Academy, at Berlin, sadness of its aspect, 31.
Addison & Beale, Messrs., pay twenty guineas for a copyright of Mendelssohn’s works, 181;
draw money from, 188.
Addison and Benedict, transactions with, 237.
“Alexander’s Feast,” choruses from, 88.
Alexander, Mary, “Impromptu” for, 85;
good things in “Impromptu,” 85.
Andante in B flat, description and analysis of, 58.
“Anthems,” new edition of, unsatisfactory, 252.
Arnim, conductor of musical affairs, 46.
Art Exhibition, open at Berlin in October, 34.
Art should be a mirror reflecting the character of the times, 112;
grateful for that which has a life of its own, 194.
“Athalie,” translated by Bartholomew, 269.
“Au Clair de la Lune,” popular song of, 20.
Auber, his “Gustave III.,” 129.
Aix-la-Chapelle, musical festival at, 103.

Bach, Johann Sebastian, his “Passion,” performance of, for benefit of charitable institution, 8;
public loud in demand for third performance, 8;
pieces played together, 31;
similar compositions, 31;
his Concerto, 52;
Fugues of, 70;
monument to, 198;
Triple Concerto, 245.
Ball, Mr., translator, 155.
Bärmann, his enchanting concert, 53.
Bassano, Miss, reference to, 278.
“Becken,” its double meaning, 57.
Becker, head-master of music school, 260.
Beethoven, his musical sketch-book, ideas from, for grand Mass, 47;
chaotic appearance of its pages, 47;
a puzzle even to the initiated, 47;
description of, 47;
the cherished master, 47;
his Concerto and Sonata, 52;
his habit of conducting, 93;
motto, “Man, help thyself,” 279.
Belleville, Madame, her success, 26;
not attractive to Berlin people, 26;
performs at the theatre between two comedies, 26;
her playing lacks soul, 26;
not a “Bellevue,” 29;
burlesque of her performance, 30;
reference to her performance, 53;
affectation of, 62.
Bellini, gazetted Knight of the Légion d’ Honneur, 129.
Bennett, his new Concerto, 170.
Berger, Symphony by, 52;
its execution bad, 52;
dissatisfaction of, 52.
Berlin, letter from, 201.
Berlin Society, an awful monster, 61.
“Berliners,” type of, 25;
their musical taste, 34.
Berlinese, not exactly noted for good nature, 115.
Berlioz, recognized as a genius by the French, 93;
his Overture, is prosaic and chaotic, 97;
his scores, a frightful muddle, an incongruous mess, 97;
his Symphony, 133.
Biography of Mendelssohn and Moscheles, compiled chiefly from diaries, xii.
Birmingham Festival, full particulars of, 115;
reference to, 122.
Birmingham, invitation to, 201.
Blagrove visits the Choral Society, 88.
Blahetka, Madame, her superiority, 27.
Blahetka, Mademoiselle, 53.
“Blue Devils” stand for melancholy, 20;
first movement is styled “Malin-conico,” 144.
“Blumenberg,” rooms ordered in, 280.
Book of Songs, collection of, 219.
Books, returned by Mendelssohn with thanks, 74.
Breitkopf and Härtel publish book of unknown compositions, 31.
Broadley, Mr., instructions in reference to German publication, 218;
Scena for, 236.
Browning, tribute to Moscheles’s memory, 21.
Bunsen, Prussian ambassador at St. James, 232;
his counsels have great weight, 232.
Burghersh, Lord, and the Philharmonic, 202.
Burton, Mr., desired to make an offer for the Oratorio, 271;
straightforward in his dealings, 272.
Byron, Lord, is read by Mendelssohn, 42;
chorus on, in “Faust,” 90.

