Chapter X

The Last Days in Gneixendorf--A Brother’s Warning--Beethoven and his Kinspeople--The Fateful Journey to Vienna--Sickness--Schindler’s Disingenuousness--Conduct of the Physicians--Death and Burial.

The Conversation Books add nothing to the picturesque side of the account of Beethoven’s sojourn in Gneixendorf as it has been drawn from other sources. They indicate that there were some days of peace and tranquility, and that not only Johann, but his wife and nephew also, were concerned with making the composer comfortable and providing him with such diversion as place and opportunity afforded. At the outset Beethoven seems to have been in a conciliatory mood even towards the woman whom he so heartily despised; and her willingness to please him is obvious. She talks with him about various things, praises Karl’s musical skill, which the nephew demonstrates by playing four-hand marches with his great uncle. She discusses his food with him, and if he ever was suspicious of the honesty in money matters of herself and her family, he hides his distrust and permits her brother, the baker, to collect money for him in Vienna, and the woman to go thither to fetch it. There are frequent walks into the country round about and drives to neighboring villages, and it would seem from one of Karl’s speeches that sometimes argument and warning were necessary to dissuade Beethoven from undertaking promenades in inclement weather. Characteristic of the suspicious nature which his dreadful malady had developed in him to an abnormal degree, and confirmatory also of Michael Krenn’s remark that he was always called upon to give an account of the conversations at table, is the evidence that the wife, Karl and even a woman boarder are questioned as to the goings-out and comings-in of the inmates of the house. Before the departure from Gneixendorf, Karl begins to chafe under his uncle’s discipline. Johann is occupied with the affairs of the estate and Karl does errands for him as well as his greater uncle in Krems, whither he is willing to journey on foot as often as necessary, perhaps oftener, for there are soldiers stationed at the village, there is a theatre, English circus riders give an exhibition (to which Karl offers to accompany the composer) and, what is perhaps more to the young man’s liking, there is a billiard-room. Of this fact, however, we are informed later by a remark recorded in the Conversation Books by Johann after the return to Vienna. The old suspicions touching the reasons for Karl’s absence from Wasserhof again arise to plague Beethoven’s mind, nor are they dissipated by Madame van Beethoven’s repeated assurances that he will return soon. It is plain that the young man is taken to task, not only for these absences, but also for what his uncle looked upon as moody and defiant silences when suffering rebuke. Thus we read:

You ask me why I do not talk. Because I have enough. Yours is the right to command; I must endure everything.... I can give no answer as to what you say; the best I can do is to hear and remain silent, as is my duty.

At a later period, when Beethoven has apparently upbraided the young man for his unwillingness to return to Vienna, Karl retorts:

If you want to go, good; if not, good again. But I beg of you once more not to torment me as you are doing; you might regret it, for I can endure much, but not too much. You treated your brother in the same way to-day without cause. You must remember that other people are also human beings.--These everlastingly unjust reproaches!--Why do you make such a disturbance? Will you let me go out a bit to-day? I need recreation. I’ll come again later.--I only want to go to my room.--I am not going out, I want only to be alone for a little while.--Will you not let me go to my room?

[Sidenote: A RETURN TO VIENNA PRECIPITATED]

Karl was a young man of nearly twenty years; thriftless, no doubt; indolent, no doubt; fond of his ease and addicted to idle pleasures, no doubt--but still a man; and no matter how much he ought to have been willing to sacrifice himself to make his uncle happy, it is a question if there was any way in the world to that sure and permanent result. He was not wise enough, nor self-sacrificing enough, to do that which not a single one of the composer’s maturer friends, not even Stephan von Breuning, had been able to do. Once in the Books he shows a disposition to resort to the wheedling tactics which had been frequently successful in earlier years, and urges as a reason for tarrying longer in Gneixendorf that it will make possible their longer companionship. He is pleading for a week’s longer stay: Breuning had said that he should not present himself to the Fieldmarshal until no evidences of the recent “incident” were longer visible; in a week more the scar would not be noticeable, nor would a stay be necessary had he provided himself with pomade; then he remarks: “The longer we are here the longer we shall be together; for when we are in Vienna I shall, of course, have to go away soon.” It was after this speech that he made the remark already referred to about the cheapness of fire-wood. Karl had plainly grown more than content with his life in Gneixendorf and there is evidence to show that Beethoven had begun to fear that he was wavering in his determination to enter the army. Some drastic measure or occurrence was necessary to change the native irresolution of Beethoven’s mind. Schindler, in his desire to paint all the Beethovens, with the exception of the composer, with the blackest pigments on his imaginative palette, does not scruple to accuse Karl of undue intimacy with his aunt and offers this as a reason for the departure. To this no reference can be found in the pages of the Conversation Books, unless it be a remark which preceded Karl’s outburst, last recorded. Here he tells his uncle that all his “talk about intrigues needs no refutation.” The reference is vague and it is extremely unlikely that the intrigues meant were those involved in the vile insinuation of Schindler, for a reason which will be made apparent presently. The house at Gneixendorf was not fitted for tenancy in winter; the weather was growing boisterous; Madame van Beethoven had left the men to their own devices and gone to her town-house. This, apparently, was the state of affairs when Johann handed a letter to his brother which could have no other result than to bring about a decision to go back to Vienna at the earliest possible moment, and to carry with him a heart full of bitterness which could only be intensified by the sufferings which attended upon his journey. The letter bears no date, but an allusion to the fact that von Breuning had allowed Karl a fortnight for recuperation and he had already been two months at Gneixendorf, is proof that it was written near the end of November. That the brothers discussed it and cognate matters while it was in their hands is evidenced by the fact that it contains on its back the words in Johann’s writing: “Let us leave this until the day you go.--An old woman.--She has her share and will get no more.” The letter was as follows:

My dear Brother:

I can not possibly remain silent concerning the future fate of Karl. He is abandoning all activity and, grown accustomed to this life, the longer he lives as at present, the more difficult will it be to bring him back to work. At his departure Breuning gave him a fortnight to recuperate in, and now it is two months. You see from Breuning’s letter that it is his decided wish that Karl _shall hasten_ to his calling; the longer he is here the more unfortunate will it be for him, for the harder will it be for him to get to work, and it may be that we shall suffer harm.

It is an infinite pity that this talented young man so wastes his time; and on whom if not on us two will the blame be laid? for he is still too young to direct his own course; for which reason it is your duty, if you do not wish to be reproached by yourself and others hereafter, to put him to work at his profession as soon as possible. Once he is occupied it will be easy to do much for him now and in the future; but under present conditions nothing can be done.

I see from his actions that he would like to remain with us, but if he did so it would be all over with his future, and therefore this is impossible. The longer we hesitate the more difficult will it be for him to go away; I therefore adjure you--make up your mind, do not permit yourself to be dissuaded by Karl. I think it ought to be by _next Monday_, for in no event can you wait for me, inasmuch as I cannot go away from here without money, and it will be a long time before I collect enough to enable me to go to Vienna.

How Beethoven received this letter must be left to the imagination. Its wisdom temporarily disarmed Schindler, who forgot all of his frequently wicked charges against Johann long enough to admit that the document proved that he was not utterly without good qualities of character. He adds that he was in a position to assert that Ludwig took his brother’s suggestion with bad grace and that before his departure from Gneixendorf there was an exceedingly acrimonious quarrel between the brothers, growing out of Ludwig’s demand that Johann make a will in favor of Karl, thus cutting off his wife. It is to this that the penciled endorsement on the letter refers. This subject, Schindler says, was the real cause of the estrangement between the brothers during the last five or six years of Ludwig’s life. The blame, he adds, rested with Ludwig, who, “constantly at odds with himself and all the world, loved and hated without reason.” Weeks afterward, while he lay dying in Vienna, Beethoven’s thoughts were still occupied with the purpose of persuading his brother to make a will in Karl’s favor.[162] A moment’s reflection on a single fact will serve to give the quietus to Schindler’s insinuation as to improper relationship between the young man of 19 and his aunt of 40; at the time that Karl is pleading to stay in the country, Johann is urging his brother to send him about his duty, and Beethoven is halting in irresolution, the woman is in Vienna.

[Sidenote: THE FATEFUL JOURNEY FROM GNEIXENDORF]

It must be assumed that the Monday referred to in Johann’s letter was Monday, November 27; but several days must have elapsed between this date and the time when Beethoven and Karl set out on the fateful journey to Vienna. A determination seems to have been reached when the Book shows Johann as saying: “If you are to start on Monday the carriage must be ordered on Sunday.” There is no recorded conversation touching the use of Johann’s carriage, which, so far as anything is known to the contrary, may have still been in Vienna, whither, it is safe to assume, it had carried Johann’s wife, and whither it was to carry its owner as soon as he could make a satisfactory adjustment of his financial affairs. That means of conveyance were discussed is proved by Johann’s remark and also by a report made by Karl to the composer: “There is no postchaise to Vienna, but only to St. Pölten.... From here there is no opportunity except by a stagecoach.”

Exactly when and how the travellers set out it is not possible to determine. Schindler says that owing to Johann’s refusal to let his brother use his closed carriage, Beethoven was obliged to make the journey in an “open calash.” This is his statement in the first edition of the biography, but in the third, for an unexplained reason, the “open calash” is the vehicle used from Gneixendorf to Krems only, a distance which was easily traversed on foot inside of an hour. If Dr. Wawruch, Beethoven’s attending physician during the illness which ended in his death, is correct, Beethoven told him that he had made the journey “in the devil’s most wretched vehicle, a milk-wagon.” Later Dr. Wawruch calls the vehicle in which he arrived in Vienna a “Leiterwagen,” from which we might gather, which is utterly preposterous, that it was a rack vehicle. Beethoven arrived in Vienna on Saturday, December 2, and as there is a reference to only one night spent in transit (as there had been one on the journey from Vienna to Gneixendorf), it is likely that he left Gneixendorf early in the morning of Friday, December 1. “That December,” says Dr. Wawruch, “was raw, wet and frosty; Beethoven’s clothing anything but adapted to the unfriendly season of the year, and yet he was urged on by an internal unrest and a gloomy foreboding of misfortune. He was compelled to spend a night in a village tavern where, besides wretched shelter, he found an unwarmed room without winter shutters. Towards midnight he experienced his first fever-chill, a dry hacking cough accompanied by violent thirst and cutting pains in the sides. When seized with the fever he drank a few measures of ice-cold water and longed, helplessly, for the first rays of the morning light. Weak and ill, he permitted himself to be lifted into the _Leiterwagen_ and arrived, at last, weak, exhausted and without strength, in Vienna.” Wawruch derived his information from Beethoven, possibly in part also from Karl, the only witness from whom a succinct and absolutely correct account was to have been expected; unhappily the tale, which Karl must have been called upon to tell many times, was never reported. The untrustworthiness of Schindler’s statements about the incidents of which he had no personal knowledge is emphasized by obvious efforts made to falsify and emasculate the record in the Conversation Books, concerning which it will soon become necessary to speak.

[Sidenote: ONE OF SCHINDLER’S SLANDERS REFUTED]

It was Saturday, December 2nd, 1826, then, that Beethoven arrived in Vienna from Gneixendorf and went to his lodgings in the Schwarzspanierhaus. It does not appear that he considered himself seriously ill, for in a letter to Holz which must have been written two, or more likely three, days later, he says merely that he is “unpässlich,” that is, indisposed. The letter was the second of its kind, the first having been mislaid. In this letter he asked Holz to come to him. It was written from dictation, but before appending his signature Beethoven wrote, “Finally, I add to this ‘We all err, only each in a different way’,” setting the quoted words to music for a canon. This canon, of which an autograph copy on a separate sheet of paper is preserved in the Royal Library at Berlin, points to a possibility that some misunderstanding had arisen between Beethoven and Holz just before the former started for Gneixendorf. Inasmuch as Holz is at Beethoven’s side at least ten days before Schindler appears there, and gives his services to the sick man until the end, though not to the extent that Schindler does after his coming, the latter’s efforts to create the impression that Beethoven had sent Holz away from him is disingenuous, to say the least. Holz’s first act convicts Schindler of an error which can scarcely be set down as an innocent one. The story involves one of the slanders against Karl which has been repeated from Schindler’s day to this, although its refutation needed only a glance into the Conversation Books of December, 1826. Schindler says that he did not learn of Beethoven’s condition until “several days” after his return to Vienna. That he then hurried to him and learned that neither Dr. Braunhofer nor Dr. Staudenheimer, though sent for by Beethoven, had answered the summons and that Dr. Wawruch’s coming was due to something only a little better than an accident. Karl, though charged with the duty of summoning a physician, had forgotten, or neglected, to so do, for several days. His commission occurred to him while playing at billiards, and he incidentally asked a _marqueur_ (scorer) in the billiard-room to send a physician to his uncle. The _marqueur_, not being well, could not do it at the time, but mentioned the matter some time later to Dr. Wawruch at the hospital to which he had been taken. This story of unexampled heartlessness, to which Dr. Gerhard von Breuning also gave currency, Schindler said he had heard from Dr. Wawruch; but it is branded as a shameless fabrication by Dr. Wawruch’s published statement and the evidence of the Conversation Book. Dr. Wawruch wrote a history of Beethoven’s illness entitled “Ärztlicher Rückblick auf Ludwig van Beethoven’s letzte Lebensepoche” under date of May 20, 1827, which was published by Aloys Fuchs in the “Wiener Zeitschrift” of April 30, 1842. In this report Dr. Wawruch says, “I was not called in until the third day.” This third day would be December 5th, and the date has twofold confirmation in the Conversation Book. A fortnight after Beethoven’s return to Vienna there is an entry in Karl’s handwriting of the physician’s visits beginning with December 5th and ending with December 14, which shows that within this period Dr. Wawruch made daily visits and on one day came twice. Schindler’s name does not appear until some time after this entry, and it is recorded in a manner which indicates plainly that it was his first meeting with the sick man. As the book was folded and renumbered by Schindler the page on which this entry appears is made to look as if it preceded others which are filled with evidences of Holz’s helpfulness, but the records of the first call of the physician are plain and undisputable. It was Holz who sent for him and he did so on December 5, the day on which the first visit is noted. Evidently Holz had hastened to Beethoven on receiving the letter asking him to come which Karl seems to have delivered to him on the 4th or 5th. What passed at the first meeting does not appear, but this remark in the handwriting of Holz does:

I have had Professor Wawruch called for you; Vivenot is himself sick. I do not know Wawruch personally, but he is known here as one of the most skillful physicians.--He is Bogner’s doctor.--He is professor in the hospital.--He will come after dinner.

Vivenot was a physician. In all probability Beethoven had exhausted the list of physicians of his acquaintance (Smetana, a surgeon, may not have been considered and Malfatti could not be at the time for reasons which Beethoven knew and was made painfully to feel later), before Holz succeeded in securing the attendance of Wawruch.[163] According to the accepted story, Braunhofer, who had been the last physician to treat Beethoven before the misfortunes of the summer, had declined the call because of the too great distance between his house and Beethoven’s, and Staudenheimer, whom Braunhofer had displaced, promised to come but did not. The latter, probably both, took part later in the consultations. Wawruch was an amateur violoncello player and an ardent admirer of Beethoven’s music. When he comes to his august patient, though he permits Karl to write the questions, he takes the pencil himself to tell who he is: “One who greatly reveres your name will do everything possible to give you speedy relief--Prof. Wawruch.” In his history of the case Wawruch writes:

I found Beethoven afflicted with serious symptoms of inflammation of the lungs. His face glowed, he spat blood, his respiration threatened suffocation and a painful stitch in the side made lying on the back a torment. A severe counter-treatment for inflammation soon brought the desired relief; his constitution triumphed and by a lucky crisis he was freed from apparent mortal danger, so that on the fifth day he was able, in a sitting posture, to tell me, amid profound emotion, of the discomforts which he had suffered. On the seventh day he felt considerably better, so that he was able to get out of bed, walk about, read and write.

Dr. Gerhard von Breuning, who was concerned in proving that Dr. Wawruch was a bungling practitioner, protests that Beethoven was not suffering from inflammation of the lungs but from inflammation of the peritoneum, which alone, he says, could have brought on the dropsy of the belly from which it has been thought until recently Beethoven died. He based his opinion on the fact, which, though only a boy of 13, he may have observed in the sick-room, that the patient did not cough, had no difficulty in breathing, and that afterwards his lungs were found to be sound. Wawruch, however, an experienced physician, is speaking of what he observed on his first visit and is not likely to have erred in so obvious a matter as incipient lobar pneumonia, the general history of which as now understood agrees with the recorded account of Beethoven’s case, even in such details as the critical period reached on the fifth day. The subsequent strength of the lungs is not inconsistent with the theory that in the first week Beethoven weathered an attack of pneumonia.

[Sidenote: BEETHOVEN’S HEALTH IN THE COUNTRY]

There are few references to the state of Beethoven’s health during the sojourn at Gneixendorf, but that he was ill when he arrived there is indicated by an early remark by Johann attributing an improvement in the condition of his eyes to the good air “without rosewater.” Johann wrote later that, when with him, Beethoven ate little. When the food was not prepared to his taste he ate soft-boiled eggs for dinner “and drank all the more wine.” He had frequent attacks of diarrhœa. His abdomen also became distended so that he wore a bandage for comfort. Wawruch had no knowledge of his patient’s previous medical history and was compelled to discover for himself what his colleagues, to whom the sick man’s call was first extended, would have known from their earlier experiences with him. Schindler attacks Wawruch on the ground that he had said that Beethoven was addicted to the use of spirituous liquors. The Conversation Books and other testimony plentifully indicate that the great composer was fond of wine and that his physicians had difficulty in enforcing abstinence upon him; but the only one who, by indirection, accused Beethoven of drinking to excess, was Schindler, whose statements on that point are not free from the suspicion that they were made only for the purpose of hitting Holz over Wawruch’s shoulders.[164]

Wawruch’s report continues:

But on the eighth day I was alarmed not a little. At the morning visit I found him greatly disturbed and jaundiced all over his body. A frightful choleraic attack (_Brechdurchfall_) had threatened in the preceding night. A violent rage, a great grief because of ingratitude and undeserved humiliation, was the cause of the mighty explosion. Trembling and shivering he bent double because of the pains which raged in his liver and intestines, and his feet, thitherto moderately inflated, were tremendously swollen. From this time on dropsy developed, the segregation of urine became less, the liver showed plain indication of hard nodules, there was an increase of jaundice. Gentle entreaties from his friends quieted the threatening mental tempest, and the forgiving man forgot all the humiliation which had been put upon him. But the disease moved onward with gigantic strides. Already in the third week there came incidents of nocturnal suffocation; the enormous volume of collected water demanded speedy relief and I found myself compelled to advise tapping in order to guard against the danger of bursting.

After Dr. Wawruch had reached this decision, Dr. Staudenheimer was called in consultation and he confirmed the attending physician’s opinion as to the necessity of an operation. Beethoven was told. “After a few moments of serious thought he gave his consent.” The servant Thekla, who had, apparently, come from Gneixendorf (as her name appears in the Conversation Book used there), in the midst of the preparations for the operation had been found to be dishonest and dismissed. The composer’s brother had arrived in Vienna about December 10 and thereafter is found constant in his attendance, a fact which it becomes necessary to mention because of the obvious effort of Schindler to create the impression that the burden of the care of Beethoven had been assumed by him, von Breuning and the latter’s son Gerhard. Wawruch had retained Dr. Seibert, principal surgeon (_Primärwundarzt_) at the hospital, to perform the operation. The date was December 20 (not 18, as Schindler says). Those present were Johann, Karl and Schindler. Beethoven’s sense of humor did not desert him. When, the incision having been made, Dr. Seibert introduced the tube and the water spurted out, Beethoven said: “Professor, you remind me of Moses striking the rock with his staff.”[165] Wawruch writes in the Conversation Book:

Thank God, it is happily over!--Do you already feel relief?--If you feel ill you must tell me.--Did the incision give you any pain?--From to-day the sun will continue to ascend higher.--God save you! [_This in English._] Lukewarm almond milk.--Do you not now feel pain?--Continue to lie quietly on your side.--Five measures and a half.--I hope that you will sleep more quietly to-night.... You bore yourself like a knight.

[Sidenote: MULTIPLICATION AND HANDEL’S SCORES]

In the early days after Beethoven’s return to Vienna there is a continuation of the correspondence with Schott and Sons concerning the publication of the works which they had purchased, and before the end of December, probably in the third week, occurs the incident of the disappointing gift from the King of Prussia which makes its appearance in the record with something like a shout of “Good news!” from Schindler. Karl is busily occupied in preparations for his military career and upon him, until the arrival of Holz, appears to devolve the labor of writing and of carrying messages. The Conversation Book used by him on the 4th of December and the two following days bears a pathetic proof of Beethoven’s helplessness in the matter of figures. A page or so is filled with examples in simple multiplication--tables, without answers, of threes, fours, sevens, etc.--and the remark, “Then backwards.” Later Karl writes an explanation: “Multiplication is a simplified form of addition, wherefore examples are performed in the same manner. Each product is set under its proper place. If it consists of two digits, the left one is added to the product of the next. Here a small illustration: 2348 multiplied by 2.” It was thus that the great genius approaching his 56th birthday was employing his time while waiting in vain for the physicians who would not or could not answer his summons!

One joyful event brightened the solitary gloom of the sick-chamber in the middle of December. From Stumpff, of London, Beethoven received the 40 volumes of Dr. Arnold’s edition of the works of Handel which the donor had resolved to send Beethoven on his visit in 1824. Gerhard von Breuning pictures the joy of Beethoven at the reception of the gift, which he described as royal compared with that of the King of Prussia. One day the boy was asked to hand the big books from the pianoforte where they rested to the bed. “I have long wanted them,” said the composer to his faithful little friend, “for Handel is the greatest, the ablest composer that ever lived. I can still learn from him.” He leaned the books against the wall, turned over the pages, and ever and anon paused to break out into new expressions of praise. Von Breuning places these incidents in the middle of February, 1827, but his memory was plainly at fault. Schindler says the books arrived in December, and he is right, for Stumpff preserved the receipt for them, a letter and Reichardt’s “Taschenbuch für Reisende,” which is dated “December 14, 1826.” The gift was sent through the son of Stumpff’s friend Streicher.

Stephan von Breuning had called on Beethoven shortly after his arrival and the work of making a soldier of Karl was begun at once. It was expected that the preparations would occupy only a few days, but they dragged themselves through the month of December, owing partly, no doubt, to an illness which befell the Councillor. There were formal calls to be made upon the Lieut. Field Marshal and other officers, a physical examination to be undergone (it was most perfunctory), uniforms to be provided, the oath of service to be taken, and his monthly allowance to be fixed. All this was disposed of by the date of the first tapping, and it was expected that he would set out to join his regiment at Iglau before the Christmas holidays. There is no evidence of a change in the attitude towards each other of uncle and nephew. Some of Karl’s entries in the Conversation Books betray a testiness which is in marked contrast to Beethoven’s obvious solicitude for the young man’s position and comfort in his regiment; but the entries also indicate that illness had not sweetened the disposition of the sufferer. His outbursts of rage are the subject of warnings from physicians and friends. We have Schindler’s word for it that Beethoven became cheerful after the graceless youth’s departure for Iglau on January 2nd, and the testimony of the Conversation Book that the old year closed upon a quarrel between the two. Karl writes this greeting on New Year’s day: “I wish you a happy new year, and it grieves me that I should have been compelled already in the first night to give cause for displeasure. It might easily have been avoided, however, if you had but given the order to have my meal taken to my room.”

It is very possible that Beethoven’s spirits grew lighter after the departure of his nephew. The service which Karl gave his uncle seems frequently to have been given grudgingly and no doubt looked more ungracious than it may really have been, when accompanied by protests that he would not be found failing in duty and petulant requests that he be spared upbraidings and torments. To satisfy the singular mixture of affectionate solicitude and suspicion which filled Beethoven’s heart and mind would perhaps have taxed the philosophy of a wiser as well as gentler being than this young man, who, as Johann’s wife told the composer in Gneixendorf, had inherited the testy family temper. When open quarrels were no longer possible, it is likely that a greater contentment than had lodged there for a long time filled Beethoven’s soul. There is no record of the parting, and it is safe to assume that it passed off without emotional demonstration of any kind. But Beethoven’s thoughts went swiftly towards his self-assumed duty of providing for the young man’s future. The very next day he wrote the following letter to Dr. Bach:

[Sidenote: PROVIDING FOR THE NEPHEW’S FUTURE]

Vienna, Wednesday January 3, 1827.

Before my death I declare my beloved nephew my sole and universal heir of all the property which I possess in which is included chiefly seven bank shares and whatever money may be on hand. If the laws prescribe a modification in this I beg of you as far as possible to turn it to his _advantage_. I appoint you his _curator_ and beg his guardian, Court Councillor von Breuning, to take the place of a father to him. God preserve you. A thousand thanks for the love and friendship which you have shown me.

(L. S.) Ludwig van Beethoven.

From Gerhard von Breuning’s account of the last days of Beethoven it would seem that this letter, though written on January 3rd, and then addressed to his legal adviser, was not signed until shortly before his death, and that at intervals in the interim it was the subject of consultations between the composer, Bach, Breuning, Schindler and Johann. Certain it is that before dispatching the letter to Bach, Beethoven submitted it to von Breuning for an opinion. Gerhard carried it to his father and brought back an answer which may have postponed its formal execution and delivery till two days before Beethoven died. Stephan von Breuning was not willing that Karl should enter upon unrestricted possession of the property immediately upon the death of his uncle. In his letter he pointed out that till now Karl had shown himself frivolous and that there was no knowing what turn his character might take as a result of the new life upon which he had entered. He therefore advised that for the young man’s own good and future safety he be prohibited from disposing of the capital of his inheritance, either during his lifetime or for a term of years after he had reached his majority, which under the Austrian law then prevailing was the age of 24 years. He argued that the income from the legacy would suffice for his maintenance for the time being and that to restrict him in the disposition of the capital would ensure him against the possible results of frivolous conduct before he should ripen into a man of solid parts. He recommended that Beethoven talk the matter over with Bach and wanted then to consult with both of them, as he feared that even a temporary restriction would not suffice to restrain Karl from making debts which in time would devour the inheritance when he should enter upon it. How Beethoven received this advice we shall learn later.

