OpenLLM-France/wikimedia huggingface dataset:
# A Dictionary of Music and Musicians/Manzuoli, Giovanni

From volume 2 of the work.
​MANZUOLI, Giovanni, was born at Florence about 1725. Having acquired a reputation in Italy, he repaired, in 1753, to Madrid, where he was engaged at a high salary by Farinelli. In 1764 and 1765 he came to London, and, by his performance, 'the serious opera acquired a degree of favour to which it had seldom mounted since its first establishment in this country' (Burney). His voice was the most powerful soprano that had been heard on our stage since the time of Farinelli, and his style was full of taste and dignity. The applause he earned was hearty and unequivocal; 'it was a universal thunder.' Other singers had more art and feeling; none possessed a sweeter or fuller organ. As to execution, he had none; but he was a good actor, though unwieldy in figure, and ill-made. Nor was he young; but the sensation he excited seems to have been irresistible. All the composers struggled to have the honour of writing for him; even Dr. Arne composed his unsuccessful 'Olimpiade' for the popular singer. Manzuoli, however, left England at the end of the season, and did not return. In the same year he was at Vienna, and he shortly afterwards retired to his native place, with the title of 'Singer to the Court of the Grand Duke of Tuscany.'
[ J. M. ]
# A Dictionary of Music and Musicians/Marchand, Marguerite

​MARCHAND, Marguerite. See Danzi.
# A Dictionary of Music and Musicians/Marbeck

​MARBECK. See Merbecke.
# A Dictionary of Music and Musicians/Marcato

From volume 2 of the work.
​MARCATO. 'In a marked, decisive manner.' The principal use of this direction is to draw the attention to the melody or subject when it is in such a position that it might be overlooked, as for instance, 'Il basso ben marcato,' in Chopin's Krakowiak, op. 11; or when there are two subjects both of which are to be brought prominently forward, as in the 9th Symphony of Beethoven (last movement) where the two subjects come together in 6-4 time, the words being 'Freude, schöner Götterfunken,' and 'Seid umschlungen,' etc.; and in the Études Symphoniques of Schumann, No. 2, 'Marcato il canto' and 'Marcato il tema.' Beethoven also uses 'Queste note ben marcato' in the string quartet, op. 18, No. 6, slow movement, and 'Melodia marcata,' in the Trio, op. 9, No. 2.
[ J. A. F. M. ]
# A Dictionary of Music and Musicians/Marchand, Louis

From volume 2 of the work.
​MARCHAND, Louis, a personage whose chief claim to our notice is his encounter with Bach, and, as might be imagined, his signal defeat. He was born at Lyons Feb. 2, 1669. He went to Paris at an early age, became renowned there for his organ-playing, and ultimately became court organist at Versailles. By his recklessness and dissipated habits he got into trouble, and was exiled in 1717. The story goes, that the king, taking pity on Marchand's unfortunate wife, caused half his salary to be withheld from him, and devoted to her sustenance. Soon after this arrangement, Marchand coolly got up and went away in the middle of a mass which he was playing, and when remonstrated with by the king, replied, 'Sire, if my wife gets half my salary, she may play half the service.' On account of this he was exiled, on which he went to Dresden, and there managed to get again into royal favour. The King of Poland offered him the place of court organist, and thereby enraged Volumier, his Kapellmeister, who was also at Dresden, and who, in order to crush his rival, secretly invited Bach to come over from Weimar. At a royal concert, Bach being incognito among the audience, Marchand played a French air with brilliant variations of his own, and with much applause, after which Volumier invited Bach to take his seat at the clavecin. Bach repeated all Marchand's showy variations, and improvised twelve new ones of great beauty and difficulty. He then, having written a theme in pencil, handed it to Marchand, challenging him to an organ competition on the given subject. Marchand accepted the challenge, but when the day came it was found that he had precipitately fled from Dresden, and, the order of his banishment having been withdrawn, had returned to Paris, where his talents met with more appreciation. He now set up as a teacher of music, and soon became the fashion, charging the then unheard-of sum of a louis d'or a lesson. In spite of this, however, his expensive habits brought him at last to extreme poverty, and he died in great misery, Feb. 17, 1732. His works comprise 2 vols. of pieces for the clavecin, and one for the organ, and an opera, 'Pyramus et Thisbe,' which was never performed.
[ J. A. F. M. ]
# A Dictionary of Music and Musicians/Siciliana

