General Index

Abaco, Giuseppe dall’: “Componimento per Musica,” I, 14.
Abdul Aziz, Sultan of Turkey: I, 139.
Abercrombie, General: Not commemorated in the “Eroica,” II, 25.
“Abyssian Prince”: Sobriquet of Bridgetower, II, 11.
AchÂts, Duc des: III, 101, 232.
Adamberger, Antonie: Studies “Egmont” music with B., II, 171.
Adams, Mrs. Mehetabel: Provides funds for Thayer’s researches, I, x.
Addison, John: Partner of J. B. Cramer: II, 318.
Addison, Joseph: Quoted, I, 323.
“Adelheit von Veltheim”: Opera by Neefe, I, 37.
Adler, Guido: I, 75.
Adlersburg, Carl, Edler von: Affidavit against MÄlzel, II, 275, 289.
“Aerndtetanz, Der”: Opera by Hiller, I, 32.
“Agnes Bernauer”: II, 61.
Albrechtsberger: Gives instruction to B., I, 155 et seq.;
“Anweisung zur Composition,” 155, 190;
II, 380.
“Alceste”: Opera by Gluck, I, 86.
“Alchymist, Der”: Opera by Schuster, I, 31, 107, 108.
Aldrich, Richard: Dedication; II, 333.
Alexander, Czar of Russia: Dedication of Sonatas for Pianoforte and Violin, I, 365;
II, 20, 305;
III, 49, 86.
“Alexander”: Opera-text (by Schikaneder?), II, 20.
“Alexander’s Feast”: Oratorio by Handel, III, 182.
“Alfred the Great”: Suggested to B. as subject for an opera, III, 118.
AllÈgre, d’: French Commander, I, 6.
“Allgemeine Musikalische Zeitung”: Criticisms on B’s. works, I, 305, 306, 307;
taken to task by B., I, 282, 287. (See Index to Compositions.)
AlstÄdter, Count: Music-lover in Bonn, I, 38.
Altmann, W.: “Ein vergessenes Streichquartett von B.”, I, 349.
“Amant jaloux, L’”: Opera by GrÉtry, I, 31, 107.
Ambroggio: III, 77.
Amenda, Karl F.: I, 210; his life 233;
plans trip to Italy with B., 234;
death of, 234;
receives Quartet in F from B., 235, 272 et seq.;
letter from B., 297;
II, 314.
“Ami de la Maison, L’”: Opera by GrÉtry, I, 31, 86.
“AmitiÉ À l’Épreuve, L’”: Opera by GrÉtry, I, 31.
“Amore artigiano, L’”: Opera by Gassmann, I, 46.
“Amore marinaro, L’”: Opera by Weigl, I, 235.
“Amor’s Guckkasten”: Opera by Neefe, I, 36.
“Amour filial, L’”: Opera by Gaveaux, II, 37.
“Analgilda”: Opera, I, 14.
Andante and Andantino: B. asks difference between, II, 246.
AndrÉ: Opera, “Der AntiquitÄten-Sammler,” I, 32.
AndrÉ, Joseph: I, 357.
Anfossi: Opera, “Il Geloso in Cimento,” I, 32;
“L’Avaro inamorato,” I, 108.
AnschÜtz, Actor: Delivers funeral oration for B., III, 312.
“AntiquitÄten-Sammler, Der”: Opera by AndrÉ, I, 32.
Antoine, d’: Operas, “Das tartarische Gesetz,” I, 31;
“Das MÄdchen im Eichthale” (“Maid of the Oaks”), I, 32;
“Ende gut, Alles gut,” I, 109.
Anton, Archduke: Dedication of March in D, II, 160.
Anton, Prince of Saxony: III, 96, 141.
Antwerp: Beethoven families living in, I, 42.
“Apotheke, Die”: Opera by Neefe, I, 31, 36.
“Apotheosis in the Temple of Jupiter Ammon”: Drama by Sporchil, III, 118.
Appleby, Samuel: I, 218;
on Rasoumowsky Quartets, II, 75.
Appony, Count: Asks B. for quartet, I, 187, 274.
“Arbore di Diana, L’”: Opera by Martini, I, 107.
“Argene, Regina di Granata”: Opera by Reicha, I, 310.
“Ariadne auf Naxos”; Musical drama by Benda, I, 29, 107, 108.
“Ariodante”: Opera by MÉhul, II, 23.
“Arlequino fortunato”: Pantomime, I, 26.
“Armida”: Opera by Salieri, I, 86.
Ärndtetanz. See Aerndtetanz.
Arneth, von, archeologist: II, 171.
Arnim, Bettina von (Brentano): I, 197;
said to have been in love with B., 318;
II, her association with B. and Goethe, 178 et seq.;
controversy over her letters, 179 et seq.;
letters to Goethe, 180, 190;
letter to PÜckler-Muskau, 180;
“Ilius Pamphilius,” 184;
makes B’s acquaintance, 185;
letter from B., 186, 190;
her admiration reported to B. by Goethe, 198;
with her husband at Teplitz, 222, 223;
describes arrival of B. and Goethe, 226, 282.
Arnold, Samuel J.: II, 310.
Arrangements: B’s opinion on, I, 349, 350.
Artaria and Co., Publishers: I, 202, 203;
charged with unauthorized publication of a quintet, 293 et seq., 355;
original purchasers of Heiligenstadt Will, 351;
the Mass in D, III, 65.
Attwood, Thomas: II, 12.
Aubert, F. S. A.: Opera “Esther,” I, 14.
Auernhammer, Mme.: II, 2.
Auersperg, Prima donna: I, 172.
Augarten Concerts: I, 238; II, 2, 42.
Austria: Invaded by Napoleon, I, 149;
court of, not invited to subscribe to the Mass in D, III, 103;
musical culture of the nobility in, I, 166;
dance-music of, II, 122.
Autographs: B’s indifference to his, I, 141.
“Avaro inamorato”: Opera by Anfossi, I, 108.
Averdonk, Johanna Helena, Court singer: I, 24;
pupil of Johann van B., 49;
sings at B’s first concert, 59, 67;
Severin, author of text of Funeral Cantata, I, 131.
“Axur”: Opera by Salieri, I, 109, 163.
Ayrton, G.: II, 370.
“Azalia”: Opera by Johann KÜchler, I, 32.
“Bacchus”: Opera-book by Rudolph von
Berger, II, 314.
“Bacco, Diane ed il Reno”: Serenata, I, 26.
Bach, C. P. E.: I, 13, 35; “Versuch, etc.,” 70, 159;
“The Israelites in the Wilderness,” II, 388.
Bach, Dr. Johann B.: II, 377;
III, 24, 30, 115;
advises Schindler to write biography of B., 198;
instructed by B. to make Nephew Karl his heir, 278.
Bach, Johann Sebastian: I, 13, 35;
“Well-Tempered Clavichord,” 69, 143;
B. on the publication of his works, 281, 286;
B. subscribes for destitute daughter of, 287;
publication project, 303, 304;
relief for the daughter, 308;
B. offers to publish a composition for her benefit, 308;
II, 355;
“Art of Fugue,” III, 123;
“Not a brook but an ocean,” 203.
B-a-c-h: Overtures on, III, 123, 147.
Baden: B. gives concert for benefit of sufferers from conflagration, II, 225.
Baillot, Pierre: Visits B., II, 55.
Barbaja, Manager of operas: I, 320;
III, 77;
wants an opera from B., 119.
“Barbiere di Siviglia, II”: Opera by Paisiello, I, 108;
opera by Rossini, III, 77.
Baroni: Opera “La Moda,” I, 27.
Bates, Joah: Bridgetower turns music for, II, 12.
“Bathmendi”: Opera by Liechtenstein, I, 304.
Bathyany, Count: I, 168.
Batka, Johann: I, 342.
Battle music: Popularity of, II, 252.
Bauer, Harold: I, xviii, 140.
BÄuerle, Adolph: II, 359.
“Baum der Diana, Der” (L’Arbore di Diana): Opera by Martini, I, 107.
Baumeister: Letters to, 218.
Baumgarten, Major: III, 42.
Bavaria, King of: Dedication of Choral Fantasia, II, 207, 209;
declines to subscribe for Mass in D, III, 99.
Bechstein: “Natural History of Birds”;
B. asks for, II, 148.
Beethoven, ancestry of the family in Belgium: I, 42, 43, 44;
William (great-great-grandfather of the composer), 42;
Henry Adelard (great-grandfather), 42;
Louis, Louis Jacob, 42;
Beethoven families in Bonn before the arrival of the composer’s grandfather (Cornelius, Cornelius (2nd), Michael), 44;
branch of the family in Malines, 44.
Beethoven Association of New York: Promotes publication of this work, I, xviii, 140.
Beethoven-Haus Verein, in Bonn: I, xii, xvii, 52;
custodian of portrait of B’s mother, 51;
B’s quartet of instruments, 277;
of the portrait of Countess Brunswick, 318.
Beethoven, Johann, father of the composer: Petitions for appointment as Court Musician, I, 11;
appointed, 13;
is promised salary, 17;
petitions for salary, 18;
salary increased, 22;
petitions for allowance of grain, 25;
date of birth, 45;
displeases his father by marrying, 47;
education of, 47;
enters Electoral chapel, 48;
teaches music, 48;
addicted to drink, 49;
appearance of, 49;
marries, 49;
lodgings and neighbors in Bonn, 51, 75;
alleged portrait of, 51;
children of, 51;
falsifies the age of the composer, 55;
describes his domestic conditions, 55;
death of his mother, 56;
birth of a daughter, 67;
domestic misfortunes, 72;
length of court service, 73;
status in chapel of Max Franz, 83;
treatment of the composer, 85;
birth of a daughter, 88;
her death, 97;
death of his wife, 93;
petitions for advance on salary, 93;
helped by Franz Ries, 95;
rescued from police by the composer, 104;
part of salary assigned to the composer, 104;
embezzles money of his son, 149;
dissipation, 148;
news of his death received by the composer, 148;
his wife, Maria Magdalena Keverich, widow Laym, 49;
appearance and character of, 50;
the composer’s love for her, 50;
alleged portrait of, 51;
death mourned by the composer, 92;
record of her death, 93.
Beethoven, Johann Nikolaus, brother of the composer: Vol. I. Birth of, 57;
apprenticed to an apothecary, 104, 190, 191, 265;
looks for bank shares after composer’s death, 326;
comes into possession of Heiligenstadt Will, 351;
his name omitted from the document, 352;
defended by the author, 357 et seq.;
described by Frau Karth, 358.—Vol. II. Demands return of loan from the composer, 114;
purchases apothecary shop in Linz, 115;
profits from dealing with the French army, 115;
visited by the composer, 230;
the composer interferes with his domestic affairs, 230 et seq.;
defeats his brother by marrying his housekeeper, 232.—Vol. III. Buys estate near Gneixendorf, 19;
cuts a ridiculous figure in Vienna, 66;
takes his brother’s compositions as security for loan, 66;
defense of his actions by the author, 68;
seeks reconciliation with his brother, and offers home in Gneixendorf, 69;
letter, 72;
charged with dishonest conduct by his brother, 111, 112;
his wife’s misconduct, 132, 134;
completes transaction with Schott and Sons for his brother, 180;
B. warns a visitor against him, 182;
offers B. a home in the country, 237;
condones his wife’s licentiousness, 238;
the cause of B’s hatred of his wife, 238;
takes action against his wife, 239;
persuades B. to go to Gneixendorf, 266;
his wife accused of improper intimacy with her nephew, 269;
date of his wife’s death, 270;
makes Nephew Karl his sole heir, 270;
in constant attendance on B. during his last illness, 276;
wrongly accused by Schindler of inhuman niggardliness, 287.
Beethoven, Karl Kaspar, brother of the composer: Vol. I. Birth, 57;
intended for musical profession, 103, 191;
official career of, 265;
composes music, 266;
letters to publishers, 295, 348, 357;
charged with surreptitious sale of B’s works, 350;
the Heiligenstadt Will, 353;
defended from charge of wrongdoing, 357 et seq.;
appearance of, 358;
Ries’s charge of misconduct, 361.—Vol. II. Accused by Simrock, 13;
marriage of, 65;
end of business relations with the composer, 143;
illness of, 241;
appoints the composer and his widow guardians of his son, 241;
his illness compels B. to postpone his trip to England, 251, 313;
death of, 320, 321;
will of, 320, 321;
appoints Ludwig guardian of his son, 320;
von Breuning warns B. against him, 322;
admonishes widow and brother to mutual forbearance, 321;
his wife, Theresia (Johanna) Reiss, marries, 65;
her infidelity, 65;
inherits her husband’s property, 320;
made guardian under will, 321;
appointed by court, 322;
B. secures her removal as co-guardian, 331;
court grants her permission to see her son, 332;
compelled to share in expense of her son’s education, 368;
efforts to see her son, 372, 393;
her son encouraged to revile her, 396;
seeks to gain possession of her son, 400;
her testimony in court, 406, 407.—Vol. III. Reprehensible conduct, 67;
B. adopts conciliatory attitude towards, 170, 171. (For further details of her contest for her son, her efforts to gain possession of him, care for his education, etc., see Guardianship and Karl van Beethoven, under Ludwig van Beethoven.)
Beethoven, Karl, nephew of the composer: Vol. I, disposes of picture of Countess Brunswick, 335.—Vol. II. His father declares wish that mother and uncle be his guardians, 241;
sent to Giannatasio’s institute, 332;
surgical operation on, 341;
receives inheritance from Joseph Hametsch, 353;
instructed in music by Czerny, 374;
placed in care of a priest at MÖdling, 392;
encouraged to revile his mother, 396;
dismissed from the priest’s class, 397;
runs away from his uncle, 402;
testimony on court, 407;
returned to Giannatasio’s care, 410.—Vol. III. Returns to his mother, 1;
studies under private tutor, 4;
runs away from the institute, 33;
B. names him as his heir, 115, 132;
B’s pride in his attainments, 135;
philological student at university, 171;
encouraged in disingenuousness by B., 172;
spends summer with his uncle, 184;
runs away from home, 184;
translates “God Save the King” for B., 209;
date of his death, 230; his waywardness, 250 et seq.;
B’s appealing letters, 230, 254;
leaves university for Polytechnic Institute, 250, 251;
evil companionship and amusements, 252;
held to strict accountability, 253;
discipline becomes irksome, 255;
upbraids and attacks his uncle, 256;
B’s suspicion of a suicidal purpose, 257;
prepares to kill himself, 258;
shoots himself, 258 et seq.;
effect of the attempt on B., 260, 261;
reasons for the attempt, 261;
his future discussed by B. and his friends, 262, 263 et seq.;
B’s fear of police inquiry, 263;
Karl defends his mother, 264;
life at Gneixendorf, 267 et seq.;
accused of improper intimacy with his aunt, 269;
made sole heir of his uncle Johann’s estate, 270;
slandered in regard to his care of B. in last illness, 273 et seq.;
preparations for a military career, 277;
quarrels with B. on eve of his departure from Vienna, 278;
made heir by B’s will, 278;
letter to B., 279;
inheritance under B’s formal will, 303. (For further details as to education, contest for his possession, etc., see foregoing and sub-title Guardianship under Beethoven, Ludwig van.) His widow visited by Thayer, I, xi, 192;
possessor of MÄhler portrait, II, 16;
asks for money deposited as forfeit by Prince George Galitzin, III, 230;
her daughter, Hermine, 231.
Beethoven, Louis (Ludwig) van, grandfather of the composer: As Court Musician at Bonn, receives increase of salary, I, 10, 14;
appointed Chapelmaster, 17;
petitions for salary for his son, 18;
demands obedience from his musicians, 21;
Joseph Demmer appointed to his place as Court Musician, 22;
Lucchesi succeeds him as Chapelmaster, 23;
parentage and baptism, 42;
leaves home in Antwerp and becomes church singer in Louvain, 43;
appointed singing-master at St. Peter’s, 43;
becomes Court Musician at Bonn, 43;
marries, 45; his children, 45;
services in Electoral Chapel, 45, 46;
success as opera-singer, 46;
last appearance, 47;
death of, 47;
an inebriate wife, 47;
displeased at son’s marriage, 47, 50;
death of widow, 56;
length of court service, 73;
composer asks for his portrait, 301;
B’s affectionate remembrance of him, III, 184.
Beethoven, Ludwig van, the composer:
Birth of, date and place, I, xvii, 51, 53;
controversy about house in which he was born, 51, 55, 56;
disputed dates, 53;
record of baptism, 53;
his mistaken belief, I, 54;
II, 177;
age of, falsified by his father, 55;
reputed son of the King of Prussia, III, 214, 243.
Annuity and Shares of Bank Stock: Annuity granted by noble friends, I, 298, 299;
II, 137 et seq.;
disappointed by subscribers, 170;
Kinsky fails to meet obligation, 172;
B. collects from Kinsky at Teplitz, 205;
reduction by depreciation of currency, 211 et seq.;
payments by Archduke Rudolph, 217, 219;
B. collects from Kinsky’s heirs, 222;
non-payment by Kinsky and Lobkowitz, 242 et seq.;
Kinsky and Rudolph agree to pay in notes of redemption, 242;
B. blames Rudolph for getting him into the contract, 250, 266;
controversy with Kinsky’s heirs, 259, 288, 289;
settlement, 306;
sums received by B. from the subscribers till his death, 306;
honorable conduct of Kinsky and Lobkowitz, and B’s aspersions on their character, 308;
B. seeks advice as to his right to leave Austria under the contract, 366;
last collection of the annuity, III, 295;
bank stock owned by B. at time of death, I, 326;
II, 379;
B. objects to its use for his benefit, III, 114, 290;
discovered after his death, 309.
Character, traits of, and illustrative acts: Vol. I, 83, 179;
fondness for punning, 183;
disposition as teacher, 120, 121, 201, 314;
forgets his riding-horse, 200, 221;
relations with musicians in Vienna, 240, 241;
study of his character, 245 et seq.;
exaggerations of biographers, 245;
extremes in his moral nature and temperament, 246;
consequences of defective education, 246;
ignorance of the value of money, 247;
lack of independence in judgment, 247;
high ideals, 247;
pride, 248;
sometime ungenerous treatment of friends, 248, 298;
wish to be relieved of financial cares, 249;
attitude towards transcriptions, 250;
towards criticism, 250;
susceptibility to flattery, 251;
love of nature, 251;
attractive to young people, 251;
indifference to games of chance, 252;
love of poetry, 254; his letter-writing, 255;
manner of composing, 258 et seq.;
carelessness about dates, 281, 331, 344;
recommends virtue to his brothers, 353;
may have used his brothers as screen, 363.
Vol. II. Displeased because not placed at prince’s table, 32;
suspicious nature, 62, 63;
carelessness about dates, 66;
pride leads him to leave Prince Lichnowsky in anger, 68, 69;
takes umbrage at being asked to play for French officers, 68, 69;
Dr. Bertolini on his dilatoriness and lack of etiquette, 80;
protests against holding improper relations with married women, 85;
his opinion of his predecessors, 89;
violence of temper, throws a dish of food in a waiter’s face, 91;
feelings toward his relations, 91;
indifference to his own manuscripts, 92;
uncouth and awkward, 92;
ignorance of monetary matters, 92;
peculiarities described by Seyfried, 93 et seq.;
dislike of being disturbed at work, 93;
fondness for punning, 95;
his handwriting, 95;
denounces his friends as “princely rabble,” 105, 127;
hatred of French, 117;
longing for opera-texts, 118;
disingenuous treatment of friends, 123;
hypochondria, 126;
orchestra refuses to play under him, 128;
violent gesticulations when conducting, 128;
his suspicious nature, 130;
withholds help from Ries, 140;
affectionate concern for Breuning, 155;
domestic tribulations, 155;
