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PostgreSQL: Up and Running
Regina Obe and Leo Hsu
Beijing • Cambridge • Farnham • Köln • Sebastopol • Tokyo
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PostgreSQL: Up and Running
by Regina Obe and Leo Hsu
Copyright © 2012 Regina Obe and Leo Hsu. All rights reserved.
Printed in the United States of America.
Published by O’Reilly Media, Inc., 1005 Gravenstein Highway North, Sebastopol, CA 95472.
O’Reilly books may be purchased for educational, business, or sales promotional use. Online editions
are also available for most titles (http://my.safaribooksonline.com). For more information, contact our
corporate/institutional sales department: 800-998-9938 or corporate@oreilly.com.
Editor: Meghan Blanchette
Production Editor: Iris Febres
Proofreader: Iris Febres
Cover Designer: Karen Montgomery
Interior Designer: David Futato
Illustrator: Rebecca Demarest
Revision History for the First Edition:
2012-07-02 First release
See http://oreilly.com/catalog/errata.csp?isbn=9781449326333 for release details.
Nutshell Handbook, the Nutshell Handbook logo, and the O’Reilly logo are registered trademarks of
O’Reilly Media, Inc. PostgreSQL: Up and Running, the image of the elephant shrew, and related trade
dress are trademarks of O’Reilly Media, Inc.
Many of the designations used by manufacturers and sellers to distinguish their products are claimed as
trademarks. Where those designations appear in this book, and O’Reilly Media, Inc., was aware of a
trademark claim, the designations have been printed in caps or initial caps.
While every precaution has been taken in the preparation of this book, the publisher and authors assume
no responsibility for errors or omissions, or for damages resulting from the use of the information con-
tained herein.
ISBN: 978-1-449-32633-3
[LSI]
1341247831

Table of Contents
Preface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ix
1. The Basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Where to Get PostgreSQL 1
Notable PostgreSQL Forks 1
Administration Tools 2
What’s New in Latest Versions of PostgreSQL? 3
Why Upgrade? 4
What to Look for in PostgreSQL 9.2 4
PostgreSQL 9.1 Improvements 5
Database Drivers 5
Server and Database Objects 6
Where to Get Help 8
2. Database Administration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Configuration Files 9
The postgresql.conf File 10
The pg_hba.conf File 12
Reload the Configuration Files 14
Setting Up Groups and Login Roles (Users) 14
Creating an Account That Can Log In 15
Creating Group Roles 15
Roles Inheriting Rights 15
Databases and Management 16
Creating and Using a Template Database 16
Organizing Your Database Using Schemas 16
Permissions 17
Extensions and Contribs 18
Installing Extensions 19
Common Extensions 21
Backup 22
iii

Selective Backup Using pg_dump 23
Systemwide Backup Using pg_dumpall 24
Restore 24
Terminating Connections 24
Using psql to Restore Plain Text SQL backups 25
Using pg_restore 26
Managing Disk Space with Tablespaces 27
Creating Tablespaces 27
Moving Objects Between Tablespaces 27
Verboten 27
Delete PostgreSQL Core System Files and Binaries 28
Giving Full Administrative Rights to the Postgres System (Daemon) Ac-
count 28
Setting shared_buffers Too High 29
Trying to Start PostgreSQL on a Port Already in Use 29
3. psql . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31
Interactive psql 31
Non-Interactive psql 32
Session Configurations 33
Changing Prompts 34
Timing Details 35
AUTOCOMMIT 35
Shortcuts 36
Retrieving Prior Commands 36
psql Gems 36
Executing Shell Commands 37
Lists and Structures 37
Importing and Exporting Data 38
Basic Reporting 39
4. Using pgAdmin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Getting Started 43
Overview of Features 43
Connecting to a PostgreSQL server 44
Navigating pgAdmin 44
pgAdmin Features 45
Accessing psql from pgAdmin 45
Editing postgresql.conf and pg_hba.conf from pgAdmin 47
Creating Databases and Setting Permissions 47
Backup and Restore 48
pgScript 51
Graphical Explain 54
iv | Table of Contents

Job Scheduling with pgAgent 55
Installing pgAgent 55
Scheduling Jobs 56
Helpful Queries 57
5. Data Types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Numeric Data Types 59
Serial 59
Generate Series Function 60
Arrays 60
Array Constructors 60
Referencing Elements in An Array 61
Array Slicing and Splicing 61
Character Types 62
String Functions 63
Splitting Strings into Arrays, Tables, or Substrings 63
Regular Expressions and Pattern Matching 64
Temporal Data Types 65
Time Zones: What It Is and What It Isn’t 66
Operators and Functions for Date and Time Data Types 68
XML 70
Loading XML Data 70
Querying XML Data 70
Custom and Composite Data Types 71
All Tables Are Custom 71
Building Your Own Custom Type 71
6. Of Tables, Constraints, and Indexes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73
Tables 73
Table Creation 73
Multi-Row Insert 75
An Elaborate Insert 75
Constraints 77
Foreign Key Constraints 77
Unique Constraints 78
Check Constraints 78
Exclusion Constraints 79
Indexes 79
PostgreSQL Stock Indexes 79
Operator Class 81
Functional Indexes 81
Partial Indexes 82
Multicolumn Indexes 82
Table of Contents | v

7. SQL: The PostgreSQL Way . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
SQL Views 85
Window Functions 87
Partition By 88
Order By 89
Common Table Expressions 90
Standard CTE 91
Writeable CTEs 92
Recursive CTE 92
Constructions Unique to PostgreSQL 93
DISTINCT ON 93
LIMIT and OFFSET 94
Shorthand Casting 94
ILIKE for Case Insensitive Search 94
Set Returning Functions in SELECT 95
Selective DELETE, UPDATE, and SELECT from Inherited Tables 95
RETURNING Changed Records 96
Composite Types in Queries 96
8. Writing Functions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
Anatomy of PostgreSQL Functions 99
Function Basics 99
Trusted and Untrusted Languages 100
Writing Functions with SQL 101
Writing PL/pgSQL Functions 103
Writing PL/Python Functions 103
Basic Python Function 104
Trigger Functions 105
Aggregates 107
9. Query Performance Tuning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111
EXPLAIN and EXPLAIN ANALYZE 111
Writing Better Queries 113
Overusing Subqueries in SELECT 114
Avoid SELECT * 116
Make Good Use of CASE 116
Guiding the Query Planner 118
Strategy Settings 118
How Useful Is Your Index? 118
Table Stats 120
Random Page Cost and Quality of Drives 120
Caching 121
vi | Table of Contents

