Romance, p. 224. Franz Schubert, p. 225. Robert Schumann, p. 231. Early Works, p. 231. Jean Paul, p. 232. “Davidsbund,” p. 235. Private Life, p. 237. The “Neue Zeitschrift für Musik,” p. 238. “Davidsbündler Tänze,” p. 238. “Carnival,” p. 240. F sharp minor Sonata, p. 241. “Fantasie Stücke,” p. 242. “Études Symphoniques,” p. 242. Bach and E. T. A. Hoffmann, p. 244. Kreisleriana, p. 245. Op. 17, p. 246. “Novellettes,” p. 248. Mendelssohn, p. 249. “Faschings-schwank,” and later Works, p. 254. Chopin, p. 255. His Art, p. 257. His Life, p. 258. George Sand, p. 259. Works, p. 261. Style of Playing, p. 264. Field, p. 265. Chopin’s Method, p. 266. [Sterndale Bennett], p. 268. IX. LISZT AND THE PRESENT TIME 271 Liszt and the three Types of Artists, p. 272. Life, p. 274. Liszt and Thalberg, p. 277. A Pianist’s Creed, p. 281. Paganini and Liszt, p. 282. Liszt’s Concerts, p. 286. Piano Works, p. 287. The Interpreters p. 292. Virtuosos of Older Style, p. 293. Rubinstein and Bülow, p. 294. Virtuoso and Teacher, p. 299. Tausig and d’Albert, p. 301. Modern Virtuosos, p. 301. Risler, p. 301. The Pianist’s Profession, p. 302. The Piano as a Social Factor, p. 303. Piano Instruction, p. 305. The Practical and Theoretical Schools, p. 306. The Common or “C major” keyboard compared with the “Janko,” p. 308. Present-day Piano Factories, p. 310. Steinway and Bechstein, p. 311. The Piano as a piece of Furniture, p. 313. Pianos _de luxe_, p. 315. The Market for Piano Literature, p. 316. Modern Piano Works, p. 317. Alkan, p. 317. The Post-Romantics, p. 318. The French School, p. 319. The Russians, p. 320. The Scandinavians, p. 321. The English and Americans, p. 322. The Germans, p. 322. Jensen, p. 322. Brahms, p. 322. Raff, p. 323. Living Germans, p. 324. Conclusion, p. 326. AUTHOR’S POSTSCRIPT: AND ERRATA 328 INDEX 329 LIST OF ILLUSTRATIONS 334 [Illustration: Guido of Arezzo and his protector, Bishop Theodal, playing on a Monochord. Vienna Hofbibliothek.] Old England: a Prelude [The drift of the remarks immediately following, which the author entitles a “Prelude,” is, that Music is at the present time flourishing more at home than in public; that the playing of chamber compositions is more popular than the representation of huge operas; and that therefore it is a suitable time to consider the history and scope of the instrument which, more than all others, has made possible this cultivation of domestic music. He begins then by contrasting the huge performances of Wagnerian drama at Bayreuth with what he calls the “intimate” character of a private pianoforte recital at home.]