other; the Mannheim Orchestra; Mozart’s love of the clarinet; Mozart’s conducting; Mozart’s first composition; Beethoven s admiration for Mozart; an early appreciation of Beethoven (1818); Beethoven’s unhappy life; Orchestra of the Elector of Cologne in 1791 in which Beethoven played; Beethoven’s improvization; Beethoven in Vienna; the Lichnowskys; a Beethoven concert in 1795; Beethoven at the piano; appearance of Beethoven; Mozart’s and Beethoven’s Orchestra; Beethoven’s Symphonies; Beethoven’s treatment of instruments; Beethoven’s enrichment of the Orchestra; Beethoven, the last great classic and prophet of the New Era; Classic and Romantic contrasted; the Romantic School; Carl Maria von Weber; Weber as conductor of the Dresden Orchestra; Weber’s development of the woodwind; Weber’s fondness for the clarinet and horn; Weber, a painter of Nature; Schubert’s gifts to the Orchestra; Schubert’s Symphonies; Mendelssohn’s grace, charm and brightness of spirit; Mendelssohn’s happy life and varied accomplishments; Mendelssohn’s orchestration; Mendelssohn’s conducting; “Music of the Future” and its three great exponents,—Berlioz, Liszt and Wagner; Romantic Movement of 1830; Berlioz, a follower of Beethoven, Weber and Gluck; Berlioz’s love for the colossal; Heine on Berlioz; Berlioz’s volcanic temperament; Berlioz, the “Father of Modern Orchestration,” Berlioz, a forerunner of Wagner; Wagner’s confessed indebtedness to Berlioz; monster concerts; Berlioz’s symphonies; Paganini’s gift to Berlioz; Franz Liszt, a favorite of fortune; Liszt’s education; Liszt in Paris; the Romantic Movement; Liszt impressed by Paganini; phenomenal concert-tours; Liszt’s generosity; Liszt in Weimar; Liszt becomes an Abbé; Finck on Liszt’s genius; Liszt, a follower of Berlioz; the Symphonic Poem; Liszt’s orchestration; Franz Liszt, a wonderful spirit; Richard Wagner; Liszt’s aid to Wagner; Wagner’s dream fulfilled; Wagner’s introduction of the Symphonic Orchestra into the opera; Wagner’s treatment of instruments; Wagner’s orchestration and Wagner’s Orchestra; Wagner’s novel effects; Richard Strauss; Strauss’s life and education; novel use of instruments; complex and gigantic effects; Tschaikowsky; his education and career; Orchestra and scoring of Tschaikowsky; the “Casse Noisette Suite” (Nut-cracker Suite); Tschaikowsky’s love for Mozart; French composers and symphonic music; Saint-Saëns; French composers return to national fountains of inspiration; modern French composers; Debussy and his music; Debussy’s orchestral effects; Debussy’s Orchestra,—a melodious atmosphere and musical web; Debussy’s opalescent effects; Debussy’s love of water—sea, fountains and silvery rain; L’Après Midi d’un faune; Debussy’s Nocturnes; Catholic tastes of American audiences; Symphony