love of poetry, 147;
influences which created his moods, 163 et seq.;
normally cheerful, 163;
a new infatuation makes him attentive to dress, 173;
his only animal pet, 174;
refuses to accept commission on sale of a pianoforte, 174;
conviviality, 175;
“electrical by nature,” 182, 189;
how music came to him, 188;
love of nature, 193;
Goethe’s description of him, 224;
self-esteem, 226;
finds fault with his friends, 237;
longing for domesticity, 240;
unthrifty habits, 244;
rails at Archduke Rudolph for getting him an annuity, 250;
whimsical designations for his friends, 280;
absent-mindedness, 287;
Weissenbach’s description of him, 294;
condemns popular virtuosi, 298;
his puns, 214, 286;
aspersions on the character of Princes Kinsky and Lobkowitz, 307;
manner of composing, 316;
allows himself to ignore rules of composition, 326;
rails at the Emperor of Austria, 344;
restive under restraint, 360;
desire to be truthfully described, 361;
favors German terminology, 364;
some of his moral reflections, 365;
lack of decision, 379;
admiration for English system of government, 381;
contempt for Viennese, 381;
queries about housekeeping, 387;
unfitness to be guardian of his nephew, 392;
blames Archduke for his financial troubles, 396;
takes pay for an oratorio which he does not compose, 398;
explains that he is not of noble birth, 404;
his contempt for the plebs, 409.
Vol. III. Domestic matters recorded in an almanac, 14;
neglects food in frenzy of composition, 15;
forgets to eat at a restaurant, 17;
dealings with publishers, 39, 44, 51 et seq.; 62, 65 (see “Mass in D” and “Symphony in D minor” in Index of Compositions);
arrested as a tramp, 42;
his puns, 63;
attitude toward Archduke Rudolph, 70;
compares Goethe and Klopstock, 75;
his views on progress in music, 76;
an unruly patient, 85;
dilatoriness in delivery of Mass in D, 94 et seq.;
nicknames for Schindler, 106;
manner of composing, 126;
indifference to dress, 126;
accuses Schindler of being an evil character, 133;
uses house-shutters for memoranda, 133;
rails against his brother’s wife and daughter, 134;
contradictory conduct concerning titles of honor, 163;
drives his friends away from him after the first performance of the Ninth Symphony, 167;
leaves country lodging because people are inquisitive, 176;
abuses his landlord, 177;
rebukes publisher for complaining that he had not received a work which he had bought, 180;
attempts a joke at Haslinger’s expense, 190;
enraged by a copyist, 191;
denounces one publisher to another, 191;
a poor arithmetician, 194, 277;
his drinking habits, 195 et seq.;
jests on the name Holz, 196;
forgets that he has paid a bill, 211;
loud voice and laugh, 213;
reluctance to play in private, 213;
disagreeable manners, 214;
his publisher a “hell-hound,” 216;
asks for Luther’s Bible, 219;
accepts money for a Requiem which he does not compose, 220;
proud of a medal sent by the King of France, 230;
ignores promise to dedicate the Ninth Symphony to Ries, 231;
sells ring sent by the King of Prussia because it was not a diamond, 233;
hatred of his sister-in-law because of her lewdness, 238;
looked upon by a law-clerk as an imbecile, 241;
treated as a menial by a stranger, 241;
refuses to dine with his brother’s family, 243;
gesticulations while composing frighten an ox-team, 243;
welcomes royal distinctions, 244;
prone to believe evil of everybody, 249;
becomes apprehensive of death, 253;
drinking habits, 275;
charges Schindler with pilfering a petty sum of money, 281;
wants to read a full report of a speech by Channing, 283;
remarks while undergoing a surgical operation, 276;
ungracious reception of his physician’s ministration, 283;
confident that his last compositions will eventually be recognized, 300;
“Plaudite, amici, comoedia finita est,” 304 et seq.
Compositions (Index of Compositions).
Concert appearances as player or conductor:
First public appearance, I, 59;
first appearance as virtuoso, 184, 185;
plays at Romberg’s concert, 199;
at Schuppanzigh’s, 191, 200, 214;
in Prague, 217;
at Burgtheater, 266;
at Punto’s concert, 267, 282;
asks use of Court Theatre, II, 99;
his conducting, 117, 127, 128;
Spohr’s account of his manner, II, 257;
Franz Wild’s description, II, 268; III, 14;
the concert of 1808, II, 127;
failure of charity concert in 1809, II, 149, 172, 215;
benefit of sufferers by fire at Baden, 225;
concerts of 1813, 248, 259;
benefit of wounded soldiers, 257;
repetition, 261;
constitution of his orchestra, 268, 269;
concerts of 1814 299, 300, 327, 388;
proposed concert in 1819, III, 22;
opening of Josephstadt Theatre, 81;
breaks down conducting “Fidelio,” 83;
concerts of 1824, 176.
Conversation Books:
I, xi, 229, 241, 252, 319, 320;
preserved in the Royal Library in Berlin, 377;
given to Schindler, III. 11;
their number and kind, 11;
Thayer’s labor upon them, 12, 87, 89;
alterations by Schindler, III, 273, 281.
Deafness:
Origin of, I, 218, 245, 261, 298;
B’s strange account, 300; III, 210;
desire to conceal it, I, 300;
phenomena, 300;
B’s reflections in the Heiligenstadt Will, 352;
Ries’s account, 352;
Seyfried’s account, II, 95, 96;
B. Hides from the noise of bombardment, 145;
MÄlzel makes ear-trumpets, 233;
III, Dr. Smetana prescribes for the malady, 85;
cure attempted by Pater Weiss, II, 96; III, 85;
unaffected by dissonance, III, 202.
Education and Training:
I, 57 et seq.;
lessons from his father, 58;
weeping as child at the pianoforte, 58;
studies at Latin School, 59;
deficiency of general education, 60;
knowledge of French and Latin, 60, 65;
lessons from Van den Eeden, 61, 62, 67 et seq.;
studies under Tobias Pfeiffer, 62, 63;
lessons on violin and viola at Bonn, 64;
organ playing with Friar Willibald, 64;
first efforts at composition, 65;
doubtful story of private studies in Latin, 65;
counterpoint and composition from Neefe, 67 et seq.;
study of Bach, 70;
cembalist in Electoral Chapel, 72, 85;
violin lessons from Franz Ries, 85;
violin lessons from Krumpholz, 92;
lack of skill on violin, 92;
training in orchestra, 109;
on “Ah, vous dirai-je, Maman,” 217, 266.—Vol. II, 15;
on theme from a quartet by Pleyel, 44, 90, 375; III, 208.
Letters: To Amenda, I, 297;
Arnim, Bettina von, II, 190, 196;
Artaria and Co., III, 65;
Dr. Bach, III, 115, 278;
Baumeister, II, 218;
Beethoven, Johann van, I, 192, 352; III, 69, 72, 134;
Beethoven, Karl Kaspar van, I, 352;
Beethoven, Karl van, III, 254;
Dr. Bertolini, II, 87;
Bernard, II, 398; III, 171;
Beyer, II, 259;
Bigot, II, 84;
Birchall, II, 319, 325, 336, 346, 350;
Brauchle, II, 317;
Breitkopf and HÄrtel, I, 286, 294, 349, 368, 369; II, 66, 67, 136, 142, 148, 192, 198, 200, 204, 206, 214, 226;
Brentano, III, 46, 47;
Breuning, Leonore von, I, 177, 179;
Breuning, Stephan von, II, 33;
Broadwood, Thomas, II, 390;
Brunswick, Count, II, 105, 202, 219, 266;
Brunswick, Countess Therese, II, 203;
Cherubini, III, 100;
Collin, von, II, 149;
Czerny, Carl, I, 316; II, 338, 374;
ErdÖdy, Countess, II, 144;
Ertmann, Baroness, II, 365;
Esterhazy, Prince, II, 107;
Frank, Mme. de, I, 283;
Giannatasio del Rio, II, 332, 349;
Gleichenstein, Count, II, 114, 140, 141, 155, 174, 175;
Goethe, II, 197; III, 98;
Haslinger, III, 44;
Hoffmeister and KÜhnel, I, 271, 281, 286, 299, 366, 370; II, 16;
Holz, III, 216;
Hummel, I, 240; II, 267;
Kanka, II, 353;
King of England, III, 113;
Kinsky, Princess, II, 243;
KÖnneritz, von, III, 97;
Kotzebue, II, 213;
Kuhlau, III, 204;
Lichnowsky, Count Moritz, II, 262; III, 158;
London Musicians, II, 274;
Macco, Alexander, II, 19;
MÄhler, II, 16;
Malfatti, Therese, II, 176;
Matthisson, I, 202;
Moscheles, III, 291;
Mosel, von, II, 386;
Neate, Charles, II, 339, 352, 367;
Oppersdorff, Count, II, 122;
Peters, Councillor, II, 354;
Peters, C. F., III, 58, 60, 61, 64;
Ries, Ferdinand, II, 27, 28, 29, 324, 333, 338, 340, 371, 395, 412, 413; III, 111, 128;
Rudolph, Archduke, II, 199, 225, 235, 250, 266, 286;
III, 1, 9, 19, 20, 34, 91, 94;
Schaden, Dr., I, 92;
Schenck, 154;
Schindler, III, 102, 133, 158, 286, 295;
Schlesinger, III, 54;
Schott and Sons, III, 296, 297;
Schreyvogel, II, 304;
Schuppanzigh, III, 158;
Sebald, Amalie, II, 228;
Simrock, I, 183; II, 21;
III, 44, 56;
Smart, Sir George, II, 311, 351;
Smetana, Dr., III, 259;
Stadler, AbbÉ, III, 235;
Steiner, II, 364;
III, 38;
Streicher, Nanette, II, 394;
Stumpff, III, 289;
Theatre Directors in Vienna, II, 98;
Thomson, George, II, 17, 71, 157, 203, 219, 245, 308;
III, 16;
Tiedge, II, 206;
Treitschke, II, 269, 273, 277, 281, 284;
Tschiska, III, 3;
Varena, II, 246, 247, 249;
Wegeler, F. G., I, 177, 179;
Zelter, III, 18;
Zmeskall, I, 231, 355;
II, 88, 144, 155, 175, 208, 217, 245, 247, 248, 262, 271, 330, 349, 351;
III, 288.
Lodgings (in Vienna): Alsergasse, with Prince Lichnowsky, I, 148, 269;
Bartenstein House, II, 271, 286;
GÄrtnerstrasse, II, 362, 367, 368;
Giorgi, II, 368;
Hamberger House, I, 355;
Johannesgasse, III, 184;
JosefstÄdter Glacis, III, 21;
Kothgasse, III, 97;
Kreuzgasse (Ogylisches Haus), I, 269;
KrÜgergasse, III, 144;
Pasqualati’s House, on the MÖlkerbastei, II, 31, 44, 123, 196, 219;
Petersplatz, I, 256;
II, 12;
Rothes Haus, II, 271, 286;
SailerstÄtte, II, 315, 361;
Schwarzspanierhaus, III, 212, 273, 311;
in the Theater-an-der-Wien, II, 12, 23, 35, 44;
Tiefen Graben, I, 269, 288;
Ungarstrasse, III, 140, 170;
Walfischgasse, II, 145, 155. (In the country): Baden, II, 13, 102, 106, 107, 145, 244, 249, 251, 315;
III, 39, 70, 71, 133, 134, 137, 177, 200;
DÖbling, II, 14, 31;
Gneixendorf, III, 237, 238, 239, 244, 267, 271;
Heiligenstadt, I, 349, 351;
II, 107, 110, 119, 120. 369;
Hetzendorf, I, 288, 289;
II, 45, 47, 367;
III, 95, 122, 129;
Landstrasse, III, 36, 39, 73;
MÖdling, II, 380, 396;
III, 6, 14, 17, 35, 48;
Nussdorf, II, 369;
OberdÖbling, III, 69, 73;
Penzing, III, 176;
UnterdÖbling, I, 269;
III, 39, 47.
London Philharmonic Society: Neate buys overtures for, II, 333;
the Society’s disappointment, 334;
its membership roll, 334;
B. offers to write new works for, 352, 367;
invites B. to visit London, 370, 378, 379, 380, 395, 413;
III, Hogarth’s history of, 110;
the Society and the Ninth Symphony, 110 et seq.;
149, 177, 207, 209, 230, 232 et seq.;
again invites B. to visit London, 186;
appealed to by B. for aid, 289;
100 pounds voted for B’s relief, 290 et seq.;
gift reclaimed after B’s death, but released, 293, 294;
part of the sum applied to funeral expenses, 302.
Love Affairs, Marriage Projects, B’s relations with Women: (see also “Character,” etc.), I, xvi, xxi, 120;
susceptibility to women’s charms, I, 121 et seq., 235, 317 et seq., 334;
encounter with a prince’s mistress, II, 33;
passion no influence in “Fidelio,” II, 166;
the “Immortal Beloved,” I, xxi, 281, 292, 326, 328 et seq.;
II, 66, 105, 106, 222, 343, 336 et seq., 342 (see writings in controversy under “Grove,” “La Mara,” “Storck,” “Prelinger,” “Chantonoine,” “Rolland,” “Schindler,” “Nohl,” “Kalischer,” “Frimmel,” “Volbach,” “Thomas-San-Galli,” “Hale,” “Tenger”);
Countess Therese Brunswick, I, 326;
relations interviewed, 340;
memoirs of, 344;
Magdalena Willmann, I, 242, 292, 337;
Therese Malfatti, I, 336;
II, 86, 106, 239;
Amalie Sebald, I, 337;
II, 206, 228, 239;
Giulietta Guicciardi, I, 343, 344, 292;
Madame Bigot, II, 84;
Marie Koschak, I, 318;
II, 383;
Bettina von Arnim, II, 366;
Fanny Giannatasio, II, 362;
an alleged “Autumnal love,” II, 383;
B’s contemplation of marriage, I, xvi;
offers hand to Magdalena Willmann, I, 242;
his celibacy, 242, 245, 326;
alleged proposal to Therese Malfatti, II, 178;
effect of her rejection of him, 193, 141, 142, 200, 239, 240;
a confession of disappointed love, 342;
reputed proposal to Cibbini, III, 205, 207.
Opera Projects (see “Fidelio,” in Index of Compositions): At work on an opera when he became deaf, I, 263;
his constant longing for a text, II, 118, 202;
applies to Kotzebue for a book, II, 213;
licentious plots repugnant to him, III, 201;
subjects considered: “Macbeth” by Collin, II, 119, 151, 153;
“Bradamante” by Collin, II, 119;
intended collaboration with Varnhagen von Ense, II, 204;
“Alexander” by Schikaneder(?), II, 19, 20;
Grillparzer’s “Melusine,” III, 118 et seq.;
135, 220;
KÖrner’s “Return of Ulysses,” II, 237;
Rudolph von Berger’s “Bacchus,” II, 314, 328;
“Romulus and Remus,” 304, 381;
“Macbeth” (not by Collin), III, 117;
“Romeo and Juliet,” 117;
Schiller’s “Fiesco,” 117;
Voltaire’s tragedies, III, 117;
Grillparzer’s “Dragomira,” III, 118, 120, 122.
Orchestra and Organ, B’s experience with: Lessons on violin and viola from Rovantini, I, 64;
from Ries, 99;
from Schuppanzigh, 156;
training in orchestra, 109, 111;
Schindler in error, 239;
studies organ-playing with Van den Eeden, I, 61, 64; with Willibald Koch and Zenser, 64;
assumes Neefe’s duties as organist, 69;
assistant to Neefe, 71;
appointed assistant organist in the Electoral Chapel, 74;
recommended for Court Organistship, 83, 105;
his playing, 110.
Personal Appearance and Portraits: I,76, 146, 147;
“Ugly and half crazy,” 243;
described by Baillot, II, 55;
described by Weissenbach, II, 294;
described by Julius Benedict, III, 139, 125.—Dress, I, 147, 322;
a new wardrobe for a new infatuation, II, 173;
changes new coat for old one for dinner, II, 186;
negligent appearance, 88, 287.—Portraits: Silhouette by Neesen, I, 122;
paintings by MÄhler, II, 15, 16;
Frimmel’s discussion of B’s portraits, II, 15;
miniature by Hornemann, II, 33;
Klein’s mask and Danhauser’s bust, II, 221;
Latronne’s crayon drawing engraved by HÖfel, II, 287;
painting by Heckel, II, 338;
painting by August von KlÖber, II, 399;
lithograph by DÜrck, III, 42;
painting by Ferdinand Schimon, III, 21, 41;
portrait by Joseph Stieler, III, 41;
death-mask and drawing by Danhauser, III, 310;
crayon drawing by Decker, imitated by Kriehuber, III, 176.
Pianoforte Study and Playing (see “Education”): Studies pianoforte with his father, I, 58;
skill as a boy described by Neefe, 69, 111;
plays for AbbÉ Sterkel, 114;
duties as pianist to the Elector, 135;
Bach’s fugues, 175;
skill in sight-reading, 180;
his playing compared with WÖlffl’s, 215;
described by Tomaschek, 217;
Cherubini’s comments on, 220;
Spohr’s criticism, II, 269;
last public appearance as pianist, 270;
his playing of “The Well-Tempered Clavichord,” II, 355;
advice to Czerny as to instruction of his nephew, II, 374.
Religion: Character of B’s religious belief, II, 167 et seq.;
transcription of Egyptian texts preserved by him, 168;
prayers in his note-books, 169, 249;
an expression of faith, 187;
admonishes his nephew to pray, 407;
views on church music, 414, 415;
attitude towards the Catholic Church, II, 168, III, 91;
the Mass in D, III, 91;
receives the rites for the dying, 305 et seq.
Sketchbooks: Gelinek finds the cause of B’s faults in them, I, 257;
Nottebohm’s analysis, I, 257 et seq., 364;
Kafka’s, I, 205, 206, 209, 210;
Sketches in the British Museum, I, 205, 206, 209, 210, 261;
Petter Collection, I, 274, 290;
II, 118, 129, 151, 209, 296;
Grassnick Collection, I, 275;
II, 160;
Kessler’s, I, 289, 368, 371;
Landsberger’s, II, 73;
Meinert Collection, II, 150, 161;
the “Fidelio” sketches, II, 285;
Mendelssohn Collection, II, 310.
“Beiden Savoyarden, Die” (“Les deux petits Savoyards”): Opera by Dalayrac, I, 109.
Belderbusch, Kaspar Anton: Prime Minister of Elector Max Friedrich I, 14, 15;
assumes paternity of Elector’s illegitimate children, 16;
death of, 33;
secures Neefe’s appointment as Court Organist, 36;
a musical amateur, 37, 118;
Countess Belderbusch, a clavier player, I, 37.
Belgium: Beethoven families residing in, in the 17th century, I, 42.
Bell, Doyne C.: “Documents, Letters, etc., relating to the Bust of Ludwig van Beethoven presented to the Philharmonic Society of London by Fanny Linzbauer,” III, 291.
Bellamy, Mr., English singer: II, 310.
Belzer, Frau von, Musical amateur in Bonn: I, 38.
Benda, George: His opera “Ariadne auf Naxos,” I, 29, 107, 108;
“Romeo and Juliet,” I, 31, 107, 108;
conductor of Seydler’s company, 30.
Benedict, Sir Julius: III, 137;
his visit to B., 138 et seq.
Berger, Rudolph von: His opera-book “Bacchus,” II, 314.
Berlin: B. visits, I, 192, 195;
faults public for not applauding, 197;
II, 226;
plays for the Singakademie, I, 197;
the Singakademie and the Mass in D, III, 104, 180.
Bernadotte, General J. B.: His association with the “Eroica,” I, 212 et seq.;
King of Sweden, III, 139.
Bernard, Joseph Carl: II, 332, 359, 398;
III, 24, 30, 171;
his “Libussa,” 173;
“Der Sieg des Kreuzes,” 172 et seq.
“Bernardsberg, Der.” (See “Elise.”)
Bertinotti, Mme.: II, 75.
Bertolini, Dr.: On B’s susceptibility to women, I, 318;
on the origin of the “Eroica,” II, 25;
on B’s dilatoriness, 76, 87;
“Un lieto brindisi,” II, 280, 305, 322;
rupture of friendship with B., 341, 369.
“Betulia liberata”: III, 143.
Betz: “Il Riso d’Apolline,” I, 26.
Beyer, Dr.: Letter to, II, 259.
Bigot, Librarian of Count Rasoumowsky: II, 73, 125, 146;
his wife, Marie, II, 84, 146.
Bihler, J. N.: III, 156.
Biographers of B.: Early, III, 197 et seq.
“Biographische Notizen.” (See “Wegeler, F. G.” and “Ries, Ferdinand.”)
Birchall, Robert, English publisher: II, 319, 324, 325;
difficulty in getting a receipt from B., 355, et seq., 345, 350, 346, 359;
death of, 351;
and the overtures bought by the Philharmonic Society, 337.
Birkenstock, Joseph Melchior: II, 178;
Antonie, II, 179.
Blahetka, Leopoldine: III, 50, 138, 157.
Bland, Mrs., English singer: II, 310.
“Blendwerk, Das” (“La fausse Magie”): Opera by GrÉtry, I, 107.
BlÖchlinger, Joseph Karl: III, 7, 23. (See Guardianship under “Beethoven, Ludwig van,” and “Beethoven, Karl.”)
