Liszts Mllerlieder von Franz Schubert

Sean Chen

Analyses uncover the substance behind works of art, revealing the processes, techniques, and messages behind them. With original compositions, it is difficult to dive into the notion of the choice, especially if sketches or drafts for that specific work are rare or even lost. With transcriptions, there is a known point of departure: the original work. In this case, analysis focuses more on how and why a certain work has been altered in a specific way, since the transcriber or arranger had to actively make choices to enhance or go against the source material. Franz Liszt, legendary pianist and creator of the solo piano recital, was also an active composer and transcriber throughout his life. At the age of 13, Liszt published his Impromptu brillant sur des thmes de Rossini et Spontini as opus 3, and, though it is not a transcription in the normal sense of the word, it uses material by other composers and reworks them for a different purpose as well as a different medium. Liszt first true transcription came with his monumental 1833 arrangement of Hector Berliozs Symphonie Fantastique. Liszt continued to transcribe up until the last year of his life, though he became more focused on his original compositions.1 Liszts Schubert lieder transcriptions started in the late 1830s with the 12 Lieder von Franz Schubert and ended in the early 1860s with arrangements of various lieder for voice and orchestra.2 The aligning of Liszts involvement with Schuberts lieder and the start of Liszts touring success is probably more than a coincidence; in November 1838, Gottfried Wilhemlm Fink, the editor of Allgemeine
1

Dates of compositions and publications of Liszts work are taken from: Maria Eckhardt and Rena Charmin Mueller, Franz Liszt: Works, Grove Music Online, Oxford Music Online (Oxford: Oxford University Press) <http://www.oxfordmusiconline.com/subscriber/article_works/grove/music/48265pg28>. Accessed December 13, 2013. 2 The only exception to this was an 1879 reprint of the Mllerlieder in Hamburg.

musikalische Zeitung, wrote of the 12 Lieder that nothing in recent memory has caused such sensation and enjoyment in both pianists and audiences as these arrangements. Eduard Hanslick in hindsight wrote that Liszts transcriptions of Schuberts lieder were epoch-making. There was hardly a concert in which Liszt did not have to play one or two of them even when they were not listed on the program.3 Therefore, not only were these transcriptions intellectually interesting, they also were successful on the concert stage. Liszts most revelatory exposure to Schubert, and possibly Die Schne Mllerin was probably at a performance by Karl Freiherr von Schnstein, an amateur singer and friend of Schuberts. Liszt heard Schnstein sing in Vienna in 1838 and was moved to tears. Schnstein was inevitably linked to Die Schne Mllerin by the remaining members of the Schubert circle because it was dedicated to him.4 It seems then, that there is a high probability that Schnstein would have sung at least parts of Die Schne Mllerin at the concert Liszt attended. The impression of Schnsteins concert and of Schuberts music being sung so movingly must have had a lasting effect on Liszt. Liszts Mllerlieder von Franz Schubert, S.565 published in 1846 occupy an interesting position in Liszts transcriptional output. These lieder were the last that Liszt transcribed for piano solo and they were published just one year before he gave his last paid recital.5 After transcribing so many lieder previously, Liszt would have been well-versed in the genre by this point, and so the Mllerlieder can be seen as a sort of culmination of his Schubert lieder transcriptions. Whether Liszt performed the Mllerlieder or selections from it during his last year of touring is not clear (reviews most often wrote of his Erlknig and Die Forelle).

3 4

Jonathan Kregor, Liszt as Transcriber (Cambridge: Cambridge University Press, 2010): 75. Susan Youens, Schubert: Die Schne Mllerin (Cambridge: Cambridge University Press, 1992): 14-15. 5 Alan Walker, et al. Liszt, Franz: 8. The Glanzzeit, 1839 -47, Grove Music Online, Oxford Music Online (Oxford: Oxford University Press) <http://www.oxfordmusiconline.com/subscriber/article_works/grove/music/48265pg8>. Accessed December 13, 2013.

Liszt picked and chose six pieces from Die Schne Mllerin to transcribe Das Wandern, Der Mller und der Bach Der Jger, Die bse Farbe, Wohin? and Ungeduld. Contrary to Liszts previous projects with Winterreise and Schwanengesang, Liszt chose not to transcribe the whole set. Instead, using all of his various skills, Liszt re-imagined these six pieces. As a composer, Liszt reinterpreted this subset of Die Schne Mllerin into a self-standing cycle, employing structural changes, harmonic alterations, and dramatic shaping. As a virtuoso pianist, Liszt used all of the colors and textures available to him on his instrument to complement or supplement the musical ideas in Schuberts originals and to react to the text of Mllers poetry. Finally, Liszt was able to consider all of the above while still catering to the market and audiences of his time, making the work accessible while still maintaining compositional integrity. Through analysis, it becomes apparent that Liszt was aiming at more than transcription. With the Mllerlieder, Liszt created a formally and dramatically unique reinterpretation of the original cycle.

Liszt and the publication of Mllerlieder.

The financial strategy employed by Liszt and his publishers can be divulged without extensive musical analysis. A look at the title pages of the different publications of Mllerlieder reveals the importance of marketing in selling this sheet music. The title of the French publication of the transcriptions is Mlodies favorites de La belle meunire de Francois Schubert, which seems like a fairly reasonable translation of the German title: Mller-lieder von Franz Schubert fr das Pianoforte in leichteren Styl bertragen von Franz Liszt. There is, however, one exception, and that is the first adjective, favorite. One interpretation would be that the melodies transcribed and presented by Liszt are indeed his favorite ones from all of Die Schne Mllerin. Another interpretation would be that favorite refers to a sentiment of the general public, implying that the songs were chosen by Liszt to

suit the demands or tastes of the people who will eventually buy the transcriptions. The reality was most likely a combination of the two a joining of artistic and commercial planning. The title page of the 1847 Diabelli edition6 also contains an interesting word. The title Mllerlieder von Franz Schubert, a matter-of-fact description of the set, requires no further explanation. However, the subtitle fr das pianoforte in leichteren Styl *sic+ bertragen von Franz Liszt includes the word easier. Any musician who sees the score can immediately tell that it is definitely not easy in a technical pianistic sense. Easier, then, is to be taken in the same spirit as favorite in the French edition to attract potential buyers of the music and to appeal to them, advertising the pieces as light and favorites of the public. Liszt respected Schuberts music and wanted to promote it through genuine, substantial transcription. However, to lure in potential customer to ensure financial success, the publishers advertised the Mllerlieder as easy and therefore, as implied, accessible even to amateurs. The publishers did perhaps see increased sales of the original Schubert lieder as a result of the new publication, though this cannot be proven without careful study of the publishers sales records. Right under the title is a listing of the individual pieces. Here the organization of the six pieces becomes clear: there are three Hefte of two Lieder each. Selling the Mllerlieder in three separate Hefte allows buyers to not have to purchase the whole set, in case their favorite lied is only in one of the sets. Each Heft at that time was 1 Franc (which would be almost 19 cents in 1846 U.S. currency, or approximately $4.80 in 2013 dollars)7 and it makes sense for a publisher to be able to sell parts of a

