס - פיצעא
    פיצעא - פיקסינה
    פיקסינה - פירוקא
    פירוקא - פירכורין
    פירכורין - פיתוחא
    פיתוחא - פכה
    פכה - פלאגרה
    פלאגרה - פלג
    פלג - פלגס
    פלגס - פלומטרין
    פלומטרין - פלט
    פלט - פלטייא
    פלטייא - פלי
    פלי - פליטון
    פליטון - פלל
    פלל - פלסטוני
    פלסטוני - פלפלת
    פלפלת - פמליא
    פמליא - פנוייתא
    פנוייתא - פני
    פני - פניא
    פניא - פנים
    פנים - פנקריסין
    פנקריסין - פסג
    פסג - פסול
    פסול - פסח
    פסח - פסיוני
    פסיוני - פסיעתא
    פסיעתא - פסיקתא
    פסיקתא - פסל
    פסל - פסע
    פסע - פסק
    פסק - פסקא
    פסקא - פעולתא
    פעולתא - פעם
    פעם - פפוסיא
    פפוסיא - פציח
    פציח - פצע
    פצע - פקד
    פקד - פקוסא
    פקוסא - פקטנין
    פקטנין - פקס
    פקס - פקע
    פקע - פקק
    פקק - פרא
    פרא - פרגא
    פרגא - פרגמתיוטא
    פרגמתיוטא - פרדישנא
    פרדישנא - פרהנג
    פרהנג - פרוור
    פרוור - פרוזבין
    פרוזבין - פרוטיגמא
    פרוטיגמא - פרוס
    פרוס - פרוקטו
    פרוקטו - פרזומא
    פרזומא - פרח
    פרח - פרטא
    פרטא - פרידא
    פרידא - פרימא
    פרימא - פריקי
    פריקי - פרך
    פרך - פרכס
    פרכס - פרנדסין
    פרנדסין - פרנסות
    פרנסות - פרס
    פרס - פרסוי
    פרסוי - פרסקא
    פרסקא - פרע
    פרע - פרפראות
    פרפראות - פרצומא
    פרצומא - פרק
    פרק - פרקא
    פרקא - פרקיד
    פרקיד - פרש
    פרש - פרש
    פרש - פרשה
    פרשה - פשוטא
    פשוטא - פשט
    פשט - פשיטות
    פשיטות - פשפישון
    פשפישון - פשר
    פשר - פתא
    פתא - פתוראה
    פתוראה - פתח
    פתח - פתי
    פתי - פתילא
    פתילא - פתל
    פתל - ץ
# A Dictionary of Music and Musicians/Holzbauer, Ignaz

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

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

From volume 1 of the work.
​HOOPER, Edmond, born at Halberton, Devon, probably about 1553, became connected with the choir of Westminster Abbey about 1582, and on Dec. 3, 1588, was appointed Master of the Children. He was one of the ten composers who harmonised the tunes for 'The Whole Booke of Psalms,' published by Este in 1592. On March 1, 1603–4 he was sworn a Gentleman of the Chapel Royal, and on May 9, 1606, was appointed organist of Westminster Abbey. Three anthems by him are printed in Barnard's collection, and six others, and a set of Preces Psalms and Responses are contained in Barnard's MS. collections in the Sacred Harmonic Society's library, and two anthems in the Tudway Collection (Harl. MSS. 7337 and 7340). He contributed two pieces to Leighton's 'Teares or Lamentacions,' 1614. He died July 14, 1621, and was buried July 16, in the cloisters of Westminster.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Hopkins, Edward John

From volume 1 of the work.
​HOPKINS, Edward John, born in Westminster, June 30, 1818, became in 1826 a chorister of the Chapel Royal under William Hawes. On quitting the choir in 1833 he studied under Thomas Forbes Walmisley. In 1834 he was chosen organist of Mitcham Church, in 38 organist of St. Peter's, Islington, and in 41 of St. Luke's, Berwick Street. In 43 he was appointed organist of the Temple Church, the musical service of which under his care has acquired great reputation. As an accompanyist he is quite unrivalled. Hopkins has composed several church services, anthems, chants, and psalm tunes. His anthems, 'Out of the deep,' and 'God is gone up,' obtained the Gresham prize medals in 1838 and 1840 respectively. He is also composer of 'May day' (duet) and 'Welcome' (trio), and author of 'The Organ, its History and Construction,' an excellent treatise published in conjunction with Dr. Rimbault's 'History of the Organ' in 1855; 2nd edit. 1870; 3rd edit. 1877. He edited Bonnet's 'Madrigals,' and Weelkes' 'First Set of Madrigals' for the Musical Antiquarian Society, and the music portion of 'The Temple Church Choral Service.'
John Hopkins, his younger brother, born in Westminster in 1822, was a chorister of St. Paul's from Sept. 1831 to Sept. 1838. In August 1838 (before quitting the choir) he was appointed to succeed his brother as organist of Mitcham Church. He afterwards became successively organist of St. Stephen's, Islington, June 1839; St. Benet's, Paul's Wharf, July 1841; Trinity Church, Islington, May 1843; St. Mark's, Jersey, Feb. 1845; St. Michael's, Chester Square, 1846; and Epsom Church, Jan. 1854. In May 1856 he succeeded his cousin, John Larkin Hopkins, as organist of Rochester Cathedral, which he still holds. John Hopkins has composed services, anthems, chants, hymn ​tunes, voluntaries, pianoforte sketches, songs and part-songs, a few of which have been published.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Homilius, Gottfried

