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

From volume 2 of the work.
​MUSARD, Philippe, born in Paris in 1793, was not educated at the Conservatoire, but took private lessons for some years from Reicha, to whom he dedicated his 'Nouvelle Méthode de Composition musicale' (1832). This long-forgotten work, of which only eight chapters appeared, contains the announcement of a 'Traite complet et raisonné du système musical,' with curious historical notes, implying that Musard was dissatisfied with his position as an obscure violinist and conductor, and proposed to make his mark as a solid and erudite musician. A series of concerts and 'bals masqués,' held in the bazaar in the Rue St. Honoré (now the Salle Valentino), however, gave him the opportunity of distinguishing himself in a different direction. The most salient feature of these promenade concerts (instituted Nov. 1833) was the introduction of the cornet-à-pistons. In fact Dufresne, the cornet-player, owed much of his success to the solos composed for him by the conductor. In 1835 and 36 Musard conducted the balls at the Opéra, and his band of seventy musicians was rapturously applauded. 'Gustavo III' had set the fashion of the galop, and with Musard's music, and the 'entrain' of the orchestra, the new dance deserved its nickname of 'Le galop infernal.' Meantime a better room had been built in the Rue Vivienne, and thither Musard removed in 1837. Here he had to sustain a competition with Johann Strauss of Vienna, whose waltzes were so superior to his own, that in order to avoid sinking to the level of a mere composer of quadrilles, Musard was driven to expedients. His first experiment, the introduction of a chorus, having ​succeeded, he next attempted classical music, and in Holy Week gave a 'concert spirituel,' consisting of Handel's music only. This opened the way for numerous imitators. Having secured a reputation in France he came to England, and made his first appearance at Drury Lane on Monday, Oct. 12, 1840, as conductor of the Promenade Concerts, or Concerts d'hiver, given there under the management of Eliason. The series terminated in March 1841, and on Sept. 30 Musard appeared again as conductor of a set of Promenade Concerts at the Lyceum, under the management of Henri Laurent, which continued up to Christmas. He is still remembered in London, and amateurs of that period will doubtless recollect Hood's 'jeu d'esprit,' one verse of which well takes off his look and manner:—
From bottom to top There's no bit of the Fop, No trace of your Macaroni; But looking on him, So solemn and grim, You think of the Marshals who served under Boney.
[ G. C. ]
# A Dictionary of Music and Musicians/Muffat, Georg

From volume 2 of the work.
​MUFFAT, Georg, highly esteemed composer, studied Lulli's style for six years in Paris; was organist of Strassburg Cathedral till 1675; then visited Vienna and Rome; became in 1690 organist, and in 1695 Capellmeister and Master of the Pages to the Bishop of Passau, and died there Feb. 23, 1704. He published 'Suavioris harmonise instrumentalis hyporchematicæ Florilegium primum,' 50 pieces for 4 or 8 violins with basso continuo (Augsburg, 1685); 'Florilegium secundum,' 62 pieces (Passau, 1698), both with autobiographic preface in four languages; 'Apparatus musico-organisticus'—12 toccatas, chaconne, passacaglia, (Augsburg, 1690, dedicated to Leopold I)—of importance as regards the development of organ-playing. His son
August Gottlieb (Theophilus), born about 1690 [App. p.722 "April 17, 1683"], a pupil of J. J. Fux, became in 1717 court and chamber-organist to the Emperor Charles VI, and to the widowed Empress Amalie Wilhelmine, (died 1742), and music-master to the royal children. He retired on a pension in 1764, and died in Vienna, Dec. 10, 1770, aged 80. He was a distinguished organist, and a composer of taste, and published, for organ, '72 Versetten oder Fugen, sammt 12 Toccaten, besonders zum Kirchendienst bei Choral-Aemtern und Vespern dienlich' (Vienna, 1726); for harpsichord, 'Componimenti musicali,' containing overtures, caprices, sarabandes, etc., with a preface; and ending with 'Particolari segni delle maniere,' etc. (Vienna, 1727. dedicated to Charles VI, at whose expense it was engraved). Zellner has recently arranged a toccata and fugue in C minor, composed by Muffat in 1720, as a concert-piece for harmonium (Vienna, Spina). A Courante and 2 Minuets of his are ​given by Pauer in Alte Klaviermusik (Senff). He was one of the many composers whom Handel laid under contribution for subjects and phrases in his oratorios.
[ C. F. P. ]
* ↑ About 50 years ago Löschenkohl of Vienna republlshed from this work 'XII klelne Fugen sammt II Toccaten.'
* ↑ Manieren=Agremens—turns, beats, etc.
# A Dictionary of Music and Musicians/Musette

