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

From volume 1 of the work.
[ A. J. H. ]
# A Chinese and English vocabulary, in the Tie-chiu dialect/Kʽun
### Kʽun.
#### 群$^{-1}$

    A flock of sheep; a company of persons; to accord.

#### 坤$^1$

    The earth; inferior; submissive.

#### 昆$^1$

    An elder brother; to take precedence; altogether.

#### 崑$^1$

    A fabulous mountain in central Asia.

#### 鯤$^1$

    The spawn of fish; a very large fish.

#### 髡$^1$

    To cut or shave off the hair; a leafless tree.

#### 囷$^2$

    A round granary; a place to collect grain.

#### 捆$^2$

    To beat and bind; to make firm; well made.

#### 梱$^2$

    The two sideposts of a door or gate; to finish; close.

#### 綑$^2$

    To tie up; bind; weave.

#### 閫$^2$

    Posts of a gate; apartments for the women.

#### 麕$^2$

    A species of deer very timid.

#### 窘$^2$

    Pressed by poverty or want; embarrassed; enfeebled.

#### 困$^{3-}$

    Fatigued; exhausted; poor; weak; to weary; repress.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Kʽwa
### Kʽwa.
#### 刳$^1$

    To cut asunder; rip open; divide; kill.

#### 胯$^1$

    The legs or thighs.

#### 袴$^1$

    Pantaloons.

#### 誇$^1$

    To boast; vaunt; large.

#### 跨$^1$

    To pass over; surpass; to stride over.

#### 挂$^{3-}$

    To suspend; hang up.

#### 掛$^{3-}$

    To suspend; hang upon; anxious.

#### 罣$^{3-}$

    An impediment; a net; to impede; fall into a net.

#### 渴$^4$

    Thirsty; anxious to obtain or effect.

#### 闊$^4$

    Open; wide; broad; distant; perverse; painful.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Kʽám
### Kʽám.
#### 堪$^1$

    To sustain; be adequate to; worthy; tolerable.

#### 龕$^1$

    To receive; contain; overcome; a temple; a niche in the wall for idols.

#### 戡$^2$

    To pierce; overcome; kill.

#### 闞$^2$

    To look with desire or expectation; to view.

#### 坎$^2$

    A pit or dangerous place; to fall into a pit; to dig a pit.

#### 砍$^2$

    To cut off, or down; to chop.

#### 勘$^{3-}$

    To investigate carefully; to try; judge; to be able for.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Kʽwak
### Kʽwak.
#### 擴$^4$

    To stretch out; enlarge; to pound; beat.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Kʽák
### Kʽák.
#### 隺$^{-4}$

    Aspiring; ardent; high toned.

#### 確$^{-4}$

    Certainly; surely; indeed; the strict truth.

#### 霍$^{-4}$

    Celerity; speed; alacrity; cheerfulness.

#### 藿$^{-4}$

    Pulse; a fragrant plant.

#### 壳$^{-4}$殼$^{-4}$

    Thin skin of anything; empty and hollow; bark; a shell.

#### 慤$^{-4}$

    Sincere; faithful; virtuous.

#### 戞$^{-4}$

    A long spear or lance; usual; ordinary; stammering.

#### 恪$^{-4}$

    Veneration and respect; commanding respect.

#### 麯$^{-4}$

    A ferment for making spirits.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Kʽwang
### Kʽwang.
#### 狂$^{-1}$

    Mad; foolish; ambitious; insanity.

#### 煢$^{-1}$

    Desolate; alone; sorrowful; having none to depend on.

#### 瓊$^{-1}$

    A flesh colored gem; a beautiful stone.

#### 傾$^{-1}$

    Indirect; sideways; aslant; overturned; thrown down.

#### 耾$^1$

    Deaf; a noise in the ear; a great noise.

#### 肱$^1$

    The upper part of the arm; name of a country.

#### 眶$^1$

    The eye ball; margin of the eye.

#### 頃$^2$

    A moment; short time; timid.

#### 况$^{3-}$

    More; further; still more.

#### 貺$^{3-}$

    To confer upon; bestow; give to.

#### 誑$^{3-}$

    Levity of speech; to seduce by lying speeches.

#### 壙$^{3-}$

    A cave; grave; a desolate wilderness; extensive region.

#### 曠$^{3-}$

    Clear; bright; empty; vacant; distant; of long duration.

#### 矌$^{3-}$

    A colorless; lifeless eye; to stare; gaze.

#### 纊$^{3-}$

    Raw silk; silk in a confused state, not formed into threads.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Kʽui
### Kʽui.
#### 撅$^{-1}$

    To lift up the garments when fording water.

