Liebestraum Sheet Music Franz Liszt

Liebestraum nº 3 Sheet Music PDF Franz Liszt Free Download

“Liebestraum nº 3 Sheet Music PDF Franz Liszt”  for Piano Sheet Music, Scoring Piano Solo , Original key: Ab Major, number of pages sheet music PDF: 6, and Lyrics song   Liebestraum nº 3 Sheet Music PDF Franz Liszt Free Download.

Liebestraum nº 3 Sheet Music PDF Franz Liszt Free Download
  Title:Liebestraum nº 3
  Artist:Franz Liszt
  Instrument:Piano Sheet Music
  Key:Ab Major
  Scoring:Piano Solo
  File type:PDF
 Download: Free

  Liebestraum nº 3 Sheet Music Franz Liszt Download

Free Download Liebestraum nº 3 Franz Liszt.  Contains printable Sheet Music PDF format.

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Info Liebestraum nº 3 Franz Liszt

Liebestraum nº 3

Liebestraum’” (German for Dreams of Love) is a set of three solo piano works (S.541/R.211) by Franz Liszt, published in 1850.

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:

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