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

From volume 1 of the work.
[ A.J.H. ]
# A Dictionary of Music and Musicians/Holyoke, Samuel

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

From volume 1 of the work.
​HOLZ, Karl, Austrian official, able violinist, and devoted lover of music, born at Vienna, 1798. In 1824 he became one of Schuppanzigh's quartet party, and an active member of the direction of Gebauer's 'Spirituel Concerte,' in which he led the first violins. A jovial, pleasant fellow, devoted heart and soul to Beethoven, who dubbed <refLetter of Aug. 29, 1824.></ref>him 'Mahagoni-Holz,' and often invited him to dinner, where he took more than his share of his entertainer's wine—'a hard drinker, between ourselves,' saysBeethoven. ​Possibly drink was not his only failing, if we may so interpret the 'Monsieur terrible amoureux' of another letter of Beethoven's.
In 1826 Beethoven informed him by letter that he had chosen him for his biographer, in the confidence that whatever information might be given him for that purpose would be accurately communicated to the world. According to Schindler, Beethoven afterwards repented of this arrangement. In 1843 Holz made over his rights to Gassner of Carlsruhe, but nothing has been done. Holz died at Vienna, Nov. 9, 1858.
One of the last times that Beethoven's pen touched the paper before he took to his death-bed was to add his signature and a line of music (in a strange scale) to a note of his dictation to Holz, 'Dec. 1826' (Nohl, 'Letters,' 385):—
Wie immer Ihr Freund Beethoven.
[ C. F. P. ]
* ↑ Letter, Aug. 11, 1825.
* ↑ Nohl, No. 380.
* ↑ Aug. 30
# A Dictionary of Music and Musicians/Homophony

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

[ A. J. H. ]
# A Dictionary of Music and Musicians/Violons du Roy

​VIOLONS DU ROY. [See Vingt-Quatre Violons, p. 266.]
# A Dictionary of Music and Musicians/Visetti, Albert

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

​VIRTUOSO. A term of Italian origin, applied, more abroad than in England, to a player who excels in the technical part of his art. Such players being naturally open to a temptation to indulge their ability unduly at the expense of the meaning of the composer, the word has acquired a somewhat depreciatory meaning, as of display for its own sake. Virtuosität—or virtuosity, if the word may be allowed—is the condition of playing like a virtuoso.
[ G. ]
# A Dictionary of Music and Musicians/Vitali, Tomaso

[ P. D. ]
# A Dictionary of Music and Musicians/Violone

[ W. Pa. ]
# A Dictionary of Music and Musicians/Lolli, Antonio

From volume 2 of the work.
​LOLLI, Antonio, a celebrated violinist, born at Bergamo about 1730. If it cannot be doubted that he was a most extraordinary performer, he appears certainly also to have been the type of an unmusical, empty-headed virtuoso, and in addition a complete fool.
Hardly anything is known of the earlier part of his life and career. It is however generally assumed that he was almost entirely self-taught. We know for certain that he was at Stuttgart in 1762 with Nardini. There he remained, attached to the court of the Duke of Würtemberg, till 1773, when he went to St. Petersburg, where he is said to have enjoyed the special favour of the Empress Katherine II. He remained in her service till 1778. In 1779 he came to Paris and played with great success at the Concert spirituel. After this he went to Spain, and in 1785 we find him in London, where however, according to Burney, he appeared but seldom in public. He continued to travel, and we read of his appearance now at Palermo, now at Copenhagen; then again at Vienna or Naples. He died in Sicily in 1802.
According to all contemporaneous testimony Lolli was an extraordinary performer, but an indifferent musician. Schubart, the well-known German poet and musician, who had many opportunities of hearing both him and Nardini, speaks with unmeasured praise of Lolli's feats of execution, the wonderful ease and absolute certainty with which he played the most difficult double stops, octaves, tenths, double-shakes in thirds and sixths, harmonics, etc. As to his having been a bad musician, or rather no musician at all, the testimonies are equally unanimous. The Abbé Bertini plainly states that Lolli could not keep time, could not read even easy music, and was unable to play an Adagio properly. On one occasion, when asked to play an Adagio, he said: 'I am a native of Bergamo; we are all born fools atBergamo,—how should I play a serious piece?' When in England, he almost broke down in a Quartet of Haydn which the Prince of Wales had asked him to play. If, with all these drawbacks as a musician, he nevertheless created wherever he played an immense sensation, we are all the more compelled to believe that his powers of execution were of the most exceptional kind.
He is described as a handsome man, but a great dandy and charlatan, very extravagant, and a gambler. The Emperor Joseph II, himself a very fair musician, habitually called him 'muddle-headed Lolli' (der Faselhans). Burney (Hist. iv. 680) writes that 'owing to the eccentricity of his style of composition and execution, he was regarded as a madman by most of the audience. In his freaks nothing can be imagined so wild, difficult, grotesque, and even ridiculous as his compositions and performance.' True, Burney adds, 'I am convinced that in his lucid intervals he was in a serious style a very great, expressive, and admirable performer,' but it appears doubtful whether Burney ever heard him in a 'lucid interval,' and therefore his 'conviction' is gratuitous.
[ P. D. ]
# A Dictionary of Music and Musicians/London Musical Society, The

