Franz Liszt
Liebesträume No. 3
This is one of the most well-known piece by Liszt. Liebesträume is German for Dreams of Love. This is the third of the three solo piano works (S.541 / R.211) by Liszt, published in 1850. These three pieces were conceived as lieder after poems by Ludwig Uhland and Ferdinand Freiligrath, with the third by Freiligrath.
The three lieder depict three different forms of love. This Notturno is particular about unconditional mature love ("O lieb, so lang du lieben kannst," meaning "Love as long as you can!")
O lieb', solang du lieben kannst!
O lieb', solang du lieben magst!
Die Stunde kommt, die Stunde kommt,
Wo du an Gräbern stehst und klagst!
Und sorge, daß dein Herze glüht
Und Liebe hegt und Liebe trägt,
Solang ihm noch ein ander Herz
In Liebe warm entgegenschlägt!
Und wer dir seine Brust erschließt,
O tu ihm, was du kannst, zulieb'!
Und mach' ihm jede Stunde froh,
Und mach ihm keine Stunde trüb!
Und hüte deine Zunge wohl,
Bald ist ein böses Wort gesagt!
O Gott, es war nicht bös gemeint, -
Der andre aber geht und klagt.
O lieb', solang du lieben kannst!
O lieb', solang du lieben magst!
Die Stunde kommt, die Stunde kommt,
Wo du an Gräbern stehst und klagst!
Dann kniest du nieder an der Gruft
Und birgst die Augen, trüb und naß,
- Sie sehn den andern nimmermehr -
Ins lange, feuchte Kirchhofsgras.
Und sprichst: O schau' auf mich herab,
Der hier an deinem Grabe weint!
Vergib, daß ich gekränkt dich hab'!
O Gott, es war nicht bös gemeint!
Er aber sieht und hört dich nicht,
Kommt nicht, daß du ihn froh umfängst;
Der Mund, der oft dich küßte, spricht
Nie wieder: Ich vergab dir längst!
Er tat's, vergab dir lange schon,
Doch manche heiße Träne fiel
Um dich und um dein herbes Wort -
Doch still - er ruht, er ist am Ziel!
O lieb', solang du lieben kannst!
O lieb', solang du lieben magst!
Die Stunde kommt, die Stunde kommt,
Wo du an Gräbern stehst und klagst!
O love, as long as love you can,
O love, as long as love you may,
The time will come, the time will come
When you will stand at the grave and mourn!
Be sure that your heart burns,
And holds and keeps love
As long as another heart beats warmly
With its love for you
And if someone bears his soul to you
Love him back as best you can
Give his every hour joy,
Let him pass none in sorrow!
And guard your words with care,
Lest harm flow from your lips!
Dear God, I meant no harm,
But the loved one recoils and mourns.
O love, love as long as you can!
O love, love as long as you may!
The time will come, the time will come,
When you will stand at the grave and mourn.
You will kneel alongside the grave
And your eyes will be sorrowful and moist,
- Never will you see the beloved again -
Only the churchyard’s tall, wet grass.
You will say: Look at me from below,
I who mourn here alongside your grave!
Forgive my slights!
Dear God, I meant no harm!
Yet the beloved does not see or hear you,
He lies beyond your comfort;
The lips you kissed so often speak
Not again: I forgave you long ago!
Indeed, he did forgive you,
But tears he would freely shed,
Over you and on your unthinking word -
Quiet now! – he rests, he has passed.
O love, love as long as you can!
O love, love as long as you may!
The time will come, the time will come,
When you will stand at the grave and mourn.
La Campanella
"The little bell" is the nickname given Liszt's Grandes études de Paganini, S.141. It's melody comes from the final movement of Niccolò Paganini's Violin Concerto No. 2 in B minor, where the tune was reinforced metaphorically by a "little handbell." This is illustrated by the large intervals of 16th notes in the right hand, which was also what made this piece known for its difficulty and virtuosity.
Paganini's Violin Concerto La Campanella version, performed by Stefan Milenkovich in Novi Sad, Serbia, with Vojvodina Symphony Orchestra and conducted by Berislav Skenderovic.
Here is a performance of Études d'exécution transcendente d'après Paganini, S.140, the first version of La Campanella performed by Italian pianist Elisa Tomellini. It was said that this version was too difficult that Liszt had to revise it to the version known today.
Liszt's transcription of this piece, played by Russian pianist Evgeny Kissin. As you listen, see how the large interval jumps to the top of the piano replicate the ringing sounds of the bells.
Années de Pèlerinage, Tre Sonetti del Petrarca
Sonetto 47 del Petrarca
The sonnet opens up with breataking sights. This lover stated that the moment he fell in love with his lover has haunted him with its wondrous sight, and that the sight has now drenched in his adoration for her. She has become the muse for his sonnets, which had given him the the fame he owns.
Suggested Recording
Sonetto 104 del Petrarca
This is perhaps the most dramatic sonnet of the three in the set. In this passionate yet agitated sonnet, the lover expresses his confusion love has put him in. He felt imprisoned, free, burned, emotional, contemplated, unrequited, passionate, all at the same time by his love.
Suggested Recording
Sonetto 123 del Petrarca
The lover describes his lover beauty as superior to nature, stating that her eyes "turn-d the sun with envy pale." He also describes her tales as those filled with "wit, pity, excellence, and grief, and love," and that they are meant to be listened by the heaven, suggesting her angelic nature.
Suggested Recording