Chapter X (5)

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

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

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

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

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

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

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

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

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

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

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

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

~Lind~: B’s tailor, II, 164.

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

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

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

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

~Lipsius.~ (See LA MARA.)

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

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

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

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

~Lodron, Count~: II, 98.

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

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

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

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

~Lonsdale, Robert~: II, 319.

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

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

~Lower Rhenish Festival~: III, 188.

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

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

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

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

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

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

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

~Macfarren, Natalie~: III, 231.

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

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

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

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

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

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

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

~Malherbe, Charles~: I, 139.

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

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

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

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

~Marconi~, Singer: II, 129.

~Maria Ludovica, Empress~: III, 142.

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

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

~Marie Antoinette~: I, 78.

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

~Marlborough, Earl of~: I, 6.

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

~Marshall, Julian~: I, 140.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

~Mayence~, Archbishops of: I, 3.

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

“~Medea~”: Opera by Cherubini, II, 3.

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

~Méhul~: Opera “Ariodante,” II, 23.

~Meier, Sebastian~: Mozart’s brother-in-law, II, 4, 50;
letter to, about “Fidelio,” 61, 209.

~Meinert~: Sketchbook, II, 150, 161.

~Meisl, Carl~: Changes “Ruins of Athens” to “Consecration
of the House,” III, 79;
drama, 82.

~Meissner, Prof. A. G.~: Oratorio text, II, 19.

~Melichar, Ilka~: I, 342.

“~Melusine~”: Opera-book by Grillparzer, III, 118 _et seq._; 135, 220.

~Mendelssohn-Bartholdy, Felix~: Description of Dorothea
Ertmann, II, 83.

~Mendelssohn, Paul~: I, xii;
owner of sketches for “Fidelio,” II, 45.

~Merz, Julius~: Publishes B’s letter to Bettina von Arnim,
II, 182, 185.

“~Messiah~”: Handel’s oratorio, II, 310, 312; III, 135, 182, 296.

~Metastasio~: “Olimpiade,” I, 204;
“Betulia liberata,” III, 143.

~Metronome~ (see MÄLZEL): II, 382;
marks for the Ninth Symphony, III, 244.

~Meyer, Court Councillor von~: Amateur, I, 172.

~Meyerbeer, Giacomo~: II, 39, 256;
beats drum at performance of “Wellington’s Victory,” 258;
B’s opinion of, 297;
“Die beiden Caliphen,” 297.

~Mickley, Joseph J.~: II, 385.

~Mihl~ (or ~Mühle~): Opera “Milton und Elmire,” I, 31.

~Milder-Hauptmann, Anna~: II, 49;
and “Fidelio,” 64;
quarrels with B., 129, 263, 278, 284, 329.

~Milton, John~: II, 169.

“~Milton und Elmire~”: Opera by Mihl, I, 31.

“~Moda, La~”: Opera by Baroni, I, 27.

“~Molinara, La~”: Opera by Paisiello, I, 187.

~Molitor~: Amateur in Vienna, II, 2.

~Mollo~, Publisher: His publication of a Quintet, controversy, I, 294.

~Molt, Theodore~: Visitor to B. from Quebec, III, 211.

~Mombelli~, Singer: I, 188.

~Monsigny~: Operas “Le Déserteur,” I, 31;
“Félix, ou l’Enfant trouvé,” 32, 109;
“Rose et Colas,” 29, 86.

~Moor, The~: Haydn’s nickname for B., I, 146.

~Moravian nobility~: Their musical culture, I, 168.

~Morris, Jack~: Brings score of “Mount of Olives” to London, II, 309.

“~Morte d’Abel, La~”: Opera, I, 14.

~Moscheles, Ignaz~: His English paraphrase of Schindler’s
biography, I, ix;
visited by Thayer, xi, 241;
on the first performance of the Choral Fantasia, II, 130;
composes marches for Mälzel’s panharmonicon, 351;
tells of the composition of “Wellington’s Victory,” 253;
his account of the performance, 358;
on the Trio, Op. 97, 270;
makes Pf. score of “Fidelio,” 281, 282;
first meeting with B., 282;
“Fidelio,” 303;
B’s opinion of as a pianist, 381; III, 289, 290, 291, 293.

~Mosel, Ignaz von~: II, 358, 386;
at B’s funeral, III, 312.

~Möser~: Violinist in Vienna, II, 8.

~Mozart~: Education derived from his father, I, 85;
B’s visit to, 89, 90;
his morning concerts in Vienna, 166;
relations with Mme. Hofdemel, 254, 305;
B’s admiration for the Concerto in C minor, 219;
B’s appreciation, II, 89; III, 42;
Cherubini’s estimate of his genius, 205;
B. defends authenticity of his “Requiem,” III, 233;
the “Requiem” played at B’s funeral, 312;
his operas “Die Entführung aus dem Serail,” I, 32, 107, 109;
“Don Giovanni,” I, 91, 107, 163, 193, 204; II, 204; III, 42;
“Le Nozze di Figaro,” I, 82, 108, 163, 193;
“Il Re Pastore,” I, 81;
“Die Zauberflöte,” I, 164, 226, 304; II, 22; III, 36;
“La Clemenza di Tito,” I, 194; II, 110;
“Idomeneus,” II, 101.

~Müller, Adolph~: And B’s orchestration of the funeral march
from the Sonata in E-flat, Op. 26, II, 295.

~Müller, Chancellor~: II, 180.

~Müller, Louise~: Singer at first performance of “Fidelio,” II, 49.

~Müller, Wenzel~, Chapelmaster: I, 164.

~Müller, W. Christian~: His account of B., III, 36.

~Mylich~: I, 210, 231.

“~Nach Frankreichs unheilvollem Sturz~”: Cantata text left
uncomposed, II, 292.

~Nagel, W.~: “Beethoven und seine Klaviersonaten,” I, 293.

~Nägele~: Projects publication of Bach’s works, I, 304;
publishes sonata with interpolated measures, 367;
“Répertoire des Clavecinistes,” II, 20, 38.

“~Nanerina e Pandolfo~”: Opera by Dutillier, I, 165.

~Napier, William~: Publishes Haydn’s arrangements of Scottish
songs, II, 70.

~Naples~: A call thither for B., II, 194;
King of, and the Mass in D, III, 90.

~Napoleon.~ (See BONAPARTE.)

~Natorp, Mme.~ (See SESSI.)

~Naumann~, Chapelmaster: II, 19.

~Neate, Charles~: English pianist, visited by Thayer, I, xi;
B’s story on origin of his deafness, 263;
II, introduced to B., 315;
buys overtures for the London Philharmonic Society, 333;
defends himself against B’s charges, 349;
unable to help B. in London, 337;
letters from B., 339, 351, 352, 367;
III, enjoined “For God’s sake buy nothing of B.,” 52;
seeks publisher for B. in London, 73, 183, 186.

~Neefe, C. G.~: Appointed successor to Van den Eeden as Court
Organist, I, 25;
joins Dramatic Co. at Bonn, 30;
music for court festival, 31;
opera “Heinrich und Lyda,” 31, 36;
“Die Apotheke,” 31;
“Sophonisba,” 31;
describes musicians in Bonn 33;
career of 34;
“Amor’s Guckkasten,” 36;
“Die Einsprüche,” 36;
“Zemire und Azor,” 36, 37;
instrumental compositions, 36;
“Adelheit von Veltheim,” 37;
ode, 37;
teaches B., 61, 62, 67 _et seq._;
leaves his duties as organist to the boy B., 69;
“Materialien für Contrapunkt,” 70;
his duties as Court Organist, 71, 73;
dismissed, 73;
with Klos’ troupe, 105;
B’s appreciation of him as teacher, 68, 124, 142;
his daughter, 304.

~Nelson, Lord~: Not commemorated in the “Eroica,” II, 25.

~Niemetz~: Dissolute companion of B’s nephew, III, 252, 255, 258.

