INDEX

Abend dämmert, das mondlicht scheint, Der, [28].
Adelaïde, Liszt’s transcription of, [193].
Albert, Eugen, d’, [226], [279].
— Concertos in B minor and E major, [52].
Alkan, Charles V., [215], [229], [240], [244], [266], [270], [273].
Alps, musical picture of, [119]-[120].
Amiel, [10], [203], [231].
Antokolsky, [82].
Antonia, wife of Tschaïkowsky, [88], [89], [91].
Apocalypse, [148].
Arenski, [83].
Arimanes, Hall of, [120].
Armida, Garden of, [181].
Arnold, Matthew, [22], [287].
— Description of Shelley, [205].
Astarte, [119].
Atala, [231].
Audley, Mme. G., [213].
Aus der Ohe, Adele, [87].

Bach, J. S., [3], [7], [12], [21], [22], [35], [54], [64], [151], [171], [195], [219], [221], [227], [229], [240], [243], [247], [248], [254], [261], [264], [266], [269], [272], [277], [279], [284].
— Best preparation for Brahms, [18].
— Harmonies of, [22].
Bach, J. S., Master of Brahms, [24].
Works:
— Chaconne, [50].
— English and French Suites, [247].
— Fugue in D, [275].
— Inventions, [247].
— Preludes and Fugues, [260].
— Variations, [35]-[36].
— Well-tempered Clavichord, [247].
Bach, Emanuel, [266].
Baermann, Carl, [241].
— Studies, [262].
Balakireff, [83], [241].
— Islamey, [271].
Baltimore, [195].
Balzac, remark about Chopin, [203].
Barbadette, H., [213].
Barrett-Browning, Elizabeth, [207].
Barth, [241].
Battle of Prague, the, [231].
Baudelaire, [200], [203]-[204], [205], [207], [210].
Bayreuth, [285], [286].
Beethoven, L. van, [3], [5], [7], [8], [11], [12], [15], [20], [21], [27], [29], [30], [33], [35], [64], [97], [102], [136], [144], [147], [149], [151], [152], [155], [156], [158], [166], [171], [178], [218], [219], [221], [227], [229], [243], [247], [266], [272], [274], [283], [294].
— Anticipates Schumann and Chopin, [58].
— Letters, [216].
— Master of Brahms, [24].
Works:
— Adelaïde, [193].
— Appassionata, [273].
— Eroica Symphony, [137].
— Fifth Symphony, [145].
— Fugue, [48].
— Ninth Symphony, [148].
— Op. 34, [36].
— Scherzo, [174].
— Scherzo in Fifth Symphony, [33].
— Sonata, [222].
— Sonata in E minor, op. 90, [27].
— Sonata in B flat (Hammer-Klavier), op. 106, [24].
— Variations, [36].
— Variations (Thirty-two), [37].
Beggar, The (Turgenev), [99]-[100].
Bellini, [39].
Bendel, Franz, [240].
— Treatment of sixths, [50].
— Étude in double-sixths, [270].
— Étude in B flat minor, [279].
Bennett, Joseph, [213], [221].
Berens, [240].
Berger, Ludwig, studies, [241], [255].
Berlin, [145].
Berlioz, Hector, [5], [8], [12], [15], [92], [93], [135], [139], [142], [147], [158], [194], [230], [234].
Bernard, Émile, [275], [279].
Bizet, [149].
Blackburn, Vernon, [210].
Blake, William, definition of genius, [201].
Borodin, [83], [85].
Bortiansky, choruses revised by Tschaïkowsky, [129].
Boston, [149].
Boston Symphony Orchestra, [149].
Brahms, Johannes, [1]-[80], [92], [97], [101], [108]-[109], [129], [130], [139], [144], [151], [157], [229], [241], [266], [268], [274], [278], [286].
— Admirer of Wagner, [7].
— Adversary of Wagner, [9].
— Affinities with Schumann, [12], [265], [266].
— Antagonists of, [22]-[23].
— Appreciation of Tschaïkowsky, [139].
— Choice of keys, [20].
— Classicist, [3].
— Coldness of, [16].
— Color of, [6], [9].
— Compared to an architect, [5].
— Compared to Bach and Beethoven, [11].
— Compared to Chopin, [58].
— Compared to Ibsen, [7].
— Compared to Paganini, [57].
— Counterpoint devices, [24].
— Economy of notes, [20].
— Enigmatic, [78].
— Erudition of, [21].
— Ehlert’s estimation of, [14]-[15].
— Fertility of, [1], [4].
— Feminine side of, [21].
— Figures of accompaniment, [20].
— Form, [2], [5], [13].
— Harmonies, [22].
— Ingenuity of, [5], [47].
— Intellectual mood, [64].
— Interpretation, [54].
— Invention, [20].
— Inversion, method of, [14].
— Irony, [32].
— Magyar spirit, [21].
— Melodies, [19], [28].
— Modes, [13].
— Modesty, [79].
— Modulation, [13].
— Nationality, [10], [59].
— Orchestration, [19].
— Pessimism, [63].
— Piano music, [8], [15], [17], [22], [75], [269].
— Rhythm, [7].
— Romanticist, [3], [11], [12].
— Sadness of, [264].
— Scherzi, compared with Chopin’s, [20].
— Schumann and, [12].
— Song writer, [3].
— Spitta, opinion of, [13].
— Technique of, [18], [47].
— Temperament of, [10].
— Tonalities, [13].
— Use of arpeggio, [7].
— Use of canon, [13].
— Use of chord of the sixth, [13].
— Use of mixed scales, [20].
— Use of octave, [13].
— Use of triolen, [18].
— Vogrich’s estimate of piano pieces, [77].
— Working out, [20].
— Workmanship of, [7].
Works:
— Ballades, [17], [32], [33]-[34].
— Capriccio in B minor, [60].
— Capriccio in C sharp minor, [62].
— Capriccio in D minor, [18], [70].
— Capriccio in F sharp minor, [59].
— Capriccio in G minor, [68].
— Capriccio fantastic in op. 76, [63].
— Capriccios and intermezzi, [17].
— Clavierstücke, op. 76, [59]-[64].
— Cradle-song, [70]-[71].
— Concerto in B flat major, [21], [52], [53].
— Concerto in D minor, [44], [52]-[55].
— Étude after Chopin, [50], [269].
— Fantaisien, op. 116, [67].
— Fugue, op. 24, [47]-[48].
— German Requiem, [2], [6], [44].
— Horn trio, [19].
— Hungarian Dances, [17], [18], [51].
— Hungarian music, Brahms studies in, [20].
— Intermezzi, [17], [61], [62], [67], [68]-[69], [70], [71].
— Paganini studies, [281].
— Paganini variations, [269].
— Piano quintet, F minor, [6].
— Piano studies, [17], [18], [49]-[51].
— Piano trio in B, [32].
— Rhapsodie in B minor, [15], [64]-[65].
— Rhapsodie in G minor, [65]-[66].
— Rhapsodies, [17], [59], [64], [229].
— Rondo (Weber), “mouvement perpétuel,” [269].
— Scherzo, [17], [24], [29], [30].
— Sextet in B flat, [30].
— Sonata in C major, op. 1, [12], [23], [24], [25].
— Sonata in F minor, [6], [19], [27]-[28], [29]-[30].
— Sonata in F sharp minor, [18], [25]-[27], [275].
— Sonata from sextet in B flat, [30].
— Songs, [31].
— Schicksalslied (Song of Destiny), [2], [6].
— Symphonies, [19], [44], [171].
— Variations, op. 9, [31], [46]-[49].
— Variations, first set, [35], [36]-[40].
— Variations, op. 24 (Fugue by Handel), [47].
— Variations, op. 21, [47]-[48].
— Variations (Hungarian), [47].
— Variations (Paganini), [48]-[49].
— Waltzer, op. 39, [17], [40], [41]-[46].
— Waltzer (Love-Song), [46].
— Waltzer, op. 21, [76]-[77].
— Waltzer, op. 118, [72]-[74].
— Waltzer, op. 119, [74]-[75].
Brahmsianer, [44]-[45].
Brangäne, [294].
Brassin, [241].
Browning, [11], [65], [96], [165], [264].
Bruno, [240].
Buffon, [259].
Burmeister, Richard, [191].
Burton, [201].
Byron, [95], [203].
— Manfred, [93].

