OpenLLM-France/wikimedia huggingface dataset:
# A Cyclopaedia of Female Biography/Duyn, Marguerite de

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DUYN, MARGUERITE DE,
Abbess of the convent of La Chartreuse de Poletin, on the confines of Dauphiny and Savoy, lived at the close of the thirteenth ​century. During her life she was considered a saint, and she wrote several meditations in Latin, remarkable only for the correctness and propriety of the language. She also wrote her own language with ease, and her works shew a cultivation of mind uncommon in those days.
# A Cyclopaedia of Female Biography/Dwight, Elizabeth Baker

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DWIGHT, ELIZABETH BAKER,
Was born at Andover, in Massachusetts, in 1808. Her maiden name was Baker. She was carefully educated; and her naturally strong mind was thus disciplined to give greater effect to her graces of character. She was about seventeen years of age when she became a member of the church of which Dr. Justin Edwards was pastor. From this period till the time of her marriage. Miss Baker was remarkable for the mingled sweetness and discretion of her manners; constantly striving to improve her time and talents in the service of the Saviour, whom she, like Mary of Bethany, had chosen for her portion.
In 1830, she married the Rev. H. G. O. Dwight, and sailed with him to Malta, where she resided two years, her husband being a missionary to that place. She was actively and usefully engaged while there, and also when her husband removed to Constantinople.
Her correspondence at this period, and the testimony of her associates, shew how earnestly her spirit entered into the work she had undertaken. Her pious and tender sympathy was most efficient help to her husband, in his arduous missionary duties; though her delicate health, and many household cares, prevented her from giving the active assistance in the teacher's department she had intended, and was well qualified to have done. She had anticipated this work as her happiest privilege; to be able to imbue the minds of the children of unbelievers with the sweet and salutary truths of the gospel had been Mrs. Dwight's most cherished desire.
The missionary family resided at San Stefano, near the Bosphorus. Scenes of beauty and of storied interest were around Mrs. Dwight; still she had few opportunities of visiting the remarkable places in this region of the world. Once she made an excursion with Lady Frankland and an American friend to the Black Sea, and found her health renovated; still she was drooping and delicate, like a transplanted flower, which pines for its own mountain home, and the fresh breezes and pure sunshine of its first blossoming.
In the spring of 1837, the plague appeared at Constantinople, and Mrs. Dwight felt she was one of its doomed victims. The presentiment proved true. She died on the 8th. of July, 1837; her devoted husband being the only person who remained to watch over, comfort her, and receive her last breath. She was only twenty-nine years of age, and had scarcely become habituated to the missionary cross, when she was called to wear its crown.
# A Cyclopaedia of Female Biography/Eanfled

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EANFLED,
Daughter of Edwin, King of Northumbria, and Ethelburga, was the first individual who received the sacrament of baptism in that kingdom. She afterwards married Osmy, King of Mercia.
# A Cyclopaedia of Female Biography/Dupre Mary

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DUPRE MARY.
Daughter of a sister of des Marêts de St. Sorlin, of the French Academy, was born at Paris and educated by her uncle. Endowed with a happy genius and a retentive memory, she read the principal French, Italian, and Latin authors in the original, and understood Greek and Philosophy. She studied Descartes so thoroughly, that she obtained the surname of la Cartesienne; and she also wrote very agreeable verses, and corresponded with several of her learned contemporaries. The answers of Isis to Climene, in the select pieces of poetry published by Father Bouhors, are by this lady. She lived in the seventeenth century,
# A Cyclopaedia of Female Biography/Eastlake, Lady Elizabeth

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EASTLAKE, LADY ELIZABETH,
Is the accomplished wife of the celebrated painter. Sir Charles Eastlake, now president of the Royal Academy. Under her maiden name of Rigby, she gained a considerable literary reputation by publishing, in 1841, "Letters from the shores of the Baltic," being the record of a visit to a married sister who had there settled. Five years after this date were published her "Livonian Tales," which appeared first separately, and then in a collected form, having been favourably received by the public. Lady Eastlake is now known as an occasional contributor to the "Quarterly Review," two of her articles in which, on "Dress" and "Conversation," have been re-printed as one part of "Murray's Home and Colonial Library."
# A Dictionary of Music and Musicians/Rappoldi, Eduard

