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The Harmonicon_1829-002_ms_1 | 1829 | Dr. Burney says, ‘‘ The first opera of Leo’s composition, that I have been able to find, is Sofonisba, which was performed at Naples, in 1718, and the last, Siface, in Bologne, in 1737. | [
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] | Dr. Burney | Q547002 |
The Harmonicon_1829-002_ms_1 | 1829 | Dr. Burney says, ‘‘ The first opera of Leo’s composition, that I have been able to find, is Sofonisba, which was performed at Naples, in 1718, and the last, Siface, in Bologne, in 1737. | [
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] | Leo | Q316735 |
The Harmonicon_1829-002_ms_1 | 1829 | Dr. Burney says, ‘‘ The first opera of Leo’s composition, that I have been able to find, is Sofonisba, which was performed at Naples, in 1718, and the last, Siface, in Bologne, in 1737. | [
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] | Sofonisba | NIL |
The Harmonicon_1829-002_ms_1 | 1829 | Dr. Burney says, ‘‘ The first opera of Leo’s composition, that I have been able to find, is Sofonisba, which was performed at Naples, in 1718, and the last, Siface, in Bologne, in 1737. | [
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The Harmonicon_1829-002_ms_1 | 1829 | Dr. Burney says, ‘‘ The first opera of Leo’s composition, that I have been able to find, is Sofonisba, which was performed at Naples, in 1718, and the last, Siface, in Bologne, in 1737. | [
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The Harmonicon_1829-002_ms_1 | 1829 | Dr. Burney says, ‘‘ The first opera of Leo’s composition, that I have been able to find, is Sofonisba, which was performed at Naples, in 1718, and the last, Siface, in Bologne, in 1737. | [
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The_Musical_World_ms_1855-025_3_ | 1855 | Besides the advantage of Cervetto as a master, our departed friend, Lindley, had also the opportunity, in his youth, of hearing and playing with Crosdill, whose powerful tone excelled that of any previous performer. | [
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The_Musical_World_ms_1855-025_3_ | 1855 | Besides the advantage of Cervetto as a master, our departed friend, Lindley, had also the opportunity, in his youth, of hearing and playing with Crosdill, whose powerful tone excelled that of any previous performer. | [
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The_Musical_World_ms_1855-025_3_ | 1855 | Besides the advantage of Cervetto as a master, our departed friend, Lindley, had also the opportunity, in his youth, of hearing and playing with Crosdill, whose powerful tone excelled that of any previous performer. | [
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] | Crosdill | Q6227740 |
The_Musical_Times_ms_1901-705_2_ | 1901 | Under the auspices of the Society for the Cultivation of Danish Music, a composition, by Niels W. Gade, entitled ‘ Baldur’s Dream,’ for solo voices, chorus, and orchestra, has just been published for the first time. | [
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The_Musical_Times_ms_1901-705_2_ | 1901 | Under the auspices of the Society for the Cultivation of Danish Music, a composition, by Niels W. Gade, entitled ‘ Baldur’s Dream,’ for solo voices, chorus, and orchestra, has just been published for the first time. | [
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The_Musical_Times_ms_1901-705_2_ | 1901 | Under the auspices of the Society for the Cultivation of Danish Music, a composition, by Niels W. Gade, entitled ‘ Baldur’s Dream,’ for solo voices, chorus, and orchestra, has just been published for the first time. | [
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Dwight's Journal of Music_1857-001_ms_4 | 1857 | We had a lovely Quartet, in G, by Mozart, and Beethoven's Quintet in C, for stringed, instruments, In which Mr. Burxe played the first ‘violin, with his usual sweetness. | [
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Dwight's Journal of Music_1857-001_ms_4 | 1857 | We had a lovely Quartet, in G, by Mozart, and Beethoven's Quintet in C, for stringed, instruments, In which Mr. Burxe played the first ‘violin, with his usual sweetness. | [
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] | Mozart | Q254 |
Dwight's Journal of Music_1857-001_ms_4 | 1857 | We had a lovely Quartet, in G, by Mozart, and Beethoven's Quintet in C, for stringed, instruments, In which Mr. Burxe played the first ‘violin, with his usual sweetness. | [
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] | Beethoven | Q255 |
Dwight's Journal of Music_1857-001_ms_4 | 1857 | We had a lovely Quartet, in G, by Mozart, and Beethoven's Quintet in C, for stringed, instruments, In which Mr. Burxe played the first ‘violin, with his usual sweetness. | [
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] | Quintet in C | Q17025624 |
Dwight's Journal of Music_1857-001_ms_4 | 1857 | We had a lovely Quartet, in G, by Mozart, and Beethoven's Quintet in C, for stringed, instruments, In which Mr. Burxe played the first ‘violin, with his usual sweetness. | [
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] | Mr. Burxe | NIL |
Dwight's Journal of Music_1859-004_ms_3 | 1859 | At the Opera we have‘had the “ Prophet, ” the fanchonette,” the ‘Lucia di Lammermoor,” and “the “ Muette de Portici ;” a night; each, of Mey erbecr, “Clapisson, Donizetti and Auber. | [
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] | Opera | NIL |
Dwight's Journal of Music_1859-004_ms_3 | 1859 | At the Opera we have‘had the “ Prophet, ” the fanchonette,” the ‘Lucia di Lammermoor,” and “the “ Muette de Portici ;” a night; each, of Mey erbecr, “Clapisson, Donizetti and Auber. | [
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] | Prophet | Q263297 |
