~Morris, Jack~: Brings score of “Mount of Olives” to London, II, 309.
“~Morte d’Abel, La~”: Opera, I, 14.
~Moscheles, Ignaz~: His English paraphrase of Schindler’s
biography, I, ix;
visited by Thayer, xi, 241;
on the first performance of the Choral Fantasia, II, 130;
composes marches for Mälzel’s panharmonicon, 351;
tells of the composition of “Wellington’s Victory,” 253;
his account of the performance, 358;
on the Trio, Op. 97, 270;
makes Pf. score of “Fidelio,” 281, 282;
first meeting with B., 282;
“Fidelio,” 303;
B’s opinion of as a pianist, 381; III, 289, 290, 291, 293.
~Mosel, Ignaz von~: II, 358, 386;
at B’s funeral, III, 312.
~Möser~: Violinist in Vienna, II, 8.
~Mozart~: Education derived from his father, I, 85;
B’s visit to, 89, 90;
his morning concerts in Vienna, 166;
relations with Mme. Hofdemel, 254, 305;
B’s admiration for the Concerto in C minor, 219;
B’s appreciation, II, 89; III, 42;
Cherubini’s estimate of his genius, 205;
B. defends authenticity of his “Requiem,” III, 233;
the “Requiem” played at B’s funeral, 312;
his operas “Die Entführung aus dem Serail,” I, 32, 107, 109;
“Don Giovanni,” I, 91, 107, 163, 193, 204; II, 204; III, 42;
“Le Nozze di Figaro,” I, 82, 108, 163, 193;
“Il Re Pastore,” I, 81;
“Die Zauberflöte,” I, 164, 226, 304; II, 22; III, 36;
“La Clemenza di Tito,” I, 194; II, 110;
“Idomeneus,” II, 101.
~Müller, Adolph~: And B’s orchestration of the funeral march
from the Sonata in E-flat, Op. 26, II, 295.
~Müller, Chancellor~: II, 180.
~Müller, Louise~: Singer at first performance of “Fidelio,” II, 49.
~Müller, Wenzel~, Chapelmaster: I, 164.
~Müller, W. Christian~: His account of B., III, 36.
~Mylich~: I, 210, 231.
“~Nach Frankreichs unheilvollem Sturz~”: Cantata text left
uncomposed, II, 292.
~Nagel, W.~: “Beethoven und seine Klaviersonaten,” I, 293.
~Nägele~: Projects publication of Bach’s works, I, 304;
publishes sonata with interpolated measures, 367;
“Répertoire des Clavecinistes,” II, 20, 38.
“~Nanerina e Pandolfo~”: Opera by Dutillier, I, 165.
~Napier, William~: Publishes Haydn’s arrangements of Scottish
songs, II, 70.
~Naples~: A call thither for B., II, 194;
King of, and the Mass in D, III, 90.
~Napoleon.~ (See BONAPARTE.)
~Natorp, Mme.~ (See SESSI.)
~Naumann~, Chapelmaster: II, 19.
~Neate, Charles~: English pianist, visited by Thayer, I, xi;
B’s story on origin of his deafness, 263;
II, introduced to B., 315;
buys overtures for the London Philharmonic Society, 333;
defends himself against B’s charges, 349;
unable to help B. in London, 337;
letters from B., 339, 351, 352, 367;
III, enjoined “For God’s sake buy nothing of B.,” 52;
seeks publisher for B. in London, 73, 183, 186.
~Neefe, C. G.~: Appointed successor to Van den Eeden as Court
Organist, I, 25;
joins Dramatic Co. at Bonn, 30;
music for court festival, 31;
opera “Heinrich und Lyda,” 31, 36;
“Die Apotheke,” 31;
“Sophonisba,” 31;
describes musicians in Bonn 33;
career of 34;
“Amor’s Guckkasten,” 36;
“Die Einsprüche,” 36;
“Zemire und Azor,” 36, 37;
instrumental compositions, 36;
“Adelheit von Veltheim,” 37;
ode, 37;
teaches B., 61, 62, 67 _et seq._;
leaves his duties as organist to the boy B., 69;
“Materialien für Contrapunkt,” 70;
his duties as Court Organist, 71, 73;
dismissed, 73;
with Klos’ troupe, 105;
B’s appreciation of him as teacher, 68, 124, 142;
his daughter, 304.
~Nelson, Lord~: Not commemorated in the “Eroica,” II, 25.
~Niemetz~: Dissolute companion of B’s nephew, III, 252, 255, 258.
~Nikelsberg, Carl Nikl Edler von~: I, 222;
dedication of Concerto in B-flat, I, 290.
“~Nina~”: Opera by Dalayrac, I, 107, 108.
“~Nobilità delusa, La~”: Opera, I, 26.
~Nohl, Ludwig~: I, 292;
on B. and Countess Guicciardi, 321;
on Therese Malfatti, 333, 339;
on the letter to Bettina von Arnim, II, 185;
“Eine stille Liebe zu Beethoven,” 362;
“Beethoven, Liszt und Wagner,” III, 124.
~Nottebohm~: “Zweite Beethoveniana,” I, 71, 76, 261;
“Beethoven’s Studien,” I, 156, 216;
“Beethoveniana,” I, 156, 261;
“Ein Skizzenbuch von Beethoven,” 258, 304;
on B’s studies with Albrechtsberger and Haydn, 151, 158;
on the text of the Choral Fantasia, II, 133;
on the date of the Petter sketchbook, II, 151;
on the canon on Hoffmann, III, 35.
~Novello, Ewer and Co.~: I, xiii; III, 13.
~Novello, Vincent~: II, 12.
“~Nozze, Le~”: Opera by Galuppi, I, 25.
“~Nozze di Figaro, Le~”: Opera by Mozart, I, 82, 108, 163, 193.
“~Nozze disturbata, Le~”: Ballet by Vigano, I, 188, 193.
~Nussböck, Leopold~: Guardian of B’s nephew, III, 8.
~Nussdorf.~ (See LODGINGS.)
“~Oberon~”: Opera by Wranitzky, I, 165.
~Obreskow~: Russian official, III, 101, 102.
~Odelga~: III, 101, 102.
~Odescalchi, Prince~: I, 209, 244.
~Odescalchi, Princess~: I, 223;
dedication to, 290;
taught by B., 322;
dedication to, 368, 369.
“~Ode to Joy~”: Schiller’s, I, 132, 275; II, 152, 295, 414;
III, 145, 146, 148 _et seq._
“~Odyssey~”: Homer’s, I, 252.
“~Olimpiade~”: Opera by Sacchini, I, 32.
~Oliva, Franz~: His relations with B., II, 143;
dedication to, 161;
delivers B’s letter to Goethe, 197, 202;
plans to accompany B. to England, 220;
estrangement with B., 220; III, 24;
goes to St. Petersburg, 41.
~Operas~ performed at Bonn in 18th century: I, 25, 26, 27, 29,
31, 32, 107.
~Oppersdorff, Count~: The Symphony in B-flat, II, 68, 101, 122,
123, 124, 162.
“~Orfeo~”: Opera by Gluck, I, 86.
~Ossian~: B’s appreciation of, II, 147.
~Oudinot~: “Der Fassbinder,” I, 29.
~Ovid~: His “Metamorphoses” called for by B. on his death-bed,
III, 283.
~Pachler-Koschak, Mme.~: B’s friendship for, II, 282; III, 140.
“~Pächter, Die drei~”: Opera by Desaides, I, 107.
~Paër, Ferdinand~: I, 282;
his funeral march and that in the Sonata Op. 26, 290;
“Achilles,” 290;
“Das heilige Grab,” II, 2;
“Leonora,” II, 35, 37.
~Paisiello~: Operas at Bonn, I, 86;
“La Frascatana,” 107;
“Il Barbiere,” 108;
“Il Re Teodoro,” 108;
“La Finta Giardiniera,” 108;
“La Molinara,” 187;
“Il Marchese Tulipano,” 108; II, 204.
~Palestrina~: Preferred over all church composers by B., III, 203.
~Palffy, Count Ferdinand~: II, 98;
supposed grudge against B., 100, 146;
accepts direction of Court Theatres, 201;
produces “Fidelio” for the Congress of Vienna, 293;
and the concert of 1814, 299;
and the Ninth Symphony, III, 157 _et seq._
“~Paradise Lost~”: II, 310.
~Parke~: “Musical Memories,” II, 12.
~Parma, Duchess of~: Asked by B. to urge Grand Duke of Tuscany
to subscribe to the Mass in D, III, 101.
~Pasqualati, Baron Johann~: Witnesses Karl van B’s declaration
as to the guardianship of his son, II, 241;
signs affidavit against Mälzel, 288;
the “Elegiac Song” in memory of his wife, 288, 306; III, 58.
(See LODGINGS.)
“~Pastorella al Soglio, La~”: Opera, I, 26.
~Paul~, Czar of Russia: II, 81.
~Payer, Hieronymus~: II, 26.
~Perger, A. von~: Discovers minuets by B., I, 211.
~Pergolesi~: “La Serva Padrona,” I, 108.
~Perkins, Charles C.~: “History of the Handel and Haydn Society
of Boston,” III, 87.
~Persian Literature~: B’s interest in, II, 167.
~Pessiak, Mme.~: II, 362; III, 13.
~Pesth~: New theatre planned for, II, 154, 200;
opening of, 213.
~Peters, C. F.~, Publisher: Negotiations for Mass in D and
other works, I, 271, 55, 57 _et seq._, 58, 59, 60, 61, 64,;
refuses to publish works sent by B., 65;
advance payment by, 70;
rejects “Bagatelles,” 86;
complains of B’s treatment of him, 180;
receives rebuke and ultimatum, 212;
B. calls him a “hell-hound,” 216.
~Peters~: Tutor to Prince Lobkowitz and co-guardian of B’s nephew,
II, 326, 354; III, 10, 24, 32.
“~Petit Matelot, Le~”: Opera by Gaveaux, II, 36.
~Petter Collection~: Sketches by B., I, 274, 290; II, 118, 151, 209.
~Pfeiffer, Tobias~: Gives music lessons to B., I, 62, 63.
~Philharmonic Society of London.~ (See under B., LUDWIG VAN.)
~Philidor~: “Der Hofschmied,” I, 29;
his operas at Bonn, 86.
~Pianoforte~: Presented to B. by Erard, II, 21.
~Pianoforte~: Presented to B. by Broadwood, II, 390 _et seq._;
III, 214, 237.
~Piccini~: Operas “La buona Figluola;” I, 25, 26, 32;
“Le Aventure di Rodolfo,” 26;
“La Schiava,” 32.
~Pictures and Music~: II, 249, 262.
~Pilat, Joseph~: II, 359.
“~Pilgrimme von Mecca, Die~”: Opera by Gluck, I, 32, 108.
~Pinterics, Captain~: II, 235, 327; III, 32.
~Piringer~: III, 62, 137, 157;
torchbearer at B’s funeral, 312.
~Plato~: His influence on B., I, 213.
~Pleyel, Ignatz~: His quartets, II, 44;
his arrangements of Scottish songs, 70, 260.
~Plittersdorf, Mme.~: II, 179.
~Plutarch~: I, 252, 300.
~Polledro~: Joins B. in concert for sufferers at Baden, II, 225.
~Popularity of B’s Works~: II, 38.
~Portenschlag~, Viennese editor: II, 359.
“~Prächtige, Der~” (“Le Magnifique”): Opera by Grétry, I, 86.
~Prague~: B. plays in, I, 192;
music in, 193;
B. gives concert in, 217;
production of “Fidelio” in, II, 110;
visit of B. in 1812, 222.
~Preisinger~, Bass singer: III, 164.
~Prelinger~, Editor of a collection of B’s letters: I, 336.
~Prichnowsky, Prince~: II, 8.
~Prieger, Dr. E.~: I, 88;
owner of fragment of Wind Quintet, 206, 211;
publishes _facsimile_ of Sonata Op. 26, 291;
reprint of original “Fidelio,” II, 45, 58.
~Prince Regent of England~: B. sends him “Wellington’s Victory,”
II, 310, 311, 318, 336, 339; III, 112, 208.
~Probst, H. A.~, Publisher: B offers him the Ninth Symphony and
Mass in D, III, 178.
