OpenLLM-France/wikimedia huggingface dataset:
# ARMOR-CAVALRY: Part 1; Regular Army and Army Reserve/Cavalry in World War II

U.S. Army Center for Military History publication
* 101st ( New York),
* 102d ( New Jersey),
* 104th ( Pennsylvania ),
* 106th ( Illinois ),
* 107th ( Ohio ) ,
* 113th ( Iowa ) , and the
* 115th ( Wyoming ) ;
   * defensive combat, including defense, delaying action, and holding of key terrain until the arrival of main forces, 33 percent;
   * special operations, including acting as a mobile reserve, providing for security and control of rear areas, and operating as an army information service, 29 percent;
   * security for other arms, including blocking, screening, protecting flanks, maintaining contact between larger units, and filling gaps, 25 percent;
   * offensive combat, including attack, pursuit, and exploitation, 10 percent; and
   * reconnaissance, 3 percent. Hence, purely reconnaissance missions for mechanized cavalry were rare, and defensive missions were common. For offensive, defensive, and security missions, the mechanized cavalry group was normally reinforced by a battalion of field artillery, a battalion of tank destroyers, and a company of combat engineers.

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# ARMOR-CAVALRY: Part 1; Regular Army and Army Reserve/Armored Force

U.S. Army Center for Military History publication

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# ARMOR-CAVALRY: Part 1; Regular Army and Army Reserve/Chart: Typical Armor/Cavalry Regiment under CARS

U.S. Army Center for Military History publication

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# ARMOR-CAVALRY: Part 1; Regular Army and Army Reserve/Civil War

U.S. Army Center for Military History publication

## Notes

* ↑ For convenience, the word cavalry, unless otherwise indicated, will be understood to mean all three mounted forces.
This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# ARMOR-CAVALRY: Part 1; Regular Army and Army Reserve/Cavalry between the World Wars

U.S. Army Center for Military History publication

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# ARMOR-CAVALRY: Part 1; Regular Army and Army Reserve/Cavalry in World War I

U.S. Army Center for Military History publication

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# A Dictionary of Music and Musicians/Soggetto

[ G. ]
Appendix:
​SOGGETTO (Ital. for a Subject or Theme). The true subject of an orthodox Fugue: as opposed to the Andamento, which is a Subject of abnormal length; and the Attacco, which is a mere Point of Imitation.
In its most regular form, the Soggetto consists of a single homogeneous section; as in No. 1 of 'Das wohltemperirte Clavier.'
Occasionally, however, its division into two sections is very clearly marked; as in No. 7 of the same.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Sol

​SOL. The fifth note of the natural scale according to the nomenclature of France and Italy; in English and German G. In the old hymn from which Guido is supposed to have formed the scale it occurs as follows:—
Ut queant laxis resonare fibris, Mira gestorum famuli tuorum, Solve pollutis labia reatis.
[ G. ]
# A Dictionary of Music and Musicians/Solitaire, Le

​SOLITAIRE, LE. Carafa's most popular opera comique; in 3 acts, words by Planard. Produced at the Feydeau, Aug. 17, 1822. Its most favourite number, though not its best, is a rondeau—
C'est le solitaire, Qui voit tout, Qui sait tout, Entend tout, Est partout.
[ G. ]
# A Dictionary of Music and Musicians/Société de Musique de Chambre

[ G. ]
# A Dictionary of Music and Musicians/Société des Concerts du Conservatoire, La

