OpenLLM-France/wikimedia huggingface dataset:
# A Dictionary of Music and Musicians/Modulations, Regular and Conceded

From volume 2 of the work.
​MODULATIONS, REGULAR AND CONCEDED. (Lat. Modulations [vel Clausulæ] regulares et concessæ). The Composer of a Plain Chaunt Melody is not permitted to begin or end, even his intermediate phrases, upon any note he pleases. The last phrase of every Melody must, of necessity, end with the Final of the Mode in which it is written. The first phrase must begin with one or other of a certain set of notes called the Absolute Initials of the Mode. The intermediate phrases can only begin, or end, on one of another set of notes, called its Modulations. Of these Modulations, four the Final, Dominant, Mediant, and Participant—are of more importance than the rest, and are therefore called Regular. But, as the constant reiteration of these four notes would prove intolerably monotonous, in a Melody consisting of very numerous phrases, other notes, called Conceded Modulations, are added to them; and, upon any one of these, any phrase, except the first, or last, may either begin, or end.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Molinara, La

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

From volume 2 of the work.
​MONFERRINA, a dance of the Monferrate of Piedmont. It is a kind of country dance. One of the few specimens which we have succeeded in finding is the composition of Signor Piatti, and begins as follows:—
[ G. ]
# A Dictionary of Music and Musicians/Moniuszko, Stanislaus

From volume 2 of the work.
[ J. A. F. M. ]
# A Dictionary of Music and Musicians/Molique, Bernhard

From volume 2 of the work.
​MOLIQUE, Bernhard, celebrated violinist and composer, was born Oct. 7, 1803, at Nuremberg. His father, a member of the town band, at first taught him several instruments, but Molique soon made the violin his special study. Spohr, in his Autobiography (i. 228), relates that, while staying at Nuremberg, in 1815, he gave some lessons to the boy, who already possessed remarkable proficiency on the instrument. Molique afterwards went to Munich, and studied for two years under Rovelli. After having lived for some time at Vienna, as member of the orchestra of the Theater-an-der-Wien, he returned in 1820 to Munich, and succeeded his master Rovelli as leader of the band. From Munich he made several tours through Germany, and soon established his reputation as an eminent virtuoso and a solid musician. In 1826 he accepted the post of leader of the Royal band at Stuttgardt, and remained there till 1849. In that year he came to England, where he spent the remaining part of his professional life. The sterling qualities of Molique as a player, and his sound musicianship, soon procured him an honourable position in the musical world of London. His first appearance at the Philharmonic was on May 14, 1849 [App. p.719 "1840"], when he played ​his own A minor Concerto. With the general public he was equally successful as a soloist, quartet-player and teacher, while the serious character and the fine workmanship of his compositions raised him high in the estimation of connoisseurs and musicians.
As an executant he showed a rare perfection of left-hand technique, but his bowing appears to have been somewhat wanting in breadth and freedom. His style of playing was usually very quiet, perhaps deficient in animation. As a composer he holds a prominent place among modern writers for the violin. The influence of Spohr is evident, not only in the character of most of his subjects, but also in his manner of treating and working them out, yet some of his works—especially the first two movements of his third Concerto in D minor, and of the fifth in A minor—are fine compositions. The main subjects are noble and pathetic, the form is masterly, the working-out and the scoring full of interest. On the other hand they suffer in effect by being too much spun out, and by being overladen with somewhat old-fashioned and extremely difficult passages. His other compositions, though evincing the same technical mastery, are very inferior in interest to these concertos—they bear hardly any traces of inspiration and had no great or lasting success.
[ P. D. ]
# A Dictionary of Music and Musicians/Monday Popular Concerts, The