Dwight's Journal of Music_1859-004_ms_3 | 1859 | At the Opera we have‘had the “ Prophet, ” the fanchonette,” the ‘Lucia di Lammermoor,” and “the “ Muette de Portici ;” a night; each, of Mey erbecr, “Clapisson, Donizetti and Auber. | [
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] | the fanchonette | NIL |
Dwight's Journal of Music_1859-004_ms_3 | 1859 | At the Opera we have‘had the “ Prophet, ” the fanchonette,” the ‘Lucia di Lammermoor,” and “the “ Muette de Portici ;” a night; each, of Mey erbecr, “Clapisson, Donizetti and Auber. | [
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{
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] | Lucia di Lammermoor | Q244209 |
Dwight's Journal of Music_1859-004_ms_3 | 1859 | At the Opera we have‘had the “ Prophet, ” the fanchonette,” the ‘Lucia di Lammermoor,” and “the “ Muette de Portici ;” a night; each, of Mey erbecr, “Clapisson, Donizetti and Auber. | [
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{
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] | Muette de Portici | Q470773 |
Dwight's Journal of Music_1859-004_ms_3 | 1859 | At the Opera we have‘had the “ Prophet, ” the fanchonette,” the ‘Lucia di Lammermoor,” and “the “ Muette de Portici ;” a night; each, of Mey erbecr, “Clapisson, Donizetti and Auber. | [
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] | Mey erbecr | Q105237 |
Dwight's Journal of Music_1859-004_ms_3 | 1859 | At the Opera we have‘had the “ Prophet, ” the fanchonette,” the ‘Lucia di Lammermoor,” and “the “ Muette de Portici ;” a night; each, of Mey erbecr, “Clapisson, Donizetti and Auber. | [
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Dwight's Journal of Music_1859-004_ms_3 | 1859 | At the Opera we have‘had the “ Prophet, ” the fanchonette,” the ‘Lucia di Lammermoor,” and “the “ Muette de Portici ;” a night; each, of Mey erbecr, “Clapisson, Donizetti and Auber. | [
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] | Donizetti | Q101698 |
Dwight's Journal of Music_1859-004_ms_3 | 1859 | At the Opera we have‘had the “ Prophet, ” the fanchonette,” the ‘Lucia di Lammermoor,” and “the “ Muette de Portici ;” a night; each, of Mey erbecr, “Clapisson, Donizetti and Auber. | [
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The_Quarterly_Musical_Magazine_And_Review_ms_1827-036_1_ | 1827 | Fischer then passed to Italy, and from thence to England, where (in 1769) he formed one of those solo. performers with Abel, Cramer, Crosdill, and Cervetto, for whom John Christian Bach, then in England, wrote solos in his concertos when his-hand was likely to tire or he wanted support. | [
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The_Quarterly_Musical_Magazine_And_Review_ms_1827-036_1_ | 1827 | Fischer then passed to Italy, and from thence to England, where (in 1769) he formed one of those solo. performers with Abel, Cramer, Crosdill, and Cervetto, for whom John Christian Bach, then in England, wrote solos in his concertos when his-hand was likely to tire or he wanted support. | [
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The_Quarterly_Musical_Magazine_And_Review_ms_1827-036_1_ | 1827 | Fischer then passed to Italy, and from thence to England, where (in 1769) he formed one of those solo. performers with Abel, Cramer, Crosdill, and Cervetto, for whom John Christian Bach, then in England, wrote solos in his concertos when his-hand was likely to tire or he wanted support. | [
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The_Quarterly_Musical_Magazine_And_Review_ms_1827-036_1_ | 1827 | Fischer then passed to Italy, and from thence to England, where (in 1769) he formed one of those solo. performers with Abel, Cramer, Crosdill, and Cervetto, for whom John Christian Bach, then in England, wrote solos in his concertos when his-hand was likely to tire or he wanted support. | [
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The_Quarterly_Musical_Magazine_And_Review_ms_1827-036_1_ | 1827 | Fischer then passed to Italy, and from thence to England, where (in 1769) he formed one of those solo. performers with Abel, Cramer, Crosdill, and Cervetto, for whom John Christian Bach, then in England, wrote solos in his concertos when his-hand was likely to tire or he wanted support. | [
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The_Quarterly_Musical_Magazine_And_Review_ms_1827-036_1_ | 1827 | Fischer then passed to Italy, and from thence to England, where (in 1769) he formed one of those solo. performers with Abel, Cramer, Crosdill, and Cervetto, for whom John Christian Bach, then in England, wrote solos in his concertos when his-hand was likely to tire or he wanted support. | [
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The_Quarterly_Musical_Magazine_And_Review_ms_1827-036_1_ | 1827 | Fischer then passed to Italy, and from thence to England, where (in 1769) he formed one of those solo. performers with Abel, Cramer, Crosdill, and Cervetto, for whom John Christian Bach, then in England, wrote solos in his concertos when his-hand was likely to tire or he wanted support. | [
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The_Quarterly_Musical_Magazine_And_Review_ms_1827-036_1_ | 1827 | Fischer then passed to Italy, and from thence to England, where (in 1769) he formed one of those solo. performers with Abel, Cramer, Crosdill, and Cervetto, for whom John Christian Bach, then in England, wrote solos in his concertos when his-hand was likely to tire or he wanted support. | [
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] | John Christian Bach | Q106641 |