#### 蹶$^{-1}$

    To walk fast; speedy motion; stumble; to step.

#### 揆$^{-1}$

    To guess; conjecture; to examine; conclude.

#### 暌$^{-1}$

    In opposition to; over against; distant.

#### 睽$^{-1}$

    To stare; look with displeasure; cast down.

#### 葵$^{-1}$

    The malva or mallows; a variety of the hibiscus.

#### 騤$^{-1}$

    A majestic horse; strong; violent; indefatigable.

#### 馗$^{-1}$逵$^{-1}$

    The cheek or jaw bones; a road diverging in nine direction.

#### 虧$^1$

    Failure; deficiency; diminution; to injure; give trouble.

#### 開$^1$

    To open; unfold; spread open.

#### 宄$^2$

    Traitorous plots formed by external banditti.

#### 軌$^2$

    The rut of a wheel; a law; rule.

#### 詭$^2$

    To reprimand; to deceive; impose upon; perverse.

#### 晷$^2$

    A dial; a gnomon to show the sun's declination.

#### 簋$^2$

    A square vessel to contain grain used in sacrifice.

#### 愧$^{-4}$

    Shame; ashamed; abashen.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Kʽwai
### Kʽwai.
#### 快$^{3-}$

    Flow of soul; joy; cheerfulness; speed.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Kʽwan
### Kʽwan.
#### 權$^{-1}$

    Power; authority; circumstances which influence on.

#### 寛$^1$

    Broad; large; easy; generous; forgiving; to enlarge.

#### 圈$^1$

    A coop or pen; a prison; a small circle; to encircle.

#### 款$^2$欵$^2$

    Sincerely; affectionate; singleness of intention; to seek.
# A Chinese and English vocabulary, in the Tie-chiu dialect/Kʽut
### Kʽut.
#### 屈$^4$

    Bent; to stoop; to submit; to cause to stoop; to oppress.

#### 堀$^4$

    A den; a cavern.

#### 窟$^4$

    A cavern dug for a dwelling; a hole in the ground.
# A Dictionary of Music and Musicians/Regondi, Giulio

From volume 3 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Rehearsal

From volume 3 of the work.
​REHEARSAL (Fr. Repetition, Ger. Probe). In the case of Concerts, a performance preliminary to the public one, at which each piece included in the programme is played through at least once, if in MS. to detect the errors inevitable in the parts, and in any case to study the work and discover how best to bring out the intentions of the composer, and to ensure a perfect ensemble on the part of the performers. In England, owing to many reasons, but principally to the over-occupation of the players, sufficient rehearsals are seldom given to orchestral works. The old rule of the Philharmonic Society (now happily to be altered) was to have one rehearsal on Saturday morning for the performance on Monday evening, and this perhaps set the example. Unless the music is familiar to the players this is not enough. No new works can be efficiently performed with less than two rehearsals; and in the case of large, intricate, and vocal works, many more are requisite. We have it on record that Beethoven's E♭ Quartet, op. 127, was rehearsed seventeen times before its first performance; the players therefore must have arrived at that state of familiarity and certainty which a solo player attains with a concerto or sonata.
An ingenious method of adding to the attraction of a series of concerts has been sometimes adopted in England of late years by making the rehearsals public; but a rehearsal in face of a large well-dressed audience, unless the conductor and performers are above ordinary human weaknesses, is no rehearsal in the true sense of the word, and can be of little or no avail for the efficient performance of the music.
[ G. ]
# A Dictionary of Music and Musicians/Reinagle, Joseph

From volume 3 of the work.
​REINAGLE, Joseph, son of a German musician resident in England, was born at Portsmouth. He was successively trumpeter and horn-player, violoncellist, violinist, and violoncellist again, and a very able performer. About 1785 he visited Dublin, where he remained two years. Returning to London he obtained a prominent position in the best orchestras, and was principal cello at Salomon's concerts when directed by Haydn. He afterwards settled at Oxford. He composed violin concertos, violoncello concertos, string quartets, duets and trios for violin and pianoforte, etc., and was author of 'A Treatise on the Violoncello.'
His younger brother, Hugh, an eminent violoncellist, died at an early age at Lisbon, where he had gone for the benefit of his health.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Reine Topaze, La

From volume 3 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Reichardt, Alexander

From volume 3 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Reicher, Hedwig

