OpenLLM-France/wikimedia huggingface dataset:
# A Cyclopaedia of Female Biography/Goddard, Arabella

Layout 2
GODDARD, ARABELLA,
Was born of English parents at St. Malo, in France, in 1836. Her marvellous talent for music manifested itself at a very early age; when only four years and a half old she performed in public a fantasia on themes from Mozart's "Don Juan." She was placed under the instruction first of the celebrated pianist and composer Kalkbrenna, of Paris, and afterwards of Mrs. Anderson, pianist to the ​Queen, and instructress of the Princess Royal. At eight years of age she performed before Her Majesty and Prince Albert; subsequently she became the pupil of Herr Kuhe, and then received her finishing lessons from Thalberg. In 1850, she came out at the Grand National Concerts, and at once established her reputation as a first-rate pianist. Her execution is most rapid and brilliant, her touch remarkable for its delicacy, and her playing altogether is full of grace and vivacity. If she wants anything it is power, and this she is rapidly gaining. She has lately been performing at Her Majesty's Theatre, and studying musical composition under Mr. Macfarren. She has in her the soul of music, and her composition will no doubt, by and bye, equal her execution.
# A Book of Czech Verse/K. J. Erben

[28] [29]
K. J. ERBEN (1811–1870)
CIZÍ HOST
Ples a tance, hudba hrála, zpěv a žerty slyšeti; a nevěsta jen se smála v ženichově objetí.
“Vzhůru! služte, muži, ženy!” volá ženich přeblažen; “dům i sklepy otevřeny, každému, co libo jen!”
Hrají, tančí; a za stolem host neznámý tu se vzal: “Hoj! s nevěstou třikrát kolem, svůj život bych za to dal!”
Jednou kolem potančili— pominul nevěstě smích; druhé kolo nastoupili— ona bledá jako sníh.
“Aj, co bledne má milenka? či leká se paměti? či snad těžko svého Zdenka na své svatbě viděti?”
K. J. ERBEN (1811–1870)
THE UNKNOWN GUEST
Revels, dancing, music playing, Jest and song on every side; Laughing in the groom’s embrace The ever-smiling, happy bride.
“Up and help yourselves, good people,” Cries the bridegroom joyously. “Open every room and cellar, Take whate’er your fancy be.”
Music plays, they dance; then sudden Stands a stranger by the groom. “My life for three times round together With the bride about the room.”
One round they have danced together. See from her face the laughter go. They begin the second circle, She as deadly pale as snow.
“Why so pale and wan, my sweetheart? Is it memories you fear? Or so hard to see your Zdenyek At your wedding feast appear?”
[30] [31]
Takto, tanče kolo třetí, on k ní šepce potichu, a nevěsta bez paměti klesá v náruč ženichu.
Hluk a zmatek—smíchy mizí, všichni spějí na pomoc. “Kdo? kde jest muž onen cizí?” Pryč—a venku tmavá noc.
Hudba opět, tance, kvasy— zmizela však veselost: odneslť ji na vše časy mladé paní cizí host.
As he whispers to her softly So they dance the third time round. In her husband’s arms the maiden Sinks unconscious to the ground.
Noise, confusion,—laughter ceases; Each guest quick to aid her plight. Who, and where the unknown stranger? Gone,—outside, the gloomy night.
Once more music, dancing, revels: Fled the joy they had before. Stolen by the unknown stranger From the bride for ever more.
[32] [33]
ZDRÁVAS MARIA
Zdrávas Maria, plná milosti, Hospodin s tebou v tvé nevinnosti. Mezi ženami požehnána jsi, a božský plod tvůj, zdroj naší spásy. Matičko boží, pros za provinu, teď i v poslední naši hodinu!
AVE MARIA
Hail to thee, Mary, full of love; With thee the very God above; In thy perfect purity, Among all women blessed be! Blessed thy offspring undefiled, Blessed the heavenly saviour child. Mother of God, pray now for our sin, And when our final hour draws in.
# A Book of Czech Verse/Jan Kollár

