LIFE'S PURPORT
Das Grenzenlose braust um mich. Weit hinaus glänzt mir Raum und
Zeit. Wohlan! Wohlauf! altes Herz.
--FRIEDERICH NIETZSCHE.
Beethoven's life in its devotion to the attainment of a single end, the
perfection of his art, affords an object lesson, which cannot fail to
encourage and stimulate every one engaged in creative work of any kind.
His earnestness and industry is the key-note to his achievement. He
worked harder than any composer we have any record of, with the possible
exception of Wagner. If we consider how the compositions improved in his
hands, while being worked over, as is shown by the sketch-books, a
simple process of reasoning will convince the reader that any man's
work, in any line, can be improved by adopting the same methods.
Beethoven's own words in this connection are, "the boundary does not yet
exist, of which it can be said to talent cooperating with industry,
'Thus far shalt thou go and no farther.'" The more he worked over his
compositions the better they became. When he required a theme for a
particular purpose, if the right thought did not at once come to mind,
his practice was to write as near it as possible. By the time this was
done an improvement would suggest itself. He would then write it again,
and before the ink was dry, would start at it yet again, each effort
bringing him nearer the goal, and this progress was the incentive that
led him to continue until the idea he was reaching for became a reality.
His intuitive faculties were highly developed, and he had Goethe's
"heavenly gift" of imagination, but this would have been as nothing
without his power of concentration. All his abilities were focused on
his art. He made everything else subservient to the one idea of
attaining perfection in it. He succeeded too, by giving his genius free
play, by allowing his individuality to shape itself in accordance with
its own laws. The circumstances of his life favored this action.
Responsible to no one for years before reaching maturity, he was nowhere
hampered or repressed as might have been the case had he had a home
life. Strong characters are best left alone to work out their own
development. It is only the weak ones that have to be supported. He met
every demand that his art made on him. It was only by a complete
surrender, by a concentration of all his forces into one channel, that
he attained his results. By losing the world, he gained it. The great
ones in every age, in every art or calling,--those who attained to
saintship,--seers,--prophets,--all went this road.
He had absolute confidence in his judgment. He seldom considered what
his audience would like. The best that was in him was what he gave to
the world. He knew its value, and if others could not understand it, he
knew the time would come when it would be appreciated. In art as in
religion, faith is a necessary preliminary to all great achievements.
In going so far beyond us, in pushing the art to the limit of its
possibilities, Beethoven has made portions of his work inaccessible to
the large body of people who look upon music as an art for enjoyment
only. The same kind of problem that is presented to this generation in
the works of his last years, confronted his contemporaries in those of
his middle life, which were as far beyond the comprehension of his own
generation as the more abstruse works of his last years are beyond the
ability of the present. To a future age, seemingly, has been relegated,
as an heritage of the past, the best fruit of Beethoven's genius. When
the Mass in D and the last Quartets can be heard frequently, a new era
in the art will have been inaugurated.
It would be a mistake to suppose that Beethoven was a pessimist, or a
misanthrope. Placed here to live and suffer, not knowing why it should
be so, he yet teaches that relentless fate cannot prevail against those
who make a good fight. "I did not wish to find when I came to die that I
had not lived," said Thoreau, paraphrasing from Voltaire, (most men die
without having lived). "I did not wish to live what was not life, living
is so dear." Beethoven's idea of the purport of life was similar. He
believed, and put his theory into practice, that each man has within
himself the potentialities with which he shapes his own destiny. Fate
and Destiny are verities that have to be faced, but they do not have all
their own way with us. Each of us has the power to control his destiny
to some extent. By willing it so the tendency is toward betterment.
Always the highest powers are on our side. Life, after all, is worth
while. This was the gist of his philosophy. He sought to establish an
optimistic view of life, with the object of making the problem easier to
solve.
Fichte, in his work "Über das Wesen des Gelehrten", gives the literary
man the place of priest in the world, continually unfolding the Godlike
to man. This was also Beethoven's aim. Haydn charged him with being an
atheist, but his works as well as his life refute this charge. The Kyrie
and the Agnus Dei of the Mass in D, could never have been produced had
he been other than a devout, religious man. In his journals he
continually addresses the Godhead. Outwardly, however, he gave no sign.
"Religion and general-bass," he said once, with a touch of humor, "are
in themselves two inscrutable things (_abgeschlossene Dinge_) about
which one should not argue."
He was solicitous that his nephew should receive proper religious
instruction, and made this a point in his letters to the magistrates
while the lawsuit over him was in progress. After giving his ideas as to
the proper education of the young man, in which French, Greek, music and
drawing take a prominent place, he adds, "I have found a holy father who
has undertaken to instruct him in his duties as a Christian, as well as
a man, for only on this foundation can we bring up genuine people."
Again, "It is for his soul's welfare that I am concerned. Wealth can be
achieved, but morality must early in life be inoculated" (_eingeimpft_).
He saw the necessity of religion; that it has been called forth through
the consciousness of utter helplessness in the individual. Man is
encompassed on all sides by inexorable laws, produced and perpetuated by
a power beyond and outside the comprehension. The expression of the
religious sentiment is his effort at propitiation, and is his one
resource. This is the point of view on which Beethoven projected the
grand mass. It is what governed his life.
An inner pressure led him to choose a life of self-abnegation and
rectitude. He saw through and over and beyond the illusions and
allurements of the senses, and so was enabled to live entirely in
harmony with the moral order of the world, in an age, and among a
people, largely given over to the pursuit of pleasure.
A long life is generally considered the best gift which the Fates have
to bestow. In the summary of a man's life it is usually treated of as
implying special virtues in the subject. But a long life in itself is as
nothing in comparison to the quality of the life that is lived. It is by
achievement only that its value can be determined.
WAGNER'S INDEBTEDNESS TO BEETHOVEN
FOREWORD
Beethoven, in Wagner's estimation, is a landmark in music, just as
Shakespeare is in literature, as Jesus or Buddha in religion. He is the
central figure; all others are but radii emanating from him. To
Beethoven was it given to express clearly what the others could but
dimly perceive. The relation of men like Bach or Händel toward
Beethoven, Wagner held to be analogous to that of the prophets toward
Jesus, namely, one of expectancy. The art reached its culmination in
Beethoven. This is Wagner's summary of the significance of Beethoven's
work, and he proclaimed it continually, from the housetops. It was in
some sort a religious exercise to him to make propaganda for the master
to whom he felt himself so deeply indebted. The burden of his utterances
on the subject of the musician's art is, "A greater than I exists. It is
Beethoven."
Chiefly, perhaps, of the philosopher and the poet must we needs
feel that if any genius reaches out into an interpenetrating
spiritual world, _theirs_ must do so.--F.W.H. MYERS,
Human Personality, Chapter on Genius.
