OpenLLM-France/wikimedia huggingface dataset:
# A Chinese Biographical Dictionary/Chang Shou-kuei

​108 Chang Shou-kuei 張守珪. 7th and 8th cent. A.D. A military commander under the Emperor Ming Huang of the T'ang dynasty. When the Turkic tribes were attacking Bishbalik (the modern Urumtsi) about A.D. 715, he distinguished himself so much by his valuable reports and general energy that he was appointed Governor of 瓜 Kua-chou. He had barely time to put the old fortifications into a fit state for defence ere the enemy was upon him, and ready to make an assault. At this juncture he invited a number of his officers to a banquet on the city wall; and the merrymaking which ensued was so uproarious that the Turkic chieftain felt sure that the garrison was well prepared against an attack, and drew off his forces. Thereupon Chang at once gave orders to pursue, ​and succeeded in inflicting a severe defeat upon the invaders. After further useful services, he was employed against the Kitan Tartars, and won several victories, capturing two of their leaders, whose heads he forwarded to the capital. In 735 he had an audience of the Emperor, and was appointed generalissimo of the empire. Once more in the field against the Kitans, he continued his career of success, until the defeat of one of his lieutenants, 烏知義 Wu Chih-i. This reverse he concealed; but the truth soon leaked out, and he was dismissed as Governor of 括 Kua-chou in Chehkiang, where he died of a carbuncle.
# A Dictionary of Music and Musicians/Leutgeb, Josef

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Letzten Dinge, Die

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

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

[ V. de P. ]
# A Dictionary of Music and Musicians/Levasseur, Nicholas

[ A. C. ]
# A Dictionary of Music and Musicians/Levey, William

[ A. C. ]
# A Dictionary of Music and Musicians/Levi, Hermann

[ M. ]
# A Dictionary of Music and Musicians/Carissimi, Giacomo

From volume 1 of the work.
​CARISSIMI, Giacomo, was born at Marino near to Rome in 1604, according to Pitoni, whom both M. Fétis and the Abbé Alfieri follow upon this point; but at Padua in 1582, if Spiridione be trusted for the place of his birth, and Mattheson for the date of it. His first professional post was that of Maestro at Assisi. This he held for some years. He then went to Rome, where he obtained the Mastership at the church of S. Apollinaris, attached to the German College. In this office he passed the remainder of his days, without, in all probability, ever having crossed the Papal frontier. He died in 1674 [App. p.579 adds Jan 12]. That he gained his taste and style, which were admirable, by long residence in Paris, and by writing for French audiences, is one of by no means the least foolish and perverse of the many foolish and perverse assertions of the Seigneur de Fréneuse.
[ E. H. P. ]
* ↑ 'Musica Romana D. D. Foggiæ, Carissimi, Gratiani, aliorumque. (Bamberg, 1685.)
* ↑ 'Comparison de la Musique Italienne et de la Musique Française,' 3mo partie, p. 2081. {Brussels, 1704.)
# A Dictionary of Music and Musicians/Carlo, Geronimo

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

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

From volume 1 of the work.
​CARMAGNOLE. The French song called 'La Carmagnole' is a popular tune originating in Provence. Grétry (Mémoires, iii. 13) thought it was originally a sailor-song often heard in Marseilles; it is more probably a country roundelay or dance-tune, adapted to a patriotic military song which was written either at the end of August or early in September, 1792. The four stanzas of this national song are known to a very few historians only; we transcribe the first couplet:—
'Le canon vient de résonner: Guerriers, soyez prêts à marcher. Citoyens et soldats, En volant aux combats, Dansons la carmagnole: Vive le son, vive le son, Dansons la carmagnole, Vive le son Du canon!'
The unknown author of these lines was probably some brave soldier, whilst the bloody 'Carmagnole des Royalistes' may be attributed to the worst of demagogues. The original eight stanzas of the latter began as follows:—
'Oui, je suis sans culotte, moi, En dépit des amis du roi. Vive les Marseillois, Les Bretons et nos lois!'
But this new song was soon enlarged, and when published by Frère it contained thirteen stanzas, the first of which ran in the following manner, to the tune of the Carmagnole:—
[ G. C. ]
# A Dictionary of Music and Musicians/Caresana, Cristoforo

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

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

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

From volume 1 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Lochaber no more