​SOCIÉTÉ DES CONCERTS DU CONSERVATOIRE, LA—the body which gives the famous concerts in Paris—was founded in 1828, by Habeneck and a group of eminent musicians, as already stated. [See vol. i. p. 385.] The positions of acting and honorary president are respectively filled by the chief conductor and the director of the Conservatoire. The management of the Society is in the hands of a committee elected by the members. The committee meets weekly on Tuesday mornings, and its chief duty is to settle the programmes of each season. The reading and selection of new works for performance during the winter concerts is done by the Society at large, meeting for that purpose from and after October. There are two full rehearsals for each concert.
The concerts themselves and their repetition in a second series have been already described [i. 386a]. The first series is for the 'new' subscribers, the second for the 'old' ones. Each series includes a 'Concert spirituel,' and since 1881 the second performance of this concert takes place, not on Easter Sunday, but on the Saturday before it. In the spring of 1882 M. Deldevez was re-elected conductor, and M. Heyberger chorus-master. M. Garcin—solo violin at the opera—is now sub-conductor.
[ G. C. ]
# A Dictionary of Music and Musicians/Soldatenliebschaft

[ G. ]
# A Dictionary of Music and Musicians/Sol-fa

​SOL-FA. 'To sol-fa' is to sing a passage or a piece of vocal music, giving to the notes, not the words, but the syllables, Do (C), Re (D), Mi (E), Fa (F), Sol (G), La (A), Si (B), Do (C). Why the two syllables Sol and Fa should have been chosen to designate this process in preference to Do Re, or Re Mi, does not appear.
| Du | Do | Da |
| Ra | Re | Ri |
| Me | Mi | — |
| Fo | Fa | Fe |
| Sul | Sol | Sal |
| Lo | La | Le |
| Se | Si | — |
It may be convenient here to give the scale with the syllables for sharps or flats, as fixed by Mr. Hullah in his 'Method of Teaching Singing' (Longmans, 1880).
In a hymn recently written by Arrigo Boito and composed by Mancinelli, for the opening of the monument of Guido d'Arezzo at Rome, the seven syllables are thus employed:—
Util di Guido regola superna Misuratrice facile de' suoni Solenne or tu laude a te stessa intuoni, Silaba eterna.
[ G. ]
# A Dictionary of Music and Musicians/Solennis

[ G. ]
# A Dictionary of Music and Musicians/Solié, Jean

​SOLIÉ, Jean Pierre (real name Soulier), born at Nîmes, 1755, died in Paris Aug. 6, 1812, was one of the good singers and composers at the Opera Comique in its early days. The son of a cello-player he learnt that instrument, and had a good musical education at the Nîmes maitrîse, after which he played in the orchestra and taught singing till his début as a tenor in 1778. His success in the provinces tempted him to go to Paris, but he failed at first, in 1782, and remained away till after three years success in the largest theatre of Lyons. He was engaged in 1787 for the Opera Comique, where he remained, gradually making his way upwards to the first place in the company, especially after relinquishing the part of tenor de goût for that of baritone. The baritone was then a novelty, and Méhul wrote for Solié several parts which have since become identified with his name. He next tried his hand at composition, and with equal success, for his operas comiques number 33 in all, 'Jean et Geneviève' (1792) being the first, and 'Les Ménestrels' 3 acts (1811) the last. 'Le Jockey' (Jan. 6), 'Le Secret' (April 20, 1796), 'Le Chapitre Second' (June 17, 1799) in one act; and 'Le Diable a quatre' (Nov. 30, 1809), and 'Mademoiselle de Guise' in 3 (March 17, 1808), were published. Though this music is now entirely out of date, many of its pretty airs became favourites with the vaudeville writers, and were set to a variety of words. Several may be found in the 'Clef du Caveau.'
[ G. C. ]
# A Dictionary of Music and Musicians/Table Entertainment

[ W. H. H. ]
# A Dictionary of Music and Musicians/Tabourot

​TABOUROT. [See Arbeau, vol. i. p. 80.]
# A Dictionary of Music and Musicians/Taille

[ E. J. P. ]
# A Dictionary of Music and Musicians/Tacchinardi, Niccolò

​TACCHINARDI, Niccolò, a distinguished tenor singer, born at Florence in September 1776 [App. p.798 "Leghorn, Sept. 3, 1772"]. He was intended for an ecclesiastical career, but his artistic bias was so strong that he abandoned the study of literature for that of painting and modelling. From the age of eleven he also received instruction in vocal and instrumental music. When 17 he joined the orchestra at the Florence theatre as violin-player, but after five years of this work, his voice having meanwhile developed into a beautiful tenor, he began to sing in public. In 1804 he appeared on the operatic stages of Leghorn and Pisa; afterwards on those of Venice, Florence, and Milan, where he took a distinguished part in the gala performances at Napoleon's coronation as king of Italy.
At Rome, where his success was as permanent as it was brilliant, his old passion for sculpture was revived by the acquaintance which he made with Canova, in whose studio he worked for a time. Canova executed his bust in marble, thus paying homage to him in his worst aspect, for he was one of the ugliest of men, and almost a hunchback. When he appeared at Paris in 1811, his looks created a mingled sensation of horror and amusement; but such was the beauty of his voice and the consummate mastery of his style, that he had only to begin to sing for these personal drawbacks to be all forgotten. He is said to have taken Babini for his model, but it is doubtful if he had any rival in execution and artistic resource. The fact of so ugly a man sustaining the part (transposed for tenor) of Don Giovanni, with success, shows what a spell he could cast over his audience.
[ F. A. M. ]
# A Dictionary of Music and Musicians/Talismano, Il

[ G. ]
# A Dictionary of Music and Musicians/Tadolini, Giovanni

[ G. ]
# A Dictionary of Music and Musicians/Talexy, Adrien

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

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

[ G. ]
# A Dictionary of Music and Musicians/Tagliafico, Joseph

[ A. C. ]
# A Dictionary of Music and Musicians/Sylphide, La

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

​SYLVANA, accurately Silvana. Weber's 3rd opera, composed at Stuttgart, 1810, and produced at Frankfort, Sept. 16, 1810. [See Waldmädchen.]
# A Dictionary of Music and Musicians/Sylvia

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

​SYMPHONISCHE DICHTUNGEN—that is, Symphonic Poems. A title employed by Liszt for twelve pieces of orchestral music of characteristic, i.e. descriptive, kind, and of various dates—one feature of which is that the movements are not divided, but lead into each other without interruption.
* Ce qu'on entend sur la montagne.
* Tasso. Lamento e Trionfo.
* Les Preludes.
* Orpheus.
* Prometheus.
* Mazeppa.
* Festklänge.
* Héroïde funèbre.
* Hungaria.
* Hamlet.
* Hunnenschlacht (Battle with the Huns).
* Ideale.
Of these the following have been performed at Mr. Bache's annual concerts: no. 3, May 26, 1871 and twice besides; no. 4, Nov. 27, 73; no. 2, Nov. 27, 73; no. 6, Feb. 27, 77, and Feb. 25, 79. Nos. 6, 11, and 12 have also been played at the Crystal Palace (Dec. 9. 76; May 17, 79; Apr. 16, 81 respectively); and nos. 2, 9 at the Philharmonic (June 9, 1873; Feb. 23, 1882, respectively).
St. Saëns has adopted the title 'Poèmes symphoniques' for 4 pieces:—
* Le Rouet d'Omphale.
* Phaeton.
* Danse macabre.
* La Jeunesse d'Hercule.
[ G. ]
# A Dictionary of Music and Musicians/Swinnerton Heap, Charles

[ W. B. S. ]
# A Dictionary of Music and Musicians/Symphony Orchestra, The Boston

​SYMPHONY ORCHESTRA, The Boston (U. S. A.), owes its existence, and its large perpetual endowment, to the generosity and taste of Mr. Henry Lee Higginson, a well-known citizen of Boston, and affords a good instance of the munificent way in which the Americans apply their great riches for the public benefit in the service of education and art. Mr. Higginson had for long cherished the idea of having 'an orchestra which should play the best music in the best way, and give concerts to all who could pay a small price.' At length, on March 30, 1881, he made his intention public in the Boston newspapers as follows:—The orchestra to number 60, and their remuneration to include the concerts and 'careful training.' Concerts to be twenty in number, on Saturday evenings, in the Music Hall, from middle of October to middle of March. Single tickets from 75 to 25 cents (3s. to 1s.); season tickets (concerts only) 10 to 5 dollars; one public rehearsal, 1s. entrance. Orchestra to be permanent, and to be called The Boston Symphony Orchestra.
Mr. Georg Henschel was appointed conductor, and Mr. B. Listemann leader and solo violin. A full musical library was purchased, and the first concert took place on Oct. 22, 1881, at 8 p.m. Its programme, and that of the 17th concert, Feb. 18, 1882, give a fair idea of the music performed:—
i. Overture, op. 124, Beethoven. Air, Orpheus, Gluck. Symphony in B♭, Haydn. Ballet music, Rosamunde, Schubert. Scena, Odysseus, Max Bruch. Festival Overture [Jubilee], Weber.
xvii. Overture, Leonore, no. 1, Beethoven. Rhapsody for contralto, chorus, and orch. (op. 53), Brahms. Symphony no. 8, Beethoven. Violin Concerto, Mendelssohn. Overture, Phèdre, Massenet.
There were twenty concerts in all, and the last ended with the Choral Symphony.
Since the first season some extensions have taken place. There are now 24 concerts in the series. The orchestra numbers 72, and there is a chorus of 200. There are three rehearsals for each concert, and on the Thursdays a concert is given in some neighbouring city of New England. Both the performances and the open rehearsals are crowded, and so far the noble intention of the founder, 'to serve the cause of good art only,' has been fulfilled. We can only say Esto perpetua.
[ G. ]
# A Dictionary of Music and Musicians/Swieten, Gottfried

​SWIETEN, Gottfried, Baron VAN. A musical amateur of great importance, who resided at Vienna at the end of last century and beginning of this one. The family was Flemish, and Gottfried's father, Gerhard, returned from Leyden to Vienna in 1745, and became Maria Theresa's favourite physician. Gottfried was born in 1734, and was brought up to diplomacy, but his studies were much disturbed by his love of music, and in 1769 he committed himself so far as to compose several of the songs in Favart's 'Rosière de Salency' for its public production at Paris. In 1771 he was made ambassador to the Court of Prussia, where the music was entirely under the influence of Frederick the Great, conservative and classical. This suited Van Swieten. Handel, the Bachs, and Haydn were his favourite masters; in 1774 he commissioned C. P. E. Bach to write six symphonies for orchestra. He returned to Vienna in 1778; succeeded his father as Prefect of the Public Library, and in 1781 was appointed President of the Education Commission. He became a kind of musical autocrat in Vienna, and in some respects his influence was very good. He encouraged the music which he approved; had regular Sunday-morning meetings for classical music, as well as performances of the great choral works of Bach, Handel, and Hasse, etc.; employed Mozart to add accompaniments to Handel's 'Acis,' 'Messiah,' 'St. Cecilia,' and 'Alexander's Feast,' and Starzer to do the same for 'Judas'; translated the words of the 'Creation' and the 'Seasons' into German for Haydn; and himself arranged Handel's 'Athaliah' and 'Choice of Hercules.' He supplied Haydn now and then with a few ducats, and gave him a travelling-carriage for his second journey to England. In his relation to these great artists he seems never to have forgotten the superiority of his rank to theirs; but this was the manner of the time. Van Swieten patronised Beethoven also [see vol. i. p. 176a]; but such condescension would not be at all to Beethoven's taste, and it is not surprising that we hear very little of it. His first Symphony is, however, dedicated to Van Swieten. He was the founder of the 'Musikalischen Gesellschaft,' or Musical Society, consisting of 25 members of the highest aristocracy, with the avowed object of creating a taste for good music—a forerunner of the 'Gesellschaft der Musikfreunde,' founded in 1808.
[ G. ]
* ↑ Evidently not a very wise person. See Carlyle's 'Friedrich,' Bk. xxi. ch. 5.
* ↑ Griesinger, Biog. Not. 66.
* ↑ Griesinger, Biog. Not. 67.
# A Dictionary of Music and Musicians/Swiny, Owen

​SWINY, Owen, frequently called Mac Swiny, 'a gentleman born inIreland.' In a letter, dated Oct. 5, 1706, and addressed to Colley Cibber, whom he calls in turn 'puppy,' 'his Angel' (twice), 'his Dear,' and finally 'Unbeliever,'—this singular person describes how Rich had sent for him from his 'Quarters in the North,' and how 'he was at a great charge in coming to town, and it cost him a great deal of money last winter,' and 'he served him night and day, nay, all night and all day, for nine months.' He had 'quitted his post in the army' on the faith of promises that, in return for managing 'the playhouse in the Haymarkett' under Rich, ​he was to have '100 Guineas per annum Salary, a place at Court, and the Devil and all.' This was the somewhat inauspicious beginning of Swiny's theatrical career. Having come up to London, as described, in 1705, he soon found that Rich intended nothing seriously for his advantage; and he announces (in the same letter) that, in consequence of the general discontent of the actors with Rich, and although Rich might have had the house for £3 or £3 10s. a day, he (Swiny) had taken a lease for seven years at £5 a day, and meant to begin in a few days.
In 1707 we find him in partnership with Wilks, Dogget, and Cibber in the King's Theatre, having taken the lease from Vanbrugh, and very soon quarrelling with them and petitioning the Lord Chamberlain's interference in his favour. He was mixed up in most of the quarrels and intrigues of the time.
In May, 1709, Swiny engaged the famous Nicolini for three years, that great singer having recently made a most successful début in London. Before the completion of this term, however, Swiny appears to have 'absented himself from his creditors' and become bankrupt.
After this, he lived for some years in Italy; but, on his return to England, a place in the Custom-house was found for him, and he was appointed Keeper of the King's Mews. While in Italy, with Lord Boyne and Walpole, he wrote to Colman (July 12, 1730) from Bologna, on the subject of engaging singers for the Opera, then in the hands of Handel. Swiny died October 2, 1754, leaving his fortune to Mrs. Woffington. He was the author of several dramatic pieces, viz. 'The Quacks, or Love's the Physician' (1705); 'Camilla' (1706); 'Pyrrhus and Demetrius' (1709); and 'The Quacks, or Love's the Physician,' an altered version of the first piece.
[ J. M. ]
* ↑ Biogr. Dram.
* ↑ In the writer's possession.
# A Dictionary of Music and Musicians/Symphoniques, Etudes