~Programme Music~: II, 119;
the Sonata Op. 90, 292;
B. objects to programme of the Seventh Symphony, III, 37.
~Pronay, Baron von~: II, 367.
~Prussia, Kings of~: Frederick William subscribes to Mass in D,
III, 94;
offers decoration instead of money, 94, 105;
dedication of the Ninth Symphony to, 230, 233, 234;
sends B. a ring 133, 276, 282;
Frederick II reputed to be the father of B., III, 243.
~Pückler-Muskau~: Bettina von Arnim’s letter to, II, 186, 188, 223.
~Punto, Giovanni~ (Johannes Stich), Horn-player: I, 239, 267, 277.
~Pyne~, English singer: II, 310.
~Quartet of Instruments~: Presented to B., I, 354.
“~Queen of Night~”: B’s nickname for his sister-in-law, II,
332, 341, 393.
~Rabelais~: His last words and B’s, III, 305.
~Raday, Count~: Ruined by theatrical management, II, 154.
~Radicati, Felix~: II, 75.
~Radichi~, Singer: II, 265.
~Radziwill, Prince Anton~: II, 302;
his “Faust” music, 302;
subscribes for the Mass in D, III, 94, 104, 106.
~Ramm, Friedrich~, Oboist: I, 207; II, 33, 34.
“~Raoul, Sire de Croqui~”: Ballet by Vignano, I, 283.
“~Raptus~”: Mme. Breuning’s expression for B’s occasional state,
I, 118, 120, 301; II, 182, 189.
~Rasoumowsky, Count Andreas~: Appeals to B. for lessons in
composition, I, 273;
the Quartets composed for him, II, 65, 68, 74, 81, 104, 110, 124;
forms the Rasoumowsky Quartet, II, 125;
sketch of him, 81;
dedication of the Fifth Symphony, 162;
lasting friendship with B., 215;
his Quartet, 250;
regal entertainments at the Congress of Vienna, 300;
destruction of his palace, 301;
the Quartet, 316.
~Rau~, Viennese banker: Reports receipt of Philharmonic Society’s
gift to B., III, 292;
reports B’s death to Moscheles, 293.
~Raysbeck, Mme.~: One of the favorites of Elector Joseph Clemens,
I, 3, 4.
~Redoutensaal~: Dances for, I, 188, 289.
~Reeve, Dr. Henry~: Criticism on “Fidelio,” II, 52.
~Reicha, Anton~: I, 105;
career of 106, 117;
comes to Vienna, 288, 300;
opera “Ubaldi,” 310, 355; II, 55.
~Reicha, Joseph~: I, 82, 84, 105;
career of, 100, 111.
~Reichardt, Johann Friedrich~: Chapelmaster in Berlin, I, 196;
on Countess Erdödy, II, 82;
on Streicher’s pianofortes, 87, 124;
account of B’s concert, 129;
and B’s call to Jerome Bonaparte’s court, 141;
value of his letters, 165.
~Reichardt, Karl August~: Visits B., III, 203.
~Reiss, Anton~: Father-in-law of Karl v. B., II, 65.
~Reiss, Theresa (Johanna)~: Wife of Karl Kaspar v. B., II, 65.
~Reissig, C. L.~: His poems, II, 147;
denounced by B., 148;
“Blümchen der Einsamkeit,” 160;
songs published, 195.
~Rellstab, Ludwig~: visits B., III, 200.
“~Reue vor der That, Die~”: Opera by Desaides, I, 32.
~Rhine~: Inundation, I, 75;
journey on, of the Electoral Chapel, 112.
“~Richard Cœur de Lion~”: Opera by Grétry, I, 226, 305.
~Riemann, Dr. Hugo~: Completes revision of the German edition
of this biography, I, xv;
on the authenticity of the “Jena” Symphony, 211;
upholds charges against B’s brothers, 360;
asserts that B. wanted to marry Therese Malfatti, 336;
his theory concerning the love-letter, II, 239.
~Ries, Anna Maria~, Court singer at Bonn: I, 18, 19, 23.
~Ries, Ferdinand~:
Vol. I.
“Biographische Notizen,” etc., ix, xi, 90, 313, 315;
on B’s manuscripts, 141;
on his studies with Haydn, 152;
on B’s teachers, 161;
on the first performance of the Trios Op. 1, 175;
B’s riding-horse, 200;
Quintet Op. 16, 207;
Quintet Op. 29, 203, 312;
his career, 312 _et seq._;
B’s kindness toward, 313;
instruction from B., 314;
arrangements of B’s works, 350;
origin of the Marches for four hands, 350;
on B’s deafness, 352;
charge of misconduct against Karl Kaspar v. B., 361;
B’s interest in him, 363;
B. aids him to employment, 366
--Vol. II.
His account of first performance of “The Mount of Olives,” 7;
his account of the first meeting between B. and Clementi, 23;
on the origin of the “Eroica,” 24;
an alleged false entry in the “Eroica,” 26;
plays at a sentimental scene for B., 29;
letters from B., 27, 28, 29, 334, 338, 340, 371, 395, 412, 413;
plays the C minor concerto, 30, 82;
significant hiatus in his book, 41;
B. greets him with lathered face, 48;
not permitted to hear a reading of “Fidelio,” 48;
conscripted, 49;
on B’s disregard of etiquette, 80, 124;
orchestra refuses to play for B., 128;
the Concertos in C minor and G, 131;
on B’s call to Cassel, 140, 310, 324, 325;
invites B. to London, 370;
relations with B., 372.
--Vol. III.
B’s “Nothing for Ries,” 49, 110, 111;
makes contract for B. with Boosey, 128;
B. promises a dedication to his wife, 128;
removes to Godesberg, 188, 189.
(See SYMPHONY IN D MINOR.)
~Ries, Franz Anton~: I, 11, 24, 25;
aids father of the composer, 93, 95;
gives violin lessons to B., 99, 105, 117, 119;
collects salary for B., 149;
seeks to obtain pension for B., 148.
~Ries, Johann~, Court Trumpeter at Bonn: I, 11, 18, 51, 87.
~Righini, Vincenzo~: “Venni amore,” I, 114, 138.
~Risbeck, Kaspar~: Description of the Rhenish States, I, 15.
“~Riso d’Apolline, Il~”: Opera by Betz, I, 126.
“~Ritorno di Tobia~”: Oratorio by Haydn, II, 131.
“~Robert und Callista~”: Opera by Guglielmo, I, 31, 109.
~Röckel, Elizabeth~: On B’s susceptibility, II, 181.
~Röckel, J. A.~: Career of, II, 53;
his notes on “Fidelio,” 53, 60, 62;
B’s liking for, 92;
on B’s desire to compose operas, 119;
letter, 128;
on B’s desire to travel, 142;
on the revision of “Fidelio” in 1814, 265.
~Roda, Cecilio de~: B’s sketches for the last Quartets, I, 277.
~Rode, Pierre~: B. composes Sonata for him, II, 235, 236.
~Rolland, Romaine~: I, 337.
~Romberg, Andreas~: I, 105;
career of, 106, 111, 199.
~Romberg, Bernhard~: I, 105;
career of, 106, 111, 117, 121, 199, 205;
and first Rasoumowsky Quartet, II, 75; III, 72.
“~Romeo und Juliet~”: Opera by Benda, I, 31, 107, 108.
Opera by Zingarelli, II, 172.
Considered by B., III, 117.
“~Romulus and Remus~”: Opera by Johann Fuss, II, 304;
opera-book by Treitschke, II, 304, 381.
“~Röschen und Colas~” (“Rose et Colas”): Opera by Monsigny, I, 29.
~Rösner, Felia~: Daughter of Neefe, I, 304.
~Rothe~: Singer in “Fidelio,” II, 51.
“~Rothkäppchen, Das~”: Opera by Dittersdorf, I, 109, 176, 188.
~Rovantini, Franz Georg~: Gives violin instruction to B., I, 64, 67.
~Royal Library~ at Berlin: Acquires B.’s memorabilia, I, xi;
sends Conversation Books to Thayer, xi;
owns B.’s quartet of viols, 277;
gets B’s posthumous papers from Schindler, III, 11.
~Rubini~: III, 77.
~Rudolf~, Violinist and conductor: I, 166.
~Rudolph, Archduke~ of Austria:
II, 79, 100;
dedication of Concerto in G, 134;
Trios, Op. 70, 132;
subscription to the annuity contract, 139;
the Sonata Op. 81, 143;
his studies with B., 147, 150, 154;
dedication of E-flat Concerto, 160;
the annuity contract, 170, 172, 212, 213, 217, 242, 306;
B. wearies of teaching him, 194, 199;
letters, 199, 206, 225, 235, 248, 250, 266, 286;
B. tells Goethe of disciplining him, 227;
and calls his duty “servitude,” 240;
compelled to quit pianoforte playing, 266;
lessons irksome to B., 381;
charged by B. with his misfortunes, 396;
installation as Archbishop of Olmütz, 398, 412;
dedication of Op. 101, 414;
--III, letters from B., 1, 9, 19, 20, 34;
asked to help send nephew to Landshut, 6;
his Variations, 19, 20;
urged to compose, 21;
dedication of Op. 106, 23, 25;
enthroned as Archbishop, 33, 44;
dedication of Op. 111, 50;
Variations on air by Rossini, 77, 82, 91, 94;
asked to urge subscription to Mass on Grand Duke of Tuscany
and King of Saxony, 95, 96;
B. rails against him, 112;
urges B. to compose Bernard’s oratorio, 175;
dedication of the Mass in D, 212.
“~Ruines de Babilone~”: II, 202.
“~Rule, Britannia~”: II, 252.
(See VARIATIONS, in Index of Compositions.)
~Ruschowitz, Constanze~: I, 99.
~Ruskin, John~: On the imagination, III, 25.
~Russia, Empress of~: II, 305;
Czar subscribes for the Mass in D, III, 102, 105;
dedication of the Ninth Symphony considered, 231.
~Russian Melodies~: In the Rasoumowsky Quartets, II, 74;
in “Ruins of Athens,” 162.
~Rust, Wilhelm~: Description of B., II, 117;
on B. and the French, 146.
~Rzewuska, Countess~: II, 111.
~Saal~, Singers: I, 266.
~Sacchini~: His operas at Bonn, I, 86;
“La Contadina in Corte,” 26;
“L’Olimpiade,” 32;
“L’Isola d’Amore,” 108.
~Saint-Foix, Georges~: I, 139.
~Salieri~: “Armida,” I, 86;
“La Grotta di Trofonio,” 107;
“König Axur in Ormus,” 109, 163;
“Falstaff,” 227;
gives B. lessons in composition, 154, 160;
Violin Sonata dedicated to him, 163, 214;
respected by B., 241; II, 2;
“The pupil B. was here,” 64;
accused of enmity by B., 136;
conducts percussion instruments in “Wellington’s Victory,” 262.
~Salm-Reifferscheid, Count~: I, 73, 74.
~Salomon, Jacobina~: Court musician at Bonn, I, 20.
~Salomon, Johann Peter~: I, 19, 20, 51, 186; II, 317, 319,
324, 325, 359;
recants his opinion of the Fifth Symphony, 279.
~Salomon, Philip~: I, 20;
career in London, 20, 23, 110, 299.
~Salzburg~: Occupied by Bernadotte, II, 61.
~Samaroff, Olga~: I, 140.
“~Samnitische Vermählungsfeier, Die~” (“Le Mariage des Samnites”):
Opera by Grétry, I, 31.
“~Samori~”: Opera by Vogler, II, 23.
“~Samson~”: Oratorio by Handel, II, 359.
~Santerrini~: Alleged teacher of B., I, 62.
“~Sargino~”: Opera, II, 61.
~Sarti~: Operas “Fra due Litiganti,” I, 86, 109;
“L’Incognito,” 86;
“La Gelosie villane,” 109.
~Satzenhofen, Countess~ and Abbess: Mistress of Elector
Max Friedrich, I, 16.
~Sauerma, Countess~: III, 41.
“~Saul~”: Oratorio by Handel, III, 219, 285.
~Saxony, King of~: Subscribes for the Mass in D, III, 94, 96, 99, 105.
~Schaden, Dr.~: Lends money to B., I, 92;
letters to, 92, 95, 96.
