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

From volume 1 of the work.
​CHITARRONE (Ital, augmentative of Chitarra). A theorbo, or double-necked lute of great length, with wire strings and two sets of tuning-pegs, the lower set having twelve, and the higher eight strings attached; the unusual extension in length affording greater development to the bass of the instrument. The Italian chitarra was not strung with catgut like the Spanish guitar, but with wire, like the German cither and the old English cithern. The chitarrone, as implied by the suffix, was a large chitarra. Like its cousin the archlute it was employed in Italy in the 16th century with the clavicembalo and other instruments to accompany the voice, forming a band, the nutty, slightly bitter timbre of which must ​have been very sympathetic and agreeable. Lists of these earliest orchestras are extant, notably one that was got together for the performance of Monteverde's 'Orfeo' in 1607, in which appear two chitarroni. The very fine specimen of this interesting instrument here engraved is in the South Kensington Museum. The length of it is 5 feet 4 inches. It is inscribed inside 'Andrew Taus in Siena, 1621.' In the photographs published by the Liceo Comunale di Musica of Bologna, the applications of the names chitarrone and archlute—possibly by an oversight—are reversed.
[App. p.587 "The instrument described under this name is in Italy generally called Arciliuto, the name Chitarrone being given to a large chitarra, or theorbo with a shorter neck, strung with wire, and played with a plectrum. The German authorities, Praetorius (1619) and Baron (1727), were followed by the writer."]
[ A. J. H. ]
# A Dictionary of Music and Musicians/Choragus

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

From volume 1 of the work.
​CHOIR ORGAN. The name given to the small organ which, in cathedral and other churches, used to hang suspended in front and below the larger or Great Organ. It derived its name from its employment to accompany the vocal choir in the chief portions of the Choral Service except the parts marked 'Full,' and the 'Glorias,' which were usually supported by the 'Loud Organ' as it was sometimes called. The choir organ was generally of very sprightly tone however small it might be; one of three stops only not unfrequently consisting of the following combination—Stopped Diapason, Principal, Fifteenth.
Father Smith's choir organ at St. Paul's Cathedral (1694–7), the most complete he ever made, had the following eight stops:—Stopped Diapason (Wood), Principal, Flute (Metal), Gemshorn Twelfth, Fifteenth, Mixture III ranks, Cremona (through), Vox humana (through).
[ E. J. H. ]
# A Cyclopaedia of Female Biography/Blessington, Countess of

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BLESSINGTON, COUNTESS OF,
Was born in Ireland, September 1st., 1789. Her maiden name was Marguerite Power; she was the second daughter of Edmund Power, Esq., of Carrabeen, in the county of Waterford. Marguerite Power was very beautiful, and married, at the early age of fifteen, Captain Farmer, of the forty-seventh regiment. He died in 1817; and, in the following year, Mrs. Farmer married her second husband, Charles John Gardner, Earl of Blessington. During the lifetime of the Earl he resided with Lady Blessington chiefly in Italy and France; and he died in Paris, in 1829. Lady Blessington returned soon afterwards to London, and devoted herself to literature. She was so prominent in the circle her rank, talents, accomplishments, and beauty drew around her, that her biography is familiar to all. She resided in London, till the troubles in Ireland had so embarrassed her estates in that country, that she was compelled to dispose of her house and all her property—her most cherished "household gods"—by public sale. In the Spring of 1849, she removed to Paris, where she intended to fix her residence, and died there, early in June, before she had fully established herself in her new home. Among the many testimonials to the generosity of her disposition, and the truth of her zeal in the service of her friends, is the following, which we quote from the "Art-Journal:"—
"She was largely indebted to Nature for surpassing loveliness of person and graceful and ready wit. Circumstances connected with the earlier years of her life (to which it is needless to refer) 'told' against her through the whole of her career; but we entirely believe that the Nature which gave her beauty, gave her also those desires to be good which constitute true virtue. Those who speak lightly of this accomplished woman, might have better means to do her justice if they knew but a tithe of the cases that might be quoted of her generous sympathy, her ready and liberal aid, and her persevering sustenance whenever a good cause was to be helped, or a virtuous principle was to be promulgated."
She wrote with great facility and elegance of language, but her style is too diffuse, particularly in her novels. Her "Idler in Italy," and "Conversations with Lord Byron," are her best works; the last is very interesting, the subjects owing, probably, much to the spirit with which the hero of the book discourses. The list of Lady Blessington's works is large, comprising the following:—"The Magic Lantern," "Sketches and Fragments," "Tour in the Netherlands," "Conversations with Lord Byron," "The Repealers," "The Two Friends," "The Victims of Society," "The Idler in France," "The Idler in Italy," "The Governess," "Confessions of an Elderly Lady," "Confessions of an Elderly Gentleman," "Desultory Thoughts," ​"The Belle of a Season," "Lottery of Life," "Meredith," "Strathern," "Memoirs of a Femme de Chambre." She wrote also several illustrated books of Poetry.
# A Cyclopaedia of Female Biography/Boadicea

