OpenLLM-France/wikimedia huggingface dataset:
# A Dictionary of Music and Musicians/Principal

From volume 3 of the work.
​PRINCIPAL. A word with various meanings.
[ J. S. ]
II. Principal or Prinzipale. A term employed in many of Handel's scores for the third trumpet part. This is not usually in unison with the first and second trumpets, which are designated as Tromba 1$^{mo}$ and 2$^{ndo}$. It is often written for in the old soprano clef with C on the lowest line, and has a range somewhat lower than the trombe. The older works on instrumentation, such as those of Schilling, Koch, Schladebach and Lichtenthal, recognise the difference and draw a distinction between 'Principal-Stimme' and 'Clarin-Stimme.' It is obvious that whereas the tromba or clarino represented the old small-bored instrument now obsolete, for which the majority of Handel's and Bach's high and difficult solos were composed, the Principal, in tone and compass, more nearly resembled the modern large-bored military trumpet. The contrast can easily be recognised by an examination of the overture to the Occasional Oratorio Arnold's edition, or that of the Dettingen Te Deum as published by the German Handel Society. In the latter the old soprano, in the former the usual treble clef, is adopted.
[ W. H. S. ]
# A Dictionary of Music and Musicians/Princess Ida

[ M. ]
# A Dictionary of Music and Musicians/Priest, Josias

From volume 3 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Prime

From volume 3 of the work.
​PRIME (Lat. Prima; Hora prima. Officium (vel Oratio) ad Horam primam). The first of the 'Lesser Hours' in the Roman Breviary.
The Office of Prime consists of the Versicle and Response, 'Deus in adjutorium'; a Hymn, 'Te lucis orto sidere,' which never changes; and three Psalms, sung under a single Antiphon. These are followed, on Sundays, by the Hymn 'Quicunque vult,' commonly called the Creed of S. Athanasius. On other occasions the Antiphon is immediately succeeded by the Capitulum and Responsorium breve. The disposition of the next division of the Office, including the Preces and the Martyrologium for the day, depends entirely upon the rank of the Festival on which it is sung. Certain Prayers are said, next in order; and the whole concludes with the Lectio brevis and the Benediction.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Primo

From volume 3 of the work.
[ J. A. F. M. ]
# A Dictionary of Music and Musicians/Preyer, Gottfried

From volume 3 of the work.
[ C. F. P. ]
# A Dictionary of Music and Musicians/Prick Song

From volume 3 of the work.
[ W. H. H.
# A Dictionary of Music and Musicians/Pring

From volume 3 of the work.
​PRING, Jacob Cubitt, Mus. Bac.; Joseph, Mus. Doc.; and Isaac, Mus. Bac., sons of James Pring, were all choristers of St. Paul's under Robert Hudson.
Jacob Cubitt Pring, born at Lewisham in 1771, was organist of St. Botolph, Aldgate. He graduated at Oxford in 1797, was the composer of several anthems, glees, and other vocal pieces, and one of the founders of the Concentores Sodales. He published a set of eight anthems. Seven glees and a catch by him are included in Warren's Collections. He died 1799.
Joseph Pring, born at Kensington, Jan. 15, 1776, was on April 1, 1793 appointed organist of Bangor Cathedral on the resignation of Olive, but not formally elected until Sept. 28, 1810. In 1805 he published 'Twenty Anthems,' and on Jan. 27, 1808 accumulated the degrees of Mus. Bac. and Mus. Doc. at Oxford. In June 1813 he and three of the vicars-choral of Bangor Cathedral presented a petition to the Court of Chancery for the proper application of certain tithes which had, by an act of Parliament passed in 1685, been appropriated for the maintenance of the cathedral choir, but had been diverted by the capitular body to other purposes. The suit lasted until 1819, when Lord Chancellor Eldon, setting at naught the express provisions of the Act, sanctioned a scheme, which indeed gave to the organist and choir increased stipends, but yet kept them considerably below the amounts they would have received if the Act had been fully carried out. Dr. Pring, in 1819, printed copies of the proceedings in the suit, and other documents, with annotations, forming a history of the transactions, which has long been a scarce book. He died at Bangor, Feb. 13, 1842.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Primer

