his curiously illustrated drawing, 20;
excuses for, on score of genius, 24;
an egotist, 27;
his fits of depression, 32;
sees the whole world in pale gray tints, 32;
would sometimes rather be a carpenter or turner, 35;
feels unspeakably dull, 36;
color of his mother’s shawl, 38;
his splenetic mood, 38;
living much as an asparagus, 44;
his is not a drawing-room melancholy, 45;
wrote stupidly because stupid, 45;
not a “spoilt child,” etc., 45;
fête for Moscheles and grand music, 45;
his childlike joy, 48;
his interest in music and musicians, 48;
feels the fog lifting, 48;
his aspirations as godfather, 51;
his godchild, 57;
first present he makes to him, 57;
happy in the happiness of his friends, 57;
traces of moodiness in his compositions, 58;
enjoys the quiet of his room, 58;
suffering of his father, 58;
joins his sister in Sunday morning music, 58;
receives grass-green volume of Moscheles, 58;
congratulates Moscheles on his new-born son, 59;
allusion to the children of the family, 59;
his love of London, 60;
how he escapes bores, 61;
evening spent with his parents, 61;
first present to his godchild, 69;
his peculiar autograph album, 69;
Cradle Song in B flat, 69;
anxiety on account of accident to his father, 69, 77;
assumes the duties of Musik-director at Düsseldorf, 74;
feels quite at home, 81;
promise of new compositions, 81;
hard at work there, 81;
his poverty in shaping new forms, 85;
toils and labors with difficulties, 85;
his birthday celebrated, 90;
joy, ease, and success in work, 90;
is offered liberal terms for Gipsy Variations, 97;
his title of “Herr Musik-director,” 121;
his periods of monotony and depression, 123;
regard for his parents, 135;
his appearance at head of Leipzig orchestra, 140;
he is advised not to alter his work, 149;
misses Moscheles in England, 163;
his arrival in London, 208;
he cannot change the opinions of a lifetime, 252;
the prices paid for his works by Novello, 273;
his birthday celebrated at Gerhard’s Garten, 284;
description of parts in the performance, 285;
great affliction at his sister’s death, 287;
his last hours, 291;
the scene at his death, 291;
reflections of Moscheles on, 292.
“Merit has its crown,” etc., 65.
Meyer, Mademoiselle, gone to London, 104.
Meyerbeer is invested with his title, 41.
“Midsummer Night’s Dream,” performed with enthusiastic reception, 13.
Milder, Madame, her concert, when to be given, 41;
sings Scenas by Gluck, 52.
Moore, Mr., wishes to print Oratorio, 269.
Mori, his indiscretion, 98;
presented with a manuscript, 98;
waiting for Rondo, 98.
Morning Service, for Novello, working at, 30.
Moscheles, Mrs. Charlotte, letters of Mendelssohn to, x;
is his guide and mentor in London society, x;
her “grandmotherly” advice, x;
she is still active in body and mind in her eighty-third year, x;
cherishes memories of the past, and joins in the joys of the present, x;
is heard with delight when she talks of Mendelssohn, x.
Moscheles, Felix, comes into possession of Mendelssohn’s letters, ix;
manuscript book and index of his father, ix;
his use of the “Life of Moscheles,” edited by his wife, x;
his juvenile recollections and impressions of Mendelssohn, xi;
his godfather, and parents’ best friend, xi;
claims Mendelssohn’s attention and enjoys it, xi;
