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Liszt later published Venezia e Napoli (S. 162; LW A197; R. 10c) as a supplement to this work.
Total duration: 51' 30"
This piece exists in an earlier version from 1838–1839 (S. 157a).
In 1883, Liszt used this work as the basis of Sposalizio (Trauung) (S. 60; LW J44; R. 498) for voice, choir and organ, harmonium or (in fragmentary form only) piano duet. He made further arrangements of this for organ (S. 671a, R. 498) and piano duet (S. 583a).
Duration: 7' 30"
Difficulty: 3.5
The piece also exists in an earlier version (S. 157b) that has only minor differences.
Liszt later used this work as the basis of La Notte from the Trois Odes funèbres (S. 112; LW G25; R. 429), which also exists in a version for solo piano (S. 516a; LW A202/2; R. 664).
Duration: 5'
Difficulty: 2.5
This piece is not based on a work by Salvator Rosa, but on the song Vado ben spesso by Giovanni Battista Bononcini.
The piece also exists in an earlier version (S. 157c) that has only minor differences.
Duration: 3'
Difficulty: 3.5
Liszt originally wrote the Tre sonetti di Petrarca in 1843–1844 for voice and piano (S. 270i; LW N14/1; R. 578a), with the sonnets in the order nos. 104, 47 and 123. By 1846, he had made an arrangement of the set for solo piano (S. 157; LW A102; R. 10b).
Liszt soon revised the piano arrangements, which he later included as the fourth, fifth and sixth pieces of Années de pèlerinage, Deuxième année (Italie) (S. 161; LW A55; R. 10b). At this stage, he swapped the order of the first two songs, so that the sonnets are in the order nos. 47, 104 and 123.
Liszt finally, in 1864, made a further version of the songs for voice and piano (S. 270ii; LW N14/2; R. 578b), which keeps the final sonnet order of nos. 47, 104 and 123. The first of these songs (no. 47) also exists in two intermediate versions from 1851 and 1854 (S. 270a and S. 270b).
Duration: 6'
Difficulty: 3.5
Duration: 6'
Difficulty: 4
Duration: 6' 30"
Difficulty: 3.5
This piece exists in multiple versions. The first version is Paralipomènes à La Divina Commedia (Fantaisie symphonique) (S. 158a).
The next version is a single manuscript with two titles: Prolegomènes à La Divina Commedia (Fantasia quasi Sonata) / Après une Lecture du Dante (Fantasia quasi Sonata). The manuscript contains a base layer (S. 158b) with multiple additions (S. 158c); the New Liszt Edition gives the final text of this manuscript only and not the separate base layer.
Liszt subsequently made a further revision for its inclusion as the seventh piece of Années de pèlerinage, Deuxième année (Italie) (S. 161; LW A55; R. 10b).
Based on the same work by Dante, Liszt also wrote Eine Symphonie zu Dantes Divina Commedia (S. 109; LW G14; R. 426) for women's choir and orchestra, which does not share musical material with the sonata. He arranged the symphony for two pianos (S. 648; LW C20; R. 370) and extracts of it for organ (S. 672b; LW E8).
Duration: 17' 30"
Difficulty: 5
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