Boer, S. M. de: Visits B., III, 203.
Bohemian Nobility: Musical culture of the, I, 168.
BÖhm, Violinist: Plays the Quartet Op. 127, III, 192, 193;
torchbearer at B’s funeral, III, 312.
BÖhm’s Theatrical Company: I, 86.
Bolla, Signora: B. plays at her concert, I, 191.
Bonaparte, Jerome: I, 190; II, 122;
invites B. to his court, 124, 135 et seq.
Bonaparte, Louis, King of Holland: II, 245, 247.
Bonaparte, Napoleon: Threatens invasion of Vienna, I, 199, 200;
the “Eroica,” 213; II, 24;
B’s remark: “I would conquer him!” 117;
neglects opportunity to hear the “Eroica,” 149;
marches on Moscow, 221;
holds court at Dresden, 221;
effect of his downfall, 295;
and Cherubini, III, 206.
Bonn, City of: Festival in 1838, I, xvii;
selected as Electoral residence, 3;
besieged by Marlborough, 6;
restored to archbishopric of Cologne, 6;
improved by Elector Clemens August, 7;
the Comedy House, 30;
professional and amateur musicians in B’s time, 31;
appearance of the city, 38 et seq.;
Beethovens in before the arrival of the composer’s grandfather, 44;
music in Max Franz’s reign, 88;
theatrical companies, 112;
B’s friends, 117, 125, 126;
B. leaves the city forever, 125;
B’s compositions in, 129 et seq.;
Beethoven Festival of 1845, II, 177.
Boosey, Music publisher in London: III, 111, 128;
makes contract with B. through Ries, 128.
Born, Baroness: III, 42.
Boston Handel and Haydn Society: Commissions B. to write an oratorio, III, 87.
Botticelli, Singer: III, 169.
Bouilly, J. N.: His opera-texts, II, 36.
Bowater, Mrs.: I, 134, 145;
III, 40.
“Bradamante”: Opera-book by Collin, II, 19.
Brahms, Johannes: Confirms authenticity of Bonn cantatas, I, 131;
comment on the compositions of royal personages, III, 20.
Brauchle: Tutor of Count ErdÖdy’s children, I, 320;
II, 317.
Braun, Baron: I, 168;
invites the Rombergs to give a concert, 199, 244, 290, 348, 350;
engages Ries at B’s solicitation, 360;
engages Cherubini to compose operas, II, 3;
dismisses Schikaneder, 23, 34, 35;
withdraws “Fidelio,” 63;
ends his management of the Theater-an-der-Wien, 78.
—Baroness, I, 225, 244;
dedication of the Horn Sonata, 290.
Braunhofer, Dr.: Dedication of the “Abendlied,” III, 50, 199;
canon for, 200, 219, 373;
declines call to B., 272, 274.
Breimann: II, 125.
Breitkopf and HÄrtel: Acquire publication rights of this biography, I, xv;
employ Dr. Riemann to revise German edition, xv;
B’s letters to, I, 286, 294, 348, 349, 364, 369;
II, 66, 67, 142, 148, 192, 198, 200, 204, 206;
B. offers them all his works, 67;
attempt to renew association with B., III, 73.
Brentano, Antonie: II, 322;
III, 128.
Brentano, Clemens: II, 196, 222.
Brentano, Elizabeth: (See Arnim, Bettina von)
Brentano, Franz: II, 179, 186;
B. borrows money from, III, 39, 45, 46, 47;
loan repaid, 64, 184.
Brentano, Maximiliane: II, 179, 180, 221.
Brentano, Sophie: II, 179.
Breuning, Christoph von: I, 98, 99;
Christoph (son), I, 198, 303.
Breuning, Eleonore Brigitte von: Wife of Franz Gerhard Wegeler, I, 99, 118, 119;
lines on B’s birthday, 122;
inscription in his album, 125, 138, 300;
III, 214, 288.
Breuning, Emmanuel Joseph von: I, 98.
Breuning, Georg Joseph von: I, 98.
Breuning, Dr. Gerhard: Visited by Thayer, I, xi 96, 99, 100, 300;
opinion of B’s brother Karl, II, 322, 362;
description of Johann van B., III, 66;
B’s interest in him as a lad, III, 214;
on B’s last illness, 247;
on the medical treatment of B., 287, 300.
Breuning, Johann Lorenz von: I, 98.
Breuning, Johann Philipp von: I, 98.
Breuning, Johann Lorenz (Lenz) von: I, 99, 119, 198;
reports to Romberg about B., 199;
B’s lines in his album, 201, 202.
Breuning, Madame von: I, 99;
selects B. as teacher for her children, 100;
influence over B., 100, 188, 119, 303;
death of, 100;
dedication of the pianoforte arrangement of the Violin Concerto, II, 134.
Breuning, Marie von: III, 213.
Breuning, Stephen von: I, 99;
intimacy with B., 119, 191, 198;
returns to Vienna, 288, 301;
B. advises his employment by the Teutonic Order, 303;
his relations with B. in Vienna, 310 et seq.;
B’s injustice toward him, 311.
—II, becomes clerk in Austrian war department, 14;
quarrels with B., 27 et seq.;
reconciliation, 32;
receives miniature from B., 33;
poem for the second performance of “Fidelio,” 61;
letter concerning the opera, 57;
B’s concern for his health, 155;
death of his wife, 155;
dedication of the Violin Concerto, 162;
warns B. against his brother Karl, 322.
—III, 24, 197;
intimacy with B resumed, 213;
persuades B. to resign guardianship, 264;
objects to unqualified bequest to Nephew Karl, 279;
finds B’s bank stock and the love-letter, 376.
Bridgetower, George Augustus Polgreen, Violinist: I, 186;
his career, II, 8 et seq.;
his notes on the “Kreutzer Sonata,” 10.
Bridi, Joseph Anton: II, 391.
British Museum: Sketches in I, 205, 206, 209, 210, 261.
Broadwood, Thomas:
Presents pianoforte to B., II, 390 et seq.; III, 201, 237.
Browne, Count: I, 199;
B. calls him his “first MÆcenas,” 222, 244; II, 20.
—Countess, I, 200, 209, 227, 244.
BrÜhl, Count: III, 153.
Brunswick, Count Franz: I, 322;
the Rasoumowsky quartets, II, 104;
letters from B., 105, 124, 202, 219, 245, 266;
ruined by theatrical management, 154;
dedication of Fantasia Op. 77, 195; III, 24, 170;
offers summer sojourn in Hungary to B., 179.
Brunswick, Count GÉza: I, 340, 341.
Brunswick, Countess Marie: I, 340.
Brunswick, Countess Therese: I, xvi, 279;
her relations with B., 317, 322, 335 et seq.;
sends her portrait to B., 335;
B’s message to her brother, “Kiss your sister Therese,” II, 105, 161, 173;
dedication of the Sonata Op. 78, 195;
portrait of, 202;
letter to, 203, 239.
Bryant, William Cullen: Quoted I, 252.
Buda-Pesth: National Museum of, gets B’s Broadwood pianoforte, II, 392.
“Buona Figliuola, La”: Opera by Piccini, I, 25, 32.
Burbure, LÉon: Supplies information concerning the Belgian Beethovens, I, 42.
Bureau d’Arts et Industrie: Established, II, 35.
Burney, Dr. Charles: “Present State, etc.,” quoted, I, 174.
Cache, Singer at first performance of “Fidelio”, II, 51.
CÄcilien-Verein of Frankfort: Subscription to the Mass in D, III, 104, 106, 110, 180.
“CalamitÀ di Cuori, La”: Opera by Galuppi, I, 26.
Caldara: Opera “Gioas, Re di Giuda,” I, 184.
Campbell, Thomas: “The Battle of the Baltic,” II, 203.
Capponi, Marchese: I, 341.
Carlyle, Thomas: II, 360.
Carpani:
Italian text for Haydn’s “Creation,” II, 116;
introduces Rossini to B., 360.
Carriere, Moriz: Dubious of the genuineness of B’s letters to Bettina von Arnim, II, 185.
Cassel: B. invited to become chapelmaster at, II, 122, 124, 135 et seq., 141.
Cassentini, Dancer: I, 285.
Castelli:
On failure of the Concerto in E-flat, II, 215;
torchbearer and poet at B’s funeral, III, 312.
Castlereagh, Viscount: II, 291.
Catalani: II, 310.
Catalogue, Classified, of B’s works: II, 38.
Catherine II, Empress of Russia: II, 81.
Champein: I, 86.
Channing: B. asks for full report of speech on his death-bed, III, 283.
Chantavoine, Jean: I, 211, 228, 337.
Chappell, Music publisher in London: II, 413.
Charles XIV (Bernadotte), King of Sweden: III, 130.
Cherubini, Luigi:
On B’s playing, I, 220, 324;
engaged to compose operas for Vienna, II, 3, 47;
B’s respect for, 48;
opinion of “Fidelio,” 63, 64, 202;
“Les deux JournÉes,” II, 3, 36; III, 139;
“Lodoiska,” II, 3;
“Elise,” 3;
“Medea,” 3;
“Faniska,” 110;
asked by B. to urge subscription to Mass on King of France, III, 100, 126;
on B. and Mozart, 205;
Schlesinger on, 206;
on B’s quartets, 216;
his “Requiem” sung at B’s funeral, 312.
Cherubini, Madame: On B’s social conduct, I, 121.
Chorley, Henry F.: Receives and publishes B’s letter to Bettina von Arnim, II, 182, 184, 316.
Churchill, John, Earl of Marlborough: I, 6.
Church Music: B’s views on, III, 203.
Cibbini, Antonia: B’s offer of marriage to, III, 205, 207.
Cimarosa, Domenico:
“L’Italiana in Londra,” I, 32;
“Il Matrimonio segreto,” 164.
Clam-Gallas, Count Christian: I, 194.
Clari, Countess Josephine di: I, 194.
Clemens August, Elector of Cologne: I, 1;
his extravagance, 7;
succeeds to the Electorship, 7;
career of, 7;
life in Rome, 8;
Grand Master of the Teutonic Order, 7, 98;
opens strong-box of the Order, 8;
falls ill while dancing and dies, 7, 8;
entry into Bonn, 9;
his music-chapel, 9;
appoints Van den Eeden Court Organist, 10;
increases salary of B’s grandfather, 10;
music in his reign, 14;
his theatre, 30;
appoints B’s grandfather Court Musician, 43.
Clement, Franz, Violinist: II, 2;
conductor, 42;
B’s Violin Concerto, 76;
succeeds HÄring as conductor in Vienna, 112;
produces “Mount of Olives,” 156, 209, and the Ninth Symphony, III, 157 et seq.
Clementi, Muzio: I, 33;
encounter between him and B., II, 23, 38, 75;
contract with B. for compositions, 102;
tardy payment of debt, 131, 158;
B. on his pianoforte studies, 375;
B. sends them to Gerhard von Breuning, III, 214.
Collard, F. W., Partner of Clementi: II, 102, 103.
Collin, von:
“Coriolan,” II, 101, 102;
“Bradamante,” II, 119;
“Macbeth,” II, 119, 151;
“Jerusalem Delivered,” II, 119, 151;
Letter to, II, 149;
asked to write a drama for Pesth, 88, 201.
Cologne:
Electors of in the 18th century, I, 1 et seq.;
Archbishop Engelbert, 3;
civil income of Electorate, 7.
“Colonie, Die” (“L’Isola d’Amore”): Opera by Sacchini, I, 108.
Complete Editions of B’s Works planned: II, 18, 38, 192; III, 36, 54, 190, 205, 237;
Archduke Rudolph’s Collection, II, 200.
Congress of Vienna: II, 288, 289.
Consecutive Fifths: B’s dictum on II, 89.
“Contadina in Corte, La”: Opera by Sacchini, I, 26.
Conti: I, 282; II, 2.
“Convivo, Il”: Opera by Cimarosa, I, 107.
“Corsar aus Liebe”: Opera by Weigl, I, 268; II, 2.
Courts of Europe: Invited to subscribe to the Mass in D, III, 93 et seq.
Court Composers: Their duties in the 18th century, I, 13.
Court Theatres of Vienna: B. asks appointment as composer for, II, 98.
Cramer, F., Violinist: I, 186; II, 12.
Cramer, John Baptist: I, 186;
sketch of, 218, 219;
makes B’s acquaintance, 218;
his admiration for B., 219;
on B’s playing, 210; II, 318;
B’s opinion of him as pianist, 381.
“Creation, The,” Haydn’s oratorio: I, 243, 266, 282, 284, 285; II, 89, 116, 120;
receives the first metronomic marks, 223.
Cressner, George, English Ambassador at Bonn: I, 65.
Cromwell: I, viii; II, 360.
Czapka: Magistrate to whom B. appeals, III, 265.
Czartoryski, Prince: I, 271.
Czernin, Count: I, 172.
Czerny, Carl: I, 85;
anecdote about B. and Gelinek, 152;
on B’s extempore playing, 196;
use of high registers of pianoforte, 223, 236;
pupil of B., 314;
duet playing with Ries, 314;
testimonial from B., 315;
memory of, 315;
rebuked by B. for changing his music, 316;
letters, 316, 322;
on the reception of the “Eroica,” II, 35;
on the Rasoumowsky Quartets, 75;
on B’s playing and teaching, 90;
on B’s character, 91;
on the theme of the Credo in the Mass in C, 107;
on the first performance of the Choral Fantasia, 130, 215, 314;
rebuked by B. for changing his music, 337;
letter, 338;
B’s advice as to instruction of Nephew Karl, 374;
inaccuracies as biographer, 376;
visits B., III, 203;
torchbearer at B’s funeral, 312.
Czerny, Wenzel: I, 236.
Czerwensky, Oboist: I, 239.
Dalayrac: Operas “Nina,” I, 107, 108;
“Les deux petits Savoyards,” 109.
Danhauser: Makes bust of B., II, 221;
death-mask, III, 310. pallbearer at B’s funeral, 312.
Dresden: B’s intended visit to, I, 192.
Drewer, Ferdinand, Violinist: I, 23, 24.
Drieberg, Baron F. J.: “Les Ruines de Babilone,” II, 202.
Drosdick, Baroness: II, 86.
Duncker, Friedrich: “Leonore Prohaska,” II, 298.
Duni: Opera, “Die JÄger und das WaldmÄdchen,” I, 29.
Duport: Director of the KÄrnthnerthor Theatre, and the Ninth Symphony, III, 157.
Duport, Pierre, Violoncellist: I, 195, 205.
DÜrck, F.: His lithograph of Stieler’s portrait, III, 42.
Duschek, Madame: I, 194, 226.
DÜsseldorf: Electoral archives at, I, 5.
Dutillier: Operas, “Nanerina e Pandolfo,” I, 165;
“Trionfo d’Amore,” 165.
Eberl, Anton: I, 172; II, 2.
Ecclesiastical States of Germany: Former, I, 1, 15.
Edwards, F. G.: His sketch of Bridgetower’s career, II, 11.
Egyptian Text: Preserved by B., II, 168.
“Ehrenpforte, Die”: Drama by Treitschke, II, 317.
“Eifersucht auf der Probe”: Opera by Anfossi, I, 32.
“EifersÜchtige Liebhaber, Der” (“L’Amant jaloux”): Opera by GrÉtry, I, 31, 107.
“Eigensinn und Launen der Liebe”: Opera by Deler (?), I, 31.
“EinsprÜche, Die”: Opera by Neefe, I, 36.
Electoral Chapels: Appointments in, I, 9.
Electors of Cologne: I, 1 et seq.
Ella, John: II, 12; III, 32.
Embel, F. X.: III, 142.
“Ende gut, Alles gut”: Opera by d’Antoine, I, 109.
Engelbert, Archbishop of Cologne: I, 3.
England: B’s plan to visit, II, 142;
his admiration for the English people and government, III, 36, 76, 181, 303;
court of, not invited to subscribe to Mass in D, 104, 112.
(See “Prince Regent.”)
English plays produced at Max Friedrich’s court: I, 29, 30, 31.
“EntfÜhrung aus dem Serail”: Opera by Mozart, I, 32, 107, 109.
Eppinger, Heinrich, Amateur violinist: I, 235, 274, 306; II, 2.
Eppinger, Dr. Joseph: II, 335.
Erard, SÉbastien: Presents pianoforte to B., II, 21.
ErdÖdy, Count: I, 172;
continued friendship for B., II, 82, 215, 271.
ErdÖdy, Countess Marie: Said by Schindler to have been one of B’s loves, I, 324;
sketch, II, 82, 124;
dedication of Trios Op. 70, 132;
proposes plan to keep B. in Vienna, 136, 141;
letter of apology from B., 144, 162, 315, 319;
B’s letter of condolence of death of her child, 339;
dedication of Op. 102, 357; III, 21;
dedication, 23.
Erk and BÖhme: “Deutscher Liederhort,” I, 278.
“ErlkÖnig”: Song by Schubert, I, 230; III, 236.
Ernst, Violinist: Purchaser of the Heiligenstadt Will, I, 351;
and B’s last quartets, III, 139.
“Ernst und Lucinda” (“Eraste et Lucinde”): Opera by GrÉtry, I, 31.
Ertmann, Baroness Dorothea: Pupil of B., I, 322; II, 2, 83, 215;
B. consoles her grief by playing the pianoforte, 356;
dedication of Sonata Op. 101, 356, 365.
Esterhazy, Count Franz: I, 170.
Esterhazy, Prince Franz Anton: I, 172;
Princess, I, 172.
Esterhazy, Count Johann Nepomuk: I, 170.
Esterhazy, Prince Nicholas: I, 169; II, 98;
commissions B. to write a mass, 100;
letters from B., 107;
criticism of the Mass in C, 108, 116.
Esterhazy, Count Niklas: II, 98, 225.
Esterhazy, Prince Paul Anton: I, 166, 171, 189;
invited to subscribe to the Mass in D, III, 103.
Esterhazy, Princess: Dedication of the Marches Op. 45, I, 351; II, 40, 108.
“Esther”: Opera by S. F. A. Auber, I, 14.
“Euryanthe”: Opera by Weber, III, 139, 140.
“ÉvÈnements imprÉvus, Les”: Opera by GrÉtry, I, 32.
Ewer and Co.: III, 13.
Eybler, Joseph: I, 165;
B’s respect for him, 242;
pallbearer at B’s funeral, III, 312.
Facius, the Brothers: Amateurs in Bonn, I, 38.
Falsification of B’s age: I, 55, 70, 71.
“Falstaff, ossia le Tre Burli”: Opera by Salieri, I, 227.
“Faniska”: Opera by Cherubini, II, 110.
“Fassbinder, Der”: Opera by Oudinet, I, 29.
“Fausse Magie, La”: Opera by GrÉtry, I, 107.
“Faust,” Goethe’s: II, 119; III, 75, 220.
“FÉlix, ou l’Enfant trouvÉ”: Opera by Monsigny, I, 32, 109.
Felsburg, Count Stainer von: II, 338; III, 156.
“Fermiers, Les trois”: Opera by Desaides, I, 107.
Fidelissimo Papageno: Nickname for Schindler, III, 102.
“Fiesco”: Drama by Schiller, III, 117.
“Filosofo di Campagna”: Opera by Galuppi, I, 25.
Finanz-Patent, Austrian: Its effect on B’s annuity, II, 211 et seq.
“Finta Giardiniera, La”: Opera by Paisiello, I, 108.
Fischer, CÄcilie: I, xviii, 57, 58.
Fischer, Gottfried: I, xvii, 43, 47, 50, 51, 61, 66.
Fischer Manuscript: I, xvii, 43, 47, 50, 51, 61, 66.
Fischer: Opera, “Swetard’s ZaubergÜrtel,” II, 49.
Fodor, Singer: III, 121.
Fontaine, Mortier de: II, 73.
Forkel, J. N.: Biography of Bach, I, 303;
“History of Music in Examples,” II, 34.
Forray, Baron Andreas von: II, 220.
FÖrster, Emanuel Aloys: I, 172;
influences B’s chamber music, 273;
his son’s lessons from B., II, 31, 125, 315, 380.
Forti, Singer: II, 286.
Fouche, Mary de: I, 186.
FouquÉ, Baron de la Motte: II, 330.
“Four Elements, The”: Oratorio planned by Kuffner, III, 219.
Fox, Mrs. Jabez: Acquires Thayer’s posthumous papers, I, xiv;
her copy of MÄhler’s portrait of B., II, 16.
“Fra due Litiganti”: Opera by Sarti, I, 86, 109.
France, King of: Subscribes for Mass in D and strikes medal, III, 99, 105, 230.
Frank, Dr.: Treats B., I, 300.
Frank, Joseph: I, 243.
Frank, Madame. (See Gerardi.)
Frankfort: CÄcilien-Verein in, III, 104, 106, 111, 180.
Franz (Francis), Emperor of Austria: I, 214; III, 296.
Franzensbrunn: II, 223.
“Frascatana, La”: Opera by Paisiello, I, 107.
Frederick II, King of Prussia: I, 195;
reputed father of B., III, 214.
Frederick III, of Prussia, German Emperor: marries Princess Victoria of England; a Wedding Song, III, 13.
Frederick William III, King of Prussia: I, 194, 195, 205.
“FreischÜtz, Der”: Opera by Weber, III, 121, 135.
Freudenberg, Karl Gottfried: Visits B., III, 202.
Freund, Philip: Variation, I, 300.
“Freundschaft auf der Probe” (“L’AmitiÉ Á l’Épreuve”): Opera by GrÉtry, I, 131.
Friedelberg: I, 199; “Ein grosses, deutsches Volk sind wir,” 200.
Friedlowsky, Clarinettist; I, 329.
Fries, Count Moritz: I, 172;
dedication of Violin Sonatas, 290;
Quintet Op, 29, 294;
collects funds for Bach’s daughter, 308.
Frimmel: “Beethoven Jahrbuch,” I, 255;
“Beethoven’s Wohnungen,” 269;
on the Bagatelles, 362, 337;
on Beethoven’s portraits, II, 15.
Fritzieri (Fridzeri, Frizer): Opera “Die seidenen Schuhe,” I, 32, 86.
Fry, William Henry, American critic: II, 358.
Fuchs, Aloys: I, 194, 276;
anecdote of B. and Haydn, 285;
owner of Heiligenstadt Will, 351;
solo singer in Troppau, II, 208, 368.
