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

​SULZER, Salomon, Precentor of the Jews' synagogue in Vienna, and reformer of their musical service, was born March 30, 1804, at Hohenems in Vorarlberg. The name was derived from Sulz in Würtemberg, the ancient residence of the family. When only 13 he was made cantor of the synagogue at his native village by the Emperor Franz I, and in 1825 was called to Vienna to conduct the music at the newly built synagogue there. There he took lessons in composition from Seyfried, and set himself earnestly to reform the service by reducing the old melodies to rhythm and harmonising them. His collection of Jewish hymns, under the name of 'Schir Zion,' the Harp of Zion, was used all over Germany, Italy, and even America; but it was not till 1838 that he could succeed in publishing it. It contains a setting of the 92nd Psalm (in Moses Mendelssohn's version) by Schubert, for Baritone solo, and 4 men's voices, made in July 1828, the autograph of which is in possession of the synagogue (Nottebohm's Catalogue, p. 229). In 1842 a second edition appeared, and in 1865 a second volume. A collection of home and school songs, entitled 'Dudaim' (Mandrakes), appears to be still in MS. In 1866 a fête was held in his honour and a silver laurel presented to him, with the inscription 'The Artists of Vienna to the Artist Sulzer.' From 1844 to 47 he was Professor of Singing at the Vienna Conservatorium. He is a Ritter of the order of Franz Joseph (1868) and carries the medals of various societies. His voice, a baritone, is said to have been magnificent, and he was greatly esteemed and beloved inside and outside of his own community.
[ G. ]
# A Dictionary of Music and Musicians/Supertonic

[ C. H. H. P. ]
# A Dictionary of Music and Musicians/Surman, Joseph

[ W. H. H. ]
# A Dictionary of Music and Musicians/Travers, John

[ W. H. H. ]
# A Dictionary of Music and Musicians/Traviata, La

[ G. ]
# A Dictionary of Music and Musicians/Trebelli, Zelia

​TREBELLI, Zelia, an operatic singer who took the public by storm, and stepped into the high position which she maintains to the present day.
Zelia Gilbert was born in Paris in 1838. So early was her talent recognised that she was taught the piano at the age of six. Guided by her German teacher, she learnt to reverence and enjoy the works of Bach and Beethoven. After ten years her wish for instruction in singing was encouraged by her parents, who only thought thereby to add one other graceful accomplishment to those which were to render their daughter useful and acceptable in society. The services of Herr Wartel were secured, and so delighted was he with his clever pupil that he never rested until he had persuaded her parents to allow of his training her for the lyric stage. Five years of close study prepared for her début, which was made at Madrid as Mlle. Trebelli, under the most favourable circumstances and with complete success, Mario playing Almaviva to her Rosina, in 'Il Barbiere.'
Trebelli's appearances in the opera-houses of Germany were a series of brilliant triumphs. Public and critics were alike carried away by enthusiasm when they heard her rendering of the parts of Rosina, Arsace, Orsini, Urbano, Azucena and others. No member of Merelli's Italian troupe was gifted with so brilliant a voice and so much executive power. Nor could the audiences fail to be impressed by the actress's varied powers so rarely at the command of one individual, Trebelli expressing at one time the fire of an almost manly vigour, and at another the charm of womanly tenderness and delicacy. The German criticisms which declared the voice a contralto, comparing it with Alboni's in quality and with Schechner's in power, were not supported by English opinions. As a mezzo-soprano, its brilliancy, power and flexibility were appreciatively noticed; the artist's control over voice and action enthusiastically praised. Trebelli appeared first in London at her Majesty's Theatre, May 9th, 1862, as Orsini in 'Lucrezia.' 'A more encouraging reception has seldom been awarded to a débutante.' Since then, she has been a recognised favourite with our opera and concert audiences. Those who have long been familiar with her appearances in frequent co-operation with Mdlle. Titiens in the chief Italian operas, will not easily forget the performances of Oberon, where Trebelli's impersonation of the captive, Fatima, was invested with peculiar charm. More recent and more widely known is her rendering of the very opposite character of the heroine in 'Carmen.'
At the present time (1884) Madame Trebelli is making a tour through the United States with Mr. Abbey's troupe.
[ L. M. M. ]
# A Dictionary of Music and Musicians/Trasuntino, Vito