From volume 2 of the work.
​MONDAY POPULAR CONCERTS, THE, were commenced on Monday, Jan. 3, 1859, and have now been carried on for more than twenty years during the winter season of each year. They were projected by Chappell & Co. primarily with the view of benefitting the shareholders of St. James's Hall, among whom they themselves, Cramer, Beale, & Co., and other friends, were largely interested; and secondly, to provide concerts for London during the winter. When the experiment was first made, the usual price of concert tickets was half a guinea, and for reserved seats fifteen shillings. The larger area of St. James's Hall allowed Chappell & Co. to try whether a sufficient audience might not be permanently collected to enable them to give the half-guinea accommodation for a shilling, and the reserved seats for five shillings. The first concerts were of a miscellaneous character, consisting largely of old ballads and well-known instrumental pieces. Success was then fluctuating, depending in a measure upon fine nights and new comers to make them productive. At this stage it was suggested to Mr. Arthur Chappell by an eminent musical critic, to try concerts of classical chamber-music, which could rarely be heard, and thus to collect a permanent audience from the lovers of music resident in London and the suburbs. Mr. J. W. Davison suggested the first six performances, which were announced as a Mendelssohn night, a Mozart night, a Haydn and Weber night, a Beethoven night, a second Mozart night, and a second Beethoven night. This series produced a small profit, but the following evenings resulted in loss. It was then proposed to give up the experiment, but this was strenuously opposed both by Mr. Arthur Chappell, and by his friend and adviser, who has continuously annotated the programmes, and has thereby contributed largely to the success. Two more concerts were tried, which fortunately yielded a fair profit, and from that time the system has been continued, and the circle of music-lovers has been gradually expanding. As to the title of 'Monday Popular Concerts,' which is still continued, the following extract from one of the daily papers is amusing, and has much truth in it: 'The appellation Popular Concerts was originally, in fact, an impudent misnomer. The music given was of the most consistently unpopular character. Most speculators would have either altered the name of the entertainment or modified the selection of the compositions performed: Mr. Chappell took a bolder course—he changed the public taste.'
[ W. C. ]
# A Dictionary of Music and Musicians/Moll

From volume 2 of the work.
​MOLL and DUR are the German terms for Minor and Major.
# A Dictionary of Music and Musicians/Mondonville, Jean de

From volume 2 of the work.
​MONDONVILLE, Jean Joseph Cassanea de, born at Narbonne Dec. 24, 1711, died at Belleville near Paris Oct. 8, 1773, son of well-born but poor parents. His taste for music showed, itself early, and he acquired considerable powers ​of execution as a violinist. After travelling for some time he settled in Lille, where he was well received, and still more so at the Concerts Spirituels in 1737. Having achieved success in Paris as a violinist and composer of popular chambermusic and organ pieces (for Balbâtre), Mondonville attempted the stage, but his first opera, 'Isbe' (Académie, April 10, 1742), failed. In 1744 he succeeded Gervais as Surintendant de la Chapelle du Roi, and under court patronage he produced, at the Académie 'Le Carnaval du Parnasse' (Sept. 23, 1749), an opéra-ballet in 3 acts, containing some graceful music. When the contest between the partisans of Italian and French music, known as the Guerre des Bouffons, arose in 1752 in consequence of the success of 'La Serva padrona,' Mondonville, a protégé of Mme. de Pompadour, was chosen champion of the national school; and his opera 'Titon et l'Aurore' (Jan. 9, 1753) owed its success largely to this circumstance. 'Daphnis et Alcimadura' (Dec. 29, 1754), a pastoral in the Langue d'Oc, in which he introduced many Provencal airs, completed his popularity; and of this he made use to procure his appointment as director of. the Concerts Spirituels. That post he occupied for seven years (1755–62), showing great ability both as an administrator and conductor, and producing at the Concerts with much success three short oratorios, 'Les Israelites au Mont Oreb,' 'Les Fureurs de Saül,' and 'Les Titans.' 'Les Fêtes de Paphos' (May 9, 1758), originally written for Mme. de Pompadour's private theatre, was the only opera performed at the Académie during the same period. His last operas, 'Thésée' (1767) and 'Psyché' (1769, a mere adaptation of the 3rd act of 'Les Fêtes de Paphos'), were unsuccessful.
There is a good portrait of Mondonville in pastel by Latour, now in the possession of M. Ambroise Thomas. The physiognony is that of a man, cunning, patient, and fond of money; the arch of the eyebrows indicating a musician gifted with melody, and a good memory. He holds a violin in his hand; possibly a hint from the artist that posterity would rank the virtuoso and conductor higher than the composer. However this may be, his music has long been forgotten.
[ G. C. ]
# A Dictionary of Music and Musicians/Monday, Joseph

