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

​VESPERS (Lat. Officium Vesperarum, Vesperæ, Oratio vespertina, Ad Vesperas). The last but one, and most important, of the 'Horæ Diurnæ,' or Day hours,' in the Antiphonarium.
The Office begins with the Versicle and Response, 'Deus in adjutorium,' followed by five Psalms. On Sundays, these are usually Pss. cix, cx, cxi, cxii, and cxiii (corresponding to Pss. cx–cxiv in the English Prayer-Book version); on other days, they vary. Each Psalm is sung with a proper Antiphon, which, on certain Festivals, is doubled i.e. sung entire, both before and after the Psalms. On Ferial days, the first two or three words only of the Antiphon are sung before the Psalm, and the entire Antiphon after it. The Psalms are followed by the Capitulum; and this by a Hymn, which varies according to the Festival or the day of the week. After this, 'Magnificat' is sung with a special Antiphon. Then follows the Prayer (or Collect) for the day; succeeded by the proper Commemorations. Should Compline follow, the Office of Vespers ends here. If not, the Commemorations are followed by one of the 'Antiphons of Our Lady,' with which the Office concludes.
The music sung at Vespers is more solemn and elaborate than that used at any of the other Hours. The proper Plain-Chaunt Melodies are found in the Vesperal. [See Vesperale.] The Melodies of the Antiphons are of extreme antiquity. The Psalms are sung to their proper Gregorian Tones; for the most part, either entirely in Unison, or in alternate verses of Unison and Faux Bourdon. Many Faux Bourdons, by the great Composers, are still extant. Proske has included some by B. Nanini, F. Anerio, and others, in vol. iii. of his 'Musica Divina'; and a copy of a MS. collection, entitled 'Studij di Palestrina,' will be found among the Burney MSS. in the British Museum. Proske has also printed a very fine setting of the opening Versicle and Response, by Vittoria; and Ambros another, by G. B. Rossi, first printed in 1618.
Polyphonic Magnificats are necessarily very elaborate; for during the Canticle the High Altar is incensed, and sometimes the Altar in the Lady Chapel also—a ceremony which often occupies a considerable time. [See Magnificat.]
The Hymns for the various Seasons have also been frequently set, in very elaborate form, by the Polyphonic Composers; Palestrina's 'Hymni totius anni' is a complete collection, of unapproachable beauty. Some fine isolated specimens will also be found among the works of Tallis, Byrd, and other Composers of the English School; and Proske has published many interesting examples, collected from various sources. The four 'Antiphons of Our Lady'—Alma Redemptoris, Ave Regina, Regina Cœli, and Salve Regina—have been treated by many good writers, including Palestrina, Anerio, and O. Lasso, in the form of highly developed Motets.
[ W. S. R. ]
# A Dictionary of Music and Musicians/Vespri Siciliani

​VESPRI SICILIANI. [See Vêpres Siciliennes, Les, p. 238b.]
# A Dictionary of Music and Musicians/Vesque von Püttlingen, Johann

[ M. ]
# A Dictionary of Music and Musicians/Viadana, Ludovico

[ R. L. P. ]
* ↑ 'Geschichte der Musik.' iv. 248, etc.
* ↑ See on the whole question Fétis, viii. 334b–337
# A Dictionary of Music and Musicians/Vestris, Lucia