​TRASUNTINO, Vito, a Venetian harpsichord-maker, who made an enharmonic (quarter-tone) archicembalo or large harpsichord for Camillo Gonzaga, Conte di Novellara, in 1606, now preserved in the Museum of the Liceo Comunale at Bologna. It was made after the invention of Don Nicola Vicentino, an enthusiast who tried to restore Greek music according to its three genera, the diatonic, chromatic and enharmonic, and published the results of his attempt at Rome in 1555, under the title of 'L'Antica Musica ridotta alla Moderna Prattica'. From engravings in this work illustrating a keyboard invented to include the three systems, Trasuntino contrived his instrument. A photograph of it is in the South Kensington Museum. It had one keyboard of four octaves C—C, with white naturals; the upper or usual sharps and flats being divided into four alternately black and white, each division being an independent key. There are short upper keys also between the natural semitones, once divided, which makes thirty-two keys in the octave, 125 in all. Trasuntino made a Tetracorda, also preserved at Bologna, with intervals marked off to tune the archicembalo by—an old pitch-measurer or quadruple monochord. When Fétis noticed Trasuntino (Biographie Universelle, 1865, p. 250), the archicembalo was in the possession of Baini. It was not the first keyboard instrument with enharmonic intervals; Vicentino had an organ built, about 1561, by Messer Vicenzo Colombo of Venice. There is a broadsheet describing it quoted by Fétis as obtained by him from Signor Gaspari of Bologna: 'Descrizione dell' arciorgano, nel quale si possono eseguire i tri generi della musica, diatonica, cromatica, ed enarmonica, in Venetia, appresso Niccolo Bevilacqua, 1561, a di 25 ottobrio.'
[ A. J. H. ]
# A Dictionary of Music and Musicians/Travenol, Louis

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

[ G. ]
# A Dictionary of Music and Musicians/Transposition of the Ecclesiastical Modes

​TRANSPOSITION OF THE ECCLESIASTICAL MODES. Composers of the Polyphonic School permitted the transposition of the Ecclesiastical Modes to the Fourth above or Fifth below their true pitch; effecting the process by mean of a B♭ placed at the Signature, and thereby substituting for the absolute pitch of a Plagal Mode that of its Authentic original. Transposition to other Intervals than these was utterly forbidden, in writing: but Singers were permitted to change the pitch, at the moment of performance, to any extent convenient to themselves.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Trauer-Walzer

​TRAUER-WALTZER, i.e. Mourning-waltz, a composition of Schubert's (op. 9, no. 2), dating from the year 1816,
[ G. ]
# A Dictionary of the Book of Mormon/Desolation, City of

​DESOLATION, CITY OF. Though the land of Desolation is so frequently referred to in the earlier annals of the Nephites, nothing is said of a city of that name until the time of the great final war between the Nephites and Lamanites, and we are left in doubt as to whether it was built or not, until after the advent of the Redeemer. Some suppose it was the place where Hagoth's shipyards originally stood; it is evident it was on the sea coast, as we are told that after one important battle the bodies of the slain were thrown ​into the sea. In the year A. C. 361, the Lamanites attacked Desolation, but were repulsed and driven back to their own lands. During the next year they made another ineffectual attack, in which they sustained great loss. So great was the exultation of the Nephites at this last victory that their excesses knew no bounds, and they gave way so grossly to iniquity, that Mormon refused to lead them any longer to battle. Strong in their own vain strength, in A. C. 363 the Nephites invaded the lands of the Lamanites, but were disastrously repulsed and pursued, and the city ot Desolation was wrested from them; they, however, recaptured it shortly after. In A. C. 366, the Lamanites once more became the masters of the city, but lost it again the following year. The Nephites retained possession of this stronghold until A. C. 375, when the Lamanites drove them out of all that region, and apparently held it until the end of the war, and the extinction of the Nephites at Cumorah.
# A Dictionary of the Book of Mormon/Desolation, Land of