From volume 3 of the work.
​PRIMER—from primus, first—a first or elementary book for beginners. The first of Messrs. Novello & Co's. Music Primers, edited by Dr. Stainer, was issued Aug. 1, 1877, and the following have appeared to Dec. 31, 1880:—Pianoforte (Pauer), Rudiments of Music (Cummings), Organ (Stainer), Harmonium (King Hall), Singing (Randegger), Speech in Song (Ellis), Musical Forms (Pauer), Harmony (Stainer), Counterpoint (Bridge), Fugue (Higgs), Scientific Basis of Music (Stone), Church-Choir Training (Troutbeck), Plain Song (Helmore), Instrumentation (Prout), Elements of the Beautiful in Music (Pauer), The Violin (Berthold Tours), Tonic Sol-fa (J. Curwen), Lancashire Sol-fa (Greenwood), Composition (Stainer), Musical Terms (Stainer and Barrett).
[ G. ]
# 1922 Encyclopædia Britannica/Fogazzaro, Antonio

See also Antonio Fogazzaro on Wikipedia, and the disclaimer.
​FOGAZZARO, ANTONIO (1842-1911), Italian novelist and poet (see 10.590), published in 1910 his last novel, Leila, a sequel to Il Santo. He died at Vicenza March 7 1911. Ultime, a volume of his latest writings, appeared in 1913.
A collection of records and memorials of the poet was published in two volumes in 1913-4. See also Eugenio Donadoni, Fogazzaro as Man and Writer (1913); L. Gennari, Fogazzaro (1918); and A. F. Crispoliti, Antonio Fogazzaro; Discorso commemorativo (1911).
# 1922 Encyclopædia Britannica/Fisher, Irving

See also Irving Fisher on Wikipedia, and the disclaimer.
FISHER, IRVING (1867-), American economist, was born at Saugerties, N.Y., Feb. 27 1867. He studied at Yale (A.B. 1888), Berlin, and Paris. He at first taught mathematics at Yale; but in 1895 was made assistant professor of political economy, and in 1898 professor. He was editor of the Yale Review, 1896-1910. He served as chairman of many commissions dealing with public health, prohibition, and labour. An authority on money inflation, he proposed that the purchasing power of the dollar be stabilized (see Dollar Stabilization). His plan was to replace coined gold dollars by “gold bullion dollar certificates” which should command such weight of gold bullion as might legally be declared to constitute a dollar at that particular time. The weight of this ideal gold dollar would be adjusted at intervals in accordance with its power to purchase commodities as shown by the “index number” of prices.
His writings include: Mathematical Investigations in the Theory of Value and Prices (1892); Elements of Geometry (with A. W. Phillips, 1896); A Brief Introduction to the Infinitesimal Calculus (1897); The Nature of Capital and Income (1906); The Rate of Interest (1907); National Vitality (1909); The Purchasing Power of Money (1911); Elementary Principles of Economics (1913); Why is the Dollar Shrinking? (1914) and Stabilizing the Dollar (1919).
# 1922 Encyclopædia Britannica/Forain, Jean Louis

See also Jean-Louis Forain on Wikipedia, and the disclaimer.
​FORAIN, JEAN LOUIS (1852-), French painter and illustrator (see 10.628). His cartoons and caricatures during the World War were among the most striking and vigorous in the French press. Afterwards he devoted himself rather to easel painting of a symbolical character.
# 1922 Encyclopædia Britannica/Fischer, Theobald

See also Theobald Fischer on Wikipedia, and the disclaimer.
FISCHER, THEOBALD (1846-1910), German geographer, was born at Kirchsteitz, Thuringia, Oct. 31 1846. He was educated at the universities of Heidelberg and Halle, and at first devoted himself to history. A travelling tutorship directed his attention to geography, and he visited many parts of Europe in the pursuit of this study, but especially the Mediterranean lands, including North Africa (Atlas lands). The “Mediterranean region,” perhaps the primary example now in the study of regional geography, is a conception the world owes to Fischer: his thesis for the rank of Privatdozent in the university of Bonn (1876) was entitled Beiträge zur physischen Geographie der Miltelmeerländer, and his most important publications are a collection of Mittelmeerbilder and his work on the Mediterranean peninsulas of Europe in Kirchhoff's Allgemeine Länderkunde. He held professorships of geography at Kiel (1879-1883) and at Marburg from 1883 until his death, which took place on Sept. 17 1910.
# 1922 Encyclopædia Britannica/Football

See also the disclaimer.
​FOOTBALL: see Sports and Games.
# A Dictionary of Music and Musicians/Bottée de Toulmon

