LISZT (1811-1886). It is not proposed to analyze Liszt's rich and heavy orchestration, for the importance of his orchestral works consists rather of the bearing they have upon the unfettered form, the freedom of tonality and the novelty of treatment that characterize the New German School. The scoring of his symphonic poems is masterful, highly colored and ingenious. But although it bears the unmistakable stamp of his own personality, the orchestration embodies nothing conspicuously new. Beethoven and the early romanticists, Berlioz, and above all Wagner were his models in instrumentation. Favored by the opportunities afforded him in consequence of his precocious genius when but a mere child, Liszt's impressionable temperament seized upon the progressive tendencies of the times, thereby strengthening the already half-formed conviction that music should be descriptive, representative, reproductive, realistic. After hearing Berlioz's "Episode de la vie d'un artiste" he proceeded to develop his own talent along similar though individual lines, and thus became the champion of German "program" music. As has been previously stated, these doctrines of Berlioz and of Liszt were destined to be reflected in Wagner's works, for though the latter at first condemned such doctrines in no uncertain terms, his opinions subsequently underwent a radical change. In his monograph on Liszt's symphonic poems he says:--"Program-music does not aim to override speech or the plastic arts and represent things accessible to them only, but rather forms a special kind of union of two independent factors: poetry and music." Now although Beethoven's "Pastoral" symphony, Mendelssohn's "Fingal's Cave" and Raff's "Lenore" were all in the direct evolutionary line of descriptive music, Liszt soon perceived that classic forms were indeed the ideal vehicle for abstract and purely æsthetic music, but could not be successfully applied to portray a series of emotions, events or ideas. This discovery led him to modify the cyclic form of the symphony which became transformed into the symphonic poem with its continuity of music, monothematic principle and absence of conventional formulas. He retained all the symphonic expedients of thematic development, but form was now subjective to the program. His methods were simpler and can be more readily grasped than those of Berlioz. The range of subject was cosmopolitan, and the introduction of national traits, such as the Hungarian element, resulted in what Dickinson calls "shaping and coloring the work through imagined correspondences." Liszt's symphonic poem "Les Préludes" affords the best illustration of his aims and ideals. "Eine Faust Symphonie" embodies the suggestion of personal qualities by means of music. The oratorios "Christus" and "Die Legende der heiligen Elizabeth" display novel treatment as well as a departure from traditional forms. III.