OpenLLM-France/wikimedia huggingface dataset:
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Smith (Ralph)

​SMITH (RALPH), bookseller in London; [Blue] Bible in Cornhil [near the Royal Exchange], 1642-60. Took up his freedom May 6th, 1639. [Arber, iii. 688.] One of the publishers of the Directory for Publick Worship, 1644. A list of books published by him in 1655, all of them theological, is printed at the end of W. Spurstowe's Wel's of Salvation, 1655. Another list of twenty books occurs at the end of David Dickson's Brief Explication of the first Fifty Psalms, 1653.
# A Cyclopaedia of Female Biography/Warwick, Mary, Countess of

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WARWICK, MARY, COUNTESS OF,
Was the thirteenth of the fifteen children of the great Earl of Cork, founder of the illustrious house of Boyle. Mary married Charles, Earl of Warwick, whom she survived five years. Prom her liberality to the poor, her husband was said to have left his estate to charitable uses. The fame of her hospitality and benevolence, advanced the rent of the houses in her neighbourhood, where she was the common arbitress of all differences. Her awards, by the judgment and sagacity they displayed, prevented many lawsuits. She died April, 1678.
# A Cyclopaedia of Female Biography/Viot, Marie Anne Henriette

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VIOT, MARIE ANNE HENRIETTE,
A native of Dresden, Prussia, was distinguished for her wit, learning, and the versatility of her genius. Her father, M. de l'Estrang, removed to France when she was a child. At the age of twelve she married d'Antremont, who left her a widow in four I years. She then married de Bourdic, of Nismes. After his decease she again married; her third husband was M. Viot, commissary of the Intêrieures at Barcelona, Madame Viot was honoured with a seat in the academy of Nismes, and read, on her admission, an ​eulogy on her favourite, Montaigne. She wrote an "Ode to Silence," "The Summer," "Fauvette," a romance, "La Foret de Brama," an opera, etc. This excellent and accomplished lady died near Bagnols, in 1802, aged fifty-six.
# A Cyclopaedia of Female Biography/Walters, Henrietta

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WALTERS, HENRIETTA,
An artist, was born at Amsterdam, in 1692. She was first instructed by her father, Theodore Van Pee, but afterwards by the "best artists in the city. After copying some of the works of Christopher Le Blond, she became desirous of having him for an instructor, which favour, with great difficulty, she obtained; his compliance being almost entirely owing to the extraordinary talents he discovered in her. In the manner of Le Blond, she painted portraits in small; and copied a portrait and a St. Sebastian, after Vandyck, which exceedingly advanced her reputation, as her copies resembled the originals to an astonishing degree.
She gradually rose to such a reputation, that Peter the Great of Russia offered her a large pension, to engage her in his service at St. Petersburg; but no inducements were sufficient to make her leave her own country, where she was so highly esteemed. The czar sat to her for his picture, but he had not patience to have it finished, as she usually required twenty sittings, of two hours each, for every portrait. She was afterwards honoured with a visit from the King of Prussia, who solicited her to reside at his court; but his generous proposal was also rejected. She died at Amsterdam, in 1741, aged forty-nine years.
# A Cyclopaedia of Female Biography/Warren, Mercy

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WARREN, MERCY,
One of the first American female poets, and a historian who still holds a high place among the writers of her day, was born in Barnstable, in the old colony of Plymouth, in 1728. She was the daughter of Colonel James Otis, and received her instruction principally from the Rev. Jonathan Russel, the clergyman of the village, as schools were then almost unknown. About 1754, Miss Otis married James Warren, a merchant of Plymouth, who encouraged ​her in literary pursuits. She entered warmly into the contrast between England and America, and corresponded with Samuel and John Adams, Jefferson, Dickinson, Gerry, Knox, and many other leading men of the time; these often consulted her, and acknowledged the soundness of her judgment, on many of the important events before and after the war. Mrs. Warren often changed her residence during the war, but always retained her habits of hospitality. She wrote two tragedies, "The Sack of Rome," and "The Ladies of Castile," many of her other poems, and a satire called "The Group," to alleviate the pangs of suspense, while her Meads were actively engaged, during the revolution. She was particularly celebrated for her knowledge of history; and Rochefoacanld, in his "Travels in the United States," speaks of her extensive reading. Mrs. Warren died October 19th., 1814, in the eighty-seventh year of her age. Her writings were published in 1805, under the title of "The History of the Rise, Progress, and Termination of the American Revolution, interspersed with Biographical, Political, and Moral Observations," in three volumes. This work she dedicated to Washington; and it is now considered valuable as a record of the events and feelings of those revolutionary times.
# A Cyclopaedia of Female Biography/Washington, Martha

