Wagner seems hardly to have been able, when writing about music, to refrain from mention of Beethoven, he is so full of the subject. It has a bearing on every important event in his life. At the ceremonies attending the laying of the foundation-stone of the Festival Play House at Bayreuth, the Ninth Symphony was performed, and in a little speech he says: "I wish to see the Ninth Symphony regarded as the foundation-stone of my own artistic structure." In "Religion and Art" we find these words: "to whom the unspeakable bliss has been vouchsafed of taking one of the last four symphonies of Beethoven into his heart and soul."

Many enthusiasts have worked in Wagner's cause from Liszt down, but none have equalled Wagner in this respect—in enthusiasm for his master. He pays tribute to Beethoven in all conceivable places. He first heard of him when told of his death. His first acquaintance with Beethoven's music was a year after the master's death, on his arrival at Leipzig at the Gewandhaus concerts. Wagner was then in his sixteenth year. "Its impression on me was overpowering," he says. "The music to his Egmont so inspired me that I determined not to allow my own completed tragedy to be launched until provided with such like music. Without the slightest diffidence I believed that I could write this needful music." He had up to this time no special leaning toward music. He had not previously entertained a thought of it as a career, but his first hearing of Beethoven's music decided him to adopt it, such was the kinship between these two minds. Through Beethoven he discovered that "music," to use his own words, "is a new language in which that which is boundless can express itself with a certainty impossible to be misunderstood."[G]

[G] Thoreau, in 1840, expressed himself similarly. We quote from the recently published Service. "Music is a language, a mother tongue, a more mellifluous and articulate language than words, in comparison with which speech is recent and temporary. There is as much music in the world as virtue. In a world of peace and love music would be the universal language and men greet each other in the fields in such accents as a Beethoven now utters at rare intervals at a distance."

The episode made a turning-point in his life. Hitherto his whole mind and thought had been placed on literature, the drama in particular, as a career. Through Beethoven he first learned what a power music possesses in the portrayal of the emotions and passions. He had, as he says, an intimate love and knowledge of Mozart without apparently being much influenced thereby. Up to this time Shakespeare had been his archetype. Now, with a fine discriminating intelligence, marvellous in a youth of sixteen, Beethoven is to be included in this hero-worship, and is eventually to supplant his former ideal. "It was Beethoven who opened up the boundless faculty of instrumental music for expressing elemental storm and stress," he says in the "Art-Work of the Future," and elsewhere in the same article, "the deed of the one and only Shakespeare, which made of him a universal man, a very god, is yet but the kindred deed of the solitary Beethoven, who found the language of the artist-manhood of the future."

Wagner's criticisms on music are admirable. Here he expresses his thoughts as plainly as in his compositions. His disquisitions on music as an art and on Beethoven in particular, are always lucid and forcible. He may be misty in his philosophical speculations, but when he speaks on music it is in the authoritative tone of the master, familiar with every phase of his subject. He always contributes something of value, and his thoughts are an illumination.

Had Wagner never written a line of music, had he elected to be a literary man, a poet, a dramatist, philosopher, his fame to-day would still be world-wide. Had he confined his genius into this one channel of literary expression, as was his original intention, with his mental equipment, and a Napoleonic ambition that balked at nothing, the product would have been as original and extraordinary, we may be sure, as is his art-product in music. Wagner, the musician, is so commanding a figure that the literary man is obscured; but when we consider the magnitude of his literary achievement, the dramas Tannhaeuser, Lohengrin, Flying Dutchman, Tristan, Parsifal, the stupendous Ring of the Nibelung, the essays on music, philosophy, criticism and sociology, and reflect that it is, so to speak, a by-product, it becomes apparent that, had he made literature his chief aim in life, the result would have been notable in the annals of the century.