[ W. B. S. ]
# A Dictionary of Music and Musicians/Siege of Rochelle, The

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

​SIEGFRIED. See under Walküre, vol. iv. p. 376b.
# A Dictionary of Music and Musicians/Signals

[ G. ]
# A Dictionary of Music and Musicians/Side-Drum

[ V. de P. ]
# A Dictionary of Music and Musicians/Signale für die musikalische Welt

[ G. ]
# A Dictionary of Music and Musicians/Siface, Giovanni

​SIFACE, Giovanni Francesco Grossi, detto. Too few details are known about the life of this artist, though all the accounts of him—for the most part as contradictory as they are meagre—agree in representing him as one of the very greatest singers of his time. He was born at Pescia in Tuscany, about the middle of the 17th century, and is said to have been a pupil of Redi. If so, this must have been Tommaso Redi, who became chapel-master at Loretto towards the end of the 17th century, although, as he was Siface's contemporary, it seems improbable that he should have been his instructor. Siface was admitted into the Pope's chapel in April 1675. This disproves the date (1666) given by Fétis and others for his birth, as no boys sang then in the Sistine choir. He would seem at that time to have been already known by the sobriquet which has always distinguished him, and which he owed to his famous impersonation of Siface or Syphax in some opera, commonly said to be the 'Mitridate' of Scarlatti; an unlikely supposition, for besides that Scarlatti's two operas of that name were not written till some 40 years later, it is not easy to see what Syphax can have to do in a work on the subject of Mithridates.
Siface's voice, an 'artificial soprano,' was full and beautiful; his style of singing, broad, noble, and very expressive. Mancini extols his choir-singing as being remarkable for its excellence. In 1679 he was at Venice for the Carnival, acting with great success in the performances of Pallavicini's opera 'Nerone,' of which a description may be found in the 'Mercure galant' of the same year. After this he came to England, and Hawkins mentions him as pre-eminent among all the foreign singers of that period. He was for a time attached to James II.'s chapel, but soon returned to Italy. In the second part of Playford's collection, 'Musick's Handmaid' (1689), there is an air by Purcell, entitled 'Sefauchi's farewell,' which refers to Siface's departure from this country.
[ F. A. M. ]
# A Dictionary of Music and Musicians/Siboni

