Chapter X (4)
--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.
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The Life of Ludwig van Beethoven, Volume IIIChapter X (4)
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