“Années de pèlerinage, Troisième année” is a collection of pieces distinct in character from the previous three collections bearing the same title. There is also a gap in their composition dates; their creation began during what is known as Liszt's Roman period (1861-69). During this period, Liszt engaged in extensive compositional activity, showing a particular inclination towards religious music. Examples include Liszt's first oratorio, “The Legend of Saint Elisabeth,” completed in 1862 and premiered in 1865, and “Christus,” also an oratorio, considered a masterpiece of Liszt's life and described by him as “my musical testament” (this work, depicting the birth to the resurrection of Jesus the Savior, features the borrowing of Gregorian chant and the introduction of church modes).

Many pieces in this collection were composed in 1877. To briefly describe the preceding circumstances, from around 1870, the 59-year-old Liszt began to divide his time seasonally among three cities: Weimar, Budapest, and Rome. This lifestyle, which continued until Liszt's death in 1886, was extremely busy, and his creative activities were stagnant for a while. In Budapest, he served as president of the Royal Hungarian Academy (today's Liszt Academy of Music) and also taught himself. However, it was not always successful; he faced severe criticism, such as his own works being called “a negation of art,” and there was a sense of resignation due to a lack of understanding from those around him. In 1877, at the age of 66, Liszt fell into a serious mental state. Around this time, a letter addressed to his acquaintance Baroness Olga von Meyendorff (1838-1926) described his suffering in life, stating, for example, that he was “overwhelmed by desperate sadness.”

In this collection, long monophonic passages reminiscent of recitative and the use of dissonance are prominent, and the ambiguity of tonality at the beginning of pieces is noticeable, indicating Liszt's late style.

There are three religious pieces (Nos. 1, 4, and 7), and other works are titled as threnodies, with brilliance receding into the background, and even a strong sense of resignation being palpable.

While the previous work, “Années de pèlerinage, Deuxième année: Italie,” was published in 1858, this collection was published much later, in 1883.

No.1 "Angelus! Priere aux anges gardiens"

The “Angelus!” in the title refers to the Angelus prayer, performed three times a day (morning, noon, and evening), and the bell rung at that time. This “annunciation” refers to the Annunciation to Mary. This work began to be composed in 1877 and reached its current form after four revisions. Related works include versions for string quartet and harmonium (organ) from 1882 (both first published in 1883).

From the outset, the tonality of this piece is ambiguous, progressing without a clear establishment of the main key, creating a mood that is both clear and somewhat mysterious. The tremolo motif from the opening section reappears in the final part of the piece after a weighty middle section.

In a letter addressed to Baroness Olga von Meyendorff (1838-1926), who was a fervent supporter of Liszt and a skilled pianist, it is stated that he “wrote a little song of angels for Cosima's eldest daughter.” Cosima refers to Liszt's second daughter, Cosima Wagner (1837-1930), whose marriage to Wagner had caused problems (though the discord had been resolved by this time). The work is dedicated to her eldest daughter, Daniela von Bülow (1860-1940).

No.2 "Aux cypres de la Villa d'Este - Threnodie I"

No.3 "Aux cypres de la Villa d'Este - Threnodie II"

The “Villa d'Este” in the title was originally a Benedictine monastery, begun in 1550 by Cardinal Ippolito II d'Este. It was later converted into a luxurious villa with beautiful gardens. Utilizing abundant water resources, it features 500 fountains of various sizes, including the “Water Organ Fountain” and the “Dragon Fountain,” and remains a popular tourist destination in Tivoli today.

Liszt stayed at the Villa d'Este as a guest of Cardinal Gustav von Hohenlohe from 1868 onwards. (He also spent winters there from 1869 to 1885.)

Furthermore, the “cypress” in the title symbolizes death and mourning in the West, and is frequently depicted not only in music but also in paintings, as seen in the works of Vincent van Gogh.

Regarding the composition of this work, Liszt wrote the following in a letter dated September 23, 1877, to Princess Carolyne zu Sayn-Wittgenstein (1819-87), with whom he had been close since his virtuoso days and who continuously supported his compositional activities: “I have been spending time under the cypresses, and my mind is so filled with these old cypress trunks that I can think of nothing else. I listened to the branches singing and weeping, enduring the weight of their unchanging leaves. Finally, I wrote them down on staff paper...”

The letter to Baroness Meyendorff (quoted at the beginning of this article, stating “overwhelmed by desperate sadness”) is also believed to be related to the creation of this work.

No. 2 “Aux cypres de la Villa d'Este - Threnodie I” begins with a series of weighty fourths, creating a piece filled with a somber atmosphere.

No. 3 “Aux cypres de la Villa d'Este - Threnodie II” similarly begins with a powerful yet somber motif, then transforms into a flowing melody after a Hungarian-style passage.

No.4 "Les jeux d'eaux a la Villa d'Este"

Following the previous two pieces, this work also relates to the Villa d'Este (for details on the Villa d'Este, refer to the explanation for the preceding pieces). It is one of the most famous and frequently performed works from Liszt's late period. A bright piece with delicate movements depicting water and a resonant melody. It is often cited as a precursor to later Impressionistic music, such as Maurice Ravel(1875-1937)'s “Jeux d'eau” (1901) and Claude Debussy(1862-1918)'s “Reflets dans l'eau” (1904–05).

In the middle of the piece, there is an epigraph quoted from the Gospel of John: “The water that I will give will become in them a spring of water gushing up to eternal life” (from the New Interconfessional Translation).

No.5 "Sunt lacrymae rerum"

The original title, “Sunt lacrymae rerum,” is Latin, and a literal translation would be “There are tears for things.”

It was composed in 1872, the year a reconciliation was achieved with Richard Wagner (1813-1883), with whom problems had arisen concerning his marriage to Liszt's daughter Cosima. Originally, it was a work titled “Hungarian Elegy,” dedicated to the victims of the Hungarian Revolution of 1848-49. The current title is taken from line 462 of Book I of the ancient Roman poet Virgil's unfinished epic poem, “Aeneid.”

In stark contrast to the previous piece, this work is filled with weight and darkness, and incorporates Hungarian modes in parts.

No.6 "Marche funebre"

Composed for Emperor Maximilian I of Mexico, who was executed on June 19, 1867. Composed in 1867, during his Roman period, the year of the premiere of “Hungarian Coronation Mass” and his break with Richard Wagner. It is the earliest composed piece in this collection.

Maximilian I (1832-1867) was a member of the House of Habsburg and the younger brother of the then-Austrian Emperor Franz Joseph I (1830-1916). Maximilian, installed as Emperor of Mexico by Napoleon III, had an unstable position from the outset, rapidly lost power with the withdrawal of French troops, was captured, and executed by firing squad. This event is said to have shocked all of Europe.

No.7 "Sursum corda!"

The title of the work, “Sursum corda,” refers to the exchange between the celebrant and the congregation before the Preface in the Mass. This work, which begins with a quiet repetition of the dominant, employs the whole-tone scale (dividing an octave into six whole tones). As suggested by its title, it is a work that conveys a sublime impression.