​DESOLATION, LAND OF. Before the time of the Nephites this region was thickly inhabited by the Jaredites. In the days of the latter people Bountiful formed its southern border. The two lands apparently joined at the Isthmus of Panama. At first, like most frontier districts, it extended indefinitely into the uninhabited regions. When other lands were colonized its boundaries became more definitely fixed. It is generally supposed to have embraced within its borders the region know to moderns as Central America. Its capital was a city of the same name, probably built in later years, as it is never mentioned but by Mormon in the account of the long series of wars in which he took so prominent a part.
# A Dictionary of the Book of Mormon/Edom

​EDOM. The land east of Canaan, inhabited by the descendants of Esau. It is mentioned but once in the Book of Mormon, in a quotation from the prophecies of Isaiah (II Nephi, 21:14).
# A Dictionary of the Book of Mormon/Egypt

​EGYPT. The land of that name in Africa. It is mentioned frequently in the Book of Mormon, generally in connection with the life of ​Joseph, the son of Jacob; or with the bondage of the Israelites therein.
# A Dictionary of the Book of Mormon/Eden, The Garden of

​EDEN, THE GARDEN OF. Mentioned six times in the Book of Mormon; always, except in one case, in connection with the expulsion of our first parents therefrom.
# A Dictionary of the Book of Mormon/Egyptian Sea

​EGYPTIAN SEA. A name given by Isaiah to the Red Sea, and so spoken of in a quotation from that prophet. (II Nephi, 21:15).
# A Dictionary of the Book of Mormon/Desolation of Nehors

​DESOLATION OF NEHORS. The name given by the Nephites to the spot where the sin-stained city of Ammonihah once stood. It received that name because it remained a ​wilderness and a desolation for a number of years after the destruction of the city, the stench from the rotting bodies of its former citizens making it uninhabitable. The name of Nehors was added because those who had been slain were followers of that false teacher.
# A Dictionary of the Book of Mormon/Deseret

​DESERET. The Jaredite name for the honey bee. The original colony carried these bees with them from Asia to America. (Ether 2:3.)
# A Dictionary of the Book of Mormon/Egyptian, Reformed

​EGYPTIAN, REFORMED. The name given to the style of characters in use in the days of Mormon, in which the records were engraven on the sacred plates. These characters were greatly modified from those used by Nephi and the other earlier recorders.
# A Cyclopaedia of Female Biography/Margaret, daughter of Raymond Berenger

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MARGARET,
Daughter of Raymond Berenger, count of Provence, married St. Louis, King of France, in 1254, and attended him during his wars in the Holy Land with the Saracens; when, on his captivity, she behaved with heroic intrepidity in the defence of Damietta. She died at Paris in 1285, aged seventy-six.
# A Cyclopaedia of Female Biography/Margaret, Duchess of Parma

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MARGARET, DUCHESS OF PARMA,
Was the natural daughter of Charles the Fifth of Germany, and Margaret of Gest. She was born in 1522, and married, first, Alexander de Medici, and afterwards Octavio Farnese, Duke of Parma and Piacenza. Her half-brother, Philip the Second of Spain, appointed her, in 1559, to the government of the Netherlands, where she endeavoured to restore tranquility; and she might have succeeded, if the Duke of Alva had not been sent with such great power that nothing was left to her but the title. Indignant at this, Margaret returned to her husband in Italy, and died at Ortona, 1686. She left one son, Alexander Farnese, Duke of Parma.
# A Cyclopaedia of Female Biography/Margaret, St.

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MARGARET, ST.,
A virgin, who is said to have suffered a martyrdom at Antioch, in 275. She is not mentioned by the ancient martyrologists, and she did not become famous till the eleventh century. A festival is held in honour of her memory on the 20th. of July. The orientals reverence her under the name of St. Pelagia, or St. Marina, and the western church under that of St. Geruma, or St. Margaret.
# A Cyclopaedia of Female Biography/Margaret, sister of Edgar Atheling

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MARGARET,
Sister of Edgar Atheling, grandson of Edmund Ironsides, King of England, fled to Scotland on the invasion of William the Conqueror, and married Malcolm, King of that country. She was a very amiable and benevolent princess. Her sons, Edgar, Alexander, and David, successively filled the throne of Scotland; and her daughter Matilda married Henry the First. She died November 16th., 1093, aged forty-seven.
# A Cyclopaedia of Female Biography/Margaret, daughter of Francis the First of France