​VESTRIS, Lucia Elizabeth, or Eliza Lucy, born either Jan. 3 or March 2, 1797, in ​London, daughter of Gaetano Bartolozzi, artist, and grand-daughter of Francesco Bartolozzi, the celebrated engraver. On Jan. 28, 1813, she married Armand Vestris, dancer and ballet-master at the King's Theatre, and grandson of the celebrated Vestris. [See Ballet, i. p. 132.] It was on the occasion of his benefit at that theatre (July 20, 1815) that his wife, having received instruction in singing from Corri, made her first appearance in public as Proserpine in Winter's 'Il Ratto di Proserpina.' Her success that season was great, in spite of her then limited ideas of acting and want of vocal cultivation. She re-appeared in 1816 in Winter's 'Proserpina' and 'Zaira,' Martini's 'Cosa Rara,' and Mozart's 'Così fan Tutte' and 'Nozze' (Susanna), but with less success, her faults becoming more manifest with familiarity. In the winter she appeared at the Italian Opera, Paris, and at various theatres there, including the Français, where she played Camille in 'Les Horaces,' with Talma as Horace. About this time Vestris deserted her. (He died in 1825.) On Feb. 19, 1820, she made her début at Drury Lane as Lilla in 'The Siege of Belgrade'; made an immediate success in that and in Adela ('The Haunted Tower'), Artaxerxes, Macheath, and 'Giovanni in London,' and remained for many years a favourite at the patent theatres, not only in opera, but in musical farces and comedies. In certain of these she introduced well-known songs 'Cherry ripe,' 'I've beenroaming,' 'Meet me by moonlight alone,' and others, which gained their popularity at the outset through her very popular ballad singing. On April 12, 1826, she played Fatima on the production of 'Oberon.' With her subsequent career as manager of the Olympic, Covent Garden, and Lyceum, we cannot deal, save to mention that during her tenancy of Covent Garden, in conjunction with Charles Mathews the younger (whom she married July 18, 1838), opera was occasionally performed, viz. 'Artaxerxes,' 'Comus,' etc., English versions of 'Norma,' 'Elena di Feltre' (Mercadante), and 'Figaro,' with Miss Kemble, Miss Rainforth, etc., and with Benedict as conductor. In Figaro she played Cherubino, but resigned 'Voi che sapete' to Miss Kemble. She died at Fulham Aug. 8, 1856.
[ A. C. ]
* ↑ Register of deaths.
* ↑ Signature at second marriage.
* ↑ Introduced into Mozart's Figaro, 1820. (Parke.)
Appendix:
[ A. C. ]
# A Dictionary of Music and Musicians/Viaggio a Reims, Il

[ G. ]
# A Dictionary of Music and Musicians/Vestale, La

[ G. ]
# A Dictionary of Music and Musicians/Veuve du Malabar, La

[ G. ]
# A Dictionary of Music and Musicians/Durchführung

From volume 1 of the work.
​DURCHFÜHRUNG—leading through, or taking through. Durchführung-satz is the German term for that portion of the first movement of a sonata or symphony—or other movement in similar form—which occurs between the double-bar and the reprise of the first subject; and in which the materials of the previous portion—with or without episodes, or other fresh matter—are led through such changes and varieties of treatment and contrivance as the genius and knowledge of the composer may dictate. In England this portion is often called the 'free fantasia' surely an unfortunate name, as 'fanttasia' suggests rather an entire movement than, a part of one. Perhaps 'development' or 'working out' would be a better term. [Form.]
# A Dictionary of Music and Musicians/Dux

From volume 1 of the work.
​DUX (leader), an early term for the first subject in a fugue—that which leads; the answer being the comes or companion. The dux is in German called Führer.
# A Dictionary of Music and Musicians/Dykes, John

From volume 1 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Duschek, Franz

From volume 1 of the work.
​DUSCHEK (Dussek), Franz, valued pianoforte teacher, performer, and composer, born Dec. 8, 1736, at Chotiborz in Bohemia. Count von Spork had him educated in the Jesuit's seminary at Königgratz, but after a fall which crippled him for life he gave up other studies and devoted himself to music. His patron sent him first to Prague and then to Vienna, where, under Wagenseil's instruction, he became an excellent pianist. On his return to Prague, he soon had numerous pupils, and exercised a powerful influence on the taste of his time. Reichardt, in his 'Briefe' (i. 116), speaks of him as one of the best pianists of that time (i773), 'who, besides his excellent reading of Bach, possesses a peculiarly pleasing and brilliant style of his own.' Among his best pupils may be numbered L. Kozeluch, Maschek, Wittassek, von Nostiz, and his own wife Josephine. He was also esteemed as a composer of symphonies, quartets, trios, pianoforte concertos, sonatas, Lieder, etc., of which only a small part were published. In his compositions is reflected the gentleness of character which made him universally beloved. He was a kind-hearted man, and all artists, whether his own countrymen or foreigners, were sure of a kind reception at his house. His friendship with Mozart is well known, and it was in his villa and garden near Prague that the great composer put the finishing touches to the score of 'Don Giovanni.' In this very villa Bertramka, at Koschirz near Prague, the present proprietor erected a bust of Mozart, which was solemnly unveiled on June 3, 1876. For further particulars of both husband and wife see Jahn's 'Mozart'; 'Jahrbuch der Tonkunst von Wien und Prag,' 1796; Cramer's 'Magazin für Musik'; and Mozart's Letters, edited by Nohl.
[ C. F. P. ]
# A Dictionary of Music and Musicians/Dussek, Sophia

From volume 1 of the work.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Dygon, John