10. Replication and External Data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123
Replication Overview 123
Replication Lingo 123
PostgreSQL Built-in Replication Advancements 124
Third-Party Replication Options 125
Setting Up Replication 125
Configuring the Master 125
Configuring the Slaves 126
Initiate the Replication Process 127
Foreign Data Wrappers (FDW) 127
Querying Simple Flat File Data Sources 128
Querying More Complex Data Sources 128
Appendix: Install, Hosting, and Command-Line Guides . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131
Table of Contents | vii

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Preface
PostgreSQL is an open source relational database management system that began as a
University of California, Berkeley project. It was originally under the BSD license, but
is now called the PostgreSQL License (TPL). For all intents and purposes, it’s BSD
licensed. It has a long history, almost dating back to the beginning of relational data-
bases.
It has enterprise class features such as SQL windowing functions, the ability to create
aggregate functions and also utilize them in window constructs, common table and
recursive common table expressions, and streaming replication. These features are
rarely found in other open source database platforms, but commonly found in newer
versions of the proprietary databases such as Oracle, SQL Server, and IBM DB2. What
sets it apart from other databases, including the proprietary ones we just mentioned,
is the ease with which you can extend it without changing the underlying base—and
in many cases, without any code compilation. Not only does it have advanced features,
but it performs them quickly. It can outperform many other databases, including pro-
prietary ones for many types of database workloads.
In this book, we’ll expose you to the advanced ANSI-SQL features that PostgreSQL
offers. and the unique features PostgreSQL has that you won’t find in other databases.
If you’re an existing PostgreSQL user or have some familiarity with PostgreSQL, we
hope to show you some gems you may have missed along the way; or features found
in newer PostgreSQL versions that are not in the version you’re using. If you have used
another relational database and are new to PostgreSQL, we’ll show you some parallels
with how PostgreSQL handles tasks compared to other common databases, and
demonstrate feats you can achieve with PostgreSQL that are difficult or impossible to
do in other databases. If you’re completely new to databases, you’ll still learn a lot about
what PostgreSQL has to offer and how to use it; however, we won’t try to teach you
SQL or relational theory. You should read other books on these topics to take the
greatest advantage of what this book has to offer.
This book focuses on PostgreSQL versions 9.0 to 9.2, but we will cover some unique
and advanced features that are also present in prior versions of PostgreSQL.
ix

What Makes PostgreSQL Special and Why Use It?
PostgreSQL is special because it’s not just a database: it’s also an application platform
—and an impressive one at that.
PostgreSQL allows you to write stored procedures and functions in several program-
ming languages, and the architecture allows you the flexibility to support more lan-
guages. Example languages that you can write stored functions in are SQL (built-in),
PL/pgSQL (built-in), PL/Perl, PL/Python, PL/Java, and PL/R, to name a few, most of
which are packaged with many distributions. This support for a wide variety of lan-
guages allows you to solve problems best addressed with a domain or more procedural
language; for example, using R statistics functions and R succinct domain idioms to
solve statistics problems; calling a web service via Python; or writing map reduce con-
structs and then using these functions within an SQL statement.
You can even write aggregate functions in any of these languages that makes the com-
bination more powerful than you can achieve in any one, straight language environ-
ment. In addition to these languages, you can write functions in C and make them
callable, just like any other stored function. You can have functions written in several
different languages participating in one query. You can even define aggregate functions
with nothing but SQL. Unlike MySQL and SQL Server, no compilation is required to
build an aggregate function in PostgreSQL. So, in short, you can use the right tool for
the job even if each sub-part of a job requires a different tool; you can use plain SQL
in areas where most other databases won’t let you. You can create fairly sophisticated
functions without having to compile anything.
The custom type support of PostgreSQL is sophisticated and very easy to use, rivaling
and often outperforming most other relational databases. The closest competitor in
terms of custom type support is Oracle. You can define new data types in PostgreSQL
that can then be used as a table column. Every data type has a companion array type
so that you can store an array of a type in a data column or use it in an SQL statement.
In addition to the ability of defining new types, you can also define operators, functions,
and index bindings to work with these. Many third-party extensions for PostgreSQL
take advantage of these fairly unique features to achieve performance speeds, provide
domain specific constructs to allow shorter and more maintainable code, and accom-
plish tasks you can only fantasize about in other databases.
If building your own types and functions is not your thing, you have a wide variety of
extensions to choose from, many of which are packaged with PostgreSQL distros.
PostgreSQL 9.1 introduced a new SQL construct, CREATE EXTENSION, which allows you
toinstallthemanyavailableextensionswithasingleSQLstatementforeachinaspecific
database. With CREATE EXTENSION, you can install in your database any of the afore-
mentioned PL languages and popular types with their companion functions and oper-
ators,likehstore,ltree,postgis,andcountlessothers.Forexample,toinstallthepopular
PostgreSQL key-value store type and its companion functions and operators, you
would type:
x | Preface