​SIBONI, Giuseppe, a distinguished tenor singer, born at Forli Jan. 27, 1780, made his début at Florence in 1797, and after singing in Genoa, Milan, and Prague, appeared at the King's Theatre, London, in 1806, and sang for the following three seasons. In 1810, 11, 12, 13 and 14 he was in Vienna, where he sang at the first performances of Beethoven's 'Wellington's Sieg' and 'Tremate empi.' In 1813 he sang at Prague, and after engagements at Naples and St. Petersburg (1818) settled at Copenhagen in Oct. 1819, where he lived for the rest of his life, occupying the post of Director of the Royal Opera and of the Conservatorium. He was married three times, his second wife being a sister of Schubert's friend von Schober, and died at Copenhagen, March 29, 1839. His style is said to have been very good, although his tone was somewhat guttural. His compass was two octaves, from B♭ to B♭. He was a good actor and possessed a fine stage presence. Many of Paer's tenor parts were written for him. His son,
Erik anton Waldemar, born at Copenhagen Aug. 26 (not 28, as stated in Mendel), 1828, learnt the pianoforte from Courlander and Goetze, composition from F. Vogel, and harmony from Prof. J. P. E. Hartrnann. In Sept. 1847 he went to j Leipzig, and studied under Moscheles and Hauptmann, but on the outbreak of the Schleswig Hoistein insurrection he enlisted as a volunteer in the Danish army, and took part in the campaign of 1848. In 1851 he went to Vienna and studied counterpoint under Sechter until 1853, when he returned to Copenhagen, visiting Paris on his way. Among his pupils at this time were the Princess of Wales, the Empress of Russia, and the Landgrave Frederick William of Hesse Cassel. In 1864 Herr Siboni was appointed organist and professor of music at the Royal Academy of Music of Sorb, in Seeland, a post he still holds. The following are his chief compositions:—
1. Published.
3 Impromptus for PF for 4 hands (op. 1); Organ Preludes; Quartet for PF. and Strings (op. 10); Tragic Overture in C minor (op. 14); Songs and PF. pieces.
2. Unpublished.
2 Danish operas—'Loreley,' in 1 act; 'Carl den Andens Flugt,' in 3 acts (Libretto on subject from English History by Professor Thomas Overskou), successfully performed at the Royal Theatre of Copenhagen; Psalm 111, for Bass Solo, Chorus, and Orchestra; 'Stabat Mater,' for Soli. Chorus, Orchestra, and Organ; Cantata, 'The Battle of Murten,' for Soli, Male Chorus, and Orchestra; 'The Assault of Copenhagen,' Cantata for Soli, Chorus, and Orchestra; 2 Symphonies; Concert Overture; PF. Concerto; String Quartets; PF. Trio; Duet for 2 PFs., Sonatas for PF. and Violin, and PF. and Cello, etc., many of them performed at concerts in Copenhagen.
[ W. B. S. ]
# A Dictionary of Music and Musicians/Sicilian Bride, The

[ G. ]
# A Dictionary of Music and Musicians/Sicilian Mariners' Hymn, The

​SICILIAN MARINERS' HYMN, THE. A melody which, fifty years ago, was in great request as a hymn-tune, chiefly in Nonconformist chapels in England. We give the first two strains.
It appears as 'Sicilian Mariners' in Miller's 'Dr. Watts's Psalms and Hymns set to new music,' which was entered at Stationers' Hall Oct. 18, 1800; but it exists on a sheet, also containing 'Adeste Fideles,' which was probably published some years before the close of last century. On, this sheet it is set to the words of a hymn to the Virgin Mary. 'O sanctissima, o purissima.'
[ G. ]
# A Dictionary of Music and Musicians/Rust

From volume 3 of the work.
​RUST. A distinguished German musical family. Friedrich Wilhelm was born at Worlitz, Dessau, July 6, 1739; his father was a person of eminence, and he received a first-rate education. He was taught music by his elder brother, who, as an amateur, had played the violin in J. S. Bach's orchestra at Leipzig; and ​at 13 he played the whole of the Well-tempered clavier without book. Composition, organ, anc clavier he learned from Friedemann and Emmanuel Bach, and the violin from Höckh and F. Benda; and in 1765, during a journey to Italy, from G. Benda, Tartini, and Pugnani. In 1766 he returned to Dessau, and became the life and soul of the music there. On Sept. 24 1774, a new theatre was opened through his exertions, to which he was soon after appointed music-director. He married his pupil, Henriette Niedhart, a fine singer, and thenceforward, with a few visits to Berlin, Dresden, etc., his life was confined to Dessau, where he died, Feb. 28, 1796. His compositions include a Psalm for solo chorus, and orchestra; several large Church Cantatas; Duodramas and Monodramas; Operas; music to Plays; Prologues and Occasional pieces, etc.; Odes and Songs (2 collections); Sonatas and Variations for the PF. solo—'4 dozen' of the former and many of the latter—Concertos, Fugues, etc., etc.; and three Sonatas for the violin solo, which have been republished by his grandson (Peters), and are now the only music by which Rust is known; that in D minor has been often played at the Monday Popular Concerts. His last composition was a violin sonata for the E string, thus anticipating Paganini. A list of his works, with every detail of his life, extending to 6½ large pages, is given in Mendel. His eldest son was drowned; the youngest, Wilhelm Karl, born at Dessau, April 29, 1787, began music very early; and besides the teaching he naturally got at home, learned thorough-bass with Türk while at Halle University. In Dec. 1807 he went to Vienna, and in time became intimate with Beethoven, who praised his playing of Bach, and recommended him strongly as a teacher. Amongst other pupils he had Baroness Ertmann and Maximilian Brentano. His letters to his sister on Beethoven are very interesting, and are given by Thayer, iii. 35–6. He remained in Vienna till 1827, when he returned to his native place, and lived there, teaching and making music, much beloved and sought after till his death, April 18, 1855. His memory appears to have been extraordinarily retentive and accurate, and an anecdote is given by his nephew in Mendel of his recollecting a composition of Palestrina's after 48 years. He published little or nothing.
[ G. ]
# A Dictionary of Music and Musicians/Ruggieri

