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TheMusicalTimes__1875-388.txt_1671 | 1875 | The artists engaged were the Misses Agnes Drummond, Josephine Pulham, Marian Haigh, Florence Wydford, and Messrs. Henry Guy, Theodore Distin, E. Stone, and Thurley Beale. | [
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TheMusicalTimes__1875-388.txt_1671 | 1875 | The artists engaged were the Misses Agnes Drummond, Josephine Pulham, Marian Haigh, Florence Wydford, and Messrs. Henry Guy, Theodore Distin, E. Stone, and Thurley Beale. | [
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TheMusicalTimes__1875-388.txt_1671 | 1875 | The artists engaged were the Misses Agnes Drummond, Josephine Pulham, Marian Haigh, Florence Wydford, and Messrs. Henry Guy, Theodore Distin, E. Stone, and Thurley Beale. | [
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TheMusicalTimes__1875-388.txt_1671 | 1875 | The artists engaged were the Misses Agnes Drummond, Josephine Pulham, Marian Haigh, Florence Wydford, and Messrs. Henry Guy, Theodore Distin, E. Stone, and Thurley Beale. | [
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TheMusicalTimes__1875-388.txt_1671 | 1875 | The artists engaged were the Misses Agnes Drummond, Josephine Pulham, Marian Haigh, Florence Wydford, and Messrs. Henry Guy, Theodore Distin, E. Stone, and Thurley Beale. | [
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TheMusicalWorld__1843-029.txt_89 | 1843 | We have an irresistible proof of the effects produced by these in the following passage, extracted from (Almanach général de tous les spectacles, for the year 1791, (page 61). | [
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"... | Almanach général de tous les spectacles | Q3235618 |
TheMusicalWorld__1844-006.txt_577 | 1844 | It is used in many of the Cathedrals and Collegiate Churches, besides numerous Parish Churches in England. | [
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TheMusicalWorld__1843-038.txt_419 | 1843 | Mrs. Shaw sang the next piece, No. 17, with more grace and power of vocalization than she had displayed during her visit. | [
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TheMusicalWorld__1843-038.txt_419 | 1843 | Mrs. Shaw sang the next piece, No. 17, with more grace and power of vocalization than she had displayed during her visit. | [
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TheMusicalTimes__1876-402.txt_2038 | 1876 | “ Lives of the Professors of Gresham College” is a list of musical works in manuscript of Dr. J. Bull, in possession of Dr. Pepusch | [
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TheMusicalTimes__1876-402.txt_2038 | 1876 | “ Lives of the Professors of Gresham College” is a list of musical works in manuscript of Dr. J. Bull, in possession of Dr. Pepusch | [
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TheMusicalTimes__1873-366.txt_1899 | 1873 | Tuts Saltarello has a light and playful theme which can. | [
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TheMusicalTimes__1873-366.txt_1504 | 1873 | He also performed two of Mendelssohn’s | [
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TheQuarterlyMusicalMagazineAndReview__1828-037.txt_387 | 1828 | Air Suisse, with an Introduction and Variations for the Piano Forte, composed by H. Herz . | [
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TheMusicalWorld__1843-038.txt_662 | 1843 | * Leader and Director of the London, Bath, and Bristol Phdharmoniec Coucerts. | [
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TheMusicalWorld__1843-038.txt_662 | 1843 | * Leader and Director of the London, Bath, and Bristol Phdharmoniec Coucerts. | [
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TheMusicalWorld__1843-038.txt_662 | 1843 | * Leader and Director of the London, Bath, and Bristol Phdharmoniec Coucerts. | [
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TheQuarterlyMusicalMagazineAndReview__1828-037.txt_1008 | 1828 | This instrument being very little cultivated here to any other purpose, its scarcity is sensibly felt throughout Italy. | [
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TheQuarterlyMusicalMagazineAndReview__1824-022.txt_3868 | 1824 | Dr. Anslem Bayly, Sub-Dean of this Majesty’s Chapels Royal. | [