In art the best of all is too spiritual to be given directly to the
senses; it must be born in the imagination of the beholder,
although begotten by the work of art.--SCHOPENHAUER.
Wagner's achievement can be attributed, in part, to a certain quality of
intellectual receptivity, by virtue of which he was enabled to
appropriate to himself the genius of two of his predecessors for whom he
had a special affinity. His epoch-making work was rendered possible
through Shakespeare and Beethoven, who served him as models all his
life.
Every great achievement is referable to some preceding one often quite
as great but more obscure. No man stands alone in his deed. The doer of
every great work has been helped thereto by his predecessors working the
same soil. The greater the performance, the more prominently this comes
out sometimes, as in the case of Shakespeare whose indebtedness to
Christopher Marlowe and others will at once come to mind.
To Beethoven and to Shakespeare, Wagner paid tribute on all occasions.
Especially is this true in his relation to Beethoven, to whom he readily
yields the palm in the realm of music. In the eight volumes of his
_Gesammelte Schriften_, no single fact stands out more clearly than his
recognition of Beethoven as his chief, his master, from whom proceeds
all wisdom and knowledge and truth. One can hardly read any of Wagner's
prose writings without seeing how readily he falls into the place of
disciple of Beethoven. "I knew no other pleasure," he says in A
Pilgrimage to Beethoven, "than to plunge so deeply into his genius that
at last I fancied myself become a portion thereof." The Pilgrimage,
though an imaginative work, is the medium he employed to give utterance
to his regard for Beethoven. His letters to musical friends, to Liszt,
to Fischer, especially those to Ulig, are filled with praise of the
older master. In a letter to Meyerbeer, in 1887, he states how he came
to be a musician. "A passionate admiration of Beethoven impelled me to
this step." The only one who was good enough in Wagner's eyes to be
compared with Beethoven, was Shakespeare. These two names are frequently
brought into juxtaposition in his works. No musician is worthy of
comparison with his demigod. "Mozart died when he was just piercing into
the mystery. Beethoven was the first to enter in," he says in his
Sketches. As if even this praise were too great, he severely criticises
Mozart's operas and symphonies elsewhere.
The deferential attitude which Wagner assumes toward Beethoven is not
accorded any other musician. Consciously or not, when he talks about
other musicians (except Bach) he, for the most part, assumes the rôle of
censor. But Beethoven comes in for unstinted praise. "It is impossible,"
he says, "to discuss the essential nature of Beethoven's music without
at once falling into the tone of rhapsody."
Wagner seems hardly to have been able, when writing about music, to
refrain from mention of Beethoven, he is so full of the subject. It has
a bearing on every important event in his life. At the ceremonies
attending the laying of the foundation-stone of the Festival Play House
at Bayreuth, the Ninth Symphony was performed, and in a little speech he
says: "I wish to see the Ninth Symphony regarded as the foundation-stone
of my own artistic structure." In "Religion and Art" we find these
words: "to whom the unspeakable bliss has been vouchsafed of taking one
of the last four symphonies of Beethoven into his heart and soul."
Many enthusiasts have worked in Wagner's cause from Liszt down, but none
have equalled Wagner in this respect--in enthusiasm for _his_ master. He
pays tribute to Beethoven in all conceivable places. He first heard of
him when told of his death. His first acquaintance with Beethoven's
music was a year after the master's death, on his arrival at Leipzig at
the Gewandhaus concerts. Wagner was then in his sixteenth year. "Its
impression on me was overpowering," he says. "The music to his Egmont so
inspired me that I determined not to allow my own completed tragedy to
be launched until provided with such like music. Without the slightest
diffidence I believed that I could write this needful music." He had up
to this time no special leaning toward music. He had not previously
entertained a thought of it as a career, but his first hearing of
Beethoven's music decided him to adopt it, such was the kinship between
these two minds. Through Beethoven he discovered that "music," to use
his own words, "is a new language in which that which is boundless can
express itself with a certainty impossible to be misunderstood."[G]
[G] Thoreau, in 1840, expressed himself similarly. We quote from the
recently published Service. "Music is a language, a mother tongue, a
more mellifluous and articulate language than words, in comparison with
which speech is recent and temporary. There is as much music in the
world as virtue. In a world of peace and love music would be the
universal language and men greet each other in the fields in such
accents as a Beethoven now utters at rare intervals at a distance."
The episode made a turning-point in his life. Hitherto his whole mind
and thought had been placed on literature, the drama in particular, as a
career. Through Beethoven he first learned what a power music possesses
in the portrayal of the emotions and passions. He had, as he says, an
intimate love and knowledge of Mozart without apparently being much
influenced thereby. Up to this time Shakespeare had been his archetype.
Now, with a fine discriminating intelligence, marvellous in a youth of
sixteen, Beethoven is to be included in this hero-worship, and is
eventually to supplant his former ideal. "It was Beethoven who opened up
the boundless faculty of instrumental music for expressing elemental
storm and stress," he says in the "Art-Work of the Future," and
elsewhere in the same article, "the deed of the one and only
Shakespeare, which made of him a universal man, a very god, is yet but
the kindred deed of the solitary Beethoven, who found the language of
the artist-manhood of the future."
Wagner's criticisms on music are admirable. Here he expresses his
thoughts as plainly as in his compositions. His disquisitions on music
as an art and on Beethoven in particular, are always lucid and forcible.
He may be misty in his philosophical speculations, but when he speaks
on music it is in the authoritative tone of the master, familiar with
every phase of his subject. He always contributes something of value,
and his thoughts are an illumination.
Had Wagner never written a line of music, had he elected to be a
literary man, a poet, a dramatist, philosopher, his fame to-day would
still be world-wide. Had he confined his genius into this one channel of
literary expression, as was his original intention, with his mental
equipment, and a Napoleonic ambition that balked at nothing, the product
would have been as original and extraordinary, we may be sure, as is his
art-product in music. Wagner, the musician, is so commanding a figure
that the literary man is obscured; but when we consider the magnitude of
his literary achievement, the dramas Tannhäuser, Lohengrin, Flying
Dutchman, Tristan, Parsifal, the stupendous Ring of the Nibelung, the
essays on music, philosophy, criticism and sociology, and reflect that
it is, so to speak, a by-product, it becomes apparent that, had he made
literature his chief aim in life, the result would have been notable in
the annals of the century.
Wagner seriously contemplated writing a biography of Beethoven at one
time, and devoted several months to collecting materials for it. But his
finances were still in bad shape, and he was unable to undertake it
without an order from some publisher, who would have been required to
advance money. He was unable to find such a party, and the project was
abandoned, most unfortunately, as he would have made a valuable
contribution to the subject. The short biographical sketch he wrote on
Beethoven on the centenary anniversary of the master's birth, shows
marvellous insight, especially in relation to the critical and
analytical parts of it. This work, instinct with worship of the master,
is a product of Wagner's mature years. Here, as in his earliest
utterances on Beethoven, he is the disciple glad to do homage to his
master.