CREATE EXTENSION hstore;
In addition, there is an SQL command you can run—sect_extensions—to see the list
of available and installed extensions.
Many of the extensions we mentioned, and perhaps even the languages we discussed,
may seem like arbitrary terms to you. You may recognize them and think, “Meh, I’ve
seenPython,andI’veseenPerl...Sowhat?”Aswedelvefurther,wehopeyouexperience
the same “WOW” moments we have come to appreciate with our many years of using
PostgreSQL. Each update treats us to new features, eases usability, brings improve-
ments in speed, and pushes the envelope of what is possible with a database. In the
end, you will wonder why you ever used any other relational database, when Post-
greSQL does everything you could hope for—and does it for free. No more reading the
licensing cost fine print of those other databases to figure out how many dollars you
need to spend if you have 8 cores on your server and you need X,Y, Z functionality,
and how much it will cost you when you get 16 cores.
On top of this, PostgreSQL works fairly consistently across all supported platforms. So
if you’re developing an app you need to resell to customers who are running Linux,
Mac OS X, or Windows, you have no need to worry, because it will work on all of them.
There are binaries available for all if you’re not in the mood to compile your own.
Why Not PostgreSQL?
PostgreSQLwasdesignedfromthegrounduptobeaserver-sidedatabase.Manypeople
douse itonthedesktop similarlytohowthey useSQLServerExpressorOracleExpress,
but just like those it cares about security management and doesn’t leave this up to the
application connecting to it. As such, it’s not ideal as an embeddable database, like
SQLite or Firebird.
Sadly, many shared-hosts don’t have it pre-installed, or have a fairly antiquated version
of it. So, if you’re using shared-hosting, you’re probably better off with MySQL. This
may change in the future. Keep in mind that virtual, dedicated hosting and cloud server
hosting is reasonably affordable and getting more competitively priced as more ISPs
are beginning to provide them. The cost is not that much more expensive than shared
hosting, and you can install any software you want on them. Because of these options,
these are more suitable for PostgreSQL.
PostgreSQL does a lot and a lot can be daunting. It’s not a dumb data store; it’s a smart
elephant. If all you need is a key value store or you expect your database to just sit there
and hold stuff, it’s probably overkill for your needs.
For More Information on PostgreSQL
This book is geared at demonstrating the unique features of PostgreSQL that make it
stand apart from other databases, as well as how to use these features to solve real world
Preface | xi

problems. You’ll learn how to do things you never knew were possible with a database.
Aside from the cool “Eureka!” stuff, we will also demonstrate bread-and-butter tasks,
such as how to manage your database, how to set up security, troubleshoot perfor-
mance, improve performance, and how to connect to it with various desktop, com-
mand-line, and development tools.
PostgreSQL has a rich set of online documentation for each version. We won’t endeavor
to repeat this information, but encourage you to explore what is available. There are
over 2,250 pages in the manuals available in both HTML and PDF formats. In addition,
fairly recent versions of these online manuals are available for hard-copy purchase if
you prefer paper form. Since the manual is so large and rich in content, it’s usually split
into a 3-4 volume book set when packaged in hard-copy form.
Below is a list of other PostgreSQL resources:
• Planet PostgreSQL is a blog aggregator of PostgreSQL bloggers. You’ll find Post-
greSQL core developers and general users show-casing new features all the time
and demonstrating how to use existing ones.
• PostgreSQL Wiki provides lots of tips and tricks for managing various facets of the
database and migrating from other databases.
• PostgreSQL Books is a list of books that have been written about PostgreSQL.
• PostGIS in Action Book is the website for the book we wrote on PostGIS, the spatial
extender for PostgreSQL.
Conventions Used in This Book
The following typographical conventions are used in this book:
Italic
Indicates new terms, URLs, email addresses, filenames, and file extensions.
Constant width
Used for program listings, as well as within paragraphs to refer to program elements
such as variable or function names, databases, data types, environment variables,
statements, and keywords.
Constant width bold
Shows commands or other text that should be typed literally by the user.
Constant width italic
Shows text that should be replaced with user-supplied values or by values deter-
mined by context.
This icon signifies a tip, suggestion, or general note.
xii | Preface

This icon indicates a warning or caution.
Using Code Examples
This book is here to help you get your job done. In general, you may use the code in
this book in your programs and documentation. You do not need to contact us for
permission unless you’re reproducing a significant portion of the code. For example,
writing a program that uses several chunks of code from this book does not require
permission. Selling or distributing a CD-ROM of examples from O’Reilly books does
require permission. Answering a question by citing this book and quoting example
code does not require permission. Incorporating a significant amount of example code
from this book into your product’s documentation does require permission.
We appreciate, but do not require, attribution. An attribution usually includes the title,
author, publisher, and ISBN. For example: “PostgreSQL: Up and Running by Regina
Obe and Leo Hsu (O’Reilly). Copyright 2012 Regina Obe and Leo Hsu,
978-1-449-32633-3.”
If you feel your use of code examples falls outside fair use or the permission given above,
feel free to contact us at permissions@oreilly.com.
Safari® Books Online
Safari Books Online (www.safaribooksonline.com) is an on-demand digital
library that delivers expert content in both book and video form from the
world’s leading authors in technology and business.
Technology professionals, software developers, web designers, and business and cre-
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Safari Books Online offers a range of product mixes and pricing programs for organi-
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of books, training videos, and prepublication manuscripts in one fully searchable da-
tabasefrompublisherslikeO’ReillyMedia,PrenticeHallProfessional,Addison-Wesley
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Wiley & Sons, Syngress, Morgan Kaufmann, IBM Redbooks, Packt, Adobe Press, FT
Press, Apress, Manning, New Riders, McGraw-Hill, Jones & Bartlett, Course Tech-
nology, and dozens more. For more information about Safari Books Online, please visit
us online.
Preface | xiii

How to Contact Us
Please address comments and questions concerning this book to the publisher:
O’Reilly Media, Inc.
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We have a web page for this book, where we list errata, examples, and any additional
information. You can access this page at:
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xiv | Preface