There is little that need be added to the story of the nephew. He was with his regiment at Iglau. Through Schindler, Beethoven wrote him a letter. It is lost, but apparently it contained an expression of dissatisfaction with Dr. Wawruch, for in the reply, which has been preserved, Karl says: “Concerning yourself I am rejoiced to know that you are in good hands. I, too, had felt some distrust of the treatment of your former (or, perhaps, present?) physician; I hope improvement will now follow.” He reports about his situation in the regiment, asks for money and the flute part of the Pianoforte Concerto in B-flat (Op. 19), which one of the officers of the regiment wished to play, and adds in a postscript: “Do not think that the little privations to which I am now subjected have made me dissatisfied with my lot. On the contrary, rest assured that I am living in contentment, and regret only that I am separated so far from you. In time, however, this will be different.” But communications from the young man are not many, and Schindler’s rebukes and complaints in the Conversation Books about his undutifulness are probably only a reflex of Beethoven’s moods and utterances. One cause of dissatisfaction was the fact that a letter to Smart had been sent to him for translation and was not promptly returned. But he acknowledges the receipt of money towards the end of February, and on March 4th he writes another letter, which has been preserved. He sends his thanks for a pair of boots, says the translation of the letter to Smart must have been received, and adds:

To-day a cadet returned to his batallion who had been in Vienna on a furlough; and he reports having heard that you had been saved by an ice and are feeling well. I hope the report is true, no matter what the means may have been... Write me very soon about the state of your health ... I kiss you. Your loving son Charles.

Here Karl van Beethoven practically disappears from this history. He never saw his uncle in life again, nor even in death, for he was not present at the funeral--as indeed in those days of tardy communication and slow conveyance he could not be.

[Sidenote: SCENES IN THE COMPOSER’S SICK-ROOM]

Notwithstanding that they do not make a complete record, since the slate was also, and indeed largely, used by Beethoven’s visitors, and despite the fact that they have not been left intact, but bear evidences of mutilation and falsification, the Conversation Books furnish a more vivid and also a more pathetic picture of Beethoven’s sick-room than the writings of Schindler and Gerhard von Breuning. Busy about the couch of the patient we see his brother Johann and his nephew Karl, besides Schindler, Holz and Stephan von Breuning. The visits of the last are interrupted by illness and his official labors, but his son, the lad Gerhard, frequently lends a gracious touch to the scene by his familiar mode of address, his gossip about his father’s domestic affairs and his suggestions of intellectual pabulum for his august friend. He is a daily message-bearer between the two households. Even at a sacrifice of space it is necessary to recount a few incidents of small intrinsic interest in order that some errors in history may be rectified. Notwithstanding Schindler’s obvious efforts to have the contrary appear, Holz continues to be faithful in attendance, though his visits are not so numerous as they were during the weeks of Beethoven’s great trial in the summer. The reason was obvious and certainly not to his discredit, though Schindler attempted to belittle it. Holz took unto himself a wife about the time that Beethoven returned to Vienna. Thitherto he had been able to devote a large portion of the time not given to official duties to his friend. Now, this was no longer possible; nor was it necessary after Dr. Wawruch had assumed care of the case. Beethoven’s brother also returned to Vienna and Schindler found his way back to the composer’s side within a fortnight. It is Holz, however, who looks after the correction and publication of the last compositions, and collects his annuity; and if it were necessary, his apologists might find evidence of Beethoven’s confidence in his friendship and integrity in the fact that there is no indication that he ever questioned his honesty in money matters, while there is proof in Schindler’s own handwriting that Beethoven thought _him_ capable of theft. It is pitiful that while Schindler is sacrificing himself in almost menial labors, Beethoven forces him to a pained protestation that he had returned the balance of a sum placed in his hands wherewith to make purchases. Schindler himself records the fact of Beethoven’s suspicion with sorrow. A livelier sense of gratitude took possession of the sufferer later and found expression in gifts of autograph scores (of the Ninth Symphony, for instance, now in the Royal Library[166] at Berlin), and a promise, which he was unable to fulfill, to take part in a concert for Schindler’s benefit.

Whether Schindler was always as scrupulously honest in his attitude towards the public as he was in his dealings with Beethoven may be doubted. There are mutilations, interlineations and erasures in the Conversation Books which it is difficult to believe were not made for the purpose of bolstering up mistaken statements in his biography, which had already been published when the documents passed out of his hands into the possession of the Royal Library. Here is a case in point: Schuppanzigh has called and reported that one of Beethoven’s quartets had been enthusiastically received by the public at a performance on the preceding Sunday (December 10, 1826). To what seems to have been an oral comment, Beethovens adds the words and music of the motto from the Quartet in F: “Muss es sein? Es muss sein.” This moves Schuppanzigh to say: “But does he”--(Beethoven, of course, whom Schuppanzigh addresses in the third person as usual)--“does he know that the dirty fellow has become my enemy on that account?” Here we have an unmistakable allusion to the anecdote about Dembscher and the origin of the Canon on the theme of the finale of the F major Quartet. A few pages later Schindler is the writer and has just brought the news of the arrival of the ring presented to Beethoven by the King of Prussia. He had been asked to carry the ring to Beethoven, but had been unwilling to accept it unless he could give Beethoven’s receipt for it in exchange. He adds the words “Es muss sein” as if in answer to a question by Beethoven. Now appear squeezed in between the music and the edge of the sheet the words: “The Old Woman (_Die Alte_) is again in need of her weekly allowance.” The handwriting is plainly of a different date and at the time of the conversation the “Old Woman” was not in Beethoven’s employ.[167] It is not easy to acquit Schindler of a sinister motive here nor to avoid the suspicion that it was his hand which made an attempt to obliterate the entry on December 5, which proves that Holz sent for Dr. Wawruch on that date and thus gives the lie to the infamous story about Karl and the billiard _marqueur_. The evidences of Schindler’s eagerness to encourage Beethoven’s detestation of his brother and his suspicion of his nephew are too numerous to be overlooked, and some of them may call for mention later.

An offer by Gerhard von Breuning to bring one of his school-books containing pictures of classic antiquities is an evidence of the lad’s familiarity with Beethoven’s literary tastes. It was Brother Johann, however, who suggested the novels of Sir Walter Scott for his entertainment, and the impression conveyed by the story that after beginning “Kenilworth” Beethoven threw the volume down with the angry remark: “To the devil with the scribbling! The fellow writes only for money,” that the composer would have no more of the novelist, is rudely disturbed by evidence that Beethoven read all of Scott’s works which were to be found in translation in the circulating library. Beethoven later himself calls for Ovid’s “Metamorphoses”; and his interest in international politics is so keen that he is not content with an abstract of Channing’s great speech of December 12, 1826, but expresses a desire to read a full report.

[Sidenote: DISSATISFIED WITH HIS PHYSICIAN]

While Beethoven’s friends are discussing with Dr. Wawruch the necessity of a second tapping, and Karl is packing his boxes for Iglau, the year 1826 ends. The surgeon Seibert seems to have advised a postponement of the operation. In a conversation on January 6, 1827, Schindler says to Beethoven: “Then Hr. Seibert was really right in still postponing the second operation, for it will probably make a third unnecessary.” There are now signs of Beethoven’s dissatisfaction with the attending physician. Gerhard von Breuning has much to say on the point in his little book, and Schindler joins in the criticism many years after Beethoven’s death; but in the Conversation Books he appears more than once as Wawruch’s defender. From von Breuning we learn that while at a later date Malfatti’s coming was awaited with eagerness and hailed with unfeigned gladness, Wawruch’s visits were ungraciously received, Beethoven sometimes turning his face to the wall and exclaiming “Oh! the ass!” when he heard his name announced. But in the first week of January, Schindler is still concerned in keeping up the patient’s faith in the skill of his physician. In a Conversation Book he writes shortly after the remark about the surgeon:

He understands his profession, that is notorious, and he is right in following a safe course.--I have a great deal of confidence in him, but I can not speak from experience.--However, he is known as an able man and is esteemed by his students. But as we are here concerned with a _carum caput_ my advice from the beginning has been always to take into consultation a physician who is familiar with your constitution from _medical treatment_; such an one generally adopts very different measures.

Evidently, Beethoven renews his expression of distrust. Schindler continues:

Yet it is better and more advisable not to lose confidence in the physician, for after all he has done a great deal.--It is a very well-known fact that dropsy is very slow of cure.--Shall I come when the doctor is here?

A few days later (January 8, says Schindler, who was present) the second operation took place. There were no complications, the tapping was accomplished without difficulty and Dr. Seibert reported that the water was clearer and the outflow greater than the first time. Ten measures were drawn off. On January 11 there was a consultation of physicians to which, besides either Dr. Braunhofer or Staudenheimer, Dr. Malfatti had been called. It had become an ardent wish of Beethoven’s that Malfatti undertake his case, but Malfatti had refused, pleading professional ethics, but no doubt actuated by reasons of a more personal character. Many years before, probably as early as 1813, he had been not only Beethoven’s physician but also his friend; indeed, he was an uncle of the Therese Malfatti to whom the composer once made an offer of marriage. He made, what it is easy to imagine to have been, the experience of all the medical men who undertook the care of the great man. Beethoven was ever a disobedient and impatient patient. He became dissatisfied with Dr. Malfatti’s treatment and commented upon it and him in such a manner as to cause a serious and lasting estrangement. Ten years at least had elapsed between this incident and the time when Beethoven’s longing went out towards his one-time professional friend. Schindler’s story of the disappointments which he suffered when first he tried to persuade Dr. Malfatti to take the case in hand was printed in the “Frankfurter Konversationsblatt” of July 14, 1842. It was a long time afterward, and we can not withhold a suspicion that it is rather highly colored, but since the coming of Malfatti was a matter of large moment to Beethoven and the treatment which he recommended (strictly speaking, he can not be said to have prescribed it, for Dr. Wawruch remained in charge of the case to the end) has a large bearing upon Beethoven’s physical condition and its causes, it may be told here. Schindler writes, in his communication to the Frankfort newspaper:

Never shall I forget the harsh words of that man which he commissioned me to bear to the friend and teacher who lay mortally ill, when after the second operation (January 8) I repeatedly carried to him the urgent requests of Beethoven that he come to his help or he should die. Dr. Wawruch did not know his constitution, was ruining him with too much medicine. He had already been compelled to empty 75 bottles, without counting various powders, he had no confidence in this physician, etc. To all of these representations Malfatti answered me coldly and drily: “Say to Beethoven that he, as a master of harmony, must know that I must also live in harmony with my colleagues.” Beethoven wept bitter tears when I brought him this reply, which, hard as it was, I had to do, so that he might no longer look for help to that quarter.... Though Malfatti finally took pity on poor Beethoven and abolished Wawruch’s medicine bottles at once and prescribed an entirely different course of treatment, despite the pleadings of the patient he refused to remain his _ordinarius_ and visit him often. On the contrary, he came only at long intervals and contented himself with occasional reports from me as to the sick man’s condition. He was not willing even to send one of his assistants to Beethoven and consequently Dr. Wawruch remained his daily visitor in spite of Beethoven’s protests.

[Sidenote: RECONCILIATION WITH DR. MALFATTI]

On January 19, after a second visit to Dr. Malfatti, Schindler wrote to Beethoven saying that the Doctor would come to him and begging him to seek a reconciliation, inasmuch as Malfatti still cherished resentment because of the treatment which he had received a decade before at Beethoven’s hands. Malfatti came, a reconciliation was effected, and under the inspiration of the changed treatment which Malfatti introduced Beethoven’s spirits rose buoyantly, his physical condition responded and the despair which had begun to fill the sufferer gave way to a confident hope of recovery. The treatment was simple, but the improvement which it brought about was not lasting. Malfatti put away the drugs and decoctions and prescribed frozen punch, and rubbing the patient’s abdomen with ice-cold water. Dr. Wawruch in his history of the case confirms Schindler’s statement of the beneficial results which were at first attained. He says:

Then Dr. Malfatti, who thenceforth supported me with his advice, and who, as a friend of Beethoven of long years’ standing understood his predominant inclination for spirituous liquors, hit upon the notion of administering frozen punch. I must confess that the treatment produced excellent effects for a few days at least. Beethoven felt himself so refreshed by the ice with its alcoholic contents that already in the first night he slept quietly throughout the night and began to perspire profusely. He grew cheerful and was full of witty conceits and even dreamed of being able to complete the oratorio “Saul and David”[168] which he had begun. But this joy, as was to have been foreseen, did not last long. He began to abuse the prescription and applied himself right bravely to the frozen punch. The spirits soon caused a violent pressure of the blood upon the brain, he grew soporous, breathed stertorously like an intoxicated person, began to wander in his speech, and a few times inflammatory pains in the throat were paired with hoarseness and even aphony. He became more unruly and when, because of the cooling of the bowels, colic and diarrhœa resulted, it was high time to deprive him of this precious refreshment.

Wawruch’s remark here about Beethoven’s predilection for spirituous liquors formed the basis for Schindler’s charge, which has already been discussed, that the physician had slandered Beethoven and had tried to create the impression that he had contracted dropsy by inordinate use of alcoholic drinks. The account of the beneficial effect of Malfatti’s coming, no less than the treatment which he prescribed, is reasonable enough. Beethoven no doubt, in the warm glow of a recovered friendship, gave the physician a full measure of confidence and hailed in him much more than the ordinary professional leech. It is also safe to assume that Malfatti knew from the beginning that a cure was impossible and strove at once for temporary relief, which in Beethoven’s case was the surest of means for cheering him up and reanimating hope within him. By administering frozen punch he stimulated the jaded organs more successfully than Wawruch had succeeded in doing; at the same time he warned against excess in its use and forbade the patient taking it in a liquid form. But this was only at the beginning; when he saw the inevitable end approaching he waived all injunctions as to quantity. Schindler says:

The quantity of frozen punch permitted in the first weeks was not more than one glass a day. Not until after the fourth operation (February 27th), when it was seen that the case was hopeless, were all restrictions removed. The noble patient, feeling the marked effects of a doubled and even trebled allowance meanwhile, thought himself already half saved and wanted to work on his tenth symphony, which he was allowed to do to a small extent. From these days, so extraordinary in the sight of the friends who surrounded him, the last lines are dated which he wrote to me on March 17--nine days before his death--the very last page which the immortal master wrote with his own hands:

“Miracles! Miracles! Miracles! The highly learned gentlemen are both defeated! Only through Malfatti’s science shall I be saved. It is necessary that you come to me for a moment this forenoon.”

The reiteration of the word “miracles” is indicated by the usual musical sign of repetition 𝄎. There is no date in Beethoven’s handwriting, but Schindler has endorsed it: “Beethoven’s last lines to Schindler on March 17, 1827.” The endorsement is of a later date and marks another obvious error of memory. It is not possible that Beethoven wrote the letter after he had himself abandoned all hope of recovery, as he had before the date affixed by Schindler. Most obviously the pathetic document is an outburst of jubilation on feeling the exhilaration consequent on Malfatti’s prescription, as mentioned in Dr. Wawruch’s report. Schindler says that the “learned gentlemen” referred to were Wawruch and Seibert. Wawruch says that Beethoven abandoned hope after the fourth tapping; Johann van Beethoven records that the physicians declared him lost on March 16. Schindler in his biography describes a letter written in February as the last letter actually written by the composer.

[Sidenote: TREATMENT OF THE PATIENT]

Gerhard von Breuning, prejudiced as he was against Dr. Wawruch, was yet far from unqualified in his praise of Malfatti. He says:

But the usually brilliant physician seems to have been little inspired in the presence of Beethoven. The frozen punch which he prescribed to restore the tone of the digestive organs, excessively weakened by Wawruch’s overload of medicaments, had, indeed, the desired restorative effect; but it was too transient. On the other hand a sort of sweat-bath prescribed a few days after the second[169] operation was so obviously injurious to the patient, filled with longing and hope, that it had to be abandoned at once. Jugs filled with hot water were arranged in a bath-tub and covered thickly with birch leaves on which the patient was seated, all of his body but the head being covered with a sheet. Malfatti hoped for a beneficient action upon the skin and to put the organs into a productive perspiration. But the very opposite effect resulted. The body of the patient, which had been emptied of its water by the scarcely completed tapping, attracted the moisture developed by the bath like a block of salt; it swelled visibly in the apparatus and in a few days compelled the introduction anew of the tube into the still unhealed puncture.

The story of this sweat-bath needs to be told, if for no other reason than because it is the basis of another of the romances still current, which were retailed for the single purpose of presenting Beethoven as a sufferer from the niggardliness of Johann. On January 25 (the date is fixed by a remark of Johann’s in the Conversation Book) Schindler brought word to Beethoven that the mother of the singer Fräulein Schechner had sent for him that morning to tell him about two remedies which had proved efficacious in the case of her father, who had also been afflicted with dropsy. One of these was Juniperberry tea, the other a vapor bath from a decoction, the ingredients of which were a head of cabbage, two handfuls of caraway seeds and three handfuls of hayseed (_Heublumen_). These remedies had been prescribed by the physician of the late King of Bavaria and had worked a cure in the case of Madame Schechner’s father when he was 70 years old. Dr. Malfatti seems to have been told of these remedies and to have prescribed the bath, which, it is said in the Conversation Books, he recognized at once as a cure used by Dr. Harz, the Royal Physician mentioned. Within a day or two Schindler notes in the book, that he had asked Johann for some hay and the latter had replied that his hay was not good enough for the purpose; but the next day, on seeing the hay, which had been procured from another source, Johann had said that he had plenty of that sort and that his was dryer. Unwilling, apparently, to admit that Johann might have been honest in his belief that the hay from his stable was not fit for medicinal purposes, Schindler writes for Beethoven’s perusal: “Is it not abominable that he is unwilling even to give hay for a single bath!” Yet this monster of inhumanity, unwilling to sacrifice even a wisp of hay for a dying brother, was at the time in daily attendance upon that brother and had taken upon himself a great deal of the onerous and disagreeable labor of the sick-room!

Among Beethoven’s visitors in February, near the end of the month, when Beethoven was at an extremity of his suffering, was the singer Demoiselle Schechner, who almost forced her way to the bedside to tell him of her great admiration for his music, of her successes in “Fidelio,” and that it was through singing his “Adelaide” that she had won her way to the operatic stage. Under date of February there also came to the composer a cheery letter from his old playmate Wegeler, calling to his mind some of his early flames--Jeanette Honrath and Fräulein Westerholt--and playfully outlining a plan by which the old friends might enjoy a reunion: he would send, he said, one of his patients to Carlsbad and go there with him as soon as Beethoven should arrange also to go there for his convalescence. Then, after a three weeks’ trip through South Germany, there should be a final visit to the home of their childhood. And, as before, Eleonore sends a postscript emphasizing the pleasures of the reunion. Beethoven answered the letter on February 17, and told his old friend how he had tried to send him a letter and portrait through Stephan von Breuning on December 10, but the plan had miscarried. Now the matter was to be entrusted to the Schotts.

Zmeskall, faithful to the old friendship, a bound prisoner to his room through gout, sends greetings and inquiries through Schindler. From his sick-bed Beethoven answers him, not in the jocular spirit which marked his voluminous notes of old, but in terms which breathe sincerity and real friendship:

A thousand thanks for your sympathy. I do not despair. The most painful feature is the cessation of all activity. No evil without its good side. May heaven but grant you amelioration of your painful existence. Perhaps health is coming to both of us and we shall meet again in friendly intimacy.

[Sidenote: COMFORT RECEIVED FROM ENGLAND]

Though Beethoven had received the Handel scores in December, he does not seem to have had an opportunity to enjoy Stumpff’s gift thoroughly until he turned to them for intellectual refreshment on his bed of pain. He had signed the receipt for them in December, but it was not until his thoughts turned to his English friends in the hope of pecuniary relief that he wrote a letter to Stumpff under date of February 8.[170]

How great a joy the sending of the works of Handel of which you made me a present--for me a royal present!--this my pen cannot describe. An article about it was even printed by the newspaper, which I enclose. Unfortunately I have been down with the dropsy since the 3rd of December. You can imagine in what a situation this places me! I live generally only from the proceeds of my brain, to make provision of all things for myself and my Carl. Unhappily for a month and a half I have not been able to write a note. My salary suffices only to pay my semi-annual rent, after which there remains only a few hundred florins. Reflect now that it cannot yet be determined when my illness will end, I again be able to sail through the air on Pegasus under full sail. Doctor, surgeon, everything must be paid.

I recall right well that several years ago the Philharmonic Society wanted to give a concert for my benefit. It would be fortunate for me if they would come to this determination now. It might save me from all the needs which confront me. On this account I am writing to Mr. S. [Smart] and if you, my dear friend, can do anything toward this end I beg of you to coöperate with Mr. S. Moscheles will also be written to about it and if all my friends unite I believe that something can be done for me in this matter.

Concerning the Handel works for H. Imperial Highness Archduke Rudolph, I cannot as yet say anything with certainty. But I will write to him in a few days and remind him of it.

While thanking you again for your glorious gift, I beg of you to command me if I can be of service to you here in any way, I shall do it with all my heart. I again place my condition as I have described it close to your benevolent heart and while wishing you all things good and beautiful, I commend myself to you.

Stumpff had already been informed of Beethoven’s illness by Streicher. It is evident that he went at once to Smart and Moscheles, and knowledge of Beethoven’s condition and request was communicated to the directors of the Philharmonic Society forthwith. Beethoven, meanwhile, had written to both Smart and Moscheles, enclosing the letter of the former in the letter to the latter; but the quick and sympathetic action of the Society was no doubt due primarily to the initiative of Stumpff, for the letters could by no means have reached London when the directors held a meeting on February 28. Mr. Dance presided, and those present, as recorded in the Society’s minutes, were F. Cramer, Horsley, Moralt, Dragonetti, Neate, Dizi, Beale, T. Cooke, Sir G. Smart, Welsh, Latour, Spagnoletti, Calkin, J. B. Cramer, Cipriani Potter and Watts. The minutes continue:

It was moved by Mr. Neate, and seconded by Mr. Latour:

“That this Society do lend the sum of One Hundred Pounds to its own members to be sent through the hands of Mr. Moscheles to some confidential friend of Beethoven, to be applied to his comforts and necessities during his illness.”

Carried unanimously.

Both Stumpff and Moscheles wrote the good news to Beethoven the next day. Moscheles’s letter appears in his translation, or rather paraphrase, of Schindler’s biography. In it he said:

The Philharmonic Society resolved to express their good will and lively sympathy by requesting your acceptance of 100 pounds sterling (1,000 florins) to provide the necessary comforts and conveniences during your illness. This money will be paid to your order by Mr. Rau, of the house of Eskeles, either in separate sums or all at once as you desire.

He added an expression of the Philharmonic Society’s willingness to aid him further whenever he should inform it of his need of assistance. Beethoven’s impatience was so great that, having found Smart’s address among his papers, he wrote him a second letter on March 6th, being able now to mention the fact of the fourth tapping on February 27th and to utter the apprehension that the operation might have to be repeated--perhaps more than once. On March 14th he was still without the answer of his English friends and he wrote again to Moscheles telling him of the two letters sent to Smart, urging action and concluding with

Whither is this to lead, and what is to become of me if this continues for a while longer? Verily, a hard lot has befallen me! But I yield to the will of fate and only pray God so to order it in his Divine Will that so long as I must endure this death in life I may be protected against want. This will give me strength to endure my lot, hard and terrible as it may be, with submission to the will of the Most High.... Hummel is here and has already visited me a few times.

Schindler says that the appeal to London, which had been suggested by Beethoven, had been discussed with the composer by himself and Breuning, who agreed in questioning the advisability of the step which, they said, would make a bad impression if it became known. They reminded Beethoven of his bank-shares, but he protested vigorously against their being touched; he had set them apart as a legacy for his nephew which must not be encroached upon. The letters to Smart and Moscheles are mentioned several times in the Conversation Books, but there is no record of a protest by Schindler or Breuning. Inasmuch, however, as much of the conversation with Beethoven was at this time carried on with the help of a slate, it is very likely that Schindler’s statement is correct. At any rate it serves to give a quietus to the fantastic notion of the romancers that Beethoven had forgotten that he had the shares. Not only were they talked about by his friends, but they were the subject of discussion in the correspondence and congratulations between Beethoven, Bach and Breuning on the subject of the will.

The last letters to Smart and Moscheles were scarcely dispatched before advices were received from London. Beethoven dictated the following acknowledgment which Schindler, though he held the pen, did not reproduce in full in his biography:

[Sidenote: MONEY FROM THE LONDON PHILHARMONIC]

Vienna, March 18, 1827.

My dear good Moscheles:

I can not describe to you in words with what feelings I read your letter of March 1. The generosity with which the Philharmonic Society anticipated my petition has touched me in the innermost depth of my soul. I beg you, therefore, my dear Moscheles, to be the agency through which I transmit my sincerest thanks for the particular sympathy and help, to the Philharmonic Society.

I found myself constrained to collect at once the entire sum of 1,000 florins C. M. being in the unpleasant position of raising money which would have brought new embarrassments.

Concerning the concert which the Philharmonic Society has resolved to give, I beg the Society not to abandon this noble purpose, and to deduct the 1,000 florins already sent to me from the proceeds of the concert. And if the Society is disposed graciously to send me the balance I pledge myself to return my heartiest thanks to the Society by binding myself to compose for it either a new symphony, which lies already sketched in my desk, a new overture or whatever else the Society shall wish.

May heaven very soon restore me again to health, and I will prove to the generous Englishmen how greatly I appreciate their interest in my sad fate. Their noble act will never be forgotten by me and I shall follow this with especial thanks to Sir Smart and Mr. Stumpff.

Schindler relates that Beethoven on March 24, whispered to him, “write to Smart and Stumpff,” and that he would have done so on the morrow had Beethoven been able to sign his name. In a translation of the letter to Moscheles printed in a pamphlet published by the Philharmonic Society in 1871,[171] it concluded as follows:

Farewell! with the kindest remembrances and highest esteem From your friend Ludwig van Beethoven.

Kindest regards to your wife. I have to thank you and the Philharmonic Society for a new friend in Mr. Rau. I enclose for the Philharmonic Society a metronomic list of the movements of my ninth Symphony.

Allegro ma non troppo 88 = 𝅘𝅥 Molto vivace 116 = 𝅗𝅥 Presto 116 = 𝅗𝅥 Adagio primo 60 = 𝅘𝅥 Andante moderato 63 = 𝅗𝅥 Finale presto 96 = 𝅘𝅥 Allegro ma non tanto 88 = 𝅘𝅥 Allegro assai 80 = 𝅗𝅥 Alla marcia 84 = 𝅘𝅥 Andante maestoso 72 = 𝅗𝅥 Adagio divoto 60 = 𝅗𝅥 Allegro energico 84 = 𝅗𝅥 Allegro ma non tanto 120 = 𝅗𝅥 Prestissimo 132 = 𝅗𝅥 Maestoso 60 = 𝅘𝅥

The history of the Philharmonic Society’s benefaction may properly be completed at this point. The money, as is to be seen from Beethoven’s acknowledgment, was collected by the composer at once. Herr Rau, of the banking-house of Eskeles to whom it had been entrusted, called upon Beethoven immediately on receiving advices from London. It was on March 15, and two days later he enclosed Beethoven’s receipt (dated March 16) in a letter to Moscheles which the latter transmitted to Mr. W. Watts, Secretary of the Philharmonic Society. Rau wrote:

I have with the greatest surprise heard from you, who reside in London, that the universally admired Beethoven is so dangerously ill and in want of pecuniary assistance, while we, here at Vienna, are totally ignorant of it. I went to him immediately after having read your letter to ascertain his state, and to announce to him the approaching relief. This made a deep impression upon him, and called forth true expressions of gratitude. What a satisfactory sight would it have been for those who so generously relieved him to witness such a touching scene! I found poor Beethoven in a sad way, more like a skeleton than a living being. He is suffering from dropsy, and has already been tapped four times; he is under the care of our clever physician Malfatti, who unfortunately gives little hope of his recovery.

