OpenLLM-France/wikimedia huggingface dataset:
# A Dictionary of Music and Musicians/Abt, Franz

From volume 1 of the work.
​ABT, Franz, born at Eilenburg in Prussian Saxony, Dec. 22, 1819. His father was a clergyman, and Franz, though destined to the same profession, received a sound musical education, and was allowed to pursue both objects at the Thomas-School and University of Leipsic. On his father's death he relinquished the church as a profession and adopted music entirely. His first residence was at Zürich (1841), where he acted as capellmeister, occupying himself more especially with men's voices, both as composer and conductor of several societies. In 1852 he entered the staff of the Hof-theater at Brunswick, where since 1855 he has filled the post of leading capellmeister. [App. p.517 "he died at Wiesbaden, Mar. 31, 1885"]
Abt is well known by his numerous songs for one or more voices, which betray an easy fluency of invention, couched in pleasing popular forms, but without pretence to depth or individuality. Many of his songs, as for instance 'When the swallows,' were at one time universally sung, and have obtained a more or less permanent place in the popular repertory. Abt is a member of a group of composers, embracing his contemporaries Truhn, Kücken, Gumbert, and others, who stand aloof from the main course taken by the German Lied as it left the hands of Schubert, Schumann, and Franz,—which aims at the true and living expression of inward emotion. In reference to this the composers in question are somewhat in the background; but it cannot be denied that in many dilettante circles Abt is a prime favourite for his elegance and easy intelligibility. His greatest successes in Germany and Switzerland have been obtained in part-songs for men's voices, an overgrown branch of composition unfortunately devoted to the pursuit of the mere superficial enjoyment of sweet sounds, and to a great extent identified with his name.
[ A. M. ]
# A Dictionary of Music and Musicians/Abert, Johann

From volume 4 of the work.
[ M. ]
# A Dictionary of Music and Musicians/Abyngdon, Henry

From volume 1 of the work.
​ABYNGDON, Henry. An English ecclesiastic and musician. He succeeded John Bernard as subcentor of Wells on Nov. 24, 1447, and held that post till his death on Sept. 1, 1497, when he was succeeded by Robert Wydewe. (Beckynton's and Oliver King's registers at Wells.) In addition to the succentorship at Wells Abyngdon held the office of 'Master of the Song' of the Chapel Royal in London, to which he was appointed in May 1465 at an annual salary of forty marks, confirmed to him by a subsequent Act of Parliament in 1473–4. (Rimbault, 'Cheque-book of Chapel Royal,' p. 4.) He was also made Master of St. Catherine's Hospital, Bristol, in 1478. (Collinson, ii. 283.) Two Latin epitaphs on Abyngdon by Sir Thomas More have been preserved (Cayley's 'Life of More,' i. 317), of which the English epitaph quoted by Rimbault from Stonyhurst is an adaptation. In these he himself is styled 'nobilis,' and his office in London 'cantor,' and he is said to have been pre-eminent both as a singer and an organist:—
'Millibus in mille cantor fuit optimus ille, Praeter et haec ista fuit optimus orgaquenista.'
[ G. ]
# A Dictionary of Music and Musicians/Academy, Royal, of Music

From volume 4 of the work.
​ACADEMY, ROYAL, OF MUSIC. See Royal Academy, vol. iii. p. 185.
# A Dictionary of Music and Musicians/Academy of Ancient Music

From volume 1 of the work.
[ C. M. ]
# A Channel Passage and Other Poems

First published in 1904, this transcription is of the first edition. A number of the works it contains had previously been published in periodicals. Where this is the case, the details are included for each work based on A Bibliography of the Writings in Prose and Verse of Algernon Charles Swinburne (1912), by Thomas James Wise, in 2 volumes.
A CHANNEL PASSAGE
AND OTHER POEMS
PRINTED BY SPOTTISWOODE AND CO. LTD., NEW-STREET SQUARE LONDON
A CHANNEL PASSAGE
AND OTHER POEMS
BY
ALGERNON CHARLES SWINBURNE
LONDON
CHATTO & WINDUS
1904
IN MEMORY
OF
WILLIAM MORRIS
AND
EDWARD BURNE JONES
CONTENTS
Layout 2
This work was published before January 1, 1929, and is in the public domain worldwide because the author died at least 100 years ago.
Public domainPublic domainfalsefalse
# A Channel Passage and Other Poems/A Clasp of Hands

