Index

• Man of genius, elation of, 98.
• Mantua, Mozart at, 28.
• Maria Louisa, of Spain, 81.
• Marie Antoinette, 45.
• Marengo, battle of, 42.
• Marlowe, Christopher, 224.
• Mass, the, a great art-form, 73,
  • Stateliness of, 144,
  • Canon of, 232,
  • Sanctus of, 232,
  • Benedictus of, 232.
• Mass in C, Beethoven's, 73 et seq., 160,
  • German version of, 147.
• Mass in D, Beethoven's (or Grand Mass), 39, 47, 51, 96, 100, 123, 144, 147, 150, 160, 161, 162, 163-164, 166, 172, 183, 234, 236,
  • Agnus Dei, 169, 219,
  • Apotheosis of friendship, 146,
  • Benedictus, trombones in, 231,
  • Credo, 153, 169, 234,
  • Soli of, 153,
  • Celestial harmonies in, 235,
  • Congenial work to Beethoven, 146,
  • and the copyist, 188,
  • Beethoven's absorption in, 147, 160,
  • Christe eleison, 151,
  • Et incarnatus of, 234,
  • Interpretation by the orchestra, 150,
  • Lydian and Dorian modes in, 147,
  • Marvels of, 154,
  • Mysticism of, 96,
• Mass, a Symphony to Wagner's view, 150,
  • Subscription price of, 154,
  • Sale of score, 182,
  • proceeds from, 183,
  • First production by Prince Galitzin, 192,
  • Preludium in, 232, 233,
  • Kyrie of, 101, 124, 151, 153, 163, 169, 171, 186, 219,
  • Splendor of conception of, 151,
  • its symphonic style, 151,
  • German direction in, 153,
  • Loss of manuscript of, 186,
  • its rhythm, 151.
• Melusina, 160.
• Mendelssohn, 232, 236.
• Messiah, The, 139.
• Metaphysical, 2.
• Metronome, inventor of, 104.
• Metternich, Prince, 102.
• Meyerbeer, 105, 225.
• Minorites, church of, 7, 211.
• Minuet, the, 133.
• Mödling, 147.
• Monasteries, old chorales of, 147.
• "Moonlight" Sonata, 35-36.
• Moscheles, 103, 105,
  • and piano arrangement of Fidelio, 106.
• Mount of Olives, 35.
• Mozart, 9, 20, 22, 28, 33, 46, 48, 50-51, 79, 100, 134, 139, 225, 227,
  • Early death of, 191,
  • Genius of, 140,
  • his precocity, 8,
  • praised by Beethoven, 140,
  • Requiem, 51, 212,
  • Sonatas, 34, 139,
  • his widow, 31,
  • his operas at Bonn, 14.
• Mozart's Mass in B♭, 51, 73,
  • Agnus Dei of, 73,
  • Et incarnatus of, 73,
  • Kyrie of, 75.
• Mozart and Haydn, 11, 20, 33, 73, 74, 75, 131.
• Music, its function, 4,
  • outward expression of, 39,
  • dramas, great, 231,
  • a language, 226, 227,
  • Religious, 144,
  • Origin in the dance, 99.
• Musician, the, social obligations of, 39.
• Mystery in life, 153, 225.
• Mysticism, and the artistic nature, 144.

Index

• Napoleon, 41, 44, 54, 83, 103, 191,
  • Arch-enemy of Austria, 42,
  • Campaign against Austria, 41, 42,
  • escapes from Elba, 109,
  • declared emperor, 44,
  • Greatest military achievement, 42,
  • In the toils, 107,
  • Marriage to Archduchess Maria Louisa, 102,
  • Marriage to Josephine, 43,
  • overruns Germany, 69,
  • takes Vienna, 54.
• National opera at Bonn, 13.
• Neate, Charles, 182.
• Neefe, Beethoven's teacher, 6, 7, 17.
• New Testament, 161.
• Nietzsche, Friederich, 40, 216.
• Ninth Symphony (choral), 29, 96, 100, 166, 167, 172, 181, 196, 226,
  • Choral finale, 170,
  • an outburst of joy at deliverance, 164,
  • First movement of, 163,
  • First performance in this country, 165,
  • Psychological problems in, 162,
  • Sontag, and soprano part of, 160,
  • Trombones in, 230,
  • Variations in, 157.
• Nohl, 186.
• North America, 166, 180.

Index

• Ode to Joy, revolutionary spirit of, 165.
• Odeschalchi, Princess, 61.
• Opera, the, an alien soil to Beethoven, 49,
  • as a work of art, 50,
  • a combination of arts, 51.
• Operatic composition, 52.
• Orchestra, range and mobility of, 150,
  • More important than voices, 150,
  • its resources increased through Beethoven, 3.
• Orchestral forms, development of, 99.
• Ossian-like dæmonism, 149.
• Ossian Songs (Schubert), 206.

Index

• Pain of existence, 132.
• Palestrina, 234,
  • Masses of, 143.
• Paris Conservatoire, 16.
• Parsifal, 164 (footnote), 231, 235,
  • mysticism of, Prelude to, 235.
• Passion music, 35, 144.
• Pastoral Sonata, 35.
• Pastoral Symphony (see Sixth Symphony).
• Patriotism and altruism, 43.
• Paur, Emil, 166.
• Pedal-point, 231.
• Pennsylvania, Founding of, libretto, 156.
• Persian literature, 140.
• Pessimism, 132.
• Pinnacle of greatness, 40.
• Pity, and the divine in man, 164.
• Plagal mode, 234.
• Plato, 230,
  • Republic, 140.
• Playing from manuscript, 10.
• Philharmonic Society of New York, 166.
• Philharmonic Society of London 200, 207.
• Philip III, of Spain, daughter of, 204.
• Prague, 9, 109.
• Problem of life, 77, 164.
• Prometheus, Ballet, 33, 34, 35.
• Prussia, King of, 154.
• Psychological element, the, 27.