From volume 3 of the work.
[ E. J. P. ]
# A Dictionary of Music and Musicians/Ruins of Athens, The

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

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

From volume 3 of the work.
​RUMMEL. A German musical family, (1) Christian Franz Ludwig Friedrich Alexander was born at Brichsenstadt, Bavaria, Nov. 27, 1787. He was educated at Mannheim, and seems to have had instruction from the Abbé Vogler. In 1806 he took the post of bandmaster to the 2nd Nassau infantry, made the Peninsular Campaign, married in Spain, was taken prisoner, released, and served with his regiment at Waterloo. He was then employed by the Duke of Nassau to form and lead his court orchestra, which he did with great credit to himself till 1841, when it was dissolved. Christian Rummel died at Wiesbaden Feb. 13, 1849. He was not only an able conductor and a composer of much ability and industry, but a fine clarinetist and a good pianoforte-player. His works are numerous, and embrace pieces for military band, concertos, quintets and other pieces for clarinet, many pianoforte compositions, especially a sonata for 4 hands (op. 20) waltzes, variations, etc. and a Method for the PF. (2) His daughter Josephine was born at Manzanares in Spain during the Peninsular War, May 12, 1812. She was pianist at the Court at Wiesbaden, and died Dec. 19, 1877. (3) His son Joseph, born Oct. 6, 1818, was educated by his father in music generally, and in the clarinet and PF. in particular, on both of which he was a good player. He was for many years Kapellmeister to the Prince of Oldenburg, then residing at Wiesbaden—a post in which he was succeeded by Adolphe Henselt. Up to 1842 he lived in Paris, and then removed to London for five years. In 1847 he returned to Paris, and remained there till driven back to London by the war in 1870; and in London he resided till his death, March 25, 1880. Joseph Rummel wrote no original music, but he was one of the most prolific arrangers of operas and operatic selections for the PF. that ever existed. For nearly 40 years he worked incessantly for the houses of Schott and Escudier, publishing about 400 pieces with each house under his own name, besides a much larger number under noms de plume. His arrangements and transcriptions amount in all to fully 2000. He wrote also a series of exercises for Augener & Co., and for Escudier. (4) Joseph's sister Franziska, born at Wiesbaden, Feb. 4, 1821, was educated by her father until she went to Paris to study singing under Bordogni, and afterwards to Lamperti at Milan. She became principal singer at the Court of Wiesbaden, and at length married Peter Schott, the well-known music publisher at Brussels, who died in 1873. (5) Another son, August, became a merchant in London, where he still lives, and where (6) his son Franz was born, Jan. 11, 1853.
[ G. ]
# A Dictionary of Music and Musicians/Rungenhagen, Carl

From volume 3 of the work.
​RUNGENHAGEN, Carl Friedrich. See Singakademie.
# A Dictionary of Music and Musicians/Russell, Henry