​MONDAY, Joseph. See Vowles, in Appendix.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Vien, (Madame de)

VIEN (MADAME DE), a French Lady of the Time of Louis XVth,
Whose history pieces have no inconsiderable merit; her imagination was warm and active, and her colours lively and pleasing.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Vigne, (Amie de la)

VIGNE (AMIE DE LA), born 1634,
Daughter of a physician at Vernon; remarkable for the brilliancy of her wit, and her elegant taste for poetry. She was author of an Ode from the Dauphin to the King, which was very much admired, and soon after received from an unknown hand, supposed the former, a cocoa-nut box, in which was a golden lyre enamelled, with an ode in her praise. She died young, 1684.
F. C.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Walker, (Elizabeth)

WALKER (ELIZABETH), was born July 1623, in Bucklersbury, London.
She was daughter of Mr. Sadler, citizen of London, and had an early sense of virtue and piety, being from her childhood strictly religious. The awful regard she had for the rules and precepts of the gospel, made her very fearful of transgressing them.
In 1650, she married the Rev. Dr. Anthony Walker, minister of Tyfield, in Essex, and those clouds that had so darkened her understanding and disquieted her soul, were soon dissipated and dispelled by the assistance of this friendly guide and director; and she distinguished herself through the remaining stage of her life, in a most amiable and cheerful exercise of Christian virtue: he wrote a history of her Holy Life and Death, &c. printed in 1690.
He informs us, that, after her death, amongst many useful and pious writings, he found a large book, in octavo. The beginning of which contains many excellent instructions, and religious directions for the use of her two daughters, who were then living; to teach them how to serve God acceptably, and promote the salvation of their souls. The latter end bears this title. Some ​Memorials of God's Providence to my Husband, Self, and children. Many specimens of this performance may be seen in the doctor's account of her life. She likewise wrote contemplations on the 104th Psalm, tenth verse. To which is prefixed, a large and pious introduction, shewing what were the motives that led her to the following thoughts; which were chiefly the consideration of God Almighty's constant support of the whole creation, and unlimited goodness to all the works of his hands.
The doctor has published, by way of appendix to her life, some few of the directions she composed for her children's instructions, and several of the letters which she wrote to her relations and friends.
Female Worthies.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Villars, (the Marchioness de)

She accompanied her husband, the Marquis de Villars, into Spain, when he was appointed ambassador to that court, at the time Charles the IId. married Marie-Louisa d'Orleans, niece to Louis XIV. who was particularly attached to Mademoiselle de Villars, though the punctilious manners of the Spanish court, and the jealousy Charles entertained of the French nation, which could hardly bear she should converse with any of them, embittered the friendship that amiable princess entertained for her. During her stay at Madrid, she wrote many letters to her friends, particularly to Mademoiselle de Couiange, most of which have been preserved; they are ​written with great spirit, though not in the most elegant stile; but they contain a great number of curious anecdotes and entertaining observations, on the customs and manners of the Spanish court. Mademoiselle de Sévigné, in one of her letters to her daughter, says; "Madame de Villars has written a thousand agreeable things to Madame de Coulange. The Duke de Rochefoucault (who you know is very curious), Madame de Vins, and myself, are for ever at Madame de Coulange's elbow, to learn all we can."
Mrs. Thicknesse.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Villeneuve, (Susan de)