"A century may pass," said Schopenhauer in a letter to the publishers of
the (English) Foreign Review and Continental Miscellany, offering to
translate Kant for them, in response to a wish he had seen expressed in
their journal that England might ere long have a translation of Kant, "a
century may pass ere there shall again meet in the same head so much
Kantian Philosophy, with so much English, as happen to dwell together in
mine." Likewise centuries may elapse before another such musician will
appear possessing the literary ability, critical faculty, ardor and
enthusiasm that Wagner had for this work.
There is an affinity between them in which mind speaks to mind. When
writing on Bach's influence on Beethoven, he says:[H] "If Haydn passed
as teacher of the youth, for the mightily unfolding art-life of the man,
our great Sebastian Bach became his leader. Bach's wonder-work became
his Bible; in it he read, and clean forgot that world of clangor heard
no longer." This describes Wagner's own spiritual relationship to
Beethoven, and the exaltation that must have been his on reading the
symphonies, the Mass in D, the overtures. He exhausts himself in praise
of each. He makes the Third Leonore Overture of as much account as the
entire opera; he continually refers to the Egmont and the Coriolanus
Overtures, and says that in the latter and in the Third Leonore,
Beethoven stands alone and beyond all imitation.
[H] Mr. Ellis's translation.
An evidence of Wagner's overpowering genius exists in the originality
and unique character of his work, while giving himself up so
unreservedly to this spiritual guidance. The two, however, were quite
unlike in many respects. Neither could have done the work of the other.
Beethoven, almost a failure in operatic composition, undertook it no
more after one trial, while Wagner was irresistibly drawn to this style
from the beginning. He felt that with Beethoven the last word had been
said in pure instrumental music, while his literary talents also served
to draw him into this field of operatic composition where they could
find their proper outlet. With that unerring poetic sense which guided
him in the selection of his subjects, he always has the romantic element
to the fore. The atmosphere of romanticism which invests all his works,
is what gives them much of their value. Through the force and purity of
his literary instinct, he was enabled to select topics of supreme
interest, so that his imagination was kept at white heat while
composing. His originality and absolute confidence in himself prevented
him from following Beethoven to any marked extent. He was forced to hew
out a new path for himself. He was, however, not averse to occasionally
taking a hint from him when it would serve his purpose. It is the
prerogative of genius to take its material wherever it can be found.
"Plato," said Emerson, "plays sad havoc with our originalities."
Beethoven's influence is plainly discernible in the preludes and
overtures of the Wagner dramas, which are symphonic throughout. The
frequent use Wagner makes of the trombones, when he wishes to be
particularly impressive, recalls Beethoven. Each had a high opinion of
the trombone where solemnity was required, and made constant use of it.
Beethoven applied it with peculiar effect in the Benedictus of the Mass
in D, and in the Ninth Symphony, which is paralleled by Wagner's use of
it in Parsifal, and in the Funeral march in Siegfried. The extraordinary
uses to which he puts the pedal-point, as well as the variation form,
are instances which show the influence of the older master.
When, however, he takes an idea from Beethoven, he improves on it,
broadening and amplifying it, in general putting it to a better use than
it was where he found it. A great dramatic work admits of fuller and
longer treatment of an idea than is possible in the other forms in which
music can be embodied. The instances just quoted are minor ones of
general application. Of the conceptions in which he is specially
indebted to Beethoven, the most important come from the Mass in D. Here
the older master, by the very form in which the ideas are cast, had to
hold himself in. He was not able to give them the significance in the
Mass, which is perfectly proper in great music dramas; and this
enlarging and widening of the poetic conception,--this splendor in which
it is portrayed,--not only justifies the course of his follower in
adopting it, but also calls attention anew to the commanding genius to
whom such things are possible.
Some of Wagner's most entrancing effects have their origin in Beethoven.
His method of using the violins and flutes in the highest register in
prolonged notes, as in the Lohengrin Prelude, and in general when
portraying celestial music, are obtained from this source. The Mass in D
gives several instances where this idea is presented, not by harp (the
customary way), but as Wagner has done in Lohengrin, by the violins and
wood-winds in the highest register, beginning pianissimo, gradually
descending and augmenting in volume and sonority as the picturing merges
from spiritual to worldly concerns. Beethoven's work abounds in
intellectual subtleties of this kind. Wagner is sometimes credited with
having originated this method for the portrayal of celestial music. Mr.
Louis C. Elson says: "Wagner, alone, of all the great masters, does not
use the harp for celestial tone coloring, but violins and wood-winds, in
prolonged notes in the highest positions. Schumann, Berlioz,
Saint-Saens, in fact all the modern tone colorists who have given
celestial pictures, use the harp in them, purely because of the
association of ideas which come to us from the Scriptures, and this
association of the harp with heaven and the angels, only came about
because the instrument was the most developed possessed by man at the
time the sacred book was written. Wagner's tone coloring is
intrinsically the more ecstatic.... Wagner is the first who has broken
through this harp conventionality."
In the Wagner-Liszt correspondence, Wagner states that the Lohengrin
Prelude typifies choirs of angels bearing the Holy Grail to earth. This
idea and the method of its development can be found in the symphonic
thought which follows the Preludium to the Benedictus of the Beethoven
Mass.
It will be necessary to make a short digression and explain a portion of
the canon of the Mass to enable the reader to understand what follows.
During the office of the Eucharist the celebrant repeats certain prayers
inaudible to the congregation. These begin during the latter part of the
Sanctus, which immediately precedes the Benedictus, and are connected
with the ceremony of the consecration of the Host. A part of them are
conducted in absolute silence. The choir is not required to be silent
during all the prayers said by the celebrant, and the occasion is
frequently utilized, particularly at high festivals, by the introduction
of orchestral music or a brilliant chorus. The choir is silent during
the elevation of the Host and chalice, which takes place immediately
after the consecration. It is a period of peculiar solemnity, the
congregation kneeling in silent prayer at the signal of a gong. After
the consecration the priest elevates the Host and chalice, and with the
people still kneeling, offers up a prayer silently, the conclusion of
which is as follows: "We most humbly beseech Thee, Almighty God, command
these things to be carried by the hands of Thy holy angels to Thy altar
on high, in the sight of Thy Divine Majesty, that as many as shall
partake of the most sacred body and blood of Thy Son at this altar may
be filled with every heavenly grace and blessing." The central thought
of this prayer is that the sacred elements are borne to heaven by
invisible hands.
