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DwightSJournalOfMusic__1868-012.txt_990 | 1868 | ; ; The Corigress was opened on Sunday, July 19, at 11 p’clock, A. M., by a musical performance in the Briderkizche. | [
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TheMusicalWorld__1844-006.txt_526 | 1844 | Rachel would proceed to London in the month of June, and play at the St. James’s Theatre. | [
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TheMusicalTimes__1875-388.txt_2051 | 1875 | last concert for the season was given by Mr. Matthews’s Choral Society on Thursday, the 13th ult. | [
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TheHarmonicon__1828-001.txt_1889 | 1828 | Signor Sabastiani, first clarinet at the theatre St. Carlo at Naples, is arrived in Paris. | [
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TheMusicalWorld__1843-036.txt_211 | 1843 | The predominant feature of Spohr’s music is a voluptuous monotony—a luxury indeed, but a vicious one. | [
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TheHarmonicon__1824-016.txt_1988 | 1824 | but, after all, why not have given a symphony or overture of Haydn or Mozart? | [
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TheHarmonicon__1824-016.txt_1988 | 1824 | but, after all, why not have given a symphony or overture of Haydn or Mozart? | [
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TheMusicalTimes__1875-388.txt_2822 | 1875 | , Professor of Harmony at the Royal Academy of Music, and Organist to the Honourable Society of Lincoln’s-Inn. | [
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TheMusicalTimes__1875-388.txt_2822 | 1875 | , Professor of Harmony at the Royal Academy of Music, and Organist to the Honourable Society of Lincoln’s-Inn. | [
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TheMusicalWorld__1843-036.txt_609 | 1843 | A new organ of 13 stops has recently been built for Charleston Presbyterian Church, so that the use of this noble instrument appears to be spreading among our transatlantic brethren. | [
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TheHarmonicon__1828-001.txt_1872 | 1828 | M. Spohr has produced at Cassel a new opera, named, Pietra @ Albano. | [
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TheHarmonicon__1828-001.txt_1872 | 1828 | M. Spohr has produced at Cassel a new opera, named, Pietra @ Albano. | [
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TheHarmonicon__1828-001.txt_1872 | 1828 | M. Spohr has produced at Cassel a new opera, named, Pietra @ Albano. | [
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TheHarmonicon__1833-005.txt_1598 | 1833 | The music consisted of a selection from The Seasons of Haydn, and the whole of Beethoven’s Mount of Olives. | [
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TheHarmonicon__1833-005.txt_1598 | 1833 | The music consisted of a selection from The Seasons of Haydn, and the whole of Beethoven’s Mount of Olives. | [
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TheHarmonicon__1833-005.txt_1598 | 1833 | The music consisted of a selection from The Seasons of Haydn, and the whole of Beethoven’s Mount of Olives. | [
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TheHarmonicon__1833-005.txt_1598 | 1833 | The music consisted of a selection from The Seasons of Haydn, and the whole of Beethoven’s Mount of Olives. | [
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DwightSJournalOfMusic__1868-012.txt_745 | 1868 | Adelina Patti—for that will continue to be her professional. | [
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TheQuarterlyMusicalMagazineAndReview__1828-037.txt_2251 | 1828 | The boy was traced to Milan, but Mr. S. was deterred by the expence from prosecuting, and was compelled to sit down under.the loss of the. entire sum. | [
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TheQuarterlyMusicalMagazineAndReview__1828-037.txt_2251 | 1828 | The boy was traced to Milan, but Mr. S. was deterred by the expence from prosecuting, and was compelled to sit down under.the loss of the. entire sum. | [
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TheMusicalWorld__1843-029.txt_176 | 1843 | These two operas, and also two odes to Anacreon set to the Greek text, are the only fruits of our author's pen in the year 1799. | [
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TheQuarterlyMusicalMagazineAndReview__1828-037.txt_986 | 1828 | Rome has three great theatres ; Argentina, Tor di Nona, and Valle. | [
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TheQuarterlyMusicalMagazineAndReview__1828-037.txt_986 | 1828 | Rome has three great theatres ; Argentina, Tor di Nona, and Valle. | [
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TheQuarterlyMusicalMagazineAndReview__1828-037.txt_986 | 1828 | Rome has three great theatres ; Argentina, Tor di Nona, and Valle. | [
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TheQuarterlyMusicalMagazineAndReview__1828-037.txt_986 | 1828 | Rome has three great theatres ; Argentina, Tor di Nona, and Valle. | [
