It is, of course, extremely difficult to illustrate powers so varied and ample as those of Liszt in any single program, unless we were to confine ourselves to compositions of the most extreme difficulty, since it is in these that he has shown most fully what he considers possible upon the pianoforte. The following list, however, will afford a good idea of his style, without making upon the player any demands which can not be met by the common run of superior amateurs. At the same time, in consequence of the variety of composers represented, the program presents quite a variety.
PROGRAM.
"A Dream of Love." No. 3.
"Waldesrauschen."
"Consolation." No. 5.
Polonaise in E major.
Five Transcriptions from the songs of Schubert.
"The Wanderer."
"Greeting to Spring."
"My Sweet Repose."
"Hark! Hark! the Lark."
"The Erl King."
Four Transcriptions from Wagner and Paganini.
March and Chorus from "Tannhäuser."
Romance of the Evening Star. "Tannhäuser."
Spinning Song from "The Flying Dutchman."
"La Campanella." (Paganini.)
Concerto in E-flat. With second piano. (Optional.)
The first group of these pieces contains four numbers entirely original with Liszt. The first one, "A Dream of Love," is No. 3 in a series of nocturne-like compositions which are very melodious, picturesque, and full of sentiment. At the same time, toward the end of this third number there is one of those brilliant passages the opportunity for which Liszt could never forego. The second piece on the list, "Forest Murmurs," is a little on the line of the "Forest Murmurs" in Wagner's "Siegfried," except that Liszt operates mainly in the upper range of the piano, whereas Wagner busies himself for a long time with the lower ranges of pitch. When this piece is done with sufficient delicacy, and at the same time with adequate brilliancy and fervor, it produces a most astonishing and gratifying effect. The next selection is one of a set of six called "Consolations." These, again, are nocturne-like in character, and the one here selected is so simple that no explanation is necessary. The Polonaise in E major is one of the most brilliant and satisfactory of the original pieces of Liszt for the piano. The semi-martial chivalry of this style of composition is extremely well reproduced, and while there is a long passage in A minor which requires to be played rather discreetly to prevent its becoming tiresome, there is some lovely cadenza work in the last part in a style thoroughly original with Liszt.
If the player prefers one of the Hungarian rhapsodies, it might be substituted for the Polonaise in E in this group. The Hungarian rhapsodies are written some of them on original melodies in Hungarian style, but most of them probably on well-known Hungarian Czardas. It is difficult to speak with certainty on this subject, as Liszt has left no indications as to which are original and which are quoted. To refer to a very different composition in the same school, it may be mentioned that the famous Hungarian dances of Brahms are composed upon melodies given him by Remenyi, when both were young. These melodies were not traditional Hungarian themes, but were improvised by Remenyi himself.
The next group of pieces consists entirely of transcriptions from Schubert's songs. They are very varied in musical spirit and in manner of treatment, but, with the exception of the long-continued succession of octaves in "The Erl King,"—for which Schubert is responsible rather than Liszt,—they are not very difficult for the player, and the resources of the piano are used with the utmost discretion for producing a musical effect.
In the third group of pieces we have several selections of the Wagner transcriptions, beginning with the very brilliant march from "Tannhäuser," which, however, should not be ended at the first climax, but the intermezzo should be played, and so to the end. The "Romance of the Evening Star" is one of those delightful melodies which it is always a pleasure to hear. These selections conclude with the very brilliant study after Paganini, "La Campanella." In case this should not prove practicable for the player, a Liszt rhapsody might be substituted or the Tarantelle from "Venice and Naples." The program may be regarded as complete at this point, but if it happens to be convenient to give one or more movements of the Concerto in E-flat, a still different idea of Liszt's manner of writing will have been gained. The Concerto in E-flat is very brilliant, but, excepting the third movement, is not very difficult. There are few piano pieces in the repertory which produce so much effect in proportion to the labor of performing them as this. It would be possible to omit the third movement and play the first, second, and fourth.
CHAPTER XI.
BACH, BEETHOVEN, CHOPIN, SCHUMANN, LISZT.
The fullness with which the characteristics of the different composers have been treated in the preceding chapters of this course leaves little to be said in this final summing up, since the only element of the present program which we have not already had in combination with the others is that of Liszt, itself fully treated in the previous chapter.