Allen, Thomas, 95
Altenburg, the, Liszt's studio in, 93;
FÜrstin Sayn-Wittgenstein at, 94;
picture of, 94;
Liszt pupils at, 98, 122
Appledore, Isles of Shoals, Mason at, 251-258
Bach, "Triple Concerto," 107;
"les agrÉments" in, 229;
Rubinstein and, 290;
Essipoff and, 232
Bauer, 270
Beethoven, first symphonic performance in America, 8, 13, 31;
Remenyi and "Kreutzer Sonata," 93;
Op. 106, 103, and Liszt plays, 104, 105;
"Eroica Symphony," Liszt's contretemps in, 120;
Liszt's "Young Beethoven" (Rubinstein), 171
Bellman, 137
Benedict, Sir Julius, 84
"BÉnÉdiction de Dieu dans la Solitude" by Liszt, Mason's copy of, 118
Bergmann, Carl, 193
Berlioz, autograph, 168, 169
Blessner, Mr., violinist, 19
Bloomfield-Zeisler, 270
Boston Academy of Music, 9
Bowman, E. M., 261
Brahms, 127-142;
in 1853, 127;
first meeting with Liszt, 127-131;
MSS. illegible, 127;
won't play for Liszt, 128;
Liszt plays Op. 4 and part of Op. 1 at sight, 128;
Raff on Op. 4 and B.'s reply, 129;
dozing while Liszt plays, 129;
Liszt annoyed, 130;
wrong accounts of first meeting with Liszt, 130 and 141;
feat in transposing, 131;
and Schumann, 132;
Mason's meeting with in Bonn in 1880, 136;
pianoforte-playing, Mason's opinion of, 137, and of compositions, 139;
Liszt's coolness toward, 142, 194, 267, 268, 270
Brockway, Howard, 261
Brodsky, 151
Buck, Dudley, 261
Bull, Ole, 148, 149;
autograph, 150
BÜllow, Hans von, 91
BÜlow, Von, 182, 238-241;
letter to Mason, 239;
statement about Cosima and Wagner, 240;
autograph, 240
Burmeister, Richard, 270
CarreÑo, Teresa, 270
Chadwick, George W., 261
Chamber-music concerts, Mason's, 193-197
Chickering, Jonas, 19
Chopin, style of playing, 75, 171, 244
Clauss, Wilhelmine, 64
Cornelius, Peter, 145-147
Cossmann, Bernhard, 63, 92, 150
David, Ferdinand, 134
Devitalized muscular action, its importance in piano-playing discussed, 20
Diary, Mason's, at Weimar, 122-126
Dodworth's Hall, 194
DohnÁnyi, Ernst von, 263;
new symphony, 264
Dreyschock, 65-79;
octave-playing, 66;
on Chopin's pianoforte-playing, 75, and Henselt, 77
Dyer, Oliver, 184
Eichberg, Isidor, 252
Eichberg, Julius, 253
Erard pianoforte, Liszt's, 88, 92
Ernst, 149
Fontaine, Mortier de, Beethoven-player, 31
Foote, Arthur, 261
Franck, CÉsar, 122
Friedheim, Arthur, 270
Gabrilowitsch, 269
Geilfuss, Louis, 182
Godowsky, 265
"Goldene Zeit" at Weimar, 97, 122
Gottschalk, 183, 205-209;
"The Latest Hops," 208;
Characteristic letter and autograph, 208
Grange, De la, 154, 157
Grieg, 241;
autograph, 244
Groenvelt, Mr., violoncellist, 19
Handel and Haydn Society, Boston, early repertoire of, 7
Handel's "E Minor Fugue," Mason's copy of, 119, 123
Harvard Musical Association, repertoire of, 1846, 19
Hauptmann, Moritz, 44;
passion for baked apples, 45;
Spiegel-Canon autograph, 45 and 48;
opinion of Lowell Mason's work, 46
Heckmann, 137
"Heinrich, Father," anecdote of, 22
Henselt, 75, and Dreyschock, 77
Herrmann, steamer, 27
Hill, Frank, 27
Hoffman, Carl, 95
Hoffman, Richard, 207