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

From volume 3 of the work.
​RANDEGGER, Alberto, composer, conductor, and singing-master, was born at Trieste, April 13, 1832. He began the study of music at the age of 13, under Lafont for the PF., and L. Ricci for composition, soon began to write, and by the year 1852 was known as the composer of several masses and smaller pieces of Church music, and of two ballets—'La Fidanzata di Castellainare' and 'La Sposa d'Appenzello,' both produced at the Teatro grande of his native town. In the latter year he joined three other of Ricci's pupils in the composition of a buffo opera to a libretto by Gaetano Rossi, entitled 'Il Lazzarone,' which had much success, first at the Teatro Maurona [App. p.766 "Mauroner"] at Trieste, and then elsewhere. The next two years were occupied as musical director of theatres at Fiume, Zera [App. p.766 "Zara"], Sinigaglia, Brescia, and Venice. In the winter of 1854 he brought out a tragic opera in 4 acts called 'Bianca Capello' at the chief theatre of Brescia. At this time Signor Randegger was induced to come to London. He gradually took a high position there, and has become widely known as a teacher of singing, conductor, and composer, and an enthusiastic lover of good music of whatever school or country. He has resided in England ever since, and is one of the most prominent musical figures in the metropolis. In 1864 he produced at the Theatre Royal, Leeds, 'The Rival Beauties,' a comic operetta in 2 acts, which has had much success in London and many other places. In 1868 he became Professor of Singing at the Royal Academy of Music, and has since been made a director [App. p.766 "an honorary member and director"] of that institution and a member of the Committee of Management. In the autumn of 1857 he conducted a series of Italian operas at St. James's Theatre, and in 1879–80 the Carl Rosa company at Her Majesty's Theatre. [App. p.766 "for 1879–80 read 1879–85, omitting the words Her Majesty's Theatre from the next line. He superintended the productions and conducted the performances of the following operas, produced for the first time in English:—'Carmen,' 'Taming of the Shrew,' 'Lohengrin,' and 'Tannhäuser,' besides 'Esmeralda' and 'Nadeschda' by A. Goring Thomas."] He has recently been appointed conductor of the Norwich Festival vice Sir Julius Benedict resigned.
[ G. ]
# A Dictionary of Music and Musicians/Randhartinger, Benedict

From volume 3 of the work.
​RANDHARTINGER, Benedict, an Austrian musician, memorable for his connexion with Schubert. He was born at Ruprechtshofen, in Lower Austria, July 27, 1802; at 10 years old came to the Konvict school at Vienna, and was then a pupil of Salieri's. He afterwards studied for the law, and for ten years was Secretary to Count Széchényi, an official about the Court. But he forsook this line of life for music; in 1832 entered the Court Chapel as a tenor singer: in 1844 became Vice-Court-Capellmeister, and in 1862, after Assmayer's death, entered on the full enjoyment of that dignity. His compositions are more than 600 in number, comprising an opera, 'König Enzio'; 20 masses; 60 motets; symphonies; quartets, etc.; 400 songs, 76 4-part songs, etc. Of all these, 124, chiefly songs, ​are published; also a vol. of Greek national songs, and a vol. of Greek liturgies. His acquaintance with Schubert probably began at the Konvict, and at Salieri's; though as he was Schubert's junior by five years, they can have been there together only for a short time; but there are many slight traces of the existence of a close friendship between them. He was present, for example, at the first trial of the D minor String Quartet (Jan. 29, 1826), and he was one of the very few friends if not the only one who visited Schubert in the terrible loneliness of his last illness. But for Randhartinger it is almost certain that Schubert's 'Schöne Müllerin' would never have existed. He was called out of his room while Schubert was paying him a visit, and on his return found that his friend had disappeared with a volume of W. Müller's poems which he had accidentally looked into while waiting, and had been so much interested in as to carry off. On his going the next day to reclaim the book, Schubert presented him with some of the now well-known songs, which he had composed during the night. This was in 1823. It is surely enough to entitle Randhartinger to a perpetual memory.
[ G. ]
# A Dictionary of Music and Musicians/Rataplan

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

From volume 3 of the work.
[ J. S. ]
# A Dictionary of Music and Musicians/Ransford, Edwin