From the Ruth Dana Collection of Liszt editions: Franz Liszt, Mller-Lieder von Franz Schubert; fr das Pianoforte in leichteren Styl bertragen von Franz Liszt (Vienna: Diabelli and Company, 1847). <http://library.juilliard.edu/search?/tRuth+Dana+Collection+of+Liszt+editions.+NNJu/truth+dana+collection+of+lis zt+editions+nnju/1%2C1%2C202%2CB/frameset&FF=truth+dana+collection+of+liszt+editions+nnju&147%2C%2C2 02> 7 Digest of decisions of the United States courts, Board of General Appraisers and the Treasury Department: under the customs revenue laws, together with the Tariff acts from 1883 to 1913 (United States Dept. of the Treasury, 1916): 1628 refers to a decision passed in 1846 that 1 French Franc shall equal $0.186 U.S. dollars. The method for calculating inflation based on Consumer Price Index (CPI) is inherent in the definition of CPI, which is an index of price level of goods and services. To calculate inflation or deflation, one finds the ratio of one years CPI to another years CPI. This ratio can then be used to adjust prices for inflation or deflation. In the current

piece to enable more purchases. Those buyers who only wanted one or two of the transcriptions would not be deterred from a purchase by feeling forced to buy all six. However, those whose favorite lieder spanned across the Hefte would have to get at least two of them, which would also result in increased sales. Table 1. Clara Wiecks anticipated programs for two concerts in Berlin, 18398 First soire 1. Trio in Bb Major, Beethoven 2. Solo pieces: a. Sonata, Scarlatti b. Ave Maria, Schubert/Liszt c. Novellette in A or E, Schumann d. Etude, Henselt or Chopin 3. Variations, Wieck or Henselt Second soire 1. Trio, Schubert 2. Solo pieces: a. Fugue Bach b. Nocturne, Chopin c. Scherzo, Wieck d. Erlknig, Schubert/Liszt 3. Pacini Fantasy, Liszt

Additionally, the organization of the Hefte are a practical consideration with regards to performance. Table 1, which presents sample programs of Clara Wieck, shows a tendency for transcriptions to be used as movements in a collection of solo works. These works are linked together by tempo, character, and key relations, forming a cohesive larger work that could be described as sonataesque. Any of the pairs of Lieder could serve as two of the movements in such a program and any single Lied could substitute in any of the solo positions. In transcribing Lieder, Liszt is not only catering to the buyers of the sheet music, but also to potential performers, such as Clara or himself.
example, using the ratio of the CPI between now and 1846 (701.5:27) and multiplying by the original worth (0.186) gives $4.83 in current dollars. Consumer Price Index, Wikipedia, The Free Encyclopedia (Wikimedia Foundation, 2013) <http://en.wikipedia.org/wiki/Consumer_price_index>. Accessed December 13, 2013. Consumer Price Index (Estimate) 1800-, The Federal Reserve Bank of Minneapolis <http://www.minneapolisfed.org/community_education/teacher/calc/hist1800.cfm>. Accessed December 13, 2013. La Musique: gazette de la France Musicale, Vol. 1 no. 41 (14 October 1849): 324 shows and advertisement by Richault. Mllerlieder is listed as each Heft costing 5 Francs. If the Diabelli edition did not use Francs, the only other currency would have been Florins but the common abbreviation for that is fl. It can be assumed that prices are indeed in Francs, and perhaps the price discrepancy is because of difference in exchange rates and/or fluctuation in supply and demand between 1846 and 1849. 8 Kregor: 80.

Compositionally, the breaking up of a set into Hefte is not a novel idea. Schuberts original Die Schne Mllerin was published in Hefte as well, but in five of them. Each Heft corresponds to a specific part of the dramatic arch. Schuberts publisher most likely had the same idea for distribution and boosting sales. Furthermore, the five parts were published at different times February for the first, March for the second, and August for the remaining.9 Organizational considerations aside, the divisions probably streamlined the publication process and kept the public waiting for the next installment. Schubert did not use this type of division in his other song cycles, and Liszt, perhaps noticing the divisions, incorporated the Hefte in his reinterpretation. Liszt made an unusual request when he sent the Mllerlieder to the publishers: the text to the songs should not be printed in the score.10 Apparently Liszt did not even want them printed under the title or on a previous page. Editions since have tried to put the words above the melody line, and the Neue Ausgabe prints the poems under each title. Nevertheless, the original request suggests Liszts desire to move away from the text and capture the character of each piece, which can be discerned through the title and the music alone. The omission of text would also prevent confusion when Liszt adds or takes away strophic repetitions. Furthermore, including the poems might induce people to create artificial storylines connecting the poetry. Liszts conception the Mllerlieder is of a set of interrelated character pieces, not of a long-lined narrative (as he does in Winterreise or Schwanengesang).

Structure

Youens: 15. Liszt Franz. Neue Ausgabe smtlicher Werke: Freie Bearbeitungen Ser. II, Vol VII. Ed. by Imre Sulyok and Imre Mez. Budapest: Editio Musica, 1988: XIII
10

Liszts manipulation of the original set did not stop with his selection of only six songs He actually reordered the ones he chose and transposed two of them to fit his harmonic plan. Table 2 is a review of the original cycle and a comparison to Liszts. The keys of the selected songs are labeled, and the ones that Liszt decided to transpose are highlighted in red. The black lines mark the Hefte in both the original and the transcription.

