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Consolation No. 4 is in D ♭ major and is initially marked Quasi adagio. Composed in 1849, [29] it is also known as the Stern-Consolation (Star Consolation) because of the six-pointed white star that appears on the printed score. [3] The Consolation was inspired by a Lied written by Maria Pavlovna, the Grand Duchess of Saxe-Weimar-Eisenach.
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No.2 of Für Männergesang; 3rd version of S.90/2a, S.90/2b 90/ 3a M10/1 Wir sind nicht Mumien mch pf 1842 Choral, secular No.1 of Vierstimmige Männergesänge; 1st version of S.90/3b 90/ 3b M10/2 Wir sind nicht Mumien mch pf 1860–61 Choral, secular No.3 of Für Männergesang; 2nd version of S.90/3a 90/ 4a M22/1
He continued to transcribe music by his son-in-law Richard Wagner and seemed equally fond of Italian music. He considered Camille Saint-Saëns a musical ally, setting his Danse macabre in 1876; this work in turn may have influenced some of Liszt's later diabolic works, such as the Csárdás macabre .
This is a list of musical compositions or pieces of music that have unusual time signatures. "Unusual" is here defined to be any time signature other than simple time signatures with top numerals of 2, 3, or 4 and bottom numerals of 2, 4, or 8, and compound time signatures with top numerals of 6, 9, or 12 and bottom numerals 4, 8, or 16.
The music was composed between 1845 and 1854, and began as an overture to Liszt's choral cycle Les quatre élémens (The Four Elements), then revised as a stand-alone concert overture, with a new title referring to a poem by Alphonse de Lamartine. Its premiere was on 23 February 1854, conducted by Liszt himself.