In the Beethoven Mass a Preludium for orchestra is introduced, to fill
in the interval while the celebrant is occupied with these silent
prayers. It is an innovation, showing how thoroughly alive Beethoven was
to the development of every phase of his subject. Ordinarily, no
provision is made for this by the composer, the organist being permitted
the privilege of interpolating hymns like the O Salutaris or the Tantum
ergo. The Preludium is so timed that it ends at the conclusion of the
prayer we have quoted, when the sacred elements are in heaven and are
about being returned to earth. It is at this point that the symphonic
thought begins, which at the first bar calls to mind celestial
harmonies. Here we have the tone-figure, as in the Lohengrin Prelude,
given by the violins and flutes in the highest register, beginning in
faintest pianissimo. At the second bar the melody begins to descend,
being augmented in force by the gradual addition of the more powerful
instruments as well as voices when the elements are again on earth. The
Lohengrin Prelude has the same idea, but it is developed to a greater
extent, with a richer orchestration, the idea being carried to greater
length, and rendered more significant in every way, as befits its
dramatic character. In both cases, however, the orchestral figure is
introduced by the same instruments, and in much the same manner.
The Mass in D furnishes another instance where the celestial harmonies
are introduced to still better purpose than in the Benedictus. It is in
that portion of the Credo, beginning with the Et incarnatus. The
delicate ethereal nature of this music, as indicated by the violins and
flutes in the highest positions, is so transcendental, so imbued with
spirituality, as almost to evade analysis. By the magic of Beethoven's
art the impression is conveyed that the listener overhears far-off angel
voices from other spheres, when the heavens were opened for the descent
of the Son of God to earth. The instruments give out the merest
intimations of sound, scintillations that suggest it rather. In the
opening bars of the movement, just before the introduction of this
tone-figure, he uses an ancient ecclesiastical style, the Plagal, a mode
that obtained centuries before Palestrina. Harsh and strident,
inharmonious, are the tones, which in the opening Adagio typify the
dread, the foreboding and dismay, that can be supposed to have been felt
by the Son of God when the time came to give up a beatific state and
enter on the actualities of earthly existence. The sin of the world is
already being borne in anticipation. Suddenly we are in the midst of
celestial harmonies, delicate gradations and mergings of tones,
subtleties of expression, ethereal, evanescent, that come faintly at
first on the senses, giving us revelations of spiritual heights, of
transcendent states and conditions of the soul. Mankind is here afforded
a glimpse beyond the veil. These strains continue until the words _et
homo factus est_ (and was made man) are reached. At this point the
melodies are suddenly cut off, the doors are closed, and we are excluded
from further participation in things not meant for mortal ears. A change
of tonality and time further accentuates the changed conditions that
prevail as the story goes through the events of the crucifixion, death
and burial of Christ.[I]
[I] Beethoven's love of strongly defined contrasts is nowhere better
illustrated than here. The sharp discordant tones, which characterize
the opening bars of the movement, are simply pushed aside by the new. It
is the subjugation of the worldly by the spiritual, of suffering by
happiness.
The Mass in D can be said to be the parent of some of the Parsifal
music. Wagner had the discernment to seize on the intellectual
subtleties he found there, and to put them to happiest uses. If we
compare the instrumental effects just noted with the exquisitely
delicate music that opens the Parsifal Prelude after the introductory
_leit motif_, we find a solution to each, as well as an affinity, in the
religious mysticism in which each is enveloped. There is a central
theme, but so shadowy and unreal as to be hardly apparent. Like a nimbus
these shimmerings of sound from the violins surround and permeate it, so
that one is not aware of any particular melody, but rather it is
perceived that the atmosphere is full of a divine melody, as if by
spiritual insight the listener had attained to a state of mind akin to
that of the seer, and had, for the time being, become one with the
composer. The effect is produced of being in the presence of something
holy.
The _Naturlangsamkeit_ necessary to the birth of any great art-work
sometimes extends to its recognition and appreciation by the public.
Beethoven considered the Mass in D his greatest achievement, but it
gains ground very slowly. It is rarely mentioned, and seldom performed.
Similarly Bach's greatest works slumbered nearly a century until brought
to light by Mendelssohn.
It is significant that Wagner was as world-weary from middle-age on as
was Beethoven. Like him he took refuge in creative work. Both were
pioneers, always in advance of their time, cheerfully making the
sacrifices which this position entails, diverging ever more and more
with advancing years from beaten paths and the ideas of others on the
subject of their art. Resignation and asceticism, the goal of mankind,
was Wagner's solution of the problem of existence, a conclusion arrived
at after reading Schopenhauer. Beethoven had also come to it long before
reaching middle-age. Wagner was, in his later years, a mystic, as was
Beethoven; and like Beethoven his most congenial work in those years was
of a religious character.
INDEX
Adagio, the, 62.
Adversity, school of, 6.
Altruism, 43, 164.
American Revolution, 3, 4.
Andante, the, 123.
Antwerp, 4.
Appassionata Sonata, 14, 44, 63, 66, 70, 71.
Archduke Rudolph, 80 et seq., 84, 93, 107, 108, 129, 188, 206,
Appointed Archbishop, 145-146,
Disciple of Beethoven, 81,
Installation of, 148, 154,
as performer, 81,
regard for Beethoven, 146.
Aristocracy, of Vienna, 41.
Art, office of, 4.
Art-history (this country), 181.
Artist-manhood, of Beethoven, 227.
Artistic temperament, 87.
Art-work, 236.
Art-workers, 39.
Aryan ancestry, 195.
Aspern, battle of, 83.
Atterbohm, 121.
Attrition, of mind on mind, 15.
Augustines, church of, 212.
Austria, Emperor of, 42, 81, 172.
Austria, Empress of, 5.
Austrians in Italy, 42.
Bach, Dr., Beethoven's attorney, 209.
Bach, J.S., 8, 20, 27, 28, 32, 73, 75, 147, 173, 220, 225,
Beethoven's regard for, 20,
and humor, 133,
Leader of Beethoven, 236,
Life-work of, 143,
Mathematician of music, 1,
Mass in B minor, 51, 74,
Overture on name of, 172,
Protestant, 52,
and old ecclesiastical modes, 147,
and Variation form, 158,
Well-tempered clavichord, 139,
"Wonder-work," 229.
Baden, 116, 158, 173, 193.
Battle Symphony, 103 et seq.
Bautzen, battle of, 102.
Bavarian soldiers, 104.
Bayreuth, 226.
Beautiful in music, 4.