Table 2. Die Schne Mllerin vs Mllerlieder at a high level. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. Das Wandern (Bb) Wohin? (G) Halt! Danksagung an den Bach Am Feierabend Der Neugierige Ungeduld (A) Morgengru Des Mllers Blumen Trnenregen Mein! Pause Mit dem grnen Lautenbande Der Jger (c) Eifersucht und Stolz Die liebe Farbe Die bse Farbe (B) Trockne Blumen Der Mller und der Bach (g) Des Baches Wiegenlied 1. 2. 3. 4. 5. 6. Das Wandern (Bb) Der Mller und der Bach (g->G) Der Jger (c) Die bse Farbe (C->c) Der Jger (c) Wohin? (G) Ungeduld (Bb)

The grouping of pairs into three Hefte is emphasized by the fact that each has one Lied focused on a human, represented by either the Mller (Miller) or the Jger (Hunter), and one on nature, represented by either the Bach (Brook) or Grn (Green). Thus, each pair has internal contrast in character, as well as in key and texture. The three Hefte reflects on a larger scale the importance of the ternary form. Every song in Liszts set has either a three-part structure or been altered to fit it. Thus, the

division of three seems to be inherent in the set and gives consistency to many structural and nonstructural details. Though not actually indicated by Liszt on the title page, the fourth piece in the set, Die bse Farbe, actually contains a reprise of the previous song, Die Jger, and what results is a ternary scherzo-trio structure. The unique combination of the two middle songs reveals yet another organizational plan: an alternation between Human and Nature caused by a five-movement structure. The five-movement structure reveals a symmetric, or palindromic, structure. Liszt transcribed two of the songs to match a specific key relationship to the other movements. More specifically, the symmetric key relationships in the set are as follows: The outer movements are in Bb, the second layer focuses on G, and the inner movements are in C. The resulting symmetric structure creates three pairs of pieces, different from the pairs established by the Hefte. The five-movement form and symmetry applies to more than just key relationships. The outer movements both focus on the Miller himself. Though all of the poems chosen are written from the perspective of the Miller, Das Wandern and Ungeduld focus on an emotion that is clearly centered on the Millers emotion expectation. Both of these songs portray a hopeful outlook that is not found in the other pieces in the Mllerlieder. The second and fifth songs are both about the Brook, which actually takes on a character in the original cycle. Der Mller und der Bach is actually a dialog between the Miller and the Brook, but Liszt makes it clear in the figurations of the transcription that the focus is ultimately on the Brook. Finally, the third and fourth movements are obviously symmetric because of Liszts ternary form construction. Taking these subjects into account, the set becomes an alternation between songs about Man and songs about Nature.

Table 3. Symmetric structure in harmony and subject of Mllerlieder

Das Wandern Man B

Der Mller und der Bach Nature (and man) G/g

Der Jger Man c

C Die bse Farbe (Der Jger) Nature Man

Wohin? Nature

Ungeduld Man

Though the six songs are dramatically only a fraction of the original set, the symmetry in content and harmony allows these six to exist self-sufficiently. Through the contrasts of the movements and the tightly constructed symmetry, Liszt has created a set of pieces that operates independently from the original cycle, but still captures the breadth of emotion of the Mllers story. The three-part structure is present in almost all aspects of the Mllerlieder, though its importance was not Liszts original idea; instead Liszt was influenced by the way Schubert constructed his phrases and repetitions in the original Lieder. For example, Die bse Farbe has a three-part structure, which is most evident in the fact that the dramatic parallel fifths pre-cadential progression happens three times. Wohin? goes farther than just using three divisions in its form it can be argued that Schubert actually composes the piece in a condensed Sonata-Allegro form, complete with a development section and harmonic resolution of a second theme group. Table 3 breaks Wohin? down into the Sonata-Allegro form by measure number.

Table 3. Sonata form of Schuberts Wohin? Exposition mm. 1-34 1st Theme 4-bar 2nd Theme mm. 1- 22 trans. mm. 27-34 Tonic Dominant Development mm.35-53 Supertonic to Submediant to Tonic Recapitulation mm.54-e77 1st Theme 4-bar 2nd Theme mm. 54-61 trans. mm. 65-77 Tonic Tonic

Another example of the use of three-part structure is in Der Mller und der Bach. The overall structure is in A-B-A form. In addition, the A and B sections are also ternary in structure the measure scheme of the A section is 8 8+1 8, and that of the B section is 12 8 12. In A, however, the measure scheme is just 9 12 and the third section is missing, replaced instead by a seven-bar piano postlude. The break in structure (and arguable incompleteness) is striking because of the consistency of the first two sections. The asymmetry caused by the change in the A section, in both the music and the text of the poem, implies that the Miller drowns himself, ending his song and his life. The piano plays alone at the end, emphasizing the absence of the Millers voice by repeating only the Brooks music and remaining in G major. Figure 1 contains a reduction of the song with the ternary structure delineated and the Brooks motive highlighted. With these occurrences of ternary structure brought to attention, the seemingly arbitrary grouping of Mllerlieder into three Hefte becomes a natural extension of Schuberts original Lieder.

Figure 1. Three-part structures in Schuberts Der Mller und der Bach

The Outer Layer: Das Wandern and Ungeduld

Table 4. Structures of Das Wandern and Ungeduld 4a. Das Wandern Ritornello Strophe 1 4 mm 16 Ritornello Strophe 2 4 16 Ritornello 4 Strophe 3 16 + 4 Coda 12

4b. Ungeduld Ritornello Strophe 1 8 mm 17 Ritornello Strophe 2 8 17 Ritornello 8 Strophe 3 17 Coda 3

The outer movements of the Mllerlieder are common not only in representing the Miller as the subject and sharing the same key, but also in containing the same structure. Das Wandern and Ungeduld are both in strophic form, but their similarities go beyond that. Both of these pieces in their original versions feature an introduction before each strophe Liszt calls the intro a ritornello in his transcription of Das Wandern and have a similar structure within the strophes. Liszt saw the similarities and decided to bring the pieces even closer together. In both cases, Liszt left out repetitions of the strophes. Das Wandern has five verses in its original form, and Ungeduld has four. Liszt could have made Das Wandern into four repetitions, and kept Ungeduld untouched, but he chose to truncate both pieces down to three repetitions, surrounded still by the original ritornello sections. As a result, not only are the two pieces similar in structure, they also refer back to the unifying concept of three-part divisions. The choice of three repetitions in both Das Wandern and Ungeduld was probably informed by a combination of a few different considerations among them are length, variation, and dramatic arch. Though the exact timing of a performance of the transcription Das Wandern is not much shorter than the original (only by a minute), the shortness of each strophe means that the repetition is more

apparent. In the case of a piano transcription, the audience does not hear any of the text Liszt knew that without the text to guide the listener, he had to lessen the number of repetitions. Similarly, Liszts Ungeduld is also about a minute shorter. Now, not only are the transcriptions of an arguably more digestible length, but they are also both around two minutes in length. The similarity in performance duration provides a superficial but important connection between the two outer pieces of the set. Despite not wanting the text to be printed above the melodic line in the transcriptions, Liszt still uses the text as inspirations for many of the figurations he introduces in both Das Wandern and Ungeduld. The first verse of Das Wandern is a pretty straightforward arrangement of the original lied with the melody and bass transposed up an octave; the texture of the original is basically unchanged. The first variation, as these verses can be called in the context of Liszts transcription, features an arpeggiated version of the melody. The intervals of the arpeggios are taken from the intervals in the melody, as illustrated in Figure 2, so that the ear still hears the melody. This ingenious technique is similar to optical illusions where the eye interprets certain images by filling in detail. The fluid right hand texture is probably influenced by Mllers text, which refers to Wasser. Similarly, the second variation (starting m. 45) has a virtuosic texture in the right hand, now influenced by den Rdern. The figure features a leap up and a step down, which in sequence produces a circular motion that is more or less required when performing. Furthermore, the descending runs are interspersed with grace notes that can also be thought of as circular and indeed do require a circular motion to execute. Figure 3 tracks motion of the wrist as the right hand plays the passage from m. 45. Though one may play the figuration with a relatively staid wrist and mostly finger-work, the rotation of the wrist allows for better balance of the hand and thus a smoother execution.