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TheQuarterlyMusicalMagazineAndReview__1824-022.txt_3868 | 1824 | Dr. Anslem Bayly, Sub-Dean of this Majesty’s Chapels Royal. | [
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TheMusicalWorld__1843-029.txt_441 | 1843 | Mr. Wiitson.—Owing to a severe domestic affliction, (the death of a son) | [
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TheQuarterlyMusicalMagazineAndReview__1825-025.txt_1912 | 1825 | Charles Phillippe Lafont, a very distinguished violinist, began to learn the violin with his mother, who was the sister of Berthaume, when yet very young. | [
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TheQuarterlyMusicalMagazineAndReview__1825-025.txt_1912 | 1825 | Charles Phillippe Lafont, a very distinguished violinist, began to learn the violin with his mother, who was the sister of Berthaume, when yet very young. | [
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TheHarmonicon__1832-012.txt_1890 | 1832 | In spring she goes to Milan, where she has concluded an engagement with the Scala and Cannobiano as primo musico. | [
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TheHarmonicon__1832-012.txt_1890 | 1832 | In spring she goes to Milan, where she has concluded an engagement with the Scala and Cannobiano as primo musico. | [
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TheHarmonicon__1832-012.txt_1890 | 1832 | In spring she goes to Milan, where she has concluded an engagement with the Scala and Cannobiano as primo musico. | [
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TheHarmonicon__1832-012.txt_1860 | 1832 | Among the pieces were Beethoven’s grand symphony in bp, and the overtures to Don Juan and Reissiger’s Felsenmithle, all of which were exquisitely played. | [
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TheHarmonicon__1832-012.txt_1860 | 1832 | Among the pieces were Beethoven’s grand symphony in bp, and the overtures to Don Juan and Reissiger’s Felsenmithle, all of which were exquisitely played. | [
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TheHarmonicon__1832-012.txt_1860 | 1832 | Among the pieces were Beethoven’s grand symphony in bp, and the overtures to Don Juan and Reissiger’s Felsenmithle, all of which were exquisitely played. | [
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TheHarmonicon__1832-012.txt_1860 | 1832 | Among the pieces were Beethoven’s grand symphony in bp, and the overtures to Don Juan and Reissiger’s Felsenmithle, all of which were exquisitely played. | [
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TheMusicalTimes__1873-366.txt_169 | 1873 | We will'now give an account of the 3 process adopted by Messrs. James Epps and Co., manufacturers of , dietetic articles, at their works in the Euston-road, | [
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TheMusicalTimes__1873-366.txt_169 | 1873 | We will'now give an account of the 3 process adopted by Messrs. James Epps and Co., manufacturers of , dietetic articles, at their works in the Euston-road, | [
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TheMusicalTimes__1876-397.txt_2342 | 1876 | R. Smith lectured at the Athenzum on Thursday evening, the roth ult. | [
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TheQuarterlyMusicalMagazineAndReview__1828-037.txt_4669 | 1828 | The Enthusiast, a Song, written and composed by F.W. Horn- castle. | [
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TheQuarterlyMusicalMagazineAndReview__1828-037.txt_4669 | 1828 | The Enthusiast, a Song, written and composed by F.W. Horn- castle. | [
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TheQuarterlyMusicalMagazineAndReview__1825-025.txt_2308 | 1825 | Venice, besides the advantage of having orators destined to educate the singers, had Gasparini and Lotti as directors of the schools.. | [
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... | Gasparini | Q446955 |
TheQuarterlyMusicalMagazineAndReview__1825-025.txt_2308 | 1825 | Venice, besides the advantage of having orators destined to educate the singers, had Gasparini and Lotti as directors of the schools.. | [
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... | Lotti | Q168345 |
TheMusicalWorld__1843-038.txt_63 | 1843 | This will delight the people of Manchester, of whose world of music | [
