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

From volume 3 of the work.
​POUGIN, Arthur, born Aug. 6, 1834, at Chateauroux, where he is registered as François Auguste Arthur Paroisse-Pougin. As the son of an itinerant actor he had few educational advantages, and his literary attainments are therefore due to his own exertions alone; his knowledge of music was partly obtained at the Paris Conservatoire, where he passed through the violin-class and harmony with Henri Reber. From the age of 13 he played the violin at a theatre; and at 21 became conductor of the Théâtre Beaumarchais, which however he soon quitted for Musard's orchestra. From 1856 to 59 he was vice-conductor and répititeur (or conductor of rehearsals) at the Folies Nouvelles. Pougin soon turned his attention to musical literature, beginning with biographical articles on French musicians of the 18th century in the 'Revue et Gazette Musicale.' Musical biography remains his favourite study, but he has been an extensive writer on many other subjects. At an early period of his career he gave up teaching, and resigned his post among the violins at the Opéra Comique (1860 to 63) in order the better to carry out his literary projects. Besides his frequent contributions to the 'Ménestrel,' 'La France musicale,' 'L'Art musical,' and other periodicals specially devoted to music, he edited the musical articles in the 'Dictionnaire universel' of Larousse, and has been successively musical feuilletoniste to the 'Soir,' the 'Tribune,' 'L'Evènement,' and, since 1878, to the 'Journal Officiel' where he succeeded Eugène Gautier.
[ G. C. ]
# A Dictionary of Music and Musicians/Postillons

From volume 3 of the work.
​POSTILLONS. 'Symfonie allegro Postilions' is Handel's autograph inscription to the piece of orchestral music which precedes the entry of the Wise Men in 'Belshazzar,' and begins as follows:—
It is written for the strings, with oboes in unison; no horn is employed; some of the later passages resemble those which can be played on the ordinary posthorn; but there is nothing to say whether this was the origin of the indication, or whether it refers to the haste in which the Wise Men may be supposed to have arrived, or contains some allusion now lost.
Sebastian Bach, in his Capriccio describing the departure of his brother, has introduced an 'Aria di Postiglione' and a 'Fuga all' imitazione delle cornetta di Postiglione.' One of the figures in the former has some likeness to that quoted above.
Beethoven, in a sketch-book of 1812, quoted by Nottebohm (Mus. Wochenblatt, April 25, 1879), has quoted a flourish of the 'Postilion von Karlsbad':—
[ G. ]
# A Dictionary of Music and Musicians/Postlude

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

From volume 3 of the work.
[ J. A. F. M. ]
# A Dictionary of Music and Musicians/Powell, Walter

From volume 3 of the work.
[ W. H. H. ]
# A Chinese Biographical Dictionary/Chai Tsun

​16Chai Tsun 祭尊 (T. 弟孫). Died A.D. 33. A native of Ying-ch'uan in Anhui, who joined the standard of Liu Hsiu, and rose to high military command. He operated against the southern barbarians, and aided in the overthrow of Hsiao Wei. A stern disciplinarian, he put to death his own son for breach of the law. He wore common leather breeches and cotton socks, distributing all his prize-money among his soldiers, who were strictly forbidden to pillage, and whose leisure hours he sought to fill up with refined and intellectual amusements. Even in war time he would not suffer the usual religious ceremonies to be neglected. He was ennobled as Marquis, and canonised as 成, and his portrait was subsequently hung in the 雲臺 gallery.
# A Chinese Biographical Dictionary/Ch'ên Ya

​259 Ch'ên Ya 陳亞 (T. 亞之). 10th and 11th cent. A.D. A poet ​and humorist of the Sung dynasty. He graduated as chin shih in 1002, and rose to be Secretary in a Board.
# A Chinese Biographical Dictionary/Ch'ên Yüan-lung

​261 Ch'ên Yüan-lung 陳元龍 (T. 廣陵 H. 乾齋). A.D. 1650—1786. Graduated in 1685, and served in the Grand Secretariat until 1704, when he retired to attend on his aged parents. Resuming his career, he was Governor of Kiangsi from 1711 to 1718, then President of a Board, and in 1729 he became Grand Secretary. He was the author of the 格致鏡原, an encyclopædia of arts and sciences, and editor of a collection of essays by various members of his family. Was canonised as 清恪.
# A Chinese Biographical Dictionary/Chan Huo