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

From volume 3 of the work.
​RAUZZINI, Venanzio, born 1747, in Rome, where he made his début in 1765, captivating his audience by his fine voice, clever acting, and prepossessing appearance. In 1767 he sang in Vienna, and then accepted an engagement in Munich, where four of his operas were performed. In London he made his first appearance in 1774 [App. p767 "in Corri's 'Alessandro nell' Indie'"]. Here also he distinguished himself as an excellent teacher of singing, Miss Storace, Braham, Miss Poole (afterwards Mrs. Dickons), and Incledon, being among his pupils. In 1778 and 79 he gave subscription concerts with the violinist Lamotte, when they were assisted by such eminent artistes as Miss Harrop, Signor Rovedino, Fischer, Cervetto, Stamitz, Decamp, and Clementi. He also gave brilliant concerts in the new Assembly Rooms (built 1771) at Bath, where he took up his abode on leaving London. Here he invited Haydn and Dr. Burney to visit him, and the three spent several pleasant days together in 1794. On this occasion Haydn wrote a four-part canon (or more strictly a round) to an epitaph on a favourite dog buried in Rauzzini's garden, 'Turk was a faithful dog and not a man.' [App. p.767 "the Round will be found in vol. iv. p. 191."] Rauzzini's operas performed in London were 'La Regina di Golconda' (1775); 'Armida' (1778); 'Creusa in Delfo' (1782); and 'La Vestale' (1787). He composed string-quartets, sonatas for PF., Italian arias and duets, and English songs; also a Requiem produced at the little Haymarket Theatre in 1801, by Dr. Arnold and Salomon. He died, universally regretted, at Bath in 1810. His brother
[ C. F. P. ]
# A Dictionary of Music and Musicians/Amorevoli, Angelo

From volume 1 of the work.
[ J. M. ]
# A Dictionary of Music and Musicians/Analysis of Compound Musical Sounds

From volume 1 of the work.
​ANALYSIS of Compound Musical Sounds. The separation of such sounds into their component elements, or the determination of the elements they contain. The sounds ordinarily met with in music are not simple and single notes as is commonly supposed, but are usually compounds of several sounds, namely one fundamental one (generally the most powerful) accompanied by higher harmonics, varying in number and strength in different cases. These however blend so completely into one sound that the unaided ear, unless specially trained, fails to distinguish the separate elements of which it is made up. Such a compound sound is intentionally produced artificially with the compound stops of a large organ, and if these are well in tune and well proportioned, it is often difficult to distinguish them separately.
In acoustical investigations it is very desirable to ascertain of what simple sounds a compound one is composed, and this is done by a species of analysis similar to that so common in chemistry. In compound chemical substances the elements are, like the elements of a compound sound, usually undistinguishable by the eye, and the plan is adopted of applying to the substance a test, which having a peculiar affinity for some particular element, will make known its presence in the compound. Such a test exists for elemental Bounds in what the Germans call Mittönen; or sympathetic resonance.
Certain bodies will vibrate when certain notes, ​corresponding to their vibratory capacity, and those only, are sounding near them, and they therefore test the presence of such notes, whether perceptible or not to the ear. For example, if we wish to find out whether the note is present in a compound sound, we have only to bring within its range a sonorous body, tuned to that note, as for example the second string of a violin, and if that note is present, in sufficient force, the string will be sympathetically set in vibration. We can judge a priori by the theoretical laws of harmonics, what notes are or are not likely to be present in a certain compound sound, and by applying tests for each, in this way, the sound may be completely analysed, both (as chemists say) quantitatively and qualitatively, that is, we may not only find what notes are present but also, by proper provision in the test body, what are the relative strengths of each note.
[ W. P. ]
# A Dictionary of Music and Musicians/Anacreon

From volume 1 of the work.
​ANACREON, ou l'amour fugitif, an opera-ballet in two acts, the libretto by Mendouze, and the music by Cherubini, produced at the Opera in Paris on Oct. 4, 1803. It is now only known by its magnificent overture.
# A Dictionary of Music and Musicians/Anacreontic Society

From volume 1 of the work.
[ C. M. ]
# A Dictionary of Music and Musicians/Andacht, mit

From volume 4 of the work.
[ M. ]
# A Dictionary of Music and Musicians/Anacker, August

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

From volume 4 of the work.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Ancient Concerts

From volume 1 of the work.
[ C. M. ]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Oliver (William)