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WASHINGTON, MARTHA,
Wife of General George Washington, was born in the county of New Kent, Virginia, in May, 1782. Her maiden name was Martha Dandridge; at the age of seventeen, she married Colonel Daniel Parke Custis, of the White House, county of New Kent, by whom he had four children: a girl, who died in infancy; a son named Daniel, whose early death is supposed to have hastened his father's; Martha, who arrived at womanhood, and died in 1770; and John, who perished in the service of his country, at the siege of Yorktown, aged twenty-seven.
Mrs. Custis was left a young and very wealthy widow, and managed the extensive landed and pecuniary concerns of the estates with surprising ability. In 1759, she was married to George Washington, then a colonel in the colonial service, and soon after, they removed permanently to Mount Vernon, on the Potomac. Upon the election of her husband to the command-in-chief of the armies of his country. Mrs. or Lady Washington, as she was generally called, accompanied the general to the lines before Boston, and witnessed its siege and evacuation; and was always constant in her attendance on her husband, when it was possible. After General Washington's election to the presidency of the United States, in 1787, Mrs. Washington performed the duties belonging to the wife of a man in that high station, with great dignity and ease; and on the retirement of Washington, she still continued her unbounded hospitality. The decease of her venerated husband, who died December 14th., 1799, was the shock from which she never recovered, though she bore the heavy sorrow with the most exemplary resignation. She was kneeling at the foot of his bed when he expired, and when she found he was gone, she said, in a calm voice, "Tis well; all is now over; I shall soon follow him; I have no more trials to pass through." Her children were all deceased—her earthly treasures were withdrawn; but she held firm her trust in the Divine Mercy which had ordered her lot. For more than half a century, she had been accustomed to passing an hour every morning alone in her chamber, engaged in reading the Bible and in prayer. She survived her husband a little over two years, dying at Mount Vernon, aged seventy.
In person Mrs. Washington was well formed, though somewhat below the middle size. A portrait, taken previous to her marriage, shows that she must have been very handsome in her youth; and she retained a comeliness of countenance, as well as a dignified grace of manner, during life. In her home she was the presiding genius that kept action and order in perfect harmony; a wife in whom the heart of her husband could safely trust.
# A Cyclopaedia of Female Biography/Wagner, Johanna

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WAGNER, JOHANNA,.
Niece to Richard Wagner, the chapel-master at Dresden, whom Liszt has pronounced to be the greatest composer of the age. and the child of parents who had a reputation as teachers of singing, this accomplished vocalist seems to have inherited the voice and "faculty divine." As a child she was remarkable for her declamatory powers, representing on the stage the good spirits in fair spectacles and the like. At the age of fifteen she made a successful debut at the theatre of Ballenstadt as Abigal in the comic piece, "Le Verre d'Eau;" she subsequently appeared as Preciosa and Esmeralda, and as Cordelia in "King Lear," made quite a sensation. All this seemed to mark her future career as that of the tragic actress, but the daily increasing powers and compass of her voice induced her to desert the legitimate drama for the opera. After performing the part of Caterina in Halfèvy's "Reine de Chypre," she went to Paris and placed herself under the instruction of Manuel Garcia. After this she went to Dresden, and had a five years' engagement at the theatre, attaining great fame by her performance of Weber's "Agatha," Beethoven's "Fidelio," etc; but the character which she made peculiarly her own, and associated her name throughout Germany, was that of Fides in Meyerbeer's "Prophete," which she first performed at Hamburg. She afterwards sung in Vienna and Berlin with such signal success, that the Royal Intendant of the Opera House of the latter place was glad to engage her for ten years as prima donna, at a salary far exceeding that which had been before paid to any German artiste.
In April, 1861, Mademoiselle Wagner made her debut before an English audience, the character was that of Fides, the place—the Royal Italian Opera; her name had also been announced on the bills of Her Majesty's Theatre, she having, it is said, come to tins country with two engagements. Her reception was enthusiastic, her success decided, her performance justifying the praise of the eloquent critic Bellstab, of Berlin, who said. "In passion she is a Medusan, in imperious command a Juno, in pathos a Niobe."
# A Cyclopaedia of Female Biography/Wakefield, Priscilla