Carnegie Hall, [87].
Carpé, Adolph, “Phrasing and Accentuation of Piano-Playing,” [255].
Chadzko, A., [215].
Châteaubriand, [231].
Childe, Roland, [66], [182].
Chopin, F. F., [8], [16], [17], [20], [21], [22], [30], [39], [64], [82], [93], [101], [108], [115], [128], [146], [148], [160]-[223], [232], [241], [243], [247], [248], [249], [251], [253], [257], [259], [264], [265], [266], [267], [273], [274], [275], [277], [278], [279], [280].
— Adaptability of music to piano, [218].
— Admiration of Weber, [193].
— Anticipation of Brahms, [58].
— Aristocratic nature of, [204].
— Arpeggi of, [224].
— Ballades compared with Brahms’, [34].
— Bibliography, [212]-[214].
— Biography (Niecks), [211].
— Coda, [182].
— Compared to Beethoven, [178].
— Compared to Childe Roland, [182].
— Compared to Poe, [196]-[210].
— Correspondence, [216].
— Degrading of, [163].
— Discoveries in chromatic harmonies, [164], [208].
— Dreamer, The, [218], [219].
— Early works, [197]-[198].
— Editions of, [212].
— French blood of, [84].
— And George Sand, [160].
— The Greater, [162].
— Greatest works of, [173].
— Influence of, [208].
— Interpretation of, [212].
— And Kalkbrenner, [192].
— Last composition, [198].
— Manipulation of mixed scales, [83].
— Manliness of, [224].
— Music of middle period, [15].
— Musical influences of, [195].
— Philipp’s arrangements of [277]-[281].
— Piano music of, [15].
— Pupils, [215].
— Revolutionary study, [274].
— Rubato, [219].
— On Schumann’s Carneval, [194].
— Speech to Louis Philippe’s Aide-de-camp, [195].
— Temperament of, [10].
— Tempi, [183]-[184].
— Thalberg, meeting with, [192].
— True and untrue, [211].
— Use of chromatic scale, [83].
— Use of harmonies, [83].
— Wagnerian melody in, [164].
Works:
— Ballade in A flat, [165], [176].
— Ballade in F major, [67], [166].
— Ballade in F minor, [15], [166], [173], [222].
— Ballade in G minor, [165].
— Barcarolle, [172], [222].
— Berçeuse, [15], [70], [171].
— Bolero, [172].
— Butterfly, The (G flat étude), [283].
— Concertos, [186]-[192].
— Concerto in E minor, [263], [279].
— Concerto in F minor, [198].
— Études, [15], [164], [166]-[167], [232], [255]-[256], [260], [284].
— Étude in A flat, [75].
— Étude in A, [277].
— Étude in A minor, op. 10, [274], [277], [278], [280].
— Étude in B minor (octave study), [278], [280].
— Étude in B minor, [182].
— Étude in C, [277].
— Étude in C minor, op. 10, [164].
— Étude in C minor, op. 25, [167], [173].
— Étude, F major, op. 10, [261].
— Étude, F minor, [278], [280].
— Étude, F minor, op. 25, No. [2], [50], [77], [278].
— Étude, G flat, [278].
— Étude, G sharp minor, [250], [270].
— Étude in sixths, op. 25, [282].
— Fantasie, F minor, [15], [165], [222].
— Fantasie, op. 49, [172].
— Fantasie Impromptu, [167], [180].
— Fantasie Polonaise, [164], [168], [220], [222].
— Four ballades, [165].
— Impromptus, [163], [167].
— Mazourkas, [163], [167]-[168], [218], [222].
— Mazourkas, op. 6, [197].
— Mazourkas, op. 7, [198].
— Mazourka, A minor, [198].
— Nocturnes, [170], [198], [222].
— Nocturne in B, [171].
— Nocturne in C sharp, [218].
— Nocturne in C sharp minor, [170], [171].
— Nocturne in E, [171].
— Nocturne in E flat, [163], [196], [206].
— Nocturne F minor, [13].
— Op. 2, [16].
— Op. 10 and op. 25, [244].
— Polonaises, [168].
— Polonaise, A flat, [219].
— Polonaise, C major, [197].
— Polonaise, C minor, [219].
— Polonaise, E flat minor, [222].
— Polonaise, F sharp minor, [168]-[170], [193], [218], [219], [222].
— Polonaise Fantasie, op. 61, [198].
— Preludes, [15], [57], [162], [171]-[172], [251], [252], [261], [284].
— Prelude, B flat minor, [222].
— Prelude, C sharp minor, op. 45, [57].
— Prelude, D minor, [175], [222].
— Prelude, F minor, [222].
— Rondos, op. 1 and 5, [197].
— Scherzi, contrasted with Brahms’, [20].
— Scherzo in B minor, op. 20, [173], [179].
— Scherzo, op. 20, [173]-[186].
— Scherzo in B minor, [15], [28], [173].
— Scherzo in B flat minor, op. 31, [173], [176].
— Scherzo in C sharp minor, [15], [173], [183]-[185], [222].
— Scherzo in E major, op. 54, [173], [175].
— Scherzo in E flat minor, [222]-[223].
— Scherzo in 2d sonata, [173], [178]-[179].
— Scherzo in 3d sonata, [173].
— Sonata in B flat minor, [223], [272], [281].
— Trio in G minor, op. 8, [198].
— Valses, [222].
— Valse in A flat, [40], [41], [175].
— Valse in A minor, [40].
— Valse in C sharp minor, [41].
— Valse in D flat, [41], [163], [206].
— Valse in E flat, [40].
— Valse in E minor, [41], [283].
— Variations, [196].
— Variations (Là Ci Darem), [17].
Chopin, Justine, [195].
Chopin, Nicholas, [195].
“Chopinisms in Tristan,” [165].
Chauvinism in Russia, [85].
City of the Dreadful Night (Thomson), [207].
Claus, Wilhelmine, [52].
Clementi, [163], [241], [243], [246], [248], [255], [264], [266], [272], [279].
— Reforms of, [227].
— Technics, [102].
Works:
— Études, [227], [284].
— E flat study, [279].
— Gradus, [224].
Clemm, Maria, [200].
Clough, Arthur H., [22].
Coleridge, [185].
Conquered Worm, The (Poe), [206].
Conrad, Judge, [201].
Cramer, [227], [241], [246], [248], [249], [254], [255], [264], [266], [272], [274], [279], [283].
— Bülow edition of, [244].
— Studies in E and C, [280].
— Left-hand study in D minor, [280].
— Studies, [284].
Cui, Cesar, [83], [85].
Czerny, [240], [255], [266], [268], [275], [276], [277].
“Czerny unisons,” [112].
Czerny daily exercises, [244].
— School of legato and staccato, [244].
— Toccata in C, [242], [250].

