Moscheles remained in Leipzig, henceforth looking upon the Music School as on a precious heirloom, bequeathed to him by its founder; and during a period of twenty-three years—that is, until but a few days before his death in March, 1870—he labored with untiring energy and devotion to instruct the rising generation of musicians, and to instil into their minds those artistic convictions and principles that had always been dear to him and to Mendelssohn.
INDEX.
[A], [B], [C], [D], [E], [F], [G], [H], [I], [J], [K], [L], [M], [N], [O], [P], [Q], [R], [S], [T], [U], [V], [W], [Z]
Academy, at Berlin, sadness of its aspect, [31].
Addison & Beale, Messrs., pay twenty guineas for a copyright of Mendelssohn’s works, [181];
draw money from, [188].
Addison and Benedict, transactions with, [237].
“Alexander’s Feast,” choruses from, [88].
Alexander, Mary, “Impromptu” for, [85];
good things in “Impromptu,” [85].
Andante in B flat, description and analysis of, [58].
“Anthems,” new edition of, unsatisfactory, [252].
Arnim, conductor of musical affairs, [46].
Art Exhibition, open at Berlin in October, [34].
Art should be a mirror reflecting the character of the times, [112];
grateful for that which has a life of its own, [194].
“Athalie,” translated by Bartholomew, [269].
“Au Clair de la Lune,” popular song of, [20].
Auber, his “Gustave III.,” [129].
Aix-la-Chapelle, musical festival at, [103].
Bach, Johann Sebastian, his “Passion,” performance of, for benefit of charitable institution, [8];
public loud in demand for third performance, [8];
pieces played together, [31];
similar compositions, [31];
his Concerto, [52];
Fugues of, [70];
monument to, [198];
Triple Concerto, [245].
Ball, Mr., translator, [155].
Bärmann, his enchanting concert, [53].
Bassano, Miss, reference to, [278].
“Becken,” its double meaning, [57].
Becker, head-master of music school, [260].
Beethoven, his musical sketch-book, ideas from, for grand Mass, [47];
chaotic appearance of its pages, [47];
a puzzle even to the initiated, [47];
description of, [47];
the cherished master, [47];
his Concerto and Sonata, [52];
his habit of conducting, [93];
motto, “Man, help thyself,” [279].
Belleville, Madame, her success, [26];
not attractive to Berlin people, [26];
performs at the theatre between two comedies, [26];
her playing lacks soul, [26];
not a “Bellevue,” [29];
burlesque of her performance, [30];
reference to her performance, [53];
affectation of, [62].
Bellini, gazetted Knight of the Légion d’ Honneur, [129].
Bennett, his new Concerto, [170].
Berger, Symphony by, [52];
its execution bad, [52];
dissatisfaction of, [52].
Berlin, letter from, [201].
Berlin Society, an awful monster, [61].
“Berliners,” type of, [25];
their musical taste, [34].
Berlinese, not exactly noted for good nature, [115].
Berlioz, recognized as a genius by the French, [93];
his Overture, is prosaic and chaotic, [97];
his scores, a frightful muddle, an incongruous mess, [97];
his Symphony, [133].
Biography of Mendelssohn and Moscheles, compiled chiefly from diaries, xii.
Birmingham Festival, full particulars of, [115];
reference to, [122].
Birmingham, invitation to, [201].
Blagrove visits the Choral Society, [88].
Blahetka, Madame, her superiority, [27].
Blahetka, Mademoiselle, [53].
“Blue Devils” stand for melancholy, [20];
first movement is styled “Malin-conico,” [144].
“Blumenberg,” rooms ordered in, [280].
Book of Songs, collection of, [219].
Books, returned by Mendelssohn with thanks, [74].
Breitkopf and Härtel publish book of unknown compositions, [31].
Broadley, Mr., instructions in reference to German publication, [218];
Scena for, [236].
Browning, tribute to Moscheles’s memory, [21].
Bunsen, Prussian ambassador at St. James, [232];
his counsels have great weight, [232].
Burghersh, Lord, and the Philharmonic, [202].
Burton, Mr., desired to make an offer for the Oratorio, [271];
straightforward in his dealings, [272].
Byron, Lord, is read by Mendelssohn, [42];
chorus on, in “Faust,” [90].
“Calm Sea, and Prosperous Voyage,” [141].
