Several of Franz Liszt's transcriptions of Swiss natural scenery in his "Années de pèlerinage" (composed during the 1830s) were accompanied by epigraphs from Canto III of Byron's poem, but while the quotations fit the emotional tone of the music, they are sometimes contextually different. Thus Liszt's second piece, "Au lac de Wallenstadt" (By Lake Wallenstadt), with its evocation of rippling water, is accompanied by Byron's description of the still reflective surface of Lac Leman (stanza 68). Between the next few quotations there is greater congruence, however. Liszt's fifth piece, "Orage" (Storm), comes with Byron's equating of meteorological and emotional weathers from canto 96. The change of tone in the sixth piece, "Vallée d’Obermann", is signalled by the transition of mood at the end of Byron's following stanza 97; and the peaceful beginning of stanza 98 accompanies the succeeding "Eglogue" (Eclogue). After this sequence drawn from three contiguous stanzas, the final piece, "Les cloches de Genève" (Geneva bells), returns to the Lac Leman sequence of stanzas in the poem and provides another dissonance. The two lines quoted from stanza 72 fit the serene tone of the music, but only by ignoring the rejection of "human cities" two lines later. In the case of both Berlioz's and Liszt's pieces, their association with "Childe’s Harold’s Pilgrimage" is an indication of how they are to be interpreted, in that all three works are subjective and autobiographical. The music, however, is independent of the text.