​REICHER, Hedwig, née Kindermann, the daughter of the celebrated baritone, was born July 15, 1853, at Munich. She was taught the piano first by her mother, and at the School of Music, but abandoned the same in favour of singing, on the advice of Franz Wüllner. She received her vocal instruction from her father, and made her début at the Munich Opera as one of the boys in the 'Meistersinger,' and next played small parts in the opera, drama, and ballet, besides singing in the chorus, so as to gain experience. She sang the alto part in Franz Lachner's Requiem at Leipzig in 1871 with such success that she became engaged at Carlsruhe. She played 'as guest' at Berlin as Pamina, June 5, and Agatha, June 9, 1874; she then returned to Munich, and sang Daniel in Handel's 'Belshazzar,' April 14, 1875. Soon after she married Emanuel Reicher, an actor at the Gärtnerplatz theatre, and for a time sang there in opera bouffe, but returned to opera and played Grimgerde in the 1st Cycle, and Erda in the 2nd Cycle at Bayreuth in 1876. She next played at Hamburg, Vienna (where she appeared as Leah on the production of Rubinstein's 'Maccabees'), and again at Munich. Having received instruction for the purpose from Faure and Jules Cohen at Paris, she played in French at Monte Carlo in 1880 with such success that she received an offer to sing at La Scala, Milan, but declined it in favour of an engagement at Leipzig under Neumann, where she made her début as Fidelio May 12, 1880. She became a great favourite, and remained there until 1882. She played on tour with Neumann as Brünnhilde in the 'Trilogy' in London, Berlin, and other German towns, and finally at Trieste, where she died June 2, 1883.
[ A. C. ]
* ↑ Kindermann, August, born Feb. 6, 1816, at Berlin, began his career at the opera as a chorus singer, received instruction from Meyer, and played both bass and baritone parts at Leipzig in 1839–1846, since when he has been engaged at Munich, where he obtained a life engagement, and has always been there a great favourite, being a very versatile artist. He celebrated his 25th anniversary of his engagement there on June 15, 1871, as Figaro in 'Nozze,' the Cherubino being his elder daughter Marie, then engaged at Cassel. He played Titurel (Parsifal) at Bayreuth in 1882; and on Sept. 9, 1886, he celebrated the jubilee of his career, and the 40th year of his engagement at Munich, playing the part of Stadinger in Lortzing's Waffenschmied.'
* ↑ Athenæum, May 20, 1882.
# A Dictionary of Music and Musicians/Reid Concerts

From volume 3 of the work.
​REID CONCERTS. These concerts have not reached their present high position without vicissitudes almost as unfortunate as those to which the Reid Professorship was subjected. The earliest under Professors Thomson and Bishop, considering the then musical taste of Scotland, were not unworthy of General Reid's munificent bequest. The £200 allowed out of the Reid Fund was wholly inadequate to the cost of a grand concert 400 miles from London. The Senate therefore decided that, besides this grant, all the tickets should be sold, and that the proceeds should assist Professor Thomson in giving a fine concert; and the following note was printed in the first Reid Concert Book in 1841:—'The Professors desire it to be understood that the whole of these sums'—i.e. the grant and the proceeds—'is to be expended on the concert; and that in order to apply as large a fund as possible for the purpose, they have not reserved any right of entry for their families or friends.'
This system was continued by Sir H. R. Bishop, and in 1842 and 43 the sale of tickets enabled him to give concerts which were at least creditable for the time and place.
Upon Professor Donaldson's accession, a plan was initiated by him which proved most unfortunate. He altered the system of admission by payment to that of invitation to the whole audience; and in consequence the Reid Concerts began to decline, and became an annual source of vexation to the University, public, and Professor. The grant, which under legal pressure afterwards seems to have been raised to £300, was then only £200, and therefore not only was it impossible to give an adequate concert without loss, but the distribution of free tickets naturally caused jealousies and heartburnings to 'town and gown,' and the Reid Concert became a byword and the hall in which it was held a bear-garden. Matters seem to have culminated in 1865, when a large number of students, who thought that they had a right of entry, broke into the concert-hall.
Such was the state of matters on Professor Oakeley's appointment in 1865. Finding it impossible after twenty years to return to the original system of Thomson and Bishop, he made a compromise, by giving free admissions to the Professors, the University Court, the students in their fourth year at college, and a few leading musicians in the city, and admitting the rest of the audience by payment. From this date a new era dawned on the Reid Concerts; the university and the city were satisfied, and the standard of performance at once rose.
In 1867 a practical beginning was made, by the engagement of Mr. Manns and a few of the Crystal Palace orchestra, with very good results.
[ G. ]
# A Dictionary of Music and Musicians/Ghazel