race with, across Regent’s Park, xi;
battle of snowballs, xi;
improvisation of a funeral march, xi;
his account of the drawing of the hatchet curve, xi;
“took a most lively interest in everything concerning me,” xi;
refuses to go to bed at the accustomed hour, xii;
his account of improvised playing of Mendelssohn and Moscheles, xii;
shows how they fraternized in perfect harmonies, xii;
“music-making in my father’s house,” xiii;
his mention of their motto, “Res severe est verum gaudium,” xiii;
refers to his own name and its significance, xiii;
his special privileges, hears Mendelssohn, Liszt, the Schumanns, and Joachim, xiii;
pleasure of editing the correspondence, xv.
Moscheles, Ignaz, engaged on a professional tour, 1;
gives instruction to Mendelssohn, 1;
recognizes the genius of the young composer, 1;
feels that he is sitting next to a master, 1;
is requested to give lessons, 1;
he is invited to dinner, 1;
“prince des pianistes,” 2;
invitation to visit “Akademie” and to a tea-circle, 2;
the friendship of teacher and pupil, its lasting character, 3;
his appreciation of youthful genius, 3;
he is senior of Mendelssohn by sixteen years, 3;
spends many happy hours with his friends, the Mendelssohns, 3;
his appreciation of, 3;
his mention in diary of Mendelssohn’s genius, 3;
his “Studies,” 4;
his acquaintance with musical men in London and Vienna, 7;
“Studies,” second book of, 7;
advises Mendelssohn to begin his tour with a visit to London, 8;
his description of London attractive, 8;
his new symphony, 9;
he secures rooms for Mendelssohn, 10;
his house, and the pleasant hours in, 11;
plays with wonderful brilliancy, 13;
at home with Mendelssohn, 19;
his wife’s kindness to Mendelssohn, 19;
his birthday celebrated, 20;
his visit to his sister, 25;
visit to Hamburg, 27;
has many claims upon his time in London, 28;
his twelve days stay in Berlin, 46;
success of his concert, 47;
goes from Berlin to Leipsig, 47;
plays in public at Frankfurt and Cologne, 47;
presented with a musical sketch-book, 47;
Concerto in E flat, 51;
his complete works, 130;
his overture to “Joan of Arc,” 130;
description of its parts by Mendelssohn, 131;
letters written to his wife, 141;
his Concerto Fantastique, 143;
visits his mother in Prague, 213;
leaves London, 235;
he is appointed professor at the Conservatorio of Leipzig, 236;
his birthday is celebrated, 245;
goes to Frankfurt, 246;
his wife wishes to live in Leipzig, 261;
last days he spent with Mendelssohn, 289;
his regard for the Music-School, 294.
Mozart, his good taste, 152;
his C major Symphony, 253;
his “Davide penitente,” sung at festival, 278;
his G minor Symphony at the Gewandhaus, 284;
Mendelssohn’s directions in reference to the “Elijah,” 284.
Music paper, sheets of, 11.
“Musical Review,” Mendelssohn asked to edit, 128.
Musical school, programme of, 233;
King of Saxony may grant funds for, 233;
that at Leipzig, its need of Moscheles, 239;
its plan of organization, 240;
cost of educating Englishmen in this school, 241;
the number of its pupils, 242;
fault in its organization, 242;
kind of instruction needed in, 242.
Musicians, prominent ones unreservedly criticised, ix;
complaint of, 32;
their abuse of each other, 173;
their doings in England, 248.

