e,
refinement and delicate finish; Liszt demands musical idea and effect,
and, while refinement adds greatly to the charm of the works, it is not
absolutely a _sine qua non_. In other words, Liszt always wrote with
an eye to the stage, and with a certain largeness and ample scope of
treatment, in which breadth and genuine musical intention, combined
with a certain freedom upon the keyboard, are the main conditions of
success. From a modern standpoint, the most difficult of all the Liszt
works are, probably, his arrangement of the overture to Wagner's
"Tannhaeuser,"--which he himself considered by far the most difficult
piece ever written,--the "Don Juan" fantasia, and perhaps also the
"Sonnambula."

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 "Tannhaeuser."
Romance of the Evening Star. "Tannhaeuser."
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