antipathy, 59–62, 112–113, 115
as inspiration, 58, 64–65, 81, 110–111
oboe, 107–108
in Paris, 57, 130
‘Prometheus’ theme, 24–25, 26, 62, 63–65, 72, 73–74, 79–80, 89, 106–108
‘public music,’ 130–131, 161–162, 164
publication, 122, 129
symbolism, 73–74
‘symphonic ideal,’ 130, 143–145, 147, 162
Berlioz, Hector, 163
Bernadotte, General Jean, 52–54
Birtwistle, Harrison: quoted, 133
Blake, William, 113–114
Bonaparte, Jérôme, 61
Bonn, 28–29, 55–56, 108, 153
Beethoven’s boyhood home, 17–18, 29–30, 36, 47, 51, 77, 96–97, 153
Elector of Cologne’s court, 16, 18, 20, 26, 33–34, 37, 53
occupation by the French, 26, 36–37, 61
Bouilly, Jean-Nicholas, 58, 59
Boult, Sir Adrian, 164
Brahms, Johannes, 13, 162, 165
Symphony No. 1 in C minor Op. 68, 162
Brian, Havergal: Symphony No. 1 in D minor The Gothic, 164
Britten, Benjamin: quoted, 132
Brotherhood of Man, 2
Bülow, Hans von, 165
Byron, Lord (George), 109, 110
Cage, John, 132
Catholic Church/Vatican, 8, 32, 61, 77
Cherubini, Luigi, 58–59
Hymne funèbre sur la mort du Gènèral Hoche, 98
Médée, 98
Chopin, Fryderyk, 12, 13, 151, 153
Classicism, 1, 12–13, 135–136, 138, 143, 145, 146–147
Clementi, Muzio, 25
cock crow, 101–102
conductors, 126
Czerny, Carl, 44–45, 123, 128–129
Dussek, Jan Ladislav, 118
Double Piano Concerto Op. 63, 121
The Enlightenment, 26, 31, 110, 111, 115
Forster, E. M.: Howards End
quoted, 84–86
fortepiano, rise of, 20, 45
Francis II, Holy Roman Emperor, 48, 52, 60, 112, 120
Frederick II of Prussia, King (Frederick the Great), 27, 31, 32, 118
Frederick William II of Prussia, King, 116
Freemasonry, 27–28, 32, 48, 53, 77
French Revolution/post-revolution, 36, 98, 110, 164
influence on Beethoven, 46–47, 52, 59–62, 96–100, 110, 114
Friedrich, Caspar David, 115
galant, 9–10
Gesellschaft der Musikfreunde in Wien/Musikverein, 152
Goethe, Johann Wolfgang von, 27, 110
Faust, 115
Gossec, François-Joseph, 33, 53
Marche lugubre, 97, 168
Gould, Glenn, 131–132, 133
Gregorian chant, 5
Lamentations of Jeremiah, 21
Grillparzer, Franz, 154, 156
Grove, George: quoted, 100, 103
Guicciardi, Julie, 139, 142
Habsburg Empire, 44, 51, 54, 60, 61
Handel, George Frideric, 4, 8, 12
‘happy endings,’ 104–105
Hardy, Thomas: The Dynasts
quoted, 156–157
harmony, 73, 93
counterpoint/contrapuntalism, 5–9, 39, 53, 106, 107, 146–147
canons/fugues, 5–9, 19, 70, 71, 105–106, 106–107, 128, 144, 146–147, 149
harpsichord, 20, 45
Haydn, Joseph, 4, 25–26, 27, 36, 83, 90, 101
in Bonn, 34–35
burial, 154
and canons/fugues, 7, 8–9
and Classical style, 12, 136, 138, 146
The Creation, 66, 98, 163
instrumental proficiency, 21, 45
and London, 35, 66
‘Papa,’ 66, 74, 108
String Quartet Nos. 23–28 Sun Op. 20, 105–106
String Quartet No. 47 in B flat major Op. 55 No. 3, 94
Symphony No. 104 in D major London H. 1/104, 94
as teacher/father figure, 29, 35, 39–41, 66–67, 98, 161
Hegel, G. W. F., 110, 115
Heller, Ferdinand, 21
Hoffmann, E. T. A., 83–84, 86, 161
quoted, 84, 160–161
Hoffmeister, Franz Anton, 60
Holy Roman Empire, dissolution of, 120
horns (‘natural’), 103
Ives, Charles: Universe Symphony, 163–164
Jean Paul, 86, 115
Joseph II, Holy Roman Emperor, 29, 31–33, 35, 36, 47–48
Junker, Karl: quoted, 34
Kant, Immanuel, 110
Kapellmeisters, 16, 29, 41, 61
key changes, 10–11, 94
Kinsky, Prince, 61
Kocžwara, Franz, 144
Konzertmeisters, 126
Kreutzer, Rodolphe, 53
Landon, H. Robbins, 66–67
Le Sucur, Jean-François, 33, 53, 97
Leitmotiv/motifs, 90, 142–143, 147
Leopold II, 48
Lessing, Gotthold Ephraim: Nathan the Wise
quoted, 27–28
Lichnowsky, Prince Karl, 53, 55, 120–121, 122, 127
Liszt, Franz, 91, 119, 168
Elégie sur des motifs du Prince Ferdinand de Prusse, 119
Lobkowitz, Prince Joseph, 44, 55, 61, 93–94, 112–113, 119–120, 122
