Liszt has not been merely a devoted adherent of the “Music of the Future” as expressed in operatic form, but he has embodied his belief in the close alliance of poetry and music in his symphonies and transcriptions of songs. Anything more pictorial, vivid, descriptive, and passionate can not easily be fancied. It is proper also to say in passing that the composer shows a command over the resources of the orchestra similar to his mastery of the piano, though at times a tendency to violent and strident effects offends the ear. Franz Liszt, take him for all in all, must be regarded as one of the most remarkable men of the last half century, a personality so stalwart, picturesque, and massive as to be not only a landmark in music, but an imposing figure to those not specially characterized by their musical sympathies. His influence on his art has been deep and widespread; his connection with some of the most important movements of the last two generations well marked; and his individuality a fact of commanding force in the art circles of nearly every country of Europe, where art bears any vital connection with social and public life.