PIANO MUSIC - Abeille Musique

2 mi [i.e., E flat – the first piece in N5]
3 ut min [C minor – the second piece in N5]
4 Elegie Pr de Prusse [On page 4 of N5 is written in Liszt’s hand the third stanza of the
poem Bei der Musik des Prinzen L[ouis] F[erdinand de Prusse] by Theodor Körner
(1791–1815), along with some fragments which appear to be by Lamartine, the inspirer
of the title and the whole musical project of the Harmonies. Liszt’s Élégie sur des
motifs de Prince Louis Ferdinand, first version, had been composed in 1844, and was
published in 1847 – see volume 37 – and formed no part of the eventual collection]
5 Marche des P [Liszt’s transcription of Berlioz’s Marche des pèlerins from Harold in
Italy may date from the late 1830s. It was not included in the eventual collection, but
was revised in 1862–3 for publication – see volume 5]
6 M. K. [i.e. Marie Kalergis, inspiration and dedicatee of several Liszt pieces – the
eighth piece in N5]
7 Chopin [piece unidentified – echoes of Schumann’s Carnaval in the title – it can have
nothing to do with Liszt’s later Chopin song transcriptions, and if any one of pieces 3,
6 or 7 in N5 is relevant here we do not know]
8 re [D flat – the fourth piece in N5]
9 Prière d’un enfant [a piece from earlier in 1845, S171c – see volume 47]
10 sol [G flat – the present piece – i.e. the fifth piece in N5]
11 (2 de Sonnet fa ) [The brackets are Liszt’s, and the piece is probably the second
Petrarch sonnet setting, Benedetto sia’l giorno, of which song there are at least two
manuscripts in F sharp major, but no extant piano transcription in that key has turned
up]
The sixth piece is entitled Attente, but we have no further clue as to its application to this piece, any
more than we know why it was a working title for the fourth piece in the book. Liszt has indicated
the reprise of some of the opening material after the contrasting middle section, but has not
supplied the coda. The present writer has derived ten closing bars from earlier analogous material.
Although there are some unrelated discarded sketches (one dated ‘Gand 20 janvier’ – and Liszt
was only in Ghent on that date in 1846!) amongst the next pages of N5, there are two more
pieces which appear to belong to the same collection, especially since the second of them is
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