Chapter XV: Part II (5)

Meditations Poetiques (Lamartine's), 119, 204.

Mees, Arthur (conductor), 191.

Mehlig, Anna, 276.

Meistersinger, Die (Wagner), 7.

Melchers, Gari, 332.

Melena, Elpis, 42.

"Memories of a Musical Life" (William Mason), 143.

Mendelssohn, Felix, 3, 31, 53, 66, 73, 85, 105, 293, 300, 309, 400,
409, 411;
Psalm, As the Hart Pants, 293;
Songs without Words, 319.

Menter, Sofie (pupil), 24, 42, 171, 279, 280, 436, 437.

Mercadante, 86.

Merian-Genast, Emilie, 42.

Merry del Val, Mgr., 344.

Mertens-Schaaffhausen, Frau Sibylle, 89.

Methode des Methodes, 185.

Metternich, Prince, 244.

Metternich Princess, 243, 244.

Meyendorff, Baroness Olga de (pupil), 42.

Meyerbeer, 129, 145, 180, 236.

Mezzofanti, Cardinal, 83.

Michelangelo, 9, 28, 84.

Michetti's Beethoven Album, 225.

Mignet, Francois, 14.

Mildner, 212.

Milnes, Monckton (Lord Houghton), 252.

Milozzi, 350.

Minasi, account of conversation with Liszt, 250-252.

Minghetti, Princess, 100.

Mischka (Liszt's servant), 101.

Mock, Camille. (See Madame Pleyel.)

_Monday Review, The_ (Vienna), 390.

Montauban, 84.

Monte Mario, Dominican cloister of, 50, 90, 91, 93, 94, 100, 197,
265, 274, 342.

Montez, Lola, 19, 40, 226;
extracts from "Wits and Women of Paris," 246, 247.

Montigny-Remaury, Madame, 433, 436.

Moore, George, 26, 29.

Mori, 302.

_Morning Post_ (Manchester), 301-303, 316.

Morris, William, 327.

Moscheles, 185, 221, 317, 385;
extracts from diary of, 223-228.

Mosenthal, comments on Liszt, 222.

Mouchanoff-Kalergis, Marie von, 42, 363.

Mozart, 10, 31, 32, 62, 84, 105, 142, 282, 304, 409, 432;
his piano, 262.

Muellerlieder (Schubert's), 167.

Munch, Edward, 28.

Munkaczy, 25, 44, 280, 417;
portrait of Liszt, 338.

Murphy, Lady Blanche, account of Liszt's sojourn at Monte Mario in
1862, 265-267.

_Musenalmanach, The_, 133.

_Musical Journal_ (London), 307;
_Standard, The_, 378;
_Times_ (London), 300;
_World_ (London), 308-310.

Musset, Alfred de, 5, 398.

"My Literary Life" (Madame Edmond Adam), 39.

Nachtigall (director), 242.

Natalucci, 381.

Neate, 302.

"Nelida" (by Countess d'Agoult), 41, 259.

Neo-German school, 53.

Nerenz, 89.

_Neue Zeitschrift fuer Musik_, 92.

Neupert, Edmund, 425.

Newmarch, Rose, on Liszt in Russia, 293-300.

New museum, Berlin, 132.

Newman, Ernest, 7, 10.

Nicholas I, Emperor, 295.

Niecks, Dr. Frederick, 40, 73, 74, 77, 134, 313, 409, 414.

Nietzsche, Friedrich, 21, 38, 144, 327, 329, 331, 333-335, 360;
Elisabeth Foerster, 329, 333, 334.

Nohant, 81.

Norma (Thalberg's), 63

Normanby, Lord, 252.

Novello, Clara, 377, 378.

Obermann, 9.

Odescalchi, Princess, 49.

Olde, Professor Hans, 331.

Ollivier, Emile, 15;
Madame Emile. (See Blandine Liszt.)

Onslow, 201.

Orcagna, Andrea, 28, 84, 175.

Order of the Golden Spur, 296.

Orpheus (Gluck's), 121.

Overbeck, 80, 83.

"Oxford History of Music," 187.

Pacini, 292.

Paderewski, 16, 17, 418, 419, 423, 425-428, 432, 436.

Paer, 80.

Paganini, 2, 17, 73, 76, 282-284, 292, 378, 402, 403, 411;
caprices, 185.

Paganini Studies (Schumann's), 73.

