The earliest of Liszt’s published études, published in 1826, are now difficult to obtain. They were the public statement of his pianistic creed, the ultimatum, so to speak, of the most popular pianist of the day to all rivals. They seemed to represent the utmost of pianistic skill. Then, in 1832, came Paganini to Paris, and Liszt, with his customary justice toward others, recognized in him the supreme executant, and, what was more significant, the element of the true artist. Inevitably the experience reacted on his own art. He adapted six of Paganini’s violin caprices for piano, achieving a new ‘last word’ in pianoforte technique. These studies still hold their place in piano concerts, especially the picturesque ‘Campanella.’ In 1838 Liszt sought to mark the progress of his pianism to date by publishing a new arrangement of his earliest études, under the name of _Études d’exécution transcendante_. These, while primarily technical studies, are also the work of a creative artist. The _Mazeppa_ was a symphonic poem in germ (later becoming one in actuality). The _Harmonies du Soir_, experimenting with ‘atmospheric’ tone qualities on the piano, is an ancestor of the modern ‘impressionistic’ school. The _Étude Héroique_ foreshadows the _Tasso_ and _Les Préludes_. The significant thing in this is the way in which Liszt’s creative impulse grew out of his mastery of the piano. A predominant part of Liszt’s earlier activity has in recent times passed into comparative insignificance. We are nowadays inclined to sneer at his pompous arrangements of everything from Beethoven symphonies and Bach preludes to the popular operas of the day. But these arrangements, by which his pianistic method chiefly became known, were equally important in their effect on pianism and on musical taste. The name and fame of Berlioz’s _Symphonie Fantastique_ went out among the nations chiefly through Liszt’s playing of his arrangement of it. Schubert’s songs, likewise, which one would suppose were possible only for the voice, were paraphrased by Liszt with such keen understanding of the melodic resources of the piano, and such pious regard for the intentions of Schubert, that Liszt’s piano was actually the chief apostle of Schubert’s vocal music through a great part of Europe. Liszt was similarly an apostle of Beethoven’s symphonies. It is eternally to his credit that Liszt, though in many ways an aristocrat in spirit, was never a musical snob; his paraphrases of Auber’s and Bellini’s operas showed as catholic a sense of beauty as his arrangements of Beethoven. He could bow to the popular demand for opera _potpourris_ without ever quite descending to the vulgar level of most pianists of his day, though coming perilously near it. His arrangements were always in some degree the work of a creative artist, who could select his themes and develop them into an artistic whole. They were equally the work of an interpretive artist, for they frequently revealed the true beauties and