How long he may remain in his present state, or if he can at all be saved, can not yet be ascertained. The joyous sensation at the sudden relief from London has, however, had a wonderful effect upon him; it made one of the wounds (which since the last operation had healed) suddenly burst open during the night, and all the water which had gathered since a fortnight ran out freely. When I came to see him on the following day he was in remarkably good spirits and felt himself much relieved. I hastened to Malfatti to inform him of this alteration and he considers the event as very consolatory. He will contrive to keep the wound open for some time and thus leave a channel for the water which gathers continually. Beethoven is fully satisfied with his attendants, who consist of a cook and housemaid. His friend and ours, Mr. Schindler, dines with him every day and thus proves his sincere attachment to him. S. also manages his correspondence and superintends his expenses. You will find enclosed a receipt from Beethoven for the 1,000 florins (or 100 pounds). When I proposed to him to take half of the sum at present, and to leave the rest with Baron Eskeles, where he might have it safely deposited, he acknowledged to me openly that he considered this money as a relief sent him from heaven; and that 500 florins would not suffice for his present want. I therefore gave him, according to his wish, the whole sum at once. Beethoven will soon address a letter to the Philharmonic Society by which he means to express his gratitude. I hope you will again accept my services whenever they can be of any use to Beethoven. I am, etc.

In a letter, dated March 24, Schindler wrote to Moscheles:

I much regret that you did not express more decidedly in your letter the wish that he should draw the 100 pounds by installments, and I agreed with Rau to recommend this course, but he (Beethoven) preferred acting on the last part of your letter. Care and anxiety seemed at once to vanish when he had received the money, and he said to me quite happily, “Now we can again look forward to some comfortable days.” We had only 340 florins, W. W. remaining and we had been obliged to be very economical for some time in our housekeeping.... His delight on receiving this gift from the Philharmonic Society resembled that of a child. A letter from that worthy man Stumpff arrived here two days before yours and all this affected Beethoven very much. Numberless times during the day he exclaimed. “May God reward them a thousandfold.”

On March 28 Rau wrote again to Moscheles:

Beethoven is no more; he died on the 26th inst. at five o’clock in the afternoon, in the most dreadful agonies of pain. He was, as I mentioned to you in my last letter, according to his own statement, without any relief, without any money, consequently in the most painful circumstances; but on taking an inventory of his property after his death, at which I was present, we found in an old half-mouldy chest, seven Austrian bank bills which amount to about 1,000 pounds. Whether Beethoven concealed these purposely, for he was very mistrusting, and hoped for a speedy recovery, or whether he was himself ignorant of his possession, remains a riddle. We found the whole of the 100 pounds which the Philharmonic Society sent him, and I reclaimed them according to your former orders.[172] but was compelled to deposit them with the magistrate until a further communication from that Society arrives. I could, of course, not permit the expenses of the burial to be paid out of this money without the consent of the Society. Beethoven’s nephew now succeeds to all his property. I hope to hear from you soon and explicitly what I am to do, and you may rest perfectly assured of my promptness and exactitude.

[Sidenote: MOSCHELES REPORTS TO LONDON]

Moscheles, “by return post,” as he assures Mr. Watts, asked Rau to send the £100 back to the Philharmonic Society “according to the conditions under which the money was sent.” A correspondence ensued between Moscheles and Hotschevar, who was appointed guardian of the nephew after Breuning’s death (on June 4, 1827), which ended in Moscheles’ (as he himself says) laying before the Philharmonic Society the case of young Beethoven (then under age) and soliciting them “not to reclaim the £100, but, in honor of the great deceased, to allow the small patrimony to remain untouched.” Meanwhile it appears from a letter from Schindler to Smart dated March 31,[173] that Schindler and Breuning applied a portion of the sum to the payment of the funeral expenses; “otherwise,” says the letter, “we could not have had him decently buried without selling one of the seven bank-shares which constitute his entire estate.” The sum thus expended is shown to have been 650 florins C. M. by the inventory preserved by Fischoff.

There are evidences outside of the importunate letters to London that Beethoven had frequent spells of melancholy during the period between the crises of his disease, which culminated in the third operation on February 2,[174] and the fourth. Some of them were, no doubt, due to forebodings touching the outcome of his illness; some to the anxiety which his financial condition gave him (more imaginary than real in view of the easily convertible bank-shares), and some presumably to disappointment and chagrin at the conduct of his nephew, who had not answered his letter to Iglau. Breuning explained that the negligence might be due to Karl’s time and attention being engrossed by the carnival gayeties at the military post, and warned Beethoven that to give way to melancholy was to stand in the way of recovery. We learn this from the Conversation Books, which also give glimpses of friendly visits calculated to divert the sick man’s mind and keep him in touch with the affairs of the city, theatre and the world at large. Doležalek, Schuppanzigh, and apparently Linke also, came in a group; Beethoven showed them the Handel scores and the conversation ran out into a discussion of international politics. Moritz Lichnowsky made a call and entertained him with the gossip of the theatres. Gleichenstein made several visits, and once brought with him his wife and son. The Countess was a sister of Therese Malfatti, to whom Beethoven had once made an offer of marriage, and was disappointed when Beethoven did not recognize her. About the middle of February Diabelli gave Beethoven a print-picture of Haydn’s birthplace, which he had published; Beethoven showed it to his little friend Gerhard von Breuning and said: “Look, I got this to-day. See this little house, and in it so great a man was born!”

[Sidenote: FRIENDS AROUND THE DEATH-BED]

On February 25 Holz is called by letter to look after the collection of Beethoven’s annuity. His visits have been infrequent, but evidently there are some things which Beethoven either cannot or will not entrust to anybody else. Schindler is ceaselessly and tirelessly busy with Beethoven’s affairs, but his statement that Breuning and he were the only persons who were much with the composer during his illness, except the lad, Gerhard von Breuning, must be taken with some grains of allowance. On 123 pages of the Conversation Books, covering the months of January and February, 1827 (the evidence of which can not be gainsaid, since the books were long in the hand of Schindler to do with as he willed), there are forty-eight entries by Johann van Beethoven, forty-six by Gerhard von Breuning and thirty by Breuning the elder. Schindler’s entries number 103. Other writers in the Books are Bernhard (1), Holz (7), Bach (2), Piringer (6), Haslinger (11), Schikh (1), Doležalek (4), Schuppanzigh (6), Moritz Lichnowsky (1), Gleichenstein (1), Jekel (1), Marie Schindler, Anton’s sister (1) and Wolfmayer (1).

Sometime in February--it was probably at the time when Beethoven’s mind was so fixedly bent on obtaining help from London--Schindler was either ill or suffering from an accident which kept him for a brief space from Beethoven’s bedside. The composer sent him a gift--a repast, evidently--and a letter of sympathy so disjointed in phrase as to give pitiful confirmation of Schindler’s statement that it was the last letter which Beethoven wrote with his own hand, and that at the time he could no longer think connectedly. It ran:

Concerning your accident, since it has happened, as soon as we see each other I can send to you somebody without inconvenience--accept this--here is something--Moscheles, Cramer--without your having received a letter--There will be a new occasion to write one Wednesday and lay my affairs to his heart, if you are not well by that time one of my--can take it to the post against a receipt. _Vale et fave_, there is no need of my assuring you of my sympathy in your accident--do take the meal from me, it is given with all my heart--Heaven be with you.

More pathetic than even this letter is the picture of the sufferer in his sick-room at the time of the fourth operation (February 27). So wretched are his surroundings that it is scarcely impossible to avoid the conviction that not poverty alone but ignorance and carelessness were contributary to the woeful lack of ordinary sick-room conveniences. Gerhard von Breuning says that after the operation the fluid which was drained from the patient’s body flowed half-way across the floor to the middle of the room; and in the C. B. there is a mention of saturated bedclothing and the physician suggests that oilcloth be procured and spread over the couch. Beethoven now gave up hope. Dr. Wawruch says: “No words of comfort could brace him up, and when I promised him alleviation of his sufferings with the coming of the vitalizing weather of Spring he answered with a smile: ‘My day’s work is finished. If there were a physician could help me his name should be called Wonderful.’ This pathetic allusion to Handel’s ‘Messiah’ touched me so deeply that I had to confess its correctness to myself with profound emotion.” The incident so sympathetically described bears evidence of veracity on its face; Handel’s scores were always in Beethoven’s mind during the last weeks of his life.

Among Beethoven’s visitors in February was Wolfmayer, whose coming must have called up a sense of a long-standing obligation and purpose in the composer’s mind.[175] On February 22nd he dictated a letter to the Schotts asking that the Quartet in C-sharp minor be dedicated to “my friend Johann Nepomuk Wolfmayer.” The letter then proceeds:

Now, however, I come with a very important request.--My doctor orders me to drink very good old Rhinewine. To get a thing of that kind unadulterated is not possible at any price. If, therefore, I were to receive a few small bottles I would show my gratitude to you in the Cæcilia. I think something would be done for me at the customs so that the transport would not cost too much. As soon as my strength allows you shall receive the metronomic marks for the Mass, for I am just in the period when the fourth operation is about to be performed. The sooner, therefore, that I receive the Rhinewine, or Moselle, the more beneficial it may be to me in my present condition; and I beg of you most heartily to do me this favor for which I shall be under an obligation of gratitude to you.

On March 1st he repeated his request:

I am under the necessity of becoming burdensome to you again, inasmuch as I am sending you a packet for the Royal Government Councillor Wegeler at Coblenz, which you will have the kindness to transmit from Mayence to Coblenz. You know without more ado that I am too unselfish to ask you to do all these things gratuitously.

I repeat my former request, that, namely, concerning old white Rhinewine or Moselle. It is infinitely difficult to get any here which is genuine and unadulterated, even at the highest price. A few days ago, on February 27, I had my fourth operation, and yet I am unable to look forward to my complete recovery and restoration. Pity your devoted friend

Beethoven.

[Sidenote: WINE AND DELICACIES FOR THE SUFFERER]

On March 8 the Schotts answered that they had forwarded a case of twelve bottles of Rüdesheimer Berg of the vintage of 1806, _via_ Frankfort, but in order that he might the sooner receive a slight refreshment, they had sent that day four bottles of the same wine, two pure and two mixed with herbs, to be used as a medicine which had been prescribed for his disease. The prescription had come, they said, from a friend who had cured many persons of dropsy with it. Before the wine reached Vienna, on March 10, Beethoven wrote again to the Schotts:

According to my letter the Quartet was to be dedicated to one whose name I have already sent to you. Since then there has been an occurrence which has led me to make a change in this. It must be dedicated to Lieut.-Fieldmarshal von Stutterheim to whom I am deeply indebted. If you have already engraved the first dedication I beg of you, by everything in this world, to change it and I will gladly pay the cost. Do not accept this as an empty promise; I attach so much importance to it that I am ready to make any compensation for it. I enclose the title. As regards the shipment to my friend, the Royal Prussian Government Councillor v. Wegeler in Coblenz, I am glad to be able to relieve you wholly. Another opportunity has offered itself. My health, which will not be restored for a long time, pleads for the wines which I have asked for and which will certainly bring me refreshment, strength and health.

There are evidences that the wine was received on March 24. On March 29 the Schotts, under the impression that Beethoven was still alive, wrote him again. Baron Pasqualati, in whose house he had lived for a long time, an old friend, joined his new friends, the publishers, in an effort to contribute to his physical comfort and well-being. There are several little letters in which Beethoven acknowledges the receipt of contributions from his cellar and larder. One of these, most likely the first, has been endorsed by a strange hand as having been sent or received on March 6. It reads:

Hearty thanks for your health-gift; as soon as I have found out which of the wines is the most suitable I will let you know, but I shall abuse your kindness as little as possible. I am rejoicing in the expectation of the compotes and will appeal to you often for them. Even this costs me an exertion. _Sapienta pauca_--Your grateful friend

Beethoven.

And a little while afterwards he writes:

I beg you again to-day for a cherry compote, but without lemons, entirely simple; also I should be glad to have a light pudding, almost a suggestion of a gruel--my good cook is not yet adept in food for the sick. I am allowed to drink _champagne_, but for the time being I beg you to send a champagne glass with it. Now as regards the wine: At first Malfatti wanted only Moselle; but he asserted that there was none genuine to be obtained here; he therefore himself gave me several bottles of Krumpholz-Kirchner and claims that this is the best for my health, since no Moselle is to be had. Pardon me for being a burden and ascribe it to my helpless condition.

And again:

How shall I thank you enough for the glorious champagne? How greatly has it refreshed me and will continue to do so! I need nothing to-day and thank you for everything--whatever conclusions you may draw in regard to the wines I beg of you to note that I would gladly recompense you to the extent of my ability.--I can write no more to-day. Heaven bless you for everything and for your affectionate sympathy.

Still another:

Many thanks for the food of yesterday, which will also serve for to-day.--I am allowed to eat game; the doctor thinks that _Krametsvögel_ (Fieldfares) are good and wholesome for me. This for your information, but it need not be to-day. Pardon my senseless writing--Weary of night vigils--I embrace and reverence you.

And finally this, presumably last, letter:

My thanks for the food sent yesterday. A sick man longs for such things like a child and therefore I beg you to-day for the peach compote. As regards other food I must get the advice of the physicians. Concerning the wine they consider the Grinzinger beneficial but prefer old Krumpholz Kirchener over all others.--I hope this statement will not cause you to misunderstand me.

Others who sent him gifts of wine were Streicher and Breuning, and, as we see from one of the letters, Malfatti himself. There is considerable talk in the C. B. about wine. His days were numbered--why should any comfort be denied him?

[Sidenote: THE REPUTED VISIT BY SCHUBERT]

Concerning the last few days of his life the Conversation Books provide absolutely no information. There is no record of the visit of Schubert to the bedside of the dying man, but the account given by Schindler is probably correct in the main. On page 136 of the second volume of his biography of Beethoven, Schindler says:

As only a few of Franz Schubert’s compositions were known to him and obsequious persons had always been busily engaged in throwing suspicion on his talent, I took advantage of the favorable moment to place before him several of the greater songs, such as “Die junge Nonne,” “Die Bürgschaft,” “Der Taucher,” “Elysium” and the Ossianic songs, acquaintance with which gave the master great pleasure; so much, indeed, that he spoke his judgment in these words: “Truly, the divine spark lives in Schubert,” and so forth. At the time, however, only a small number of Schubert’s works had appeared in print.

Here no date is fixed for the incident and a little suspicion was cast upon the story because of the fact that only “Die junge Nonne” of all the songs mentioned had been published at the time of Beethoven’s death. Schindler helped himself measurably out of the dilemma by saying in an article published in the “Theaterzeitung” of May 3, 1831, that many of the songs which he laid before Beethoven were in manuscript. He contradicts his statement made in the biography, however, by saying: “What would the great master have said had he seen, for instance the Ossianic songs, ‘Die Bürgschaft,’ ‘Elysium,’ ‘Der Taucher’ and other great ones which have only recently been published?” As usual, Schindler becomes more explicit when he comes to explain one of his utterances. Now he says:

As the illness to which Beethoven finally succumbed after four months of suffering from the beginning made his ordinary mental activity impossible, a diversion had to be thought of which would fit his mind and inclinations. And so it came about that I placed before him a collection of Schubert’s songs, about 60 in number, among them many which were then still in manuscript. This was done not only to provide him with a pleasant entertainment, but also to give him an opportunity to get acquainted with Schubert in his essence in order to get from him a favorable opinion of Schubert’s talent, which had been impugned, as had that of others by some of the exalted ones. The great master, who before then had not known five songs of Schubert’s, was amazed at their number and refused to believe that up to that time (February, 1827) he had already composed over 500 of them. But if he was astonished at the number he was filled with the highest admiration as soon as he discovered their contents. For several days he could not separate himself from them, and every day he spent hours with Iphigenia’s monologue, “Die Grenzen der Menschheit,” “Die Allmacht,” “Die junge Nonne,” “Viola,” the “Müllerlieder,” and others. With joyous enthusiasm he cried out repeatedly: “Truly, a divine spark dwells in Schubert; if I had had this poem I would have set it to music”; this in the case of the majority of poems whose material contents and original treatment by Schubert he could not praise sufficiently. Nor could he understand how Schubert had time to “take in hand such long poems, many of which contained ten others,” as he expressed it.... What would the master have said had he seen, for instance, the Ossianic songs, “Die Bürgschaft,” “Elysium,” “Der Taucher” and other great ones which have only recently been published? In short, the respect which Beethoven acquired for Schubert’s talent was so great that he now wanted to see his operas and pianoforte pieces; but his illness had now become so severe that he could no longer gratify this wish. But he often spoke of Schubert and predicted of him that he “would make a great sensation in the world,” and often regretted that he had not learned to know him earlier.

It is likely that the remark, “Truly, the divine spark dwells in Schubert,” as Schindler quoted it in his biography, came more than once from Beethoven’s lips. Luib heard Hüttenbrenner say that one day Beethoven said of Schubert, “He has the divine spark!” Schindler’s article in the “Theaterzeitung” was a defense of the opinion which he had expressed that Schubert was a greater song-composer than Beethoven, and for this reason it may be assumed that it was a little high-pitched in expression. Beethoven knew a little about Schubert, but not much, as appears from a remark quoted from Holz in one of the Conversation Books of 1826. It may have been Schindler’s ambition to appear as having stood sponsor for Schubert before Beethoven which led him to ignore Holz’s remark concerning Schubert’s unique genius as a writer of songs, his interest in Handel and his patronage of Schuppanzigh’s quartet parties. Beethoven and Schubert had met. Anselm Hüttenbrenner wrote to Luib:[176]

But this I know positively, that about eight days before Beethoven’s death Prof. Schindler, Schubert and I visited the sick man, Schindler announced us two and asked Beethoven whom he would see first. He said: “Let Schubert come first.”

It is characteristic of Schindler that he makes no mention of this incident. Another incident recorded by Gerhard von Breuning deserves to be told here. When Beethoven’s friends called they usually reported to Beethoven about the performances of his works. One day Gerhard von Breuning found that a visitor had written in the Conversation Book: “Your Quartet which Schuppanzigh played yesterday did not please.” Beethoven was asleep when Gerhard came and when he awoke the lad pointed to the entry. Beethoven remarked, laconically: “It will please them some day,” adding that he wrote only as he thought best and would not permit himself to be deceived by the judgment of the day, saying at the end: “I know that I am an artist.”

[Sidenote: FERDINAND HILLER’S LAST VISIT]

In a letter which Schindler wrote to Moscheles, forwarding Beethoven’s, he said: “Hummel and his wife are here; he came in haste to see Beethoven once again alive, for it is generally reported in Germany that he is on his deathbed. It was a most touching sight last Thursday to see these two friends meet again.” The letter was written on March 14 and the “last Thursday” was March 8th. We have an account of this meeting in Ferdinand Hiller’s “Aus dem Tonleben unserer Zeit.”[177] Hiller was then fifteen years old and had come to the Austrian Capital with Hummel, who was his teacher. Hummel had heard in Weimar that Beethoven was hopelessly ill and had reached Vienna on March 6; two days later he visited his dying friend. Hiller writes:

Through a spacious anteroom in which high cabinets were piled with thick, tied-up parcels of music we reached--how my heart beat!--Beethoven’s living-room, and were not a little astonished to find the master sitting in apparent comfort at the window. He wore a long, gray sleeping-robe, open at the time, and high boots reaching to his knees. Emaciated by long and severe illness he seemed to me, when he arose, of tall stature; he was unshaven, his thick, half-gray hair fell in disorder over his temples. The expression of his features heightened when he caught sight of Hummel, and he seemed to be extraordinarily glad to meet him. The two men embraced each other most cordially. Hummel introduced me. Beethoven showed himself extremely kind and I was permitted to sit opposite him at the window. It is known that conversation with Beethoven was carried on in part in writing; he spoke, but those with whom he conversed had to write their questions and answers. For this purpose thick sheets of ordinary writing-paper in quarto form and lead-pencils always lay near him. How painful it must have been for the animated, easily impatient man to be obliged to wait for every answer, to make a pause in every moment of conversation, during which, as it were, thought was condemned to come to a standstill! He always followed the hand of the writer with hungry eyes and comprehended what was written at a glance instead of reading it. The liveliness of the conversation naturally interfered with the continual writing of the visitor. I can scarcely blame myself, much as I regret it, for not taking down more extended notes than I did; indeed, I rejoice that a lad of fifteen years who found himself in a great city for the first time, was self-possessed enough to regard any details. I can vouch with the best conscience for the perfect accuracy of all that I am able to repeat.

The conversation at first turned, as is usual, on domestic affair,--the journey and sojourn, my relations with Hummel and matters of that kind. Beethoven asked about Goethe’s health with extraordinary solicitude and we were able to make the best of reports, since only a few days before the great poet had written in my album. Concerning his own state, poor Beethoven complained much. “Here I have been lying for four months,” he cried out, “one must at last lose patience!” Other things in Vienna did not seem to be to his liking and he spoke with the utmost severity of “the present taste in art,” and “the dilettantism which is ruining everything.” Nor did he spare the government, up to the most exalted regions. “Write a volume of penitential hymns and dedicate it to the Empress,” he remarked with a gloomy smile to Hummel, who, however, made no use of the well-meant advice. Hummel, who was a practical man, took advantage of Beethoven’s condition to ask his attention to a matter which occupied a long time. It was about the theft of one of Hummel’s concertos, which had been printed illicitly before it had been brought out by the lawful publisher. Hummel wanted to appeal to the Bundestag against this wretched business, and to this end desired to have Beethoven’s signature, which seemed to him of great value. He sat down to explain the matter in writing and meanwhile I was permitted to carry on the conversation with Beethoven. I did my best, and the master continued to give free rein to his moody and passionate utterances in the most confidential manner. In part they referred to his nephew, whom he had loved greatly, who, as is known, caused him much trouble and at that time, because of a few trifles (thus Beethoven at least seemed to consider them), had gotten into trouble with the officials. “Little thieves are hanged, but big ones are allowed to go free!” he exclaimed ill-humoredly. He asked about my studies and, encouraging me, said: “Art must be propagated ceaselessly,” and when I spoke of the exclusive interest in Italian opera which then prevailed in Vienna, he gave utterance to the memorable words: “It is said _vox populi, vox dei_. I never believed it.”

On March 13 Hummel took me with him a second time to Beethoven. We found his condition to be materially worse. He lay in bed, seemed to suffer great pains, and at intervals groaned deeply despite the fact that he spoke much and animatedly. Now he seemed to take it much to heart that he had not married. Already at our first visit he had joked about it with Hummel, whose wife he had known as a young and beautiful maiden. “You are a lucky man,” he said to him now smilingly, “you have a wife who takes care of you, who is in love with you--but poor me!” and he sighed heavily. He also begged of Hummel to bring his wife to see him, she not having been able to persuade herself to see in his present state the man whom she had known at the zenith of his powers. A short time before he had received a present of a picture of the house in which Haydn was born. He kept it close at hand and showed it to us. “It gave me a childish pleasure,” he said, “the cradle of so great a man!” Then he appealed to Hummel in behalf of Schindler, of whom so much was spoken afterwards. “He is a good man,” he said, “who has taken a great deal of trouble on my account. He is to give a concert soon at which I promised my coöperation. But now nothing is likely to come of that. Now I should like to have you do me the favor of playing. We must always help poor artists.” As a matter of course, Hummel consented. The concert took place--ten days after Beethoven’s death--in the Josephstadt-Theater. Hummel improvised in an obviously exalted mood on the Allegretto of the A major Symphony; the public knew why he participated and the performance and its reception formed a truly inspiring incident.

Shortly after our second visit the report spread throughout Vienna that the Philharmonic Society of London had sent Beethoven £100 in order to ease his sick-bed. It was added that this surprise had made so great an impression on the great poor man that it had also brought physical relief. When we stood again at his bedside, on the 20th, we could educe from his utterances how greatly he had been rejoiced by this altruism; but he was very weak and spoke only in faint and disconnected phrases. “I shall, no doubt, soon be going above,” he whispered after our first greeting. Similar remarks recurred frequently. In the intervals, however, he spoke of projects and hopes which were destined not to be realized. Speaking of the noble conduct of the Philharmonic Society and in praise of the English people, he expressed the intention, as soon as matters were better with him, to undertake the journey to London. “I will compose a grand overture for them and a grand symphony.” Then, too, he would visit Madame Hummel (she had come along with her husband) and go to I do not know how many places. It did not occur to us to write anything for him. His eyes, which were still lively when we saw him last, dropped and closed to-day and it was difficult from time to time for him to raise himself. It was no longer possible to deceive one’s self--the worst was to be feared.

Hopeless was the picture presented by the extraordinary man when we sought him again on March 23rd. It was to be the last time. He lay, weak and miserable, sighing deeply at intervals. Not a word fell from his lips; sweat stood upon his forehead. His handkerchief not being conveniently at hand, Hummel’s wife took her fine cambric handkerchief and dried his face several times. Never shall I forget the grateful glance with which his broken eye looked upon her. On March 26, while we were with a merry company in the art-loving house of Herr von Liebenberg (who had formerly been a pupil of Hummel’s), we were surprised by a severe storm between five and six o’clock. A thick snow-flurry was accompanied by loud peals of thunder and flashes of lightning, which lighted up the room. A few hours later guests arrived with the intelligence that Ludwig van Beethoven was no more;--he had died at 4:45 o’clock.

[Sidenote: THE SIGNING OF THE WILL]

The consultations between Beethoven and his legal advisers, Bach, Breuning and others, concerning the proper disposition of his estate by will, which had begun soon after Karl’s departure for Iglau, had not been brought to a conclusion when it became apparent to all that it was high time that the document formally be executed. Dr. Bach does not seem to have been consulted at this crisis; haste was necessary, and on March 23 von Breuning made a draft of a will which, free from unnecessary verbiage, set forth the wishes of the testator in three lines of writing. Beethoven had protested against the proposition of his friends that provision be made that Karl should not be able to dissipate the capital or surrender any portion of it to his mother. To this end a trust was to be created and he was to have the income during life, the reversion being to his legitimate heirs. With this Beethoven at length declared himself satisfied; but when Breuning placed the draft before the dying man, who had yielded unwillingly, he copied it laboriously but substituted the word “natural” for “legitimate.” Schindler says the copying was a labor, and when Beethoven finished it and appended his signature he said: “There; now I’ll write no more.” Breuning called his attention to the fact that controversy would ensue from his change in the text, but Beethoven insisted that the words meant the same thing and there should be no change. “This,” says Schindler, “was his last contradiction.” Hiller’s description of the last visit of Hummel, pictures the condition of the dying man on this day, and Schindler’s statement that it was laborious for Beethoven to copy even the few words of the will is pathetically verified by the orthography of the document which, _verb. et lit._, is as follows:

Mein Neffe Karl Soll alleiniger Erbe seyn, das Kapital meines Nachlasses soll jedoch Seinen natürlichen oder testamentarischen Erben zufallen.

