nsformation or metamorphosis of themes is of such importance that
it may be defined as their rhythmic, melodic and harmonic modification
for the purpose of changing the meaning to correspond with a
modification in the characters for which they stand. The first
movement sets before us five themes illustrative of the most prominent
traits in the complex nature of Faust; the three most important being
(_a_) typical of brooding, speculative inquiry, (_b_) the longing of
love, (_c_) the enthusiasm and chivalry of Faust, _e.g._

[Music: (_a_)]

[Music: (_b_)]

[Music: (_c_)]

The development of these themes is entirely free, the musical texture
being held together by a general application of the principle of
contrast and by a logical key-scheme. The second movement has two main
themes, _e.g._

[Music: (_a_)]

[Music: (_b_)]

which portray eloquently the sweetness and dreamy ecstacy of
Gretchen's nature. In the course of this portrayal there appear
several themes from the first movement showing, by their
transformation, the effect upon the introspective Faust of the
awakening influence of love. Thus the love theme appears as--

[Music]

and also later in this form--

[Music]

Towards the close of the movement there is a subtle reference to the
chivalrous theme, as follows--

[Music]

Much of the appeal of the music depends upon the orchestration which
throughout is of remarkable beauty.

In the final movement, entitled Mephistopheles, there are a few
independent themes which portray the malign influence of the spirit of
Evil--the movement is marked Allegro vivace ironico!--but most of the
material is a transformation of the Faust themes which are here
burlesqued, parodied; as if all the noble aspirations of Faust were
being mocked and set at naught. This treatment is a perfectly logical
result of the correspondence, for which Liszt was striving, between
the music and the spirit of the underlying drama. As for the final
impressiveness of his artistic message, the composer may well have
felt that the effect would be indefinite without the specific meaning
which words alone can give. For the style is very subjective
throughout; that is, if the hearer is in a responsive condition, an
effect is produced on his imagination--otherwise, not. To close the
work, therefore, in the most moving and dignified manner, Liszt, with
unerring instinct and following the precedent of Beethoven in the
Ninth Symphony, introduce