From volume 2 of the work.
​MUSETTE, diminutive of the old French 'muse,' both meaning an instrument of the bagpipe family, consisting of two pipes or reeds and a drone, supplied with wind from a leathern reservoir. [See Bagpipe.] Like the Irish bagpipe it is inflated by bellows placed under the performer's arm. The original compass was ten notes (a); but by the addition of holes and keys the scale was increased to thirteen (b):
Limited as were its resources, this instrument was once a favourite, and under Louis XIV was introduced, first into the court ballets, and then into the divertissements or entr'actes of operas. Ladies even learned to play it, and had highly ornamented instruments made for their use.
The best information on the subject is to be obtained from Mersenne's 'Harmonie Universelle,' Borjon's 'Traité de la Musette,' a folio with plates (Lyons 1672), and 'Méthode pour la Musette' (Paris, Ballard, 1737), by Louis Hotteterre, a well-known flute player, the son (according to his own statement) of Martin Hotteterre, composer and virtuoso. From these works we learn that the best makers were Le Vacher; the Hotteterres, father and two sons, Nicolas and Jean; Lissieux; Perrin, etc. The best-known players were Philippe Chèdeville (died in Paris 1782), a valued member of the orchestra at the Opéra from 1725 to 1749, and his brother Nicolas. Both published pieces for two musettes, now in the library of the Conservatoire at Paris.
2. Also a small oboe without keys, generally in G; not to be confounded with the 'hautbois de forêt' or 'oboe piccolo.'
3. The term is also applied to an air in 2-4, 3-4 or 6-8 time, of a moderate tempo, and smooth and simple character, appropriate to the instrument from which it takes its name. Thus a musette generally has a pedal-bass answering to the drone or bourdon, and the upper part abounds in grace-notes and rapid passages. To these airs were arranged pastoral dances, also called musettes, which were in great favour under Louis XIV and Louis XV, especially the latter, as may be seen by the pictures of Watteau and others of that school.
Among the most celebrated musettes may be mentioned those in 'Callirhoé' and 'Nina,' operas by Destouches and Dalayrac. They are to be found in Bach's English Suites, nos. 3 and 6, and in the sixth of Handel's Grand Concertos, of which we quote a few bars:—
[ G. C. ]
# A Dictionary of Music and Musicians/Muette de Portici, La

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

From volume 2 of the work.
​MUNDY, John, Mus. Doc., son of William Mundy, Gentleman of the Chapel Royal, was educated by his father, became organist of Eton College, and about 1585 succeeded John Merbecke as one of the organists of St. George's Chapel, Windsor. On July 9, 1586, he graduated as Mus. Bac. at Oxford. Both he and his father are mentioned in some verses at the end of a MS. collection of Motets and Madrigals ​transcribed in 1591 by John Baldwin, singing man of Windsor, recounting the celebrated musicians of the time. In 1594 he published 'Songs and Psalmes, composed into 3, 4, and 5 parts, for the use and delight of such as either love or learne Musicke.' He contributed a madrigal, 'Lightly she tripped o'er the dales,' to 'The Triumphes of Oriana,' 1601. He took his Mus. Doc. degree in 1624. An anthem by him is contained in Barnard's MS. collections, and three of the pieces in his 'Songs and Psalmes' were scored by Burney (Brit. Mus. Add. MS. 11,588). Several of his compositions for organ and virginals are contained in Queen Elizabeth's Virginal Book, among them a curious Fantasia describing 'Faire Wether,' 'Lightning,' 'Thunder,' 'Calme Wether,' and 'A faire Day.' He died in 1630 and was buried in the Cloisters at Windsor.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Music School, The (Oxford)