CHAPTER 1
The Basics
In this chapter, we’ll cover the basics of getting started with PostgreSQL. This includes
where to get binaries and drivers, what’s new and exciting in the latest 9.2 release,
common administration tools, PostgreSQL nomenclature, and where to turn for help.
Where to Get PostgreSQL
Years ago, if you wanted PostgreSQL, you had to compile it from source. Thankfully,
those days are gone. Granted, you can still compile should you so choose, but most
users nowadays get their PostgreSQL with a prepackaged installer. A few clicks or
keystrokes, and you’re on your way in 10 minutes or less.
If you’re installing PostgreSQL for the first time and have no existing database to up-
grade, you should always install the latest stable release version for your OS. http://www
.postgresql.org/download maintains a listing of places where you can download
PostgreSQL binaries. In “Installation Guides and Distributions” on page 131, you’ll
find installation guides and some other additional custom distributions that people
we’ve talked to seem to like.
Notable PostgreSQL Forks
The fact that PostgreSQL has MIT/BSD style licensing makes it a great candidate for
forking. Various groups have done exactly that over the years., and some have con-
tributed their changes. Netezza, a popular database choice for data warehousing work-
loads, in its inception was a PostgreSQL fork. GreenPlum, used for data warehousing
and analyzing petabytes of information, was a spinoff of Bizgres, which was a commu-
nity-driven spinoff of PostgreSQL focused on Big Data. PostgreSQL Advanced Plus by
EnterpriseDb is a fork of the PostgreSQL codebase—it adds Oracle syntax and com-
patibility features to woo Oracle users. EnterpriseDb does provide funding to the Post-
greSQL community, and for this we’re grateful.
1
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Other documents randomly have
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Beyer, Dr.: Letter to, II, 259.
Bigot, Librarian of Count Rasoumowsky: II, 73, 125, 146;
his wife, Marie, II, 84, 146.
Bihler, J. N.: III, 156.
Biographers of B.: Early, III, 197 et seq.
“Biographische Notizen.” (See “Wegeler, F. G.” and “Ries,
Ferdinand.”)
Birchall, Robert, English publisher: II, 319, 324, 325;
difficulty in getting a receipt from B., 355, et seq., 345, 350, 346,
359;
death of, 351;
and the overtures bought by the Philharmonic Society, 337.
Birkenstock, Joseph Melchior: II, 178;
Antonie, II, 179.
Blahetka, Leopoldine: III, 50, 138, 157.
Bland, Mrs., English singer: II, 310.
“Blendwerk, Das” (“La fausse Magie”): Opera by Grétry, I, 107.
Blöchlinger, Joseph Karl: III, 7, 23. (See Guardianship under
“Beethoven, Ludwig van,” and “Beethoven, Karl.”)
Boer, S. M. de: Visits B., III, 203.
Bohemian Nobility: Musical culture of the, I, 168.
Böhm, Violinist: Plays the Quartet Op. 127, III, 192, 193;

torchbearer at B’s funeral, III, 312.
Böhm’s Theatrical Company: I, 86.
Bolla, Signora: B. plays at her concert, I, 191.
Bonaparte, Jerome: I, 190; II, 122;
invites B. to his court, 124, 135 et seq.
Bonaparte, Louis, King of Holland: II, 245, 247.
Bonaparte, Napoleon: Threatens invasion of Vienna, I, 199, 200;
the “Eroica,” 213; II, 24;
B’s remark: “I would conquer him!” 117;
neglects opportunity to hear the “Eroica,” 149;
marches on Moscow, 221;
holds court at Dresden, 221;
effect of his downfall, 295;
and Cherubini, III, 206.
Bonn, City of: Festival in 1838, I, xvii;
selected as Electoral residence, 3;
besieged by Marlborough, 6;
restored to archbishopric of Cologne, 6;
improved by Elector Clemens August, 7;
the Comedy House, 30;
professional and amateur musicians in B’s time, 31;
appearance of the city, 38 et seq.;
Beethovens in before the arrival of the composer’s grandfather,
44;
music in Max Franz’s reign, 88;
theatrical companies, 112;
B’s friends, 117, 125, 126;
B. leaves the city forever, 125;
B’s compositions in, 129 et seq.;
Beethoven Festival of 1845, II, 177.

Boosey, Music publisher in London: III, 111, 128;
makes contract with B. through Ries, 128.
Born, Baroness: III, 42.
Boston Handel and Haydn Society: Commissions B. to write an
oratorio, III, 87.
Botticelli, Singer: III, 169.
Bouilly, J. N.: His opera-texts, II, 36.
Bowater, Mrs.: I, 134, 145;
III, 40.
“Bradamante”: Opera-book by Collin, II, 19.
Brahms, Johannes: Confirms authenticity of Bonn cantatas, I,
131;
comment on the compositions of royal personages, III, 20.
Brauchle: Tutor of Count Erdödy’s children, I, 320;
II, 317.
Braun, Baron: I, 168;
invites the Rombergs to give a concert, 199, 244, 290, 348, 350;
engages Ries at B’s solicitation, 360;
engages Cherubini to compose operas, II, 3;
dismisses Schikaneder, 23, 34, 35;
withdraws “Fidelio,” 63;
ends his management of the Theater-an-der-Wien, 78.
—Baroness, I, 225, 244;
dedication of the Horn Sonata, 290.
Braunhofer, Dr.: Dedication of the “Abendlied,” III, 50, 199;

canon for, 200, 219, 373;
declines call to B., 272, 274.
Breimann: II, 125.
Breitkopf and Härtel: Acquire publication rights of this biography,
I, xv;
employ Dr. Riemann to revise German edition, xv;
B’s letters to, I, 286, 294, 348, 349, 364, 369;
II, 66, 67, 142, 148, 192, 198, 200, 204, 206;
B. offers them all his works, 67;
attempt to renew association with B., III, 73.
Brentano, Antonie: II, 322;
III, 128.
Brentano, Clemens: II, 196, 222.
Brentano, Elizabeth: (See Arnim, Bettina von)
Brentano, Franz: II, 179, 186;
B. borrows money from, III, 39, 45, 46, 47;
loan repaid, 64, 184.
Brentano, Maximiliane: II, 179, 180, 221.
Brentano, Sophie: II, 179.
Breuning, Christoph von: I, 98, 99;
Christoph (son), I, 198, 303.
Breuning, Eleonore Brigitte von: Wife of Franz Gerhard Wegeler,
I, 99, 118, 119;
lines on B’s birthday, 122;
inscription in his album, 125, 138, 300;
III, 214, 288.