The_Quarterly_Musical_Magazine_And_Review_ms_1827-036_1_ | 1827 | Fischer then passed to Italy, and from thence to England, where (in 1769) he formed one of those solo. performers with Abel, Cramer, Crosdill, and Cervetto, for whom John Christian Bach, then in England, wrote solos in his concertos when his-hand was likely to tire or he wanted support. | [
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] | England | Q21 |
Dwight's Journal of Music_1854-002_ms_3 | 1854 | Inthe year 1720, there appeared a satirical work of ‘Benedetto Marcello, the celebrated author of thé Psalms,which gives a lively -picture of the musical drama at that period. | [
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] | Benedetto Marcello | Q312784 |
Dwight's Journal of Music_1854-002_ms_3 | 1854 | Inthe year 1720, there appeared a satirical work of ‘Benedetto Marcello, the celebrated author of thé Psalms,which gives a lively -picture of the musical drama at that period. | [
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] | Psalms | NIL |
The_Musical_Times_ms_1896-635_1_ | 1896 | another equally good Concert was given by the Gateshead Choral Society, in the Town Hall, Newcastle, on the 17th ult., when Handel's ‘Israel in Egypt”? was performed, under the direction of Mr. J. M. Preston. | [
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] | Gateshead Choral Society | NIL |
The_Musical_Times_ms_1896-635_1_ | 1896 | another equally good Concert was given by the Gateshead Choral Society, in the Town Hall, Newcastle, on the 17th ult., when Handel's ‘Israel in Egypt”? was performed, under the direction of Mr. J. M. Preston. | [
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] | Town Hall | Q54817787 |
The_Musical_Times_ms_1896-635_1_ | 1896 | another equally good Concert was given by the Gateshead Choral Society, in the Town Hall, Newcastle, on the 17th ult., when Handel's ‘Israel in Egypt”? was performed, under the direction of Mr. J. M. Preston. | [
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] | Newcastle | Q1425428 |
The_Musical_Times_ms_1896-635_1_ | 1896 | another equally good Concert was given by the Gateshead Choral Society, in the Town Hall, Newcastle, on the 17th ult., when Handel's ‘Israel in Egypt”? was performed, under the direction of Mr. J. M. Preston. | [
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] | Handel | Q7302 |
The_Musical_Times_ms_1896-635_1_ | 1896 | another equally good Concert was given by the Gateshead Choral Society, in the Town Hall, Newcastle, on the 17th ult., when Handel's ‘Israel in Egypt”? was performed, under the direction of Mr. J. M. Preston. | [
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] | Israel in Egypt | Q1674646 |
The_Musical_Times_ms_1896-635_1_ | 1896 | another equally good Concert was given by the Gateshead Choral Society, in the Town Hall, Newcastle, on the 17th ult., when Handel's ‘Israel in Egypt”? was performed, under the direction of Mr. J. M. Preston. | [
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] | Mr. J. M. Preston | NIL |
Dwight's Journal of Music_1855-002_ms_4 | 1855 | Hear Haydn, or Mozart, or Beethoven, or Bach, or Hummel,—indeed there is a host of writers unknoiwn to fame, who might be named—hear their masses. | [
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] | Haydn | Q7349 |
Dwight's Journal of Music_1855-002_ms_4 | 1855 | Hear Haydn, or Mozart, or Beethoven, or Bach, or Hummel,—indeed there is a host of writers unknoiwn to fame, who might be named—hear their masses. | [
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] | Mozart | Q254 |
Dwight's Journal of Music_1855-002_ms_4 | 1855 | Hear Haydn, or Mozart, or Beethoven, or Bach, or Hummel,—indeed there is a host of writers unknoiwn to fame, who might be named—hear their masses. | [
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{
"bio": "O",
"disambiguated_token": "or",
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"token": "or"
},
{
"bio": "O",
"disambiguated_token": "Hummel,—indeed",
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"qid": "_",
"token": "Hummel,—indeed"
},
{
"bio": "O",
"disambiguated_token": "there",
"pos": "PRON",
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"token": "there"
},
{
"bio": "O",
"disambiguated_token": "be",
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"token": "is"
},
{
"bio": "O",
"disambiguated_token": "a",
"pos": "DET",
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},
{
"bio": "O",
"disambiguated_token": "host",
"pos": "NOUN",
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"token": "host"
},
{
"bio": "O",
"disambiguated_token": "of",
"pos": "ADP",
"qid": "_",
"token": "of"
},
{
"bio": "O",
"disambiguated_token": "writer",
"pos": "NOUN",
"qid": "_",
"token": "writers"
},
{
"bio": "O",
"disambiguated_token": "unknoiwn",
"pos": "ADJ",
"qid": "_",
"token": "unknoiwn"
},
{
"bio": "O",
"disambiguated_token": "to",
"pos": "ADP",
"qid": "_",
"token": "to"
},
{
"bio": "O",
"disambiguated_token": "fame",
"pos": "NOUN",
"qid": "_",
"token": "fame"
},
{
"bio": "O",
"disambiguated_token": ",",
"pos": "PUNCT",
"qid": "_",
"token": ","
},
{
"bio": "O",
"disambiguated_token": "who",
"pos": "PRON",
"qid": "_",
"token": "who"
},
{
"bio": "O",
"disambiguated_token": "might",
"pos": "AUX",
"qid": "_",
"token": "might"
},
{
"bio": "O",
"disambiguated_token": "be",
"pos": "AUX",
"qid": "_",
"token": "be"
},
{
"bio": "O",
"disambiguated_token": "name",
"pos": "VERB",
"qid": "_",
"token": "named"
},
{
"bio": "O",
"disambiguated_token": "—",
"pos": "PUNCT",
"qid": "_",
"token": "—"
},
{
"bio": "O",
"disambiguated_token": "hear",
"pos": "VERB",
"qid": "_",
"token": "hear"
},
{
"bio": "O",
"disambiguated_token": "their",
"pos": "PRON",
"qid": "_",
"token": "their"
},
{
"bio": "O",
"disambiguated_token": "masse",
"pos": "NOUN",
"qid": "_",
"token": "masses"
},
{
"bio": "O",
"disambiguated_token": ".",
"pos": "PUNCT",
"qid": "_",
"token": "."