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TheMusicalTimes__1876-397.txt_1047 | 1876 | Handel’s habit of borrowing from himself is well known. | [
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... | Handel | Q7302 |
DwightSJournalOfMusic__1868-012.txt_732 | 1868 | the bride recently went through a similar ceremony as Giultetta in Gounod’s opera. | [
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TheQuarterlyMusicalMagazineAndReview__1828-037.txt_3672 | 1828 | In truth a double source is now opening upon us—Germany as well as Italy. | [
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TheQuarterlyMusicalMagazineAndReview__1828-037.txt_3672 | 1828 | In truth a double source is now opening upon us—Germany as well as Italy. | [
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TheQuarterlyMusicalMagazineAndReview__1824-022.txt_3844 | 1824 | She addressed a series of letters to the Bishop of London, to the Dean of St.. | [
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TheMusicalTimes__1875-388.txt_1798 | 1875 | The ‘“ Adagio,” in C minor, is melodious, and contains sufficient contrast of style to prevent any feeling of monotony. | [
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TheQuarterlyMusicalMagazineAndReview__1826-029.txt_2120 | 1826 | At page 16, the rondo “ Allegretto Scherzando con Brio (certainly the most effective movement of the whole) commences. | [
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TheQuarterlyMusicalMagazineAndReview__1826-029.txt_3512 | 1826 | the subject of the Air from a French Melody, composed by Pio Glanchettini. | [
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TheQuarterlyMusicalMagazineAndReview__1828-037.txt_1763 | 1828 | When Fenzi is absent, Guida is considered as the best. | [
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... | Fenzi | NIL |
TheQuarterlyMusicalMagazineAndReview__1828-037.txt_1763 | 1828 | When Fenzi is absent, Guida is considered as the best. | [
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... | Guida | NIL |
TheQuarterlyMusicalMagazineAndReview__1824-022.txt_1641 | 1824 | But in the “ Studii of Palestrina,” -a manvscript, procured at Rome by Dr. Burney, containing chants by the great composers of his time, are some, by. | [
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TheQuarterlyMusicalMagazineAndReview__1824-022.txt_1641 | 1824 | But in the “ Studii of Palestrina,” -a manvscript, procured at Rome by Dr. Burney, containing chants by the great composers of his time, are some, by. | [
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TheQuarterlyMusicalMagazineAndReview__1824-022.txt_1641 | 1824 | But in the “ Studii of Palestrina,” -a manvscript, procured at Rome by Dr. Burney, containing chants by the great composers of his time, are some, by. | [
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"t... | Dr. Burney | Q547002 |
TheMusicalWorld__1844-006.txt_346 | 1844 | From what we know of Mr. Forde’s general abilities, we should think him far more fit for the task than any else one who has undertaken it; | [
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... | Forde | NIL |
TheQuarterlyMusicalMagazineAndReview__1828-037.txt_1436 | 1828 | It is in this point of view that we ought to regard the revolution effected by Rossini in the music of Naples, as well as: its novel results. | [
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"token... | Rossini | Q9726 |
TheQuarterlyMusicalMagazineAndReview__1828-037.txt_1436 | 1828 | It is in this point of view that we ought to regard the revolution effected by Rossini in the music of Naples, as well as: its novel results. | [
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"token... | Naples | Q2634 |
TheMusicalWorld__1843-038.txt_254 | 1843 | One of the very best performances we have ever heard of the Messiah, whether we regard it in its vocal or instrumental character. | [
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"tok... | Messiah | Q207732 |
TheHarmonicon__1832-012.txt_1175 | 1832 | Fifth, on the Counterpoint of the ancients and moderns, 46 pages. | [
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"... | Counterpoint of the ancients and moderns | NIL |
TheQuarterlyMusicalMagazineAndReview__1824-022.txt_2654 | 1824 | Mr. Kalkbrenner’s concerto was the only piece in the last bill of any importance. | [
