Franz Liszt's Harmonies poétiques et religieuses has a long and complex history. Published in 1853, this extensive cycle combines magnificent concert pieces such as Bénédiction and Funérailles with simple, short compositions, some of which employ Gregorian modes. The collection was created over a considerable period. As early as 1835, No. 4 was published in a compositionally revolutionary first version under the title Harmonies poétiques et religieuses, named after Lamartine's volume of poetry of the same name. In 1853, Liszt distanced himself from this significant early work and presented it in a somewhat toned-down form as Pensées des morts, although it still had a considerable impact.
The collection was created over a long period. As early as 1835, No. 4 was published in a compositionally revolutionary first version under the title Harmonies poétiques et religieuses, named after the volume of poetry of the same name by Lamartine. Originally inspired by the publication of Lamartine's four books of poetry in 1830, Liszt's interpretation began as a single piece (S154) in 1834. From this, various works developed, some of which were discarded, others revised for the S173 Harmonies. Prior to this, there was an incomplete cycle from 1845 and a collection of eleven pieces (S172a) from 1847, which, taken together, differ considerably from the final version of the Harmonies. All the works in this early collection possess an Apollonian solemnity and religious unity lacking in the more disjointed 1853 cycle and exhibit greater aesthetic homogeneity overall.
As Leslie Howard observed, the history of Liszt's 'Harmonies poétiques et religieuses' is indeed "long and complex"—a considerable understatement given the multifaceted development of this important work.