Cantata, “Hora est,” [10];
on a Chorale in A minor, [12].
Capriccios, or Fantasias for pianoforte, [107].
Carnival, excuse for keeping aloof from, [91].
Cécile, wife of Mendelssohn, [158].
Cerberus, intimations from a, [73].
Chappell, mention of, [11];
opera for, [195].
Cheapside, calm and quiet of, [86].
Cherubini, his new opera, “Ali Baba,” [119];
his Faniska and Lodoiska, difference between a man and a scarecrow, [119];
caters to depraved musical taste, [120];
his “Abencerrages,” [198];
his second Requiem in D minor, [253].
Chester Place, two years’ absence from, [22];
changes there, [28];
maze of its associations, [22];
more than a dream, [22];
wish to be there, [22];
a constant visitor at, [66];
its brilliant circle, [66].
Cholera, a Russian gift, [25].
Chopin, his book of Mazurkas, [129];
at Hamburg, [138];
his new things not satisfactory, [156];
his Studies have much charm, [171].
Choral Society, its performance, [120].
Chorley, H. F., cultivated young man on the “Athenæum,” [192];
mention of, [194];
a truly good fellow, [195];
and Moscheles, [210];
letters from, [214].
Chorus, “Hora est,” [12].
City of Steeples, [85];
“Alsterbassin,” [26];
no comfort wanting in, [25].
Clarus, Dr., attends Mendelssohn in his last sickness, [292].
Collard, mention of, [11].
Cologne, return from a trip to, [99];
its public, [100];
its musicians, [100];
intolerable as a residence, [100];
visit to, not pleasant, [166].
“Come to Berlin,” fugue in fifteen parts, [28].
Coming of the Spring the best opera, [63].
Commercial Club, called “The Parliament,” [126].
Composer, his mind preoccupied, [95].
Composition, kind required, [102].
Concert, money value of, [33];
best time for, [33];
hall expenses, etc., [33];
terms stipulated for, with directors of opera, [40].
“Concerto Pastorale,” Moscheles refers to, [174];
letter accompanying, [182];
announcement of, [185];
dedication of, [194].
“Cortez,” new opera of, [39];
sons of Mars applaud mightily, [39].
“Court,” its meaning in conjunction with title, [41].
Court in Berlin, [91].
Cramer, mention of, [11], [66].
Cravat, practice in tying, [74].
David, F., wishes to go to London, [178];
an excellent performer, his compositions brilliant, [178];
played his new Concerto at the Philharmonic, [180];
a favorite at Chester Place, [182];
colleague to Moscheles at Leipzig Conservatorio, [182];
Mendelssohn invokes a kind reception for, [186];
a fine musical critic, [187];
head-master of music school, [260].
“De la Vie d’un Artiste,” new symphony for, [112].
Denmark, visited by Moscheles, [13].
Derossi, Signor, call for, [87];
opposition to, [87].
“Der Schmidt,” by Uhland, [219].
De Vrughtat Chester Place, [104].
Devrient, Eduard, actor and writer on dramatic art, [4].
Directors of the Philharmonic, [251].
Dirichlet, professor of mathematics, etc., [77].
Dirichlet, Madame, mention of, [141].
Discourtesy at rehearsal, [274].
Dispute with the Philharmonic, a dead and forgotten issue, [275].
Döhler is lionized, [170].
“Don Juan,” opera, theatrical success of, [86].
Double Concerto in E in Clementi’s piano manufactory, [13].
Dreyschock, a young pianist from Prague, [187], [203].
Dresden, Moscheles’s visit to, [40].
Düsseldorf, musical festival at, [66];
its pleasant impression on Mendelssohn, [81].
“Egmont,” performed with Beethoven’s music, [90].
Elberfeld, village near Düsseldorf, [127].
Eldon, Lord, overture to, [114].
Elsslers, the, called the “Telegräfinnen,” [53].
“Elijah,” copy of, placed in Bartholomew’s hands for translation, [274];
alterations of parts of, [283];
time taken for its performance, [277].
Elkamp, Mr., writes a “Saint Paul,” [138].
England, the impression it gives, [16];
regard of, for Moscheles, [17];
country makes a lasting impression on Mendelssohn, [17];
many years spent there, [288].
English, Mendelssohn rusty in, [168].
English, their custom of putting everything in the papers, [189].
English comfort, the happiness of, [229].