Breuning, Emmanuel Joseph von: I, 98.
Breuning, Georg Joseph von: I, 98.
Breuning, Dr. Gerhard: Visited by Thayer, I, xi 96, 99, 100, 300;
opinion of B’s brother Karl, II, 322, 362;
description of Johann van B., III, 66;
B’s interest in him as a lad, III, 214;
on B’s last illness, 247;
on the medical treatment of B., 287, 300.
Breuning, Johann Lorenz von: I, 98.
Breuning, Johann Philipp von: I, 98.
Breuning, Johann Lorenz (Lenz) von: I, 99, 119, 198;
reports to Romberg about B., 199;
B’s lines in his album, 201, 202.
Breuning, Madame von: I, 99;
selects B. as teacher for her children, 100;
influence over B., 100, 188, 119, 303;
death of, 100;
dedication of the pianoforte arrangement of the Violin Concerto,
II, 134.
Breuning, Marie von: III, 213.
Breuning, Stephen von: I, 99;
intimacy with B., 119, 191, 198;
returns to Vienna, 288, 301;
B. advises his employment by the Teutonic Order, 303;
his relations with B. in Vienna, 310 et seq.;
B’s injustice toward him, 311.
—II, becomes clerk in Austrian war department, 14;

quarrels with B., 27 et seq.;
reconciliation, 32;
receives miniature from B., 33;
poem for the second performance of “Fidelio,” 61;
letter concerning the opera, 57;
B’s concern for his health, 155;
death of his wife, 155;
dedication of the Violin Concerto, 162;
warns B. against his brother Karl, 322.
—III, 24, 197;
intimacy with B resumed, 213;
persuades B. to resign guardianship, 264;
objects to unqualified bequest to Nephew Karl, 279;
finds B’s bank stock and the love-letter, 376.
Bridgetower, George Augustus Polgreen, Violinist: I, 186;
his career, II, 8 et seq.;
his notes on the “Kreutzer Sonata,” 10.
Bridi, Joseph Anton: II, 391.
British Museum: Sketches in I, 205, 206, 209, 210, 261.
Broadwood, Thomas:
Presents pianoforte to B., II, 390 et seq.; III, 201, 237.
Browne, Count: I, 199;
B. calls him his “first Mæcenas,” 222, 244; II, 20.
—Countess, I, 200, 209, 227, 244.
Brühl, Count: III, 153.
Brunswick, Count Franz: I, 322;
the Rasoumowsky quartets, II, 104;
letters from B., 105, 124, 202, 219, 245, 266;
ruined by theatrical management, 154;

dedication of Fantasia Op. 77, 195; III, 24, 170;
offers summer sojourn in Hungary to B., 179.
Brunswick, Count Géza: I, 340, 341.
Brunswick, Countess Marie: I, 340.
Brunswick, Countess Therese: I, xvi, 279;
her relations with B., 317, 322, 335 et seq.;
sends her portrait to B., 335;
B’s message to her brother, “Kiss your sister Therese,” II, 105,
161, 173;
dedication of the Sonata Op. 78, 195;
portrait of, 202;
letter to, 203, 239.
Bryant, William Cullen: Quoted I, 252.
Buda-Pesth: National Museum of, gets B’s Broadwood pianoforte,
II, 392.
“Buona Figliuola, La”: Opera by Piccini, I, 25, 32.
Burbure, Léon: Supplies information concerning the Belgian
Beethovens, I, 42.
Bureau d’Arts et Industrie: Established, II, 35.
Burney, Dr. Charles: “Present State, etc.,” quoted, I, 174.
Cache, Singer at first performance of “Fidelio”, II, 51.
Cäcilien-Verein of Frankfort: Subscription to the Mass in D, III,
104, 106, 110, 180.

“Calamità di Cuori, La”: Opera by Galuppi, I, 26.
Caldara: Opera “Gioas, Re di Giuda,” I, 184.
Campbell, Thomas: “The Battle of the Baltic,” II, 203.
Capponi, Marchese: I, 341.
Carlyle, Thomas: II, 360.
Carpani:
Italian text for Haydn’s “Creation,” II, 116;
introduces Rossini to B., 360.
Carriere, Moriz: Dubious of the genuineness of B’s letters to
Bettina von Arnim, II, 185.
Cassel: B. invited to become chapelmaster at, II, 122, 124, 135 et
seq., 141.
Cassentini, Dancer: I, 285.
Castelli:
On failure of the Concerto in E-flat, II, 215;
torchbearer and poet at B’s funeral, III, 312.
Castlereagh, Viscount: II, 291.
Catalani: II, 310.
Catalogue, Classified, of B’s works: II, 38.
Catherine II, Empress of Russia: II, 81.
Champein: I, 86.

Channing: B. asks for full report of speech on his death-bed, III,
283.
Chantavoine, Jean: I, 211, 228, 337.
Chappell, Music publisher in London: II, 413.
Charles XIV (Bernadotte), King of Sweden: III, 130.
Cherubini, Luigi:
On B’s playing, I, 220, 324;
engaged to compose operas for Vienna, II, 3, 47;
B’s respect for, 48;
opinion of “Fidelio,” 63, 64, 202;
“Les deux Journées,” II, 3, 36; III, 139;
“Lodoiska,” II, 3;
“Elise,” 3;
“Medea,” 3;
“Faniska,” 110;
asked by B. to urge subscription to Mass on King of France, III,
100, 126;
on B. and Mozart, 205;
Schlesinger on, 206;
on B’s quartets, 216;
his “Requiem” sung at B’s funeral, 312.
Cherubini, Madame: On B’s social conduct, I, 121.
Chorley, Henry F.: Receives and publishes B’s letter to Bettina von
Arnim, II, 182, 184, 316.
Churchill, John, Earl of Marlborough: I, 6.
Church Music: B’s views on, III, 203.
Cibbini, Antonia: B’s offer of marriage to, III, 205, 207.