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

From volume 1 of the work.
​BOUCHER, Alexandre Jean, a well-known violinist, was born at Paris in 1770 [App. p.557 "April 10"]. It is related that he played at the court when only six, and at the Concert Spirituel when eight years of age. In 1787 he went to Madrid, where he was appointed solo-violinist to the king, and associated as a quartet-player with Boccherini. In 1806 he returned to Paris, and in 1820 began to travel over Europe, exciting everywhere, if not the unconditional approbation of artists and critics, at any rate the admiration and curiosity of the general public by his extraordinary performances. In 1844 he returned to France, settled at Orleans, and died at Paris in 1861 [App. p.557 "Dec. 30"].
Possessed undoubtedly of an exceptional talent for execution, Boucher was not a little of a musical charlatan. Spohr made his personal acquaintance at Brussels in 1819, and speaks of him as follows: 'His face bore a remarkable likeness to Napoleon Bonaparte's, and he had evidently carefully studied the banished emperor's way of bearing himself, lifting his hat, taking 'snuff,' etc. (Selbstbiog. ii. 73). As soon as he came to a town where he intended giving a concert, he practised these tricks on the public walks and in the theatre, in order to attract the curiosity of the public; he even managed to spread a rumour that he was persecuted by existing governments on account of his likeness to Napoleon, because his appearance was likely to revive the sympathies of the masses for that great man. He certainly advertised a concert at Lille in these terms: 'Une malheureuse ressemblance me force de m'expatrier; je donnerai done avant de quitter ma belle patrie, un concert d'adieux,' etc. He also styled himself 'L'Alexandre des Violons.'
In his proficiency in the execution of double stops, the staccato, and other technical difficulties, he appears to have been only surpassed by Paganini, and we are assured by competent contemporary critics that he now and then played a slow movement with ravishing, if somewhat extravagant, expression. But whatever powers of execution his performances may have shown, if, as Spohr states, he altogether spoiled a quartet of Haydn by tasteless additions, we must conclude that he was but an indifferent musician. After what we know of his general character as an artist, it is not surprising to learn that he not unfrequently wound up a furious passage by intentionally upsetting the bridge of his violin as a climax, and that he used to perform quite as much by the action of the face and legs as of the bow.
[ P. D. ]
# A Dictionary of Music and Musicians/Boschetti, Signora

From volume 1 of the work.
[ J. M. ]
# A Dictionary of Music and Musicians/Bote und Bock

​BOTE UND BOCK, a firm of music publishers in Berlin, founded by Eduard Bote and Gustav Bock Jan. 27, 1838. The former retired at the beginning of 1847, leaving Gustav Bock alone in the business until his death, Apr. 27, 1863. His widow became the proprietor, and his brother, E. Bock, undertook to direct the affairs of the firm.
Among the music issued by the house, the works of Neithardt, Hoffmann, Rebeling, von Hertzberg, etc., and in particular the collection of 'Musica Sacra,' edited for the use of the Domchor, deserve mention. The latter is a compilation of the most prominent compositions a capella, by Italian, Netherlandish, and especially German masters of past time. The publishers' catalogue contains also a number of original works by the best composers, and the firm has done much to disseminate a knowledge of the masterpieces of Handel, Gluck, Bach, Haydn, Mozart, and Beethoven, by the publication of cheap editions; attention has also been given to modern operatic music, especially that of Gounod and Offenbach.
Gustav Bock established the 'Neue Berline Musikzeitung,' and succeeded in obtaining the help of all the more eminent writers on music, and in maintaining practical relations with them. In 1861 his brother Emil Bock became editor. It now appears weekly, and contains, besides a leading article on the science, theory, or history of music, numerous notices from all important towns; but in recent times its importance has become somewhat lessened.
[ A. D. ]
# A Dictionary of Music and Musicians/Bottomley, Joseph

* related portals: Joseph Bottomley.
* sister projects: Wikipedia article, Wikidata item.
From volume 1 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Boschi, Giuseppe

