The second year of the Année de pèlerinagededicated to Italy, is judged overall to be the most important of the three. The whole series of the second year was published in 1858 and was preceded by two compilations which date from 1837 and 1849 respectively. On this recording the three Petrarca Sonnets are presented. The appearance of these Sonnets in Liszt's works dated back to around 1838 as lieder for voice and piano, which were later excellently transcribed for piano solo. In this instance, Liszt again demonstrates exceptional skill in the art of transcription, intended as a creation in its own right, original in style and musical language fitting to the new means of expression. His adherence to the poetic text is exemplary. The pieces tell of the first meeting with the loved woman (Sonnet 47), unhappy love and the discord within the poet's soul (Sonnet 104), and the apparition of the "angel woman", symbol of ideal beauty (Sonnet 123). The Six chants polonais (Six Polish Songs) from Chopin's Opus 74 (S. 480) were written by Liszt in 1847 and revised andpublished in 1860. They are dedicated to Princess Maria zu Holienlohe, daughter of Princess Carolyne Sayn-Wittgenstein. They are six of the seventeen songs that comprise Chopin's original work composed between 1829 and 1847 and published ten years later. As in Schubert's lieder, Liszt's choice of text falls upon those wherein lie the most emotional grip and maximum melodic beauty the two of which, as always, Liszt is able to combine with discreet tonal links and subtle transitions of atmosphere. In Liszt's choice of order, the Songs are: 1. Desire of the young maiden with which Chopin's collection also opens; 2. Spring (Op. 74 No 2); 3. The little ring (Op. 74 No 14); 4. Bacchanal (Op. 74 No 4); 5. My joy (Op. 74 No 12); 6. The Be-trothed (Op. 74 No 15). Once again Liszt demonstrates his skill as a transcriber, respecting the intimacy of Chopin's music and maintaining a subtlety in his pianistic writing.