In order to make no break in my wonted fault-finding, I observe that in the fifth bar of the first song the A-flat is more agreeable than G.
[Figure: Music example showing the passage in question.] The carrying out of the motive in the second song:
[Figure: Here Liszt writes 2 bars of music to illustrate.]
(page 2, last line, and page 3) you have done most happily—also the moonlight conclusion of it,
[Figure: Here Liszt writes 3 bars of music to illustrate.]
and the poetic delineation of the last verse in the third song (in which the rests in the voice part and the motive in the accompaniment, enlivened by the rhythm [Here follows in the original an illegible sign. In the song there come in here, in place of the quaver movement which has prevailed hitherto, some long-sustained chords in the accompaniment, which are again interrupted by the quaver movement.], make an excellent effect):- -
"Wenn mein Lied zu Ende geht, Sing ich's weiter in Gedanken,
Wie's im Wald verschwiegen weht, Wie die Rosen sich umranken!"
["When my song is ended quite, Yet in thought I still am singing,
As the wood at silent night Echoes from the day is bringing!">[
Well and good, dearest Cornelius, and now some more soon, let me beg of you! Don't make too long pauses in your hermitage, and allow us to tell you and prove to you how truly we love you.
F. Liszt