From volume 1 of the work.
​BOSCHI, Giuseppe, said to have been a native of Viterbo, was the most celebrated basso of the 18th century. Of his early life, his teacher, or of his first appearance, absolutely nothing is known. To Fétis his very name is unknown. Chrysander (Handel, i. 244) believes him to be the singer of the extraordinary part of Polifeme in Handel's early cantata at Naples in 1709, a portion of which was transferred to 'Rinaldo.' It is at any rate certain that on Feb. 24, 1711, he sang for the first time in London the part of Argante in that opera (Handel's first in London) at the Haymarket Theatre. It is strange enough that Argante was afterwards sung in 1717 by Berenstadt, a German alto, and in 1731 by Francesca Bertolli, a contralto. After this there is a blank in Boschi's history until Handel's return to London. In 1720 we find him again supporting with his magnificent voice the 'Radamisto' of Handel, and Buononcini's 'Astartus.' It is very probable, but not certain, that he was the original Polyphemus of 'Acis and Galatea,' performed privately at Cannons, the seat of the Duke of Chandos; there was then no other basso here capable of singing that part, and Boschi was already singing for Handel. In the same year he was in the cast of 'Muzio Scaevola,' the third act of which was Handel's, as also in those of 'Arsace' by Orlandini and Amadei, 'L'Odio e l'Amore' (anonymous), and Buononcini's 'Crispo.' On Dec. 9, 1721, he took part in the first representation of Handel's 'Floridante,' and on Jan. 12, 1723, in that of 'Ottone,' and of 'Flavio' on May 14; besides which he sang in the 'Coriolano' of Ariosti, and 'Farnace' of Buononcini, and in 1724 in Handel's 'Giulio Cesare' and 'Tamerlane,' Ariosti's 'Artaserse' and 'Vespasiano,' and Buononcini's 'Calfurnia.' From this date he sang for Handel in all the operas during 1725, 6, 7, and 8. In 1728 he sang in 'Siroe,' 'Tolomeo,' and a revival of 'Radamisto.' Then came the break-up of the company, and Boschi's name appears no more. Whether he died, or retired to his native country, he was succeeded in 1729 by J. G. Riemschneider. It was unfortunate for Boschi, with his fine voice and execution, that he appeared in Handel's early time, when the operas were written chiefly for women and evirati; when tenors were rarely employed, and the basso only recognised as a disagreeable necessity. Towards the end of this period Handel began to write more freely for basses, and some fine airs fell to the share of Boschi, such, for example, as 'Finche lo strale' in 'Floridante,' 'No, non temere' and 'Del minacciar' in 'Ottone,' 'Ta di pietà' in 'Siroe,' ​and 'Respira almen' in 'Tolomeo.' His voice was very powerful, and he could hold his own against Handel's accompaniments, which appeared very noisy to critics of those days. In a satire called 'Harlequin Horace, or the Art of Modern Poetry,' 1735, this line occurs,—
'And Boschi-like be always in a rage,'
[ J. M. ]
# A Dictionary of Music and Musicians/Bouche fermée

From volume 1 of the work.
[ W. H. C. ]
# A Dictionary of Music and Musicians/Bosio, Angiolina

From volume 1 of the work.
[ J. M. ]
# A Dictionary of Music and Musicians/Bottesini, Giovanni

​BOTTESINI, Giovanni, a very celebrated virtuoso on the double bass, also an excellent conductor and composer, was born on Dec. 24, 1822, at Crema in Lombardy. He is the son of a good musician and clarinet player of his native town, and as a boy sang in the chapel choir. He early displayed such a remarkable talent for music that at the age of eleven application was made for him to be admitted into the Conservatorio at Milan. It so happened that there was only one vacant place, and that for a contrabassist. Bottesini accordingly commenced the study of the double bass, was admitted at the Conservatoire and, it is said, before long played almost as well as he did afterwards, when his marvellous command over this unwieldy instrument excited the admiration of the whole musical world of Europe. His masters were Rossi for the double bass, Basili and Vaccai for harmony and composition. On leaving the Conservatorio he travelled with his fellow pupil Signor Arditi (then a violin player) and afterwards went to America. Eventually he accepted a lucrative engagement at the Havana as principal double bass in the orchestra, which he retained for many years. ​Here his first opera, 'Christophe Colombe,' was given in 1846.
[ T. P. H. ]
# A Dictionary of the Book of Mormon/Abish

​ABISH. A Lamanite woman of the land of Ishmael, who was a servant-maid to the queen of King Lamoni, at the time that Ammon the son of Mosiah, carried the gospel to that people. (B. C. 91). Abish herself, had been converted to the Lord ​many years previously through a remarkable vision which had been granted to her father, but of this conversion she had never spoken. When Lamoni and all his court, including Ammon, were overcome by the power of God that they fell to the earth, Abish understood by what power they were affected. In the hope of convincing the people of the divinity of Ammon's message, she joyously ran from house to house and told all she met what had happened. While she was thus engaged a multitude gathered at the palace. They viewed with many conflicting emotions the monarch, his wife, and retainers all lying as if dead, with Ammon, the Nephite, also lying in their midst. A great dispute arose, some argued for good, some for evil, and the contention would doubtless have ended in bloodshed had not Abish returned. She was greatly grieved at the turn matters had taken. In the hope of raising the queen from the ground Abish took her by the hand. No sooner did she do so than the queen revived and arose. The latter uttered many expressions of love and gratitude to the Savior and pleaded for His mercy for her subjects. She next took her husband by the hand, when he arose also, and seeing the contention he rebuked the people and began to teach them the truths of the Gospel. Here commenced the great work of conversion among the Lamanites which eventually terminated in the salvation of many thousand souls. Abish is mentioned in the book of Mormon only in connection with this incident.
# A Dictionary of the Book of Mormon/Ablon

