How does a Romantic composer approach the poetry he sets: as raw material to be remade, a pretext for self-expression, a sanctified artefact, or a message to be illustrated with music? In my book, I examine Franz Liszt’s songs for voice and piano, which remain little known to scholars, artists, and music lovers alike. The objective is to present Liszt’s songs in all their complexity and diversity as well as identifying the key elements of the composer’s broadly understood song-writing technique – both those that make him unique and those that relate him to the European tradition. This approach also makes it possible to shed light on a major though previously neglected aspect of the composer’s workshop, namely, his work with the poetic text, which to Liszt was just as important as the musical setting.

A unique study of Liszt's approach to literary art; an exploration and reconstruction of his method of work with poetry and music in his songs for voice and piano.

The foremost pianist-composer of his day, Franz Liszt unselfishly promoted the works of his fellow composers through his brilliant piano transcriptions of their music. Among his most inspired contributions to the literature were his legendary transcriptions of Franz Schubert's songs. This volume the third and last in Dover's popular series of Liszt-Schubert song transcriptions contains Schubert's complete "Schwanengesang" (Swan Song), including "Abschied," "Am Meer," "Das Fischermadchen," "Standchen" (the world-famous "Serenade"), "Der Doppelganger," and nine other great lieder. Reproduced from extremely rare early editions edited by Liszt himself, these dazzling transcriptions retain all the lyric beauty and emotional depth of Schubert's original music, yet reflect Liszt's incomparable mastery of the difficult art of transcription from the original medium of voice and piano to that of solo piano. A modestly priced collection of hard-to-find treasures of 19th century literature, these unique facsimile reproductions will be prized by pianists and all lovers of fine music."

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

Franz Liszt was one of the most awe-inspiring figures in all of music history. As a composer, he was experimental and inventive, pushing the boundaries of form and harmony. As a pianist, he possessed breathtaking virtuosity: his masterful technique was almost acrobatic. Liszt left behind an enormous body of piano music - by turns poetic, glittering, prophetic, profound, and haunting - that failed to command the acclaim it deserved in his lifetime. Today, however, Franz Liszt is widely known as both a brilliant composer and one of the greatest pianists ever.

Beginning several generations before Schubert, the Lied first appears as domestic entertainment. In the century that follows it becomes one of the primary modes of music-making. By the time German song comes to its presumed conclusion with Richard Strauss's 1948 Vier letzte Lieder, this rich repertoire has moved beyond the home and keyboard accompaniment to the symphony hall. This is a 2004 introductory chronicle of this fascinating genre. In essays by eminent scholars, this Companion places the Lied in its full context - at once musical, literary, and cultural - with chapters devoted to focal composers as well as important issues, such as the way in which the Lied influenced other musical genres, its use as a musical commodity, and issues of performance. The volume is framed by a detailed chronology of German music and poetry from the late 1730s to the present and also contains a comprehensive bibliography.

Masterworks of the 19th-century composer include Hungarian Rhapsody No. 2 in C-sharp minor, Consolation No. 3 in D-flat major, Liebestraum No. 3 in A-flat major, La Campanella (Paganini Etude No. 3), and 9 others.

Franz Liszt: A Research and Information Guide is an annotated bibliography concerning both the nature of primary sources related to the composer and the scope and significance of the secondary sources which deal with him, his compositions, and his influence as a composer and performer. The second edition includes research published since the publication of the first edition and provide electronic resources. Franz Liszt was born on 22 October 1811 at Raiding, today located in Austria’s Burgenland. He received his first piano lessons from his father, Adam Liszt, an employee of the celebrated Eszterházy family. Young Franz was quickly acclaimed a prodigy, and in 1820 a group of Hungarian magnates offered to underwrite his musical education. Shortly thereafter the Liszts moved to Vienna, where Franz studied piano and composition with Carl Czerny and Anton Salieri. Performances there earned Liszt local fame; even Beethoven expressed interest in him.