A CLASP OF HANDS
I
That bask in heavenly heat
When bud by bud breaks, breathes, and cowers,
Soft, small, and sweet.
A babe's hands open as to greet
The tender touch of ours
And mock with motion faint and fleet
The minutes of the new strange hours
That earth, not heaven, must mete;
Buds fragrant still from heaven's own bowers,1 Soft, small, and sweet.
II
That fasten in a trice
And clench the fingers fast that feel
A velvet vice—
What man would risk the danger twice,
Nor quake from head to heel?
Whom would not one such test suffice?
Well may we tremble as we kneel
In sight of Paradise, If both a babe's closed fists conceal
A velvet vice.
III
Two creased and dimpled wrists,
That match, if mottled overmuch,
Two flower-soft fists—
What heart of man dare hold the lists
Against such odds and such
Sweet vantage as no strength resists?
Our strength is all a broken crutch, Our eyes are dim with mists,
Our hearts are prisoners as we touch
Two flower-soft fists.
# A Channel Passage and Other Poems/A New Year’s Eve

Previously printed in The Nineteenth Century, February 1895, pp. 367-368.
A NEW YEAR'S EVE
Christina Rossetti died December 29, 1894
The stars are strong in the deeps of the lustrous night, Cold and splendid as death if his dawn be bright; Cold as the cast-off garb that is cold as clay, Splendid and strong as a spirit intense as light.
A soul more sweet than the morning of new-born May Has passed with the year that has passed from the world away. A song more sweet than the morning's first-born song Again will hymn not among us a new year's day.
Not here, not here shall the carol of joy grown strong Ring rapture now, and uplift us, a spell-struck throng, From dream to vision of life that the soul may see By death's grace only, if death do its trust no wrong.
Scarce yet the days and the starry nights are three
Since here among us a spirit abode as we,
Girt round with life that is fettered in bonds of time,
And clasped with darkness about as is earth with sea.
And now, more high than the vision of souls may climb,
The soul whose song was as music of stars that chime,
Clothed round with life as of dawn and the mounting sun,
Sings, and we know not here of the song sublime.
No word is ours of it now that the songs are done
Whence here we drank of delight as in freedom won,
In deep deliverance given from the bonds we bore.
There is none to sing as she sang upon earth, not one.
We heard awhile: and for us who shall hear no more
The sound as of waves of light on a starry shore Awhile bade brighten and yearn as a father's face
The face of death, divine as in days of yore.
The grey gloom quickened and quivered: the sunless place
Thrilled, and the silence deeper than time or space Seemed now not all everlasting. Hope grew strong,
And love took comfort, given of the sweet song's grace.
Love that finds not on earth, where it finds but wrong,
Love that bears not the bondage of years in throng
Shone to show for her, higher than the years that mar,
The life she looked and longed for as love must long.
Who knows? We know not. Afar, if the dead be far,
Alive, if the dead be alive as the soul's works are,
The soul whose breath was among us a heavenward song
Sings, loves, and shines as it shines for us here a star.
# A Channel Passage and Other Poems/A Roundel from Villon

ROUNDEL
From the French of Villon
Death, I would plead against thy wrong,
Who hast reft me of my love, my wife,
And art not satiate yet with strife,
But needs wilt hold me lingering long.
No strength since then has kept me strong:
But what could hurt thee in her life,
Death?
Twain we were, and our hearts one song,
One heart: if that be dead, thy knife
Hath cut me off alive from life, Dead as the carver's figured throng,
Death!
# A Channel Passage and Other Poems/A Roundel of Rabelais

Previously printed in The Pageant, 1896, p. 1.
A ROUNDEL OF RABELAIS
Theleme is afar on the waters, adrift and afar,
Afar and afloat on the waters that flicker and gleam,
And we feel but her fragrance and see but the shadows that mar
Theleme.
In the sun-coloured mists of the sunrise and sunset that steam
As incense from urns of the twilight, her portals ajar
Let pass as a shadow the light of the sound of a dream.
But the laughter that rings from her cloisters that know not a bar
So kindles delight in desire that the souls in us deem
He erred not, the seer who discerned on the seas as a star Theleme.
# A Channel Passage and Other Poems/A New Century