Figure 2. Das Wandern mm. 25-26

Figure 3. Das Wandern mm. 45-46 and gestural execution of the passage.
Red denotes contour for upwards arpeggio, blue downwards. Notice the rotating motion.

Liszts transcription of Ungeduld employs basically the same techniques in altering the figuration. The first verse is mostly unchanged from the original, as is the case in Das Wandern. The first repetition is then altered by adding groups of two-note slurs in the right hand (m. 34), perhaps to represent the Star in the poem. The shortness of the pattern and the increasingly high register create a celestial effect. The second variation (m. 59) uses the three-against-four polyrhythm to suggest the Morgenwinden and Wogen. The complexity of the polyrhythm matches the motion Mller portrays in this verse. Like the Rdern in the first lied, the right hand figuration here requires a circular motion to play, and indeed the Rder is referenced here. The waves are further brought out by the left hand arpeggios and tremolos starting at m. 69. Though the correspondence of these textures to certain

aspects in the poems could have been accidental, it is quite probable that Liszt chose the figurations based on his interpretation of the poetry. Finally, Liszt uses the three repetitions to increase the drama within each song. For Das Wandern the effect is to create an ever more constant and meandering texture. In Ungeduld the focus is on impatience, and so Liszt increases the pitch range of each repetition. The augmentation is most easily seen in the introductions: the first actually starts with the registers of the hands reversed so that the repeated notes in the right hand are an octave lower than Schuberts original; the second is more similar to Schuberts original, except that the right hand takes up octaves; the final has the right hand transposed up an octave and the left hand presented in octaves. Liszt limits the number of repetitions to three in both Das Wandern and Ungeduld probably as a consideration for the audiences attention span. In Das Wandern, Liszt takes the liberty to elongate the last strophe: he repeats the last four measures of the last strophe. Furthermore, he inserts a coda that is twelve bars long quite long considering each strophe is only sixteen measures plus a four measure ritornello. The additions seem to do a few different things. First, since the coda is basically the ritornello section repeated over and over again, it could be representing the Wandering of the Miller. Furthermore, the dynamics get softer and softer, as if the song were disappearing into the distance, also supporting the Wandering. The coda also allows the drama created by the variations in the right hand to return to normalcy. Despite Liszt writing pi dolce constantly, the texture still builds up, and the four extra measures and the extended coda both help keep the excitement of the piece in check. The fact that the right hand figuration in the coda is from the Wasser stanza could also be hinting at the importance of the Brook. The emphasis on the Brook also leads in nicely to the next piece in the set, which showcases the Brook.

In Ungeduld Liszt inserts an extra repetition of the closing cadence, and marks it Andante. Again, the elongation of the coda is necessary most likely because of the dramatic excitement Liszt has created throughout the variations and especially with the expanded register. He also begins a ritardando four measures before the end, really trying to slow the piece down for the ending. In order to make the relaxing of tension more interesting, Liszt moves the melody between three different registers, as shown in Figure 4. As a result of the lessening of tension, Liszt ends the piece not with a forte, articulated chord as Schubert does, but rather in a more staid way, holding a long chord with a very open voicing. Figure 4. Ungeduld, ending comparison between Liszt (top) and Schubert (bottom)11

The remaining differences between the Liszt and Schubert version of Das Wandern and Ungeduld are less tied to structural concerns, but in a way display more clearly the concept of choice in transcriptions. One of the biggest choices that Liszt had to make concerned what register of the vocal line should be transcribed to. Though not specified, it can be assumed that, since the narrator of the
11

Franz Schubert, Die schne Mllerin: Ein Cyclus von Liedern von Wilhelm Mller, Op. 25 (Leipzig: Breitkopf & Hrtel, 1894-1895): 20 and Liszt Mllerlieder: 45.

poems is the Miller, the vocal range should be in the tenor. Liszt decides, in both Das Wandern and Ungeduld, to present the melodic line in the normal soprano range of the piano a decision that is not trivial. The tenor voice, in the range it is singing in both of these pieces, is at a fairly normal tessitura, with the exception possibly of the last part of Ungeduld. Thus, Liszt puts the melody in a fairly traditional range on the piano, which is in the soprano range. If Liszt had started the melody in the tenor, it would have been equivalent to a singer starting in a lower part of his or her range. The standard range of the first presentation allows Liszt to employ subsequent alterations to the melody to provide contrast and variation. When Liszt does put the melody in the tenor range, it is for virtuosic reasons. Liszt shifts the register of the melody in the second strophe of both Das Wandern and Ungeduld, which, in both cases, results in the two hands having to share execution of the vocal line a very impressive feat. Furthermore, the left hand becomes virtuosic because it still need to play the bass line. It might even make sense to call Liszts technique of transcribing virtuosic, for he has to juggle the different lines and fit them into just two hands. There are two more non-trivial differences between Liszts and Schuberts Das Wandern. In the first two strophes, Liszt decides to take out the melody in the second-to-last bar (mm. 19 and 39). The change is quite significant, since part of the melody is now missing. It is hard to say why Liszt made this choice, but it is notable that the missing notes can be found in the accompaniment part, an octave below where they originally would have been. Liszt does not double stem these notes or mark them in any way, but perhaps the goal is to create an echo effect, giving a sense of distance. The notes that fill in the missing voice are double-stemmed in Figure 5 for clarity. In addition, there is a relationship between these measures (mm. 19 and 39) and the measures where the voice does not sing after its cadence (mm. 8 and 12). The omission of the melody is counterbalanced by an addition of an echo in the second

strophe (mm. 28 and 32). By the third strophe, the echo has become part of the actual melody (mm. 48 and 52). Figure 5. Das Wandern mm. 16-2312

In Ungeduld, there is also a significant omission: the triplet motive at the climax of the second strophe, mm. 48-49. Here, the left hand would usually have triplet figures that recall the opening ritornello figure. However, Liszt wants the melodic voice to be emphasized singularly, without accompaniment. Perhaps the omission serves to emphasize the difference between the second and the third strophe, when at the climax in mm. 73-74, the bass figure is brought back in sixteenth notes and with extra chromaticism. The sixteenth notes facilitate execution against the right hand rhythm, but the extra half-steps add harmonic interest. These unexpected changes are Liszts commentary on the original songs, and they show the extent to which Liszt as a transcriber is able to reinterpret a work.
12

Liszt Mllerlieder: 3.