[16] [17]
JAN KOLLÁR (1793–1852)
SLÁVY DCERA
Aj, zde leží zem ta před okem mým slzy ronícím, někdy kolébka, nyní národu mého rakev. Stoj, noho! posvátná místa jsou, kamkoli kráčíš, k obloze, Tatry synu, vznes se, vyvýše pohled, neb raději k velikému přichyl tomu tam se dubisku, jenž vzdoruje zhoubným až dosaváde časům. Však času ten horší je člověk, jenž berlu železnou v těchto krajích na tvou, Slávie, šíji chopil. Horší nežli divé války, hromu, ohně divější, zaslepenec na své když zlobu plémě kydá. O věkové dávní, jak noc vůkol mne ležící, o krajino, všeliké slávy i hanby obraz! Od Labe zrádného k rovinám až Visly nevěrné, od Dunaje k hltným Baltu celého pěnám: krásnohlasý zmužilých Slovanů kde se někdy ozýval, aj, oněmělť už, byv k ourazu zášti, jazyk.
JAN KOLLÁR (1793–1852)
SLÁVY DCERA
Before my weeping eyes extends the land, My people’s cradle once, their coffin now. Stir not, for where you tread is holy ground. O Tatra’s son, lift up your eyes to heaven, Or turn towards that mighty oak Which yet can spurn the ravages of time. Yet worse than time is man, that in these lands Has fastened, Slav, upon your neck a yoke. Still worse than fierce war, more fierce than fire Or thunder, is that blinded man who turns In anger striking down his kin. O ages past, around me like the night! O land that mirrors all our pride and shame! From traitor Elbe unto the eastern plains That touch upon the faithless Vistula, From Danube to the Baltic’s gulping foam, Where once was heard the talk of Slavic men, Today that tongue, by hate oppressed, is still.
[18] [19]
Jako plavec radostivě tleská k břehům vůni odtad nesoucím, kde se Indus rouchem květoucím skvostně šatí, co choť kmentem hezká:
Tak mým sladce rozkoš mnohobleská srdcem proletěla třesoucím, když jsem hlas tvůj uchem žádoucím slyšel opět, milá řeči česká!
Třikrát štastných, jenž tě mají, vnuků, dědictví všech jiných dávnější, plné síly, krás i libozvuků!
Ó že jedno předce smutně hrozí, to, že v této zemi krásnější jazyk mají nežli srdce mnozí.
As when towards some scented shore A swimmer strikes out joyfully, Where Indus blossoms beauty wear— A bride in all her finery:
So sweetly ran a shooting thrill Of joy my trembling heart along, When eagerly again I heard The accents of my native tongue.
Threefold, its sons, your blessedness, In this, your oldest heritage Of music, strength, and loveliness.
How sad the threat, how fierce the smart, That, in this loveliest of lands, The tongue is sweeter than the heart!
# A Book of Czech Verse/O. Březina

[70] [71]
O. BŘEZINA (1868–1929)
JARNÍ NOC
Noc tiše zpívala, šum prvních zelení a jarních vod byl její melancholické písně doprovod; ve výši hvězdy, světelné kalichy nesmírné, dýchaly těžkou vůni nadzemských vegetaci; a ruce bratří mých, jak při smrti na prsou zkřížené, ležely tiché a zklamané a jako kámen ztížené zlomeny prací.
Však jejich ruce duchové k hvězdám se rozepjaly, miliony duší na zemi a ve všech světech objaly a dlouhý oddech radostných procitnutí, sváteční vření věčného města, duchových křídel šumění, hra větrů v mystickém osení, orchestrů neviditelných zapění, zdvihlo se v taktu jejich tajuplného gesta.
O. BŘEZINA (1868–1929)
SPRING NIGHT
The night sang quietly; and Spring’s first shoots, her murmuring streams, accompanied the solemn melody; the stars above, like radiant goblets vast, breathed in from growth unearthly heavy scent; my brethren’s arms lay crossed upon their breast subdued, as if in death, weighed down, at rest, by heavy labour spent.
Yet they to stars their ghostly arms were holding, a million souls in the universe enfolding, and the long relief of waking joy, the eternal city’s festive symphony, through ghostly sowing the breeze, unearthly wings, from unseen orchestras the strings, to their mystic gesture moved in harmony.
# A Book of Czech Verse/P. Bezruč