Paisiello, 80.

Palestrina, 84.

Palibin, Madame, 297, 298.

Paroles d'un Croyant (Lamenais), 14.

Parry, John, 309, 310.

Parsons, Albert Ross, 421.

Passini, 89.

Paur, 144;
Madame, 436.

Pavlovna, Grand Duchess Maria, 3, 42, 46, 47, 128.

Pavlovna, Princess Maria, 22.

Petersen, Dory, 436.

Petrarca, 165.

Philharmonic Society, London, 171, 223, 224, 307.

Pianoforte music, notation of, 186, 187.

Piano-playing, 60-66, 423.

Picasso, 28.

Piccini, 80.

Pick, Mgr., 345.

Pietagrua, Angela, 36.

Pisa, Giovanni da, 84.

Pius IX, 45, 48, 50, 91, 92, 101, 342, 349, 390;
Pius X, 50;
an audience with, 345-352.

Pixis, 82, 308.

Pixis-Goehringer, Francilla, 82.

Plaidy, 385.

Planche, Gustave, 39.

Plante, 433.

Plater, Countess Louis (Graefin Brzostowska), witticism of, 35, 37.

Pleyel, 286;
piano, 282;
Marie Camille, 17, 42, 201, 436.

Podoska, M. Calm, 49;
Pauline (mother of the Princess Sayn-Wittgenstein), 45.

Pohl, Carl Ferdinand, 300;
Richard (pupil), 126, 127, 130, 149, 151.

Polonaise (Chopin), 70, 75, 186, 430.

Porges, Heinrich (pupil), 92.

Potter, Cipriani, 302.

Praetorius, Michael, 172.

Preludes (Chopin), 75.

Programme music, 106, 115, 156, 186.

Prueckner, Dionys (pupil), 19, 171.

Pueckler, Prince (pupil), 242.

Pugna, 425, 433.

_Punch_ (London), 312.

_Quarterly Musical Magazine and Review_ (London), 301.

Raab, Toni, 24.

Raff Joachim (pupil), 19, 27, 67, 260.

Raiding (or Reiding), Liszt's birthplace, 13, 60, 66, 339.

Rakoczy, Prince Franz, 198, 200.

Ramaciotti, 382.

Ramann, Lina (pupil and biographer), 49, 50, 74-76, 128, 168, 171,
191, 200.

Raphael, 9, 28, 80, 84, 233.

Rauzan, Duchesse de, 319.

Ravel, 10.

Realism, 61, 62.

Recamier, Madame de, 43.

"Records of Later Life" (Kemble), 244.

Reeves, Henry, extract from his biography, 319, 320.

Reger, 10, 30.

Reichstadt, Duc de, 11.

Reisenauer, Alfred (pupil), 24, 425.

Rembrandt, 28.

Remenyi, Edward (pupil), 19, 358.

Reminiscences of Liszt:
Andersen, Hans Christian, 230-234.
Anonymous German Admirer, 252-258.
Anonymous Lady Admirer, 262-265.
B. W. H., 275-280.
Bauer, Caroline, 241-244.
Beringer, Oscar, 376, 377.
Berlioz, 210-217.
Commettant, Oscar, 219, 220.
De Bury, Blaze, 218, 219.
D'Ortigue, 217, 218.
Dwight, 228, 229.
Eliot, George, 258-262.
Ellet, Mrs., 248, 249.
Escudier, Leon, 220-222.
Grieg, Eduard, 313-316.
Heine, 234-241.
Hoffman, Richard, 316-318.
Kemble, Fanny, 244, 245.
Kirkenbuhl, Karl, 267-275.
Legouve, Ernest, 281-291.
Macready, 252.
Minasi, 250-252.
Montez, Lola, 246, 247.
Moscheles, 223-228.
Mosenthal, 222, 223.
Murphy, Lady Blanche, 265-267.
Novello, Clara, 377, 378.
Reeves, Henry, 319-320.
Rosenthal, 366-368.
Schumann, Robert, 291-294.
Von Lenz, 201-210.
Weingartner, 400, 401.

Renan, Henrietta, 334.

Requiem (Berlioz), 193.

Reulke, Julius (pupil), 401.

Reviczy, Countess, 100.

Revolutionary Study (Chopin's), 6.

_Revue des Deux Mondes_, 218;
_Europeenne_, 211;
_du Monde Catholique_, 88;
_de Paris_, 391.