[ A. H.-H. ]
# A Dictionary of Music and Musicians/Durastanti, Margherita

From volume 1 of the work.
​DURASTANTI, Margherita, a prima donna at the King's Theatre in the Haymarket, during Handel's management. She was born about 1695, and, like Senesino, was engaged from the Dresden Theatre. She was a married woman when she came here, and the following quotation from the 'Evening Post' of March 7, 1721, shows that she soon acquired favour at court:—'Last Thursday, his Majesty was pleased to stand godfather, and the Princess and Lady Bruce godmothers to a daughter of Mrs. Durastanti, chief singer in the Opera-house. The Marquis Visconti for the King, and the Lady Litchfield for the Princess.' This was so unusual a favour, that it seems likely that either she or her husband was of a noble family. She had already appeared in 1720 in company with Senesino. Her popularity continued: in 1721 she played the principal female parts in 'Muzio Scevola'; in 'Arsace'; and in 'Odio e l'amore,' probably a pasticcio. On Jan. 12, 1723, the 'Otho,' or 'Ottone,' of Handel was produced, and Durastanti played Gismonda, but a formidable rival had appeared in Cuzzoni, who sang the principal part of Theophane. Durastanti, however, continued to sing through this and the next season, in spite of Cuzzoni, and performed in 'Flavio,' 'Coriolano,' 'Erminia,' and 'Farnace.' In 24 she played Sesto in 'Giulio Cesare,' and appeared also in 'Calfurnia' and 'Vespasiano.' She took her leave of the public at her farewell performance in 'Calfurnia,' in a song written by Pope for her—some say at the desire of her patron the Earl of Peterborough—which ended with this couplet,
'But let old charmers yield to new;  Happy soil, adieu, adieu!'
[ J. M. ]
# A Dictionary of Music and Musicians/Dwight's Journal of Music

From volume 1 of the work.
​DWIGHT'S JOURNAL OF MUSIC, Boston, U. S. A., 4to. fortnightly, was founded in 1852 by John S. Dwight, whose name it bears, and is still edited by him. Mr. Dwight was one of the since somewhat famous little community at Brook Farm who did much in many ways to advance the interests of literature and philanthropy. Hawthorne, for a time, was one of them, and the names of others have since become famous. Mr. Dwight, though not an educated musician, was musical editor of the 'Harbinger,' a periodical published at Brook Farm, and a frequent contributor of musical critiques to the daily papers of Boston, where he did good service in directing attention to what was noblest and best in music.
[ H. W. ]
# Inland Sea-Board Coasting Company v. Hall

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
124 U.S. 121
Inland Sea-Board Coasting Company v. Hall
Nathaniel Wilson, for plaintiff in error.
L G. Hine and S. T. Thomas, for defendant in error.
WAITE, C. J.

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# Inland Empire District Council, Lumber & Sawmill Workers Union v. Millis

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
325 U.S. 697
INLAND EMPIRE DISTRICT COUNCIL, LUMBER AND SAWMILL WORKERS UNION, LEWISTON, IDAHO, et al. v. MILLIS et al.
Argued: Feb. 26, 27, 1945. --- Decided: June 11, 1945
See 66 S.Ct. 11.
Mr. George E. Flood, of Seattle, Wash., for petitioners.
Mr. Alvin J. Rockwell, of Washington, D.C., for respondent.
Mr. Justice RUTLEDGE delivered the opinion of the Court.

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# Inland Empire Builders, Inc. v. Washington/Opinion of the Court

* Court Documents
* Case Syllabus
* Opinion of the Court
United States Supreme Court
378 U.S. 580
Inland Empire Builders, Inc. v. Washington
The motion to dismiss is granted and the appeals are dismissed for want of a substantial federal question.

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# Inland Sea-Board Coasting Company v. Hall/Opinion of the Court

* Court Documents
* Case Syllabus
* Opinion of the Court
United States Supreme Court
124 U.S. 121
Inland Sea-Board Coasting Company v. Hall
This judgment is reversed on the authority of Railroad Co. v. Moore, 121 U.S. 558, 7 Sup. Ct. Rep. 1334, and the cause remanded, with directions to take further proceedings therein in accordance with the opinion in that case; that is to say, to consider the appeal from the order at apecial term denying the motion of the Inland & Sea-Board Coasting Company for a new trial, made on the ground that the verdict was against the weight of the evidence.

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# Inland Empire Builders, Inc. v. Washington

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
378 U.S. 580
Inland Empire Builders, Inc. v. Washington
HEBB & NARODICK CONSTRUCTION CO., Inc., et al.
v.
WASHINGTON et al.
No. 850.
Ian MURRAY et al.
v.
WASHINGTON et al.
No. 851. Supreme Court of the United States
June 22, 1964
Seth W. Morrison, for appellants Inland Empire Builders, Inc. and others.
T. M. Royce, for appellants Hebb & Narodick Construction Co., Inc. and others.
Edward G. Dobrin, for appellants Ian Murray and others.
John J. O'Connell, Atty. Gen. of Washington, John W. Riley and Timothy R. Malone, Special Asst. Attys. Gen., and James A. Furber, Asst. Atty. Gen., for appellees.
Solicitor General Cox, Assistant Attorney General Oberdorfer and I. Henry Kutz, for the United States.
PER CURIAM.