​OLIVER (WILLIAM), bookseller in Norwich; Next door to the Castle and Lyon, 1663. Mentioned in an advertisement in Mercurius Publicus for the year 1663, and in the same year he published for John Winter, curate of East Dereham, in Norfolk, a sermon called Ἁπλῶς και Καλως, Honest plain dealing, 1663. [226 g. 23 (9).]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Otwell (John)

​OTWELL (JOHN), bookseller in London, 1642. His name occurs as the publisher of one of Pym's speeches in 1642. [E. 200 (65).]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Overton (John)

​OVERTON (JOHN), bookseller in London; White Horse in Little Brittan, next door to Little St. Bartholomews Gate, 1667-1703. Published in 1667 an edition of Robert Fage's Cosmography.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Oxlad (Francis), junior

​OXLAD (FRANCIS), junior, bookseller in Oxford, 1667. [Madan, Chart of Oxford Printing, p. 30.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Page (Dixy)

​PAGE (DIXY), bookseller in London, (1) Tower Street; (2) Anchor and Marriner in East Smithfield, near the King's slaughter house. 1664-8. In April, 1666, this bookseller, with Thos. Johnson the printer, q.v., was imprisoned for dispersing seditious books, and was bound over in a sum of £500 to be of good behaviour. [Domestic State Papers, Charles II, vol. 155 (71).] His second address is from John Newton's Scale of Interest, 1668. [Harl. 5987, p. 56.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Overton (Henry)

​OVERTON (HENRY), bookseller in London, (1) White Horse without Newgate [Sayle, 1121]; (2) Entrance to Pope's Head Alley out of Lombard Street, 1629-48. Took up his freedom June 1st, 1629. [Arber, iii. 686.] Dealt chiefly if not wholly in theological literature, and was one of the syndicate including John Bellamy, A. and J. Crooke, D. Frere, J. Rothwell, R. Sergier, and R. Smith, who published the sermons of the Rev. J. Stoughton.
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Oulton or Olton (Richard)

​OULTON or OLTON (RICHARD), printer in London; Near Christ-church [Newgate Street], 1633-43. Son of Elizabeth Alde or Allde by a former husband. Succeeded to the business of Edward Alde or Allde and used his device. In 1641 he was joined by G. Dexter, q.v., and in the same year paid a sum of £3 as his share of the poll-tax. [Domestic State Papers, Charles I, vol. 483, 11.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Owsley (John)

​OWSLEY (JOHN), printer in London; 1658-66. This printer was ruined by the fire of London in 1666. [Plomer, Short History, p. 225.] His imprint will be found in Robert Fage's Description of the whole world, 1658. [E. 1595 (3).]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Oxlad (Francis)

​OXLAD (FRANCIS), senior, bookseller in Oxford, 1665-67. [Madan, Chart of Oxford Printing, p. 30.] His name is found in 1665 on the following: Ryff (Peter), Questiones Geometricæ, 1665. [Ames Collection, 3236.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Page (Robert)

​PAGE (ROBERT), bookseller (?) in London; Barbican, Three Pigeon Alley [or Court], 1659. His name is found in the imprint to a pamphlet entitled An ancient and true prophesie, 1659. [E. 993 (23).]
# A Dictionary of the Targumim, the Talmud Babli and Yerushalmi, and the Midrashic Literature/ת

    ת - תאוטני
    תאוטני - תבה
    תבה - תבירא
    תבירא - תבן
    תבן - תברא
    תברא - תגר
    תגר - תדירה
    תדירה - תהי
    תהי - תוב
    תוב - תוה
    תוה - תוחלנא
    תוחלנא - תוכחת
    תוכחת - תום
    תום - תוסקפא
    תוסקפא - תוקרבא
    תוקרבא - תורגמינא
    תורגמינא - תורן
    תורן - תורתייה
    תורתייה - תותרי
    תותרי - תחות
    תחות - תחם
    תחם - תחתיתא
    תחתיתא - תיודיטוס
    תיודיטוס - תימא
    תימא - תיקא
    תיקא - תירטא
    תירטא - תכיל
    תכיל - תכלתא
    תכלתא - תל
    תל - תלי
    תלי - תליל
    תליל - תלמי
    תלמי - תלש
    תלש - תם
    תם - תמוז
    תמוז - תמידא
    תמידא - תמם
    תמם - תמר
    תמר - תנאי
    תנאי - תנח
    תנח - תני
    תני - תסיסה
    תסיסה - תעלה
    תעלה - תפאתה
    תפאתה - תפיל
    תפיל - תפלה
    תפלה - תפס
    תפס - תפפ
    תפפ - תקימה
    תקימה - תקל
    תקל - תקן
    תקן - תקנתא
    תקנתא - תקפ
    תקפ - תרבוי
    תרבוי - תרגמוניא
    תרגמוניא - תרומי
    תרומי - תרי
    תרי - תריסר
    תריסר - תרמילא
    תרמילא - תרעא
    תרעא - תרפיה
    תרפיה - תשה
    תשה - תשיש
    תשיש - תשע
# A Dictionary of Music and Musicians/Giovanelli, Ruggiero