Richter, 385;
Jean Paul, 134.

Riedel, Karl (pupil), 89.

Riedle Society, The, 363.

Ries, 302.

Rietschl, 261.

Righini, 80.

Rimsky-Korsakoff (pupil), 27, 414-416.

Ring, Nibelungen (Wagner), 7, 142-144, 188, 245, 363.

Rive-King, Julia, 436.

Robert (Meyerbeer's), 231

Rodin, Auguste, 331, 338.

Roger-Miclos, Madame, 436.

Roman New Musical Society, 382.

Romantic school, 5, 28, 63.

Romeo and Juliet (Berlioz), 212.

"Roemischen Tagebuechern" (Gregorovius), 88.

Roquette, Otto, 191.

Rosa, Carl, 385; Salvator, 28.

Rosenthal, Moriz (pupil), 24, 57, 366, 367, 424, 425, 427-429, 431.

Rospigliosi, Fanny, Princess, 42.

Rossetti, Christina, 437.

Rossini, 63, 80, 84, 86, 101, 204, 300, 377, 411, 412.

Rougon-Macquart series, 26.

Rousseau, J. J., 11.

Royal Amateur Orchestral Society (London), 312;
Society of Musicians (London), 301.

Rubini, 237, 252.

Rubinstein, 17, 19, 24, 63, 145, 156, 171, 222, 223, 262, 374, 382,
386-388, 402, 420-423, 427, 433, 435;
Nicolas (pupil), 421.

Rueckert, 165.

Rummel, Franz, 174, 425.

Runciman, John F., 21.

Russlane, 298.

Ruzsitska, 199.

Sacchini, 80.

Sainte-Beuve, 9, 11.

Saint-Criq, Comtesse Caroline de (pupil), 36, 37.

St. Matthew's Passion (Bach), 195.

Saint-Saens, Camille (pupil), 24, 27, 54, 64, 65, 67, 104, 176, 177,
181, 369, 382, 386, 425, 426, 433.

Saint-Simon, 14.

Salaman, Charles, 304, 308.

Salieri, 13.

Salviati, 347.

Samaroff, Olga, 436.

Sand, George, 15, 16, 19, 39, 40, 43, 81, 204, 246, 247, 391, 436.

Santa Francesca Romana, cloister, 95.

Sarasate, 432.

Sarti, 80.

Sauer, Emil (pupil), 24, 57, 425.

Sauerma, Countess, Rosalie (pupil), 42.

Sayn-Wittgenstein, Princess, 8, 19, 20, 22-24, 39, 42-45, 47-50, 53,
56, 99, 100, 127, 128, 135-138, 146, 260, 328, 362.

Scarlatti, 423.

Schade, Dr., 260.

Schadow, 28.

Schakovskoy, Princess Nadine. (See Helbig.)

Scheffer, Ary, 16, 28, 260, 261, 289.

Scherzo (Chopin), 75, 76, 428.

Schiller, 47, 165, 167, 223, 279, 328-330;
Madeleine, 436.

Schindler, 13.

Schlaf, Johannes, 332.

_Schlesinger's Gazette Musicale_, 203, 287.

Schloezer, Kurt von, 89, 94.

Schmidt, Dr. Leopold, 190.

Schoenberg, Arnold, 419.

Scholl (band master), 200.

Schopenhauer, Arthur, 328;
Madame Johanna, 89, 328.

Schorn, Adelheid von (pupil), 44.

Schubert, 66, 105, 160, 166, 167, 293, 411, 420.

Schule der Gelaeufigkeit, (Czerny), 182.

Schumann, Robert, 5, 19, 53, 56, 57, 60, 62, 66, 73, 105, 172, 182,
183, 185, 375, 381, 397, 398, 405, 408, 409, 418, 420, 421, 432;
on Liszt's playing, 201-294;
Clara, 53, 56, 57, 436, 437.

Schwanthaler, 261.

Schwarz, Frau von, 89.

Schweinfurt, 89.

Schwindt, Moritz v., 191.

Scriabine, 435.

Scribe, 217.

Scudo, 17.

Segantini, 338.

Segnitz, Eugene, 49, 79, 84, 85, 89, 92.

Seidl, Anton, 359.

Sembrich, Marcella, 431.

Serassi, Pier Antonio, 197.

Serov, 296, 298, 299.

Servais, Franz (pupil), 359.