English Misses should not forestall German, [251].
Envy, like Hercules, throttled in its cradle, [155].
Erard, compliment from, [54];
offers to repair piano, [166];
presents Mendelssohn with new instrument, [166].
“Eroica Symphony,” suggestive passage in, [293].
Ewer & Co., Mendelssohn prefers to give manuscript to, [270].
Exeter Hall, [286];
“Elijah” performed there, [286].
Extracts, how made, x;
substance embodied in commentary, x;
subject-matter of, from the pen of Moscheles, x.
“Extrapost,” slow transit of, [282].
“Fall of Paris,” and Alexandrian Variations, [20], [134].
Family, transformation of, [60].
Fantasie, “Gipsies’ March,” [63];
manuscript of, [63];
joint work of authors, [64];
the share of each, [64];
the intimate fusion of two musical minds, [64];
Moscheles’s letter on, [64].
Fates, decree of, [265].
Fétis, disagreeable qualities of, [197].
First visit to a foreign land, [16].
Fleming, Mr., re-elected to a seat in Parliament, [126].
Foreigner, things difficult made easy to, [16].
Francilla, mention of, [152].
Frank, Dr., Mendelssohn wishes to show A major Symphony to, [111];
errors of, [111];
minuet and finale of, [111].
Frankfurt, Oratorio to be brought out at, [137].
Frege, Dr., waits anxiously near the sick-room, [292].
Friendship, characteristics of Moscheles’s and Mendelssohn’s, ix.
Ganz Brothers desire to visit London and Paris, [62].
“Gazette Musicale” exalts Berlioz’s Requiem, [165].
Gerhard’s Garten, a spot of historical interest, [283].
German Diet, allusion to, [24].
Giermann, Mr., commissioned to pay for disbursements, [29].
“Gipsies’ March,” “April Variations” of, [89].
Goethe, the “Pole-star of poets,” [19];
correspondence with Zelter, [90].
Goethe’s and Zelter’s letters, great merits of, [100].
Goethe, Frau von, sends thanks for Variations, [115].
Graban, Mademoiselle, “prima donna,” [145].
Grabbe, immersed in the bottle, [128].
Gratitude for happy days, way of showing, [22].
Great composers, the way to honor them, [197].
Green-Score Hotel, Leipzigerstrasse, [28].
Guhr, the only man who succeeds, [151].
Guildhall, meetings at, [24].
Gusikow, mention of, [152].
Hamburg, letter in sixteen parts from, [25];
to Berlin, journey requires thirty-four hours, [45];
fire, sufferers from, [227].
Hammer, Dr., watches Mendelssohn, [292].
Hand-clapping, time of continuance, [13].
Handel, his glorious style, [119].
Handel Society desires a new edition of “Messiah,” [242];
its generous offer, [244];
request for Oratorio, [245];
difficulty with, [251].
Handel’s Oratorios, selections from, [276].
Handley, Mrs., Mendelssohn a warm admirer of, [99];
her appearance beside her husband, [99].
Härtel, Dr., his effort for Mendelssohn, [292].
Hauptmann, his first Mass performed at St. Thomas’s Church, [230];
head master of music school, [260].
Hauser, beautiful joke of, [139];
sends Bach’s Concertos, [153].
Health, book on, [73].
Hegel lectures at Berlin University, [4].
Hensel, painter, marries Mendelssohn’s eldest sister, [15].
Henselt’s Studies, interest in, [171].
Herz, hissed by the public, [112].
Hiller, studies of, [133];
Paris, bad soil for, [133];
his merit as a pianoforte player, [151].
Hogarth, Mr., certificate enclosed for, [168].
“Hommage à Handel,” piece for two performers, [140], [245].
Hôtel de Rome in Berlin, recommended, [45].
House-hunting, instructions about, [271].
Hübner, Madame, dress critic, [92];
asks if cravat is English, etc., [102].
Hummel, Septet of, and Herz’s Variations, [26];
mention of, [66];
a good man needed to supersede him, [176].
Hüttner & Co., Ewer’s correspondents in Hamburg, [273].
“Hymn of Praise,” value of, [209], [272].
“Im Herbst,” by Uhland, [219].
Immermann, poet and dramatist, [127];
his “Münchhausen,” and epic poem “Tristan and Isolde,” [127].
“In Autumn,” a song and words by Uhland, [130], [131], [132].