Wien am 23 März 1827. Ludwig van Beethoven mp.

According to Gerhard von Breuning, signatures were necessary to several documents--the will, the transfer of the guardianship of the nephew to von Breuning and the letter of January 3, which also made a testamentary disposition of Beethoven’s property. These signatures were all obtained with great difficulty. The younger von Breuning places the date on March 24th. After von Breuning, Schindler and the dying man’s brother had indicated to Beethoven, who lay in a half-stupor, that his signature was required they raised him as much as possible and pushed pillows under him for support. Then the documents, one after the other, were laid before him and von Breuning put the inked pen in his hand. “The dying man, who ordinarily wrote boldly in a lapidary style, repeatedly signed his immortal name, laboriously, with trembling hand, for the last time; still legibly, indeed, but each time forgetting one of the middle letters--once an _h_, another time an_e_.”

[Sidenote: “COMŒDIA FINITA EST.”]

On the day which saw the signing of the will, Beethoven made an utterance, eminently characteristic of him, but which, because of an interpretation which it has received, has caused no small amount of comment. The date is fixed as March 23rd by Schindler’s letter to Moscheles of March 24th in which he says: “Yesterday he said to me and Breuning, ‘Plaudite, amici, comœdia finita est’.” Though the phrase does not seem to be a literal quotation from any author known to have been familiar to Beethoven, it is obviously a paraphrase of something which he had read. According to Schindler and Gerhard von Breuning the words were uttered in a tone of sarcastic humor. Schindler and Dr. Wawruch (though the latter was not present) agree in saying that he made the speech after receiving the viaticum, and it is this circumstance, coupled with the deduction that the dying man referred to the sacred function just performed, which greatly disturbed the minds of some of his devout admirers. It needed not have done so; the phrase is almost a literary commonplace and its significance has never been in question.[178]

When Beethoven’s friends saw the end approaching, they were naturally desirous that he receive the spiritual comfort which the offices of the Roman Catholic church offer to the dying and it was equally natural that Beethoven, brought up as a child of the church though careless of his duties toward it, should, at the last, be ready to accept them. Johann van Beethoven relates that a few days after the 16th of March, when the physicians gave him up for lost, he had begged his brother to make his peace with God, to which request he acceded “with the greatest readiness.” Confirmation of this is found in Dr. Wawruch’s report. Wawruch, it will be remembered, had, at the beginning of his studies, intended to enter the priesthood. At the crisis described by Johann he says he called Beethoven’s attention to his impending dissolution “so that he might do his duty as a citizen and to religion.” He continues:

With the greatest delicacy I wrote the words of admonition on a sheet of paper.... Beethoven read the writing with unexampled composure, slowly and thoughtfully, his countenance like that of one transfigured; cordially and solemnly he held out his hand to me and said: “Have the priest called.” Then he lay quietly lost in thought and amiably indicated by a nod his “I shall soon see you again.” Soon thereafter Beethoven performed his devotions with a pious resignation which looked confidently into eternity and turned to the friends around him with the words, “Plaudite, amici, finita est comœdia!”

Wawruch was not present at the time when the words were spoken. Schindler’s account, in a letter to the “Cäcilia” dated April 12, 1827, and printed in that journal in May, is as follows:

On the day before (the 23rd) there remained with us only one ardent wish--to reconcile him with heaven and to show the world at the same time that he had ended his life a true Christian. The Professor in Ordinary [Wawruch] therefore wrote and begged him in the name of all his friends to receive the holy sacrament; to which he replied quietly and firmly (_gefasst_), “I wish it.” The physician went away and left us to care for it.

Schindler describes the administration of the sacrament, which Beethoven received with edification, and adds that now for the first time he seemed to believe that he was about to die; for “scarcely had the priest left the room before he said to me and young von Breuning, ‘Plaudite, amici, comœdia finita est. Did I not always say that it would end thus?’” (“_Habe ich nicht immer gesagt, dass es so kommen wird?_”) Here there is agreement with Wawruch, but, to Gerhard von Breuning, Schindler said that Beethoven made the remark at the conclusion of a long consultation after the physicians had gone away; and this is confirmed by Gerhard von Breuning. In 1860 Anselm Hüttenbrenner wrote:[179]

It is not true, as has been reported, that I begged Beethoven to receive the sacrament for the dying; but I did bring it about at the request of the wife of the music-publisher Tobias Haslinger, now deceased, that Beethoven was asked in the gentlest manner by Herr Johann Baptist Jenger and Madame van Beethoven, wife of the landowner, to strengthen himself by receiving holy communion. It is a pure invention that Beethoven spoke the words “Plaudite, amici! Comœdia finita est!” to me, for I was not present when the rite was administered in the forenoon of March 24, 1827. And surely Beethoven did not make to others an utterance so completely at variance with his sturdy character. But on the day of her brother-in-law’s death Frau v. Beethoven told me that after receiving the viaticum he said to the priest, “I thank you, ghostly sir! You have brought me comfort!”

Hüttenbrenner is confirmed by Johann van Beethoven, who wrote in his brief review of his brother’s last illness that when the priest was leaving the room Beethoven said to him, “I thank you for this last service.”

[Sidenote: INCIDENTS OF THE FINAL STRUGGLE]

Beethoven received the viaticum in the presence of Schindler, von Breuning, Jenger and the wife of his brother Johann. After the priest had taken his departure he reminded his friends of the necessity of sending a document ceding the proprietary rights of the C-sharp minor Quartet to the Schotts. It was drawn up and his signature to it, the last which he wrote, was attested by Schindler and Breuning. He also spoke of a letter of thanks to the Philharmonic Society of London and in suggesting its tenor, comprehended the whole English people with a fervent “God bless them!” About one o’clock the special shipment of wine and wine mixed with herbs came from Mayence, and Schindler placed the bottles upon the table near the bed. Beethoven looked at them and murmured, “Pity, pity--too late!” He spoke no more. A little of the wine was administered to him in spoonfuls at intervals, as long as he could swallow it. Towards evening he lost consciousness and the death-struggle began. It lasted two days. “From towards the evening of the 24th to his last breath he was almost continually _in delirio_,” wrote Schindler to Moscheles. We have a description from Gerhard von Breuning:[180]

During the next day and the day following the strong man lay completely unconscious, in the process of dissolution, breathing so stertorously that the rattle could be heard at a distance. His powerful frame, his unweakened lungs, fought like giants with approaching death. The spectacle was a fearful one. Although it was known that the poor man suffered no more it was yet appalling to observe that the noble being, now irredeemably a prey to the powers of dissolution, was beyond all mental communication. It was expected as early as the 25th that he would pass away in the following night; yet we found him still alive on the 26th--breathing, if that was possible, more stertorously than on the day before.

The only witnesses of Beethoven’s death were his sister-in-law and Anselm Hüttenbrenner. From the latter we have a description of the last scene.[181]

When I entered Beethoven’s bedroom on March 26, 1827 at about 3 o’clock in the afternoon, I found there Court Councillor Breuning, his son, Frau van Beethoven, wife of Johann van Beethoven, landowner and apothecary of Lenz, and my friend Joseph Teltscher, portrait painter. I think that Prof. Schindler was also present.

Gerhard von Breuning says that Beethoven’s brother was in the room, and also the housekeeper Sali; Schindler adds a nurse from Dr. Wawruch’s clinic. No doubt all were present at one moment or another; they came and went as occasion or duty called. Hüttenbrenner says that Teltscher began drawing the face of the dying man, which grated on Breuning’s feelings and he made a remonstrance, whereupon the painter left the room. Then Breuning and Schindler went away to choose a spot for the grave. Hüttenbrenner continues:

Frau van Beethoven and I only were in the death-chamber during the last moments of Beethoven’s life. After Beethoven had lain unconscious, the death-rattle in his throat from 3 o’clock in the afternoon till after 5, there came a flash of lightning accompanied by a violent clap of thunder, which garishly illuminated the death-chamber. (Snow lay before Beethoven’s dwelling.) After this unexpected phenomenon of nature, which startled me greatly, Beethoven opened his eyes, lifted his right hand and looked up for several seconds with his fist clenched and a very serious, threatening expression as if he wanted to say: “Inimical powers, I defy you! Away with you! God is with me!” It also seemed as if, like a brave commander, he wished to call out to his wavering troops: “Courage, soldiers! Forward! Trust in me! Victory is assured!”[182]. When he let the raised hand sink to the bed, his eyes closed half-way. My right hand was under his head, my left rested on his breast. Not another breath, not a heartbeat more! The genius of the great master of tones fled from this world of delusion into the realm of truth!--I pressed down the half-open eyelids of the dead man, kissed them, then his forehead, mouth and hands.--At my request Frau van Beethoven cut a lock of hair from his head and handed it to me as a sacred souvenir of Beethoven’s last hour. Thereupon I hurried, deeply moved, into the city, carried the intelligence of Beethoven’s death to Herr Tobias Haslinger, and after a few hours returned to my home in Styria.

[Sidenote: THE CAUSE OF BEETHOVEN’S DEATH]

It remained for modern science to give the right name to the disease which caused the death of the greatest of all tone-poets. Dropsy, said the world for three-quarters of a century. But dropsy is not a disease; it is only a symptom, a condition due to disease. To Dr. Theodor von Frimmel belongs the credit of having made it clear that the fatal malady was cirrhosis of the liver, of which _ascites_, or _hydrops abdominalis_, was a consequence. Beethoven had suffered from disorders of the liver years before. In 1821, as has been noted, he suffered an attack of jaundice. In his medical history of the case, Dr. Wawruch stated that the cause of the disease was to be found in an “antiquated” ailment of liver as well as defects in the abdominal organs. When he observed the first aggravation of the disease he recorded that “the liver plainly showed traces of hard knots, the jaundice increased.” In his report of the autopsy, Dr. Wagner said: “The liver seemed to have shrunk to one half its normal size, to have a leathery hardness, a greenish-blue color, and its lumpy surface, as well as its substance, was interwoven with knots the size of a bean. All the blood-vessels were narrow, with thickened walls and empty.” The treatment prescribed by Dr. Wawruch and adopted empirically at the suggestion of friends was designed, not to go to the seat of the difficulty but to relieve the dropsical condition of the abdominal cavity;--medicaments, decoctions, the unfortunate sweat-bath, all were intended to produce liquid evacuations from the bowels, increase the secretion of urine and induce perspiration; the final resort was to _paracentesis_.[183]

When Breuning and Schindler left the dying man in the care of Hüttenbrenner and Frau van Beethoven, they went to the cemetery of the little village of Währing, and selected a place for Beethoven’s grave in the vicinity of the burial plot of the Vering family, to which Breuning’s first wife had belonged. Their return was retarded by the storm. When they reëntered the sick-room they were greeted with the words: “It is finished!” The immediate activities of the friends were now directed to preparations for the funeral, the preservation of the physical likeness of the great composer and, so far as was necessary, the safeguarding of his possessions. In respect of the latter Gerhard von Breuning tells of a painful incident which happened on the day after Beethoven’s death.

Breuning, Schindler, Johann van Beethoven and Holz were met in the lodgings to gather up the dead man’s papers, particularly to look for the seven bank-shares which the will had given to the nephew. In spite of strenuous search they were not found and Johann let fall an insinuation that the search was a sham. This angered von Breuning and he left the house in a state of vexation and excitement. He returned to the lodgings in the afternoon and the search was resumed. Then Holz pulled out a protruding nail in a cabinet, whereupon a drawer fell out and in it were the certificates. In later years Holz explained to Otto Jahn: “Beethoven kept his bank-shares in a secret drawer, the existence of which was known only to Holz. While Beethoven lay dying his brother in vain tried to find out where it was.” On a copy of this memorandum,[184] Schindler wrote: “First of all after the death, Johann van Beethoven searched for the shares, and not finding them cried out: ‘Breuning and Schindler must produce them!’ Holz was requested to come by Breuning and asked if he did not know where they were concealed. He knew the secret drawer in an old cabinet in which they were preserved.” Even this simple incident has given rise to contradictory stories. Schindler, in his biography, says the place of concealment was a secret drawer in a _Kassette_; Breuning, “in a secret compartment of a writing-desk.” In 1863, Schindler explained to Gerhard von Breuning that the article of furniture was an ordinary clothes-press. With the certificates were found the letter to the “Immortal Beloved” and the portrait of the Countess von Brunswick.[185]

On March 27th, an autopsy was performed by Dr. Johann Wagner in the presence of Dr. Wawruch. Its significant disclosures have already been printed here. In order to facilitate an examination of the organs of hearing the temporal bones were sawed out and carried away. Joseph Danhauser, a young painter who chanced to be in Vienna, received permission from Breuning to make a plaster cast of the dead man’s face. This he did on March 28th, but the cast has little value as a portrait, inasmuch as it was made after the autopsy, which had greatly disfigured the features. On the same day (not “immediately after death,” as has incorrectly been stated) Danhauser made a drawing of the head of Beethoven, which he reproduced by lithographic process. This picture bears the inscription: “Beethoven, March 28, drawn at his death-bed, 1827,” and to the left, “Danhauser.” This drawing, too, was made after the autopsy. For a bust which he modeled, the artist made use of the cast taken by Klein in 1812. Danhauser never came in contact with Beethoven alive.

[Sidenote: IMPOSING FUNERAL CEREMONIES]

The funeral took place at 3 o’clock in the afternoon of March 29th. It was one of the most imposing functions of its kind ever witnessed in Vienna.[186] Breuning and Schindler had made the arrangements. Cards of invitation were given out at Haslinger’s music-shop. Hours before the appointed time a multitude assembled in front of the Schwarzspanierhaus, and the mass grew moment by moment. Into the square in front of the house, it is said, 20,000 persons were crowded. All the notable representatives of art were present. The schools were closed. For the preservation of order, Breuning had asked the help of the military. In its report “Der Sammler” said:

The crowd was so great that after the roomy court of Beethoven’s residence could no longer hold it the gates had to be closed until the procession moved. The coffin containing the corpse of the great composer had been placed on view in the court. After the clergy were come to perform their sacred office, the guests, who had been invited to attend these solemn functions--musicians, singers, poets, actors--all clad in complete mourning, with draped torches and white roses fastened to bands of crape on their sleeves, encircled the bier and the choristers sang the _Miserere_[187] composed by the deceased. Solemnly, sublimely the pious tones of the glorious composition floated upwards through the silent air. The scene was imposing. The coffin, with its richly embroidered pall, the clergy, the distinguished men who were giving the last escort to their colleague, and the multitude round about--all this made a stupendous picture.

On the conclusion of the canticle, the coffin was raised from the bier and the door of the court was opened. The singers lifted the coffin to their shoulders and carried it to the Trinity Church of the Minorites in the Alserstrasse. It was difficult to order the procession because of the surging multitude. Johann van Beethoven, von Breuning and his son and Schindler, found their places with difficulty. Eight chapelmasters--Eybler, Weigl, Hummel, Seyfried, Kreutzer, Gyrowetz, Würfel and Gänsbacher--carried the edges of the pall. At the sides walked the torch-bearers, among them Schubert, Castelli, Bernard, Böhm, Czerny, Grillparzer, Haslinger, Holz, Linke, Mayseder, Piringer, Schuppanzigh, Streicher, Steiner and Wolfmayer. In the procession were also Mosel and the pupils of Drechsler. While passing the Rothes Haus the sounds of the funeral march from Beethoven’s Sonata, Op. 26, were heard. The cortège moved through the crowded streets to the parish church in the Alserstrasse, where the service for the dead was concluded with the _Libera nos Domine_ in 16 parts _a cappella_, composed by Seyfried, sung by the choristers.

The account of the “Sammler” continues: “The coffin was now placed in the hearse drawn by four horses, and taken to the cemetery at Währing. There, too, a multitude had assembled to do the last honors to the dead man....” The rules of the cemetery prohibiting all public speaking within its precincts, the actor Anschütz delivered a funeral oration written by Grillparzer over the coffin at the cemetery gate. After the coffin had been lowered into the grave, Haslinger handed three laurel wreaths to Hummel, who placed them upon the coffin. A poem by Castelli had been distributed at the house of mourning, and one by Baron von Schlechta at the cemetery; but there was no more speaking or singing at the burial.

Mozart’s “Requiem” was sung at the Church of the Augustinians, Lablache taking part, on April 3rd, and Cherubini’s at the Karlskirche two days later. The grave in the cemetery at Währing was marked by a simple pyramid bearing the one word

BEETHOVEN

It fell into neglect, and on October 13th, 1863, the Gesellschaft der Musikfreunde of Vienna caused the body to be exhumed and re-buried. On June 21st, 1888, the remains of Beethoven and Schubert were removed to the Central Cemetery in Vienna, where they now repose side by side.

FINIS.

FOOTNOTES:

[162] He did not live to see this wish fulfilled; but it was in the end. Therese van Beethoven, Johann’s wife, died on November 20, 1828, at Wasserhof; Johann died in Vienna on January 12, 1848, and though one of Beethoven’s sensation-mongering biographers at one time printed the monstrous falsehood that he had married his wife’s illegitimate daughter in order to keep the family possessions in his hands, and at another that he had invested his money so that he might use it up during his life and leave nothing to his heirs, the fact is that Johann made Karl his sole heir and that under the will, after paying the costs of probate and administration and a legacy to his housekeeper, over 42,000 florins passed into his nephew’s hands.

[163] Wawruch was a native of Nemtschütz in Moravia. At Olmütz he was a student of theology, but before consecration to the priesthood he came to Vienna as tutor and there decided to abandon the church for medicine. In the course of time he became assistant and also son-in-law to Professor Hildebrand, the director of the General Hospital. Thence he went to Prague as professor of general pathology and pharmacology and, returning to Vienna, became professor of special pathology and medical clinics in the surgical department of the Hospital. He died in 1842. He was accused of adhering to old-fashioned theories in his practice and of having been antagonistic to the determinations of pathological anatomy, and the criticisms of von Breuning and others have pursued him through all the books devoted to Beethoven’s life; yet the scientific determinations of to-day offer justification of his diagnosis and treatment of Beethoven’s case so far as it is possible to judge at this late day.

[164] Holz’s statement on this point has already been given in an earlier chapter. To Otto Jahn Dr. Bertolini said: “Beethoven liked to drink a glass of wine, but he was never a drinker or a gourmand.”

[165] “Better from my belly than from my pen,” is another remark credited to him by Seyfried.

[166] The Royal Library acquired the autograph manuscripts of the instrumental movements of the Symphony from Schindler, and the choral part from the Artaria Collection of Vienna when it was dispersed by sale in 1901. The autograph is not intact, however, the coda of the Scherzo, consisting of four pages, having been given to Moscheles by Schindler on September 14, 1827. Moscheles in turn gave the relic to Henry Phillips. In July, 1907, it was purchased at a public sale by Mr. Edward Speyer, its owner at the present writing. The autograph of the Finale, too, had been mutilated, a page containing the five measures immediately preceding the _Allegro energico_, 6-4 time, with the words “Über Sternen muss er wohnen,” having been removed. It was sold by an autograph dealer of Berlin to Charles Malherbe, of Paris, who on his death bequeathed it to the Conservatoire. As published, the _Allegro non tanto_ contains eight measures which Beethoven did not write in the autograph, but are, no doubt, an addition made by him in a revision. It would be a beautiful act of piety to assemble the autograph score and publish it in _facsimile_.

[167] Mr. Thayer, who has given expression in these pages to his belief that Schindler was honest, in transcribing this page of the Conversation Book writes these words: “It is to be noted, first, that the writing (‘The Old Woman,’ etc.) does not correspond with the rest, and secondly, that _Die Alte_ was no longer in Beethoven’s service. It is evident on inspection and from the talk in these last books about Thekla and other servants that Schindler inserted these words long afterwards. The ‘Es muss sein’ can only refer here to Beethoven’s receipt for the ring.” Whether or not Thayer suspected what may have been Schindler’s purpose in making the interlineation does not appear.

[168] Schindler, impeaching Dr. Wawruch’s accuracy here, denies that Beethoven worked on oratorio of “Saul and David” during his last illness. Thayer in a note directs attention to the fact that Beethoven was confessedly deeply absorbed in Handel’s scores, which he had received only a short time before, and that before the end of December Kiesewetter sent a request through Holz for a return of the pianoforte score of “Saul” as no longer necessary, now that the scores were come.

[169] Dr. von Breuning should have said “third.”

[170] Thayer procured a copy of this letter in London along with the other Stumpff papers already mentioned. Only a fragment of the letter has been printed hitherto in the collections of Beethoven’s letters and that, in great probability, from the draft preserved by Schindler. The newspaper article referred to was printed in the “Modezeitung.”

[171] “Documents, Letters etc., relating to the Bust of Ludwig van Beethoven, presented to the Philharmonic Society of London, by Frau Fanny Linzbauer (_née_ Ponsing). Translated and Arranged for the Society by Doyne C. Bell, London: Published for the Philharmonic Society by Lamborn Cock and Co., 63 New Bond Street, W. 1871.”

[172] Schindler had accompanied Beethoven’s application to Moscheles for relief with a personal letter in which he advised that the Philharmonic Society, in case it should accede to his request, explain to Beethoven that the amount would be sent to a responsible person in Vienna from whom it might be drawn by degrees according to his requirements; and that this precautionary step was taken “because, as they well knew, some of his relations who are with him do not act quite uprightly towards him”--a fling, of course, at the composer’s brother whom he so cordially hated; the nephew was not in Vienna.

[173] Among Mr. Thayer’s papers.

[174] The third operation was performed on February 2, not January 28, as Schindler says.

[175] Wolfmayer had commissioned him years before to write a “Requiem,” and paid him for it.

[176] Letter among Mr. Thayer’s papers.

[177] Neue Folge, 1871, p. 169 _et seq._

[178] “Rabelais being very sick, Cardinal du Bellay sent his page to him to have an account of his condition; his answer was, ‘Tell my Lord in what circumstances thou findest me; I am going to leap into the dark. He is up in the cockloft, bid him keep where he is. As for thee, thou’lt always be a fool: let down the curtain, the farce is done.’” ... An author (Thov. His. de Jean Clopinel) who styles Rabelais a man of excellent learning, writes, that he being importuned by some to sign a will whereby they had made him bestow on them legacies that exceeded his ability, he, to be no more disturbed, complied at last with their desires; but when they came to ask him where they should find a fund answerable to what he gave; ‘as for that,’ replied he, ‘you must do like the spaniel, look about and search’; then, adds that author, having said, ‘Draw the curtain, the farce is over,’ he died. Likewise a monk (P. de St. Romuald, _Rel. Feuillant_) not only tells us that he ended his life with that jest, but that he left a paper sealed up wherein were found three articles as his last will: ‘I owe much, I have nothing, I give the rest to the poor.’ The last story or that before it must undoubtedly be false; and perhaps both are so as well as the message by the page; though Fregius (_Comment. in Orat. Cic._, tom. I) relates also that Rabelais said when he was dying, ‘Draw the curtain,’ etc. But if he said so, many great men have said much the same. Thus Augustus (_Nunquid vitæ mimum commode peregisset_) near his death, asked his friends whether he had not very well acted the farce of life? And Demonax, one of the best philosophers, when he saw that he could not, by reason of his great age, live any longer, without being a burden to others, as well as to himself, said to those who were near him what the herald used to say when the public games were ended, ‘You may withdraw, the show is over,’ and refusing to eat, kept his usual gaiety to the last, and set himself at ease. (Lucian)--_From Peter Motteux’s Life of Rabelais prefaced to the English translation made by himself and Sir Thomas Urquhart._

[179] In a letter to Mr. Thayer which was found among Hüttenbrenner’s posthumous papers and printed in the “Gratzer Tagespost” of October 23rd, 1868.

[180] “Aus dem Schwarzspanierhause,” p. 108.

[181] Mr. Thayer visited Hüttenbrenner in Gratz in June, 1860. His transcript of what Hüttenbrenner told him is reprinted in “Music and Manners in the Classical Period,” by Henry Edward Krehbiel (New York, 1898). The account in the body of the text is that contained in a letter to Mr. Thayer.

[182] The transcript in Mr. Thayer’s note-book of Hüttenbrenner’s oral recital is more sententious and dramatic: “At this startling, awful, peal of thunder, the dying man suddenly raised his head from Hüttenbrenner’s arm, stretched out his own right arm majestically--‘like a general giving orders to an army’. This was but for an instant; the arm sunk back; he fell back; Beethoven was dead.”

[183] The revised edition of Grove’s “Dictionary of Music and Musicians,” 1904, says: “The cold had developed into an inflammation of the lungs, and on this dropsy supervened.” Dr. Wawruch was unquestionably correct in his diagnosis not only in regard to the inflammation of the lungs but also in regard to the diseased condition of the liver.

[184] Preserved amongst Thayer’s papers.

[185] The attested inventory of the sale of Beethoven’s effects, which, preserved by Fischoff, passed through the hands of Otto Jahn into those of Mr. Thayer, showed that his estate amounted to 9,885 florins, 13 kreutzer, silver, and 600 florins, paper (Vienna standard). The market value of the bank-shares, including an unpaid coupon attached to each, was 1,063 florins on the day of Beethoven’s death. In the item of cash is included the £100 received from the London Philharmonic Society, which, as has been stated, was found intact. The official summary was set forth as follows:

Cash 1215 fl. (C. M.) 600 fl. (W. W.) Bank-shares 7441 fl. Debts receivable (annuity) 144 fl. 33 k. Jewels and silverware 314 fl. 30 k. Clothing 37 fl. Furniture and household goods 156 fl. Instruments 78 fl. Music and manuscripts 480 fl. 30 k. Books 18 fl. 20 k. ------------------------------ 9885 fl. 13 k. 600 fl. (W. W.)

According to a statement by Aloys Fuchs to Jahn the sum realized from the sale of the musical compositions, autographic and otherwise, sketch-books, etc., was 1063 florins. In view of the difference in purchasing power of money in 1827 and 1913 it may be said that Beethoven’s estate amounted to the equivalent of £3,000, or about $15,000.

[186] See “Aus dem Schwarzspanierhause,” p. 113; Hiller’s “Aus dem Tonleben, etc.” p. 177 _et seq._; “Der Sammler,” April 14, 1827; Seyfried’s “Beethoven-Studien,” appendix, p. 50 _et seq._

[187] The _Miserere_ sung in the court of the Schwarzspanierhaus and its complement, _Amplius lava me_, were arrangements for male chorus made by Seyfried of the Equale for Trombones composed by Beethoven in Linz in 1812 at the request of Glöggl for use on All Souls’ Day. They may be found in Seyfried’s “Studien.”