Cimarosa, Domenico:
“L’Italiana in Londra,” I, 32;
“Il Matrimonio segreto,” 164.
Clam-Gallas, Count Christian: I, 194.
Clari, Countess Josephine di: I, 194.
Clemens August, Elector of Cologne: I, 1;
his extravagance, 7;
succeeds to the Electorship, 7;
career of, 7;
life in Rome, 8;
Grand Master of the Teutonic Order, 7, 98;
opens strong-box of the Order, 8;
falls ill while dancing and dies, 7, 8;
entry into Bonn, 9;
his music-chapel, 9;
appoints Van den Eeden Court Organist, 10;
increases salary of B’s grandfather, 10;
music in his reign, 14;
his theatre, 30;
appoints B’s grandfather Court Musician, 43.
Clement, Franz, Violinist: II, 2;
conductor, 42;
B’s Violin Concerto, 76;
succeeds Häring as conductor in Vienna, 112;
produces “Mount of Olives,” 156, 209, and the Ninth Symphony,
III, 157 et seq.
Clementi, Muzio: I, 33;
encounter between him and B., II, 23, 38, 75;
contract with B. for compositions, 102;
tardy payment of debt, 131, 158;

B. on his pianoforte studies, 375;
B. sends them to Gerhard von Breuning, III, 214.
Collard, F. W., Partner of Clementi: II, 102, 103.
Collin, von:
“Coriolan,” II, 101, 102;
“Bradamante,” II, 119;
“Macbeth,” II, 119, 151;
“Jerusalem Delivered,” II, 119, 151;
Letter to, II, 149;
asked to write a drama for Pesth, 88, 201.
Cologne:
Electors of in the 18th century, I, 1 et seq.;
Archbishop Engelbert, 3;
civil income of Electorate, 7.
“Colonie, Die” (“L’Isola d’Amore”): Opera by Sacchini, I, 108.
Complete Editions of B’s Works planned: II, 18, 38, 192; III, 36,
54, 190, 205, 237;
Archduke Rudolph’s Collection, II, 200.
Congress of Vienna: II, 288, 289.
Consecutive Fifths: B’s dictum on II, 89.
“Contadina in Corte, La”: Opera by Sacchini, I, 26.
Conti: I, 282; II, 2.
“Convivo, Il”: Opera by Cimarosa, I, 107.
“Corsar aus Liebe”: Opera by Weigl, I, 268; II, 2.

Courts of Europe: Invited to subscribe to the Mass in D, III, 93 et
seq.
Court Composers: Their duties in the 18th century, I, 13.
Court Theatres of Vienna: B. asks appointment as composer for,
II, 98.
Cramer, F., Violinist: I, 186; II, 12.
Cramer, John Baptist: I, 186;
sketch of, 218, 219;
makes B’s acquaintance, 218;
his admiration for B., 219;
on B’s playing, 210; II, 318;
B’s opinion of him as pianist, 381.
“Creation, The,” Haydn’s oratorio: I, 243, 266, 282, 284, 285; II,
89, 116, 120;
receives the first metronomic marks, 223.
Cressner, George, English Ambassador at Bonn: I, 65.
Cromwell: I, viii; II, 360.
Czapka: Magistrate to whom B. appeals, III, 265.
Czartoryski, Prince: I, 271.
Czernin, Count: I, 172.
Czerny, Carl: I, 85;
anecdote about B. and Gelinek, 152;
on B’s extempore playing, 196;
use of high registers of pianoforte, 223, 236;
pupil of B., 314;

duet playing with Ries, 314;
testimonial from B., 315;
memory of, 315;
rebuked by B. for changing his music, 316;
letters, 316, 322;
on the reception of the “Eroica,” II, 35;
on the Rasoumowsky Quartets, 75;
on B’s playing and teaching, 90;
on B’s character, 91;
on the theme of the Credo in the Mass in C, 107;
on the first performance of the Choral Fantasia, 130, 215, 314;
rebuked by B. for changing his music, 337;
letter, 338;
B’s advice as to instruction of Nephew Karl, 374;
inaccuracies as biographer, 376;
visits B., III, 203;
torchbearer at B’s funeral, 312.
Czerny, Wenzel: I, 236.
Czerwensky, Oboist: I, 239.
Dalayrac: Operas “Nina,” I, 107, 108;
“Les deux petits Savoyards,” 109.
Danhauser: Makes bust of B., II, 221;
death-mask, III, 310.
Dardanelli, Singer: III, 77, 169.
Decker: Makes crayon drawing of B., III, 176.
Degen, Aëronaut: III, 62.
Deiters, Dr. Hermann, German translator of Thayer’s work: I,

Dedication; 88;
writes conclusion of the biography, xv, 75, 103;
discusses date of a letter to Wegeler, 177;
on the C-sharp minor Sonata, 292;
B’s letters to Bettina von Arnim, II, 197;
B’s conduct towards Simrock, III, 53.
De la Borde: Opera “Die Müllerin,” I, 109.
Deler (Teller, Deller?): “Eigensinn und Launen der Liebe,” opera, I,
31.
Dembscher: III, 193;
canon, “Muss es sein?” 224, 244.
Demmer: Singer at first performance of “Fidelio,” II, 50, 61; III, 83.
Demmer, Joseph: Petitions for the post of B’s grandfather, I, 22;
appointed, 23.
Denmark, King of: Subscribes for the Mass in D, III, 102, 105.
Desaides: Opera “Julie,” I, 29, 107;
“Die Reue vor der That,” 32;
his operas in Bonn, 86;
“Les trois Fermiers,” 107.
Descriptive Music: B. and, II, 120.
“Déserteur, Le”: Opera by Monsigny, I, 31, 46.
Dessauer, Joseph: Buys autograph score of “Eroica,” II, 24.
“Deux Journées, Les”: Opera by Cherubini, II, 3; III, 139.
Devenne: “Battle of Gemappe,” II, 252.

