birth of,11,12;birthplace of,13;boyhood of,13,14,300-305;in Budapest,97;character of his music,29,30,78;children of,15,16,86,359;chivalry of,11,34,56;Chopin's obligation to,6,73-77;comment on his 13th Psalm,194,195;comparison of established symphonic form with that devised by Liszt,140;compared with Wagner,108,143,144;as composer,1,2,13,14,20,31,35,43,52-56,86,90,103,144,327,377,409-413;concerts of,34,212,221,223,224,230,235,248,288,292,293,302,305,319;as conductor,2,87,135,258,377;conducts at Aix-la-Chapelle,135;conducts in Berlin,137;conducts at Prague,136;conducts at Pesth,94,96;conducts in Rome,94;conducts in Weimar,88;conversation of,258,259,276;court musical director (Weimar),22,46,47;creator of the symphonic poem,26,27,106,139,140;criticisms regarding,2,8,14,17,21,64,153-158,194,360,399;and the Countess d'Agoult,14-16,80,81,85,391;daily mode of life,99,100;death of,1,2,25,280;dedications,57,100,169,172;description of his ideal of romantic religious music,193;in England,300-313;fascinating personality of,45,235,236,241,246,256,257;feminine friendships of,34-43;fingering,74,187;Freemason,389;friendship with Berlioz,212;friendship with Cardinal Prince Hohenlohe,22;friendship with Chopin,14,40;friendship with Jean Auguste Dominique Ingres,83,84;and Marguerite Gautier,40;generosity of,24,101,257,258;gifts from sovereigns,328;greatest contribution to art,4;hand of,328,339;illness of,44,135;impressionability of,8,10,11;improvisations of,82,180,181;indebtedness to Chopin,76;influence of Berlioz,17,55,411;influence of Chopin,17,145,411;influence of gipsy music,160;influence of Meyerbeer,145;influence of Paganini,17;influence of Wagner,191;ingratitude of Schumann,57;on instruments of percussion,170,171;interest in German art,90;interest in Tausig,362;interpretation,87;interview with,228,229;intimacy with Prince Lichnowsky,241-243;intrigues against,22;introduces interlocking octaves,77;introduces the piano recital,71,419;and Olga Janina,41;lack of appreciation of,31,141,229;and the Countess Adèle Laprunarède,37;letters of,9,35,37,44,46,92,135,136,138,143,150,169,170,171,179,194,195,197,219,279,280,289,290,394,414;literary work of,19,20;in London,300-313;loss of Piano Method, Part III,358;love affairs of,2,3,19-23,36-41,88;and Lola Montez,40,41;musical style of,4,181;musical imagination,8,146;notation,187;number of compositions,56;orchestral form,194;orchestral instrumentation,157;orchestral music of,32,123,190;as organ composer,401,402;original compositions of,412,413;on origin of his Tasso,115;on origin of his Orpheus,121;parents of,12,14,251;in Paris,13,24;patience of,27;pedalling,62,99,187;pen picture of,57;personal appearance,18,82,98,204,231,255,262,269,276,296,297;personal characteristics,2,3,17,66,71,327;pianoforte virtuoso,1,2,8,14,16,18,43,56,73,94,106,247,251,252,420;piano music of,10,11,53,66,123,168,187,409-413;piano recitals,82,83,179,308-311,419;piano reform,91;piano of,328,340,342,343,394;and the Countess Louis Plater,37;playing of,17,60-64,87,99,141,161,208,214,223,224,232,233,238-240,253,266,277,278,285,292,314,316,421;plays Weber's Sonatas,207,208;plays at Berlioz's,210;at Bizet's,379;at court of Wurtemburg,252;at Karlsruhe,93;at Legouvé's,215;at Munkaçzy's,25;at