[Footnote 251: For further comments on the work see Huneker’s
Franz Liszt, pp. 141-146 and the third part (on Program Music)
of Finck’sR. Strauss, The Man and His Works. Also Chap. VII
passim in Vol. VI of the Oxford History.]
In a book such as this, chiefly concerned with broad princi-
ples of structure and style, it would be out of place to attempt
a detailed account of Liszt’s numerous and varied pianoforte
compositions. But they can by no means be left out of con-
sideration by anyone who wishes to gain a comprehensive esti-
mate of his influence. For although the fundamental principles
of pianoforte style, both in writing for the instrument and in
playing upon it, are derived from Chopin and Schumann,[252]
Liszt so amplified the work of these men and added so many
novel features of his own in pianistic effect and especially in
execution that he is rightly considered a genius of the instru-
ment. He certainly brought out of the pianoforte a sonority and
wealth of color which heretofore had been associated only with
the orchestra. The chief groups of the pianoforte works are (1)
the transcriptions of songs, notably of Schubert and Schumann,
and of operas, particularly of Wagner. In this group should also
be included the remarkable arrangement for solo-pianoforte of
all the Beethoven Symphonies. (2) The Études, especially the
set entitled “Études d’exécution transcendante”—a description
which clearly shows the idea Liszt set before himself and in-
dubitably attained; of this set the one in F minor is particu-
larly fine. (3) The world-famedHungarian Rhapsodies, fifteen
in number, based on national melodies and rhythms. In these
Liszt aspired to be the poet of his nation, and they are still
among the most important manifestations of the national spirit
so prominent in our modern music. Perhaps the most eloquent
and celebrated are the 2d, the 12th and the 14th. Even if at
times they are overencrusted with effects meant primarily for
display, the rhythmic vitality and color of the melodies cannot
be withstood.
[Footnote 252: Weber and Schubert had, of course, done valu-
able pioneer work.]
CONCERT ÉTUDE,Waldesrauschen
(SEE SUPPLEMENT NO. 59)
This composition begins with a swaying, cantabile theme for the
left hand very characteristic of Liszt, which stands out in relief