INDEX

PAGE GENERAL INDEX 315

INDEX TO COMPOSITIONS 344 (a) Works for Orchestra Alone 344 (b) Instrumental Solos with Orchestra 345 (c) Choral Works and Pieces for Soli and Chorus 345 (d) Instrumental Duos, Trios, Quartets, etc. 346 (e) Sonatas, etc., for Pianoforte and Other Instruments obbligato 347 (f) For Pianoforte Alone 348 (g) Songs with Pianoforte Accompaniment 349

General Index

~Abaco, Giuseppe dall’~: “Componimento per Musica,” I, 14.

~Abdul Aziz, Sultan of Turkey~: I, 139.

~Abercrombie, General~: Not commemorated in the “Eroica,” II, 25.

“~Abyssian Prince~”: Sobriquet of Bridgetower, II, 11.

~Achâts, Duc des~: III, 101, 232.

~Adamberger, Antonie~: Studies “Egmont” music with B., II, 171.

~Adams, Mrs. Mehetabel~: Provides funds for Thayer’s researches, I, x.

~Addison, John~: Partner of J. B. Cramer: II, 318.

~Addison, Joseph~: Quoted, I, 323.

“~Adelheit von Veltheim~”: Opera by Neefe, I, 37.

~Adler, Guido~: I, 75.

~Adlersburg, Carl, Edler von~: Affidavit against Mälzel, II, 275, 289.

“~Aerndtetanz, Der~”: Opera by Hiller, I, 32.

“~Agnes Bernauer~”: II, 61.

~Albrechtsberger~: Gives instruction to B., I, 155 _et seq._; “Anweisung zur Composition,” 155, 190; II, 380.

“~Alceste~”: Opera by Gluck, I, 86.

“~Alchymist, Der~”: Opera by Schuster, I, 31, 107, 108.

~Aldrich, Richard~: Dedication; II, 333.

~Alexander, Czar of Russia~: Dedication of Sonatas for Pianoforte and Violin, I, 365; II, 20, 305; III, 49, 86.

“~Alexander~”: Opera-text (by Schikaneder?), II, 20.

“~Alexander’s Feast~”: Oratorio by Handel, III, 182.

“~Alfred the Great~”: Suggested to B. as subject for an opera, III, 118.

~Allègre, d’~: French Commander, I, 6.

“~Allgemeine Musikalische Zeitung~”: Criticisms on B’s. works, I, 305, 306, 307; taken to task by B., I, 282, 287. (See INDEX TO COMPOSITIONS.)

~Alstädter, Count~: Music-lover in Bonn, I, 38.

~Altmann, W.~: “Ein vergessenes Streichquartett von B.”, I, 349.

“~Amant jaloux, L’~”: Opera by Grétry, I, 31, 107.

~Ambroggio~: III, 77.

~Amenda, Karl F~.: I, 210; his life 233; plans trip to Italy with B., 234; death of, 234; receives Quartet in F from B., 235, 272 _et seq._; letter from B., 297; II, 314.

“~Ami de la Maison, L’~”: Opera by Grétry, I, 31, 86.

“~Amitié à l’Épreuve, L’~”: Opera by Grétry, I, 31.

“~Amore artigiano, L’~”: Opera by Gassmann, I, 46.

“~Amore marinaro, L’~”: Opera by Weigl, I, 235.

“~Amor’s Guckkasten~”: Opera by Neefe, I, 36.

“~Amour filial, L’~”: Opera by Gaveaux, II, 37.

“~Analgilda~”: Opera, I, 14.

~Andante and Andantino~: B. asks difference between, II, 246.

~André~: Opera, “Der Antiquitäten-Sammler,” I, 32.

~André, Joseph~: I, 357.

~Anfossi~: Opera, “Il Geloso in Cimento,” I, 32; “L’Avaro inamorato,” I, 108.

~Anschütz, Actor~: Delivers funeral oration for B., III, 312.

“~Antiquitäten-Sammler, Der~”: Opera by André, I, 32.

~Antoine, d’~: Operas, “Das tartarische Gesetz,” I, 31; “Das Mädchen im Eichthale” (“Maid of the Oaks”), I, 32; “Ende gut, Alles gut,” I, 109.

~Anton, Archduke~: Dedication of March in D, II, 160.

~Anton, Prince of Saxony~: III, 96, 141.

~Antwerp~: Beethoven families living in, I, 42.

“~Apotheke, Die~”: Opera by Neefe, I, 31, 36.

“~Apotheosis in the Temple of Jupiter Ammon~”: Drama by Sporchil, III, 118.

~Appleby, Samuel~: I, 218; on Rasoumowsky Quartets, II, 75.

~Appony, Count~: Asks B. for quartet, I, 187, 274.

“~Arbore di Diana, L’~”: Opera by Martini, I, 107.

“~Argene, Regina di Granata~”: Opera by Reicha, I, 310.

“~Ariadne auf Naxos~”; Musical drama by Benda, I, 29, 107, 108.

“~Ariodante~”: Opera by Méhul, II, 23.

“~Arlequino fortunato~”: Pantomime, I, 26.

“~Armida~”: Opera by Salieri, I, 86.

~Ärndtetanz.~ See AERNDTETANZ.

~Arneth, von,~ archeologist: II, 171.

~Arnim, Bettina von (Brentano)~: I, 197; said to have been in love with B., 318; II, her association with B. and Goethe, 178 _et seq._; controversy over her letters, 179 _et seq._; letters to Goethe, 180, 190; letter to Pückler-Muskau, 180; “Ilius Pamphilius,” 184; makes B’s acquaintance, 185; letter from B., 186, 190; her admiration reported to B. by Goethe, 198; with her husband at Teplitz, 222, 223; describes arrival of B. and Goethe, 226, 282.

~Arnold, Samuel J.~: II, 310.

~Arrangements~: B’s opinion on, I, 349, 350.

~Artaria and Co.,~ Publishers: I, 202, 203; charged with unauthorized publication of a quintet, 293 _et seq._, 355; original purchasers of Heiligenstadt Will, 351; the Mass in D, III, 65.

~Attwood, Thomas~: II, 12.

~Aubert, F. S. A.~: Opera “Esther,” I, 14.

~Auernhammer, Mme.~: II, 2.

~Auersperg~, Prima donna: I, 172.

~Augarten Concerts~: I, 238; II, 2, 42.

~Austria~: Invaded by Napoleon, I, 149; court of, not invited to subscribe to the Mass in D, III, 103; musical culture of the nobility in, I, 166; dance-music of, II, 122.

~Autographs~: B’s indifference to his, I, 141.

“~Avaro inamorato~”: Opera by Anfossi, I, 108.

~Averdonk, Johanna Helena~, Court singer: I, 24; pupil of Johann van B., 49; sings at B’s first concert, 59, 67; ~Severin~, author of text of Funeral Cantata, I, 131.

“~Axur~”: Opera by Salieri, I, 109, 163.

~Ayrton, G.~: II, 370.

“~Azalia~”: Opera by Johann Küchler, I, 32.

“~Bacchus~”: Opera-book by Rudolph von Berger, II, 314.

“~Bacco, Diane ed il Reno~”: Serenata, I, 26.

~Bach, C. P. E.~: I, 13, 35; “Versuch, etc.,” 70, 159; “The Israelites in the Wilderness,” II, 388.

~Bach, Dr. Johann B.~: II, 377; III, 24, 30, 115; advises Schindler to write biography of B., 198; instructed by B. to make Nephew Karl his heir, 278.

~Bach, Johann Sebastian~: I, 13, 35; “Well-Tempered Clavichord,” 69, 143; B. on the publication of his works, 281, 286; B. subscribes for destitute daughter of, 287; publication project, 303, 304; relief for the daughter, 308; B. offers to publish a composition for her benefit, 308; II, 355; “Art of Fugue,” III, 123; “Not a brook but an ocean,” 203.

~B-a-c-h~: Overtures on, III, 123, 147.

~Baden~: B. gives concert for benefit of sufferers from conflagration, II, 225.

~Baillot, Pierre~: Visits B., II, 55.

~Barbaja,~ Manager of operas: I, 320; III, 77; wants an opera from B., 119.

“~Barbiere di Siviglia, II~”: Opera by Paisiello, I, 108; opera by Rossini, III, 77.

~Baroni~: Opera “La Moda,” I, 27.

~Bates, Joah~: Bridgetower turns music for, II, 12.

“~Bathmendi~”: Opera by Liechtenstein, I, 304.

~Bathyany, Count~: I, 168.

~Batka, Johann~: I, 342.

~Battle music~: Popularity of, II, 252.

~Bauer, Harold~: I, xviii, 140.

~Bäuerle, Adolph~: II, 359.

“~Baum der Diana, Der~” (_L’Arbore di Diana_): Opera by Martini, I, 107.

~Baumeister~: Letters to, 218.

~Baumgarten, Major~: III, 42.

~Bavaria, King of~: Dedication of Choral Fantasia, II, 207, 209; declines to subscribe for Mass in D, III, 99.

~Bechstein~: “Natural History of Birds”; B. asks for, II, 148.

~Beethoven, ancestry~ of the family in Belgium: I, 42, 43, 44; William (great-great-grandfather of the composer), 42; Henry Adelard (great-grandfather), 42; Louis, Louis Jacob, 42; Beethoven families in Bonn before the arrival of the composer’s grandfather (Cornelius, Cornelius (2nd), Michael), 44; branch of the family in Malines, 44.

~Beethoven Association~ of New York: Promotes publication of this work, I, xviii, 140.

~Beethoven-Haus Verein~, in Bonn: I, xii, xvii, 52; custodian of portrait of B’s mother, 51; B’s quartet of instruments, 277; of the portrait of Countess Brunswick, 318.

~Beethoven, Johann~, father of the composer: Petitions for appointment as Court Musician, I, 11; appointed, 13; is promised salary, 17; petitions for salary, 18; salary increased, 22; petitions for allowance of grain, 25; date of birth, 45; displeases his father by marrying, 47; education of, 47; enters Electoral chapel, 48; teaches music, 48; addicted to drink, 49; appearance of, 49; marries, 49; lodgings and neighbors in Bonn, 51, 75; alleged portrait of, 51; children of, 51; falsifies the age of the composer, 55; describes his domestic conditions, 55; death of his mother, 56; birth of a daughter, 67; domestic misfortunes, 72; length of court service, 73; status in chapel of Max Franz, 83; treatment of the composer, 85; birth of a daughter, 88; her death, 97; death of his wife, 93; petitions for advance on salary, 93; helped by Franz Ries, 95; rescued from police by the composer, 104; part of salary assigned to the composer, 104; embezzles money of his son, 149; dissipation, 148; news of his death received by the composer, 148; his wife, Maria Magdalena Keverich, widow Laym, 49; appearance and character of, 50; the composer’s love for her, 50; alleged portrait of, 51; death mourned by the composer, 92; record of her death, 93.

~Beethoven, Johann Nikolaus~, brother of the composer: Vol. I. Birth of, 57; apprenticed to an apothecary, 104, 190, 191, 265; looks for bank shares after composer’s death, 326; comes into possession of Heiligenstadt Will, 351; his name omitted from the document, 352; defended by the author, 357 _et seq._; described by Frau Karth, 358.--Vol. II. Demands return of loan from the composer, 114; purchases apothecary shop in Linz, 115; profits from dealing with the French army, 115; visited by the composer, 230; the composer interferes with his domestic affairs, 230 _et seq._; defeats his brother by marrying his housekeeper, 232.--Vol. III. Buys estate near Gneixendorf, 19; cuts a ridiculous figure in Vienna, 66; takes his brother’s compositions as security for loan, 66; defense of his actions by the author, 68; seeks reconciliation with his brother, and offers home in Gneixendorf, 69; letter, 72; charged with dishonest conduct by his brother, 111, 112; his wife’s misconduct, 132, 134; completes transaction with Schott and Sons for his brother, 180; B. warns a visitor against him, 182; offers B. a home in the country, 237; condones his wife’s licentiousness, 238; the cause of B’s hatred of his wife, 238; takes action against his wife, 239; persuades B. to go to Gneixendorf, 266; his wife accused of improper intimacy with her nephew, 269; date of his wife’s death, 270; makes Nephew Karl his sole heir, 270; in constant attendance on B. during his last illness, 276; wrongly accused by Schindler of inhuman niggardliness, 287.

~Beethoven, Karl Kaspar~, brother of the composer: Vol. I. Birth, 57; intended for musical profession, 103, 191; official career of, 265; composes music, 266; letters to publishers, 295, 348, 357; charged with surreptitious sale of B’s works, 350; the Heiligenstadt Will, 353; defended from charge of wrongdoing, 357 _et seq._; appearance of, 358; Ries’s charge of misconduct, 361.--Vol. II. Accused by Simrock, 13; marriage of, 65; end of business relations with the composer, 143; illness of, 241; appoints the composer and his widow guardians of his son, 241; his illness compels B. to postpone his trip to England, 251, 313; death of, 320, 321; will of, 320, 321; appoints Ludwig guardian of his son, 320; von Breuning warns B. against him, 322; admonishes widow and brother to mutual forbearance, 321; his wife, Theresia (Johanna) Reiss, marries, 65; her infidelity, 65; inherits her husband’s property, 320; made guardian under will, 321; appointed by court, 322; B. secures her removal as co-guardian, 331; court grants her permission to see her son, 332; compelled to share in expense of her son’s education, 368; efforts to see her son, 372, 393; her son encouraged to revile her, 396; seeks to gain possession of her son, 400; her testimony in court, 406, 407.--Vol. III. Reprehensible conduct, 67; B. adopts conciliatory attitude towards, 170, 171. (For further details of her contest for her son, her efforts to gain possession of him, care for his education, etc., see _Guardianship_ and _Karl van Beethoven_, under LUDWIG VAN BEETHOVEN.)

~Beethoven, Karl~, nephew of the composer: Vol. I, disposes of picture of Countess Brunswick, 335.--Vol. II. His father declares wish that mother and uncle be his guardians, 241; sent to Giannatasio’s institute, 332; surgical operation on, 341; receives inheritance from Joseph Hametsch, 353; instructed in music by Czerny, 374; placed in care of a priest at Mödling, 392; encouraged to revile his mother, 396; dismissed from the priest’s class, 397; runs away from his uncle, 402; testimony on court, 407; returned to Giannatasio’s care, 410.--Vol. III. Returns to his mother, 1; studies under private tutor, 4; runs away from the institute, 33; B. names him as his heir, 115, 132; B’s pride in his attainments, 135; philological student at university, 171; encouraged in disingenuousness by B., 172; spends summer with his uncle, 184; runs away from home, 184; translates “God Save the King” for B., 209; date of his death, 230; his waywardness, 250 _et seq._; B’s appealing letters, 230, 254; leaves university for Polytechnic Institute, 250, 251; evil companionship and amusements, 252; held to strict accountability, 253; discipline becomes irksome, 255; upbraids and attacks his uncle, 256; B’s suspicion of a suicidal purpose, 257; prepares to kill himself, 258; shoots himself, 258 _et seq._; effect of the attempt on B., 260, 261; reasons for the attempt, 261; his future discussed by B. and his friends, 262, 263 _et seq._; B’s fear of police inquiry, 263; Karl defends his mother, 264; life at Gneixendorf, 267 _et seq._; accused of improper intimacy with his aunt, 269; made sole heir of his uncle Johann’s estate, 270; slandered in regard to his care of B. in last illness, 273 _et seq._; preparations for a military career, 277; quarrels with B. on eve of his departure from Vienna, 278; made heir by B’s will, 278; letter to B., 279; inheritance under B’s formal will, 303. (For further details as to education, contest for his possession, etc., see foregoing and sub-title _Guardianship_ under BEETHOVEN, LUDWIG VAN.) His widow visited by Thayer, I, xi, 192; possessor of Mähler portrait, II, 16; asks for money deposited as forfeit by Prince George Galitzin, III, 230; her daughter, Hermine, 231.

~Beethoven, Louis (Ludwig) van~, grandfather of the composer: As Court Musician at Bonn, receives increase of salary, I, 10, 14; appointed Chapelmaster, 17; petitions for salary for his son, 18; demands obedience from his musicians, 21; Joseph Demmer appointed to his place as Court Musician, 22; Lucchesi succeeds him as Chapelmaster, 23; parentage and baptism, 42; leaves home in Antwerp and becomes church singer in Louvain, 43; appointed singing-master at St. Peter’s, 43; becomes Court Musician at Bonn, 43; marries, 45; his children, 45; services in Electoral Chapel, 45, 46; success as opera-singer, 46; last appearance, 47; death of, 47; an inebriate wife, 47; displeased at son’s marriage, 47, 50; death of widow, 56; length of court service, 73; composer asks for his portrait, 301; B’s affectionate remembrance of him, III, 184.

~Beethoven, Ludwig van~, the composer: _Birth of, date and place_, I, xvii, 51, 53; controversy about house in which he was born, 51, 55, 56; disputed dates, 53; record of baptism, 53; his mistaken belief, I, 54; II, 177; age of, falsified by his father, 55; reputed son of the King of Prussia, III, 214, 243. _Annuity and Shares of Bank Stock_: Annuity granted by noble friends, I, 298, 299; II, 137 _et seq._; disappointed by subscribers, 170; Kinsky fails to meet obligation, 172; B. collects from Kinsky at Teplitz, 205; reduction by depreciation of currency, 211 _et seq._; payments by Archduke Rudolph, 217, 219; B. collects from Kinsky’s heirs, 222; non-payment by Kinsky and Lobkowitz, 242 _et seq._; Kinsky and Rudolph agree to pay in notes of redemption, 242; B. blames Rudolph for getting him into the contract, 250, 266; controversy with Kinsky’s heirs, 259, 288, 289; settlement, 306; sums received by B. from the subscribers till his death, 306; honorable conduct of Kinsky and Lobkowitz, and B’s aspersions on their character, 308; B. seeks advice as to his right to leave Austria under the contract, 366; last collection of the annuity, III, 295; bank stock owned by B. at time of death, I, 326; II, 379; B. objects to its use for his benefit, III, 114, 290; discovered after his death, 309. _Character, traits of, and illustrative acts_: Vol. I, 83, 179; fondness for punning, 183; disposition as teacher, 120, 121, 201, 314; forgets his riding-horse, 200, 221; relations with musicians in Vienna, 240, 241; study of his character, 245 _et seq._; exaggerations of biographers, 245; extremes in his moral nature and temperament, 246; consequences of defective education, 246; ignorance of the value of money, 247; lack of independence in judgment, 247; high ideals, 247; pride, 248; sometime ungenerous treatment of friends, 248, 298; wish to be relieved of financial cares, 249; attitude towards transcriptions, 250; towards criticism, 250; susceptibility to flattery, 251; love of nature, 251; attractive to young people, 251; indifference to games of chance, 252; love of poetry, 254; his letter-writing, 255; manner of composing, 258 _et seq._; carelessness about dates, 281, 331, 344; recommends virtue to his brothers, 353; may have used his brothers as screen, 363. Vol. II. Displeased because not placed at prince’s table, 32; suspicious nature, 62, 63; carelessness about dates, 66; pride leads him to leave Prince Lichnowsky in anger, 68, 69; takes umbrage at being asked to play for French officers, 68, 69; Dr. Bertolini on his dilatoriness and lack of etiquette, 80; protests against holding improper relations with married women, 85; his opinion of his predecessors, 89; violence of temper, throws a dish of food in a waiter’s face, 91; feelings toward his relations, 91; indifference to his own manuscripts, 92; uncouth and awkward, 92; ignorance of monetary matters, 92; peculiarities described by Seyfried, 93 _et seq._; dislike of being disturbed at work, 93; fondness for punning, 95; his handwriting, 95; denounces his friends as “princely rabble,” 105, 127; hatred of French, 117; longing for opera-texts, 118; disingenuous treatment of friends, 123; hypochondria, 126; orchestra refuses to play under him, 128; violent gesticulations when conducting, 128; his suspicious nature, 130; withholds help from Ries, 140; affectionate concern for Breuning, 155; domestic tribulations, 155; love of poetry, 147; influences which created his moods, 163 _et seq._; normally cheerful, 163; a new infatuation makes him attentive to dress, 173; his only animal pet, 174; refuses to accept commission on sale of a pianoforte, 174; conviviality, 175; “electrical by nature,” 182, 189; how music came to him, 188; love of nature, 193; Goethe’s description of him, 224; self-esteem, 226; finds fault with his friends, 237; longing for domesticity, 240; unthrifty habits, 244; rails at Archduke Rudolph for getting him an annuity, 250; whimsical designations for his friends, 280; absent-mindedness, 287; Weissenbach’s description of him, 294; condemns popular virtuosi, 298; his puns, 214, 286; aspersions on the character of Princes Kinsky and Lobkowitz, 307; manner of composing, 316; allows himself to ignore rules of composition, 326; rails at the Emperor of Austria, 344; restive under restraint, 360; desire to be truthfully described, 361; favors German terminology, 364; some of his moral reflections, 365; lack of decision, 379; admiration for English system of government, 381; contempt for Viennese, 381; queries about housekeeping, 387; unfitness to be guardian of his nephew, 392; blames Archduke for his financial troubles, 396; takes pay for an oratorio which he does not compose, 398; explains that he is not of noble birth, 404; his contempt for the plebs, 409.

Vol. III. Domestic matters recorded in an almanac, 14; neglects food in frenzy of composition, 15; forgets to eat at a restaurant, 17; dealings with publishers, 39, 44, 51 _et seq._; 62, 65 (see “MASS IN D” and “SYMPHONY IN D MINOR” in Index of Compositions); arrested as a tramp, 42; his puns, 63; attitude toward Archduke Rudolph, 70; compares Goethe and Klopstock, 75; his views on progress in music, 76; an unruly patient, 85; dilatoriness in delivery of Mass in D, 94 _et seq._; nicknames for Schindler, 106; manner of composing, 126; indifference to dress, 126; accuses Schindler of being an evil character, 133; uses house-shutters for memoranda, 133; rails against his brother’s wife and daughter, 134; contradictory conduct concerning titles of honor, 163; drives his friends away from him after the first performance of the Ninth Symphony, 167; leaves country lodging because people are inquisitive, 176; abuses his landlord, 177; rebukes publisher for complaining that he had not received a work which he had bought, 180; attempts a joke at Haslinger’s expense, 190; enraged by a copyist, 191; denounces one publisher to another, 191; a poor arithmetician, 194, 277; his drinking habits, 195 _et seq._; jests on the name Holz, 196; forgets that he has paid a bill, 211; loud voice and laugh, 213; reluctance to play in private, 213; disagreeable manners, 214; his publisher a “hell-hound,” 216; asks for Luther’s Bible, 219; accepts money for a Requiem which he does not compose, 220; proud of a medal sent by the King of France, 230; ignores promise to dedicate the Ninth Symphony to Ries, 231; sells ring sent by the King of Prussia because it was not a diamond, 233; hatred of his sister-in-law because of her lewdness, 238; looked upon by a law-clerk as an imbecile, 241; treated as a menial by a stranger, 241; refuses to dine with his brother’s family, 243; gesticulations while composing frighten an ox-team, 243; welcomes royal distinctions, 244; prone to believe evil of everybody, 249; becomes apprehensive of death, 253; drinking habits, 275; charges Schindler with pilfering a petty sum of money, 281; wants to read a full report of a speech by Channing, 283; remarks while undergoing a surgical operation, 276; ungracious reception of his physician’s ministration, 283; confident that his last compositions will eventually be recognized, 300; “Plaudite, amici, comœdia finita est,” 304 _et seq._

_Compositions_ (INDEX OF COMPOSITIONS).

_Concert appearances as player or conductor_: First public appearance, I, 59; first appearance as virtuoso, 184, 185; plays at Romberg’s concert, 199; at Schuppanzigh’s, 191, 200, 214; in Prague, 217; at Burgtheater, 266; at Punto’s concert, 267, 282; asks use of Court Theatre, II, 99; his conducting, 117, 127, 128; Spohr’s account of his manner, II, 257; Franz Wild’s description, II, 268; III, 14; the concert of 1808, II, 127; failure of charity concert in 1809, II, 149, 172, 215; benefit of sufferers by fire at Baden, 225; concerts of 1813, 248, 259; benefit of wounded soldiers, 257; repetition, 261; constitution of his orchestra, 268, 269; concerts of 1814 299, 300, 327, 388; proposed concert in 1819, III, 22; opening of Josephstadt Theatre, 81; breaks down conducting “Fidelio,” 83; concerts of 1824, 176.

_Conversation Books_: I, xi, 229, 241, 252, 319, 320; preserved in the Royal Library in Berlin, 377; given to Schindler, III. 11; their number and kind, 11; Thayer’s labor upon them, 12, 87, 89; alterations by Schindler, III, 273, 281.

_Deafness_: Origin of, I, 218, 245, 261, 298; B’s strange account, 300; III, 210; desire to conceal it, I, 300; phenomena, 300; B’s reflections in the Heiligenstadt Will, 352; Ries’s account, 352; Seyfried’s account, II, 95, 96; B. Hides from the noise of bombardment, 145; Mälzel makes ear-trumpets, 233; III, Dr. Smetana prescribes for the malady, 85; cure attempted by Pater Weiss, II, 96; III, 85; unaffected by dissonance, III, 202.

_Education and Training_: I, 57 _et seq._; lessons from his father, 58; weeping as child at the pianoforte, 58; studies at Latin School, 59; deficiency of general education, 60; knowledge of French and Latin, 60, 65; lessons from Van den Eeden, 61, 62, 67 _et seq._; studies under Tobias Pfeiffer, 62, 63; lessons on violin and viola at Bonn, 64; organ playing with Friar Willibald, 64; first efforts at composition, 65; doubtful story of private studies in Latin, 65; counterpoint and composition from Neefe, 67 _et seq._; study of Bach, 70; cembalist in Electoral Chapel, 72, 85; violin lessons from Franz Ries, 85; violin lessons from Krumpholz, 92; lack of skill on violin, 92; training in orchestra, 109; shows cantata to Haydn, 116; proposed as pupil of Haydn, 123; extent of his obligations to Max Franz, Elector, 124; his appreciation of Neefe as teacher, 124; lessons from Haydn, 150 _et seq._; his disparagement of Haydn as teacher, 152, 158; rupture with Haydn, 155, 189; lessons from Schenk, 152 _et seq._; Fux’s “Gradus,” 153; lessons from Salieri, 154; from Albrechtsberger, 155, 156 _et seq._; violin instruction from Schuppanzigh, 156; Seyfried’s “Studien, etc.,” 159; Fux, 159; Türk, 159; C. P. E. Bach, 159; Kirnberger, 159; Salieri, 160; refuses to attend lectures on Kant, 182; Plato’s supposed influence, 213, 214; effect on his character of defective training, 246; imperfections in letters, 255; studies made for Archduke Rudolph, II, 147, 150, 151; self-improvement by reading, 166.

