ray opinion of him, even before he knew any of my works. He acted not from any artistic sympathy, but led by the purely human wish of discontinuing a casual disharmony between him- self and another being ; perhaps he also felt an infinitely tender misgiving of having really hurt me unconsciously. He who knows the selfish- ness and terrible insensibility of our social life, and especially of the relations of modern artists to each other, cannot but be struck with wonder, nay, delight, by the treatment I experienced from this extraordinary man. . . . At Weimar I saw him for the last time, when I was resting for a few days in Thuringia, uncertain whether the threatening prosecution would com- pel me to continue my flight from Germany. The very day when my personal danger became a certainty, I saw Liszt conducting a rehearsal of my ' Tannhauser,' and was astonished at recognising my second self in his achievement. What I had felt in inventing this music he felt in performing it : what I wanted to express in writing it down, he expressed in making it sound. Strange to say, through the love of this rarest friend, I gained, at the moment of becoming homeless, a real home for my art, which I had hitherto longed for and sought for always in the wrong place. . . . At the end of my last stay at Paris, when ill, miserable, and despairing, I sat brooding over my fate, my eye fell on the score of my " Lohengrin," which I had totally forgotten. Suddenly I felt something like compassion that this music should never sound from off the death- pale paper. Two words I wrote to Liszt : his answer was, the news that preparations for the performance were being made on the largest scale that the limited means of Weimar would permit. Everything that men and circumstances could do, was done, in order to make the work understood. . . . Errors and misconceptions impeded the de- sired success. What was to be done to supply what was wanted, so as to further the true un- derstanding on all sides, and with it the ultimate success of the work ? Liszt saw it at once, and did it. He gave to the public his own im- pression of the work in a manner the convincing eloquence and overpowering efficacy of which remain unequalled. Success was his reward, and with this success he now approaches me, saying : " Behold we have come so far, now create us a new work, that we may go still further." '
In addition to the commentaries on Wagner's works just referred to, Liszt has also written numerous detached articles and pamphlets, those on Robert Franz, Chopin, and the music of the Gipsies, being the most important. .It ought to be added that the appreciation of Liszt's music in tins country is almost entirely due to the un- ceasing efforts of his pupil, Mr. Walter Bache, at whose annual concerts many of his most important, works have been produced. Others, such as 'Mazeppa' and the 'Battle of the Huns,' were first heard in England at the Crystal Palace.
The following is a catalogue of Liszt's works, as complete as it has been possible to make it.
��It is compiled from the recent edition of the thematic catalogue (Breitkopf & Hartel, No. 14,373), published lists, and other available sources.
I. OECHESTKAL WOKKS. 1. ORIGINAL. |10. 'Gaudeamus IgHur": Humo-
��1. Symphonic zu Dante's Dlvina Commedia, orch. and female chorus: ded. to Wagner. 1. In- ferno ; 2. Purgatorio ; 3. Magni- ficat. Score and parts. B. 4 II. ' Arr. for 2 P.Fs.
2. Eine Faust-Symphonie In drel Charakterbildern (nach Goethe), orch. and male chorus : ded. to Berlioz. 1. Faust ; 2. Gretchen (also for P. F. 2 hands) ; S. Me- phistopheles. Score and parts ; also for 2 P. Fs. Schuberth.
3. Zwel Episoden aus Lenau's Faust. 1. Der nSchtliche Zug. 2. Der Tanz In der Dorfschenke (Mephisto-Walzer). Score and parts ; also for P. F. 2 and 4 hands. Schuberth.
4. Symphonische Dichtungen. 1. Ce qu'on entend sur la mon- tagne ; 2. Tasso. Lamento e Trionfo; S. Les Precludes; 4. Orpheus (also for organ) ; 5. Pro- metheus; 6. Mazeppa; 7. Fest- klfinge; 8. H^rolde funebre; 9. Hungaria ; 10. Hamlet ; 11. Hun- nenschlacht; 12. Die Ideale. Score and parts, also for 2 P. Fs. and P. F. 4 hands. B. *H.
5. Fest-Vorspiel, for Schiller and Goethe Festival, Weimar 1857. Score, Hallberger.
6. Fest-Marsch, for Goethe's birth- day. Score and parts, also for P. F. 2 and 4 hands. Schuberth.
7. Huldigungs-Marsch, for acces- sion of Duke Carl of Saxe- Weimar 1853. Score; and for P. F. 2 hands. B. 4 H.
8. ' Vom-Fels zum Meer ': Patrio- tic march. Score and parts ; also for P.F. 2 hands. Schle- clnger.
9. Kttnstler Fest-Zug ; for Schiller Festival 1859. Score; and for P.F. 2 and 4 hands. Kahnt.
��reske for orch. soli, and chorus. Score and parts ; also for P.F. 2 and. 4 hands. Schuberth. 2. ABBANGEMENTS.