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TheQuarterlyMusicalMagazineAndReview__1825-025.txt_1788 | 1825 | w ho were accustomed to meet there frequently, such as Pagin, Gavinies, Pugnani, Gi- ardini, Van Malder, Dominico Ferrari, &c. | [
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"token"... | Pagin | Q516496 |
TheQuarterlyMusicalMagazineAndReview__1825-025.txt_1788 | 1825 | w ho were accustomed to meet there frequently, such as Pagin, Gavinies, Pugnani, Gi- ardini, Van Malder, Dominico Ferrari, &c. | [
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"token"... | Gavinies | Q490205 |
TheQuarterlyMusicalMagazineAndReview__1825-025.txt_1788 | 1825 | w ho were accustomed to meet there frequently, such as Pagin, Gavinies, Pugnani, Gi- ardini, Van Malder, Dominico Ferrari, &c. | [
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"token"... | Pugnani | Q560926 |
TheQuarterlyMusicalMagazineAndReview__1825-025.txt_1788 | 1825 | w ho were accustomed to meet there frequently, such as Pagin, Gavinies, Pugnani, Gi- ardini, Van Malder, Dominico Ferrari, &c. | [
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TheQuarterlyMusicalMagazineAndReview__1825-025.txt_1788 | 1825 | w ho were accustomed to meet there frequently, such as Pagin, Gavinies, Pugnani, Gi- ardini, Van Malder, Dominico Ferrari, &c. | [
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"token"... | Van Malder | Q509130 |
TheQuarterlyMusicalMagazineAndReview__1825-025.txt_1788 | 1825 | w ho were accustomed to meet there frequently, such as Pagin, Gavinies, Pugnani, Gi- ardini, Van Malder, Dominico Ferrari, &c. | [
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"token"... | Dominico Ferrari | Q1237139 |
TheHarmonicon__1828-001.txt_931 | 1828 | Roller and Blanchet, more enterprising than their predecessors, have exhibited an instrument that possesses many advantages. | [
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TheMusicalTimes__1875-388.txt_19 | 1875 | Among the gentle‘men now contributing to Concordia, are :— : J. Barney. | [
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TheMusicalTimes__1875-388.txt_19 | 1875 | Among the gentle‘men now contributing to Concordia, are :— : J. Barney. | [
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TheHarmonicon__1828-001.txt_447 | 1828 | I am marvellously curious to see the violin quartet written by Rossini for Ricordi, the music-dealer, of Milan. | [
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... | Rossini | Q9726 |
TheHarmonicon__1828-001.txt_447 | 1828 | I am marvellously curious to see the violin quartet written by Rossini for Ricordi, the music-dealer, of Milan. | [
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... | Ricordi | Q1046463 |
TheHarmonicon__1828-001.txt_447 | 1828 | I am marvellously curious to see the violin quartet written by Rossini for Ricordi, the music-dealer, of Milan. | [
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... | Milan | Q490 |
TheMusicalTimes__1873-366.txt_58 | 1873 | (Of the Royal Albert Hall Concerts), for Oratorios, Concerts, &c. Address 2, Hallfield-place, Bradford, Yorks. | [
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"token... | Royal Albert Hall | Q193639 |
TheMusicalTimes__1873-366.txt_58 | 1873 | (Of the Royal Albert Hall Concerts), for Oratorios, Concerts, &c. Address 2, Hallfield-place, Bradford, Yorks. | [
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TheMusicalTimes__1873-366.txt_58 | 1873 | (Of the Royal Albert Hall Concerts), for Oratorios, Concerts, &c. Address 2, Hallfield-place, Bradford, Yorks. | [
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"token... | Bradford | Q22905 |
TheMusicalTimes__1873-366.txt_58 | 1873 | (Of the Royal Albert Hall Concerts), for Oratorios, Concerts, &c. Address 2, Hallfield-place, Bradford, Yorks. | [
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"token... | Yorks | Q163 |
TheQuarterlyMusicalMagazineAndReview__1826-029.txt_3783 | 1826 | Upon the coffin was ‘the following inscription: : CAROLUS MARTA FREYHERR VON WEBER . | [
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"qid": "_"... | CAROLUS MARTA FREYHERR VON WEBER . | Q154812 |