Tolstoy's,102;at Windsor Castle,304;portraits of,16,18,42,261,289,338,416,417;prediction at birth of,12;predominating artistic influences,17;prophecy of,100;public speaking of,179,213,226,227;pupils of,24,36,42,51,52,57,91,98,185,263,353-388;alphabetical list of pupils,353-358;reading of,14;realism of,67;reformer of church music,2;religious fervor of,89-92,97,98,196;residences in and around Rome,343;revolutionist,142;romanticism of,11,14,28;in Rome,78-85,89-97,102;in Russia,294-300;and Caroline de Saint-Criq,36,37;and George Sand,39,40,247;and the Princess Sayn-Wittgenstein,19-24,43-51;Schumann's indebtedness to,56;as song writer,165-168;started new era in Hungarian music,160;statues of,13,18,220,221,332;success of,13,52;as teacher,14,97,100,209,339,358,395-397;technique of,34,62,70,72,152,313,402,407,421,437;temperament of,28,29;tempo,164,165,187;testimonials,328;theological studies of,95;theory of gipsy music,20;thought his career a failure,26;tirelessness of,17;tomb of,25,58;the triangle,170-172;tribute by Wagner,23;variety of rhythms of,31;versatility of,51,88,144;on virtuosity,392,393;Wagner's indebtedness to,1,3,5,6,9,31,55,141-144;Wagner's praise,9,103,142;wanderings of,34,70,81,85,87,93,94-96,97;in Weimar,19,23,46,47,87,88,96,169,329;writing for solo and choral voices,190.Liszt, Franz—Works:Alleluja,92.Angelus,195,196.Apparitions, The,66.Ave Maria,92,224,294.Ballad in B minor,399.Ballades,66,186.Bénédiction de Dieu,143.Berceuse,186.Chöre zu Herder's Entfesselte Prometheus,130,131.Chorus of Angels,196,197.Concert Study,430.Concertos,168-174,187;Concerto Pathétiquein E minor,66,177,178;Concerto for piano and orchestra, No. 1, in E flat,67,168-172;Concerto for piano, No. 2, in A major (Concert Symphonique),66,172-174.Consolations,187,412.Don Sancho,14.Elegier, The,66.Etudes,66,72,181-185,305,408;Etude in D flat,99;Etude in F minor, No. 10,72;Etudes de Concert(three),72,184;Etudes d'execution transcendante(twelve),72,86,181,182;Etudes en douze exercices, Op. 1,181;Etudes, second set of,182;Ab-Irato,66,72,184,185;Au Bord d'une Source,70,72;Au Lac de Wallenstadt,72;Danse Macabre,84,182,187;Feux-follets,72,184;Gnomenreigen,72,92,184,400;Harmonies du Soir,72,183,184;Irrlichter,400;Ricordanza,72,184,187;Studies of Storm and Dread,183;Vision,183;Wilde Jagd,183;Waldesrauschen,72,92,184;Excelsior,143.Evocatio in der Sixtinischen Kapelle,90,143.Fantasias,179-181,401;Années de Pèlerinage,11,66,70,86,152,187,412;Fantasia on Don Juan,298,407,418,432;Fantasia Dramatique,187;Fantasia on Reminiscences ofPuritani,82;Fantasia on Themes by Pacini,292;Fantaisie quasi sonata après une lecture de Dante,86;Il Penseroso,84,86;operatic fantasias,180,181;Lucia,63,180;Sonnambula,180;Sposalizio,84,86;Tre Sonetti di Petrarca,86,187.Funeral March on occasion of Maximilian of Mexico's death,96.Galop Chromatique,293,298.Glanes de Woronice,25.Harmonies,412;Harmonies Péstiques et Religieuses,66.Heilige Cäcelia, Die(essay),84.Hungarian gipsy music, book on,19.Hungarian March,317.Legends,66,412;Legend of St. Elisabeth,88,90,143,191-193,272,273,312;St. Francis of Assisi's Hymn to the Sun,88;St. Francis of Assisi Preaching to the Birds,92,186,412;St. Francis de Paula Stepping on the Waves,92,186,412.Masses,4,54,187-194;