~Nikelsberg, Carl Nikl Edler von~: I, 222;
dedication of Concerto in B-flat, I, 290.

“~Nina~”: Opera by Dalayrac, I, 107, 108.

“~Nobilità delusa, La~”: Opera, I, 26.

~Nohl, Ludwig~: I, 292;
on B. and Countess Guicciardi, 321;
on Therese Malfatti, 333, 339;
on the letter to Bettina von Arnim, II, 185;
“Eine stille Liebe zu Beethoven,” 362;
“Beethoven, Liszt und Wagner,” III, 124.

~Nottebohm~: “Zweite Beethoveniana,” I, 71, 76, 261;
“Beethoven’s Studien,” I, 156, 216;
“Beethoveniana,” I, 156, 261;
“Ein Skizzenbuch von Beethoven,” 258, 304;
on B’s studies with Albrechtsberger and Haydn, 151, 158;
on the text of the Choral Fantasia, II, 133;
on the date of the Petter sketchbook, II, 151;
on the canon on Hoffmann, III, 35.

~Novello, Ewer and Co.~: I, xiii; III, 13.

~Novello, Vincent~: II, 12.

“~Nozze, Le~”: Opera by Galuppi, I, 25.

“~Nozze di Figaro, Le~”: Opera by Mozart, I, 82, 108, 163, 193.

“~Nozze disturbata, Le~”: Ballet by Vigano, I, 188, 193.

~Nussböck, Leopold~: Guardian of B’s nephew, III, 8.

~Nussdorf.~ (See LODGINGS.)

“~Oberon~”: Opera by Wranitzky, I, 165.

~Obreskow~: Russian official, III, 101, 102.

~Odelga~: III, 101, 102.

~Odescalchi, Prince~: I, 209, 244.

~Odescalchi, Princess~: I, 223;
dedication to, 290;
taught by B., 322;
dedication to, 368, 369.

“~Ode to Joy~”: Schiller’s, I, 132, 275; II, 152, 295, 414;
III, 145, 146, 148 _et seq._

“~Odyssey~”: Homer’s, I, 252.

“~Olimpiade~”: Opera by Sacchini, I, 32.

~Oliva, Franz~: His relations with B., II, 143;
dedication to, 161;
delivers B’s letter to Goethe, 197, 202;
plans to accompany B. to England, 220;
estrangement with B., 220; III, 24;
goes to St. Petersburg, 41.

~Operas~ performed at Bonn in 18th century: I, 25, 26, 27, 29,
31, 32, 107.

~Oppersdorff, Count~: The Symphony in B-flat, II, 68, 101, 122,
123, 124, 162.

“~Orfeo~”: Opera by Gluck, I, 86.

~Ossian~: B’s appreciation of, II, 147.

~Oudinot~: “Der Fassbinder,” I, 29.

~Ovid~: His “Metamorphoses” called for by B. on his death-bed,
III, 283.

~Pachler-Koschak, Mme.~: B’s friendship for, II, 282; III, 140.

“~Pächter, Die drei~”: Opera by Desaides, I, 107.

~Paër, Ferdinand~: I, 282;
his funeral march and that in the Sonata Op. 26, 290;
“Achilles,” 290;
“Das heilige Grab,” II, 2;
“Leonora,” II, 35, 37.

~Paisiello~: Operas at Bonn, I, 86;
“La Frascatana,” 107;
“Il Barbiere,” 108;
“Il Re Teodoro,” 108;
“La Finta Giardiniera,” 108;
“La Molinara,” 187;
“Il Marchese Tulipano,” 108; II, 204.

~Palestrina~: Preferred over all church composers by B., III, 203.

~Palffy, Count Ferdinand~: II, 98;
supposed grudge against B., 100, 146;
accepts direction of Court Theatres, 201;
produces “Fidelio” for the Congress of Vienna, 293;
and the concert of 1814, 299;
and the Ninth Symphony, III, 157 _et seq._

“~Paradise Lost~”: II, 310.

~Parke~: “Musical Memories,” II, 12.

~Parma, Duchess of~: Asked by B. to urge Grand Duke of Tuscany
to subscribe to the Mass in D, III, 101.

~Pasqualati, Baron Johann~: Witnesses Karl van B’s declaration
as to the guardianship of his son, II, 241;
signs affidavit against Mälzel, 288;
the “Elegiac Song” in memory of his wife, 288, 306; III, 58.
(See LODGINGS.)

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

~Paul~, Czar of Russia: II, 81.

~Payer, Hieronymus~: II, 26.

~Perger, A. von~: Discovers minuets by B., I, 211.

~Pergolesi~: “La Serva Padrona,” I, 108.

~Perkins, Charles C.~: “History of the Handel and Haydn Society
of Boston,” III, 87.

~Persian Literature~: B’s interest in, II, 167.

~Pessiak, Mme.~: II, 362; III, 13.

~Pesth~: New theatre planned for, II, 154, 200;
opening of, 213.

~Peters, C. F.~, Publisher: Negotiations for Mass in D and
other works, I, 271, 55, 57 _et seq._, 58, 59, 60, 61, 64,;
refuses to publish works sent by B., 65;
advance payment by, 70;
rejects “Bagatelles,” 86;
complains of B’s treatment of him, 180;
receives rebuke and ultimatum, 212;
B. calls him a “hell-hound,” 216.

~Peters~: Tutor to Prince Lobkowitz and co-guardian of B’s nephew,
II, 326, 354; III, 10, 24, 32.

“~Petit Matelot, Le~”: Opera by Gaveaux, II, 36.

~Petter Collection~: Sketches by B., I, 274, 290; II, 118, 151, 209.

~Pfeiffer, Tobias~: Gives music lessons to B., I, 62, 63.

~Philharmonic Society of London.~ (See under B., LUDWIG VAN.)

~Philidor~: “Der Hofschmied,” I, 29;
his operas at Bonn, 86.

~Pianoforte~: Presented to B. by Erard, II, 21.

~Pianoforte~: Presented to B. by Broadwood, II, 390 _et seq._;
III, 214, 237.

~Piccini~: Operas “La buona Figluola;” I, 25, 26, 32;
“Le Aventure di Rodolfo,” 26;
“La Schiava,” 32.

~Pictures and Music~: II, 249, 262.

~Pilat, Joseph~: II, 359.

“~Pilgrimme von Mecca, Die~”: Opera by Gluck, I, 32, 108.

~Pinterics, Captain~: II, 235, 327; III, 32.

~Piringer~: III, 62, 137, 157;
torchbearer at B’s funeral, 312.

~Plato~: His influence on B., I, 213.

~Pleyel, Ignatz~: His quartets, II, 44;
his arrangements of Scottish songs, 70, 260.

~Plittersdorf, Mme.~: II, 179.

~Plutarch~: I, 252, 300.

~Polledro~: Joins B. in concert for sufferers at Baden, II, 225.

~Popularity of B’s Works~: II, 38.

~Portenschlag~, Viennese editor: II, 359.

“~Prächtige, Der~” (“Le Magnifique”): Opera by Grétry, I, 86.

~Prague~: B. plays in, I, 192;
music in, 193;
B. gives concert in, 217;
production of “Fidelio” in, II, 110;
visit of B. in 1812, 222.

~Preisinger~, Bass singer: III, 164.

~Prelinger~, Editor of a collection of B’s letters: I, 336.

~Prichnowsky, Prince~: II, 8.

~Prieger, Dr. E.~: I, 88;
owner of fragment of Wind Quintet, 206, 211;
publishes _facsimile_ of Sonata Op. 26, 291;
reprint of original “Fidelio,” II, 45, 58.

~Prince Regent of England~: B. sends him “Wellington’s Victory,”
II, 310, 311, 318, 336, 339; III, 112, 208.

~Probst, H. A.~, Publisher: B offers him the Ninth Symphony and
Mass in D, III, 178.