}
] | Beethoven | Q255 |
Dwight's Journal of Music_1855-002_ms_4 | 1855 | Hear Haydn, or Mozart, or Beethoven, or Bach, or Hummel,—indeed there is a host of writers unknoiwn to fame, who might be named—hear their masses. | [
{
"bio": "O",
"disambiguated_token": "hear",
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"token": "Hear"
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{
"bio": "B-person",
"disambiguated_token": "Haydn",
"pos": "PROPN",
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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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{
"bio": "O",
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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": "writer",
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"token": "writers"
},
{
"bio": "O",
"disambiguated_token": "unknoiwn",
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"qid": "_",
"token": "unknoiwn"
},
{
"bio": "O",
"disambiguated_token": "to",
"pos": "ADP",
"qid": "_",
"token": "to"
},
{
"bio": "O",
"disambiguated_token": "fame",
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"token": "fame"
},
{
"bio": "O",
"disambiguated_token": ",",
"pos": "PUNCT",
"qid": "_",
"token": ","
},
{
"bio": "O",
"disambiguated_token": "who",
"pos": "PRON",
"qid": "_",
"token": "who"
},
{
"bio": "O",
"disambiguated_token": "might",
"pos": "AUX",
"qid": "_",
"token": "might"
},
{
"bio": "O",
"disambiguated_token": "be",
"pos": "AUX",
"qid": "_",
"token": "be"
},
{
"bio": "O",
"disambiguated_token": "name",
"pos": "VERB",
"qid": "_",
"token": "named"
},
{
"bio": "O",
"disambiguated_token": "—",
"pos": "PUNCT",
"qid": "_",
"token": "—"
},
{
"bio": "O",
"disambiguated_token": "hear",
"pos": "VERB",
"qid": "_",
"token": "hear"
},
{
"bio": "O",
"disambiguated_token": "their",
"pos": "PRON",
"qid": "_",
"token": "their"
},
{
"bio": "O",
"disambiguated_token": "masse",
"pos": "NOUN",
"qid": "_",
"token": "masses"
},
{
"bio": "O",
"disambiguated_token": ".",
"pos": "PUNCT",
"qid": "_",
"token": "."
}
] | Bach | Q1339 |
The Harmonicon_1832-006_ms_4 | 1832 | I hear with great regret of the sudden death of M. Frederick Kuhlau, of Copenhagen, a composer whose namie is very little known out of Denmark, but who posSessed a very considerable share of talent. | [
{
"bio": "O",
"disambiguated_token": "I",
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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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},
{
"bio": "O",
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},
{
"bio": "O",
"disambiguated_token": "be",
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},
{
"bio": "O",
"disambiguated_token": "very",
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"token": "very"
},
{
"bio": "O",
"disambiguated_token": "little",
"pos": "ADV",
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},
{
"bio": "O",
"disambiguated_token": "know",
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},
{
"bio": "O",
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},
{
"bio": "O",
"disambiguated_token": "of",
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"token": "of"
},
{
"bio": "B-country",
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"token": "Denmark"
},
{
"bio": "O",
"disambiguated_token": ",",
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},
{
"bio": "O",
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},
{
"bio": "O",
"disambiguated_token": "who",
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"token": "who"
},
{
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},
{
"bio": "O",
"disambiguated_token": "a",
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},
{
"bio": "O",
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"token": "very"
},
{
"bio": "O",
"disambiguated_token": "considerable",
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"qid": "_",
"token": "considerable"
},
{
"bio": "O",
"disambiguated_token": "share",
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},
{
"bio": "O",
"disambiguated_token": "of",
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"token": "of"
},
{
"bio": "O",
"disambiguated_token": "talent",
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"token": "talent"
},
{
"bio": "O",
"disambiguated_token": ".",
"pos": "PUNCT",
"qid": "_",
"token": "."
}
] | M. Frederick Kuhlau | Q157865 |
The Harmonicon_1832-006_ms_4 | 1832 | I hear with great regret of the sudden death of M. Frederick Kuhlau, of Copenhagen, a composer whose namie is very little known out of Denmark, but who posSessed a very considerable share of talent. | [
{
"bio": "O",
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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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},
{
"bio": "O",
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"qid": "_",
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},
{
"bio": "O",
"disambiguated_token": "a",
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},
{
"bio": "O",
"disambiguated_token": "very",
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},
{
"bio": "O",
"disambiguated_token": "considerable",
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},
{
"bio": "O",
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},
{
"bio": "O",
"disambiguated_token": "of",
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},
{
"bio": "O",
"disambiguated_token": "talent",
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},
{
"bio": "O",
"disambiguated_token": ".",
"pos": "PUNCT",
"qid": "_",
"token": "."