Liszt adds some harmonic flavoring to two spots in Ungeduld. In the cadential phrase of each strophe (mm. 25, 50, 75), Liszt changes the chord from a to a . The alterations are merely

flavorings of the existing chords, and Liszt probably simply enjoyed the slightly more complex harmony. Similarly, in m. 41, he extends the double suspension into a triple suspension by adding the 6 5. Though these changes do not alter the piece much dramatically, they make the piece more Lisztian, as if Liszt were putting a mark on his transcriptions to separate them even more from the originals.

The Middle Layer: Der Mller und der Bach and Wohin?
Table 5. Structure of Der Mller und der Bach and Wohin? 5a. Der Mller und der Bach
Transition material shaded in to highlight the symmetry within each part. Notice that in the A sections, the extra four meas ures (denoted + 4, where Liszt repeats the last four bars of the phrase) and the five bars afterwards form 9 total, which results in a 9 8 9 form.

A 2

B 12

12

A 2

8+4

A 2

8+4

5b. Wohin?
The structure is symmetric to begin with. However, Liszt repeats the last six measure of the Recapitulation before ending with the Coda. The result is an even more symmetric form as illustrated by the last row.

A (Exposition) 2 8 4

32 8 32

B (Development) 2 25 8 4 8 1 25

1 4

A (Recapitulation) 26 8 4 8 32

Coda 9 6+6 3

Numbers refer to number of measures

Der Mller und der Bach (henceforth Der Mller) and Wohin? comprise the second layer of the mirror symmetry in Mllerlieder. Both of these Lieder, in their original forms, are A-B-A in

structure, as shown by Table 5a and 5b, and so pair up nicely with each other. Liszt does not even have to transpose the pieces, since they are both in G. Additionally, in the A sections of both Lieder, there are harmonic resolutions of sorts in Der Mller it is the movement to the major cadence, and in Wohin? it is the transposition from dominant to tonic at the end of the phrase. Finally, both of these pieces deal with the presence of the Brook, and are thus related thematically. The structure of Der Mller remains generally untouched with the exception of the A recapitulation section. Liszt decides to repeat the whole last section, and the extra statement actually affects the balance of the piece a great deal. If the sections are taken to represent the Miller, the Brook, and the Miller respectively, then, dramatically speaking, the extra repetition directs attention to the tragedy of the Miller. Interestingly, the balance of minor and major mode remains. Originally, the modality was as such: first section in minor, second in major, and third starting in minor and moving to major. The extra repetition of the third section adds another minor and major section, totaling to three minor areas and three major areas. Interestingly, structural addition creates a three-fold repetition of the Millers melody. With these three occurrences of the Mllers melody, Liszt again can employ his textural alterations to provide variations. As opposed to the outer set of pieces, Das Wandern and Ungeduld, the variation in Der Mller is in the accompaniment figure more than the melody. The first variation, which happens in m. 62, transposes the melodic register up two octaves. Liszt transposed the melody partly to accommodate the alto voice and the left hand, which, depending on if the ossia is utilized, are staccato notes or a combination of staccato notes and wave-like arpeggios. Here, Liszt gives more clues about the variation with the phrases quasi Flauto and pizzicato. Liszt is orchestrating this repetition to delineate more clearly the separation of the melody and the accompaniment (Figure 6).

The second variation does not have clear words that reference orchestration, but the tremolos in the alto and tenor voices evoke the tremolos of violins and violas. Again the melody remains almost unchanged, this time transposed down an octave resulting in all three registers from tenor to alto to soprano being used once throughout the piece. The only thing Liszt adds is an extra intervallic reach in m. 82, which makes the melody sound more operatic. The addition also creates a dramatic progression from the previous high note at m. 78. The vocal flourish occurs again at m. 110 for the same purpose. Finally, Liszt extends the coda by an additional measure where the left hand figuration in the penultimate measure is repeated. The measure added probably has to do with the way Liszt heard the hypermeter of the phrase, and Liszt wanted to end on the downbeat of the hypermeter instead of the upbeat, as Schuberts version does. Figure 6. Der Mller und der Bach mm. 63-6513

There are two small harmonic tweaks that Liszt utilizes in his transcription of Der Mller. In order to leave room for the drama to grow, he decides to omit the Eb-D half step in the left hand of m. 5.

13

Liszt, Mllerlieder: 10.

However, Liszt leaves the half-step in at m. 22 so that compared to the first phrase, the trajectory is slightly different. The second tweak is at m. 102, where Liszt moves the fifth above the fundamental down a half step at the very last moment, creating a instead of just a normal . This chromatic

progression results a smoother transition between the two chords, especially since the alto and tenor voices are texturally dense. In light of the variations that Liszt employs in Der Mller, it seems that Liszt might have viewed this Lied as a gondola song. Schuberts original has a dirge-like quality about it, especially with the rhythm and the emphasis on the augmented second interval. Liszt took the hint and fleshed it out further with the variations. The pizzicato or wavelike accompaniment (again, depending on if the ossia is taken) both support the gondola song one being the splashes of water hitting the side of the boat, and the other being the motion of the water. Furthermore, the verb singen happens a couple of times in the poem, and so a gondola song would be apropos. The one issue with the gondola interpretation is that the Brook, as usual definitions of brooks go, is not deep enough to hold a gondola. However, in the context of the cycle, the Brook has grown into something larger, large enough to embrace the Mller, physically and symbolically. The middle section of Der Mller sounds unassuming, but is actually quite difficult. First, Liszt changes the timbre of the melody, compared to the first section, by bringing the melodic register up to the soprano. Then he actually thickens the accompaniment by doubling it harmonically in the left hand. Thus, both hands are doing two things, and the control required to execute the differences is very demanding. Four measures later, Liszt demands that the left hand play large stretches mostly tenths and a couple of elevenths and twelfths. Figure 7 illustrates the complexity of this texture, and furthermore elucidates Liszts awareness of the difficulty of the left hand with the inclusion of the easier Ossia. In Schuberts original version, the voice part has quite a high tessitura, which is very challenging to sing, the soft dynamic notwithstanding. Liszt inserts the large stretches in the left hand to perhaps to

invoke the same feeling of discomfort. Couple that with directions such as con intimo sentimento, semplice grazioso, and eventually con passione, and abbandonandosi, and what results is a highly complex passage that is virtuosic in a way different from the usual show of velocity and accuracy. Figure 7. Der Mller und der Bach mm. 33-3514
Notice the large left hand stretches and the multitasking requirements of the right hand. Also notice the easier Ossia.