Wagner seriously contemplated writing a biography of Beethoven at one time, and devoted several months to collecting materials for it. But his finances were still in bad shape, and he was unable to undertake it without an order from some publisher, who would have been required to advance money. He was unable to find such a party, and the project was abandoned, most unfortunately, as he would have made a valuable contribution to the subject. The short biographical sketch he wrote on Beethoven on the centenary anniversary of the master's birth, shows marvellous insight, especially in relation to the critical and analytical parts of it. This work, instinct with worship of the master, is a product of Wagner's mature years. Here, as in his earliest utterances on Beethoven, he is the disciple glad to do homage to his master.

"A century may pass," said Schopenhauer in a letter to the publishers of the (English) Foreign Review and Continental Miscellany, offering to translate Kant for them, in response to a wish he had seen expressed in their journal that England might ere long have a translation of Kant, "a century may pass ere there shall again meet in the same head so much Kantian Philosophy, with so much English, as happen to dwell together in mine." Likewise centuries may elapse before another such musician will appear possessing the literary ability, critical faculty, ardor and enthusiasm that Wagner had for this work.

There is an affinity between them in which mind speaks to mind. When writing on Bach's influence on Beethoven, he says:[H] "If Haydn passed as teacher of the youth, for the mightily unfolding art-life of the man, our great Sebastian Bach became his leader. Bach's wonder-work became his Bible; in it he read, and clean forgot that world of clangor heard no longer." This describes Wagner's own spiritual relationship to Beethoven, and the exaltation that must have been his on reading the symphonies, the Mass in D, the overtures. He exhausts himself in praise of each. He makes the Third Leonore Overture of as much account as the entire opera; he continually refers to the Egmont and the Coriolanus Overtures, and says that in the latter and in the Third Leonore, Beethoven stands alone and beyond all imitation.

[H] Mr. Ellis's translation.

An evidence of Wagner's overpowering genius exists in the originality and unique character of his work, while giving himself up so unreservedly to this spiritual guidance. The two, however, were quite unlike in many respects. Neither could have done the work of the other. Beethoven, almost a failure in operatic composition, undertook it no more after one trial, while Wagner was irresistibly drawn to this style from the beginning. He felt that with Beethoven the last word had been said in pure instrumental music, while his literary talents also served to draw him into this field of operatic composition where they could find their proper outlet. With that unerring poetic sense which guided him in the selection of his subjects, he always has the romantic element to the fore. The atmosphere of romanticism which invests all his works, is what gives them much of their value. Through the force and purity of his literary instinct, he was enabled to select topics of supreme interest, so that his imagination was kept at white heat while composing. His originality and absolute confidence in himself prevented him from following Beethoven to any marked extent. He was forced to hew out a new path for himself. He was, however, not averse to occasionally taking a hint from him when it would serve his purpose. It is the prerogative of genius to take its material wherever it can be found. "Plato," said Emerson, "plays sad havoc with our originalities." Beethoven's influence is plainly discernible in the preludes and overtures of the Wagner dramas, which are symphonic throughout. The frequent use Wagner makes of the trombones, when he wishes to be particularly impressive, recalls Beethoven. Each had a high opinion of the trombone where solemnity was required, and made constant use of it. Beethoven applied it with peculiar effect in the Benedictus of the Mass in D, and in the Ninth Symphony, which is paralleled by Wagner's use of it in Parsifal, and in the Funeral march in Siegfried. The extraordinary uses to which he puts the pedal-point, as well as the variation form, are instances which show the influence of the older master.

When, however, he takes an idea from Beethoven, he improves on it, broadening and amplifying it, in general putting it to a better use than it was where he found it. A great dramatic work admits of fuller and longer treatment of an idea than is possible in the other forms in which music can be embodied. The instances just quoted are minor ones of general application. Of the conceptions in which he is specially indebted to Beethoven, the most important come from the Mass in D. Here the older master, by the very form in which the ideas are cast, had to hold himself in. He was not able to give them the significance in the Mass, which is perfectly proper in great music dramas; and this enlarging and widening of the poetic conception,—this splendor in which it is portrayed,—not only justifies the course of his follower in adopting it, but also calls attention anew to the commanding genius to whom such things are possible.

