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The_Musical_World_ms_1856-036_1_ | 1856 | Madame Viardot, too, must be noticed for the extraordinary fluency and fire she displayed in the unheard-of bravura from Graun’s Britannieus, and Herr Reichardt for his graceful and finished singing in Mozart’s “Dalla sua pace.” | [
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The_Musical_World_ms_1856-036_1_ | 1856 | Madame Viardot, too, must be noticed for the extraordinary fluency and fire she displayed in the unheard-of bravura from Graun’s Britannieus, and Herr Reichardt for his graceful and finished singing in Mozart’s “Dalla sua pace.” | [
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The_Musical_World_ms_1856-036_1_ | 1856 | Madame Viardot, too, must be noticed for the extraordinary fluency and fire she displayed in the unheard-of bravura from Graun’s Britannieus, and Herr Reichardt for his graceful and finished singing in Mozart’s “Dalla sua pace.” | [
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The_Musical_Times_ms_1899-680_2_ | 1899 | At five o’clock every evening during the Festival there was a service in the Cathedral, at which the Three Choirs of Gloucester, Hereford, and Worcester Cathedrals combined their forces, with highly impressive results. | [
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] | Festival | Q3525932 |
The_Musical_Times_ms_1899-680_2_ | 1899 | At five o’clock every evening during the Festival there was a service in the Cathedral, at which the Three Choirs of Gloucester, Hereford, and Worcester Cathedrals combined their forces, with highly impressive results. | [
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] | Gloucester | Q170497 |
The_Musical_Times_ms_1899-680_2_ | 1899 | At five o’clock every evening during the Festival there was a service in the Cathedral, at which the Three Choirs of Gloucester, Hereford, and Worcester Cathedrals combined their forces, with highly impressive results. | [
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] | Hereford | Q204720 |
The_Musical_Times_ms_1899-680_2_ | 1899 | At five o’clock every evening during the Festival there was a service in the Cathedral, at which the Three Choirs of Gloucester, Hereford, and Worcester Cathedrals combined their forces, with highly impressive results. | [
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] | Worcester | Q1646181 |
the_Musical_Times_ms_1896-635_7_ | 1896 | In this class the prizes went to the Nelson Excelsior Glee Union, the Harrogate Glee Society, and the Apollo Choir of Middlesbrough, the Reedyford Glee Union being only one point behind. | [
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"qid": "_",
"token": "being"
},
{
"bio": "O",
"disambiguated_token": "only",
"pos": "ADV",
"qid": "_",
"token": "only"
},
{
"bio": "O",
"disambiguated_token": "one",
"pos": "NUM",
"qid": "_",
"token": "one"
},
{
"bio": "O",
"disambiguated_token": "point",
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"qid": "_",
"token": "point"
},
{
"bio": "O",
"disambiguated_token": "behind",
"pos": "ADV",
"qid": "_",
"token": "behind"
},
{
"bio": "O",
"disambiguated_token": ".",
"pos": "PUNCT",
"qid": "_",
"token": "."
}
] | Nelson Excelsior Glee Union | NIL |
the_Musical_Times_ms_1896-635_7_ | 1896 | In this class the prizes went to the Nelson Excelsior Glee Union, the Harrogate Glee Society, and the Apollo Choir of Middlesbrough, the Reedyford Glee Union being only one point behind. | [
{
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{
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{
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{
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"disambiguated_token": "Reedyford Glee Union",
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"token": "Reedyford Glee Union"
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{
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{
"bio": "O",
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{
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{
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{
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},
{
"bio": "O",
"disambiguated_token": ".",
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"qid": "_",
"token": "."
}
] | Harrogate Glee Society | NIL |
the_Musical_Times_ms_1896-635_7_ | 1896 | In this class the prizes went to the Nelson Excelsior Glee Union, the Harrogate Glee Society, and the Apollo Choir of Middlesbrough, the Reedyford Glee Union being only one point behind. | [
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{
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{
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{
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{
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{
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{
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"token": "the"
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{
"bio": "I-organization",
"disambiguated_token": "Reedyford Glee Union",
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"token": "Reedyford Glee Union"
},
{
"bio": "O",
"disambiguated_token": "be",
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"qid": "_",
"token": "being"
},
{
"bio": "O",
"disambiguated_token": "only",
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},
{
"bio": "O",
"disambiguated_token": "one",
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},
{
"bio": "O",
"disambiguated_token": "point",
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},
{
"bio": "O",
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"token": "behind"
},
{
"bio": "O",
"disambiguated_token": ".",
"pos": "PUNCT",
"qid": "_",
"token": "."