Nathan, volume of, 74.
Neukomm, his estimate of net receipts, 33, 35;
his beautiful lecture, 36;
preached to conscience, 36;
thinks one should only write according to one’s mood, 36;
large number of works in his programme, 116;
his style, that of Haydn bordering on Handel, 116;
has not done much for art, 116;
his “David” shows wonderful workmanship, 116;
lacks the poetical element in other of his works, 116;
his music and its qualities, 118.
“Nicht allein,” chorus in second part of “Faust,” 90.
Nicolai, his description of Italian scenery, 124.
Nightingales, Inspector of, title conferred on an old lounger, 104.
Novello, Miss, cordially greeted by the public, 160;
success marvellous, 170.
Novello, V., appointment with, 65.
“Nursery Tale,” his greatest favorite, 159.

Onslow, inquiries about, 198.
Opera House holds nearly two thousand persons, 40.
Orchestra Pension Fund, 185.
Orinoco, allusion to, 117.
Overtures, for two performers, 179;
description of parts, 179;
to appear at Simrock’s in Bonn, 179;
at Mori’s in London, 179.

Paganini gives a concert in Berlin, 9;
his never-erring execution, 9;
mention of, 66.
Paris, short stay at, 19.
“Phantasie-Stücke,” volume of, 74.
Philharmonic, G minor Concerto played at the, 20;
the Society, its intentions toward Mendelssohn, 48;
Septet written for, 51;
list of concerts, 54.
“Philister,” any word in English for? 126.
Philistine, the German, with his nightcap, 194;
his language, 248.
Philistines, the world of, 126.
Phrenology, special attack upon, 22.
Piano, its delay, and annoyance at, 41;
“there be none of Beauty’s daughters with a magic like Erard’s,” 43;
his own is inaugurated by Moscheles, 43;
a “Graf,” the wonder of Vienna, 44;
those of Berlin pianoforte-makers, 44;
pear-shaped instruments, 44;
giraffe, or pocket size, etc., 44.
Pianos, the, in Mendelssohn’s Overture, difficulty of getting them observed, 96.
“Piano Songs,” thanks for assistance in reference to, 28;
twenty editions of, 29;
what may be bought with the proceeds, 29.
Pixis, mention of, 152.
Planché, messages sent to, 187.
Porte Saint-Martin, rattling of brass fit for, 93.
Portland Street, quarters of Mendelssohn at, 12.
Prince, Crown, extremely gracious, 110.
Prince Frederick, giving many balls, 91.
Publication of letters, why delayed, ix.
Pupils, examination of, 290.

“Quarterly Review,” portrayal of composers in, 192.
Quartet in A minor, 12.

Redern, Count, director and autocrat of the drama, 39;
conference with, 41;
inserts advertisements, 43;
has gone to his estates, 45;
takes Mendelssohn under his wing, 53.
Reissiger & Co., their compositions shallow, 136.
Rhenish Musical Festival, 134.
Rhine, journey by, 181;
leaving for, 273.
Ries, violin player, 103;
Mendelssohn and he as pope and anti-pope, 104;
leaves Düsseldorf, 109.
Rietz, plays Beethoven sonatas, 290.
Ritter, lectures at Berlin University, 4.
Rondo Brillant, dedication of, 82.
Rosen, George, Consul-General, etc., 11.
Rosen, Professor, Mendelssohn dines with him, 12;
meeting with, 19.
Rosenhain empties his pockets, 247.
Rosenthals, visit to the, 290.
Rossini, mention of, 152.
Rubini, mention of, 66.
“Ruins of Athens,” selections from, 267.
Russians, seem more thoroughbred than the Hamburgers, 62.
Rylands, Miss, reference to, 118.

