ation is handled in a sonorous and brilliant
manner, which Berlioz and Wagner first introduced. The works are very
effective and original. Certain ones of them have become almost
classic, like "The Preludes" and "_Tasso_." He also wrote a number of
large choral works, among them his "Legend of the Holy Elizabeth," the
"Graner Mass," etc.

[Illustration: Fig. 83.

LISZT AS ABBE.

(Grove.)]

There is hardly a province of musical composition in which Liszt did
not distinguish himself. The orchestral compositions number about
twenty. There are several important arrangements, such as Schubert
marches, Schubert's songs, "Rakoczy March," and a variety of
arrangements for pianoforte and orchestra, including two concertos,
the Weber Polacca in E, and the Schubert fantasia. The pianoforte
compositions are extremely numerous. Of the original pieces there are
perhaps one hundred. Of important arrangements, such as the _etudes_
from Paganini, the organ preludes and fugues from Bach, Schubert
marches, etc., there are thirty or forty. Of the operatic fantasias
there are perhaps a hundred or more. There are fifteen Hungarian
Rhapsodies, and a large number of transcriptions of vocal pieces (of
songs alone there are upwards of a hundred). Of masses and psalms
about twenty. Two oratorios, several cantatas, about sixty original
songs for single voice and piano, and very many other writings of a
literary and musical kind. In 1865 Liszt left Weimar for several
years, and resided in Rome, where he began to take holy orders.

[Illustration: Fig. 84.

FRANZ LISZT.]

In the closing years of Wagner's life, after the Bayreuth festival
theater had been inaugurated, Liszt was a central figure, and there
are few large cities in Europe which he did not visit for the sake of
encouraging important productions of the Wagnerian works. Thus, taken
as a composer, a performer, a conductor, and an appreciative friend of
art, his name is one which deserves to be revered as long as the
history of music in the nineteenth century is remembered.

Fig. 84 represents him as he appeared in the last years of his life.
The portrait of Liszt as abbe is taken from Grove's Dictionary.
Neither of these last pictures gives an adequate idea of the sweetness
of his expression. While the profile in middle life was sharp and
clearly cut, as we see it in the abbe picture, and while in old age
the mouth assumed a stern and set expression in repose, his smile was
extre