}
] | Apollo Choir | NIL |
the_Musical_Times_ms_1896-635_7_ | 1896 | In this class the prizes went to the Nelson Excelsior Glee Union, the Harrogate Glee Society, and the Apollo Choir of Middlesbrough, the Reedyford Glee Union being only one point behind. | [
{
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},
{
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{
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{
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{
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{
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{
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{
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{
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{
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{
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{
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{
"bio": "O",
"disambiguated_token": "the",
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"token": "the"
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{
"bio": "I-organization",
"disambiguated_token": "Reedyford Glee Union",
"pos": "PROPN",
"qid": "NIL",
"token": "Reedyford Glee Union"
},
{
"bio": "O",
"disambiguated_token": "be",
"pos": "AUX",
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},
{
"bio": "O",
"disambiguated_token": "only",
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},
{
"bio": "O",
"disambiguated_token": "one",
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"token": "one"
},
{
"bio": "O",
"disambiguated_token": "point",
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{
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"token": "behind"
},
{
"bio": "O",
"disambiguated_token": ".",
"pos": "PUNCT",
"qid": "_",
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}
] | Middlesbrough | Q171866 |
the_Musical_Times_ms_1896-635_7_ | 1896 | In this class the prizes went to the Nelson Excelsior Glee Union, the Harrogate Glee Society, and the Apollo Choir of Middlesbrough, the Reedyford Glee Union being only one point behind. | [
{
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{
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{
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{
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{
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{
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] | Reedyford Glee Union | NIL |
Dwight's Journal of Music_1858-17_BIS_ms_1 | 1858 | But now his bones ‘must be allowed to return to Paris and be solemnly d leposited in that musical Hotel des Invalides, the Académie, Royale de Musique. | [
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{
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] | Paris | Q90 |
Dwight's Journal of Music_1858-17_BIS_ms_1 | 1858 | But now his bones ‘must be allowed to return to Paris and be solemnly d leposited in that musical Hotel des Invalides, the Académie, Royale de Musique. | [
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Dwight's Journal of Music_1858-17_BIS_ms_1 | 1858 | But now his bones ‘must be allowed to return to Paris and be solemnly d leposited in that musical Hotel des Invalides, the Académie, Royale de Musique. | [
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The_Musical_Times_ms_1905-754_4_ | 1905 | Mr. Arthur Bent’s orchestra is also announced to give two concerts on December 7, Tchaikovsky’s Serenade for The third concert by the Choral and Philstrings (Op. 48) and Bach’s Concerto for two violins and orchestra being the chief features. | [
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The_Musical_Times_ms_1905-754_4_ | 1905 | Mr. Arthur Bent’s orchestra is also announced to give two concerts on December 7, Tchaikovsky’s Serenade for The third concert by the Choral and Philstrings (Op. 48) and Bach’s Concerto for two violins and orchestra being the chief features. | [
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The_Musical_Times_ms_1905-754_4_ | 1905 | Mr. Arthur Bent’s orchestra is also announced to give two concerts on December 7, Tchaikovsky’s Serenade for The third concert by the Choral and Philstrings (Op. 48) and Bach’s Concerto for two violins and orchestra being the chief features. | [
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The_Musical_Times_ms_1905-754_4_ | 1905 | Mr. Arthur Bent’s orchestra is also announced to give two concerts on December 7, Tchaikovsky’s Serenade for The third concert by the Choral and Philstrings (Op. 48) and Bach’s Concerto for two violins and orchestra being the chief features. | [
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The_Musical_Times_ms_1905-754_5_ | 1905 | At their first concert, under the direction of Dr. Bates, Mark Ilambourg will be the solo pianist, and the Norwich Choral Society will contribute Hugh Blair’s ‘ Trafalgar,’ composed expressly for the Nelson centenary. | [
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The_Musical_Times_ms_1905-754_5_ | 1905 | At their first concert, under the direction of Dr. Bates, Mark Ilambourg will be the solo pianist, and the Norwich Choral Society will contribute Hugh Blair’s ‘ Trafalgar,’ composed expressly for the Nelson centenary. | [
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] | Mark Ilambourg | Q1900092 |
The_Musical_Times_ms_1905-754_5_ | 1905 | At their first concert, under the direction of Dr. Bates, Mark Ilambourg will be the solo pianist, and the Norwich Choral Society will contribute Hugh Blair’s ‘ Trafalgar,’ composed expressly for the Nelson centenary. | [
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The_Musical_Times_ms_1905-754_5_ | 1905 | At their first concert, under the direction of Dr. Bates, Mark Ilambourg will be the solo pianist, and the Norwich Choral Society will contribute Hugh Blair’s ‘ Trafalgar,’ composed expressly for the Nelson centenary. | [
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] | Hugh Blair | Q5930050 |
The_Musical_Times_ms_1905-754_5_ | 1905 | At their first concert, under the direction of Dr. Bates, Mark Ilambourg will be the solo pianist, and the Norwich Choral Society will contribute Hugh Blair’s ‘ Trafalgar,’ composed expressly for the Nelson centenary. | [
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] | Trafalgar | NIL |
The_Musical_Times_ms_1905-754_5_ | 1905 | At their first concert, under the direction of Dr. Bates, Mark Ilambourg will be the solo pianist, and the Norwich Choral Society will contribute Hugh Blair’s ‘ Trafalgar,’ composed expressly for the Nelson centenary. | [
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] | Nelson | Q83235 |
the_Musical_Times_ms_1895-634_5_ | 1895 | Mr. Hepmonnpt’s brief but ambitious season of opera in English, at Covent Garden Theatre, ended on the oth ult., the final additions to the repertory being those effective but lurid little works ‘‘ Cavalleria Rusticana”’ and ‘‘ Pag‘liacci.””. | [
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] | Mr. Hepmonnpt | NIL |
the_Musical_Times_ms_1895-634_5_ | 1895 | Mr. Hepmonnpt’s brief but ambitious season of opera in English, at Covent Garden Theatre, ended on the oth ult., the final additions to the repertory being those effective but lurid little works ‘‘ Cavalleria Rusticana”’ and ‘‘ Pag‘liacci.””. | [
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the_Musical_Times_ms_1895-634_5_ | 1895 | Mr. Hepmonnpt’s brief but ambitious season of opera in English, at Covent Garden Theatre, ended on the oth ult., the final additions to the repertory being those effective but lurid little works ‘‘ Cavalleria Rusticana”’ and ‘‘ Pag‘liacci.””. | [