}
] | Copenhagen | Q1748 |
The Harmonicon_1832-006_ms_4 | 1832 | I hear with great regret of the sudden death of M. Frederick Kuhlau, of Copenhagen, a composer whose namie is very little known out of Denmark, but who posSessed a very considerable share of talent. | [
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{
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{
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{
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] | Denmark | Q35 |
The Musical Times_1881-455_ms_4 | 1881 | It was, indeed, on his extensive collection of such treasures that Bishop Percy drew when .he published his famous ‘‘Reliques,” and thus prepared a heaithy revolution ‘in English literature against the stiltedness and pom‘pousness of eighteenth century poets. | [
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] | Percy | Q712930 |
The Musical Times_1881-455_ms_4 | 1881 | It was, indeed, on his extensive collection of such treasures that Bishop Percy drew when .he published his famous ‘‘Reliques,” and thus prepared a heaithy revolution ‘in English literature against the stiltedness and pom‘pousness of eighteenth century poets. | [
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] | Reliques | Q2142806 |
the_Musical_Times_ms_1895-634_1_ | 1895 | On the 5th ult. the Albert Hall was again crowded to excess on the occasion of Mr. Fould’s miscellaneous Concert, when Madame Albani, Miss Clara Butt, Mr. Norman Salmond, M. Johannes Wolff, M. Hollman, and ‘M. Raoul Pugno appeared. | [
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the_Musical_Times_ms_1895-634_1_ | 1895 | On the 5th ult. the Albert Hall was again crowded to excess on the occasion of Mr. Fould’s miscellaneous Concert, when Madame Albani, Miss Clara Butt, Mr. Norman Salmond, M. Johannes Wolff, M. Hollman, and ‘M. Raoul Pugno appeared. | [
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the_Musical_Times_ms_1895-634_1_ | 1895 | On the 5th ult. the Albert Hall was again crowded to excess on the occasion of Mr. Fould’s miscellaneous Concert, when Madame Albani, Miss Clara Butt, Mr. Norman Salmond, M. Johannes Wolff, M. Hollman, and ‘M. Raoul Pugno appeared. | [
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] | Madame Albani | Q2503633 |
the_Musical_Times_ms_1895-634_1_ | 1895 | On the 5th ult. the Albert Hall was again crowded to excess on the occasion of Mr. Fould’s miscellaneous Concert, when Madame Albani, Miss Clara Butt, Mr. Norman Salmond, M. Johannes Wolff, M. Hollman, and ‘M. Raoul Pugno appeared. | [
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] | Miss Clara Butt | Q461921 |
the_Musical_Times_ms_1895-634_1_ | 1895 | On the 5th ult. the Albert Hall was again crowded to excess on the occasion of Mr. Fould’s miscellaneous Concert, when Madame Albani, Miss Clara Butt, Mr. Norman Salmond, M. Johannes Wolff, M. Hollman, and ‘M. Raoul Pugno appeared. | [
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the_Musical_Times_ms_1895-634_1_ | 1895 | On the 5th ult. the Albert Hall was again crowded to excess on the occasion of Mr. Fould’s miscellaneous Concert, when Madame Albani, Miss Clara Butt, Mr. Norman Salmond, M. Johannes Wolff, M. Hollman, and ‘M. Raoul Pugno appeared. | [
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the_Musical_Times_ms_1895-634_1_ | 1895 | On the 5th ult. the Albert Hall was again crowded to excess on the occasion of Mr. Fould’s miscellaneous Concert, when Madame Albani, Miss Clara Butt, Mr. Norman Salmond, M. Johannes Wolff, M. Hollman, and ‘M. Raoul Pugno appeared. | [
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the_Musical_Times_ms_1895-634_1_ | 1895 | On the 5th ult. the Albert Hall was again crowded to excess on the occasion of Mr. Fould’s miscellaneous Concert, when Madame Albani, Miss Clara Butt, Mr. Norman Salmond, M. Johannes Wolff, M. Hollman, and ‘M. Raoul Pugno appeared. | [
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The_Musical_Times_ms_1885-505_6_ | 1885 | The choir is steadily improving in precision, delicacy, and refinement, as was shown on this occasion, more particularly in ‘The Silver Swan” of Orlando Gibbons, Wilbye’s “ Stay, Corydon,” and Pearsall’s famous ballad dialogue for ten voices, ‘ Sir Patrick Spens.’ | [
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] | The Silver Swan | Q7764313 |
The_Musical_Times_ms_1885-505_6_ | 1885 | The choir is steadily improving in precision, delicacy, and refinement, as was shown on this occasion, more particularly in ‘The Silver Swan” of Orlando Gibbons, Wilbye’s “ Stay, Corydon,” and Pearsall’s famous ballad dialogue for ten voices, ‘ Sir Patrick Spens.’ | [
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] | Orlando Gibbons | Q311913 |
The_Musical_Times_ms_1885-505_6_ | 1885 | The choir is steadily improving in precision, delicacy, and refinement, as was shown on this occasion, more particularly in ‘The Silver Swan” of Orlando Gibbons, Wilbye’s “ Stay, Corydon,” and Pearsall’s famous ballad dialogue for ten voices, ‘ Sir Patrick Spens.’ | [
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] | Wilbye | Q682089 |
The_Musical_Times_ms_1885-505_6_ | 1885 | The choir is steadily improving in precision, delicacy, and refinement, as was shown on this occasion, more particularly in ‘The Silver Swan” of Orlando Gibbons, Wilbye’s “ Stay, Corydon,” and Pearsall’s famous ballad dialogue for ten voices, ‘ Sir Patrick Spens.’ | [
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The_Musical_Times_ms_1885-505_6_ | 1885 | The choir is steadily improving in precision, delicacy, and refinement, as was shown on this occasion, more particularly in ‘The Silver Swan” of Orlando Gibbons, Wilbye’s “ Stay, Corydon,” and Pearsall’s famous ballad dialogue for ten voices, ‘ Sir Patrick Spens.’ | [
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] | Pearsall | Q3816877 |