VILLENEUVE (SUSAN DE), Daughter of Gaspard de Villeneuve, Baron des Arcs, in Provence; married, 1575, Pompey de Grasse, a zealous Royalist.
After his death, she defended her castle courageously against the Duke of Savoy, for three days, and then gave it up only on condition it should not be demolished. She was greatly embarrassed in her circumstances, and obliged to earn by her pen those indulgences which fortune had denied her. She was a romance writer of some talents; she died 1755. The following are her works:
1, Le Phenix Conjugal, 12 mo. 1753; 2, La Jeune Américaine, ou Les Contes Marins, 12 mo. 4 vols. 1743; 3, Les Contes de cette Année, 12 mo. 1744; 4, Les Belles Solitaires, 12 mo. 3 vols. 1745; 5, Le Beau-frere Supposé, 12 mo. 4 vols. 1752; 6, La Jardinière de Vincennes, ou les Caprices de l'Amour et de la Fortune, 12 mo. 5 vols. 1753; 7, Le Juge Prevenu, 12 mo. 1754; 8, Mesdemoiselles de Marsange, 12 mo.; 9, Anecdotes de la Cour d'Alphonse XI. du Nom, Roi de Castille, 12 mo. 4 vols. 1756; 10, L'Homme Heureuse.
Letters on the French Nation, &c.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Waladata

W.
WALADATA, Daughter of the Caliph Mostafki Billah,
Famous for her beauty and poetical talents.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Wardlow, (Lady Elizabeth)

WARDLOW (LADY ELIZABETH),
In the edition of Allan Ramsay's Poems, 1800, the information most important, perhaps, to men of letters, is that which ascertains the author of Hardyknute, which is here justly called an imposing imitation of ancient poetry. The biographer completely proves, that the accomplished authoress of that fragment was Elizabeth, Lady Wardlow, of Pitrevie, in Fife, second daughter of Sir John Halket, Bart. of Pitferron, who was baptized on the 15th of April, 1677, and married to Sir Henry Wardlow, Bart.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Vielbourg, (Louise-Francoise de Harley, Marchioness de)

VIELBOURG (LOUISE-FRANCOISE DE HARLEY, MARCHIONESS DE).
No one was ever more esteemed or admired than this illustrious lady. She had a singular taste for the sciences, and was well versed in the Latin, Greek and Hebrew languages. To her literary talents, and extensive knowledge, she united every amiable virtue that can adorn a woman. We are ignorant as to the time of either her birth or death; but, we believe, she was living about the year 1615.
Mrs. Thicknesse.
# A Biographical Dictionary of the Celebrated Women of Every Age and Country/Vigri, (Beata Caterina)

VIGRI (BEATA CATERINA),
A most diligent painter, both in oils and miniature; born at Bologna, 1413, where she introduced the order of St. Chiesa, in the noble monastery of Corpus Domini, which was founded there: amongst other fine paintings, one is much esteemed, of Our Saviour, when an infant. She died in 1463, having lived so that she was venerated by all her acquaintance.
Abec. Pitt.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Cooke (William)

​COOKE (WILLIAM), bookseller in London; Near Furnivall's Inn Gate in Holborn, 1632–41. A publisher chiefly of law books, but also shared with Andrew Crooke, the copyrights in several plays, including William Habington's Queene of Arragon, 1640, and several of those of James Shirley. He was also associated with M. Walbancke in the publication of Sir Henry Spelman's De Sepultura, 1641. The last heard of him is in 1641, when he issued Sir Ed. Coke's The compleate Copy-Holder, with a preface from his own pen.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Cossinet (Francis)

​COSSINET (FRANCIS), bookseller in London, (1) Golden Anchor in Tower Street at Mincheon lane end; (2) Tower Street at the corner of Mincing Lane; (3) Anchor & Mariner in Tower Street. 1658–69. Dealt in sea-faring books and Quaker literature. A list of seven books published by him in 1659 will be found at the end of the second edition of J. Heydon's Advice to a Daughter, which he published in that year. [B.M. 8415, a. 11.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Cotes (Ellen)