Sgambati, Giovanni (pupil), 91, 314, 342, 381-384.

Sherwood, William H. (pupil), 425.

Siloti, Alexander (pupil), 24, 174, 415.

Simpson, Palgrave, 252.

Sinding, Otto, 338.

Slivinski, 425.

Smart, Sir G., 302, 303.

Smetana, Frederick (pupil), 414.

Society of Music Friends, 139.

Solfanelli, Abbe, 96.

Sonata (Beethoven), 6, 38, 59, 214, 215, 319, 428.

Sonata (Wagner), 142.

Sonata (Weber), 207-210.

"Songs and Song Writers" (H. T. Finck), 165.

Sonntag, 82, 204.

Sophie, Princess, of Holland, 46.

"Souvenirs d'une Cosaque" (Olga Janina), 41.

Sowinski, 75.

Spanuth, August (analysis of the Hungarian Rhapsodies), 160-165, 425.

Speyeras, W. C., 389.

Spohr, 42, 226, 300.

Spontini, 258, 259.

Stahr, Ad., 79.

Stahr, Fraeuleins, 397.

Stassor (Russian critic), 296-298.

Stavenhagen, Bernhard (pupil), 24, 98, 312, 425.

Steinway & Sons, 394.

Stella, 417.

Stendhal, 4, 5, 11, 34, 35, 64, 141.

Stern, Daniel (pen name of the Countess d'Agoult), 16.

Sternberg, von, 425.

Stimson, 385.

Stojowski, 425, 435.

Stradal, August (pupil), 98-100.

Strauss, Richard, 8, 27, 29, 31, 52, 54, 145, 146, 168, 331, 419.

Streicher, Nanette, 436.

Strobl, 417.

Studies (Chopin), 75, 437.

Sullivan, 385.

Symphony (Beethoven), 105, 171, 292, 382.

Symphony (Berlioz), 106.

Symphony (Haydn), 172.

Symphony (Herold), 106.

Symphony (Schubert), 293.

Symphony (Schumann), 172.

"Symphony Since Beethoven" (Weingartner), 153.

Szalit, Paula, 436.

Szekely, 338.

Szumowska, Antoinette, 436.

Szymanowska, Madame de, 436.

Tadema, Alma, 100.

Taffanel, 281.

_Tageblatt, The_, 190.

Tagel (Wurtemburg counsellor of court), 254, 255.

Taglioni, Marie, 204.

Taine, 343.

Taj Mahal, 29.

Tancredi, Tournament duet in, 204.

Tannhaeuser (Wagner), 181, 188, 377.

Tasso, 100.

"Tasso" (Byron's), 115.

"Tasso" (Goethe's), 113, 115.

Tausig, Alois, 362;
Karl (pupil), 17, 19, 58, 62, 63, 73, 95, 138, 359-366, 374, 376,
402, 420, 421, 423, 424, 431, 432, 434.

Taylor, Franklin, 385.

Thackeray, W. M., 11, 28, 47.

Thalberg, 16, 17, 60, 63, 81, 211, 221, 247, 250, 251, 282-285, 287,
288, 308, 359, 378, 399, 411, 420, 430.

Theatre des Italiens (Paris), 104, 223, 285, 288.

Theatre Royal (Manchester), 303.

Theiner, Pater, 91.

Thiers, 104.

Thode, Professor Henry, 280.

Thomas, Theodore, 132, 133.

Thorwaldsen, 78, 80.

Tilgner, 417.

Tintoretto, 28.

Tisza, 200.

Titian, 28, 84.

Tolstoy, Countess, 98.

Torhilon-Buell, Marie, 436.

Tremont, Baron, 201.

Tristan and Isolde (Wagner), 6, 7, 25, 55, 143, 280, 363.

Triumph of Death (fresco), 175.

Tschaikowsky, 27, 145, 146, 367, 419, 422.

Turgenev, 388.

Uhland, 165.

Ungarische Taenze (Brahms'), 190.

Unger-Sabatier, Caroline, 42.

Urspruch, Anton (pupil), 24.

Vaczek, Carl, 198, 199.

Valle dell' Inferno, 100.

Vallet, Michael, 390, 391.

Valse-impromptu (Chopin), 186.

Van der Stucken (pupil), 24, 358.

Vasari, 347.

Vatican, The, 49, 79, 83, 92, 93, 94, 342, 352.

