Category: Special Article

Liszt’s Third Liebestraume: Background and Structure

Franz Liszt’s Liebesträume No. 3, S. 541/3, is one of Liszt’s few compositions widely recognized by the general public. Its short structure and lovely melody also make it a great entry point into the composer’s piano music. Yet, so much of the piece’s history and structure is overlooked, especially considering the many versions and arrangements of this short nocturne.

This piece is the third of three liebesträume (“Dreams of Love”), although the first two are seldom performed or heard in general. Liebesträume No. 3 is actually an arrangement for solo piano of the song “O lieb so lang du lieben kannst,” S.298. The song itself is scored for voice and piano, using a text by Ferdinand Freiligrath. It exists in two versions, catalogued as S.298/1 and S.298/2, respectively. The first one was written in 1847, while the second was written three years later. The piano version on which this article focuses was written and published in 1850.

The piece is in A-flat major. It begins with the melody surrounded by slow arpeggios, but quickly builds up to the first of two virtuosic cadenzas. These cadenzas are the most difficult parts of Liebesträume No. 3, requiring technical proficiency and precise control of volume. The climax of the piece takes place between the two cadenzas, where the song melody is played in octaves by the right hand, while arpeggiated patterns are played by both hands in the middle register of the piano.

Two measures from the climactic middle section. The melody is clearly evident in the right hand. Sheet music edited by Isidor Philipp and published by Costallat.

The piece ends much more quietly, rather than fading out. Here, Liszt demonstrates incredible skill in modulation: exposition and recapitulation are in A-flat major, while the middle development section is in B major.

In addition to the piano solo and voice and piano versions of this piece, Liszt also wrote an introduction and ending to the piece in the form of Einleitung und Schlußtakte zu Liebesträume III, S.135b, for harp. This was written by Liszt after Wilhelm Posse arranged Liebesträume No. 3 for harp.

Ultimately, Liebesträume No. 3 is a quintessential example of Romantic musical thought as it seeks to explore emotion and human experience rather than to pursue an intricate structure. It also showcases Liszt’s ability to arrange songs for piano, a skill he had developed through his many song transcriptions after Schubert (famously including Ständchen S.560/7 and Erlkönig S.558/4).

A New Discovery: Liszt’s Der Todesengel

In recent years, new discoveries in musicology have emerged, primarily due to increased interest in the arts. These include a Chopin waltz and a set of Mozart chamber music, among others. However, a short piece by Franz Liszt, Der Todesengel S.190a (“The Angel of Death”), has received very little attention. It occupies an interesting position in Liszt’s oeuvre since it was written relatively late in his lifetime. The piece is only about 3 minutes long, yet it exemplifies all the major characteristics of Franz Liszt’s late piano music.

This piece was discovered in the Georgetown University Archives by Liszt scholar Minkyu Kim. The manuscript itself appears to have been written rather quickly, suggesting that Liszt intended to give the piece to someone, rather than submit it for publication. Also present on the manuscript is some writing from Liszt, revealing that this piece was written in February of 1871 in Pesth (now part of Budapest, Hungary). While this piece has not yet received a studio recording, it has been performed twice: once by Minkyu Kim in 2022 and again by renowned pianist Leslie Howard in 2023. The piece was first published in 2025 by Lucas Allori, co-founder of Revue des Romantiques, but it will most likely be published again in 2027 by the New Liszt Edition.

Der Todesengel lasts is extremely short: only 50 measures long. It consists of two contrasting sections: a stormy introduction and an ethereal ending. It begins in E minor with a repeated pedal point. Above the pedal point, dissonant chords sound out as the music crescendoes. In measure 12, the music takes a different turn with a quiet B major seventh chord, setting the music up for the second section.

The beginning of the piece demonstrates the dark character of the first section. Score by Lucas Allori.

The next section is the parallel major key: E major. Liszt typically reserved this key for religious and spiritual music, so its use here suggests that this piece has a strong religious connection rather than simply being a short character piece. Other pieces in E major include many of his Consolations S.171a/S.172, and Angelus!, S.173/1 (the early versions are also in this key).

The first three measures of the contrasting E major section. Note the elaborate fingerings from the composer, which are typical of his later years. Score by Lucas Allori.

This second section consists mostly of a melody accompanied by arpeggios. The accompaniment gradually fades out, and by the ending, the melody is mostly unaccompanied. The last five measures of the piece consist of floating chords in the high registers of the piano, which, like the B minor sonata, provide a beautiful but quiet ending rather than a loud one. At the end of the piece, Liszt signs his name and writes “Febuar 71 – Pesth”, indicating the month and location in which he wrote this piece. Not much else is known about Der Todesengel, but it is a beautiful character piece that provides valuable insight into the composer’s life and late style.