D’Abelli, [241].
Damrosch, Walter, [87], [132].
Dante, [95], [114], [137], [151].
Darjomisky, Alexander, [83].
Daudet, [151].
Delaborde, [275], [279].
De Lenz, [214], [215].
— Beethoven’s Sonatas, [16].
— Chopin’s remark to, [176].
De Meyer, Leopold, [241].
Deppe, [241], [243].
De Quincey, [120], [205].
Diemer, Louis, [134].
D’Indy, [275].
Divine Comedy, [148].
Doehler, Theodore, [193], [241].
— Concert studies, [261].
Donizetti, [228].
Don Quixote, [148].
Dostoïewsky, [84].
Dreyschock, [193], [241], [242].
— Campanella, [263].
Dubois, [279].
Dubois, Mme., [215].
Du Maurier, [163].
Dupont, [241].
— Toccata in B, [263].
Düsseldorf, [17].
Duvernoy, Alphonse, [275], [279].
Dvorák, [1], [5], [83], [96].
— On Tschaïkowsky, [95].
— On Tschaïkowsky’s themes, [121].

Edward, Herder’s ballad, [32].
Eggeling, [240], [254].
Eldorado (Poe), [206], [208].
Ehlert, Louis, [33], [37], [210].
— On Brahms, [11], [79]-[80].
— On Brahms’ D minor concerto, [54].
— On Brahms’ Waltzer, [45].
— On Wagner, [295].
Ehrlich, [240], [258].
— “Touch and Technic,” [255].
Elsner, [196].
Emerson, remark on Whitman, [11].
Empedocles, [148].
Erard piano, [224].
Essipoff, Annette, [118].
Étude Heroique, [50].
Études, composers of, [240].
Eulalie (Poe), [206].