~Programme Music~: II, 119;
the Sonata Op. 90, 292;
B. objects to programme of the Seventh Symphony, III, 37.

~Pronay, Baron von~: II, 367.

~Prussia, Kings of~: Frederick William subscribes to Mass in D,
III, 94;
offers decoration instead of money, 94, 105;
dedication of the Ninth Symphony to, 230, 233, 234;
sends B. a ring 133, 276, 282;
Frederick II reputed to be the father of B., III, 243.

~Pückler-Muskau~: Bettina von Arnim’s letter to, II, 186, 188, 223.

~Punto, Giovanni~ (Johannes Stich), Horn-player: I, 239, 267, 277.

~Pyne~, English singer: II, 310.

~Quartet of Instruments~: Presented to B., I, 354.

“~Queen of Night~”: B’s nickname for his sister-in-law, II,
332, 341, 393.

~Rabelais~: His last words and B’s, III, 305.

~Raday, Count~: Ruined by theatrical management, II, 154.

~Radicati, Felix~: II, 75.

~Radichi~, Singer: II, 265.

~Radziwill, Prince Anton~: II, 302;
his “Faust” music, 302;
subscribes for the Mass in D, III, 94, 104, 106.

~Ramm, Friedrich~, Oboist: I, 207; II, 33, 34.

“~Raoul, Sire de Croqui~”: Ballet by Vignano, I, 283.

“~Raptus~”: Mme. Breuning’s expression for B’s occasional state,
I, 118, 120, 301; II, 182, 189.

~Rasoumowsky, Count Andreas~: Appeals to B. for lessons in
composition, I, 273;
the Quartets composed for him, II, 65, 68, 74, 81, 104, 110, 124;
forms the Rasoumowsky Quartet, II, 125;
sketch of him, 81;
dedication of the Fifth Symphony, 162;
lasting friendship with B., 215;
his Quartet, 250;
regal entertainments at the Congress of Vienna, 300;
destruction of his palace, 301;
the Quartet, 316.

~Rau~, Viennese banker: Reports receipt of Philharmonic Society’s
gift to B., III, 292;
reports B’s death to Moscheles, 293.

~Raysbeck, Mme.~: One of the favorites of Elector Joseph Clemens,
I, 3, 4.

~Redoutensaal~: Dances for, I, 188, 289.

~Reeve, Dr. Henry~: Criticism on “Fidelio,” II, 52.

~Reicha, Anton~: I, 105;
career of 106, 117;
comes to Vienna, 288, 300;
opera “Ubaldi,” 310, 355; II, 55.

~Reicha, Joseph~: I, 82, 84, 105;
career of, 100, 111.

~Reichardt, Johann Friedrich~: Chapelmaster in Berlin, I, 196;
on Countess Erdödy, II, 82;
on Streicher’s pianofortes, 87, 124;
account of B’s concert, 129;
and B’s call to Jerome Bonaparte’s court, 141;
value of his letters, 165.

~Reichardt, Karl August~: Visits B., III, 203.

~Reiss, Anton~: Father-in-law of Karl v. B., II, 65.

~Reiss, Theresa (Johanna)~: Wife of Karl Kaspar v. B., II, 65.

~Reissig, C. L.~: His poems, II, 147;
denounced by B., 148;
“Blümchen der Einsamkeit,” 160;
songs published, 195.

~Rellstab, Ludwig~: visits B., III, 200.

“~Reue vor der That, Die~”: Opera by Desaides, I, 32.

~Rhine~: Inundation, I, 75;
journey on, of the Electoral Chapel, 112.

“~Richard Cœur de Lion~”: Opera by Grétry, I, 226, 305.

~Riemann, Dr. Hugo~: Completes revision of the German edition
of this biography, I, xv;
on the authenticity of the “Jena” Symphony, 211;
upholds charges against B’s brothers, 360;
asserts that B. wanted to marry Therese Malfatti, 336;
his theory concerning the love-letter, II, 239.

~Ries, Anna Maria~, Court singer at Bonn: I, 18, 19, 23.

~Ries, Ferdinand~:
Vol. I.
“Biographische Notizen,” etc., ix, xi, 90, 313, 315;
on B’s manuscripts, 141;
on his studies with Haydn, 152;
on B’s teachers, 161;
on the first performance of the Trios Op. 1, 175;
B’s riding-horse, 200;
Quintet Op. 16, 207;
Quintet Op. 29, 203, 312;
his career, 312 _et seq._;
B’s kindness toward, 313;
instruction from B., 314;
arrangements of B’s works, 350;
origin of the Marches for four hands, 350;
on B’s deafness, 352;
charge of misconduct against Karl Kaspar v. B., 361;
B’s interest in him, 363;
B. aids him to employment, 366
--Vol. II.
His account of first performance of “The Mount of Olives,” 7;
his account of the first meeting between B. and Clementi, 23;
on the origin of the “Eroica,” 24;
an alleged false entry in the “Eroica,” 26;
plays at a sentimental scene for B., 29;
letters from B., 27, 28, 29, 334, 338, 340, 371, 395, 412, 413;
plays the C minor concerto, 30, 82;
significant hiatus in his book, 41;
B. greets him with lathered face, 48;
not permitted to hear a reading of “Fidelio,” 48;
conscripted, 49;
on B’s disregard of etiquette, 80, 124;
orchestra refuses to play for B., 128;
the Concertos in C minor and G, 131;
on B’s call to Cassel, 140, 310, 324, 325;
invites B. to London, 370;
relations with B., 372.
--Vol. III.
B’s “Nothing for Ries,” 49, 110, 111;
makes contract for B. with Boosey, 128;
B. promises a dedication to his wife, 128;
removes to Godesberg, 188, 189.
(See SYMPHONY IN D MINOR.)

~Ries, Franz Anton~: I, 11, 24, 25;
aids father of the composer, 93, 95;
gives violin lessons to B., 99, 105, 117, 119;
collects salary for B., 149;
seeks to obtain pension for B., 148.

~Ries, Johann~, Court Trumpeter at Bonn: I, 11, 18, 51, 87.

~Righini, Vincenzo~: “Venni amore,” I, 114, 138.

~Risbeck, Kaspar~: Description of the Rhenish States, I, 15.

“~Riso d’Apolline, Il~”: Opera by Betz, I, 126.

“~Ritorno di Tobia~”: Oratorio by Haydn, II, 131.

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

~Röckel, Elizabeth~: On B’s susceptibility, II, 181.

~Röckel, J. A.~: Career of, II, 53;
his notes on “Fidelio,” 53, 60, 62;
B’s liking for, 92;
on B’s desire to compose operas, 119;
letter, 128;
on B’s desire to travel, 142;
on the revision of “Fidelio” in 1814, 265.

~Roda, Cecilio de~: B’s sketches for the last Quartets, I, 277.

~Rode, Pierre~: B. composes Sonata for him, II, 235, 236.

~Rolland, Romaine~: I, 337.

~Romberg, Andreas~: I, 105;
career of, 106, 111, 199.

~Romberg, Bernhard~: I, 105;
career of, 106, 111, 117, 121, 199, 205;
and first Rasoumowsky Quartet, II, 75; III, 72.

“~Romeo und Juliet~”: Opera by Benda, I, 31, 107, 108.
Opera by Zingarelli, II, 172.
Considered by B., III, 117.

“~Romulus and Remus~”: Opera by Johann Fuss, II, 304;
opera-book by Treitschke, II, 304, 381.

“~Röschen und Colas~” (“Rose et Colas”): Opera by Monsigny, I, 29.

~Rösner, Felia~: Daughter of Neefe, I, 304.

~Rothe~: Singer in “Fidelio,” II, 51.

“~Rothkäppchen, Das~”: Opera by Dittersdorf, I, 109, 176, 188.

~Rovantini, Franz Georg~: Gives violin instruction to B., I, 64, 67.

