Consolations

Six Pensées Poétiques

S. 172/3

   
Franz Liszt

  
Lento placido *) cantando

        

 sempre legatissimo

         
12 12

   

       
     
 

 
4

             

        

**)

  

         
     
    
7

                            
        
    
 
      
    
 

   
 
10

          


   


         
   
                      

               
   

  
13

      
           
6 3 3

  
 
*) „  = 80" (L-P) *) "  = 80" (L-P)
**) „Das Fundamental-Des ist ‚Takt um Takt leise' wieder anzu- **) "The basic D flat must be played 'quietly from bar to bar' so
schlagen, uni die Fortdauer seines Klanges, die von der Pedal- that its sound can be renewed, as the pedal changes break it
dämpfung unterbrochen wird, wieder herzustellen." (L-P) off." (L-P)
      
2

      
   
 

 


17

               
                       
     
        
         
 

 
   


   


21

                                 
        
      
    
         
        
     


    
25

          

           
   

   



  
          


      
   

 



28


                           
                    
    
espressivo dolcissimo

    
        


                   
           
    

 
32

                    
           
       
espr.

         
  
      
       
   
  

  
   





36

 
                       
              
     
   
                            
3

 

39

     
           
                                  
   

 poco riten.
  
     
  

  


       

42

         
 
                   
   
 
    
   
 
   

      
 

    


46

               
      
            
   

    
       
     
 

      
 


 

  
50

                        
                   
  
   
  
            
             
               
 
quasi cadenza 

  
   

 
             


    
  smorzando  
    
54


   
           
 


         
 
               
                    


         


 
ritard.

    
  
57

       
              




perdendosi

 