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BOADICEA,
A British Queen in the time of Nero, wife, first of Arvinagus, and afterwards of Prasatagas, King of the Iceni, that is, Norfolk, Suffolk, Cambridge, and Huntingdonshire. Prasatagas, in order to secure the friendship and protection of Nero for his wife and family, left the emperor and his daughters co-heirs. The Roman officers, availing themselves of a privilege so replete with mischief, seized upon all his effects in their master's name. Boadicea strongly remonstrated against these unjust proceedings, and being a woman of high spirit, she resented her ill usage in such terms, that the officers, in revenge, caused her to be publicly scourged, and violated her daughters. Boadicea assembled the Britons, and standing on a rising ground, her loose robes and long hair floating in the wind, a spear in her hand, her majestic features animated with a desire for vengeance, she reminded her people, in a strain of pathetic eloquence, of the wrongs they had endured from the invaders, and exhorted them to instant revolt. While speaking, she permitted a hare, which she had kept concealed about her person, to escape among the crowd. The Britons, exulting, hailed the omen, and the public indignation was such, that all the island, excepting London, agreed to rise in rebellion.
Boadicea put herself at the head of the popular army, and earnestly exhorted them to take advantage of the absence of the Roman General, Paulinus, then in the Isle of Man, by putting their foreign oppressors to the sword. The Britons readily embraced the proposal, and so violent was the rage of the exasperated people, that not a single Roman of any age, or either sex, within their reach, escaped; no less than seventy thousand perished.
Paulinus, suddenly returning, marched against the revolting Britons, who had an army of one hundred thousand, or, according to Dion Cassius, two hundred and thirty thousand strong, under the conduct of Boadicea and her General, Venutius. The noble person of Boadicea, large, fair, and dignified, with her undaunted courage, had gained for her the entire confidence of the people, and they were impatient for the engagement with Paulinus, whose army consisted of only ten thousand men. Notwithstanding this disparity of numbers, however, the discipline and valour of the Roman cohorts proved too much for their barbarous adversaries, who, at the first attack, fell into disorder, and precipitately fled; the baggage and wagons in which their families were placed, obstructing their flight, a total defeat and dreadful carnage ensued. Eighty thousand Britons were left on the field. Boadicea escaped falling into the hands of the enemy, but, unable to survive this terrible disappointment, she fell a victim either to despair or poison. The battle was fought in the year 61.
# A Cyclopaedia of Female Biography/Bland, Elizabeth

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BLAND, ELIZABETH,
This lady was remarkable for her knowledge of the Hebrew language, and for her peculiar skill In writing it.
She was born about the period of the restoration of Charles the Second, and was daughter and heir of Mr. Robert Fisher, of Long-Acre. She married Mr. Nathaniel Bland, April 26th., 1681, who was then a linen-draper in London, and afterwards Lord of the Manor of Beeston, in Yorkshire. She had six children, who all died in infancy, excepting one son, named Joseph, and a daughter, Martha, who was married to Mr. George Moore, of Beeston. Mrs. Bland was taught Hebrew by Lord Van Helmont, which she understood so thoroughly as to be competent to the instruction in it of her son and daughter. Among the curiosities of the Royal Society is preserved a phylactery, in Hebrew, written by her, of which Dr. Grew has given a description in his account of rarities preserved in Gresham college.
By the two pedigrees of the family, printed in Mr. Thoresby's "Ducattts Leodiensis," pages 209 and 687, it seems she was living in 1712.
# A Cyclopaedia of Female Biography/Bleecker, Anne Eliza