From volume 2 of the work.
​LOCHABER NO MORE, an air claimed both for Scotland and Ireland, of which some two or three versions are extant. The source of these is in S3ottish minstrelsy called 'Lord Ronald (or, according to Sir W. Scott, Randal) my son.' The air in Ireland is known as 'Limerick's lamentation,' from a tradition associating its plaintive melody with the events that followed the second capitulation of Limerick, in 1690, when at the embarkation of the Irish soldiery at Cork for France, their wives and children were forcibly separated from them under circumstances of unusual barbarity. The Scottish and Irish airs are here compared.
'Lord Ronald my son' (one strain only).
'Limerick's Lamentation.'
'Lochaber.'
The verses 'Farewell to Lochaber,' ending 'And then I'll leave thee and Lochaber no more,' were written by Allan Ramsay. Burns recovered in Ayrshire two verses of the old ballad 'Lord Ronald,' in conjunction with this tune: he is recorded to have exclaimed, on hearing Lochaber played on the harpsichord, 'Oh, that's a fine tune for a broken heart!'
The Irish air lies in the fourth and last of the scales given in the article on Irish Music [vol. ii. p. 20a], having its semitones between 3 and 4, 6 and 7; it is also marked by traces of the narrative form characteristic of ancient Irish melody. In the Leyden MS., a Scottish relic of 1690 or thereabouts, in tablature for the Lyra-Viol, a tune closely allied to the above airs is given as 'King James' March to Irland.' James is known to have landed at Kinsale, March 12, 1689. On comparison of the versions, in bar 6 of the 1st and bar 3 of the 2nd strain the Irish air appears to most advantage: the skip of a major ninth in Lochaber is most likely a corruption: it is certainly characteristic of neither Irish nor Scottish melody: Mr. Moore (who is supported both by Bunting and Holden in claiming for Ireland this beautiful air) is in his prefaces to the Irish Melodies rather severe upon the Scots for stealing not only Irish airs, but Irish saints.
[ R. P. S. ]
# A Dictionary of Music and Musicians/Lo, he comes with the clouds descending

From volume 2 of the work.
​LO, HE COMES WITH CLOUDS DESCENDING, the first line of the hymn which is usually sung to the tune called Helmsley, or Olivers. This tune claims a notice on account of the various opinions that have been expressed respecting its origin. The story runs that Thomas Olivers, the friend of John Wesley, was attracted by a tune which he heard whistled in the street, and that from it he formed the melody to which were adapted the words of Cennick and Wesley's Advent hymn. The tune heard by Olivers is commonly said to have been a Hornpipe danced by Miss Catley in the 'Golden Pippin,' a burlesque by Kane O'Hara, but this seems inconsistent with chronology. The hymn-tune appeared first, as a melody only, in the second edition of Wesley's 'Select Hymns with Tunes annexed,' 1765, under the name of 'Olivers,' and in the following form:
In 1769 an improved version, in three parts, was published by the Rev. Martin Madan in the Lock 'Collection of Hymn and Psalm Tunes.' It is there called 'Helmsley,' and under that name became widely popular.
But at this time the 'Golden Pippin' was not even in existence. O'Keeffe, who possessed the original MS., tells in his 'Recollections' that it was dated 1771. The burlesque, in three acts, was produced at Covent Garden in 1773: it failed at first, but obtained some success when altered and abridged. The source from whence 'Olivers' was derived seems to have been a concert-room song commencing 'Guardian angels, now protect me,' the music of which probably originated in Dublin, where it was sung by a Mr. Mahone, and no doubt also by Miss Catley, who ​resided in the Irish capital from 1763 to 1770. The melody of 'Guardian Angels' is as follows:
[ G. A. C. ]
# A Dictionary of Music and Musicians/Lobkowitz

From volume 2 of the work.
[ A. W. T. ]
* ↑ Comp. Burney, Hist. iv. 452.
* ↑ Beethoven nicknames him 'Prince Fitzli Futzli' but then he nicknames every one.
* ↑ For fuller details of the Lobkowitz family the reader is referred to a paper by Mr. Thayer in the Musical World of May 17, 21, 31, 1879.
# A Dictionary of Music and Musicians/Lloyd, Edward