[68] [69]
P. BEZRUČ (Born 1867)
KDO NA MOJE MÍSTO?
Tak málo mám krve a ještě mi teče z úst. Až bude růst nade mnou tráva, až budu hnít, kdo na moje místo, kdo zdvihne můj štít?
V dým zahalen vítkovských pecí jsem stál, noc zřela mi z očí, plam z nozdry mi vál, nech zářilo slunce, nech večer se šeřil, já semknutou brvou jsem vrahy ty měřil: ty bohaté židy, ty grofy ze šlachty, já škaredý horník, jak vyskočil z šachty. Nech diadem jednomu na skráni svítil, každý z nich upjatý pohled můj cítil, mou zaťatou pěst, můj vzdor, hněv horníka z Beskyd a z hor—
Tak málo mám krve a ještě mi teče z úst. Až bude růst nade mnou tráva, až budu hnít, kdo místo mne na stráž, kdo zdvihne můj štít?
P. BEZRUČ (Born 1867)
WHO COMES IN MY PLACE?
I have so little blood, And yet, down from my mouth How it flows! When there grows spreading grass on my grave, When I rot in the field, Who comes then in my place? Who will lift up my shield?
I stood shrouded in smoke from the furnaces’ glow, With the night in my eyes, with the flame in my breath, In the light of the sun, in the evening gloom; And I scowled as I measured the killers within: The Jews with their wealth and the lords with their rank, I repulsive—a miner still foul from the pit. Though a head gave the flash of a diadem bright, Yet they sensed my defiance, the fist that I clenched. Then each one, at my gaze, with uneasiness fills, At the hate of a miner from Beskydan hills.
I have so little blood, And yet down from my mouth How it flows! When there grows spreading grass on my grave, When I rot in the field, Who will stand at my post? Who will lift up my shield?
# A Book of Czech Verse/J. Vlk

[34] [35]
J. VLK (1822–1896)
Přijde jaro, přijde, zase bude máj, usmívá se slunce, usmívá se háj. Stříbrné své vlny hora vyleje, rozkvete se růže, slavík zapěje.
Rozpuknou se ledy, volný bude proud, po vlnách šumících lodě pyšně plout; vyskočí z hrud klasy bujný bude květ, kosa bude řinčet, zpěv radostný znět.
A ta lipa naše bude zelená, z větví mocných listí nám na věnce dá. Ajta, vlasti, plesej. Usmívá se háj, přijde jaro, přijde, bud em míti máj.
(1822–1896)
The Spring is coming, coming, Once more it will be May, Upon the smiling meadows The smiling sun will play. From mountain-side the river Its silver waves will bring, The rose will be in blossom, The nightingale will sing.
The melting ice will scatter, The current freely glide, Upon the murmuring wavelets The ships will proudly ride. The flowers will richly blossom, The ears spring from the ground, The ringing scythe will echo, A song of joy will sound.
The linden tree its branches In greenness will array, Its boughs will give us leafage To make our garlands gay. Then shout for joy, my country, On fields the sun will play. The Spring is coming, coming, Once more we shall have May.
# A Book of Czech Verse/J. Vrchlický

