Part 17
-- Gnomentanz, 263.
-- Loreley, Die, 262.
Seidl, Anton, 116, 165.
Seiss, Isidor, 241.
-- Preludes, 254.
Senancour, 203.
Sermon on the Mount, The, 148.
Seroff, Alexander, 83.
Sgambati, 241, 263.
Shakespeare, 95, 127, 148, 294, 296.
Shelley, 203, 205.
Siegfried, 137.
Siegfried Funeral March, 132.
Siloti, 117, 131.
Silence (Poe), 162, 185-186, 209.
Sloper, Lindsay, 215.
Socrates, 19.
Solomon, Songs of, 148, 294.
Sordello, 22.
Sowinski, Albert, 213.
Speidel, 241.
-- Octave study, 262.
Spinoza, 6.
Spitta, 12, 13, 35-36, 38.
Spleen (Poe), 185-186.
St. Anthony, 236.
Stassoff, V., 83.
Stcherbatcheff, 83.
Steibelt, 251.
Steinbrecher, Werner, 213.
Stendhal, 231.
Sternberg, Constantin von, 240.
-- Story about Brahms-Chopin Étude, 269.
-- Study in F, 255.
Stevenson, Robert Louis, 180.
St. Petersburg, 86, 87, 140.
-- Conservatory, 104.
Strauss, Richard, 5, 19, 94, 138, 141-159.
-- Abnormal brain of, 155.
-- Atheism of, 146.
-- Attempts the impossible, 143.
-- Cacophony of, 156.
-- Compared with Brahms, 157.
-- Contrapuntal ingenuity of, 156.
-- Hysteria of, 153, 156.
-- Melodies of, 157.
-- On his symphonic poem, 145.
-- Score of Zarathustra, 158-159.
Works:
-- Also Sprach Zarathustra, 141, 145-146, 149, 152-154, 155-156, 157, 158.
-- Death and Apotheosis, 143, 155.
-- Don Juan, 143, 153, 155.
-- Macbeth, 143.
-- Till Eulenspiegel, 143, 153, 155.
Streicher, Mme., 215.
Sternau, 28.
Strelezki, Anton, 241.
-- Concert studies, 271.
-- The Wind, 271.
Swift, 204.
Swinburne, 22, 207, 294.
Symphony Society, 132.
Szopen, Fryderyk, 210.
Szulc, 210, 214.
Tasso, 204.
Tatjana, 89.
Tausig, 189, 190, 191, 192, 214, 226, 227, 241, 248, 268, 278, 279, 281.
-- Daily Studies, 51, 59, 269, 271.
-- Edition of Clementi, 243.
-- Use of studies, 243.
-- Version of Chopin’s concertos, 187-192.
Tennyson, 22, 207.
Thackeray, 214.
Thaddeus of Warsaw, 221.
Thalberg, 192, 193, 225, 241, 265, 274.
-- Clementi, 244.
-- Scale playing of, 225.
-- Studies, 250, 251.
-- Theme and Variations, op. 45, 275.
-- Touch of, 258.
-- Tremolo study in C, 275.
Thomson, James, 207.
Tolstoy, 82, 85-86, 93, 95, 100, 115.
Trilby, 163.
Trilogy, 290.
Tristan, 146, 148. 157, 165, 295.
Tschaïkowsky, Piotor Ilyitch, 6, 12, 16, 81-140, 84, 87, 91, 93, 96, 97, 100, 107, 120, 127, 140, 142, 143, 146, 275.
-- Calmuck in, 93.
-- Compared to Brahms, 92, 95.
-- Compared to Dvorák, 95, 96.
-- Compared to Turgenev, 84-85.
-- Contrapuntal skill, 124, 126.
-- Dislike of Brahms, 139.
-- Favorite symphony, 105-106.
-- Form, 135.
-- Love for Mozart, 120, 139.
-- Love for Russia, 98.
-- Manual of Harmony, 130.
-- Moods of, 97.
-- Morbidness of, 120.
