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Mezzotints in modern music /

Chapter 36: INDEX
By James Huneker
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Essays, Letters & SpeechesMusic

About This Book

A collection of critical essays examines late-19th-century musical currents by analyzing major composers and aesthetic debates. It profiles figures such as Brahms, Tchaikovsky, Chopin, Liszt, Wagner, and Richard Strauss, assessing technical mastery, stylistic tendencies, and philosophical links to contemporary thought. The essays emphasize the importance of rigorous form and contrapuntal craft while tracing tensions between classicism and theatrical romanticism, and they consider how compositional decisions affect orchestral color, rhythm, and expressive scope. Interspersed commentary reflects on pathways to artistic greatness and on how new music was received and debated in its cultural context.

INDEX

  • Abend dämmert, das mondlicht scheint, Der, 28.
  • Adelaïde, Liszt’s transcription of, 193.
  • Albert, Eugen, d’, 226, 279.
  • — Concertos in B minor and E major, 52.
  • Alkan, Charles V., 215, 229, 240, 244, 266, 270, 273.
  • Alps, musical picture of, 119-120.
  • Amiel, 10, 203, 231.
  • Antokolsky, 82.
  • Antonia, wife of Tschaïkowsky, 88, 89, 91.
  • Apocalypse, 148.
  • Arenski, 83.
  • Arimanes, Hall of, 120.
  • Armida, Garden of, 181.
  • Arnold, Matthew, 22, 287.
  • — Description of Shelley, 205.
  • Astarte, 119.
  • Atala, 231.
  • Audley, Mme. G., 213.
  • Aus der Ohe, Adele, 87.
  • Bach, J. S., 3, 7, 12, 21, 22, 35, 54, 64, 151, 171, 195, 219, 221, 227, 229, 240, 243, 247, 248, 254, 261, 264, 266, 269, 272, 277, 279, 284.
  • — Best preparation for Brahms, 18.
  • — Harmonies of, 22.
  • Bach, J. S., Master of Brahms, 24.
  • Works:
  • — Chaconne, 50.
  • — English and French Suites, 247.
  • — Fugue in D, 275.
  • — Inventions, 247.
  • — Preludes and Fugues, 260.
  • — Variations, 35-36.
  • — Well-tempered Clavichord, 247.
  • Bach, Emanuel, 266.
  • Baermann, Carl, 241.
  • — Studies, 262.
  • Balakireff, 83, 241.
  • — Islamey, 271.
  • Baltimore, 195.
  • Balzac, remark about Chopin, 203.
  • Barbadette, H., 213.
  • Barrett-Browning, Elizabeth, 207.
  • Barth, 241.
  • Battle of Prague, the, 231.
  • Baudelaire, 200, 203-204, 205, 207, 210.
  • Bayreuth, 285, 286.
  • Beethoven, L. van, 3, 5, 7, 8, 11, 12, 15, 20, 21, 27, 29, 30, 33, 35, 64, 97, 102, 136, 144, 147, 149, 151, 152, 155, 156, 158, 166, 171, 178, 218, 219, 221, 227, 229, 243, 247, 266, 272, 274, 283, 294.
  • — Anticipates Schumann and Chopin, 58.
  • — Letters, 216.
  • — Master of Brahms, 24.
  • Works:
  • — Adelaïde, 193.
  • — Appassionata, 273.
  • — Eroica Symphony, 137.
  • — Fifth Symphony, 145.
  • — Fugue, 48.
  • — Ninth Symphony, 148.
  • — Op. 34, 36.
  • — Scherzo, 174.
  • — Scherzo in Fifth Symphony, 33.
  • — Sonata, 222.
  • — Sonata in E minor, op. 90, 27.
  • — Sonata in B flat (Hammer-Klavier), op. 106, 24.
  • — Variations, 36.
  • — Variations (Thirty-two), 37.
  • Beggar, The (Turgenev), 99-100.
  • Bellini, 39.
  • Bendel, Franz, 240.
  • — Treatment of sixths, 50.
  • — Étude in double-sixths, 270.
  • — Étude in B flat minor, 279.
  • Bennett, Joseph, 213, 221.
  • Berens, 240.
  • Berger, Ludwig, studies, 241, 255.
  • Berlin, 145.
  • Berlioz, Hector, 5, 8, 12, 15, 92, 93, 135, 139, 142, 147, 158, 194, 230, 234.