Veit, 83.

Velde, Professor van de, 332.

Verdi, 96, 180, 300, 412.

Verlaine, Paul, 10, 62, 63, 375.

Vernet, Horace, 124.

Veronese, 28.

Vesque, 226.

Viardot-Garcia, Pauline, 42.

Victoria, Queen, 24, 312.

Viennese pianos, 62, 182.

Villa d'Este, 9, 96, 341.

Villa Medici, 83.

Vimercati, 302.

Vivier, 227.

Vogrich, Max, 332, 425;
Opera Buddha, 332.

Voltaire, 124.

Volterra, Daniele da, 347.

Wagner, Richard, 1, 2, 5-10, 18-21, 23, 27, 29-32, 38, 43, 45, 47,
53-55, 57, 58, 63, 65, 67, 96, 101, 103, 108, 119, 140-144,
146, 147, 150, 151, 157, 158, 167, 171, 180, 186, 188, 189,
191, 280, 300, 333, 362, 363, 382, 411, 412, 419, 420, 422;
Madame Richard (see Cosima von Buelow Wagner);
Siegfried, 26.

"Wagnerfrage" (Raff), 260.

Wales, Prince and Princess of, 312.

Walker, Bettina, 383;
"My Musical Experiences," 383.

Ward, Andrew, 304, 317, 319.

Wartburg festival, 96, 272.

Watteau, 120.

Weber, 6, 105, 205-207, 215, 282, 283, 300, 368.

Wehrstaedt, 206, 207.

Weimar, Duchess of, (see Pavlovna);
Ernst, Grand Duke, 330;
Grand Duke Carl Alexander of, 3, 42, 44, 46.

Weingartner, Felix (pupil), 153, 400, 401;
on Liszt's symphonic works, 153-156.

Wesendonck, Mathilde, 20, 43.

Wesley, Samuel Sebastian, 301.

Wieland, 328.

Wiertz, 28.

Wild, Jonathan, 79.

Wildenbruch, Ernst von, 331.

William Tell, Overture to, 82, 298.

Winckelmann, 78, 275.

Winding, 314.

_Windsor Express_ (London), 304.

Winterberger, Alex. (pupil), 359.

Wiseman, Cardinal, 79.

Wittgenstein, Princess, (see Sayn-Wittgenstein);
Prince Nikolaus, 46, 47, 50.

Wohl, Janka, (pupil), 56, 417.

Wolff, Dr., 226, 227.

Wolffenbuettel, 172.

Wolkenstein, Countess, 42.

Wolkof, 417.

Wolzogen, Von, 57.

Worcester festival, 191.

Woronice (estate of Princess Sayn-Wittgenstein), 45-47.

Wortley, Stuart, 252.

Wurtemburg, King of, 252, 254, 255.

Yeats, 327.

Zampa, Overture to, 181.

Zeisler, Fannie Bloomfield, 431, 436, 437.

Zichy, Geza (pupil), 24;
Michael, 338.

Zingarelli, 381.

Zoellner, 196.

Zucchari, 347.

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Gutter--The Piper of Dreams--An Emotional Acrobat--Isolde's
Mother--The Rim of Finer Issues--An Ibsen Girl--Tannhaeuser's
Choice--The Red-Headed Piano Player--Brynhild's Immolation--The
Quest of the Elusive--An Involuntary Insurgent--Hunding's Wife--The
Corridor of Time--Avatar--The Wegstaffes give a Musicale--The Iron
Virgin--Dusk of the Gods--Siegfried's Death--Intermezzo--A Spinner
of Silence--The Disenchanted Symphony--Music the Conqueror.

"It would be difficult to sum up 'Melomaniacs' in a phrase. Never did a book, in my opinion at any rate, exhibit greater contrasts, not, perhaps, of strength and weakness, but of clearness and obscurity. It is inexplicably uneven, as if the writer were perpetually playing on the boundary line that divides sanity of thought from intellectual chaos. There is method in the madness, but it is a method of intangible ideas. Nevertheless, there is genius written over a large portion of it, and to a musician the wealth of musical imagination is a living spring of thought."--HAROLD E. GORST, in _London Saturday Review_ (Dec. 8, 1906).