“Calm Sea, and Prosperous Voyage,” 141.
Cantata, “Hora est,” 10;
on a Chorale in A minor, 12.
Capriccios, or Fantasias for pianoforte, 107.
Carnival, excuse for keeping aloof from, 91.
Cécile, wife of Mendelssohn, 158.
Cerberus, intimations from a, 73.
Chappell, mention of, 11;
opera for, 195.
Cheapside, calm and quiet of, 86.
Cherubini, his new opera, “Ali Baba,” 119;
his Faniska and Lodoiska, difference between a man and a scarecrow, 119;
caters to depraved musical taste, 120;
his “Abencerrages,” 198;
his second Requiem in D minor, 253.
Chester Place, two years’ absence from, 22;
changes there, 28;
maze of its associations, 22;
more than a dream, 22;
wish to be there, 22;
a constant visitor at, 66;
its brilliant circle, 66.
Cholera, a Russian gift, 25.
Chopin, his book of Mazurkas, 129;
at Hamburg, 138;
his new things not satisfactory, 156;
his Studies have much charm, 171.
Choral Society, its performance, 120.
Chorley, H. F., cultivated young man on the “Athenæum,” 192;
mention of, 194;
a truly good fellow, 195;
and Moscheles, 210;
letters from, 214.
Chorus, “Hora est,” 12.
City of Steeples, 85;
“Alsterbassin,” 26;
no comfort wanting in, 25.
Clarus, Dr., attends Mendelssohn in his last sickness, 292.
Collard, mention of, 11.
Cologne, return from a trip to, 99;
its public, 100;
its musicians, 100;
intolerable as a residence, 100;
visit to, not pleasant, 166.
“Come to Berlin,” fugue in fifteen parts, 28.
Coming of the Spring the best opera, 63.
Commercial Club, called “The Parliament,” 126.
Composer, his mind preoccupied, 95.
Composition, kind required, 102.
Concert, money value of, 33;
best time for, 33;
hall expenses, etc., 33;
terms stipulated for, with directors of opera, 40.
“Concerto Pastorale,” Moscheles refers to, 174;
letter accompanying, 182;
announcement of, 185;
dedication of, 194.
“Cortez,” new opera of, 39;
sons of Mars applaud mightily, 39.
“Court,” its meaning in conjunction with title, 41.
Court in Berlin, 91.
Cramer, mention of, 11, 66.
Cravat, practice in tying, 74.

David, F., wishes to go to London, 178;
an excellent performer, his compositions brilliant, 178;
played his new Concerto at the Philharmonic, 180;
a favorite at Chester Place, 182;
colleague to Moscheles at Leipzig Conservatorio, 182;
Mendelssohn invokes a kind reception for, 186;
a fine musical critic, 187;
head-master of music school, 260.
“De la Vie d’un Artiste,” new symphony for, 112.
Denmark, visited by Moscheles, 13.
Derossi, Signor, call for, 87;
opposition to, 87.
“Der Schmidt,” by Uhland, 219.
De Vrughtat Chester Place, 104.
Devrient, Eduard, actor and writer on dramatic art, 4.
Directors of the Philharmonic, 251.
Dirichlet, professor of mathematics, etc., 77.
Dirichlet, Madame, mention of, 141.
Discourtesy at rehearsal, 274.
Dispute with the Philharmonic, a dead and forgotten issue, 275.
Döhler is lionized, 170.
“Don Juan,” opera, theatrical success of, 86.
Double Concerto in E in Clementi’s piano manufactory, 13.
Dreyschock, a young pianist from Prague, 187, 203.
Dresden, Moscheles’s visit to, 40.
Düsseldorf, musical festival at, 66;
its pleasant impression on Mendelssohn, 81.

“Egmont,” performed with Beethoven’s music, 90.
Elberfeld, village near Düsseldorf, 127.
Eldon, Lord, overture to, 114.
Elsslers, the, called the “Telegräfinnen,” 53.
“Elijah,” copy of, placed in Bartholomew’s hands for translation, 274;
alterations of parts of, 283;
time taken for its performance, 277.
Elkamp, Mr., writes a “Saint Paul,” 138.
England, the impression it gives, 16;
regard of, for Moscheles, 17;
country makes a lasting impression on Mendelssohn, 17;
many years spent there, 288.
English, Mendelssohn rusty in, 168.
English, their custom of putting everything in the papers, 189.
English comfort, the happiness of, 229.
English Misses should not forestall German, 251.
Envy, like Hercules, throttled in its cradle, 155.
Erard, compliment from, 54;
offers to repair piano, 166;
presents Mendelssohn with new instrument, 166.
“Eroica Symphony,” suggestive passage in, 293.
Ewer & Co., Mendelssohn prefers to give manuscript to, 270.
Exeter Hall, 286;
“Elijah” performed there, 286.
Extracts, how made, x;
substance embodied in commentary, x;
subject-matter of, from the pen of Moscheles, x.
“Extrapost,” slow transit of, 282.