~Schall, Captain~: Amateur musician in Bonn, I, 37.
~Schebek, Edmund~: II, 8.
~Schechner, Fräulein~, Singer: III, 287, 288.
~Scheidl, Cesarius~: Musical prodigy, I, 91.
~Schenck, Joseph~: Gives lessons to B., I, 152, 154.
~Schickh, Johann~: II, 359.
~Schikaneder, Emanuel~: His theatre, I, 164;
engages B. and Vogler to compose operas, II, 5;
an opera-text for B., 19;
sells interest in Theater-an-der-Wien, 22, 34.
~Schiller~: “Ode to Joy,” I, 132; II, 152, 295, 414;
III, 145, 146, 148 _et seq._;
B’s appreciation of, II, 147, 153;
popularity of his plays, 153;
“Die Sendung Moses,” 167;
“Die Flüsse,” 196;
“Fiesco,” 117.
~Schimon, Ferdinand~: Paints B’s portrait, III, 21;
B’s preference for it, 41.
~Schindler, Anton~, B’s biographer: I, ix, xi;
sells memorabilia to Berlin, x;
visited by Thayer, x;
on B’s studies with Haydn, 151;
on Bernadotte and the “Eroica,” 213;
on B’s relations with the musicians in Vienna, 241;
in error about B’s want of familiarity with the orchestra, 239;
on B’s sojourn in Hetzendorf, 289;
on Hoffmeister’s edition of Bach, 303;
his theory about B’s love, 318 _et seq._;
conversation with B. about Countess Guicciardi, 320;
defects as an investigator, 323;
--II, On B’s religion, 168;
division of B’s work into periods, 171;
the canon on Mälzel and the Allegretto of the
Eighth Symphony, 234;
makes B’s acquaintance, 270;
his account of the quarrel with Mälzel disputed, 270 _et seq._;
growth of familiarity with B., 327;
wrong as to B’s relations with Ries, 372;
trustworthiness as a biographer, 376;
beginning of an intimacy with B., 378;
in error as to the story of B’s noble birth, 410;
--III, Sells B’s papers to the Royal Library, 11;
praised by Horzalka, 42;
on Johann v. B, 67;
his story about Schubert and B., 79;
gets B’s papers, 93;
“L’Ami de Beethoven,” 93;
his nickname, 106;
B. calls him a scoundrel, 128, 133, 158;
on B’s drinking habits, 196;
his biography of B., 197 _et seq._;
false tale of Nephew Karl’s negligence, 272;
falsification of the Conversation Books, 273, 281;
charged by B. with theft of a petty sum, 281;
gets autograph of Ninth Symphony, 281;
accuses Johann v. B. of niggardliness, 278, 293;
B. sends him a meal from his sick-bed, 295.
~Schlegel~: One of his texts proposed for an opera, III, 117.
~Schleiermacher~: His translation of Plato, I, 213.
~Schlesinger~, Musician: II, 125.
~Schlesinger~, Publisher in Berlin: III, 54;
denounced by B., 55;
accepts Mass in D, 55, 190;
B’s treatment of, 190.
~Schlesinger, Moritz~, Publisher in Paris: Visits B.,
III, 203, 204, 206.
~Schlösser, Louis~: Visits B., III, 125;
and the Mass in D, 97.
“~Schmaus, Der~” (“Il Convivo”): Opera by Cimarosa, I, 107.
~Schmidgen~: II, 125.
~Schmidt, Dr. Johann~: I, 278, 302, 348, 349, 353.
~Schmidt, Leopold~: Publishes B’s letter to Simrock, II, 13.
~Schmith, Antoinette~: III, 14.
~Schnaps, Frau~: B’s housekeeper, III, 131.
~Schneider, Friedrich~: Visits B., III, 18.
~Schneider, Johann~: Plays E-flat Concerto, II, 160.
~Schneller, Julius Franz Borgias~: II, 88.
~Schoberlechner, Franz~: III, 130.
~Schönauer, Dr.~: II, 320, 321, 331.
~Schönbrunn~, Garden of: I, 288.
“~Schöne Schusterin, Die~”: Opera by Umlauf, I, 108, 142, 165, 204.
~Schott and Sons~, Publishers: The Mass in D, III, 55,
57, 177, 178, 189;
Quartet in E-flat, 178;
Ninth Symphony, 178;
B. asks for a gift of wine, 290 _et seq._
~Schreiber~, Violist of Schuppanzigh Quartet: II, 41.
~Schreyvogel, von~: II, 304.
~Schreyvogel and Rizzi~: Publish catalogue of B’s works, II, 38.
~Schroeder-Devrient, Mme.~: III, 83, 84, 85.
~Schubauer~: Opera “Die Dorfdeputirten,” I, 109.
~Schubert, Franz~: His “Erlkönig,” I, 230; II, 327, 355;
III, his meeting with B., 79;
takes Rochlitz to look at B., 74;
his variations on Diabelli’s waltz, 128;
B. and his songs, 298 _et seq._;
B’s remark “A divine spark dwells in S.,” 300, 301;
at B’s death-bed, 298 _et seq._;
torchbearer at B’s funeral, 312;
his grave beside B’s, 312.
~Schultz, Edward~: Visit to B., III, 134.
~Schulze, Mme.~, Singer: II, 330.
~Schumann, Robert~: Publishes letters of B., II, 183.
~Schuppanzigh, Ignaz~: Gives lessons on violin to B., I, 156;
his Quartet, 170, 237 _et seq._;
conducts Augarten Concerts, 238, 274;
suggests gift of viols to B., 276;
author of a theme in the Quintet Op. 29, 296;
variations for two violins, 306, 316.
--II, 2;
teacher of Mayseder, 41;
his quartet concerts, 41;
Augarten Concerts, 42, 172;
B’s joke on his marriage, 105, 125, 150, 167;
goes to Russia, 327, 337.
--III, 24, 75, 126;
and the last Quartets, 139, 156, 157, 184;
fails in E-flat Quartet, 193, 294, 312.
~Schuster~: Operas “Der Alchymist,” I, 31, 107, 108;
“Die Geitzigen in der Falle,” 108;
“Dr. Murner,” 108.
~Schwachhofer, Mme.~, Court Singer: Disciplined by B’s
grandfather, I, 20.
~Schwarzenberg, Prince~: I, 168, 172, 208;
dedication of Quintet Op. 16, 290; II, 98.
~Schwarzendorf~ (Martini): I, 87.
~Scott, Sir Walter~: I, 252; II, 214, 194;
B. reads his novels on his death-bed, III, 282.
“~Seasons, The~”: Oratorio by Haydn, I, 171; II, 120.
~Sebald, Amalie~: B’s relations with, I, 337; II, 205;
letter from B, 228;
inscription in her album, 229;
B’s infatuation for, 239, 343.
~Sebald, Auguste~: II, 205.
~Sedlažek, Jean~, Flautist: III, 208.
“~Seidenen Schuhe, Die~”: Opera by Fridzeri, I, 32.
“~Serva Padrona, La~”: Opera by Pergolesi, I, 108.
~Sessi, Mme.~, Singer: II, 2, 215.
~Seume~: His poem “Die Beterin” and the C-sharp minor Sonata,
I, 292, 339;
B. visits his grave, II, 205.
“~Seven Last Words~”: Cantata by Haydn, I, 214.
~Seyfried, Ignaz von~: “Beethoven’s Studies in Thoroughbass,”
I, 159, 215, 249; II, 147, 152, 183;
on B’s playing, I, 216;
on the character of his brothers, 361; II, 2, 6;
and the C minor Concerto, 7;
conducts rehearsals of “Fidelio,” 51;
asked by B. to conduct the opera, 61;
his description of B., 93 _et seq._,
on the first performance of the Choral Fantasia, 130, 131;
his writing for four horns, 285;
music for “Moses,” 297, 358, 388; III, 157;
arranges and composes music for B’s funeral and is pallbearer, 312.
~Seyler’s Dramatic Co.~: I, 28, 30, 35.
~Shakespeare~: Recommended by B., II, 176.
~Shedlock, J. S.~: I, 205, 208, 210, 261, 290; II, 102; III, 13.
~Siboni~, Tenor: II, 215, 267.
“~Silvain~”: Musical comedy by Grétry, I, 26, 86.
~Simonetti~, Tenor of Electoral Chapel: I, 112.
~Simoni~, Singer in Vienna: I, 282.
~Simrock, Nicolaus~, Court Hornist in Bonn: I, 24, 51, 105;
B’s association with him as publisher, 183 (see MASS IN D);
letters, 8, 183; II, 21;
B. offers him compositions, II, 105;
the Mass in C, 142;
association with B. in Vienna, 343, 345; III, 39, 44,
53 _et seq._; 56.
~Sina, Louis~, Violinist: I, 170.
~Singakademie~, in Berlin: B. plays for, I, 196; II, 205;
invited to subscribe for the Mass in D, III, 104, 180.
~Sinsendorf (Zinzendorf?), Prince~: I, 172.
~Smart, Sir George~: Visited by Thayer, I, xi, III, 208; II, 309;
produces Mass in C in London, 310, 311, 351, 302, 347, 348, 370;
visits B. in Vienna, III, 206 _et seq._; 289, 389.
~Smetana, Dr.~: Performs surgical operation on Nephew Karl, II, 341;
prescribes for B’s deafness, 85;
informed by B. of nephew’s attempt at suicide, 259, 274.
~Smith, John~, of Glasgow: III, 16.
~Sobieski, John~: I, 7.
“~Soliman II~”: Opera by Süssmayr, I, 227.
~Soltikoff, Count~: II, 75.
~Sonneck, O. G.~: I, xviii.
~Sonnenfels, Joseph Noble de~: Dedication of Sonata Op. 28, I, 293.
~Sonnleithner, Christoph von~: II, 34.
~Sonnleithner, Ignaz von~: III, 251.
~Sonnleithner, Joseph von~: On Zmeskall, I, 230;
Secretary of Court Theatres, II, 23;
his career, 34.
~Sontag, Henrietta~: III, 77, 139, 153, 162, 164.
“~Sophonisba~”: Opera by Neefe, I, 31.
~Spain~: B’s desire to travel in, II, 142.
~Spaun, Baron~: I, 338.
~Spazier~: I, 305; II, 1.
~Spencer, Herbert~: On billiard-playing, III, 253.
~Speyer, E.~: II, 216.
“~Spiegel von Arkadien~”: Opera by Süssmayer, II, 49.
~Spina~: Gets B’s Broadwood Pf., II, 392.
~Spohr, Ludwig~: His accounts of B’s conducting, II, 128, 257;
his opinion of Rode, 235;
his intercourse with B., 236;
on B’s music and playing, 269;
B’s opinion on his music, III, 203.
~Spontini~: Opera “La Vestale,” II, 36, 202, 296; III, 139;
B’s opinion of his music, 203.
~Sporchil, Johann~: Submits opera-text to B., III, 118.
~Stadler, Abbé~: I, 376;
statement as to Trio of Seventh Symphony, II, 216;
anecdote, 234;
canon, 236.
~Starcke, Friedrich~: The Bagatelles, III, 48.
~Staudenheimer, Dr.~, B’s physician: Sends him to Karlsbad,
II, 223; III, 39, 199, 273, 276.
~Stauffen, Franz~, Youthful pianist: II, 327.
~Steibelt, Daniel~: Comes to Vienna, I, 268;
encounter with B., 268;
composes battle music, II, 252.
~Stein~, Pianoforte maker: I, 88, 91, 92.
~Stein, Friedrich~, Pianist: II, 117;
and Concertos in C minor and G, 131.
~Stein, Dr. Fritz~: Publishes the “Jena” Symphony, I, 211.
~Stein, Nanette.~ (See STREICHER, NANETTE.)
~Stein, Matthäus~: II, 87.
~Steiner, Sigmund Anton~ (and Steiner and Co.): II, 279, 364;
III, lends B. money, 21;
canon, “Hol’ euch der Teufel,” 23;
letter, 38;
duns B. for money, 38, 58, 59, 71, 114, 184;
friction with B., 234;
torchbearer at B’s funeral, 312.
“~Steinerne Braut, Die~”: Opera by Liechtenstein, I, 305.
