Liszt, feat of memory, 31-34, 59; Mason a pupil, and reminiscences of, 86-182; in middle life, portrait, 88; method of teaching, 90, 97-101, 114; quartet at the Altenburg, 91, and Remenyi, 93, 152; Liszt pupils, 89, 96; personal appearance, 101; and Beethoven's Op. 106, 103; and the eye-glasses, 106; carefulness in dress, 107; pianoforte-playing, 110-114; touch and own opinion of, 114; warns pupils against, _id._; on technic, 116; and Pixis, 117; as a conductor, 119; rehearsing "Tasso," 121; and Brahms's first meeting, 127-132, 141; and Wagner, 132, 158, 164; Joachim and, 142; sight-reading, 142; contrition, 144; musical intuition, 167; opinion of Tausig, 175; letters to Mason, 179, 181, and 291-296; last message to Mason, 182, 184, 198, 224, 229, 243, 270; "Sainte Elisabeth," 292; "Poemes Symphoniques," 293; opinion of Mason's compositions, 294 Liszt, Cosima, 240 Lohengrin, 133, 134, 139, 146 MacDowell, 255; "Sonata Tragica," 255; "Sonata Eroica," 256, 261 Marx, Dr., 165 Mason Brothers, 184 Mason, Lowell, 4; career of, 5-10 and 275 _et seq._; Handel and Haydn Society, 7; introduces music in Boston public schools, 8, 289; musical instruction for the blind, 8; Boston Academy of Music, 9; originates musical conventions, 9; fife and drum serenade to, 25; work praised by Moritz Hauptmann, 46; address on, by William S. Tilden, 275; ancestry of, 276; at Medfield, Mass., 277; portrait, 277; nearly drowned, 279; commences teaching, 282; religious views, 285; tact and shrewdness, 285; magnetism as a teacher, 286