Beethoven by George Alexander Fischer

G >> George Alexander Fischer >> Beethoven

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Imperial family (of Austria), 5, 41, 81, 91, 170, 171, 212.
Impedimenta, 39.
Improvising, 28, 125,
Bach, excelled in it, 28,
Chopin, last to exercise it in public, 28,
Beethoven, genius in, 28-29,
by Karl, 117.
Instrumental music, 227, 230.
Intellect of mankind, 2.
Intuition, 2.
Italian vocalism, 4.

Jeitteles, 121.
Jesus, teaching of, 164.
Johnson, Dr., 130.
Joy, language of, 68.
Joyousness (quoted), 101.
Judiciary, the, of Austria, 212.

Kalischer, 186, 197.
Kantian Philosophy, 229.
Karlskirche, 212.
Kenilworth, 209.
Keyboard, of piano, 3.
Kiel University, 16.
Kinsky, Prince, 26, 83, 84,
death of, 145, 160.
Klober, 148.
Klopstock, 92.
Kren, Michael, 200.
Kreutzer, R., 45,
Sonata, 44, 45.
Krumpholz, 38,
death of, 130-131.

Leipzig, 92,
battle of, 102, 105.
Leonore overtures, 49, 56,
the Third, 56, 57, 229.
Lessing, 13.
Letter to a young girl, 141,
Holz, appointing him his biographer, 179,
Breuning, Stephen von, 175,
Czapka, a magistrate, 198,
Rampel, his copyist, 190,
Lichnowsky, Prince, 70,
Messrs. Schott, 193,
Zmeskall, 137-138.
Lichnowsky, Prince von, 23, 25, 26, 35, 55, 56, 59, 127,
Settles annuity on Beethoven, 24,
Beethoven visits him, in Silesia, 68,
quarrels with him, 69,
death of, 130.
Lichnowsky, Princess von, 62, 65,
as peacemaker, 25, 56.
Lichnowsky, Count Moritz von, 26, 43, 129, 168, 176.
Life, a precious gift, 98.
Life's problem, 4, 218.
Life's tragedy, 36.
Liszt, 5, 29, 52, 127, 136, 225, 226,
advent of, in concert, 159,
pupil of Czerny, 29.
Liszt's father, 159.
Lobkowitz, Prince von, 26, 44, 45, 59, 84,
bankruptcy of, 145,
death of, 130.
Loder, George, 165.
Lohengrin, Prelude, 231, 232, 234.
London, 117.
Louis, Ferdinand of Prussia, 44.
Love, 165,
Magic power of, 164.
Luetzen, battle of, 102.