From volume 2 of the work.
​MUSIC SCHOOL, THE, Oxford, is situated on the south side of the Schools quadrangle, under the Bodleian Library. This building was rebuilt in its present form at the beginning of the 17th century, but the interior of the Music School was altered in 1780 by the architect Wyatt under the direction of the then Professor of Music, Dr. Philip Hayes. The expenses of these alterations were defrayed by a grant of £50 from the University and by the proceeds of three choral concerts given at the following Commemoration, at one of which Dr. Hayes's oratorio 'Prophecy' was performed. The Music School was formerly used for the performance of the exercises for the Degree of Mus. Bac. and Mus. Doc., but during the last ten years the orchestra has been removed, and the room is now used for the University Examinations. The collection of music (noticed in the article Musical Libraries) which belongs to the Music School is no longer preserved there, having been recently removed to the Radcliffe Library; but the building still contains a valuable collection of portraits of mueicians, etc., of which the following is a list:—
[App. p.727 "Add that the portraits, of which a list is given, have been lately moved to the New Schools. They were exhibited at the Inventions Exhibition in 1885, when Salomon's portrait was identified. See Add. MS. 23071, fol. 65, for a list of them in 1733–4."]
[ W. B. S. ]
# A Hundred and Seventy Chinese Poems/The Flower Market

THE FLOWER MARKET
In the Royal City spring is almost over:
Tinkle, tinkle — the coaches and horsemen pass. We tell each other "This is the peony season":
And follow with the crowd that goes to the Flower Market. "Cheap and dear — no uniform price:
The cost of the plant depends on the number of blossoms. For the fine flower, — a hundred pieces of damask:
For the cheap flower, — five bits of silk. Above is spread an awning to protect them:
Around is woven a wattle-fence to screen them. If you sprinkle water and cover the roots with mud,
When they are transplanted, they will not lose their beauty." Each household thoughtlessly follows the custom,
Man by man, no one realizing. There happened to be an old farm labourer
Who came by chance that way. He bowed his head and sighed a deep sigh:
But this sigh nobody understood. He was thinking, "A cluster of deep-red flowers
Would pay the taxes of ten poor houses."
# A Hundred and Seventy Chinese Poems/The Hat given to the Poet by Li Chien

THE HAT GIVEN TO THE POET BY LI CHIEN
Long ago a white-haired gentleman
You made the present of a black gauze hat. The gauze hat still sits on my head;
But you already are gone to the Nether Springs. The thing is old, but still fit to wear;
The man is gone and will never be seen again. Out on the hill the moon is shining to-night
And the trees on your tomb are swayed by the autumn wind.
# A Hundred and Seventy Chinese Poems/The Little Cart

The little cart jolting and banging through the yellow haze of dusk. The man pushing behind: the woman pulling in front. They have left the city and do not know where to go. "Green, green, those elm-tree leaves: they will cure my hunger, If only we could find some quiet place and sup on them together."
The wind has flattened the yellow mother-wort:
Above it in the distance they see the walls of a house. "There surely must be people living who'll give you something to eat." They tap at the door, but no one comes: they look in, but the kitchen is empty. They stand hesitating in the lonely road and their tears fall like rain.
# A Hundred and Seventy Chinese Poems/The Herd-Boy

THE HERD-BOY
By Lu Yu
In the southern village the boy who minds the ox
With his naked feet stands on the ox's back.
Through the hole in his coat the river wind blows; Through his broken hat the mountain rain pours. On the long dyke he seemed to be far away; In the narrow lane suddenly we were face to face.
The boy is home and the ox is back in its stall; And a dark smoke oozes through the thatched roof.
# A Hundred and Seventy Chinese Poems/The Letter