“Infelice,” inspires Mendelssohn’s praise as a popular song, [4];
Scena written for the Philharmonic, [86].
“Israel in Egypt,” choruses selected from, [117], [245];
edited by Mendelssohn, [253].
Italian mannerism of Thalberg, [153].
Italian symphony, [60].
Italy, visited by Mendelssohn, [18];
stupid book about, [123].
“Jagd,” Lutzow’s, [126].
Jenny Lind, letter to, [267].
Joachim, musical favorite, [283];
appears as Paganini, [284].
“Joan of Arc,” overture to, [118];
begged to be repeated, [144].
“Judas Maccabæus,” first part of, [120].
Kalkbrenner at Hamburg, [138];
the little fish patty, [139].
Kammerherr, surprise and astonishment of, [145].
Kistner sends “Gipsies’ March” to Frau von Goethe, [94];
anxious about new book of Studies, [159].
Klingemann, Carl, a gifted poet, [4];
meeting with, [19];
fit to flirt but
not to marry, [37];
a Knight of the Order of Bachelors, [37];
becomes engaged in 1846, [37];
his Septet, [51];
writes out eleven notes of Septet, [57];
report in his last letter, [60];
goes to London, [61];
arrival of, [78];
not prodigal of words, [85];
will make alterations, [96];
his engagement and prospect of marriage, [254].
Lafont, expected at Berlin, [53].
“Lauda Sion,” composed for church festival, [263].
Leipzig, Rondo to appear at, [85];
Abonnement Concerts held at, [137];
its cultivated and art-loving citizens, [252];
cost of living there, [262];
Conservatorio, Moscheles enters upon his duties there, [283];
the pleasures of daily musical and friendly intercourse, [288].
Leipzigers wish to secure Moscheles for direction of Conservatorio, [256];
large salary offered, [258];
a position influential and independent, [258].
Leipzigerstrasse, Mendelssohn’s father safely lodged in, [77].
“Les Francs Juges,” Overture by Berlioz, [93].
Letters, passages in, not suppressed, ix.
“Light of Life,” emblem of, [286].
Lindblad, Swedish composer, [152].
Lindenan, his kindly remembrance of Mendelssohn, [41];
pleased with him as violinist, [139].
Liszt, his depressing harmonies, [136];
writes from Milan, [165];
and Chopin, difference of their genius, [170];
masterly execution and subtle musical feeling, [203];
lack of original ideas, [203];
more than a mere pianist, [204].
Littleton, Messrs, manuscript of assignment, etc., [66].
London, advantages for travel, as compared with Vienna, [7];
reception in, [17];
arrival in, [19];
the best way to make enjoyable, [128];
Mendelssohn’s triumphs there, [164];
life in, requires great exertions, [259].
“Lord God of Israel,” may be sung to “Ave,” [126].
“L’Ours et Pacha,” vaudeville melody in, [94].
“Lovely City,” reference to, [26].
“Lyre and Sword,” Weber’s, [120].
“Maitrank,” drink of hock, herbs, and sugar, [104].
Malibran, mention of, [66].
Manuscript, offers to bring a cab-full, [12].
Matrimonial alliance, playful allusion to, [40].
“Meeresstille,” [52].
Meerti, Miss, has won golden opinions, [196];
goes to Dresden, and is invited to sing at Court, [196].
“Melodies for the Pianoforte,” [65];
number of copies disposed of, [66].
“Melusine,” Overture of, [92];
has vigorous spirit and conception, unity and originality, [92];
it is studied with Mori, [92];
piano parts of, [92];
the Philharmonic did not like it, [102].
Mendelssohn, A., letter to Moscheles, [5];
invokes a welcome for his son, [5];
states the plans and purpose of his son’s travels and education, [5];
death of, [147].
Mendelssohn, Carl, eldest son of composer, x;
supplies copy of Moscheles’s letters, x.
Mendelssohn, Cécile, wife of Felix Mendelssohn Bartholdy, xiv;
carries her burden with dignity and resignation, xiv;
her care of his study, xiv;
admires his love of order, xiv;
his study her sanctuary, his music her secret treasure, xiv;
opens its door to Felix Moscheles, xv;
no sigh or murmur escapes her, xv;
bond of union between her and Mrs. Moscheles, [224].