Man of genius, elation of, 98.
Mantua, Mozart at, 28.
Maria Louisa, of Spain, 81.
Marie Antoinette, 45.
Marengo, battle of, 42.
Marlowe, Christopher, 224.
Mass, the, a great art-form, 73,
Stateliness of, 144,
Canon of, 232,
Sanctus of, 232,
Benedictus of, 232.
Mass in C, Beethoven's, 73 et seq., 160,
German version of, 147.
Mass in D, Beethoven's (or Grand Mass), 39, 47, 51, 96, 100, 123, 144,
147, 150, 160, 161, 162, 163-164, 166, 172, 183, 234, 236,
Agnus Dei, 169, 219,
Apotheosis of friendship, 146,
Benedictus, trombones in, 231,
Credo, 153, 169, 234,
Soli of, 153,
Celestial harmonies in, 235,
Congenial work to Beethoven, 146,
and the copyist, 188,
Beethoven's absorption in, 147, 160,
Christe eleison, 151,
Et incarnatus of, 234,
Interpretation by the orchestra, 150,
Lydian and Dorian modes in, 147,
Marvels of, 154,
Mysticism of, 96,
a Symphony to Wagner's view, 150,
Subscription price of, 154,
Sale of score, 182,
proceeds from, 183,
First production by Prince Galitzin, 192,
Preludium in, 232, 233,
Kyrie of, 101, 124, 151, 153, 163, 169, 171, 186, 219,
Splendor of conception of, 151,
its symphonic style, 151,
German direction in, 153,
Loss of manuscript of, 186,
its rhythm, 151.
Melusina, 160.
Mendelssohn, 232, 236.
Messiah, The, 139.
Metaphysical, 2.
Metronome, inventor of, 104.
Metternich, Prince, 102.
Meyerbeer, 105, 225.
Minorites, church of, 7, 211.
Minuet, the, 133.
Moedling, 147.
Monasteries, old chorales of, 147.
"Moonlight" Sonata, 35-36.
Moscheles, 103, 105,
and piano arrangement of Fidelio, 106.
Mount of Olives, 35.
Mozart, 9, 20, 22, 28, 33, 46, 48, 50-51, 79, 100, 134, 139, 225, 227,
Early death of, 191,
Genius of, 140,
his precocity, 8,
praised by Beethoven, 140,
Requiem, 51, 212,
Sonatas, 34, 139,
his widow, 31,
his operas at Bonn, 14.
Mozart's Mass in Bb, 51, 73,
Agnus Dei of, 73,
Et incarnatus of, 73,
Kyrie of, 75.
Mozart and Haydn, 11, 20, 33, 73, 74, 75, 131.
Music, its function, 4,
outward expression of, 39,
dramas, great, 231,
a language, 226, 227,
Religious, 144,
Origin in the dance, 99.
Musician, the, social obligations of, 39.
Mystery in life, 153, 225.
Mysticism, and the artistic nature, 144.

Napoleon, 41, 44, 54, 83, 103, 191,
Arch-enemy of Austria, 42,
Campaign against Austria, 41, 42,
escapes from Elba, 109,
declared emperor, 44,
Greatest military achievement, 42,
In the toils, 107,
Marriage to Archduchess Maria Louisa, 102,
Marriage to Josephine, 43,
overruns Germany, 69,
takes Vienna, 54.
National opera at Bonn, 13.
Neate, Charles, 182.
Neefe, Beethoven's teacher, 6, 7, 17.
New Testament, 161.
Nietzsche, Friederich, 40, 216.
Ninth Symphony (choral), 29, 96, 100, 166, 167, 172, 181, 196, 226,
Choral finale, 170,
an outburst of joy at deliverance, 164,
First movement of, 163,
First performance in this country, 165,
Psychological problems in, 162,
Sontag, and soprano part of, 160,
Trombones in, 230,
Variations in, 157.
Nohl, 186.
North America, 166, 180.

Ode to Joy, revolutionary spirit of, 165.
Odeschalchi, Princess, 61.
Opera, the, an alien soil to Beethoven, 49,
as a work of art, 50,
a combination of arts, 51.
Operatic composition, 52.
Orchestra, range and mobility of, 150,
More important than voices, 150,
its resources increased through Beethoven, 3.
Orchestral forms, development of, 99.
Ossian-like daemonism, 149.
Ossian Songs (Schubert), 206.

Pain of existence, 132.
Palestrina, 234,
Masses of, 143.
Paris Conservatoire, 16.
Parsifal, 164 (footnote), 231, 235,
mysticism of, Prelude to, 235.
Passion music, 35, 144.
Pastoral Sonata, 35.
Pastoral Symphony (see Sixth Symphony).
Patriotism and altruism, 43.
Paur, Emil, 166.
Pedal-point, 231.
Pennsylvania, Founding of, libretto, 156.
Persian literature, 140.
Pessimism, 132.
Pinnacle of greatness, 40.
Pity, and the divine in man, 164.
Plagal mode, 234.
Plato, 230,
Republic, 140.
Playing from manuscript, 10.
Philharmonic Society of New York, 166.
Philharmonic Society of London 200, 207.
Philip III, of Spain, daughter of, 204.
Prague, 9, 109.
Problem of life, 77, 164.
Prometheus, Ballet, 33, 34, 35.
Prussia, King of, 154.
Psychological element, the, 27.

Quartet, the, 98, 191, 194,
Last quartets, 96, 100, 158, 191-192, 194, 195,
Mysticism of, 96, 195,
Psychological qualities of, 195, 218,
Spirituality of, 195,
Variations in, 157,
Written in great mental trouble, 194.
Quartet, in A minor, 187,
in C# minor, 195, 199, 203,
its dedication, 208,
in Bb, cavatina of, 194,
new finale of, 203,
see chamber-music, also Rasoumowsky quartets.

Rasoumowsky, Count, 59, 63, 65, 108, 192,
Entertains Empress of Russia, 108.
Rasoumowsky quartets, 65-66, 192,
Adagio of the second, 65.
Religion and General-bass, 219.
Religious sentiment, the, 219.
Renunciation, 163.
Requiem Mass, 140, 160, 161, 209.
Ries, Ferdinand, 44, 62, 82, 83, 84, 135, 180,
Pupil of Beethoven, 80,
Prolific composer, 85,
efforts for Beethoven while in London, 181-182.
Ries, Franz, 12, 17, 82.
Rochlitz, 92, 153, 156.
Romberg, 16, 105.
Rossini, 79, 153, 166,
calls on Beethoven, 139.
Ruins of Athens, 155.
Russia, Emperor of, 36, 107, 108, 154,
Empress of, 107, 108.

Saint-Saens, 232.
Saint-Simon, and the strenuous life, 206.
Salieri, 105.
Satanas in the kitchen, 185.
Saxony, King of, 154, 213.
Second period, works of, 40,
characterized by gayety, 100.
Second Symphony, 26, 36, 37,
Larghetto of, 36.
Seebald, Amalie, 87, 88,
facsimile of letter to her, opp. page 88.
Sehnsucht (Goethe's), 142.
Seidl, Anton, 166.
Sensenman, the, 116.
Seventh Symphony, 95, 96, 109,
Dance element in, 99,
First performance of, 105,
Coda of Vivace of, 97,
Hungarian peasant dance in, 96,
Weber's strictures on, 159.
Scherzo, 33, 34, 132, 133,
Peculiar to Beethoven, 133,
developed by Beethoven, 132,
makes sport of humanity in, 133-134.
Schiller, 16, 131, 141, 148, 165.
Schindler, 59, 88, 127, 136, 152, 154, 156-158, 168, 169, 171, 176,
186, 188, 203, 205, 206, 207, 209, 210, 213,
Beethoven's biographer, 179.
Schroeder-Devrient, 155, 159.
Schopenhauer, 22, 77, 143, 174, 229, 236,
and humor, 134.
Schubert, 8, 127, 177, 206, 210, 211,
Reverence of, for Beethoven, 178,
Calls on Beethoven, 178,
Songs of, 206.
Schuman, 136, 232.
Schuppanzich, 168, 176, 206.
Schott, music publishers, 208, 209.
Scott, Walter, 134,
Kenilworth, 209.
Seyfried, 22, 64, 135, 212.
Shakespeare, 13, 68, 134, 139, 141, 223, 225,
Comedies of, 68,
the Tempest, 152,
a Universal man, 227,
Wagner's archetype in youth, 227.
Siegfried, 231.
Sight playing, from Ms., 63, 64.
Sixth Symphony (Pastoral), 14, 73, 78-79, 95, 122,
Dance tunes in, 78,
Dramatization of, 79,
Nature-poem, a, 78, 79,
Storm in, 78, 79.
Socrates, 161.
Solitary, Beethoven, the (quoted), 227.
Sonata in Ab, 35,
Fantasia, language of Resignation, 61,
Kreutzer, 44,
"Moonlight," 35,
opus 111, 187,
Pathetique, 26,
Pastorale, 35,
Waldstein, 11, 18, 44,
opus, 102, 129.
Sonata, the (form), 100.
Sonatas, 33, 36, 39,
Last (opus 109, 110, 111), 155,
Lofty imaginings of, 155,
Wondrous second movement of op. 111, 158,
F minor and D minor, 152.
Sonnleithner, 49, 56.
Sontag, 160, 170.
Spohr, 105.
Stadler, Abbe, 139, 167.
St. Just, 133.
St. Stephen's, Vienna, 22.
Streicher, Madame, 185, 186.
Stumpf, 139, 207, 209.
Stutterheim, Field-marshal von, 198, 208, 209.
Suite, the, earliest orchestral form, 99.
Suesmayer, 31.
Swieten, Baron von, 27, 59.