Previously printed (under the tentative title "1901") in The Saturday Review, January 5th, 1901, p. 1.
A NEW CENTURY
An age too great for thought of ours to scan,
A wave upon the sleepless sea of time
That sinks and sleeps for ever, ere the chime
Pass that salutes with blessing, not with ban,
The dark year dead, the bright year born for man,
Dies: all its days that watched man cower and climb,
Frail as the foam, and as the sun sublime,
Sleep sound as they that slept ere these began.
Our mother earth, whose ages none may tell,
Puts on no change: time bids not her wax pale Or kindle, quenched or quickened, when the knell
Sounds, and we cry across the veering gale
Farewell—and midnight answers us, Farewell;
Hail—and the heaven of morning answers, Hail.
# A Channel Passage and Other Poems/A Word for the Navy

Previously printed three times in pamphlet form, twice in 1887 and again in 1896. Also printed in Sea Song and River Rhyme, 1887, pp. vii—viii.
A WORD FOR THE NAVY
I
The mightiest of seamen on earth,
Bright England, whose glories adorn her And bid her rejoice in thy birth As others made mothers Rejoice in births sublime, She names thee, she claims thee, The lordliest child of time.
II
All thine is the love of her choice
The light of her waves is thy glory, The sound of thy soul is her voice.
They fear it who hear it And love not truth nor thee: They sicken, heart-stricken, Who see and would not see.
III
Whose charge is the strength of thy ships, If now they be dreamers and sleepers, Or sluggards with lies at their lips, Thy haters and traitors, False friends or foes descried, Might scatter and shatter Too soon thy princely pride.
IV
Base Germany, blatant in guile, Lay wait for thee riding at anchor On waters that whisper and smile.
They deem thee or dream thee
Less living now than dead, Deep sunken and drunken
With sleep whence fear has fled.
V
Wax faint, and thy place be not known,
While faction is grappling with faction,
Twin curs with thy corpse for a bone?
They care not, who spare not
The noise of pens or throats;
Who bluster and muster
Blind ranks and bellowing votes.
VI
And ministers shuffle their mobs;
Mad pilots who reck not of steerage
Though tempest ahead of them throbs.
That throbbing and sobbing
Of wind and gradual wave
They hear not and fear not
Who guide thee toward thy grave.
VII
Is worth but a whisper from thee, While only the trust of thy heart is
At one with the soul of the sea.
In justice her trust is
Whose time her tidestreams keep;
They sink not, they shrink not,
Time casts them not on sleep.
VIII
Love hardly would bid thee take heed
Were Russia not faithful and loyal
Nor Germany guiltless of greed.
No nation, in station
Of story less than thou,
Re-risen from prison,
Can stand against thee now.
IX
For strong men to slumber and sleep,
And wise men to palter with treason?
And that they sow tares, shall they reap?
The wages of ages
Wherein men smiled and slept, Fame fails them, shame veils them, Their record is not kept.
X
What wages were theirs, and what fame?
Deep voices of prophet and poet
Bear record against them of shame.
Death, starker and darker
Than seals the graveyard grate,
Entombs them and dooms them
To darkness deep as fate.
XI
Be strong as the seas at thy side;
Bind on but thine armour about thee,
That girds thee with power and with pride.
Where Drake stood, where Blake stood,
Where fame sees Nelson stand,
Stand thou too, and now too
Take thou thy fate in hand.
XII
They stood as the guards of thy gate; Take now but thy strengths to thee straightway,
Though late, we will deem it not late.
Thy story, thy glory,
The very soul of thee,
It rose not, it grows not,
It comes not save by sea.
# A Channel Passage

* Search for titles containing or beginning with: "A Channel Passage."
* sister projects: Wikidata item.
This is a disambiguation page. It lists works that share the same title. If an article link referred you here, please consider editing it to point directly to the intended page.
* "A Channel Passage", a poem by Rupert Brooke
* "A Channel Passage", a poem by Algernon Charles Swinburne
# A Dictionary of Music and Musicians/Quatre fils Aymon, Les