From volume 1 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Giordani

From volume 1 of the work.
​GIORDANI. An Italian musical family of the 18th century, consisting of a father, three sisters, and two brothers, who played little comic operas in one of the Neapolitan theatres till 1762 [App. p.647 "1753"], when the whole troupe migrated to London [App. p.647 "with the singer Lini"], with the exception of the younger brother, Giuseppe, then but nine, who remained behind to learn composition in the Conservatorio di Loreto, where he had Cimarosa and Zingarelli for his fellow students. The Giordani family came out at the Haymarket Theatre, and made a great success. In 1772 they were joined by their brother, who had by that time obtained the sobriquet of Giordanello, and who became composer to the troupe. His best-known opera was 'Il Baccio,' [App. p.647 "Bacio"] which seems to have kept the boards from 1774 to 79. In addition to composing he was much in vogue as a teacher, and Fétis gives a list of 6 P.F. quintets, 3 ditto quartets, 12 ditto trios, 6 string quartets, 3 Concertos for Viol and Orchestra, besides preludes, sonatas, and lessons for the harpsichord, all which he published in London between 1776 and 1782. In the latter year he returned to Italy, and remained there for 10 years, producing in that time no less than 24 operas and oratorios, besides other compositions for the chamber, some published in London and some in Berlin. He died at Lisbon in May 94, having gone there to conduct the Italian Opera.
[ G. ]
# A Dictionary of Music and Musicians/Gewandhaus Concerts

From volume 1 of the work.
​GEWANDHAUS CONCERTS. So called from their being held in the Hall of the Gewandhaus, the ancient armoury of the city of Leipzig. They date from the time when Bach was Cantor of the Thomas-schule (1723–50), and the original title was 'das grosse Concert.' The first performances were held in a private house in 1743; the conductor was Doles, afterwards Cantor of the Thomas-schule (1756–89), and the orchestra consisted of 16 performers. They were interrupted by the Seven Years War, but resumed on its termination in 1763, under the direction of J. A. Hiller, who conducted them at his own risk, and gave them the title of 'Liebhaberconcerte.' The orchestra was increased to 30, and regular performances held down to Easter 1778. After a pause of three years the concerts were resumed, and located in the Gewandhaus, to which a hall for balls and concerts had lately been added. ​The credit of this change is due to Burgermeister Karl Wilhelm Müller, who has a right to be considered as the founder of the institution in its present form. He and eleven of his friends constituted themselves a board of directors, appointed J. A. Hiller as conductor, and opened a subscription list for 24 concerts. The first concert in the new rooms took place on Sept. 29, 1781; the first regular subscription concert on Nov. 25. At present there are 20 winter-concerts and 2 benefit-concerts, one for the orchestra pension-fund, the other for the poor. The programmes are miscellaneous orchestral pieces, instrumental and vocal solos, and choruses. Since 1809 eight soirées devoted to chamber-music have also been given. The orchestra now numbers about 70 performers; Karl Reinecke is the conductor; and there are 12 directors. The most brilliant period of the Gewandhaus Concerts was during Mendelssohn's conductorship.
[ C. F. P. ]
# A Dictionary of Music and Musicians/Gigelira

​GIGELIRA. See Strohfiedel.
# A Dictionary of Music and Musicians/Giles, Nathaniel

From volume 1 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Gheyn, van den

From volume 1 of the work.
​GHEYN, VAN DEN. A Flemish family of bell founders, who originally belonged to the town of Malines, and afterwards spread to Saint Trond, Tirlemont, Nivelles, and Louvain. Their names are found on bells in the chimes of Malines and Louvain with various dates ranging from 1516 to 1757, that of the second great bell of the church of St. Rombaud at Malines. The present representative of the house is André Louis van Aerschot, ainé, Rue de Namur, Louvain.
The ornament of the family, Matthias van den Gheyn, son of André Francois, was born April 7, 1721, at Tirlemont, removed to Louvain, was appointed organist of the church of St. Peter 1741, and on July 1, 1745, became by public competition carilloneur to the town of Louvain, which two posts he retained till his death, June 32, 1785. As carilloneur his duties were to play on all market days, fête days, and other public occasions, to keep the chimes in tune and to set fresh tunes for hours and half-hours on the drum of the carillon, whenever so required by the authorities; for this the salary was 100 'pattacons' a year. For private festivities extra fees were paid. His habit was, in addition to his regular duties, to extemporise on the carillon for half an hour every Sunday. Matthias married Feb. 24, 1745, and had seventeen children, one of whom, Josse Thomas (born 1752), succeeded him as organist after his death.
[ G. ]
# A Dictionary of Music and Musicians/Gilmore, Patrick