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WAKEFIELD, PRISCILLA,
An Englishwoman, well known for the useful and ingenious works ​she has written for the instruction of youth. She is said to be the original promoter of banks for the savings of the poor, which are now so general. Some of her works are, "Juvenile Improvement," "Leisure Hours," "An Introduction to Botany," "Mental Improvement," "Reflections on the Present Condition of the Female Sex, with Hints for its Improvement," "A Familiar Tour through the British Empire," "Excursions in North America," "Sketches of Human Manners," "Variety," "Perambulations in London," "Instinct Displayed," "The Traveller in Africa," "Introduction to the Knowledge of Jnsects," and "The Traveller in Asia." Mrs. Wakefield was one of those useful writers, whose talents, devoted to the cause of education, have been a moral blessing to the youth of England. Her first work was published in 1795, her last in 1817; thus, for more than twenty years, she kept her post in the cause of improvement.
# A Cyclopaedia of Female Biography/Ware, Katharine Augusta

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WARE, KATHARINE AUGUSTA,
Daughter of Dr. Rhodes, of Quincy, Massachusetts, was born in 1797. In 1819, she married Charles A. Ware, of the navy. She is principally known as a poetical contributor to periodicals. She also edited, for a year or two, a magazine called "The Bower of Taste," published at Boston. She came to Europe, in 1839, and died at Paris, in 1843. A collection of her poems was published in London, not long before her death.
# A Cyclopaedia of Female Biography/Virmeiro, Countess

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VIRMEIRO, COUNTESS,.
A noble Portuguese lady, obtained, in 1771, a prize proposed by the Academy at Lisbon for the best tragedy; and the laurel-crown was awarded to her. The title of her tragedy was "Osmia." On opening the sealed envelope accompanying the manuscript, there was found only a direction, in case "Osmia" should prove successful, to devote the proceeds to the cultivation of olive, a fruit from which the Portuguese might derive much advantage. It was not till ten years afterwards that the name of the modest writer was known. She died in 1773.
# A Dictionary of Music and Musicians/Knyvett, Charles

From volume 2 of the work.
​KNYVETT, Charles, descended from an ancient Norfolk family, was one of the principal alto singers at the Commemoration of Handel in 1784; he was also engaged at the Concert of Ancient Music. He was appointed a gentleman of the Chapel Royal, Nov. 6, 1786. In 1791 he, in conjunction with Samuel Harrison, established the Vocal Concerts, which they carried on until 1794. On July 25, 1796, he was appointed an organist of the Chapel Royal, and a few years later resigned his former post. He died in 1822.
His elder son, Charles, was born 1773. He was placed for singing under Mr. (afterwards Sir) William Parsons, and for the organ and piano under Samuel Webbe. In 1801 he joined his younger brother William, Greatorex, and Bartleman, in reviving the Vocal Concerts. In 1802 he was chosen organist of St. George's, Hanover Square. Besides this he taught the pianoforte and thorough bass, and published a Selection of Psalm Tunes, 1823. He died, after many years of retirement, Nov. 2, 1852.
William, the younger son of Charles the elder, was born April 11, 1779. In 1788 he sang in the treble chorus at the Concert of Ancient Music, and in 1795 appeared there as principal alto. In 1797 he was appointed gentleman of the Chapel Royal, and soon afterwards a lay-vicar of Westminster. In 1802 he succeeded Dr. Arnold as one of the composers of the Chapel Royal. For upwards of 40 years he was principal alto at the best London concerts and all the provincial festivals, being greatly admired for the beauty of his voice and his finished style of singing, particularly in part music. Callcott's glee 'With sighs, sweet rose,' was composed expressly for him. In 1832 he became conductor of the Concert of Ancient Music, which office he resigned in 1840. He conducted the Birmingham Festivals from 1834 to 1843, and the York Festival of 1835. He was the composer of several pleasing glees—one of which, 'When the fair rose,' gained a prize at the Harmonic Society in 1800—and some songs, and wrote anthems for the coronations of George IV. and Queen Victoria. He died Nov. 17, 1856.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Kollmann, August