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

From volume 3 of the work.
​QUEISSER, Carl Traugott, a great trombone player, was born of poor parents at Döben, near Leipzig, Jan. 11, 1800. His turn for music showed itself early, and he soon mastered all the ordinary orchestral instruments. He ultimately confined himself to the viola, and to the trombone, which he may really be said to have created, since, for instance, the solo in the Tuba mirum of Mozart's Requiem was before his time usually played on a Bassoon. In 1817 he was appointed to play violin and trombone in the town orchestra, and by 1830 had worked his way into the other orchestras of Leipzig, including that of the Gewandhaus. He played the viola in Matthäi's well-known quartet for many years; was one of the founders of the Leipzig 'Euterpe,' and led its orchestra for a long time; and in short was one of the most prominent musical figures in Leipzig during its very best period.
As a solo trombone-player he appeared frequently in the Gewandhaus Concerts, with concertos, concertinos, fantasias and variations, many of them composed expressly for him by C. G. Müller, F. David, Meyer, Kummer, and others; and the reports of these appearances rarely mention him without some term of pride or endearment. 'For fulness, purity and power of tone, lightness of lip, and extraordinary facility in passages,' says his biographer, 'he surpassed all the trombone-players of Germany.' There was a Leipzig story to the effect that at the first rehearsal of the Lobgesang, Queisser led off the Introduction as follows:—
to Mendelssohn's infinite amusement. Se non e vero, e ben trovato.
[ G. ]
# A Dictionary of Music and Musicians/Quick-Step

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

From volume 3 of the work.
[ G. C. ]
# A Dictionary of Music and Musicians/Quasi

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

From volume 3 of the work.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Quintet

From volume 3 of the work.
​QUINTET (Fr. Quintuor; Ital. Quintette). A composition for five instruments or voices with or without accompaniment.
I. Quintets for strings have been far less written than quartets, owing to the greater complexity demanded in the polyphony. Boccherini, however, published 125, of which 12 only were written for 2 violins, 2 violas, and 1 cello, the others having 2 cellos and 1 viola. The former is the more usual choice of instruments, probably because the lower parts are apt to be too heavy sounding with two cellos, owing to the greater body of ​tone in this instrument. Schubert's noble Quintet in C (op. 163), is for 2 cellos, but the first cello is used constantly in its upper octave, soaring above the viola. Onslow's—34 in number—are for a double bass and cello.
Beethoven's two Quintets, in E♭ and C, belong to his earlier periods, and have therefore none of the extraordinary features of the later quartets. Mendelssohn's Quintet in B♭ (op. 87), is so orchestral as to seem almost a symphony in disguise, but that in A (op. 18) is an exquisite specimen of what a string quintet should be.
Many other combinations of five instruments have found favour with musicians, mostly including a pianoforte. Thus there is Mozart's Quintet in E♭ for oboe, clarinet, horn, bassoon, and piano which the composer esteemed the best thing he ever wrote, the beautiful one for clarinet and strings, and another for the piquant combination of flute, oboe, viola, cello, and musical glasses. Perhaps the most effective association is that of piano, violin, viola, cello, and double bass, as in Schubert's well-known 'Trout' Quintet (op. 114). Beethoven's Quintet for piano and wind instruments (op. 16), in E♭, is a noble representative of a very small class. Hummel has also written a well-known one.
[ F. C. ]
# A Dictionary of Music and Musicians/Quintoyer

From volume 3 of the work.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Quinta Falsa

From volume 3 of the work.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Theory

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

[ G. ]
# A Dictionary of Music and Musicians/Thoinan, Ernest

[ G. C. ]
# A Dictionary of Music and Musicians/Thirlwall, John

​THIRLWALL, John Wade, born Jan. 11, 1809, at a Northumbrian village named Shilbottle, was the son of an engineer who had been the playmate of George Stephenson. He appeared in public before he was 8 years old, at the Newcastle Theatre, afterwards became music director at the Durham Theatre, and was engaged by the Duke of Northumberland to collect Northumbrian airs. He subsequently came to London, was employed in the Opera band, and was music director at Drury Lane, the Haymarket, Olympic, and Adelphi Theatres successively. After the death of Nadaud in 1864 he was appointed conductor of the ballet music at the Royal Italian Opera. In 1843 he composed the music for 'A Book of Ballads,' one of which, 'The Sunny Days of Childhood,' was very popular; also many songs, violin solos, and instrumental trios. He was for some time music critic to the 'Pictorial Times,' 'Literary Gazette,' and 'Court Circular.' Besides music he cultivated poetry and painting, and in 1872 published a volume of poems. He died June 15, 1875.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Thesis