[58] [59]
J. VRCHLICKÝ (1853–1912)
JARNÍ NOC
Ostrý vánek zahnal v dálku temnou chmůru. Hvězdy tryskly, všichni ptáci byli vzhůru: jeden tiká v trávě, druhý na jabloni, v samé zvonky květů perly svoje roní.
V malé chatce malým oknem světlo kmitá, opožděná můra bílá kolem lítá, přihlédnu blíž, okno zkořen, s tenkou svíčkou, a v něm stojí mladá dívka nad rakvičkou.
Bledé dítě plavovlasé, šestnáct roků, za sestru či za bratříčka slza v oku velká chví se a na bílé ruce padá, jaký smutek asi nese svěží, mladá!
V svaté úctě nad tím děckem šel jsem kolem, stejně zchvácen mírem dětským, dívčím bolem; cítil jsem, co vykoupení i bol ztráty, dívčí nevinnost a smrt že stejně svaty.
SPRING NIGHT
A biting wind drove on The distant, gloomy cloud; On birds unsleeping, shimmering starlight fell. One sings among the grass, One in the apple tree, And pours its pearls within each flowery bell.
A light is winking through A cottage window pane; A moth is flying whitely round the glow. I closer gaze; and there With candle raised, a girl Is standing where a coffin lies below.
Snow-haired, and pale of face, A child of sixteen years: For brother, sister small, a tear-drop steals And quivers at her eye, Then falls upon her hands: What sadness now her childish sweetness feels!
I passed before that child In reverence evoked By maiden’s sorrow, child’s serenity. Amid her bitter loss I felt, like holy grace, How sacred death—and virgin purity.
[60] [61]
VÁNOCE
Hlas zvonů táhne nad závějí, kdes v dálce tiše zaniká; dnes všechny struny v srdci znějí, neb mladost se jich dotýká.
Jak strom jen pohne haluzemi, hned střásá ledné křišťály, rampouchy se střech visí k zemi jak varhan velké píšťaly.
Zem jak by liliemi zkvetla, kam sníh pad, tam se zachytil; Bůh úsměv v tvářích, v oknech světla a v nebi hvězdy rozsvítil.
A staré písně v duši znějí a s nimi jdou sny jesliček kol hlavy mé, jak ve závěji hlas tratících se rolniček.
Můj duch zas tone v blaha moři, vzdech srdcem táhne hluboce, a zvony znějí, světla hoří,— O vánoce! Ó vánoce!
CHRISTMAS
Above the snow-drift, sound of bells Is fading into distant space. The strings of every heart are singing, Touched, this day, with youthful grace.
Each movement of the branches sees A crystal shower of ice descend. From roof to ground the icicles Like massive organ pipes extend.
As if the earth with lilies bloomed The fallen snowflakes freezing lie. God lights up smiles—and window-panes— And starlight shining in the sky.
Old songs are sounding in my heart, As dreams to Bethlehem are winging. Round my head, as in a snow-drift, Dying sound of sleigh-bells ringing.
Sighing deep, I feel my heart Once more through seas of rapture glide. And bells are sounding, lights are burning. Christmas tide! Oh, Christmas tide!
# A Book of Czech Verse/Traditional

[12] [13]
TRADIČNÍ
Zelený hájové, bejvaly ste moje, bejvaly ste mýho srdce potěšení. Ičko už dávnej čas neslyším ptactva hlas, na obloze se ukázal smutnej čas.
Dostal jsem šáteček v každém rohu kvíteček a uprostřed z rozmarýnu pěknej věneček. Ten věneček zelený z rozmarýny pletený, ten mi dala moje milá pro potěšení.
Traditional
Groves I loved, all dressed in green, You that once my joy have been, Once you comforted my heart And filled me with delight. Now for me the birds so long Sing no more a joyous song, Sadly now the clouds above Have darkened all my sight.
A handkerchief there came to me, A flower at each extremity, And, in the midst, a wreath of green, Entwined with rosemary. Little wreath of rosemary, Woven out so prettily, This, for love, my sweetheart sent, To joy and comfort me.
[14] [15]
Hněvej ty se na mne nebo nehněvej, jen když mne potkáš, pozdravení dej! Hněvej ty se na mne nebo nehněvej, jen mi pozdravení dej! A když mě potkáš, pozdravení dáš, budou lidé myslit, že se nehněváš; hněvej ty se na mne nebo nehněvej, jen mi pozdravení dej
Horo, horo, vysoká jsi! má panenko, vzdálená jsi, vzdálená jsi za horama— vadne láska mezi náma.
Vadne, vadne, až uvadne! není v světě pro mne žádné,
není žádné potěšení pro mne více k nalezení!
Be cross and angry with me Or let your anger be, But when we pass each other Only speak to me! Be cross and angry with me Or let your anger be, Only speak to me! And when we pass each other And then you speak to me, The people all will fancy You’re cross no more with me. Be cross and angry with me Or let your anger be, Only speak to me!
How high the mountain towers above, How far away from me my love! Beyond the mountains, far away— The love between us fades away.
It fades, it fades, until it dies. No gladness left before my eyes; No joy on earth is left behind, No happiness for me to find.
# A Book of Czech Verse/V. Holan

[96] [97]
V. Holan (Born 1905)
NEŠTĚSTÍ
Jak kupec v zubech svých zkoušívá peníz němě— mrak hryže luny jih. A přece leží ve mně
ti z živoucích i ti ze zamýšlené práce po důlním neštěstí v temnotách evokace.
Kolikrát bůh tě ved tou šachtou, kde teď vane zdviž dechu, naposled spuštěná v nedoufané.
V. HOLAN (Born 1905)
THE ACCIDENT
As when a dealer tests A penny, silently— A cloud eats out the moon. And yet there lies on me
The thought of those who live, And those on whose design To work, a shadow fell, Of terror in the mine.
God led you often through The shaft where draughtily Now moves the cage; sent down The last time, hopelessly.
# A Book of Czech Verse/Svatopluk Čech