Faelten, [241].
Fairmount Park, [201].
Fauré, Gabriel, [279].
Faust, [148].
Fétis, [240], [242], [252].
Feuerbach, [291].
Field, [195].
Fielding, [78].
Finck, Henry T., [33], [162], [213], [222].
— Antagonist of Brahms, [22].
Fissot, Henry, [274].
Flaubert, [11], [160], [162].
Floersheim, Otto, opinion of score of Zarathustra, [153].
Fontana, [194].
Foote, Arthur, [241].
Fortinbras, [125], [127].
Francesca da Rimini, [93], [114].
Franchomme, [215].
Franz, Robert, [129], [232], [239].
— Accompaniments to Handel, [191].
Fuller-Maitland, [29], [68], [71].

Gaboriau, [207].
Gavard, Mlle., [215].
Gautier, Théophile, [148].
Genesis, [158].
Genius of Christianity (Châteaubriand), [231].
Germer, Heinrich, [240], [246].
— “Rhythmical Problems,” [255].
Gewandhaus, [52].
Geyer, Ludwig, [285]-[286].
Giorgione, the School of, [219].
Giotto, [6].
Glazounow, [83].
Glinka, [83].
— Life for the Czar, [83].
— Ruslan, [83].
Godowsky, Leopold, paraphrase of Chopin’s studies, [271].
— G sharp minor study (Chopin), [277].
Goethe, [94], [95], [203].
— Remark to Eckermann, [231].
Gogol, [84], [93].
Goldschmidt, Jenny Lind, [215].
Golinelli, [241].
— Studies, [12], [262].
Gottschalk, L. M., [262].
— Tremolo, [251].
Gounod, [107], [120], [124], [157].
— Roméo et Juliette, [124].
Graham, [201].
Grieg, [31], [83], [200], [221], [250], [260].
— Scandinavian triolen of, [260].
— Ballade in G minor, [260].
— Concerto, [260].
— Sonatas, op. 7 and op. 8, [260].
Gutmann, Adolph, [215].

Haberbier, [241], [248].
— Études Poésies, [244].
— Studies, [254].
Hadow, on Brahms, [53]-[54], [67].
Hale, Philip, [118], [233].
— Verse after Pushkin, [81].
Halka (Moniuszko), [134].
Halle, Sir Charles, [215].
Hamlet, [93].
Handel, [46], [48].
— Additional accompaniments to, [191].
Hanslick, Eduard, [30].
— Adoration of Brahms, [9].
— Designation of Kundry, [291].
— Hatred of Wagner, [9].
Hans Sachs, [289].
Hasert, [241].
Haslinger, [252].
Haunted Palace (Poe), [206].
Hedda Gabler, [296].
Heine, [10], [23], [118], [129], [185], [203].
— Remark about Dreyschock, [263].
Helen, lines to (Poe), [196], [197].
Hell, Breughel, [152].
Heller, [240], [244], [254].
Henderson, [233].
Henselt, [214], [241], [248], [249], [251], [257], [258], [259], [264], [265], [273], [274], [283].
— Op. 2 and op. 5, [244], [258].
— Refinement of, [257].
Works:
— Bird Study, [256], [259], [283].
— Études, [256], [259].
— Studies for the piano, [281]-[283].
Hercules, [142].
Herder, [32], [71].
Herz, Henri, [241], [242].
— Variations of, [231].
Herz-Parisian School, [224].
Heyman, Carl, [241].
— Elfenspiel, [262].
Hiller, Ferdinand, [214], [215], [241].
Hipkins, J. A., [215].
Hoffmann, [152], [185].
Hogarth, [122].
Hueffer, Franz, [213].
Hugo, Victor, [288].
Hummel, [194], [195], [249], [252], [268], [274], [283].
Hummel, Cadences, [100].
Hungarian folk-music, [232].
Huss, Henry Holden, [139].
Hyde, E. Francis, regarding Tschaïkowsky, [105]-[106].

Ibsen, Henrik, [7], [11], [238], [296].
Iliad, [148].
Isolde, [295].
Isolde’s Liebestod, [164].

Jadassohn, [240].
— Canon, [254].
— Preludes and fugues, [254].
James, Henry, [205].
Jensen, [240].
— Études, [255].
Job, Book of, [148].
Joseffy, [112], [226], [230], [233], [241], [249], [277], [278], [281].
— “At the Spring,” Étude, [262].
— Transcription of Chopin’s G flat Étude, [269].
Juliet, [296].
Jurgenson Catalogue, [132].

Kalkbrenner, [193], [241], [242], [250], [252].
— And Chopin, [192].
— Fantasies of, [231].
— Une Pensée de Bellini, [194].
Karasowski, [210], [216], [221].
Keats, [203].
Keller, Robert, [30].
Kelley, Edgar, [22].
Kessler, J. C., [241], [251], [259].
— Bridge between Clementi and Chopin, [254].
— Schumann’s opinion of, [252].
— Study, [277].
— Twenty-four studies, op. 24, [252]-[254].
Ketten, [241].
Kipling, Rudyard, [50].
Kleczynski, Jean, [213], [222].
Klengel, [240].
Klindworth, Karl, [115], [198], [212].
Knox, John, [82].
Köhler, [241].
Kölner Dom, [153].
Koran, [148].
Krauss, [241].
Krehbiel, Henry E., [233], [286].
— On re-scoring Chopin concertos, [186], [192].
— Regarding Muscovite, [82].
Kreisler, [152].
Kreutzer violin caprice in E, [277].
— Étude, [277].
Kullak, Theodore, [183], [212], [240], [253], [275], [279].
— Art of Touch, [253].
— On Chopin’s F major Étude, [261].
— Octave school, [244], [271].
Kundry, [238], [291].
Kwiatkowski, T., [215].