  • Bernard, Émile, 275, 279.
  • Bizet, 149.
  • Blackburn, Vernon, 210.
  • Blake, William, definition of genius, 201.
  • Borodin, 83, 85.
  • Bortiansky, choruses revised by Tschaïkowsky, 129.
  • Boston, 149.
  • Boston Symphony Orchestra, 149.
  • Brahms, Johannes, 1-80, 92, 97, 101, 108-109, 129, 130, 139, 144, 151, 157, 229, 241, 266, 268, 274, 278, 286.
  • — Admirer of Wagner, 7.
  • — Adversary of Wagner, 9.
  • — Affinities with Schumann, 12, 265, 266.
  • — Antagonists of, 22-23.
  • — Appreciation of Tschaïkowsky, 139.
  • — Choice of keys, 20.
  • — Classicist, 3.
  • — Coldness of, 16.
  • — Color of, 6, 9.
  • — Compared to an architect, 5.
  • — Compared to Bach and Beethoven, 11.
  • — Compared to Chopin, 58.
  • — Compared to Ibsen, 7.
  • — Compared to Paganini, 57.
  • — Counterpoint devices, 24.
  • — Economy of notes, 20.
  • — Enigmatic, 78.
  • — Erudition of, 21.
  • — Ehlert’s estimation of, 14-15.
  • — Fertility of, 1, 4.
  • — Feminine side of, 21.
  • — Figures of accompaniment, 20.
  • — Form, 2, 5, 13.
  • — Harmonies, 22.
  • — Ingenuity of, 5, 47.
  • — Intellectual mood, 64.
  • — Interpretation, 54.
  • — Invention, 20.
  • — Inversion, method of, 14.
  • — Irony, 32.
  • — Magyar spirit, 21.
  • — Melodies, 19, 28.
  • — Modes, 13.
  • — Modesty, 79.
  • — Modulation, 13.
  • — Nationality, 10, 59.
  • — Orchestration, 19.
  • — Pessimism, 63.
  • — Piano music, 8, 15, 17, 22, 75, 269.
  • — Rhythm, 7.
  • — Romanticist, 3, 11, 12.
  • — Sadness of, 264.
  • — Scherzi, compared with Chopin’s, 20.
  • — Schumann and, 12.
  • — Song writer, 3.
  • — Spitta, opinion of, 13.
  • — Technique of, 18, 47.
  • — Temperament of, 10.
  • — Tonalities, 13.
  • — Use of arpeggio, 7.
  • — Use of canon, 13.
  • — Use of chord of the sixth, 13.
  • — Use of mixed scales, 20.
  • — Use of octave, 13.
  • — Use of triolen, 18.
  • — Vogrich’s estimate of piano pieces, 77.
  • — Working out, 20.
  • — Workmanship of, 7.
  • Works:
  • — Ballades, 17, 32, 33-34.
  • — Capriccio in B minor, 60.
  • — Capriccio in C sharp minor, 62.
  • — Capriccio in D minor, 18, 70.
  • — Capriccio in F sharp minor, 59.
  • — Capriccio in G minor, 68.
  • — Capriccio fantastic in op. 76, 63.
  • — Capriccios and intermezzi, 17.
  • — Clavierstücke, op. 76, 59-64.
  • — Cradle-song, 70-71.
  • — Concerto in B flat major, 21, 52, 53.
  • — Concerto in D minor, 44, 52-55.
  • — Étude after Chopin, 50, 269.
  • — Fantaisien, op. 116, 67.
  • — Fugue, op. 24, 47-48.
  • — German Requiem, 2, 6, 44.
  • — Horn trio, 19.
  • — Hungarian Dances, 17, 18, 51.
  • — Hungarian music, Brahms studies in, 20.
  • — Intermezzi, 17, 61, 62, 67, 68-69, 70, 71.
  • — Paganini studies, 281.
  • — Paganini variations, 269.
  • — Piano quintet, F minor, 6.
  • — Piano studies, 17, 18, 49-51.
  • — Piano trio in B, 32.
  • — Rhapsodie in B minor, 15, 64-65.
  • — Rhapsodie in G minor, 65-66.
  • — Rhapsodies, 17, 59, 64, 229.
  • — Rondo (Weber), “mouvement perpétuel,” 269.
  • — Scherzo, 17, 24, 29, 30.
  • — Sextet in B flat, 30.
  • — Sonata in C major, op. 1, 12, 23, 24, 25.
