By the side of it ranks the _Faust Symphony_ (1854-1857), in which the moods of Goethe's characters--Faust, Gretchen and Mephistopheles--are depicted in three instrumental movements, with a chorus of male voices, supplying a kind of comment, by way of close. The method of presentation in both symphonies is by means of representative themes (_Leitmotif_), and their combination and interaction. Incidents of the poem or the play are illustrated or alluded to as may be convenient, and the exigencies of musical form are not unfrequently disregarded for the sake of special effects. Of the twelve Poèmes symphoniques, _Orphée_ is the most consistent from a musical point of view, and is exquisitely scored. Melodious, effective, readily intelligible, with a dash of the commonplace, _Les Préludes_, _Tasso_, _Mazeppa_ and _Fest-Klänge_ bid for popularity. In these pieces, as in almost every production of his, in lieu of melody Liszt offers fragments of melody--touching and beautiful, it may be, or passionate, or tinged with triviality; in lieu of a rational distribution of centres of harmony in accordance with some definite plan, he presents clever combinations of chords and ingenious modulations from point to point; in lieu of musical logic and consistency of design, he is content with rhapsodical improvisation. The power of persistence seems wanting. The musical growth is spoilt, the development of the themes is stopped, or prevented, by some reference to extraneous ideas. Everywhere the programme stands in the way. In much of Liszt's vocal music, particularly in the songs and choral pieces written to German words, an annoying discrepancy is felt to exist between the true sound of the words and the musical accents. The music is generally emotional, the expression direct and passionate; there is no lack of melodic charm and originality, yet the total effect is frequently disappointing. In the choral numbers of the five masses, and in the oratorios _Die Heilige Elisabeth_ and _Christus_, the rarity of fugal polyphony acts as a drawback. Its almost complete absence in some of these works makes for monotony and produces a sense of dullness, which may not be inherent in all the details of the music, but is none the less distinctly present. Omitting trifles and all publications that have been cancelled, the following list of compositions may be taken as fairly comprehensive:--