~Sterkel, Abbé~: I, 113.
~Stich, Johann Wenzel.~ (See PUNTO.)
~Stieler, Joseph~: Paints B’s portrait, III, 41.
~Storck~: I, 336.
~Streicher, Andreas~: I, 91, 92;
collects funds for Bach’s daughter, 308; II, 391; III, 180;
torchbearer at B’s funeral, 312.
~Streicher~, pianofortes: II, 87.
~Streicher, Nanette~: II, 87;
puts B’s house in order, 244;
letter from B., 394.
~Stummer, Fräulein~, Singer: Marries Count Lichnowsky, II, 291.
~Stumpf~, Pianoforte tuner of London: II, 391.
~Stumpff, Johann~: His visit to B., III, 181 _et seq._;
gives Handel’s scores to B., 182, 277, 289, 290, 291.
~Sturm, Christian~: “Beobachtungen über die Werke Gottes,
etc.,” I, 252; II, 55, 165.
~Stutterheim, Baron von~: Gives Nephew of B. cadetship, III, 264;
dedication, 297.
~Sulkowsky, Prince~: I, 20.
~Sumner, Charles~: Recommends Thayer for consulship, I, x.
“~Sündfluth, Die~”: Oratorio, II, 156.
~Süssmayer, F. X.~: I, 165, 188;
“Soliman II.,” 327; II, 2;
“Spiegel von Arkadien,” 49.
~Sweden, King of~: Subscription for the Mass in D, III, 102.
~Sweden~, Royal Academy of: Elects B. Hon. Mem., 130, 163.
“~Swetard’s Zaubergürtel~”: Opera by Fischer, II, 49.
~Swieten, Gottfried Freiherr von~: I, 171;
bids B. bring his night-cap, 175, 205;
dedication of First Symphony, 228, 290.
~Swift, Dean~: I, 4.
~Swinburne, Henry~: Description of Bonn and its Electors, I, 16, 78.
“~Tage der Gefahr, Die.~” (See LES DEUX JOURNÉES.)
“~Tantum ergo sacramentum~”: III, 116.
“~Tartarische Gesetz, Das~”: Opera by d’Antoine, I, 31.
~Taxis, Mme. de~: I, 16.
~Tayber, Anton~: III, 115.
~Teimer~, brothers: I, 206.
~Telemann~: I, 13;
his fluency in composition, 85.
~Tenger, Mariam~: “Beethoven’s unsterbliche Geliebte,” I, 338.
~Teplitz~: B’s visit to, II, 202, 204 _et seq._;
meeting-place of political magnates, 221;
B’s second visit in 1812, 222.
~Teutonic Order~: Clemens August elected Grand Master of, I, 7;
opens the strong box, 8;
Duke Karl of Lorraine Grand Master, 77, 98;
Count Waldstein admitted to membership, 101, 111;
Stephan von Breuning receives appointment in, 198;
Archduke Karl elected coadjutor to Grand Master, 288;
B. advises Breuning to enter the service, 303.
~Teyber~: II, 3.
~Thalberg, Sigismund~: His account of the performance of
the Ninth Symphony, III, 166.
~Thayer, Alexander Wheelock~: Vicissitudes of his biography of
B., I, vii _et seq._;
the “Chronologisches Verzeichniss,” ix, 74, 75;
sketch of his life and labors, ix _et seq._;
connected with the “New York Tribune,” ix;
second visit to Europe, x;
receives funds for research work, x;
visits all surviving friends of B., x;
employed at U. S. Legation in Vienna, x;
appointed Consul at Trieste, x;
his purposes, xi;
why the work was published in German, xii;
writes book on the Exodus of the Jews, xiii;
also on Bacon and Shakespeare, xiii;
his discoveries accepted, xiv;
labor unremunerated, xiv;
death of, xiv;
publication of this work delayed by the World War, xviii;
promoted by the Beethoven Association of New York, xviii;
his work on the Conversation Book, III, 12;
defence of Johann v. B., 68;
on the commission from the Handel and Haydn Society of Boston, 88;
visits Sir George Smart, 208 _et seq._
~Thomas-San-Galli, Dr. Wolfgang~: His book on B’s love-affairs,
I, 337; II, 239.
~Thomson, George~, Publisher of National Songs: II, 17 _et seq._;
69, 156, 259, 363, 415; III, 16.
~Thun, Princess Christiane~: I, 181, 225.
~Thun, Countess Elizabeth~: II, 81.
~Thun, Countess~: I, 244;
dedication of Pf. arrangement of “Prometheus,” I, 290.
~Thun, Count Franz Joseph von~: I, 181.
~Tiedge~: B’s association with him at Teplitz, II, 204, 206, 208.
~Tiller, Theresia~: Sells apothecary shop to Johann v. B., II, 115.
“~Timotheus~”: Oratorio by Handel, II, 216.
“~Tod Jesu~”: Oratorio by Graun, II, 89.
~Tomaschek~: Describes B’s Pf. playing, I, 217, 257;
on “Wellington’s Victory,” II, 256;
meeting with B., 297.
~Tomasini, Luigi~, Singer: II, 2.
~Touchemoulin~: Court Chapelmaster in Bonn, I, 17, 46.
~Trautmannsdorf, Prince~: I, 172.
“~Tre Amanti ridicoli, Li~”: Opera, I, 27.
~Treitschke, Georg Friedrich~: II. 35;
revises text of “Fidelio,” 264;
“Gute Nachricht,” 268, 270, 302, 317;
letters, 273, 277, 281, 284;
“Romulus and Remus,” 304, 381;
“Die Ehrenpforten,” 317.
~Tribolet, Mme.~: I, 200, 242.
“~Tribune, The New York~”: Thayer on its editorial staff, I, ix;
W. H. Fry, musical critic, 358; III, 68.
“~Trionfo d’Amore~”: Opera by Dutillier, I, 165.
“~Trofonio’s Zaubergürtel~” (“Grotta di Trofonio”):
Opera by Salieri, I, 107.
~Truchsee-Waldburg, Count~: II, 124.
~Tschiska, Dr.~: III, 3.
~Türkheim, Anton von~: I, 288; III, 97.
~Tuscany, Grand Duke of~: Subscribes for the Mass in D,
III, 95, 101, 105.
~Tuscher, Matthias~: one-time guardian of the nephew,
III, 4, 5, 7, 30.
~Ulm~: Captured by the French, II, 51.
~Umlauf, Ignaz~: “Die schöne Schusterin,” I, 108, 165, 204;
saves performance at which B. conducts, II, 263;
conducts “Fidelio,” 279; III, 157.
~Ungermann~, Police Director: III, 132.
~Ungher, Caroline~: III, 77, 78, 161, 162, 164, 166.
“~Unterbrochene Opferfest, Das~”: Opera by Winter, I, 227.
“~Van~”: not a predicate of noble birth, II, 404, 408.
~Van den Eeden, Heinrich~: I, 5;
appointed second Court Organist at Bonn, I, 10;
salary increased, 10, 25;
gives lessons to B., 61, 62, 64;
death of, 69.
~Vanhall, Joseph~, Composer: I, 173.
~Varena, Ritter von~: II, 205;
asks for music for Ursulines at Gratz, 214;
B’s letters to, II, 218, 246, 247, 249.
~Varnhagen von Ense~: His account of B’s sojourn at Teplitz,
II, 204, 222, 302.
~Vering, Dr.~: Treats B., I, 300, 302, 348.
“~Vestale, La~”: Opera by Spontini, II, 36, 296; III, 139.
“~Vesta’s Feuer~”: Opera by Weigl, II, 49.
~Victoria, Princess of England~: Wedding hymn on her marriage
to Frederick III of Prussia, III, 13.
~Vienna~: B’s first visit to, I, 89;
second journey, 124;
route travelled and incidents, 126;
arrival in the city, 128, 146;
state of music in, at the time, 163 _et seq._;
theatres, 163 _et seq._;
church music, 165;
performing musicians, 170;
composers, 172, 174;
private theatres, 173;
B’s position in Society, 174 _et seq._
--II, Music in 1803, 2;
lapse of public concerts, 42;
entered by French, 52;
administration of the Court Theatres, 98;
B. appointed composer for the theatres, 98;
appreciation of his music in the city, 116;
arrival of friends in 1808, 124;
popular attitude toward B., 126;
beleaguered and occupied by the French, 144, 145;
tax on dwellings, 146, 150;
under French, 149;
direction of the theatres assumed by Lobkowitz and Palffy, 201;
B. made Hon. Citizen of the city, 325;
its journals and their treatment of B., 358.
--III, Society of Merchants elects B. Hon. Mem., 21;
taste denounced by B., 202.
~Vigano, Salvatore~: Ballet “Le Nozze disturbata,” I, 188;
sketch of, 283;
ballet “Raoul, Sire de Croqui,” 283;
“Prometheus,” 284 _et seq._
“~Villanella di spirito, La~”: Opera, I, 108.
~Viotti~: II, 12.
~Vivenot, Dr.~: Summoned to B. at last sickness, III, 273.
~Vogl, Johann Michael~: I, 230.
~Vogler, Abbé Georg Joseph~: In Bonn, I, 123;
engaged to compose operas in Vienna, II, 2, 4;
“Hermann von Staufen” and “Hermann von Unna,” 4, 12;
his extempore playing, 15;
his opera “Samori,” 23.
~Volbach~: I, 337.
~Volta~, Violinist: II, 125.
~Von der Recke, Countess~: II, 204, 208, 222.
~Waldstein, Count Emanuel Philip~: I, 101.
~Waldstein, Count Ferdinand Gabriel~: B’s first meeting with,
I, 93 _et seq._; 101, 102;
knighted by Max Franz, 102;
absolved from his vow of celibacy and marries, 103;
his aid to B., 103, 117;
the book of the “Ritter-Ballet,” 108, 122;
inscription in B’s album, 126;
The “Ritter-Ballet,” 133;
family connections of, 174, 244;
second marriage of, II, 111, 146; III, 24.
(See SONATA OP. 53.)
~Walkowski~: II, 305.
~Walter~: I, 355.
~Wartensee, Xaver Schneider von~: II, 381.
~Wasielewski~: I, 208.
~Wawruch, Dr.~: In attendance on B. at his last illness,
III, 273 _et seq._;
B’s dissatisfaction with him, 283;
report on B’s illness and death, 275 _et seq._
~Weber, Carl Maria von~: I, 112;
his first visit to Vienna, II, 23;
interest in Amalie Sebald, 205;
produces “Fidelio” in Dresden, III, 129;
visits B., 136 _et seq._;
“Der Freischütz,” 131, 135, 137;
“Euryanthe,” 131, 137, 139, 140.
~Weber, Dionysius~: II, 282.
~Weber, Franz Anton von~: I, 112.
~Weber, Gottfried~: Publishes letters by B., II, 183, 384;
attacks authenticity of Mozart’s “Requiem,” 235.
~Weber, Max Maria von~: III, 138.
~Weber, W.~: Sells publishing rights in Thayer’s biography
to Breitkopf and Härtel, I, xv.
~Wedding Song~: Arranged for the wedding of Princess Victoria
of England and Frederick III of Prussia, III, 13.
~Wegeler, F. G.~: His “Biographische Notizen,” I, ix, xi, 79,
89, 94, _et seq._; 99, 117;
comes to Vienna, 179;
his account of B’s status there, 180;
letters from B., 181, 182;
on B. as a lover, 182, 186;
said to have recommended B. as teacher to the Breuning family, 100;
on Count Waldstein, 102;
on B’s susceptibility to women, 122;
letters from B., 299, 301;
error in date of an important letter, 308.
--II, B. asks him to get the certificate of his baptism, 177;
publication of B’s letters, 183.
--III, 197, 214, 288, 297.
~Wegeler, Karl~: I, 96, 102, 181.
~Weigl, Joseph~, Chapelmaster and composer: I, 163;
“L’Amore marinaro,” 225;
respected by B., 241;
“Corsar aus Liebe,” 268;
the same, II, 2;
“Die Schweizerfamilie,” 2;
“Vesta’s Feuer,” 49, 279;
pallbearer at B’s funeral, III, 312.
