Favorite Franz Schubert melodies in piano transcriptions that reflect Franz Liszt's incomparable mastery of the keyboard. Reproduced from extremely rare early editions overseen by Liszt himself.

All 14 songs in the series, including such masterpieces as "Das Fischermädchen," "Am Meer," "Abschied," "Ständchen," "Frühlings-Sehnsucht," "Der Doppelgänger," and other famed lieder. All meticulously reproduced from rare early editions overseen by Liszt himself.

All 24 songs of Schubert's great song cycle Winterreise, along with the 4 songs of Geistliche Lieder and the beloved single songs "La Rose," "Die Forelle," and "Lob der Thranen."

Of the many piano transcriptions Franz Liszt made of the works of other composers, those he made of the songs of Franz Schubert are among his most inspired. This volume contains the legendary pianist's twelve transcriptions from Schubert's great song cycle "Winterreise," along with the four songs of "Geistliche Lieder" and the beloved single songs "La Rose," "Lob der Thranen" and "Die Forelle." These rare transcriptions offer a unique blending of Classical inspiration with Romantic virtuosity. Here, Liszt retained the intense lyricism and emotional impact of Schubert's songs as he transformed them into dazzling compositions for solo piano. For generations, pianists and their audiences savored the rich rewards of Liszt's memorable achievement, even as the long-awaited publication of this Dover volume, nineteen rare gems of the keyboard literature are once more available, reproduced from extremely rare early editions. "

All 14 songs in the series, including such masterpieces as "Das Fischermädchen," "Am Meer," "Abschied," "Ständchen," "Frühlings-Sehnsucht," "Der Doppelgänger," and other famed lieder. All meticulously reproduced from rare early editions overseen by Liszt himself.

Explores Liszt's compositional processes and methods of revision as the product of the composer's interactions with a large variety of social, cultural, personal and political forces. Franz Liszt (1811-86) is mostly known for his virtuosic piano works, but his compositional achievements in the genre of song have so far been neglected. Many of Liszt's Lieder exist in multiple versions, sometimes radically altered, and many with equal claims to 'authenticity'. This has sometimes been viewed as a barrier to performance and a hindrance to scholarly scrutiny. Nicolás Puyané now redresses this imbalance and draws attention to this rich and varied corpus of works. Liszt's songs contain a myriad of intertextual links, not just with the songs of other composers, but also with Liszt's own works in other genres and his own revisions. By focusing on the multi-version songs, the book uncovers how these intertextual relationships have evolved over time. Introducing the concept of "textual fluidity", the book explores Liszt's compositional processes and methods of revision, interpreting the work as being the product of the composer's interactions with a large variety of social, cultural, personal and political forces: for instance, the contemporaneous reception of Liszt's early Lieder, or the change in Liszt's performing and compositional environments from his virtuoso to his Weimar years. The book then offers close readings of selected songs, including the Goethe and Schiller Lieder, by applying the concept of textual fluidity. Its findings will impact the way in which we see Urtext editions, arguing instead for an online fluid-text edition as an ideal resource with which to study Liszt's multi-version compositions.

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.