Fuchs: “Battle of Jena” arranged for two flutes, II, 252.
Fugger, Countess: Favorite of Elector Joseph Clemens, I, 3.
Fugues: B’s opinion on, II, 289.
FÜrstenberg, Cardinal: I, 3;
his government of the Electorate, 5;
political vicissitudes, 5, 14.
Fuss, Johann: Opera “Romulus and Remus,” II, 304.
Fux, Joseph: “Gradus ad Parnassum,” I, 158, 159.
Galitzin, Prince George: III, 230.
Galitzin, Prince Nicolas Boris: III, 73;
dedication, 81;
the last Quartets, 87, 183;
asked to appeal to Czar for subscription, 102;
controversy over payment for the Quartets, 226 et seq.
Gallenberg, Count Wenzel Robert: Marries Countess Guicciardi, I, 320, 324;
associated with Barbaja, 320;
as a composer, II, 42; III, 130.
Gallenberg, Count: Son of Countess Guicciardi, I, 340.
Galuppi: Operas “Il Filosofo di Campagna,” I, 25;
“La CalamitÀ di Cuori,” 26;
“Tre Amanti ridicoli,” 27.
GÄnsbacher: On Vogler’s playing, II, 15;
pallbearer at B’s funeral, III, 312.
Gardiner, William: “Italy, Her Arts, etc.,” I, 131;
on the Trios Op. 3, 135;
“Sacred Melodies,” III, 40;
offers B. 100 guineas for an overture, 40.
Garzia, Francesco: “Schiava finta,” I, 26.
Gassmann: Opera “Die Liebe unter den Handwerkern” (“L’Amore artigiano”), I, 31, 46.
Gassner: His projected biography of B., III, 198.
Gaveaux: “LÉonore, ou l’Amour conjugal,” II, 35, 36;
“L’Amour filial,” 37;
“Le petit Matelot,” 36.
Gazanello: Pupil of B’s father, I, 49.
“Geitzigen in der Falle, Die”: Opera by Schuster, I, 108.
Gelinek, AbbÉ Joseph: Recommends B. to Schenk, I, 152;
his hatred of B., 152;
Czerny’s anecdote, 152;
on B’s sketchbooks, 257.
“Gelosie villane, Le”: Opera by Sarti, I, 32.
“Geloso in Cimento, II”: Opera by Anfossi, I, 32.
Genney, Countess von: II, 367.
George IV, King of England (see Prince Regent): II, 11;
B’s address to, III, 112, 113.
Gerardi, Christine von, Amateur singer: I, 243;
marries Joseph Frank, 243, 282;
letter to, 283; II, 3.
Gesellschaft der bildenden KÜnstler: I, 182, 202.
Gesellschaft der Musikfreunde: I, 136, 203, 225, 230, 315; II, 15;
commissions B. to write an oratorio, 325, 330, 397; III, 15, 172 et seq.; 175, 216;
elects B. Hon. Mem., 175, 212.
“Giafar”: Opera-book projected for B., II, 205.
Giannatasio, Cajetan del Rio: B’s Nephew in his care, 331 et seq.;
letters, 332, 349;
B. authorizes him to punish his ward, 373, 338, 392, 402, 410;
a wedding hymn, III, 13.
Giannatasio, Fanny: On Archduke Rudolph as B’s pupil, II, 80;
her diary, 341, 361, 403; III, 2, 50.
“Gioas, Re di Giuda”: Oratorio by Caldara, I, 184.
Girando, M. F. de: I, 346.
GlÄser, Franz: III, 81.
Gleichenstein, Count Ignaz von: I, 333;
becomes clerk in the War Department of Austria, II, 14, 89, 104;
letters from B., 114, 132, 140, 155, 174, 175, 136, 138;
dedication of Sonata Op. 69, 141, 162, 305; III, 295.
Gleimer, Claire von: III, 84.
GlÖggl, Franz: B’s visit to Linz, II, 230, 256.
Gluck: Operas “Die Pilgrimme von Mekka,” I, 32, 108;
“Alceste,” I, 86;
“Orfeo,” 86;
“Iphigenia in Tauris,” 315; II, 119.
Gneixendorf: Johann v. B. buys estate near, III, 19.
(See Lodgings and Johann van Beethoven.)
“God save the King” (see Index to Compositions): II, 252, 310;
Karl translates stanza for B., III, 209.
Goethe: B’s admiration for his poetry, I, 254; II, 147.
—Vol. II: “Faust,” 119;
“Egmont,” 153 (see Compositions);
“Israel in der WÜste,” 167;
“West-Östliches Divan,” 167;
“Wilhelm Meister,” 176;
letter from Bettina von Arnim, 178;
letter to Bettina, 186, 189;
asks for songs composed by B., 189;
letter from Bettina, 190;
B’s admiration, 194;
letter from B., 197;
letter to B., 197;
at Teplitz, 222 et seq.;
goes with B. on a pleasure trip, 227;
at Karlsbad, 222, 224;
describes B., 224;
rebuked by B. for his deference to royalty, 224, 226, 227;
the meeting at Teplitz, 226.
—Vol. III. B’s account to Rochlitz of his meeting, 75;
“Faust” music, 75, 220;
asked by B. to get subscription of Grand Duke of Weimar, 98, 104;
his taste in music, 99.
Gossec: I, 86.
“Gott erhalte unsern Kaiser”: I, 200; III, 84.
Gottwaldt, Chamber Music Director at Bonn: II, 11, 12.
“Graf Armand.” (See Les deux JournÉes.)
Grahame, Scottish poet: His tribute to B., II, 290.
Grassalkowitz, Prince: I, 168.
Grassnick Sketchbook: I, 275; II, 160.
Gratz: B. sends music for Ursulines, II, 214, 246 et seq.;
Musik-Verein at, elects B. Hon. Mem., III, 72.
Graun: His “Tod Jesu,” II, 89;
B’s judgment on a fugue, 89.
“Great Mogul”: Haydn’s designation of B., I, 248.
Greiner, Michael, Tenor: III, 81.
GrÉtry: Operas “Silvain,” I, 86;
“L’Amant jaloux,” 31, 107;
“L’Ami de la Maison,” 31, 86;
“L’AmitiÉ À l’Épreuve,” 31;
“Lucille,” 31, 86;
“Mariage des Samnites,” 31;
“Eraste et Lucinde,” 31;
“ZÉmire et Azor,” 32, 86;
“Les ÉvÈnements imprÉvus,” 32;
“Le Magnifique,” 86;
“L’Amant jaloux,” “La fausse Magie,” 107;
“Richard, Coeur de Lion,” 226, 305.
Griesinger: “Biographische Notizen Über Joseph Haydn,” I, 249; III, 73, 76.
Grillparzer: I, 270;
on B’s dress, 322; III, 117;
“Dragomira,” 118, 122;
“Ottokar,” 121;
“Melusine,” 118 et seq.; 135, 220;
torchbearer at B’s funeral, 312;
writes funeral oration, 312;
mother of the poet, I, 270.
Grimm, the brothers: II, 181.
Grosheim, Dr. G. L.: I, 292.
Grossmann, Mme.: I, 73.
Grossmann and Helmuth: I, 35, 36, 63, 69.
“Grotta di Trofonio, La”: Opera by Salieri, I, 107.
Grove, Sir George: I, x, xii, xiii, xv, 336; II, 122.
Guatelli, Bey and Pasha: I, 140.
Gudenau, Baron von: I, 88.
Guglielmo: Opera “Robert und Callista,” I, 31, 109.
Guicciardi, Countess Giulietta: I, 243, 244;
dedication of the Sonata in C-sharp minor, 292, 322, 370;
relations with B., 319 et seq.;
marries Count Gallenberg, 320;
pupil of B., 322;
her portrait, 355, 341;
the Rondo in G, 370;
Vol. II: 47, 106.
(See “Love Affairs,” under “B., L. v.”)
“GÜnther von Schwarzburg”: Opera by Holzbauer, I, 31, 86.
“Gute Nachricht”: Drama by Treitschke, II, 268, 270, 277, 317.
Gyrowetz: Respected by B., I, 241;
on the Rasoumowsky Quartets, II, 75;
pallbearer at B’s funeral, III, 312.
Habich, Dancing-master: I, 133.
Hagen, J. A. Freiherr von: I, 29;
“Wir haben Ihn wieder,” 31.
Hahn, Christine Elizabeth: Wife of BÜrger, II, 141.
Haitzinger, Singer: III, 83.
Hale, Philip: On the “Immortal Beloved,” I, 346.
Halm, Anton, Pianist: II, 326, 388;
arranges Fugue in B-flat, III, 223.
“Hammerklavier”: II, 364.
Hammer-Purgstall: Book of an oratorio, II, 118;
influence on B., 167.
Handel: I, 13;
duel with Matthison, 72, 85;
“Judas MaccabÆus,” 202, 205.
—Vol. II. Commemoration of, 12;
“Messiah,” 12, 310, 312;
B’s admiration for, 89;
“Acis and Galatea,” 209, 171;
“Timotheus,” 216;
“Samson,” 359;
“Belshazzar,” 359.
—Vol. III. B. on “Messiah,” 135;
“Alexander’s Feast,” 182;
B’s estimate, 182;
on his trumpets, 208;
“Saul,” 219;
gift of his scores to B., 277, 288, 289, 294, 296.
Handel and Haydn Society of Boston: Commissions B. to write an oratorio, III, 87.
Hanslick, Dr. Eduard: Makes known the discovery of the Bonn cantatas, I, 130;
“Geschichte des Concertwesens in Wien,” 223.
Hardenburg, von, Prussian Chancellor: II, 302.
HÄring, Banker and amateur musician: I, 236; II, 112.
Harrach, Count: I, 172.
HÄrtel, G. C.: B. sends a letter of condolence, II, 200.
Hartl, Joseph, Director of Court Theatres: II, 127;
resignation, 201.
Haslinger, Tobias, Music publisher: II, 279;
“Ideal einer Schlacht,” 279;
Canon on, III, 43, 44, 137, 169;
B. attempts a joke on him, 190;
torchbearer at B’s funeral, 312.
Hatzfeld, Countess: I, 16, 37, 139.
Hatzfeld, Prince: III, 94.
Hauschka: “Gott erhalte unsern Kaiser,” I, 200.
“Hausfreund, Der” (“L’Ami de la Maison”): Opera by GrÉtry, I, 31.
Hausmann: Music lover in Berlin, I, xii.
HÄussler’sche Gesellschaft: Theatre in Bonn, I, 112.
Haveckas, Ernest: I, 12.
Hawthorne: His note-books, I, 261.
Haydn, Joseph:
Vol. I: His duties at Esterhaz, 13;
first visit to Bonn, 110;
at Godesberg, 116;
B. shows him a cantata, 116;
B. proposed as his pupil, 123;
plans to take B. to London, 125;
B’s introduction to, 140;
gives B. lessons, 150 et seq.;
B’s disparagement of him as a teacher, 152;
rupture between the two, 155, 189;
his imitative music, 171;
“The Seasons,” 171;
his judgment on the Trios Op. 1, 175;
dedication of the Sonata Op. 2, 186;
B. plays at his concert, 188;
writes dances for Ridotto Room, 188;
the Austrian National Hymn, 200;
“Seven Last Words,” 214;
“The Creation,” 243, 266, 284, 285;
Griesinger’s biography, 249;
Koeluch, 271;
on B’s “Prometheus,” 285.
—Vol. II: Said to have been Bridgetower’s teacher, 11;
the Salomon concerts, 12;
comment on Anna Milder, 49;
his settings of Scotch songs, 70;
Marie Bigot, 89;
“The Creation” performed at birthday concert, 116, 126;
“Ritorno di Tobia,” 131;
Scotch songs for Thomson, 219, 416.
—Vol. III: Mass “In tempore belli,” 92;
picture of his birthplace shown to B. on his death-bed, 302.
Heckermann, Fanny: III, 81.
“Heilige Grab, Das”: Oratorio by PaËr, II, 2.
Heiligenstadt Will: I, 339, 351 et seq.; II, 164.
Heim, Johann, Th.: II, 8.
“Heinrich und Lyda”: Opera by Neefe, I, 31, 36.
Heller, Ferdinand: I, 87.
Hellmesberger, Georg: Once owner of the portrait of Countess Brunswick, I, 335.
Hellmesberger, Joseph: Completes movement of a Violin Concerto in C, I, 136.
Henneberg, J. B.: Chapelmaster and composer, I, 164; II, 2.
Hennes: Sees B. as child weeping at pianoforte, I, 58.
Hensel, Fanny: On the overture “Leonore No. I,” II, 59.
Hensler, Carl Friedrich: III, 64, 79, 82.
Herbst: Horn-player, I, 239.
Herder: II, 167, 193.
“Hermann von Staufen”: Opera by Vogler, II, 4.
“Hermann von Unna”: Opera by Vogler, II, 4.
Herzog, Man and Wife, servants of B: II, 156.
Hess-Diller, Baroness: I, 340.
Hesse-Cassel: Elector of, not invited to subscribe for the Mass in D, III, 93.
Hesse-Darmstadt: Grand Duke of, and the Mass in D, III, 97, 106.
“Hieronymus Knicker”: Opera by Dittersdorf, I, 109.
Hiller, Ferdinand: Gives Rossini’s account of his meeting with B., III, 78;
his account of Hummel’s visit to B’s death-bed, 301 et seq.
Hiller, J. A.: Operas “Die Jagd,” I, 32;
“Der Ärndetanz,” 32;
“Dorfbarbier,” 36;
“WÖchentliche Nachrichten,” 35.
Himmel, F. H.: Intercourse with B. in Berlin, I, 196.
Hofdemel, Mme.: B. refuses to play for her because of a scandal, I, 254.
HÖfel, Blasius: Engraves Latronne’s crayon portrait of B., II, 287;
his story of B’s arrest as a tramp, III, 42.
Hoffmann, E. T. A: On the C minor Symphony, I, 307; II, 186;
the canon on the name, III, 34.
Hoffmann, Joachim: III, 35.
Hoffmann, Vincenz: III, 35.
Hoffmeister, Franz Anton: I, 271;
letter, 271.
(See Hoffmeister and KÜhnel.)
Hoffmeister and KÜhnel: Origin of firm, I, 271;
letters, 281, 286, 294, 366, 370; III, 57;
publish the works of Bach, I, 303.
“Hofschmied, Der”: Opera by Philidor, I, 29.
Hogarth, George: “The Philharmonic Society of London,” III, 110.
Hohenlohe, Princess Marie: II, 392.
Holland: Visited by B. as child, I, 66;
B. made Member of the Royal Institute of, II, 147; III, 163.
Holz, Carl: I, 269, 276;
and the bank stock, 326.
—Vol. III: Becomes B’s factotum, 194 et seq.;
B’s jests on his name, 196;
authorized by B. to write his biography, 197;
insinuations against Schindler, 198;
letter from B., 216;
B. on his playing, 216;
seeks to divert B., 237;
reports on conduct of Karl, 253;
early in attendance on B. at last illness, 273;
marries, 281;
collects last annuity payment, 295;
torchbearer at the funeral, 312.
Holzbauer: Opera “GÜnther von Schwarzburg,” I, 31, 86.
Homer: Admiration felt for by B., I, 147.
HÖnig: Singer in “Fidelio,” II, 278.
Honrath, Jeannette d’: I, 120, 122; III, 288.
Horsalka, Johann: III, 15, 42.
Hotschevar, Jacob: I, 351; II, 401, 405;
guardian of B’s nephew, III, 292.
Hradezky, Horn-player: I, 239.
Huber, Franz Xaver: I, 289; II, 7.
Hummel, Elizabeth: On B’s admiration for women, II, 181.
Hummel, Johann Nepomuk: Mozart’s pupil, I, 91;
sketch of 240;
letters from B., 240, 274, 267;
his falling-out with B., II, 108 et seq.;
his wife a sister of RÖckel, 142;
in performance of “Wellington’s Victory,” 262;
begins Pf. score of “Fidelio,” 283;
canon for his album, 338; III, 290;
at B’s death-bed, 301;
improvises at concert, 302;
pallbearer at funeral, 312.
Hungary: Visited by B. in 1809, II, 154.
HÜttenbrenner, Anselm: Visited by Thayer I, x;
report of Salieri’s remarks on “Fidelio,” II, 64, 355;
overture to Schiller’s “Robbers,” 355;
his account of B’s death, III, 300, 306, 307 et seq.
HÜttenbrenner, Joseph: III, 79, 166.
“Idomeneus”: Opera by Mozart, II, 101.
Iken, Dr. Karl: A programme for the Seventh Symphony, III, 37.
Imitative Music: II, 120.
“Immortal Beloved, The”: I, xvi.
(See Love Affairs, etc.)
“Improvvisata (L’) o sia la Galanteria disturbata”: Opera by Lucchesi, I, 27.
“Incognito, L’”: Opera by Sarti, I, 86.
“Inganno scoperto, L’”: Opera by Lucchesi, I, 27, 47.
Instruments owned by B.: I, 276.
“Iphigenia in Tauris”: Opera by Gluck, I, 315; II, 119.
“Isola d’Amore, L’”: Opera by Sacchini, I, 108.
“Israel in the Wilderness”: Oratorio by C. P. E. Bach, II. 388.
“Italiana in Londra, L’”: Opera by Cimarosa, I, 32.
Italy: B. projects journey to, II, 202.
Jacobs, Jacob: I, 42.
Jadin: “Battle of Austerlitz,” II, 252.
“Jagd, Die”: Opera by Hiller, I, 31.
“JÄger und das WaldmÄdchen, Der”: Opera by Duni, I, 29.
Jahn, Otto: Visited by Thayer, I, xi, 63, 85;
his account of B’s visit to Mozart, 90, 153, 171, 329;
on Countess Guicciardi’s marriage, 321;
interview with the Countess, 322;
examines love-letter, 328;
his edition of “Fidelio,” II, 45, 285;
note on the compositions sold to Clementi, 104;
his opinion on Schindler as biographer, 376.
Jeitteles, Alois: “An die ferne Geliebte,” II, 243.
Joachim, Joseph: I, xii.
Joseph Clemens, Elector of Cologne: I, 1, 3 et seq.;
his favorites, 3;
consecrated by FÉnelon, 3, 6;
a unique composer, 4;
his music-chapel, 5;
sides with Louis IV in war, 5;
restored to Electoral dignity, 6;
death of, 7.
Joseph I, Emperor of Germany: I, 6.
Joseph II, Emperor of Germany: I, 107;
death of, 130;
interest in German opera, 163.
Josephstadt Theatre: Opening of, II, 81.
“Judah”: Oratorio by Gardiner, III, 40.
“Judas MaccabÆus”: Oratorio by Handel, I, 202, 205.
“Julie”: Opera by Desaides, I, 29, 107.
Junker, Carl Ludwig: Describes B’s Pf. playing, I, 114.
Kafka, J. N.: His sketchbook, I, 205, 206, 209, 210, 261, 362.
Kaiser, FrÄulein, Singer: III, 81.
Kalischer, Dr. A. C.: I, 235;
his collection of B’s letters, 255, 278, 293;
and the “Immortal Beloved,” 336, 337.
Kanka, Councillor: I, 194, 195.
Kanka, Jeannette: I, 195.
Kanka, Dr. Johann: Effects compromise with Kinsky’s heirs, II, 288, 353.
Kanne, Friedrich August: II, 358; III, 117, 176.
Kant, Immanuel: B. refuses to hear lectures on, I, 182; II, 166, 214, 167; III, 25.
Karajan, Prof.: I, 123; II, 305.
Karl, Duke of Lorraine, Archduke of Austria: I, 77, 288; II, 12.
Karlsbad: B’s visit to, II, 223.
Karth, Frau: I, 75, 103, 117, 119;
description of B’s brothers, 358.
Kastner, Emil: His estimate of B’s letters, I, 255.
KaufmÄnnischer Verein of Vienna: Elects B. Hon. Mem., III, 21.
“Kaufmann von Smyrna, Der”: Opera by Juste, I, 32.
Kayser, Joseph, Instrument maker: I, 10.
Kees, von, Court Councillor: I, 166, 170.
Keglevich, Countess “Babette”: I, 209, 227, 245;
said to have been one of B’s loves, 318;
dedication to her, 318.
Keglevich de Busin, Count Karl: I, 245.
“Kein Dienst bleibt unbelohnt”: Opera, I, 108.
Kerich, Abraham, Helene (Mme. von Breuning), and Stephen: I, 98, 99, 101.
Kessler: Sketchbook, I, 289, 368, 371.
Kewerich, Heinrich, Electoral cook: I, 49;
his widowed daughter marries the father of B., I, 49.
Kiesewetter, R. G.: I, 230.
Kilitzky, FrÄulein: II, 129.
Kinsky, Prince Ferdinand: I, 170, 172; II, 113;
subscribes in the Annuity Contract, 139, 146;
his payments, 170, 172, 205, 213, 222;
agrees to pay in notes of redemption, 242;
reduction of obligation by the Finanz-Patent, 212;
B. begins legal proceedings against his heirs, 259, 288;
settlement, 306;
sum paid annually under the contract, 306.
Kinsky, Princess: Dedication of Songs Op. 75, II, 195;
letter from B., 243.
Kinsky, Prince Joseph: I, 170.
Kirnberger: I, 159.
Klein, Prof.: Makes mask of B’s face, II, 221; III, 311.
Klingemann: His drama “Moses,” II, 297.
Klober, August von: Paints B’s portrait, II, 399.
Klopstock: B’s admiration for his poetry, I, 254; III, 75.
Klos Theatrical Troupe: I, 105.
Kneisel, Dr. C. M.: I, 55.
Kobler Family: I, 285.
Koch, Barbara (“Babette”): I, 117, 118, 178.
Koch, Friar Willibald: Gives organ lessons to B., I, 64.
KÖchel: Collection of B’s letters, II, 248.
Koczwara: “Battle of Prague,” II, 252.
“KÖnig Axur”: Opera by Salieri, I, 109.
“KÖnig von Venedig” (“Il Re Teodoro”): Opera by Paisiello, I, 108.
KÖnneritz, von: The Mass in D, III, 96, 97, 130.
Kopfermann, Albert: I, 280.
KÖrner, Theodor: On failure of the E-flat Concerto, II, 215.
Koschak, Marie: I, 318.
KÖster-Schlegel, Singer: III, 85.
Kotzebue: Founds “Der FreymÜthige,” II, 1;
account of music in Vienna, 1;
“Der Leibkutscher Peters III.” 1;
“Ruinen von Athen,” 161, 201;
B. asks him for opera-book, 213.
KoPeluch, Leopold: I, 172;
dances for the Ridotto, 188;
on the Trio in C minor, 271;
Haydn, 271;
and Thomson’s songs, II, 70;
B’s “Miserabilis,” 219;
Scotch airs for Thomson, 200.
Kraft, Anton: I, 170;
sketch of, 238; II, 8, 41.
Krasinsky, Rochus: II, 270.
Krehbiel, H. E.: Undertakes English version of Thayer’s biography, I, viii, xiii;
use of original manuscript, viii;
communications with Thayer and Deiters, viii;
his procedure, xv;
on the C-sharp minor Sonata, 292;
“The Pianoforte and its Music,” 292;
defense of Thayer’s hypothesis concerning the “Immortal

