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
"Tannhaeuser," 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