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

From volume 2 of the work.
[ C. F. P. ]
* ↑ This is the date in the baptismal register, but 1751, or 49, are usually given.
* ↑ Mozart also played with the Krafts his Trio In E (Köchel 542); see Nohl's 'Mozart-Briefe,' No. 251. N.B. No. 246 is wrong.
* ↑ Vol. i. p. 147; see also Thayer's ' Beethoven,' vol. ii. p. 299.
* ↑ For an anecdote on this point see 'Josef Haydn,' by C. F. Pohl vol. i. p. 282.
* ↑ See Thayer's 'Beethoven,' vol. ii. p. 278.
# A Dictionary of Music and Musicians/Kotzwara, Franz

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

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/Koželuch, Johann Anton

From volume 2 of the work.
See also Antonín Koželuh and Leopold Koželuh at Wikipedia
​KOŽELUCH (German Kotzeluch), Johann Anton, Bohemian musician, born Dec. 13, 1738, at Wellwarn; was Choirmaster first at Rakonitz and then at Wellwarn. Desirous of further instruction he went to Prague and Vienna, where he was kindly received by Gluck and Gassmann, was appointed Choirmaster of the Kreuzherrn church, Prague; and on March 13, 1784, Capellmeister to the Cathedral, which he retained till his death on March 3, 1814. He composed church-music, operas, and oratorios, none of which have been published. Of much greater importance is his cousin and pupil,
Leopold, born also in Wellwarn in 1754, or according to some 1748. In 1765 he went to Prague for his education, and there composed a ballet, performed at the national theatre in 1771 with so much success that it was followed in the course of the next six years by 24 ballets and 3 pantomimes. In 1778 he went to Vienna, and became the pianoforte master of the Archduchess Elizabeth and favourite teacher of the aristocracy. When Mozart resigned his post at Salzburg (1781) the Archbishop at once offered it with a rise of salary to Kozeluch, who declined it on the ground that he was doing better in Vienna. To his friends however he held different language—'The Archbishop's conduct towards Mozart deterred me more than anything, for if he could let such a man as that leave him, what treatment should I have been likely to meet with?' The respect here expressed was sadly at variance with his subsequent spiteful behaviour towards Mozart, the original cause of which is said to have been Mozart's reply to his remark on a passage in a new quartet of Haydn's 'I should not have written that so.' 'Neither should I: but do you know why! because the idea would never have occurred to either of us.' This reproof Kozeluch never forgot. He used to say that the overture to 'Don Giovanni' was no doubt fine, but that it was full of faults; and of that to 'Die Zauberflöte,' 'Well! for once our good Mozart has tried to write like a learned man.' At the coronation of the Emperor Leopold II. at Prague (1791) even his own countrymen the Bohemians were 'disgusted with his behaviour to Mozart, who was in attendance as court composer. He nevertheless succeeded him in his office (1792) with a salary of 1500 gulden, and retained the post till his death on May 7, 1811 (not 1814). His numerous compositions include 2 grand operas, 'Judith' and 'Debora und Sisara'; an oratorio, 'Moses in Ægypten'; many ballets, cantatas, about 30 symphonies, and much pianoforte music, at one time well known in England, but all now forgotten. His chief interest for us lies in his association with Mozart and Haydn.
[ F. G. ]
# A Dictionary of Music and Musicians/Koch, Heinrich

[ M. ]
# A Dictionary of Music and Musicians/Kontski, de

From volume 2 of the work.
​KONTSKI, DE, a family of virtuosi, of which Charles, the eldest, born at Warsaw in 1815, appeared as a pianist in public at the age of seven, but, like the majority of prodigies, did not fulfil the promises of childhood. He made his first studies in Warsaw and continued them at Paris, where he settled as teacher, and died 1867 [App. p.692 "Aug. 27"].
Antoine, the second, born at Cracow Oct. 27, 1817, a clever pianist, with great delicacy of touch and brilliancy of execution, but a superficial musician, and composer of many 'pièces de salon,' of which the 'Reveil du Lion' (op. 115) is universally known. He has travelled a great deal and is now living in London.
Stanislas, the third brother, born in 1820, pianist and pupil of Antoine, living at Petersburg.
[ P. D. ]
# A Dictionary of Music and Musicians/Krakoviak