~Weimar, Grand Duke of~: The Mass in D, III, 98;
B. contemplates a visit to, II, 198.
~Weinkopf~: Singer in first performance of “Fidelio,” II, 50.
~Weinmüller~, Bass singer: II, 267, 285, 286.
~Weiss, Franz~, Viola player: I, 170, 274; II, 125, 337.
~Weiss, Dr. Leopold~: II, 303.
~Weiss, Pater~: Attempts to cure B’s deafness, II, 96; III, 85.
~Weissenbach, Dr. Alois~: His “Reise zum Congress,” I, 263;
description of B., II, 293;
his dramas, 293;
“Der glorreiche Augenblick,” 294.
~Weissenthurm, Mme.~: I, 133.
~Werner, Zacharias~: III, 44.
~Wesley, Samuel~: II, 12.
~Westerholt, Count Friedrich Rudolph Anton~: And his family,
I, 121, 137.
~Westerholt, Fräulein~: I, 120, 121, 122.
~Westphalia.~ (See BONAPARTE, JEROME, and CASSEL.)
~Wheeler~, U. S. Consul: Interviews Julius Merz concerning the
Bettina-B. letters, II, 184, 185.
~Wieck, Friedrich~: Visits B., III, 236.
~Wild, Singer~: II, 305, 338.
~Willcox, E. S.~: I, xiii.
~Willmann, Magdalena~: I, 200, 235;
career of, 242;
receives proposal of marriage from B., 242;
marriage and death of, 243, 282, 330, 337.
~Willmann, Max~: I, 242.
~Wimpfen, Countess~: III, 110.
~Winneberger~: Chapelmaster at Wallenstein, I, 114.
~Winter~: Opera “Das unterbrochene Opferfest,” I, 227.
~Winter, Karl~: Judge of the Austrian Court of Appeals, III, 29.
~Wolanek~, Copyist: Excites B’s ire, III, 191.
~Wolf~: Opera “Das Rosenfest,” I, 32.
~Wölffl, Joseph~, Pianist: I, 214;
his playing compared with B’s, 215;
dedicates Sonata to B., 217.
~Wolfmayer, Johann Nepomuk~: Substitutes new coat for B’s old,
III, 230;
pays B. for a Requiem which is never composed, 220, 296;
torchbearer at B’s funeral, 312.
~Wranitzky, Anton~: II, 125.
~Wranitzky, Paul~: I, 165;
“Oberon,” 165;
“Das Waldmädchen,” 210.
~Würfel~, Chapelmaster: Pallbearer at B’s funeral, III, 312.
~Würth and Fellner~: Organize concerts in Vienna, II, 42.
~Wyzewa, Theodore~: I, 139.
~Yellowhammer~: Song of, in the “Pastoral” Symphony, II, 120, 121.
~Zambona~: Gives B. lessons in Latin, I, 65.
“~Zauberflöte, Die~”: Opera by Mozart, I, 164, 226, 304.
~Zeithammer, Dr. Ottokar~: The Lobkowitz cantata, II, 354.
“~Zelmira~”: Opera by Rossini, III, 20, 77.
~Zelter, Karl Friedrich~: Association with B., III, 16, 18, 104, 110.
“~Zémire et Azor~”: Opera by Grétry, I, 32, 86.
“~Zemire und Azor~”: Opera by Neefe, I, 36.
~Zenser~: Reputed to have taught organ to B., I, 64.
~Zichy, Count Stephen~: II, 98.
~Zingarelli~: Opera “Romeo and Juliet,” II, 172.
~Zitterbarth~: Buys interest in Schikaneder’s theatre, II, 22.
~Zizius, Dr. Johann~: II, 88.
~Zmeskall von Domanovecz, Nicolaus~: I, 192, 230;
his posthumous papers, 236, 273;
B. asks his aid in purchase of pianoforte, 355;
letters from B., 231; II, 88, 97, 144, 155, 174, 208,
217, 245, 246, 247, 248, 262, 271, 330, 349; II, 113, 144;
the Quartet in F minor, 193, 351;
and Mälzel’s metronome, 384 _et seq._; III, 24, 42, 288.
~Zuccalmaglio~: I, 278.
~Zulehner, Carl~: His reprints denounced by B., II, 18, 38.
Index to Compositions
(a) WORKS FOR ORCHESTRA ALONE
~Symphonies~:
No. 1, C major, Op. 21--Date of composition, I, 227, 266, 267,
272, 277, 282, 286, 290; II, 6, 39, 42;
arranged as Pf. Quintet, I, 228.
No. 2, D major, Op. 36--I, 140, 354, 364, 365, 371; II, 6, 39,
42, 73, 112, 113;
arranged as Pf. Trio, II, 40;
arranged as Quintet, II, 113.
No. 3, E-flat major, Op. 55 (“Eroica”)--I, 212; II, 14, 20, 24
_et seq._; 33, 40;
first public performances of, 42 _et seq._; 66, 67;
publication of, 77, 112, 116, 149, 369; III, 50;
arranged for Pf. Quartet, II, 113.
No. 4, B-flat major, Op. 60--II, 68, 73, 76, 101, 112, 116, 122,
123, 162, 166, 371.
No. 5, C minor, Op. 67--I, 307; II, 73, 76, 107, 109, 113, 123,
126, 127, 129, 132, 141, 162, 166, 186;
correction of error in Scherzo of, 192; 216, 250, 334, 348,
369, 379; III, 50.
No. 6, F major, Op. 68 (“Pastoral”)--I, 349, 354; II, 73, 110,
119, 120;
country musicians parodied in Scherzo, 121, 122; 127, 131,
141, 162, 166, 209, 316; III, 14, 50.
No. 7, A major, Op. 92--II, 151, 152, 166, 216;
melody of the Trio, 216; 237, 257;
Allegretto repeated at the first performance, 258; 267, 299,
311, 312, 313, 318, 319, 324, 325, 334, 337, 339, 340,
347, 348, 350, 352, 353, 356, 357, 367; III, 14, 37, 50,
144, 302.
No. 8, F major, Op. 93--II, 152, 166, 232;
the Allegretto and the canon on Mälzel, 234 _et seq._; 237,
240, 267, 268, 311, 312, 313, 318, 357, 388; III, 144.
No. 9, D minor, Op. 125 (with vocal solos and chorus)--I, xi;
trombone parts, II, 7; 73, 90, 133, 152, 378, 411, 414; III,
15, 22, 87, 95;
and the Philharmonic Society of London, 110 (see “London
Philharmonic Society” under BEETHOVEN, LUDWIG V.); 128, 132;
composition, first performance, repetition, 144 _et seq._;
origin of the theme of the Scherzo, 145;
B.’s doubts concerning the finale, 152, 153;
address to B. by his friends, 153 _et seq._;
a conspiracy to further the performance, 158, 159;
trouble about orchestra leader, 157, 160;
the solo singers, 162, 164;
rehearsals, 163;
programme of the concert, 164;
incidents of the first performance, 165 _et seq._;
financial failure and B.’s disappointment, 167;
B. upbraids his friends and dines alone, 167;
the second performance, 168 _et seq._; 170;
offer of score to Schott, 177;
offer to Probst, 178;
performed at Aix-la-Chapelle, 188;
Smart gets tempi from B., 208, 209;
the recitatives, 209, 226;
dedication, 231 _et seq._;
metronome marks, 244, 292;
the autograph manuscript, 266.
“Wellington’s Victory, or The Battle of Victoria,” Op. 91--II,
251 _et seq._; 262 _et seq._; 259, 267, 268, 271, 272, 283,
290, 299, 309, 310, 311, 312, 313, 318, 319, 324, 325, 335,
339, 340, 353, 356; III, 113, 208, 211.
“Jena”--I, 211.
Sketches for uncompleted symphonies--A “Tenth,” II, 414; III, 221
_et seq._;
in B minor, II, 310, 328;
in C minor, I, 210.
~Overtures, Ballets, Marches, Dances~, etc.:
Overture, “Coriolan,” Op. 62--II, 101, 102, 105, 112, 117, 124,
127, 133, 172, 209, 216, 268, 284.
Overture in C, Op. 124, “Consecration of the House.” (See WEIHE
DES HAUSES, under (c) Choral Works, etc.)
Overture to “Fidelio.” (See “FIDELIO.”)
Overtures, “Leonore,” Nos. 1, 2 and 3. (See “FIDELIO.”)
Overture in C, Op. 115--II, 292, 296, 302, 303, 311, 312, 313,
316, 327, 334, 335, 413; III, 50.
Overture to “König Stephan” (“King Stephen”), Op. 117--II, 208,
209, 213, 214, 218, 246, 313, 316, 334, 413; III, 57, 70, 72.
“Ritter-Ballet”--I, 108, 111, 117, 133, 142.
Ballet, “Die Geschöpfe des Prometheus” (“The Men of Prometheus”),
Op. 43--I, 280;
history of, 283 _et seq._; 290, 304, 364, 370; II, 5, 39, 52, 102,
112, 216, 356; III, 14.
Dances for the Ridotto Room--I, 188, 192, 202, 210, 211, 289.
Contradances and “Ländrische”--I, 289, 364, 365.
Écossaises (Twelve) for Strings with Wind _ad lib._--II, 113.
Écossaise for Military Band--II, 194.
“Gratulatory Minuet”--III, 64, 80, 82, 89.
Polonaise for Military Band--II, 194.
Waltzes for Strings with Wind _ad lib._--II, 113.
Waltzes, for a Country Band--III, 22.
Military March, in D--II, 356; III, 142.
Military Marches, in F--II, 160, 162, 195; III, 64, 141.
Funeral March for “Leonore Prohaska,” arranged from the Sonata
Op. 26--II, 298, 299; III, 312.
Rondino for Wind-instruments--I, 134.
Triumphal March, for Küffner’s “Tarpeja”--II, 245, 250, 259; III, 58.
Equale for Three Trombones--II, 237;
arranged for voices and sung at B.’s funeral, III, 311.
(b) INSTRUMENTAL SOLOS WITH ORCHESTRA
~Concertos~, etc.:
Allegro con brio, for Violin, in C, completed by Hellmesberger--I,
136.
For Violin, in D major, Op. 61--II, 76, 103, 104, 112, 134, 162, 166;
arranged for Pianoforte--I, 350; II, 103, 104, 112, 134.
For Pianoforte, in E-flat (Youthful)--I, 75.
For Pianoforte, in D major (Youthful)--I, 136.
For Pianoforte, in C, No. 1, Op. 15--I, 137, 177, 185, 217,
222, 224, 244, 272, 287, 289; II, 39, 90.
For Pianoforte, B-flat major, No. 2, Op. 19--I, 136, 144, 177,
184, 185, 188, 208, 217, 222, 224, 225, 226, 272, 275, 286,
287, 290, 299; II, 39; III, 50, 279.
(See RONDO IN B-FLAT.)
For Pianoforte, in C minor, No. 3, Op. 37--I, 270, 277, 364;
II, 6, 7, 30, 32, 37, 39, 42, 131.
For Pianoforte, in G major, No. 4, Op. 58--II, 56, 66, 67, 68,
73, 74, 101, 110, 131, 134.
For Pianoforte, in E-flat major, No. 5, Op. 73--II, 133, 147,
149, 150, 159, 160, 192, 199, 209, 215, 216.
For Pianoforte, Violin and Violoncello, Op. 56--II, 40, 56,
73, 80, 113, 117.
Romance for Violin, in G, Op. 40--II, 20, 25, 26; III, 59.
Romance for Violin, in F, Op. 50--I, 140; II, 25, 26, 55; III, 59.
Rondo for Pianoforte, in B-flat, completed by Czerny--I, 223.
Sketches for Pianoforte Concerto in D--II, 328.
(c) CHORAL WORKS AND PIECES FOR SOLI AND CHORUS
Abschiedsgesang, for Men’s Voices--II, 303.
“Ah, perfido! spergiuro,” Scena for Soprano and Orchestra,
Op. 65--I, 143, 206, 209; II, 6, 56, 129.
Birthday Cantata for Archduke Rudolph--III, 25.
Bundeslied, for Soprano and Orch.--III, 64, 141.
Cantata on the Death of Cressener (Youthful)--I, 65.
Cantata on the Death of Joseph II--I, 130.
Cantata on the Elevation of Leopold II--I, 130, 131.