“Fall of Paris,” and Alexandrian Variations, 20, 134.
Family, transformation of, 60.
Fantasie, “Gipsies’ March,” 63;
manuscript of, 63;
joint work of authors, 64;
the share of each, 64;
the intimate fusion of two musical minds, 64;
Moscheles’s letter on, 64.
Fates, decree of, 265.
Fétis, disagreeable qualities of, 197.
First visit to a foreign land, 16.
Fleming, Mr., re-elected to a seat in Parliament, 126.
Foreigner, things difficult made easy to, 16.
Francilla, mention of, 152.
Frank, Dr., Mendelssohn wishes to show A major Symphony to, 111;
errors of, 111;
minuet and finale of, 111.
Frankfurt, Oratorio to be brought out at, 137.
Frege, Dr., waits anxiously near the sick-room, 292.
Friendship, characteristics of Moscheles’s and Mendelssohn’s, ix.

Ganz Brothers desire to visit London and Paris, 62.
“Gazette Musicale” exalts Berlioz’s Requiem, 165.
Gerhard’s Garten, a spot of historical interest, 283.
German Diet, allusion to, 24.
Giermann, Mr., commissioned to pay for disbursements, 29.
“Gipsies’ March,” “April Variations” of, 89.
Goethe, the “Pole-star of poets,” 19;
correspondence with Zelter, 90.
Goethe’s and Zelter’s letters, great merits of, 100.
Goethe, Frau von, sends thanks for Variations, 115.
Graban, Mademoiselle, “prima donna,” 145.
Grabbe, immersed in the bottle, 128.
Gratitude for happy days, way of showing, 22.
Great composers, the way to honor them, 197.
Green-Score Hotel, Leipzigerstrasse, 28.
Guhr, the only man who succeeds, 151.
Guildhall, meetings at, 24.
Gusikow, mention of, 152.

Hamburg, letter in sixteen parts from, 25;
to Berlin, journey requires thirty-four hours, 45;
fire, sufferers from, 227.
Hammer, Dr., watches Mendelssohn, 292.
Hand-clapping, time of continuance, 13.
Handel, his glorious style, 119.
Handel Society desires a new edition of “Messiah,” 242;
its generous offer, 244;
request for Oratorio, 245;
difficulty with, 251.
Handel’s Oratorios, selections from, 276.
Handley, Mrs., Mendelssohn a warm admirer of, 99;
her appearance beside her husband, 99.
Härtel, Dr., his effort for Mendelssohn, 292.
Hauptmann, his first Mass performed at St. Thomas’s Church, 230;
head master of music school, 260.
Hauser, beautiful joke of, 139;
sends Bach’s Concertos, 153.
Health, book on, 73.
Hegel lectures at Berlin University, 4.
Hensel, painter, marries Mendelssohn’s eldest sister, 15.
Henselt’s Studies, interest in, 171.
Herz, hissed by the public, 112.
Hiller, studies of, 133;
Paris, bad soil for, 133;
his merit as a pianoforte player, 151.
Hogarth, Mr., certificate enclosed for, 168.
“Hommage à Handel,” piece for two performers, 140, 245.
Hôtel de Rome in Berlin, recommended, 45.
House-hunting, instructions about, 271.
Hübner, Madame, dress critic, 92;
asks if cravat is English, etc., 102.
Hummel, Septet of, and Herz’s Variations, 26;
mention of, 66;
a good man needed to supersede him, 176.
Hüttner & Co., Ewer’s correspondents in Hamburg, 273.
“Hymn of Praise,” value of, 209, 272.

“Im Herbst,” by Uhland, 219.
Immermann, poet and dramatist, 127;
his “Münchhausen,” and epic poem “Tristan and Isolde,” 127.
“In Autumn,” a song and words by Uhland, 130, 131, 132.
“Infelice,” inspires Mendelssohn’s praise as a popular song, 4;
Scena written for the Philharmonic, 86.
“Israel in Egypt,” choruses selected from, 117, 245;
edited by Mendelssohn, 253.
Italian mannerism of Thalberg, 153.
Italian symphony, 60.
Italy, visited by Mendelssohn, 18;
stupid book about, 123.

“Jagd,” Lutzow’s, 126.
Jenny Lind, letter to, 267.
Joachim, musical favorite, 283;
appears as Paganini, 284.
“Joan of Arc,” overture to, 118;
begged to be repeated, 144.
“Judas Maccabæus,” first part of, 120.

Kalkbrenner at Hamburg, 138;
the little fish patty, 139.
Kammerherr, surprise and astonishment of, 145.
Kistner sends “Gipsies’ March” to Frau von Goethe, 94;
anxious about new book of Studies, 159.
Klingemann, Carl, a gifted poet, 4;
meeting with, 19;
fit to flirt but
not to marry, 37;
a Knight of the Order of Bachelors, 37;
becomes engaged in 1846, 37;
his Septet, 51;
writes out eleven notes of Septet, 57;
report in his last letter, 60;
goes to London, 61;
arrival of, 78;
not prodigal of words, 85;
will make alterations, 96;
his engagement and prospect of marriage, 254.