[52] [53]
SVATOPLUK ČECH (1846–1908)
Jak jitřním poupěti plá krůpěj rosy, jak prsten v objetí svou perlu nosí, jak nebe hvězdy jas a křišťál horská sluj: tak chová v každý čas mé srdce obraz tvůj.
Spíš v dol se pohoří, v souš moře změní, spíš slunce dohoří a luny skvění, spíš ve mně živoucí bít srdce ustane, než k tobě horoucí v něm láska doplane.
(1846–1908)
As when a dew-drop glitters Upon a bud at dawn, As when a single jewel Upon a ring is borne, As when the sky the starlight, A cave a crystal holds, So too my heart your portrait For ever more enfolds.
The hills will change to valleys, The ocean will run dry, The sun will shine no longer, The gleaming moonlight die; The heart will cease its beating Within my living breast, Before my love that blazes For you will sink to rest.
[54] [55]
Na širokých polích na dalekých polích, jaká krása dnes! Stébel husté davy výše mužské hlavy stojí jako les.
Klasů jasné vlny těžkým zrním plny šumí vedle cest, a když van je sehne, mezi nimi šlehne na sta modrých hvězd.
V brokátovém hávě, v plné letní slávě září každý lán, těší se své kráse, všecek usmívá se, sluncem zulíbán.
Však tu nivou náhle prochvělo cos táhle jako teskný vzdech, jak by všechno zbledlo, s uleknutím vzhledlo k hrstce šedých střech.
Upon the rolling fields, Upon the distant fields, Today, what beauty lies! The stalks in massed array, As high as human head, A spreading forest rise.
They rustle by the paths As heavy grain weighs down The shining waves of corn; Then as they bow in wind Among the stalks, like stars, A flash of blue is born.
In glittering brocade Each shining meadow gleams, In summer glory dressed; All smiling in its joy To feel its loveliness By sunny lips caressed.
Then like a frightened gasp, Abruptly through the plain A rippling shudder ran; As if the fields grew pale And turned in sudden fear The clustering roofs to scan.
[56] [57]
Odtud blesklo cosi— zasvitly tam kosy v jitřním pablesku, s nimi na rameně muži odměřeně vyšli na stezku.
Postavy to silné; ruce tvrdé, žilné; osmahlá je pleť; i hruď, zpráhlá žárem, režných košil spárem svítí jako měď.
Sbor ten, s krbci v pasu, došel k moři klasů, kosy sklonil v zem, nahoře pak na ně složil drsné dlaně, chvíli postál něm.
Ještě v zadumání rozhlíží se plání přes ten zlatý les, pnoucí se tu v pýše po široké líše naposledy dnes.
From there a light had flashed, The glint of scythes that pierced The dim-lit morning haze; The scythes on shoulders borne Of men that paced along Towards the trodden ways.
Powerful, sunburnt men Whose thick and hardened arms The veins stood out upon; And through the home-spun shirt Each weather-beaten chest Like burnished copper shone.
They came, with pouch on hip, And laid their scythes to ground Beside that waving sea; Then on the handle set Their hardened palms and stood A moment, silently.
Still, thoughtfully they gazed Where, sweeping through the plains, That golden forest lay; Across the broad expanse Exulting in its pride On this, its final day.
# A Dictionary of Music and Musicians/Nau, Maria

From volume 2 of the work.
​NAU, Maria Dolores Benedicta Josefina, was born of Spanish parents at New York, March 18, 1818. Having entered the Conservatoire at Paris, July 23, 1832, she became a pupil of Mme. Damoreau-Cinti, and soon developed a clear and flexible voice. This, with a large share of intelligence, musical feeling, and application, enabled her to take the first prize at the concours of 1834.
[ J. M. ]
# A Dictionary of Music and Musicians/National Training School for Music, The