“Christus am Ölberg,” Oratorio, Op. 85--I, 143, 289, 364; II, 2;
first performance of, 5 _et seq._;
criticism of, 8, 35; 45, 52, 74, 156, 199, 204, 210, 246, 250,
309, 310, 327; III, 50, 174, 189, 208.
“Der glorreiche Augenblick,” Cantata, Op. 136--II, 294, 299, 300,
303, 305, 313, 318, 333, 339, 352.
“Egmont,” incidental music for, Op. 84--Commission for, II, 153, 166;
composition and first performance of, 171, 181, 192, 194, 197, 198;
209, 214, 216, 224, 238, 268; III, 75.
Elegiac Song, for four Voices and Strings, composed in memory of
Baroness Pasqualati, Op. 118--II, 288, 303; III, 58.
“Es ist vollbracht,” Chorus for “Die Ehrenpforten”--II, 317, 328.
Fantasia for Pianoforte, Chorus and Orchestra, Op. 80--I, 203;
II, 90, 127, 129 _et seq._; 131, 133, 136, 160, 166, 192, 199;
dedication of, 207; 209, 369, 388; III, 177.
“Fidelio,” Opera, Op. 72--I, 145, 230, 263, 320; II, 19, 20, 35, 40;
composition of, 41; 45 _et seq._;
first performance, 49 _et seq._;
criticisms, 52;
first revision of, 53, 55, 56;
repetition and revision, 57 _et seq._;
overtures, “Fidelio” and “Leonore” Nos. 1, 2 and 3, 58 _et seq._;
60, 110, 111, 278, 279;
Röckel’s account of the withdrawal of, 63;
Salieri’s advice asked and rejected, 64;
Milder-Hauptmann and the great scena, 64;
Cherubini’s opinion, 63, 64;
offered to Berlin, 64;
Pf. score offered to Breitkopf and Härtel, 66;
sketches for, 73, 100;
in Prague, 110;
revival in 1814, 263 _et seq._; 268, 273 _et seq._; 280;
publication as “Leonore,” 285 _et seq._;
Pf. score by Moscheles pirated, 283; 284, 285;
“Abscheulicher,” 285; 286, 293, 296, 303, 305, 307, 311, 313, 318,
330, 350, 351, 352, 353, 381; III, 82 _et seq._; 117;
in Dresden, 129 _et seq._; 139, 202, 288.
“Germania, wie stehst Du jetzt,” Chorus--II, 269, 277, 279, 302,
303, 317.
“Ihr weisen Gründer,” Chorus--II, 288, 292, 303.
“Leonore Prohaska,” incidental music for--II, 298, 303.
“Lob auf den Dicken,” jest on Schuppanzigh--I, 238.
Mass in C major, Op. 86--II, 107 _et seq._; 108, 112, 127, 142;
performed at Troppau, 208; 223, 238, 310; III, 103.
Mass in D major, Op. 123 (_Missa Solemnis_)--I, 320; II, 398, 411,
414;
III, 15, 21, 22, 37;
B. gets advance on, 39, 41, 42;
negotiations with Simrock, 44 _et seq._; 48, 51 _et seq._; 71,
72, 86;
history of the composition, subscription and publication,
89 _et seq._; 105;
sold to Diabelli, 107;
contract cancelled, 108;
additional numbers to, 116, 151, 162;
first performance, 164 _et seq._; 169, 174;
publication of, 177 _et seq._;
offered to Probst, 178;
sold to Schott, 177, 180;
dedication, 212, 226;
metronomic marks for, 296.
Sketches for a Mass in C-sharp minor--III, 63, 116, 117, 141.
“Meeresstille und glückliche Fahrt,” Cantata, Op. 112--II, 300,
310, 327, 328.
“Mit Mädeln sich vertragen,” Song with Orchestra. (See SONGS.)
“Mount of Olives, The.” (See “CHRISTUS AM ÖLBERG.”)
“Opferlied,” for Soprano, Chorus and Orchestra, Op. 121b--I, 203,
275, 364; III, 64.
“Praise of Music, The” and “Preis der Tonkunst.” (See “DER GLORREICHE
AUGENBLICK.”)
“Primo Amore,” Song with Orch.--III, 58.
“Prüfung des Küssens.” (See SONGS.)
“Rasch tritt der Tod,” Chorus of Monks from Schiller’s
“William Tell”--II, 365, 368, 388.
“Ruinen von Athen” (“The Ruins of Athens”), incidental music
for, Op. 113--II, 161, 201, 207, 208, 209, 213, 214, 216,
246, 249, 262, 264, 278, 311, 313, 316, 334; III, 57, 70,
71, 79, 80;
B.’s “Little opera,” 118; 189.
Airs from “Die schöne Schusterin”--I, 204, 224.
“Tremate, empj, tremate,” Terzetto with Orch., Op. 116--I, 365;
II, 6, 267, 302, 313; III, 169.
Un lieto Brindisi, for four Voices and Pf.--II, 280, 302.
“Weihe des Hauses, Die,” incidental music for;
Overture, Op. 124--II, 26; III, 57, 79, 80, 81, 89, 111, 146,
162, 165, 226;
“Wo sich die Pulse,” Chorus, III, 72, 80.
~Canons and Rounds~: “Alles Gute, alles Schöne,” III, 25;
“Ars longa” (for Hummel), II, 338;
“Airs longa” (for Smart), III, 211;
“Bester Graf,” III, 115;
“Das Schöne zu dem Guten,” III, 140, 202;
“Doktor, sperrt das Thor,” III, 200;
“Edel sei der Mensch,” III, 110, 126;
“Freu’ dich des Lebens,” III, 211;
“Gedenkt heute an Baden,” III, 90;
“Gehabt euch wohl,” III, 90;
“Glaube und hoffe,” III, 23;
“Glück fehl Dir,” II, 363;
“Glück zum neuen Jahre,” II, 328, 356; III, 21, 22;
“Grossen Dank,” III, 131;
“Hier ist das Werk,” III, 246;
“Hol’ euch der Teufel,” III, 22;
“Hoffmann, sei ja kein Hōfmann,” III, 35, 190;
“Kühl, nicht lau,” III, 204;
“Kurz ist der Schmerz” (for Naue), II, 259;
“Kurz ist der Schmerz” (for Spohr), II, 303;
“Lerne schweigen, O Freund,” II, 328, 333, 389;
“Muss es sein?”, III, 224, 244;
“O Tobias,” III, 43, 90;
“Rede, rede,” II, 328, 333;
“Sankt Petrus war ein Fels,” III, 32;
“Schwenke dich,” III, 182, 190;
“Signor Abbate,” III, 236;
“Ta, ta, ta, lieber Mälzel,” II, 234 _et seq._;
“Te solo adoro,” III, 143;
“Tugend is kein leerer Name,” III, 90.
(d) INSTRUMENTAL DUOS, TRIOS, QUARTETS, etc.
“Duet mit zwei Augengläsern,” for Viola and Violoncello--I, 205.
Duo for Clarinet and Bassoon--I, 205.
Duo, Arrangement of Trio Op. 3 for Pf. and Violoncello,
Op. 64--II, 113.
Duo for two Flutes--I, 134.
Polonaise from Serenade in D, arranged for two Violins--II, 113;
the same arranged for Violin and Guitar--II, 113.
Trios (Three) for Pf., Violin and Violoncello in E-flat, G,
and C minor, Op. 1--I, 130, 132, 137, 144, 145, 160,
175, 180, 185, 186, 208, 271; II, 326, 374, 388; III, 23, 40.
Trio for Violin, Viola and Violoncello, in E-flat, Op. 3--I,
134, 135, 145, 180, 187, 200, 204, 206, 221.
Trio in D (Serenade) for Violin, Viola and Violoncello, Op. 8--I,
202, 208; II, 113.
Trios (Three) for Violin, Viola and Violoncello, in G major,
D major and C minor, Op. 9--I, 209, 221, 225, 271; II, 77.
The same, arranged for Pf. and Strings by Ries--I, 350; II, 77.
Trio for Pf., Clarinet (or Violin) and Violoncello, in B-flat
major, Op. 11--I, 225, 244.
Trio (Serenade) for Flute, Violin and Viola, in D major.
Op. 25--I, 207, 208, 364; II, 20.
Trio for Pf., Clarinet (or Violin) and Violoncello, in E-flat,
Op. 38 (arrangement of the Septet, Op. 20)--I, 350; II, 55.
Trio for Pf., Violin and Violoncello, in E-flat, Op. 63
(arrangement of the Quintet, Op. 4, which see).
Trios (Two) for Pf., Violin and Violoncello, in D major and
E-flat, Op. 70--II, 131, 132, 141, 162; III, 207.
Trio for two Violins and Viola, in C, Op. 29 (arrangement of
the Trio for two Oboes and English Horn)--I, 206; II, 77.
Trio for two Oboes and English Horn, in C, Op. 87--I, 206;
II, 77; III, 59.
Trio for Pf., Violin and Violoncello, in B-flat, Op. 97--II,
199, 209, 219, 269, 270, 311, 312, 313, 318, 319, 325,
338, 340, 347, 350, 351, 352, 353, 357, 367; III, 136, 223.
Trios for Pf., Violin and Violoncello, arranged from the String
Quartets, Op. 18--II, 77.
Trio arranged from the Second Symphony--II, 40.
Trio for Pf., Violin and Violoncello, in E-flat (Op. posth.)--I, 136.
Trio in one Movement, for Pf., Violin and Violoncello (for Maximiliane
Brentano)--II, 221, 237; III, 136.
Trio, Adagio, Variations (on “Ich bin der Schneider Kakadu”) and
Rondo, for Pf., Violin and Violoncello, Op. 121a--III, 136.
Trio for Pf., Violin and Violoncello, in D (attributed to Mozart:
K. 52a)--I, 139.
Trio for Pf., Flute and Bassoon--I, 137.
Trio (Variations on “Là ci darem”) for two Oboes and English
Horn--I, 202, 206; III, 64.
Quartets (Six) for Strings, in F, G, D, C minor, A and B-flat,
Op. 18--I, 227, 228, 235, 272 _et seq._; 277, 279, 280,
290, 298, 307; II, 77, 89.
Quartets (Three) in F, E minor, and C, Op. 59 (“Rasoumowsky”)--II,
65, 68, 73, 75 _et seq._; 82, 97, 103, 104, 105, 133, 337.
Quartet for Strings, in E-flat, Op. 74 (“Harp”)--II, 155, 159, 160,
195, 198.
Quartet for Strings, in F minor, Op. 95--II, 172, 193, 195, 219,
311, 312, 313, 318, 339, 340, 351, 357, 364; III, 183.
Quartet for Strings, in E-flat, Op. 127--III, 140, 177, 183
_et seq._; 187, 192 _et seq._; 201, 214 _et seq._
Quartet for Strings, in B-flat, Op 130--III, 205, 214 _et seq._;
221, 222 _et seq._; 225, 237, 245.
Quartet for Strings, in C-sharp minor, Op. 131--III, 218, 225, 296,
297, 307.
Quartet for Strings, in A minor, Op. 132--III, 205, 206, 214
_et seq._; 219, 223.
Quartet for Strings, Grand Fugue (originally Finale of Op. 130)--III,
215, 223.
Quartet for Strings, in F major, Op. 135--III, 225, 237, 244, 282.
Fugue from a String Quartet in D, from a collection projected
by Haslinger--II, 389.
Quartet for Strings, arranged from Pf. Sonata Op. 14, No. 1--I, 349.
Quartets (Three) in E-flat, D and C, for Pf. and Strings, composed
in 1785--I, 88, 210.
Quartet for Strings, an arrangement of the Quintet in E-flat,
published by Artaria as Op. 75--I, 208.
Quartet in E-flat, for Pf., Violin, Viola and Violoncello,
arranged by B. from Quintet Op. 16--I, 208, 350.
Quartet (arrangement of the “Eroica” Symphony as Pf. Quartet)--II,
113.
Quintet for Strings, in E-flat, Op. 4 (an arrangement of the Octet,
Op. 103)--I, 134, 144, 187, 204.
Quintet for Pf., Oboe, Clarinet, Bassoon and Horn, in E-flat,
Op. 16--I, 200, 207, 214, 224, 290, 316, 350; II, 2, 34, 337.
