The third album of Liszt's songs spans five decades and unites serious miniatures with large-scale works. It illustrates Liszt's artistic range, as he set poems by various authors and in different languages to music. He often reworked his own pieces, using song as a testing ground for novel harmonies and tonality. These works were not aimed at his usual audience but offered Liszt the opportunity to transcend his compositional phases and explore new avenues. A prime example of this is the song cycle Tre sonetti di Petrarca (Three Sonetti of Petrarch).
During their trip to Italy, Liszt and Marie d'Agoult immersed themselves in the works of Dante and Petrarch. Between 1842 and 1846, Liszt published the first version of Tre sonetti di Petrarca. He then worked for almost two decades on a second version for mezzo-soprano or baritone. He opened the cycle with "Benedetto sia 'l giorno," a tribute to Petrarch's muse Laura. The cycle is among the most impressive literary depictions of love.
The poem "Pace non trovo" paradoxically explores the contradictions of love. Liszt created two versions of it, in which he impressively employed dissonances and chord progressions. Both arrangements end openly, thus underscoring the ambivalence of love.
Heine honored Liszt with multifaceted compliments for his spirited soul and musical expression. Despite the breakdown of their friendship, some of the most significant Heine settings of the century were composed, including the song "Anfangs wollt' ich fast verzagen" (At First I Almost Despaired). This work prompted Liszt to reflect on hope and reason.
Liszt musically rendered Heine's "Ein Fichtenbaum steht einsam" (A Fir Tree Stands Alone) as a circular movement with numerous semitones and echo effects. Through its harmonious structure and tone colors, a somber, melancholic mood is created.
Among the works inspired by Liszt's friend Franz Carl Graf Coronini is "Die Fischerstochter" (The Fisherman's Daughter). This song tells of a tragic love and a lost life. The composition combines innovative lyrical and dramatic elements; the ending, typical of Liszt, remains ambiguous and underscores the futility of love.
Liszt also engaged with the poem "Wer nie sein Brot mit Tränen ass" (He Who Never Ate His Bread with Tears). Here, he demonstrates his virtuosity and creates an atmosphere of profound despair and emotion. Through leaps and chords, the harpist's anguish is vividly conveyed.
Victor Hugo's poetry inspired Liszt to compose some of his most popular songs. In "La tombe et la rose" (The Tomb and the Rose), the grave and the rose meet in a dialogue that explores the power of transformation. Many of Liszt's songs end with open endings, emphasizing the triumph of the spirit over death.
Another work based on Hugo is Gastibelza, which tells a Spanish story of unrequited love and despair. Here, Liszt employs richly colored harmonies and multi-layered textures that reflect the vivid nature of the narrative.
Later songs like "Go Not Happy Day" reflect Liszt's personal melancholy and depression. These pieces are characterized by introspection and often culminate in an open ending that expresses the uncertainty of life. In his compositions, Liszt consistently pushed emotional boundaries and implemented radical musical innovations.