From volume 2 of the work.
​NATIONAL TRAINING SCHOOL FOR MUSIC, THE. This institution, which had been projected and discussed since 1854, and the idea of which had emanated from the late Prince Consort, was not founded until 1873, when a plot of ground was granted, free of cost, by Her Majesty's Commissioners for the Exhibition of 1851, on their estate at South Kensington, and the present building was begun at the cost of C. J. Freake, Esq., who presented it to the country on its completion in 1875. In that year (June 15) the matter was fully discussed at a meeting convened by the Prince of Wales at Marlborough House, and the first scholarships were promised. The building, on the west side of the Albert Hall, was designed by Lieut. H. H. Cole, R.E., in the English style of the 17th century, with panels decorated with sgraffito. In 1876, fifty scholarships having been established, and upwards of twenty more promised, the School was opened for study. The ultimate number of scholarships is to be 300, of the value of £40 a year each, for five years.
[ J. A. F. M. ]
# A Dictionary of Music and Musicians/Navoigille

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

From volume 2 of the work.
​NEAPOLITAN SIXTH is the name by which a chord consisting of a minor sixth and minor third on the subdominant has long been known; as (a) in the key of C minor
Bach, Violin Sonata, No. 4.
[ C. H. H. P. ]
# A Dictionary of Music and Musicians/National Concerts

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

From volume 2 of the work.
​NATURAL. A word formerly applied to the scale of C major, which was called 'the natural scale' because it has no accidentals. It thus became used for the sign (♮) which cancels a preceding sharp or flat, whether used as a chromatic accidental or occurring in the signature. In other words, when the use of a sharp or flat ​has indicated that the note a semitone above or below that in the diatonic series of C major is to be taken, the introduction of a Natural indicates that the unaltered note is to be resumed; and hence a naturalised note is always a white key on the pianoforte or organ, unless it be combined with a sharp or flat, as ♮♯ or ♮♭, to cancel a chromatic double-sharp or double-flat, and indicate the corresponding note of the diatonic series indicated by the existing signature.
[ C. H. H. P. ]
# A Dictionary of Music and Musicians/Nava, Gaetano

From volume 2 of the work.
[ B. T. ]
# A Dictionary of Music and Musicians/Naudin, Emilio

From volume 2 of the work.
​NAUDIN, Emilio, born at Parma Oct. 23, 1823, was taught singing by Giacomo Panizza of Milan, made his début at Cremona in Pacini's 'Saffo,' and afterwards sang at the principal theatres of Italy, at Vienna and St. Petersburg. He made his first appearance in England June 2, 1858, at Drury Lane, as the Duke in 'Rigoletto,' and remained for the season, playing Edgardo, Ernesto, and Arturo, and singing in concerts. In the winter he went to Madrid, and passed two seasons there, playing at Turin in the summer of 1859.
Sig. Naudin reappeared in England May 30, 1862, at Mrs. Anderson's farewell concert at Her Majesty's, and on the 3ist acted Manrico at the same theatre. On April 7, 1863, he appeared at Covent Garden as Masaniello, and remained there every season up to 1872 inclusive, except 1865, when, at the instance of Meyerbeer, he was engaged at the Académie de Musique, and created Vasco di Gama, on the production of 'L' Africaine,' April 28. During all these seasons he undertook several characters in addition to the above, viz. Don Ottavio, Raoul, Vasco, Danilowitz, Fra Diavolo, Horace de Massaréna, Carlo, etc., as well as Phœbus, on the production of Campana's 'Esmeralda,' June 14, 1870; Silvio, in Prince Poniatowski's 'Gelmina,' June 4, 1872; Don Carlos, on the production of Verdi's opera of that name in England, June 4, 1867; and was always acceptable on account of his careful singing and acting. In 1873 he sang in concerts only. In 1874 he sang at Drury Lane for the season, adding Henrique de Sandoval to his already extensive list, and in 1875 returned to Covent Garden. In the autumn of that year he played Lohengrin for the first time in the English provinces. Since then he has not appeared in England.
[ A. C. ]
# A Dictionary of Music and Musicians/Naylor, John

[ T. P. H. ]
# A Dictionary of Music and Musicians/Suriano

​SURIANO. [See Soriano, vol. iii. p. 638.]
# A Dictionary of Music and Musicians/Sul ponticello

[ G. ]
# A Dictionary of Music and Musicians/Sunderland, Mrs.

[ G. ]
# A Dictionary of Music and Musicians/Suppe, Franz von

[ G. ]