~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, comœdia 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;

shows cantata to Haydn, 116;

proposed as pupil of Haydn, 123;

extent of his obligations to Max Franz, Elector, 124;

his appreciation of Neefe as teacher, 124;

lessons from Haydn, 150 _et seq._;

his disparagement of Haydn as teacher, 152, 158;

rupture with Haydn, 155, 189;

lessons from Schenk, 152 _et seq._;

Fux’s “Gradus,” 153;

lessons from Salieri, 154;

from Albrechtsberger, 155, 156 _et seq._;

violin instruction from Schuppanzigh, 156;

Seyfried’s “Studien, etc.,” 159;

Fux, 159;

Türk, 159;

C. P. E. Bach, 159;

Kirnberger, 159;

Salieri, 160;

refuses to attend lectures on Kant, 182;

Plato’s supposed influence, 213, 214;

effect on his character of defective training, 246;

imperfections in letters, 255;

studies made for Archduke Rudolph, II, 147, 150, 151;

self-improvement by reading, 166.

_Guardianship of his Nephew_: Karl Kaspar van Beethoven declares

his wish that his brother and widow be joint guardians of his

son Karl, II, 241;

B. appointed guardian, 320;

the widow appointed co-guardian, 321;

court appointment, 320;

B. has himself made sole guardian, 321;

takes his ward to live with him, 341 _et seq._;

asks Kanka to collect inheritance for the lad, 353;

defective training of Karl, 361;

widow compelled to bear a share in the expense of education,

368, 362 _et seq._;

widow tries to get possession of her son, 400 _et seq._;

not being of noble birth B. is referred to plebeian court,

401, 404;

testimony before the court of the nobility, 403 _et seq._

--Vol. III. Widow renews petition to have her son sent to Imperial

Konviktschule, 2;

B. suspended from the guardianship, 2;

plans to send Nephew to Landshut University, 4, 5;

Tuscher appointed guardian, 5;

B. appeals to Archduke Rudolph for a passport to Landshut, 6;

the plan frustrated, 6;

Giannatasio refuses to readmit Karl, 6;

he is sent to Blöchlinger’s Institute, 7;

Tuscher surrenders guardianship, and B. desires to resume it, 7;

is refused, 8;

the mother reappointed, with Nussböck as co-guardian, over B’s

protest, 8, 10;

B. appeals to the Landrecht, 10, 26;

Councillor Peters suggested as co-guardian, 10;

Blöchlinger takes charge of the ward, 14;

facts and merits of the case, 28 _et seq._;

B. makes personal appeal to the court, 29;

Dr. Bach a judicious adviser, 30;

the court appoints B. and Peters co-guardians, 31;

widow makes vain appeal to the Emperor, 31;

cost of B’s victory, 31;

his joy, 32;

Karl runs away from the Institute, 33;

effect of B’s administration of the trust on himself and his

ward, 247 _et seq._;

Dr. Reisser appointed in place of Peters, 251;

Breuning persuades B. to resign and takes his place, 264;

Hotschevar becomes guardian after the death of B. and

Breuning, 292.

_Illness, death and burial_: I, 123, 198, 201, 281, 298, 300,

302.--II, 27, 116, 123, 158, 190, 199, 202, 223, 227, 246,

366, 367, 378, 395.--III, 39, 70, 71, 72, 129, 133, 170, 199,

207, 219, 240, 241, 271 _et seq._;

medical attendance summoned, 273;

surgical operations, 276, 283, 294, 296;

frozen punch prescribed, 286;

sweat baths, 287;

cheering news from old friends, 288;

B. asks aid from the London Philharmonic Society, 289, 290;

the Society votes gift of 100 pounds, 290;

visitors at bedside of sick man, 280, 286, 289, 294, 295;

B. abandons hope, 296;

gifts of wines and delicacies, 287 _et seq._;

Hummel at the death-bed, 301;

signing the will, 303 _et seq._;

“Plaudite, amici, comœdia finita est,” 304 _et seq._;

B. receives extreme unction, 305;

the death-struggle, 307;

death caused by cirrhosis of the liver, 308;

revelations of the autopsy, 309, 310;

property left by B., 310;

funeral, 312;

performances of masses for the dead by Mozart and Cherubini, 312;

pall and torch-bearers, 312;

burial at Währing, 312;

exhumation of the body and reburial, 312.

_Improvisation_: B’s skill at an early age, I, 63;

discomfits a singer by his harmonization, 87, 119, 152, 182, 188;

Czerny’s account, 196;

at the Singakademie in Berlin, 197, 217;

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.

~Dardanelli~, Singer: III, 77, 169.

~Decker~: Makes crayon drawing of B., III, 176.

~Degen~, Aëronaut: III, 62.

~Deiters, Dr. Hermann~, German translator of Thayer’s work:

I, Dedication; 88;

writes conclusion of the biography, xv, 75, 103;

discusses date of a letter to Wegeler, 177;

on the C-sharp minor Sonata, 292;

B’s letters to Bettina von Arnim, II, 197;

B’s conduct towards Simrock, III, 53.

~De la Borde~: Opera “Die Müllerin,” I, 109.

~Deler~ (Teller, Deller?): “Eigensinn und Launen der Liebe,” opera,

I, 31.

