The transcriptions were an important moment in Liszt's activity as a composer. The time of machines suited to the publication of music is still in the future. Liszt was engaged in an important work of diffusion because he drew attention to composers and works which would otherwise have remained unknown to a wider public. He did this by exploiting the possibilities at the level of sound of the pianoforte, an instrument which allows the reproduction of the whole range of the orchestra.

At an artistic level he did this in such a way as to project such possibilities with good reason into the world of concerts. In his transcriptions Liszt displays an ability to fathom the deepest meanings of the pieces which have been chosen and at the same time - but without betraying them - to produce an original and revealing work. In relation to the music of Wagner, Liszt presents himself with respect and discretion, and creates, nonetheless, extraordinary atmospheres at the level of sound.

Lohengrin A romantic opera in three acts. Music and libretto by Richard Wagner. First performance: Weimar, the Court Theatre, 28 August 1850. Conceived in 1841, completed in 1845 on the eve of the first performance of 'Tannhäuser', the libretto is based upon the Medieval legend of the knight of the swan. The first theatrical performance was organised personally by Liszt in response to an explicit request made to him by Wagner. This is the Wagnerian opera which is most performed in the world and was the first work by Wagner to be performed in Italy (Bologna, 1871). Principal figures: Heinrich, the King of Germany; Lohengrin; Elsa of Brabante; Telramud, the Count of Brabante; Ortrud, his wife.
1. Corteo Nuziale di Elsa verso il Monastero - Elsa's Bridal Procession - Elsas Brautzug zum Münster (Composed in 1852, published in 1853. This is the revised version of 1875). This is one of the various 'arrangementi' taken from passages from the opera. Liszt added a short introduction and lengthened the melody.
2. Sogno di Elsa - Elsa's Dream - Elsas Traum Elsa (Act one) remembers having a vision of a knight who consoled her (Einsam in truben Tagen). Liszt does not reproduce the scene faithfully - it begins with the orchestral part which accompanies the entrance of Elsa, dwells upon the vision of Lohengrin, and ends directly with the ecstatic element. A synthesis.
3. Rimprovero di Lohengrin ad Elsa - Lohengrin's Admonition - Lohengrin Verweis an Elsa A faithful transcription of the music by Wagner with the exception of certain technical details. |4. Canto di Festa e Canzone Nuziale - Festival and Bridal Song - Festpiel und Brautlied (Composed and published in 1854) Joy and festivity open the third act of the opera. In the transcription Liszt adds ten bars to the exciting Festpiel which he transcribes as a whole. It continues with the very famous bridal hymn, then goes back to the Festpiel, and finishes in grand style with a splendid pianistic esploit.

Tannhäuser und der Sägerkrieg auf Wartburg - Tannhäuser A great romantic opera in three acts. Music and libretto by Richard Wagner. First performance: Dresden, Königliches Hoftheater, 19 October 1845. This is perhaps the work which Wagner most loved, and was certainly the one which required the greatest work. A burning and exuberant work full of dramatic ideas and musical inventions. The libretto, written in Paris between 1841 and 1842, refers to two Medieval legends - one that goes back to a historical tale of the thirteenth century about the battle of Minnesanger; the other from the fourteenth century, the story of Venere and Tannhauser. Principal figures: Tannhauser; Hermann, the Landgrave of Turingia; Wolfram, a singer; Elisabeth, the grandaughter of the Landgrave.
5. Recitativo e Romanza "Stella della Sera" - Recitative and Romance "Evening Star" - "O, du Mein Holder Abendstern" Rezitativ und Romanze (Composed and published in 1849) Wolfram, whose love for Elisabeth is not corresponded, turns to the star of sunset with a pained song. A rather literal transcription of the famous solo where Liszt confines himself to a mere change of tonality.

Der Fliegande Holländer - L'Olandese Volante - The Flying Dutchman A romantic opera in three acts. Music and libretto by Richard Wagner. First performance: Dresden, Königliches Sächsisches Hoftheater, 2 January 1843. This is seen by everyone as the first work in which Wagner expresses his independence, in a way separate from the conventional Franco- German models which prevailed at the time. It is based upon a piece by Heinrich Heine, 'Aus den Memoiren des Herrn von Schnabelewopski' (1834) and enriched with biographical elements. The action takes place along the coast of Norway. The principal figures: Donald, a Norwegian seafarer; Senta his daughter; the Dutchman.
6. Ballata - Ballad - Ballade (Composed in 1872, published in 1873) Senta evokes the leggend of the Flying Dutchman with a ballad ('Traft ihr das Schiff im Meere an'). In his 'transcription' Liszt has an approach which is freer than the original musical text. He follows its most mysterious parts, the obsession of Senta, lengthens the melody, and adds short personal changes.
7. Coro delle Filatrici - Spinning Chorus - Spinner Lied (Composed in 1860, published in 1861) The second act: young women are engaged in spinning and sing in chorus 'Summ' und Brumm' du Gutes Rädchen'. The version by Liszt adheres to the Wagnerian score with the exception of certain changes at the beginning and in the finale, and a reference to the theme of the 'The Flying Dutchman'.

Der Ring des Nibelungen - L'Anello dei Nibelunghi A scenic festival over three days and an eve, divided into four parts. Music and libretto by Richard Wagner. Eve: the gold of the Rhine: first day: the Valkyrie; second day: Sigfried; third day: the first twilight of the gods. First complete performance: Bayreuth, Festpielhaus 13- 14- 16- 17 August 1876. This is the longest opera in the history of music and Wagner dedicated himself to its composition for twenty- five years. The source of inspiration was the collection of Norse songs of the thirteenth century (Edda- Codex Regius).
8. Valhalla (Composed and published in 1875) Here also we find more a paraphrase than a transcription (as it was declared to be), and a paraphrase produced in a free style.

Die Meistersinger von Nürnberg - I Maestri Cantori di Norimberga - Der Meistersinger Opera in three acts. Music and libretto by Richard Wagner. First performance: Munich, National Theatre, 21 June 1868. The action takes place in Nuremberg towards the middle of the sixteenth century, at a singing competition to win the hand of the young Eve. Principal figures: Hans Sachs, a cobbler: Walhter, a young knight from Franconia; Eve, the daughter of the goldsmith Pohner; David, Sachs's apprentice.

9. Am Stillen Herd (Composed and published in 1871) Here we have the passage where Walther is taking the 'emancipation' exam to become a 'master singer'. Liszt has not really engaged in a transcription (even though he describes it as such). It follows the operatic piece to a certain extent but draws away from it with personal changes and a great finale which is typically Lisztian in character.

Parsifal A sacred scenic festival in three acts from the poem 'Parsifal' by Wolfram von Eschenbach. Music and libretto by Richard Wagner. First performance: Bayreuth, Festspielhaus, 26 July 1882.
10. Marcia Solenne al Santo Graal - Solemn March to the Holy Grail - Feirlicher Marsch zum Heiligen Graal (Composed 1882, published in 1883) Liszt write this piece immediately after the first performance of the opera. The motifs which characterise the scene are gathered together by him in a most personal form of evocation.