Index

• Quartet, the, 98, 191, 194,
  • Last quartets, 96, 100, 158, 191-192, 194, 195,
  • Mysticism of, 96, 195,
  • Psychological qualities of, 195, 218,
  • Spirituality of, 195,
  • Variations in, 157,
  • Written in great mental trouble, 194.
• Quartet, in A minor, 187,
  • in C♯ minor, 195, 199, 203,
  • its dedication, 208,
  • in B♭, cavatina of, 194,
  • new finale of, 203,
  • see chamber-music, also Rasoumowsky quartets.

Index

• Rasoumowsky, Count, 59, 63, 65, 108, 192,
  • Entertains Empress of Russia, 108.
• Rasoumowsky quartets, 65-66, 192,
  • Adagio of the second, 65.
• Religion and General-bass, 219.
• Religious sentiment, the, 219.
• Renunciation, 163.
• Requiem Mass, 140, 160, 161, 209.
• Ries, Ferdinand, 44, 62, 82, 83, 84, 135, 180,
  • Pupil of Beethoven, 80,
  • Prolific composer, 85,
  • efforts for Beethoven while in London, 181-182.
• Ries, Franz, 12, 17, 82.
• Rochlitz, 92, 153, 156.
• Romberg, 16, 105.
• Rossini, 79, 153, 166,
  • calls on Beethoven, 139.
• Ruins of Athens, 155.
• Russia, Emperor of, 36, 107, 108, 154,
  • Empress of, 107, 108.

Index

• Saint-Saens, 232.
• Saint-Simon, and the strenuous life, 206.
• Salieri, 105.
• Satanas in the kitchen, 185.
• Saxony, King of, 154, 213.
• Second period, works of, 40,
  • characterized by gayety, 100.
• Second Symphony, 26, 36, 37,
  • Larghetto of, 36.
• Seebald, Amalie, 87, 88,
  • facsimile of letter to her, opp. page 88.
• Sehnsucht (Goethe's), 142.
• Seidl, Anton, 166.
• Sensenman, the, 116.
• Seventh Symphony, 95, 96, 109,
  • Dance element in, 99,
  • First performance of, 105,
  • Coda of Vivace of, 97,
  • Hungarian peasant dance in, 96,
  • Weber's strictures on, 159.
• Scherzo, 33, 34, 132, 133,
  • Peculiar to Beethoven, 133,
  • developed by Beethoven, 132,
  • makes sport of humanity in, 133-134.
• Schiller, 16, 131, 141, 148, 165.
• Schindler, 59, 88, 127, 136, 152, 154, 156-158, 168, 169, 171, 176, 186, 188, 203, 205, 206, 207, 209, 210, 213,
  • Beethoven's biographer, 179.
• Schroeder-Devrient, 155, 159.
• Schopenhauer, 22, 77, 143, 174, 229, 236,
  • and humor, 134.
• Schubert, 8, 127, 177, 206, 210, 211,
  • Reverence of, for Beethoven, 178,
  • Calls on Beethoven, 178,
  • Songs of, 206.
• Schuman, 136, 232.
• Schuppanzich, 168, 176, 206.
• Schott, music publishers, 208, 209.
• Scott, Walter, 134,
  • Kenilworth, 209.
• Seyfried, 22, 64, 135, 212.
• Shakespeare, 13, 68, 134, 139, 141, 223, 225,
  • Comedies of, 68,
  • the Tempest, 152,
  • a Universal man, 227,
  • Wagner's archetype in youth, 227.
• Siegfried, 231.
• Sight playing, from Ms., 63, 64.
• Sixth Symphony (Pastoral), 14, 73, 78-79, 95, 122,
  • Dance tunes in, 78,
  • Dramatization of, 79,
  • Nature-poem, a, 78, 79,
  • Storm in, 78, 79.
• Socrates, 161.
• Solitary, Beethoven, the (quoted), 227.
• Sonata in A♭, 35,
  • Fantasia, language of Resignation, 61,
  • Kreutzer, 44,
  • "Moonlight," 35,
  • opus 111, 187,
  • Pathetique, 26,
  • Pastorale, 35,
  • Waldstein, 11, 18, 44,
  • opus, 102, 129.
• Sonata, the (form), 100.
• Sonatas, 33, 36, 39,
  • Last (opus 109, 110, 111), 155,
  • Lofty imaginings of, 155,
  • Wondrous second movement of op. 111, 158,
  • F minor and D minor, 152.
• Sonnleithner, 49, 56.
• Sontag, 160, 170.
• Spohr, 105.
• Stadler, Abbe, 139, 167.
• St. Just, 133.
• St. Stephen's, Vienna, 22.
• Streicher, Madame, 185, 186.
• Stumpf, 139, 207, 209.
• Stutterheim, Field-marshal von, 198, 208, 209.
• Suite, the, earliest orchestral form, 99.
• Süsmayer, 31.
• Swieten, Baron von, 27, 59.