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the_Musical_Times_ms_1895-634_5_ | 1895 | Mr. Hepmonnpt’s brief but ambitious season of opera in English, at Covent Garden Theatre, ended on the oth ult., the final additions to the repertory being those effective but lurid little works ‘‘ Cavalleria Rusticana”’ and ‘‘ Pag‘liacci.””. | [
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] | Pag‘liacci | Q248644 |
The_Musical_Times_ms_1896-646_5_ | 1896 | Miss Katie Goopson, who gave her first Recital in London, at St. James’s Hall, on the 3rd ult., is one of the most promising young pianists who have been heard in London for some time past. | [
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] | Miss Katie Goopson | NIL |
The_Musical_Times_ms_1896-646_5_ | 1896 | Miss Katie Goopson, who gave her first Recital in London, at St. James’s Hall, on the 3rd ult., is one of the most promising young pianists who have been heard in London for some time past. | [
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] | London | Q84 |
The_Musical_Times_ms_1896-646_5_ | 1896 | Miss Katie Goopson, who gave her first Recital in London, at St. James’s Hall, on the 3rd ult., is one of the most promising young pianists who have been heard in London for some time past. | [
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] | St. James ’s Hall | Q4416300 |
The_Musical_Times_ms_1896-646_5_ | 1896 | Miss Katie Goopson, who gave her first Recital in London, at St. James’s Hall, on the 3rd ult., is one of the most promising young pianists who have been heard in London for some time past. | [
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] | London | Q84 |
The_Musical_World__ms_1844-018_1_ | 1844 | Several glees were sung in the course of the evening, and the following songs:—* Mary Morrison,” by Mr. Wilson; “ Norma,” by Mr. John Parry; “ Remembrance,” by Mr. Ferrari (his own composition), and “I'll be true to thee,” by Mr. Manvers. | [
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] | Mary Morrison | NIL |
The_Musical_World__ms_1844-018_1_ | 1844 | Several glees were sung in the course of the evening, and the following songs:—* Mary Morrison,” by Mr. Wilson; “ Norma,” by Mr. John Parry; “ Remembrance,” by Mr. Ferrari (his own composition), and “I'll be true to thee,” by Mr. Manvers. | [
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] | Mr. Wilson | NIL |
The_Musical_World__ms_1844-018_1_ | 1844 | Several glees were sung in the course of the evening, and the following songs:—* Mary Morrison,” by Mr. Wilson; “ Norma,” by Mr. John Parry; “ Remembrance,” by Mr. Ferrari (his own composition), and “I'll be true to thee,” by Mr. Manvers. | [
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] | Norma | Q320353 |
The_Musical_World__ms_1844-018_1_ | 1844 | Several glees were sung in the course of the evening, and the following songs:—* Mary Morrison,” by Mr. Wilson; “ Norma,” by Mr. John Parry; “ Remembrance,” by Mr. Ferrari (his own composition), and “I'll be true to thee,” by Mr. Manvers. | [
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] | Mr. John Parry | NIL |
The_Musical_World__ms_1844-018_1_ | 1844 | Several glees were sung in the course of the evening, and the following songs:—* Mary Morrison,” by Mr. Wilson; “ Norma,” by Mr. John Parry; “ Remembrance,” by Mr. Ferrari (his own composition), and “I'll be true to thee,” by Mr. Manvers. | [
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] | Remembrance | NIL |
The_Musical_World__ms_1844-018_1_ | 1844 | Several glees were sung in the course of the evening, and the following songs:—* Mary Morrison,” by Mr. Wilson; “ Norma,” by Mr. John Parry; “ Remembrance,” by Mr. Ferrari (his own composition), and “I'll be true to thee,” by Mr. Manvers. | [
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] | Mr. Ferrari | NIL |
The_Musical_World__ms_1844-018_1_ | 1844 | Several glees were sung in the course of the evening, and the following songs:—* Mary Morrison,” by Mr. Wilson; “ Norma,” by Mr. John Parry; “ Remembrance,” by Mr. Ferrari (his own composition), and “I'll be true to thee,” by Mr. Manvers. | [
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The_Musical_World__ms_1844-018_1_ | 1844 | Several glees were sung in the course of the evening, and the following songs:—* Mary Morrison,” by Mr. Wilson; “ Norma,” by Mr. John Parry; “ Remembrance,” by Mr. Ferrari (his own composition), and “I'll be true to thee,” by Mr. Manvers. | [
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The_Musical_Times_ms_1885-505_5_ | 1885 | The performance of the work in St. James's Hall, under Myr. Otto Goldschmidt, had many good points, and Mr. Parry found no small part of a friendly audience willing to bestow applause. | [
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The_Musical_Times_ms_1885-505_5_ | 1885 | The performance of the work in St. James's Hall, under Myr. Otto Goldschmidt, had many good points, and Mr. Parry found no small part of a friendly audience willing to bestow applause. | [
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] | Myr . Otto Goldschmidt | Q320046 |
The_Musical_Times_ms_1885-505_5_ | 1885 | The performance of the work in St. James's Hall, under Myr. Otto Goldschmidt, had many good points, and Mr. Parry found no small part of a friendly audience willing to bestow applause. | [
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The Musical Times_1853-106_ms_1 | 1853 | Spagnoletti, the leader, the fine Roman lineaments of whose countenance should have been pourtrayed by a Titian or Vandyke, was the animating spirit of the orchestra. | [
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The Musical Times_1853-106_ms_1 | 1853 | Spagnoletti, the leader, the fine Roman lineaments of whose countenance should have been pourtrayed by a Titian or Vandyke, was the animating spirit of the orchestra. | [
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The Musical Times_1853-106_ms_1 | 1853 | Spagnoletti, the leader, the fine Roman lineaments of whose countenance should have been pourtrayed by a Titian or Vandyke, was the animating spirit of the orchestra. | [
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Dwight's Journal of Music_1856-001_ms_4 | 1856 | After ‘ the Revolution inv’4S, he visited France, Fngland, Ireland, Belgium, and the principal cities of Germany, studying the compositions and the stytes of vr playing of the renowned pianists. | [
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{
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{
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{
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{
"bio": "O",
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] | Revolution | NIL |
Dwight's Journal of Music_1856-001_ms_4 | 1856 | After ‘ the Revolution inv’4S, he visited France, Fngland, Ireland, Belgium, and the principal cities of Germany, studying the compositions and the stytes of vr playing of the renowned pianists. | [
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{
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{
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{
"bio": "O",
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}
] | France | Q142 |
Dwight's Journal of Music_1856-001_ms_4 | 1856 | After ‘ the Revolution inv’4S, he visited France, Fngland, Ireland, Belgium, and the principal cities of Germany, studying the compositions and the stytes of vr playing of the renowned pianists. | [
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{
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{
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"disambiguated_token": "playing",
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{
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{
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{
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{
"bio": "O",
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"qid": "_",
"token": "."