Saaling, Marianna, cousin of Mendelssohn, 110.
Saint Cecilia Choir, directed by Mendelssohn, 148.
“Saint Paul” performed in England, 154.
“Sakontala,” by Klingemann, 219.
Schleinitz, lawyer, friend of Mendelssohn, 140;
is Director of Leipzig Conservatorio, 140.
Schlesinger, Moritz, not slow to triumph at hissing of Herz, 112;
may be King of the Belgians, or Fire-King, 112;
the “Study” is sent to him, 197.
Schmidt, Aloys, takes his ease in the country, 151.
Schneider, Mademoiselle, her success, 53.
“Schnellpost-coupé,” comfortable travelling in, 25.
Schröder-Devrient, mention of, 66.
Schubert, Franz, Symphony of, 191.
Schumann, Robert, mention of, 141;
quartets performed by, 230.
Schumann-Wieck, Madame, her effort to obtain pupils, 263.
Schunck, Mrs., takes part in comic dialogue, 284.
Scotch Symphony and Overture, 14.
Scotland, visit to, by Mendelssohn and Klingemann, 14.
Scott, Sir Walter, dedication to, 11;
piece dedicated to, 20.
“Seasons,” the performance of, 120.
Septet, arrangement of, 70.
Shakspeare, his “King John,” downright heavenly, like all else of his, 100.
Shaw, Mrs., inquiries about her, 170;
makes many friends, 173.
Shopping, Book on, 73.
Siboni, recipes of, for salad mixing, 104.
Simrock, of Bonn, German publisher, 218.
Simrock’s, a piece to appear at, 82.
“Sinfonia Eroica,” 120.
“Sinfonia Pastorale,” allusion to, 174.
Sing-Akademie, 54.
Smart, George, interest in “Saint Paul,” 155.
“Son and Stranger,” selections from, 47.
Sonata, four-hand, Moscheles’s, 81.
Sonate Symphonique, played at the court of King Louis Philippe, 262.
Songs, new book of, 157.
“Songs without Words,” reference to, 65, 191;
price of copyright, 66.
Sophocles’ “Antigone,” performed at Moscheles’s house, 228.
Souchays, at Frankfurt, 230.
Spohr, his Symphony, 191;
and Mendelssohn, attempt to create antagonism between, 222.
Spring, its balmy air makes life endurable, 255.
Spring, Mr., cannot be “digested,” 88.
St. Pancras, Church of, 207.
Stage, society for improvement of, 86;
difficulty of writing verses for, 150.
Staudigl sings the part of Elijah at Birmingham, 272.
Stone, Fanny, piece dedicated to her, 98;
will compose something easy for, 98;
a trump card, 186.
“Strains of the Scottish Bards,” a Fantasia, 11.
“Stumme Liebe,” by Probald, 219.
Subscription Concerts, 203;
plan to supplement the directorship of, 234.
Swiss landscape, its meadows, houses, etc., 124.
Switzerland, visits to, 19, 287;
things lovely and bright there, 229.
Symphony, can play parts by heart, 18;
can reckon on a brilliant success, 18.
Symphony in A major, 66.

Taubert has not much talent, 152.
Taylors’, remarks about the soirée at, 99.
Templower Berg, camp at, 39.
Thalberg, musical merit, 151;
his style interesting and genuine, 153;
perfect in his way, 204;
visits Mendelssohn and goes to Mecklenburg, 206;
visits London for Festival, 206.
“The Harmonized Scales,” for juvenile performers, 237.
“The Last Rose of Summer,” variations on, 20.
“The Old English Gentleman,” song of, 126.
“The Smith,” a song, with words by Uhland, 130, 131, 132.
Time, its judgments of critics and those criticised, ix.
“Travels of an Irish Gentleman in Search of Religion,” goes through seventy editions, 100;
praised by Orthodox and Catholics, 100.

Uechtritz, immersed in æsthetics, 128.
Urban writes “Lettres à Elle,” 130.
Use, Miss, her beauty, 102.

Valentins, the, at Berlin for the winter, 54.
Vanity, its prominence among Parisian artists, 193.
Variations, by Herz, for the thirtieth time, 30;
not more pleasant than rope-dancers or acrobats, 30;
endanger not necks, but ears, 30.
Varnhagen, going to be married, 110.
Vernet, Louise, marries Delaroche, the artist, 129.
Victoria, Queen, visit to, 290.
“Viennese in Berlin,” 94.
Vrught, his natural and unnatural voice, 114.

“Walpurgisnacht,” 53.
Walther, Dr., in attendance at the death of Mendelssohn, 292.
“Wasserträger,” rehearsal of, 86.
Water colors, taking lessons in, 100.
Weber’s Sonata, 93.
Weimar, referred to, 175;
court circle, 176;
its good points as a residence, 176;
Grand Duchess of, 177;
accommodations at, 282.
Westminster Abbey Festival, unable to attend, 104.
Wieck, Clara, her execution as an artist, 141.
“William Tell,” performance of, 230.
Woods, walks in, and their solace, 287.
Work, pressure of, 66;
deeply buried in, 82.
Wunderhornlied, Mendelssohn alters beginning of, 113.

“Zauberflöte,” best performance nowadays, 63.
Zelter, Professor, Mendelssohn’s attachment for, 20;
death of, 20.
Zoölogical Gardens, visit to, 70.
Zschokke, volumes of, 74.