  • — Sonata in F minor, 6, 19, 27-28, 29-30.
  • — Sonata in F sharp minor, 18, 25-27, 275.
  • — Sonata from sextet in B flat, 30.
  • — Songs, 31.
  • — Schicksalslied (Song of Destiny), 2, 6.
  • — Symphonies, 19, 44, 171.
  • — Variations, op. 9, 31, 46-49.
  • — Variations, first set, 35, 36-40.
  • — Variations, op. 24 (Fugue by Handel), 47.
  • — Variations, op. 21, 47-48.
  • — Variations (Hungarian), 47.
  • — Variations (Paganini), 48-49.
  • — Waltzer, op. 39, 17, 40, 41-46.
  • — Waltzer (Love-Song), 46.
  • — Waltzer, op. 21, 76-77.
  • — Waltzer, op. 118, 72-74.
  • — Waltzer, op. 119, 74-75.
  • Brahmsianer, 44-45.
  • Brangäne, 294.
  • Brassin, 241.
  • Browning, 11, 65, 96, 165, 264.
  • Bruno, 240.
  • Buffon, 259.
  • Burmeister, Richard, 191.
  • Burton, 201.
  • Byron, 95, 203.
  • — Manfred, 93.
  • Carnegie Hall, 87.
  • Carpé, Adolph, “Phrasing and Accentuation of Piano-Playing,” 255.
  • Chadzko, A., 215.
  • Châteaubriand, 231.
  • Childe, Roland, 66, 182.
  • Chopin, F. F., 8, 16, 17, 20, 21, 22, 30, 39, 64, 82, 93, 101, 108, 115, 128, 146, 148, 160-223, 232, 241, 243, 247, 248, 249, 251, 253, 257, 259, 264, 265, 266, 267, 273, 274, 275, 277, 278, 279, 280.
  • — Adaptability of music to piano, 218.
  • — Admiration of Weber, 193.
  • — Anticipation of Brahms, 58.
  • — Aristocratic nature of, 204.
  • — Arpeggi of, 224.
  • — Ballades compared with Brahms’, 34.
  • — Bibliography, 212-214.
  • — Biography (Niecks), 211.
  • — Coda, 182.
  • — Compared to Beethoven, 178.
  • — Compared to Childe Roland, 182.
  • — Compared to Poe, 196-210.
  • — Correspondence, 216.
  • — Degrading of, 163.
  • — Discoveries in chromatic harmonies, 164, 208.
  • — Dreamer, The, 218, 219.
  • — Early works, 197-198.
  • — Editions of, 212.
  • — French blood of, 84.
  • — And George Sand, 160.
  • — The Greater, 162.
  • — Greatest works of, 173.
  • — Influence of, 208.
  • — Interpretation of, 212.
  • — And Kalkbrenner, 192.
  • — Last composition, 198.
  • — Manipulation of mixed scales, 83.
  • — Manliness of, 224.
  • — Music of middle period, 15.
  • — Musical influences of, 195.
  • — Philipp’s arrangements of 277-281.
  • — Piano music of, 15.
  • — Pupils, 215.
  • — Revolutionary study, 274.
  • — Rubato, 219.
  • — On Schumann’s Carneval, 194.
  • — Speech to Louis Philippe’s Aide-de-camp, 195.
  • — Temperament of, 10.
  • — Tempi, 183-184.
  • — Thalberg, meeting with, 192.
  • — True and untrue, 211.
  • — Use of chromatic scale, 83.
  • — Use of harmonies, 83.
  • — Wagnerian melody in, 164.
  • Works:
  • — Ballade in A flat, 165, 176.
  • — Ballade in F major, 67, 166.
  • — Ballade in F minor, 15, 166, 173, 222.
  • — Ballade in G minor, 165.
  • — Barcarolle, 172, 222.
  • — Berçeuse, 15, 70, 171.
  • — Bolero, 172.
  • — Butterfly, The (G flat étude), 283.
  • — Concertos, 186-192.
  • — Concerto in E minor, 263, 279.
  • — Concerto in F minor, 198.
  • — Études, 15, 164, 166-167, 232, 255-256, 260, 284.
  • — Étude in A flat, 75.
  • — Étude in A, 277.
  • — Étude in A minor, op. 10, 274, 277, 278, 280.
  • — Étude in B minor (octave study), 278, 280.
  • — Étude in B minor, 182.
  • — Étude in C, 277.