}
] | Fngland | Q21 |
Dwight's Journal of Music_1856-001_ms_4 | 1856 | After ‘ the Revolution inv’4S, he visited France, Fngland, Ireland, Belgium, and the principal cities of Germany, studying the compositions and the stytes of vr playing of the renowned pianists. | [
{
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{
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},
{
"bio": "O",
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}
] | Ireland | Q22890 |
Dwight's Journal of Music_1856-001_ms_4 | 1856 | After ‘ the Revolution inv’4S, he visited France, Fngland, Ireland, Belgium, and the principal cities of Germany, studying the compositions and the stytes of vr playing of the renowned pianists. | [
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{
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{
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{
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{
"bio": "O",
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] | Belgium | Q31 |
Dwight's Journal of Music_1856-001_ms_4 | 1856 | After ‘ the Revolution inv’4S, he visited France, Fngland, Ireland, Belgium, and the principal cities of Germany, studying the compositions and the stytes of vr playing of the renowned pianists. | [
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{
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] | Germany | Q183 |
The Harmonicon_1831-004_ms_3 | 1831 | Galuppi had the art of exciting to the utmust the emulation of his pupils, and produced, ir 1771, three eminent singers, La Rota, Pasqua Rossi, and Ortolani, lected by its present master, staf ef all emulation . | [
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] | Galuppi | Q208338 |
The Harmonicon_1831-004_ms_3 | 1831 | Galuppi had the art of exciting to the utmust the emulation of his pupils, and produced, ir 1771, three eminent singers, La Rota, Pasqua Rossi, and Ortolani, lected by its present master, staf ef all emulation . | [
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] | La Rota | NIL |
The Harmonicon_1831-004_ms_3 | 1831 | Galuppi had the art of exciting to the utmust the emulation of his pupils, and produced, ir 1771, three eminent singers, La Rota, Pasqua Rossi, and Ortolani, lected by its present master, staf ef all emulation . | [
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{
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{
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{
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{
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{
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{
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{
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{
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] | Pasqua Rossi | NIL |
The Harmonicon_1831-004_ms_3 | 1831 | Galuppi had the art of exciting to the utmust the emulation of his pupils, and produced, ir 1771, three eminent singers, La Rota, Pasqua Rossi, and Ortolani, lected by its present master, staf ef all emulation . | [
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{
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{
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{
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{
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{
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{
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{
"bio": "O",
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{
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{
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{
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{
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{
"bio": "O",
"disambiguated_token": "lecte",
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{
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{
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"disambiguated_token": "its",
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{
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"disambiguated_token": "present",
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},
{
"bio": "O",
"disambiguated_token": "master",
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{
"bio": "O",
"disambiguated_token": ",",
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},
{
"bio": "O",
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{
"bio": "O",
"disambiguated_token": "ef",
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{
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"disambiguated_token": "all",
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},
{
"bio": "O",
"disambiguated_token": "emulation",
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{
"bio": "O",
"disambiguated_token": ".",
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] | Ortolani | NIL |
The Musical Times_1870-324_ms_2 | 1870 | The young and enthusiastic artist immediately responded to the cali, and the result was the production of his celebrated opera Belmonte und Constanzé or Die Entfithrung aus dem Serail. | [
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{
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{
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{
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{
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{
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{
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{
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{
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{
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{
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{
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{
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{
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{
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{
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{
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{
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{
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},
{
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{
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{
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}
] | Belmonte und Constanzé or Die Entfithrung aus dem Serail | Q210711 |
The_Musical_World_ms_1856-036_2_ | 1856 | The quartets from Rigoletto and Oberon, both excellent specimens of their widely different schools, could hardly have been intrusted to more competent artists than Madame Novello, Miss Dolby, Mr. Sims Reeves, and Mr. Weiss. | [
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{
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{
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{
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{
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{
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{
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{
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{
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{
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{
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{
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{
"bio": "O",
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},
{
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},
{
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},
{
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},
{
"bio": "O",
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},
{
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{
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{
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"qid": "_",
"token": "."