his orchestra, 112–113, 114, 119–120, 125
London, 34–35, 36, 37, 40, 66
Louis Ferdinand of Prussia, Prince, 116, 118–120, 121–122
Louis XIV, 36
Louis XVI, 99
Mahler, Gustav, 131
Symphony No. 3 in D minor, 163
Symphony No. 8 in F flat major Symphony of a Thousand, 163
Marengo, Battle of, 54, 60, 99
Maria Theresa, Holy Roman Empress, 20, 32
Marie Antoinette, 36
martial music, 53, 94, 99
Matthews, Colin: quoted, 133
Maximilian Francis of Austria, Archduke/Elector of Cologne, 20, 21, 26, 28–29, 31, 33–34, 37, 41, 51
Elector’s orchestra, 19–20, 31, 34, 51, 53
Medieval music, 5
Méhul, Étienne, 33, 53, 97
Mendelssohn Bartholody, Felix, 15, 19, 53, 106, 119, 129
minor key, 7–8, 25
Mozart, Wolfgang Amadeus, 4, 25–26, 27, 45, 47–48, 83, 101, 156
Bastien et Bastienne K. 50/46b, 89–90
and canons/fugues, 7, 8–9
as child prodigy/genius, 15, 16–17, 19, 86, 89–90
and Classical style, 12, 136, 138
Die Entführung aus dem Serail, 32
grave (lack of known), 154
and his father, Leopold, 15
as inspiration to Beethoven, 23, 29, 36, 138, 161
Piano Concerto No. 17 in G major K. 453, 107
Piano Concerto No. 24 in C minor K. 491, 107
Piano Sonata No. 13 in B flat major K. 333/315c, 94
Serenade No. 12 for Winds in C minor K. 388/384a, 107
String Quartet No. 4 in G minor K. 516, 105
String Quartet No. 13 in D minor K. 173, 106
Symphony No. 40 in G minor KV. 550, 96–98, 126
Symphony No. 41 in C major Jupiter K. 551, 146–147
Violin Sonatas, 23
Napoleon I, Emperor (Napoléon Bonaparte), 26, 52, 61–62, 73, 109, 110, 116, 120, 156–157
declares himself First Consul/Emperor, 54, 113
See also Beethoven’s Symphony No. 3
Neefe, Christian Gottlob, 18–19, 20, 27, 28, 77
Noli, Fan S.: quoted, 52
Oberdöbling, 80, 108, 114, 127, 165
Paganini, Niccolò, 152–153
Paris, 36, 53, 55, 57–59, 111
‘people’s music,’ 53
Pleyel, Ignaz, 44, 45
Razumovsky, Count Andreas, 55
‘rescue opera,’ 58, 74, 144
Ries, Ferdinand, 55, 57–59, 93, 112
quoted, 113
Romanticism, 1, 12–13, 19, 83, 84, 87, 105,
109, 110, 119, 135, 139, 143, 146, 161
Rorem, Ned, 132
Rosen, Charles: quoted, 146
Ross, Alex: quoted, 160, 161–162
Rossini, Gioachino, 152
Rousseau, Jean-Jacques, 31, 97
Rudolph of Austria, Archduke, 61, 145–146
Ruskin, John: quoted, 129
Saalfeld, Battle of, 121
Saint-Saëns, Camille: Symphony No. 3 in C minor Organ Symphony Op. 78, 163
Salomon, Johann Peter, 35, 40
Schiller, Friedrich, 110
‘Ode to Joy,’ 28, 53, 78, 165
Schneider, Eulogius, 47
Schubert, Franz, 12, 132, 151
Schumann, Clara (née Wieck), 118–119
Schumann, Robert, 2, 12, 13, 87, 115, 118–119
Simrock, Nikolaus, 51, 55–56, 58, 112
sonata form, 10–13, 23, 104, 136, 138–139, 145, 147
Strauss, Richard, 13, 131
Strauss family, 153
Stravinsky, Igor: quoted, 160
Tallis, Thomas
Canon, 6
Spem in alium, 6
Tchaikovsky, Pyotr Ilyich, 143
Tippett, Michael, 132
Ulm, Battle of, 120
van Swieten, Baron Gottfried, 48, 55, 126
variations, 4–5, 106–107
Vienna, 37, 47, 54, 55, 59, 60, 98
Beethoven out of fashion, 152
Beethoven settles, 24, 28, 50–51, 61, 80
Beethoven’s first visit, 29, 45
Beethoven’s second visit, 35, 36–37, 45–52
Burgtheater, 64
as competitive environment, 23, 44, 111–112
as inspiration, 20
musical traditions, 12, 32, 45, 50, 94, 96, 100–104, 114, 146, 151–152
politics, 47–48, 50, 52–54, 152
secret police, 48, 51–52
Theater an der Wien, 59, 126–127, 128
threatened/taken by Napoleon, 61–62, 112–113, 120, 151–152
Viganò, Salvatore, 64–65
Voltaire, 31, 97
von Breuning family, 30–31, 35–36
Wagner, Richard, 90, 130
Waldstein, Count Ferdinand von, 31, 36, 41
Weber, Carl Maria von, 152
Weber, William, 162
Wegeler, Dr. Franz, 31
Wilde, Oscar, 160
Wordsworth, William, 103, 111
Wranitzky, Paul, 98–99
Beethoven's Eroica Page 12