Quintet for Strings, in C, Op. 29--I, 228, 293;
unauthorised publication of, 294 _et seq._; 355, 364, 368; II, 44.
Quintet for Strings, in C minor, Op. 104 (arranged from the Trio,
Op. 1, No. 3)--II, 374, 388; III, 23.
Quintet (arrangement of the First Symphony)--I, 228.
Quintet, Pf., Double-bass, Flute, Horns, etc. (arrangement of the
Second Symphony with Double-bass, Flute and 2 Horns,
ad lib.)--II, 113.
Sextet in E-flat, for Clarinets, Horns and Bassoons, Op. 71--I, 206,
207, 209; II, 41, 147, 195.
Sextet in E-flat, for Strings and Horns, Op. 81b--I, 207; II, 195.
Septet in E-flat, Op. 20--I, 209, 227, 266, 267;
B.’s dislike of it, 267;
origin of the theme of the variations, 267, 272, 275, 277, 278;
dedication, 278;
first performance, 278, 282, 286, 299, 350, 364; II, 29, 214, 316,
337, 381, 386;
arranged as Trio, I, 350; II, 55;
arranged as Quintet, I, 228, 350.
Octet for Wind Instruments, Op. 103 (the original of the Quintet
for Strings, Op. 4)--I, 132, 133, 134, 144, 184, 204.
Dinner Music for Wind Instruments--I, 134.
Parthia for Wind Instruments--I, 133, 144.
Rondino for Oboes, Clarinets, Horns and Bassoons, in E-flat--I, 134.
Sketches: For Trio in F minor--III, 136;
for quintets--III, 245.
(e) SONATAS, ETC., FOR PIANOFORTE AND OTHER INSTRUMENTS OBBLIGATO
Three Sonatas for Pf. and Violin, in D, A and E-flat, Op. 12--I, 162,
225, 226, 307.
Sonata for Pf. and Violin, in A minor, Op. 23--I, 289, 290, 307.
Sonata for Pf. and Violin, in F, Op. 24--I, 289, 290, 307.
Three Sonatas for Pf. and Violin, in A, C minor and G, Op. 30--I,
364, 365; II. 20, 305.
Sonata in A, for Pf. and Violin, Op. 47 (“Kreutzer”)--I, 140, 365;
II, 9, 13, 20, 21.
Sonata for Pf. and Violin, in G, Op. 96--II, 237, 312, 313, 319,
325, 347, 350, 353, 357, 367.
Notturno for Pf. and Viola (arranged from the Serenade, Op. 8),
Op. 42--I, 208.
Rondo for Pf. and Violin, in G--I, 179.
Sonata for Pf. and Violin (arrangement of Trio for Oboes and
Bassoon)--I, 206.
Six Allemandes for Pf. and Violin--II, 303.
Variations on “Se vuol ballare,” for Pf. and Violin--I, 132,
138, 176, 178, 179.
Sonata in B-flat for Pf. and Flute--I, 138.
Two Sonatas for Pf. and Violoncello, in F and G, Op. 5--I,
195, 200, 205.
Sonata for Pf. and Violoncello, in A, Op. 69--II, 112, 131,
132, 141, 150, 162, 218.
Duo for Pf. and Flute (arranged from Serenade, Op. 25, and
published as Op. 41)--I, 208; II, 20.
Six Variations on National Themes, for Pf. and Flute (or Violin),
Op. 105--II, 415, 416; III, 23.
Ten Variations on National Themes, for Pf. and Flute (or Violin),
Op. 107--II, 415, 416; III, 22.
Sonatina for Mandolin and Pf. (Cembalo)--I, 210, 236.
Two Sonatas for Pf. and Violoncello, in C and G, Op. 102--II, 316,
328, 338, 339, 340, 352, 357, 367, 389; III, 23.
Variations on “See the Conquering Hero Comes,” from “Judas
Maccabæus,” for Pf. and Violoncello--I, 202, 205.
Variations in E-flat, Op. 44, for Pf., Violin and Violoncello--I, 137.
Variations on “Bei Männern welche Liebe fühlen,” for Pf. and
Violoncello--I, 364.
Variations on “Ein Mädchen oder Weibchen,” for Pf. and
Violoncello--I, 226, 305.
Arrangement of Trio, Op. 3, for Pf. and Violoncello, Op. 64--II, 113.
Sonata for Pf. and Horn, Op. 17--I, 239, 244, 267, 274, 277,
279, 290; II, 39.
Sketches from “Pastoral” Sonata for Pf. and Violoncello--II, 310.
(f) FOR PIANOFORTE ALONE
Three Sonatas (No. 1, F minor; No. 2, A major; No. 3, C major),
Op. 2--I, 137, 144, 186, 192, 217.
Sonata in E-flat, Op. 7--I, 202, 209, 244, 318; II, 74.
Sonata in C minor, Op. 10, No. 1--I, 207, 210, 224, 226, 244.
Sonata in F major, Op. 10, No. 2--I, 224, 244; II, 76.
Sonata in D major, Op. 10, No. 3--I, 205, 224, 244.
Sonata in C minor, Op. 13 (“Pathétique”)--I, 209, 221, 225,
227, 307; II, 90.
Sonata in E major, Op. 14, No. 1--I, 225, 226, 244;
arranged as a String Quartet, 349, 364.
Sonata in G major, Op. 14, No. 2--I, 225, 244.
Sonata in B-flat, Op. 22--I, 277, 279, 282, 286, 299, 364.
Sonata in A-flat major, Op. 26--I, 289, 290;
story of the Funeral March, 291;
published, 364;
the Funeral March orchestrated by B., II, 298; 299; III, 312.
Sonata quasi una Fantasia, in E-flat, Op. 27, No. 1--I, 244,
280, 289, 291, 364.
Sonata quasi una Fantasia, in C-sharp minor, Op. 27, No. 2--I,
244, 289, 291, 292, 293;
dedication of, 322;
B.’s opinion of, 322; 338, 339;
published, 364.
Sonata in D major, Op. 28 (“Pastoral”)--I, 289, 292.
Sonata in G major, Op. 31, No. 1--I, 364, 365; II, 20.
Sonata in D minor, Op. 31, No. 2--I, 364, 365;
origin of the Finale, 368; II, 20.
Sonata in E-flat, Op. 31, No. 3--II, 40.
Two Sonatas, No. 1 in G minor, No. 2 in G major, Op. 49--I,
206, 209, 225, 278; II, 55.
Sonata in C major, Op. 53 (“Waldstein”)--I, 103, 140; II, 31,
37, 40, 55, 77.
(See ANDANTE FAVORI.)
Sonata in F major, Op. 54--II, 31, 40, 56, 76.
Sonata in F minor, Op. 57 (“Appassionata”)--I, 140; II, 31, 40,
73, 77, 113, 335.
Sonata in F-sharp major, Op. 78--B.’s opinion of, I, 292; 323,
336, 338; II, 148, 154, 160, 161;
dedication, 195.
Sonatina in G major, Op. 79--II, 148, 160, 161;
publication of, 195.
Sonata in E-flat, Op. 81a (“Les Adieux, l’Absence et le Retour”)--II,
143, 146, 148, 159, 160, 161, 192, 199, 200, 207, 210, 219.
Sonata in E minor, Op. 90--II, 288, 291, 303, 328.
Sonata in A major, Op. 101 (“für Hammerklavier”)--II, 328, 338,
356, 364, 365, 389, 412.
Sonata in B-flat, Op. 106--II, 376, 378, 382, 388, 389, 396, 411,
412, 413, 414, 415; III, 23, 145.
Sonata in E major, Op. 109--III, 48, 49, 90.
Sonata in A-flat, Op. 110--III, 48, 49, 90.
Sonata in C minor, Op. 111--III, 48, 49, 55, 72, 90.
Three Sonatas dedicated to Maximilian Friedrich--I, 72.
Sonata (Unfinished) sent to Eleonore von Breuning--I, 139, 140, 179.
Sonata for Pf. four hands, in D, Op. 6--I, 200, 209.
Gavotte, Marcia lugubre et Rondo, for Pf. four hands (attributed to
Mozart)--I, 139.
Grand Fugue for Pf. four hands, arranged from the Finale of the
Quartet Op. 130--III, 223, 224.
Andante favori, in F (see SONATA, Op. 53)--II, 31, 40, 77.
Allegretto in C minor (B. and H. Supplement, XXV, No. 299)--I, 210.
Bagatelles, in general--I, 261; III, 57, 62.
Bagatelles (Seven), Op. 33--I, 71, 140, 361, 362, 364, 371; II, 20.
Bagatelles, Op. 119--I, 365, 371; III, 48, 86.
Bagatelles (Six), Op. 126--III, 57, 64, 142 _et seq._
Bagatelles (B. and H. Supplement, XXV, 295)--I, 210.
“Beethoven’s letzter Gedanke” (“Dernière Pensée musicale”)--II, 415.
Écossaise in E-flat--III, 216.
Écossaises (Twelve)--II, 113; III, 216.
Fantasia, Op. 77--I, 293; II, 91, 148, 154, 160, 161, 195.
Ländler (Six)--I, 364, 365. (Also for Orchestra.)
Contradances (Six)--I, 289, 364. (Also for Orchestra.)
Marches, Three Grand, for four hands, in C, E-flat and D,
Op. 45--I, 350, 356; II, 40.
Minuet in E-flat--II, 56.
Polonaise in C, Op. 89--II, 152, 305, 328.
Preludes (Two) through all the Major Keys, for Pianoforte or
Organ, Op. 39--I, 138, 371; II, 20.
Prelude in F minor--I, 138; II, 55.
Rondos (Two) in C and G, Op. 51--I, 202, 244, 275, 277, 322, 364;
dedicated, 370.
Rondo Allegretto--I, 75.
Rondo a Capriccio (“Die Wuth über den verlornen Groschen”),
Op. 129--III, 143, 246.
Rondo in C (Youthful, anonymous)--I, 72, 140.
Variations (Six) on an Original Theme, Op. 34--I, 314, 364, 365, 370;
dedication, 368; II, 20.
Variations (Fifteen) with a Fugue, on a Theme from “Prometheus,”
Op. 35--I, 364, 365, 368, 369, 370; II, 20.
Variations in D, on a Theme used afterwards in “The Ruins of Athens,”
Op. 76--II, 148, 160, 161, 195.
Variations (Thirty-three) on a Waltz by Diabelli, Op. 120--III, 107,
108, 127 _et seq._; 147.
Variations on a Theme by Count Waldstein, in C, for four hands--I,
139, 176, 183, 184.
Variations (Nine) on a March by Dressler, in C minor--I, 69, 70, 72.
Variations (Twenty-four) on “Venni amore,” in D--I, 7, 114, 117, 138.
Variations (Thirteen) on “Es war einmal,” by Dittersdorf--I, 139, 176,
183, 184.
Variations (Nine) on “Quant è più bello,” by Paisiello, in A--I, 187.
Variations on “Nel cor più non mi sento,” by Paisiello--I, 187, 192.
Variations on the “Minuet à la Vigano”--I, 188, 192.
Variations (Twelve) on a Russian Dance from “Das Waldmädchen”--I,
200, 209, 244.
Variations (Six easy) on a Swiss Air, for Harpsichord or Harp--I, 227.
Variations on “Une fièvre brûlante,” by Grétry--I, 226, 227, 305.
Variations (Ten) on “La Stessa, la stessissima,” by Salieri--I, 227,
244, 275.
Variations (Eight) on “Tändeln und Scherzen,” by Süssmayer--I, 227.
Variations (Nine) on “Kind, willst Du?” by Winter--I, 227, 275.
Variations (Seven) on “God save the King”--I, 140, 305, 370; II, 40.
Variations on “Rule Britannia”--I, 370; II, 40.
Variations (Thirty-two) in C minor--II, 76, 113, 117.
Variations for four hands on “Ich denke Dein”--II, 55.
Variations on a Theme from “Le Nozze disturbate.” (See “MINUET
À LA VIGANO.”)
Variations on “Ich denke Dein”--I, 277, 279, 335, 362; II, 55,
147, 148.
Variations, très faciles, in G--I, 277, 279, 290.