​LONDON MUSICAL SOCIETY, THE. This society was formed in 1878 by Mr. Heathcote Long and other prominent amateurs. Its objects are stated in its second rule—a canon unimpeachable in spirit, if not in grammar—to be 'the practice and performance of the works of composers which are not generally known to the musical public.' Mr. Barnby was appointed musical director, and Mr. Long and Mr. A. Littleton honorary secretaries. An efficient choir was formed, and the first concert was given on June 27, 1879, in St. James's Hall, although, strictly speaking, the occasion was a private one. Goetz's Psalm cxxxvii. was introduced to London at that concert, the solos being sung, as on many subsequent occasions, by efficient amateurs. From 1884 until the last season of the society's existence, Mr. Heathcote Long was alone in the honorary secretaryship. After the season of 1886, Mr. Barnby was succeeded as conductor by Mr. A. C. Mackenzie, who conducted the final concert on May 24, 1887. In the course of that year the society was disbanded, and a sum of £100 was handed over from its funds to the Royal College of Music. During the nine years of its existence the institution performed the following works for the first time in England, besides others which had been heard before, though not frequently. Mr. Stanford's 'Three Holy Children,' for instance, was given for the first time in London, though not for the first time in England, by the London Musical Society:—
CHORAL WORKS.
Beethoven. Cantata on the death of the Emperor Joseph the Second.
Brahms. Vier Gesänge, op. 17.
Dvořák. 'Stabat Mater.'
Goetz. Psalm cxxxvii. and 'Noenia.'
Gounod. Troisième Messe (selections).
Grieg. 'Klosterthor.'
Hiller. 'O weep for those.'
Hofmann, Heinrich. 'Cinderella.'
Jensen. 'Feast of Adonis.'
Rheinherger. 'Christoforus.'
Silas, E. Magnificat.
Schumann. 'The King's Son,' 'The Minstrel's Curse,' and 'Spanische Liebeslieder.'
ORCHESTRAL WORKS.
Bach. Toccata in F, arranged.
David, Ferd. Violin Concerto in E minor (Miss Shinner).
Dvořák. Legenden.
Schubert. Overture, 'Des Teufel's Lustschloss.'
[ M. ]
# A Dictionary of Music and Musicians/Lombardi, I

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/London Sacred Harmonic Society

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

From volume 2 of the work.
​LONG (Lat. Longa, Notula caudata). A note, intermediate in value between the Large and the Breve. In Plain Chaunt, the Long appears as a square black note, with a tail, which may either ascend, or descend, on either side. In Polyphonic Music, it is figured as a square white note, with a tail descending on the right. In this case, the position of the tail is important: for, though it is sometimes, in modern music, made to ascend, it can only be transferred to the left hand side in Ligatures, when it materially affects the duration of the note. [See Ligature.]
The Long represents one third of the Perfect Large, and half of the Imperfect. [See Large.] Its duration, in the Lesser Mode Perfect, is equal to that of three Breves: in the Lesser Mode Imperfect, to that of two. [See Mode.] Its corresponding Rest is drawn, when Perfect, across three spaces; when Imperfect, across two only.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Loosemore, Henry

From volume 2 of the work.
​LOOSEMORE, Henry, Mus. Bac., was a chorister in one of the Cambridge colleges, afterwards lay clerk there, and organist of King's College. He graduated at Cambridge in 1640. In 1660 he was appointed organist of Exeter Cathedral. A service and anthems [App. p.705 "an anthem"] by him are in the Tudway collection (Harl. MSS. 7337, 7338) and at Ely, and two Latin litanies (in D minor and G minor) are printed in Jebb's 'Choral Responses and Litanies.' He died in 1667 [App. p.705 "after Michaelmas 1670"].
His son, George, Mus. Doc., was a chorister of King's College, Cambridge, under his father, and in 1660 became organist of Trinity College. He took his Doctor's degree at Cambridge in 1665. Anthems by him are in the Tudway collection (Harl. MS. 7339) and at Ely Cathedral.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Lombardy, School of Music of

From volume 2 of the work.
​LOMBARDY, School of Music of. [See Milan.]