Landshut University: III, 4.
Languider, Karoline: On B’s love-affairs, I, 341.
Latilla: Opera “La Pastorella al Soglio,” I, 26.
Latronne: Makes crayon portrait of B., II, 287.
Laym, Maria Magdalena (or Leym): B’s mother.
(See Beethoven, Johann van.)
Lebewohl and Adieu: Differentiated by B., II, 207.
Ledermeyer, Editor in Vienna: II, 359.
Leipsic: B’s intended visit to, I, 192, 198.
“Leipsic Oxen”: B’s term for critics, I, 282, 304.
Lentner, Mme., Court singer: I, 18, 19.
Lenz: Critical catalogue of B’s works, I, 272;
on the Rasoumowsky Quartets, II, 75.
“Leonora”: Opera by PaËr, II, 35, 37.
“Leonore Prohaska”: Drama by Duncker, II, 298.
“LÉonore, ou l’Amour conjugal”: Opera by Gaveaux, II, 35, 36.
Leopold I, Emperor of Germany: I, 5, 6.
Leopold II, Emperor of Germany: I, 163, 164.
Levin, Rahel: II, 204.
“Libussa”: Opera-book by Bernard, III, 173.
Lichnowsky, Prince Carl: Takes B. into his lodgings, I, 148, 168, 170;
Trios Op. 1 first played at his house, 175;
commands servant to give B. precedence over him, 182, 190;
probable visit to Prague with B., 193, 244;
gives B. quartet of instruments, 276, 286;
settles annuity on B., 298, 299, II, 9;
visited by B. in Silesia, 66;
abrupt departure of B., 68, 104, 123, 146;
visited by B. in Silesia, 208;
undisturbed friendship for B., 215;
with B. at Teplitz, 222;
unwillingness to disturb B. when at work, 254;
death of, 271.
Lichnowsky, Princess Christine: II, 124, 271.
Lichnowsky, Countess Henrietta: I, 244;
dedication, 370.
Lichnowsky, Princess Maria Christine: I, 170;
dedication to, 290.
Lichnowsky, Count Moritz: I, 213, 235;
dedication to, 369;
story of Bonaparte and the “Eroica,” II, 24;
letters from B., 262, 290;
marriage with an opera-singer, 291; III, 24;
on Johann van B., 67;
B’s musical jest, 115;
agrees to guarantee Grillparzer’s opera, 121, 158, 294.
“Liebe unter den Handwerkern” (“L’Amore artigiano”): Opera by Gassmann, I, 31.
Liebich, Carl: General Manager of Bohemian Theatres, II, 110.
Liechtenstein, Baron Carl August: I, 286, 304;
“Bathmendi,” 304;
“Die steinerne Braut,” 305; II, 2.
Liechtenstein, Prince Johann Joseph: I, 171, 244.
Liechtenstein, Princess: I, 244;
dedication to, 291.
“Lilla”: Opera by Martini, I, 108, 109.
Lincoln, Abraham, President of the U. S.: appoints Thayer Consul, I, x.
Lind: B’s tailor, II, 164.
Lind-Goldschmid, Jenny: Once owner of the Heiligenstadt Will, I, 351.
Lindner, Andreas, Dancing-master: I, 147.
Linke, Violoncellist: I, 174, 316; II, 124, 125, 316, 319, 337; III, 294, 312.
Linz: B’s visit to his brother at, I, 229.
Lipsius. (See La Mara.)
“Listige BauernmÄdchen, Das” (“La finta Giardiniera”): Opera by Paisiello, I, 108.
Liszt, Franz: Gets B’s Broadwood Pf., II, 392;
is presented to B., III, 124;
the alleged kiss, 124.
Lobkowitz, Prince: I, 168;
amateur violinist, 169;
his orchestra, 239;
dedication of quartets, 276, 290;
II, B’s epithet, “Lobkowitzian ass,” 51, 98;
suggests engagement of B. at Court Theatres, 99;
dedication of “Eroica,” 77, 110, 113;
subscribes to annuity contract, 139, 146;
dedication of “Harp” Quartet, 160;
dedication of Fifth Symphony, 162;
the Annuity Fund, 170, 172;
dedication of Quartet, Op. 74, 195;
assumes direction of Court Theatres, 201;
reduction of his obligation under Annuity Contract, 212;
suspends payment, 213;
ruined by theatrical management, 250;
the annuity obligation, 289;
settlement of, 306;
B’s aspersions on his character, 307;
cantata on his birthday, 354.
“LodoÏska”: Opera by Cherubini, II, 3.
Lodron, Count: II, 98.
Loewe, Ludwig: Actor for whom B. acts as love messenger, II, 205.
London Musicians: B’s appeal to, II, 273.
Longfellow, Henry W.: II, 193.
Lonsdale, Charles: Partner of Robert Birchall, II, 319, 346, 350, 351.
Lonsdale, Robert: II, 319.
Louis XVIII, King of France: Subscribes for the Mass in D and strikes medal in B’s honor, III, 100.
Louis Ferdinand, Prince of Prussia: Amateur musician complimented by B., I, 196;
and the “Eroica,” II, 26, 32, 302.
Lower Rhenish Festival: III, 188.
Lucchesi, Andrea: Appointed successor to B’s grandfather, I, 22;
“L’Inganno scoperto,” 27, 47;
“Le Donne sempre donne,” 26;
“Il Natale di Giove,” 26;
“L’Improvvisata,” 27;
sketch of, 34, 71, 73, 74, 82.
“Lucille”: Opera by GrÉtry, I, 31, 86.
“LÜgnerin aus Liebe”: Opera by Salieri, I, 32.
Luib, Ferdinand: I, 269, 356.
Lwoff, Russian Privy Councillor: II, 75.
“Macbeth”: Opera-book by Collin, II, 119, 151, 158;
another, III, 117.
Macco, Alexander: II, 18, 124.
Macfarren, Natalie: III, 231.
“MÄdchen im Eichthale” (“Maid of the Oaks”): Opera by d’Antoine, I, 32.
“MÄdchen von Frascati, Das”: Opera by Paisiello, I, 107.
“Magnifique, Le”: Opera by GrÉtry, I, 86.
MÄhler, Willibrord Joseph, Painter: Visited by Thayer, I, xi, 146;
II, paints portrait of B., 15, 305;
anecdote about “Fidelio,” 51;
invited by B., 198.
“Maid of the Oaks”: Opera by d’Antoine, I, 32.
Malfatti, Dr.: II, 86, 141;
sends B. to Teplitz, 202, 280;
insulted by B., 345, 369;
III, at B’s last illness, 274, 288;
estrangement and reconciliation, 284, 285;
his treatment of B., 286, 287, 292.
Malfatti, Therese: I, xvi, 292;
alleged proposal of marriage to by B., 333, 336; II, 141;
sketch of, II, 86, 106;
letter to, 176, 239.
Malherbe, Charles: I, 139.
Malines: Van Beethoven families living in, I, 44.
MÄlzel, Johann Nepomuk: Career of, II, 232 et seq.;
makes ear-trumpet for B., 233;
invents metronome, 233;
the canon on his name, 234 et seq.;
lends B. money, 245;
conceives “Wellington’s Victory,” 251 et seq.;
his mechanical trumpeter, 251, 257, 261;
his panharmonicon, 251;
contemplates accompanying B. to England, 251, 255;
projects concert for production of “Wellington’s Victory,” 256;
B’s note of thanks to, 258;
quarrels with B., 259;
legal proceedings, 271 et seq.;
American career and death of, 276, 384.
Mandycewski, Eusebius: I, 210, 223.
“Marchese Tulipano, Il”: Opera by Paisiello, I, 108.
Marconi, Singer: II, 129.
Maria Ludovica, Empress: III, 142.
Maria Theresia: I, 77, 81;
dedication of Septet, 278, 283;
sings part in an opera by Reicha, 310.
“Mariage des Samnites, Le”: Opera by GrÉtry, I, 31.
Marie Antoinette: I, 78.
Marinelli, Manager of theatre in Vienna: I, 164.
Marlborough, Earl of: I, 6.
Marschner, Heinrich: Visits B., II, 382.
Marshall, Julian: I, 140.
Martini: I, 87;
“Arbore di Diana, L’,” 107;
“Lilla,” 108, 109.
Marx, A. B.: On the Sonata Op. 81a, II, 143;
disputes genuineness of B’s letter to Bettina von Arnim, 183.
Mason, Lowell: Employs Thayer in his library, I, x;
provides funds for his researches, x.
Mastiaux, Johann Gottlieb: Amateur in Bonn, I, 38, 89.
“Materialien fÜr Contrapunkt”: II, 147, 150.
“Materialien fÜr Generalbass”: II, 147, 150.
“Matrimonio segreto, Il”: Opera by Cimarosa, I, 164.
Matthison: His duel with Handel, I, 72.
Matthisson. (See Adelaide in Index of Compositions.)
Mattioli, Cajetano, Sketch of: I, 34, 82.
MÄurer, B. J., Court violoncellist: I, 24, 61, 62, 65.
Max Franz, Elector of Cologne: I, 16;
shares his mistress with his Prime Minister, 16;
his dance-room, 30;
commands report on music at his court, 82;
the theatre in his reign, 86;
career, 77 et seq.;
described by Swinburne and Mozart, 78;
his musical education, 81;
his appreciation of Mozart, 81;
music in Bonn during his reign, 88;
knights Count Waldstein, 102;
plans national theatre, 105 et seq.;
III; his patronage of B., 116;
limit of his assistance, 124;
flees before French troops, 125;
allows grain and salary increase to B., 149;
visits Vienna, 179;
flees to Frankfort, 179;
discharged of all obligations, 190;
visit to Vienna, 267;
Archduke Karl made his coadjutor as Grand Master of Teutonic Order, 287;
in retirement at Hetzendorf, 288.
Max Friedrich, Elector of Cologne: I, 1;
ascends throne, 14;
career, 14;
his Prime Minister, 14;
his popularity, 14;
described by Henry Swinburne, 16;
music at his court, 16;
appoints B’s grandfather Chapelmaster, 17;
promises composer’s father a salary, 17;
grants an increase, 19, 22;
appoints Lucchesi successor to B’s grandfather, 23;
opera performed at his court, 25 et seq.;
birthday celebration, 26;
plays at his theatre, 27, 28, 29;
theatre closed because of his death, 33;
dedication of B’s boyhood Sonatas, 72;
assumes all costs of Electoral Theatre, 73;
appoints B. Assistant Court Organist, 74;
death of, 74;
effect of his death on B., 76, 78;
promotes education, 80.
Maximilian Emanuel, Elector of Bavaria: I, 7.
Maximilian Heinrich, Elector of Cologne: I, 3.
Maximilian Joseph, King of Bavaria: Dedication of the Choral Fantasia, II, 207, 209.
Mayence, Archbishops of: I, 3.
Mayseder, Joseph: I, 274; II, 41, 125, 216;
E-flat Sonata Quartet, II, 193;
torchbearer at B’s funeral, III, 312.
“Medea”: Opera by Cherubini, II, 3.
Medina, Maria: Wife of Vigano, dancer, I, 283, 284.
MÉhul: Opera “Ariodante,” II, 23.
Meier, Sebastian: Mozart’s brother-in-law, II, 4, 50;
letter to, about “Fidelio,” 61, 209.
Meinert: Sketchbook, II, 150, 161.
Meisl, Carl: Changes “Ruins of Athens” to “Consecration of the House,” III, 79;
drama, 82.
Meissner, Prof. A. G.: Oratorio text, II, 19.
Melichar, Ilka: I, 342.
“Melusine”: Opera-book by Grillparzer, III, 118 et seq.; 135, 220.
Mendelssohn-Bartholdy, Felix: Description of Dorothea Ertmann, II, 83.
Mendelssohn, Paul: I, xii;
owner of sketches for “Fidelio,” II, 45.
Merz, Julius: Publishes B’s letter to Bettina von Arnim, II, 182, 185.
“Messiah”: Handel’s oratorio, II, 310, 312; III, 135, 182, 296.
Metastasio: “Olimpiade,” I, 204;
“Betulia liberata,” III, 143.
Metronome (see MÄlzel): II, 382;
marks for the Ninth Symphony, III, 244.
Meyer, Court Councillor von: Amateur, I, 172.
Meyerbeer, Giacomo: II, 39, 256;
beats drum at performance of “Wellington’s Victory,” 258;
B’s opinion of, 297;
“Die beiden Caliphen,” 297.
Mickley, Joseph J.: II, 385.
Mihl (or MÜhle): Opera “Milton und Elmire,” I, 31.
Milder-Hauptmann, Anna: II, 49;
and “Fidelio,” 64;
quarrels with B., 129, 263, 278, 284, 329.
Milton, John: II, 169.
“Milton und Elmire”: Opera by Mihl, I, 31.
“Moda, La”: Opera by Baroni, I, 27.
“Molinara, La”: Opera by Paisiello, I, 187.
Molitor: Amateur in Vienna, II, 2.
Mollo, Publisher: His publication of a Quintet, controversy, I, 294.
Molt, Theodore: Visitor to B. from Quebec, III, 211.
Mombelli, Singer: I, 188.
Monsigny: Operas “Le DÉserteur,” I, 31;
“FÉlix, ou l’Enfant trouvÉ,” 32, 109;
“Rose et Colas,” 29, 86.
Moor, The: Haydn’s nickname for B., I, 146.
Moravian nobility: Their musical culture, I, 168.
Morris, Jack: Brings score of “Mount of Olives” to London, II, 309.
“Morte d’Abel, La”: Opera, I, 14.
Moscheles, Ignaz: His English paraphrase of Schindler’s biography, I, ix;
visited by Thayer, xi, 241;
on the first performance of the Choral Fantasia, II, 130;
composes marches for MÄlzel’s panharmonicon, 351;
tells of the composition of “Wellington’s Victory,” 253;
his account of the performance, 358;
on the Trio, Op. 97, 270;
makes Pf. score of “Fidelio,” 281, 282;
first meeting with B., 282;
“Fidelio,” 303;
B’s opinion of as a pianist, 381; III, 289, 290, 291, 293.
Mosel, Ignaz von: II, 358, 386;
at B’s funeral, III, 312.
MÖser: Violinist in Vienna, II, 8.
Mozart: Education derived from his father, I, 85;
B’s visit to, 89, 90;
his morning concerts in Vienna, 166;
relations with Mme. Hofdemel, 254, 305;
B’s admiration for the Concerto in C minor, 219;
B’s appreciation, II, 89; III, 42;
Cherubini’s estimate of his genius, 205;
B. defends authenticity of his “Requiem,” III, 233;
the “Requiem” played at B’s funeral, 312;
his operas “Die EntfÜhrung aus dem Serail,” I, 32, 107, 109;
“Don Giovanni,” I, 91, 107, 163, 193, 204; II, 204; III, 42;
“Le Nozze di Figaro,” I, 82, 108, 163, 193;
“Il Re Pastore,” I, 81;
“Die ZauberflÖte,” I, 164, 226, 304; II, 22; III, 36;
“La Clemenza di Tito,” I, 194; II, 110;
“Idomeneus,” II, 101.
MÜller, Adolph: And B’s orchestration of the funeral march from the Sonata in E-flat, Op. 26, II, 295.
MÜller, Chancellor: II, 180.
MÜller, Louise: Singer at first performance of “Fidelio,” II, 49.
MÜller, Wenzel, Chapelmaster: I, 164.
MÜller, W. Christian: His account of B., III, 36.
Mylich: I, 210, 231.
“Nach Frankreichs unheilvollem Sturz”: Cantata text left uncomposed, II, 292.
Nagel, W.: “Beethoven und seine Klaviersonaten,” I, 293.
NÄgele: Projects publication of Bach’s works, I, 304;
publishes sonata with interpolated measures, 367;
“RÉpertoire des Clavecinistes,” II, 20, 38.
“Nanerina e Pandolfo”: Opera by Dutillier, I, 165.
Napier, William: Publishes Haydn’s arrangements of Scottish songs, II, 70.
Naples: A call thither for B., II, 194;
King of, and the Mass in D, III, 90.
Napoleon. (See Bonaparte.)
Natorp, Mme. (See Sessi.)
Naumann, Chapelmaster: II, 19.
Neate, Charles: English pianist, visited by Thayer, I, xi;
B’s story on origin of his deafness, 263;
II, introduced to B., 315;
buys overtures for the London Philharmonic Society, 333;
defends himself against B’s charges, 349;
unable to help B. in London, 337;
letters from B., 339, 351, 352, 367;
III, enjoined “For God’s sake buy nothing of B.,” 52;
seeks publisher for B. in London, 73, 183, 186.
Neefe, C. G.: Appointed successor to Van den Eeden as Court Organist, I, 25;
joins Dramatic Co. at Bonn, 30;
music for court festival, 31;
opera “Heinrich und Lyda,” 31, 36;
“Die Apotheke,” 31;
“Sophonisba,” 31;
describes musicians in Bonn 33;
career of 34;
“Amor’s Guckkasten,” 36;
“Die EinsprÜche,” 36;
“Zemire und Azor,” 36, 37;
instrumental compositions, 36;
“Adelheit von Veltheim,” 37;
ode, 37;
teaches B., 61, 62, 67 et seq.;
leaves his duties as organist to the boy B., 69;
“Materialien fÜr Contrapunkt,” 70;
his duties as Court Organist, 71, 73;
dismissed, 73;
with Klos’ troupe, 105;
B’s appreciation of him as teacher, 68, 124, 142;
his daughter, 304.
Nelson, Lord: Not commemorated in the “Eroica,” II, 25.
Niemetz: Dissolute companion of B’s nephew, III, 252, 255, 258.
Nikelsberg, Carl Nikl Edler von: I, 222;
dedication of Concerto in B-flat, I, 290.
“Nina”: Opera by Dalayrac, I, 107, 108.
“NobilitÀ delusa, La”: Opera, I, 26.
Nohl, Ludwig: I, 292;
on B. and Countess Guicciardi, 321;
on Therese Malfatti, 333, 339;
on the letter to Bettina von Arnim, II, 185;
“Eine stille Liebe zu Beethoven,” 362;
“Beethoven, Liszt und Wagner,” III, 124.
Nottebohm: “Zweite Beethoveniana,” I, 71, 76, 261;
“Beethoven’s Studien,” I, 156, 216;
“Beethoveniana,” I, 156, 261;
“Ein Skizzenbuch von Beethoven,” 258, 304;
on B’s studies with Albrechtsberger and Haydn, 151, 158;
on the text of the Choral Fantasia, II, 133;
on the date of the Petter sketchbook, II, 151;
on the canon on Hoffmann, III, 35.
Novello, Ewer and Co.: I, xiii; III, 13.
Novello, Vincent: II, 12.
“Nozze, Le”: Opera by Galuppi, I, 25.
“Nozze di Figaro, Le”: Opera by Mozart, I, 82, 108, 163, 193.
“Nozze disturbata, Le”: Ballet by Vigano, I, 188, 193.
NussbÖck, Leopold: Guardian of B’s nephew, III, 8.
Nussdorf. (See Lodgings.)
“Oberon”: Opera by Wranitzky, I, 165.
Obreskow: Russian official, III, 101, 102.
Odelga: III, 101, 102.
Odescalchi, Prince: I, 209, 244.
Odescalchi, Princess: I, 223;
dedication to, 290;
taught by B., 322;
dedication to, 368, 369.
“Ode to Joy”: Schiller’s, I, 132, 275; II, 152, 295, 414; III, 145, 146, 148 et seq.
“Odyssey”: Homer’s, I, 252.
“Olimpiade”: Opera by Sacchini, I, 32.
Oliva, Franz: His relations with B., II, 143;
dedication to, 161;
delivers B’s letter to Goethe, 197, 202;
plans to accompany B. to England, 220;
estrangement with B., 220; III, 24;
goes to St. Petersburg, 41.
Operas performed at Bonn in 18th century: I, 25, 26, 27, 29, 31, 32, 107.
Oppersdorff, Count: The Symphony in B-flat, II, 68, 101, 122, 123, 124, 162.
“Orfeo”: Opera by Gluck, I, 86.
Ossian: B’s appreciation of, II, 147.
Oudinot: “Der Fassbinder,” I, 29.
Ovid: His “Metamorphoses” called for by B. on his death-bed, III, 283.
Pachler-Koschak, Mme.: B’s friendship for, II, 282; III, 140.
“PÄchter, Die drei”: Opera by Desaides, I, 107.
PaËr, Ferdinand: I, 282;
his funeral march and that in the Sonata Op. 26, 290;
“Achilles,” 290;
“Das heilige Grab,” II, 2;
“Leonora,” II, 35, 37.
Paisiello: Operas at Bonn, I, 86;
“La Frascatana,” 107;
“Il Barbiere,” 108;
“Il Re Teodoro,” 108;
“La Finta Giardiniera,” 108;
“La Molinara,” 187;
“Il Marchese Tulipano,” 108; II, 204.
Palestrina: Preferred over all church composers by B., III, 203.
Palffy, Count Ferdinand: II, 98;
supposed grudge against B., 100, 146;
accepts direction of Court Theatres, 201;
produces “Fidelio” for the Congress of Vienna, 293;
and the concert of 1814, 299;
and the Ninth Symphony, III, 157 et seq.
“Paradise Lost”: II, 310.
Parke: “Musical Memories,” II, 12.
Parma, Duchess of: Asked by B. to urge Grand Duke of Tuscany to subscribe to the Mass in D, III, 101.
Pasqualati, Baron Johann: Witnesses Karl van B’s declaration as to the guardianship of his son, II, 241;
signs affidavit against MÄlzel, 288;
the “Elegiac Song” in memory of his wife, 288, 306; III, 58.
(See Lodgings.)
“Pastorella al Soglio, La”: Opera, I, 26.
Paul, Czar of Russia: II, 81.
Payer, Hieronymus: II, 26.
Perger, A. von: Discovers minuets by B., I, 211.
Pergolesi: “La Serva Padrona,” I, 108.
Perkins, Charles C.: “History of the Handel and Haydn Society of Boston,” III, 87.
Persian Literature: B’s interest in, II, 167.
Pessiak, Mme.: II, 362; III, 13.
Pesth: New theatre planned for, II, 154, 200;
opening of, 213.
Peters, C. F., Publisher: Negotiations for Mass in D and other works, I, 271, 55, 57 et seq., 58, 59, 60, 61, 64,;
refuses to publish works sent by B., 65;
advance payment by, 70;
rejects “Bagatelles,” 86;
complains of B’s treatment of him, 180;
receives rebuke and ultimatum, 212;
B. calls him a “hell-hound,” 216.
Peters: Tutor to Prince Lobkowitz and co-guardian of B’s nephew, II, 326, 354; III, 10, 24, 32.
“Petit Matelot, Le”: Opera by Gaveaux, II, 36.
Petter Collection: Sketches by B., I, 274, 290; II, 118, 151, 209.
Pfeiffer, Tobias: Gives music lessons to B., I, 62, 63.
Philharmonic Society of London. (See under B., Ludwig van.)
Philidor: “Der Hofschmied,” I, 29;
his operas at Bonn, 86.
Pianoforte: Presented to B. by Erard, II, 21.
Pianoforte: Presented to B. by Broadwood, II, 390 et seq.; III, 214, 237.
Piccini: Operas “La buona Figluola;” I, 25, 26, 32;
“Le Aventure di Rodolfo,” 26;
“La Schiava,” 32.
Pictures and Music: II, 249, 262.
Pilat, Joseph: II, 359.
“Pilgrimme von Mecca, Die”: Opera by Gluck, I, 32, 108.
Pinterics, Captain: II, 235, 327; III, 32.
Piringer: III, 62, 137, 157;
torchbearer at B’s funeral, 312.
Plato: His influ ence on B., I, 213.
Pleyel, Ignatz: His quartets, II, 44;
his arrangements of Scottish songs, 70, 260.
Plittersdorf, Mme.: II, 179.
Plutarch: I, 252, 300.
Polledro: Joins B. in concert for sufferers at Baden, II, 225.
Popularity of B’s Works: II, 38.
Portenschlag, Viennese editor: II, 359.
“PrÄchtige, Der” (“Le Magnifique”): Opera by GrÉtry, I, 86.
Prague: B. plays in, I, 192;
music in, 193;
B. gives concert in, 217;
production of “Fidelio” in, II, 110;
visit of B. in 1812, 222.
Preisinger, Bass singer: III, 164.
Prelinger, Editor of a collection of B’s letters: I, 336.
Prichnowsky, Prince: II, 8.
Prieger, Dr. E.: I, 88;
owner of fragment of Wind Quintet, 206, 211;
publishes facsimile of Sonata Op. 26, 291;
reprint of original “Fidelio,” II, 45, 58.
Prince Regent of England: B. sends him “Wellington’s Victory,” II, 310, 311, 318, 336, 339; III, 112, 208.
Probst, H. A., Publisher: B offers him the Ninth Symphony and Mass in D, III, 178.
Programme Music: II, 119;
the Sonata Op. 90, 292;
B. objects to programme of the Seventh Symphony, III, 37.
Pronay, Baron von: II, 367.
Prussia, Kings of: Frederick William subscribes to Mass in D, III, 94;
offers decoration instead of money, 94, 105;
dedication of the Ninth Symphony to, 230, 233, 234;
sends B. a ring 133, 276, 282;
Frederick II reputed to be the father of B., III, 243.
PÜckler-Muskau: Bettina von Arnim’s letter to, II, 186, 188, 223.
Punto, Giovanni (Johannes Stich), Horn-player: I, 239, 267, 277.
Pyne, English singer: II, 310.
Quartet of Instruments: Presented to B., I, 354.
“Queen of Night”: B’s nickname for his sister-in-law, II, 332, 341, 393.
Rabelais: His last words and B’s, III, 305.
Raday, Count: Ruined by theatrical management, II, 154.
Radicati, Felix: II, 75.
Radichi, Singer: II, 265.
Radziwill, Prince Anton: II, 302;
his “Faust” music, 302;
subscribes for the Mass in D, III, 94, 104, 106.
Ramm, Friedrich, Oboist: I, 207; II, 33, 34.
“Raoul, Sire de Croqui”: Ballet by Vignano, I, 283.
“Raptus”: Mme. Breuning’s expression for B’s occasional state, I, 118, 120, 301; II, 182, 189.
Rasoumowsky, Count Andreas: Appeals to B. for lessons in composition, I, 273;
the Quartets composed for him, II, 65, 68, 74, 81, 104, 110, 124;
forms the Rasoumowsky Quartet, II, 125;
sketch of him, 81;
dedication of the Fifth Symphony, 162;
lasting friendship with B., 215;
his Quartet, 250;
regal entertainments at the Congress of Vienna, 300;
destruction of his palace, 301;
the Quartet, 316.
Rau, Viennese banker: Reports receipt of Philharmonic Society’s gift to B., III, 292;
reports B’s death to Moscheles, 293.
Raysbeck, Mme.: One of the favorites of Elector Joseph Clemens, I, 3, 4.
Redoutensaal: Dances for, I, 188, 289.
Reeve, Dr. Henry: Criticism on “Fidelio,” II, 52.
Reicha, Anton: I, 105;
career of 106, 117;
comes to Vienna, 288, 300;
opera “Ubaldi,” 310, 355; II, 55.
Reicha, Joseph: I, 82, 84, 105;
career of, 100, 111.
Reichardt, Johann Friedrich: Chapelmaster in Berlin, I, 196;
on Countess ErdÖdy, II, 82;
on Streicher’s pianofortes, 87, 124;
account of B’s concert, 129;
and B’s call to Jerome Bonaparte’s court, 141;
value of his letters, 165.
Reichardt, Karl August: Visits B., III, 203.
Reiss, Anton: Father-in-law of Karl v. B., II, 65.
Reiss, Theresa (Johanna): Wife of Karl Kaspar v. B., II, 65.
Reissig, C. L.: His poems, II, 147;
denounced by B., 148;
“BlÜmchen der Einsamkeit,” 160;
songs published, 195.
Rellstab, Ludwig: visits B., III, 200.
“Reue vor der That, Die”: Opera by Desaides, I, 32.
Rhine: Inundation, I, 75;
journey on, of the Electoral Chapel, 112.
“Richard Coeur de Lion”: Opera by GrÉtry, I, 226, 305.
Riemann, Dr. Hugo: Completes revision of the German edition of this biography, I, xv;
on the authenticity of the “Jena” Symphony, 211;
upholds charges against B’s brothers, 360;
asserts that B. wanted to marry Therese Malfatti, 336;
his theory concerning the love-letter, II, 239.
Ries, Anna Maria, Court singer at Bonn: I, 18, 19, 23.
Ries, Ferdinand:
Vol. I.
“Biographische Notizen,” etc., ix, xi, 90, 313, 315;
on B’s manuscripts, 141;
on his studies with Haydn, 152;
on B’s teachers, 161;
on the first performance of the Trios Op. 1, 175;
B’s riding-horse, 200;
Quintet Op. 16, 207;
Quintet Op. 29, 203, 312;
his career, 312 et seq.;
B’s kindness toward, 313;
instruction from B., 314;
arrangements of B’s works, 350;
origin of the Marches for four hands, 350;
on B’s deafness, 352;
charge of misconduct against Karl Kaspar v. B., 361;
B’s interest in him, 363;
B. aids him to employment, 366
—Vol. II.
His account of first performance of “The Mount of Olives,” 7;
his account of the first meeting between B. and Clementi, 23;
on the origin of the “Eroica,” 24;
an alleged false entry in the “Eroica,” 26;
plays at a sentimental scene for B., 29;
letters from B., 27, 28, 29, 334, 338, 340, 371, 395, 412, 413;
plays the C minor concerto, 30, 82;
significant hiatus in his book, 41;
B. greets him with lathered face, 48;
not permitted to hear a reading of “Fidelio,” 48;
conscripted, 49;
on B’s disregard of etiquette, 80, 124;
orchestra refuses to play for B., 128;
the Concertos in C minor and G, 131;
on B’s call to Cassel, 140, 310, 324, 325;
invites B. to London, 370;
relations with B.

