《Années de pèlerinage, Deuxième année: Italie》 is based on impressions from Liszt's stay in Italy with Countess Marie d'Agoult from July 1837 to November 1839. In Italy, Liszt encountered various art forms, including literary works such as Dante's epic poem The Divine Comedy, and paintings by Raphael and Michelangelo. That it was created under such inspiration is evident from the titles of all seven pieces. The details of this Italian sojourn can be gleaned from the public letters published in Gazette Musicale between July 1837 and 1841 (later compiled as 《Lettres d'un bachelier ès musique》). Additionally, during this stay in Italy, there were events such as interactions with his three-year-old daughter Blandine, the birth of his eldest son Daniel, the onset of discord with Marie, and the holding of the first-ever recital in Western music history (March 8, 1839, in Rome – a recital being a concert by a single performer).

Composition is thought to have been largely completed by 1839, with the exception of the third piece, but the collection was finally published as 《Années de pèlerinage, Deuxième année: Italie》 only in 1858.

No. 1 "Sposalizio"

This is a religious work inspired by Raphael's painting "The Marriage of the Virgin," which depicts the wedding scene of the Virgin Mary and Saint Joseph, Raphael being one of the three great masters of the Renaissance. It is characterized by its bright and clear sonorities.

No. 2 "Il pensieroso"

This piece is inspired by the statue on Lorenzo de' Medici's tomb in Florence, sculpted by Michelangelo, another of the three great masters of the Renaissance. (The statues represent two figures, Lorenzo de' Medici and Giuliano de' Medici, who were Michelangelo's patrons. They are treated contrastingly: under the introspective seated figure of Lorenzo are nude figures representing "Dawn" and "Dusk," while under the extroverted Giuliano are "Day" and "Night.")

In stark contrast to the brightness of No. 1, this piece has a heavy and quiet mood, which is further emphasized by repeated notes. As indicated by its later expansion into the second piece, "Night," of 《Trois Odes Funèbres》 in 1866, this work is associated with "death."

No. 3 "Canzonetta del Salvator Rosa"

This piece alone was composed approximately ten years later. A canzonetta is a light-hearted short song that was popular in the late 16th century, and in stark contrast to No. 2, this is a very bright piece. Salvator Rosa, mentioned in the title, was an Italian painter, sculptor, and poet of the 17th century. The lyrics of the canzonetta state, "My place changes, but my passion does not," but the poem Liszt set was actually by Bononcini. The melody of these lyrics appears in various voices throughout the piece.

No. 4 "Sonetto 47 del Petrarca"

No. 5 "Sonetto 104 del Petrarca"

No. 6 "Sonetto 123 del Petrarca"

Numbers 4 to 6 are from Canzoniere, a representative work by Francesco Petrarca (1304-74), a lyrical poet who represents the Italian Renaissance. Canzoniere sings of Petrarch's love for Laura. A sonnet is a 14-line fixed-form poem that originated in Italy, meaning "little song," and was perfected by Petrarch and Dante. Liszt chose and composed settings for Sonnets No. 47, No. 104, and No. 123.

They were also composed as songs (S.270) around the same time (sharing the same melody), and both versions were published in 1846. The versions known today are their revised editions.

The gist of the poem for No. 4 "Sonetto 47 del Petrarca" sings of a heart captivated by love. Reflecting this content, it is a beautiful piece with a sweet atmosphere.

The poem for No. 5 "Sonetto 104 del Petrarca" sings of the dual aspects of joy and suffering when falling in love. It is more dramatic than the previous piece and is often performed independently.

The poem for No. 6 "Sonetto 123 del Petrarca" begins with a passage about seeing an angel's form on earth and sings of the sweetness of love. Its calm and graceful mood contrasts with the intensity of the following "Après une lecture du Dante – Fantasia quasi sonata."

No. 7 "Après une lecture du Dante – Fantasia quasi sonata"

The seventh piece, which concludes this collection, is a work of much larger scale compared to the preceding six. It is one of the famous pieces, highly popular for its overwhelming power and frequently performed in concerts. As the title suggests, it was created inspired by Dante's (1265-1321) epic poem The Divine Comedy. Initially, it was a two-part work titled "Introduction to the Divine Comedy," and there are records of it being performed in 1839. After several revisions, it was completed in 1849.

Dante's The Divine Comedy consists of three parts:

• "Inferno"
• "Purgatorio"
• "Paradiso"

At the beginning of this piece, a descending augmented fourth interval, known as the "devil in music" from medieval polyphony, repeatedly appears, as if opening the world of hell. The augmented fourth has been shunned because it divides an octave exactly in half, but many composers, not just Liszt, have used it to symbolize ominous things like devils and death. Amidst intense suffering and conflict, beautiful and serene melodies emerge. The piece concludes brilliantly.