We talked together in the Yung-shou Temple; We parted to the north of the Hsin-ch'ang dyke.
Going home — I shed a few tears,
Grieving about things,— not sorry for you.
Long, long the road to Lan-t'ien;
You said yourself you would not be able to write.
Reckoning up your halts for eating and sleeping —
By this time you've crossed the Shang mountains.
Last night the clouds scattered away;
A thousand leagues, the same moonlight scene.
When dawn came, I dreamt I saw your face;
It must have been that you were thinking of me.
In my dream, I thought I held your hand
And asked you to tell me what your thoughts were.
And you said: "I miss you bitterly, But there's no one here to send to you with a letter." When I awoke, before I had time to speak,
A knocking on the door sounded "Doong, doong!" They came and told me a messenger from Shang-chou
Had brought a letter,— a single scroll from you! Up from my pillow I suddenly sprang out of bed, And threw on my clothes, all topsy-turvy.
I undid the knot and saw the letter within;
A single sheet with thirteen lines of writing. At the top it told the sorrows of an exile's heart;
At the bottom it described the pains of separation. The sorrows and pains took up so much space
There was no room left to talk about the weather!
But you said that when you wrote
You were staying for the night to the east of Shang-chou;
Sitting alone, lighted by a solitary candle
Lodging in the mountain hostel of Yang-Ch'ēng. Night was late when you finished writing,
The mountain moon was slanting towards the west
What is it lies aslant across the moon? A single tree of purple paulovnia flowers,
Paulovnia flowers just on the point of falling
Are a symbol to express "thinking of an absent friend." Lovingly — you wrote on the back side, To send in the letter, your "Poem of the Paulovnia Flower."
The Poem of the Paulovnia Flower has eight rhymes;
Yet these eight couplets have cast a spell on my heart. They have taken hold of this morning's thoughts
And carried them to yours, the night you wrote your letter. The whole poem I read three times;
Each verse ten times I recite. So precious to me are the fourscore words
That each letter changes into a bar of gold!
# A Hundred and Seventy Chinese Poems/The Harper of Chao

THE HARPER OF CHAO
The singers have hushed their notes of clear song:
The red sleeves of the dancers are motionless. Hugging his lute, the old harper of Chao
Rocks and sways as he touches the five chords. The loud notes swell and scatter abroad:
"Sa, sa," like wind blowing the rain. The soft notes dying almost to nothing:
"Ch'ieh, ch'ieh," like the voice of ghosts talking. Now as glad as the magpie's lucky song:
Again bitter as the gibbon's ominous cry. His ten fingers have no fixed note:
Up and down — kung, chih, and yü.
And those who sit and listen to the tune he plays
Of soul and body lose the mastery. And those who pass that way as he plays the tune, Suddenly stop and cannot raise their feet.
Alas, alas that the ears of common men
Should love the modern and not love the old. Thus it is that the harp in the green window
Day by day is covered deeper with dust.
# A Hundred and Seventy Chinese Poems/The Golden Palace

THE GOLDEN PALACE
Anon. [first century B. C.]
We go to the Golden Palace:
We set out the jade cups.
We summon the honoured guests
To enter at the Golden Gate.
They enter at the Golden Gate
And go to the Golden Hall.
In the Eastern Kitchen the meat is sliced and ready — Roast beef and boiled pork and mutton. The Master of the Feast hands round the wine. The harp-players sound their clear chords.
The cups are pushed aside and we face each other at chess:
The rival pawns are marshalled rank against rank.
The fire glows and the smoke puffs and curls;
From the incense-burner rises a delicate fragrance.
The clear wine has made our cheeks red;
Round the table joy and peace prevail.
May those who shared in this day's delight
Through countless autumns enjoy like felicity.
# A Hundred and Seventy Chinese Poems/The Grain-tribute

​THE GRAIN-TRIBUTE
Written circa 812, showing one of the poet's periods of retirement. When the officials come to receive his grain-tribute, he remembers that he is only giving back what he had taken during his years of office. Salaries were paid partly in kind.
There came an officer knocking by night at my door —
In a loud voice demanding grain-tribute. My house-servants dared not wait till the morning,
But brought candles and set them on the barn-floor. Passed through the sieve, clean-washed as pearls,
A whole cart-load, thirty bushels of grain. But still they cry that it is not paid in full:
With whips and curses they goad my servants and boys. Once, in error, I entered public life;
I am inwardly ashamed that my talents were not sufficient. In succession I occupied four official posts;
For doing nothing,— ten years' salary! Often have I heard that saying of ancient men
That "good and ill follow in an endless chain." And to-day it ought to set my heart at rest
To return to others the corn in my great barn.
# A Hundred and Seventy Chinese Poems/The Liberator

THE LIBERATOR
A POLITICAL ALLEGORY
By Wu-ti, emperor of the Liang dynasty [A. D. 464–549]
In the high trees — many doleful winds: The ocean waters — lashed into waves. If the sharp sword be not in your hand,
How can you hope your friends will remain many?
Do you not see that sparrow on the fence?
Seeing the hawk it casts itself into the snare.
The fowler to catch the sparrow is delighted:
The Young Man to see the sparrow is grieved. He takes his sword and cuts through the netting:
The yellow sparrow flies away, away.
Away, away, up to the blue sky
And down again to thank the Young Man.
# A Book of Czech Verse/V. Hálek

