All the remaining chamber work’s date from Franz Liszt (1811-1886) date from the last 14 years of the composer’s life. After Epithalum zu Remenyis Vermahlungsfeier for violin and piano (1872) came Elegy No. 1, best known in it’s piano solo version. This was originally conceived, however, for the extraordinary combination of harp, harmonium, cello and piano. It dates from 1874, and also exists in arrangements for violin and piano, and cello and piano. This indicates that there is an element of abstraction in these pieces, delicate and fugitive though they are, and that they do not depend on especial instrumental tone colours – or on the technique of a particular instrument – to make their effect. As much is confirmed by the comparably enigmatic Elegy No. 2, which followed in 1877. This, also, is best known in the solo piano version yet the settings for violin and piano, as performed here, and cello and piano came first. A somewhat different case, however ,is that of the Romance oubliée of 1880. Again, this can be found in arrangements for piano solo, violin and piano, and cello and piano, but at the time Liszt was in contact with Hermann Ritter, inventor of the viola alta. He evidently has this in mind when composing the Romance oubliée, which he dedicated to Ritter. So it’s performed here on a viola. This album is originally released in 1984.