​ABLON. A place on the Atlantic seaboard of the Northern Continent, east of the hill Cumorah. The Lord in a dream warned Omer, king of the Jaredites, to flee from his native land, at the time his kingdom was overthrown by Akish and his friends. This he did, and after a long journey settled at Ablon. Nimrah, a son of Akish, with a number of adherents, afterwards joined Omer at Ablon. After many years Omer was ​restored to his kingdom and returned to his own land.
# A Dictionary of the Book of Mormon/Agosh, Plains of

​AGOSH, PLAINS OF. A place, locality unknown, in North America, where a great battle was fought in the final war among the Jaredites. The commanders of the contending armies the Coriantumr and Lib. After a victory by were latter, in the wilderness of Akish, he pursued Coriantumr as far as the plains of Agosh, when another battle was fought in which Coriantumr was victorious and Lib was slain. Shiz, the brother of Lib, assumed command in the place of his brother and attacked and defeated Coriantumr. Probably about B. C. 600; but this is only conjectural.
# A Dictionary of the Book of Mormon/Abinadom

​ABINADOM, A Nephite prophet and historian, who lived in the third century before Christ. He received the plates of Nephi from his father, Chemish, who was a descendant of Jacob, the brother of Nephi, and at his death, which occurred in the days of the first Mosiah, his son, Amaleki took charge of them. Either he or his son, conveyed the sacred records from the land of Nephi to Zarahemla, in the great migration of the Nephites under Mosiah, but the record does not show whether he died in the land of Nephi before this movement took place or after. His record is a very short one. From it we learn that he was a warrior, and had seen many wars between the Nephites and Lamanites, and that in those wars he, with his own sword, had taken the lives of many of the enemy in the defence of his brethren. These disastrous wars were undoubtedly one of the causes that led to the removal of the righteous portion of the Nephites from Nephi to Zarahemla. Abinadom concludes his brief record with the following statement: "And I know of no revelation, save that which has been written, neither prophecy; wherefore, that which is sufficient is written. And I make an end."
# A Dictionary of the Book of Mormon/Abraham

​ABRAHAM. The father of the faithful. As in the Bible so in the Book of Mormon, God is frequently spoken of as the God of Abraham. Most of the references to Abraham in the latter book are doctrinal and but few historical; mention is however made of his paying tithes to Melchizedek.
# A Dictionary of the Book of Mormon/Adam

​ADAM. The great father of the human family. His name is mentioned about two dozen times in the Book of Mormon; almost always in connection with the creation, or with the doctrine of the fall and the atonement.
# A Dictionary of the Book of Mormon/Aha

​AHA. A Nephite military officer of the days of the republic. He was the son of Zoram and brother of Lehi. He accompanied his father and brother when they went to Alma, the younger, to inquire the will of the Lord with regard to what course the Nephite army should take in. the pursuit of the Lamanites who had destroyed the city of Ammonihah (B. C. 81). Having received the word of the Lord, Zoram and his two sons proceeded to carry it out. They followed and overtook the Lamanites in the great wilderness south of Manti and east of the upper waters of the river Sidon. Here a severe battle took place, which ended in the Lamanite forces being scattered and driven into the wilderness; while all the Nephite ​captives were delivered and taken back to their own lands.
# A Dictionary of the Book of Mormon/Ahah

​AHAH. A wicked king of the Jaredites, who reigned in the latter days of that nation. His father's name was Seth. Seth, owing to internal commotions, was brought into captivity and thus remained all his life. But Ahah obtained the kingdom, and reigned over the people until his death. He did all manner of iniquity by which he caused the shedding of much blood, but providentially his reign was a short one. He was succeeded on the throne by his son Etham.
# A Dictionary of the Book of Mormon/Ahaz

​AHAZ. The eleventh king of Judah. His name only appears in the Book of Mormon in quotations from 7th and 14th chapters of Isaiah. (II Nephi, chap. 17 and 24).
# A Dictionary of the Book of Mormon/Aiath

​AIATH. A place named by Isaiah (10:28), and quoted in II Nephi, 20:28. Possibly another name for Ai.