Some of Wagner's most entrancing effects have their origin in Beethoven. His method of using the violins and flutes in the highest register in prolonged notes, as in the Lohengrin Prelude, and in general when portraying celestial music, are obtained from this source. The Mass in D gives several instances where this idea is presented, not by harp (the customary way), but as Wagner has done in Lohengrin, by the violins and wood-winds in the highest register, beginning pianissimo, gradually descending and augmenting in volume and sonority as the picturing merges from spiritual to worldly concerns. Beethoven's work abounds in intellectual subtleties of this kind. Wagner is sometimes credited with having originated this method for the portrayal of celestial music. Mr. Louis C. Elson says: "Wagner, alone, of all the great masters, does not use the harp for celestial tone coloring, but violins and wood-winds, in prolonged notes in the highest positions. Schumann, Berlioz, Saint-Saens, in fact all the modern tone colorists who have given celestial pictures, use the harp in them, purely because of the association of ideas which come to us from the Scriptures, and this association of the harp with heaven and the angels, only came about because the instrument was the most developed possessed by man at the time the sacred book was written. Wagner's tone coloring is intrinsically the more ecstatic.... Wagner is the first who has broken through this harp conventionality."

In the Wagner-Liszt correspondence, Wagner states that the Lohengrin Prelude typifies choirs of angels bearing the Holy Grail to earth. This idea and the method of its development can be found in the symphonic thought which follows the Preludium to the Benedictus of the Beethoven Mass.

It will be necessary to make a short digression and explain a portion of the canon of the Mass to enable the reader to understand what follows. During the office of the Eucharist the celebrant repeats certain prayers inaudible to the congregation. These begin during the latter part of the Sanctus, which immediately precedes the Benedictus, and are connected with the ceremony of the consecration of the Host. A part of them are conducted in absolute silence. The choir is not required to be silent during all the prayers said by the celebrant, and the occasion is frequently utilized, particularly at high festivals, by the introduction of orchestral music or a brilliant chorus. The choir is silent during the elevation of the Host and chalice, which takes place immediately after the consecration. It is a period of peculiar solemnity, the congregation kneeling in silent prayer at the signal of a gong. After the consecration the priest elevates the Host and chalice, and with the people still kneeling, offers up a prayer silently, the conclusion of which is as follows: "We most humbly beseech Thee, Almighty God, command these things to be carried by the hands of Thy holy angels to Thy altar on high, in the sight of Thy Divine Majesty, that as many as shall partake of the most sacred body and blood of Thy Son at this altar may be filled with every heavenly grace and blessing." The central thought of this prayer is that the sacred elements are borne to heaven by invisible hands.

In the Beethoven Mass a Preludium for orchestra is introduced, to fill in the interval while the celebrant is occupied with these silent prayers. It is an innovation, showing how thoroughly alive Beethoven was to the development of every phase of his subject. Ordinarily, no provision is made for this by the composer, the organist being permitted the privilege of interpolating hymns like the O Salutaris or the Tantum ergo. The Preludium is so timed that it ends at the conclusion of the prayer we have quoted, when the sacred elements are in heaven and are about being returned to earth. It is at this point that the symphonic thought begins, which at the first bar calls to mind celestial harmonies. Here we have the tone-figure, as in the Lohengrin Prelude, given by the violins and flutes in the highest register, beginning in faintest pianissimo. At the second bar the melody begins to descend, being augmented in force by the gradual addition of the more powerful instruments as well as voices when the elements are again on earth. The Lohengrin Prelude has the same idea, but it is developed to a greater extent, with a richer orchestration, the idea being carried to greater length, and rendered more significant in every way, as befits its dramatic character. In both cases, however, the orchestral figure is introduced by the same instruments, and in much the same manner.

The Mass in D furnishes another instance where the celestial harmonies are introduced to still better purpose than in the Benedictus. It is in that portion of the Credo, beginning with the Et incarnatus. The delicate ethereal nature of this music, as indicated by the violins and flutes in the highest positions, is so transcendental, so imbued with spirituality, as almost to evade analysis. By the magic of Beethoven's art the impression is conveyed that the listener overhears far-off angel voices from other spheres, when the heavens were opened for the descent of the Son of God to earth. The instruments give out the merest intimations of sound, scintillations that suggest it rather. In the opening bars of the movement, just before the introduction of this tone-figure, he uses an ancient ecclesiastical style, the Plagal, a mode that obtained centuries before Palestrina. Harsh and strident, inharmonious, are the tones, which in the opening Adagio typify the dread, the foreboding and dismay, that can be supposed to have been felt by the Son of God when the time came to give up a beatific state and enter on the actualities of earthly existence. The sin of the world is already being borne in anticipation. Suddenly we are in the midst of celestial harmonies, delicate gradations and mergings of tones, subtleties of expression, ethereal, evanescent, that come faintly at first on the senses, giving us revelations of spiritual heights, of transcendent states and conditions of the soul. Mankind is here afforded a glimpse beyond the veil. These strains continue until the words et homo factus est (and was made man) are reached. At this point the melodies are suddenly cut off, the doors are closed, and we are excluded from further participation in things not meant for mortal ears. A change of tonality and time further accentuates the changed conditions that prevail as the story goes through the events of the crucifixion, death and burial of Christ.[I]

[I] Beethoven's love of strongly defined contrasts is nowhere better illustrated than here. The sharp discordant tones, which characterize the opening bars of the movement, are simply pushed aside by the new. It is the subjugation of the worldly by the spiritual, of suffering by happiness.

The Mass in D can be said to be the parent of some of the Parsifal music. Wagner had the discernment to seize on the intellectual subtleties he found there, and to put them to happiest uses. If we compare the instrumental effects just noted with the exquisitely delicate music that opens the Parsifal Prelude after the introductory leit motif, we find a solution to each, as well as an affinity, in the religious mysticism in which each is enveloped. There is a central theme, but so shadowy and unreal as to be hardly apparent. Like a nimbus these shimmerings of sound from the violins surround and permeate it, so that one is not aware of any particular melody, but rather it is perceived that the atmosphere is full of a divine melody, as if by spiritual insight the listener had attained to a state of mind akin to that of the seer, and had, for the time being, become one with the composer. The effect is produced of being in the presence of something holy.

The Naturlangsamkeit necessary to the birth of any great art-work sometimes extends to its recognition and appreciation by the public. Beethoven considered the Mass in D his greatest achievement, but it gains ground very slowly. It is rarely mentioned, and seldom performed. Similarly Bach's greatest works slumbered nearly a century until brought to light by Mendelssohn.

It is significant that Wagner was as world-weary from middle-age on as was Beethoven. Like him he took refuge in creative work. Both were pioneers, always in advance of their time, cheerfully making the sacrifices which this position entails, diverging ever more and more with advancing years from beaten paths and the ideas of others on the subject of their art. Resignation and asceticism, the goal of mankind, was Wagner's solution of the problem of existence, a conclusion arrived at after reading Schopenhauer. Beethoven had also come to it long before reaching middle-age. Wagner was, in his later years, a mystic, as was Beethoven; and like Beethoven his most congenial work in those years was of a religious character.



INDEX

Adagio, the, 62. Adversity, school of, 6. Altruism, 43, 164. American Revolution, 3, 4. Andante, the, 123. Antwerp, 4. Appassionata Sonata, 14, 44, 63, 66, 70, 71. Archduke Rudolph, 80 et seq., 84, 93, 107, 108, 129, 188, 206, Appointed Archbishop, 145-146, Disciple of Beethoven, 81, Installation of, 148, 154, as performer, 81, regard for Beethoven, 146. Aristocracy, of Vienna, 41. Art, office of, 4. Art-history (this country), 181. Artist-manhood, of Beethoven, 227. Artistic temperament, 87. Art-work, 236. Art-workers, 39. Aryan ancestry, 195. Aspern, battle of, 83. Atterbohm, 121. Attrition, of mind on mind, 15. Augustines, church of, 212. Austria, Emperor of, 42, 81, 172. Austria, Empress of, 5. Austrians in Italy, 42.

Bach, Dr., Beethoven's attorney, 209. Bach, J.S., 8, 20, 27, 28, 32, 73, 75, 147, 173, 220, 225, Beethoven's regard for, 20, and humor, 133, Leader of Beethoven, 236, Life-work of, 143, Mathematician of music, 1, Mass in B minor, 51, 74, Overture on name of, 172, Protestant, 52, and old ecclesiastical modes, 147, and Variation form, 158, Well-tempered clavichord, 139, "Wonder-work," 229. Baden, 116, 158, 173, 193. Battle Symphony, 103 et seq. Bautzen, battle of, 102. Bavarian soldiers, 104. Bayreuth, 226. Beautiful in music, 4. Beethoven: Altruism of, 40, 164, Adagios, 123, Aim, 219, Age of, 211, Absorption in his work, 18, 121, Art-life of, 229, Artist-life, 191, Artistic instinct, 34, Approachable, 177, Asceticism, 111, 116, 161, Adopts nephew, 110, Awkwardness, 134, Bach's influence on, 229, Brevier, 141, Catholic, in religion, 161, Creative talent, 27, Conduct of life, 39, Court suit, buys a, 38, Concert for Philharmonic Society of London, 182, Copyrights, 201, Consideration for others, 209, Copyists, his, 187, 188, Church music, predilection for, 147, Concept of life, 7, Drama, and the, 14, Dancing, and, 39, Destiny, accepts his, 100, Deafness, progress of, 96, Ethical character of, 126, 197, Every-day life, 96, Father, his, 4, Favorite authors, 13, Failing health, 200, Forecasts his future, 37, Friendship, need of, 177, and Goethe, 90-92, Gastro-intestinal disturbances, 88, Grandfather, 4, 5, Grammar, lapses from in letters, 138, Habits, at Johann's, 201, and Happiness, 38, Helplessness, his, 137, Humor, 126, 133, 135, History, insatiable reader of, 140, Intellectual bias, 14, 28, 141, Infinitude, 124, Introspection, 37, 97, Illnesses of, 88, 204, 207, Individuality, 27, Intuitive faculties, 41, 217, Improvising: in Allegro movements, 29. Improvising: in Variations, 29, Improvising at a charity concert, 93, Journal, his, 101, 116, 147, 161, 182, 184, 219 (note-book), 71, 123, 165, Kindliness and humility, 88, Lawsuits, 145, Line extinct on male side, 118, Laughter, virtuoso in, 135, Last words of, 210, Library, 140, Life-work of, 71, 160, Life-drama, 162, Letters to publishers, 193, Litigation over nephew, 111, Life, a difficult problem, 101, Love affairs of, 60, 87-88, "Last five symphonies," 226, Landmark in music, 223, Menage, the, 111, 116, Mother, his, 6; death of, 9, Muse, his, 145, Musical library, 139, Mental processes of, 15, Mysticism, his, 96, 195, Nature, love of, 122, Naivete of, 135, Optimism, his, 98, Opera, early familiarity with, 14, Orchestra, and the, 3, 14, 75, Organist, as, 7, the Philosopher, 52, as Patriot, 104-105, Philosophy, gist of, 218, and Persian literature, 140, Quartets, his, 98, Republicanism, his, 41, 81, 146, Repartee, ready in, 136, Religion, his, 219, Rhenish ancestry, 121, Servants, difficulties with, 184, 186, 188, Seer, the, 163, 195, 217, 236, Scherzo, and the, 33, 34, Sarcastic moods, his, 187, Spiritual insight, 97, 194, Strenuousness, his, 121, Sonatas, 98, 145, Social successes, 27, Symphonies of, language of buoyant mood, 98, Sociological questions, 165, Solitary life, 86, 208, Subtleties, in works of, 232, Sketch-books, 18, 27, 32, 49, 85, 97, 122, 123, 147, the Symphonist, 49, 75, Two masses, 124, Teaching, dislike of, 80, Tone-poet, 191, Unique work of, 38, Virtuosity of, 63-64, Works, happy ending to, 164, Work, his one resource, 206, Work, significance of his, 220, Will, codicil added, 209, World, a difficult problem to, 184, World-weary, 236, World, at odds with the, 24, World, withdrawing from, 97, World, "the play with it," 97. Beethoven, Johann van, 93, 94, 199, 204, 208, 215, marries his housekeeper, 95, as Landed proprietor, 136, Sordidness of, 200, his cupidity, 202, his wife, 199, 204. Beethoven, Karl van, brother of composer, 86, marriage of, 65, dies, 110, his widow, 110, 186. Beethoven, Karl van, nephew of composer, 110, et seq., 116, 180, 182, 198, 199, 207-208, 210, 215, 219, after career of, 117, Posterity of, 117, Waywardness of, 196-197. Beklemmt, cavatina B quartet, 194. Bergman, C., 166. Berlioz, 232. Bernadotte, Gen., 43, 45; king of Sweden, 43. Bigot, Marie, virtuosity of, 63. Black Spaniards, house of, 204. Boehm, J., violinist, 195. Boehme, Madame, 13. Bohemia, Baths of, 88. Bonn, 13, 16, 17, 18, 23, 31, 37, 80, 82, 88, University, 10, Old Roman city, 4. Boswell, 130. Bouilly, 49. Brahma, 97. Brentano, Bettina, 87. Breuning, Stephen von, 11, 13, 56, 174 et seq., 198, 205, 209, 210, Madame von, 11-13, family, 17. British Museum, 27. Broadwood piano, Beethoven's, 135-136. Brotherhood of man, 40. Browne, Count, 26, 62. Bruno, Giordano, 73, 132. Brunswick, Count, 27, 44, 68, 71, Therese, 60, 66, 67, 86-87, engaged to Beethoven, 71-72, founds home for children, 72. Buddha, 164, 223. Bundeslied, 142.

C minor Symphony (see Fifth Symphony). Calm Sea and Prosperous Voyage, 141. Carlsbad, 92, 93. Carlyle on Goethe, 90, on Jean Paul, 101. Castle Garden, 165. Celestial music, 232, 235. Chamberlain, H.S., 120. Chamber-music, 46, 63, 65, 85, 192, Variations in, 157. Character, and environment, 116. Cherubini, 57, 66, 123; Requiem, 140, 212. Chopin, Improvising, 28. Choral Fantasia, 29. Christianity, 4, 143. Cirrhosis, 213, Dropsical accumulations in, 207, Cause of, 213, not transmissible, 214. Clementi, Sonatas, 139. Cologne, 17. Concert, Spirituel, of Vienna, 178, 179, of Paris, 14. Congress of Vienna, 107 et seq. Coriolanus overture, 14, 75, 124, 229. Corsican, the young, 41. Critics on Second Symphony, 36, Seventh Symphony, 159. Czerny, 29, 66, 80, 96, 127, 128, 130, 131, 140, 159, 167, 207, 211, Teacher of young Karl, 110.

Dance, the, 99, the, favorite musical form, 157. Dante, 77. Damrosch, Dr. Leopold, 166. De Profundus, 151. Diabelli, 157, 167, 187. Dietrichstein, Count, 172. Dignity, of the artist, 2. Don Giovanni, 9, 48, 139, 140. Doenhoff, Graf von, 94.

Egmont music, 92, 106, 142, 156, 226, 229. Eighth Symphony, 95, 98, 100, 106, 145, Dance element in, 99. Eisfeld, Theo, 166. Elector of Cologne, 4, 5, 13, 24, his Orchestra, 15, 16, 18, 82. Eliot, George, 134. Elysian Fields, 193. Emerson, 77, 145, 147, 148, 228. England, 103, 106, 107. Erdoedy, Countess, 60, 61. Erlkoenig, Beethoven's setting of, 142. Eroica Symphony (see Third Symphony). Ertmann, Baroness, 60, 61, 80, 128. Esterhazy, Prince, 75-76, Princess Marie, 76, the Princes, 51. Eucharist, 232. Euryanthe, 159, 160. Eustachian tubes, office of, 214.

Fate, struggle with, 163, Relentless, 218, Propitiated, 184, and Destiny, 218. Fates, the, 204, 220. Fatherland, Poets of, 14. Faust, 38, 156, 157, 162, 200. Fichte (quoted), 219. Fidelio, 11, 48, 98, 155, libretto of, 49-50, First production of, 54, 55, revision of, 56, 74, 75, 98, 106, 123, 155, 159, dedication of piano score, 107, its Spanish background, 49. Fielding and humor, 134. Fifth Symphony (C minor), 14, 68, 73, 76, 77, 152. First Symphony, 33, 34, 37. Fischer, 225. Foerster, teacher of Beethoven, 63. Fourth Symphony, 66-68, Serenity of, 67, Philosophic import of, 68. France, 42, 43, 107. France, King of (Louis XVIII), 45, 154, 155. Freemasonry, among musicians, 10. Freischuetz, 139. French Revolution, 3, 4, 41, 133. Friends of music, Society of, 129. Friendship, 176. Frimmel von, 180, 215. Fugue, the, 124, 125, 129, of the C# minor quartet, 121, Credo of Mass in D, 153. Fuller, Margaret (footnote), 181.

Gayety, 100. Galaxy of virtuosi, 17. Galitzin, Prince, and last quartets, 192-194, and Mass in D, 192. Genius, prerogative of, 230. Germanic Order, 10. Germans, the, 104. Gewandhaus Concerts, 226. Glacis, the, 204, 210. Glueck, 79. Goethe, 13, 38, 80, 88, 90, 101, 111, 125, 129, 141, 191, 212, 217, Worldly wisdom of, 90, as Courtier, 91, Councillor, 92, Spiritual mentor, 162. Gothic architecture, 143. Greece, 143. Greek Classics, 140-141. Grillparzer, 160.

Hafiz (quoted), 102. Hanau, battle of, 104. Haendel, 27, 79, 139, 143, 223, Beethoven's opinion of, 20, Oratorios of, 143, 144, works of, 207. Haendel and Haydn Society of Boston, 181. Happiness, and Beethoven, 38. Hatzfeld, Prince von, 154. Hawthorne, Nathaniel, 18. Haydn, 4, 17, 18, 19, 29, 30, 33, 43, 46, 73, 76, 79, 100, 101, 123, 140, 219, 229, Important work of, 143, Distinguishing trait, 123, Kyrie of Imperial Mass, 74, and the Minuet, 34, Humor in music, 34, 133, Sonatas, 34, Teacher of Beethoven, 19-20, Visits Bonn, 17. Haydn and Mozart, 4, 20. Haydn and Beethoven, life-work of, 20. Heiligenstadt, 73. Herder, 141, quoted, 80, 93. Higher law, the, 38. Hiller, Ferdinand, 205. Hirsch, Beethoven's last pupil, 180. Holy Grail, 232. Holz, 178, 185, 194, 198, 206, 213. Homer, 13. Host, the, elevation of, 233, Consecration of, 233. Humanity, 43, at bay, 163, Golden age for, 164. Humor, in music, evolution of, 133, a test of genius, 134. Huemmel, 22, 29, 31, 63, 76, 105, 206. Huettenbrenner, 8, 177, 210, 211.

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.

THE END