TheMusicalWorld__1843-038.txt_136 | 1843 | One of the principal pieces in Hippolyte et Arcie, is the trio of the Fates, one of the most beautiful compositions of Rameau. | [
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"tok... | Hippolyte et Arcie | Q1376211 |
TheMusicalWorld__1843-038.txt_136 | 1843 | One of the principal pieces in Hippolyte et Arcie, is the trio of the Fates, one of the most beautiful compositions of Rameau. | [
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"tok... | trio of the Fates | NIL |
TheMusicalWorld__1843-038.txt_136 | 1843 | One of the principal pieces in Hippolyte et Arcie, is the trio of the Fates, one of the most beautiful compositions of Rameau. | [
{
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"tok... | Rameau | Q1145 |
DwightSJournalOfMusic__1873-016.txt_742 | 1873 | When Garibaldi raised the standard of revolt at Marsala, a number of volunteers. | [
{
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},
{
"bio": "O",
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"pos":... | Garibaldi | Q539 |
DwightSJournalOfMusic__1873-016.txt_742 | 1873 | When Garibaldi raised the standard of revolt at Marsala, a number of volunteers. | [
{
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"qid": "Q539",
"token": "Garibaldi"
},
{
"bio": "O",
"disambiguated_token": "raise",
"pos":... | Marsala | Q481514 |
TheQuarterlyMusicalMagazineAndReview__1828-037.txt_3630 | 1828 | the paucity of the English female singers— Miss Stephens and. | [
{
"bio": "O",
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{
"bio": "O",
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"token": "paucity"
},
{
"bio": "O",
"disambiguated_token": "of",
"pos": "ADP",
"qid": "_"... | Miss Stephens | Q5052928 |
TheMusicalTimes__1876-402.txt_22 | 1876 | For further particulars apply to Mr. H. Keeton, “Registered for transmission abroad. | [
{
"bio": "O",
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{
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{
"bio": "O",
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"q... | Mr. H. Keeton | Q1438256 |
TheMusicalTimes__1876-402.txt_1172 | 1876 | Highly commended—Annie Albu, Amy Aylward, Jessie Jones, Agnes Larkcom, and Marian Williams. | [
{
"bio": "O",
"disambiguated_token": "highly",
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{
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},
{
"bio": "O",
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"... | Annie Albu | NIL |
TheMusicalTimes__1876-402.txt_1172 | 1876 | Highly commended—Annie Albu, Amy Aylward, Jessie Jones, Agnes Larkcom, and Marian Williams. | [
{
"bio": "O",
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{
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{
"bio": "O",
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"... | Amy Aylward | NIL |
TheMusicalTimes__1876-402.txt_1172 | 1876 | Highly commended—Annie Albu, Amy Aylward, Jessie Jones, Agnes Larkcom, and Marian Williams. | [
{
"bio": "O",
"disambiguated_token": "highly",
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"token": "Highly"
},
{
"bio": "O",
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"qid": "_",
"token": "commended"
},
{
"bio": "O",
"disambiguated_token": "—",
"pos": "PUNCT",
"... | Jessie Jones | NIL |
TheMusicalTimes__1876-402.txt_1172 | 1876 | Highly commended—Annie Albu, Amy Aylward, Jessie Jones, Agnes Larkcom, and Marian Williams. | [
{
"bio": "O",
"disambiguated_token": "highly",
"pos": "ADV",
"qid": "_",
"token": "Highly"
},
{
"bio": "O",
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"qid": "_",
"token": "commended"
},
{
"bio": "O",
"disambiguated_token": "—",
"pos": "PUNCT",
"... | Agnes Larkcom | NIL |
TheMusicalTimes__1876-402.txt_1172 | 1876 | Highly commended—Annie Albu, Amy Aylward, Jessie Jones, Agnes Larkcom, and Marian Williams. | [
{
"bio": "O",
"disambiguated_token": "highly",
"pos": "ADV",
"qid": "_",
"token": "Highly"
},
{
"bio": "O",
"disambiguated_token": "commend",
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"qid": "_",
"token": "commended"
},
{
"bio": "O",
"disambiguated_token": "—",
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"... | Marian Williams | NIL |
TheQuarterlyMusicalMagazineAndReview__1828-037.txt_1478 | 1828 | Naples ‘possesses five great “theatres, where operas and plays a are performed, and two smaller unes, where farces are given for the amusement ofthe people. | [
