After Liszt had traveled many years over Europe (he never visited the United States), he became conductor at the Court Theatre at Weimar. This new music work interested him so much that he gave up travel as a concert pianist. He helped many composers by having their operas performed at the Weimar Theatre. Some of the operas that had their first performance there are now famous indeed. Among these were "Lohengrin," "Tannhauser" and "The Flying Dutchman" by Richard Wagner. [Illustration: No. 13 R. WAGNER] [Illustration: No. 14 R. SCHUMANN] [Illustration: No. 15 F. SCHUBERT] Then there were "Genoveva" and "Manfred" by Robert Schumann. Also "Alfonzo and Estrella" by Franz Schubert was given. It would have delighted Schubert's heart if he could have heard this; but he, poor man, had died some years before. Then Liszt did something else at Weimar that endeared him to hosts of pianists. He held classes and taught the secrets of his wonderful playing to those who were talented and could understand. He was the soul of generosity. When someone, who was gifted but could not pay, came for advice, he gave it freely. When concerts did not pay, he himself often took the loss so that others should not suffer. Is it not wonderful to think of a man, so loved by the public, giving with such great generosity? Truly it is better to give than to receive. [Illustration: No. 16 LISZT AND SOME FAMOUS PUPILS S. Liebling - Rosenthal - Liszt - Dora - Peterson Siloti - Ans der Ohe - Sauer - Gottschlag Friedheim - Reisenauer] All good and wonderful things live on forever. Even though Liszt moved from Weimar, spending his last years in Budapest, Rome and elsewhere, he was not idle. There was always a circle of people about him. And always his full-hearted, generous nature kept him at work for the good of others. He reminds us of Beethoven who once said, "Composing is a capital thing. For instance if a friend is in distress and I have no money at hand to help him, I can sit down and compose something which I can sell and so relieve him." It seems that Franz Liszt thought the same for he was forever helping someone else. We have already seen how Liszt looked as he sat at the piano (see picture No. 12). This is Liszt at the conductor's stand. Do you see his baton and the score on the desk? And the position of the left hand? When Liszt conducted the orchestra the players watched every movement of his hands and every look of his eyes so as to play just as he desired. [Illustration: No. 17 LISZT AS CONDUCTOR]