From volume 1 of the work.
[ F. G. ]
# A Dictionary of Music and Musicians/Girelli Aguilar, Signora

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

​GIORGI. See Banti.
# A Dictionary of Music and Musicians/Giselle

From volume 1 of the work.
​GISELLE, ou les Wilis. A Ballet by Adolphe Adam on a plot adapted from Heine by Théophile Gautier; produced at the Grand Opera July 4, 1841, at Her Majesty's March 12, 1842. It contained one of Carlotta Grisi's greatest parts.
The subject was employed by Loder in his opera of 'The Wilis, or The Night Dancers.'
# A Dictionary of Music and Musicians/Giuliani, Cecilia

From volume 1 of the work.
[ J. M. ]
# A Dictionary of Music and Musicians/Gipsy's Warning, The

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

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

[ M. ]
# A Dictionary of Music and Musicians/Girardeau, Isabella

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

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

From volume 3 of the work.
​RIGHINI, Vincenzo, a well-known conductor of the Italian opera in Berlin, born at Bologna Jan. 22, 1756. As a boy he had a fine voice, but owing to injury it developed into a tenor of so rough and muffled a tone, that he turned his attention to theory, which he studied with Padre Martini. In 1776 he sang for a short time in the Opera buffa at Prague, then under Bustelli's direction, but was not well received. He made a success there however with three operas of his composition, 'La Vedova scaltra,' 'La Bottega del Caffe,' and 'Don Giovanni,' also performed in Vienna (Aug. 1777), whither Righini went on leaving Prague. There he became singing-master to Princess Elisabeth of Würtemberg, and conductor of the Italian opera. He next entered the service of the Elector of Mayence, and composed for the Elector of Treves 'Alcide al Bivio' (Coblenz) and a mass. In April 1793 he was invited to succeed Alessandri at the Italian Opera of Berlin, with a salary of 3000 thalers (about £450). Here he produced 'Enea nel Lazio' and 'Il Trionfo d'Arianna' (1793), 'Armida' (1799), 'Tigrane' (1800), 'Gerusalemme liberata,' and 'La Selva incantata' (1803). The last two were published after his death with German text (Leipzig, Herklotz).
In 1794 Righini married Henriette Kneisel (born at Stettin in 1767, died of consumption at Berlin Jan. 25, 1801), a charming blonde, and, according to Gerber, a singer of great expression. After the death of Friedrich Wilhelm II. (1797) his post became almost a sinecure, and in 1806 the opera was entirely discontinued. Righini was much beloved. Gerber speaks in high terms of his modesty and courtesy, and adds, 'It is a real enjoyment to hear him sing his own pieces in his soft veiled voice to his own accompaniment.' As a composer he was not of the first rank, and of course was eclipsed by Mozart. His best point was his feeling for ensemble, of which the quartet in 'Gerusalemme' is a good example. He was a successful teacher of singing, and counted distinguished artists among his pupils. After the loss of a promising son in 1810, his health gave way, and in 1812 he ​was ordered to try the effects of his native air at Bologna. When bidding goodbye to his colleague, Anselm Weber, he said, 'It is my belief that I shall never return; if it should be so, sing a Requiem and a Miserere for me'—touching words too soon fulfilled by his death at Bologna, Aug. 19, 1813. His own Requiem (score in the Berlin Library), was performed by the Singakademie in his honour.
[ F. G. ]
# A Dictionary of Music and Musicians/Rinaldo

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

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

From volume 3 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Rimsky-Korsakow, Nikolaus

[ M. ]
# A Dictionary of Music and Musicians/Rigoletto

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

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

From volume 3 of the work.
[ J. A. F. M. ]