[ J. H. D. ]
# A Dictionary of Music and Musicians/Russell, William

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

From volume 3 of the work.
[ G. ]
# A Bread and Butter Miss

* Search for titles containing or beginning with: "A Bread and Butter Miss."
* sister projects: Wikidata item.
This is a disambiguation page. It lists works that share the same title. If an article link referred you here, please consider editing it to point directly to the intended page.
* A Bread and Butter Miss, a novel by George Paston
* A Bread and Butter Miss, a short story by Saki
# A Breaker of Laws

* information about this edition.
* sister projects: Wikidata item.
In the present story (which is clearly an advance on Mr. Ridge's earlier work) the people dwell in the borderland between crime and pauperism. The chief character is at times a burglar, at times an honest workman. His professional pride in his burglar's skill, the spirit of adventure which makes crime fascinating in his eyes, and a love of easily gained spending-money, contend in him with a genuine love for the wife who believes him honest. … —extracted from the review in The Outlook, 13 Oct. 1900. Full review(s) on the Talk page
A BREAKER OF LAWS
BY
W. PETT RIDGE
Author of 'Mord Em'ly,' etc
LONDON AND NEW YORK
HARPER & BROTHERS
45 ALBEMARLE STREET, W.
1900
* Chapter 1, 001
* Chapter 2, 022
* Chapter 3, 044
* Chapter 4, 062
* Chapter 5, 079
* Chapter 6, 094
* Chapter 7, 104
* Chapter 8, 124
* Chapter 9, 141
* Chapter 10, 161
* Chapter 11, 180
* Chapter 12, 200
* Chapter 13, 216
* Chapter 14, 225
* Chapter 15, 240
* Chapter 16, 254
* Chapter 17, 262
* Chapter 18, 275
* Chapter 19, 291
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This work is in the public domain in the United States because it was published before January 1, 1929.
The longest-living author of this work died in 1930, so this work is in the public domain in countries and areas where the copyright term is the author's life plus 93 years or less. This work may be in the public domain in countries and areas with longer native copyright terms that apply the rule of the shorter term to foreign works.
Public domainPublic domainfalsefalse
# A Dictionary of Saintly Women/Brigid (6)

​St. Brigid (6), Sept. 30. Great-granddaughter of Colla or Colladius, who gave land to St. Patrick.
# A Dictionary of Saintly Women/Brigid (9)

​St. Brigid (9) of Senboith, or Shanbo, in Wexford. (Perhaps same as 7.)
# A Dictionary of Saintly Women/Brigid (4)

​St. Brigid (4) of Benchor, whose head, in 1225, was brought from Scotland or Ireland to Denis, king of Portugal, and kept at Lumiar with great veneration, is said to have founded a great monastery at Benchor. This may have been Banchory in Scotland, or Bangor in Wales, or some place in Ireland. Bollandus could not identify her with either of the well-known SS. Brigid. Perhaps she is St. Brigid of Abernethy.
# A Dictionary of Saintly Women/Brigidona

​Brigidona and Mary, May 6, MM. AA. SS., Præter. MS. Calendar of Tamlaght.
# A Dictionary of Saintly Women/Brigid (21)

​B. Brigid (21) of Holland. 3rd O. S. D. Supposed 14th century. She was so full of love to God that He adorned her with the stigmata. Pio, Uomini e donne, p. 506. Choquet, Sancti Belgi, O. S. D., chap. xxv.
# A Dictionary of Saintly Women/Brigid (7)

​St. Brigid (7), May 13, 24, nursed and converted her infirm husband: after his death she returned to her father’s house, and built herself a cell.
# A Dictionary of Saintly Women/Brigid (8)

​St. Brigid (8) of Oughterard, co. Kildare. (Perhaps same as 7.)
# A Dictionary of Saintly Women/Brigid (3)

​St. Brigid (3) of Abernethy. Bishop Forbes, Scottish Calendars, thinks it is probable there was a Scotch saint of the name of Brigid, whose relics were kept at Abernethy. The Aberdeen Breviary, in the story of St. Mazota, says that St. Brigid of Abernethy was cousin of Graverdus, king of the Picts, who during his wars with the Britons was admonished by supernatural means to send to ​Ireland for Brigid, and follow her advice. She came with St. Mazota and eight holy virgins, and settled at Abernethy, and there built a church, where the king was baptized.
# A Dictionary of Saintly Women/Brigid (5–11)