gets B’s posthumous papers from Schindler, III, 11.
Rubini: III, 77.
Rudolf, Violinist and conductor: I, 166.
Rudolph, Archduke of Austria:
II, 79, 100;
dedication of Concerto in G, 134;
Trios, Op. 70, 132;
subscription to the annuity contract, 139;
the Sonata Op. 81, 143;
his studies with B., 147, 150, 154;
dedication of E-flat Concerto, 160;
the annuity contract, 170, 172, 212, 213, 217, 242, 306;
B. wearies of teaching him, 194, 199;
letters, 199, 206, 225, 235, 248, 250, 266, 286;
B. tells Goethe of disciplining him, 227;
and calls his duty “servitude,” 240;
compelled to quit pianoforte playing, 266;
lessons irksome to B., 381;
charged by B. with his misfortunes, 396;
installation as Archbishop of OlmÜtz, 398, 412;
dedication of Op. 101, 414;
—III, letters from B., 1, 9, 19, 20, 34;
asked to help send nephew to Landshut, 6;
his Variations, 19, 20;
urged to compose, 21;
dedication of Op. 106, 23, 25;
enthroned as Archbishop, 33, 44;
dedication of Op. 111, 50;
Variations on air by Rossini, 77, 82, 91, 94;
asked to urge subscription to Mass on Grand Duke of Tuscany and King of Saxony, 95, 96;
B. rails against him, 112;
urges B. to compose Bernard’s oratorio, 175;
dedication of the Mass in D, 212.
“Ruines de Babilone”: II, 202.
“Rule, Britannia”: II, 252.
(See Variations, in Index of Compositions.)
Ruschowitz, Constanze: I, 99.
Ruskin, John: On the imagination, III, 25.
Russia, Empress of: II, 305;
Czar subscribes for the Mass in D, III, 102, 105;
dedication of the Ninth Symphony considered, 231.
Russian Melodies: In the Rasoumowsky Quartets, II, 74;
in “Ruins of Athens,” 162.
Rust, Wilhelm: Description of B., II, 117;
on B. and the French, 146.
Rzewuska, Countess: II, 111.
Saal, Singers: I, 266.
Sacchini: His operas at Bonn, I, 86;
“La Contadina in Corte,” 26;
“L’Olimpiade,” 32;
“L’Isola d’Amore,” 108.
Saint-Foix, Georges: I, 139.
Salieri: “Armida,” I, 86;
“La Grotta di Trofonio,” 107;
“KÖnig Axur in Ormus,” 109, 163;
“Falstaff,” 227;
gives B. lessons in composition, 154, 160;
Violin Sonata dedicated to him, 163, 214;
respected by B., 241; II, 2;
“The pupil B. was here,” 64;
accused of enmity by B., 136;
conducts percussion instruments in “Wellington’s Victory,” 262.
Salm-Reifferscheid, Count: I, 73, 74.
Salomon, Jacobina: Court musician at Bonn, I, 20.
Salomon, Johann Peter: I, 19, 20, 51, 186; II, 317, 319, 324, 325, 359;
recants his opinion of the Fifth Symphony, 279.
Salomon, Philip: I, 20;
career in London, 20, 23, 110, 299.
Salzburg: Occupied by Bernadotte, II, 61.
Samaroff, Olga: I, 140.
“Samnitische VermÄhlungsfeier, Die” (“Le Mariage des Samnites”): Opera by GrÉtry, I, 31.
“Samori”: Opera by Vogler, II, 23.
“Samson”: Oratorio by Handel, II, 359.
Santerrini: Alleged teacher of B., I, 62.
“Sargino”: Opera, II, 61.
Sarti: Operas “Fra due Litiganti,” I, 86, 109;
“L’Incognito,” 86;
“La Gelosie villane,” 109.
Satzenhofen, Countess and Abbess: Mistress of Elector Max Friedrich, I, 16.
Sauerma, Countess: III, 41.
“Saul”: Oratorio by Handel, III, 219, 285.
Saxony, King of: Subscribes for the Mass in D, III, 94, 96, 99, 105.
Schaden, Dr.: Lends money to B., I, 92;
letters to, 92, 95, 96.
Schall, Captain: Amateur musician in Bonn, I, 37.
Schebek, Edmund: II, 8.
Schechner, FrÄulein, Singer: III, 287, 288.
Scheidl, Cesarius: Musical prodigy, I, 91.
Schenck, Joseph: Gives lessons to B., I, 152, 154.
Schickh, Johann: II, 359.
Schikaneder, Emanuel: His theatre, I, 164;
engages B. and Vogler to compose operas, II, 5;
an opera-text for B., 19;
sells interest in Theater-an-der-Wien, 22, 34.
Schiller: “Ode to Joy,” I, 132; II, 152, 295, 414; III, 145, 146, 148 et seq.;
B’s appreciation of, II, 147, 153;
popularity of his plays, 153;
“Die Sendung Moses,” 167;
“Die FlÜsse,” 196;
“Fiesco,” 117.
Schimon, Ferdinand: Paints B’s portrait, III, 21;
B’s preference for it, 41.
Schindler, Anton, B’s biographer: I, ix, xi;
sells memorabilia to Berlin, x;
visited by Thayer, x;
on B’s studies with Haydn, 151;
on Bernadotte and the “Eroica,” 213;
on B’s relations with the musicians in Vienna, 241;
in error about B’s want of familiarity with the orchestra, 239;
on B’s sojourn in Hetzendorf, 289;
on Hoffmeister’s edition of Bach, 303;
his theory about B’s love, 318 et seq.;
conversation with B. about Countess Guicciardi, 320;
defects as an investigator, 323;
—II, On B’s religion, 168;
division of B’s work into periods, 171;
the canon on MÄlzel and the Allegretto of the Eighth Symphony, 234;
makes B’s acquaintance, 270;
his account of the quarrel with MÄlzel disputed, 270 et seq.;
growth of familiarity with B., 327;
wrong as to B’s relations with Ries, 372;
trustworthiness as a biographer, 376;
beginning of an intimacy with B., 378;
in error as to the story of B’s noble birth, 410;
—III, Sells B’s papers to the Royal Library, 11;
praised by Horzalka, 42;
on Johann v. B, 67;
his story about Schubert and B., 79;
gets B’s papers, 93;
“L’Ami de Beethoven,” 93;
his nickname, 106;
B. calls him a scoundrel, 128, 133, 158;
on B’s drinking habits, 196;
his biography of B., 197 et seq.;
false tale of Nephew Karl’s negligence, 272;
falsification of the Conversation Books, 273, 281;
charged by B. with theft of a petty sum, 281;
gets autograph of Ninth Symphony, 281;
accuses Johann v. B. of niggardliness, 278, 293;
B. sends him a meal from his sick-bed, 295.
Schlegel: One of his texts proposed for an opera, III, 117.
Schleiermacher: His translation of Plato, I, 213.
Schlesinger, Musician: II, 125.
Schlesinger, Publisher in Berlin: III, 54;
denounced by B., 55;
accepts Mass in D, 55, 190;
B’s treatment of, 190.
Schlesinger, Moritz, Publisher in Paris: Visits B., III, 203, 204, 206.
SchlÖsser, Louis: Visits B., III, 125;
and the Mass in D, 97.
“Schmaus, Der” (“Il Convivo”): Opera by Cimarosa, I, 107.
Schmidgen: II, 125.
Schmidt, Dr. Johann: I, 278, 302, 348, 349, 353.
Schmidt, Leopold: Publishes B’s letter to Simrock, II, 13.
Schmith, Antoinette: III, 14.
Schnaps, Frau: B’s housekeeper, III, 131.
Schneider, Friedrich: Visits B., III, 18.
Schneider, Johann: Plays E-flat Concerto, II, 160.
Schneller, Julius Franz Borgias: II, 88.
Schoberlechner, Franz: III, 130.
SchÖnauer, Dr.: II, 320, 321, 331.
SchÖnbrunn, Garden of: I, 288.
“SchÖne Schusterin, Die”: Opera by Umlauf, I, 108, 142, 165, 204.
Schott and Sons, Publishers: The Mass in D, III, 55, 57, 177, 178, 189;
Quartet in E-flat, 178;
Ninth Symphony, 178;
B. asks for a gift of wine, 290 et seq.
Schreiber, Violist of Schuppanzigh Quartet: II, 41.
Schreyvogel, von: II, 304.
Schreyvogel and Rizzi: Publish catalogue of B’s works, II, 38.
Schroeder-Devrient, Mme.: III, 83, 84, 85.
Schubauer: Opera “Die Dorfdeputirten,” I, 109.
Schubert, Franz: His “ErlkÖnig,” I, 230; II, 327, 355;
III, his meeting with B., 79;
takes Rochlitz to look at B., 74;
his variations on Diabelli’s waltz, 128;
B. and his songs, 298 et seq.;
B’s remark “A divine spark dwells in S.,” 300, 301;
at B’s death-bed, 298 et seq.;
torchbearer at B’s funeral, 312;
his grave beside B’s, 312.
Schultz, Edward: Visit to B., III, 134.
Schulze, Mme., Singer: II, 330.
Schumann, Robert: Publishes letters of B., II, 183.
Schuppanzigh, Ignaz: Gives lessons on violin to B., I, 156;
his Quartet, 170, 237 et seq.;
conducts Augarten Concerts, 238, 274;
suggests gift of viols to B., 276;
author of a theme in the Quintet Op. 29, 296;
variations for two violins, 306, 316.
—II, 2;
teacher of Mayseder, 41;
his quartet concerts, 41;
Augarten Concerts, 42, 172;
B’s joke on his marriage, 105, 125, 150, 167;
goes to Russia, 327, 337.
—III, 24, 75, 126;
and the last Quartets, 139, 156, 157, 184;
fails in E-flat Quartet, 193, 294, 312.
Schuster: Operas “Der Alchymist,” I, 31, 107, 108;
“Die Geitzigen in der Falle,” 108;
“Dr. Murner,” 108.
Schwachhofer, Mme., Court Singer: Disciplined by B’s grandfather, I, 20.
Schwarzenberg, Prince: I, 168, 172, 208;
dedication of Quintet Op. 16, 290; II, 98.
Schwarzendorf (Martini): I, 87.
Scott, Sir Walter: I, 252; II, 214, 194;
B. reads his novels on his death-bed, III, 282.
“Seasons, The”: Oratorio by Haydn, I, 171; II, 120.
Sebald, Amalie: B’s relations with, I, 337; II, 205;
letter from B, 228;
inscription in her album, 229;
B’s infatuation for, 239, 343.
Sebald, Auguste: II, 205.
Sedlaek, Jean, Flautist: III, 208.
“Seidenen Schuhe, Die”: Opera by Fridzeri, I, 32.
“Serva Padrona, La”: Opera by Pergolesi, I, 108.
Sessi, Mme., Singer: II, 2, 215.
Seume: His poem “Die Beterin” and the C-sharp minor Sonata, I, 292, 339;
B. visits his grave, II, 205.
“Seven Last Words”: Cantata by Haydn, I, 214.
Seyfried, Ignaz von: “Beethoven’s Studies in Thoroughbass,” I, 159, 215, 249; II, 147, 152, 183;
on B’s playing, I, 216;
on the character of his brothers, 361; II, 2, 6;
and the C minor Concerto, 7;
conducts rehearsals of “Fidelio,” 51;
asked by B. to conduct the opera, 61;
his description of B., 93 et seq.,
on the first performance of the Choral Fantasia, 130, 131;
his writing for four horns, 285;
music for “Moses,” 297, 358, 388; III, 157;
arranges and composes music for B’s funeral and is pallbearer, 312.
Seyler’s Dramatic Co.: I, 28, 30, 35.
Shakespeare: Recommended by B., II, 176.
Shedlock, J. S.: I, 205, 208, 210, 261, 290; II, 102; III, 13.
Siboni, Tenor: II, 215, 267.
“Silvain”: Musical comedy by GrÉtry, I, 26, 86.
Simonetti, Tenor of Electoral Chapel: I, 112.
Simoni, Singer in Vienna: I, 282.
Simrock, Nicolaus, Court Hornist in Bonn: I, 24, 51, 105;
B’s association with him as publisher, 183 (see Mass in D);
letters, 8, 183; II, 21;
B. offers him compositions, II, 105;
the Mass in C, 142;
association with B. in Vienna, 343, 345; III, 39, 44, 53 et seq.; 56.
Sina, Louis, Violinist: I, 170.
Singakademie, in Berlin: B. plays for, I, 196; II, 205;
invited to subscribe for the Mass in D, III, 104, 180.
Sinsendorf (Zinzendorf?), Prince: I, 172.
Smart, Sir George: Visited by Thayer, I, xi, III, 208; II, 309;
produces Mass in C in London, 310, 311, 351, 302, 347, 348, 370;
visits B. in Vienna, III, 206 et seq.; 289, 389.
Smetana, Dr.: Performs surgical operation on Nephew Karl, II, 341;
prescribes for B’s deafness, 85;
informed by B. of nephew’s attempt at suicide, 259, 274.
Smith, John, of Glasgow: III, 16.
Sobieski, John: I, 7.
“Soliman II”: Opera by SÜssmayr, I, 227.
Soltikoff, Count: II, 75.
Sonneck, O. G.: I, xviii.
Sonnenfels, Joseph Noble de: Dedication of Sonata Op. 28, I, 293.
Sonnleithner, Christoph von: II, 34.
Sonnleithner, Ignaz von: III, 251.
Sonnleithner, Joseph von: On Zmeskall, I, 230;
Secretary of Court Theatres, II, 23;
his career, 34.
Sontag, Henrietta: III, 77, 139, 153, 162, 164.
“Sophonisba”: Opera by Neefe, I, 31.
Spain: B’s desire to travel in, II, 142.
Spaun, Baron: I, 338.
Spazier: I, 305; II, 1.
Spencer, Herbert: On billiard-playing, III, 253.
Speyer, E.: II, 216.
“Spiegel von Arkadien”: Opera by SÜssmayer, II, 49.
Spina: Gets B’s Broadwood Pf., II, 392.
Spohr, Ludwig: His accounts of B’s conducting, II, 128, 257;
his opinion of Rode, 235;
his intercourse with B., 236;
on B’s music and playing, 269;
B’s opinion on his music, III, 203.
Spontini: Opera “La Vestale,” II, 36, 202, 296; III, 139;
B’s opinion of his music, 203.
Sporchil, Johann: Submits opera-text to B., III, 118.
Stadler, AbbÉ: I, 376;
statement as to Trio of Seventh Symphony, II, 216;
anecdote, 234;
canon, 236.
Starcke, Friedrich: The Bagatelles, III, 48.
Staudenheimer, Dr., B’s physician: Sends him to Karlsbad, II, 223; III, 39, 199, 273, 276.
Stauffen, Franz, Youthful pianist: II, 327.
Steibelt, Daniel: Comes to Vienna, I, 268;
encounter with B., 268;
composes battle music, II, 252.
Stein, Pianoforte maker: I, 88, 91, 92.
Stein, Friedrich, Pianist: II, 117;
and Concertos in C minor and G, 131.
Stein, Dr. Fritz: Publishes the “Jena” Symphony, I, 211.
Stein, Nanette. (See Streicher, Nanette.)
Stein, MatthÄus: II, 87.
Steiner, Sigmund Anton (and Steiner and Co.): II, 279, 364;
III, lends B. money, 21;
canon, “Hol’ euch der Teufel,” 23;
letter, 38;
duns B. for money, 38, 58, 59, 71, 114, 184;
friction with B., 234;
torchbearer at B’s funeral, 312.
“Steinerne Braut, Die”: Opera by Liechtenstein, I, 305.
Sterkel, AbbÉ: I, 113.
Stich, Johann Wenzel. (See Punto.)
Stieler, Joseph: Paints B’s portrait, III, 41.
Storck: I, 336.
Streicher, Andreas: I, 91, 92;
collects funds for Bach’s daughter, 308; II, 391; III, 180;
torchbearer at B’s funeral, 312.
Streicher, pianofortes: II, 87.
Streicher, Nanette: II, 87;
puts B’s house in order, 244;
letter from B., 394.
Stummer, FrÄulein, Singer: Marries Count Lichnowsky, II, 291.
Stumpf, Pianoforte tuner of London: II, 391.
Stumpff, Johann: His visit to B., III, 181 et seq.;
gives Handel’s scores to B., 182, 277, 289, 290, 291.
Sturm, Christian: “Beobachtungen Über die Werke Gottes, etc.,” I, 252; II, 55, 165.
Stutterheim, Baron von: Gives Nephew of B. cadetship, III, 264;
dedication, 297.
Sulkowsky, Prince: I, 20.
Sumner, Charles: Recommends Thayer for consulship, I, x.
“SÜndfluth, Die”: Oratorio, II, 156.
SÜssmayer, F. X.: I, 165, 188;
“Soliman II.,” 327; II, 2;
“Spiegel von Arkadien,” 49.
Sweden, King of: Subscription for the Mass in D, III, 102.
Sweden, Royal Academy of: Elects B. Hon. Mem., 130, 163.
“Swetard’s ZaubergÜrtel”: Opera by Fischer, II, 49.
Swieten, Gottfried Freiherr von: I, 171;
bids B. bring his night-cap, 175, 205;
dedication of First Symphony, 228, 290.
Swift, Dean: I, 4.
Swinburne, Henry: Description of Bonn and its Electors, I, 16, 78.
“Tage der Gefahr, Die.” (See Les deux JournÉes.)
“Tantum ergo sacramentum”: III, 116.
“Tartarische Gesetz, Das”: Opera by d’Antoine, I, 31.
Taxis, Mme. de: I, 16.
Tayber, Anton: III, 115.
Teimer, brothers: I, 206.
Telemann: I, 13;
his fluency in composition, 85.
Tenger, Mariam: “Beethoven’s unsterbliche Geliebte,” I, 338.
Teplitz: B’s visit to, II, 202, 204 et seq.;
meeting-place of political magnates, 221;
B’s second visit in 1812, 222.
Teutonic Order: Clemens August elected Grand Master of, I, 7;
opens the strong box, 8;
Duke Karl of Lorraine Grand Master, 77, 98;
Count Waldstein admitted to membership, 101, 111;
Stephan von Breuning receives appointment in, 198;
Archduke Karl elected coadjutor to Grand Master, 288;
B. advises Breuning to enter the service, 303.
Teyber: II, 3.
Thalberg, Sigismund: His account of the performance of the Ninth Symphony, III, 166.
Thayer, Alexander Wheelock: Vicissitudes of his biography of B., I, vii et seq.;
the “Chronologisches Verzeichniss,” ix, 74, 75;
sketch of his life and labors, ix et seq.;
connected with the “New York Tribune,” ix;
second visit to Europe, x;
receives funds for research work, x;
visits all surviving friends of B., x;
employed at U. S. Legation in Vienna, x;
appointed Consul at Trieste, x;
his purposes, xi;
why the work was published in German, xii;
writes book on the Exodus of the Jews, xiii;
also on Bacon and Shakespeare, xiii;
his discoveries accepted, xiv;
labor unremunerated, xiv;
death of, xiv;
publication of this work delayed by the World War, xviii;
promoted by the Beethoven Association of New York, xviii;
his work on the Conversation Book, III, 12;
defence of Johann v. B., 68;
on the commission from the Handel and Haydn Society of Boston, 88;
visits Sir George Smart, 208 et seq.
Thomas-San-Galli, Dr. Wolfgang: His book on B’s love-affairs, I, 337; II, 239.
Thomson, George, Publisher of National Songs: II, 17 et seq.; 69, 156, 259, 363, 415; III, 16.
Thun, Princess Christiane: I, 181, 225.
Thun, Countess Elizabeth: II, 81.
Thun, Countess: I, 244;
dedication of Pf. arrangement of “Prometheus,” I, 290.
Thun, Count Franz Joseph von: I, 181.
Tiedge: B’s association with him at Teplitz, II, 204, 206, 208.
Tiller, Theresia: Sells apothecary shop to Johann v. B., II, 115.
“Timotheus”: Oratorio by Handel, II, 216.
“Tod Jesu”: Oratorio by Graun, II, 89.
Tomaschek: Describes B’s Pf. playing, I, 217, 257;
on “Wellington’s Victory,” II, 256;
meeting with B., 297.
Tomasini, Luigi, Singer: II, 2.
Touchemoulin: Court Chapelmaster in Bonn, I, 17, 46.
Trautmannsdorf, Prince: I, 172.
“Tre Amanti ridicoli, Li”: Opera, I, 27.
Treitschke, Georg Friedrich: II. 35;
revises text of “Fidelio,” 264;
“Gute Nachricht,” 268, 270, 302, 317;
letters, 273, 277, 281, 284;
“Romulus and Remus,” 304, 381;
“Die Ehrenpforten,” 317.
Tribolet, Mme.: I, 200, 242.
“Tribune, The New York”: Thayer on its editorial staff, I, ix;
W. H. Fry, musical critic, 358; III, 68.
“Trionfo d’Amore”: Opera by Dutillier, I, 165.
“Trofonio’s ZaubergÜrtel” (“Grotta di Trofonio”): Opera by Salieri, I, 107.
Truchsee-Waldburg, Count: II, 124.
Tschiska, Dr.: III, 3.
TÜrkheim, Anton von: I, 288; III, 97.
Tuscany, Grand Duke of: Subscribes for the Mass in D, III, 95, 101, 105.
Tuscher, Matthias: one-time guardian of the nephew, III, 4, 5, 7, 30.
Ulm: Captured by the French, II, 51.
Umlauf, Ignaz: “Die schÖne Schusterin,” I, 108, 165, 204;
saves performance at which B. conducts, II, 263;
conducts “Fidelio,” 279; III, 157.
Ungermann, Police Director: III, 132.
Ungher, Caroline: III, 77, 78, 161, 162, 164, 166.
“Unterbrochene Opferfest, Das”: Opera by Winter, I, 227.
“Van”: not a predicate of noble birth, II, 404, 408.
Van den Eeden, Heinrich: I, 5;
appointed second Court Organist at Bonn, I, 10;
salary increased, 10, 25;
gives lessons to B., 61, 62, 64;
death of, 69.
Vanhall, Joseph, Composer: I, 173.
Varena, Ritter von: II, 205;
asks for music for Ursulines at Gratz, 214;
B’s letters to, II, 218, 246, 247, 249.
Varnhagen von Ense: His account of B’s sojourn at Teplitz, II, 204, 222, 302.
Vering, Dr.: Treats B., I, 300, 302, 348.
“Vestale, La”: Opera by Spontini, II, 36, 296; III, 139.
“Vesta’s Feuer”: Opera by Weigl, II, 49.
Victoria, Princess of England: Wedding hymn on her marriage to Frederick III of Prussia, III, 13.
Vienna: B’s first visit to, I, 89;
second journey, 124;
route travelled and incidents, 126;
arrival in the city, 128, 146;
state of music in, at the time, 163 et seq.;
theatres, 163 et seq.;
church music, 165;
performing musicians, 170;
composers, 172, 174;
private theatres, 173;
B’s position in Society, 174 et seq.
—II, Music in 1803, 2;
lapse of public concerts, 42;
entered by French, 52;
administration of the Court Theatres, 98;
B. appointed composer for the theatres, 98;
appreciation of his music in the city, 116;
arrival of friends in 1808, 124;
popular attitude toward B., 126;
beleaguered and occupied by the French, 144, 145;
tax on dwellings, 146, 150;
under French, 149;
direction of the theatres assumed by Lobkowitz and Palffy, 201;
B. made Hon. Citizen of the city, 325;
its journals and their treatment of B., 358.
—III, Society of Merchants elects B. Hon. Mem., 21;
taste denounced by B., 202.
Vigano, Salvatore: Ballet “Le Nozze disturbata,” I, 188;
sketch of, 283;
ballet “Raoul, Sire de Croqui,” 283;
“Prometheus,” 284 et seq.
“Villanella di spirito, La”: Opera, I, 108.
Viotti: II, 12.
Vivenot, Dr.: Summoned to B. at last sickness, III, 273.
Vogl, Johann Michael: I, 230.
Vogler, AbbÉ Georg Joseph: In Bonn, I, 123;
engaged to compose operas in Vienna, II, 2, 4;
“Hermann von Staufen” and “Hermann von Unna,” 4, 12;
his extempore playing, 15;
his opera “Samori,” 23.
Volbach: I, 337.
Volta, Violinist: II, 125.
Von der Recke, Countess: II, 204, 208, 222.
Waldstein, Count Emanuel Philip: I, 101.
Waldstein, Count Ferdinand Gabriel: B’s first meeting with, I, 93 et seq.; 101, 102;
knighted by Max Franz, 102;
absolved from his vow of celibacy and marries, 103;
his aid to B., 103, 117;
the book of the “Ritter-Ballet,” 108, 122;
inscription in B’s album, 126;
The “Ritter-Ballet,” 133;
family connections of, 174, 244;
second marriage of, II, 111, 146; III, 24.
(See Sonata Op. 53.)
Walkowski: II, 305.
Walter: I, 355.
Wartensee, Xaver Schneider von: II, 381.
Wasielewski: I, 208.
Wawruch, Dr.: In attendance on B. at his last illness, III, 273 et seq.;
B’s dissatisfaction with him, 283;
report on B’s illness and death, 275 et seq.
Weber, Carl Maria von: I, 112;
his first visit to Vienna, II, 23;
interest in Amalie Sebald, 205;
produces “Fidelio” in Dresden, III, 129;
visits B., 136 et seq.;
“Der FreischÜtz,” 131, 135, 137;
“Euryanthe,” 131, 137, 139, 140.
Weber, Dionysius: II, 282.
Weber, Franz Anton von: I, 112.
Weber, Gottfried: Publishes letters by B., II, 183, 384;
attacks authenticity of Mozart’s “Requiem,” 235.
Weber, Max Maria von: III, 138.
Weber, W.: Sells publishing rights in Thayer’s biography to Breitkopf and HÄrtel, I, xv.
Wedding Song: Arranged for the wedding of Princess Victoria of England and Frederick III of Prussia, III, 13.
Wegeler, F. G.: His “Biographische Notizen,” I, ix, xi, 79, 89, 94, et seq.; 99, 117;
comes to Vienna, 179;
his account of B’s status there, 180;
letters from B., 181, 182;
on B. as a lover, 182, 186;
said to have recommended B. as teacher to the Breuning family, 100;
on Count Waldstein, 102;
on B’s susceptibility to women, 122;
letters from B., 299, 301;
error in date of an important letter, 308.
—II, B. asks him to get the certificate of his baptism, 177;
publication of B’s letters, 183.
—III, 197, 214, 288, 297.
Wegeler, Karl: I, 96, 102, 181.
Weigl, Joseph, Chapelmaster and composer: I, 163;
“L’Amore marinaro,” 225;
respected by B., 241;
“Corsar aus Liebe,” 268;
the same, II, 2;
“Die Schweizerfamilie,” 2;
“Vesta’s Feuer,” 49, 279;
pallbearer at B’s funeral, III, 312.
Weimar, Grand Duke of: The Mass in D, III, 98;
B. contemplates a visit to, II, 198.
Weinkopf: Singer in first performance of “Fidelio,” II, 50.
WeinmÜller, Bass singer: II, 267, 285, 286.
Weiss, Franz, Viola player: I, 170, 274; II, 125, 337.
Weiss, Dr. Leopold: II, 303.
Weiss, Pater: Attempts to cure B’s deafness, II, 96; III, 85.
Weissenbach, Dr. Alois: His “Reise zum Congress,” I, 263;
description of B., II, 293;
his dramas, 293;
“Der glorreiche Augenblick,” 294.
Weissenthurm, Mme.: I, 133.
Werner, Zacharias: III, 44.
Wesley, Samuel: II, 12.
Westerholt, Count Friedrich Rudolph Anton: And his family, I, 121, 137.
Westerholt, FrÄulein: I, 120, 121, 122.
Westphalia. (See Bonaparte, Jerome, and Cassel.)
Wheeler, U. S. Consul: Interviews Julius Merz concerning the Bettina-B. letters, II, 184, 185.
Wieck, Friedrich: Visits B., III, 236.
Wild, Singer: II, 305, 338.
Willcox, E. S.: I, xiii.
Willmann, Magdalena: I, 200, 235;
career of, 242;
receives proposal of marriage from B., 242;
marriage and death of, 243, 282, 330, 337.
Willmann, Max: I, 242.
Wimpfen, Countess: III, 110.
Winneberger: Chapelmaster at Wallenstein, I, 114.
Winter: Opera “Das unterbrochene Opferfest,” I, 227.
Winter, Karl: Judge of the Austrian Court of Appeals, III, 29.
Wolanek, Copyist: Excites B’s ire, III, 191.
Wolf: Opera “Das Rosenfest,” I, 32.
WÖlffl, Joseph, Pianist: I, 214;
his playing compared with B’s, 215;
dedicates Sonata to B., 217.
Wolfmayer, Johann Nepomuk: Substitutes new coat for B’s old, III, 230;
pays B. for a Requiem which is never composed, 220, 296;
torchbearer at B’s funeral, 312.
Wranitzky, Anton: II, 125.
Wranitzky, Paul: I, 165;
“Oberon,” 165;
“Das WaldmÄdchen,” 210.
WÜrfel, Chapelmaster: Pallbearer at B’s funeral, III, 312.
WÜrth and Fellner: Organize concerts in Vienna, II, 42.
Wyzewa, Theodore: I, 139.
Yellowhammer: Song of, in the “Pastoral” Symphony, II, 120, 121.
Zambona: Gives B. lessons in Latin, I, 65.
“ZauberflÖte, Die”: Opera by Mozart, I, 164, 226, 304.
Zeithammer, Dr. Ottokar: The Lobkowitz cantata, II, 354.
“Zelmira”: Opera by Rossini, III, 20, 77.
Zelter, Karl Friedrich: Association with B., III, 16, 18, 104, 110.
“ZÉmire et Azor”: Opera by GrÉtry, I, 32, 86.
“Zemire und Azor”: Opera by Neefe, I, 36.
Zenser: Reputed to have taught organ to B., I, 64.
Zichy, Count Stephen: II, 98.
Zingarelli: Opera “Romeo and Juliet,” II, 172.
Zitterbarth: Buys interest in Schikaneder’s theatre, II, 22.
Zizius, Dr. Johann: II, 88.
Zmeskall von Domanovecz, Nicolaus: I, 192, 230;
his posthumous papers, 236, 273;
B. asks his aid in purchase of pianoforte, 355;
letters from B., 231; II, 88, 97, 144, 155, 174, 208, 217, 245, 246, 247, 248, 262, 271, 330, 349; II, 113, 144;
the Quartet in F minor, 193, 351;
and M