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

From volume 2 of the work.
​LOCATELLI, Pietro, a celebrated violinist, was born—like Lolli and Piatti—at Bergamo in 1693, and was still very young when he became a pupil of Corelli at Rome. Very little is known of his life, but he appears to have travelled a good deal, and finally to have settled at Amsterdam, where he established regular public concerts, and died in 1764.
There can be no doubt that Locatelli was a great and original virtuoso. As a composer we must distinguish between a number of caprices and études—which he evidently wrote merely for practice, to suit his exceptional powers of execution, and which have no musical value—and the sonatas and concertos, which contain very graceful and pathetic movements, and certainly prove him to have been an excellent musician. In these serious works he certainly shows himself as a worthy disciple of his great master. All the more striking is the contrast when we look at his caprices and études. Here his sole aim appears to have been to endeavour to enlarge the powers of execution on the violin at any price, and no doubt in this respect he has succeeded only too well; for, not content with ​legitimately developing the natural resources of the instrument, he oversteps all reasonable limits, and aims at effects which, being adverse to the very nature of the violin, are neither beautiful nor musical, but ludicrous and absurd. A striking example of this tendency of his is to be found in a caprice entitled, 'Le Labyrinth,' where the following arpeggio passages occur:—
and
This savours strongly of charlatanism, and it is astonishing to find a direct pupil of Corelli one of the first to introduce such senseless feats of execution into the art of violin-playing. Wasielewsky not unjustly speaks of him as the great-grandfather of our modern 'Finger-heroes' (Fingerhelden).
Locatelli published ten differentworks:—
Op. 1. Twelve concerti grossi. Amsterdam, 1721.
    2. Sonatas for flute. Amsterdam, 1732.
    3. L'arte del violino, containing 12 concerti grossi and 24 caprices. 1735.
    4. Six concertos. 1735.
    5. Six sonatas en trio. 1737.
    6. Six sonatas for violin solo. 1737.
    7. Six concerti a quattro. 1741.
    8. Trios. 2 violins and bass. 1741.
    9. L'arte di nuova modulazione. Caprices enigmatiques.
    10. Contrasto armonico: concertos a quattro.
[ P. D. ]
# A Dictionary of Music and Musicians/Lock, Matthew

From volume 2 of the work.
[ W. H. H. ]
* ↑ William Penny's 'Art of Composition, or, Directions to play a Thorow Bass' is mentioned in Clavel's 'Catalogue of Books printed la England since the Dreadful Fire,' 1670, and in a catalogue of Henry Playford's, but no copy has been found.
* ↑ Pepys, who from Nov. 5, 1661. to Dec. 21, 1668. saw 'Macbeth' performed seven times, mentions (April 19, 1667; the 'variety of dancing and musick' in it.
# A Dictionary of Music and Musicians/Loco

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

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

From volume 2 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Lobe, Johann Christian

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

[ V. de P. ]
# A Dictionary of Music and Musicians/Byfield, Jordan and Bridge

[ V. de P. ]
# A Dictionary of Music and Musicians/Bärmann

From volume 1 of the work.
​BÄRMANN. The name of a remarkable family of musicians, (1) Heinrich Joseph, one of the finest of clarinet players—'a truly great artist and glorious man' as Weber calls him—born at Potsdam Feb. 17, 1784, and educated at the oboe school there, where his ability procured him the patronage of Prince Louis Ferdinand of Prussia. The peace of Tilsit (1807) released him from a French prison, and he then obtained a place in the court band at Munich. He next undertook a tour through Germany, France, Italy, England, and Russia, which established his name and fame far and wide. His special claim on our interest arises from his intimate connection with C. M. von Weber, who arrived in Munich in 1811, and wrote various concert-pieces for Bärmann, which remain acknowledged masterpieces for the clarinet. Meyerbeer also became closely acquainted with him during the congress at Vienna in 1813. Not less interesting and creditable was his intimacy with Mendelssohn, who was evidently on the most brotherly footing with him and his family, and wrote for him the two duets for clarinet and basset-horn published as Op. 113. He died at Munich June 11, 1847, leaving compositions behind him which are highly esteemed for their technical value. (2) His brother Karl, born at Potsdam 1782 and died 1842; a renowned bassoon player, and belonged to the royal band at Berlin. More important was (3) Karl, the son of Heinrich, and the true scholar and successor of his father. He was born at Munich 1820, and during a lengthened tour in 1838 was introduced by his father to the musical world as a virtuoso of the first order. After this he at once took the place of first clarinet in the Munich court band, with which he had indeed been accustomed to play since the age of fourteen. His compositions for the clarinet are greatly esteemed, especially his 'Clarinet School' (Andre, Offenbach) in two parts, the second of which contains twenty grand studies; also a supplement thereto, 'Materialien zur weiteren technischen Ausbildung,'—a collection of difficult passages from his own works. [App. p.530 "He died May 23, 1885."] (4) His son, Karl jun., a fine pianoforte player, is teacher at this time (1875) in the music school at Munich.
[ A. M. ]
# A Dictionary of Music and Musicians/Buxtehude, Dietrich