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BLEECKER, ANNE ELIZA,
One of the early poetesses of America, was born in New York, in 1752. Her father was Brandt Schuyler, of that city. In 1769, she married John J. Bleecker, and afterwards lived chiefly at Tomhanick, a little village not far from Albany. It was in this seclusion that most of her poems were written. The death of one of her children, and the capture of her husband, who was taken prisoner by a party of tories, in 1781, caused a depression of spirits and melancholy from which she never recovered. She; died in ​1783. Several years after her death, her poems were collected by her daughter, Mrs. Faugeres, and published in one volume. There are no wonderful traces of genius in these poems; but they show a refined taste, and talents which might have been cultivated to higher efforts, if the circumstances surrounding the author had been propitious. There Is a pure current of conjugal and maternal reeling to be traced in all her effusions. In her descriptive poetry she seems to have observed nature with the loving eye of a woman, rather than the searching glance of the artist; and she appropriates the scenery, so to speak, to her own affections.
# A Cyclopaedia of Female Biography/Boccage, Maria Anne du

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BOCCAGE, MARIA ANNE DU,
A celebrated French poetess, member of the academies of Rome, Bologna, Padua, Lyons, and Rouen, was born in Rouen in 1710, and died in 1802. She was educated in Paris in a nunnery, where she evinced a love of poetry. She became the wife of a receiver ​of taxes in Dieppe, who died soon after the marriage, leaving her a youthful widow. She concealed her talents, however, till the charms of youth were past, and first published her productions in 1746, The first was a poem "On the Mutual Influence of the Fine Arts and Sciences." This gained the prize from the Academy of Rouen. She next attempted an imitation of "Paradise Lost," in six cantos; then of the "Death of Abel;" next a tragedy, the "Amazons;" and a poem in ten cantos, called "The Columbiad." Madame du Boccage was praised by her contemporaries with an extravagance, for which only her sex and the charms of her person can account. Forma Venus arte Minerva, was the motto of her admirers, among whom were Voltaire, Fontenelle, and Clairaut. She was always surrounded by distinguished men, and extolled in a multitude of poems, which, if collected, would fill several volumes. There is a great deal of entertaining matter in the letters which she wrote on her travels in England and Holland, and in which one may plainly see the impression she made upon her contemporaries. Her works have been translated into English, Spanish, German, and Italian
# A Cyclopaedia of Female Biography/Bois de la Pierre, Louise Marie

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BOIS DE LA PIERRE, LOUISE MARIE,
A lady of Normandy, who possessed some poetical merit, and wrote memoirs for the history of Normandy, etc. She died September 14th, 1730, aged sixty-seven.
# A Cyclopaedia of Female Biography/Bonaparte, Ramolina Marie Letitia

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BONAPARTE, RAMOLINA MARIE LETITIA,
Was born at Ajaccio, in the island of Corsica, in 1748. The family of Ramolini is of noble origin, and is derived from the Counts of Colatto. The founder of the Corsican branch had married the daughter of a doge of Genoa, and had received from that republic great ad honourable distinctions. The mother of Madame Letitia married a second time a Swiss named Fesch, whose family was from Basle. He was a Protestant, but was proselyted by his wife, and entered the Catholic church. From this second marriage was born the Cardinal Fesch, half-brother of Madame Bonaparte, Letitia was one of the most beautiful girls of Corsica. She married Charles Bonaparte in 1766, in the midst of the midst of civil discords and wars; through every vicissitude she followed her husband, and as few persons have been placed in more difficult conjunctures, few have exhibited such strength of ming, courage, fortitude, and equanimity, The most unexampled prosperity, and most unlooked-for adversity have found her equal to the difficulties of each. Her eight children who lived to maturity were the following:—Joseph, King of Naples, and afterwards of Spain; Napoleon; Eliza, grand-duchess of Tuscany; Lucien; Pauline, princess Borghese; Louis, King of Holland; Caroline, Queen of Naples; and Jerome, King of Westphalia.
In 1785 Charles Bonaparte being sent to France as a deputy from the Corsican nobility, was seized with a cancer of the stomach, and died at Montpelier in the arms of his son Joseph. He left a widow with eight children, and no fortune. Two of the family were educated at the expense of the government—Napoleon at Brienne, and Eliza at St. Cyr—while the others found their mother an instructress capable and energetic. Hers was a character that displayed its resources in difficulties; and she always managed to maintain her children in the position to which they were naturally entitled ​She was fond of saying of Napoleon, "That he had never given her a moment's pain, not even at the time which is almost universally woman's hour of suffering."
Madame Bonaparte was always kind and generous; in trouble she was the advocate and protectress of the unfortunate. When Jerome incurred his brother's displeasure for his American marriage, his mother restored him to favour; and when Lucien, for a fault of the same sort, was exiled to Rome, Madame Letitia accompanied him. When Napoleon became sovereign, he allotted her a suitable income, upon which she maintained a decorous court. After the disasters of 1816, she retired to Rome, where she lived in a quiet and dignified manner, seeing nobody but her own connections, and sometimes strangers of high rank, who were very desirous of being presented to her. She never laid aside her black, after the death of Napoleon. She died February 2nd., 1836, at the age of eighty-eight. For several of the last years of her life she was deprived of her sight, and was bedridden. Madame Letitia was always honoured and respected by those who were able to appreciate her rare qualities.
# A Cyclopaedia of Female Biography/Bontems, Madame