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MARGARET,
Daughter of Francis the First of France, married Emanuel Philibert, Duke of Savoy, and died highly respected, September 14th., 1574, aged fifty-one.
# A Cyclopaedia of Female Biography/Margaret Louisa of Lorraine

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MARGARET LOUISA OF LORRAINE,
Daughter of Henry, Duke of Guise, married in 1605, at the instance of Henry the Fourth, who was in love with her, and wished to fix her at court, Francis de Bourbon, Prince of Conti. They however left the court immediately on marrying. The prince died in 1617, and Louisa devoted herself to the belles-lettres. She was one of Cardinal Richelieu's enemies, and he banished her to Eu, where she died in 1631. She was suspected of having married the Marshal of Bassompierre for her second husband. She wrote the amours of Henry the Fourth, under the of title "Les Amours du Gr. Alexandre."
# A Child's Garden of Verses/Singing

XI
SINGING
OF speckled eggs the birdie sings
And nests among the trees;
The sailor sings of ropes and things
In ships upon the seas.
The children sing in far Japan,
The children sing in Spain;
The organ with the organ man
Is singing in the rain.
# A Child's Garden of Verses/System

XIX
SYSTEM
EVERY night my prayers I say,
And get my dinner every day;
And every day that I've been good,
I get an orange after food.
The child that is not clean and neat,
With lots of toys and things to eat,
He is a naughty child, I'm sure—
Or else his dear papa is poor.
# A Child's Garden of Verses/The Cow

XXIII
THE COW
THE friendly cow all red and white,
I love with all my heart:
She gives me cream with all her might,
To eat with apple-tart.
She wanders lowing here and there,
And yet she cannot stray,
All in the pleasant open air,
The pleasant light of day;
And blown by all the winds that pass
And wet with all the showers,
She walks among the meadow grass
And eats the meadow flowers.
# A Child's Garden of Verses/The Dumb Soldier

V
THE DUMB SOLDIER
WHEN the grass was closely mown, Walking on the lawn alone, In the turf a hole I found And hid a soldier underground.
Spring and daisies came apace; Grasses hide my hiding place; Grasses run like a green sea 0'er the lawn up to my knee.
Under grass alone he lies, Looking up with leaden eyes, Scarlet coat and pointed gun, To the stars and to the sun.
When the grass is ripe like grain, When the scythe is stoned again, When the lawn is shaven clear, Then my hole shall reappear.
I shall find him, never fear, I shall find my grenadier; But for all that's gone and come, I shall find my soldier dumb.
He has lived, a little thing, In the grassy woods of spring; Done, if he could tell me true, Just as I should like to do.
He has seen the starry hours And the springing of the flowers; And the fairy things that pass In the forests of the grass.
In the silence he has heard Talking bee and ladybird, And the butterfly has flown O'er him as he lay alone.
Not a word will he disclose, Not a word of all he knows. I must lay him on the shelf, And make up the tale myself.
# A Child's Garden of Verses/Rain

VI
RAIN
THE rain is raining all around,
It falls on field and tree,
It rains on the umbrellas here,
And on the ships at sea.
# A Child's Garden of Verses/The Flowers

III
THE FLOWERS
ALL the names I know from nurse: Gardener's garters, Shepherd's purse, Bachelor's buttons, Lady's smock, And the Lady Hollyhock.
Fairy places, fairy things, Fairy woods where the wild bee wings, Tiny trees for tiny dames— These must all be fairy names!
Tiny woods below whose boughs Shady fairies weave a house; Tiny tree-tops, rose or thyme, Where the braver fairies climb!
Fair are grown-up people's trees, But the fairest woods are these; Where if I were not so tall, I should live for good and all.
# A Child's Garden of Verses/The Gardener

VII
THE GARDENER
THE gardener does not love to talk, He makes me keep the gravel walk; And when he puts his tools away, He locks the door and takes the key.
Away behind the currant row Where no one else but cook may go, Far in the plots, I see him dig Old and serious, brown and big.
He digs the flowers, green, red, and blue, Nor wishes to be spoken to. He digs the flowers and cuts the hay, And never seems to want to play.
Silly gardener! summer goes, And winter comes with pinching toes, When in the garden bare and brown You must lay your barrow down.
Well now, and while the summer stays, To profit by these garden days O how much wiser you would be To play at Indian wars with me!
# A Child's Garden of Verses/Summer Sun