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# Inland Seaboard Coasting Company v. Tolson

* related portals: Supreme Court of the United States.
* sister projects: Wikidata item.
United States Supreme Court
139 U.S. 551
Inland Seaboard Coasting Company v. Tolson
Nathaniel Wilson and Walter D. Davidge, for plaintiff in error.
C. C. Cole and A. A. Birney, for defendant in error.
GRAY, J.

## Notes

This work is in the public domain in the United States because it is a work of the United States federal government (see 17 U.S.C. 105).
Public domainPublic domainfalsefalse
# A Dictionary of Music and Musicians/Walond, William

[ W. H. H. ]
# A Dictionary of Music and Musicians/Walpurgisnight

​WALPURGISNIGHT, the night (between April 30 and May 1) of S. Walpurga or Werburga, a British saint, sister of S. Boniface, on which a Witches' Sabbath is supposed to be held in the Harz Mountains. 'The First Walpurgisnight, Ballad for Chorus and Orchestra, the words by Goethe, music by Felix Mendelssohn-Bartholdy, op. 60,' is a setting of a poem of Goethe's, which describes the first occurrence of the event in an encounter between old heathens and Christians.
[ G. ]
# A Dictionary of Music and Musicians/Walsh, John

​WALSH, John, one of the most eminent music-publishers of his day, commenced business probably about 1690 at the sign of 'The Golden Harp and Hautboy in Catherine Street in the Strand.' In 1698 the epithet 'Golden' was discontinued. He held the appointment of 'Musical Instrument Maker in Ordinary to His Majesty.' Walsh published many works in conjunction with 'J. Hare, Musical Instrument Maker, at the Golden Viol in St. Paul's Church Yard, and at his Shop in Freeman's Yard in Cornhill, near the Royal Exchange,' or 'att y$^e$ Viol & Flute in Cornhill, near the Royall Exchange.' His earlier publications were engraved, but about 1710 he commenced the practice of stamping upon pewter plates. His work of both kinds is mostly rough and unfinished. In 1700, copies of some of Corelli's Sonatas having been imported from Rome, Walsh announced 'Twelve Sonnata's in Two Parts; The First Part Solo's for a Violin, a Bass-Violin, Viol and Harpsichord; The Second, Preludes, Almands, Corants, Sarabands, and Jigs, with the Spanish Folly. Dedicated to the Electoress of Brandenburgh by Archangelo Corelli, being his Fifth and Last Opera. Engraven in a curious Character, being much fairer and more correct in the Musick than that of Amsterdam.' His principal publications include Handel's overtures and songs in 'Rinaldo,' 'Esther,' 'Deborah,' and 'Athaliah,' the Utrecht Te Deum and Jubilate and four Coronation Anthems, all in full score; Dr. Croft's thirty Anthems and Burial Service; Eccles's Collection of Songs and 'Judgment of Paris,' and Daniel Purcell's 'Judgment of Paris.' He died March 13, 1736, having, it is said, amassed a fortune of £20,000. He had, some time before his death, resigned his appointment of Musical Instrument Maker to the King in favour of his son,
John, who succeeded to his father's business and conducted it with great energy and success for nearly thirty years. He published the overtures and songs in many of Handel's operas and in most of his oratorios; his 'Alexander's Feast' (for the Author) and 'Acis and Galatea,' and his Funeral Anthem; also the second volume of his 'Suites de Pieces pour le Clavecin,' and his 'Six Concertos for the Harpsichord or Organ' (Oct. 1738), of the copyright in which latter Handel made him a present; Dr. Greene's forty Select Anthems, his 'Spenser's Amoretti,' Songs, Sonatas, etc.; Dr. Boyce's 'Solomon,' 'Chaplet,' 'Shepherd's Lottery, and 'Lyra Britannica'; Dr. Arne's 'Vocal Melody,' Pergolesi's 'Stabat Mater,' etc., etc. He died Jan. 16, 1766, and was buried, with much funeral pomp, at St. Mary's, Strand.
[ W. H. H. ]
# A Dictionary of Music and Musicians/Walther, Johann Gottfried

[ G. ]
* ↑ See the instances given by Spitta, 'Bach' (Novello). ii. 384.
* ↑ Ibid. ii. 388.
# A Dictionary of Music and Musicians/Walter, William