The_Musical_Times_ms_1885-505_6_ | 1885 | The choir is steadily improving in precision, delicacy, and refinement, as was shown on this occasion, more particularly in ‘The Silver Swan” of Orlando Gibbons, Wilbye’s “ Stay, Corydon,” and Pearsall’s famous ballad dialogue for ten voices, ‘ Sir Patrick Spens.’ | [
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] | ballad dialogue for ten voices , ‘ Sir Patrick Spens | NIL |
The_Musical_Times_ms_1896-646_1_ | 1896 | The Bach Choir worthily commemorated the Bi-centenary of John Sebastian Bach’s birth by a Festival performance of the-B minor Mass at the Royal Albert Hall, March 21, 1885, being the 2ooth anniversary of the composer's birthday. | [
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] | Bach Choir | Q7715202 |
The_Musical_Times_ms_1896-646_1_ | 1896 | The Bach Choir worthily commemorated the Bi-centenary of John Sebastian Bach’s birth by a Festival performance of the-B minor Mass at the Royal Albert Hall, March 21, 1885, being the 2ooth anniversary of the composer's birthday. | [
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] | John Sebastian Bach | Q1339 |
The_Musical_Times_ms_1896-646_1_ | 1896 | The Bach Choir worthily commemorated the Bi-centenary of John Sebastian Bach’s birth by a Festival performance of the-B minor Mass at the Royal Albert Hall, March 21, 1885, being the 2ooth anniversary of the composer's birthday. | [
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The_Musical_Times_ms_1896-646_1_ | 1896 | The Bach Choir worthily commemorated the Bi-centenary of John Sebastian Bach’s birth by a Festival performance of the-B minor Mass at the Royal Albert Hall, March 21, 1885, being the 2ooth anniversary of the composer's birthday. | [
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Dwight's Journal of Music_1859-004_ms_2 | 1859 | M.. Lubeck, director of the Royal Conservatory ‘at the Hague, sends us his tuning-fork, which 1s somewhat less high than our own, and ‘at the same. time promises us his adhesion and support. | [
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Dwight's Journal of Music_1859-004_ms_2 | 1859 | M.. Lubeck, director of the Royal Conservatory ‘at the Hague, sends us his tuning-fork, which 1s somewhat less high than our own, and ‘at the same. time promises us his adhesion and support. | [
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Dwight's Journal of Music_1859-004_ms_2 | 1859 | M.. Lubeck, director of the Royal Conservatory ‘at the Hague, sends us his tuning-fork, which 1s somewhat less high than our own, and ‘at the same. time promises us his adhesion and support. | [
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The_Musical_Times_ms_1905-754_8_ | 1905 | The Royal College of Music will give a performance of Mozart’s opéra ‘The marriage of Figaro’ at His Majesty’s Theatre on Décember 7, at 2 p.m., under the direction of Sir Charles V. Stanford. | [
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The_Musical_Times_ms_1905-754_8_ | 1905 | The Royal College of Music will give a performance of Mozart’s opéra ‘The marriage of Figaro’ at His Majesty’s Theatre on Décember 7, at 2 p.m., under the direction of Sir Charles V. Stanford. | [
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The_Musical_Times_ms_1905-754_8_ | 1905 | The Royal College of Music will give a performance of Mozart’s opéra ‘The marriage of Figaro’ at His Majesty’s Theatre on Décember 7, at 2 p.m., under the direction of Sir Charles V. Stanford. | [
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] | The marriage of Figaro | Q201873 |
The_Musical_Times_ms_1905-754_8_ | 1905 | The Royal College of Music will give a performance of Mozart’s opéra ‘The marriage of Figaro’ at His Majesty’s Theatre on Décember 7, at 2 p.m., under the direction of Sir Charles V. Stanford. | [
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The_Musical_Times_ms_1905-754_8_ | 1905 | The Royal College of Music will give a performance of Mozart’s opéra ‘The marriage of Figaro’ at His Majesty’s Theatre on Décember 7, at 2 p.m., under the direction of Sir Charles V. Stanford. | [
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] | Sir Charles V. Stanford | Q368264 |
the_Musical_Times_ms_1884-493_3_ | 1884 | We are glad also to find that Reyer’s Opera “‘ Sigurd,” lately received with so much favour in Brussels, will be given, with Madame Albani in the character of the heroine. | [
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] | Reyer | Q516937 |
the_Musical_Times_ms_1884-493_3_ | 1884 | We are glad also to find that Reyer’s Opera “‘ Sigurd,” lately received with so much favour in Brussels, will be given, with Madame Albani in the character of the heroine. | [
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] | Sigurd | Q3483734 |
the_Musical_Times_ms_1884-493_3_ | 1884 | We are glad also to find that Reyer’s Opera “‘ Sigurd,” lately received with so much favour in Brussels, will be given, with Madame Albani in the character of the heroine. | [
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] | Brussels | Q239 |
the_Musical_Times_ms_1884-493_3_ | 1884 | We are glad also to find that Reyer’s Opera “‘ Sigurd,” lately received with so much favour in Brussels, will be given, with Madame Albani in the character of the heroine. | [
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] | Madame Albani | Q2503633 |
The_Musical_Times_ms_1901-698_3_ | 1901 | At the New Jerusalem Church, Camden Road, a performance of Mendelssohn’s ‘ Athalie’ was given by the choir, in aid of the Church funds, on the 2rst ult., under the direction of Mr. Wilfrid Davies. | [
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The_Musical_Times_ms_1901-698_3_ | 1901 | At the New Jerusalem Church, Camden Road, a performance of Mendelssohn’s ‘ Athalie’ was given by the choir, in aid of the Church funds, on the 2rst ult., under the direction of Mr. Wilfrid Davies. | [