-- Operas, 139-140.
-- Orchestral works, 119.
-- Orchestration, 94, 106, 107, 110.
-- Piano music, 101-103, 108, 109-112, 115, 116-117, 128, 134.
-- Resemblance to Wagner, 131-132.
-- Scoring, ingenious, 137, 138.
-- Songs, 129.
-- Suicide story, 140.
-- Symphonies, Dvorák’s opinion of, 137.
-- Tastes in music, 139.
-- Themes, 95, 106-107, 121.
-- Use of flute, 94.
-- Variationist, 95.
-- Versatility of, 85-86.
Works:
-- Ave Maria, 129.
-- Barcarolle, 102.
-- Belle au Bois Dormant, La, op. 66, 126.
-- Capriccio, Italian, op. 45, 117-118.
-- Capriccio for piano, op. 8, 103.
-- Choruses à capella, 87.
-- Concerto for piano, op. 23, 87, 109-112.
-- Concerto for piano, op. 44, 116-117.
-- Concerto for piano, op. 75, 132, 133.
-- Concerto for violin, op. 35, 114.
-- Caprice D’Oksane, Le, 129.
-- Casse-Noisette, 127.
-- Chanson Sans Paroles, 100, 101.
-- Chanson Triste, 116.
-- Dame de Pique, La, op. 68, 127.
-- Don Juan, op. 38, 115-116.
-- Doumka, op. 59, 120.
-- Elegy for Nicholas Rubinstein, 118.
-- Eugene Onegin, 89, 112.
-- Fantasie for piano and orchestra, op. 56, 116, 118.
-- Fille de Neige, La, 104.
-- Foggy Landscape, op. 13, 105.
-- Francesca da Rimini, op. 32, 93, 104, 108, 114, 143.
-- Hamlet, op. 67, 104, 108, 125, 126-127, 130, 143.
-- Jeanne d’Arc, 129.
-- Lac de Cygnes, Le, 109.
-- Lieder, op. 57, 119.
-- Magicienne ou La Charmeuse, La, 129.
-- Manfred Symphony, op. 58, 119-120, 143.
-- Marche Slave, op. 31, 113.
-- Mazeppa, 129.
-- Melodies for voice, op. 73, 129.
-- Messe Russe, op. 41, 116.
-- Mouvement perpétuel, 130.
-- Mozarteana, op. 61, 120.
-- Nocturne for piano, 132.
-- Nur wer die Sehnsucht Kennt, 94, 129.
-- Overture Solennelle, 118, 132.
-- Overture Triomphale, 106.
-- Pezzo capriccioso, op. 62, 121.
-- Piano Album, op. 39, 102, 116.
-- Piano compositions, 103, 109, 115, 118, 128.
-- Pourquoi (Heine), 129.
-- Romances and Songs for voice, 103, 106, 113, 118, 120, 121, 126, 129.
-- Roméo et Juliette, 104, 114, 132, 133, 143.
-- Russian Mass, op. 52, 118.
-- Scherzo, op. 34, 114.
-- Seasons, The, 102.
-- Serenade for strings, op. 48, 118.
-- Snegourotschka, 104.
-- Song without Words, op. 3, 103.
-- Souvenir de Florence, 127.
-- Souvenir de Hapsal, 102.
-- Souvenir d’un lieu triste, op. 42, 116.
-- String quartets, 104, 109.
-- Suites for orchestra, 87, 116, 118.
-- First Symphony, op. 13 (G minor), 104-105.
-- Second Symphony, op. 17 (C minor), “the Russian,” 106-107.
-- Third Symphony, op. 29 (in D major), 113.
-- Fourth Symphony, op. 36 (F minor), 94, 95, 114-115, 123-126.
-- Fifth Symphony, op. 64 (E minor), 94, 95, 121-123, 136.
-- Sixth Symphony, op. 74 (B minor), 86, 94, 132, 134-138.
-- Tempest, op. 18, 108.
-- Tscharodeika, La, 129.