Index to Compositions

(a) WORKS FOR ORCHESTRA ALONE

Symphonies:

No. 1, C major, Op. 21—Date of composition, I, 227, 266, 267, 272, 277, 282, 286, 290; II, 6, 39, 42;
arranged as Pf. Quintet, I, 228.
No. 2, D major, Op. 36—I, 140, 354, 364, 365, 371; II, 6, 39, 42, 73, 112, 113;
arranged as Pf. Trio, II, 40;
arranged as Quintet, II, 113.
No. 3, E-flat major, Op. 55 (“Eroica”)—I, 212; II, 14, 20, 24 et seq.; 33, 40;
first public performances of, 42 et seq.; 66, 67;
publication of, 77, 112, 116, 149, 369; III, 50;
arranged for Pf. Quartet, II, 113.
No. 4, B-flat major, Op. 60—II, 68, 73, 76, 101, 112, 116, 122, 123, 162, 166, 371.
No. 5, C minor, Op. 67—I, 307; II, 73, 76, 107, 109, 113, 123, 126, 127, 129, 132, 141, 162, 166, 186;
correction of error in Scherzo of, 192; 216, 250, 334, 348, 369, 379; III, 50.
No. 6, F major, Op. 68 (“Pastoral”)—I, 349, 354; II, 73, 110, 119, 120;
country musicians parodied in Scherzo, 121, 122; 127, 131, 141, 162, 166, 209, 316; III, 14, 50.
No. 7, A major, Op. 92—II, 151, 152, 166, 216;
melody of the Trio, 216; 237, 257;
Allegretto repeated at the first performance, 258; 267, 299, 311, 312, 313, 318, 319, 324, 325, 334, 337, 339, 340, 347, 348, 350, 352, 353, 356, 357, 367; III, 14, 37, 50, 144, 302.
No. 8, F major, Op. 93—II, 152, 166, 232;
the Allegretto and the canon on MÄlzel, 234 et seq.; 237, 240, 267, 268, 311, 312, 313, 318, 357, 388; III, 144.
No. 9, D minor, Op. 125 (with vocal solos and chorus)—I, xi;
trombone parts, II, 7; 73, 90, 133, 152, 378, 411, 414; III, 15, 22, 87, 95;
and the Philharmonic Society of London, 110 (see “London Philharmonic Society” under Beethoven, Ludwig v.); 128, 132;
composition, first performance, repetition, 144 et seq.;
origin of the theme of the Scherzo, 145;
B.’s doubts concerning the finale, 152, 153;
address to B. by his friends, 153 et seq.;
a conspiracy to further the performance, 158, 159;
trouble about orchestra leader, 157, 160;
the solo singers, 162, 164;
rehearsals, 163;
programme of the concert, 164;
incidents of the first performance, 165 et seq.;
financial failure and B.’s disappointment, 167;
B. upbraids his friends and dines alone, 167;
the second performance, 168 et seq.; 170;
offer of score to Schott, 177;
offer to Probst, 178;
performed at Aix-la-Chapelle, 188;
Smart gets tempi from B., 208, 209;
the recitatives, 209, 226;
dedication, 231 et seq.;
metronome marks, 244, 292;
the autograph manuscript, 266.
“Wellington’s Victory, or The Battle of Victoria,” Op. 91—II, 251 et seq.; 262 et seq.; 259, 267, 268, 271, 272, 283, 290, 299, 309, 310, 311, 312, 313, 318, 319, 324, 325, 335, 339, 340, 353, 356; III, 113, 208, 211.
“Jena”—I, 211.
Sketches for uncompleted symphonies—A “Tenth,” II, 414; III, 221 et seq.;
in B minor, II, 310, 328;
in C minor, I, 210.

Overtures, Ballets, Marches, Dances, etc.:

Overture, “Coriolan,” Op. 62—II, 101, 102, 105, 112, 117, 124, 127, 133, 172, 209, 216, 268, 284.
Overture in C, Op. 124, “Consecration of the House.” (See Weihe des Hauses, under (c) Choral Works, etc.)
Overture to “Fidelio.” (See “Fidelio.”)
Overtures, “Leonore,” Nos. 1, 2 and 3. (See “Fidelio.”)
Overture in C, Op. 115—II, 292, 296, 302, 303, 311, 312, 313, 316, 327, 334, 335, 413; III, 50.
Overture to “KÖnig Stephan” (“King Stephen”), Op. 117—II, 208, 209, 213, 214, 218, 246, 313, 316, 334, 413; III, 57, 70, 72.
“Ritter-Ballet”—I, 108, 111, 117, 133, 142.
Ballet, “Die GeschÖpfe des Prometheus” (“The Men of Prometheus”), Op. 43—I, 280;
history of, 283 et seq.; 290, 304, 364, 370; II, 5, 39, 52, 102, 112, 216, 356; III, 14.
Dances for the Ridotto Room—I, 188, 192, 202, 210, 211, 289.
Contradances and “LÄndrische”—I, 289, 364, 365.
Écossaises (Twelve) for Strings with Wind ad lib.—II, 113.
Écossaise for Military Band—II, 194.
“Gratulatory Minuet”—III, 64, 80, 82, 89.
Polonaise for Military Band—II, 194.
Waltzes for Strings with Wind ad lib.—II, 113.
Waltzes, for a Country Band—III, 22.
Military March, in D—II, 356; III, 142.
Military Marches, in F—II, 160, 162, 195; III, 64, 141.
Funeral March for “Leonore Prohaska,” arranged from the Sonata Op. 26—II, 298, 299; III, 312.
Rondino for Wind-instruments—I, 134.
Triumphal March, for KÜffner’s “Tarpeja”—II, 245, 250, 259; III, 58.
Equale for Three Trombones—II, 237;
arranged for voices and sung at B.’s funeral, III, 311.

(b) INSTRUMENTAL SOLOS WITH ORCHESTRA

Concertos, etc.:

Allegro con brio, for Violin, in C, completed by Hellmesberger—I, 136.
For Violin, in D major, Op. 61—II, 76, 103, 104, 112, 134, 162, 166;
arranged for Pianoforte—I, 350; II, 103, 104, 112, 134.
For Pianoforte, in E-flat (Youthful)—I, 75.
For Pianoforte, in D major (Youthful)—I, 136.
For Pianoforte, in C, No. 1, Op. 15—I, 137, 177, 185, 217, 222, 224, 244, 272, 287, 289; II, 39, 90.
For Pianoforte, B-flat major, No. 2, Op. 19—I, 136, 144, 177, 184, 185, 188, 208, 217, 222, 224, 225, 226, 272, 275, 286, 287, 290, 299; II, 39; III, 50, 279.
(See Rondo in B-flat.)
For Pianoforte, in C minor, No. 3, Op. 37—I, 270, 277, 364; II, 6, 7, 30, 32, 37, 39, 42, 131.
For Pianoforte, in G major, No. 4, Op. 58—II, 56, 66, 67, 68, 73, 74, 101, 110, 131, 134.
For Pianoforte, in E-flat major, No. 5, Op. 73—II, 133, 147, 149, 150, 159, 160, 192, 199, 209, 215, 216.
For Pianoforte, Violin and Violoncello, Op. 56—II, 40, 56, 73, 80, 113, 117.
Romance for Violin, in G, Op. 40—II, 20, 25, 26; III, 59.
Romance for Violin, in F, Op. 50—I, 140; II, 25, 26, 55; III, 59.
Rondo for Pianoforte, in B-flat, completed by Czerny—I, 223.
Sketches for Pianoforte Concerto in D—II, 328.

(c) CHORAL WORKS AND PIECES FOR SOLI AND CHORUS

Abschiedsgesang, for Men’s Voices—II, 303.
“Ah, perfido! spergiuro,” Scena for Soprano and Orchestra, Op. 65—I, 143, 206, 209; II, 6, 56, 129.
Birthday Cantata for Archduke Rudolph—III, 25.
Bundeslied, for Soprano and Orch.—III, 64, 141.
Cantata on the Death of Cressener (Youthful)—I, 65.
Cantata on the Death of Joseph II—I, 130.
Cantata on the Elevation of Leopold II—I, 130, 131.
“Christus am Ölberg,” Oratorio, Op. 85—I, 143, 289, 364; II, 2;
first performance of, 5 et seq.;
criticism of, 8, 35; 45, 52, 74, 156, 199, 204, 210, 246, 250, 309, 310, 327; III, 50, 174, 189, 208.
“Der glorreiche Augenblick,” Cantata, Op. 136—II, 294, 299, 300, 303, 305, 313, 318, 333, 339, 352.
“Egmont,” incidental music for, Op. 84—Commission for, II, 153, 166;
composition and first performance of, 171, 181, 192, 194, 197, 198; 209, 214, 216, 224, 238, 268; III, 75.
Elegiac Song, for four Voices and Strings, composed in memory of Baroness Pasqualati, Op. 118—II, 288, 303; III, 58.
“Es ist vollbracht,” Chorus for “Die Ehrenpforten”—II, 317, 328.
Fantasia for Pianoforte, Chorus and Orchestra, Op. 80—I, 203; II, 90, 127, 129 et seq.; 131, 133, 136, 160, 166, 192, 199;
dedication of, 207; 209, 369, 388; III, 177.
“Fidelio,” Opera, Op. 72—I, 145, 230, 263, 320; II, 19, 20, 35, 40;
composition of, 41; 45 et seq.;
first performance, 49 et seq.;
criticisms, 52;
first revision of, 53, 55, 56;
repetition and revision, 57 et seq.;
overtures, “Fidelio” and “Leonore” Nos. 1, 2 and 3, 58 et seq.; 60, 110, 111, 278, 279;
RÖckel’s account of the withdrawal of, 63;
Salieri’s advice asked and rejected, 64;
Milder-Hauptmann and the great scena, 64;
Cherubini’s opinion, 63, 64;
offered to Berlin, 64;
Pf. score offered to Breitkopf and HÄrtel, 66;
sketches for, 73, 100;
in Prague, 110;
revival in 1814, 263 et seq.; 268, 273 et seq.; 280;
publication as “Leonore,” 285 et seq.;
Pf. score by Moscheles pirated, 283; 284, 285;
“Abscheulicher,” 285; 286, 293, 296, 303, 305, 307, 311, 313, 318, 330, 350, 351, 352, 353, 381; III, 82 et seq.; 117;
in Dresden, 129 et seq.; 139, 202, 288.
“Germania, wie stehst Du jetzt,” Chorus—II, 269, 277, 279, 302, 303, 317.
“Ihr weisen GrÜnder,” Chorus—II, 288, 292, 303.
“Leonore Prohaska,” incidental music for—II, 298, 303.
“Lob auf den Dicken,” jest on Schuppanzigh—I, 238.
Mass in C major, Op. 86—II, 107 et seq.; 108, 112, 127, 142;
performed at Troppau, 208; 223, 238, 310; III, 103.
Mass in D major, Op. 123 (Missa Solemnis)—I, 320; II, 398, 411, 414; III, 15, 21, 22, 37;
B. gets advance on, 39, 41, 42;
negotiations with Simrock, 44 et seq.; 48, 51 et seq.; 71, 72, 86;
history of the composition, subscription and publication, 89 et seq.; 105;
sold to Diabelli, 107;
contract cancelled, 108;
additional numbers to, 116, 151, 162;
first performance, 164 et seq.; 169, 174;
publication of, 177 et seq.;
offered to Probst, 178;
sold to Schott, 177, 180;
dedication, 212, 226;
metronomic marks for, 296.
Sketches for a Mass in C-sharp minor—III, 63, 116, 117, 141.
“Meeresstille und glÜckliche Fahrt,” Cantata, Op. 112—II, 300, 310, 327, 328.
“Mit MÄdeln sich vertragen,” Song with Orchestra. (See Songs.)
“Mount of Olives, The.” (See “Christus am Ölberg.”)
“Opferlied,” for Soprano, Chorus and Orchestra, Op. 121b—I, 203, 275, 364; III, 64.
“Praise of Music, The” and “Preis der Tonkunst.” (See “Der glorreiche Augenblick.”)
“Primo Amore,” Song with Orch.—III, 58.
“PrÜfung des KÜssens.” (See Songs.)
“Rasch tritt der Tod,” Chorus of Monks from Schiller’s “William Tell”—II, 365, 368, 388.
“Ruinen von Athen” (“The Ruins of Athens”), incidental music for, Op. 113—II, 161, 201, 207, 208, 209, 213, 214, 216, 246, 249, 262, 264, 278, 311, 313, 316, 334; III, 57, 70, 71, 79, 80;
B.’s “Little opera,” 118; 189.
Airs from “Die schÖne Schusterin”—I, 204, 224.
“Tremate, empj, tremate,” Terzetto with Orch., Op. 116—I, 365; II, 6, 267, 302, 313; III, 169.
Un lieto Brindisi, for four Voices and Pf.—II, 280, 302.
“Weihe des Hauses, Die,” incidental music for;
Overture, Op. 124—II, 26; III, 57, 79, 80, 81, 89, 111, 146, 162, 165, 226;
“Wo sich die Pulse,” Chorus, III, 72, 80.
Canons and Rounds: “Alles Gute, alles SchÖne,” III, 25;
“Ars longa” (for Hummel), II, 338;
“Airs longa” (for Smart), III, 211;
“Bester Graf,” III, 115;
“Das SchÖne zu dem Guten,” III, 140, 202;
“Doktor, sperrt das Thor,” III, 200;
“Edel sei der Mensch,” III, 110, 126;
“Freu’ dich des Lebens,” III, 211;
“Gedenkt heute an Baden,” III, 90;
“Gehabt euch wohl,” III, 90;
“Glaube und hoffe,” III, 23;
“GlÜck fehl Dir,” II, 363;
“GlÜck zum neuen Jahre,” II, 328, 356; III, 21, 22;
“Grossen Dank,” III, 131;
“Hier ist das Werk,” III, 246;
“Hol’ euch der Teufel,” III, 22;
“Hoffmann, sei ja kein Hofmann,” III, 35, 190;
“KÜhl, nicht lau,” III, 204;
“Kurz ist der Schmerz” (for Naue), II, 259;
“Kurz ist der Schmerz” (for Spohr), II, 303;
“Lerne schweigen, O Freund,” II, 328, 333, 389;
“Muss es sein?”, III, 224, 244;
“O Tobias,” III, 43, 90;
“Rede, rede,” II, 328, 333;
“Sankt Petrus war ein Fels,” III, 32;
“Schwenke dich,” III, 182, 190;
“Signor Abbate,” III, 236;
“Ta, ta, ta, lieber MÄlzel,” II, 234 et seq.;
“Te solo adoro,” III, 143;
“Tugend is kein leerer Name,” III, 90.

(d) INSTRUMENTAL DUOS, TRIOS, QUARTETS, etc.

