Allegro con Brio of the 1st Symphony, 29
Adagio of 4th Symphony, 56
Andante of 5th Symphony, 66
Allegro of 5th Symphony, 69
Allegro of 5th Symphony depicts a Conflict, 70
Allegretto of 7th Symphony, 92
Allegretto Scherzando of 8th Symphony, 97
Beethoven suggestive of Dante and Milton, 15
Beethoven rivals Æschylus and Shakespeare, 60
Beethoven compared with Napoleon, 16
Beethoven distinguished by his great power, 28
Beethoven admired Handel, 28
Beethoven, his modulations peculiar to himself, 29
Beethoven a prophet, 37
Beethoven, his combined power and sweetness, 41
Beethoven compared with Shakespeare, 52
Beethoven not to be conquered by fate, 63
Beethoven, his music not to be explained, 69
Beethoven, his profound simplicity in the Pastoral Symphony, 79
Beethoven another Columbus, 90
Beethoven a Theist, 110
Beethoven, his individuality, 111
Beethoven, his religious creed, 112
Beethoven, his library, 113
Beethoven, his music pregnant with ideas, 114
Carlyle, 27
Chords without thirds, 30
Choral Symphony, 98
Choral Symphony was an experiment, 99
Choral Symphony, errors of judgment in, 104
Choral Symphony, execution not equal to the design, 107
Eroica, analysed, 40
Elterlein's summary of the Pastoral Symphony, 84
Eighth Symphony, 96
First Symphony, 16
Funeral March of Eroica Symphony, 46
Funeral March not written in honour of Napoleon, 48
Fourth Symphony, 51
Fifth Symphony, 59
Fifth Symphony another Eroica, 60
Fifth Symphony paints Beethoven's life, 62
Finale of Fifth Symphony, 72
Goethe and Wilhelm Meister, 45
Haydn, 4
Haydn, Elterlein's opinion upon, 7
Handel studied by Beethoven, 71
Heller, Stephen, 21