Indeed, nothing is more princely, nothing better reveals the amplitude, the generosity of your spirit, than your relations with your fellow craftsmen. Artists are oftentimes so petty in their conduct toward each other that it is indeed refreshing to read with what infallible kindness you treated so many composers less fortunately situated than yourself. And not only Wagner and César Franck benefited by your good deeds. Many obscurer and younger men, poor Edward MacDowell, for instance, knew what it was to receive cordial and commendatory letters from you, to be assisted by you in their careers, to have their compositions brought to performance by the best German orchestras through your aid. And you had no conceit in you, smilingly referred to your symphonic poems as "Gartenmusik," and replied to Wagner, when he informed you that he had stolen such and such a theme from you, "Thank goodness, now it will at least be heard!" Had you, O Liszt, expressed the nobility of your nature as purely in your composition as you expressed it in your social relations, we could have complained of no mountainous rubble, no squalor marring the perfect splendor of your figure.
But, unhappily, the veritable grandeur of your endowment never begot itself a body of work really symbolic of itself. For if your music, as a whole, has any grandeur, it is the hollow grandeur of inflation, of ostentation, of externality. Your music is almost entirely a monstrous _décor de théâtre_. It is forever seeking to establish tragical and satanic and passional atmospheres, to suggest immense and regal and terrific things, to gain tremendous effects. It is full of loud, grandiloquent pronouncements, of whirlwinds, thunderstorms, coronations on the Capitoline, ideals, lamentations, cavalcades across half of Asia, draperies, massacres, frescoes, façades, magnificats, lurid sunsets, scimitars, miracles, triumphs of the cross, retreats from the world. It is full of all the romantic properties. Like vast pieces of stage scenery the various passages and movements are towed before our eyes, and we are bidden to feast our eyes on representations of titanic rocks and lowering skies and holy hermits' dwellings that remind us dangerously of the wonders displayed in the peepshows at gingerbread fairs. The atmosphere of the compositions is so invariably sensational, the gesture so calculated, so theatrical, that much of the truly impressive material, the quantities of original ideas, lose all substantiality, and become indistinct components of these vast mountains of ennui, these wastes of rhetorical and bombastic instruments, these loud and prancing concertos of circus-music. There is something almost insulting to the intelligence in these over-emphasized works, these pretentious façades, these vast, pompous frescoes by Kaulbach, these Byronic instrumental soliloquies, these hollow, empty flourishes of the brass, these foolishly satanic chromatics, these inevitable triumphs of the cross and the Gregorian modes.