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hael Angelo' vs. 'Michaelangelo' (also in Chapter VI) Chapter II (Bach): Leipsic vs. Leipzig (repeated in following chapters) Lueneberg vs. Lueneburg Chapter X (Mendelssohn): 'Dreifaltigkeit Kirch-hof' vs. 'Dreifaltigkeit Kirchhof' 'Wiemar' vs. 'Weimar' Chapter XIII (Berlioz): Academie vs. Academie Chapter XIV (Verdi): 'Sant' Agata' vs. 'Sant'Agata' 'Apeninnes' vs. 'Apennines' 'Corsia di Servi' vs. 'Corsia dei Servi' Chpater XXI (McDowell): Frankfort vs. Frankfurt (Germany) Peterboro vs. Peterborough (New Hampshire) * * * * * b. Spelling errors found, not corrected: beseiged (besieged); Esterhazy (spelled unaccented twice) vs. Esterhazy (spelled with accent 6 times) Carreno vs. Carreno (Teresa; each spelling used once.) Academie (Academie) Scandanavia (Scandinavia) * * * * * c. Obvious spelling errors corrected: Lueneberg (in 1 place) to Lueneburg (this spelling found in 3 places) Febuary to February (One day in February ...); obsorbed to absorbed (... soon became so absorbed ...); polish to Polish (... a Polish emigre ...); Intrumental to Instrumental (Instrumental music no longer satisfied ...); Opportunties to opportunities (... greater opportunties for an ambitious ...); financee to fiancee (... assisted by his financee ...); turing to turning (... turing his hair ...) * * * * * d. Chapter numbers (Roman numerals) omitted for start of chapters on Toscanini, Stokowski and Koussevitzky, but were present in the Table of Contents; so the proper numbers (XXIII, XXIV, XXV) were entered in the proper places.] End of Project Gutenberg's The World's Great Men of Music, by Harriette Brower *** END OF THIS PROJECT GUTENBERG EBOOK THE WORLD'S GREAT MEN OF MUSIC *** ***** This file should be named 13291.txt or 13291.zip ***** This and all associated files of various formats will be found in: http://www.gutenberg.net/1/3/2/9/13291/ Produced by Ronald Holder and PG Distributed Proofreaders Updated editions will replace the previous one--the old editions will be renamed. Creating the works from public domain print editions means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this l
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