VISIONARIES

12mo. $1.50 net

CONTENTS: A Master of Cobwebs--The Eighth Deadly Sin--The Purse of
Aholibah--Rebels of the Moon--The Spiral Road--A Mock
Sun--Antichrist--The Eternal Duel--The Enchanted Yodler--The Third
Kingdom--The Haunted Harpsichord--The Tragic Wall--A Sentimental
Rebellion--Hall of the Missing Footsteps--The Cursory Light--An
Iron Fan--The Woman Who Loved Chopin--The Tune of Time--Nada--Pan.

"The author's style is sometimes grotesque in its desire both to startle and to find true expression. He has not followed those great novelists who write French a child may read and understand. He calls the moon 'a spiritual gray wafer'; it faints in 'a red wind'; 'truth beats at the bars of a man's bosom'; the sun is 'a sulphur-colored cymbal'; a man moves with 'the jaunty grace of a young elephant.' But even these oddities are significant and to be placed high above the slipshod sequences of words that have done duty till they are as meaningless as the imprint on a worn-out coin.

"Besides, in nearly every story the reader is arrested by the idea, and only a little troubled now and then by an over-elaborate style. If most of us are sane, the ideas cherished by these visionaries are insane; but the imagination of the author so illuminates them that we follow wondering and spellbound. In 'The Spiral Road' and in some of the other stories both fantasy and narrative may be compared with Hawthorne in his most unearthly moods. The younger man has read his Nietzsche and has cast off his heritage of simple morals. Hawthorne's Puritanism finds no echo in these modern souls, all sceptical, wavering and unblessed. But Hawthorne's splendor of vision and his power of sympathy with a tormented mind do live again in the best of Mr. Huneker's stories."--_London Academy_ (Feb. 3, 1906).

CHOPIN:

The Man and His Music

_WITH ETCHED PORTRAIT_

12mo. $2.00

"No pianist, amateur or professional, can rise from the perusal of his pages without a deeper appreciation of the new forms of beauty which Chopin has added, like so many species of orchids, to the musical flora of the nineteenth century."--_The Nation._

"I think it not too much to predict that Mr. Huneker's estimate of Chopin and his works is destined to be the permanent one. He gives the reader the cream of the cream of all noteworthy previous commentators, besides much that is wholly his own. He speaks at once with modesty and authority, always with personal charm."--_Boston Transcript._

CHARLES SCRIBNER'S SONS, NEW YORK

* * * * *

Transcriber's Notes

The illustrations (and captions in the text version) have been moved so that they do not break up paragraphs and so that they are next to the text they illustrate. Thus the page number of an illustration might not match the page number in the List of Illustrations, and the order of illustrations may not be the same in the List of Illustrations and in the book.

An advertisement listing books available from the author has been moved from the front of the book to the end, where it precedes full advertisements for the books; a heading thus duplicated ("BOOKS BY JAMES HUNEKER") has been removed.

The text contains many inconsistencies in spelling and hyphenation, which have been left unchanged. In particular, Liszt's works are referred to inconsistently by their titles in various languages, and names of keys are inconsistently hyphenated (e.g. "A-flat" and "A flat").

Words in other languages were sometimes printed without their diacritics, e.g. "Fraulein" for "Fraeulein", and "czardas" for "czardas". On page 13, "Dobrjan" appears to have been printed with a diaeresis on the "j"; this has been omitted, while the two other spellings used ("Dobrjan" and "Dobrjan") have been retained.

Other inconsistencies include:

Suiss and Swiss
Medaeival and mediaeval
Graner Messe and Graner-messe
Preludes and Preludes
Tschaikowski and Tschaikowsky
Belvedere and Belvedere
Berceuse and Berceuse
d'execution and d'execution
Debats and Debats
Fraeuleins and Frauleins
Koehler and Kohler
Meditations and Meditations
Muellerlieder and Mullerlieder
leitmotive and Leitmotive
Prueckner and Pruckner
Rakoczy and Rakoczy
Zuerich and Zurich
Mickelangelo and Michelangelo
Nadine Hellbig and Nadine Helbig
Munkacsy is spelled as Munkacsy, Munkaczy, Munkaczy, Munkacszy,
and Munkacsy
any one and anyone
benefit concerts and benefit-concerts
boat-hand and boathand
Czerny and Czerni
concert room and concert-room
d' Este and d'Este
Danziger Rosebault and Danziger-Rosebault
e 'l and e'l
Erl King and Erl-King
ever ready and ever-ready
every one and everyone
Fest-klaenge and Festklaenge
Feux-follets and Feux follets
for ever and forever
half dozen and half-dozen
iron gray and iron-gray
key-note and keynote
Maria-Pawlowna, Maria Pawlowna, and Maria Paulowna
Merian-Genast and Merian Genast
music loving and music-loving
octave playing and octave-playing
opera house and opera-house
piano concerto and piano-concerto
Piano-Forte, Piano Forte, and pianoforte
piano player and piano-player
piano playing and piano-playing
piano recital and piano-recital
piano teacher and piano-teacher
pianoforte playing and pianoforte-playing
programme music and programme-music
puzta and putzta
quasi-sonata and quasi sonata
Ramann and Ramagn
rewritten and re-written
Rive-King and Rive King
three quarters and three-quarters
well known and well-known
what ever and whatever
wood-wind and woodwind
writing table and writing-table