From volume 2 of the work.
​KRAKOVIAK, Cracoviak, or Cracovienne. A Polish dance, belonging to the district of Cracow. 'There are usually,' says an eye-witness, 'a great many couples—as many as in an English country dance. They shout while dancing, and occasionally the smart man of the party sings an impromptu couplet suited for the occasion—on birthdays, weddings, etc. The men also strike their heels together while dancing, which produces a metallic sound, as the heels are covered with iron.' The songs, which also share the name, are innumerable and, as is natural, deeply tinged with melancholy. Under the name of Cracovienne the dance was brought into the theatre about the year 1840, and was made famous by Fanny Elssler's performance. The following is the tune to which she danced it; but whether that is a real Krakoviak, or a mere imitation, the writer is unable to say:—
[ G. ]
# A Dictionary of Music and Musicians/Léocadie

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

From volume 2 of the work.
​LÄNDLER, Länderer, or Ländlerische Tanz, a national dance popular in Austria, Bavaria, Bohemia, and Styria. It probably derives its name from the Landel, a district in the valley of the Ens, where the dance is said to have had its origin; but according to some authorities the word simply means 'country dance,' i.e. a waltz danced in a country fashion. In fact the Ländler is a homely waltz, and only differs from the waltz in being danced more slowly. It is in 3-4 or 3-8 time, and consists of two parts of eight bars, each part being repeated two or more times. Like most early dances, it occasionally has a vocal accompaniment. Both Mozart (Köchel, No. 606) and Beethoven (Nottebohm's Cat. p. 150, 151) have written genuine Ländler, but the compositions under this name of Jensen, Raff, Reinecke, and other modern musicians, have little in common with the original dance. The following example is the first part of a Styrian Ländler (Köhler, Volkstänze; Brunswick, 1854).
[ W. B. S. ]
# A Dictionary of Music and Musicians/Lübeck, Charles

From volume 2 of the work.
​LÜBECK, Charles H., conductor and violinist, born Feb. 11, 1799, at Alssen, near Dusseldorf; held the post of Kapellmeister at the Hague until his death, Feb. 11, 1866. His eldest son, Ernst Heinrich, a very distinguished pianist, was born 1829, and first appeared in public at 12 years of age, when he played Beethoven's E♭ Concerto. He made a tour to the United States, Mexico and Peru, which lasted from 1849 to 1852. On his return he was made Court pianist at the Hague. In 1855 he moved to Paris, where he principally resided until driven from the city by the disturbances of the Commune, which gave a shock to his brain from which it never recovered. He became at length hopelessly insane, and died Sept. 17, 1876. He wrote only for piano. Among his compositions are the following:—Berceuse in A♭, op. 13; Tarentelle; Polonaise, op. 14; 'Trilby the Sprite, Révérie caracteristique.' The two former were chosen by him for performance at the Philharmonic Concert May 7, 1860, when he also played Mendelssohn's Concerto in G minor. In the same year he first appeared at the Musical Union. His playing was distinguished for brilliancy and technique. Berlioz says of him: 'Son talent est tout à fait extraordinaire, non seulement par un mécanisme prodigieux, mais par un style musical excellent et irreprochable. C'est la verve unie à la raison, la force unie à la souplesse; c'est brillant, pénétrant, et élastique comme une lame d'épée.'
[ J. A. F. M. ]
# A Dictionary of Music and Musicians/Léonard, Hubert

​LÉONARD, Hubert, famous violinist, born in 1819 at Bellaire in Belgium, entered the Paris Conservatoire in 1836, and studied under Habeneck. He established his reputation as a brilliant player by a tour through Germany in 1844, and was the first to play Mendelssohn's Violin Concerto in Berlin, under the immediate direction of the composer. In 1847 he succeeded de Bériot as first professor of the violin at the Brussels Conservatoire. Since 1870 he has lived in Paris. He is an eminently successful teacher, and counts among his pupils many of the best modern Belgian, German, and French violinists. Leonard is a brilliant virtuoso, excelling especially in arpeggios and staccatos.
Madame Léonard, one of the Garcia family, gained much distinction in concert singing, and is now a successful teacher of singing in Paris.