eat dynamic variety, and numerous
unexpected solutions of the tone problem. Many technical means of
expression were invented by him, and a wholly new fingering was required
for his purposes. He taught the use of a loose wrist, absolute
independence of the fingers and a new manipulation of the pedals. To
carry out his designs the third or sustaining pedal became necessary.
His highest ambition, in his own words, was "to leave to piano players
the foot-prints of attained advance." In 1839 he ventured on the first
pure piano recital ever given in the concert hall. His series of
performances in this line, covering the entire range of piano
literature, in addition to his own compositions, given entirely without
notes, led the public to expect playing by heart from all other artists.

As a great pianist, a composer of original conceptions, a magnetic
conductor, an influential teacher, an intelligent writer on musical
subjects and a devoted promoter of the interests of art, he stands out
in bold relief, one of the grand figures in the history of music. His
piano paraphrases and transcriptions are poetic re-settings of
tone-creations he had thoroughly assimilated and made his own. In his
original works, which Saint-Saens was perhaps the first to appreciate,
students are now beginning to discover the ripe fruits of his genius.
Faithful ones among the pupils who flocked about him in classic Weimar
spread wide his influence, but also much harm was done in his name by
charlatans who, calling themselves Liszt pupils, cast broadcast the
fallacy that piano pounding was genuine pianistic power.

Large hearted, liberal minded, whole souled in his devotion to his art
and its true interests, Franz Liszt seemed wholly without personal
jealousies, and befriended and brought into public notice a large number
of artists. Hector Berlioz declared that to him belonged "the sincere
admiration of earnest minds, as well as the involuntary homage of the
envious." At the opening of the Baireuth Temple of German Art, in 1876,
Richard Wagner paid him this tribute in the midst of a joyful company:
"Here is one who first gave me faith in my work when no one knew
anything of me. But for him, my dear friend, Franz Liszt, you might not
have had a note from me to-day."

A rival of Liszt in the concert field, especially before a Parisian
public, was Sigismund Thalberg (1812-1871), who visited this country in
1855 and literally popularized the piano in Ameri