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

From volume 2 of the work.
​LÉONORE, OU L' AMOUR CONJUGAL, an opéra-comique in 2 acts; words by Bouilly, music by Gaveaux. Produced at the Opéra Comique Feb. 19, 1798. The book was translated into Italian, composed by Paer, and produced at Dresden Oct. 3, 1804. It was also translated into German by Jos. Sonnleithner (late in 1804), and composed by Beethoven. The story of the transformations and performances of the opera in its three shapes is given under Fidelio (vol. i. p. 519a); and it only remains to add that it was proposed to bring it out at Prague in May 1807, and that Beethoven, with that view, wrote the overture known as 'Leonore No. 1' (op. 138). The proposal however was not carried out, and the overture remained, probably unperformed, till after his death. It was Beethoven's wish from first to last that the opera should be called 'Leonore'; and his edition of the pianoforte score, published by Breitkopfs in Oct. 1810,is entitled 'Leonore, oper in zwey Aufzugen von L. van Beethoven.' On all other occasions he was overruled by the Management of the theatre, and the opera has always been announced as Fidelio, probably to avoid confusion with Paer's opera. For the whole evidence see 'Leonore oder Fidelio?' in Otto Jahn's Gesamm. Schriften, p. 236, and Thayer's Chron. Verzeichniss, p. 61.
It may be well here to give a list of the overtures to the opera in the order of their composition.
| Title. | Date and Occasion. | Date of publication of Score. |
| Leonore No. 2, in C. | For production of opera, Nov. 20, 1805. | Breitkopf 1842 and 1854. |
| Leonore No. 3, in C. | For production of modified opera, Mar. 29, 1806. | Breitkopf 1823. |
| Leonore No. 1, in C (op. 138). | For a performance of the opera at Prague in May 1807, which never came off. | Haslinger 1832. |
| Fidelio, in E. | For the second and final revision of the opera; first played May 26, 1814. | Breitkopf 1864. |
[ G. ]
# A Dictionary of Music and Musicians/Maas, Joseph

[ A. C. ]
# A Dictionary of Music and Musicians/Macbeth

From volume 2 of the work.
​MACBETH. 1. Tragedy in 3 acts; words by Rouget de l'Isle and Hix, music by Chelard. Produced at the Académie, June 29, 1827, without success. In London, King's Theatre, July 4, 1832.
2. Opera in 4 acts; libretto by Piave, music by Verdi. Produced at the Pergola, Florence, March 1847 [App. p.707 "March 17"]; at Paris, with alterations, at the Théâtre Lyrique, April 21, 1865.
3. An overture for orchestra in B minor, by Spohr (op. 75).
[ G. ]
# A Dictionary of Music and Musicians/Maatschappij

​MAATSCHAPPIJ TOT BEVORDERING DER TOONKUNST. See vol. iv. p. 255.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Cowper (Thomas)

​COWPER (THOMAS), (?) bookseller in London, 1638–41. Only known from documents in the State Papers, in which he declared that he had imported large numbers of foreign bibles, prayer books and psalters, which were seized by the Stationers' Company and not returned to him. [Domestic State Papers, vol. 478 (54).] He may be identical with the Thomas Cooper, q.v., described in 1665 as a journeyman bookseller to Richard Royston, whose death is recorded in Smyth's Obituary, p. 67.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Cotton (Robert)

​COTTON (ROBERT), bookseller (?) in London, 1641. Only known from the imprint to an official document, Expresse commands from both Houses of Parliament, which reads: London, Printed for Robert Cotton, 1641. This may be a misprint for Richard, q.v., or vice versa.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Creake (Thomas)

​CREAKE (THOMAS), bookseller in London, 1642–60. Took up his freedom September 3rd, 1638 [Arber, iii. 688.] Associated with Christopher Latham in the publication of political pamphlets. His address is unknown.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Cripps (Henry)

​CRIPPS (HENRY), bookseller at Oxford and London, (1) Oxford, 1620–40; (2) London: The first shop in Pope's Head-Alley, next Lombard Street, 1650-61. Very little is known respecting this bookseller. He is found ​publishing books at Oxford from 1620 to 1640, notably the first and second editions of Burton's Anatomy of Melancholy, 1621 and 1624, but between 1640 and 1650 he left Oxford and settled in London, where he joined Lodowick Lloyd, q.v., in several ventures. His death took place about 1661, and he was succeeded by his widow, who continued the business for several years. [Madan's Early Oxford Press, pp. 278, etc.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Cranford (Joseph)

