Utwory na płycie:

• Seven Songs (T: Heinrich Heine) (Late versions, published 1849-60) - Du bist wie eine Blume, S. 287b
• Seven Songs (T: Heinrich Heine) (Late versions, published 1849-60) - Im Rhein im schönen Strome, S. 272b
• Seven Songs (T: Heinrich Heine) (Late versions, published 1849-60) - Morgens steh’ ich auf und frage, S. 290b
• Seven Songs (T: Heinrich Heine) (Late versions, published 1849-60) - Anfangs woll’ ich fast verzagen, S. 311b
• Seven Songs (T: Heinrich Heine) (Late versions, published 1849-60) - Vergiftet sind meine Lieder, S. 289b
• Seven Songs (T: Heinrich Heine) (Late versions, published 1849-60) - Der Fichtenbaum steht einsam, S. 309b
• Seven Songs (T: Heinrich Heine) (Late versions, published 1849-60) - Die Loreley, S. 273b
• Three late Songs - Des Tages laute Stimmen schweigen, S. 337 (1880) (T: Ferdinand von Saar)
• Three late Songs - Verlassen, S. 336 (1880) (T: Gustav Michel)
• Three late Songs - Und wir dachten der Toten, S. 338 (1871?) (T: Ferdinand Freiligrath)
• Five Songs (T: Johann Wolfgang Goethe) (Late versions - 1849-1862) - Es war ein König von Thule, S. 278b
• Five Songs (T: Johann Wolfgang Goethe) (Late versions - 1849-1862) - Wer nie sein Brot mit Tränen aß, S. 297b
• Five Songs (T: Johann Wolfgang Goethe) (Late versions - 1849-1862) - Über allen Gipfeln ist Ruh’, S. 306b
• Five Songs (T: Johann Wolfgang Goethe) (Late versions - 1849-1862) - Der du vom Himmel bist, S. 279c
• Five Songs (T: Johann Wolfgang Goethe) (Late versions - 1849-1862) - Freudvoll und leidvoll, S. 280c
• Four late Songs T: Friedrich von Bodenstedt (1878/79) - Gebet, S. 331
• Four late Songs T: Friedrich von Bodenstedt (1878/79) - Einst, S. 332
• Four late Songs T: Friedrich von Bodenstedt (1878/79) - An Edlitam (Mathilde), S. 333
• Four late Songs T: Friedrich von Bodenstedt (1878/79) - Der Glückliche, S. 334 (T: Adolf Wilbrand]

Es war ein König von Thule, S. 278b
Wer nie sein Brot mit Tränen aß, S. 297b
Über allen Gipfeln ist Ruh’, S. 306b
Der du von dem Himmel bist, S. 279c
Freudvoll und leidvoll, S. 280c
Gebet, S. 331
Einst, S. 332
An Edlitam (Mathilde), S. 333
Der Glückliche, S. 334
Du bist wie eine Blume, S. 287b
Im Rhein im schönen Strome, S. 272b
Morgens steh’ ich auf und frage, S. 290b
Anfangs woll’ ich fast verzagen, S. 311b
Vergiftet sind meine Lieder, S. 289b
Der Fichtenbaum steht einsam, S. 309b
Die Loreley, S. 273b
Des Tages laute Stimmen schweigen, S. 337
Verlassen, S. 336
Und wir dachten der Toten, S. 338

Compared with the catalogues of, say, Schubert, Loewe, or Schumann, the song output of Franz Liszt seems quite modest in terms of sheer quantity. Unexpected obstacles make it difficult, however, to obtain an overview of all the Lieder the Weimar virtuoso ever wrote.

Not all of Liszt’s songs are published as sheet music, and this has always been the case; the only currently available collection is a meager anthology of ca. 40 Lieder. One is soon obliged to resort to out-of-print material. The old, 3-volume Leipzig collection edited by C. F. Kahnt contains 57 songs, whereas the most complete edition is the one from 1919-1920 by Carl Alexander, Archduke of Weimar, which is hard to come by. In the meantime, Internet platforms such as Petrucci (imslp.org) have become well-stocked archives where one can find older sheet music that would otherwise be unavailable.

According to my research in the past ten years, Franz Liszt had an output of ca. 85 Lieder, or, shall we say, “titles”. If we also count his revisions or completely new versions of songs, we can speak of a total of 135 to 140 songs.

Curiously enough, brief songs by Liszt continue to turn up in estates and auctions all over Europe. As a travelling virtuoso, Liszt occasionally wrote down entire songs in guest books when he was invited to the homes of nobility, or to perform in evening soirées. One can also find a few songs he wrote as “arrangements” of melodies or poems of his patrons or benefactors. Several Lieder gems by Liszt are still slumbering in the Goethe-Schiller Archive in Weimar. for instance. (Excerpt of the booklet notes by Daniel Heide)

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Recording: XII 2020, Markus-Sittikus-Saal, Hohenems (A), Schubertiade. Piano: Steinway D.