{
"bio": "B-city",
"disambiguated_token": "Naples",
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{
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},
{
"bio": "O",
"disambiguated_token": "possess",
"pos": "VERB",
... | Naples | Q2634 |
TheMusicalTimes__1873-366.txt_993 | 1873 | Both artists were together in Berliz 1835, and in one of his letters | [
{
"bio": "O",
"disambiguated_token": "both",
"pos": "DET",
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},
{
"bio": "O",
"disambiguated_token": "artist",
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"token": "artists"
},
{
"bio": "O",
"disambiguated_token": "be",
"pos": "AUX",
"qid": "_... | Berliz | Q64 |
TheQuarterlyMusicalMagazineAndReview__1824-022.txt_3659 | 1824 | They are all tinctured with a certain degree of elegance and expressiveness, particularly these by Mr. Clifton, Mr. Crouch, Mr. Eavestaff, and Mr. Banister. | [
{
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},
{
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"pos": "PRON",
"qid": "_",
... | Mr. Clifton | Q6224338 |
TheQuarterlyMusicalMagazineAndReview__1824-022.txt_3659 | 1824 | They are all tinctured with a certain degree of elegance and expressiveness, particularly these by Mr. Clifton, Mr. Crouch, Mr. Eavestaff, and Mr. Banister. | [
{
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{
"bio": "O",
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... | Mr. Crouch | NIL |
TheQuarterlyMusicalMagazineAndReview__1824-022.txt_3659 | 1824 | They are all tinctured with a certain degree of elegance and expressiveness, particularly these by Mr. Clifton, Mr. Crouch, Mr. Eavestaff, and Mr. Banister. | [
{
"bio": "O",
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{
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},
{
"bio": "O",
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"qid": "_",
... | Mr. Eavestaff | NIL |
TheQuarterlyMusicalMagazineAndReview__1824-022.txt_3659 | 1824 | They are all tinctured with a certain degree of elegance and expressiveness, particularly these by Mr. Clifton, Mr. Crouch, Mr. Eavestaff, and Mr. Banister. | [
{
"bio": "O",
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{
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{
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... | Mr. Banister | NIL |
TheHarmonicon__1824-016.txt_1800 | 1824 | Since Barbaja seceded from the theatre, San Carlo has thrice been in danger of being burnt down. | [
{
"bio": "O",
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},
{
"bio": "B-person",
"disambiguated_token": "Barbaja",
"pos": "PROPN",
"qid": "Q908235",
"token": "Barbaja"
},
{
"bio": "O",
"disambiguated_token": "secede",
"pos... | Barbaja | Q908235 |
TheHarmonicon__1824-016.txt_1800 | 1824 | Since Barbaja seceded from the theatre, San Carlo has thrice been in danger of being burnt down. | [
{
"bio": "O",
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{
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"pos": "PROPN",
"qid": "Q908235",
"token": "Barbaja"
},
{
"bio": "O",
"disambiguated_token": "secede",
"pos... | San Carlo | Q628491 |
TheQuarterlyMusicalMagazineAndReview__1825-025.txt_294 | 1825 | Variations, and an Introductory Prelude on some Passages from: the Incantation Scene, by N.C. Bochsa 4. | [
{
"bio": "O",
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},
{
"bio": "O",
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"qid": "_",
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},
{
"bio": "O",
"disambiguated_token": "and",
"pos": "CCONJ",
"qid... | the Incantation Scene | NIL |
TheQuarterlyMusicalMagazineAndReview__1825-025.txt_294 | 1825 | Variations, and an Introductory Prelude on some Passages from: the Incantation Scene, by N.C. Bochsa 4. | [
{
"bio": "O",
"disambiguated_token": "variation",
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"token": "Variations"
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{
"bio": "O",
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},
{
"bio": "O",
"disambiguated_token": "and",
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"qid... | N.C. Bochsa | Q251397 |
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