​CRANFORD (JOSEPH), bookseller in London, (1) Phœnix St. Paul's Churchyard near the little north door, 1653; (2) King's Head, Paul's Churchyard, 1658; (3) Castle & Lion in St. Paul's Church Yard, 1659; (4) The Gun, in St. Paul's Church yard, 1661 (1653-64). Dealt chiefly in theological literature. There was another bookseller of the same name with a shop in Norwich in 1659.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Cottrell (James)

​COTTRELL (JAMES), printer in London; Black & White Court, Old Bailey, 1649–70. Set up as a printer about 1649. During the Commonwealth he printed a good many pamphlets that offended the authorities. In 1664 he was arrested with others for illegally printing law books, see Fletcher (M.). At the time of the survey of the press made in July, 1668, he employed two presses, two compositors and no apprentices, so that we may infer that his business was not a large one. [Thurloe, State Papers, vol. 3, pp. 738-9; Domestic State Papers, Chas. II, vol. 243, p. 181.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Courtney (John)

​COURTNEY (JOHN), bookseller in Salisbury, 1650–64. His name occurs on the following: W. Creede, Judahs purging … n.d., 4$^o$ [B.M. 694 k. 5. (6)]; George Ditton, Symbolum Apostolicum [a broadside], n.d. [B.M. 669 f. 14 (84)]; J. Priaulx, Confirmation Confirmed, 1662, 4$^o$ [B.M. 226 g. 18 (5).]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Cowley (Thomas)

​COWLEY (THOMAS), bookseller in London; Greyhound in St. Paul's Churchyard, 1640-70. Took up his freedom March 26th, 1640. [Arber, iii. 688.] His name is found on an edition of Peter du Moulin's Anatomy of the Masse, translated by James Mountaine, and printed by Stephen Bulkley in 1641 in London under the title of The Masse in Latine and English with a Commentary. Of this a copy is in the Bodleian, and the title-page only is preserved among the Ames Collection of title-pages in the British Museum. [No. 1678.] Thomas Cowley died in 1670, and left a legacy of £100 to the poor of the Stationers' Company. [Timperley, p. 546.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Craggs (James?)

​CRAGGS (JAMES?), bookseller in London; Next door to the Harp and Ball near Charing Cross, c. 1667. Only known from a letter sent by Lodowick Lloyd to Robert Francis, in which an appointment is made at the above house. [Domestic State Papers, Charles II, vol. 244 (136).]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Cotton (Samuel)

​COTTON (SAMUEL), (?) bookseller in London, 1652. Only known from the imprint to two political pamphlets: (1) A declaration of the L. Admiral Vantrump … [June 25th], 1652 (E. 668, 14), and A Letter sent from the Court of … the King of France … [June 29th], 1652. [E. 668 (21).] His address is not given.
# A Dictionary of Music and Musicians/Node

From volume 2 of the work.
​NODE (Latin nodus, a knot). The vibration of a string may assume many different forms. In Fig. 1 the string is shewn vibrating as a whole; in Fig. 2 it divides into two equal segments; in Fig. 3 into three equal segments. These segments, where the amplitude of vibration is greatest, are called Loops (l, Figs. 2 and 3), and the points of rest between them are called Nodes (n).
* Fig. 1.
* Fig. 2.
* Fig. 3.
* Fig. 4.
But when a string is plucked, as in the harp and guitar, or bowed as in the violin, it does not vibrate in any one of the simple forms just described, but in several of them at once. The motion of the whole string combined with that of its halves would be represented by Fig. 4. Here the node is no longer a point of complete rest but a point where the amplitude of vibration is least.
If the string while vibrating be touched at ½, ⅓, ¼, etc. of its length, as in playing harmonics on the harp or violin, all forms of vibration which have loops at these points vanish, and all forms which have nodes there become more marked. Thus it is possible to damp the vibrations of the whole string, of its third parts, of its fifth parts, etc., leaving the vibrations of its halves, of its fourth parts, of its sixth parts, etc., unimpeded.
The column of air in an open pipe vibrating as a whole has a node in the centre, towards which the particles of air press and from which they again draw back (see Fig. 5, n).
* Fig. 5.
Thus at the node the air does not move but undergoes the greatest changes of density. At the loop (l) there is no change of density but great amplitude of vibration. The open ends of the pipe are always loops, for the density at these points being the same as that of the outer air, does not change. This remains true whether the pipe have two, three, or more nodes, as shewn in Figs. 6 and 7.
* Fig. 6.
* Fig. 7.
In a stopped pipe the closed end is always a node, and the open end a loop, whether the column of air vibrate as a whole (see Fig. 8), or divide into segments as shown in Figs 9 and 10.
* Fig. 8.
* Fig. 9.
* Fig. 10.
In practice both an open and a stopped pipe vibrate not in any one of the ways just described, but in several of them at once. Here, too, as in the case of strings, the node is not a point of complete rest but of least motion.
[ J. L. ]
# A Dictionary of Music and Musicians/Nocturne