​St. Brigid (5–11). Colgan, in his History of the Irish Saints, speaks of twenty-five Brigids, some of whom are distinguishable from each other, and some are not. No one but a Celtic scholar and antiquary could attempt to disentangle them all, or form an opinion as to how many Brigids there were, or which is a duplicate of which. I take these seven—who are possibly reducible to four—from Bishop Forbes’ article “Brigida,” in Smith and Wace’s Diet.
# A Dictionary of Saintly Women/Brigid (5)

​St. Brigid (5), March 9, of Moinmiolain. (Perhaps same as 6.)
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Lee, or Ley (William)

​LEE, or LEY (WILLIAM), bookseller in London, (1) Paul's Chain, 1640–46; (2) Fleet Street, neere Sergeant's Inne, at the signe of the Golden Buck, 1621–52; (3) Turk's Head in Fleet Street next to the Miter and Phoenix [over against Fetter Lane], 1627-65; (4) Lombard Street, 1659 (1623-65). Three stationers of the name of Lee or Ley took up their freedom between 1601 and 1640, i.e., William Lee, son of Frauncis Lee of Southwark, apprentice to Edward Venge for eight years from March, 1603 [Arber, ii. 270]; William Lee, made free October 2nd, 1620 [ibid., iii. 685]; and William Lee, made free October 2nd, 1637 [ibid., iii. 688]. A William Lee, of Lombard Street, was Master of the Company of Stationers in 1659. [Arber, v. lxv.] One of these men was associated with Richard Rogers in publishing a catalogue of plays in 1656 in an edition of Goffe's Careless Shepherdess. [W. W. Greg, List of Plays. Appendix II.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Legate (John)

​LEGATE (JOHN), printer in Cambridge and London; Little Wood Street, 1620-58. Son of John Legate, printer at Cambridge (1588-1620). Admitted Freeman of the Stationers' Company, September 6th, 1619. [Arber, iv. 45.] Appointed printer to the University of Cambridge by Grace, July 5th, 1650, in succession to Roger Daniel, q.v. His patent was cancelled for neglect October 10th, 1655, after which he appears to have come to London and settled in Little Wood Street. Smyth in his Obituary, p. 49, has this entry, "Nov$^r$. 4th 1658, Mr. Legat in Little Wood Street, printer, once printer at Cambridge, since distempered in his senses, died." [R. Bowes, Biographical Notes on the University Printers, p. 306.]
# A Dictionary of the Booksellers and Printers who Were at Work in England, Scotland and Ireland from 1641 to 1667/Leake (William)

​LEAKE (WILLIAM), bookseller in London, (1) Crown in Fleet Street, between the two Temple gates; (2) In Chancery Lane, near the Rolls. 1635–81. Son of William Leake, stationer (1592–1634). Took up his freedom July 22nd, 1623. On June 1st, 1635, Widow Leake assigned over to him all his father's copyrights, and in 1638 he obtained from Robert Mead and Christopher Meredith the copyrights that had once belonged to Richard Hawkins. [Arber, iv. 340, 420.] Both these assignments contained several plays. The following issues contain lists of books: Beaumont and Fletcher's Maid’s Tragedy, 1650, 53 entries; Shakespeare's Merchant of Venice, 1652, 16 entries; The Fort Royal of Holy Scriptures … by J. H. … 1652, number not stated; Beaumont and Fletcher's King and No King (sig. l. 4 verso) and Shakespeare's Othello (sig. M 4 verso) both issued in 1655, 46 entries; James Shirley, The Wedding (sig. A 1 verso) 52 entries; James Shirley, Grateful Servant [1660?], 53 entries; Beaumont and Fletcher's Philaster [1660?], 60 entries. William Leake died in 1681, and his will is in the P.C.C. (184 North). [W. W. Greg, List of English Plays, Appendix.]