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Three Sonnets of Petrarch - Lisztomania. Pace non trovo. Benedetto sia'l giorno. I' vidi in terra angelici costumi. Composed between 1838-42; first published in Vienna by Haslinger in 1846. Liszt actually transcribed a solo piano version and published it before the vocal one.
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3 Sonetti del Petrarca, S.270 (Liszt, Franz) Movements/Sections. Mov'ts/Sec's. 3 songs. Composition Year. 1842-46 (1st version) 1864–82 (2nd version) Genre Categories. Songs; For voice, piano; For voices with keyboard;
- Petrarca-Sonette
- 3 Sonetti del Petrarca
- Liszt, Franz
Jan 1, 2024 · Title: Tre Sonetti del Petrarca, S. 270b. Composer: Franz Liszt. Lyricist: Francesco Petrarca. Number of voices: 1v Voicing: Solo low, ( Bass solo or Mezzo-Soprano solo) Genre: Secular , Art song. Language: Italian. Instruments: Piano. First published: 1883. Description: Settings of 3 of the 366 Petrarch sonnets.
Apr 12, 2012 · The ‘Sonetto 104’ is perhaps the most passionate, agitated and dramatic of the three, based on the Sonnet Pace non trovo (‘I find no peace…..’ Canzone CXXXIV; sometimes erroneously noted as Sonnet 47).
Liszt's fascination with the sonnets of Petrarch, the foundation of European love poetry, began during his stay in Italy during his mid twenties (1837-39) and remained with him all his life. He returned again and again to Petrarch, in song settings, piano settings, revisions, and transcriptions.
The 3 Petrarch Sonnets appeared in their first versions in 1838; the forms they take in the Annees de Pelerinage were only established in 1858. It is clear t...
- 33 min
- 234.9K
- Ashish Xiangyi Kumar
People also ask
What is 'Petrarch's sonnets' by Liszt about?
How many sonnets are in Petrarch's 'Sonetto 47 del Petrarca'?
How did Liszt compose the poem “Petrarch sonnet 104”?
Is Liszt's Music a mode of translation?
Liszt’s first settings of the Petrarch sonnets date from 1842-6 while the second settings were completed between 1864-1882. Composed decades apart, these are far more than simple “variations” but thoroughly thought-through new works, showing the evolution of Liszt’s approach though time.
