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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]
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 principles 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 Études, especially the set entitled "Études d'exécution 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.
Concert Étude, 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 martellato, strepitoso and fff), which is rather difficult to reconcile with the poetic subject. Perhaps a mighty wind is roaring through the trees! In measure 61 the theme is once more presented in amplified form by the right hand, più mosso and molto appassionata, and worked up to a brilliant climax—ending with an interlocking trill and a long, descending passage of delightful sensuous effect. The closing measures, una corda and dolcissimo, afford a reminiscence of the haunting appeal of the chief melody. All in all, in spite of a certain admixture of alloy, here is a poetic composition, a real tone-picture of the woods and of the effects implied by the title. Certainly a piece which, in its picturesque suggestiveness and pianistic treatment, may fairly be called the ancestor of much that is beautiful in such modern composers as Debussy and Ravel.
As a final estimate of Liszt and as a suggestion for the student's attitude we cite from Niecks the following quotation, since, in our opinion, it is true and forcibly expressed:
"Liszt's works are too full of originality and striking expressiveness to deserve permanently the neglect that has been their lot. Be, however, the ultimate fate of these works what it may, there will always remain to Liszt the fame of a daring striver, a fruitful originator and a wide-ranging quickener."