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

From volume 2 of the work.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Non plus ultra

From volume 2 of the work.
[ G. ]
# A Dictionary of Music and Musicians/None

From volume 2 of the work.
​NONE (Lat. Officium (vel Oratio) ad Horam Nonam, Ad Nonam). The last of the 'Lesser Hours,' in the Roman Breviary.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Nixon, Henry

​NIXON, Henry George, born Feb. 20, 1796, at Winchester, was successively organist at St. George's Chapel, London Road, 1817–1820; at Warwick Street Chapel; at St. Andrew's Roman Catholic Chapel, Glasgow, and finally at St. George's Cathedral, Southwark, in 1839, which post he held until his death from cholera in 1849. His compositions include five Masses, a Te Deum, 'Respice Victimæ Paschali,' 'Dominus regnavit'; a Cantata written for Malibran; Vespers for every festival in the year, many of them published after his death in two folio volumes, besides pianoforte solos and songs. He married in 1818 Caroline Melissa Danby, who died in 1857, the daughter of John Danby, the glee composer, by whom he had thirteen children; among them were
James Cassana (1823–1842), a promising young violinist.
[ A. C. ]
# A Dictionary of Music and Musicians/Nodus Salomonis

From volume 2 of the work.
​NODUS SALOMONIS (Solomon's knot). A celebrated Canon, composed by Pietro Valentini, and described by Fr. Kircher, in his Musurgia. It was originally intended to be sung by ninety-six Voices, disposed in twenty-four Choirs: but Kircher afterward ascertained, that, provided the distribution into four-part Choirs was properly carried out, the number of Voices might be increased to five hundred and twelve, or even to twelve millions two hundred thousand. The Guida—in which four notes only are used—stands as follows:—
[ W. S. R. ]
# A Dictionary of Music and Musicians/Nissen, Georg von

From volume 2 of the work.
[ C. F. P. ]
# A Dictionary of Music and Musicians/Nohl, Carl

From volume 2 of the work.
[ W. B. S. ]
# A Dictionary of the Targumim, the Talmud Babli and Yerushalmi, and the Midrashic Literature/ס

    ס - סאסא
    סאסא - סבב
    סבב - סביתא
    סביתא - סבנה
    סבנה - סבר
    סבר - סברונא
    סברונא - סגי
    סגי - סגיר
    סגיר - סגף
    סגף - סדוק
    סדוק - סדק
    סדק - סדרא
    סדרא - סהר
    סהר - סוג
    סוג - סודני
    סודני - סוט
    סוט - סוכו
    סוכו - סולמא
    סולמא - סום
    סום - סונקליטוס
    סונקליטוס - סוף
    סוף - סופרא
    סופרא - סורחן
    סורחן - סחט
    סחט - סחר
    סחר - סטיפה
    סטיפה - סי
    סי - סיבכא
    סיבכא - סיגני
    סיגני - סידתא
    סידתא - סיטון
    סיטון - סייפא
    סייפא - סילונה
    סילונה - סימואתא
    סימואתא - סימנא
    סימנא - סינדיקנוס
    סינדיקנוס - סיסין
    סיסין - סיף
    סיף - סיפתקא
    סיפתקא - סירא
    סירא - סירחן
    סירחן - סכה
    סכה - סכין
    סכין - סכל
    סכל - סכנא
    סכנא - סכר
    סכר - סלווכיא
    סלווכיא - סליקוס
    סליקוס - סלסלה
    סלסלה - סלק
    סלק - סלת
    סלת - סמה
    סמה - סמיא
    סמיא - סמך
    סמך - סמכו
    סמכו - סמפורין
    סמפורין - סמתרי
    סמתרי - סנדלבונין
    סנדלבונין - סנוניתא
    סנוניתא - סניא
    סניא - סנן
    סנן - סנקתררון
    סנקתררון - סעודונא
    סעודונא - ספא
    ספא - ספדנא
    ספדנא - ספתא
    ספתא - ספיקולא
    ספיקולא - ספן
    ספן - ספק
    ספק - ספקולא
    ספקולא - ספר
    ספר - ספתא
    ספתא - סקילה
    סקילה - סקף
    סקף - סרב
    סרב - סרג
    סרג - סרודה
    סרודה - סרח
    סרח - סרטנא
    סרטנא - סריותא
    סריותא - סרך
    סרך - סרס
    סרס - סרק
    סרק - סתום
    סתום - סתם
    סתם - סתר
    סתר - ע
# A Dictionary of Music and Musicians/Ponticello