  • — Étude in C minor, op. 10, 164.
  • — Étude in C minor, op. 25, 167, 173.
  • — Étude, F major, op. 10, 261.
  • — Étude, F minor, 278, 280.
  • — Étude, F minor, op. 25, No. 2, 50, 77, 278.
  • — Étude, G flat, 278.
  • — Étude, G sharp minor, 250, 270.
  • — Étude in sixths, op. 25, 282.
  • — Fantasie, F minor, 15, 165, 222.
  • — Fantasie, op. 49, 172.
  • — Fantasie Impromptu, 167, 180.
  • — Fantasie Polonaise, 164, 168, 220, 222.
  • — Four ballades, 165.
  • — Impromptus, 163, 167.
  • — Mazourkas, 163, 167-168, 218, 222.
  • — Mazourkas, op. 6, 197.
  • — Mazourkas, op. 7, 198.
  • — Mazourka, A minor, 198.
  • — Nocturnes, 170, 198, 222.
  • — Nocturne in B, 171.
  • — Nocturne in C sharp, 218.
  • — Nocturne in C sharp minor, 170, 171.
  • — Nocturne in E, 171.
  • — Nocturne in E flat, 163, 196, 206.
  • — Nocturne F minor, 13.
  • — Op. 2, 16.
  • — Op. 10 and op. 25, 244.
  • — Polonaises, 168.
  • — Polonaise, A flat, 219.
  • — Polonaise, C major, 197.
  • — Polonaise, C minor, 219.
  • — Polonaise, E flat minor, 222.
  • — Polonaise, F sharp minor, 168-170, 193, 218, 219, 222.
  • — Polonaise Fantasie, op. 61, 198.
  • — Preludes, 15, 57, 162, 171-172, 251, 252, 261, 284.
  • — Prelude, B flat minor, 222.
  • — Prelude, C sharp minor, op. 45, 57.
  • — Prelude, D minor, 175, 222.
  • — Prelude, F minor, 222.
  • — Rondos, op. 1 and 5, 197.
  • — Scherzi, contrasted with Brahms’, 20.
  • — Scherzo in B minor, op. 20, 173, 179.
  • — Scherzo, op. 20, 173-186.
  • — Scherzo in B minor, 15, 28, 173.
  • — Scherzo in B flat minor, op. 31, 173, 176.
  • — Scherzo in C sharp minor, 15, 173, 183-185, 222.
  • — Scherzo in E major, op. 54, 173, 175.
  • — Scherzo in E flat minor, 222-223.
  • — Scherzo in 2d sonata, 173, 178-179.
  • — Scherzo in 3d sonata, 173.
  • — Sonata in B flat minor, 223, 272, 281.
  • — Trio in G minor, op. 8, 198.
  • — Valses, 222.
  • — Valse in A flat, 40, 41, 175.
  • — Valse in A minor, 40.
  • — Valse in C sharp minor, 41.
  • — Valse in D flat, 41, 163, 206.
  • — Valse in E flat, 40.
  • — Valse in E minor, 41, 283.
  • — Variations, 196.
  • — Variations (Là Ci Darem), 17.
  • Chopin, Justine, 195.
  • Chopin, Nicholas, 195.
  • “Chopinisms in Tristan,” 165.
  • Chauvinism in Russia, 85.
  • City of the Dreadful Night (Thomson), 207.
  • Claus, Wilhelmine, 52.
  • Clementi, 163, 241, 243, 246, 248, 255, 264, 266, 272, 279.
  • — Reforms of, 227.
  • — Technics, 102.
  • Works:
  • — Études, 227, 284.
  • — E flat study, 279.
  • — Gradus, 224.
  • Clemm, Maria, 200.
  • Clough, Arthur H., 22.
  • Coleridge, 185.
  • Conquered Worm, The (Poe), 206.
  • Conrad, Judge, 201.
  • Cramer, 227, 241, 246, 248, 249, 254, 255, 264, 266, 272, 274, 279, 283.
  • — Bülow edition of, 244.
  • — Studies in E and C, 280.
  • — Left-hand study in D minor, 280.
  • — Studies, 284.
  • Cui, Cesar, 83, 85.
  • Czerny, 240, 255, 266, 268, 275, 276, 277.
  • “Czerny unisons,” 112.
  • Czerny daily exercises, 244.
  • — School of legato and staccato, 244.
  • — Toccata in C, 242, 250.
