Movement 1: Die Wiege
Movement 2: Der Kampf um's Dasein
Movement 3: Zum Grabe: Die Wiege des zukünftigen Lebens
Your correction of the title of my most recent symphonic poem is most judicious—‘du berceau jusqu’à la tombe’, not ‘jusqu’au cercueil’, as Zichy put it. I adopt it with gratitude—actually, the coffin remains just a piece of furniture, while the tomb becomes metaphorical.
The outer sections have much in common with Liszt’s late introspective keyboard works, whilst the strivings of the middle section hark back to the earlier symphonic poems. The first part is very similar to the separately published Wiegenlied for piano solo, and the final part combines themes from the previous two before disappearing in etherium. Unusually, Liszt drafted the whole work for piano, then arranged and amplified it for duet and for orchestra, and transferred later alterations back into the solo version. Liszt dedicated the piece in all its guises to Mihály Zichy.
from notes by Leslie Howard © 2011