Waltz in D--III, 216.
Waltzes (Twelve), also published for Strings and Wind--II. 113.
Cadenza for Mozart’s Concerto in D minor--I, 185.
Movement for a Clock--I, 76.
Two-part Organ Fugue in D--I, 71.
Sketches for Sonata, four hands--III, 141.
Sketches for a Concerto in D minor--II, 328.
(g) SONGS WITH PIANOFORTE ACCOMPANIMENT
Abendlied--III, 50.
Abschiedsgesang an Wiens Bürger--I, 199; II, 303.
Adelaide, Op. 46--I, 143, 202, 203, 207, 230; II, 6, 306,
338; III, 61.
Als die Geliebte sich trennen wollte--II, 72, 162.
Amante impaziente, L’--II, 160.
Andenken--II, 160, 195.
An die ferne Geliebte--II, 328, 343, 356, 357, 363; III, 32.
An die Geliebte--II, 209, 284, 303.
An die Hoffnung--II, 55, 306, 328, 338, 356; III, 20.
An einen Säugling--I, 75.
An Minna--I, 132.
Ariettes (Four) and a Duet, Italian, Op. 82--II, 160, 192, 209.
Bardengeist, Der--II, 259, 260.
Bitten--II, 20.
Blümchen Wunderhold, Das--I, 362.
Bundeslied--III, 64.
Che fa il mio bene (Buffa)--II, 209.
Che fa il mio bene (Seria)--II, 209.
Der Jüngling in der Fremde--II, 147, 148, 160, 195.
Die Trommel gerühret (See EGMONT.)
Dimmi ben mio--II, 209.
Ehre Gottes in der Natur, Die--II, 20.
Ein grosses, deutsches Volk sind wir--I, 201.
Einst wohnten (An den fernen Geliebten)--II, 148, 160, 195.
Elegie auf den Tod eines Pudels--I, 132.
Es war einmal ein König--II, 195, 363.
Feuerfarb--I, 132, 134, 137.
Freudvoll und leidvoll. (See EGMONT.)
Gedenke mein--II, 160, 195.
Gegenliebe--I, 203; II, 133.
Geheimniss, Das--II, 72, 328, 356; III, 50.
Gellert: Six Sacred Songs--“Bitten,” “Die Liebe des Nächsten,”
“Vom Tode,” “Die Ehre Gottes in der Natur,” “Gottes Macht
und Vorsehung” and “Busslied”--II, 20.
Glück der Freundschaft, Das--II, 20.
Gottes Macht--II, 20.
Gretel’s Warnung--II, 160, 195.
Herz, mein Herz--II, 191, 194, 195.
Horch, wie schallt’s (“Der Wachtelschlag”)--I, 370; II, 40.
Ich denke Dein--I, 275, 277, 279, 335; II, 55, 147, 148.
Ich, der mit flatterndem Sinn--I, 132.
Ich liebe dich--II, 20.
In questa tomba--II, 111, 113, 134.
Irish Songs (for Thomson, with obbligato instruments)--II,
70, 157, 162, 194, 238, 259, 260, 303.
Kennst du das Land--II, 186, 191, 194, 195.
Klage, Die--I, 132; II, 160.
Kleine Blumen--II, 210.
Kriegers Abschied, Des--II, 303, 328.
Kuss, Der--I, 275; III, 64, 87.
La Partenza--II, 20.
Liebe des Nächsten, Die--II, 20.
Liebende, Der--II, 148, 160, 195.
Lied aus der Ferne--II, 147, 148, 160, 195.
Lisch aus, mein Licht--II, 388, 416; III, 50.
Lydiens Untreue--II, 72.
Mailied--I, 204.
Mann von Wort, Der--II, 356, 357.
Man strebt die Flamme--I, 133.
Merkenstein--II, 303, 310, 357; III, 61.
Mit einem gemalten Bande--II, 194.
Mit Liebesblick--II, 160, 195.
Mit Mädchen sich vertragen--I, 132; III, 58.
National Songs--II, 17. (See “Irish,” “Scottish” and “Welsh.”)
No, non turbate (Scena and air)--I, 364.
Nord oder Süd--II, 386, 388, 389; III, 50.
O care selve--I, 204.
Odi l’Aura (Duet)--II, 160, 209.
Opferlied--I, 203, 275, 364; III, 64, 140, 141, 189, 202.
(See WORKS FOR CHORUS AND ORCHESTRA.)
O, welch’ ein Leben--I, 204. (See also “Die schöne Schusterin,”
under CHORAL WORKS.)
Plaisir d’aimer--I, 228.
Prüfung des Küssens--I, 131.
Punschlied--I, 133.
Que le temps (jour) me dure--I, 228.
Ruf vom Berge--II, 356, 389.
Schilderung eines Mädchens--I, 72.
Scottish Songs (Twelve)--II, 328, 416.
Scottish Songs (Twenty-five)--II, 17, 69, 190, 203, 218,
219, 259, 260; III, 50.
Sehnsucht--II, 132, 133, 194, 195, 357.
Seufzer eines Ungeliebten--I, 202, 203, 207.
Six Songs, Op. 75--II, 192, 195.
“Soll ein Schuh nicht drücken” (from “Die schöne Schusterin”)--I,
204, 224.
Three Songs, Op. 83--II, 192, 199.
T’intendo--II, 209.
Trinklied (“Erhebt das Glas”)--I, 132, 199.
Trinklied (“Lasst das Herz uns froh erheben”)--I, 199. (See
“Abschiedsgesang.”)
Trocknet nicht--II, 186, 194, 210.
Turteltaube--I, 204.
Urian’s Reise--I, 88, 132.
Wachtelschlag, Der--I, 370; II, 40.
Was ist des Maurers Ziel--I, 133.
Was zieht mir--II, 210.
Welsh Songs (with obbligato instruments)--II, 70, 157, 238, 389.
Wer ist ein freier Mann--I, 133, 204.
Zufriedene, Der--II, 148, 160, 195.
Zwar schuf das Glück--II, 148, 160, 195.
Sketches for uncompleted songs: “Erlkönig”--III, 86;
“Haidenröslein”--II, 415;
“Meine Lebenszeit verstreicht”--I, 275.
* * * * *
Transcriber's Note
Page headers in the original text have been moved above the paragraph to which they relate.
The index was printed with many punctuation errors in the index. Some
have been corrected without further note, but remaining inconsistencies
include the use of B. and B as abbreviations, reference to Volume
numbers as I or Vol. I, and use of a semi-colon or a comma after _et
seq._ Many page numbers in the index were printed out of numerical
order.
The following apparent errors have also been changed:
p. 17 "fouud" changed to "found"
p. 20 (note) "aristically" changed to "artistically"
p. 20 "A[rch-]D[uke]." changed to "A[rch-]D[uke].”"
p. 42 "the the greatest" changed to "the greatest"
p. 49 (note) "“Zweit. Beeth.”, pp. 467" changed to "“Zweit. Beeth.,”
pp. 467"
p. 60 "expecially" changed to "especially"
p. 76 "all right." changed to "all right.”"
p. 83 "to to Hensler" changed to "to Hensler"
p. 89 "cermony" changed to "ceremony"
p. 93 "disinteredness" changed to "disinterestedness"
p. 94 "contempories" changed to "contemporaries"
p. 99 "indentical" changed to "identical"
p. 104 "almost O" changed to "almost 0"
p. 128 "also fuming" changed to "was also fuming"
p. 144 "1915" changed to "1815"
p. 146 "Pianofortes Sonatas" changed to "Pianoforte Sonatas"
p. 148 "final chorus" changed to "final chorus)"
p. 150 "(nor this either" changed to "nor this either"
p. 161 "vexations" changed to "vexatious"
p. 196 "castrophe" changed to "catastrophe"
p. 215 "_31ème Quatuor." changed to "“_31ème Quatuor."
p. 219 "semblence" changed to "semblance"
p. 222 "Leibquartett" changed to "Liebquartett"
p. 224 "he, remarked" changed to "he remarked"
p. 224 "“Must it be?" changed to "“Must it be?”"
p. 227 "life, time" changed to "lifetime"
p. 239 "Schwarzspanierhaus" changed to "Schwarzspanierhause"
p. 252 "toward each," changed to "toward each"
p. 252 "solicituous" changed to "solicitous"
p. 259 "capable practioner" changed to "capable practitioner"
p. 272 "Schwarzpanierhaus" changed to "Schwarzspanierhaus"
p. 274 "has thought" changed to "has been thought"
p. 294 "ensured" changed to "ensued"
p. 304 "but Beetthoven" changed to "but Beethoven"
p. 305 (note) "farce is done.’" changed to "farce is done.’”"
p. 309 "Beethovens death" changed to "Beethoven’s death"
p. 310 "preserved." changed to "preserved.”"
p. 315 "‘~Alfred the Great~”" changed to "“~Alfred the
Great~”"
p. 316 "42," changed to "42."
p. 316 "77 wants" changed to "77; wants"
p. 316 "to, 218," changed to "to, 218."
p. 317 "104; 190" changed to "104, 190"
p. 317 "132; 134;" changed to "132, 134;"
p. 317 "103; 191" changed to "103, 191"
p. 317 "xi; 192" changed to "xi, 192"
p. 320 "368; 362" changed to "368, 362"
p. 320 "280 286" changed to "280, 286"
p. 321 "176 Matthisson" changed to "176; Matthisson"
p. 321 "344, Magdalena" changed to "344; Magdalena"
p. 321 "Rovantini I, 64" changed to "Rovantini, I, 64"
p. 322 "_et seq._; 364;" changed to "_et seq._, 364;"
p. 322 "37; 118" changed to "37, 118"
p. 323 "200; 219" changed to "200, 219"
p. 324 "“Fidelio”; II" changed to "“Fidelio”, II"
p. 324 "_et seq._; 141." changed to "_et seq._, 141."
p. 324 "3; 36;" changed to "3, 36;"
p. 324 "asked by B to" changed to "asked by B. to"
p. 324 "I, 1 _et seq._" changed to "I, 1 _et seq._;"
p. 325 "Dedication; 88;" changed to "Dedication, 88;"
p. 326 "Singer, III: 169." changed to "Singer: III, 169."
p. 326 "court, I, 29," changed to "court: I, 29,"
p. 328 "Künstler~”" changed to "Künstler~"
p. 328 "182, 202," changed to "182, 202."
p. 328 "II, 80:" changed to "II, 80;"
p. 329 "II, 127:" changed to "II, 127;"
p. 329 "teacher, 152," changed to "teacher, 152;"
p. 329 "284, 285," changed to "284, 285;"
p. 329 "teacher, 11," changed to "teacher, 11;"
p. 330 "Oratorio by by C. P. E. Bach" changed to "Oratorio by C. P. E.
Bach"
p. 332 "La finta Giardiniera”" changed to "“La finta Giardiniera”"
p. 334 "B’s visit to 89, 90;" changed to "B’s visit to, 89, 90;"
p. 334 "Mihl, 31" changed to "Mihl, I, 31"
p. 335 "I, 282," changed to "I, 282;"
p. 336 "La buona Figluola." changed to "La buona Figluola,"
p. 336 "B. plays in." changed to "B. plays in,"
p. 337 "plays the the C minor" changed to "plays the C minor"
p. 338 "Rzwuska" changed to "Rzewuska"
p. 339 "“~Seidenen Schuhe,” Die~" changed to "“~Seidenen Schuhe,
Die~”"
p. 341 "III, 77, 78; III, 161," changed to "III, 77, 78, 161,"
p. 346 "Hoffmann, sei" changed to "“Hoffmann, sei"
The following possible errors have not been changed:
p. 17 The gentleman has not eaten anything yet"
p. 122 St. Wenzelaus
p. 231 the necessity off proving
p. 231 Yours sincerly
p. 343 II, 113, 144;
The following are inconsistently used:
absentmindedness and absent-mindedness
deathbed and death-bed
Haslinger and Hasslinger
hellhound and hell-hound
Lodoïska and Lodoiska
notebook and note-book
sickbed and sick-bed
sketchbooks and sketch-books
stagecoach and stage-coach
Süssmayer and Süssmayr
Theaterzeitung and Theater-Zeitung
W.W. and W. W.
Zémire and Zemire