The Hungarian Liszt is another immortal master who, beside the fruits of his individual genius, contributed to the current of modern music some of those exotic national traits which distinguish it from that of earlier epochs when it was almost exclusively Italian, French, and German. His fifteen Hungarian rhapsodies constitute, however, only a small part of the invaluable legacy he has left the world. He was the most many-sided of all musicians,--the greatest of all pianists, and one of the best composers of oratorios, songs, orchestral, and pianoforte works,--everything, in short, except operas and chamber music. He was also the greatest of teachers and (with the exception of Wagner) the greatest of conductors; as such, he carried out both his own and Wagner's new and revolutionary principles of interpretation, which have gradually made the orchestral conductor a personage of even greater importance, in concert hall and opera-house, than the prima donna, travelling, like her, from city to city, to delight lovers of music. One might have expected that the prince of pianists, being at the same time a composer, would do for the pianoforte what Bach had done for choral and organ music, Beethoven for the symphony, Schubert for the art song, and Wagner for the opera. But he could not, for Chopin had anticipated him. In only one direction was it possible to go beyond Chopin,--in that of making the piano capable of reproducing orchestral effects. This, Liszt achieved in his own works and his transcriptions. But, after all, the grandest pianoforte, while delightful as such, is but a poor substitute for an orchestra. Hence it was natural that Liszt should give up the pianoforte as his specialty and devote himself particularly to the orchestra. In this domain he was destined to achieve reforms similar to those of Wagner in the opera. The "classical" symphony, like the old-fashioned opera, consists of detached numbers, or movements, that have no organic connection with one another. For the detached numbers of the opera Wagner substituted his "continuous melody;" and he provided an organic connection of all the parts by means of the "leading motives" or characteristic melodies and chords which recur whenever the situation calls for them. In the same spirit Liszt transformed the symphony into the symphonic poem, which is continuous and has a leading motive uniting all its parts.