Deym, Countess Isabelle: I, 342; II, 105.
Deym, Countess Josephine: I, 279, 322, 342; II, 203.
Diabelli, Anton: II, 314;
III, negotiations with B. 107;
variations on his waltz, 127 et seq.;
commissions Sonata for four hands, 183.
Dickens, Mrs., English singer: II, 310.
“Die beiden Caliphen”: Opera by Meyerbeer, II, 297.
“Die Müllerin”: Opera by De la Borde, I, 109.
Dietrichstein, Count: Tries to have B. appointed Imperial Court
Composer, III, 115;
sends B. texts for missal hymns, 116.
Dittersdorf: Operas “Doktor und Apotheker,” I, 108, 109;
“Hieronymus Knicker,” 109;
“Das rothe Käppchen,” 109, 139, 176, 183.
Dobbeler, Abbé Clemens: Carries Trio Op. 3 to England, I, 134,
145.
Dobbler’s Dramatic Company: I, 28.
“Dr. Murner”: Opera by Schuster, I, 108.
“Doktor und Apotheker”: Opera by Dittersdorf, I, 108, 109.
Doležalek, Johann Emanuel: I, 239;
sketch of, 368;
on the first performance of the Choral Fantasia, II, 130; III, 294.

Donaldson, Edinburgh publisher: III, 42.
“Don Giovanni”: Opera by Mozart, I, 91, 107, 163, 193; II, 204;
III, 42.
“Donne sempre Donne, Le”: Opera by Lucchesi, I, 26.
Dont, Jacob: II, 399.
Dont, Joseph Valentine: II, 399.
Donzelli, Singer: III, 169.
“Dorfbarbier, Der”: Opera by Hiller, I, 36.
“Dorfdeputirten, Die”: Opera by Schubauer, I, 109.
Dousmoulin. (See Touchemoulin.)
“Dragomira”: Drama by Grillparzer, III, 118, 120, 122.
Dragonetti, Domenico:
Makes B’s acquaintance, I, 218;
skill on double-bass, 218; II, 124;
Trio in Fifth Symphony, 126, 256;
recitatives in Ninth Symphony, III, 207.
Drama, German: Cultivated in the time of Max Friedrich, I, 28 et
seq.
Drechsler, Chapelmaster: III, 131;
pallbearer at B’s funeral, 312.
Dresden: B’s intended visit to, I, 192.

Drewer, Ferdinand, Violinist: I, 23, 24.
Drieberg, Baron F. J.: “Les Ruines de Babilone,” II, 202.
Drosdick, Baroness: II, 86.
Duncker, Friedrich: “Leonore Prohaska,” II, 298.
Duni: Opera, “Die Jäger und das Waldmädchen,” I, 29.
Duport: Director of the Kärnthnerthor Theatre, and the Ninth
Symphony, III, 157.
Duport, Pierre, Violoncellist: I, 195, 205.
Dürck, F.: His lithograph of Stieler’s portrait, III, 42.
Duschek, Madame: I, 194, 226.
Düsseldorf: Electoral archives at, I, 5.
Dutillier: Operas, “Nanerina e Pandolfo,” I, 165;
“Trionfo d’Amore,” 165.
Eberl, Anton: I, 172; II, 2.
Ecclesiastical States of Germany: Former, I, 1, 15.
Edwards, F. G.: His sketch of Bridgetower’s career, II, 11.
Egyptian Text: Preserved by B., II, 168.
“Ehrenpforte, Die”: Drama by Treitschke, II, 317.
“Eifersucht auf der Probe”: Opera by Anfossi, I, 32.

“Eifersüchtige Liebhaber, Der” (“L’Amant jaloux”): Opera by
Grétry, I, 31, 107.
“Eigensinn und Launen der Liebe”: Opera by Deler (?), I, 31.
“Einsprüche, Die”: Opera by Neefe, I, 36.
Electoral Chapels: Appointments in, I, 9.
Electors of Cologne: I, 1 et seq.
Ella, John: II, 12; III, 32.
Embel, F. X.: III, 142.
“Ende gut, Alles gut”: Opera by d’Antoine, I, 109.
Engelbert, Archbishop of Cologne: I, 3.
England: B’s plan to visit, II, 142;
his admiration for the English people and government, III, 36, 76,
181, 303;
court of, not invited to subscribe to Mass in D, 104, 112.
(See “Prince Regent.”)
English plays produced at Max Friedrich’s court: I, 29, 30, 31.
“Entführung aus dem Serail”: Opera by Mozart, I, 32, 107, 109.
Eppinger, Heinrich, Amateur violinist: I, 235, 274, 306; II, 2.
Eppinger, Dr. Joseph: II, 335.
Erard, Sébastien: Presents pianoforte to B., II, 21.

Erdödy, Count: I, 172;
continued friendship for B., II, 82, 215, 271.
Erdödy, Countess Marie: Said by Schindler to have been one of
B’s loves, I, 324;
sketch, II, 82, 124;
dedication of Trios Op. 70, 132;
proposes plan to keep B. in Vienna, 136, 141;
letter of apology from B., 144, 162, 315, 319;
B’s letter of condolence of death of her child, 339;
dedication of Op. 102, 357; III, 21;
dedication, 23.
Erk and Böhme: “Deutscher Liederhort,” I, 278.
“Erlkönig”: Song by Schubert, I, 230; III, 236.
Ernst, Violinist: Purchaser of the Heiligenstadt Will, I, 351;
and B’s last quartets, III, 139.
“Ernst und Lucinda” (“Eraste et Lucinde”): Opera by Grétry, I, 31.
Ertmann, Baroness Dorothea: Pupil of B., I, 322; II, 2, 83, 215;
B. consoles her grief by playing the pianoforte, 356;
dedication of Sonata Op. 101, 356, 365.
Esterhazy, Count Franz: I, 170.
Esterhazy, Prince Franz Anton: I, 172;
Princess, I, 172.
Esterhazy, Count Johann Nepomuk: I, 170.
Esterhazy, Prince Nicholas: I, 169; II, 98;
commissions B. to write a mass, 100;
letters from B., 107;