-- Vakoula, 106.
-- Valse Caprice, 103.
-- Valse-Scherzo, 103.
-- Variations in F, 38, 108, 109.
-- Variations, op. 19, 102.
-- Variations, op. 33, 114.
-- Winter Journey, 104-105.
-- Witch of the Alps, 119.
-- Yolande, 127.
Turgenev, 84-85, 94, 100.
-- On Russia, 98.
-- The Beggar, 99, 100.
Ulalume (Poe), 198-199.
Valkyrie, 228.
Van Cleve, John, 213.
Van Der Stucken, Frank, 108.
Variations, 35-36, 38, 108-109, 231.
Venino, Albert, 261.
Verdi, 1.
Verlaine, Paul, 207, 227, 230.
Verstohlen geht der Mond, 25.
Viardot, Louis, 192.
Vienna, 251.
Vinci, Leonardo da, 247.
Virgil, 114.
Virgil clavier, 246.
Vogel der heut’ sang, Dem, 29.
Vogrich, Max, 51, 241.
-- On Brahms’ cradle-song, 70.
-- On playing Brahms, 76-77.
-- Staccato études, 262.
Vogt, 241.
Von Bülow, 109, 212, 251, 264.
-- Edition of Cramer, 244.
-- List of études, 244.
-- Playing of Brahms Sonata in C, 24.
-- “Three B’s,” 11, 248.
Von Schlözer, 241.
-- Études, 270.
Votinsk, 87.
Voyévode, 130, 132.
Wagner, Richard, 3, 7, 8, 9, 12, 20, 82, 126, 131-132, 139, 146, 153, 155, 158, 164, 165, 188, 195, 208, 228, 231, 238, 239, 245, 264, 285-297.
-- As artist, 288-290.
-- Christianity of, 289, 291-292.
-- Contrasted with Brahms, 9.
-- Fascination of Wagner’s music, 297.
-- Hatred of Jews, 285.
-- Jewish descent of, 285-286, 287-288.
-- Judenthum in der Musik, Das, 285.
-- Philosophy of, 289, 292.
-- Poet of passion, 294, 296.
-- Temperament of, 10.
-- Theatrical tendency of, 10.
-- Turn, idealizes the, 7, 19.
-- Die Busser (The Penitents), 290.
-- Die Sieger (The Victors), 292.
-- Die Walküre, 157, 164.
-- Eine Faust Overture, 126, 155, 156.
-- Meistersinger, Die, 29, 157, 188, 289.
-- Ring, The, 146, 164, 195, 288.
-- Tristan and Isolde, 145, 162, 274, 288, 290, 293-294, 296.
Wahnfried, 286.
Wallner, 140.
Warsaw, 249, 252.
Warum sind denn die Rosen so Blass, 129.
Washington Hospital, 195.
Weber, 16, 83, 176, 193, 274, 277, 283.
-- Rondo (Perpetual Motion), 50, 130, 269, 278, 281.
-- Sonata in C major, 130, 269.
Weimar, 23, 249.
Well-Tempered Clavichord, 247.
Whistler, 162.
Whitman, Emerson’s remark on, 11.
Whittingham, Alfred, 213.
Widor, 279.
Willeby, Charles, 213, 222.
Willis, N. P., 201.
Willmers, 273, 275.
Wodinski, Count, 213.
Wolff, Edouard, 215.
Women playing Chopin, 170, 171.
Wood, Charles, 213.
Wordsworth, 205.
Wotan, 164.
Zãl, 209, 218.
Zarembski, 266.
-- and B flat minor étude, 270.
Zichy, 241.
Zimmermann, 193.
Zelazowa-Wola, 195.
Zwintscher, 245.
Transcriber’s Notes
Punctuation errors have been corrected.
Page 78: “to encage himself” changed to “to engage himself”
Page 232: “all of Liszt rhapsodies,” changed to “all of Liszt’s rhapsodies,”
Page 268: “Paginini études” changed to “Paganini études”