Beethoven: Altruism of, 40, 164,
Adagios, 123,
Aim, 219,
Age of, 211,
Absorption in his work, 18, 121,
Art-life of, 229,
Artist-life, 191,
Artistic instinct, 34,
Approachable, 177,
Asceticism, 111, 116, 161,
Adopts nephew, 110,
Awkwardness, 134,
Bach's influence on, 229,
Brevier, 141,
Catholic, in religion, 161,
Creative talent, 27,
Conduct of life, 39,
Court suit, buys a, 38,
Concert for Philharmonic Society of London, 182,
Copyrights, 201,
Consideration for others, 209,
Copyists, his, 187, 188,
Church music, predilection for, 147,
Concept of life, 7,
Drama, and the, 14,
Dancing, and, 39,
Destiny, accepts his, 100,
Deafness, progress of, 96,
Ethical character of, 126, 197,
Every-day life, 96,
Father, his, 4,
Favorite authors, 13,
Failing health, 200,
Forecasts his future, 37,
Friendship, need of, 177,
and Goethe, 90-92,
Gastro-intestinal disturbances, 88,
Grandfather, 4, 5,
Grammar, lapses from in letters, 138,
Habits, at Johann's, 201,
and Happiness, 38,
Helplessness, his, 137,
Humor, 126, 133, 135,
History, insatiable reader of, 140,
Intellectual bias, 14, 28, 141,
Infinitude, 124,
Introspection, 37, 97,
Illnesses of, 88, 204, 207,
Individuality, 27,
Intuitive faculties, 41, 217,
Improvising: in Allegro movements, 29.
Improvising: in Variations, 29,
Improvising at a charity concert, 93,
Journal, his, 101, 116, 147, 161, 182, 184, 219 (note-book), 71,
123, 165,
Kindliness and humility, 88,
Lawsuits, 145,
Line extinct on male side, 118,
Laughter, virtuoso in, 135,
Last words of, 210,
Library, 140,
Life-work of, 71, 160,
Life-drama, 162,
Letters to publishers, 193,
Litigation over nephew, 111,
Life, a difficult problem, 101,
Love affairs of, 60, 87-88,
"Last five symphonies," 226,
Landmark in music, 223,
Ménage, the, 111, 116,
Mother, his, 6; death of, 9,
Muse, his, 145,
Musical library, 139,
Mental processes of, 15,
Mysticism, his, 96, 195,
Nature, love of, 122,
Naïveté of, 135,
Optimism, his, 98,
Opera, early familiarity with, 14,
Orchestra, and the, 3, 14, 75,
Organist, as, 7,
the Philosopher, 52,
as Patriot, 104-105,
Philosophy, gist of, 218,
and Persian literature, 140,
Quartets, his, 98,
Republicanism, his, 41, 81, 146,
Repartee, ready in, 136,
Religion, his, 219,
Rhenish ancestry, 121,
Servants, difficulties with, 184, 186, 188,
Seer, the, 163, 195, 217, 236,
Scherzo, and the, 33, 34,
Sarcastic moods, his, 187,
Spiritual insight, 97, 194,
Strenuousness, his, 121,
Sonatas, 98, 145,
Social successes, 27,
Symphonies of, language of buoyant mood, 98,
Sociological questions, 165,
Solitary life, 86, 208,
Subtleties, in works of, 232,
Sketch-books, 18, 27, 32, 49, 85, 97, 122, 123, 147,
the Symphonist, 49, 75,
Two masses, 124,
Teaching, dislike of, 80,
Tone-poet, 191,
Unique work of, 38,
Virtuosity of, 63-64,
Works, happy ending to, 164,
Work, his one resource, 206,
Work, significance of his, 220,
Will, codicil added, 209,
World, a difficult problem to, 184,
World-weary, 236,
World, at odds with the, 24,
World, withdrawing from, 97,
World, "the play with it," 97.
Beethoven, Johann van, 93, 94, 199, 204, 208, 215,
marries his housekeeper, 95,
as Landed proprietor, 136,
Sordidness of, 200,
his cupidity, 202,
his wife, 199, 204.
Beethoven, Karl van, brother of composer, 86,
marriage of, 65,
dies, 110,
his widow, 110, 186.
Beethoven, Karl van, nephew of composer, 110, et seq., 116, 180, 182,
198, 199, 207-208, 210, 215, 219,
after career of, 117,
Posterity of, 117,
Waywardness of, 196-197.
Beklemmt, cavatina B quartet, 194.
Bergman, C., 166.
Berlioz, 232.
Bernadotte, Gen., 43, 45; king of Sweden, 43.
Bigot, Marie, virtuosity of, 63.
Black Spaniards, house of, 204.
Boehm, J., violinist, 195.
Boehme, Madame, 13.
Bohemia, Baths of, 88.
Bonn, 13, 16, 17, 18, 23, 31, 37, 80, 82, 88,
University, 10,
Old Roman city, 4.
Boswell, 130.
Bouilly, 49.
Brahma, 97.
Brentano, Bettina, 87.
Breuning, Stephen von, 11, 13, 56, 174 et seq., 198, 205, 209, 210,
Madame von, 11-13,
family, 17.
British Museum, 27.
Broadwood piano, Beethoven's, 135-136.
Brotherhood of man, 40.
Browne, Count, 26, 62.
Bruno, Giordano, 73, 132.
Brunswick, Count, 27, 44, 68, 71,
Therese, 60, 66, 67, 86-87,
engaged to Beethoven, 71-72,
founds home for children, 72.
Buddha, 164, 223.
Bundeslied, 142.
C minor Symphony (see Fifth Symphony).
Calm Sea and Prosperous Voyage, 141.
Carlsbad, 92, 93.
Carlyle on Goethe, 90,
on Jean Paul, 101.
Castle Garden, 165.
Celestial music, 232, 235.
Chamberlain, H.S., 120.
Chamber-music, 46, 63, 65, 85, 192,
Variations in, 157.
Character, and environment, 116.
Cherubini, 57, 66, 123; Requiem, 140, 212.
Chopin, Improvising, 28.
Choral Fantasia, 29.
Christianity, 4, 143.
Cirrhosis, 213,
Dropsical accumulations in, 207,
Cause of, 213,
not transmissible, 214.
Clementi, Sonatas, 139.
Cologne, 17.
Concert, Spirituel, of Vienna, 178, 179,
of Paris, 14.
Congress of Vienna, 107 et seq.
Coriolanus overture, 14, 75, 124, 229.
Corsican, the young, 41.
Critics on Second Symphony, 36,
Seventh Symphony, 159.
Czerny, 29, 66, 80, 96, 127, 128, 130, 131, 140, 159, 167, 207, 211,
Teacher of young Karl, 110.
Dance, the, 99,
the, favorite musical form, 157.
Dante, 77.
Damrosch, Dr. Leopold, 166.
De Profundus, 151.
Diabelli, 157, 167, 187.
Dietrichstein, Count, 172.