From volume 1 of the work.
​BUXTEHUDE, Dietrich, a celebrated organist and composer, born 1637 at Helsingör, Denmark, where his father Johann was organist of the Olai-church. The father died Jan. 22, 1674, in his 72nd year. It is not known whether the son received his thorough musical education from his father or not. In April 1668 he obtained the post of organist at the Marien-Kirche of Lübeck—one of the best and most lucrative in Germany—where his admirable playing and promising abilities excited much attention. Here his energy and skill at once found their proper field. Not content with discharging his duties at the organ, he conceived the idea of instituting great musical performances in connection with the church services, and in 1673 started the 'Abendmusiken,' or evening performances, on which Lübeck peculiarly prided itself. They took place annually, on the five Sundays before Christmas, beginning between four and five o'clock, after the afternoon service, and consisted of concerted pieces of sacred music for orchestra and chorus—the former improved and the latter formed by Buxtehude—and organ performances. In such efforts Buxtehude was well seconded by his fellow citizens. The musical evenings continued throughout the 18th century, and even into the 19th. Further particulars by them are given by Spitta in his 'Life of J. S. Bach' (i. 253, from Möller's 'Cimbria Litterata,' and Conrad von Höveln's 'Beglücktern und geschmücktem Lübeck'); Matheson also mentions them in his 'Volkommene Kapellmeister.' The best testimony to Buxtehude's greatness is contained in the fact of Sebastian Bach having made a journey of fifty miles on foot that he might become personally acquainted with the Lübeck concerts. In fact Buxtehude became the great musical centre for the North of Europe, and the young musicians flocked around him. Amongst these was Nicolas Bruhns, who excelled Buxtehude himself both in composition and in organ-playing.
Buxtehude ended his active and deservedly famous life May 9, 1707. His strength lay in his free organ compositions (i. e. pieces not founded on chorals), and generally in instrumental music, pure and simple, and not based on a poetical idea. These, though now antiquated, are remarkable as the earliest assertion of the principle of pure instrumental music, which was afterwards so fully developed by Bach. In treatment of chorales on the organ Buxtehude was not equal to the school of Pachelbel; but to judge him from one side only would be unfair. A list of his published works, corrected from Gerber, is given by Spitta ('J. S. Bach,' i. 258, note). These include the 'Abendmusiken' from 1678–87, and occasional pieces, many of them published at Lübeck during his lifetime.
[ C. F. P. ]
# A Dictionary of Music and Musicians/Byfield, John junr.

[ V. de P. ]
# A Dictionary of Music and Musicians/Böhner, Johann

[ G. ]
* ↑ Jugend-briefe. Letter to von Frickem.
* ↑ Ibid.
# A Dictionary of Music and Musicians/Bémol

From volume 1 of the work.
​BÉMOL, the French term for Flat. For the origin of the name see the article Accidentals.
# A Dictionary of Music and Musicians/Bériot, Charles de