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TheQuarterlyMusicalMagazineAndReview__1828-037.txt_1291 | 1828 | Grazioli (who must not be confounded with the composer of the same name, who died at Venice in 1820) . has published several operas and some sacred music. | [
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] | Grazioli | Q1525873 |
TheQuarterlyMusicalMagazineAndReview__1828-037.txt_1291 | 1828 | Grazioli (who must not be confounded with the composer of the same name, who died at Venice in 1820) . has published several operas and some sacred music. | [
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{
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{
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{
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TheMusicalTimes__1876-397.txt_192 | 1876 | Engagements to be addressed St. Mark's Villa, Newnham Croft, Cambridge. | [
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TheMusicalTimes__1876-397.txt_192 | 1876 | Engagements to be addressed St. Mark's Villa, Newnham Croft, Cambridge. | [
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TheMusicalTimes__1876-397.txt_192 | 1876 | Engagements to be addressed St. Mark's Villa, Newnham Croft, Cambridge. | [
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TheHarmonicon__1824-016.txt_2516 | 1824 | M. Bochsa takes some trouble to present new compositions to the public ; but he does not exercise much judgment'in the selection of them. | [
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TheQuarterlyMusicalMagazineAndReview__1825-025.txt_419 | 1825 | This Edition has been revised, and Passages for the additional Keys arranged for Piano Fortes up to C, by Mr. Moscheles . | [
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TheQuarterlyMusicalMagazineAndReview__1824-022.txt_587 | 1824 | , “ La Cenerentola,” 1817, Carnivale, "Performed in the theatre Valli, at Rome. | [
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TheQuarterlyMusicalMagazineAndReview__1824-022.txt_587 | 1824 | , “ La Cenerentola,” 1817, Carnivale, "Performed in the theatre Valli, at Rome. | [
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TheQuarterlyMusicalMagazineAndReview__1824-022.txt_587 | 1824 | , “ La Cenerentola,” 1817, Carnivale, "Performed in the theatre Valli, at Rome. | [
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TheMusicalWorld__1843-029.txt_42 | 1843 | The exquisite drollery of Levassor and John Parry were highly relished. | [
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TheMusicalWorld__1843-029.txt_42 | 1843 | The exquisite drollery of Levassor and John Parry were highly relished. | [
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TheMusicalTimes__1875-388.txt_1745 | 1875 | Anthem written for the Consecration of Trinity Chapel, New York, April 17, 1855. | [
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TheMusicalTimes__1875-388.txt_1745 | 1875 | Anthem written for the Consecration of Trinity Chapel, New York, April 17, 1855. | [
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TheMusicalTimes__1875-388.txt_2208 | 1875 | The reception of the work was most enthusiastic, Dr. Bridge receiving quite an ovation at the close of the Oratorio. | [
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TheMusicalTimes__1875-388.txt_2208 | 1875 | The reception of the work was most enthusiastic, Dr. Bridge receiving quite an ovation at the close of the Oratorio. | [
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TheQuarterlyMusicalMagazineAndReview__1826-029.txt_1453 | 1826 | The first part of the chapter is occupied by a short dissertation on the difference which must have existed between the psalm.and the song, as they are used in the Bible. | [
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] | psalm | Q41064 |
TheQuarterlyMusicalMagazineAndReview__1826-029.txt_1453 | 1826 | The first part of the chapter is occupied by a short dissertation on the difference which must have existed between the psalm.and the song, as they are used in the Bible. | [
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TheHarmonicon__1832-012.txt_1878 | 1832 | The Societa Filodramatica is about to produce Bellini’s opera, I Montecchi e Capuleti. | [
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TheHarmonicon__1832-012.txt_1878 | 1832 | The Societa Filodramatica is about to produce Bellini’s opera, I Montecchi e Capuleti. | [
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] | Bellini | Q170209 |
TheHarmonicon__1832-012.txt_1878 | 1832 | The Societa Filodramatica is about to produce Bellini’s opera, I Montecchi e Capuleti. | [
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TheQuarterlyMusicalMagazineAndReview__1828-037.txt_720 | 1828 | we are moved only by admiration of the talents of Madame Pasta or Mademoiselle Sontag, displayed in executing the innumerable flights, arpeggios, and cadenzas which are allotted to them. | [
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] | Madame Pasta | Q240963 |