Tacitus, 4, 46.
Tact, woman's, 12.
Tenth Symphony (proposed), 170, 200,
Adagio of, 173,
Allegro of, a Bacchic festival, 173,
Religious in character, 172.
Tetralogy, variations in, 157.
Thackeray, 134.
Thayer, A.W., 59, 90.
Third Leonore overture, 56, 229.
Third Mass (proposed), Kyrie of, 172
Third period, mysticism of, 100.
Third Symphony (Eroica), 11, 40 et seq., 68, 71, 73, 100, 104, 123,
Composed in spirit of altruism, 43,
First dedicated to Napoleon, 43-44,
Last movement of, 158,
Unique as a Symphony, 43.
Thomas, Theodore, 166.
Thoreau, 3, 113, 123, 161, 176, 218, 227.
Thun, Countess, 62.
Tolstoy, 45.
Tone-figure, 234.
Tone-pictures, 148.
Transposing, 31.
Treitschke, 106.
Trombones, 211,
for Solemnity, 230.
Turin, 93.

Unger, Fraeulein, 170.
Unrest, 4.

Vander Stucken, 166.
Variation form, 231,
in the Diabelli Waltzes, 157,
in Beethoven's Symphonies, 157,
in Beethoven's Sonatas, 157.
Vienna, bombarded by French, 85,
Conservatory of, 118,
Italian element in, 58,
Population in Beethoven's time, 58,
Musical atmosphere of, 9, 10, 65,
Society, attitude toward Beethoven, 60,
its student element, 104.
Viennese, virtuosity of, 62-63,
aristocracy, 149.
Vittoria, battle of, 102, 103.
Voltaire, 218.

Wagner, 4, 30, 50, 51, 56-57, 64, 66, 77, 79, 96, 120, 123, 125, 126,
127, 141, 150, 156, 157, 223,
Art-product of, 228,
biographical sketch of Beethoven, his, 228,
C# minor quartet, 195,
Criticisms on music, his, 227,
Disciple of Beethoven, 225, 229,
Early recognition of, in this country, 181,
Evening of life, 208,
Flying Dutchman, 79,
Industry of, 216,
Is influenced by Beethoven, 230, 231,
Literary achievement, his, 228,
Life's Problem, solution of, 236,
Life-work of, 208,
Mystic, a, 236,
Napoleonic ambition, 228,
Ninth Symphony, 163, 165,
Originality of, 230,
Poetic temperament, 52, 53,
Romanticism, his, 53, 230,
Seventh Symphony, and the, 96,
Tribute to Beethoven, 224,
Tribute to Shakespeare, 224,
Unerring poetic sense, 230,
Variation form, and the, 157, 158.
Wagner and Beethoven, Affinity between, 229,
Pioneers, 236,
their Spiritual relationship, 229,
World-weary, 236.
Wagner-Liszt correspondence, 232.
Waldstein, Count, 10, 11, 12, 28, 44.
Waterloo, battle of, 102, 110.
Weber, 139, 159, 160.
Wegeler, Dr., 12, 37.
Weihe des Hauses, 155, 169.
Weimar, 91.
Wellington, Duke of, 102, 106.
Weltschmertz, 126, 164.
Westphalia, King of, 83.
Wolfmayer, 29.
World's stage, 3.
World, torment of, 164,
and Beethoven's influence on it, 15,
ideal of, 15,
in transition, 3.

Zauberfloete, 137, 185, 206.
Zehrgarten, at Bonn, 10.
Zeitgeist, the, 4.
Zelter, 91, 152.
Zmeskall, 137, 185, 206.
Zukunftsmusik, 150.

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