[Footnote 244: For a most entertaining description of this work see the Huneker Biography, pp. 64-70.]
Just a few closing words as to Liszt's specific contributions to the expansion of musical structure. He was an advanced leader in the "program school," being endowed with considerably more constructive power than Berlioz, who often fell between two stools: in that while his subject demanded the freest treatment, he lacked the vigor to break away from the formal routine of his classic models. In Liszt's orchestral works, however, the term "Symphonic Poem"--one of his own invention--is fully justified, _i.e._, they are _symphonic_ in that they have organic unity, although this is not attained by preserving the classic number and arrangement of themes; and they are also _poetic_, being not a presentation of abstract tone patterns, but illustrative of some external idea which shapes the course of the music entirely to its own needs.[245] The distinguishing quality of the Symphonic Poem is its unbroken continuity. Although objective points are reached, and while there are broad lines of demarcation with reference to the varied moods of the poem to be illustrated, there are _no rigid stops_--everything is fused together into a continuous whole. Liszt was an advocate of persistent development, _i.e._, the music going out into space like a straight line instead of returning on itself. Inner evidence shows, however, that although he avoided many needless and conventional repetitions, he could not entirely throw overboard the cyclical law of restatement; for there is not one of his _Symphonic Poems_ which does not repeat, at the end, thematic material already heard. Liszt carried the principle of theme transformation still further than Berlioz; and, as a German, tended to lay stress rather on the psychological aspects of character than on those outward theatric events which appeal to French taste. The difference is well shown by a comparison of the _Damnation of Faust_ with Liszt's _Faust_ Symphony, considered his most inspired orchestral work. Liszt must not be forgotten as a song-writer, especially for his settings to Goethe's poems; which, as Huneker says, are masterpieces and contain, in essence, all the dramatic lyricism of modern writers, Strauss included. In these songs the instrumental part is of special import; Liszt in pianistic treatment anticipating Hugo Wolf with his "Songs for Voice and Pianoforte," _i.e._, the voice and the instrument are treated as coequal factors.