~Royal Library~ at Berlin: Acquires B.’s memorabilia, I, xi;
sends Conversation Books to Thayer, xi;
owns B.’s quartet of viols, 277;
gets B’s posthumous papers from Schindler, III, 11.

~Rubini~: III, 77.

~Rudolf~, Violinist and conductor: I, 166.

~Rudolph, Archduke~ of Austria:
II, 79, 100;
dedication of Concerto in G, 134;
Trios, Op. 70, 132;
subscription to the annuity contract, 139;
the Sonata Op. 81, 143;
his studies with B., 147, 150, 154;
dedication of E-flat Concerto, 160;
the annuity contract, 170, 172, 212, 213, 217, 242, 306;
B. wearies of teaching him, 194, 199;
letters, 199, 206, 225, 235, 248, 250, 266, 286;
B. tells Goethe of disciplining him, 227;
and calls his duty “servitude,” 240;
compelled to quit pianoforte playing, 266;
lessons irksome to B., 381;
charged by B. with his misfortunes, 396;
installation as Archbishop of Olmütz, 398, 412;
dedication of Op. 101, 414;
--III, letters from B., 1, 9, 19, 20, 34;
asked to help send nephew to Landshut, 6;
his Variations, 19, 20;
urged to compose, 21;
dedication of Op. 106, 23, 25;
enthroned as Archbishop, 33, 44;
dedication of Op. 111, 50;
Variations on air by Rossini, 77, 82, 91, 94;
asked to urge subscription to Mass on Grand Duke of Tuscany
and King of Saxony, 95, 96;
B. rails against him, 112;
urges B. to compose Bernard’s oratorio, 175;
dedication of the Mass in D, 212.

“~Ruines de Babilone~”: II, 202.

“~Rule, Britannia~”: II, 252.
(See VARIATIONS, in Index of Compositions.)

~Ruschowitz, Constanze~: I, 99.

~Ruskin, John~: On the imagination, III, 25.

~Russia, Empress of~: II, 305;
Czar subscribes for the Mass in D, III, 102, 105;
dedication of the Ninth Symphony considered, 231.

~Russian Melodies~: In the Rasoumowsky Quartets, II, 74;
in “Ruins of Athens,” 162.

~Rust, Wilhelm~: Description of B., II, 117;
on B. and the French, 146.

~Rzewuska, Countess~: II, 111.

~Saal~, Singers: I, 266.

~Sacchini~: His operas at Bonn, I, 86;
“La Contadina in Corte,” 26;
“L’Olimpiade,” 32;
“L’Isola d’Amore,” 108.

~Saint-Foix, Georges~: I, 139.

~Salieri~: “Armida,” I, 86;
“La Grotta di Trofonio,” 107;
“König Axur in Ormus,” 109, 163;
“Falstaff,” 227;
gives B. lessons in composition, 154, 160;
Violin Sonata dedicated to him, 163, 214;
respected by B., 241; II, 2;
“The pupil B. was here,” 64;
accused of enmity by B., 136;
conducts percussion instruments in “Wellington’s Victory,” 262.

~Salm-Reifferscheid, Count~: I, 73, 74.

~Salomon, Jacobina~: Court musician at Bonn, I, 20.

~Salomon, Johann Peter~: I, 19, 20, 51, 186; II, 317, 319,
324, 325, 359;
recants his opinion of the Fifth Symphony, 279.

~Salomon, Philip~: I, 20;
career in London, 20, 23, 110, 299.

~Salzburg~: Occupied by Bernadotte, II, 61.

~Samaroff, Olga~: I, 140.

“~Samnitische Vermählungsfeier, Die~” (“Le Mariage des Samnites”):
Opera by Grétry, I, 31.

“~Samori~”: Opera by Vogler, II, 23.

“~Samson~”: Oratorio by Handel, II, 359.

~Santerrini~: Alleged teacher of B., I, 62.

“~Sargino~”: Opera, II, 61.

~Sarti~: Operas “Fra due Litiganti,” I, 86, 109;
“L’Incognito,” 86;
“La Gelosie villane,” 109.

~Satzenhofen, Countess~ and Abbess: Mistress of Elector
Max Friedrich, I, 16.

~Sauerma, Countess~: III, 41.

“~Saul~”: Oratorio by Handel, III, 219, 285.

~Saxony, King of~: Subscribes for the Mass in D, III, 94, 96, 99, 105.

~Schaden, Dr.~: Lends money to B., I, 92;
letters to, 92, 95, 96.

~Schall, Captain~: Amateur musician in Bonn, I, 37.

~Schebek, Edmund~: II, 8.

~Schechner, Fräulein~, Singer: III, 287, 288.

~Scheidl, Cesarius~: Musical prodigy, I, 91.

~Schenck, Joseph~: Gives lessons to B., I, 152, 154.

~Schickh, Johann~: II, 359.

~Schikaneder, Emanuel~: His theatre, I, 164;
engages B. and Vogler to compose operas, II, 5;
an opera-text for B., 19;
sells interest in Theater-an-der-Wien, 22, 34.

~Schiller~: “Ode to Joy,” I, 132; II, 152, 295, 414;
III, 145, 146, 148 _et seq._;
B’s appreciation of, II, 147, 153;
popularity of his plays, 153;
“Die Sendung Moses,” 167;
“Die Flüsse,” 196;
“Fiesco,” 117.

~Schimon, Ferdinand~: Paints B’s portrait, III, 21;
B’s preference for it, 41.

~Schindler, Anton~, B’s biographer: I, ix, xi;
sells memorabilia to Berlin, x;
visited by Thayer, x;
on B’s studies with Haydn, 151;
on Bernadotte and the “Eroica,” 213;
on B’s relations with the musicians in Vienna, 241;
in error about B’s want of familiarity with the orchestra, 239;
on B’s sojourn in Hetzendorf, 289;
on Hoffmeister’s edition of Bach, 303;
his theory about B’s love, 318 _et seq._;
conversation with B. about Countess Guicciardi, 320;
defects as an investigator, 323;
--II, On B’s religion, 168;
division of B’s work into periods, 171;
the canon on Mälzel and the Allegretto of the
Eighth Symphony, 234;
makes B’s acquaintance, 270;
his account of the quarrel with Mälzel disputed, 270 _et seq._;
growth of familiarity with B., 327;
wrong as to B’s relations with Ries, 372;
trustworthiness as a biographer, 376;
beginning of an intimacy with B., 378;
in error as to the story of B’s noble birth, 410;
--III, Sells B’s papers to the Royal Library, 11;
praised by Horzalka, 42;
on Johann v. B, 67;
his story about Schubert and B., 79;
gets B’s papers, 93;
“L’Ami de Beethoven,” 93;
his nickname, 106;
B. calls him a scoundrel, 128, 133, 158;
on B’s drinking habits, 196;
his biography of B., 197 _et seq._;
false tale of Nephew Karl’s negligence, 272;
falsification of the Conversation Books, 273, 281;
charged by B. with theft of a petty sum, 281;
gets autograph of Ninth Symphony, 281;
accuses Johann v. B. of niggardliness, 278, 293;
B. sends him a meal from his sick-bed, 295.

~Schlegel~: One of his texts proposed for an opera, III, 117.

~Schleiermacher~: His translation of Plato, I, 213.

~Schlesinger~, Musician: II, 125.

~Schlesinger~, Publisher in Berlin: III, 54;
denounced by B., 55;
accepts Mass in D, 55, 190;
B’s treatment of, 190.

~Schlesinger, Moritz~, Publisher in Paris: Visits B.,
III, 203, 204, 206.

~Schlösser, Louis~: Visits B., III, 125;
and the Mass in D, 97.

“~Schmaus, Der~” (“Il Convivo”): Opera by Cimarosa, I, 107.

~Schmidgen~: II, 125.

~Schmidt, Dr. Johann~: I, 278, 302, 348, 349, 353.

~Schmidt, Leopold~: Publishes B’s letter to Simrock, II, 13.