TheQuarterlyMusicalMagazineAndReview__1828-037.txt_720 | 1828 | we are moved only by admiration of the talents of Madame Pasta or Mademoiselle Sontag, displayed in executing the innumerable flights, arpeggios, and cadenzas which are allotted to them. | [
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] | Mademoiselle Sontag | Q64098 |
TheHarmonicon__1832-012.txt_1146 | 1832 | only that the name of the author had been misprinted Caffiat, instead of Caffiaux. | [
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TheQuarterlyMusicalMagazineAndReview__1828-037.txt_3531 | 1828 | the Philharmonic and the Antient being the only institutions that can | [
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TheQuarterlyMusicalMagazineAndReview__1828-037.txt_3531 | 1828 | the Philharmonic and the Antient being the only institutions that can | [
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TheHarmonicon__1828-001.txt_1127 | 1828 | Ramsay was an acute observer of the character and manners of the Scottish peasantry, and has produced many pleasing and humorous sketches of the habits and sentiments peculiar to that race. | [
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TheMusicalTimes__1876-397.txt_1780 | 1876 | AT a meeting of the supporters of the National Training School of Music, held at the Mansion House on the 23rd ult. | [
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TheMusicalTimes__1876-397.txt_1780 | 1876 | AT a meeting of the supporters of the National Training School of Music, held at the Mansion House on the 23rd ult. | [
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TheQuarterlyMusicalMagazineAndReview__1824-022.txt_1383 | 1824 | Zahn was a native of Rotenbourg sur le Tauber, in Franconia. | [
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TheQuarterlyMusicalMagazineAndReview__1824-022.txt_1383 | 1824 | Zahn was a native of Rotenbourg sur le Tauber, in Franconia. | [
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TheQuarterlyMusicalMagazineAndReview__1824-022.txt_1383 | 1824 | Zahn was a native of Rotenbourg sur le Tauber, in Franconia. | [
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TheHarmonicon__1824-016.txt_56 | 1824 | When seated one evening, happy in the society of his friends, he was visited by an order from the minister, commanding him to quit England immediately. | [
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] | England | Q21 |
TheMusicalTimes__1873-366.txt_1370 | 1873 | To Mr. Willert Beale, the founder of these meetings, 8. | [
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TheMusicalTimes__1876-397.txt_2261 | 1876 | Dr. Barry, in acknowledging the gift, said that he regarded it as an expression of unity and co-operation between the members of the choir and himself, and thanked the Society for so kind a mark of appreciation of his services. | [
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TheMusicalTimes__1876-397.txt_2261 | 1876 | Dr. Barry, in acknowledging the gift, said that he regarded it as an expression of unity and co-operation between the members of the choir and himself, and thanked the Society for so kind a mark of appreciation of his services. | [
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] | Society | NIL |
TheMusicalTimes__1875-388.txt_2957 | 1875 | Various portions of this Opera are now printed for the first time in England, making this the only English Pianoforte Score which agrees with the Composer's Original Score. | [
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TheQuarterlyMusicalMagazineAndReview__1828-037.txt_580 | 1828 | , ee OF the principles adopted by Handel in his employment of such phrases, 1 hope I have given a clear and sufficient demonstration in my last letter. | [
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"token": "."
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] | Handel | Q7302 |
TheHarmonicon__1832-012.txt_1714 | 1832 | What a clever fellow, too, the Emperor of the Moon and China | [
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"token": "China"
}
] | China | Q148 |
DwightSJournalOfMusic__1873-016.txt_390 | 1873 | Franz Liszt played this piece once with such mighty power and passion, such eloquence and truth, as I never heard before, probably never shall hear again. | [
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"qid": "_",
"token": "."
}
] | Franz Liszt | Q41309 |
TheMusicalTimes__1876-397.txt_744 | 1876 | 3- SEVEN VOCAL DUETS, by Bellini, S. Glover, Macfarren, Donizetti, &c. . | [
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] | Bellini | Q170209 |
TheMusicalTimes__1876-397.txt_744 | 1876 | 3- SEVEN VOCAL DUETS, by Bellini, S. Glover, Macfarren, Donizetti, &c. . | [
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] | S. Glover | NIL |
TheMusicalTimes__1876-397.txt_744 | 1876 | 3- SEVEN VOCAL DUETS, by Bellini, S. Glover, Macfarren, Donizetti, &c. . | [
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{
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"token": "."