Dignity, of the artist, 2.
Don Giovanni, 9, 48, 139, 140.
Dönhoff, Graf von, 94.
Egmont music, 92, 106, 142, 156, 226, 229.
Eighth Symphony, 95, 98, 100, 106, 145,
Dance element in, 99.
Eisfeld, Theo, 166.
Elector of Cologne, 4, 5, 13, 24,
his Orchestra, 15, 16, 18, 82.
Eliot, George, 134.
Elysian Fields, 193.
Emerson, 77, 145, 147, 148, 228.
England, 103, 106, 107.
Erdödy, Countess, 60, 61.
Erlkönig, Beethoven's setting of, 142.
Eroica Symphony (see Third Symphony).
Ertmann, Baroness, 60, 61, 80, 128.
Esterhazy, Prince, 75-76,
Princess Marie, 76,
the Princes, 51.
Eucharist, 232.
Euryanthe, 159, 160.
Eustachian tubes, office of, 214.
Fate, struggle with, 163,
Relentless, 218,
Propitiated, 184,
and Destiny, 218.
Fates, the, 204, 220.
Fatherland, Poets of, 14.
Faust, 38, 156, 157, 162, 200.
Fichte (quoted), 219.
Fidelio, 11, 48, 98, 155,
libretto of, 49-50,
First production of, 54, 55,
revision of, 56, 74, 75, 98, 106, 123, 155, 159,
dedication of piano score, 107,
its Spanish background, 49.
Fielding and humor, 134.
Fifth Symphony (C minor), 14, 68, 73, 76, 77, 152.
First Symphony, 33, 34, 37.
Fischer, 225.
Förster, teacher of Beethoven, 63.
Fourth Symphony, 66-68,
Serenity of, 67,
Philosophic import of, 68.
France, 42, 43, 107.
France, King of (Louis XVIII), 45, 154, 155.
Freemasonry, among musicians, 10.
Freischütz, 139.
French Revolution, 3, 4, 41, 133.
Friends of music, Society of, 129.
Friendship, 176.
Frimmel von, 180, 215.
Fugue, the, 124, 125, 129,
of the C# minor quartet, 121,
Credo of Mass in D, 153.
Fuller, Margaret (footnote), 181.
Gayety, 100.
Galaxy of virtuosi, 17.
Galitzin, Prince, and last quartets, 192-194,
and Mass in D, 192.
Genius, prerogative of, 230.
Germanic Order, 10.
Germans, the, 104.
Gewandhaus Concerts, 226.
Glacis, the, 204, 210.
Glück, 79.
Goethe, 13, 38, 80, 88, 90, 101, 111, 125, 129, 141, 191, 212, 217,
Worldly wisdom of, 90,
as Courtier, 91,
Councillor, 92,
Spiritual mentor, 162.
Gothic architecture, 143.
Greece, 143.
Greek Classics, 140-141.
Grillparzer, 160.
Hafiz (quoted), 102.
Hanau, battle of, 104.
Händel, 27, 79, 139, 143, 223,
Beethoven's opinion of, 20,
Oratorios of, 143, 144,
works of, 207.
Händel and Haydn Society of Boston, 181.
Happiness, and Beethoven, 38.
Hatzfeld, Prince von, 154.
Hawthorne, Nathaniel, 18.
Haydn, 4, 17, 18, 19, 29, 30, 33, 43, 46, 73, 76, 79, 100, 101, 123,
140, 219, 229,
Important work of, 143,
Distinguishing trait, 123,
Kyrie of Imperial Mass, 74,
and the Minuet, 34,
Humor in music, 34, 133,
Sonatas, 34,
Teacher of Beethoven, 19-20,
Visits Bonn, 17.
Haydn and Mozart, 4, 20.
Haydn and Beethoven, life-work of, 20.
Heiligenstadt, 73.
Herder, 141,
quoted, 80, 93.
Higher law, the, 38.
Hiller, Ferdinand, 205.
Hirsch, Beethoven's last pupil, 180.
Holy Grail, 232.
Holz, 178, 185, 194, 198, 206, 213.
Homer, 13.
Host, the, elevation of, 233,
Consecration of, 233.
Humanity, 43,
at bay, 163,
Golden age for, 164.
Humor, in music, evolution of, 133,
a test of genius, 134.
Hümmel, 22, 29, 31, 63, 76, 105, 206.
Hüttenbrenner, 8, 177, 210, 211.
Imperial family (of Austria), 5, 41, 81, 91, 170, 171, 212.
Impedimenta, 39.
Improvising, 28, 125,
Bach, excelled in it, 28,
Chopin, last to exercise it in public, 28,
Beethoven, genius in, 28-29,
by Karl, 117.
Instrumental music, 227, 230.
Intellect of mankind, 2.
Intuition, 2.
Italian vocalism, 4.
Jeitteles, 121.
Jesus, teaching of, 164.
Johnson, Dr., 130.
Joy, language of, 68.
Joyousness (quoted), 101.
Judiciary, the, of Austria, 212.
Kalischer, 186, 197.
Kantian Philosophy, 229.
Karlskirche, 212.
Kenilworth, 209.
Keyboard, of piano, 3.
Kiel University, 16.
Kinsky, Prince, 26, 83, 84,
death of, 145, 160.
Klober, 148.
Klopstock, 92.
Kren, Michael, 200.
Kreutzer, R., 45,
Sonata, 44, 45.
Krumpholz, 38,
death of, 130-131.
Leipzig, 92,
battle of, 102, 105.
Leonore overtures, 49, 56,
the Third, 56, 57, 229.
Lessing, 13.
Letter to a young girl, 141,
Holz, appointing him his biographer, 179,
Breuning, Stephen von, 175,
Czapka, a magistrate, 198,
Rampel, his copyist, 190,
Lichnowsky, Prince, 70,
Messrs. Schott, 193,
Zmeskall, 137-138.
Lichnowsky, Prince von, 23, 25, 26, 35, 55, 56, 59, 127,
Settles annuity on Beethoven, 24,
Beethoven visits him, in Silesia, 68,
quarrels with him, 69,
death of, 130.
Lichnowsky, Princess von, 62, 65,
as peacemaker, 25, 56.
Lichnowsky, Count Moritz von, 26, 43, 129, 168, 176.
Life, a precious gift, 98.
Life's problem, 4, 218.
Life's tragedy, 36.
Liszt, 5, 29, 52, 127, 136, 225, 226,
advent of, in concert, 159,
pupil of Czerny, 29.
Liszt's father, 159.
Lobkowitz, Prince von, 26, 44, 45, 59, 84,
bankruptcy of, 145,
death of, 130.
Loder, George, 165.
Lohengrin, Prelude, 231, 232, 234.
London, 117.
