Mason-Thomas Quartet, portrait group, 196
Mendelssohn, exaggerated worship of, 37; friendship with Moscheles, 37; thought greater than Beethoven, 37; influence in England, 85
Meyer, Leopold de, Mason's recollections of, 19; beauty of tone, 20; New York concerts and anecdote, 21, 69, 211-215
Meyerbeer, meeting of with William Mason, 28; rehearsing "Le Prophète", 30
Moscheles, 27; autograph, 32; practises Beethoven in secret, 36; opposes his daughter's playing Chopin, 37; intimacy with Mendelssohn, 37; entertains Schumann, anecdote, 42; pianoforte-playing, 57; silver wedding, 61
Paderewski, 60; fantasy on "Yankee Doodle," 236; autograph, 236
Pedal, hints on use of, 215-221; study, 219
Pitch, positive, 247; Thomas's ear for, 251
Pruckner, Dionys, 89, 91, 100, 107, 114, 125, 135
Raff, 89, 91, 96; friendship for Mason, 97, 124, 129, 133; in Weimar, 161-164; Mason's first impression of, 161; poverty, 162; arrested for debt, 162; prison comforts, 162; pianoforte-playing, 162; as a composer, 163; and Wagner propaganda, 134, 142, 144, 164
Remenyi and the "Kreutzer Sonata," 93; Liszt rebukes, 94; on Liszt's playing, 112; visits Liszt with Brahms, 127, 130, 151-153
Rhythmus exercises, 191 Moscheles on, 193
Rubinstein and Princess Marie Sayn-Wittgenstein, 95; on Liszt's playing, 111; Liszt's contrition, 144; Mason entertains at Weimar in 1854, 171; plays, 173; opposition to Wagner, 174; Liszt's opinion of, 175, 180, 221-236; and the autograph-hunter, 221; opinion of Americans, 222; style of playing, 224; favorite seat, 227; Bach's "Triple Concerto," 230; significant autograph, 232, 234; "Yankee Doodle" variations, 236, 268
Sayn-Wittgenstein, Fürstin, 94; Princess Marie, 95
Schindler, Anton, 79; "Ami de Beethoven," 80; autograph, 80; and "Fifth Symphony," 81; persuaded to meet Von Wartensee, 82, and dénouement, 83
Schlesinger, 33; daughter plays Chopin, 33
Schmidt, Henry, conducts first Beethoven symphony in America, 9, 13-15, 19
Schumann, his life at Leipsic, 38; autograph, 38; not appreciated, 39; Mason's enthusiasm on hearing S.'s "First Symphony," 40; Mason sends score to Boston, 40; attempts there to play it, 40; Webb's opinion of it, 41; S. laughed at by his publisher's clerks, 41; as a conductor, 41; absent-mindedness, 42; compared with Mendelssohn by Mason, 43; Mason calls on him, 43; second call and autograph, 44; Mason contrasts the personalities of S. and Wagner, 44; a minor concerto, 63; 132, 136, 137, 171, 209