e
Beethoven_ by Weingartner, pp. 71-86.]

The works of Liszt selected for analytical comment are the Symphonic
Poem _Orpheus_, the _Faust_ Symphony and the Pianoforte Etude,
_Waldesrauschen_. The student, however, should become familiar with
several others[246] of the Symphonic Poems, notably _Tasso_, _Les
Preludes_ and _Mazeppa_; with the Pianoforte Sonata in B minor in one
movement, in which Liszt works on the same plan as Schumann in the
Fourth Symphony; with the descriptive pianoforte pieces and etudes;
and with the songs, of which _Kennst du das Land_, _Die Lorelei_ and
_Du bist wie eine Blume_ are beautiful examples.

[Footnote 246: An enlightening and comprehensive account of each of
these may be found in Niecks's _Programme Music_ already referred to.
See also Chapter VII, pp. 141-155 in Vol. VI of the _Oxford History_
for what is perhaps a rather biased point of view. There is an
excellent tabulation of the themes from _Les Preludes_ in Mason's
_Romantic Composers_.]

SYMPHONIC POEM, ORPHEUS

In this work, as must always be the case in poetically suggestive
music, the composer trusts to the general intelligence and insight of
the listener. For a mere mention of the name Orpheus may well call up
the vision of a majestic, godlike youth proclaiming his message of joy
and peace to soften the unruly passions of men and animals.

It is said that Liszt's imagination was kindled by a beautiful
representation of Orpheus playing on the lyre, which decorates an
Etruscan vase in the Louvre. The aim of the music was thus to
intensify and supplement the visual effect. The Poem begins with soft,
sustained calls on the horns, creating a mood of expectancy,
interspersed with modulatory arpeggios on the harp serving to complete
the legendary picture. In these Symphonic Poems, we must always
observe how closely the nature of the themes and the whole import of
the music are involved with the orchestral dress. For Liszt, though
not perhaps so brilliant and sensational as Berlioz, was equally a
great master of orchestral coloring and poetic suggestion by means of
appropriate instruments; often, too, more delicate and refined. In
measure 15 begins for sustained strings the stately march which
typifies the gradual approach of Orpheus. The second phrase of the
march, beginning in measure 38, has received the compliment of being
appropriated, almost literally, by Wagner in the second act of the
_Valkyrie_ for the march motive w