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Edited by world-renowned Liszt expert and concert pianist Leslie Howard, the edition also contains Liszt's original fingerings. Dover Publications has issued a complete edition in one bound volume. Also included is an appendix of related works including Lyon (from the first book of Album d'un voyageur), Apparitions, Tre sonetti del Petrarca ...
[2] Also Liszt's mistresses Marie d'Agoult and Princess Wittgenstein wished him to be a "proper" composer with an œuvre of original pieces. Liszt himself, as it seems, shared their opinion. For many times he assured, his fantasies and transcriptions were only worthless trash. He would as soon as possible start composing his true masterworks. [3]
2nd version of S.171a/4; arr. for org/harm by Liszt and Alexander Wilhelm Gottschalg as S.672d/2; arr. for vc pf/org/harm by Liszt and Deswert as S.382a/2 172/5 A111b/5 (Andantino) pf E major 1849–50 Piano, original 2nd version of S.171a/5; arr. for org/harm by Liszt and Gottschalg as S.672d/3 172/6 A111b/6 (Allegretto sempre cantabile) pf E ...
The first version appears in Liszt's set Album d'un voyageur (1834–1838), and the second in the first suite of Liszt's Années de pèlerinage (1836–1855). The last version is almost identical to the second, except for the final nine bars, which were added by Liszt as a coda for his Italian piano student Giovanni Sgambati , who was also a ...
Harmonies poétiques et religieuses (Poetic and Religious Harmonies), S.173, is a cycle of piano pieces written by Franz Liszt at Woronińce (Voronivtsi, the Polish-Ukrainian country estate of Liszt's mistress Princess Carolyne von Sayn-Wittgenstein) in 1847, and published in 1853.
The piece has been described by Carl Lachmund, one of Liszt's students, as more characteristic of Liszt's style than the more renowned D ♭ major third Consolation. [35] Lachmund provides insight into the style in which Liszt played the Consolation, stating:
Romance S.169, the theme of which is based on the song "O pourquoi donc" ("Why, oh Why"), is a piece of music written in 1848 by the Hungarian composer Franz Liszt during a visit to Moscow. It bears some resemblance to Chopin's Nocturne in E minor , [ 1 ] as both pieces commence with broken E-minor chords.
Some pieces from book III of Annees de Pelerinage could fit here, as could Via Crucis and the Historical Hungarian Portraits. Liszt was deeply affected by the deaths of friends and loved ones throughout his life; these losses, in turn, had a profound impact on the types of works Liszt would write.