  • D’Abelli, 241.
  • Damrosch, Walter, 87, 132.
  • Dante, 95, 114, 137, 151.
  • Darjomisky, Alexander, 83.
  • Daudet, 151.
  • Delaborde, 275, 279.
  • De Lenz, 214, 215.
  • — Beethoven’s Sonatas, 16.
  • — Chopin’s remark to, 176.
  • De Meyer, Leopold, 241.
  • Deppe, 241, 243.
  • De Quincey, 120, 205.
  • Diemer, Louis, 134.
  • D’Indy, 275.
  • Divine Comedy, 148.
  • Doehler, Theodore, 193, 241.
  • — Concert studies, 261.
  • Donizetti, 228.
  • Don Quixote, 148.
  • Dostoïewsky, 84.
  • Dreyschock, 193, 241, 242.
  • — Campanella, 263.
  • Dubois, 279.
  • Dubois, Mme., 215.
  • Du Maurier, 163.
  • Dupont, 241.
  • — Toccata in B, 263.
  • Düsseldorf, 17.
  • Duvernoy, Alphonse, 275, 279.
  • Dvorák, 1, 5, 83, 96.
  • — On Tschaïkowsky, 95.
  • — On Tschaïkowsky’s themes, 121.
  • Edward, Herder’s ballad, 32.
  • Eggeling, 240, 254.
  • Eldorado (Poe), 206, 208.
  • Ehlert, Louis, 33, 37, 210.
  • — On Brahms, 11, 79-80.
  • — On Brahms’ D minor concerto, 54.
  • — On Brahms’ Waltzer, 45.
  • — On Wagner, 295.
  • Ehrlich, 240, 258.
  • — “Touch and Technic,” 255.
  • Elsner, 196.
  • Emerson, remark on Whitman, 11.
  • Empedocles, 148.
  • Erard piano, 224.
  • Essipoff, Annette, 118.
  • Étude Heroique, 50.
  • Études, composers of, 240.
  • Eulalie (Poe), 206.
  • Faelten, 241.
  • Fairmount Park, 201.
  • Fauré, Gabriel, 279.
  • Faust, 148.
  • Fétis, 240, 242, 252.
  • Feuerbach, 291.
  • Field, 195.
  • Fielding, 78.
  • Finck, Henry T., 33, 162, 213, 222.
  • — Antagonist of Brahms, 22.
  • Fissot, Henry, 274.
  • Flaubert, 11, 160, 162.
  • Floersheim, Otto, opinion of score of Zarathustra, 153.
  • Fontana, 194.
  • Foote, Arthur, 241.
  • Fortinbras, 125, 127.
  • Francesca da Rimini, 93, 114.
  • Franchomme, 215.
  • Franz, Robert, 129, 232, 239.
  • — Accompaniments to Handel, 191.
  • Fuller-Maitland, 29, 68, 71.
  • Gaboriau, 207.
  • Gavard, Mlle., 215.
  • Gautier, Théophile, 148.
  • Genesis, 158.
  • Genius of Christianity (Châteaubriand), 231.
  • Germer, Heinrich, 240, 246.
  • — “Rhythmical Problems,” 255.
  • Gewandhaus, 52.
  • Geyer, Ludwig, 285-286.
  • Giorgione, the School of, 219.
  • Giotto, 6.
  • Glazounow, 83.
  • Glinka, 83.
  • — Life for the Czar, 83.
  • — Ruslan, 83.
  • Godowsky, Leopold, paraphrase of Chopin’s studies, 271.
  • — G sharp minor study (Chopin), 277.
  • Goethe, 94, 95, 203.
  • — Remark to Eckermann, 231.
  • Gogol, 84, 93.
  • Goldschmidt, Jenny Lind, 215.
  • Golinelli, 241.
  • — Studies, 12, 262.
  • Gottschalk, L. M., 262.
  • — Tremolo, 251.
  • Gounod, 107, 120, 124, 157.
  • — Roméo et Juliette, 124.
  • Graham, 201.
  • Grieg, 31, 83, 200, 221, 250, 260.
  • — Scandinavian triolen of, 260.
  • — Ballade in G minor, 260.
  • — Concerto, 260.
  • — Sonatas, op. 7 and op. 8, 260.
  • Gutmann, Adolph, 215.
  • Jadassohn, 240.
  • — Canon, 254.
  • — Preludes and fugues, 254.
  • James, Henry, 205.