_Guardianship of his Nephew_: Karl Kaspar van Beethoven declares his wish that his brother and widow be joint guardians of his son Karl, II, 241; B. appointed guardian, 320; the widow appointed co-guardian, 321; court appointment, 320; B. has himself made sole guardian, 321; takes his ward to live with him, 341 _et seq._; asks Kanka to collect inheritance for the lad, 353; defective training of Karl, 361; widow compelled to bear a share in the expense of education, 368, 362 _et seq._; widow tries to get possession of her son, 400 _et seq._; not being of noble birth B. is referred to plebeian court, 401, 404; testimony before the court of the nobility, 403 _et seq._

--Vol. III. Widow renews petition to have her son sent to Imperial Konviktschule, 2; B. suspended from the guardianship, 2; plans to send Nephew to Landshut University, 4, 5; Tuscher appointed guardian, 5; B. appeals to Archduke Rudolph for a passport to Landshut, 6; the plan frustrated, 6; Giannatasio refuses to readmit Karl, 6; he is sent to Blöchlinger’s Institute, 7; Tuscher surrenders guardianship, and B. desires to resume it, 7; is refused, 8; the mother reappointed, with Nussböck as co-guardian, over B’s protest, 8, 10; B. appeals to the Landrecht, 10, 26; Councillor Peters suggested as co-guardian, 10; Blöchlinger takes charge of the ward, 14; facts and merits of the case, 28 _et seq._; B. makes personal appeal to the court, 29; Dr. Bach a judicious adviser, 30; the court appoints B. and Peters co-guardians, 31; widow makes vain appeal to the Emperor, 31; cost of B’s victory, 31; his joy, 32; Karl runs away from the Institute, 33; effect of B’s administration of the trust on himself and his ward, 247 _et seq._; Dr. Reisser appointed in place of Peters, 251; Breuning persuades B. to resign and takes his place, 264; Hotschevar becomes guardian after the death of B. and Breuning, 292.

_Illness, death and burial_: I, 123, 198, 201, 281, 298, 300, 302.--II, 27, 116, 123, 158, 190, 199, 202, 223, 227, 246, 366, 367, 378, 395.--III, 39, 70, 71, 72, 129, 133, 170, 199, 207, 219, 240, 241, 271 _et seq._; medical attendance summoned, 273; surgical operations, 276, 283, 294, 296; frozen punch prescribed, 286; sweat baths, 287; cheering news from old friends, 288; B. asks aid from the London Philharmonic Society, 289, 290; the Society votes gift of 100 pounds, 290; visitors at bedside of sick man, 280, 286, 289, 294, 295; B. abandons hope, 296; gifts of wines and delicacies, 287 _et seq._; Hummel at the death-bed, 301; signing the will, 303 _et seq._; “Plaudite, amici, comœdia finita est,” 304 _et seq._; B. receives extreme unction, 305; the death-struggle, 307; death caused by cirrhosis of the liver, 308; revelations of the autopsy, 309, 310; property left by B., 310; funeral, 312; performances of masses for the dead by Mozart and Cherubini, 312; pall and torch-bearers, 312; burial at Währing, 312; exhumation of the body and reburial, 312.

_Improvisation_: B’s skill at an early age, I, 63; discomfits a singer by his harmonization, 87, 119, 152, 182, 188; Czerny’s account, 196; at the Singakademie in Berlin, 197, 217; on “Ah, vous dirai-je, Maman,” 217, 266.--Vol. II, 15; on theme from a quartet by Pleyel, 44, 90, 375; III, 208.

_Letters_: To Amenda, I, 297; Arnim, Bettina von, II, 190, 196; Artaria and Co., III, 65; Dr. Bach, III, 115, 278; Baumeister, II, 218; Beethoven, Johann van, I, 192, 352; III, 69, 72, 134; Beethoven, Karl Kaspar van, I, 352; Beethoven, Karl van, III, 254; Dr. Bertolini, II, 87; Bernard, II, 398; III, 171; Beyer, II, 259; Bigot, II, 84; Birchall, II, 319, 325, 336, 346, 350; Brauchle, II, 317; Breitkopf and Härtel, I, 286, 294, 349, 368, 369; II, 66, 67, 136, 142, 148, 192, 198, 200, 204, 206, 214, 226; Brentano, III, 46, 47; Breuning, Leonore von, I, 177, 179; Breuning, Stephan von, II, 33; Broadwood, Thomas, II, 390; Brunswick, Count, II, 105, 202, 219, 266; Brunswick, Countess Therese, II, 203; Cherubini, III, 100; Collin, von, II, 149; Czerny, Carl, I, 316; II, 338, 374; Erdödy, Countess, II, 144; Ertmann, Baroness, II, 365; Esterhazy, Prince, II, 107; Frank, Mme. de, I, 283; Giannatasio del Rio, II, 332, 349; Gleichenstein, Count, II, 114, 140, 141, 155, 174, 175; Goethe, II, 197; III, 98; Haslinger, III, 44; Hoffmeister and Kühnel, I, 271, 281, 286, 299, 366, 370; II, 16; Holz, III, 216; Hummel, I, 240; II, 267; Kanka, II, 353; King of England, III, 113; Kinsky, Princess, II, 243; Könneritz, von, III, 97; Kotzebue, II, 213; Kuhlau, III, 204; Lichnowsky, Count Moritz, II, 262; III, 158; London Musicians, II, 274; Macco, Alexander, II, 19; Mähler, II, 16; Malfatti, Therese, II, 176; Matthisson, I, 202; Moscheles, III, 291; Mosel, von, II, 386; Neate, Charles, II, 339, 352, 367; Oppersdorff, Count, II, 122; Peters, Councillor, II, 354; Peters, C. F., III, 58, 60, 61, 64; Ries, Ferdinand, II, 27, 28, 29, 324, 333, 338, 340, 371, 395, 412, 413; III, 111, 128; Rudolph, Archduke, II, 199, 225, 235, 250, 266, 286; III, 1, 9, 19, 20, 34, 91, 94; Schaden, Dr., I, 92; Schenck, 154; Schindler, III, 102, 133, 158, 286, 295; Schlesinger, III, 54; Schott and Sons, III, 296, 297; Schreyvogel, II, 304; Schuppanzigh, III, 158; Sebald, Amalie, II, 228; Simrock, I, 183; II, 21; III, 44, 56; Smart, Sir George, II, 311, 351; Smetana, Dr., III, 259; Stadler, Abbé, III, 235; Steiner, II, 364; III, 38; Streicher, Nanette, II, 394; Stumpff, III, 289; Theatre Directors in Vienna, II, 98; Thomson, George, II, 17, 71, 157, 203, 219, 245, 308; III, 16; Tiedge, II, 206; Treitschke, II, 269, 273, 277, 281, 284; Tschiska, III, 3; Varena, II, 246, 247, 249; Wegeler, F. G., I, 177, 179; Zelter, III, 18; Zmeskall, I, 231, 355; II, 88, 144, 155, 175, 208, 217, 245, 247, 248, 262, 271, 330, 349, 351; III, 288.

_Lodgings_ (in Vienna): Alsergasse, with Prince Lichnowsky, I, 148, 269; Bartenstein House, II, 271, 286; Gärtnerstrasse, II, 362, 367, 368; Giorgi, II, 368; Hamberger House, I, 355; Johannesgasse, III, 184; Josefstädter Glacis, III, 21; Kothgasse, III, 97; Kreuzgasse (Ogylisches Haus), I, 269; Krügergasse, III, 144; Pasqualati’s House, on the Mölkerbastei, II, 31, 44, 123, 196, 219; Petersplatz, I, 256; II, 12; Rothes Haus, II, 271, 286; Sailerstätte, II, 315, 361; Schwarzspanierhaus, III, 212, 273, 311; in the Theater-an-der-Wien, II, 12, 23, 35, 44; Tiefen Graben, I, 269, 288; Ungarstrasse, III, 140, 170; Walfischgasse, II, 145, 155. (In the country): Baden, II, 13, 102, 106, 107, 145, 244, 249, 251, 315; III, 39, 70, 71, 133, 134, 137, 177, 200; Döbling, II, 14, 31; Gneixendorf, III, 237, 238, 239, 244, 267, 271; Heiligenstadt, I, 349, 351; II, 107, 110, 119, 120. 369; Hetzendorf, I, 288, 289; II, 45, 47, 367; III, 95, 122, 129; Landstrasse, III, 36, 39, 73; Mödling, II, 380, 396; III, 6, 14, 17, 35, 48; Nussdorf, II, 369; Oberdöbling, III, 69, 73; Penzing, III, 176; Unterdöbling, I, 269; III, 39, 47.

_London Philharmonic Society_: Neate buys overtures for, II, 333; the Society’s disappointment, 334; its membership roll, 334; B. offers to write new works for, 352, 367; invites B. to visit London, 370, 378, 379, 380, 395, 413; III, Hogarth’s history of, 110; the Society and the Ninth Symphony, 110 _et seq._; 149, 177, 207, 209, 230, 232 _et seq._; again invites B. to visit London, 186; appealed to by B. for aid, 289; 100 pounds voted for B’s relief, 290 _et seq._; gift reclaimed after B’s death, but released, 293, 294; part of the sum applied to funeral expenses, 302.

_Love Affairs, Marriage Projects, B’s relations with Women_: (see also “Character,” etc.), I, xvi, xxi, 120; susceptibility to women’s charms, I, 121 _et seq._, 235, 317 _et seq._, 334; encounter with a prince’s mistress, II, 33; passion no influence in “Fidelio,” II, 166; the “Immortal Beloved,” I, xxi, 281, 292, 326, 328 _et seq._; II, 66, 105, 106, 222, 343, 336 _et seq._, 342 (see writings in controversy under “Grove,” “La Mara,” “Storck,” “Prelinger,” “Chantonoine,” “Rolland,” “Schindler,” “Nohl,” “Kalischer,” “Frimmel,” “Volbach,” “Thomas-San-Galli,” “Hale,” “Tenger”); Countess Therese Brunswick, I, 326; relations interviewed, 340; memoirs of, 344; Magdalena Willmann, I, 242, 292, 337; Therese Malfatti, I, 336; II, 86, 106, 239; Amalie Sebald, I, 337; II, 206, 228, 239; Giulietta Guicciardi, I, 343, 344, 292; Madame Bigot, II, 84; Marie Koschak, I, 318; II, 383; Bettina von Arnim, II, 366; Fanny Giannatasio, II, 362; an alleged “Autumnal love,” II, 383; B’s contemplation of marriage, I, xvi; offers hand to Magdalena Willmann, I, 242; his celibacy, 242, 245, 326; alleged proposal to Therese Malfatti, II, 178; effect of her rejection of him, 193, 141, 142, 200, 239, 240; a confession of disappointed love, 342; reputed proposal to Cibbini, III, 205, 207.

_Opera Projects_ (see “FIDELIO,” in Index of Compositions): At work on an opera when he became deaf, I, 263; his constant longing for a text, II, 118, 202; applies to Kotzebue for a book, II, 213; licentious plots repugnant to him, III, 201; subjects considered: “Macbeth” by Collin, II, 119, 151, 153; “Bradamante” by Collin, II, 119; intended collaboration with Varnhagen von Ense, II, 204; “Alexander” by Schikaneder(?), II, 19, 20; Grillparzer’s “Melusine,” III, 118 _et seq._; 135, 220; Körner’s “Return of Ulysses,” II, 237; Rudolph von Berger’s “Bacchus,” II, 314, 328; “Romulus and Remus,” 304, 381; “Macbeth” (not by Collin), III, 117; “Romeo and Juliet,” 117; Schiller’s “Fiesco,” 117; Voltaire’s tragedies, III, 117; Grillparzer’s “Dragomira,” III, 118, 120, 122.

_Orchestra and Organ_, B’s experience with: Lessons on violin and viola from Rovantini, I, 64; from Ries, 99; from Schuppanzigh, 156; training in orchestra, 109, 111; Schindler in error, 239; studies organ-playing with Van den Eeden, I, 61, 64; with Willibald Koch and Zenser, 64; assumes Neefe’s duties as organist, 69; assistant to Neefe, 71; appointed assistant organist in the Electoral Chapel, 74; recommended for Court Organistship, 83, 105; his playing, 110.

_Personal Appearance and Portraits_: I,76, 146, 147; “Ugly and half crazy,” 243; described by Baillot, II, 55; described by Weissenbach, II, 294; described by Julius Benedict, III, 139, 125.--Dress, I, 147, 322; a new wardrobe for a new infatuation, II, 173; changes new coat for old one for dinner, II, 186; negligent appearance, 88, 287.--Portraits: Silhouette by Neesen, I, 122; paintings by Mähler, II, 15, 16; Frimmel’s discussion of B’s portraits, II, 15; miniature by Hornemann, II, 33; Klein’s mask and Danhauser’s bust, II, 221; Latronne’s crayon drawing engraved by Höfel, II, 287; painting by Heckel, II, 338; painting by August von Klöber, II, 399; lithograph by Dürck, III, 42; painting by Ferdinand Schimon, III, 21, 41; portrait by Joseph Stieler, III, 41; death-mask and drawing by Danhauser, III, 310; crayon drawing by Decker, imitated by Kriehuber, III, 176.

_Pianoforte Study and Playing_ (see “EDUCATION”): Studies pianoforte with his father, I, 58; skill as a boy described by Neefe, 69, 111; plays for Abbé Sterkel, 114; duties as pianist to the Elector, 135; Bach’s fugues, 175; skill in sight-reading, 180; his playing compared with Wölffl’s, 215; described by Tomaschek, 217; Cherubini’s comments on, 220; Spohr’s criticism, II, 269; last public appearance as pianist, 270; his playing of “The Well-Tempered Clavichord,” II, 355; advice to Czerny as to instruction of his nephew, II, 374.

_Religion_: Character of B’s religious belief, II, 167 _et seq._; transcription of Egyptian texts preserved by him, 168; prayers in his note-books, 169, 249; an expression of faith, 187; admonishes his nephew to pray, 407; views on church music, 414, 415; attitude towards the Catholic Church, II, 168, III, 91; the Mass in D, III, 91; receives the rites for the dying, 305 _et seq._

_Sketchbooks_: Gelinek finds the cause of B’s faults in them, I, 257; Nottebohm’s analysis, I, 257 _et seq._, 364; Kafka’s, I, 205, 206, 209, 210; Sketches in the British Museum, I, 205, 206, 209, 210, 261; Petter Collection, I, 274, 290; II, 118, 129, 151, 209, 296; Grassnick Collection, I, 275; II, 160; Kessler’s, I, 289, 368, 371; Landsberger’s, II, 73; Meinert Collection, II, 150, 161; the “Fidelio” sketches, II, 285; Mendelssohn Collection, II, 310.

“~Beiden Savoyarden, Die~” (“Les deux petits Savoyards”): Opera by Dalayrac, I, 109.

~Belderbusch, Kaspar Anton~: Prime Minister of Elector Max Friedrich I, 14, 15; assumes paternity of Elector’s illegitimate children, 16; death of, 33; secures Neefe’s appointment as Court Organist, 36; a musical amateur, 37, 118; Countess Belderbusch, a clavier player, I, 37.

~Belgium~: Beethoven families residing in, in the 17th century, I, 42.

~Bell, Doyne C.~: “Documents, Letters, etc., relating to the Bust of Ludwig van Beethoven presented to the Philharmonic Society of London by Fanny Linzbauer,” III, 291.

~Bellamy, Mr.~, English singer: II, 310.

~Belzer, Frau von~, Musical amateur in Bonn: I, 38.

~Benda, George~: His opera “Ariadne auf Naxos,” I, 29, 107, 108; “Romeo and Juliet,” I, 31, 107, 108; conductor of Seydler’s company, 30.

~Benedict, Sir Julius~: III, 137; his visit to B., 138 _et seq._

~Berger, Rudolph von~: His opera-book “Bacchus,” II, 314.

~Berlin~: B. visits, I, 192, 195; faults public for not applauding, 197; II, 226; plays for the Singakademie, I, 197; the Singakademie and the Mass in D, III, 104, 180.

~Bernadotte, General J. B.~: His association with the “Eroica,” I, _212 et seq._; King of Sweden, III, 139.

~Bernard, Joseph Carl~: II, 332, 359, 398; III, 24, 30, 171; his “Libussa,” 173; “Der Sieg des Kreuzes,” 172 _et seq._

“~Bernardsberg, Der.~” (See “ELISE.”)

~Bertinotti, Mme.~: II, 75.

~Bertolini, Dr.~: On B’s susceptibility to women, I, 318; on the origin of the “Eroica,” II, 25; on B’s dilatoriness, 76, 87; “Un lieto brindisi,” II, 280, 305, 322; rupture of friendship with B., 341, 369.

“~Betulia liberata~”: III, 143.

~Betz~: “Il Riso d’Apolline,” I, 26.

~Beyer, Dr.~: Letter to, II, 259.

~Bigot~, Librarian of Count Rasoumowsky: II, 73, 125, 146; his wife, Marie, II, 84, 146.

~Bihler~, J. N.: III, 156.

~Biographers of B.~: Early, III, 197 _et seq._

“~Biographische Notizen.~” (See “WEGELER, F. G.” and “RIES, FERDINAND.”)

~Birchall, Robert,~ English publisher: II, 319, 324, 325; difficulty in getting a receipt from B., 355, _et seq._, 345, 350, 346, 359; death of, 351; and the overtures bought by the Philharmonic Society, 337.

~Birkenstock, Joseph Melchior~: II, 178; Antonie, II, 179.

~Blahetka, Leopoldine~: III, 50, 138, 157.

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

“~Blendwerk, Das~” (“La fausse Magie”): Opera by Grétry, I, 107.

~Blöchlinger, Joseph Karl~: III, 7, 23. (See _Guardianship_ under “BEETHOVEN, LUDWIG VAN,” and “BEETHOVEN, KARL.”)

~Boer, S. M. de~: Visits B., III, 203.

~Bohemian Nobility~: Musical culture of the, I, 168.

~Böhm~, Violinist: Plays the Quartet Op. 127, III, 192, 193; torchbearer at B’s funeral, III, 312.

~Böhm’s Theatrical Company~: I, 86.

~Bolla, Signora~: B. plays at her concert, I, 191.

~Bonaparte, Jerome~: I, 190; II, 122; invites B. to his court, 124, 135 _et seq._

~Bonaparte, Louis~, King of Holland: II, 245, 247.

~Bonaparte, Napoleon~: Threatens invasion of Vienna, I, 199, 200; the “Eroica,” 213; II, 24; B’s remark: “I would conquer him!” 117; neglects opportunity to hear the “Eroica,” 149; marches on Moscow, 221; holds court at Dresden, 221; effect of his downfall, 295; and Cherubini, III, 206.

~Bonn, City of~: Festival in 1838, I, xvii; selected as Electoral residence, 3; besieged by Marlborough, 6; restored to archbishopric of Cologne, 6; improved by Elector Clemens August, 7; the Comedy House, 30; professional and amateur musicians in B’s time, 31; appearance of the city, 38 _et seq._; Beethovens in before the arrival of the composer’s grandfather, 44; music in Max Franz’s reign, 88; theatrical companies, 112; B’s friends, 117, 125, 126; B. leaves the city forever, 125; B’s compositions in, 129 _et seq._; Beethoven Festival of 1845, II, 177.

~Boosey~, Music publisher in London: III, 111, 128; makes contract with B. through Ries, 128.

~Born, Baroness~: III, 42.

~Boston Handel~ and ~Haydn Society~: Commissions B. to write an oratorio, III, 87.

~Botticelli~, Singer: III, 169.

~Bouilly, J. N.~: His opera-texts, II, 36.

~Bowater, Mrs.~: I, 134, 145; III, 40.

“~Bradamante~”: Opera-book by Collin, II, 19.

~Brahms, Johannes~: Confirms authenticity of Bonn cantatas, I, 131; comment on the compositions of royal personages, III, 20.

~Brauchle~: Tutor of Count Erdödy’s children, I, 320; II, 317.

~Braun, Baron~: I, 168; invites the Rombergs to give a concert, 199, 244, 290, 348, 350; engages Ries at B’s solicitation, 360; engages Cherubini to compose operas, II, 3; dismisses Schikaneder, 23, 34, 35; withdraws “Fidelio,” 63; ends his management of the Theater-an-der-Wien, 78. --~Baroness~, I, 225, 244; dedication of the Horn Sonata, 290.

~Braunhofer, Dr.~: Dedication of the “Abendlied,” III, 50, 199; canon for, 200, 219, 373; declines call to B., 272, 274.

~Breimann~: II, 125.

~Breitkopf and Härtel~: Acquire publication rights of this biography, I, xv; employ Dr. Riemann to revise German edition, xv; B’s letters to, I, 286, 294, 348, 349, 364, 369; II, 66, 67, 142, 148, 192, 198, 200, 204, 206; B. offers them all his works, 67; attempt to renew association with B., III, 73.

~Brentano, Antonie~: II, 322; III, 128.

~Brentano, Clemens~: II, 196, 222.

~Brentano, Elizabeth~: (See ARNIM, BETTINA VON)

~Brentano, Franz~: II, 179, 186; B. borrows money from, III, 39, 45, 46, 47; loan repaid, 64, 184.

~Brentano, Maximiliane~: II, 179, 180, 221.

~Brentano, Sophie~: II, 179.

~Breuning, Christoph von~: I, 98, 99; Christoph (son), I, 198, 303.

~Breuning, Eleonore Brigitte von~: Wife of Franz Gerhard Wegeler, I, 99, 118, 119; lines on B’s birthday, 122; inscription in his album, 125, 138, 300; III, 214, 288.

~Breuning, Emmanuel Joseph von~: I, 98.

~Breuning, Georg Joseph von~: I, 98.

~Breuning, Dr. Gerhard~: Visited by Thayer, I, xi 96, 99, 100, 300; opinion of B’s brother Karl, II, 322, 362; description of Johann van B., III, 66; B’s interest in him as a lad, III, 214; on B’s last illness, 247; on the medical treatment of B., 287, 300.

~Breuning, Johann Lorenz von~: I, 98.

~Breuning, Johann Philipp von~: I, 98.

~Breuning, Johann Lorenz (Lenz) von~: I, 99, 119, 198; reports to Romberg about B., 199; B’s lines in his album, 201, 202.

~Breuning, Madame von~: I, 99; selects B. as teacher for her children, 100; influence over B., 100, 188, 119, 303; death of, 100; dedication of the pianoforte arrangement of the Violin Concerto, II, 134.

~Breuning, Marie von~: III, 213.

~Breuning, Stephen von~: I, 99; intimacy with B., 119, 191, 198; returns to Vienna, 288, 301; B. advises his employment by the Teutonic Order, 303; his relations with B. in Vienna, 310 _et seq._; B’s injustice toward him, 311. --II, becomes clerk in Austrian war department, 14; quarrels with B., 27 _et seq._; reconciliation, 32; receives miniature from B., 33; poem for the second performance of “Fidelio,” 61; letter concerning the opera, 57; B’s concern for his health, 155; death of his wife, 155; dedication of the Violin Concerto, 162; warns B. against his brother Karl, 322. --III, 24, 197; intimacy with B resumed, 213; persuades B. to resign guardianship, 264; objects to unqualified bequest to Nephew Karl, 279; finds B’s bank stock and the love-letter, 376.

~Bridgetower, George Augustus Polgreen~, Violinist: I, 186; his career, II, 8 _et seq._; his notes on the “Kreutzer Sonata,” 10.

~Bridi, Joseph Anton~: II, 391.

~British Museum~: Sketches in I, 205, 206, 209, 210, 261.

~Broadwood, Thomas~: Presents pianoforte to B., II, 390 _et seq._; III, 201, 237.

~Browne, Count~: I, 199; B. calls him his “first Mæcenas,” 222, 244; II, 20. --~Countess~, I, 200, 209, 227, 244.

~Brühl, Count~: III, 153.

~Brunswick, Count Franz~: I, 322; the Rasoumowsky quartets, II, 104; letters from B., 105, 124, 202, 219, 245, 266; ruined by theatrical management, 154; dedication of Fantasia Op. 77, 195; III, 24, 170; offers summer sojourn in Hungary to B., 179.

~Brunswick, Count Géza~: I, 340, 341.

~Brunswick, Countess Marie~: I, 340.

~Brunswick, Countess Therese~: I, xvi, 279; her relations with B., 317, 322, 335 _et seq._; sends her portrait to B., 335; B’s message to her brother, “Kiss your sister Therese,” II, 105, 161, 173; dedication of the Sonata Op. 78, 195; portrait of, 202; letter to, 203, 239.

~Bryant, William Cullen~: Quoted I, 252.

~Buda-Pesth~: National Museum of, gets B’s Broadwood pianoforte, II, 392.

“~Buona Figliuola, La~”: Opera by Piccini, I, 25, 32.

~Burbure, Léon~: Supplies information concerning the Belgian Beethovens, I, 42.

~Bureau d’Arts et Industrie~: Established, II, 35.

~Burney, Dr. Charles~: “Present State, etc.,” quoted, I, 174.

~Cache~, Singer at first performance of “Fidelio”, II, 51.

~Cäcilien-Verein~ of Frankfort: Subscription to the Mass in D, III, 104, 106, 110, 180.

“~Calamità di Cuori, La~”: Opera by Galuppi, I, 26.

~Caldara~: Opera “Gioas, Re di Giuda,” I, 184.

~Campbell, Thomas~: “The Battle of the Baltic,” II, 203.

~Capponi, Marchese~: I, 341.

~Carlyle, Thomas~: II, 360.

~Carpani~: Italian text for Haydn’s “Creation,” II, 116; introduces Rossini to B., 360.

~Carriere, Moriz~: Dubious of the genuineness of B’s letters to Bettina von Arnim, II, 185.

~Cassel~: B. invited to become chapelmaster at, II, 122, 124, 135 _et seq._, 141.

~Cassentini~, Dancer: I, 285.

~Castelli~: On failure of the Concerto in E-flat, II, 215; torchbearer and poet at B’s funeral, III, 312.

~Castlereagh, Viscount~: II, 291.

~Catalani~: II, 310.

~Catalogue, Classified~, of B’s works: II, 38.

~Catherine II~, Empress of Russia: II, 81.

~Champein~: I, 86.

~Channing~: B. asks for full report of speech on his death-bed, III, 283.

~Chantavoine, Jean~: I, 211, 228, 337.

~Chappell~, Music publisher in London: II, 413.

~Charles XIV~ (Bernadotte), King of Sweden: III, 130.

~Cherubini, Luigi~: On B’s playing, I, 220, 324; engaged to compose operas for Vienna, II, 3, 47; B’s respect for, 48; opinion of “Fidelio,” 63, 64, 202; “Les deux Journées,” II, 3, 36; III, 139; “Lodoiska,” II, 3; “Elise,” 3; “Medea,” 3; “Faniska,” 110; asked by B. to urge subscription to Mass on King of France, III, 100, 126; on B. and Mozart, 205; Schlesinger on, 206; on B’s quartets, 216; his “Requiem” sung at B’s funeral, 312.

~Cherubini, Madame~: On B’s social conduct, I, 121.

~Chorley, Henry F.~: Receives and publishes B’s letter to Bettina von Arnim, II, 182, 184, 316.

~Churchill, John~, Earl of Marlborough: I, 6.

~Church Music~: B’s views on, III, 203.

~Cibbini, Antonia~: B’s offer of marriage to, III, 205, 207.