From volume 3 of the work.
[ P. D. ]
# A Dictionary of Music and Musicians/Poole, Elizabeth

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

From volume 3 of the work.
[ J. A. F. M. ]
# A Dictionary of Music and Musicians/Pontifical Choir

From volume 3 of the work.
​PONTIFICAL CHOIR. See Sistine Choir.
# A Dictionary of Music and Musicians/Porta, Francesco della

From volume 3 of the work.
[ F. G. ]
# A Dictionary of Music and Musicians/Popular Ancient English Music

From volume 3 of the work.
​POPULAR ANCIENT ENGLISH MUSIC. The classical work on this subject is entitled 'Popular Music of the Olden Time: a Collection of the Ancient Songs, Ballads, and Dance Tunes, illustrative of the National Music of England. With short introductions to the different reigns, and notices of the Airs from writers of the 16th and 17th centuries. Also a Short Account of the Minstrels. By W. Chappell, F.S.A. The whole of the airs harmonized by G. A. Macfarren. London: Cramer, Beale and Chappell.' The foundation of the above work was published in 1838–40 under the title of 'A Collection of National English Airs, consisting of Ancient Songs, Ballads and Dance Tunes, interspersed with remarks and anecdote, and preceded by an Essay on English Minstrelsy. The Airs harmonized for the Pianoforte, by W. Crotch, Mus. Doc., G. Alex. Macfarren, and J. Augustine Wade. Edited by W. Chappell.' This work contains 245 tunes, and was out of print in about 14 years time from the date of its publication. The 'Popular Music' was published in 17 parts (2 large 8vo. volumes, and 797 pages) and contains more than 400 airs with five facsimiles of music and two copious Indexes. The following are the headings of the chapters:
Vol. I.
Minstrelsy from the Saxon period to the reign of Edward I. Music of the Middle Ages, and Music in England to the end of the 13th century.
English Minstrelsy from 1270 to 1480, and the gradual extinction of the old minstrels.
Introduction to the reigns of Henry VII., Henry VIII., Edward VI., and Queen Mary.
Songs and Ballads of the reigns of Henry VII., Henry VIII., Edward VI., and Queen Mary.
Introduction to the reign of of Queen Elizabeth.
Songs and Ballads of the reign of Queen Elizabeth.
Introduction to the reign of James I.
Songs and Ballads of the reigns of James I. and Charles I.
Vol. II.
Conjectures as to Robin Hood.
Ballads relating to the adventures of Robin Hood.
Puritanism in its effect upon Music and its accessories; and Introduction to the Commonwealth Period.
Songs and Ballads of the Civil War, and of the time of Cromwell.
Introduction to the reign of Charles II.
Songs and Ballads from Charles II. to William and Mary.
Remarks on Anglo-Scotch Songs.
Specimens of Anglo-Scotch Songs.
Introduction to the reigns of Queen Anne, George I., and George II.
Songs and Ballads of the reigns of Queen Anne, George I., and George II.
Traditional Songs of uncertain date.
Religious Christmas Carols.
Appendix, consisting of additions to the Introductions, and of further remarks upon the tunes included in both volumes.
[ W. B. S. ]
# A Dictionary of Music and Musicians/Porta, Costanzo

​PORTA, Costanzo, born at Cremona (1520–30?); studied under Willaert at Venice, where his motets (Bk. I) were printed in 1555 (Draudius alone giving 1546 as the date of their first issue); became a Franciscan monk; was chapelmaster at Osimo till 1564; then held similar posts at Padua, first perhaps in the cathedral, for the 52 Introits published in 1566, are dedicated to the cathedral chapter, and later in the church of S. Antonio. These Introits, designed for the Sundays throughout the year, and a second set of the same for saints' days, were among the first works printed by Claudio Merulo, the organist of St. Mark's, Venice, who wrote of Porta as 'his very dear friend and one with very few equals in his profession.' Merulo's opinion has been endorsed by all competent critics down to our own times, and by common consent Porta ranks as one of the great contrapuntal masters. Arisius, moreover, speaks of him as proficient in all the liberal arts.
[ J. R. S.-B. ]
# A Dictionary of Music and Musicians/Poole, Miss