In Wohin? the changes that Liszt employs are less about variation than about expanding the concept of the tireless brook as portrayed by Schuberts incessant right hand figuration. Though Schuberts original writing is not particularly difficult to play, Liszt changes the configuration of the hands to accommodate the addition of the bass and the melody. At the beginning, he splits the sixteenth note figuration into groups of three that are exchanged between the left hand and right hand. The resulting alternation not only creates a wider sonority, but also allows the hands to take breaks, useful especially when the right hand has to negotiate the melody and the accompaniment. This technique is not dissimilar to that used in the opening of Das Wandern, in which he also breaks the accompaniment into alternating hands.

14

Liszt Mllerlieder: 8.

The first real break from the opening texture is at m. 27, when the singer sings immer heller rauschte und immer heller der Bach.15 The rushing and brightness is portrayed by an uneven broken arpeggio upwards. Liszt keeps the melody in the tenor range for balance against the rising arpeggios. Other breaks in texture happen at parts in the development section, starting at mm. 35 and 57, where Liszt actually thins the texture out so that only individual notes are played no chords. After the low points, Liszt proceeds to thicken the texture to dramatize the crescendi. Another variation in texture happens when the first theme returns, and here Liszt gives the illusion of virtuosity without it being actually that difficult. Since the beginning of the piece, the accompaniment, besides the upward arpeggios, has been shared between the two hands. Now, the accompaniment is solely the responsibility of the left hand one hand is now doing what required two hands previously. At m. 75, though the melody is being shared between the hands, as in Das Wandern or Ungeduld, the real virtuosic gesture is in intersection of the melody with the arpeggiated figuration, which now spans from the bass to the high registers. This crossing of arpeggios and melodic lines is highly theatrical in performance and virtuosic from a transcription perspective. In Wohin? Liszt varies the registration around at will between various sections, depending on the original text. The first time the melody is moved to the bass and doubled in octaves is in m.23 at the words hinunter or downwards, unlikely a coincidence. In fact, Schubert doubles the voice at a lower octave in this and other similar sections, and Liszt honors the doubling by an equivalent registral shift in the transcription at the same spots. The register change probably explains why Liszt decided to repeat the cadential section at the end of the original song. In the repeat, Liszt moves the melodic register back up to the soprano, and thus can end the piece in the same configuration in which he began with the accompaniment split between the two hands and the melody on top. Liszts sensitivity to the register of

15

Franz Schubert, Die schne Mllerin: 4. The text in Mllers original poem reads immer frischer rauschte und immer heller der Bach, but Schubert sets the line as immer heller rauschte und immer heller der Bach.

the melodic line emphasizes his experience in transcription and shows that he was aware of the effects of his choices. The last couple of changes that are worth mentioning have to do with balance and voice-leading. At mm. 27-28 and equivalent passages, as shown in Figure 8, Liszt shifts the stress to the second eighth note, which is dictated by the requirement of the left hand to play both the melody and the bass. Aware of the effect of this syncopation, Liszt ties the first note of the second beat so that it is not struck. If the second beat were played, then the effect of the syncopation on the previous beat would be lessened. Also, two strong beats in a row would take away from the general lightness of the piece. Playing off of the accented syncopation, Liszt repeats the same rhythm in the second measure, and so omits the melodic note on the second beat as well. However, in performance, the missing note is filled in by the ear because that note appears in metrically strong positions in the right hand figuration. This exact contour a syncopation followed by an upward arpeggio is actually foreshadowed in Die Bse Farbe. Another small change is in the second beat of m. 79 of Wohin? In Schuberts original, the melodic line is actually changed into a leap of a seventh followed by two descending notes (similar to m.80 in Liszts). Liszt decides to save this variation only for m.80, and perhaps decided that it would sound too regular if both mm. 79 and 80 used the same contour. Liszt is sensitive to balance and makes compositional choices in order to satisfy his values, as opposed to merely copying what Schubert wrote.

Figure 8. Wohin? comparison between Liszt (top) and Schubert (bottom)16

16

Schubert Die schne Mllerin: 4 and Liszt Mllerlieder: 34.

Liszt experiments with some of Schuberts odd phrase structures by adding in extra measures or repetitions. Originally, after the exposition, Schubert put in an extra measure to create a delay before the development starts. Liszt adds yet another measure to create a total of two measures for the transition, which seems a little squarer. However, the square-ness is countered by Liszts manipulations in the development section which takes the original 18 measures into 25. The elongation of the development section matches it more closely to both the exposition and the recapitulation in length. In both Der Mller and Wohin? Liszt paid close attention to the balance in structure and details while carrying out the transcription. What resulted was a pair of pieces quite different from the original, not necessarily in character or mood, but in proportion. It cannot be said whether Liszt used careful numerical calculations or just his ear, but he made these choices in order to adapt them better into the plan of the Mllerlieder, and made them more effective as stand-alone performances as well.

The Center: Der Jger and Die bse Farbe?

Table 6. Der Jger and Die bse Farbe A 5 4 B 16 A 4

A 18

B 11

A 10

C 10

A 10

A 5 4

B 16

A 4

By embedding Die bse Farbe in the middle of Der Jger, Liszt creates a scherzo-trio movement, labeling Der Jger a Scherzo and puts a Segue at the end. This particular technique of combining songs is unique among his Schubert Lieder transcriptions, if not among his entire transcription output. The repetition of Der Jger makes sense both in faithfulness to the two strophes in the original Schubert Lied, and structurally as a da capo in the scherzo-trio form. Liszt does very little to the structure of either of these Lieder besides combining them into a ternary form, as laid out by Table 6. The only condensation happens in the first bar of Der Jger. In Schuberts original, the accompaniment has a four bar introduction, consisting of semi-imitative material. Liszt cuts the introduction down (the uninformed player or audience member would not know it was an introduction since there are no words printed on the transcription) to just one measure, and jumps to the voice entrance after that. The jump is seamless since the material in the right hand and the material in the vocal line are the same. However, when listening to the transcription, it becomes more convincing to analyze the first five bars as an introduction and have the actual strophe start at m. 6. Figure 9. Die bse Farbe mm. 1-3 (top) compared to Wohin? mm. 27-29 (bottom).17

17

Liszt Mllerlieder: 20, 34.

In Die Bse Farbe, Liszt applies the same principle and forgoes the introduction altogether. Liszt is justified in his choice because Schuberts introduction serves to bring the listener to the minor mode first, before coming back to the major with the voice entrance. Since Liszt has achieved the harmonic tension by connecting to the end of Der Jger, which is in minor), there is no need for the introduction anymore. Liszt puts a sforzato on the second eight-note chord, which produces a syncopation with the shocking major chord. The off-beat actually provides a subtle but rhythmically striking foreshadowing of mm. 27-28, etc. of Wohin? noticeable in a side-by-side comparison between the two (Figure 9). Perhaps Liszt is working at unifying movements beyond key and subject relationships. The other two structural alterations Liszt makes are an extension of the transitional material at mm. 27-29, and truncation of the end of the Lied. The extension at m. 27, which originally only took one measure, is extended to three a relatively trivial chance. However, Liszt uses these three measures to

increase the tension of the dominant passage leading ultimately to the return of the main theme. The chromaticism he introduces in the left hand is quite unusual, but is justified by the augmented sixth chords in the previous measures. At the end of the piece, Liszt leaves out the coda so that the music is left hanging on a dominant chord, allowing him to transition directly back into Der Jger without any problems. Besides the doubling of material in octaves for more power, the biggest change in the material of Der Jger is a shift of focus from the vocal line to the accompaniment. The shift is seen most clearly in mm. 10-17, where the melodic line is seemingly the semi-chromatic descending line in the alto/tenor voice. In actuality, the original vocal part has slowly rising repeated notes that Liszt perhaps found less interesting than the descending line in the accompaniment part. Liszt decided to supplement this descending line with a rising turn figure in the right hand, which actually takes the original vocal line and increases the ascension to cover the entire treble range of the piano. He keeps the presence of the sixteenth notes by introducing chromatic passing tones for the alto voice starting at m.18, and carries the activity through m. 20 by an alternation of hands. The sixteenth notes not only provides increased tension but also textural variety, contrasting the middle section against the imitative opening and coda. Furthermore, the added complexity makes for a virtuosic piece, requiring motives shared across the two hands and finger dexterity to execute the rapid figurations. In Die bse Farbe, Liszt uses the texture to intensify the original dynamics and to delineate different sections of the phrase. The octaves at the beginning really emphasize the fortissimo and the outgoing character of the text. In the meno forte section that follows, Liszt actually incorporates an element of the introduction he excised the triplet sixteenth-notes. He puts this triplet figure in in the soprano and tenor, while putting the melody in the alto. The register shift also helps create a subdued character, in contrast to the verticality of the octaves. The alternation between vertical chords and moving triplet figures continues until m. 30. Here, Liszt replaces the original arpeggio upwards with an

even more extended version. The start and end notes are the same: E to G to D, but the range is increased to over four octaves. There is also an ossia that is more difficult, requiring one hand to play two arpeggios. Besides virtuosity, the justification for the flourish lies in the text, which describes the Sturm und Regen und Schnee. From here to the end, the texture remains either faithful to Schuberts original (with occasional doublings) or is based on alterations that Liszt has already done. Die bse Farbe in its original version has occurrences of blatant parallel fifths, which happens at mm. 20, 39, and 50 in the original version. Heinrich Schenker, a historically prominent musical theorist whose work focused primarily on harmony and counterpoint, wrote in his analysis of Die bse Farbe that the importance of the parallel fifths is lessened by two third-progressions in the inner voice.18 Liszt obviously felt that the parallel fifths, especially since he has put the melody in the soprano register, were egregious enough that he had to change the harmony of the second chord. The parallel fifths occurs in mm. 16, 37, and 57 in the transcription, and Liszt changes the inner voice so that the parallel fifths are avoided. Figure 10 below compares the original progression to Liszts altered version. The fix, however, alters the harmonic drama as the Neapolitan sixth is removed and replaced by a normal minor subdominant. There are ways to re-voice these chords to avoid the parallel fifths and still retain the Neapolitan, but perhaps Liszt experimented with them and decided they did not sound as convincing as the version he settled with. A previous study of the Mllerlieder made the conclusion that the alteration of the Db down to C provided a unifying point between Der Jger and Die bse Farbe.19 There does not seem to be a problem of unity between these two songs in the first place, since they are both in C (Die bse being transposed to fit Liszts harmonic scheme) and are closely related with regards to subject matter. The hunter is a woodsman, someone who moves through nature, which is expressed by the color green. The color green also refers to jealousy (as in one of Schuberts titles),
18

Larry Laskowski, ed., Heinrich Schenker: An Annotated Index to his Analyses of Musical Works (New York: Pendragon Press, 1978): 141. 19 Solee Lee Clark, Franz Liszts Pianistic Approach to Franz Schuberts Songs: Mllerlieder LW. A128 (D.M.A. thesis, West Virginia University, 2008): 71.

presumably toward the hunter. Therefore, it is most convincing to presume that Liszt saw these parallel fifths, and set out to alter the harmonies to avoid them. Figure 10. Liszts correction (left) of Schuberts parallel fifths (right) in Die bse Farbe20

Another location where Liszt changes the harmony is at m. 18, where a major tonic chord resolution is replaced by a minor one. Liszt most likely was reacting to the word totenbleich or pale as death which merits a minor chord (unless one is looking for irony). Also, in terms of the harmonic content in the bars after the first return, it makes more sense to remain in the minor mode, since the minor IV is emphasized. By contrast, the second return at m. 39 is moving towards the horn calls, which occur in major. A final small change in harmony at m. 47 occurs on the second beat in the alto voice. The minor ninth (Eb) is not in the original, but Liszt must have seen the parallel to the next measure, m. 48, which has a 9-8 suspension in the last two beats. Therefore, he inserts an Eb-D suspension-resolution in the last half of m. 47, creating a 9-8 over D.

20

Liszt Mllerlieder: 24 and Schubert Die schne Mllerin: 42.

Liszts verbose instructions

One aspect of these transcriptions that has not received too much attention yet is the interpretational markings that Liszt puts in, whether it be tempi, expressions, or dynamics. In the Mllerlieder, the detail with which Liszt puts in markings is crucial for the performer, precisely because of Liszts instruction not to include the text with the music. A singer and his or her accompanist would know the text or be able to see it on the page, reacting to it with timing, changes in color, or adjustments in dynamics. Here, Liszt assumed that the buyers of these transcriptions would not know the texts well enough, and probably did not have refined enough musical sensibilities to make wise musical decisions. Liszt often reiterates his markings he asks for dolce no less than five times in Das Wandern and for some form of grazioso three times. Moreover, there are even more descriptive terms, such as armonioso and elegamente. He is very verbose about the character that one should pursue in performance. More interesting, however, are the markings of ritardando and smorzando. They occur in places that would be expected for someone familiar with these Lieder. However, Liszt could not assume a general knowledge of the cycle, considering the first complete performance of Die Schne Mllerin did not take place until 1856. Finally, Liszt uses dynamics much more liberally than Schubert does, though the dynamic range of pp to mf remains the same. The same attention to markings applies throughout the whole set. In Der Mller und der Bach, Liszt specifically instructs the performer to play the melody malinconico, espressivo, though the music already suggests this affect. The second section is marked Con intimo sentimento, which reflects the change in character from the Miller to the Brook. Again, the common words that appear are dolce and grazioso. The abbandonandosi and con passione markings in m. 49 reflect the angels cutting their wings and coming down to earth. A rare explicit instruction for the Una corda appears at m. 112.

