ples 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 Etudes, especially the set entitled "_Etudes d'execution
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.

[Footnote 252: Weber and Schubert had, of course, done valuable
pioneer work.]

CONCERT ETUDE, _Waldesrauschen_

(SEE SUPPLEMENT NO. 59)

This composition begins with a swaying, cantabile theme for the left
hand very characteristic of Liszt, which stands out in relief against
some beautifully placed arabesque figures in the upper register of the
instrument--the whole to be played una corda, dolce con grazia. It
really is a poetic picture, in terms of music, of the delicious murmur
of the woods. In the 15th measure the theme is transferred to the
right hand, in octaves, over sonorous, widely extended groups below.
The theme is expanded through a series of striking modulations and
then returns, in measure 30, to the left hand in a single melodic
line. This middle portion, measures 30-50, is very beautiful in its
genuine atmospheric treatment. Towards its close, however, Liszt's
fondness for sensational effect rather runs away with him and there is
a good deal, in measures 50-60 (marked mart