From volume 1 of the work.
​BERIOT, Charles August de, celebrated violinist. Born of a noble Belgian family, Feb. 20, 1802, at Louvain. He had his first instruction in the violin from a local teacher, named Tiby, who was his guardian after the death of his parents; and made such rapid progress, that, when only nine years of age, he successfully performed in public a concerto of Viotti. He himself ascribed great influence on the formation of his character and the development of his talent to the well-known scholar and philosopher Jacotot, who, though himself no musician, imbued his young friend with principles of perseverance and self-reliance, which he never lost sight of throughout life, and which, more than anything else, contributed to make him attain that proficiency in his art on which his fame rests.
When nineteen years of age he went to Paris and pursued his studies there for some time under the advice of Viotti and Baillot, without actually being the pupil of either. After a short time he made his appearance in public with great success. From Paris he repeatedly visited England, where he met with a most brilliant reception. His first appearance at the Philharmonic Society took place on May 1, 1826, when he was announced as 'Violon de la chambre de sa Majesté le Roi de France.' On his return to Belgium he was nominated Solo-Violinist to the King of the Netherlands, which appointment he lost by the Revolution of 1830. For the next five years he travelled and gave concerts in England, France, Belgium, and Italy, together with the famous singer Maria Malibran, whom he married in 1835 [App. p.545 "Mar. 26, 1836"]. At this time De Bériot was universally recognised as one of the most eminent of living violinists. After the sudden death of his wife he retired to Brussels in 1836, and did not appear in public till 1840, when he undertook a tour through Germany. In 1843 he was appointed Professor of violin-playing at the Brussels Conservatoire, and remained there till 1852, when the loss of his eyesight caused him to retire. He died at Louvain, April 20, 1870.
De Bériot may justly be considered the founder of the modern Franco-Belgian school of violin-playing, as distinguished from the classical Paris school, represented by Viotti, Kreutzer, Rode, and Baillot. He was the first after Paganini to adopt a great variety of brilliant effects in the way of harmonics, arpeggios, pizzicatos, etc., sacrificing to a certain extent the severity of style and breadth of tone, in which the old French school excelled. His playing was distinguished by unfailing accuracy of intonation, great neatness and facility of bowing, grace, elegance and piquancy. His compositions, which for a considerable time enjoyed general popularity, although not of much value as works of art, abound in pleasing melodies, have a certain easy, natural flow, and are such as to bring out the characteristic effects of the instrument in the most brilliant manner. The influence of Donizetti and Bellini on the one hand, and Auber on the other, are clearly visible.
[ P. D. ]
# A Little Pretty Pocket-book/Base-Ball

Base-Ball.
The Ball once struck off, Away flies the Boy
To the next destin'd Post, And then Home with Joy,
Moral.
Thus Seamen; for Lucre Fly over the Main, But, with Pleasure transported Return back again.
# A Little Pretty Pocket-book/Blindman's Buff

Blindman's Buff.
Bereft of all Light, I stumble along;
But, if I catch, you, My Doom is your own.
Moral.
How blind is that Man, Who scorns the Advice
Of Friends, who intend To make him more wise.
# A Little Pretty Pocket-book/Boys and Girls come out to Play

Boys and Girls come out to Play.
After a sultry Summer's Day, When the Moon shines, and Stars are gay; The Nymphs and Swains well pleas'd advance, And spend the Ev'ning in a Dance.
Rule of Life.
Reflect To-day upon the Last, And freely own thy Errours past.
# A Little Pretty Pocket-book/Fishing

Fishing.
The artful Angler baits his Hook, And throws it gently in the Brook; Which the Fish view with greedy Eyes, And soon are taken by Surprize.
Rule of Life.
Learn well the Motions of the Mind;
Why you are made, for what design'd.
# A Little Pretty Pocket-book/Autumn

III. Autumn
Autumn succeeds, in flaming Yellow clad, With Fullness smiling and with Plenty glad. Laden with sunny Fruits of ev'ry Kind, He dar'd the Cold that waited close behind. ​A Wreath of ripen'd Corn his Temples bound, Enrich'd with Leaves and clust'ring Grapes around. An Harvest Crook employ'd his better Hand, To reap the Grain and ease the burden'd Land.
# A Little Pretty Pocket-book/Charity

A little Boy and Girl bestowing their Charity.
All good Boys and Girls, when they see a poor Man, or Woman, or a Child in Want, will give them either Money or such Meat and Drink as they have to spare; which makes the whole World love them.
# A Little Pretty Pocket-book/Chuck-Farthing

Chuck-Farthing.
As you value your Pence, At the Hole take your Aim;
Chuck all safely in, And you'll win the Game.
Moral.
Chuck-Farthing, like Trade, Requires great Care; The more you observe, The better you'll fare.
# A Little Pretty Pocket-book/Dancing round the May-Pole

Dancing round the May-Pole.
With Garlands here the May-Pole crown'd, And all the Swains a dancing round,
Compose a num'rous jovial Ring, To welcome in the cheerful Spring.
Rule of Life.
Leave God to manage, and to grant
That which his Wisdom sees thee want.
# A Little Pretty Pocket-book/Birds-Nesting

Birds-Nesting.
Here two naughty Boys, Hard-hearted in Jest,
Deprive a poor Bird Of her young and her Nest.
Moral.
Thus Men, out of Joke, (Be't spoke to their Shame)
Too often make free With another's good Name.
# A Little Pretty Pocket-book/Cricket

Cricket.
This Lesson observe, When you play at Cricket,
Catch All fairly out, Or bowl down the Wicket.
Moral.
This Maxim regard, Now you're in your Prime;
Look ere 'tis too late; By the Forelock take Time.