Louis, Ferdinand of Prussia, 44.
Love, 165,
Magic power of, 164.
Lützen, battle of, 102.
Man of genius, elation of, 98.
Mantua, Mozart at, 28.
Maria Louisa, of Spain, 81.
Marie Antoinette, 45.
Marengo, battle of, 42.
Marlowe, Christopher, 224.
Mass, the, a great art-form, 73,
Stateliness of, 144,
Canon of, 232,
Sanctus of, 232,
Benedictus of, 232.
Mass in C, Beethoven's, 73 et seq., 160,
German version of, 147.
Mass in D, Beethoven's (or Grand Mass), 39, 47, 51, 96, 100, 123, 144,
147, 150, 160, 161, 162, 163-164, 166, 172, 183, 234, 236,
Agnus Dei, 169, 219,
Apotheosis of friendship, 146,
Benedictus, trombones in, 231,
Credo, 153, 169, 234,
Soli of, 153,
Celestial harmonies in, 235,
Congenial work to Beethoven, 146,
and the copyist, 188,
Beethoven's absorption in, 147, 160,
Christe eleison, 151,
Et incarnatus of, 234,
Interpretation by the orchestra, 150,
Lydian and Dorian modes in, 147,
Marvels of, 154,
Mysticism of, 96,
a Symphony to Wagner's view, 150,
Subscription price of, 154,
Sale of score, 182,
proceeds from, 183,
First production by Prince Galitzin, 192,
Preludium in, 232, 233,
Kyrie of, 101, 124, 151, 153, 163, 169, 171, 186, 219,
Splendor of conception of, 151,
its symphonic style, 151,
German direction in, 153,
Loss of manuscript of, 186,
its rhythm, 151.
Melusina, 160.
Mendelssohn, 232, 236.
Messiah, The, 139.
Metaphysical, 2.
Metronome, inventor of, 104.
Metternich, Prince, 102.
Meyerbeer, 105, 225.
Minorites, church of, 7, 211.
Minuet, the, 133.
Mödling, 147.
Monasteries, old chorales of, 147.
"Moonlight" Sonata, 35-36.
Moscheles, 103, 105,
and piano arrangement of Fidelio, 106.
Mount of Olives, 35.
Mozart, 9, 20, 22, 28, 33, 46, 48, 50-51, 79, 100, 134, 139, 225, 227,
Early death of, 191,
Genius of, 140,
his precocity, 8,
praised by Beethoven, 140,
Requiem, 51, 212,
Sonatas, 34, 139,
his widow, 31,
his operas at Bonn, 14.
Mozart's Mass in Bb, 51, 73,
Agnus Dei of, 73,
Et incarnatus of, 73,
Kyrie of, 75.
Mozart and Haydn, 11, 20, 33, 73, 74, 75, 131.
Music, its function, 4,
outward expression of, 39,
dramas, great, 231,
a language, 226, 227,
Religious, 144,
Origin in the dance, 99.
Musician, the, social obligations of, 39.
Mystery in life, 153, 225.
Mysticism, and the artistic nature, 144.
Napoleon, 41, 44, 54, 83, 103, 191,
Arch-enemy of Austria, 42,
Campaign against Austria, 41, 42,
escapes from Elba, 109,
declared emperor, 44,
Greatest military achievement, 42,
In the toils, 107,
Marriage to Archduchess Maria Louisa, 102,
Marriage to Josephine, 43,
overruns Germany, 69,
takes Vienna, 54.
National opera at Bonn, 13.
Neate, Charles, 182.
Neefe, Beethoven's teacher, 6, 7, 17.
New Testament, 161.
Nietzsche, Friederich, 40, 216.
Ninth Symphony (choral), 29, 96, 100, 166, 167, 172, 181, 196, 226,
Choral finale, 170,
an outburst of joy at deliverance, 164,
First movement of, 163,
First performance in this country, 165,
Psychological problems in, 162,
Sontag, and soprano part of, 160,
Trombones in, 230,
Variations in, 157.
Nohl, 186.
North America, 166, 180.
Ode to Joy, revolutionary spirit of, 165.
Odeschalchi, Princess, 61.
Opera, the, an alien soil to Beethoven, 49,
as a work of art, 50,
a combination of arts, 51.
Operatic composition, 52.
Orchestra, range and mobility of, 150,
More important than voices, 150,
its resources increased through Beethoven, 3.
Orchestral forms, development of, 99.
Ossian-like dæmonism, 149.
Ossian Songs (Schubert), 206.
Pain of existence, 132.
Palestrina, 234,
Masses of, 143.
Paris Conservatoire, 16.
Parsifal, 164 (footnote), 231, 235,
mysticism of, Prelude to, 235.
Passion music, 35, 144.
Pastoral Sonata, 35.
Pastoral Symphony (see Sixth Symphony).
Patriotism and altruism, 43.
Paur, Emil, 166.
Pedal-point, 231.
Pennsylvania, Founding of, libretto, 156.
Persian literature, 140.
Pessimism, 132.
Pinnacle of greatness, 40.
Pity, and the divine in man, 164.
Plagal mode, 234.
Plato, 230,
Republic, 140.
Playing from manuscript, 10.
Philharmonic Society of New York, 166.
Philharmonic Society of London 200, 207.
Philip III, of Spain, daughter of, 204.
Prague, 9, 109.
Problem of life, 77, 164.
Prometheus, Ballet, 33, 34, 35.
Prussia, King of, 154.
Psychological element, the, 27.
Quartet, the, 98, 191, 194,
Last quartets, 96, 100, 158, 191-192, 194, 195,
Mysticism of, 96, 195,
Psychological qualities of, 195, 218,
Spirituality of, 195,
Variations in, 157,
Written in great mental trouble, 194.
Quartet, in A minor, 187,
in C# minor, 195, 199, 203,
its dedication, 208,
in Bb, cavatina of, 194,
new finale of, 203,
see chamber-music, also Rasoumowsky quartets.
Rasoumowsky, Count, 59, 63, 65, 108, 192,
Entertains Empress of Russia, 108.
Rasoumowsky quartets, 65-66, 192,
Adagio of the second, 65.
Religion and General-bass, 219.
Religious sentiment, the, 219.
Renunciation, 163.
Requiem Mass, 140, 160, 161, 209.
Ries, Ferdinand, 44, 62, 82, 83, 84, 135, 180,
Pupil of Beethoven, 80,
Prolific composer, 85,
efforts for Beethoven while in London, 181-182.
Ries, Franz, 12, 17, 82.
Rochlitz, 92, 153, 156.
Romberg, 16, 105.
Rossini, 79, 153, 166,
calls on Beethoven, 139.
Ruins of Athens, 155.
Russia, Emperor of, 36, 107, 108, 154,
Empress of, 107, 108.
Saint-Saens, 232.
Saint-Simon, and the strenuous life, 206.
Salieri, 105.
Satanas in the kitchen, 185.
Saxony, King of, 154, 213.
Second period, works of, 40,
characterized by gayety, 100.
Second Symphony, 26, 36, 37,
Larghetto of, 36.
Seebald, Amalie, 87, 88,
facsimile of letter to her, opp. page 88.
Sehnsucht (Goethe's), 142.
Seidl, Anton, 166.
Sensenman, the, 116.
Seventh Symphony, 95, 96, 109,
Dance element in, 99,
First performance of, 105,
Coda of Vivace of, 97,
Hungarian peasant dance in, 96,
Weber's strictures on, 159.
Scherzo, 33, 34, 132, 133,
Peculiar to Beethoven, 133,
developed by Beethoven, 132,
makes sport of humanity in, 133-134.
Schiller, 16, 131, 141, 148, 165.
Schindler, 59, 88, 127, 136, 152, 154, 156-158, 168, 169, 171, 176,
186, 188, 203, 205, 206, 207, 209, 210, 213,
Beethoven's biographer, 179.
Schroeder-Devrient, 155, 159.
Schopenhauer, 22, 77, 143, 174, 229, 236,
and humor, 134.
Schubert, 8, 127, 177, 206, 210, 211,
Reverence of, for Beethoven, 178,
Calls on Beethoven, 178,
Songs of, 206.
Schuman, 136, 232.
Schuppanzich, 168, 176, 206.
Schott, music publishers, 208, 209.
Scott, Walter, 134,
Kenilworth, 209.
Seyfried, 22, 64, 135, 212.
Shakespeare, 13, 68, 134, 139, 141, 223, 225,
Comedies of, 68,
the Tempest, 152,
a Universal man, 227,
Wagner's archetype in youth, 227.
Siegfried, 231.
Sight playing, from Ms., 63, 64.
Sixth Symphony (Pastoral), 14, 73, 78-79, 95, 122,
Dance tunes in, 78,
Dramatization of, 79,
Nature-poem, a, 78, 79,
Storm in, 78, 79.
Socrates, 161.
Solitary, Beethoven, the (quoted), 227.
Sonata in Ab, 35,
Fantasia, language of Resignation, 61,
Kreutzer, 44,
"Moonlight," 35,
opus 111, 187,
Pathetique, 26,
Pastorale, 35,
Waldstein, 11, 18, 44,
opus, 102, 129.
Sonata, the (form), 100.
Sonatas, 33, 36, 39,
Last (opus 109, 110, 111), 155,
Lofty imaginings of, 155,
Wondrous second movement of op. 111, 158,
F minor and D minor, 152.
Sonnleithner, 49, 56.
Sontag, 160, 170.
Spohr, 105.
Stadler, Abbe, 139, 167.
St. Just, 133.
St. Stephen's, Vienna, 22.
Streicher, Madame, 185, 186.
Stumpf, 139, 207, 209.
Stutterheim, Field-marshal von, 198, 208, 209.
Suite, the, earliest orchestral form, 99.
Süsmayer, 31.
Swieten, Baron von, 27, 59.
Tacitus, 4, 46.
Tact, woman's, 12.
Tenth Symphony (proposed), 170, 200,
Adagio of, 173,
Allegro of, a Bacchic festival, 173,
Religious in character, 172.
Tetralogy, variations in, 157.
Thackeray, 134.
Thayer, A.W., 59, 90.
Third Leonore overture, 56, 229.
Third Mass (proposed), Kyrie of, 172
Third period, mysticism of, 100.
Third Symphony (Eroica), 11, 40 et seq., 68, 71, 73, 100, 104, 123,
Composed in spirit of altruism, 43,
First dedicated to Napoleon, 43-44,
Last movement of, 158,
Unique as a Symphony, 43.
Thomas, Theodore, 166.
Thoreau, 3, 113, 123, 161, 176, 218, 227.
Thun, Countess, 62.
Tolstoy, 45.
Tone-figure, 234.
Tone-pictures, 148.
Transposing, 31.
Treitschke, 106.
Trombones, 211,
for Solemnity, 230.
Turin, 93.
Unger, Fräulein, 170.
Unrest, 4.
Vander Stucken, 166.
Variation form, 231,
in the Diabelli Waltzes, 157,
in Beethoven's Symphonies, 157,
in Beethoven's Sonatas, 157.
Vienna, bombarded by French, 85,
Conservatory of, 118,
Italian element in, 58,
Population in Beethoven's time, 58,
Musical atmosphere of, 9, 10, 65,
Society, attitude toward Beethoven, 60,
its student element, 104.
Viennese, virtuosity of, 62-63,
aristocracy, 149.
Vittoria, battle of, 102, 103.
Voltaire, 218.
Wagner, 4, 30, 50, 51, 56-57, 64, 66, 77, 79, 96, 120, 123, 125, 126,
127, 141, 150, 156, 157, 223,
Art-product of, 228,
biographical sketch of Beethoven, his, 228,
C# minor quartet, 195,
Criticisms on music, his, 227,
Disciple of Beethoven, 225, 229,
Early recognition of, in this country, 181,
Evening of life, 208,
Flying Dutchman, 79,
Industry of, 216,
Is influenced by Beethoven, 230, 231,
Literary achievement, his, 228,
Life's Problem, solution of, 236,
Life-work of, 208,
Mystic, a, 236,
Napoleonic ambition, 228,
Ninth Symphony, 163, 165,
Originality of, 230,
Poetic temperament, 52, 53,
Romanticism, his, 53, 230,
Seventh Symphony, and the, 96,
Tribute to Beethoven, 224,
Tribute to Shakespeare, 224,
Unerring poetic sense, 230,
Variation form, and the, 157, 158.
Wagner and Beethoven, Affinity between, 229,
Pioneers, 236,
their Spiritual relationship, 229,
World-weary, 236.
Wagner-Liszt correspondence, 232.
Waldstein, Count, 10, 11, 12, 28, 44.
Waterloo, battle of, 102, 110.
Weber, 139, 159, 160.
Wegeler, Dr., 12, 37.
Weihe des Hauses, 155, 169.
Weimar, 91.
Wellington, Duke of, 102, 106.
Weltschmertz, 126, 164.
Westphalia, King of, 83.
Wolfmayer, 29.
World's stage, 3.
World, torment of, 164,
and Beethoven's influence on it, 15,
ideal of, 15,
in transition, 3.
Zauberflöte, 137, 185, 206.
Zehrgarten, at Bonn, 10.
Zeitgeist, the, 4.
Zelter, 91, 152.
Zmeskall, 137, 185, 206.
Zukunftsmusik, 150.