11. Schuberts' Marches. 1. op. 40 No. 3; 2.Trauer-; 3. Reiter-; 4. Ungarischer-Marsch. Score and parts. Furstner.
12. Schubert's Songs for voice and small orch. 1. Die J unge Nonne ; 2. Gretchen am Spimirade ; 3. Lied der Mignon ; 4. ErlkOnlg. Score and parts. Forberg.
13. 'Die Allmacht,' by Schubert, for tenor, men's chorus, and orchestra. Score and parts ; and vocal score. Schuberth.
14. H. v. BQlow's Mazurka-Fan- tasle (op. 13). Score and parts. Leuckart.
15. Festmarch on themes by E. H. zu 8. Score ; also for P.F. 2 and 4 hands. Schuberth.
16. Ungarische Rhapsodien, an. by Liszt and F. Doppler; 1. in F ; 2. in D ; 3. in D ; 4. in D minor and G major ; 5. in E ; 6. Peter Carneval. Score and parts; and for P.F. 4 hands. Schuberth.
17. Ungarischer Marsch. for Coro- nation at Buda-Pesth, 1S67. Score; also for P.F. 2 and 4 hands. Schuberth.
18. Rakoczy-Marsch ; symphonisch bearbeitet. Score and parts ; also for P. F. 2, 4, and 8 hands. Schuberth.
19. Ungarischer Sturm - Marsch. New arr. 1876. Score and parts ; also for P.F. 2 and 4 hands. Schleslnger.
20. ' Szdzat ' und ' Hymnus ' by Bunl and Erkel. Score and parts ; also for P. F. Bdzsa- vOlgyl, Pesth.
��II. FOK PIANOFORTE AND ORCHESTRA.
21. Concerto No. 1, In E flat. Score and parts ; also for 2 P. Fs. Schlesinger.
22. Concerto No. 2, In A. Score and parts; also for 2 F. Fs. Schott.
23. ' Todten-Tanz.' Paraphrase on 'Dies Irse." Score; also for 1 and 2 P.Fs. Siegel.
2. ARRANGEMENTS, P.F. PEIN- CIPALE.
24. Fantasia on themes from Bee-
��thoven's 'Ruins of Athens. 1 Score ; also for P. F. 2 and 4 hands, and 2 P. Fs. Siegel. 25.Fantasie liber ungarlsche Volks- melodlen. Score and parts. Helnze.
26. Schubert's Fantasia In C (op. 15), symphonisch bearbeitet. Score and parts ; also for 2 F. Fs. Schreiber.
27. Weber's Polonaise (op. 72). Score and parts. Schleslnger.
��III. FOR PIANOFORTE 80LO.
28. Etudes dYxecutlon transcen- dante. 1. Preludlo ; 2, S. Pay- sage ; 4. Mazeppa ; B. Feux Fol- lets; 6. Vision; 7. Eroica; 8. Wilde Jagd; 9. Elcordanza; 10, 11. Harmonies du soir; 12. Chasse-neige. B. 4 H.
29. Trols Grandes Etudes de Con- cert. 1. Caprlcclo ; 2. Capriccio, 3. Allegro affetuoso. Klstner.
30. Ab-Irato. Etude de perfec- fectlon. Schlesinger.
31. Zwel Concertetuden, for Le- bert and Stark's Klavlerschule. 1. Waldesrauschen ; 2. Guomen- relgen. Trautweln.
32. Ave Maria for ditto. Traut- weln.
33. Harmonies poe'tlques et rell- gieuses. 1. Invocation ; 2. Ave
��Maria ; S. Benediction de Dieu dans la solitude ; 4. Pensi'e des Morts ; 6. Pater Noster ; 6. Hy nine de 1'enfant 4 son revell ; 7. FuniSrallles ; 8. Miserere d'apres Palestrina ; 9. Andante lagrimoso; la Cantique d'A- mour. Kahnt.
34. Annies de PcSlerlnage. Pre- miere Anne>, Suisse. 1. Chapelle de Qulllaume Tell ; 2. Au lac de Wallenstadt; 3. Pastorale; 4. Au bord d'une source ; 5. Orage ;
6. Vallce d'Obermann; 7. Eg- logue ; 8. Le Mai du Pays ; 9. Les Cloches de Geneve (Noc- turne). Seconde Annee, Italic. 1. II Sposallzio ; 2. II Penseroso ; S. Canzonetta dl Salvator Rosa ; 4-C. Tre Sonettl del Petrarca;
7. Apres une lecture de Dante.
��I B. 4 II. = Breitkopf 4 Ilirtel.