​COTES (ELLEN), printer in London; Barbican, Aldersgate Street, 1653–70 (?). Widow of Richard Cotes, q.v. At the time of the Survey of the press made in 1668 she employed three presses, two apprentices and nine pressmen. [Domestic State Papers, Charles II, vol. 243, p. 181.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Cotes (Thomas)

​COTES (THOMAS), printer in London; Barbican, Aldersgate Street, 1620–41. Brother of Richard Cotes. Took up his freedom January 6th, 1606. He held the printing house originally established about 1560 by John Charlewood, printer to the Earl of Arundel, under the sign of the Half Eagle and Key. On the death of Charlewood in 1593, James Roberts married his widow and succeeded to the printing office and printed several Shakespeare quartos. About 1608 Roberts sold the business to William Jaggard, who eventually took his son Isaac Jaggard into partnership, and it was at this press that the first folio edition of Shakespeare was printed. On the death of Isaac Jaggard, his widow Dorothy assigned over the business and all the copyrights to Thomas and Richard Cotes, on June 19th, 1627. Thomas Cotes died in 1641. His will was dated June 22nd and proved on July 19th. He desired to be buried in the parish church of St. Giles, Cripplegate, of which he was the clerk. He had two sons, James and Thomas. His sister Jane was the wife of Robert Ibbitson, q.v., and he mentioned a brother living in Yorkshire. His brother Richard Cotes was to have the printing house and all the implements on payment of £100. [Arber, iii. 700–704; iv. 182; Library, N.S., April, 1906, p. 149; P.C.C. 87, Evelyn.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Cotton (Richard)

​COTTON (RICHARD), (?) bookseller in London, 1641. Only known from the imprint to the following pamphlet, L. F. Lord Keeper His Speech Before the King's Majesty … which reads, "Printed and are to be sold by Richard Cotton, 1641." An R. Cotton was living near the King's Arms in Little Britain in 1660 and published The Traytors Tragedy [B.M., E. 1035. (6).] See also Cotton (Robert).
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Cooper (Thomas)

​COOPER (THOMAS), journeyman bookseller, 1665. Only known from the following notice of his death in Smyth's Obituary, p. 67:—"Septem. 11. 1665. Tho. Cooper, journeyman bookseller to Mr. R. Royton [i.e., Richard Royston], died ex peste."
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Cotes (Nathaniell)

​COTES (NATHANIELL), (?) bookseller in London, 1660. Only known from the imprint to a pamphlet entitled Mr. Pryne's Letters and Proposals [August 17th], 1660. E. 1040 (4).
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Cotes (Richard)

​COTES (RICHARD), printer in London; Barbican, Aldersgate Street, 1635–52. In partnership with his brother, Thomas Cotes, until the death of the latter in 1642, when he succeeded to the business, and in the same year was appointed the official printer to the City of London. He died on January 13th, 1652/3. [Smyth's Obituary, p. 31.] His will was dated December 18th, 1652, and is an interesting document. He left a son, Andrew, under age, to whom he bequeathed a sum of money and his rights in Parkinson's Herbal. He also left bequests to Andrew Crooke, Michael Sparke, Anthony Dowse, and his apprentice, William Godbid. The residue he left to his wife, Ellen Cotes. One of his daughters was married to Thomas Williams, bookseller, of Little Britain, [P.C.C. 4 Bowyer.] His widow, Ellen, carried on the business for some years.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Cotton (Giles)

​COTTON (GILES), (?) bookseller in London, 1648. His name is found in the imprint to a pamphlet entitled His Majesties Declaration, 1648. [E. 475 (4).]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Cooke, or Cook (Thomas)

​COOKE, or COOK (THOMAS), (?) bookseller in London, 1642. His name is found on a pamphlet entitled Instructions from the House of Commons … 1642. [E. 111 (13).] A stationer of this name took up his freedom June 1st, 1635. [Arber, iii. 687.]
# A Dictionary of Music and Musicians/Murschhauser, Franz

From volume 2 of the work.
[ F. G. ]
# A Dictionary of Music and Musicians/Murska, Ilma de

From volume 2 of the work.
[ A. C. ]