SIXTH PERIOD CONTINUED.
Important as Berlioz is in the development of programme music, LISZT is so far more. Indeed, he is the most important of all, and is this quite apart from the value of his productions as works of art. His importance lies chiefly and mainly in the impulses he gave--in the vistas he opened, the new problems he proposed, the solutions of old problems he attempted, in short, in the new ideas, methods, procedures, and means he suggested. Unlike Berlioz, Liszt had a system, and set it forth in unequivocal language. While in the quantity of his programme music and in the scope and variety of his programmes Liszt surpasses Berlioz, the latter must, I think, be allowed the possession of a larger amount of originality and creativeness. Of Berlioz I have already said that he was not one of the spontaneous composers, one of those whose souls are steeped in harmonious beauty, and whose natural language is music, in which their thoughts easily find adequate expression and perfect form. But although alike in being outside the blessed circle of the elect, they were nevertheless very different in many respects--in endowment, in training, in circumstances, in character, &c., &c. From the age of ten Liszt was trained by excellent masters and lived in artistic environment, first in Vienna and afterwards in Paris; Berlioz had no music teaching worth speaking of and lived in inartistic