Early life of Schubert — compositions — first songs — "Erl King" — rapidity of composition — unfinished symphony — industry — spontaneity — personal characteristics.
| [CHAPTER XXXIII] — STORY OF THE PIANOFORTE | [392]-403 |
Origin of pianoforte — spinet — clavicembalo — Mozart's grand piano — Cristofori's design of action — Érard action — iron frame — Chickering — Steinway improvements.
| [CHAPTER XXXIV] — GERMAN OPERA — WEBER, MEYERBEER, WAGNER | [404]-427 |
Tendency of German opera — Weber — "Der Freischütz" — romanticism — innovations in piano playing — Meyerbeer — early life — master works — place in art — Wagner — early life — early operas — "Lohengrin" — Zurich — Schröder-Devrient — "Nibelung's Ring" — peculiarities.
| [CHAPTER XXXV] — VIRTUOSITY IN THE NINETEENTH CENTURY — PAGANINI, BERLIOZ, CHOPIN, THALBERG, LISZT | [428]-454 |
Continuity of these appearances with those already recounted — Paganini — his playing — inspiring effect — Berlioz — works — place in art — progress of piano playing — virtuosi co-operating — Thalberg and his style — Parish-Alvars — Pollini — Chopin — place in art — Liszt — early appearances — rivalry with Thalberg — style — Weimar — Bonn Beethoven monument — as teacher — as composer.
| [CHAPTER XXXVI] — MENDELSSOHN AND SCHUMANN | [455]-477 |
Mendelssohn — personality — talent — early works — maturity — as player Leipsic Conservatory — Hauptmann — "Elijah" — "St. Paul" — Schumann — early education and habits — works — strength of the romantic tendency — his "New Journal of Music" — music in Leipsic — Clara Wieck — larger works for piano — technical traits — songs — general characteristics.
| [CHAPTER XXXVII] — ITALIAN OPERA IN THE NINETEENTH CENTURY | [478]-487 |