Lalo, [275].
Lamb, Charles, [98].
Lavallée, [240].
Lebert and Stark, [240], [242].
Le Couppey, [241].
Leipsic, [194], [285], [286].
Lemberg, [251].
Lenau, Faust, [238].
Leopardi, [203].
Lermontov, [93].
Leschetizky, [241].
Liadow, [43], [83].
Liszt, [12], [17], [21], [40], [83], [93], [102], [109], [113], [135], [139], [142], [146], [147], [149], [152], [155], [158], [165], [169], [182], [189], [194], [195], [208], [214], [216], [217], [226], [227], [228], [229], [230], [231], [233], [234], [239], [241], [243], [247], [252], [258], [265], [266], [270], [274], [275], [283], [290].
— Abbé, The, [238].
— Brahms, praise of, [24].
— Cadenza, [110]-[111].
— Chorale, [234]-[235].
— Chopin, book on, [221].
— Improvements in pianos, [224].
— Influence on piano playing, [268].
— Musical temptations of, [235].
— Mysticism of, [238].
— Pianistic qualities, [233].
— Pupils, [227].
— Transcription of songs, [232].
Works:
— Ab-Irato, [232], [267].
— Années de Pèlerinage, [232], [237].
— Apparitions, [233].
— Au Bords d’une Source, [267].
— Au Lac de Wallenstadt, [267].
— Ballades, [233].
— Chasse Neige, [267].
— Concerto in E flat, [234].
— Concerto Patetico, [233].
— Elegies, [233].
— Études, [232], [239], [244], [266], [267].
— Faust Symphony, [155].
— Feux-Follets, [267].
— Gnomenreigen, [239], [267].
— Harmonies Poétiques, [233].
— Harmonies du Soir, [267].
— Impromptu F sharp, [232].
— Legendes, [233].
— Mazourka in B minor, [233].
— Mephisto Valse, [238].
— nocturnes, [232].
— Paganini Studies, [267].
— Paysage, [267].
— Polonaises, [239].
— Rhapsodies, [51], [231]-[232].
— Ricordanza, [267].
— Sonata in B minor, [233]-[237].
— Sonnets after Petrarch, [232].
— Symphonic Poem, [95].
— Valse Impromptu, [232].
— Valse Oubliée, [232].
— Waldesrauschen, [239], [267].
Litolff, [241], [275].
Loeschorn, [240].
Lombroso, [283].
Löw, [240].
Lydian mode, [39].
Lyschinski, Dr. and Mrs., [215].

MacDowell, Edward, [16], [241].
— Studies, [271].
Madame Bovary, [166].
Maeterlinck, [67], [207], [238].
Mallarmé, [162], [207].
Mangan, James C., [208].
Marmontel, [240], [275].
Mason, William, [240], [245], [246], [254].
— Étude Romanza, [254].
— “Touch and Technique,” [245], [246].
Mater Lachrymarum, [205].
Mater Suspiriorum, [205].
Mater Tenebrarum, [205].
Mathias, George, [41], [192], [193], [194], [195], [274], [279].
Matthews, [245].
Maupassant, Guy de, [204].
Mayer, Charles, [241].
Mendelssohn, [29], [30], [59], [102], [104], [115], [135], [174], [176], [214], [216], [240], [257], [268], [277], [283].
Mendelssohn, scherzo, [261].
— Song without Words, in A minor, [57].
Metropolitan Opera House, [116], [149].
Meyer, Leopold de, [193].
Meyerbeer, [162], [285].
Michel Angelo, [137], [146], [247], [265].
Mikuli, [212].
Minnelied, [25].
Moïse fantasy, Chopin’s imitation of, [193].
Mona Lisa, [166].
Monuiszko, [134].
Moore, George, [216].
Moscheles, [214], [241], [242], [248], [249], [251]-[254], [259], [264], [283], [294].
— Concerto in G minor, [249].
— Hommages, [249].
— Op. 70 and op. 95, [244].
Moscow, [90].
Moscow Gazette, [82].
Moszkowski, [102], [241], [269]-[270].
— Barcarolle, [102].
— Edition of Moscheles, [250].
— Moment Musicale, [29].
— Studies, [263].
Moussorgsky, [83].
Mouvement Perpétuel (from Weber’s sonata), [130], [269].
Mozart, [12], [20], [55], [125], [139], [148], [149], [217], [227], [246], [266].
— Ave Verum, [120].
— Escape from the Seraglio, [125].
Mozarteana (Tschaïkowsky), op. 61, [120].
Müller, A. E., [240].
Murder in the Rue Morgue, The (Poe), [207].
Music, ageing of, [210].
— Limits of, [142], [144].
— Object of, [144].
— Walter Pater on, [219], [220].
Musset, Alfred de, [203].
— And George Sand, [160].

Napoleon prophesies of Russia, [81].
Nationalists in Music, [83].
Neo-Buddhism, [291].
Neo-Russia, [83].
New York Philharmonic Society, [105].
Neupert, Edmund, [240].
— Études, [250].
Nicodé, [241].
— Studies, [263].
Niecks, Frederick, [168], [213].
— Biography of Chopin, [211].
Niedzwiecki, Leonard, [215].
Nietzsche, [141]-[158], [168], [286], [287], [288], [291].
— Atheism of, [146].
— Dialectics of, [141].
— Philosophy, [154].
— Preferences in music, [149].
— Strauss’ homage to, [145].
Nirvana, [138].
Nordau, Max, [288], [297].
Nowakowski, [241].
Omphale, [142].
Ophelia, [127].
Orchestration, Brahms’, [19].
— of Chopin’s concertos, [186], [192].
— Strauss’, [19].
Osborne, G. A., [215].
Ottima (Browning), [96].
Our Ladies of Sorrow, [205].
Ouverture Solennelle (“1812”), [118], [132].

Pachmann, Vladimir de, [167], [259].
— Idealism of, [226].
Paderewski, [226], [241].
— The Desert, [281].
— Variations in A minor, [38].
Paganini studies, [39], [51].
— Variations, [48], [56].
Paradies, [241].
Paris, [196].
Parsifal, [238], [290]-[291], [292].
Parsons, Albert R., [246].
Pascal, [6].
Pater, Walter, on music, [219], [220].
— Definition of true living, [199].
Pauer, Ernst, [241].
Père la Chaise, [39].
Petersilyea, C., [241], [282].
Philadelphia, [201].
Philharmonic Festival, [116].
Philipp, Isidor, [241], [245], [274], [275], [276], [279], [280].
— Études for left hand, [276]-[277].
— Étude d’octaves, [279].
— Studies, [271]-[282].
Piano:
— Action of, in Chopin’s time, [183].
— Doubled bass of, [19]-[20], [22].
— Études, [240].
— Nuance in, [229]-[230].
— Of the past, [227].
— Orchestral development of, [227]-[228].
— Organ, [162].
— Playing, modern, [227], [229]-[230], [258].
— Pleyel, the, [183].
— Possibilities of the, [228].
— Realism of, [226].
— Recitals, [266].
— Recitals, decadence of, [31].
— Technic, [242]-[244].
— Viennese, [227].
— Virtuosity, [265].
Pierné, [275].
Pixis, [241].
Plaidy, [240], [245].
Planté, [240].
Plato, [19].
Pleyel piano, [183].
Poe, David, [195].
Poe, Edgar Allan, [161], [162], [185], [195].
— Aristocratic nature of, [204].
— Compared with Chopin, [196]-[210].
— Euphony of, [206].
— Influence of, [207].
— Unpatriotic, [209].
— Wife of, [200].
— Women of, [205].
Poe, Elizabeth, [195].
Poet, musical and literary contrasted, [161].
Potocki, Count, [251].
Programmes, monotony of, [31].
Programme music, [155].
Prudent, [240].
Przybyszewski, S., [168].
Pudor, Heinrich, [286], [287].
Pugno, [279].
Pushkin, [81], [84], [93], [131].

Radziwill, Prince, [202].
Raff, [6], [107], [136], [254].
— La Fileuse, [254].
— Lenore Symphony, [107].
Raiding, [225].
Raif, O., [241], [245].
Ranz des Vaches, [119]-[120].
Raphael, [247].
Raven, The (Poe), [206].
Ravina, [240].
— Études, [255].
Realism of Berlioz, Liszt, and Wagner, [142].
Realism in piano-music, [226], [256].
— piano-playing, [227]-[228].
Reinecke, [240].
Rheinberger, [240].
Rhythm, [7], [13].
Richards, Brinley, [215].
Richardson, [242].
Riemann, [147], [148], [240], [254].
Ries, F., [241], [250].
Rimski-Korsakoff, [83], [275].
Ritter, Theodore, [279].
Rivé-King, Julie, [118].
Rodin, [82].
Romantic Movement, the, [230].
Romeo and Juliet, [93].
Rosenthal, [241], [226], [278], [283].
Rosenthal-Schytte studies, [271].
Rossini, [83], [149], [174], [228].
Rubens, [162].
Rubinstein, Anton, [6], [40], [84], [86], [92], [100], [103], [104], [109], [128], [139], [189], [226], [230], [241], [247], [275], [280].
Works:
— C major study, [244], [279].
— Concerto in D minor, [105], [111], [274].
— Études, op. 23, [270]-[271].
— Étude (staccato), [253].
— Melody in F, [100].
Rubinstein, Nicholas, [116], [118].
Rubio, Mme., [215].
Rummel, Franz, [116].
Russia, [81], [82], [100].
— Napoleon’s prophecy of, [81].
Russian piano music, [82].

Saint-Saëns, [1], [97], [107], [139], [142], [158], [175], [234], [241], [275], [279].
— Études, [263], [271], [273].
— Exercises Journalières, [271].
— Fondness for Liszt, [230], [231].
— On Philipp’s Études, [276].
— Scherzo of G minor concerto, [175].
— Symphonic poems (Phaeton and Rouet d’Omphale), [142].
Salle Erard, [193].
Salvator Rosa, [170].
Sand, George, [160], [162], [213], [221].
— Winter in Majorca, [213].
Sartain, John, [201].
Scarlatti, [264], [266].
Scharwenka, Xaver, [109], [241], [269], [270].
— Concerto in B flat minor, [109].
— Études, [263].
— Polish dance, [100]-[101].
— Prelude, E flat minor, [263].
Scharwenka, Philip, [241], [263], [269].
Schlaf sanft, mein kind, [71].
Schmidt, [240].
— Exercises, [244].
Scholtz, [212].
Schopenhauer, [146], [147], [149], [287], [289], [291], [294].
Schubert, [11], [16], [41], [129], [232].
— Momen Musicale, [29], [43]-[44].
Schuett, [241].
— Étude Mignonne, [254].
Schumann, [5], [6], [11], [12], [15], [16], [17], [19], [21], [26], [27], [36], [43], [59], [62], [64], [92], [102], [110], [128], [129], [144], [146], [148], [177], [184], [189], [194], [203], [226], [227], [229], [232], [239], [240], [283].
— Contrasted with Brahms, [25].
Schumann, on Brahms, [23], [24], [25], [265], [268]-[269].
— On Chopin, [194], [196], [210].
— On Chopin’s polonaises, [209].
— On Kessler, [252].
Works:
— Abegg variations, [25].
— Albumblätter, [37].
— Aufschwung, [62].
— Bunten Blättern, [38].
— Carneval, [42], [194].
— Davidsbündler, Die, [43], [60], [76].
— Études Paganini, [268].
— Études Symphoniques, [37], [268].
— Fantasy in C, [15].
— Faschingschwank aus Wien, [126].
— Pièces Caractéristiques, [43].
— Sonatas in F minor and F sharp minor, [15], [26].
— Sonntags am Rhein, [29].
— Toccata, [18], [22], [250], [268], [277].
— Variations, [35]-[36].
Schytte-Rosenthal, [241].
Scribner musical library, [213].
Seebold (Browning), [96].
Seeling, Hans, [241], [262].
— Gnomentanz, [263].
— Loreley, Die, [262].
Seidl, Anton, [116], [165].
Seiss, Isidor, [241].
— Preludes, [254].
Senancour, [203].
Sermon on the Mount, The, [148].
Seroff, Alexander, [83].
Sgambati, [241], [263].
Shakespeare, [95], [127], [148], [294], [296].
Shelley, [203], [205].
Siegfried, [137].
Siegfried Funeral March, [132].
Siloti, [117], [131].
Silence (Poe), [162], [185]-[186], [209].
Sloper, Lindsay, [215].
Socrates, [19].
Solomon, Songs of, [148], [294].
Sordello, [22].
Sowinski, Albert, [213].
Speidel, [241].
— Octave study, [262].
Spinoza, [6].
Spitta, [12], [13], [35]-[36], [38].
Spleen (Poe), [185]-[186].
St. Anthony, [236].
Stassoff, V., [83].
Stcherbatcheff, [83].
Steibelt, [251].
Steinbrecher, Werner, [213].
Stendhal, [231].
Sternberg, Constantin von, [240].
— Story about Brahms-Chopin Étude, [269].
— Study in F, [255].
Stevenson, Robert Louis, [180].
St. Petersburg, [86], [87], [140].
— Conservatory, [104].
Strauss, Richard, [5], [19], [94], [138], [141]-[159].
— Abnormal brain of, [155].
— Atheism of, [146].
— Attempts the impossible, [143].
— Cacophony of, [156].
— Compared with Brahms, [157].
— Contrapuntal ingenuity of, [156].
— Hysteria of, [153], [156].
— Melodies of, [157].
— On his symphonic poem, [145].
— Score of Zarathustra, [158]-[159].
Works:
— Also Sprach Zarathustra, [141], [145]-[146], [149], [152]-[154], [155]-[156], [157], [158].
— Death and Apotheosis, [143], [155].
— Don Juan, [143], [153], [155].
— Macbeth, [143].
— Till Eulenspiegel, [143], [153], [155].
Streicher, Mme., [215].
Sternau, [28].
Strelezki, Anton, [241].
— Concert studies, [271].
— The Wind, [271].
Swift, [204].
Swinburne, [22], [207], [294].
Symphony Society, [132].
Szopen, Fryderyk, [210].
Szulc, [210], [214].

Tasso, [204].
Tatjana, [89].
Tausig, [189], [190], [191], [192], [214], [226], [227], [241], [248], [268], [278], [279], [281].
— Daily Studies, [51], [59], [269], [271].
— Edition of Clementi, [243].
— Use of studies, [243].
— Version of Chopin’s concertos, [187]-[192].
Tennyson, [22], [207].
Thackeray, [214].
Thaddeus of Warsaw, [221].
Thalberg, [192], [193], [225], [241], [265], [274].
— Clementi, [244].
— Scale playing of, [225].
— Studies, [250], [251].
— Theme and Variations, op. 45, [275].
— Touch of, [258].
— Tremolo study in C, [275].
Thomson, James, [207].
Tolstoy, [82], [85]-[86], [93], [95], [100], [115].
Trilby, [163].
Trilogy, [290].
Tristan, [146], [148]. [157], [165], [295].
Tschaïkowsky, Piotor Ilyitch, [6], [12], [16], [81]-[140], [84], [87], [91], [93], [96], [97], [100], [107], [120], [127], [140], [142], [143], [146], [275].
— Calmuck in, [93].
— Compared to Brahms, [92], [95].
— Compared to Dvorák, [95], [96].
— Compared to Turgenev, [84]-[85].
— Contrapuntal skill, [124], [126].
— Dislike of Brahms, [139].
— Favorite symphony, [105]-[106].
— Form, [135].
— Love for Mozart, [120], [139].
— Love for Russia, [98].
— Manual of Harmony, [130].
— Moods of, [97].
— Morbidness of, [120].
— Operas, [139]-[140].
— Orchestral works, [119].
— Orchestration, [94], [106], [107], [110].
— Piano music, [101]-[103], [108], [109]-[112], [115], [116]-[117], [128], [134].
— Resemblance to Wagner, [131]-[132].
— Scoring, ingenious, [137], [138].
— Songs, [129].
— Suicide story, [140].
— Symphonies, Dvorák’s opinion of, [137].
— Tastes in music, [139].
— Themes, [95], [106]-[107], [121].
— Use of flute, [94].
— Variationist, [95].
— Versatility of, [85]-[86].
Works:
— Ave Maria, [129].
— Barcarolle, [102].
— Belle au Bois Dormant, La, op. 66, [126].
— Capriccio, Italian, op. 45, [117]-[118].
— Capriccio for piano, op. 8, [103].
— Choruses à capella, [87].
— Concerto for piano, op. 23, [87], [109]-[112].
— Concerto for piano, op. 44, [116]-[117].
— Concerto for piano, op. 75, [132], [133].
— Concerto for violin, op. 35, [114].
— Caprice D’Oksane, Le, [129].
— Casse-Noisette, [127].
— Chanson Sans Paroles, [100], [101].
— Chanson Triste, [116].
— Dame de Pique, La, op. 68, [127].
— Don Juan, op. 38, [115]-[116].
— Doumka, op. 59, [120].
— Elegy for Nicholas Rubinstein, [118].
— Eugene Onegin, [89], [112].
— Fantasie for piano and orchestra, op. 56, [116], [118].
— Fille de Neige, La, [104].
— Foggy Landscape, op. 13, [105].
— Francesca da Rimini, op. 32, [93], [104], [108], [114], [143].
— Hamlet, op. 67, [104], [108], [125], [126]-[127], [130], [143].
— Jeanne d’Arc, [129].
— Lac de Cygnes, Le, [109].
— Lieder, op. 57, [119].
— Magicienne ou La Charmeuse, La, [129].
— Manfred Symphony, op. 58, [119]-[120], [143].
— Marche Slave, op. 31, [113].
— Mazeppa, [129].
— Melodies for voice, op. 73, [129].
— Messe Russe, op. 41, [116].
— Mouvement perpétuel, [130].
— Mozarteana, op. 61, [120].
— Nocturne for piano, [132].
— Nur wer die Sehnsucht Kennt, [94], [129].
— Overture Solennelle, [118], [132].
— Overture Triomphale, [106].
— Pezzo capriccioso, op. 62, [121].
— Piano Album, op. 39, [102], [116].
— Piano compositions, [103], [109], [115], [118], [128].
— Pourquoi (Heine), [129].
— Romances and Songs for voice, [103], [106], [113], [118], [120], [121], [126], [129].
— Roméo et Juliette, [104], [114], [132], [133], [143].
— Russian Mass, op. 52, [118].
— Scherzo, op. 34, [114].
— Seasons, The, [102].
— Serenade for strings, op. 48, [118].
— Snegourotschka, [104].
— Song without Words, op. 3, [103].
— Souvenir de Florence, [127].
— Souvenir de Hapsal, [102].
— Souvenir d’un lieu triste, op. 42, [116].
— String quartets, [104], [109].
— Suites for orchestra, [87], [116], [118].
— First Symphony, op. 13 (G minor), [104]-[105].
— Second Symphony, op. 17 (C minor), “the Russian,” [106]-[107].
— Third Symphony, op. 29 (in D major), [113].
— Fourth Symphony, op. 36 (F minor), [94], [95], [114]-[115], [123]-[126].
— Fifth Symphony, op. 64 (E minor), [94], [95], [121]-[123], [136].
— Sixth Symphony, op. 74 (B minor), [86], [94], [132], [134]-[138].
— Tempest, op. 18, [108].
— Tscharodeika, La, [129].
— Vakoula, [106].
— Valse Caprice, [103].
— Valse-Scherzo, [103].
— Variations in F, [38], [108], [109].
— Variations, op. 19, [102].
— Variations, op. 33, [114].
— Winter Journey, [104]-[105].
— Witch of the Alps, [119].
— Yolande, [127].
Turgenev, [84]-[85], [94], [100].
— On Russia, [98].
— The Beggar, [99], [100].