[50] [51]
V. HÁLEK (1835–1874)
UMLKLO STROMU ŠUMĚNÍ
Umlklo stromů šumění a lístek sotva dýše, a ptáček dřímá krásný sen tak tichounce, tak tiše.
Na nebi vzešlo mnoho hvězd a kolem je tak volno, jenom v těch ňadrech teskno tak a v srdci tak bolno.
Ve kvítků pěkný kalíšek se bílá rosa skládá, můj Bože, a ta rosa též se v moje oči vkrádá.
V. HÁLEK (1835–1874)
THE RUSTLE OF THE TREES IS HUSHED
The rustle of the trees is hushed, The leaves hang breathlessly, A bird dreams on in tranquil sleep, So still, so noiselessly.
Many stars have climbed the sky, Around them emptiness. A desolation in the breast, At heart a loneliness.
Within the chalice of the flowers The dewy crystals rise. O God, I feel the drops of dew Come stealing to my eyes.
# A Dictionary of Music and Musicians/Thematic Catalogue

​THEMATIC CATALOGUE. A catalogue of musical works, in which, in addition to the title and other particulars of each, the first few bars—the theme—either of the whole work or of each movement are given in musical notation.
1. The earliest published list of this description was in six parts, issued between 1762 and 1765, and 16 supplements extending from 1766 to 1787, the whole forming a thick 8vo. volume of 792 pages. Part I is signed by Johann Gottlob Immanuel Breitkopf, the virtual founder of the great firm. [See vol. i. p. 272.] It is mentioned by Burney in his Musical Tour (ii. 74).
2. Haydn, towards the end of his life (1797), made a thematic catalogue of a large number of his works. This has not been printed, but copies have been made by Dehn, Otto Jahn, and others. It is now superseded by the complete thematic list which forms so valuable a part of Mr. C. F. Pohl's 'Life of Haydn' (i. 284, etc.; 317, etc.; 334; 345; ii. Anhang).
3. A thematic catalogue has been preserved, in which Mozart entered his works as he composed them, from Feb. 9, 1784, to Nov. 15, 1791. This interesting document was published by Andre in Nov. 1828. The title, in Mozart's hand, runs as follows:—
It contains 145 works, begins with the PF. concerto in E♭ (K. 449), '9te Hornung,' 1784, and ends with the 'kleine Freymaurer Kantate,' Nov. 15, 1791—nineteen days before his death.
4. A thematic catalogue of the MSS. by Mozart then in the hands of Andre—an octavo pamphlet of 79 closely printed pages—was published by him at Offenbach on May 1, 1841; one of 172 important symphonies and overtures was issued by Hofmeister in 1831; and one of Mozart's PF. sonatas, prepared by Edward Holmes, by Messrs. Novello & Co. in 1849.
5. In 1851, Breitkopf & Härtel published their first thematic catalogue of Beethoven's works. This was a thick volume of 167 pages, large 8vo, and a great advance on anything before it. It is arranged in order of opus-numbers, with names of dedicatees and publishers, arrangements, etc. The 2nd edition, 1868, is much enlarged (220 pages) by the addition of many interesting particulars, dedications, dates of composition, etc. It is in fact a new work, and is a model of accuracy, as may be inferred from the name of its compiler, Gustav Nottebohm. So is the Catalogue of Schubert by the same indefatigable explorer and critic—288 pages, published by Schreiber, Vienna, 1874, dealing both with the published and the unpublished works, and extraordinarily accurate considering the immense difficulties involved. Catalogues of Mendelssohn, Schumann, Chopin, and Liszt have been published by Breitkopf; of Moscheles by Kistner; and of Bach's instrumental works in Peters's collected edition (by A. Dörffel, Aug. 1867).
[ G. ]
# A Dictionary of Music and Musicians/Teutsche

[ G. ]
# A Dictionary of Music and Musicians/Theatres in London

​THEATRES IN LONDON. See Vaudeville Theatre, vol. iv. p. 232 and the same heading in Appendix..
# A Dictionary of Music and Musicians/Theile, Johann

[ G. ]