The crucial example of this is what Richard Strauss has ingeniously called the "al fresco" treatment of instruments in large orchestral masses (Berlioz-Strauss, Instrumentationslehre, edition Peters)..
He understood their problem and it helped galvanize him to volunteer to help them.
The only other artistic solution of the problem is to follow Berlioz, Verdi and Dvorak in the complete renunciation of all ecclesiastical style.
His appeal to musicians was made in a threefold capacity, and we have, therefore, to deal with Liszt the unrivalled pianoforte virtuoso (1830 - r848); Liszt the conductor of the "music of the future " at Weimar, the teacher of Tausig, Billow and a host of lesser pianists, the eloquent writer on music and musicians, the champion of Berlioz and Wagner (1848-1861); and Liszt the prolific composer, who for some five-and-thirty years continued to put forth pianoforte pieces, songs, symphonic orchestral pieces, cantatas, masses, psalms and oratorios (1847-1882).
During this period he acted as conductor at court concerts and on special occasions at the theatre, gave lessons to a number of pianists, wrote articles of permanent value on certain works of Berlioz and the early operas of Wagner, and produced those orchestral and choral pieces upon which his reputation as a composer mainly depends.
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