In his virtuosic piano arrangement of Schumann’s “Widmung” (“Du meine Seele, du mein Herz”), Franz Liszt transformed this intimate song into a dramatic declaration that reaches its powerful climax at the phrase “Mein guter Geist, mein bess’res Ich”, using chords to be played con somma passione. In Liszt’s autograph the melody is overlaid by the song text, but he changes the title to “Liebeslied”. The first edition, published in Leipzig in 1848, retained this heading, and thus the song is still known today under two different titles. In collaboration with Liszt scholar Mária Eckhardt we present this best-known of all of Liszt’s Schumann arrangements in a reliable Henle Urtext quality edition.
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Franz Liszt (1811 – 86) held not only Robert Schumann’s piano music in high regard, but his entire output. This applies particularly to his songs, even though Liszt arranged very few of these for piano. His earliest and best-known arrangement is the Liebeslied, which is based on Widmung from Schumann’s song cycle Myrthen op. 25. The first edition of Schumann’s … more
About the composer
The most famous piano virtuoso of the nineteenth century is regarded as the most influential artist and composer (with Berlioz, Wagner) of the so-called New German School. His immense musical oeuvre comprises, above all else, works for solo piano, including numerous transcriptions; he also devised the symphonic poem. Important, too, are his sacred and secular choral works and songs.
|1811||Born in Doborján/Raiding (Sopron) on October 22, son of an official in the service of Prince Esterházy. First piano lessons from his father, early first attempts at composition, first public performance at age nine.|
|1822||Relocation of the family to Vienna, studies with Carl Czerny and Antonio Salieri.|
|1823||Relocation of the family to Paris. Composition studies with Ferdinando Paër and Antonín Reicha (1826). Performances in salons, concerts.|
|1824–27||Concert tours through France, to England and Switzerland. Composition of opera paraphrases for piano.|
|1830||Acquaintance with Berlioz, self-study by reading. He becomes Parisian society’sfavourite pianist and piano teacher.|
|1835||He moves to Switzerland with Countess Marie d’Agoult: their first child together, Blandine-Rachel, is born here. He continues concertizing in Paris.|
|from 1839||Continuous concert tours throughout Europe.|
|from 1847||Symphonic poems, including No. 2, “Tasso: lamento e trionfo”; No. 1, “Ce qu‘on entend sur la montagne” (‘Bergsymphonie,’ ‘Mountain Symphony’); “A Faust Symphony in Three Character Pictures”; “A Symphony to Dante’s Divine Comedy” (‘Dante Symphony’); as well as [No. 11], “Hunnenschlacht” (“Battle of the Huns”).|
|1848–61||Kapellmeister in Weimar; he advocates for progressive music (Wagner, Schumann, Berlioz).|
|1857–62||Oratorio, “The Legend of St. Elisabeth.”|
|1861–68||Resident in Rome.|
|1865||Takes minor holy orders.|
|1871||Appointed Hungarian court councilor; he lives in Rome, Weimar, and Budapest.|
|1886||Death in Bayreuth on July 31.|
About the authors
Die in sauberem und gut lesbaren Schriftbild in gewohnt solider Weise erstellte Ausgabe mit Fingersätzen von Markus Bellheim geht im Wesentlichen auf den Erstdruck zurück, der seinerseits auf der aus Liszts Autograph kopierten Stichvorlage basiert.