Part 3 — INDEX.
Reading edition
Abbott, Emma, 199, 202.
Adelaide, 17, 61.
Albani, Emma, 199, 202.
Alboni, Mme., 193, 197, 198.
Arnim, Bettina von, 72, 205.
Arnould, Sophie, 190, 191.
Auber, 29, 195.
Bach, Johann Sebastian, 20, 129, 204;
his ancestry, 35;
youth and manhood, 37;
his first wife, 38;
her marriage and death, 39;
his second wife, 41;
their domestic life, 42;
her musical influence, 43;
Bach’s death, 44.
Bach, Maria Barbara, 38.
Bartolozzi, Mme., 94.
Beethoven, 17, 20, 26, 28, 45, 60, 113, 118, 119–121, 135, 194, 201;
domestic conditions, 62;
the Breunings, 64–67;
a flirtation, 67;
Barbara Koch, 68;
Mlle. de Gerardi, 69;
Baroness von Drossdich, 69;
Amelia de Sebald, 71;
Bettina von Arnim, 72–78;
Dorothea van Ertmann, 72;
Magdalena Willmann, 73;
Marie Koschak, 73–75;
Countess Guicciardi, 78–81.
Belocca, Anna de, 199.
Berlioz, 20.
Billington, Elizabeth, 190–192.
Bishop, Anna, 200.
Bonheur, Rosa, 19.
Bordoni, Faustina, 188–189.
Brandt, Caroline, 165, 166, 168–176.
Breuning family, 64–68.
Bronté, Charlotte, 19.
Browning, Mrs., 19.
Brunetti, Thérèse, 167–171.
Cannabich, Rose, 97.
Caroline, Queen, 54.
Cary, Anne Louise, 199, 202.
Catalani, Angelica, 190, 192, 193.
Cherubini, 28.
Chopin, 17, 113, 128, 132, 179;
a Polish attachment, 151;
in Warsaw, 152;
at Nice, 152;
relations with George Sand, 153–159;
his death, 159, 160.
Choral Symphony, 63, 83.
Cimarosa, 28.
Cuzzoni, Francesca, 188, 189.
Devrient, Edouard, 141.
Dorus-Gras, Mme., 193, 197.
Drasdil, Anna, 200.
Drossdich, Baroness von, 69.
Eliot, George, 19.
Erdödy, Countess, 81.
Eroica Symphony, 83.
Ertmann, Dorothea van, 72.
Essépoff, Mme., 203.
Esterhazy, 89, 91, 121–124.
Falcon, Mlle., 193, 195, 196.
Fidelio, 60, 118, 194.
Frohock, Mrs., 204.
Gabrielli, Caterina, 188, 189, 200.
Gazzaniga, Mme., 199.
Genzinger, Mme., 91–93, 95.
Gerster, Etelka, 199.
Glück, 28, 191.
Goddard, Arabella, 203.
Goethe, 72, 75, 76, 77, 119, 191.
Grisi, Giulietta, 193, 195, 205.
Grob, Theresa, 118.
Guiccardi, Countess, 78–81.
Händel, 20, 26, 28, 48, 110, 144, 188, 190;
childhood, 49;
his mother, 50;
her death, 51;
royal patronage, 52;
queer matrimonial conditions, 53;
Händel at court, 54;
temper with singers, 55;
social habits, 56;
relations with Vittoria, 57;
anecdotes, 58.
Hauck, Minnie, 199, 202.
Haydn, Joseph, 17, 20, 28, 47, 84, 192, 194;
his first love, 85, 86;
courtship and marriage, 87;
service with Prince Esterhazy, 89;
an Italian liaison, 91;
friendship with Mme. Genzinger, 92, 93;
visit to London, 94;
the English widow, 95.
Haydn, Michael, 85.
Hayes, Catharine, 193, 197.
Hensel, Fanny, 21, 140–143, 205.
Herschel, Caroline, 19.
Honrath, Jeannette de, 67.
Hosmer, Harriet, 19.
Hummel, 28.
Jeanrenaud, Cecilia, 144–147.
Keiserin, Mlle., 96.
Kellogg, Clara Louise, 199, 202.
Kingman, Carrie T., 204.
Koch, Barbara, 68.
Koschak, Marie, 73.
Krebbs, Marie, 203.
Lagrange, Mme., 199.
Lang, Gretchen, 164, 165.
Lind, Jenny, 193, 198.
Liszt, Franz, 20, 128, 149, 151, 153, 155, 159, 179.
Litta, Marie, 202.
Lucca, Pauline, 199.
Lulli, 28.
Malibran, Mme., 193–195, 205.
Mara, Gertrude Elizabeth, 189–191.
Marimon, Marie, 199.
Materna, Frau, 200.
Mehlig, Anna, 203.
Mehul, 28.
Mendelssohn, 20, 29, 132;
his sister, 140–143;
descriptions of his wife, 144–147;
his death, 147.
Meyerbeer, 29, 193, 195.
Milder, Anna, 118, 193, 194.
Mingotti, Caterina, 188, 189.
Moonlight Sonata, 17, 81.
Mozart, 17, 20, 26, 28, 65, 96, 162;
his early fancies, 97;
Aloysia Weber, 98;
her sister Constance, 101;
letter to his father, 104;
a marriage contract, 105;
love quarrels, 107;
the marriage, 108.
Müller, Max, 24.
Neruda, Mme., 203.
Nevada, Emma, 199.
Nilsson, Christine, 199.
Novello, Clara, 193, 196.
Osgood, Emma A., 200, 202.
Pachler, Marie, 73–75, 119.
Parepa, Euphrosyne, 198, 199.
Parodi, Mme., 199.
Pasta, Mme., 193, 194, 205.