[ G. ]
# A Dictionary of Music and Musicians/Thillon, Anna

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

​THIRD. One of the most important intervals in modern music, since, by one or other of its principal forms, it supplies the means of definition in all the most characteristic chords. Three forms are met with in modern music—major, minor, and diminished. The first of these occurs most characteristically in the major scale between the Tonic and the Mediant as between C and E in the key of C (a). It is also an important factor in the Dominant chord, whether in the major or minor mode—as between G and B in the Dominant of the key of C (b). The minor third occurs most characteristically in the minor scale as the converse to the principal major third in the major scale; that is, between Tonic and Mediant; as C and E♭ in C minor (c). It also makes its appearance characteristically in the chord of the subdominant—as F–A♭ in C minor (d);
but both this minor third and the major third of the dominant chord are sometimes supplanted by major and minor thirds respectively for the convenience of melodic progression in the minor mode. In all fundamental discords, such as the Dominant seventh and Dominant major and minor ninths, the first interval from the root-note in the original position of the chord is a major third.
The major third is well represented in the series of partial tones or harmonics, by the tone which comes fourth in order, and stands in the second octave from the prime tone or generator.
The ratio of the sounds of the major third is 4:5, and that of the minor third 5:6. Thirds were not accepted by the ancients as consonances, ​and when they began to come into use in the early middle ages as so-called imperfect consonances the major third used was that commonly known as the Pythagorean third, which is arrived at by taking four fifths from the lower note. The ratio of this interval is 64:81, and it is therefore considerably sharper than the just or natural third; while the major third of equal temperament generally used in modern music lies between the two, but a little nearer to the Pythagorean third.
The resultant tones of thirds are strong. That of the major third is two octaves lower than the lowest of the two notes, and that of the minor third two octaves and a major third.
[ C. H. H. P. ]
# A Dictionary of Music and Musicians/Thibaut, Anton

​THIBAUT, Anton Friedrich Justus, born Jan. 4, 1772, at Hameln on the Weser, studied law at Göttingen, became tutor at Königsberg, and law-professor at the University of Kiel, then at Jena, and in 1805 at Heidelberg, where he remained till his death, March 25, 1840. The Archduke of Baden made him Geheimrath. He was an ardent admirer of the old Italian church-composers, especially of Palestrina, and founded a society for the practice of such music at his own house. The performances took place before a select circle of invited guests, and were distinguished for their variety, Thibaut placing at their disposal the whole of his valuable and scarce collection of music. After his death Heidelberg no longer took the same interest in the Palestrina school, but in the meantime a large proportion of the professors and amateurs of Germany had become familiarised with one of the noblest and most elevating branches of the art. Mendelssohn for instance writes with the greatest enthusiasm about Thibaut, 'There is but one Thibaut,' he says, 'but he is as good as half a dozen. He is a man.' Again, in a letter to his mother from Heidelberg, dated Sept. 20, 1827, is the following characteristic passage. 'It is very singular, the man knows little of music, not much even of the history of it, he goes almost entirely by instinct; I know more about it than he does, and yet I have learned a great deal from him, and feel I owe him much. He has thrown quite a new light on the old Italian church music, and has fired me with his lava-stream. He talks of it all with such glow and enthusiasm that one might say his speech blossoms. I have just come from taking leave of him, and as I was saying that he did not yet know the highest and best of all, for that in John Sebastian Bach the best of everything was to be found, he said Good-bye, we will knit our friendship in Luis da Vittoria (Palestrina's favourite pupil, and the best exponent of his traditions) and then we shall be like two lovers, each looking at the full moon, and in that act no longer feeling their separation.'
[ F. G. ]
* ↑ From this, Gervinus seems to have taken the idea of his Society for the cultivation of Handel's music.
* ↑ See 'The Mendelssohn Family.' vol. i. p. 138.
# A Dictionary of Music and Musicians/Unison

[ C. H. H. P. ]
# A Dictionary of Music and Musicians/Urbani

​URBANI. [See Valentini.]
# A Dictionary of Music and Musicians/Urquhart, Thomas

[ E. J. P. ]
# A Dictionary of Music and Musicians/Unger, Caroline

[ G. ]