s a chorus of men's voices--marked Andante
Mistico--which intones the famous stanza "Alles Vergaengliche"[248] at
the close of the second part of Faust; while, above this chorus, a
solo tenor proclaims the motto of the redeeming love of woman, "Das
ewig Weibliche"--a sentiment so dear to the German[249] mind and one
that plays such an important part in the music dramas of Wagner. A
dramatic and musical connection between the movements is established
by using, for this solo part, the melody (intensified by augmentation)
which in the second movement typified the love and charm of Gretchen,
_e.g._

[Music: Das ewig Weibliche]

[Footnote 248: Translated as follows by Bayard Taylor:--

Chorus Misticus

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 princi