}
] | Macfarren | Q1374708 |
TheMusicalTimes__1876-397.txt_744 | 1876 | 3- SEVEN VOCAL DUETS, by Bellini, S. Glover, Macfarren, Donizetti, &c. . | [
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] | Donizetti | Q101698 |
TheMusicalTimes__1876-402.txt_933 | 1876 | Meantime, we Believe that we are correct in asserting that Dr. Sullivan has resigned his post as Musical Director. | [
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TheMusicalTimes__1876-397.txt_2289 | 1876 | , Mr. Joseph Skeaf, the president, occupied the chair, Mr. William Laidlaw and Mr. T. Armstrong vicechairmen. | [
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TheMusicalTimes__1876-397.txt_2289 | 1876 | , Mr. Joseph Skeaf, the president, occupied the chair, Mr. William Laidlaw and Mr. T. Armstrong vicechairmen. | [
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TheMusicalTimes__1876-402.txt_1839 | 1876 | ‘' In Memoriam” is a commonplace melody, with a commonplace accompaniment; yet there. | [
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TheQuarterlyMusicalMagazineAndReview__1825-025.txt_1896 | 1825 | In 1760 he sent him to Paris, and he there took lessons of Capron, and at the same time studied composition under Gossec. | [
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TheQuarterlyMusicalMagazineAndReview__1825-025.txt_1896 | 1825 | In 1760 he sent him to Paris, and he there took lessons of Capron, and at the same time studied composition under Gossec. | [
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TheQuarterlyMusicalMagazineAndReview__1825-025.txt_1896 | 1825 | In 1760 he sent him to Paris, and he there took lessons of Capron, and at the same time studied composition under Gossec. | [
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TheQuarterlyMusicalMagazineAndReview__1828-037.txt_1189 | 1828 | The church of Santa Maria Maggiore, the third in rank, had as chapel master the Maestro del Fante, who has now been dead some years. | [
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TheQuarterlyMusicalMagazineAndReview__1828-037.txt_1189 | 1828 | The church of Santa Maria Maggiore, the third in rank, had as chapel master the Maestro del Fante, who has now been dead some years. | [
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TheMusicalWorld__1843-038.txt_67 | 1843 | The vocalists were the Misses C. Novello, Rainforth, and Mrs. Alfred Shaw; Messrs. Braham, Phillips, Bennett, Walton, and J. Isherwood. | [
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] | C. Novello | Q4322567 |
TheMusicalWorld__1843-038.txt_67 | 1843 | The vocalists were the Misses C. Novello, Rainforth, and Mrs. Alfred Shaw; Messrs. Braham, Phillips, Bennett, Walton, and J. Isherwood. | [
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TheMusicalWorld__1843-038.txt_67 | 1843 | The vocalists were the Misses C. Novello, Rainforth, and Mrs. Alfred Shaw; Messrs. Braham, Phillips, Bennett, Walton, and J. Isherwood. | [
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TheMusicalWorld__1843-038.txt_67 | 1843 | The vocalists were the Misses C. Novello, Rainforth, and Mrs. Alfred Shaw; Messrs. Braham, Phillips, Bennett, Walton, and J. Isherwood. | [
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TheMusicalWorld__1843-038.txt_67 | 1843 | The vocalists were the Misses C. Novello, Rainforth, and Mrs. Alfred Shaw; Messrs. Braham, Phillips, Bennett, Walton, and J. Isherwood. | [
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TheMusicalWorld__1843-038.txt_67 | 1843 | The vocalists were the Misses C. Novello, Rainforth, and Mrs. Alfred Shaw; Messrs. Braham, Phillips, Bennett, Walton, and J. Isherwood. | [
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TheMusicalWorld__1843-038.txt_67 | 1843 | The vocalists were the Misses C. Novello, Rainforth, and Mrs. Alfred Shaw; Messrs. Braham, Phillips, Bennett, Walton, and J. Isherwood. | [
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TheMusicalWorld__1843-038.txt_67 | 1843 | The vocalists were the Misses C. Novello, Rainforth, and Mrs. Alfred Shaw; Messrs. Braham, Phillips, Bennett, Walton, and J. Isherwood. | [
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TheQuarterlyMusicalMagazineAndReview__1825-025.txt_1684 | 1825 | Francoeur was born at Paris, in 1698, and is mentioned as having belonged. | [
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TheQuarterlyMusicalMagazineAndReview__1825-025.txt_1684 | 1825 | Francoeur was born at Paris, in 1698, and is mentioned as having belonged. | [
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TheMusicalTimes__1876-397.txt_3042 | 1876 | For some of the Harmonies to this see Accompanying Harmonies to Psalter Noted, Appendix 2 (above mentioned). | [
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] | Accompanying Harmonies to Psalter Noted | NIL |
DwightSJournalOfMusic__1875-006.txt_919 | 1875 | Now let our readers take the finale of any opera by Mozart, of the Fidelio by Beethoven, and compare it side by side with the finale by Wagner. | [
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] | Mozart | Q254 |
DwightSJournalOfMusic__1875-006.txt_919 | 1875 | Now let our readers take the finale of any opera by Mozart, of the Fidelio by Beethoven, and compare it side by side with the finale by Wagner. | [
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] | Fidelio | Q193778 |
DwightSJournalOfMusic__1875-006.txt_919 | 1875 | Now let our readers take the finale of any opera by Mozart, of the Fidelio by Beethoven, and compare it side by side with the finale by Wagner. | [
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] | Beethoven | Q255 |
DwightSJournalOfMusic__1875-006.txt_919 | 1875 | Now let our readers take the finale of any opera by Mozart, of the Fidelio by Beethoven, and compare it side by side with the finale by Wagner. | [
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] | Wagner | Q1511 |
Subsets and Splits