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— LITTLEBOROUGH
LITCHFIELD
his peculiar powers as a master of instrumental effect. By
the side of it ranks the Faust Symphony (1854-57), in
which the moods of Goethe’s characters—Faust, Gretclien,
and Mephistopheles—are depicted in three instrumental
movements, with a chorus of male voices, supplying a
kind of comment, by way of close. The method of pre¬
sentation in both symphonies is by means of representa¬
tive themes {Leitmotif), and their combination and inter¬
action. Incidents of the poem or the play are illustrated
or alluded to as may be convenient, and the exigencies
of musical form are not unfrequently disregarded for
the sake of special effects. Of the twelve Poemes
Symphoniques, Orphee is the most consistent from a
musical point of view, and is exquisitely scored. Melodi¬
ous, effective, readily intelligible, with a dash of the
commonplace, Les Preludes, Tasso, Mazeppa, and Fest-
Kldnge bid for popularity. In these pieces, as in almost
every production of his, in lieu of melody Liszt offers
fragments of melody—touching and beautiful, it may be,
or passionate, or tinged with triviality; in lieu of a
rational distribution of centres of harmony in accordance
with some definite plan, he presents clever combinations of
chords and ingenious modulations from point to point;
in lieu of musical logic and consistency of design, he is
content with rhapsodical improvisation. The power of
persistence seems wanting. The musical growth is spoilt,
the development of the themes is stopped, or prevented,
by some reference to extraneous ideas. Everywhere the
programme stands in the way. In much of Liszt’s vocal
music, particularly in the songs and choral pieces written
to German words, an annoying discrepancy is felt to exist
between the true sound of the words and the musical
accents. The music is generally emotional, the expression
direct and passionate; there is no lack of melodic charm
and originality, yet the total effect is frequently disappoint¬
ing. In the choral numbers of the five masses, and in the
oratorios Die Heilige Elisabeth and Christus, the rarity
of fugal polyphony acts as a drawback. Its almost com¬
plete absence in some of these works makes for monotony
and produces a sense of dulness, which may not be in¬
herent in all the details of the music, but is none the less
distinctly present.
A thematic catalogue of Liszt’s works was published during his
lifetime. The rather indiscriminate and verbose biography by Lina
Ramann (3 vols., Leipzig) is trustworthy as to facts and dates.
Omitting trifles and all publications that have been cancelled,
the following list of compositions may be taken as fairly compre¬
hensive :—
Pianoforte Pieces.—Ltudes d’execution transcendante ; Etudes de
concert; Zwei Etuden, Waldesrauschen, Gnomentanz; Ab Irato;
Paganini Studies; Annees de Pelerinage, 3 sets; Harmonies poe-
tiques et religieuses, 1-10; Consolations, 1-6; Ave Maria in E;
Sonata in B minor; Konzert - Solo in E minor; Scherzo und
Marsch; Ballades, I. II. ; Polonaises, I. II. ; Apparitions, 1-
3 ; Berceuse ; Yalse impromptu ; Mazurka brillant; 3 Caprices
Yalses; Galop chromatique ; Mephisto-Walzer, L, II., III. and
Polka; Zwei Legenden, “Die Yogelpredigt,” “Der heilige Fran¬
ciscos auf den Wogen schreitend” ; “Der Weihnachtsbaum,” 1-12;
Sarabande und Chaconne (“Almira”); Elegies, L, II., and III. ;
La lugubre Gondola; Dem Andenken Petbfi’s; Mosonyi’s Grab-
geleit; Romance oubliee ; Yalses oubliees, 1-3 ; Liebestraume, 1-3
(originally songs); Hexameron ; Rhapsodies Hongroises, 1-18.
Pieces for Two Pianos.—Concerto pathetique (identical with the
Konzert-Solo in E minor); Dante symphony; Faust symphony;
Poemes symphoniques, 1-12 ; Beethoven’s 9th symphony.
Pianoforte with Orchestra.—Concertos I. in E flat, II. in A ;
Todtentanz; Fantasie ueber Motif aus Beethoven’s “Ruinen
von Athen ”; Fantasie ueber Ungarische National Melodien;
Schubert’s Fantasia in C ; Weber’s Polacca in E.
Fantaisies dc Concert for Piano Solo.—Don Juan ; Norma ; Son-
nambula; I Puritani; Lucia, I., II. ; Lucrezia, I., II. ; La Juive ;
Robert le Diable ; Les Huguenots ; Le Prophete, 1-4. Paraphrases,
Auber, Tarantella di bravura (Masaniello); Yerdi, Rigoletto, Ernani,
II Trovatore ; Mendelssohn, “ Hochzeitsmarsch und Elfenreigen ” ;
Gounod, Valse de Faust, Les Adieux de Romeo et Juliette ; Tschai-
kowsky, Polonaise; Dargomiyski, Tarantelle; Cui, Tarantella;
Saint-Saens, Danse macabre; Schubert, Soirees de Yienne, Yalses
caprices, 1-9.