[ F. H. J. ]
# A Dictionary of Music and Musicians/Gigue

From volume 1 of the work.
​GIGUE or GIGA is an old Italian dance which derives its name (or vice versa) from the Giga, Gigue, Geige, or early fiddle. It was written indiscriminately in 3-8, 6-8, 3-4, 6-4, and 12-8 time, and was in two strains or sections, each of which was repeated. The time was lively, and it was usually employed to finish up a Suite. A good example is that which winds up No. 8 of Corelli's 12 solos.
Bach also employs them to close his Suites, and has left an immense variety, not a few of which are in common time, as well as 9-16 and 12-16. The well-known one in the Partita in B♭ is in 4-4, and that in the last Partita of the same set in 8-4. Handel's 16 Suites contain 13 Gigues, one of which fills 6½ pages. Mozart has left a very fine little specimen (Köchel 574) which he wrote in an album at Leipsic after a surfeit of Bach.
English Jigs seem to have no special characteristics. The word came to be synonymous with any light irreverent rhythm, giving the point to Pope's line
    'Make the soul dance upon a jig to heaven.'
[ G. ]
# A Cyclopaedia of Female Biography/Ebba, Saint

Layout 2
EBBA, SAINT,
This lady, whose piety earned for her the honour of canonization, was the wife of Cwichelme, King of Wessex, on whose death she remained some time at the court of her brother Oswald, King of Northumberland, who, we are told, was much guided by her pious counsels. She afterwards founded the celebrated monastery of Coldingham in the Marshes, below Berwick-on-Tweed, in Scotland, which establishment she governed as abbess until her death, which took place at an advanced age, and, as some say, under peculiarly distressing circumstances. The Danes having ravaged the country with fire and sword, were approaching Coldingham, when Ebba persuaded her nuns to disfigure themselves by cutting off their noses and upper lips, that they might be preserved from the brutality of the soldiery. Her example was followed by all the sisterhood. The barbarians, enraged at finding them in this state, set fire to the monastery, and consumed the inmates in the flames.
The history of Ebba is much connected with the public events of her time, proving the influence she maintained by her own excellent conduct. At one period she presided over Camwode Abbey, or as it was sometimes called "The Convent of Ebba." Here St. Etheldreda, then queen, having received her husband's permission, professed herself a nun, receiving the veil from the hands of the Abbess. A. D. 683, is the year in which this exalted woman is said to have died.
# A Cyclopaedia of Female Biography/Durand, Catharine

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DURAND, CATHARINE.
A French poetess, married a man by the name of Bedacien, and died in 1736. She kept the name of Durand because she had begun to write under it. She published several romances, comedies, in prose and verse, and some poetry. An "Ode a la Louange de Louis the Fourteenth," gained the prize for poetry at the French Academy, in 1701; its chief merit, that which obtained the prize, was doubtless the homage the author rendered the Grand Monarque.
# A Cyclopaedia of Female Biography/Dyer, Mary

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DYER, MARY,
Was the wife of William Dyer, who removed from Massachusetts to Rhode Island in 1638. Having been sentenced to execution for "rebellious sedition, and obtruding herself after banishment upon pain of death," she was reprieved at the request of her son, on condition that she departed in forty-eight hours, and did not return. She returned, and was executed June 1st., 1660. She was a Quakeress, and, in the estimation of her friends, a martyr.
# A Cyclopaedia of Female Biography/Dumont, Madame

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DUMONT, MADAME,
Was born in Paris, in the eighteenth century. She was the daughter of M. Lutel, an officer in the household of the Duke of Orleans, then regent. She was celebrated for her poetical talents, and she published a collection of fugitive pieces, translations of Horace, fables, songs, etc.
# A Cyclopaedia of Female Biography/Duras, Duchess of

Layout 2
DURAS, DUCHESS OF.
A modern French authoress, best known from her novel "Aurika." She was the daughter of a Captain in the navy. Count Corsain. During the French revolution, in 1793, she left France and came with her father to England. There she married the refugee Duke Duras, a firm royalist. In the year 1800, she returned with her husband to France, where she made the acquaintance of Madame de Staël, and commenced her labours in a literary circle, composed of the greatest minds of the country. When Louis the Eighteenth returned to France, he called her husband to his court, and gave him a place near his person. The duchess, although now a great favourite at court, devoted much of her time to a school which she established, and in superintending several benevolent societies of which she was an active member. Her novel "Aurika," in which she attacks, in a firm but gentle way, the prejudices of the nobility of birth, made quite a sensation, and was translated in several countries. Her next work "Edward," was not quite equal to the first. She died in the year 1828.