Hofmann, Josef, 271
Hummel, 172
Huss, Henry Holden, 271
Joachim, 62;
autograph, 64, 109, 124, 126, 137;
coolness between Liszt and, 142, 147
Kelley, Edgar Stillman, 261
Klauser, Karl, 202
Klindworth, Karl, 89, 91, 97, 100, 107, 109, 114, 127, 141
Kneisel Quartet, autograph, 262
KobbÉ, Gustav, X
Laub, Ferdinand, 63, 92, 126, 150;
autograph, 180
Leschetitsky, 70
Liszt, feat of memory, 31-34, 59;
Mason a pupil, and reminiscences of, 86-182;
in middle life, portrait, 88;
method of teaching, 90, 97-101, 114;
quartet at the Altenburg, 91, and Remenyi, 93, 152;
Liszt pupils, 89, 96;
personal appearance, 101;
and Beethoven's Op. 106, 103;
and the eye-glasses, 106;
carefulness in dress, 107;
pianoforte-playing, 110-114;
touch and own opinion of, 114;
warns pupils against, id.;
on technic, 116;
and Pixis, 117;
as a conductor, 119;
rehearsing "Tasso," 121;
and Brahms's first meeting, 127-132, 141;
and Wagner, 132, 158, 164;
Joachim and, 142;
sight-reading, 142;
contrition, 144;
musical intuition, 167;
opinion of Tausig, 175;
letters to Mason, 179, 181, and 291-296;
last message to Mason, 182, 184, 198, 224, 229, 243, 270;
"Sainte Elisabeth," 292;
"PoÈmes Symphoniques," 293;
opinion of Mason's compositions, 294
Liszt, Cosima, 240
Lohengrin, 133, 134, 139, 146
MacDowell, 255;
"Sonata Tragica," 255;
"Sonata Eroica," 256, 261
Marx, Dr., 165
Mason Brothers, 184
Mason, Lowell, 4;
career of, 5-10 and 275 et seq.;
Handel and Haydn Society, 7;
introduces music in Boston public schools, 8, 289;
musical instruction for the blind, 8;
Boston Academy of Music, 9;
originates musical conventions, 9;
fife and drum serenade to, 112;
visits Liszt with Brahms, 127, 130, 151-153
Rhythmus exercises, 191
Moscheles on, 193
Richter, Ernst Friedrich, 48
Rohan, Prince de, 71-75
Rubinstein and Princess Marie Sayn-Wittgenstein, 95;
on Liszt's playing, 111;
Liszt's contrition, 144;
Mason entertains at Weimar in 1854, 171;
plays, 173;
opposition to Wagner, 174;
Liszt's opinion of, 175, 180, 221-236;
and the autograph-hunter, 221;
opinion of Americans, 222;
style of playing, 224;
favorite seat, 227;
Bach's "Triple Concerto," 230;
significant autograph, 232, 234;
"Yankee Doodle" variations, 236, 268
Sanford, S. S., 261
Sayn-Wittgenstein, FÜrstin, 94;
Princess Marie, 95
Schindler, Anton, 79;
"Ami de Beethoven," 80;
autograph, 80;
and "Fifth Symphony," 81;
persuaded to meet Von Wartensee, 82, and dÉnouement, 83
Schlesinger, 33;
daughter plays Chopin, 33
Schmidt, Henry, conducts first Beethoven symphony in America, 9, 13-15, 19
Schubert, 125, 169
Schuberth, Julius, 27, 31, 32
Schulhoff, 112
Schumann, his life at Leipsic, 38;
autograph, 38;
not appreciated, 39;
Mason's enthusiasm on hearing S.'s "First Symphony," 40;
Mason sends score to Boston, 40;
attempts there to play it, 40;
Webb's opinion of it, 41;
S. laughed at by his publisher's clerks, 41;
as a conductor, 41;
absent-mindedness, 42;
compared with Mendelssohn by Mason, 43;
Mason calls on him, 43;
second ca