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BONTEMS, MADAME,
Born at Paris, in 1718, died in the same city, April 18th., 1768; had received from nature a good understanding, and an excellent taste, which were cultivated by a careful education. She was acquainted with the foreign languages, and it is to her that the French are indebted for the accurate and elegant translation of "Thomson's Seasons." She was the centre of an amiable and select society that frequented her house. Though she was naturally very witty, she only made use of this talent for displaying that of others. She was not less esteemed for the qualities of her heart than of her mind.
# A Cyclopaedia of Female Biography/Bore, or Bora, Catharine von

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BORE, or BORA, CATHARINE VON,
Daughter of a gentleman of fortune, was a nun in the convent of Nimptschen, in Germany, two leagues from Wittemberg. She left the convent, with eight others, at the commencement of the Reformation by Luther. Leonard Koppe, senator of Torgau, is said to have first animated them to this resolution, which they put in practice on a Good Friday. Luther undertook the defence of these nuns and Leonard Koppe, and published a justification of their conduct.
Luther, who admired Catharine on account of her heroism, in addition to her excellent qualities of mind and heart, gained her consent and married her. Catharine was then twenty-six, and added to the charms of youth, much sprightliness of mind. The reformer, many years older than his wife, was as affectionately beloved by her as if he had been in the flower of his youth. She brought him a son; and he writes on this occasion, "that he would not change his condition for that of Crœsus." The character of his wife was excellently adapted to make him happy. Modest and gentle, decent in her attire, and economical in the house, she had the hospitality of the German noblesse without their pride. On the 15th. February, 1546, she became a widow, and, although several good offers were made to her, she lived for many years in great "poverty, and sometimes in actual distress. Martin Luther left little ​or no property, and she was compelled to keep a boarding-house for students, in order to support herself and children. She died on the 20th. of December, 1552, in consequence of a cold she had contracted from a fall in the water, while moving from Wittemberg to Torgau.
She left three sons, Paul, Martin, and John, and two daughters
# A Dictionary of Music and Musicians/Hutschenruijter, Wilhelm

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

From volume 1 of the work.
​HYPER- (Gr. ὑπερ, over, above; Lat. super). A prefix, extensively used in the terminology of antient Greek music—wherein it appears in the names of the five Acute Modes—and thence transferred to the musical system of the Middle Ages. The nomenclature of the one system must, however, be very carefully distinguished from that of the other; for, though the same terms are, in many cases, common to both, they are used to designate very different things. For instance, the discarded Locrian Mode (B, C, D, E, F, G, A, B) is often called the Hyper-æolian, in recognition of the fact that its range lies a tone above that of the true Æolian; but this Mode has no connexion whatever with the Hyper-æolian of the Greeks; neither have the Authentic Modes, as we now use them, the slightest affinity with the Greek acute forms, though the prefix 'hyper' has sometimes been very unnecessarily added to the names of all of them. [See Modes.]
Greek authors constantly use the prepositions ὑπερ and ὑπο in what we should now consider an inverted sense; applying the former to grave sounds, and the latter to acute ones. This apparent contradiction vanishes when we remember that they are speaking, not of the gravity or acuteness of the sounds, but of the position on the lyre of the strings designed to produce them.
The prefix Hypo- (Gr. ὑπο, under, below; Lat. sub) was applied, in antient Greek music, to the names of the five Grave Modes. In the Middle Ages it was added to the names of the seven Plagal Modes—the Hypo-dorian, the Hypo-phrygian, the Hypo-lydian, the Hypo-mixo-lydian, the Hypo-æolian, the discarded Hypo-locrian, and the Hypo-ionian—the range of which lies a fourth below that of their Authentic originals. [See Modes.]
[ W. S. R. ]
# A Dictionary of Music and Musicians/Häuser, Johann