■ Transcriptions.—Beethoven’s Nine Symphonies; Berlioz’s “ Sym-
phonie fantastique, ” “Harold en Italic ” ; Benediction et Serment
(Benvenuto Cellini); Danse des Sylphes (Damnation de Faust);
Weber’s overtures, Der Freischiitz, Euryanthe, Oberon, Jubilee;
Beethoven’s and Hummel’s Septets; Schubert’s Divertissement a
la Hongroise; Beethoven’s Concertos in C minor, G and E flat
(orchestra for a second piano); Wagner’s Tannhauser overture,march,
romance, chorus of pilgrims; Lohengrin, Festzug und Brautlied,
Elsa’s Brautgang, Elsa’s Traum, Lohengrin’s Yerweiss an Elsa;
Fliegender Hollander, Spinnlied ; Rienzi, Gebet; Rheingold, Wal-
hall; Meistersinger, “Am stillen Herd”; Tristan, Isolde’s Liebe-
stod ; Chopin’s six Chants Polonais ; Meyerbeer’s Schillermarsch;
Bach’s six organ Preludes and Fugues; Prelude and Fugue in
G minor; Beethoven, Adelaide; 6 miscellaneous and 6 Geistliche
Lieder; Liederkreis; Rossini’s Les Soirees musicales; Schubert,
59 songs; Schumann, 13 songs; Mendelssohn, 8 songs; Robert
Franz, 13 songs.
Organ Pieces.—Missa pro organo ; Fantasia and Fugue, “Ad nos,
ad salutarem undam”; B-A-C-H Fugue; Yariations on Bach’s
Basso continuo, “Weinen, Klagen”; Bach’s Introduction and
Fugue, “Ich hatte viel Bekiimmerniss ” ; Bach’s Choral Fugue,
“ Lob und Ehre ” ; Nicolai’s Kirchliche Festouvertiire, “Ein feste
Burg”; Allegri’s Miserere; Mozart’s Ave Yerum; Arcadelt’s Ave
Maria ; Lasso’s Regina Coeli.
Orchestral Pieces.—Eine Symphonie zu Dante’s “Divina Corn-
media”; Eine Faust Symphonie; Poemes symphoniques: 1. “Ce
qu’on entend sur la montagne ”; 2. Tasso; 3. Les Preludes; 4.
Orphee ; 5. Promethee ; 6. Mazeppa ; 7. Fest-Klange ; 8. Heroide
funebre; 9. Hungaria; 10. Hamlet; 11. Hunnenschlacht; 12. Die
Ideale ; Zwei Episoden aus Lenau’s Faust: I. Der nachtliche Zug,
II. Der Tanz in der Dorfschenke ; Marches, Rakoczy, Goethe, Hul-
digung, “YomFels zum Meer”(for a military band); Ungarischer,
Heroischer, and Sturmmarsch; Le Triomphe funebre du Tasse;
“Yon der Wiege bis zum Grab” ; six Hungarian rhapsodies; four
marches ; four songs, and Die Allmacht, by Schubert.
Vocal Music.—Oratorios : “Die Legende von der Heiligen Elisa¬
beth,” “Christus,” “Stanislaus” (unfinished). Masses: Missa
solennis for the inauguration of the cathedral at Gran ; Ungarische
Kronungs-messe ; Missa choralis (with organ); Missa and Requiem
for male voices (with organ); Psalms, 13, 137, 23, and 18; 12
Kirchen-Chor-Gesange (with organ). Cantatas : Prometheus-chore ;
“Beethoven Cantata”; “An die Kiinstler”; Die Gloeken des
Strassburger Miinsters; 12 Chore fiirMannergesang; Songs, 8 books;
Scena, Jeanne d’Arc au biicher.
Melodramatic Pieces for Declamation, with Pianoforte Accompani¬
ment.—Leonore (Burger); Der traurige Monch (Lenau); Des tod-
ten Dichter’s Liebe (Jokai); Der blinde Sanger (Tolstoy).
Editions, Text and Variants.—Beethoven’s Sonatas; Weber’s Con-
certstiick and Sonatas; Schubert Fantasia, 4 Sonatas, Impromptus,
Yalses, and Moments musicaux. (e. da.)
Litchfield, a city of Montgomery county, Illinois,
U.S.A., at the intersection of six railways and at an
altitude of 664 feet. Its site is on the level prairie,
its plan is regular, and it has Holly water-works and
other municipal improvements. It is in a region of coal,
natural gas, and petroleum. Population (1880), 4326;
(1890), 5811 ; (1900), 5918, of whom 521 were foreign-
born and 156 were negroes.
Lithgcw, town, Australia, Hew South Wales, in
the county of Cork, 96 miles west of Sydney by rail.
Coal is found in the district, which has also ironworks,
brickworks, and a large pottery. Altitude, 3000 feet.
Population (1881), 2112; (1891), 3865; (1901), 5269.
Lithography. See Engraving.
Lit in, a district town of Russia, government of Podolia,
on the Bug river, 67 miles south-south-west of Zhitomir,
and 19 miles from Vinnitsa railway station. It is an old
town, which existed under the name of Lytyn in the first
half of the 15th century. It has brisk trade in grain,
timber, and wooden goods. Population, 11,162.
Littleborough, a town in the Middleton parlia¬
mentary division of Lancashire, England, on the Rochdale
canal, 3 miles north-east of Rochdale by rail. There are
an endowed free school (founded 1727) and a technical
institute. The industries are cotton and woollen manu¬
factures and dyeing; in the neighbourhood there are