​18Chan Huo 展獲 (T. 禽, changed at 50 years of age to 季). 6th and 7th cent B.C. Governor of the District of 柳下 Liu-hsia in the Lu State. He was a man of eminent virtue, and is said on one occasion to have held a lady in his lap without the slightest imputation on his moral character. When he died, his wife insisted on pronouncing a funeral oration over his body, urging that none knew his great merits so well as she. He was canonised as 惠 Hui, and is now commonly known as Liu-hsia Hui.
# A Chinese Biographical Dictionary/Ch'ên Yung-chih

​262 Ch'ên Yung-chih 陳用智 (or 志 or 之). 10th cent. A.D. A native of Honan, and a famous artist, known from his abode as 小窖陳 Ch'ên of Hsiao-yao. He excelled in figures, landscapes, and religious subjects.
# A Chinese Biographical Dictionary/Chai Kung

​15Chai Kung 翟公. 2nd cent. B.C. A native of 下邽 Hsia-kuei in Shensi, who was a Magistrate under the Emperor Wên Ti of the Han dynasty. In his days of prosperity, his gates were thronged; yet when he was dismissed, a sparrow-trap might have been set in his court-yard. Upon his reinstatement in office, the friends would have returned; but he closed his doors to them, and posted a notice to the effect that true friendship endures even through poverty and disgrace.
# A Chinese Biographical Dictionary/Chang An-shih

​19Chang An-shih 張安世 (T. 子孺). Died B.C. 68. A precocious student who attracted attention in the following manner. During an Imperial progress, to which he was attached in a subordinate capacity, three boxes of books were missing. He was able however to repeat the contents of each so accurately that on recovery of the books they were found to tally exactly with his description. The Emperor Wu Ti immediately appointed him to high office, and he subsequently rose under the Emperor Hsüan$^a$ Ti to be President of the Board of War, in succession to Ho Kuang. Canonised as 敬侯.
# A Chinese Biographical Dictionary/Chang Ch'ang

​21Chang Ch'ang 張敞 (T. 子高). Died B.C. 48. A distinguished scholar and official, who flourished under the Emperor Yüan Ti of the Han dynasty. He first attracted attention by denouncing the irregular conduct of the Prince of 昌邑 Ch'ang-i, who was promptly disgraced upon his representations. He became Governor of Shan-yang in Shantung, and successfully coped with the brigandage and rebellious spirit which prevailed; and in B.C. 61 was promoted to be Governor of the Metropolitan District. In this capacity he took part in all the councils of State; and his advice, based upon his wide knowledge of history, was always received with deference. In every way he ruled wisely and well; and it was said that, owing to his vigilance, "the alarm drum was not struck for nine years." He then became mixed up in the affair of Yang Yün, and was dismissed from office. Whereupon there was such an increase of seditious manifestations throughout 冀 Chi-chou in Chihli, that the Emperor appointed him Governor of that District, and the disturbances came at once to an end. He died just as the Emperor Yüan was about to bestow upon him further honours. He was especially famous for his acquaintance with the early forms of Chinese characters, and for his profound knowledge of the Spring and Autumn Annals. He made a practice of painting his wife's eyebrows; and when the Emperor rallied him on the point, he replied that this was a matter of the highest importance to women.
# A Chinese Biographical Dictionary/Ch'ên Yu-liang

​260 Ch'ên Yu-liang 陳友諒. Died A.D. 1368. The son of a fisherman at 沔陽 Mien-yang in Hupeh, and originally named 謝 Hsieh, who in 1850 quitted his post as gaoler to join the forces of Hsü Shou-hui. By 1857 he had risen to command an independent force; and in 1358 he captured An-ch'ing, slew Hsü, and proclaimed himself Prince of Han, and finally Emperor of the Han dynasty, with his capital at Wu-ch'ang. He obtained the mastery over a large portion of western China; but he was ultimately vanquished by Chu Yüan-chang, the founder of the Ming dynasty, in a decisive battle on the Po-yang lake, and killed by a stray arrow when already in fall retreat. He had two brothers, named Ch'ên 友仁 Yu-jen and Ch'ên 友貴 Yu-kuei, who were associated with him in his adventurous career.
# A Chinese Biographical Dictionary/Chang-t'ai Liu

​110 Chang-t'ai Liu 章臺柳. 8th cent A.D. The name given to the wife (née Liu) of Han Hung the poet, from the place of her birth, near Ch'ang-an in Shensi. Separated from him during the troublous period of A.D. 756, she sought refuge in a nunnery. She was subsequently taken as wife by a Tartar chieftain, but through the intervention of the Emperor she was ultimately restored to her husband.
# A Dictionary of Music and Musicians/Reynolds, John

From volume 3 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Rheinberger, Joseph

From volume 3 of the work.
​RHEINBERGER, Joseph, born March 17, 1859 [App. p.772 "1839"], at Vaduz, the capital of the principality of Liechtenstein. He was so precocious that he began to learn the pianoforte at the age of five; at seven years old he was organist at the church of his native place, where, as his legs were too short to reach down to the pedals, a second set of pedals was fixed above the ordinary ones; and very shortly afterwards he composed a mass in three parts with organ accompaniment. His first teacher was Herr Pohly, who still resides and teaches in the Tyrol. At the age of twelve Rheinberger was sent to the Munich Conservatorium, where he studied until he was nineteen, under Herzog, Leonhard, and J. J. Maier; he was then appointed pianoforte teacher in the same institution, and, about the same time, became organist in the Hofkirche of St. Michael, and subsequently Director of the Munich Oratorienverein. He is at present professor of counterpoint and of the higher school of organ-playing in the Royal School of Music, and conductor of the court band (not of the opera) at Munich. Up to the present time he has published 116 compositions, among which are—2 symphonies, 'Wallenstein' and 'Florentinische Sinfonie'; 2 operas, 'Die sieben Raben' and 'Thürmer's Tochterlein'; incidental music to a drama of Calderon's, and to one of Raimond's; several overtures, 'The Taming of the Shrew,' 'Demetrius,' etc.; many pianoforte works; a concerto for piano and orchestra; much chamber music and church music (among the latter a Grand Requiem for those who fell in the war of 1870–71), a Stabat Mater and a Mass in 8 parts (dedicated to Pope Leo XIII.); 5 organ sonatas, and various works for chorus and for male voices. Many of his pupils have attained eminence in their profession. His Quartet in E♭ (op. 38) for PF. and strings is a favourite work at the Monday Popular Concerts, and has been performed there almost annually since 1874. A Sonata for PF. and violin in the same key (op. 77) has also been played there.
[App. p.772 "Among his works are to be mentioned the following, besides those referred to in the article. Two large compositions for solos, chorus and orchestra, 'Christoforus' and 'Montfort'; two elaborate settings of the 'Stabat Mater' and a Requiem for the same, an organ concerto, and 6 sonatas for that instrument, making the number of these compositions eleven in all; two string quartets, three piano trios, a quintet for piano and strings, a duet for two pianos, besides part-songs, and other vocal works. Among his latest works are a nonet for wind instruments (op. 139), a string quartet (op. 147), 6 pieces for PF. and organ (op. 150), a mass (op. 151) and 12 organ pieces (op. 156). He has the title of Hofkapellmeister and Professor, and is a member of the Academy of Arts in Berlin."]
[App. p.820 "Add to list of works in appendix a Singspiel, 'Das Zauberwort,' op. 153, and a twelfth organ sonata, op. 154."]
[ J. A. F. M. ]
# A Dictionary of Music and Musicians/Ribattuta

From volume 3 of the work.
​RIBATTUTA (re-striking), an old contrivance in instrumental music, gradually accelerating the pace of a phrase of two notes, until a trill was arrived at. Beethoven has preserved it for ever in the Overture to Leonore 'No. 3' (bar 75 of Allegro).
[ G. ]
# A Dictionary of Music and Musicians/Reyer, Ernest

From volume 3 of the work.
​REYER, Ernest, whose real name is Rey, was born at Marseilles, Dec. 1, 1823. As a child he learned solfeggio at the free school of music founded by Barsotti (born in Florence 1786, died at Marseilles 1868), and became a good reader, though he did not carry his musical education far. At 16 he went to Algiers as a government official, but continued his pianoforte practice, and began to compose without having properly learned harmony and counterpoint. He was soon able to write romances which became popular, and composed a mass which was solemnly performed before the Duke and Duchess d'Aumale. Had he remained in Algiers he would probably never have been anything beyond a mere amateur, but the Revolution of 1848 depriving him of the support of the Governor-General, he returned to Paris, and placed himself in the hands of his aunt Mme. Louise Farrenc, who completed his musical education, and before long he found an opportunity of coming before the public. From his friend Theophile Gautier he procured the libretto of 'Le Selam,' an oriental 'Symphony' in 4 parts, on the model of David's 'Le Désert.' It was produced with success April 5, 1850, and then Méry furnished him with 'Maître Wolfram,' a 1-act opera, which was also successful, at the Théâtre Lyrique, May 20, 1854. His next work was 'Sacountala' (July 20, 1858), one of the charming ballets of Théophile Gautier; but his full strength was first put forth in 'La Statue,' a 3-act opera produced at the Théâtre Lyrique, April 11, 1861, and containing music which is both melodious and full of colour. 'Erostrate' (2 acts) was performed at Baden in 1862, and reproduced at the Académie, Oct. 16, 1871, for two nights only. The revival of 'La Statue' at the Opéra in 1878 was also a failure, and M. Reyer may find it difficult to secure the performance of 'Sigurd,' of which the overture and some of the more important numbers have been heard. To complete the list of his compositions we may mention 'Victoire,' a cantata (the Opéra, June 27, 1859); a 'Recueil de 10 Mélodies' for voice and PF.; songs for a single voice; and some pieces of sacred music.
[ G. C. ]
App. pp.770–71:
[ A. J. ]
# A Dictionary of Music and Musicians/Rheingold, Das

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

From volume 3 of the work.
[ E. J. P. ]
# A Dictionary of Music and Musicians/Rhine Festivals

From volume 3 of the work.
​RHINE FESTIVALS. See Niederrheinische Musikfeste, Vol. ii. p. 455.
# A Dictionary of Music and Musicians/Radziwil, Anton

From volume 3 of the work.
​RADZIWIL, Anton Heinrich, Prince of, Royal Prussian 'Statthalter' of the Grand Duchy of Posen, born at Wilna, June 13, 1775, married in 1796 the Princess Luise, sister of that distinguished amateur Prince Louis Ferdinand of Prussia. [See vol. ii. p. 168b.] Radziwil was known in Berlin not only as an ardent admirer of good music, but as a fine violoncello player, and 'a singer of such taste and ability as is very rarely met with amongst amateurs.' Beethoven was the great object of his admiration. He played his quartets with devotion, made a long journey to Prince Galitzin's on purpose to hear the Mass in D, was invited by Beethoven to subscribe to the publication of that work, and indeed was one of the seven who sent in their names in answer to that appeal. To him Beethoven dedicated the Overture in C, op. 115 (known as 'Namensfeier'), which was published as 'Grosses Ouverture in C dur gedichtet' etc., by Steiner of Vienna in 1825.
Further relations between the Prince and the composer there must have been, but at present we know nothing of them. No letters from Beethoven to him are included in those hitherto published, nor has Mr. Thayer yet thrown any light on the matter in his biography of the composer.
[ G. ]
* ↑ A.M.Z. 1831, July 27. See also 1809, June 28; 1814, Sept. 28.
* ↑ Zelter's Correspondence with Goethe teems with notices of the Prince.
# A Dictionary of Music and Musicians/Quintus

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

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

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

From volume 3 of the work.
​RACCOLTA GENERALE delle opere classiche musicali. A collection of pieces of which the full title is as follows:—'Collection générale des ouvrages classiques de musique, ou Choix de chefs d'œuvres, en tout genre, des plus grands compositeurs de toutes les Ecoles, recueillis, mis en ordre et enrichis de Notices historiques, par Alex. E. Choron, pour servir de suite aux Principes de Composition des écoles d'Italie.' A notice on the wrapper further says that the price of the work to subscribers is calculated at the rate of 5 sous per page, thus curiously anticipating Mr. Novello's famous reduction of his publications to 2½d. [App. p766 "1½d."] per page. The numbers were not to be issued periodically, but the annual cost to subscribers was fixed at from 36 to 40 francs. The work was in folio, engraved by Gillé fils, and published by Leduc & Co., Paris, Rue de Richelieu, 78, with agents at Bordeaux, Marseilles, Leipzig, Munich, Vienna, Lyon, Turin, Milan, Rome and Naples. It was got up with great care and taste. The parts are in blue-gray wrappers, with an ornamental title. The only numbers which the writer has been able to discover are as follows:—No. 1, Miserere a 2 core, Leo; No. 2, Missa ad fugam, Palestrina (à 4); No. 3, Stabat, Palestrina (8 voices); No. 4, Stabat, Josquin (à 5); No. 5, Miserere a cinque voci, Jomelli; No. 6, Missa pro defunctis, Jomelli. It is probable that the issue of the work did not continue beyond these six pieces.
[ G. ]
# A Dictionary of Music and Musicians/Raimondi, Pietro