Ulalume (Poe), [198]-[199].

Valkyrie, [228].
Van Cleve, John, [213].
Van Der Stucken, Frank, [108].
Variations, [35]-[36], [38], [108]-[109], [231].
Venino, Albert, [261].
Verdi, [1].
Verlaine, Paul, [207], [227], [230].
Verstohlen geht der Mond, [25].
Viardot, Louis, [192].
Vienna, [251].
Vinci, Leonardo da, [247].
Virgil, [114].
Virgil clavier, [246].
Vogel der heut’ sang, Dem, [29].
Vogrich, Max, [51], [241].
— On Brahms’ cradle-song, [70].
— On playing Brahms, [76]-[77].
— Staccato études, [262].
Vogt, [241].
Von Bülow, [109], [212], [251], [264].
— Edition of Cramer, [244].
— List of études, [244].
— Playing of Brahms Sonata in C, [24].
— “Three B’s,” [11], [248].
Von Schlözer, [241].
— Études, [270].
Votinsk, [87].
Voyévode, [130], [132].

Wagner, Richard, [3], [7], [8], [9], [12], [20], [82], [126], [131]-[132], [139], [146], [153], [155], [158], [164], [165], [188], [195], [208], [228], [231], [238], [239], [245], [264], [285]-[297].
— As artist, [288]-[290].
— Christianity of, [289], [291]-[292].
— Contrasted with Brahms, [9].
— Fascination of Wagner’s music, [297].
— Hatred of Jews, [285].
— Jewish descent of, [285]-[286], [287]-[288].
— Judenthum in der Musik, Das, [285].
— Philosophy of, [289], [292].
— Poet of passion, [294], [296].
— Temperament of, [10].
— Theatrical tendency of, [10].
— Turn, idealizes the, [7], [19].
— Die Busser (The Penitents), [290].
— Die Sieger (The Victors), [292].
— Die Walküre, [157], [164].
— Eine Faust Overture, [126], [155], [156].
— Meistersinger, Die, [29], [157], [188], [289].
— Ring, The, [146], [164], [195], [288].
— Tristan and Isolde, [145], [162], [274], [288], [290], [293]-[294], [296].
Wahnfried, [286].
Wallner, [140].
Warsaw, [249], [252].
Warum sind denn die Rosen so Blass, [129].
Washington Hospital, [195].
Weber, [16], [83], [176], [193], [274], [277], [283].
— Rondo (Perpetual Motion), [50], [130], [269], [278], [281].
— Sonata in C major, [130], [269].
Weimar, [23], [249].
Well-Tempered Clavichord, [247].
Whistler, [162].
Whitman, Emerson’s remark on, [11].
Whittingham, Alfred, [213].
Widor, [279].
Willeby, Charles, [213], [222].
Willis, N. P., [201].
Willmers, [273], [275].
Wodinski, Count, [213].
Wolff, Edouard, [215].
Women playing Chopin, [170], [171].
Wood, Charles, [213].
Wordsworth, [205].
Wotan, [164].

Zãl, [209], [218].
Zarembski, [266].
— and B flat minor étude, [270].
Zichy, [241].
Zimmermann, [193].
Zelazowa-Wola, [195].
Zwintscher, [245].