}
] | Rigoletto | Q189234 |
The_Musical_World_ms_1856-036_2_ | 1856 | The quartets from Rigoletto and Oberon, both excellent specimens of their widely different schools, could hardly have been intrusted to more competent artists than Madame Novello, Miss Dolby, Mr. Sims Reeves, and Mr. Weiss. | [
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{
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"bio": "O",
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{
"bio": "I-person",
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"token": "Miss Dolby"
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{
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{
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{
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{
"bio": "O",
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] | Oberon | Q690835 |
The_Musical_World_ms_1856-036_2_ | 1856 | The quartets from Rigoletto and Oberon, both excellent specimens of their widely different schools, could hardly have been intrusted to more competent artists than Madame Novello, Miss Dolby, Mr. Sims Reeves, and Mr. Weiss. | [
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"bio": "I-person",
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"token": "Miss Dolby"
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{
"bio": "O",
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{
"bio": "O",
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{
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{
"bio": "O",
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] | Madame Novello | Q4322567 |
The_Musical_World_ms_1856-036_2_ | 1856 | The quartets from Rigoletto and Oberon, both excellent specimens of their widely different schools, could hardly have been intrusted to more competent artists than Madame Novello, Miss Dolby, Mr. Sims Reeves, and Mr. Weiss. | [
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] | Miss Dolby | Q4164386 |
The_Musical_World_ms_1856-036_2_ | 1856 | The quartets from Rigoletto and Oberon, both excellent specimens of their widely different schools, could hardly have been intrusted to more competent artists than Madame Novello, Miss Dolby, Mr. Sims Reeves, and Mr. Weiss. | [
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] | Mr. Sims Reeves | Q7521239 |
The_Musical_World_ms_1856-036_2_ | 1856 | The quartets from Rigoletto and Oberon, both excellent specimens of their widely different schools, could hardly have been intrusted to more competent artists than Madame Novello, Miss Dolby, Mr. Sims Reeves, and Mr. Weiss. | [
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] | Mr. Weiss | Q8022239 |
The Harmonicon_1828-005_ms_4 | 1828 | My remarks on the major and minor semitones, in the Harmonicon for October, have produced an answer, in your Number for February, by the Rev. Mr. Liston, the inventor of the Euharmonic Organ. | [
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] | Harmonicon | Q7738918 |
The Harmonicon_1828-005_ms_4 | 1828 | My remarks on the major and minor semitones, in the Harmonicon for October, have produced an answer, in your Number for February, by the Rev. Mr. Liston, the inventor of the Euharmonic Organ. | [
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] | Rev. Mr. Liston | Q5724966 |
The Harmonicon_1828-005_ms_2 | 1828 | When Pugnani and Viotti quitted St. Petersburg, where they had been loaded with favours by Catherine the Second, they paid a visit to Berlin, at the time that our violinist was in possession of the public favour. | [
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] | Pugnani | Q560926 |
The Harmonicon_1828-005_ms_2 | 1828 | When Pugnani and Viotti quitted St. Petersburg, where they had been loaded with favours by Catherine the Second, they paid a visit to Berlin, at the time that our violinist was in possession of the public favour. | [
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{
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{
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{
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{
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{
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},
{
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},
{
"bio": "O",
"disambiguated_token": ".",
"pos": "PUNCT",
"qid": "_",
"token": "."
}
] | Viotti | Q313188 |
The Harmonicon_1828-005_ms_2 | 1828 | When Pugnani and Viotti quitted St. Petersburg, where they had been loaded with favours by Catherine the Second, they paid a visit to Berlin, at the time that our violinist was in possession of the public favour. | [
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{
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{
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{
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{
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{
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},
{
"bio": "O",
"disambiguated_token": ".",
"pos": "PUNCT",
"qid": "_",
"token": "."