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The_Musical_Times_ms_1901-698_3_ | 1901 | At the New Jerusalem Church, Camden Road, a performance of Mendelssohn’s ‘ Athalie’ was given by the choir, in aid of the Church funds, on the 2rst ult., under the direction of Mr. Wilfrid Davies. | [
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] | Mendelssohn | Q46096 |
The_Musical_Times_ms_1901-698_3_ | 1901 | At the New Jerusalem Church, Camden Road, a performance of Mendelssohn’s ‘ Athalie’ was given by the choir, in aid of the Church funds, on the 2rst ult., under the direction of Mr. Wilfrid Davies. | [
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] | Athalie | Q19259756 |
The_Musical_Times_ms_1901-698_3_ | 1901 | At the New Jerusalem Church, Camden Road, a performance of Mendelssohn’s ‘ Athalie’ was given by the choir, in aid of the Church funds, on the 2rst ult., under the direction of Mr. Wilfrid Davies. | [
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] | Mr. Wilfrid Davies | NIL |
The_Musical_World_ms_1855-025_2_ | 1855 | Although Signor Verdi has achieved success, he has made no advance in his art, but, on the contrary, has produced a work which, as a whole, is unquestionably inferior to Rigoletto and I Trovatore. | [
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] | Signor Verdi | Q7317 |
The_Musical_World_ms_1855-025_2_ | 1855 | Although Signor Verdi has achieved success, he has made no advance in his art, but, on the contrary, has produced a work which, as a whole, is unquestionably inferior to Rigoletto and I Trovatore. | [
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] | Rigoletto | Q189234 |
The_Musical_World_ms_1855-025_2_ | 1855 | Although Signor Verdi has achieved success, he has made no advance in his art, but, on the contrary, has produced a work which, as a whole, is unquestionably inferior to Rigoletto and I Trovatore. | [
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] | I Trovatore | Q203470 |
The_Musical_Times_ms_1901-698_1_ | 1901 | M. Fétis, in his survey of music in London during his visit here in 1829, remarked that ‘The third teacher of thorough bass in the Royal Academy of Music is an obscure musician of the name of Goss. | [
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] | M. Fétis | Q523581 |
The_Musical_Times_ms_1901-698_1_ | 1901 | M. Fétis, in his survey of music in London during his visit here in 1829, remarked that ‘The third teacher of thorough bass in the Royal Academy of Music is an obscure musician of the name of Goss. | [
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] | London | Q84 |
The_Musical_Times_ms_1901-698_1_ | 1901 | M. Fétis, in his survey of music in London during his visit here in 1829, remarked that ‘The third teacher of thorough bass in the Royal Academy of Music is an obscure musician of the name of Goss. | [
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The_Musical_Times_ms_1901-698_1_ | 1901 | M. Fétis, in his survey of music in London during his visit here in 1829, remarked that ‘The third teacher of thorough bass in the Royal Academy of Music is an obscure musician of the name of Goss. | [
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] | Goss | Q345870 |
TheQuarterlyMusicalMagazineAndReview__1826-029.txt_957 | 1826 | Inthe island of Ceylon, 1 Music appears to have been greatly cultivated, if we may judge by the number and form of their instruments. | [
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The Musical Times_1849-066_ms_4 | 1849 | Dr. Mainzer made an enthusiastic speech in favour of the art and its refining tendencies, and pointed out the advantages which must arise from having a school for the special instruction of those who had to teach again ; at the conclusion of which the following resolution, proposed by Mr. Thomas Clegg, churchwarden of Manchester, and seconded by George Bagshaw, Esq., ‘was carried unanimously :— That this meeting has heard with great satisfaction the exposition given by Dr. Mainzer of the plan and objeets of the normal school now opened for teachers and operatives, and pledges itself to use its best efforts to obtain that countenance and support whieh will ensure the perfect success of the projector, which, in the opinion of this meeting, is calculated to provide the means of refined and NORMAL MUSIC SCHOOL OF MANCHESTER social enjoyment to all, but especially to the working classes of this borough” Subscriptions towards the object were entered into, amounting to £110, before the close of the meeting. | [
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] | Dr. Mainzer | NIL |
The Musical Times_1849-066_ms_4 | 1849 | Dr. Mainzer made an enthusiastic speech in favour of the art and its refining tendencies, and pointed out the advantages which must arise from having a school for the special instruction of those who had to teach again ; at the conclusion of which the following resolution, proposed by Mr. Thomas Clegg, churchwarden of Manchester, and seconded by George Bagshaw, Esq., ‘was carried unanimously :— That this meeting has heard with great satisfaction the exposition given by Dr. Mainzer of the plan and objeets of the normal school now opened for teachers and operatives, and pledges itself to use its best efforts to obtain that countenance and support whieh will ensure the perfect success of the projector, which, in the opinion of this meeting, is calculated to provide the means of refined and NORMAL MUSIC SCHOOL OF MANCHESTER social enjoyment to all, but especially to the working classes of this borough” Subscriptions towards the object were entered into, amounting to £110, before the close of the meeting. | [
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] | Mr. Thomas Clegg | NIL |