Lafont, expected at Berlin, 53.
“Lauda Sion,” composed for church festival, 263.
Leipzig, Rondo to appear at, 85;
Abonnement Concerts held at, 137;
its cultivated and art-loving citizens, 252;
cost of living there, 262;
Conservatorio, Moscheles enters upon his duties there, 283;
the pleasures of daily musical and friendly intercourse, 288.
Leipzigers wish to secure Moscheles for direction of Conservatorio, 256;
large salary offered, 258;
a position influential and independent, 258.
Leipzigerstrasse, Mendelssohn’s father safely lodged in, 77.
“Les Francs Juges,” Overture by Berlioz, 93.
Letters, passages in, not suppressed, ix.
“Light of Life,” emblem of, 286.
Lindblad, Swedish composer, 152.
Lindenan, his kindly remembrance of Mendelssohn, 41;
pleased with him as violinist, 139.
Liszt, his depressing harmonies, 136;
writes from Milan, 165;
and Chopin, difference of their genius, 170;
masterly execution and subtle musical feeling, 203;
lack of original ideas, 203;
more than a mere pianist, 204.
Littleton, Messrs, manuscript of assignment, etc., 66.
London, advantages for travel, as compared with Vienna, 7;
reception in, 17;
arrival in, 19;
the best way to make enjoyable, 128;
Mendelssohn’s triumphs there, 164;
life in, requires great exertions, 259.
“Lord God of Israel,” may be sung to “Ave,” 126.
“L’Ours et Pacha,” vaudeville melody in, 94.
“Lovely City,” reference to, 26.
“Lyre and Sword,” Weber’s, 120.

“Maitrank,” drink of hock, herbs, and sugar, 104.
Malibran, mention of, 66.
Manuscript, offers to bring a cab-full, 12.
Matrimonial alliance, playful allusion to, 40.
“Meeresstille,” 52.
Meerti, Miss, has won golden opinions, 196;
goes to Dresden, and is invited to sing at Court, 196.
“Melodies for the Pianoforte,” 65;
number of copies disposed of, 66.
“Melusine,” Overture of, 92;
has vigorous spirit and conception, unity and originality, 92;
it is studied with Mori, 92;
piano parts of, 92;
the Philharmonic did not like it, 102.
Mendelssohn, A., letter to Moscheles, 5;
invokes a welcome for his son, 5;
states the plans and purpose of his son’s travels and education, 5;
death of, 147.
Mendelssohn, Carl, eldest son of composer, x;
supplies copy of Moscheles’s letters, x.
Mendelssohn, Cécile, wife of Felix Mendelssohn Bartholdy, xiv;
carries her burden with dignity and resignation, xiv;
her care of his study, xiv;
admires his love of order, xiv;
his study her sanctuary, his music her secret treasure, xiv;
opens its door to Felix Moscheles, xv;
no sigh or murmur escapes her, xv;
bond of union between her and Mrs. Moscheles, 224.
Mendelssohn, Felix, Bartholdy, his letters arranged by Ignaz Moscheles, ix;
manuscript book, ix;
his genial expression of personal feelings, ix;
letters of, addressed to Mrs. Moscheles, x;
incident truly characteristic of, xiv;
lively discussion with Rietz, David, and Moscheles, xiv;
the aoristus primus of τὑπτω, xiv;
his death, xiv;
description of his study, xv;
busts of Goethe and Bach there, xv;
cultivates his natural gifts, 4;
attends lectures of Hegel, Ritter, etc., 4;
position as composer and pianist, 4;
seeks advice
from Moscheles at to best travel route, 5;
wishes to make a long stay in Italy and France, 6;
purpose to visit Vienna, Munich, London, 6;
seeks acquaintance of men eminent in art, 6;
completion of his compositions interfered with, 9;
seeks Klingemann’s address, 9;
arrival in London, 10;
favorite in London circles, 13;
welcomed as genial companion and artist, 13;
his sin of excuses, 14;
gratitude to Mrs. Moscheles, 14;
his Highland tour, 15;
returns to London, 15;
his injury by accident, 15;
celebrates the silver wedding of his parents, 15;
finishes “The Son and Stranger,” operetta, 15;
stops a fortnight at Weimar, invited to Goethe’s house, 18;
starts on his continental tour, 18;
writes “The Isles of Fingal” at Rome, 20;