}
] | St. Petersburg | Q656 |
The Harmonicon_1828-005_ms_2 | 1828 | When Pugnani and Viotti quitted St. Petersburg, where they had been loaded with favours by Catherine the Second, they paid a visit to Berlin, at the time that our violinist was in possession of the public favour. | [
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},
{
"bio": "O",
"disambiguated_token": ".",
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"qid": "_",
"token": "."
}
] | Catherine the Second | Q36450 |
The Harmonicon_1828-005_ms_2 | 1828 | When Pugnani and Viotti quitted St. Petersburg, where they had been loaded with favours by Catherine the Second, they paid a visit to Berlin, at the time that our violinist was in possession of the public favour. | [
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{
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{
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] | Berlin | Q64 |
The_Musical_World__ms_1843-042_4_ | 1843 | It was divided into three parts; the first cousisted of one act of the “Creation,” the second and third of miscellaneous selections from the works of Handel, Méhul, Spohr, Hummel, Cherubini, _Mozart, Pergolesi, Cimarosa and Pacini | [
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{
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] | Creation | Q163138 |
The_Musical_World__ms_1843-042_4_ | 1843 | It was divided into three parts; the first cousisted of one act of the “Creation,” the second and third of miscellaneous selections from the works of Handel, Méhul, Spohr, Hummel, Cherubini, _Mozart, Pergolesi, Cimarosa and Pacini | [
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] | Handel | Q7302 |
The_Musical_World__ms_1843-042_4_ | 1843 | It was divided into three parts; the first cousisted of one act of the “Creation,” the second and third of miscellaneous selections from the works of Handel, Méhul, Spohr, Hummel, Cherubini, _Mozart, Pergolesi, Cimarosa and Pacini | [
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] | Méhul | Q364020 |
The_Musical_World__ms_1843-042_4_ | 1843 | It was divided into three parts; the first cousisted of one act of the “Creation,” the second and third of miscellaneous selections from the works of Handel, Méhul, Spohr, Hummel, Cherubini, _Mozart, Pergolesi, Cimarosa and Pacini | [
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] | Spohr | Q57226 |
The_Musical_World__ms_1843-042_4_ | 1843 | It was divided into three parts; the first cousisted of one act of the “Creation,” the second and third of miscellaneous selections from the works of Handel, Méhul, Spohr, Hummel, Cherubini, _Mozart, Pergolesi, Cimarosa and Pacini | [
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] | Hummel | Q151953 |
The_Musical_World__ms_1843-042_4_ | 1843 | It was divided into three parts; the first cousisted of one act of the “Creation,” the second and third of miscellaneous selections from the works of Handel, Méhul, Spohr, Hummel, Cherubini, _Mozart, Pergolesi, Cimarosa and Pacini | [
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] | Cherubini | Q20721 |
The_Musical_World__ms_1843-042_4_ | 1843 | It was divided into three parts; the first cousisted of one act of the “Creation,” the second and third of miscellaneous selections from the works of Handel, Méhul, Spohr, Hummel, Cherubini, _Mozart, Pergolesi, Cimarosa and Pacini | [
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] | Mozart | Q254 |
The_Musical_World__ms_1843-042_4_ | 1843 | It was divided into three parts; the first cousisted of one act of the “Creation,” the second and third of miscellaneous selections from the works of Handel, Méhul, Spohr, Hummel, Cherubini, _Mozart, Pergolesi, Cimarosa and Pacini | [
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] | Pergolesi | Q185312 |
The_Musical_World__ms_1843-042_4_ | 1843 | It was divided into three parts; the first cousisted of one act of the “Creation,” the second and third of miscellaneous selections from the works of Handel, Méhul, Spohr, Hummel, Cherubini, _Mozart, Pergolesi, Cimarosa and Pacini | [
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] | Cimarosa | Q191775 |
The_Musical_World__ms_1843-042_4_ | 1843 | It was divided into three parts; the first cousisted of one act of the “Creation,” the second and third of miscellaneous selections from the works of Handel, Méhul, Spohr, Hummel, Cherubini, _Mozart, Pergolesi, Cimarosa and Pacini | [
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The Harmonicon_1831-004_ms_4 | 1831 | Tue triennial meeting of the three choirs of Hereford, Gloucester, and Worcester, will take place, this year, at Hereford, and the days for the performance are fixed for Tuesday, Wednesday, and Thursday, the 13th, 14th, and 15th of September next. | [
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The Harmonicon_1831-004_ms_4 | 1831 | Tue triennial meeting of the three choirs of Hereford, Gloucester, and Worcester, will take place, this year, at Hereford, and the days for the performance are fixed for Tuesday, Wednesday, and Thursday, the 13th, 14th, and 15th of September next. | [
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] | Gloucester | Q170497 |
The Harmonicon_1831-004_ms_4 | 1831 | Tue triennial meeting of the three choirs of Hereford, Gloucester, and Worcester, will take place, this year, at Hereford, and the days for the performance are fixed for Tuesday, Wednesday, and Thursday, the 13th, 14th, and 15th of September next. | [
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The Harmonicon_1831-004_ms_4 | 1831 | Tue triennial meeting of the three choirs of Hereford, Gloucester, and Worcester, will take place, this year, at Hereford, and the days for the performance are fixed for Tuesday, Wednesday, and Thursday, the 13th, 14th, and 15th of September next. | [