~Dembscher~: III, 193;

canon, “Muss es sein?” 224, 244.

~Demmer~: Singer at first performance of “Fidelio,” II, 50, 61;

III, 83.

~Demmer, Joseph~: Petitions for the post of B’s grandfather, I, 22;

appointed, 23.

~Denmark, King of~: Subscribes for the Mass in D, III, 102, 105.

~Desaides~: Opera “Julie,” I, 29, 107;

“Die Reue vor der That,” 32;

his operas in Bonn, 86;

“Les trois Fermiers,” 107.

~Descriptive Music~: B. and, II, 120.

“~Déserteur, Le~”: Opera by Monsigny, I, 31, 46.

~Dessauer, Joseph~: Buys autograph score of “Eroica,” II, 24.

“~Deux Journées, Les~”: Opera by Cherubini, II, 3; III, 139.

~Devenne~: “Battle of Gemappe,” II, 252.

~Deym, Countess Isabelle~: I, 342; II, 105.

~Deym, Countess Josephine~: I, 279, 322, 342; II, 203.

~Diabelli, Anton~: II, 314;

III, negotiations with B. 107;

variations on his waltz, 127 _et seq._;

commissions Sonata for four hands, 183.

~Dickens, Mrs.~, English singer: II, 310.

“~Die beiden Caliphen~”: Opera by Meyerbeer, II, 297.

“~Die Müllerin~”: Opera by De la Borde, I, 109.

~Dietrichstein, Count~: Tries to have B. appointed Imperial

Court Composer, III, 115;

sends B. texts for missal hymns, 116.

~Dittersdorf~: Operas “Doktor und Apotheker,” I, 108, 109;

“Hieronymus Knicker,” 109;

“Das rothe Käppchen,” 109, 139, 176, 183.

~Dobbeler, Abbé Clemens~: Carries Trio Op. 3 to England, I,

134, 145.

~Dobbler’s Dramatic Company~: I, 28.

“~Dr. Murner~”: Opera by Schuster, I, 108.

“~Doktor und Apotheker~”: Opera by Dittersdorf, I, 108, 109.

~Doležalek, Johann Emanuel~: I, 239;

sketch of, 368;

on the first performance of the Choral Fantasia, II, 130;

III, 294.

~Donaldson~, Edinburgh publisher: III, 42.

“~Don Giovanni~”: Opera by Mozart, I, 91, 107, 163, 193;

II, 204; III, 42.

“~Donne sempre Donne, Le~”: Opera by Lucchesi, I, 26.

~Dont, Jacob~: II, 399.

~Dont, Joseph Valentine~: II, 399.

~Donzelli~, Singer: III, 169.

“~Dorfbarbier, Der~”: Opera by Hiller, I, 36.

“~Dorfdeputirten, Die~”: Opera by Schubauer, I, 109.

~Dousmoulin.~ (See TOUCHEMOULIN.)

“~Dragomira~”: Drama by Grillparzer, III, 118, 120, 122.

~Dragonetti, Domenico~:

Makes B’s acquaintance, I, 218;

skill on double-bass, 218; II, 124;

Trio in Fifth Symphony, 126, 256;

recitatives in Ninth Symphony, III, 207.

~Drama, German~: Cultivated in the time of Max Friedrich,

I, 28 _et seq._

~Drechsler~, Chapelmaster: III, 131;

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, Cœur 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;

Koželuch, 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.

~Koželuch, 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 Beloved,” 317;

on the love-letter, 336 _et seq._;

“Music and Manners in the Classical Period,”

II, 11; III, 307;

on the overtures to “Fidelio,” II, 59.

~Kreissle, Heinrich von~: III, 79.

~Krenn, Michael~: III, 241, 267.

~Krenn~, Music Director: II, 369.

~Kretschmer~: “Deutsche Volkslieder,” I, 278.

~Kreutzer, Conradin~: III, 166;

pallbearer at B’s funeral, 312.

~Kreutzer, Rudolph~: II, 9, 21.

~Kriehuber~: Imitates Decker’s portrait of B., III, 176.

~Krupp~: Court Councillor, on B’s boyhood, I, 61.

~Küchler, Johann~: Opera “A alia,” I, 32.

~Kudlich, Joseph~: Tutor of B’s nephew, III, 4.

~Kuenberg, Countess~: I, 340.

~Kuffner, Christian~: His text of the Choral Fantasia,

II, 129, 133, 369;

plans an oratorio, III, 219.

~Kuhlau, Friedrich~: Visit to B, III, 204.

~Künstler-Pensions-Institut~: I, 211.

~Kurzbeck, Mme.~, Amateur pianist: II, 2.

~Kyd, Major-General Alexander~: Commissions B. to write

a symphony, 344, 345.

~Lablache~, Singer: III, 77, 121, 312.

~Laibach~: Philharmonic Society elect B. Hon. Mem., III, 14.

~Lalande~: III, 77.

~La Mara (Marie Lipsius)~: I, 292, 336;

letter from Thayer on the “Immortal Beloved,” I, 339;

her book, 339;

“Classisches und Romantisches aus der Tonwelt,” 338; II, 203.

~Landsberger~: Sketches, II, 73.

~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.