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Liszt, Franz. (1811–1886) [Schubert, Franz. (1797–1828)] Lob der Thränen. Lied von Fr. Schubert, für das Piano-Forte übertragen von F. Liszt...No. 25
Liszt, Franz. (1811–1886) [Schubert, Franz. (1797–1828)] Lob der Thränen. Lied von Fr. Schubert, für das Piano-Forte übertragen von F. Liszt...No. 25
Liszt, Franz. (1811–1886) [Schubert, Franz. (1797–1828)] Lob der Thränen. Lied von Fr. Schubert, für das Piano-Forte übertragen von F. Liszt...No. 25
Liszt, Franz. (1811–1886) [Schubert, Franz. (1797–1828)] Lob der Thränen. Lied von Fr. Schubert, für das Piano-Forte übertragen von F. Liszt...No. 25
Liszt, Franz. (1811–1886) [Schubert, Franz. (1797–1828)] Lob der Thränen. Lied von Fr. Schubert, für das Piano-Forte übertragen von F. Liszt...No. 25
Liszt, Franz. (1811–1886) [Schubert, Franz. (1797–1828)] Lob der Thränen. Lied von Fr. Schubert, für das Piano-Forte übertragen von F. Liszt...No. 25
Liszt, Franz. (1811–1886) [Schubert, Franz. (1797–1828)]. Lob der Thränen. Lied von Fr. Schubert, für das Piano-Forte übertragen von F. Liszt...No. 25. Vienna: Tobias Haslinger. [after 1842]. First Edition, later issue.
Unbound upright quarto. Engraved. [PN] T. H. 7775. 7 pp. Text of poem printed to p. 2. Copyright note to foot of p. 3: "Druck, Eigenthum und Verlag der k.k. Kunst- und Musikalienhandlung Carl Haslinger, quondam Tobias in Wien." In original green wrappers with engraved titling in French. Signature, "Meyncke", in ink to lower right corner of upper wrapper. 10.25 x 6.75 inches (26.3 x 17.2 cm). Wrappers worn and somewhat soiled; else a very good copy.

While the title is that of the first edition of 1839, the copyright note points to a date no earlier than 1842 because in that year, Tobias Haslinger died and was succeeded by his son Carl ("quondam" meaning "formerly"). The designation "No. 25" on the title refers to a series (or collection) of Schubert songs transcribed by Liszt for solo piano and published by Haslinger. Schubert composed Lob der Thränen (D. 711; in modern orthography, "Tränen") on a poem by August Wilhelm von Schlegel in 1817. The original song was published by Tobias Haslinger in 1821.

"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)] Lob der Thränen. Lied von Fr. Schubert, für das Piano-Forte übertragen von F. Liszt...No. 25

Schubertiade Music and Arts
SKU: 22224
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Liszt, Franz. (1811–1886) [Schubert, Franz. (1797–1828)]. Lob der Thränen. Lied von Fr. Schubert, für das Piano-Forte übertragen von F. Liszt...No. 25. Vienna: Tobias Haslinger. [after 1842]. First Edition, later issue.
Unbound upright quarto. Engraved. [PN] T. H. 7775. 7 pp. Text of poem printed to p. 2. Copyright note to foot of p. 3: "Druck, Eigenthum und Verlag der k.k. Kunst- und Musikalienhandlung Carl Haslinger, quondam Tobias in Wien." In original green wrappers with engraved titling in French. Signature, "Meyncke", in ink to lower right corner of upper wrapper. 10.25 x 6.75 inches (26.3 x 17.2 cm). Wrappers worn and somewhat soiled; else a very good copy.

While the title is that of the first edition of 1839, the copyright note points to a date no earlier than 1842 because in that year, Tobias Haslinger died and was succeeded by his son Carl ("quondam" meaning "formerly"). The designation "No. 25" on the title refers to a series (or collection) of Schubert songs transcribed by Liszt for solo piano and published by Haslinger. Schubert composed Lob der Thränen (D. 711; in modern orthography, "Tränen") on a poem by August Wilhelm von Schlegel in 1817. The original song was published by Tobias Haslinger in 1821.

"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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