Liebestraum Sheet Music Franz Liszt
Liebestraum Sheet Music Franz Liszt PDF Free Download
“Liebestraum Sheet Music” by Franz Liszt, “ Liebestraum Sheet Music” for Piano, Original key: Ab Major, number of pages sheet music PDF: 6, Video Piano cover song Liebestraum Sheet Music.
“Liebestraum’” (German for Dreams of Love) is a set of three solo piano works (S.541/R.211) by Franz Liszt, published in 1850.
- Sheet Music Title: Liebestraum Sheet Music Franz Liszt
- Instrument: Piano Sheet Music
- Original Published Key: Ab Major
- Metronome: 126
- Author: Franz Liszt
- From the Album:
- Year: 1850
- Genre: Classical Sheet Music
- Sheet Music Format: PDF
- Piano Sheet Music
- Pages pdf file: 6
- Liebestraum Sheet Music Franz Liszt.
“Liebestraum Sheet Music Franz Liszt”
Originally the three Liebesträume were conceived as lieder after poems by Ludwig Uhland and Ferdinand Freiligrath. In 1850, two versions appeared simultaneously as a set of songs for high voice and piano, and as transcriptions for piano two-hands.
The two poems by Uhland and the one by Freiligrath depict three different forms of love. Uhland’s Hohe Liebe (exalted love) is saintly or religious love: the “martyr” renounces worldly love and “heaven has opened its gates”. The second song Seliger Tod (blessed death) is often known by its first line (“Gestorben war ich“, “I had died”), and evokes erotic love; “dead” could be a metaphor here referring to what is known as “la petite mort” in French (“I was dead from love’s bliss; I lay buried in her arms; I was wakened by her kisses; I saw heaven in her eyes”). Freiligrath’s poem for the famous third Notturno is about unconditional mature love (“Love as long as you can!”, “O lieb, so lang du lieben kannst”).
Liebestraum No. 3 is the last of the three that Liszt wrote, and the most popular, and can be considered as split into three sections, each divided by a fast cadenza requiring dexterous finger work and a very high degree of technical ability.The same melody is used throughout the piece, each time varied, especially near the middle of the work, where the climax is reached. A sample of this melody from the opening bars, adapted from an engraving by Kistner, is as follows: