Only those parts of the opera does he bind together in his paraphrase, which stand in an inward relation to each other. It is now entirely drawn from a leading idea, and is related to the earlier externally-connected operatic fantasia as the symphonic poem to the symphony. [Illustration: Clotilde Kleeberg, 1888.] The immense difficulties of Liszt’s compositions retarded their popularity for many years. Clara Schumann and Sophie Menter were amongst the first brave performers to introduce them into their repertoires. To-day they almost overburden the recitals, and include much of little value, which would hardly survive except as the _disjecta membra gigantis_. His influence was of a kind never seen before. He created a type of recital in which his imitators often copy the Master down to his very hair. His missionaries travelled over the whole world from the circle which he gathered round himself at Weimar in the summer months. Their ideal is his creation; the perfect, memoriter, technically and stylistically adjusted mastery of the great and many-sided piano literature, without regard for century or nation. [Illustration: Madame de Belleville, 1808-1880. Pupil of Czerny. Well-known pianist. After the picture by Agricola.] [Illustration: Carl Filtsch, infant prodigy. Pupil of Chopin. Died very young.] [Illustration: “Anton Rubinstein, pupil of Mr A. Villoing, Moscow. To Dr. Aloys Fuchs, as a souvenir from the young Anton Rubinstein, Moscow. Vienna, April 5, 1842.”]