Inconsistent punctuation in the sentence beginning "Masterpieces, besides those already" on p. 153 has been retained.

Some apparent errors have been retained:

p. 17 extra comma ("Paganini, had set")
p. 34 extra comma ("a man who, accomplished")
p. 58 mis-spelling ("Hoffgartnerei")
p. 83 extra comma ("Gregory XIV, had opened")
p. 111 mis-spelling ("Bestandig")
p. 123 extra comma ("the god, believing in his own")
p. 144 mis-spelling ("Gotterdaemmerung")
p. 204 mis-spelling ("infinitively")
p. 309 mis-spelling ("troup")
p. 341 full stop instead of comma ("much for fame. I bitterly")

Obvious errors in spelling and punctuation have been corrected as follows:

p. 27, comma changed to full stop (winds and murmurs.")
p. 74 "though" changed to "through" ("through his pupils continued")
p. 74 comma added to text ("whose fiery passions, indomitable energy")
p. 89, quotation mark added to text (outside of Italy":)
p. 98, "Madamoiselle" changed to "Mademoiselle" (Mademoiselle Cognetti)
p. 108, quotation mark removed from text ("same school.")
p. 149, "pentinent" changed to "penitent"
p. 152, "philsophical" changed to "philosophical"
p. 169, quotation mark removed from text ("a spirited march.")
p. 174, quotation mark removed from text ("wonders by black art.'")
p. 177, full stop changed to comma ("dispensed with,")
p. 199, "talent as a violonist" changed to "talent as a violinist"
p. 205, single quotation mark added to text ("'Freischuetz,'")
p. 209, "Bailot's" changed to "Baillot's"
p. 212, "Liszt's and Berlioz intimacy" changed to "Liszt's and
Berlioz's intimacy"
p. 214, "Listz was playing" changed to "Liszt was playing"
p. 219, "ooms:" changed to "rooms:"
p. 236, "genuis" changed to "genius"
p. 299, double quotation mark changed to single quotation mark
("grace, and beauty.'")
p. 299, "genuis" changed to "genius"
p. 302, double quotation mark changed to single quotation mark
("'as a concertante wit")
p. 351, full stop changed to comma ("he loved Germany,")
p. 356, comma added to text ("Adolf Blassmann,")
p. 358, full stop changed to comma ("Johannes Zschocher,")
p. 359, comma changed to full stop (""Second Tausig."")
p. 372, quotation mark added to text (""Friedheim is of medium height")
p. 422, "a la main gouche" changed to "a la main gauche"
p. 424, full stop changed to comma ("no other in the world,")
p. 441, "When" changed to "when" (when Breitkopf and Haertel finish)
p. 447, closing brackets added to text ("(Princess Nadine Schakovskoy)"
p. 447, "Hohenlohe-Schillingsfurst" changed to
"Hohenlohe-Schillingsfuerst"
p. 447, semi-colon changed to full stop ("Museum (Budapest), 338.")
p. 451, full stop changed to semi-colon ("Piano arrangements, 86;")
p. 451, comma added to text ("to the Grave, 132;")
p. 452, comma added to text ("Sofie (pupil), 24, 42,")
p. 453, comma added to text ("Paderewski, 16, 17, 418, 419,")
p. 455, "Niebelungen" changed to "Nibelungen"
p. 455, comma added to text ("Rosenthal, Moriz (pupil)")
p. 457, "Veldi" changed to "Velde"
p. 457, comma added to text ("Tristan and Isolde (Wagner),")
(Unnumbered advertisement) quotation mark added to text (""Here we see
how winning")