[Footnote 248: Translated as follows by Bayard Taylor:--
All things transitory But as symbols are sent; Earth's insufficiency Here grows to Event; The Indescribable, Here it is done: The Woman-Soul leadeth us Upward and on!]
[Footnote 249: The way in which the Germans in the recent war have applied this doctrine raises, we must say, many searching questions.]
Notwithstanding the ultra sensationalism in some of Liszt's works there is no doubt that, in the closing pages of Faust, he has produced an effect of genuine power and of inspired musical beauty.[250] _Faust_, in fact, may be called a great work because of the character of its leading melodies, its freedom of structure and expression and its wealth of appropriate orchestral color. For these merits we may overlook certain dreary passages where it would surely seem as if the imagination of the composer were not able to translate into tones all the phases of Goethe's stupendous drama.[251]
[Footnote 250: That this is the verdict of the public is shown by the fact that, whenever of late years _Faust_ has been given by the Boston Symphony Orchestra, it has had to be repeated by popular request.]
[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's _R. 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 principles 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 consideration by anyone who wishes to gain a comprehensive estimate 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 instrument. 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 indubitably attained; of this set the one in F minor is particularly fine. (3) The world-famed _Hungarian 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.