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Liszt, Franz. (1811–1886) [Schubert, Franz. (1797–1828)] Der Atlas. Lied aus Franz Schubert's Schwanengesang, für das Piano-Forte übertragen von F. Liszt...No. 11
Liszt, Franz. (1811–1886) [Schubert, Franz. (1797–1828)] Der Atlas. Lied aus Franz Schubert's Schwanengesang, für das Piano-Forte übertragen von F. Liszt...No. 11
Liszt, Franz. (1811–1886) [Schubert, Franz. (1797–1828)] Der Atlas. Lied aus Franz Schubert's Schwanengesang, für das Piano-Forte übertragen von F. Liszt...No. 11
Liszt, Franz. (1811–1886) [Schubert, Franz. (1797–1828)] Der Atlas. Lied aus Franz Schubert's Schwanengesang, für das Piano-Forte übertragen von F. Liszt...No. 11
Liszt, Franz. (1811–1886) [Schubert, Franz. (1797–1828)] Der Atlas. Lied aus Franz Schubert's Schwanengesang, für das Piano-Forte übertragen von F. Liszt...No. 11
Liszt, Franz. (1811–1886) [Schubert, Franz. (1797–1828)] Der Atlas. Lied aus Franz Schubert's Schwanengesang, für das Piano-Forte übertragen von F. Liszt...No. 11
Liszt, Franz. (1811–1886) [Schubert, Franz. (1797–1828)]. Der Atlas. Lied aus Franz Schubert's Schwanengesang, für das Piano-Forte übertragen von F. Liszt...No. 11. Vienna: Tobias Haslinger. [1840]. First Edition.
Unbound upright quarto. Engraved. [PN] T. H. 7761. 15 pp. Text of poem printed to p. 3. 10.25 x 7 inches (26.5 x 17.5 cm). Somewhat foxed; outer bifolium partly detached; else fine.

The designation "No. 11" refers to a series (or collection) of Schubert songs transcribed by Liszt for solo piano and published by Haslinger. Schubert composed Der Atlas (D. 357) on a poem by Heinrich Heine in 1828. The song was published posthumously by Tobias Haslinger as no. 8 of a cycle, Schwanengesang (title by Haslinger); whether Schubert intended these songs as a cycle is disputed.

"Liszt arranged more than fifty songs by Schubert for piano solo... As can be gathered from a review appearing on 7 December 1839 in the Wiener Zeitschrift fur Kunst, Literatur, Theater und Mode, at the time these transcriptions were highly prized and appropriately appreciated: 'In the transcriptions of Schubert Lieder, [Liszt] has created a new genre. Here is an excellent effort to reproduce the melodic and harmonic beauty of the new classical Lied as a lyric entity on the piano alone; and to manage this perfectly, as if with the power of the vocal line and declamation, without sacrificing in the process any of his pianistic richness. [Liszt's] artistic, characteristic, and tasteful treatment [has] raised these peices to performance favorites almost everywhere. Now Schubert's immortal songs need remain no longer the [sole] property of the accomplished singer.'" (Martin Chusid, "A Companion to Schubert's Schwanengesang," p. 10-11)

"His response to poetic imagery, his conviction that purely musical images of poetic ideas are capable of projection to the listener, and his belief that he could illustrate such imagery without words, are keys to understanding Liszt's lifelong aesthetic. The musical image of the idea, the true symphonic poem, thus had its genesis in concept and form in Liszt's adoration of Schubert." (Derek Watson, "Liszt," p. 214)

Liszt, Franz. (1811–1886) [Schubert, Franz. (1797–1828)] Der Atlas. Lied aus Franz Schubert's Schwanengesang, für das Piano-Forte übertragen von F. Liszt...No. 11

Schubertiade Music and Arts
SKU: 22223
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Liszt, Franz. (1811–1886) [Schubert, Franz. (1797–1828)]. Der Atlas. Lied aus Franz Schubert's Schwanengesang, für das Piano-Forte übertragen von F. Liszt...No. 11. Vienna: Tobias Haslinger. [1840]. First Edition.
Unbound upright quarto. Engraved. [PN] T. H. 7761. 15 pp. Text of poem printed to p. 3. 10.25 x 7 inches (26.5 x 17.5 cm). Somewhat foxed; outer bifolium partly detached; else fine.

The designation "No. 11" refers to a series (or collection) of Schubert songs transcribed by Liszt for solo piano and published by Haslinger. Schubert composed Der Atlas (D. 357) on a poem by Heinrich Heine in 1828. The song was published posthumously by Tobias Haslinger as no. 8 of a cycle, Schwanengesang (title by Haslinger); whether Schubert intended these songs as a cycle is disputed.

"Liszt arranged more than fifty songs by Schubert for piano solo... As can be gathered from a review appearing on 7 December 1839 in the Wiener Zeitschrift fur Kunst, Literatur, Theater und Mode, at the time these transcriptions were highly prized and appropriately appreciated: 'In the transcriptions of Schubert Lieder, [Liszt] has created a new genre. Here is an excellent effort to reproduce the melodic and harmonic beauty of the new classical Lied as a lyric entity on the piano alone; and to manage this perfectly, as if with the power of the vocal line and declamation, without sacrificing in the process any of his pianistic richness. [Liszt's] artistic, characteristic, and tasteful treatment [has] raised these peices to performance favorites almost everywhere. Now Schubert's immortal songs need remain no longer the [sole] property of the accomplished singer.'" (Martin Chusid, "A Companion to Schubert's Schwanengesang," p. 10-11)

"His response to poetic imagery, his conviction that purely musical images of poetic ideas are capable of projection to the listener, and his belief that he could illustrate such imagery without words, are keys to understanding Liszt's lifelong aesthetic. The musical image of the idea, the true symphonic poem, thus had its genesis in concept and form in Liszt's adoration of Schubert." (Derek Watson, "Liszt," p. 214)

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