It is pointless to go through and mention every single marking in dynamic, tempo, and expression. A good guideline for interpreting Liszts detailed instructions could be taken from a story told by Jerome Lowenthal, a pianist and professor. He recounted that Alban Berg had remarked to a student playing his Piano Sonata that the densely marked tempo indications should not be taken literally; rather, they were an approximation of a natural rubato. In the same vein, Liszts markings in Mllerlieder cannot be all taken too literally, or else the performance would become too labored and self-conscious. An interesting phenomenon to note is that the amount of control that composers wish to impose upon performers grows steadily through time. Liszt was no exception to this trend, as the quantity and specificity of his directions far exceed Schuberts. Liszts markings concern not only the execution of dynamics, articulation, and tempi, but also the affects and emotions so much so that it would be impractical to follow them all. Just as a good teachers instructions to his students are meant to encourage and inspire rather than to micromanage their interpretation, Liszts instructions should be taken as descriptions of a natural expression of the music.

Conclusion
Liszt imposes a great number of demands on the performer, both virtuosic and expressive. These expressive choices are not only found in the actual Italian markings, but also in the slight harmonic changes, the reordering of songs, the truncation and extension of passages, and registration of vocal and melodic lines. Despite the amount of instructions, the result is not a limiting, but rather a provoking of further reinterpretation, an inspiring of freedom in a musical direction guided by Liszt. What once were words in a poem now grow into musical figurations, able to make allusions and implications to other parts of the piece and other pieces of the cycle. But these alterations are not purely artistic and philosophical in goal. Liszt was a performing pianist who knew how to get the most out of the piano. He was also undoubtedly in tune with the concert-going public and the dilettantes who purchased the newest sheet music, and knew what would appeal to them. The Mllerlieder takes into consideration all of these issues, and what results is a cycle that is interesting to listen to, both on a surface level and on an intellectual level, enjoyable and challenging to play, despite what the publishers advertised, and honorable in its dissemination of lesser known works by a previous master. The interest does not end there, as the structure Liszt has created with this cycle is actually a very forward-looking one. The idea of a large scale symmetric or palindromic form, though not new at Liszts time, was not commonly used; it became more prevalent in music of the twentieth century, by composers such as Alban Berg, Bla Bartk, and Paul Hindemith. Surely the most basic ternary form is a palindromic construction; however, its use across multiple movements was a rarity before the twentieth century.21

21

As a loosely related connection, a palindrome in Schuberts Zauberharfe was relatively recently discovered where Schubert write an almost exact retrograde of earlier material. It is possible that Liszt could have heard the

Because the Schubert cycle is now frequently heard, Liszts Lied transcriptions no longer serve to disseminate Schuberts music to uninformed audiences. Instead, these transcriptions are fascinating on their own as an interpretation of a great work by an insightful and imaginative artist. The re-imagination of the cycle allows the audience to experience the music from a different perspective. Though the Mllerlieder and a large portion of Liszts output has fallen into relative obscurity, they remain an important insight into the compositional mind of the 19th century Renaissance man. Liszt, as a sincere composer, strove to achieve an ideal synthesis of form and unity, of technical brilliance, and of expression. This transcription functions as a showcase for both composer and performer, combining pianistic virtuosity with lyrical sensitivity. Liszts Mllerlieder cannot be neglected in place of the original cycle. Instead of being trivialized as an arrangement, it needs to be rediscovered and recognized for its innovation and reinterpretation.

melodrama. It was composed in 1820 and premiered later that year at the Theater an der Wien, receiving eight performances that year. Liszt was in Vienna at the time, however quite young, but already recognized a prodigy by his teachers. Liszt definitely would not have had access to the score, as it was published only in 1891. For research th regarding the palindrome in Zauberharfe, see: Brian Newbould, A Schubert Palindrome, in 19 -Century Music, Vol. 15, No. 3 (Berkeley: University of California Press, 1992): 207-214.

Works Cited
Advertisement. La Musique: gazette de la France Musicale, Vol. 1 no. 41 (14 October 1849). Clark, Solee Lee. Franz Liszts Pianistic Approach to Franz Schuberts Songs: Mllerlieder LW. A128. D.M.A. thesis, West Virginia University, 2008. Consumer Price Index, Wikipedia, The Free Encyclopedia. Wikimedia Foundation, 2013. <http://en.wikipedia.org/wiki/Consumer_price_index>. Accessed December 13, 2013. Consumer Price Index (Estimate) 1800-, The Federal Reserve Bank of Minneapolis. <http://www.minneapolisfed.org/community_education/teacher/calc/hist1800.cfm>. Accessed December 13, 2013. Digest of decisions of the United States courts, Board of General Appraisers and the Treasury Department: under the customs revenue laws, together with the Tariff acts from 1883 to 1913 United States Dept. of the Treasury, 1916. Eckhardt, Maria and Rena Charmin Mueller. Franz Liszt: Works, Grove Music Online, Oxford Music Online. Oxford: Oxford University Press. <http://www.oxfordmusiconline.com/subscriber/article_works/grove/music/48265pg28>. Accessed December 13, 2013. Kregor, Jonathan. Liszt as Transcriber. Cambridge: Cambridge University Press, 2010. Laskowski, Larry. Heinrich Schenker: An Annotated Index to his Analyses of Musical Works. New York: Pendragon Press, 1978. Liszt, Franz. Mller-Lieder von Franz Schubert; fr das Pianoforte in leichteren Styl bertragen von Franz Liszt. Vienna: Diabelli and Company, 1847. Liszt Franz. Neue Ausgabe smtlicher Werke: Freie Bearbeitungen Ser. II, Vol VII. Ed. by Imre Sulyok and Imre Mez. Budapest: Editio Musica, 1988. Newbould, Brian. A Schubert Palindrome, in 19th-Century Music, Vol. 15, No. 3. Berkeley: University of California Press, 1992. Schubert, Franz. Die schne Mllerin: Ein Cyclus von Liedern von Wilhelm Mller, Op. 25. Leipzig: Breitkopf & Hrtel, 1894-1895. Walker, Alan, et al. Liszt, Franz: 8. The Glanzzeit, 1839-47, Grove Music Online, Oxford Music Online. Oxford: Oxford University Press. <http://www.oxfordmusiconline.com/subscriber/article_works/grove/music/48265pg8>. Accessed December 13, 2013. Youens, Susan. Schubert: Die Schne Mllerin. Cambridge: Cambridge University Press, 1992.