[ G. ]
# A Dictionary of Music and Musicians/Stadler, Albert

[ C. F. P. ]
# A Dictionary of Music and Musicians/Stafford, William

[ W. H. H. ]
# A Dictionary of Music and Musicians/Stanford, Charles

​STANFORD, Charles Villiers, composer end conductor, born Sept. 30, 1852, at Dublin, where his father, an enthusiastic amateur, was Examiner in the Court of Chancery. He studied composition with A. O'Leary and Sir Robert Stewart; matriculated at Queen's College, Cambridge, as choral scholar; in 1873 succeeded Dr. J. L. Hopkins as organist of Trinity College, graduated there in Classical Honours in 1874, and was appointed [App. p.796 "had been appointed two years previously"] conductor of the Cambridge University Musical Society. In 1874, 5, and 6, he studied with Reinecke at Leipzig, and Kiel at Berlin; proceeded M.A. in 1877; wrote an Overture for the Gloucester Festival in the same year, which was afterwards played at the Crystal Palace, and a Psalm (the 46th, op. 8), performed at Cambridge, May 22, 1877, and at a Richter Concert. At the request of Mr. Tennyson he composed the overture, songs, and entractes for 'Queen Mary' (op. 6), when that play was produced at the Lyceum, April 18, 1876. His Symphony in B♭ was performed at the Crystal Palace, March 8, 1879.
[ G. ]
[App. p. 796 "To list of works add the following:—
Op. 18. Three 'Cavalier Songs' (Browning), for baritone and chorus. 19. Six Songs. 20. PF. Sonata, in D♭ (MS.). 21. Elegiac Ode (Walt Whitman), for soli and chorus. Norwich. 1884. 22. Oratorio. 'The Three Holy Children.' Birmingham Festival. 1885. 23. Incidental Music to the 'Eumenides.' Cambridge. 1885. 24. 'The Revenge' (Tennyson), choral ballad. Leeds Festival. 1886. 25. Quintet for PF. and Strings, in D minor. 26. Carmen Saeculare (Tennyson), for soprano solo, and chorus. Composed for Her Majesty's Jubilee, 1887. 27. Psalm cl. for soprano and chorus. Opening of Manchester Exhibition, 1887. 28. 'Irish' Symphony in F minor. Richter, 1887. 29. Incidental music to the 'Oedipus Tyrannus.' Cambridge, 1887. 30. Songs (unpublished. 1888). 31. Symphony in F (Berlin, Jan. 14, and Crystal Palace, Feb. 23. 1889). 32. Suite for violin and orchestra (Berlin, Jan. 14, 1889, and Philharmonic, March 28). 33. Overture, 'Queen of the Seas' (Armada Tercentenary).
(M.)
# A Dictionary of Music and Musicians/Staggins, Nicholas

[ W. H. H. ]
# A Dictionary of Music and Musicians/Stainer, Marcus

[ E. J. P. ]
# A Dictionary of Music and Musicians/Stadler, Maximilian

​STADLER, Maximilian, Abbot, a sound and solid composer, born August 4, 1748, at Melk, in Lower Austria. At ten became a chorister in the monastery of Lilienfeld, where he learnt music, completing his education in the Jesuit College at Vienna. In 1766 he joined the Benedictines at Melk, and after taking priest's orders worked as a parish-priest and professor till 1786, when the Emperor Joseph, who had noticed his organ-playing, made him abbot first of Lilienfeld, and three years later of Kremsmünster. Here his prudence averted the suppression of that then famous astronomical observatory. After this he lived at various country houses, then privately at Linz, and finally settled in Vienna. Haydn and Mozart had been old friends of his, and at the request of the widow he put Mozart's musical remains in order, and copied from the autograph score of the 'Requiem,' the Requiem and Kyrie, and the Dies irae, both copy and original being now in the Hofbibliothek at Vienna. [See vol. ii. p. 402a.] He also came forward in defence of the Requiem against Gottfried Weber, in two pamphlets—'Vertheidigung der Echtheit des Mozart'schen Requiem' (Vienna 1826), and 'Nachtrag zur Vertheidigung,' etc. (Ib. 1827). Stadler was an excellent contrapuntist, and an authority in musical literature and history. His printed compositions include, Sonatas and fugues for PF. and organ; part-songs; two requiems; several masses; a Te Deum; 'Die Frühlingsfeier,' cantata, with orchestra, to Klopstock's words; psalms, misereres, responses, offertories, etc.; also a response to Haydn's farewell-card for two voices and PF. [See vol. i. p. 715.] Among his numerous MSS. are fine choruses for Collin's tragedy, 'Polyxena.' Stadler's greatest work, 'Die Befreiung von Jerusalem,' an oratorio in two parts, words by Heinrich and Matthaus von Collin, was given with great success in 1816 at the annual extra ooncert of the Gesellschaft der Musikfreunde, for the benefit of the proposed Conservatorium, and in 1829 at Zurich.
[ C. F. P. ]