​WALTER, William Henry, born at Newark, New Jersey, U.S.A., July 1, 1825. When quite a lad he played the organ at the first Presbyterian Church, and was afterwards appointed organist at Grace Episcopal Church, Newark. At 17 he came to New York, and in 1842 became organist of Epiphany Church; then of Annunciation; and in 1847 of St. John's Chapel, Trinity parish. In 1848 he was promoted to the organ at St. Paul's Chapel, where he remained until 1856, when he was transferred to Trinity Chapel, Twenty-fifth Street, where he remained until 1869. He was appointed organist at Columbia College, New York, in 1856, and in 1864 received the honorary degree of Doctor in Music from that institution, with which he is still connected (1885). His principal works are 'Common Prayer with Ritual Song,' 'Manual of Church Music,' 'Chorals and Hymns,' 'Hymnal with Tunes, Old and New,' Psalms with Chants,' 'Mass in C,' and 'Mass in F,' besides a number of Anthems and Services for use in the Episcopal Church. His son,
[ A. F. A. ]
# A Dictionary of Music and Musicians/Walther, Johann

​WALTHER, Johann, Luther's friend, and one of the earliest of the composers in the Reformed Church, was born 1496—according to his tombstone, at Gotha, near Cola, in Thuringia; in 1524 was singer in the choir at Torgau, and in the following year Capellmeister, or 'Sängermeister,' to the Elector of Saxony. In 1548 he was sent to Dresden to organise and lead a choir of singers for Moritz of Saxony, and remained till 1555, when he returned with a pension to Torgau, and there lived till his death in 1570.
[ G. ]
# A Dictionary of Music and Musicians/Walsegg, Franz

[ C. F. P. ]
# A Dictionary of Music and Musicians/Walter, John

[ W. H. H. ]
# A Dictionary of Music and Musicians/Walsingham

​WALSINGHAM, an old English song relating to the famous Priory of Walsingham in Norfolk, and probably dating before 1538, when the Priory was suppressed. The following is the tune in modern notation from Mr. Chappell's book:—
[ G. ]
# A Dictionary of Music and Musicians/Walter, Gustav

[ A. C. ]
# Landon in The Literary Gazette 1825/Holyrood

Literary Gazette, 26th March, 1825, Page 205
This poem is included in an article about The Diorama in Regent’s Park, which Letitia Landon visited and was thus inspired by the new display there, which was of ‘The Ruins of Holyrood Chapel, a moonlight scene’, by Louis Daguerre.
HOLYROOD.
The moonlight fell like pity o'er the walls And broken arches, which the conqueror, Time
Had rode unto destruction; the grey moss,
A silver cloak, hung lightly o'er the ruins;
And nothing came upon the soul but soft,
Sad images. And this was once a palace,
Where the rich viol answered to the lute,
And maidens flung the flowers from their hair
Till the halls swam with perfume: here the dance
Kept time with light harps, and yet lighter feet;
And here the beautiful Mary kept her court,
Where sighs and smiles made her regality,
And dreamed not of the long and many years
When the heart was to waste itself away
In hope, whose anxiousness was as a curse:
Here, royal in her beauty and her power, The prison and the scaffold, could they be
But things whose very name was not for her!
And this, now fallen sanctuary, how oft
Have hymns and incense made it holiness;
How oft, perhaps, at the low midnight hour,
lts once fair mistress may have stolen to pour
At its pure altar, thoughts which have no vent,
But deep and silent prayer; when the heart finds
That it may not suffice unto itself,
But seeks communion with that other state,
Whose mystery to it is as a shroud
In which it may conceal its strife of thought,
And find repose....... ....But it is utterly changed:
No incense rises, save some chance wild-flower
Breathes grateful to the air; no hymn is heard,
No sound, but the bat's melancholy wings;
And all is desolate, and solitude.
And thus it is with links of destiny:
Clay fastens on with gold—and none may tell
What the chain's next unravelling will be Alas, the mockeries in which fate delights! Alas, for time!—still more, alas, for change!—L. E. L.
# Landon in The Literary Gazette 1825/Poetic 5 4

Literary Gazette, 17th December, 1825, Page 812
Third.
Last night the midnight wind,
 Along my casement past,
And a distant funeral bell
 Came tolling on the blast.
Envy mingled with my awe,
 As I hearkened to the tone;
I thought of the quiet grave,
 And wished it were mine own.
Life is a torrid day,
 Parched with the dust and sun;
And death's the calm cool night,
 When the weary day is done.
L. E. L.