criticism of the Mass in C, 108, 116.
Esterhazy, Count Niklas: II, 98, 225.
Esterhazy, Prince Paul Anton: I, 166, 171, 189;
invited to subscribe to the Mass in D, III, 103.
Esterhazy, Princess: Dedication of the Marches Op. 45, I, 351; II,
40, 108.
“Esther”: Opera by S. F. A. Auber, I, 14.
“Euryanthe”: Opera by Weber, III, 139, 140.
“Évènements imprévus, Les”: Opera by Grétry, I, 32.
Ewer and Co.: III, 13.
Eybler, Joseph: I, 165;
B’s respect for him, 242;
pallbearer at B’s funeral, III, 312.
Facius, the Brothers: Amateurs in Bonn, I, 38.
Falsification of B’s age: I, 55, 70, 71.
“Falstaff, ossia le Tre Burli”: Opera by Salieri, I, 227.
“Faniska”: Opera by Cherubini, II, 110.
“Fassbinder, Der”: Opera by Oudinet, I, 29.
“Fausse Magie, La”: Opera by Grétry, I, 107.
“Faust,” Goethe’s: II, 119; III, 75, 220.

“Félix, ou l’Enfant trouvé”: Opera by Monsigny, I, 32, 109.
Felsburg, Count Stainer von: II, 338; III, 156.
“Fermiers, Les trois”: Opera by Desaides, I, 107.
Fidelissimo Papageno: Nickname for Schindler, III, 102.
“Fiesco”: Drama by Schiller, III, 117.
“Filosofo di Campagna”: Opera by Galuppi, I, 25.
Finanz-Patent, Austrian: Its effect on B’s annuity, II, 211 et seq.
“Finta Giardiniera, La”: Opera by Paisiello, I, 108.
Fischer, Cäcilie: I, xviii, 57, 58.
Fischer, Gottfried: I, xvii, 43, 47, 50, 51, 61, 66.
Fischer Manuscript: I, xvii, 43, 47, 50, 51, 61, 66.
Fischer: Opera, “Swetard’s Zaubergürtel,” II, 49.
Fodor, Singer: III, 121.
Fontaine, Mortier de: II, 73.
Forkel, J. N.: Biography of Bach, I, 303;
“History of Music in Examples,” II, 34.
Forray, Baron Andreas von: II, 220.
Förster, Emanuel Aloys: I, 172;
influences B’s chamber music, 273;

his son’s lessons from B., II, 31, 125, 315, 380.
Forti, Singer: II, 286.
Fouche, Mary de: I, 186.
Fouqué, Baron de la Motte: II, 330.
“Four Elements, The”: Oratorio planned by Kuffner, III, 219.
Fox, Mrs. Jabez: Acquires Thayer’s posthumous papers, I, xiv;
her copy of Mähler’s portrait of B., II, 16.
“Fra due Litiganti”: Opera by Sarti, I, 86, 109.
France, King of: Subscribes for Mass in D and strikes medal, III,
99, 105, 230.
Frank, Dr.: Treats B., I, 300.
Frank, Joseph: I, 243.
Frank, Madame. (See Gerardi.)
Frankfort: Cäcilien-Verein in, III, 104, 106, 111, 180.
Franz (Francis), Emperor of Austria: I, 214; III, 296.
Franzensbrunn: II, 223.
“Frascatana, La”: Opera by Paisiello, I, 107.
Frederick II, King of Prussia: I, 195;
reputed father of B., III, 214.
Frederick III, of Prussia, German Emperor: marries Princess

Victoria of England; a Wedding Song, III, 13.
Frederick William III, King of Prussia: I, 194, 195, 205.
“Freischütz, Der”: Opera by Weber, III, 121, 135.
Freudenberg, Karl Gottfried: Visits B., III, 202.
Freund, Philip: Variation, I, 300.
“Freundschaft auf der Probe” (“L’Amitié á l’Épreuve”): Opera by
Grétry, I, 131.
Friedelberg: I, 199; “Ein grosses, deutsches Volk sind wir,” 200.
Friedlowsky, Clarinettist; I, 329.
Fries, Count Moritz: I, 172;
dedication of Violin Sonatas, 290;
Quintet Op, 29, 294;
collects funds for Bach’s daughter, 308.
Frimmel: “Beethoven Jahrbuch,” I, 255;
“Beethoven’s Wohnungen,” 269;
on the Bagatelles, 362, 337;
on Beethoven’s portraits, II, 15.
Fritzieri (Fridzeri, Frizer): Opera “Die seidenen Schuhe,” I, 32,
86.
Fry, William Henry, American critic: II, 358.
Fuchs, Aloys: I, 194, 276;
anecdote of B. and Haydn, 285;
owner of Heiligenstadt Will, 351;
solo singer in Troppau, II, 208, 368.

Fuchs: “Battle of Jena” arranged for two flutes, II, 252.
Fugger, Countess: Favorite of Elector Joseph Clemens, I, 3.
Fugues: B’s opinion on, II, 289.
Fürstenberg, Cardinal: I, 3;
his government of the Electorate, 5;
political vicissitudes, 5, 14.
Fuss, Johann: Opera “Romulus and Remus,” II, 304.
Fux, Joseph: “Gradus ad Parnassum,” I, 158, 159.
Galitzin, Prince George: III, 230.
Galitzin, Prince Nicolas Boris: III, 73;
dedication, 81;
the last Quartets, 87, 183;
asked to appeal to Czar for subscription, 102;
controversy over payment for the Quartets, 226 et seq.
Gallenberg, Count Wenzel Robert: Marries Countess Guicciardi,
I, 320, 324;
associated with Barbaja, 320;
as a composer, II, 42; III, 130.
Gallenberg, Count: Son of Countess Guicciardi, I, 340.
Galuppi: Operas “Il Filosofo di Campagna,” I, 25;
“La Calamità di Cuori,” 26;
“Tre Amanti ridicoli,” 27.
Gänsbacher: On Vogler’s playing, II, 15;

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Postgresql Up And Running Regina Obe Leo Hsu

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