~Cimarosa, Domenico~: “L’Italiana in Londra,” I, 32; “Il Matrimonio segreto,” 164.

~Clam-Gallas, Count Christian~: I, 194.

~Clari, Countess Josephine di~: I, 194.

~Clemens August~, Elector of Cologne: I, 1; his extravagance, 7; succeeds to the Electorship, 7; career of, 7; life in Rome, 8; Grand Master of the Teutonic Order, 7, 98; opens strong-box of the Order, 8; falls ill while dancing and dies, 7, 8; entry into Bonn, 9; his music-chapel, 9; appoints Van den Eeden Court Organist, 10; increases salary of B’s grandfather, 10; music in his reign, 14; his theatre, 30; appoints B’s grandfather Court Musician, 43.

~Clement, Franz~, Violinist: II, 2; conductor, 42; B’s Violin Concerto, 76; succeeds Häring as conductor in Vienna, 112; produces “Mount of Olives,” 156, 209, and the Ninth Symphony, III, 157 _et seq._

~Clementi, Muzio~: I, 33; encounter between him and B., II, 23, 38, 75; contract with B. for compositions, 102; tardy payment of debt, 131, 158; B. on his pianoforte studies, 375; B. sends them to Gerhard von Breuning, III, 214.

~Collard, F. W.~, Partner of Clementi: II, 102, 103.

~Collin, von~: “Coriolan,” II, 101, 102; “Bradamante,” II, 119; “Macbeth,” II, 119, 151; “Jerusalem Delivered,” II, 119, 151; Letter to, II, 149; asked to write a drama for Pesth, 88, 201.

~Cologne~: Electors of in the 18th century, I, 1 _et seq._; Archbishop Engelbert, 3; civil income of Electorate, 7.

“~Colonie, Die~” (“L’Isola d’Amore”): Opera by Sacchini, I, 108.

~Complete Editions~ of B’s Works planned: II, 18, 38, 192; III, 36, 54, 190, 205, 237; Archduke Rudolph’s Collection, II, 200.

~Congress of Vienna~: II, 288, 289.

~Consecutive Fifths~: B’s dictum on II, 89.

“~Contadina in Corte, La~”: Opera by Sacchini, I, 26.

~Conti~: I, 282; II, 2.

“~Convivo, Il~”: Opera by Cimarosa, I, 107.

“~Corsar aus Liebe~”: Opera by Weigl, I, 268; II, 2.

~Courts of Europe~: Invited to subscribe to the Mass in D, III, 93 _et seq._

~Court Composers~: Their duties in the 18th century, I, 13.

~Court Theatres of Vienna~: B. asks appointment as composer for, II, 98.

~Cramer, F.~, Violinist: I, 186; II, 12.

~Cramer, John Baptist~: I, 186; sketch of, 218, 219; makes B’s acquaintance, 218; his admiration for B., 219; on B’s playing, 210; II, 318; B’s opinion of him as pianist, 381.

“~Creation, The~,” Haydn’s oratorio: I, 243, 266, 282, 284, 285; II, 89, 116, 120; receives the first metronomic marks, 223.

~Cressner, George~, English Ambassador at Bonn: I, 65.

~Cromwell~: I, viii; II, 360.

~Czapka~: Magistrate to whom B. appeals, III, 265.

~Czartoryski, Prince~: I, 271.

~Czernin, Count~: I, 172.

~Czerny, Carl~: I, 85; anecdote about B. and Gelinek, 152; on B’s extempore playing, 196; use of high registers of pianoforte, 223, 236; pupil of B., 314; duet playing with Ries, 314; testimonial from B., 315; memory of, 315; rebuked by B. for changing his music, 316; letters, 316, 322; on the reception of the “Eroica,” II, 35; on the Rasoumowsky Quartets, 75; on B’s playing and teaching, 90; on B’s character, 91; on the theme of the _Credo_ in the Mass in C, 107; on the first performance of the Choral Fantasia, 130, 215, 314; rebuked by B. for changing his music, 337; letter, 338; B’s advice as to instruction of Nephew Karl, 374; inaccuracies as biographer, 376; visits B., III, 203; torchbearer at B’s funeral, 312.

~Czerny, Wenzel~: I, 236.

~Czerwensky~, Oboist: I, 239.

~Dalayrac~: Operas “Nina,” I, 107, 108; “Les deux petits Savoyards,” 109.

~Danhauser~: Makes bust of B., II, 221; death-mask, III, 310.

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

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

~Degen~, Aëronaut: III, 62.

~Deiters, Dr. Hermann~, German translator of Thayer’s work: I, Dedication; 88; writes conclusion of the biography, xv, 75, 103; discusses date of a letter to Wegeler, 177; on the C-sharp minor Sonata, 292; B’s letters to Bettina von Arnim, II, 197; B’s conduct towards Simrock, III, 53.

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

~Deler~ (Teller, Deller?): “Eigensinn und Launen der Liebe,” opera, I, 31.

~Dembscher~: III, 193; canon, “Muss es sein?” 224, 244.

~Demmer~: Singer at first performance of “Fidelio,” II, 50, 61; III, 83.

~Demmer, Joseph~: Petitions for the post of B’s grandfather, I, 22; appointed, 23.

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

~Desaides~: Opera “Julie,” I, 29, 107; “Die Reue vor der That,” 32; his operas in Bonn, 86; “Les trois Fermiers,” 107.

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

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

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

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

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

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

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

~Diabelli, Anton~: II, 314; III, negotiations with B. 107; variations on his waltz, 127 _et seq._; commissions Sonata for four hands, 183.

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

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

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

~Dietrichstein, Count~: Tries to have B. appointed Imperial Court Composer, III, 115; sends B. texts for missal hymns, 116.

~Dittersdorf~: Operas “Doktor und Apotheker,” I, 108, 109; “Hieronymus Knicker,” 109; “Das rothe Käppchen,” 109, 139, 176, 183.

~Dobbeler, Abbé Clemens~: Carries Trio Op. 3 to England, I, 134, 145.

~Dobbler’s Dramatic Company~: I, 28.

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

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

~Doležalek, Johann Emanuel~: I, 239; sketch of, 368; on the first performance of the Choral Fantasia, II, 130; III, 294.

~Donaldson~, Edinburgh publisher: III, 42.

“~Don Giovanni~”: Opera by Mozart, I, 91, 107, 163, 193; II, 204; III, 42.

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

~Dont, Jacob~: II, 399.

~Dont, Joseph Valentine~: II, 399.

~Donzelli~, Singer: III, 169.

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

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

~Dousmoulin.~ (See TOUCHEMOULIN.)

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

~Dragonetti, Domenico~: Makes B’s acquaintance, I, 218; skill on double-bass, 218; II, 124; Trio in Fifth Symphony, 126, 256; recitatives in Ninth Symphony, III, 207.

~Drama, German~: Cultivated in the time of Max Friedrich, I, 28 _et seq._

~Drechsler~, Chapelmaster: III, 131; pallbearer at B’s funeral, 312.

~Dresden~: B’s intended visit to, I, 192.

~Drewer, Ferdinand~, Violinist: I, 23, 24.

~Drieberg, Baron F. J.~: “Les Ruines de Babilone,” II, 202.

~Drosdick, Baroness~: II, 86.

~Duncker, Friedrich~: “Leonore Prohaska,” II, 298.

~Duni~: Opera, “Die Jäger und das Waldmädchen,” I, 29.

~Duport~: Director of the Kärnthnerthor Theatre, and the Ninth Symphony, III, 157.

~Duport, Pierre~, Violoncellist: I, 195, 205.

~Dürck, F.~: His lithograph of Stieler’s portrait, III, 42.

~Duschek, Madame~: I, 194, 226.

~Düsseldorf~: Electoral archives at, I, 5.

~Dutillier~: Operas, “Nanerina e Pandolfo,” I, 165; “Trionfo d’Amore,” 165.

~Eberl, Anton~: I, 172; II, 2.

~Ecclesiastical States~ of Germany: Former, I, 1, 15.

~Edwards, F. G.~: His sketch of Bridgetower’s career, II, 11.

~Egyptian Text~: Preserved by B., II, 168.

“~Ehrenpforte, Die~”: Drama by Treitschke, II, 317.

“~Eifersucht auf der Probe~”: Opera by Anfossi, I, 32.

“~Eifersüchtige Liebhaber, Der~” (“L’Amant jaloux”): Opera by Grétry, I, 31, 107.

“~Eigensinn und Launen der Liebe~”: Opera by Deler (?), I, 31.

“~Einsprüche, Die~”: Opera by Neefe, I, 36.

~Electoral Chapels~: Appointments in, I, 9.

~Electors of Cologne~: I, 1 _et seq._

~Ella, John~: II, 12; III, 32.

~Embel, F. X.~: III, 142.

“~Ende gut, Alles gut~”: Opera by d’Antoine, I, 109.

~Engelbert~, Archbishop of Cologne: I, 3.

~England~: B’s plan to visit, II, 142; his admiration for the English people and government, III, 36, 76, 181, 303; court of, not invited to subscribe to Mass in D, 104, 112. (See “PRINCE REGENT.”)

~English plays~ produced at Max Friedrich’s court: I, 29, 30, 31.

“~Entführung aus dem Serail~”: Opera by Mozart, I, 32, 107, 109.

~Eppinger, Heinrich~, Amateur violinist: I, 235, 274, 306; II, 2.

~Eppinger, Dr. Joseph~: II, 335.

~Erard, Sébastien~: Presents pianoforte to B., II, 21.

~Erdödy, Count~: I, 172; continued friendship for B., II, 82, 215, 271.

~Erdödy, Countess Marie~: Said by Schindler to have been one of B’s loves, I, 324; sketch, II, 82, 124; dedication of Trios Op. 70, 132; proposes plan to keep B. in Vienna, 136, 141; letter of apology from B., 144, 162, 315, 319; B’s letter of condolence of death of her child, 339; dedication of Op. 102, 357; III, 21; dedication, 23.

~Erk and Böhme~: “Deutscher Liederhort,” I, 278.

“~Erlkönig~”: Song by Schubert, I, 230; III, 236.

~Ernst~, Violinist: Purchaser of the Heiligenstadt Will, I, 351; and B’s last quartets, III, 139.

“~Ernst und Lucinda~” (“Eraste et Lucinde”): Opera by Grétry, I, 31.

~Ertmann, Baroness Dorothea~: Pupil of B., I, 322; II, 2, 83, 215; B. consoles her grief by playing the pianoforte, 356; dedication of Sonata Op. 101, 356, 365.

~Esterhazy, Count Franz~: I, 170.

~Esterhazy, Prince Franz Anton~: I, 172; Princess, I, 172.

~Esterhazy, Count Johann Nepomuk~: I, 170.

~Esterhazy, Prince Nicholas~: I, 169; II, 98; commissions B. to write a mass, 100; letters from B., 107; criticism of the Mass in C, 108, 116.

~Esterhazy, Count Niklas~: II, 98, 225.

~Esterhazy, Prince Paul Anton~: I, 166, 171, 189; invited to subscribe to the Mass in D, III, 103.

~Esterhazy, Princess~: Dedication of the Marches Op. 45, I, 351; II, 40, 108.

“~Esther~”: Opera by S. F. A. Auber, I, 14.

“~Euryanthe~”: Opera by Weber, III, 139, 140.

“~Évènements imprévus, Les~”: Opera by Grétry, I, 32.

~Ewer and Co.~: III, 13.

~Eybler, Joseph~: I, 165; B’s respect for him, 242; pallbearer at B’s funeral, III, 312.

~Facius~, the Brothers: Amateurs in Bonn, I, 38.

~Falsification of B’s age~: I, 55, 70, 71.

“~Falstaff, ossia le Tre Burli~”: Opera by Salieri, I, 227.

“~Faniska~”: Opera by Cherubini, II, 110.

“~Fassbinder, Der~”: Opera by Oudinet, I, 29.

“~Fausse Magie, La~”: Opera by Grétry, I, 107.

“~Faust~,” Goethe’s: II, 119; III, 75, 220.

“~Félix, ou l’Enfant trouvé~”: Opera by Monsigny, I, 32, 109.

~Felsburg, Count Stainer von~: II, 338; III, 156.

“~Fermiers, Les trois~”: Opera by Desaides, I, 107.

~Fidelissimo Papageno~: Nickname for Schindler, III, 102.

“~Fiesco~”: Drama by Schiller, III, 117.

“~Filosofo di Campagna~”: Opera by Galuppi, I, 25.

~Finanz-Patent~, Austrian: Its effect on B’s annuity, II, 211 _et seq._

“~Finta Giardiniera, La~”: Opera by Paisiello, I, 108.

~Fischer, Cäcilie~: I, xviii, 57, 58.

~Fischer, Gottfried~: I, xvii, 43, 47, 50, 51, 61, 66.

~Fischer Manuscript~: I, xvii, 43, 47, 50, 51, 61, 66.

~Fischer~: Opera, “Swetard’s Zaubergürtel,” II, 49.

~Fodor, Singer~: III, 121.

~Fontaine, Mortier de~: II, 73.

~Forkel, J. N.~: Biography of Bach, I, 303; “History of Music in Examples,” II, 34.

~Forray, Baron Andreas von~: II, 220.

~Förster, Emanuel Aloys~: I, 172; influences B’s chamber music, 273; his son’s lessons from B., II, 31, 125, 315, 380.

~Forti, Singer~: II, 286.

~Fouche, Mary de~: I, 186.

~Fouqué, Baron de la Motte~: II, 330.

“~Four Elements, The~”: Oratorio planned by Kuffner, III, 219.

~Fox, Mrs. Jabez~: Acquires Thayer’s posthumous papers, I, xiv; her copy of Mähler’s portrait of B., II, 16.

“~Fra due Litiganti~”: Opera by Sarti, I, 86, 109.

~France, King of~: Subscribes for Mass in D and strikes medal, III, 99, 105, 230.

~Frank, Dr.~: Treats B., I, 300.

~Frank, Joseph~: I, 243.

~Frank, Madame.~ (See GERARDI.)

~Frankfort~: Cäcilien-Verein in, III, 104, 106, 111, 180.

~Franz (Francis)~, Emperor of Austria: I, 214; III, 296.

~Franzensbrunn~: II, 223.

“~Frascatana, La~”: Opera by Paisiello, I, 107.

~Frederick II~, King of Prussia: I, 195; reputed father of B., III, 214.

~Frederick III~, of Prussia, German Emperor: marries Princess Victoria of England; a Wedding Song, III, 13.

~Frederick William III~, King of Prussia: I, 194, 195, 205.

“~Freischütz, Der~”: Opera by Weber, III, 121, 135.

~Freudenberg, Karl Gottfried~: Visits B., III, 202.

~Freund, Philip~: Variation, I, 300.

“~Freundschaft auf der Probe~” (“L’Amitié á l’Épreuve”): Opera by Grétry, I, 131.

~Friedelberg~: I, 199; “Ein grosses, deutsches Volk sind wir,” 200.

~Friedlowsky~, Clarinettist; I, 329.

~Fries, Count Moritz~: I, 172; dedication of Violin Sonatas, 290; Quintet Op, 29, 294; collects funds for Bach’s daughter, 308.

~Frimmel~: “Beethoven Jahrbuch,” I, 255; “Beethoven’s Wohnungen,” 269; on the Bagatelles, 362, 337; on Beethoven’s portraits, II, 15.

~Fritzieri (Fridzeri, Frizer)~: Opera “Die seidenen Schuhe,” I, 32, 86.

~Fry, William Henry~, American critic: II, 358.

~Fuchs, Aloys~: I, 194, 276; anecdote of B. and Haydn, 285; owner of Heiligenstadt Will, 351; solo singer in Troppau, II, 208, 368.

~Fuchs~: “Battle of Jena” arranged for two flutes, II, 252.

~Fugger, Countess~: Favorite of Elector Joseph Clemens, I, 3.

~Fugues~: B’s opinion on, II, 289.

~Fürstenberg, Cardinal~: I, 3; his government of the Electorate, 5; political vicissitudes, 5, 14.

~Fuss, Johann~: Opera “Romulus and Remus,” II, 304.

~Fux, Joseph~: “Gradus ad Parnassum,” I, 158, 159.

~Galitzin, Prince George~: III, 230.

~Galitzin, Prince Nicolas Boris~: III, 73; dedication, 81; the last Quartets, 87, 183; asked to appeal to Czar for subscription, 102; controversy over payment for the Quartets, 226 _et seq._

~Gallenberg, Count Wenzel Robert~: Marries Countess Guicciardi, I, 320, 324; associated with Barbaja, 320; as a composer, II, 42; III, 130.

~Gallenberg, Count~: Son of Countess Guicciardi, I, 340.

~Galuppi~: Operas “Il Filosofo di Campagna,” I, 25; “La Calamità di Cuori,” 26; “Tre Amanti ridicoli,” 27.

~Gänsbacher~: On Vogler’s playing, II, 15; pallbearer at B’s funeral, III, 312.

~Gardiner, William~: “Italy, Her Arts, etc.,” I, 131; on the Trios Op. 3, 135; “Sacred Melodies,” III, 40; offers B. 100 guineas for an overture, 40.

~Garzia, Francesco~: “Schiava finta,” I, 26.

~Gassmann~: Opera “Die Liebe unter den Handwerkern” (“L’Amore artigiano”), I, 31, 46.

~Gassner~: His projected biography of B., III, 198.

~Gaveaux~: “Léonore, ou l’Amour conjugal,” II, 35, 36; “L’Amour filial,” 37; “Le petit Matelot,” 36.

~Gazanello~: Pupil of B’s father, I, 49.

“~Geitzigen in der Falle, Die~”: Opera by Schuster, I, 108.

~Gelinek, Abbé Joseph~: Recommends B. to Schenk, I, 152; his hatred of B., 152; Czerny’s anecdote, 152; on B’s sketchbooks, 257.

“~Gelosie villane, Le~”: Opera by Sarti, I, 32.

“~Geloso in Cimento, II~”: Opera by Anfossi, I, 32.

~Genney, Countess von~: II, 367.

~George IV~, King of England (see PRINCE REGENT): II, 11; B’s address to, III, 112, 113.

~Gerardi, Christine von~, Amateur singer: I, 243; marries Joseph Frank, 243, 282; letter to, 283; II, 3.

~Gesellschaft der bildenden Künstler~: I, 182, 202.

~Gesellschaft der Musikfreunde~: I, 136, 203, 225, 230, 315; II, 15; commissions B. to write an oratorio, 325, 330, 397; III, 15, 172 _et seq._; 175, 216; elects B. Hon. Mem., 175, 212.

“~Giafar~”: Opera-book projected for B., II, 205.

~Giannatasio, Cajetan del Rio~: B’s Nephew in his care, 331 _et seq._; letters, 332, 349; B. authorizes him to punish his ward, 373, 338, 392, 402, 410; a wedding hymn, III, 13.

~Giannatasio, Fanny~: On Archduke Rudolph as B’s pupil, II, 80; her diary, 341, 361, 403; III, 2, 50.

“~Gioas, Re di Giuda~”: Oratorio by Caldara, I, 184.

~Girando, M. F. de~: I, 346.

~Gläser, Franz~: III, 81.

~Gleichenstein, Count Ignaz von~: I, 333; becomes clerk in the War Department of Austria, II, 14, 89, 104; letters from B., 114, 132, 140, 155, 174, 175, 136, 138; dedication of Sonata Op. 69, 141, 162, 305; III, 295.

~Gleimer, Claire von~: III, 84.

~Glöggl, Franz~: B’s visit to Linz, II, 230, 256.

~Gluck~: Operas “Die Pilgrimme von Mekka,” I, 32, 108; “Alceste,” I, 86; “Orfeo,” 86; “Iphigenia in Tauris,” 315; II, 119.

~Gneixendorf~: Johann v. B. buys estate near, III, 19. (See LODGINGS and JOHANN VAN BEETHOVEN.)

“~God save the King~” (see INDEX TO COMPOSITIONS): II, 252, 310; Karl translates stanza for B., III, 209.

~Goethe~: B’s admiration for his poetry, I, 254; II, 147. --Vol. II: “Faust,” 119; “Egmont,” 153 (see COMPOSITIONS); “Israel in der Wüste,” 167; “West-Östliches Divan,” 167; “Wilhelm Meister,” 176; letter from Bettina von Arnim, 178; letter to Bettina, 186, 189; asks for songs composed by B., 189; letter from Bettina, 190; B’s admiration, 194; letter from B., 197; letter to B., 197; at Teplitz, 222 _et seq._; goes with B. on a pleasure trip, 227; at Karlsbad, 222, 224; describes B., 224; rebuked by B. for his deference to royalty, 224, 226, 227; the meeting at Teplitz, 226. --Vol. III. B’s account to Rochlitz of his meeting, 75; “Faust” music, 75, 220; asked by B. to get subscription of Grand Duke of Weimar, 98, 104; his taste in music, 99.

~Gossec~: I, 86.

“~Gott erhalte unsern Kaiser~”: I, 200; III, 84.

~Gottwaldt~, Chamber Music Director at Bonn: II, 11, 12.

“~Graf Armand.~” (See LES DEUX JOURNÉES.)

~Grahame~, Scottish poet: His tribute to B., II, 290.

~Grassalkowitz, Prince~: I, 168.

~Grassnick Sketchbook~: I, 275; II, 160.

~Gratz~: B. sends music for Ursulines, II, 214, 246 _et seq._; Musik-Verein at, elects B. Hon. Mem., III, 72.

~Graun~: His “Tod Jesu,” II, 89; B’s judgment on a fugue, 89.

“~Great Mogul~”: Haydn’s designation of B., I, 248.

~Greiner, Michael~, Tenor: III, 81.

~Grétry~: Operas “Silvain,” I, 86; “L’Amant jaloux,” 31, 107; “L’Ami de la Maison,” 31, 86; “L’Amitié à l’Épreuve,” 31; “Lucille,” 31, 86; “Mariage des Samnites,” 31; “Eraste et Lucinde,” 31; “Zémire et Azor,” 32, 86; “Les Évènements imprévus,” 32; “Le Magnifique,” 86; “L’Amant jaloux,” “La fausse Magie,” 107; “Richard, Cœur de Lion,” 226, 305.

~Griesinger~: “Biographische Notizen über Joseph Haydn,” I, 249; III, 73, 76.

~Grillparzer~: I, 270; on B’s dress, 322; III, 117; “Dragomira,” 118, 122; “Ottokar,” 121; “Melusine,” 118 _et seq._; 135, 220; torchbearer at B’s funeral, 312; writes funeral oration, 312; mother of the poet, I, 270.

~Grimm~, the brothers: II, 181.

~Grosheim, Dr. G. L.~: I, 292.

~Grossmann, Mme.~: I, 73.

~Grossmann and Helmuth~: I, 35, 36, 63, 69.

“~Grotta di Trofonio, La~”: Opera by Salieri, I, 107.

~Grove, Sir George~: I, x, xii, xiii, xv, 336; II, 122.

~Guatelli~, ~Bey~ and ~Pasha~: I, 140.

~Gudenau, Baron von~: I, 88.

~Guglielmo~: Opera “Robert und Callista,” I, 31, 109.

~Guicciardi, Countess Giulietta~: I, 243, 244; dedication of the Sonata in C-sharp minor, 292, 322, 370; relations with B., 319 _et seq._; marries Count Gallenberg, 320; pupil of B., 322; her portrait, 355, 341; the Rondo in G, 370; Vol. II: 47, 106. (See “LOVE AFFAIRS,” under “B., L. v.”)

“~Günther von Schwarzburg~”: Opera by Holzbauer, I, 31, 86.

“~Gute Nachricht~”: Drama by Treitschke, II, 268, 270, 277, 317.

~Gyrowetz~: Respected by B., I, 241; on the Rasoumowsky Quartets, II, 75; pallbearer at B’s funeral, III, 312.

~Habich~, Dancing-master: I, 133.

~Hagen, J. A. Freiherr von~: I, 29; “Wir haben Ihn wieder,” 31.

~Hahn, Christine Elizabeth~: Wife of Bürger, II, 141.

~Haitzinger, Singer~: III, 83.

~Hale, Philip~: On the “Immortal Beloved,” I, 346.

~Halm, Anton~, Pianist: II, 326, 388; arranges Fugue in B-flat, III, 223.

“~Hammerklavier~”: II, 364.

~Hammer-Purgstall~: Book of an oratorio, II, 118; influence on B., 167.

~Handel~: I, 13; duel with Matthison, 72, 85; “Judas Maccabæus,” 202, 205. --Vol. II. Commemoration of, 12; “Messiah,” 12, 310, 312; B’s admiration for, 89; “Acis and Galatea,” 209, 171; “Timotheus,” 216; “Samson,” 359; “Belshazzar,” 359. --Vol. III. B. on “Messiah,” 135; “Alexander’s Feast,” 182; B’s estimate, 182; on his trumpets, 208; “Saul,” 219; gift of his scores to B., 277, 288, 289, 294, 296.

~Handel and Haydn Society of Boston~: Commissions B. to write an oratorio, III, 87.

~Hanslick, Dr. Eduard~: Makes known the discovery of the Bonn cantatas, I, 130; “Geschichte des Concertwesens in Wien,” 223.

~Hardenburg, von~, Prussian Chancellor: II, 302.

~Häring~, Banker and amateur musician: I, 236; II, 112.

~Harrach, Count~: I, 172.

~Härtel, G. C.~: B. sends a letter of condolence, II, 200.

~Hartl, Joseph~, Director of Court Theatres: II, 127; resignation, 201.

~Haslinger, Tobias~, Music publisher: II, 279; “Ideal einer Schlacht,” 279; Canon on, III, 43, 44, 137, 169; B. attempts a joke on him, 190; torchbearer at B’s funeral, 312.

~Hatzfeld, Countess~: I, 16, 37, 139.

~Hatzfeld, Prince~: III, 94.

~Hauschka~: “Gott erhalte unsern Kaiser,” I, 200.

“~Hausfreund, Der~” (“L’Ami de la Maison”): Opera by Grétry, I, 31.

~Hausmann~: Music lover in Berlin, I, xii.

~Häussler’sche Gesellschaft~: Theatre in Bonn, I, 112.

~Haveckas, Ernest~: I, 12.

~Hawthorne~: His note-books, I, 261.

~Haydn, Joseph~: Vol. I: His duties at Esterhaz, 13; first visit to Bonn, 110; at Godesberg, 116; B. shows him a cantata, 116; B. proposed as his pupil, 123; plans to take B. to London, 125; B’s introduction to, 140; gives B. lessons, 150 _et seq._; B’s disparagement of him as a teacher, 152; rupture between the two, 155, 189; his imitative music, 171; “The Seasons,” 171; his judgment on the Trios Op. 1, 175; dedication of the Sonata Op. 2, 186; B. plays at his concert, 188; writes dances for Ridotto Room, 188; the Austrian National Hymn, 200; “Seven Last Words,” 214; “The Creation,” 243, 266, 284, 285; Griesinger’s biography, 249; Koželuch, 271; on B’s “Prometheus,” 285. --Vol. II: Said to have been Bridgetower’s teacher, 11; the Salomon concerts, 12; comment on Anna Milder, 49; his settings of Scotch songs, 70; Marie Bigot, 89; “The Creation” performed at birthday concert, 116, 126; “Ritorno di Tobia,” 131; Scotch songs for Thomson, 219, 416. --Vol. III: Mass “In tempore belli,” 92; picture of his birthplace shown to B. on his death-bed, 302.