From volume 3 of the work.
​POOLE, Miss. See Dickons, Mrs., vol. i. p. 444b.
# A Dictionary of Music and Musicians/Popper, David

From volume 3 of the work.
[ C. F. P. ]
[ G. ]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Rand (Samuel)

​RAND (SAMUEL), bookseller (?) in London; Barnards Inn, Holborn, 1642. His name is found on the imprint to H. Peacham's Art of living in London, 1642. [E. 145 (20).] There was a bookseller of this name living at Holborn Bridge between 1611 and 1634. [Arber, v. 260.] This may be the same or a successor.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Ranew (Nathaniel)

​RANEW (NATHANIEL), bookseller in London; Angel in Jewin Street, 1663-7. In partnership with Jonathan Robinson. His name is found in the imprint to the Rev. J. Dyke's Worthy Communicant, 1667. [Ames Coll. 3306.] He also published an account of the burning of London, by Samuel Rolls.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Ratcliffe (Thomas)

​RATCLIFFE (THOMAS), printer in London; St. Bennet Pauls Wharf near Doctors Commons, 1646-67. Took up his freedom January 14th, 1628. [Arber, iii. 686.] About May, 1646, he joined partnership with Edward Mottershead. They had an extensive business, and their initials T.R. and E.M. are met with on the books and pamphlets of this period at every turn. In 1659 Ratcliffe petitioned the Vestry of St. Bennet's to be relieved from serving as a vestryman on the ground that he was above the age of threescore years. [Vestry Books of St. Bennets, Paul's Wharf; Guildhall MSS. 877/1, p. 182.] The date of his death is unknown. In the survey taken on July 29th, 1668, a Thomas Ratcliffe is returned as having two presses, two apprentices, and seven workmen [Plomer, Short History, p. 226], but this and later references probably refer to a son. [G. J. Gray, Index to Hazlitt, p. 639; Hist MSS., Comm. Report 9, App. p. 73$^a$.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Purslowe (G.)

​PURSLOWE (G.), printer in London, 1664. Possibly a son of George and Elizabeth Purslowe. His name is found on E. Ford's History of Parismus, 1665.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Ramsay (Patrick)

​RAMSAY (PATRICK), printer at Edinburgh, c. 1660-80. Watson, pp. 10-13, says that after the death of Christopher Higgins, the Society of Stationers appointed Ramsay to be overseer of that house, and that about 1680 he set up with John Reid. No book has been found bearing Ramsay's name. [H. G. Aldis, List of Books, p. 119.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Purslowe (Elizabeth)

​PURSLOWE (ELIZABETH), printer in London; East End of Christ Church, 1633-46. Widow of George Purslowe, printer, who died in 1632.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Ramzey (John)

​RAMZEY (JOHN), Printer at the Hague, 1659. Printed Sir W. Lower's plays, The Amorous Fantasme, 1659, and The Noble Ingratitude, 1659. It seems probable that he was an exile from Scotland.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Rand, or Rands (William)

​RAND, or RANDS (WILLIAM), bookseller (?) in London, 1659. Hazlitt (H. 169) records an edition of Will. Drummond's Poems, published by him in 1659.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Randall (James)

​RANDALL (JAMES), bookseller (?) in London, 1641. Mentioned in a list of stationers as one of the "better sort of freemen" who paid twenty shillings as his proportion of the poll tax. The return is dated August 5th, 1641. [Domestic State Papers, Charles I, 483 (11).]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Raban (Edward)

​RABAN (EDWARD), printer at Edinburgh, St. Andrews, and Aberdeen, 1620-58; Edinburgh, at the Cowgate, at the signe of A.B.C., 1620; St. Andrews, (1) At the signe of the A.B.C., 1620-22; (2) In the South street of the Citie, 1620; (3) Dwellinge in the Kirke Wynde, 1622; Aberdeen, dwelling upon the Market-place, at the townes Armes, 1622-49. Had also a shop at the end of the Broadgate from 1643. An Englishman. Printer to St. Andrew's University. The first printer in Aberdeen. Succeeded by James Brown in 1650. Died November-December, 1658. Device, Aberdeen City Arms. [H. G. Aldis, List of Books, p. 119.]