This _Reminiscenses de Don Juan par Franz Liszt_, dedicated to his Majesty Christian Frederick VIII of Denmark with _respectueux et reconnaissant hommage_, begins with a long and stormy introduction, the predominant characteristic of which is the chromatic scale. This one finds blowing a hurricane; and there are tremolos like thunder and sharp accents like lightning. The storm, however, having accomplished its purpose of awe, is allowed to die away, and in its calm wake comes the duet _La ci darem la mano_, which, if it needed more beauty than that which Mozart gave it, may here claim that of being excellently scored for the keyboard. Liszt has interpolated long passages of pianistic fiorituri between the sections of it, at which one cannot but smile. Then follow two variations of these themes, amid which there is a sort of cadenza loosing the furious winds again, and at the end of which there is a veritable typhoon of chromatic scales, here divided between the two hands in octaves, there in thirds for the right hand. The variations are rich in sound, but commonplace in texture. Finally there is a _Presto_, which may be taken as a coda, founded upon Don Giovanni’s air, _Finch’ han dal vino_, an exuberant drinking song. The scoring of this is so lacking in ingenuity as well as in any imposing feature as to be something of an anti-climax. It trips along in an almost trivial manner, with a lot of tum-tum and a lot of speed. Toward the end there is many a word of hair-raising import: _sotto voce_, _martellato_, _rinforzando_, _velocissimo precipitato_, _appassionato energico, arcatissimo_, _strepitoso_, and a few others, all within the space of little over three pages. There is also another blast or two of wind. In the very last measures there is nothing left but to pound out heavy, full chords with a last exertion of a battle-scarred but victorious gladiator. And in spite of all this the last section of the work is wanting in weight to balance the whole, and it seems like a skeleton of virtuosity with all its flesh gone. It must be granted that the recurrence of the opening motives at moments in the middle of the fray, and at the end, gives a theoretical unity of structure which similar fantasias by Herz and Thalberg did not have; but on the whole it might well be dispensed with from the work, which, in spite of such a sop to the dogs of form, remains nothing but a pot-pourri from a favorite opera.