  • Jensen, 240.
  • — Études, 255.
  • Job, Book of, 148.
  • Joseffy, 112, 226, 230, 233, 241, 249, 277, 278, 281.
  • — “At the Spring,” Étude, 262.
  • — Transcription of Chopin’s G flat Étude, 269.
  • Juliet, 296.
  • Jurgenson Catalogue, 132.
  • Kalkbrenner, 193, 241, 242, 250, 252.
  • — And Chopin, 192.
  • — Fantasies of, 231.
  • — Une Pensée de Bellini, 194.
  • Karasowski, 210, 216, 221.
  • Keats, 203.
  • Keller, Robert, 30.
  • Kelley, Edgar, 22.
  • Kessler, J. C., 241, 251, 259.
  • — Bridge between Clementi and Chopin, 254.
  • — Schumann’s opinion of, 252.
  • — Study, 277.
  • — Twenty-four studies, op. 24, 252-254.
  • Ketten, 241.
  • Kipling, Rudyard, 50.
  • Kleczynski, Jean, 213, 222.
  • Klengel, 240.
  • Klindworth, Karl, 115, 198, 212.
  • Knox, John, 82.
  • Köhler, 241.
  • Kölner Dom, 153.
  • Koran, 148.
  • Krauss, 241.
  • Krehbiel, Henry E., 233, 286.
  • — On re-scoring Chopin concertos, 186, 192.
  • — Regarding Muscovite, 82.
  • Kreisler, 152.
  • Kreutzer violin caprice in E, 277.
  • — Étude, 277.
  • Kullak, Theodore, 183, 212, 240, 253, 275, 279.
  • — Art of Touch, 253.
  • — On Chopin’s F major Étude, 261.
  • — Octave school, 244, 271.
  • Kundry, 238, 291.
  • Kwiatkowski, T., 215.
  • Napoleon prophesies of Russia, 81.
  • Nationalists in Music, 83.
  • Neo-Buddhism, 291.
  • Neo-Russia, 83.
  • New York Philharmonic Society, 105.
  • Neupert, Edmund, 240.
  • — Études, 250.
  • Nicodé, 241.
  • — Studies, 263.
  • Niecks, Frederick, 168, 213.
  • — Biography of Chopin, 211.
  • Niedzwiecki, Leonard, 215.
  • Nietzsche, 141-158, 168, 286, 287, 288, 291.
  • — Atheism of, 146.
  • — Dialectics of, 141.
  • — Philosophy, 154.
  • — Preferences in music, 149.
  • — Strauss’ homage to, 145.
  • Nirvana, 138.
  • Nordau, Max, 288, 297.
  • Nowakowski, 241.
  • Omphale, 142.
  • Ophelia, 127.
  • Orchestration, Brahms’, 19.
  • — of Chopin’s concertos, 186, 192.
  • — Strauss’, 19.
  • Osborne, G. A., 215.
  • Ottima (Browning), 96.
  • Our Ladies of Sorrow, 205.
  • Ouverture Solennelle (“1812”), 118, 132.
  • Pachmann, Vladimir de, 167, 259.
  • — Idealism of, 226.
  • Paderewski, 226, 241.
  • — The Desert, 281.
  • — Variations in A minor, 38.
  • Paganini studies, 39, 51.
  • — Variations, 48, 56.
  • Paradies, 241.
  • Paris, 196.
  • Parsifal, 238, 290-291, 292.
  • Parsons, Albert R., 246.
  • Pascal, 6.
  • Pater, Walter, on music, 219, 220.
  • — Definition of true living, 199.
  • Pauer, Ernst, 241.
  • Père la Chaise, 39.
  • Petersilyea, C., 241, 282.
  • Philadelphia, 201.
  • Philharmonic Festival, 116.
  • Philipp, Isidor, 241, 245, 274, 275, 276, 279, 280.
  • — Études for left hand, 276-277.
  • — Étude d’octaves, 279.
  • — Studies, 271-282.
  • Piano:
  • — Action of, in Chopin’s time, 183.
  • — Doubled bass of, 19-20, 22.
  • — Études, 240.
  • — Nuance in, 229-230.
  • — Of the past, 227.
  • — Orchestral development of, 227-228.
  • — Organ, 162.
  • — Playing, modern, 227, 229-230, 258.
  • — Pleyel, the, 183.
  • — Possibilities of the, 228.
  • — Realism of, 226.