From volume 3 of the work.
​RAIMONDI, PIETRO, an Italian composer, Maestro di Capella at St. Peter's, who is characterised by Fétis as possessing an extraordinary genius for musical combination. He was born at Rome of poor parents, Dec. 20, 1786. At an early age he passed six years in the Conservatorio of the Pieta de' Turchini at Naples, and after many wanderings, mostly on foot—from Naples to Rome, from Rome to Florence, from Florence to Genoa—and many years, he at length found an opportunity of coming before the public with an opera entitled 'Le Bizarrie d'Amore,' which was performed at Genoa in 1807. After three years there, each producing its opera, he passed a twelvemonth at Florence, and brought out two more. The next 25 years were spent between Rome, Milan, Naples, and Sicily, and each year had its full complement of operas and ballets. In 1824 he became director of the royal theatres at Naples, a position which he retained till 1832. In that year the brilliant success of his opera buffa 'Il Ventaglio' (Naples 1831) procured him the post of Professor of Composition in the Conservatorio at Palermo. Here he was much esteemed, and trained several promising pupils. In March 1850 he was called upon to succeed Basili as Maestro di Capella at St. Peter's; a post for which, if knowledge, experience, and ceaseless labour of production in all departments of his art could qualify him, he was amply fitted. Shortly before this, in 1848, he had after four years of toil completed three oratorios, 'Potiphar,' 'Pharaoh,' and 'Jacob,' which were not only designed to be performed in the usual manner, but to be played all three in combination as one work, under the name of 'Joseph.' On Aug. 7, 1852, the new Maestro brought out this stupendous work at the Teatro Argentini. The success of the three single oratorios was moderate, but when they were united—the three orchestras and the three troupes forming an ensemble of nearly 400 musicians, the excitement and applause of the spectators knew no bounds, and so great was his emotion that Raimondi fainted away. He did not long survive this triumph, but died at Rome Oct. 30, 1853.
[ G. ]
# A Dictionary of Music and Musicians/Quintuple Time

From volume 3 of the work.
​QUINTUPLE TIME. The rhythm of five beats in a bar. As a rule, quintuple time has two accents, one on the first beat of the bar, and the other on either the third or fourth, the bar being thus divided into two unequal parts. On this account it can scarcely be considered a distinct species of rhythm, but rather a compound of two ordinary kinds, duple and triple, employed alternately. Although of little practical value, quintuple time produces an effect sufficiently characteristic and interesting to have induced various composers to make experiments therein, the earliest attempt of any importance being probably an air to the words 'Se la sorte mi condanna' in the opera of 'Ariadne' by Adolfati, written in 1750, and it is also met in some of the national airs of Spain, Greece, Germany, etc. Thus Reicha, in a note to No. 20 of his set of 36 fugues (each of which embodies some curious experiment in either tonality or rhythm), states that in a certain district of the Lower Rhine, named Kochersberg, the airs of most of the dances have a well-marked rhythm of five beats, and he gives as an example the following waltz—
In the above example the second accent falls on the third beat, the rhythm being that of 2-8 followed by 3-8, and the same order is observed in a very charming movement by Hiller, from the Trio op. 64, in which the quintuple rhythm is expressed by alternate bars of 2-4 and 3-4, as follows—
In Reicha's fugue above referred to, the reverse is the case, the fourth beat receiving the accent, as is shown by the composer's own time-signature, as well as by his explicit directions as to performance. The following is the subject:—
Other instances of quintuple rhythm are to be found in a Trio for strings by K. J. Bischoff, for which a prize was awarded by the Deutsche Tonhalle in 1853, in Chopin's Sonata in C minor, op. 4, in Hiller's 'Rhythmische Studien' op. 52, [App. p.766 "'Viens, gentille Dame' in Boieldieu's 'La Dame blanche'; Löwe's Ballad 'Prinz Eugen,' a number in Rubinstein's 'Tower of Babel,' and elsewhere,"] etc.; but perhaps the most characteristic example occurs in the 'Gypsies' Glee,' by W. Reeve (1796), the last movement of which runs as follows.
This may fairly be considered an example of genuine quintuple rhythm, for instead of the usual division of the bar into two parts, such as might be expressed by alternate bars of 3-4 and 2-4, or 2-4 and 3-4, there are five distinct beats in every bar, each consisting of an accent and a non-accent. This freedom from the ordinary alternation of two and three is well expressed by the grouping of the accompaniment, which varies throughout the movement, after the manner shown in the following extract:—
[ F. T. ]