Chapter X (3)

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._