  • — Recitals, 266.
  • — Recitals, decadence of, 31.
  • — Technic, 242-244.
  • — Viennese, 227.
  • — Virtuosity, 265.
  • Pierné, 275.
  • Pixis, 241.
  • Plaidy, 240, 245.
  • Planté, 240.
  • Plato, 19.
  • Pleyel piano, 183.
  • Poe, David, 195.
  • Poe, Edgar Allan, 161, 162, 185, 195.
  • — Aristocratic nature of, 204.
  • — Compared with Chopin, 196-210.
  • — Euphony of, 206.
  • — Influence of, 207.
  • — Unpatriotic, 209.
  • — Wife of, 200.
  • — Women of, 205.
  • Poe, Elizabeth, 195.
  • Poet, musical and literary contrasted, 161.
  • Potocki, Count, 251.
  • Programmes, monotony of, 31.
  • Programme music, 155.
  • Prudent, 240.
  • Przybyszewski, S., 168.
  • Pudor, Heinrich, 286, 287.
  • Pugno, 279.
  • Pushkin, 81, 84, 93, 131.
  • Tasso, 204.
  • Tatjana, 89.
  • Tausig, 189, 190, 191, 192, 214, 226, 227, 241, 248, 268, 278, 279, 281.
  • — Daily Studies, 51, 59, 269, 271.
  • — Edition of Clementi, 243.
  • — Use of studies, 243.
  • — Version of Chopin’s concertos, 187-192.
  • Tennyson, 22, 207.
  • Thackeray, 214.
  • Thaddeus of Warsaw, 221.
  • Thalberg, 192, 193, 225, 241, 265, 274.
  • — Clementi, 244.
  • — Scale playing of, 225.
  • — Studies, 250, 251.
  • — Theme and Variations, op. 45, 275.
  • — Touch of, 258.
  • — Tremolo study in C, 275.
  • Thomson, James, 207.
  • Tolstoy, 82, 85-86, 93, 95, 100, 115.
  • Trilby, 163.
  • Trilogy, 290.
  • Tristan, 146, 148. 157, 165, 295.
  • Tschaïkowsky, Piotor Ilyitch, 6, 12, 16, 81-140, 84, 87, 91, 93, 96, 97, 100, 107, 120, 127, 140, 142, 143, 146, 275.
  • — Calmuck in, 93.
  • — Compared to Brahms, 92, 95.
  • — Compared to Dvorák, 95, 96.
  • — Compared to Turgenev, 84-85.
  • — Contrapuntal skill, 124, 126.
  • — Dislike of Brahms, 139.
  • — Favorite symphony, 105-106.
  • — Form, 135.
  • — Love for Mozart, 120, 139.
  • — Love for Russia, 98.
  • — Manual of Harmony, 130.
  • — Moods of, 97.
  • — Morbidness of, 120.
  • — Operas, 139-140.
  • — Orchestral works, 119.
  • — Orchestration, 94, 106, 107, 110.
  • — Piano music, 101-103, 108, 109-112, 115, 116-117, 128, 134.
  • — Resemblance to Wagner, 131-132.
  • — Scoring, ingenious, 137, 138.
  • — Songs, 129.
  • — Suicide story, 140.
  • — Symphonies, Dvorák’s opinion of, 137.
  • — Tastes in music, 139.
  • — Themes, 95, 106-107, 121.
  • — Use of flute, 94.
  • — Variationist, 95.
  • — Versatility of, 85-86.
  • Works:
  • — Ave Maria, 129.
  • — Barcarolle, 102.
  • — Belle au Bois Dormant, La, op. 66, 126.
  • — Capriccio, Italian, op. 45, 117-118.
  • — Capriccio for piano, op. 8, 103.
  • — Choruses à capella, 87.
  • — Concerto for piano, op. 23, 87, 109-112.
  • — Concerto for piano, op. 44, 116-117.
  • — Concerto for piano, op. 75, 132, 133.
  • — Concerto for violin, op. 35, 114.
  • — Caprice D’Oksane, Le, 129.
  • — Casse-Noisette, 127.
  • — Chanson Sans Paroles, 100, 101.
  • — Chanson Triste, 116.
  • — Dame de Pique, La, op. 68, 127.
  • — Don Juan, op. 38, 115-116.
  • — Doumka, op. 59, 120.
  • — Elegy for Nicholas Rubinstein, 118.
  • — Eugene Onegin, 89, 112.