“Duet mit zwei AugenglÄsern,” for Viola and Violoncello—I, 205.
Duo for Clarinet and Bassoon—I, 205.
Duo, Arrangement of Trio Op. 3 for Pf. and Violoncello, Op. 64—II, 113.
Duo for two Flutes—I, 134.
Polonaise from Serenade in D, arranged for two Violins—II, 113;
the same arranged for Violin and Guitar—II, 113.
Trios (Three) for Pf., Violin and Violoncello in E-flat, G, and C minor, Op. 1—I, 130, 132, 137, 144, 145, 160, 175, 180, 185, 186, 208, 271; II, 326, 374, 388; III, 23, 40.
Trio for Violin, Viola and Violoncello, in E-flat, Op. 3—I, 134, 135, 145, 180, 187, 200, 204, 206, 221.
Trio in D (Serenade) for Violin, Viola and Violoncello, Op. 8—I, 202, 208; II, 113.
Trios (Three) for Violin, Viola and Violoncello, in G major, D major and C minor, Op. 9—I, 209, 221, 225, 271; II, 77.
The same, arranged for Pf. and Strings by Ries—I, 350; II, 77.
Trio for Pf., Clarinet (or Violin) and Violoncello, in B-flat major, Op. 11—I, 225, 244.
Trio (Serenade) for Flute, Violin and Viola, in D major. Op. 25—I, 207, 208, 364; II, 20.
Trio for Pf., Clarinet (or Violin) and Violoncello, in E-flat, Op. 38 (arrangement of the Septet, Op. 20)—I, 350; II, 55.
Trio for Pf., Violin and Violoncello, in E-flat, Op. 63 (arrangement of the Quintet, Op. 4, which see).
Trios (Two) for Pf., Violin and Violoncello, in D major and E-flat, Op. 70—II, 131, 132, 141, 162; III, 207.
Trio for two Violins and Viola, in C, Op. 29 (arrangement of the Trio for two Oboes and English Horn)—I, 206; II, 77.
Trio for two Oboes and English Horn, in C, Op. 87—I, 206; II, 77; III, 59.
Trio for Pf., Violin and Violoncello, in B-flat, Op. 97—II, 199, 209, 219, 269, 270, 311, 312, 313, 318, 319, 325, 338, 340, 347, 350, 351, 352, 353, 357, 367; III, 136, 223.
Trios for Pf., Violin and Violoncello, arranged from the String Quartets, Op. 18—II, 77.
Trio arranged from the Second Symphony—II, 40.
Trio for Pf., Violin and Violoncello, in E-flat (Op. posth.)—I, 136.
Trio in one Movement, for Pf., Violin and Violoncello (for Maximiliane Brentano)—II, 221, 237; III, 136.
Trio, Adagio, Variations (on “Ich bin der Schneider Kakadu”) and Rondo, for Pf., Violin and Violoncello, Op. 121a—III, 136.
Trio for Pf., Violin and Violoncello, in D (attributed to Mozart: K. 52a)—I, 139.
Trio for Pf., Flute and Bassoon—I, 137.
Trio (Variations on “LÀ ci darem”) for two Oboes and English Horn—I, 202, 206; III, 64.
Quartets (Six) for Strings, in F, G, D, C minor, A and B-flat, Op. 18—I, 227, 228, 235, 272 et seq.; 277, 279, 280, 290, 298, 307; II, 77, 89.
Quartets (Three) in F, E minor, and C, Op. 59 (“Rasoumowsky”)—II, 65, 68, 73, 75 et seq.; 82, 97, 103, 104, 105, 133, 337.
Quartet for Strings, in E-flat, Op. 74 (“Harp”)—II, 155, 159, 160, 195, 198.
Quartet for Strings, in F minor, Op. 95—II, 172, 193, 195, 219, 311, 312, 313, 318, 339, 340, 351, 357, 364; III, 183.
Quartet for Strings, in E-flat, Op. 127—III, 140, 177, 183 et seq.; 187, 192 et seq.; 201, 214 et seq.
Quartet for Strings, in B-flat, Op 130—III, 205, 214 et seq.; 221, 222 et seq.; 225, 237, 245.
Quartet for Strings, in C-sharp minor, Op. 131—III, 218, 225, 296, 297, 307.
Quartet for Strings, in A minor, Op. 132—III, 205, 206, 214 et seq.; 219, 223.
Quartet for Strings, Grand Fugue (originally Finale of Op. 130)—III, 215, 223.
Quartet for Strings, in F major, Op. 135—III, 225, 237, 244, 282.
Fugue from a String Quartet in D, from a collection projected by Haslinger—II, 389.
Quartet for Strings, arranged from Pf. Sonata Op. 14, No. 1—I, 349.
Quartets (Three) in E-flat, D and C, for Pf. and Strings, composed in 1785—I, 88, 210.
Quartet for Strings, an arrangement of the Quintet in E-flat, published by Artaria as Op. 75—I, 208.
Quartet in E-flat, for Pf., Violin, Viola and Violoncello, arranged by B. from Quintet Op. 16—I, 208, 350.
Quartet (arrangement of the “Eroica” Symphony as Pf. Quartet)—II, 113.
Quintet for Strings, in E-flat, Op. 4 (an arrangement of the Octet, Op. 103)—I, 134, 144, 187, 204.
Quintet for Pf., Oboe, Clarinet, Bassoon and Horn, in E-flat, Op. 16—I, 200, 207, 214, 224, 290, 316, 350; II, 2, 34, 337.
Quintet for Strings, in C, Op. 29—I, 228, 293;
unauthorised publication of, 294 et seq.; 355, 364, 368; II, 44.
Quintet for Strings, in C minor, Op. 104 (arranged from the Trio, Op. 1, No. 3)—II, 374, 388; III, 23.
Quintet (arrangement of the First Symphony)—I, 228.
Quintet, Pf., Double-bass, Flute, Horns, etc. (arrangement of the Second Symphony with Double-bass, Flute and 2 Horns, ad lib.)—II, 113.
Sextet in E-flat, for Clarinets, Horns and Bassoons, Op. 71—I, 206, 207, 209; II, 41, 147, 195.
Sextet in E-flat, for Strings and Horns, Op. 81b—I, 207; II, 195.
Septet in E-flat, Op. 20—I, 209, 227, 266, 267;
B.’s dislike of it, 267;
origin of the theme of the variations, 267, 272, 275, 277, 278;
dedication, 278;
first performance, 278, 282, 286, 299, 350, 364; II, 29, 214, 316, 337, 381, 386;
arranged as Trio, I, 350; II, 55;
arranged as Quintet, I, 228, 350.
Octet for Wind Instruments, Op. 103 (the original of the Quintet for Strings, Op. 4)—I, 132, 133, 134, 144, 184, 204.
Dinner Music for Wind Instruments—I, 134.
Parthia for Wind Instruments—I, 133, 144.
Rondino for Oboes, Clarinets, Horns and Bassoons, in E-flat—I, 134.
Sketches: For Trio in F minor—III, 136;
for quintets—III, 245.

(e) SONATAS, ETC., FOR PIANOFORTE AND OTHER INSTRUMENTS OBBLIGATO

Three Sonatas for Pf. and Violin, in D, A and E-flat, Op. 12—I, 162, 225, 226, 307.
Sonata for Pf. and Violin, in A minor, Op. 23—I, 289, 290, 307.
Sonata for Pf. and Violin, in F, Op. 24—I, 289, 290, 307.
Three Sonatas for Pf. and Violin, in A, C minor and G, Op. 30—I, 364, 365; II. 20, 305.
Sonata in A, for Pf. and Violin, Op. 47 (“Kreutzer”)—I, 140, 365; II, 9, 13, 20, 21.
Sonata for Pf. and Violin, in G, Op. 96—II, 237, 312, 313, 319, 325, 347, 350, 353, 357, 367.
Notturno for Pf. and Viola (arranged from the Serenade, Op. 8), Op. 42—I, 208.
Rondo for Pf. and Violin, in G—I, 179.
Sonata for Pf. and Violin (arrangement of Trio for Oboes and Bassoon)—I, 206.
Six Allemandes for Pf. and Violin—II, 303.
Variations on “Se vuol ballare,” for Pf. and Violin—I, 132, 138, 176, 178, 179.
Sonata in B-flat for Pf. and Flute—I, 138.
Two Sonatas for Pf. and Violoncello, in F and G, Op. 5—I, 195, 200, 205.
Sonata for Pf. and Violoncello, in A, Op. 69—II, 112, 131, 132, 141, 150, 162, 218.
Duo for Pf. and Flute (arranged from Serenade, Op. 25, and published as Op. 41)—I, 208; II, 20.
Six Variations on National Themes, for Pf. and Flute (or Violin), Op. 105—II, 415, 416; III, 23.
Ten Variations on National Themes, for Pf. and Flute (or Violin), Op. 107—II, 415, 416; III, 22.
Sonatina for Mandolin and Pf. (Cembalo)—I, 210, 236.
Two Sonatas for Pf. and Violoncello, in C and G, Op. 102—II, 316, 328, 338, 339, 340, 352, 357, 367, 389; III, 23.
Variations on “See the Conquering Hero Comes,” from “Judas MaccabÆus,” for Pf. and Violoncello—I, 202, 205.
Variations in E-flat, Op. 44, for Pf., Violin and Violoncello—I, 137.
Variations on “Bei MÄnnern welche Liebe fÜhlen,” for Pf. and Violoncello—I, 364.
Variations on “Ein MÄdchen oder Weibchen,” for Pf. and Violoncello—I, 226, 305.
Arrangement of Trio, Op. 3, for Pf. and Violoncello, Op. 64—II, 113.
Sonata for Pf. and Horn, Op. 17—I, 239, 244, 267, 274, 277, 279, 290; II, 39.
Sketches from “Pastoral” Sonata for Pf. and Violoncello—II, 310.

(f) FOR PIANOFORTE ALONE

Three Sonatas (No. 1, F minor; No. 2, A major; No. 3, C major), Op. 2—I, 137, 144, 186, 192, 217.
Sonata in E-flat, Op. 7—I, 202, 209, 244, 318; II, 74.
Sonata in C minor, Op. 10, No. 1—I, 207, 210, 224, 226, 244.
Sonata in F major, Op. 10, No. 2—I, 224, 244; II, 76.
Sonata in D major, Op. 10, No. 3—I, 205, 224, 244.
Sonata in C minor, Op. 13 (“PathÉtique”)—I, 209, 221, 225, 227, 307; II, 90.
Sonata in E major, Op. 14, No. 1—I, 225, 226, 244;
arranged as a String Quartet, 349, 364.
Sonata in G major, Op. 14, No. 2—I, 225, 244.
Sonata in B-flat, Op. 22—I, 277, 279, 282, 286, 299, 364.
Sonata in A-flat major, Op. 26—I, 289, 290;
story of the Funeral March, 291;
published, 364;
the Funeral March orchestrated by B., II, 298; 299; III, 312.
Sonata quasi una Fantasia, in E-flat, Op. 27, No. 1—I, 244, 280, 289, 291, 364.
Sonata quasi una Fantasia, in C-sharp minor, Op. 27, No. 2—I, 244, 289, 291, 292, 293;
dedication of, 322;
B.’s opinion of, 322; 338, 339;
published, 364.
Sonata in D major, Op. 28 (“Pastoral”)—I, 289, 292.
Sonata in G major, Op. 31, No. 1—I, 364, 365; II, 20.
Sonata in D minor, Op. 31, No. 2—I, 364, 365;
origin of the Finale, 368; II, 20.
Sonata in E-flat, Op. 31, No. 3—II, 40.
Two Sonatas, No. 1 in G minor, No. 2 in G major, Op. 49—I, 206, 209, 225, 278; II, 55.
Sonata in C major, Op. 53 (“Waldstein”)—I, 103, 140; II, 31, 37, 40, 55, 77.
(See Andante favori.)
Sonata in F major, Op. 54—II, 31, 40, 56, 76.
Sonata in F minor, Op. 57 (“Appassionata”)—I, 140; II, 31, 40, 73, 77, 113, 335.
Sonata in F-sharp major, Op. 78—B.’s opinion of, I, 292; 323, 336, 338; II, 148, 154, 160, 161;
dedication, 195.
Sonatina in G major, Op. 79—II, 148, 160, 161;
publication of, 195.
Sonata in E-flat, Op. 81a (“Les Adieux, l’Absence et le Retour”)—II, 143, 146, 148, 159, 160, 161, 192, 199, 200, 207, 210, 219.
Sonata in E minor, Op. 90—II, 288, 291, 303, 328.
Sonata in A major, Op. 101 (“fÜr Hammerklavier”)—II, 328, 338, 356, 364, 365, 389, 412.
Sonata in B-flat, Op. 106—II, 376, 378, 382, 388, 389, 396, 411, 412, 413, 414, 415; III, 23, 145.
Sonata in E major, Op. 109—III, 48, 49, 90.
Sonata in A-flat, Op. 110—III, 48, 49, 90.
Sonata in C minor, Op. 111—III, 48, 49, 55, 72, 90.
Three Sonatas dedicated to Maximilian Friedrich—I, 72.
Sonata (Unfinished) sent to Eleonore von Breuning—I, 139, 140, 179.
Sonata for Pf. four hands, in D, Op. 6—I, 200, 209.
Gavotte, Marcia lugubre et Rondo, for Pf. four hands (attributed to Mozart)—I, 139.
Grand Fugue for Pf. four hands, arranged from the Finale of the Quartet Op. 130—III, 223, 224.
Andante favori, in F (see Sonata, Op. 53)—II, 31, 40, 77.
Allegretto in C minor (B. and H. Supplement, XXV, No. 299)—I, 210.
Bagatelles, in general—I, 261; III, 57, 62.
Bagatelles (Seven), Op. 33—I, 71, 140, 361, 362, 364, 371; II, 20.
Bagatelles, Op. 119—I, 365, 371; III, 48, 86.
Bagatelles (Six), Op. 126—III, 57, 64, 142 et seq.
Bagatelles (B. and H. Supplement, XXV, 295)—I, 210.
“Beethoven’s letzter Gedanke” (“DerniÈre PensÉe musicale”)—II, 415.
Écossaise in E-flat—III, 216.
Écossaises (Twelve)—II, 113; III, 216.
Fantasia, Op. 77—I, 293; II, 91, 148, 154, 160, 161, 195.
LÄndler (Six)—I, 364, 365. (Also for Orchestra.)
Contradances (Six)—I, 289, 364. (Also for Orchestra.)
Marches, Three Grand, for four hands, in C, E-flat and D, Op. 45—I, 350, 356; II, 40.
Minuet in E-flat—II, 56.
Polonaise in C, Op. 89—II, 152, 305, 328.
Preludes (Two) through all the Major Keys, for Pianoforte or Organ, Op. 39—I, 138, 371; II, 20.
Prelude in F minor—I, 138; II, 55.
Rondos (Two) in C and G, Op. 51—I, 202, 244, 275, 277, 322, 364;
dedicated, 370.
Rondo Allegretto—I, 75.
Rondo a Capriccio (“Die Wuth Über den verlornen Groschen”), Op. 129—III, 143, 246.
Rondo in C (Youthful, anonymous)—I, 72, 140.
Variations (Six) on an Original Theme, Op. 34—I, 314, 364, 365, 370;
dedication, 368; II, 20.
Variations (Fifteen) with a Fugue, on a Theme from “Prometheus,” Op. 35—I, 364, 365, 368, 369, 370; II, 20.
Variations in D, on a Theme used afterwards in “The Ruins of Athens,” Op. 76—II, 148, 160, 161, 195.
Variations (Thirty-three) on a Waltz by Diabelli, Op. 120—III, 107, 108, 127 et seq.; 147.
Variations on a Theme by Count Waldstein, in C, for four hands—I, 139, 176, 183, 184.
Variations (Nine) on a March by Dressler, in C minor—I, 69, 70, 72.
Variations (Twenty-four) on “Venni amore,” in D—I, 7, 114, 117, 138.
Variations (Thirteen) on “Es war einmal,” by Dittersdorf—I, 139, 176, 183, 184.
Variations (Nine) on “Quant È piÙ bello,” by Paisiello, in A—I, 187.
Variations on “Nel cor piÙ non mi sento,” by Paisiello—I, 187, 192.
Variations on the “Minuet À la Vigano”—I, 188, 192.
Variations (Twelve) on a Russian Dance from “Das WaldmÄdchen”—I, 200, 209, 244.
Variations (Six easy) on a Swiss Air, for Harpsichord or Harp—I, 227.
Variations on “Une fiÈvre brÛlante,” by GrÉtry—I, 226, 227, 305.
Variations (Ten) on “La Stessa, la stessissima,” by Salieri—I, 227, 244, 275.
Variations (Eight) on “TÄndeln und Scherzen,” by SÜssmayer—I, 227.
Variations (Nine) on “Kind, willst Du?” by Winter—I, 227, 275.
Variations (Seven) on “God save the King”—I, 140, 305, 370; II, 40.
Variations on “Rule Britannia”—I, 370; II, 40.
Variations (Thirty-two) in C minor—II, 76, 113, 117.
Variations for four hands on “Ich denke Dein”—II, 55.
Variations on a Theme from “Le Nozze disturbate.” (See “Minuet À la Vigano.”)
Variations on “Ich denke Dein”—I, 277, 279, 335, 362; II, 55, 147, 148.
Variations, trÈs faciles, in G—I, 277, 279, 290.
Waltz in D—III, 216.
Waltzes (Twelve), also published for Strings and Wind—II. 113.
Cadenza for Mozart’s Concerto in D minor—I, 185.
Movement for a Clock—I, 76.
Two-part Organ Fugue in D—I, 71.
Sketches for Sonata, four hands—III, 141.
Sketches for a Concerto in D minor—II, 328.

(g) SONGS WITH PIANOFORTE ACCOMPANIMENT

Abendlied—III, 50.
Abschiedsgesang an Wiens BÜrger—I, 199; II, 303.
Adelaide, Op. 46—I, 143, 202, 203, 207, 230; II, 6, 306, 338; III, 61.
Als die Geliebte sich trennen wollte—II, 72, 162.
Amante impaziente, L’—II, 160.
Andenken—II, 160, 195.
An die ferne Geliebte—II, 328, 343, 356, 357, 363; III, 32.
An die Geliebte—II, 209, 284, 303.
An die Hoffnung—II, 55, 306, 328, 338, 356; III, 20.
An einen SÄugling—I, 75.
An Minna—I, 132.
Ariettes (Four) and a Duet, Italian, Op. 82—II, 160, 192, 209.
Bardengeist, Der—II, 259, 260.
Bitten—II, 20.
BlÜmchen Wunderhold, Das—I, 362.
Bundeslied—III, 64.
Che fa il mio bene (Buffa)—II, 209.
Che fa il mio bene (Seria)—II, 209.
Der JÜngling in der Fremde—II, 147, 148, 160, 195.
Die Trommel gerÜhret (See Egmont.)
Dimmi ben mio—II, 209.
Ehre Gottes in der Natur, Die—II, 20.
Ein grosses, deutsches Volk sind wir—I, 201.
Einst wohnten (An den fernen Geliebten)—II, 148, 160, 195.
Elegie auf den Tod eines Pudels—I, 132.
Es war einmal ein KÖnig—II, 195, 363.
Feuerfarb—I, 132, 134, 137.
Freudvoll und leidvoll. (See Egmont.)
Gedenke mein—II, 160, 195.
Gegenliebe—I, 203; II, 133.
Geheimniss, Das—II, 72, 328, 356; III, 50.
Gellert: Six Sacred Songs—“Bitten,” “Die Liebe des NÄchsten,” “Vom Tode,” “Die Ehre Gottes in der Natur,” “Gottes Macht und Vorsehung” and “Busslied”—II, 20.
GlÜck der Freundschaft, Das—II, 20.
Gottes Macht—II, 20.
Gretel’s Warnung—II, 160, 195.
Herz, mein Herz—II, 191, 194, 195.
Horch, wie schallt’s (“Der Wachtelschlag”)—I, 370; II, 40.
Ich denke Dein—I, 275, 277, 279, 335; II, 55, 147, 148.
Ich, der mit flatterndem Sinn—I, 132.
Ich liebe dich—II, 20.
In questa tomba—II, 111, 113, 134.
Irish Songs (for Thomson, with obbligato instruments)—II, 70, 157, 162, 194, 238, 259, 260, 303.
Kennst du das Land—II, 186, 191, 194, 195.
Klage, Die—I, 132; II, 160.
Kleine Blumen—II, 210.
Kriegers Abschied, Des—II, 303, 328.
Kuss, Der—I, 275; III, 64, 87.
La Partenza—II, 20.
Liebe des NÄchsten, Die—II, 20.
Liebende, Der—II, 148, 160, 195.
Lied aus der Ferne—II, 147, 148, 160, 195.
Lisch aus, mein Licht—II, 388, 416; III, 50.
Lydiens Untreue—II, 72.
Mailied—I, 204.
Mann von Wort, Der—II, 356, 357.
Man strebt die Flamme—I, 133.
Merkenstein—II, 303, 310, 357; III, 61.
Mit einem gemalten Bande—II, 194.
Mit Liebesblick—II, 160, 195.
Mit MÄdchen sich vertragen—I, 132; III, 58.
National Songs—II, 17. (See “Irish,” “Scottish” and “Welsh.”)
No, non turbate (Scena and air)—I, 364.
Nord oder SÜd—II, 386, 388, 389; III, 50.
O care selve—I, 204.
Odi l’Aura (Duet)—II, 160, 209.
Opferlied—I, 203, 275, 364; III, 64, 140, 141, 189, 202.
(See Works for Chorus and Orchestra.)
O, welch’ ein Leben—I, 204. (See also “Die schÖne Schusterin,” under Choral Works.)
Plaisir d’aimer—I, 228.
PrÜfung des KÜssens—I, 131.
Punschlied—I, 133.
Que le temps (jour) me dure—I, 228.
Ruf vom Berge—II, 356, 389.
Schilderung eines MÄdchens—I, 72.
Scottish Songs (Twelve)—II, 328, 416.
Scottish Songs (Twenty-five)—II, 17, 69, 190, 203, 218, 219, 259, 260; III, 50.
Sehnsucht—II, 132, 133, 194, 195, 357.
Seufzer eines Ungeliebten—I, 202, 203, 207.
Six Songs, Op. 75—II, 192, 195.
“Soll ein Schuh nicht drÜcken” (from “Die schÖne Schusterin”)—I, 204, 224.
Three Songs, Op. 83—II, 192, 199.
T’intendo—II, 209.
Trinklied (“Erhebt das Glas”)—I, 132, 199.
Trinklied (“Lasst das Herz uns froh erheben”)—I, 199. (See “Abschiedsgesang.”)
Trocknet nicht—II, 186, 194, 210.
Turteltaube—I, 204.
Urian’s Reise—I, 88, 132.
Wachtelschlag, Der—I, 370; II, 40.
Was ist des Maurers Ziel—I, 133.
Was zieht mir—II, 210.
Welsh Songs (with obbligato instruments)—II, 70, 157, 238, 389.
Wer ist ein freier Mann—I, 133, 204.
Zufriedene, Der—II, 148, 160, 195.
Zwar schuf das GlÜck—II, 148, 160, 195.
Sketches for uncompleted songs: “ErlkÖnig”—III, 86;
“HaidenrÖslein”—II, 415;
“Meine Lebenszeit verstreicht”—I, 275.

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