IV
SUMMER SUN
GREAT is the sun, and wide he goes Through empty heaven without repose; And in the blue and glowing days More thick than rain he showers his rays.
Though closer still the blinds we pull To keep the shady parlour cool, Yet he will find a chink or two To slip his golden fingers through.
The dusty attic spider-clad He, through the keyhole, maketh glad; And through the broken edge of tiles, Into the laddered hay-loft smiles.
Meantime his golden face around He bares to all the garden ground, And sheds a warm and glittering look Among the ivy's inmost nook.
Above the hills, along the blue, Round the bright air with footing true, To please the child, to paint the rose, The gardener of the World, he goes.
# A Child's Garden of Verses/The Child Alone

THE CHILD ALONE
# A Child's Garden of Verses/Pirate Story

VII
PIRATE STORY
THREE of us afloat in the meadow by the swing,
Three of us aboard in the basket on the lea.
Winds are in the air, they are blowing in the spring,
And waves are on the meadow like the waves there are at sea.
Where shall we adventure, to-day that we're afloat,
Wary of the weather and steering by a star?
Shall it be to Africa, a-steering of the boat,
To Providence, or Babylon, or off to Malabar?
Hi! but here's a squadron a-rowing on the sea—
Cattle on the meadow a-charging with a roar!
Quick, and we'll escape them, they're as mad as they can be,
The wicket is the harbour and the garden is the shore.
# A Dictionary of Music and Musicians/Titze, Ludwig

[ C. F. P. ]
# A Dictionary of Music and Musicians/Toepfer, Gottlob

[ V. de P. ]
# A Dictionary of Music and Musicians/Tollet, Thomas

[ [W. H. H. ]
# A Dictionary of Music and Musicians/Tomasini, Luigi

​TOMASINI, Luigi (Aloysius), eminent violinist, and distinguished member of Prince Esterhazy's band under Haydn, born 1741 at Pesaro. In 1757 he became a member of Prince Paul Anton's household at his palace of Eisenstadt in ​Hungary, and on Haydn's undertaking the Vice-Capellmeistership in 1761, was at once promoted by him to be first violin. He was afterwards leader, and director of the chamber-music, with a largely increased salary. Prince Nicholas (successor to Paul Anton) left him a pension in 1790 but Tomasini remained in the service till his death, April 25, 1808. He was on the most intimate terms with Haydn, who wrote all his quartets with a view to Tomasini's playing, and remarked to him, 'Nobody plays my quartets so much to my satisfaction as you do.' He only once appeared in public in Vienna, at a concert of the Tonkünstler-Societät (1775), of which he had been a member from its foundation in 1771. In all probability Haydn gave him instruction in composition. He published violin-concertos, quartets, duos, concertants (dedicated to Haydn), etc. For the Prince he wrote '24 Divertimenti per il Paridon (barytone), violino, e violoncello,' now in the archives of the Gesellschaft der Musikfreunde in Vienna. A few of Haydn's violin-concertos were written expressly for Tomasini ('fatto per il Luigi'). Besides two daughters, who sang in the church and opera at Eisenstadt, Tomasini had two talented sons. The eldest,
Luigi, born 1779, at Esterhaz, an excellent violinist, was received into the chapel in 1796, dismissed several times for incorrigible levity, but as often readmitted at Haydn's request. The latter speaks of his 'rare genius,' and so did Hummel. He played in Vienna in 1796 and 1801 at the Tonkünstler-Societät, and in 1806 at the Augarten concerts. In 1808 he had to fly, for having married, without the Prince's leave, Sophie Groll, a singer in the chapel, but he secured an appointment as Concertmeister to the Duke of Mecklenburg-Strelitz. In 1812 he and his wife gave a concert in Berlin, when Luigi played Beethoven's concerto, and his wife, a pupil of Righini's, was much applauded. In 1814 he gave a concert in the court theatre in Vienna, after which he wholly disappears. His brother,
[C. F. P. ]