  • — Fantasie for piano and orchestra, op. 56, 116, 118.
  • — Fille de Neige, La, 104.
  • — Foggy Landscape, op. 13, 105.
  • — Francesca da Rimini, op. 32, 93, 104, 108, 114, 143.
  • — Hamlet, op. 67, 104, 108, 125, 126-127, 130, 143.
  • — Jeanne d’Arc, 129.
  • — Lac de Cygnes, Le, 109.
  • — Lieder, op. 57, 119.
  • — Magicienne ou La Charmeuse, La, 129.
  • — Manfred Symphony, op. 58, 119-120, 143.
  • — Marche Slave, op. 31, 113.
  • — Mazeppa, 129.
  • — Melodies for voice, op. 73, 129.
  • — Messe Russe, op. 41, 116.
  • — Mouvement perpétuel, 130.
  • — Mozarteana, op. 61, 120.
  • — Nocturne for piano, 132.
  • — Nur wer die Sehnsucht Kennt, 94, 129.
  • — Overture Solennelle, 118, 132.
  • — Overture Triomphale, 106.
  • — Pezzo capriccioso, op. 62, 121.
  • — Piano Album, op. 39, 102, 116.
  • — Piano compositions, 103, 109, 115, 118, 128.
  • — Pourquoi (Heine), 129.
  • — Romances and Songs for voice, 103, 106, 113, 118, 120, 121, 126, 129.
  • — Roméo et Juliette, 104, 114, 132, 133, 143.
  • — Russian Mass, op. 52, 118.
  • — Scherzo, op. 34, 114.
  • — Seasons, The, 102.
  • — Serenade for strings, op. 48, 118.
  • — Snegourotschka, 104.
  • — Song without Words, op. 3, 103.
  • — Souvenir de Florence, 127.
  • — Souvenir de Hapsal, 102.
  • — Souvenir d’un lieu triste, op. 42, 116.
  • — String quartets, 104, 109.
  • — Suites for orchestra, 87, 116, 118.
  • — First Symphony, op. 13 (G minor), 104-105.
  • — Second Symphony, op. 17 (C minor), “the Russian,” 106-107.
  • — Third Symphony, op. 29 (in D major), 113.
  • — Fourth Symphony, op. 36 (F minor), 94, 95, 114-115, 123-126.
  • — Fifth Symphony, op. 64 (E minor), 94, 95, 121-123, 136.
  • — Sixth Symphony, op. 74 (B minor), 86, 94, 132, 134-138.
  • — Tempest, op. 18, 108.
  • — Tscharodeika, La, 129.
  • — Vakoula, 106.
  • — Valse Caprice, 103.
  • — Valse-Scherzo, 103.
  • — Variations in F, 38, 108, 109.
  • — Variations, op. 19, 102.
  • — Variations, op. 33, 114.
  • — Winter Journey, 104-105.
  • — Witch of the Alps, 119.
  • — Yolande, 127.
  • Turgenev, 84-85, 94, 100.
  • — On Russia, 98.
  • — The Beggar, 99, 100.
  • Valkyrie, 228.
  • Van Cleve, John, 213.
  • Van Der Stucken, Frank, 108.
  • Variations, 35-36, 38, 108-109, 231.
  • Venino, Albert, 261.
  • Verdi, 1.
  • Verlaine, Paul, 207, 227, 230.
  • Verstohlen geht der Mond, 25.
  • Viardot, Louis, 192.
  • Vienna, 251.
  • Vinci, Leonardo da, 247.
  • Virgil, 114.
  • Virgil clavier, 246.
  • Vogel der heut’ sang, Dem, 29.
  • Vogrich, Max, 51, 241.
  • — On Brahms’ cradle-song, 70.
  • — On playing Brahms, 76-77.
  • — Staccato études, 262.
  • Vogt, 241.
  • Von Bülow, 109, 212, 251, 264.
  • — Edition of Cramer, 244.
  • — List of études, 244.
  • — Playing of Brahms Sonata in C, 24.
  • — “Three B’s,” 11, 248.
  • Von Schlözer, 241.
  • — Études, 270.
  • Votinsk, 87.
  • Voyévode, 130, 132.
  • Zãl, 209, 218.
  • Zarembski, 266.
  • — and B flat minor étude, 270.
  • Zichy, 241.
  • Zimmermann, 193.
  • Zelazowa-Wola, 195.
  • Zwintscher, 245.