Patti, Adelina, 199, 202.
Patti, Carlotta, 199.
Persiani, Mme., 193.
Pisaroni, Mme., 193.
Potocka, Delphine, 152, 159, 160, 205.
Requiem, Mozart’s, 17, 109, 110.
Rossini, 28, 193, 195, 196.
Roze, Marie, 199.
Sand, George, 17, 19, 149, 151, 153–159, 179.
Schubert, 20, 26, 28, 75, 112, 132;
extracts from diary and letters, 114, 115;
Theresa Grob, 118;
songs for Anna Milder, 119;
visit to the Pachlers, 120;
the Esterhazy family, 121;
relations to the daughters, 121–124.
Schumann, 20, 26, 28, 150, 195, 203;
Clara Wieck, 126–137;
other attachments, 136;
marriage, 135.
Schumann, Clara, 21, 126–137, 143, 150, 203, 205.
Schröder-Devrient, Mme., 119, 176, 193, 194.
Schrolter, Mme., 94, 95.
Sebald, Amelia de, 71.
Seguin, Zelda, 199.
Somerville, Mary, 19.
Sontag, Henrietta, 193–195.
Sophie Charlotte, Electress, 52.
Staël, Mme. de, 19.
Sterling, Antoinette, 200, 202.
Storace, Nancy, 190, 191.
Thursby, Emma, 199.
Tietjens, Theresa, 198.
Torriani, Mme., 199.
Trouveresses, 21.
Urso, Camilla, 203.
Valleria, Alwina, 199.
Verdi, 28.
Viardot, Pauline, 193, 197.
Vittoria, 57.
Vogler, 105.
Voigt, Henrietta, 136, 205.
Von Bülow, 178, 182.
Wagner, 20, 26, 28, 176, 200;
his youth, 177;
his first wife, 178;
meeting with Cosima von Bülow, 178;
the second marriage, 180;
his death, 182.
Wagner, Cosima, 178, 180–183, 205.
Weber, 17, 28;
his ancestry, 162;
meeting with Gretchen Lang, 164;
Caroline Brandt, 165;
troubles with Brunetti, 167;
engagement to Caroline Brandt, 173;
marriage, 174;
his death, 176.
Weber, Aloysia, 96, 98–102, 109.
Weber, Constance, 101–110, 162, 205.
Wegeler, 63, 64, 68, 78, 82, 121.
Willmann, Magdalena, 73.
Wülkens, Anna Magdalena, 41.
Zucchi, Mme., 199.
THE STANDARD OPERAS. Their Plots, their Music, and their Composers. By George P. Upton, author of “Woman in Music,” etc., etc.
12mo, flexible cloth, yellow edges $1.50
The same, extra gilt, gilt edges 2.00
“Mr. Upton has performed a service that can hardly be too highly appreciated, in collecting the plots, music, and the composers of the standard operas, to the number of sixty-four, and bringing them together in one perfectly arranged volume.... His work is one simply invaluable to the general reading public. Technicalities are avoided, the aim being to give to musically uneducated lovers of the opera a clear understanding of the works they hear. It is description, not criticism, and calculated to greatly increase the intelligent enjoyment of music.”—Boston Traveller.
“Among the multitude of handbooks which are published every year, and are described by easy-going writers of book-notices as supplying a long-felt want, we know of none which so completely carries out the intention of the writer as ‘The Standard Operas,’ by Mr. George P. Upton, whose object is to present to his readers a comprehensive sketch of each of the operas contained in the modern repertory.... There are thousands of music-loving people who will be glad to have the kind of knowledge which Mr. Upton has collected for their benefit, and has cast in a clear and compact form.”—R. H. Stoddard, in “Evening Mail and Express” (New York).
“The summaries of the plots are so clear, logical, and well written, that one can read them with real pleasure, which cannot be said of the ordinary operatic synopses. But the most important circumstance is that Mr. Upton’s book is fully abreast of the times.”—The Nation (New York).
Sold by all booksellers, or mailed, post-paid, on receipt of price, by
A. C. McCLURG & CO., Publishers,
Cor. Wabash Ave. and Madison St., Chicago.
MUSIC-STUDY IN GERMANY. By Amy Fay. Eighth edition. 12mo, 352 pages. Price, $1.25.
“One of the brightest small books we have seen is Amy Fay’s ‘Music-Study in Germany.’ These letters were written home by a young lady who went to Germany to perfect her piano-playing. They are full of simple, artless, yet sharp and intelligent sayings concerning the ways and tastes of the fatherland.... Her observation is close and accurate, and the sketches of Tausig, Liszt, and other musical celebrities are capitally done.”—Christian Advocate (New York).
“It is bright and entertaining, being filled with descriptions, opinions, and facts in regard to the many distinguished musicians and artists of the present day. A little insight into the home life of the German people is presented to the reader, and the atmosphere of art seems to give a brightness and worth to the picture, which imparts pleasure with the interest it creates.”—Dwight’s Journal of Music.
“The intrinsic value of the work is great; its simplicity, its minute details, its freedom from every kind of affectation, constitute in themselves most admirable qualities. The remarkably intimate and open picture we get of Liszt surpasses any picture of him heretofore afforded. It is a charming picture, strong, simple, gracious, noble, and sincere.”—Times (Chicago).
“In delicacy of touch, vivacity and ease of expression, and general charm of style, these letters are models in their way. The pictures which she gives of the various masters under whom she studied have the value that all such representations possess when they are drawn from life and with fidelity.”—Graphic (New York).
Sold by all booksellers, or mailed, post-paid, on receipt of price, by
A. C. McCLURG & CO., Publishers,
Cor. Wabash Ave. and Madison St., Chicago.