Mendelssohn, Felix, Bartholdy, his letters arranged by Ignaz Moscheles, ix;
manuscript book, ix;
his genial expression of personal feelings, ix;
letters of, addressed to Mrs. Moscheles, x;
incident truly characteristic of, xiv;
lively discussion with Rietz, David, and Moscheles, xiv;
the aoristus primus of τὑπτω, xiv;
his death, xiv;
description of his study, xv;
busts of Goethe and Bach there, xv;
cultivates his natural gifts, [4];
attends lectures of Hegel, Ritter, etc., [4];
position as composer and pianist, [4];
seeks advice
from Moscheles at to best travel route, [5];
wishes to make a long stay in Italy and France, [6];
purpose to visit Vienna, Munich, London, [6];
seeks acquaintance of men eminent in art, [6];
completion of his compositions interfered with, [9];
seeks Klingemann’s address, [9];
arrival in London, [10];
favorite in London circles, [13];
welcomed as genial companion and artist, [13];
his sin of excuses, [14];
gratitude to Mrs. Moscheles, [14];
his Highland tour, [15];
returns to London, [15];
his injury by accident, [15];
celebrates the silver wedding of his parents, [15];
finishes “The Son and Stranger,” operetta, [15];
stops a fortnight at Weimar, invited to Goethe’s house, [18];
starts on his continental tour, [18];
writes “The Isles of Fingal” at Rome, [20];
his curiously illustrated drawing, [20];
excuses for, on score of genius, [24];
an egotist, [27];
his fits of depression, [32];
sees the whole world in pale gray tints, [32];
would sometimes rather be a carpenter or turner, [35];
feels unspeakably dull, [36];
color of his mother’s shawl, [38];
his splenetic mood, [38];
living much as an asparagus, [44];
his is not a drawing-room melancholy, [45];
wrote stupidly because stupid, [45];
not a “spoilt child,” etc., [45];
fête for Moscheles and grand music, [45];
his childlike joy, [48];
his interest in music and musicians, [48];
feels the fog lifting, [48];
his aspirations as godfather, [51];
his godchild, [57];
first present he makes to him, [57];
happy in the happiness of his friends, [57];
traces of moodiness in his compositions, [58];
enjoys the quiet of his room, [58];
suffering of his father, [58];
joins his sister in Sunday morning music, [58];
receives grass-green volume of Moscheles, [58];
congratulates Moscheles on his new-born son, [59];
allusion to the children of the family, [59];
his love of London, [60];
how he escapes bores, [61];
evening spent with his parents, [61];
first present to his godchild, [69];
his peculiar autograph album, [69];
Cradle Song in B flat, [69];
anxiety on account of accident to his father, [69], [77];
assumes the duties of Musik-director at Düsseldorf, [74];
feels quite at home, [81];
promise of new compositions, [81];
hard at work there, [81];
his poverty in shaping new forms, [85];
toils and labors with difficulties, [85];
his birthday celebrated, [90];
joy, ease, and success in work, [90];
is offered liberal terms for Gipsy Variations, [97];
his title of “Herr Musik-director,” [121];
his periods of monotony and depression, [123];
regard for his parents, [135];
his appearance at head of Leipzig orchestra, [140];
he is advised not to alter his work, [149];
misses Moscheles in England, [163];
his arrival in London, [208];
he cannot change the opinions of a lifetime, [252];
the prices paid for his works by Novello, [273];
his birthday celebrated at Gerhard’s Garten, [284];
description of parts in the performance, [285];
great affliction at his sister’s death, [287];
his last hours, [291];
the scene at his death, [291];
reflections of Moscheles on, [292].
“Merit has its crown,” etc., [65].
Meyer, Mademoiselle, gone to London, [104].
Meyerbeer is invested with his title, [41].
“Midsummer Night’s Dream,” performed with enthusiastic reception, [13].
Milder, Madame, her concert, when to be given, [41];
sings Scenas by Gluck, [52].
Moore, Mr., wishes to print Oratorio, [269].
Mori, his indiscretion, [98];
presented with a manuscript, [98];
waiting for Rondo, [98].
Morning Service, for Novello, working at, [30].
Moscheles, Mrs. Charlotte, letters of Mendelssohn to, x;
is his guide and mentor in London society, x;
her “grandmotherly” advice, x;
she is still active in body and mind in her eighty-third year, x;
cherishes memories of the past, and joins in the joys of the present, x;
is heard with delight when she talks of Mendelssohn, x.
Moscheles, Felix, comes into possession of Mendelssohn’s letters, ix;
manuscript book and index of his father, ix;
his use of the “Life of Moscheles,” edited by his wife, x;
his juvenile recollections and impressions of Mendelssohn, xi;
his godfather, and parents’ best friend, xi;
claims Mendelssohn’s attention and enjoys it, xi;
race with, across Regent’s Park, xi;
battle of snowballs, xi;
improvisation of a funeral march, xi;
his account of the drawing of the hatchet curve, xi;
“took a most lively interest in everything concerning me,” xi;
refuses to go to bed at the accustomed hour, xii;
his account of improvised playing of Mendelssohn and Moscheles, xii;
shows how they fraternized in perfect harmonies, xii;
“music-making in my father’s house,” xiii;
his mention of their motto, “Res severe est verum gaudium,” xiii;
refers to his own name and its significance, xiii;
his special privileges, hears Mendelssohn, Liszt, the Schumanns, and Joachim, xiii;
pleasure of editing the correspondence, xv.
Moscheles, Ignaz, engaged on a professional tour, [1];
gives instruction to Mendelssohn, [1];
recognizes the genius of the young composer, [1];
feels that he is sitting next to a master, [1];
is requested to give lessons, [1];
he is invited to dinner, [1];
“prince des pianistes,” [2];
invitation to visit “Akademie” and to a tea-circle, [2];
the friendship of teacher and pupil, its lasting character, [3];
his appreciation of youthful genius, [3];
he is senior of Mendelssohn by sixteen years, [3];
spends many happy hours with his friends, the Mendelssohns, [3];
his appreciation of, [3];
his mention in diary of Mendelssohn’s genius, [3];
his “Studies,” [4];
his acquaintance with musical men in London and Vienna, [7];
“Studies,” second book of, [7];
advises Mendelssohn to begin his tour with a visit to London, [8];
his description of London attractive, [8];
his new symphony, [9];
he secures rooms for Mendelssohn, [10];
his house, and the pleasant hours in, [11];
plays with wonderful brilliancy, [13];
at home with Mendelssohn, [19];
his wife’s kindness to Mendelssohn, [19];
his birthday celebrated, [20];
his visit to his sister, [25];
visit to Hamburg, [27];
has many claims upon his time in London, [28];
his twelve days stay in Berlin, [46];
success of his concert, [47];
goes from Berlin to Leipsig, [47];
plays in public at Frankfurt and Cologne, [47];
presented with a musical sketch-book, [47];
Concerto in E flat, [51];
his complete works, [130];
his overture to “Joan of Arc,” [130];
description of its parts by Mendelssohn, [131];
letters written to his wife, [141];
his Concerto Fantastique, [143];
visits his mother in Prague, [213];
leaves London, [235];
he is appointed professor at the Conservatorio of Leipzig, [236];
his birthday is celebrated, [245];
goes to Frankfurt, [246];
his wife wishes to live in Leipzig, [261];
last days he spent with Mendelssohn, [289];
his regard for the Music-School, [294].
Mozart, his good taste, [152];
his C major Symphony, [253];
his “Davide penitente,” sung at festival, [278];
his G minor Symphony at the Gewandhaus, [284];
Mendelssohn’s directions in reference to the “Elijah,” [284].
Music paper, sheets of, [11].
“Musical Review,” Mendelssohn asked to edit, [128].
Musical school, programme of, [233];
King of Saxony may grant funds for, [233];
that at Leipzig, its need of Moscheles, [239];
its plan of organization, [240];
cost of educating Englishmen in this school, [241];
the number of its pupils, [242];
fault in its organization, [242];
kind of instruction needed in, [242].
Musicians, prominent ones unreservedly criticised, ix;
complaint of, [32];
their abuse of each other, [173];
their doings in England, [248].
Nathan, volume of, [74].
Neukomm, his estimate of net receipts, [33], [35];
his beautiful lecture, [36];
preached to conscience, [36];
thinks one should only write according to one’s mood, [36];
large number of works in his programme, [116];
his style, that of Haydn bordering on Handel, [116];
has not done much for art, [116];
his “David” shows wonderful workmanship, [116];
lacks the poetical element in other of his works, [116];
his music and its qualities, [118].
“Nicht allein,” chorus in second part of “Faust,” [90].