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] | Hereford | Q204720 |
Dwight's Journal of Music_1853-017_ms_1 | 1853 | Hummel's .wonderfak” ‘performance on the piano-forte made a ‘deep. impression upon young Mendelssohn, so much so, ‘that de burst. into tears when once asked, to play atter him. ? | [
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Dwight's Journal of Music_1853-017_ms_1 | 1853 | Hummel's .wonderfak” ‘performance on the piano-forte made a ‘deep. impression upon young Mendelssohn, so much so, ‘that de burst. into tears when once asked, to play atter him. ? | [
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the_Quarterly_Musical_Magazine_And_Review_ms_1827-034_4_ | 1827 | About forty years ago the company of Italian singers, called the company of Monsieur (since Louis 18th), made the Parisians hear the divine accents of Paisiello and Pergolesi; but this company could not obtain the victory unassisted. | [
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the_Quarterly_Musical_Magazine_And_Review_ms_1827-034_4_ | 1827 | About forty years ago the company of Italian singers, called the company of Monsieur (since Louis 18th), made the Parisians hear the divine accents of Paisiello and Pergolesi; but this company could not obtain the victory unassisted. | [
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the_Quarterly_Musical_Magazine_And_Review_ms_1827-034_4_ | 1827 | About forty years ago the company of Italian singers, called the company of Monsieur (since Louis 18th), made the Parisians hear the divine accents of Paisiello and Pergolesi; but this company could not obtain the victory unassisted. | [
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The_Quarterly_Musical_Magazine_And_Review_ms_1826-030_6_ | 1826 | Scarlatti was the next composer of overtures. Then followed the Concerti grossi of Corelli and Vivaldi, and lastly the concertos and overtures of Handel, Bach, Jomelli, Porpora, and Bononcini, with others of less note. | [
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] | Scarlatti | Q167837 |
The_Quarterly_Musical_Magazine_And_Review_ms_1826-030_6_ | 1826 | Scarlatti was the next composer of overtures. Then followed the Concerti grossi of Corelli and Vivaldi, and lastly the concertos and overtures of Handel, Bach, Jomelli, Porpora, and Bononcini, with others of less note. | [
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] | Concerti grossi | Q2991921 |
The_Quarterly_Musical_Magazine_And_Review_ms_1826-030_6_ | 1826 | Scarlatti was the next composer of overtures. Then followed the Concerti grossi of Corelli and Vivaldi, and lastly the concertos and overtures of Handel, Bach, Jomelli, Porpora, and Bononcini, with others of less note. | [
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] | Corelli | Q164475 |
The_Quarterly_Musical_Magazine_And_Review_ms_1826-030_6_ | 1826 | Scarlatti was the next composer of overtures. Then followed the Concerti grossi of Corelli and Vivaldi, and lastly the concertos and overtures of Handel, Bach, Jomelli, Porpora, and Bononcini, with others of less note. | [
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] | Vivaldi | Q1340 |
The_Quarterly_Musical_Magazine_And_Review_ms_1826-030_6_ | 1826 | Scarlatti was the next composer of overtures. Then followed the Concerti grossi of Corelli and Vivaldi, and lastly the concertos and overtures of Handel, Bach, Jomelli, Porpora, and Bononcini, with others of less note. | [
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The_Quarterly_Musical_Magazine_And_Review_ms_1826-030_6_ | 1826 | Scarlatti was the next composer of overtures. Then followed the Concerti grossi of Corelli and Vivaldi, and lastly the concertos and overtures of Handel, Bach, Jomelli, Porpora, and Bononcini, with others of less note. | [
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] | Bach | Q1339 |
The_Quarterly_Musical_Magazine_And_Review_ms_1826-030_6_ | 1826 | Scarlatti was the next composer of overtures. Then followed the Concerti grossi of Corelli and Vivaldi, and lastly the concertos and overtures of Handel, Bach, Jomelli, Porpora, and Bononcini, with others of less note. | [
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] | Jomelli | Q312891 |
The_Quarterly_Musical_Magazine_And_Review_ms_1826-030_6_ | 1826 | Scarlatti was the next composer of overtures. Then followed the Concerti grossi of Corelli and Vivaldi, and lastly the concertos and overtures of Handel, Bach, Jomelli, Porpora, and Bononcini, with others of less note. | [
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] | Porpora | Q312788 |
The_Quarterly_Musical_Magazine_And_Review_ms_1826-030_6_ | 1826 | Scarlatti was the next composer of overtures. Then followed the Concerti grossi of Corelli and Vivaldi, and lastly the concertos and overtures of Handel, Bach, Jomelli, Porpora, and Bononcini, with others of less note. | [
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"pos": "PROPN",
"qid": "Q167837",
"token": "Scarlatti"
},
{
"bio": "O",
"disambiguated_token": "be",
"pos": "AUX",
"qid": "_",
"token": "was"
},
{
"bio": "O",
"disambiguated_token": "the",
"pos": "DET",
"qid": "_",
"token": "the"
},
{
"bio": "O",
"disambiguated_token": "next",
"pos": "ADJ",
"qid": "_",
"token": "next"
},
{
"bio": "O",
"disambiguated_token": "composer",
"pos": "NOUN",
"qid": "_",
"token": "composer"
},
{
"bio": "O",
"disambiguated_token": "of",
"pos": "ADP",
"qid": "_",
"token": "of"
},
{
"bio": "O",
"disambiguated_token": "overture",
"pos": "NOUN",
"qid": "_",
"token": "overtures"
},
{
"bio": "O",
"disambiguated_token": ".",
"pos": "PUNCT",
"qid": "_",
"token": "."