~Heckermann~, Fanny: III, 81.

“~Heilige Grab, Das~”: Oratorio by Paër, II, 2.

~Heiligenstadt Will~: I, 339, 351 _et seq._; II, 164.

~Heim, Johann, Th.~: II, 8.

“~Heinrich und Lyda~”: Opera by Neefe, I, 31, 36.

~Heller, Ferdinand~: I, 87.

~Hellmesberger, Georg~: Once owner of the portrait of Countess Brunswick, I, 335.

~Hellmesberger, Joseph~: Completes movement of a Violin Concerto in C, I, 136.

~Henneberg, J. B.~: Chapelmaster and composer, I, 164; II, 2.

~Hennes~: Sees B. as child weeping at pianoforte, I, 58.

~Hensel, Fanny~: On the overture “Leonore No. I,” II, 59.

~Hensler, Carl Friedrich~: III, 64, 79, 82.

~Herbst~: Horn-player, I, 239.

~Herder~: II, 167, 193.

“~Hermann von Staufen~”: Opera by Vogler, II, 4.

“~Hermann von Unna~”: Opera by Vogler, II, 4.

~Herzog~, Man and Wife, servants of B: II, 156.

~Hess-Diller, Baroness~: I, 340.

~Hesse-Cassel~: Elector of, not invited to subscribe for the Mass in D, III, 93.

~Hesse-Darmstadt~: Grand Duke of, and the Mass in D, III, 97, 106.

“~Hieronymus Knicker~”: Opera by Dittersdorf, I, 109.

~Hiller, Ferdinand~: Gives Rossini’s account of his meeting with B., III, 78; his account of Hummel’s visit to B’s death-bed, 301 _et seq._

~Hiller, J. A.~: Operas “Die Jagd,” I, 32; “Der Ärndetanz,” 32; “Dorfbarbier,” 36; “Wöchentliche Nachrichten,” 35.

~Himmel, F. H.~: Intercourse with B. in Berlin, I, 196.

~Hofdemel, Mme.~: B. refuses to play for her because of a scandal, I, 254.

~Höfel, Blasius~: Engraves Latronne’s crayon portrait of B., II, 287; his story of B’s arrest as a tramp, III, 42.

~Hoffmann, E. T. A~: On the C minor Symphony, I, 307; II, 186; the canon on the name, III, 34.

~Hoffmann, Joachim~: III, 35.

~Hoffmann, Vincenz~: III, 35.

~Hoffmeister, Franz Anton~: I, 271; letter, 271. (See HOFFMEISTER AND KÜHNEL.)

~Hoffmeister and Kühnel~: Origin of firm, I, 271; letters, 281, 286, 294, 366, 370; III, 57; publish the works of Bach, I, 303.

“~Hofschmied, Der~”: Opera by Philidor, I, 29.

~Hogarth, George~: “The Philharmonic Society of London,” III, 110.

~Hohenlohe, Princess Marie~: II, 392.

~Holland~: Visited by B. as child, I, 66; B. made Member of the Royal Institute of, II, 147; III, 163.

~Holz, Carl~: I, 269, 276; and the bank stock, 326. --Vol. III: Becomes B’s factotum, 194 _et seq._; B’s jests on his name, 196; authorized by B. to write his biography, 197; insinuations against Schindler, 198; letter from B., 216; B. on his playing, 216; seeks to divert B., 237; reports on conduct of Karl, 253; early in attendance on B. at last illness, 273; marries, 281; collects last annuity payment, 295; torchbearer at the funeral, 312.

~Holzbauer~: Opera “Günther von Schwarzburg,” I, 31, 86.

~Homer~: Admiration felt for by B., I, 147.

~Hönig~: Singer in “Fidelio,” II, 278.

~Honrath, Jeannette d’~: I, 120, 122; III, 288.

~Horsalka, Johann~: III, 15, 42.

~Hotschevar, Jacob~: I, 351; II, 401, 405; guardian of B’s nephew, III, 292.

~Hradezky~, Horn-player: I, 239.

~Huber, Franz Xaver~: I, 289; II, 7.

~Hummel, Elizabeth~: On B’s admiration for women, II, 181.

~Hummel, Johann Nepomuk~: Mozart’s pupil, I, 91; sketch of 240; letters from B., 240, 274, 267; his falling-out with B., II, 108 _et seq._; his wife a sister of Röckel, 142; in performance of “Wellington’s Victory,” 262; begins Pf. score of “Fidelio,” 283; canon for his album, 338; III, 290; at B’s death-bed, 301; improvises at concert, 302; pallbearer at funeral, 312.

~Hungary~: Visited by B. in 1809, II, 154.

~Hüttenbrenner, Anselm~: Visited by Thayer I, x; report of Salieri’s remarks on “Fidelio,” II, 64, 355; overture to Schiller’s “Robbers,” 355; his account of B’s death, III, 300, 306, 307 _et seq._

~Hüttenbrenner, Joseph~: III, 79, 166.

“~Idomeneus~”: Opera by Mozart, II, 101.

~Iken, Dr. Karl~: A programme for the Seventh Symphony, III, 37.

~Imitative Music~: II, 120.

“~Immortal Beloved, The~”: I, xvi. (See LOVE AFFAIRS, etc.)

“~Improvvisata (L’) o sia la Galanteria disturbata~”: Opera by Lucchesi, I, 27.

“~Incognito, L’~”: Opera by Sarti, I, 86.

“~Inganno scoperto, L’~”: Opera by Lucchesi, I, 27, 47.

~Instruments~ owned by B.: I, 276.

“~Iphigenia in Tauris~”: Opera by Gluck, I, 315; II, 119.

“~Isola d’Amore, L’~”: Opera by Sacchini, I, 108.

“~Israel in the Wilderness~”: Oratorio by C. P. E. Bach, II. 388.

“~Italiana in Londra, L’~”: Opera by Cimarosa, I, 32.

~Italy~: B. projects journey to, II, 202.

~Jacobs, Jacob~: I, 42.

~Jadin~: “Battle of Austerlitz,” II, 252.

“~Jagd, Die~”: Opera by Hiller, I, 31.

“~Jäger und das Waldmädchen, Der~”: Opera by Duni, I, 29.

~Jahn, Otto~: Visited by Thayer, I, xi, 63, 85; his account of B’s visit to Mozart, 90, 153, 171, 329; on Countess Guicciardi’s marriage, 321; interview with the Countess, 322; examines love-letter, 328; his edition of “Fidelio,” II, 45, 285; note on the compositions sold to Clementi, 104; his opinion on Schindler as biographer, 376.

~Jeitteles, Alois~: “An die ferne Geliebte,” II, 243.

~Joachim, Joseph~: I, xii.

~Joseph Clemens,~ Elector of Cologne: I, 1, 3 _et seq._; his favorites, 3; consecrated by Fénelon, 3, 6; a unique composer, 4; his music-chapel, 5; sides with Louis IV in war, 5; restored to Electoral dignity, 6; death of, 7.

~Joseph I~, Emperor of Germany: I, 6.

~Joseph II~, Emperor of Germany: I, 107; death of, 130; interest in German opera, 163.

~Josephstadt Theatre~: Opening of, II, 81.

“~Judah~”: Oratorio by Gardiner, III, 40.

“~Judas Maccabæus~”: Oratorio by Handel, I, 202, 205.

“~Julie~”: Opera by Desaides, I, 29, 107.

~Junker, Carl Ludwig~: Describes B’s Pf. playing, I, 114.

~Kafka, J. N.~: His sketchbook, I, 205, 206, 209, 210, 261, 362.

~Kaiser, Fräulein~, Singer: III, 81.

~Kalischer, Dr. A. C.~: I, 235; his collection of B’s letters, 255, 278, 293; and the “Immortal Beloved,” 336, 337.

~Kanka~, Councillor: I, 194, 195.

~Kanka, Jeannette~: I, 195.

~Kanka, Dr. Johann~: Effects compromise with Kinsky’s heirs, II, 288, 353.

~Kanne, Friedrich August~: II, 358; III, 117, 176.

~Kant, Immanuel~: B. refuses to hear lectures on, I, 182; II, 166, 214, 167; III, 25.

~Karajan, Prof.~: I, 123; II, 305.

~Karl, Duke of Lorraine~, Archduke of Austria: I, 77, 288; II, 12.

~Karlsbad~: B’s visit to, II, 223.

~Karth, Frau~: I, 75, 103, 117, 119; description of B’s brothers, 358.

~Kastner, Emil~: His estimate of B’s letters, I, 255.

~Kaufmännischer Verein~ of Vienna: Elects B. Hon. Mem., III, 21.

“~Kaufmann von Smyrna, Der~”: Opera by Juste, I, 32.

~Kayser, Joseph~, Instrument maker: I, 10.

~Kees, von~, Court Councillor: I, 166, 170.

~Keglevich, Countess “Babette”~: I, 209, 227, 245; said to have been one of B’s loves, 318; dedication to her, 318.

~Keglevich de Busin, Count Karl~: I, 245.

“~Kein Dienst bleibt unbelohnt~”: Opera, I, 108.

~Kerich, Abraham~, ~Helene~ (Mme. von Breuning), and ~Stephen~: I, 98, 99, 101.

~Kessler~: Sketchbook, I, 289, 368, 371.

~Kewerich, Heinrich~, Electoral cook: I, 49; his widowed daughter marries the father of B., I, 49.

~Kiesewetter, R. G.~: I, 230.

~Kilitzky, Fräulein~: II, 129.

~Kinsky, Prince Ferdinand~: I, 170, 172; II, 113; subscribes in the Annuity Contract, 139, 146; his payments, 170, 172, 205, 213, 222; agrees to pay in notes of redemption, 242; reduction of obligation by the Finanz-Patent, 212; B. begins legal proceedings against his heirs, 259, 288; settlement, 306; sum paid annually under the contract, 306.

~Kinsky, Princess~: Dedication of Songs Op. 75, II, 195; letter from B., 243.

~Kinsky, Prince Joseph~: I, 170.

~Kirnberger~: I, 159.

~Klein, Prof.~: Makes mask of B’s face, II, 221; III, 311.

~Klingemann~: His drama “Moses,” II, 297.

~Klober, August von~: Paints B’s portrait, II, 399.

~Klopstock~: B’s admiration for his poetry, I, 254; III, 75.

~Klos Theatrical Troupe~: I, 105.

~Kneisel, Dr. C. M.~: I, 55.

~Kobler Family~: I, 285.

~Koch, Barbara~ (“Babette”): I, 117, 118, 178.

~Koch, Friar Willibald~: Gives organ lessons to B., I, 64.

~Köchel~: Collection of B’s letters, II, 248.

~Koczwara~: “Battle of Prague,” II, 252.

“~König Axur~”: Opera by Salieri, I, 109.

“~König von Venedig~” (“Il Re Teodoro”): Opera by Paisiello, I, 108.

~Könneritz, von~: The Mass in D, III, 96, 97, 130.

~Kopfermann, Albert~: I, 280.

~Körner, Theodor~: On failure of the E-flat Concerto, II, 215.

~Koschak, Marie~: I, 318.

~Köster-Schlegel~, Singer: III, 85.

~Kotzebue~: Founds “Der Freymüthige,” II, 1; account of music in Vienna, 1; “Der Leibkutscher Peters III.” 1; “Ruinen von Athen,” 161, 201; B. asks him for opera-book, 213.

~Koželuch, Leopold~: I, 172; dances for the Ridotto, 188; on the Trio in C minor, 271; Haydn, 271; and Thomson’s songs, II, 70; B’s “Miserabilis,” 219; Scotch airs for Thomson, 200.

~Kraft, Anton~: I, 170; sketch of, 238; II, 8, 41.

~Krasinsky, Rochus~: II, 270.

~Krehbiel, H. E.~: Undertakes English version of Thayer’s biography, I, viii, xiii; use of original manuscript, viii; communications with Thayer and Deiters, viii; his procedure, xv; on the C-sharp minor Sonata, 292; “The Pianoforte and its Music,” 292; defense of Thayer’s hypothesis concerning the “Immortal Beloved,” 317; on the love-letter, 336 _et seq._; “Music and Manners in the Classical Period,” II, 11; III, 307; on the overtures to “Fidelio,” II, 59.

~Kreissle, Heinrich von~: III, 79.

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

~Krenn~, Music Director: II, 369.

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

~Kreutzer, Conradin~: III, 166; pallbearer at B’s funeral, 312.

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

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

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

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

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

~Kuenberg, Countess~: I, 340.

~Kuffner, Christian~: His text of the Choral Fantasia, II, 129, 133, 369; plans an oratorio, III, 219.

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

~Künstler-Pensions-Institut~: I, 211.

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

~Kyd, Major-General Alexander~: Commissions B. to write a symphony, 344, 345.

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

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

~Lalande~: III, 77.

~La Mara (Marie Lipsius)~: I, 292, 336; letter from Thayer on the “Immortal Beloved,” I, 339; her book, 339; “Classisches und Romantisches aus der Tonwelt,” 338; II, 203.

~Landsberger~: Sketches, II, 73.

~Landshut University~: III, 4.

~Languider, Karoline~: On B’s love-affairs, I, 341.

~Latilla~: Opera “La Pastorella al Soglio,” I, 26.

~Latronne~: Makes crayon portrait of B., II, 287.

~Laym, Maria Magdalena (or Leym)~: B’s mother. (See BEETHOVEN, JOHANN VAN.)

~Lebewohl~ and ~Adieu~: Differentiated by B., II, 207.

~Ledermeyer~, Editor in Vienna: II, 359.

~Leipsic~: B’s intended visit to, I, 192, 198.

“~Leipsic Oxen~”: B’s term for critics, I, 282, 304.

~Lentner, Mme.~, Court singer: I, 18, 19.

~Lenz~: Critical catalogue of B’s works, I, 272; on the Rasoumowsky Quartets, II, 75.

“~Leonora~”: Opera by Paër, II, 35, 37.

“~Leonore Prohaska~”: Drama by Duncker, II, 298.

“~Léonore, ou l’Amour conjugal~”: Opera by Gaveaux, II, 35, 36.

~Leopold I~, Emperor of Germany: I, 5, 6.

~Leopold II~, Emperor of Germany: I, 163, 164.

~Levin, Rahel~: II, 204.

“~Libussa~”: Opera-book by Bernard, III, 173.

~Lichnowsky, Prince Carl~: Takes B. into his lodgings, I, 148, 168, 170; Trios Op. 1 first played at his house, 175; commands servant to give B. precedence over him, 182, 190; probable visit to Prague with B., 193, 244; gives B. quartet of instruments, 276, 286; settles annuity on B., 298, 299, II, 9; visited by B. in Silesia, 66; abrupt departure of B., 68, 104, 123, 146; visited by B. in Silesia, 208; undisturbed friendship for B., 215; with B. at Teplitz, 222; unwillingness to disturb B. when at work, 254; death of, 271.

~Lichnowsky, Princess Christine~: II, 124, 271.

~Lichnowsky, Countess Henrietta~: I, 244; dedication, 370.

~Lichnowsky, Princess Maria Christine~: I, 170; dedication to, 290.

~Lichnowsky, Count Moritz~: I, 213, 235; dedication to, 369; story of Bonaparte and the “Eroica,” II, 24; letters from B., 262, 290; marriage with an opera-singer, 291; III, 24; on Johann van B., 67; B’s musical jest, 115; agrees to guarantee Grillparzer’s opera, 121, 158, 294.

“~Liebe unter den Handwerkern~” (“L’Amore artigiano”): Opera by Gassmann, I, 31.

~Liebich, Carl~: General Manager of Bohemian Theatres, II, 110.

~Liechtenstein, Baron Carl August~: I, 286, 304; “Bathmendi,” 304; “Die steinerne Braut,” 305; II, 2.

~Liechtenstein, Prince Johann Joseph~: I, 171, 244.

~Liechtenstein, Princess~: I, 244; dedication to, 291.

“~Lilla~”: Opera by Martini, I, 108, 109.

~Lincoln, Abraham~, President of the U. S.: appoints Thayer Consul, I, x.

~Lind~: B’s tailor, II, 164.

~Lind-Goldschmid, Jenny~: Once owner of the Heiligenstadt Will, I, 351.

~Lindner, Andreas~, Dancing-master: I, 147.

~Linke~, Violoncellist: I, 174, 316; II, 124, 125, 316, 319, 337; III, 294, 312.

~Linz~: B’s visit to his brother at, I, 229.

~Lipsius.~ (See LA MARA.)

“~Listige Bauernmädchen, Das~” (“La finta Giardiniera”): Opera by Paisiello, I, 108.

~Liszt, Franz~: Gets B’s Broadwood Pf., II, 392; is presented to B., III, 124; the alleged kiss, 124.

~Lobkowitz, Prince~: I, 168; amateur violinist, 169; his orchestra, 239; dedication of quartets, 276, 290; II, B’s epithet, “Lobkowitzian ass,” 51, 98; suggests engagement of B. at Court Theatres, 99; dedication of “Eroica,” 77, 110, 113; subscribes to annuity contract, 139, 146; dedication of “Harp” Quartet, 160; dedication of Fifth Symphony, 162; the Annuity Fund, 170, 172; dedication of Quartet, Op. 74, 195; assumes direction of Court Theatres, 201; reduction of his obligation under Annuity Contract, 212; suspends payment, 213; ruined by theatrical management, 250; the annuity obligation, 289; settlement of, 306; B’s aspersions on his character, 307; cantata on his birthday, 354.

“~Lodoïska~”: Opera by Cherubini, II, 3.

~Lodron, Count~: II, 98.

~Loewe, Ludwig~: Actor for whom B. acts as love messenger, II, 205.

~London Musicians~: B’s appeal to, II, 273.

~Longfellow, Henry W.~: II, 193.

~Lonsdale, Charles~: Partner of Robert Birchall, II, 319, 346, 350, 351.

~Lonsdale, Robert~: II, 319.

~Louis XVIII~, King of France: Subscribes for the Mass in D and strikes medal in B’s honor, III, 100.

~Louis Ferdinand~, Prince of Prussia: Amateur musician complimented by B., I, 196; and the “Eroica,” II, 26, 32, 302.

~Lower Rhenish Festival~: III, 188.

~Lucchesi, Andrea~: Appointed successor to B’s grandfather, I, 22; “L’Inganno scoperto,” 27, 47; “Le Donne sempre donne,” 26; “Il Natale di Giove,” 26; “L’Improvvisata,” 27; sketch of, 34, 71, 73, 74, 82.

“~Lucille~”: Opera by Grétry, I, 31, 86.

“~Lügnerin aus Liebe~”: Opera by Salieri, I, 32.

~Luib, Ferdinand~: I, 269, 356.

~Lwoff~, Russian Privy Councillor: II, 75.

“~Macbeth~”: Opera-book by Collin, II, 119, 151, 158; another, III, 117.

~Macco, Alexander~: II, 18, 124.

~Macfarren, Natalie~: III, 231.

“~Mädchen im Eichthale~” (“Maid of the Oaks”): Opera by d’Antoine, I, 32.

“~Mädchen von Frascati, Das~”: Opera by Paisiello, I, 107.

“~Magnifique, Le~”: Opera by Grétry, I, 86.

~Mähler, Willibrord Joseph~, Painter: Visited by Thayer, I, xi, 146; II, paints portrait of B., 15, 305; anecdote about “Fidelio,” 51; invited by B., 198.

“~Maid of the Oaks~”: Opera by d’Antoine, I, 32.

~Malfatti, Dr.~: II, 86, 141; sends B. to Teplitz, 202, 280; insulted by B., 345, 369; III, at B’s last illness, 274, 288; estrangement and reconciliation, 284, 285; his treatment of B., 286, 287, 292.

~Malfatti, Therese~: I, xvi, 292; alleged proposal of marriage to by B., 333, 336; II, 141; sketch of, II, 86, 106; letter to, 176, 239.

~Malherbe, Charles~: I, 139.

~Malines~: Van Beethoven families living in, I, 44.

~Mälzel, Johann Nepomuk~: Career of, II, 232 _et seq._; makes ear-trumpet for B., 233; invents metronome, 233; the canon on his name, 234 _et seq._; lends B. money, 245; conceives “Wellington’s Victory,” 251 _et seq._; his mechanical trumpeter, 251, 257, 261; his panharmonicon, 251; contemplates accompanying B. to England, 251, 255; projects concert for production of “Wellington’s Victory,” 256; B’s note of thanks to, 258; quarrels with B., 259; legal proceedings, 271 _et seq._; American career and death of, 276, 384.

~Mandycewski, Eusebius~: I, 210, 223.

“~Marchese Tulipano, Il~”: Opera by Paisiello, I, 108.

~Marconi~, Singer: II, 129.

~Maria Ludovica, Empress~: III, 142.

~Maria Theresia~: I, 77, 81; dedication of Septet, 278, 283; sings part in an opera by Reicha, 310.

“~Mariage des Samnites, Le~”: Opera by Grétry, I, 31.

~Marie Antoinette~: I, 78.

~Marinelli~, Manager of theatre in Vienna: I, 164.

~Marlborough, Earl of~: I, 6.

~Marschner, Heinrich~: Visits B., II, 382.

~Marshall, Julian~: I, 140.

~Martini~: I, 87; “Arbore di Diana, L’,” 107; “Lilla,” 108, 109.

~Marx, A. B.~: On the Sonata Op. 81a, II, 143; disputes genuineness of B’s letter to Bettina von Arnim, 183.

~Mason, Lowell~: Employs Thayer in his library, I, x; provides funds for his researches, x.

~Mastiaux, Johann Gottlieb~: Amateur in Bonn, I, 38, 89.

“~Materialien für Contrapunkt~”: II, 147, 150.

“~Materialien für Generalbass~”: II, 147, 150.

“~Matrimonio segreto, Il~”: Opera by Cimarosa, I, 164.

~Matthison~: His duel with Handel, I, 72.

~Matthisson.~ (See ADELAIDE in Index of Compositions.)

~Mattioli, Cajetano~, Sketch of: I, 34, 82.

~Mäurer, B. J.~, Court violoncellist: I, 24, 61, 62, 65.

~Max Franz~, Elector of Cologne: I, 16; shares his mistress with his Prime Minister, 16; his dance-room, 30; commands report on music at his court, 82; the theatre in his reign, 86; career, 77 _et seq._; described by Swinburne and Mozart, 78; his musical education, 81; his appreciation of Mozart, 81; music in Bonn during his reign, 88; knights Count Waldstein, 102; plans national theatre, 105 _et seq._; III; his patronage of B., 116; limit of his assistance, 124; flees before French troops, 125; allows grain and salary increase to B., 149; visits Vienna, 179; flees to Frankfort, 179; discharged of all obligations, 190; visit to Vienna, 267; Archduke Karl made his coadjutor as Grand Master of Teutonic Order, 287; in retirement at Hetzendorf, 288.

~Max Friedrich~, Elector of Cologne: I, 1; ascends throne, 14; career, 14; his Prime Minister, 14; his popularity, 14; described by Henry Swinburne, 16; music at his court, 16; appoints B’s grandfather Chapelmaster, 17; promises composer’s father a salary, 17; grants an increase, 19, 22; appoints Lucchesi successor to B’s grandfather, 23; opera performed at his court, 25 _et seq._; birthday celebration, 26; plays at his theatre, 27, 28, 29; theatre closed because of his death, 33; dedication of B’s boyhood Sonatas, 72; assumes all costs of Electoral Theatre, 73; appoints B. Assistant Court Organist, 74; death of, 74; effect of his death on B., 76, 78; promotes education, 80.

~Maximilian Emanuel~, Elector of Bavaria: I, 7.

~Maximilian Heinrich~, Elector of Cologne: I, 3.

~Maximilian Joseph~, King of Bavaria: Dedication of the Choral Fantasia, II, 207, 209.

~Mayence~, Archbishops of: I, 3.

~Mayseder, Joseph~: I, 274; II, 41, 125, 216; E-flat Sonata Quartet, II, 193; torchbearer at B’s funeral, III, 312.

“~Medea~”: Opera by Cherubini, II, 3.

~Medina, Maria~: Wife of Vigano, dancer, I, 283, 284.

~Méhul~: Opera “Ariodante,” II, 23.

~Meier, Sebastian~: Mozart’s brother-in-law, II, 4, 50; letter to, about “Fidelio,” 61, 209.

~Meinert~: Sketchbook, II, 150, 161.

~Meisl, Carl~: Changes “Ruins of Athens” to “Consecration of the House,” III, 79; drama, 82.

~Meissner, Prof. A. G.~: Oratorio text, II, 19.

~Melichar, Ilka~: I, 342.

“~Melusine~”: Opera-book by Grillparzer, III, 118 _et seq._; 135, 220.

~Mendelssohn-Bartholdy, Felix~: Description of Dorothea Ertmann, II, 83.

~Mendelssohn, Paul~: I, xii; owner of sketches for “Fidelio,” II, 45.

~Merz, Julius~: Publishes B’s letter to Bettina von Arnim, II, 182, 185.

“~Messiah~”: Handel’s oratorio, II, 310, 312; III, 135, 182, 296.

~Metastasio~: “Olimpiade,” I, 204; “Betulia liberata,” III, 143.

~Metronome~ (see MÄLZEL): II, 382; marks for the Ninth Symphony, III, 244.

~Meyer, Court Councillor von~: Amateur, I, 172.

~Meyerbeer, Giacomo~: II, 39, 256; beats drum at performance of “Wellington’s Victory,” 258; B’s opinion of, 297; “Die beiden Caliphen,” 297.

~Mickley, Joseph J.~: II, 385.

~Mihl~ (or ~Mühle~): Opera “Milton und Elmire,” I, 31.

~Milder-Hauptmann, Anna~: II, 49; and “Fidelio,” 64; quarrels with B., 129, 263, 278, 284, 329.

~Milton, John~: II, 169.

“~Milton und Elmire~”: Opera by Mihl, I, 31.

“~Moda, La~”: Opera by Baroni, I, 27.

“~Molinara, La~”: Opera by Paisiello, I, 187.

~Molitor~: Amateur in Vienna, II, 2.

~Mollo~, Publisher: His publication of a Quintet, controversy, I, 294.

~Molt, Theodore~: Visitor to B. from Quebec, III, 211.

~Mombelli~, Singer: I, 188.

~Monsigny~: Operas “Le Déserteur,” I, 31; “Félix, ou l’Enfant trouvé,” 32, 109; “Rose et Colas,” 29, 86.

~Moor, The~: Haydn’s nickname for B., I, 146.

~Moravian nobility~: Their musical culture, I, 168.

~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