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

From volume 1 of the work.
​HUTCHINSON, Francis, an amateur composer, who, under the pseudonym of Francis Ireland, produced in the latter half of the 18th century many vocal compositions of considerable merit. The Catch Club awarded him three prizes, viz. in 1771 for his catch 'As Colin one evening'; in 1772 for his cheerful glee 'Jolly Bacchus'; and in 1773 for his serious glee 'Where weeping yews.' 11 glees and 8 catches by him are printed in Warren's collections. His beautiful madrigal, 'Return, return, my lovely maid,' is universally admired. He is sometimes styled 'Dr.' Hutchinson, but he does not appear to have graduated in any faculty. He may possibly have been a medical practitioner, to whom the term 'Dr.' was popularly applied.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Hutchinson, John

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

From volume 1 of the work.
​HYMN OF PRAISE. The English title of Mendelssohn's Lobgesang.
# A Dictionary of Music and Musicians/Hymns Ancient and Modern

From volume 1 of the work.
​HYMNS ANCIENT AND MODERN. The originator of this Hymnal was the Rev. Sir Henry Williams Baker, Bart., vicar of Monkland in the diocese of Hereford, who wrote and translated many of the hymns which it contains, and by his ability, by his profound knowledge of hymnology, and by his energetic discharge of the duties of chairman of its committee for twenty years, mainly contributed to its success. After ascertaining by private communications the widely spread desire of Churchmen for greater uniformity in the use of hymns and of hymnbooks in the services of the Church, Sir Henry Baker early in 1858 associated with himself for this object about twenty clergymen, including the editors of many existing Hymnals, who agreed to give up their several books in order as far as might be to promote the use of one.
In the autumn of that year an advertisement was inserted in the 'Guardian' inviting cooperation, to which more than 200 clergymen responded. In January 1859 the committee set to work. A specimen was issued in May of the same year. In 1860 the first Edition was published, with the Imprimatur of Dr. Hampden, Sir Henry Baker's diocesan. The first 'Edition with Tunes,' under the musical editorship of Professor W. H. Monk, King's College, London, appeared March 20, 1861. An 'Appendix' in Dec. 1868, and in 1875 'The Revised and Enlarged Edition,' completing the work.
[ W. Pg. ]
# A Dictionary of Music and Musicians/Hándl, Jacob

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

From volume 1 of the work.
​CON SPIRITO, 'with spirit'; an indication oftener found in Haydn and Mozart than in later compositions.
# A Dictionary of Music and Musicians/Concento

[ M. ]
# A Dictionary of Music and Musicians/Compère, Loyset

From volume 1 of the work.
​COMPÈRE, Loyset, eminent contrapuntist of the 15th century, chorister, canon, and chancellor of the Cathedral of St. Quentin, where he was buried 1518. In Crespel's lament on the death of Okeghem he is mentioned among the distinguished pupils of the latter—
[ M. C. C. ]
# A Dictionary of Music and Musicians/Composition

From volume 1 of the work.
[ C. H. H. P. ]
# A Dictionary of Music and Musicians/Compound Time

From volume 1 of the work.
​COMPOUND TIME. A rhythm formed by the combination of two, three, or four bars of simple time. The compound times most used are as follows:—
Compound Common Times. :
| 6-8 | formed of | two | bars of | 3-8 | time. |
| 6-4 | " | | " | 3-4 | " |
| 12-8 | " | four | " | 3-8 | " |
| Compound Triple Times. ||||||
| 9-8 | formed of three | formed of three | bars of | 3-8 | time. |
| 9-4 | " | " | " | 3-4 | " |
[ F. T. ]
# A Dictionary of Music and Musicians/Con Brio

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

From volume 1 of the work.
[ V. de P. ]
# A Dictionary of Music and Musicians/Concentores Sodales

From volume 1 of the work.
[ C. M. ]