},
{
"bio": "O",
"disambiguated_token": "then",
"pos": "ADV",
"qid": "_",
"token": "Then"
},
{
"bio": "O",
"disambiguated_token": "follow",
"pos": "VERB",
"qid": "_",
"token": "followed"
},
{
"bio": "O",
"disambiguated_token": "the",
"pos": "DET",
"qid": "_",
"token": "the"
},
{
"bio": "I-music",
"disambiguated_token": "concerti grossi",
"pos": "PROPN",
"qid": "Q2991921",
"token": "Concerti grossi"
},
{
"bio": "O",
"disambiguated_token": "of",
"pos": "ADP",
"qid": "_",
"token": "of"
},
{
"bio": "B-person",
"disambiguated_token": "Corelli",
"pos": "PROPN",
"qid": "Q164475",
"token": "Corelli"
},
{
"bio": "O",
"disambiguated_token": "and",
"pos": "CCONJ",
"qid": "_",
"token": "and"
},
{
"bio": "B-person",
"disambiguated_token": "Vivaldi",
"pos": "PROPN",
"qid": "Q1340",
"token": "Vivaldi"
},
{
"bio": "O",
"disambiguated_token": ",",
"pos": "PUNCT",
"qid": "_",
"token": ","
},
{
"bio": "O",
"disambiguated_token": "and",
"pos": "CCONJ",
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"token": "and"
},
{
"bio": "O",
"disambiguated_token": "lastly",
"pos": "ADV",
"qid": "_",
"token": "lastly"
},
{
"bio": "O",
"disambiguated_token": "the",
"pos": "DET",
"qid": "_",
"token": "the"
},
{
"bio": "O",
"disambiguated_token": "concerto",
"pos": "NOUN",
"qid": "_",
"token": "concertos"
},
{
"bio": "O",
"disambiguated_token": "and",
"pos": "CCONJ",
"qid": "_",
"token": "and"
},
{
"bio": "O",
"disambiguated_token": "overture",
"pos": "NOUN",
"qid": "_",
"token": "overtures"
},
{
"bio": "O",
"disambiguated_token": "of",
"pos": "ADP",
"qid": "_",
"token": "of"
},
{
"bio": "B-person",
"disambiguated_token": "Handel",
"pos": "PROPN",
"qid": "Q7302",
"token": "Handel"
},
{
"bio": "O",
"disambiguated_token": ",",
"pos": "PUNCT",
"qid": "_",
"token": ","
},
{
"bio": "B-person",
"disambiguated_token": "Bach",
"pos": "PROPN",
"qid": "Q1339",
"token": "Bach"
},
{
"bio": "O",
"disambiguated_token": ",",
"pos": "PUNCT",
"qid": "_",
"token": ","
},
{
"bio": "B-person",
"disambiguated_token": "Jomelli",
"pos": "PROPN",
"qid": "Q312891",
"token": "Jomelli"
},
{
"bio": "O",
"disambiguated_token": ",",
"pos": "PUNCT",
"qid": "_",
"token": ","
},
{
"bio": "B-person",
"disambiguated_token": "Porpora",
"pos": "PROPN",
"qid": "Q312788",
"token": "Porpora"
},
{
"bio": "O",
"disambiguated_token": ",",
"pos": "PUNCT",
"qid": "_",
"token": ","
},
{
"bio": "O",
"disambiguated_token": "and",
"pos": "CCONJ",
"qid": "_",
"token": "and"
},
{
"bio": "B-person",
"disambiguated_token": "Bononcini",
"pos": "PROPN",
"qid": "Q315241",
"token": "Bononcini"
},
{
"bio": "O",
"disambiguated_token": ",",
"pos": "PUNCT",
"qid": "_",
"token": ","
},
{
"bio": "O",
"disambiguated_token": "with",
"pos": "ADP",
"qid": "_",
"token": "with"
},
{
"bio": "O",
"disambiguated_token": "other",
"pos": "NOUN",
"qid": "_",
"token": "others"
},
{
"bio": "O",
"disambiguated_token": "of",
"pos": "ADP",
"qid": "_",
"token": "of"
},
{
"bio": "O",
"disambiguated_token": "less",
"pos": "ADJ",
"qid": "_",
"token": "less"
},
{
"bio": "O",
"disambiguated_token": "note",
"pos": "NOUN",
"qid": "_",
"token": "note"
},
{
"bio": "O",
"disambiguated_token": ".",
"pos": "PUNCT",
"qid": "_",
"token": "."
}
] | Bononcini | Q315241 |
Subsets and Splits