Nicolai, his description of Italian scenery, [124].
Nightingales, Inspector of, title conferred on an old lounger, [104].
Novello, Miss, cordially greeted by the public, [160];
success marvellous, [170].
Novello, V., appointment with, [65].
“Nursery Tale,” his greatest favorite, [159].
Onslow, inquiries about, [198].
Opera House holds nearly two thousand persons, [40].
Orchestra Pension Fund, [185].
Orinoco, allusion to, [117].
Overtures, for two performers, [179];
description of parts, [179];
to appear at Simrock’s in Bonn, [179];
at Mori’s in London, [179].
Paganini gives a concert in Berlin, [9];
his never-erring execution, [9];
mention of, [66].
Paris, short stay at, [19].
“Phantasie-Stücke,” volume of, [74].
Philharmonic, G minor Concerto played at the, [20];
the Society, its intentions toward Mendelssohn, [48];
Septet written for, [51];
list of concerts, [54].
“Philister,” any word in English for? [126].
Philistine, the German, with his nightcap, [194];
his language, [248].
Philistines, the world of, [126].
Phrenology, special attack upon, [22].
Piano, its delay, and annoyance at, [41];
“there be none of Beauty’s daughters with a magic like Erard’s,” [43];
his own is inaugurated by Moscheles, [43];
a “Graf,” the wonder of Vienna, [44];
those of Berlin pianoforte-makers, [44];
pear-shaped instruments, [44];
giraffe, or pocket size, etc., [44].
Pianos, the, in Mendelssohn’s Overture, difficulty of getting them observed, [96].
“Piano Songs,” thanks for assistance in reference to, [28];
twenty editions of, [29];
what may be bought with the proceeds, [29].
Pixis, mention of, [152].
Planché, messages sent to, [187].
Porte Saint-Martin, rattling of brass fit for, [93].
Portland Street, quarters of Mendelssohn at, [12].
Prince, Crown, extremely gracious, [110].
Prince Frederick, giving many balls, [91].
Publication of letters, why delayed, ix.
Pupils, examination of, [290].
“Quarterly Review,” portrayal of composers in, [192].
Quartet in A minor, [12].
Redern, Count, director and autocrat of the drama, [39];
conference with, [41];
inserts advertisements, [43];
has gone to his estates, [45];
takes Mendelssohn under his wing, [53].
Reissiger & Co., their compositions shallow, [136].
Rhenish Musical Festival, [134].
Rhine, journey by, [181];
leaving for, [273].
Ries, violin player, [103];
Mendelssohn and he as pope and anti-pope, [104];
leaves Düsseldorf, [109].
Rietz, plays Beethoven sonatas, [290].
Ritter, lectures at Berlin University, [4].
Rondo Brillant, dedication of, [82].
Rosen, George, Consul-General, etc., [11].
Rosen, Professor, Mendelssohn dines with him, [12];
meeting with, [19].
Rosenhain empties his pockets, [247].
Rosenthals, visit to the, [290].
Rossini, mention of, [152].
Rubini, mention of, [66].
“Ruins of Athens,” selections from, [267].
Russians, seem more thoroughbred than the Hamburgers, [62].
Rylands, Miss, reference to, [118].
Saaling, Marianna, cousin of Mendelssohn, [110].
Saint Cecilia Choir, directed by Mendelssohn, [148].
“Saint Paul” performed in England, [154].
“Sakontala,” by Klingemann, [219].
Schleinitz, lawyer, friend of Mendelssohn, [140];
is Director of Leipzig Conservatorio, [140].
Schlesinger, Moritz, not slow to triumph at hissing of Herz, [112];
may be King of the Belgians, or Fire-King, [112];
the “Study” is sent to him, [197].
Schmidt, Aloys, takes his ease in the country, [151].
Schneider, Mademoiselle, her success, [53].
“Schnellpost-coupé,” comfortable travelling in, [25].
Schröder-Devrient, mention of, [66].
Schubert, Franz, Symphony of, [191].
Schumann, Robert, mention of, [141];
quartets performed by, [230].
Schumann-Wieck, Madame, her effort to obtain pupils, [263].
Schunck, Mrs., takes part in comic dialogue, [284].
Scotch Symphony and Overture, [14].
Scotland, visit to, by Mendelssohn and Klingemann, [14].