~Schmith, Antoinette~: III, 14.

~Schnaps, Frau~: B’s housekeeper, III, 131.

~Schneider, Friedrich~: Visits B., III, 18.

~Schneider, Johann~: Plays E-flat Concerto, II, 160.

~Schneller, Julius Franz Borgias~: II, 88.

~Schoberlechner, Franz~: III, 130.

~Schönauer, Dr.~: II, 320, 321, 331.

~Schönbrunn~, Garden of: I, 288.

“~Schöne Schusterin, Die~”: Opera by Umlauf, I, 108, 142, 165, 204.

~Schott and Sons~, Publishers: The Mass in D, III, 55,
57, 177, 178, 189;
Quartet in E-flat, 178;
Ninth Symphony, 178;
B. asks for a gift of wine, 290 _et seq._

~Schreiber~, Violist of Schuppanzigh Quartet: II, 41.

~Schreyvogel, von~: II, 304.

~Schreyvogel and Rizzi~: Publish catalogue of B’s works, II, 38.

~Schroeder-Devrient, Mme.~: III, 83, 84, 85.

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

~Schubert, Franz~: His “Erlkönig,” I, 230; II, 327, 355;
III, his meeting with B., 79;
takes Rochlitz to look at B., 74;
his variations on Diabelli’s waltz, 128;
B. and his songs, 298 _et seq._;
B’s remark “A divine spark dwells in S.,” 300, 301;
at B’s death-bed, 298 _et seq._;
torchbearer at B’s funeral, 312;
his grave beside B’s, 312.

~Schultz, Edward~: Visit to B., III, 134.

~Schulze, Mme.~, Singer: II, 330.

~Schumann, Robert~: Publishes letters of B., II, 183.

~Schuppanzigh, Ignaz~: Gives lessons on violin to B., I, 156;
his Quartet, 170, 237 _et seq._;
conducts Augarten Concerts, 238, 274;
suggests gift of viols to B., 276;
author of a theme in the Quintet Op. 29, 296;
variations for two violins, 306, 316.
--II, 2;
teacher of Mayseder, 41;
his quartet concerts, 41;
Augarten Concerts, 42, 172;
B’s joke on his marriage, 105, 125, 150, 167;
goes to Russia, 327, 337.
--III, 24, 75, 126;
and the last Quartets, 139, 156, 157, 184;
fails in E-flat Quartet, 193, 294, 312.

~Schuster~: Operas “Der Alchymist,” I, 31, 107, 108;
“Die Geitzigen in der Falle,” 108;
“Dr. Murner,” 108.

~Schwachhofer, Mme.~, Court Singer: Disciplined by B’s
grandfather, I, 20.

~Schwarzenberg, Prince~: I, 168, 172, 208;
dedication of Quintet Op. 16, 290; II, 98.

~Schwarzendorf~ (Martini): I, 87.

~Scott, Sir Walter~: I, 252; II, 214, 194;
B. reads his novels on his death-bed, III, 282.

“~Seasons, The~”: Oratorio by Haydn, I, 171; II, 120.

~Sebald, Amalie~: B’s relations with, I, 337; II, 205;
letter from B, 228;
inscription in her album, 229;
B’s infatuation for, 239, 343.

~Sebald, Auguste~: II, 205.

~Sedlažek, Jean~, Flautist: III, 208.

“~Seidenen Schuhe, Die~”: Opera by Fridzeri, I, 32.

“~Serva Padrona, La~”: Opera by Pergolesi, I, 108.

~Sessi, Mme.~, Singer: II, 2, 215.

~Seume~: His poem “Die Beterin” and the C-sharp minor Sonata,
I, 292, 339;
B. visits his grave, II, 205.

“~Seven Last Words~”: Cantata by Haydn, I, 214.

~Seyfried, Ignaz von~: “Beethoven’s Studies in Thoroughbass,”
I, 159, 215, 249; II, 147, 152, 183;
on B’s playing, I, 216;
on the character of his brothers, 361; II, 2, 6;
and the C minor Concerto, 7;
conducts rehearsals of “Fidelio,” 51;
asked by B. to conduct the opera, 61;
his description of B., 93 _et seq._,
on the first performance of the Choral Fantasia, 130, 131;
his writing for four horns, 285;
music for “Moses,” 297, 358, 388; III, 157;
arranges and composes music for B’s funeral and is pallbearer, 312.

~Seyler’s Dramatic Co.~: I, 28, 30, 35.

~Shakespeare~: Recommended by B., II, 176.

~Shedlock, J. S.~: I, 205, 208, 210, 261, 290; II, 102; III, 13.

~Siboni~, Tenor: II, 215, 267.

“~Silvain~”: Musical comedy by Grétry, I, 26, 86.

~Simonetti~, Tenor of Electoral Chapel: I, 112.

~Simoni~, Singer in Vienna: I, 282.

~Simrock, Nicolaus~, Court Hornist in Bonn: I, 24, 51, 105;
B’s association with him as publisher, 183 (see MASS IN D);
letters, 8, 183; II, 21;
B. offers him compositions, II, 105;
the Mass in C, 142;
association with B. in Vienna, 343, 345; III, 39, 44,
53 _et seq._; 56.

~Sina, Louis~, Violinist: I, 170.

~Singakademie~, in Berlin: B. plays for, I, 196; II, 205;
invited to subscribe for the Mass in D, III, 104, 180.

~Sinsendorf (Zinzendorf?), Prince~: I, 172.

~Smart, Sir George~: Visited by Thayer, I, xi, III, 208; II, 309;
produces Mass in C in London, 310, 311, 351, 302, 347, 348, 370;
visits B. in Vienna, III, 206 _et seq._; 289, 389.

~Smetana, Dr.~: Performs surgical operation on Nephew Karl, II, 341;
prescribes for B’s deafness, 85;
informed by B. of nephew’s attempt at suicide, 259, 274.

~Smith, John~, of Glasgow: III, 16.

~Sobieski, John~: I, 7.

“~Soliman II~”: Opera by Süssmayr, I, 227.

~Soltikoff, Count~: II, 75.

~Sonneck, O. G.~: I, xviii.

~Sonnenfels, Joseph Noble de~: Dedication of Sonata Op. 28, I, 293.

~Sonnleithner, Christoph von~: II, 34.

~Sonnleithner, Ignaz von~: III, 251.

~Sonnleithner, Joseph von~: On Zmeskall, I, 230;
Secretary of Court Theatres, II, 23;
his career, 34.

~Sontag, Henrietta~: III, 77, 139, 153, 162, 164.

“~Sophonisba~”: Opera by Neefe, I, 31.

~Spain~: B’s desire to travel in, II, 142.

~Spaun, Baron~: I, 338.

~Spazier~: I, 305; II, 1.

~Spencer, Herbert~: On billiard-playing, III, 253.

~Speyer, E.~: II, 216.

“~Spiegel von Arkadien~”: Opera by Süssmayer, II, 49.

~Spina~: Gets B’s Broadwood Pf., II, 392.

~Spohr, Ludwig~: His accounts of B’s conducting, II, 128, 257;
his opinion of Rode, 235;
his intercourse with B., 236;
on B’s music and playing, 269;
B’s opinion on his music, III, 203.

~Spontini~: Opera “La Vestale,” II, 36, 202, 296; III, 139;
B’s opinion of his music, 203.

~Sporchil, Johann~: Submits opera-text to B., III, 118.

~Stadler, Abbé~: I, 376;
statement as to Trio of Seventh Symphony, II, 216;
anecdote, 234;
canon, 236.

~Starcke, Friedrich~: The Bagatelles, III, 48.

~Staudenheimer, Dr.~, B’s physician: Sends him to Karlsbad,
II, 223; III, 39, 199, 273, 276.

~Stauffen, Franz~, Youthful pianist: II, 327.

~Steibelt, Daniel~: Comes to Vienna, I, 268;
encounter with B., 268;
composes battle music, II, 252.

~Stein~, Pianoforte maker: I, 88, 91, 92.

~Stein, Friedrich~, Pianist: II, 117;
and Concertos in C minor and G, 131.

~Stein, Dr. Fritz~: Publishes the “Jena” Symphony, I, 211.

~Stein, Nanette.~ (See STREICHER, NANETTE.)

~Stein, Matthäus~: II, 87.

~Steiner, Sigmund Anton~ (and Steiner and Co.): II, 279, 364;
III, lends B. money, 21;
canon, “Hol’ euch der Teufel,” 23;
letter, 38;
duns B. for money, 38, 58, 59, 71, 114, 184;
friction with B., 234;
torchbearer at B’s funeral, 312.

“~Steinerne Braut, Die~”: Opera by Liechtenstein, I, 305.

~Sterkel, Abbé~: I, 113.

~Stich, Johann Wenzel.~ (See PUNTO.)

~Stieler, Joseph~: Paints B’s portrait, III, 41.

~Storck~: I, 336.

~Streicher, Andreas~: I, 91, 92;
collects funds for Bach’s daughter, 308; II, 391; III, 180;
torchbearer at B’s funeral, 312.

~Streicher~, pianofortes: II, 87.

~Streicher, Nanette~: II, 87;
puts B’s house in order, 244;
letter from B., 394.

~Stummer, Fräulein~, Singer: Marries Count Lichnowsky, II, 291.

~Stumpf~, Pianoforte tuner of London: II, 391.

~Stumpff, Johann~: His visit to B., III, 181 _et seq._;
gives Handel’s scores to B., 182, 277, 289, 290, 291.

~Sturm, Christian~: “Beobachtungen über die Werke Gottes,
etc.,” I, 252; II, 55, 165.

~Stutterheim, Baron von~: Gives Nephew of B. cadetship, III, 264;
dedication, 297.

~Sulkowsky, Prince~: I, 20.

~Sumner, Charles~: Recommends Thayer for consulship, I, x.

“~Sündfluth, Die~”: Oratorio, II, 156.

~Süssmayer, F. X.~: I, 165, 188;
“Soliman II.,” 327; II, 2;
“Spiegel von Arkadien,” 49.

~Sweden, King of~: Subscription for the Mass in D, III, 102.

~Sweden~, Royal Academy of: Elects B. Hon. Mem., 130, 163.

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

~Swieten, Gottfried Freiherr von~: I, 171;
bids B. bring his night-cap, 175, 205;
dedication of First Symphony, 228, 290.

~Swift, Dean~: I, 4.

~Swinburne, Henry~: Description of Bonn and its Electors, I, 16, 78.

“~Tage der Gefahr, Die.~” (See LES DEUX JOURNÉES.)

“~Tantum ergo sacramentum~”: III, 116.

“~Tartarische Gesetz, Das~”: Opera by d’Antoine, I, 31.

~Taxis, Mme. de~: I, 16.

~Tayber, Anton~: III, 115.

~Teimer~, brothers: I, 206.

~Telemann~: I, 13;
his fluency in composition, 85.

~Tenger, Mariam~: “Beethoven’s unsterbliche Geliebte,” I, 338.

~Teplitz~: B’s visit to, II, 202, 204 _et seq._;
meeting-place of political magnates, 221;
B’s second visit in 1812, 222.

~Teutonic Order~: Clemens August elected Grand Master of, I, 7;
opens the strong box, 8;
Duke Karl of Lorraine Grand Master, 77, 98;
Count Waldstein admitted to membership, 101, 111;
Stephan von Breuning receives appointment in, 198;
Archduke Karl elected coadjutor to Grand Master, 288;
B. advises Breuning to enter the service, 303.

~Teyber~: II, 3.

~Thalberg, Sigismund~: His account of the performance of
the Ninth Symphony, III, 166.

~Thayer, Alexander Wheelock~: Vicissitudes of his biography of
B., I, vii _et seq._;
the “Chronologisches Verzeichniss,” ix, 74, 75;
sketch of his life and labors, ix _et seq._;
connected with the “New York Tribune,” ix;
second visit to Europe, x;
receives funds for research work, x;
visits all surviving friends of B., x;
employed at U. S. Legation in Vienna, x;
appointed Consul at Trieste, x;
his purposes, xi;
why the work was published in German, xii;
writes book on the Exodus of the Jews, xiii;
also on Bacon and Shakespeare, xiii;
his discoveries accepted, xiv;
labor unremunerated, xiv;
death of, xiv;
publication of this work delayed by the World War, xviii;
promoted by the Beethoven Association of New York, xviii;
his work on the Conversation Book, III, 12;
defence of Johann v. B., 68;
on the commission from the Handel and Haydn Society of Boston, 88;
visits Sir George Smart, 208 _et seq._

~Thomas-San-Galli, Dr. Wolfgang~: His book on B’s love-affairs,
I, 337; II, 239.

~Thomson, George~, Publisher of National Songs: II, 17 _et seq._;
69, 156, 259, 363, 415; III, 16.

~Thun, Princess Christiane~: I, 181, 225.

~Thun, Countess Elizabeth~: II, 81.

~Thun, Countess~: I, 244;
dedication of Pf. arrangement of “Prometheus,” I, 290.

~Thun, Count Franz Joseph von~: I, 181.

~Tiedge~: B’s association with him at Teplitz, II, 204, 206, 208.

~Tiller, Theresia~: Sells apothecary shop to Johann v. B., II, 115.

“~Timotheus~”: Oratorio by Handel, II, 216.

“~Tod Jesu~”: Oratorio by Graun, II, 89.

~Tomaschek~: Describes B’s Pf. playing, I, 217, 257;
on “Wellington’s Victory,” II, 256;
meeting with B., 297.

~Tomasini, Luigi~, Singer: II, 2.

~Touchemoulin~: Court Chapelmaster in Bonn, I, 17, 46.

~Trautmannsdorf, Prince~: I, 172.

“~Tre Amanti ridicoli, Li~”: Opera, I, 27.

~Treitschke, Georg Friedrich~: II. 35;
revises text of “Fidelio,” 264;
“Gute Nachricht,” 268, 270, 302, 317;
letters, 273, 277, 281, 284;
“Romulus and Remus,” 304, 381;
“Die Ehrenpforten,” 317.

~Tribolet, Mme.~: I, 200, 242.

“~Tribune, The New York~”: Thayer on its editorial staff, I, ix;
W. H. Fry, musical critic, 358; III, 68.

“~Trionfo d’Amore~”: Opera by Dutillier, I, 165.

“~Trofonio’s Zaubergürtel~” (“Grotta di Trofonio”):
Opera by Salieri, I, 107.

~Truchsee-Waldburg, Count~: II, 124.

~Tschiska, Dr.~: III, 3.

~Türkheim, Anton von~: I, 288; III, 97.

~Tuscany, Grand Duke of~: Subscribes for the Mass in D,
III, 95, 101, 105.

~Tuscher, Matthias~: one-time guardian of the nephew,
III, 4, 5, 7, 30.

~Ulm~: Captured by the French, II, 51.

~Umlauf, Ignaz~: “Die schöne Schusterin,” I, 108, 165, 204;
saves performance at which B. conducts, II, 263;
conducts “Fidelio,” 279; III, 157.

~Ungermann~, Police Director: III, 132.

~Ungher, Caroline~: III, 77, 78, 161, 162, 164, 166.

“~Unterbrochene Opferfest, Das~”: Opera by Winter, I, 227.

“~Van~”: not a predicate of noble birth, II, 404, 408.

~Van den Eeden, Heinrich~: I, 5;
appointed second Court Organist at Bonn, I, 10;
salary increased, 10, 25;
gives lessons to B., 61, 62, 64;
death of, 69.

~Vanhall, Joseph~, Composer: I, 173.

~Varena, Ritter von~: II, 205;
asks for music for Ursulines at Gratz, 214;
B’s letters to, II, 218, 246, 247, 249.

~Varnhagen von Ense~: His account of B’s sojourn at Teplitz,
II, 204, 222, 302.

~Vering, Dr.~: Treats B., I, 300, 302, 348.

“~Vestale, La~”: Opera by Spontini, II, 36, 296; III, 139.

“~Vesta’s Feuer~”: Opera by Weigl, II, 49.

~Victoria, Princess of England~: Wedding hymn on her marriage
to Frederick III of Prussia, III, 13.

~Vienna~: B’s first visit to, I, 89;
second journey, 124;
route travelled and incidents, 126;
arrival in the city, 128, 146;
state of music in, at the time, 163 _et seq._;
theatres, 163 _et seq._;
church music, 165;
performing musicians, 170;
composers, 172, 174;
private theatres, 173;
B’s position in Society, 174 _et seq._
--II, Music in 1803, 2;
lapse of public concerts, 42;
entered by French, 52;
administration of the Court Theatres, 98;
B. appointed composer for the theatres, 98;
appreciation of his music in the city, 116;
arrival of friends in 1808, 124;
popular attitude toward B., 126;
beleaguered and occupied by the French, 144, 145;
tax on dwellings, 146, 150;
under French, 149;
direction of the theatres assumed by Lobkowitz and Palffy, 201;
B. made Hon. Citizen of the city, 325;
its journals and their treatment of B., 358.
--III, Society of Merchants elects B. Hon. Mem., 21;
taste denounced by B., 202.

~Vigano, Salvatore~: Ballet “Le Nozze disturbata,” I, 188;
sketch of, 283;
ballet “Raoul, Sire de Croqui,” 283;
“Prometheus,” 284 _et seq._

“~Villanella di spirito, La~”: Opera, I, 108.

~Viotti~: II, 12.

~Vivenot, Dr.~: Summoned to B. at last sickness, III, 273.

~Vogl, Johann Michael~: I, 230.

~Vogler, Abbé Georg Joseph~: In Bonn, I, 123;
engaged to compose operas in Vienna, II, 2, 4;
“Hermann von Staufen” and “Hermann von Unna,” 4, 12;
his extempore playing, 15;
his opera “Samori,” 23.

~Volbach~: I, 337.

~Volta~, Violinist: II, 125.

~Von der Recke, Countess~: II, 204, 208, 222.

~Waldstein, Count Emanuel Philip~: I, 101.

~Waldstein, Count Ferdinand Gabriel~: B’s first meeting with,
I, 93 _et seq._; 101, 102;
knighted by Max Franz, 102;
absolved from his vow of celibacy and marries, 103;
his aid to B., 103, 117;
the book of the “Ritter-Ballet,” 108, 122;
inscription in B’s album, 126;
The “Ritter-Ballet,” 133;
family connections of, 174, 244;
second marriage of, II, 111, 146; III, 24.
(See SONATA OP. 53.)

~Walkowski~: II, 305.

~Walter~: I, 355.

~Wartensee, Xaver Schneider von~: II, 381.

~Wasielewski~: I, 208.

~Wawruch, Dr.~: In attendance on B. at his last illness,
III, 273 _et seq._;
B’s dissatisfaction with him, 283;
report on B’s illness and death, 275 _et seq._

~Weber, Carl Maria von~: I, 112;
his first visit to Vienna, II, 23;
interest in Amalie Sebald, 205;
produces “Fidelio” in Dresden, III, 129;
visits B., 136 _et seq._;
“Der Freischütz,” 131, 135, 137;
“Euryanthe,” 131, 137, 139, 140.

~Weber, Dionysius~: II, 282.

~Weber, Franz Anton von~: I, 112.

~Weber, Gottfried~: Publishes letters by B., II, 183, 384;
attacks authenticity of Mozart’s “Requiem,” 235.

~Weber, Max Maria von~: III, 138.

~Weber, W.~: Sells publishing rights in Thayer’s biography
to Breitkopf and Härtel, I, xv.

~Wedding Song~: Arranged for the wedding of Princess Victoria
of England and Frederick III of Prussia, III, 13.

~Wegeler, F. G.~: His “Biographische Notizen,” I, ix, xi, 79,
89, 94, _et seq._; 99, 117;
comes to Vienna, 179;
his account of B’s status there, 180;
letters from B., 181, 182;
on B. as a lover, 182, 186;
said to have recommended B. as teacher to the Breuning family, 100;
on Count Waldstein, 102;
on B’s susceptibility to women, 122;
letters from B., 299, 301;
error in date of an important letter, 308.
--II, B. asks him to get the certificate of his baptism, 177;
publication of B’s letters, 183.
--III, 197, 214, 288, 297.

~Wegeler, Karl~: I, 96, 102, 181.

~Weigl, Joseph~, Chapelmaster and composer: I, 163;
“L’Amore marinaro,” 225;
respected by B., 241;
“Corsar aus Liebe,” 268;
the same, II, 2;
“Die Schweizerfamilie,” 2;
“Vesta’s Feuer,” 49, 279;
pallbearer at B’s funeral, III, 312.

~Weimar, Grand Duke of~: The Mass in D, III, 98;
B. contemplates a visit to, II, 198.

~Weinkopf~: Singer in first performance of “Fidelio,” II, 50.

~Weinmüller~, Bass singer: II, 267, 285, 286.

~Weiss, Franz~, Viola player: I, 170, 274; II, 125, 337.

~Weiss, Dr. Leopold~: II, 303.

~Weiss, Pater~: Attempts to cure B’s deafness, II, 96; III, 85.

~Weissenbach, Dr. Alois~: His “Reise zum Congress,” I, 263;
description of B., II, 293;
his dramas, 293;
“Der glorreiche Augenblick,” 294.

~Weissenthurm, Mme.~: I, 133.

~Werner, Zacharias~: III, 44.

~Wesley, Samuel~: II, 12.

~Westerholt, Count Friedrich Rudolph Anton~: And his family,
I, 121, 137.

~Westerholt, Fräulein~: I, 120, 121, 122.

~Westphalia.~ (See BONAPARTE, JEROME, and CASSEL.)

~Wheeler~, U. S. Consul: Interviews Julius Merz concerning the
Bettina-B. letters, II, 184, 185.

~Wieck, Friedrich~: Visits B., III, 236.

~Wild, Singer~: II, 305, 338.

~Willcox, E. S.~: I, xiii.

~Willmann, Magdalena~: I, 200, 235;
career of, 242;
receives proposal of marriage from B., 242;
marriage and death of, 243, 282, 330, 337.

~Willmann, Max~: I, 242.

~Wimpfen, Countess~: III, 110.

~Winneberger~: Chapelmaster at Wallenstein, I, 114.

~Winter~: Opera “Das unterbrochene Opferfest,” I, 227.

~Winter, Karl~: Judge of the Austrian Court of Appeals, III, 29.

~Wolanek~, Copyist: Excites B’s ire, III, 191.

~Wolf~: Opera “Das Rosenfest,” I, 32.

~Wölffl, Joseph~, Pianist: I, 214;
his playing compared with B’s, 215;
dedicates Sonata to B., 217.

~Wolfmayer, Johann Nepomuk~: Substitutes new coat for B’s old,
III, 230;
pays B. for a Requiem which is never composed, 220, 296;
torchbearer at B’s funeral, 312.

~Wranitzky, Anton~: II, 125.

~Wranitzky, Paul~: I, 165;
“Oberon,” 165;
“Das Waldmädchen,” 210.

~Würfel~, Chapelmaster: Pallbearer at B’s funeral, III, 312.

~Würth and Fellner~: Organize concerts in Vienna, II, 42.

~Wyzewa, Theodore~: I, 139.

~Yellowhammer~: Song of, in the “Pastoral” Symphony, II, 120, 121.

~Zambona~: Gives B. lessons in Latin, I, 65.

“~Zauberflöte, Die~”: Opera by Mozart, I, 164, 226, 304.

~Zeithammer, Dr. Ottokar~: The Lobkowitz cantata, II, 354.

“~Zelmira~”: Opera by Rossini, III, 20, 77.

~Zelter, Karl Friedrich~: Association with B., III, 16, 18, 104, 110.

“~Zémire et Azor~”: Opera by Grétry, I, 32, 86.

“~Zemire und Azor~”: Opera by Neefe, I, 36.

~Zenser~: Reputed to have taught organ to B., I, 64.

~Zichy, Count Stephen~: II, 98.

~Zingarelli~: Opera “Romeo and Juliet,” II, 172.

~Zitterbarth~: Buys interest in Schikaneder’s theatre, II, 22.

~Zizius, Dr. Johann~: II, 88.

~Zmeskall von Domanovecz, Nicolaus~: I, 192, 230;
his posthumous papers, 236, 273;
B. asks his aid in purchase of pianoforte, 355;
letters from B., 231; II, 88, 97, 144, 155, 174, 208,
217, 245, 246, 247, 248, 262, 271, 330, 349; II, 113, 144;
the Quartet in F minor, 193, 351;
and Mälzel’s metronome, 384 _et seq._; III, 24, 42, 288.

~Zuccalmaglio~: I, 278.

~Zulehner, Carl~: His reprints denounced by B., II, 18, 38.

Index to Compositions

(a) WORKS FOR ORCHESTRA ALONE

~Symphonies~:

No. 1, C major, Op. 21--Date of composition, I, 227, 266, 267,
272, 277, 282, 286, 290; II, 6, 39, 42;
arranged as Pf. Quintet, I, 228.

No. 2, D major, Op. 36--I, 140, 354, 364, 365, 371; II, 6, 39,
42, 73, 112, 113;
arranged as Pf. Trio, II, 40;
arranged as Quintet, II, 113.

No. 3, E-flat major, Op. 55 (“Eroica”)--I, 212; II, 14, 20, 24
_et seq._; 33, 40;
first public performances of, 42 _et seq._; 66, 67;
publication of, 77, 112, 116, 149, 369; III, 50;
arranged for Pf. Quartet, II, 113.

No. 4, B-flat major, Op. 60--II, 68, 73, 76, 101, 112, 116, 122,
123, 162, 166, 371.

No. 5, C minor, Op. 67--I, 307; II, 73, 76, 107, 109, 113, 123,
126, 127, 129, 132, 141, 162, 166, 186;
correction of error in Scherzo of, 192; 216, 250, 334, 348,
369, 379; III, 50.

No. 6, F major, Op. 68 (“Pastoral”)--I, 349, 354; II, 73, 110,
119, 120;
country musicians parodied in Scherzo, 121, 122; 127, 131,
141, 162, 166, 209, 316; III, 14, 50.

No. 7, A major, Op. 92--II, 151, 152, 166, 216;
melody of the Trio, 216; 237, 257;
Allegretto repeated at the first performance, 258; 267, 299,
311, 312, 313, 318, 319, 324, 325, 334, 337, 339, 340,
347, 348, 350, 352, 353, 356, 357, 367; III, 14, 37, 50,
144, 302.

No. 8, F major, Op. 93--II, 152, 166, 232;
the Allegretto and the canon on Mälzel, 234 _et seq._; 237,
240, 267, 268, 311, 312, 313, 318, 357, 388; III, 144.

No. 9, D minor, Op. 125 (with vocal solos and chorus)--I, xi;
trombone parts, II, 7; 73, 90, 133, 152, 378, 411, 414; III,
15, 22, 87, 95;
and the Philharmonic Society of London, 110 (see “London
Philharmonic Society” under BEETHOVEN, LUDWIG V.); 128, 132;
composition, first performance, repetition, 144 _et seq._;
origin of the theme of the Scherzo, 145;
B.’s doubts concerning the finale, 152, 153;
address to B. by his friends, 153 _et seq._;
a conspiracy to further the performance, 158, 159;
trouble about orchestra leader, 157, 160;
the solo singers, 162, 164;
rehearsals, 163;
programme of the concert, 164;
incidents of the first performance, 165 _et seq._;
financial failure and B.’s disappointment, 167;
B. upbraids his friends and dines alone, 167;
the second performance, 168 _et seq._; 170;
offer of score to Schott, 177;
offer to Probst, 178;
performed at Aix-la-Chapelle, 188;
Smart gets tempi from B., 208, 209;
the recitatives, 209, 226;
dedication, 231 _et seq._;
metronome marks, 244, 292;
the autograph manuscript, 266.

“Wellington’s Victory, or The Battle of Victoria,” Op. 91--II,
251 _et seq._; 262 _et seq._; 259, 267, 268, 271, 272, 283,
290, 299, 309, 310, 311, 312, 313, 318, 319, 324, 325, 335,
339, 340, 353, 356; III, 113, 208, 211.

“Jena”--I, 211.

Sketches for uncompleted symphonies--A “Tenth,” II, 414; III, 221
_et seq._;
in B minor, II, 310, 328;
in C minor, I, 210.

~Overtures, Ballets, Marches, Dances~, etc.:

Overture, “Coriolan,” Op. 62--II, 101, 102, 105, 112, 117, 124,
127, 133, 172, 209, 216, 268, 284.

Overture in C, Op. 124, “Consecration of the House.” (See WEIHE
DES HAUSES, under (c) Choral Works, etc.)

Overture to “Fidelio.” (See “FIDELIO.”)

Overtures, “Leonore,” Nos. 1, 2 and 3. (See “FIDELIO.”)

Overture in C, Op. 115--II, 292, 296, 302, 303, 311, 312, 313,
316, 327, 334, 335, 413; III, 50.

Overture to “König Stephan” (“King Stephen”), Op. 117--II, 208,
209, 213, 214, 218, 246, 313, 316, 334, 413; III, 57, 70, 72.

“Ritter-Ballet”--I, 108, 111, 117, 133, 142.

Ballet, “Die Geschöpfe des Prometheus” (“The Men of Prometheus”),
Op. 43--I, 280;
history of, 283 _et seq._; 290, 304, 364, 370; II, 5, 39, 52, 102,
112, 216, 356; III, 14.

Dances for the Ridotto Room--I, 188, 192, 202, 210, 211, 289.

Contradances and “Ländrische”--I, 289, 364, 365.

Écossaises (Twelve) for Strings with Wind _ad lib._--II, 113.

Écossaise for Military Band--II, 194.

“Gratulatory Minuet”--III, 64, 80, 82, 89.

Polonaise for Military Band--II, 194.

Waltzes for Strings with Wind _ad lib._--II, 113.

Waltzes, for a Country Band--III, 22.

Military March, in D--II, 356; III, 142.

Military Marches, in F--II, 160, 162, 195; III, 64, 141.

Funeral March for “Leonore Prohaska,” arranged from the Sonata
Op. 26--II, 298, 299; III, 312.

Rondino for Wind-instruments--I, 134.

Triumphal March, for Küffner’s “Tarpeja”--II, 245, 250, 259; III, 58.

Equale for Three Trombones--II, 237;
arranged for voices and sung at B.’s funeral, III, 311.

(b) INSTRUMENTAL SOLOS WITH ORCHESTRA

~Concertos~, etc.:

Allegro con brio, for Violin, in C, completed by Hellmesberger--I,
136.

For Violin, in D major, Op. 61--II, 76, 103, 104, 112, 134, 162, 166;
arranged for Pianoforte--I, 350; II, 103, 104, 112, 134.

For Pianoforte, in E-flat (Youthful)--I, 75.

For Pianoforte, in D major (Youthful)--I, 136.

For Pianoforte, in C, No. 1, Op. 15--I, 137, 177, 185, 217,
222, 224, 244, 272, 287, 289; II, 39, 90.