The Musical Times_1849-066_ms_4 | 1849 | Dr. Mainzer made an enthusiastic speech in favour of the art and its refining tendencies, and pointed out the advantages which must arise from having a school for the special instruction of those who had to teach again ; at the conclusion of which the following resolution, proposed by Mr. Thomas Clegg, churchwarden of Manchester, and seconded by George Bagshaw, Esq., ‘was carried unanimously :— That this meeting has heard with great satisfaction the exposition given by Dr. Mainzer of the plan and objeets of the normal school now opened for teachers and operatives, and pledges itself to use its best efforts to obtain that countenance and support whieh will ensure the perfect success of the projector, which, in the opinion of this meeting, is calculated to provide the means of refined and NORMAL MUSIC SCHOOL OF MANCHESTER social enjoyment to all, but especially to the working classes of this borough” Subscriptions towards the object were entered into, amounting to £110, before the close of the meeting. | [
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] | Manchester | Q18125 |
The Musical Times_1849-066_ms_4 | 1849 | Dr. Mainzer made an enthusiastic speech in favour of the art and its refining tendencies, and pointed out the advantages which must arise from having a school for the special instruction of those who had to teach again ; at the conclusion of which the following resolution, proposed by Mr. Thomas Clegg, churchwarden of Manchester, and seconded by George Bagshaw, Esq., ‘was carried unanimously :— That this meeting has heard with great satisfaction the exposition given by Dr. Mainzer of the plan and objeets of the normal school now opened for teachers and operatives, and pledges itself to use its best efforts to obtain that countenance and support whieh will ensure the perfect success of the projector, which, in the opinion of this meeting, is calculated to provide the means of refined and NORMAL MUSIC SCHOOL OF MANCHESTER social enjoyment to all, but especially to the working classes of this borough” Subscriptions towards the object were entered into, amounting to £110, before the close of the meeting. | [
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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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] | George Bagshaw , Esq . | NIL |
The Musical Times_1849-066_ms_4 | 1849 | Dr. Mainzer made an enthusiastic speech in favour of the art and its refining tendencies, and pointed out the advantages which must arise from having a school for the special instruction of those who had to teach again ; at the conclusion of which the following resolution, proposed by Mr. Thomas Clegg, churchwarden of Manchester, and seconded by George Bagshaw, Esq., ‘was carried unanimously :— That this meeting has heard with great satisfaction the exposition given by Dr. Mainzer of the plan and objeets of the normal school now opened for teachers and operatives, and pledges itself to use its best efforts to obtain that countenance and support whieh will ensure the perfect success of the projector, which, in the opinion of this meeting, is calculated to provide the means of refined and NORMAL MUSIC SCHOOL OF MANCHESTER social enjoyment to all, but especially to the working classes of this borough” Subscriptions towards the object were entered into, amounting to £110, before the close of the meeting. | [
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"pos": "CCONJ",
"qid": "_",
"token": "but"
},
{
"bio": "O",
"disambiguated_token": "especially",
"pos": "ADV",
"qid": "_",
"token": "especially"
},
{
"bio": "O",
"disambiguated_token": "to",
"pos": "ADP",
"qid": "_",
"token": "to"
},
{
"bio": "O",
"disambiguated_token": "the",
"pos": "DET",
"qid": "_",
"token": "the"
},
{
"bio": "O",
"disambiguated_token": "work",
"pos": "VERB",
"qid": "_",
"token": "working"
},
{
"bio": "O",
"disambiguated_token": "class",
"pos": "NOUN",
"qid": "_",
"token": "classes"
},
{
"bio": "O",
"disambiguated_token": "of",
"pos": "ADP",
"qid": "_",
"token": "of"
},
{
"bio": "O",
"disambiguated_token": "this",
"pos": "DET",
"qid": "_",
"token": "this"
},
{
"bio": "O",
"disambiguated_token": "borough",
"pos": "NOUN",
"qid": "_",
"token": "borough"
},
{
"bio": "O",
"disambiguated_token": "\"",
"pos": "PUNCT",
"qid": "_",
"token": "”"
},
{
"bio": "O",
"disambiguated_token": "subscription",
"pos": "NOUN",
"qid": "_",
"token": "Subscriptions"
},
{
"bio": "O",
"disambiguated_token": "towards",
"pos": "ADP",
"qid": "_",
"token": "towards"
},
{
"bio": "O",
"disambiguated_token": "the",
"pos": "DET",
"qid": "_",
"token": "the"
},
{
"bio": "O",
"disambiguated_token": "object",
"pos": "NOUN",
"qid": "_",
"token": "object"
},
{
"bio": "O",
"disambiguated_token": "be",
"pos": "AUX",
"qid": "_",
"token": "were"
},
{
"bio": "O",
"disambiguated_token": "enter",
"pos": "VERB",
"qid": "_",
"token": "entered"
},
{
"bio": "O",
"disambiguated_token": "into",
"pos": "ADP",
"qid": "_",
"token": "into"
},
{
"bio": "O",
"disambiguated_token": ",",
"pos": "PUNCT",
"qid": "_",
"token": ","
},
{
"bio": "O",
"disambiguated_token": "amount",
"pos": "VERB",
"qid": "_",
"token": "amounting"
},
{
"bio": "O",
"disambiguated_token": "to",
"pos": "ADP",
"qid": "_",
"token": "to"
},
{
"bio": "O",
"disambiguated_token": "£",
"pos": "SYM",
"qid": "_",
"token": "£"
},
{
"bio": "O",
"disambiguated_token": "110",
"pos": "NUM",
"qid": "_",
"token": "110"
},
{
"bio": "O",
"disambiguated_token": ",",
"pos": "PUNCT",
"qid": "_",
"token": ","
},
{
"bio": "O",
"disambiguated_token": "before",
"pos": "ADP",
"qid": "_",
"token": "before"
},
{
"bio": "O",
"disambiguated_token": "the",
"pos": "DET",
"qid": "_",
"token": "the"
},
{
"bio": "O",
"disambiguated_token": "close",
"pos": "NOUN",
"qid": "_",
"token": "close"
},
{
"bio": "O",
"disambiguated_token": "of",
"pos": "ADP",
"qid": "_",
"token": "of"
},
{
"bio": "O",
"disambiguated_token": "the",
"pos": "DET",
"qid": "_",
"token": "the"
},
{
"bio": "O",
"disambiguated_token": "meeting",
"pos": "NOUN",
"qid": "_",
"token": "meeting"
},
{
"bio": "O",
"disambiguated_token": ".",
"pos": "PUNCT",
"qid": "_",
"token": "."
}
] | Dr. Mainzer | NIL |
Subsets and Splits