Scott, Sir Walter, dedication to, [11];
piece dedicated to, [20].
“Seasons,” the performance of, [120].
Septet, arrangement of, [70].
Shakspeare, his “King John,” downright heavenly, like all else of his, [100].
Shaw, Mrs., inquiries about her, [170];
makes many friends, [173].
Shopping, Book on, [73].
Siboni, recipes of, for salad mixing, [104].
Simrock, of Bonn, German publisher, [218].
Simrock’s, a piece to appear at, [82].
“Sinfonia Eroica,” [120].
“Sinfonia Pastorale,” allusion to, [174].
Sing-Akademie, [54].
Smart, George, interest in “Saint Paul,” [155].
“Son and Stranger,” selections from, [47].
Sonata, four-hand, Moscheles’s, [81].
Sonate Symphonique, played at the court of King Louis Philippe, [262].
Songs, new book of, [157].
“Songs without Words,” reference to, [65], [191];
price of copyright, [66].
Sophocles’ “Antigone,” performed at Moscheles’s house, [228].
Souchays, at Frankfurt, [230].
Spohr, his Symphony, [191];
and Mendelssohn, attempt to create antagonism between, [222].
Spring, its balmy air makes life endurable, [255].
Spring, Mr., cannot be “digested,” [88].
St. Pancras, Church of, [207].
Stage, society for improvement of, [86];
difficulty of writing verses for, [150].
Staudigl sings the part of Elijah at Birmingham, [272].
Stone, Fanny, piece dedicated to her, [98];
will compose something easy for, [98];
a trump card, [186].
“Strains of the Scottish Bards,” a Fantasia, [11].
“Stumme Liebe,” by Probald, [219].
Subscription Concerts, [203];
plan to supplement the directorship of, [234].
Swiss landscape, its meadows, houses, etc., [124].
Switzerland, visits to, [19], [287];
things lovely and bright there, [229].
Symphony, can play parts by heart, [18];
can reckon on a brilliant success, [18].
Symphony in A major, [66].
Taubert has not much talent, [152].
Taylors’, remarks about the soirée at, [99].
Templower Berg, camp at, [39].
Thalberg, musical merit, [151];
his style interesting and genuine, [153];
perfect in his way, [204];
visits Mendelssohn and goes to Mecklenburg, [206];
visits London for Festival, [206].
“The Harmonized Scales,” for juvenile performers, [237].
“The Last Rose of Summer,” variations on, [20].
“The Old English Gentleman,” song of, [126].
“The Smith,” a song, with words by Uhland, [130], [131], [132].
Time, its judgments of critics and those criticised, ix.
“Travels of an Irish Gentleman in Search of Religion,” goes through seventy editions, [100];
praised by Orthodox and Catholics, [100].
Uechtritz, immersed in æsthetics, [128].
Urban writes “Lettres à Elle,” [130].
Use, Miss, her beauty, [102].
Valentins, the, at Berlin for the winter, [54].
Vanity, its prominence among Parisian artists, [193].
Variations, by Herz, for the thirtieth time, [30];
not more pleasant than rope-dancers or acrobats, [30];
endanger not necks, but ears, [30].
Varnhagen, going to be married, [110].
Vernet, Louise, marries Delaroche, the artist, [129].
Victoria, Queen, visit to, [290].
“Viennese in Berlin,” [94].
Vrught, his natural and unnatural voice, [114].
“Walpurgisnacht,” [53].
Walther, Dr., in attendance at the death of Mendelssohn, [292].
“Wasserträger,” rehearsal of, [86].
Water colors, taking lessons in, [100].
Weber’s Sonata, [93].
Weimar, referred to, [175];
court circle, [176];
its good points as a residence, [176];
Grand Duchess of, [177];
accommodations at, [282].
Westminster Abbey Festival, unable to attend, [104].
Wieck, Clara, her execution as an artist, [141].
“William Tell,” performance of, [230].
Woods, walks in, and their solace, [287].
Work, pressure of, [66];
deeply buried in, [82].
Wunderhornlied, Mendelssohn alters beginning of, [113].
“Zauberflöte,” best performance nowadays, [63].
Zelter, Professor, Mendelssohn’s attachment for, [20];
death of, [20].
Zoölogical Gardens, visit to, [70].
Zschokke, volumes of, [74].
University Press: John Wilson and Son, Cambridge.
FOOTNOTES: