tour. These supplemented the three lyrics already mentioned that were incorporated into Cantos I and II. Five of the supplementary songs were set by composers, mostly during the course of the 19th century and sometimes in translated versions. "On Parting" (The kiss, dear maid, thy lip has left), for example, was set by Ludwig van Beethoven and some 25 other composers; the song "Maid of Athens, ere we part" had a setting by Charles Gounod as well as others in German and Italian. The song "Adieu! Adieu! my native shore", which appeared in the first canto of the Pilgrimage, was set as early as 1814, but with the wording "My native shore adieu", and was apparently incorporated into the long-established opera The Maid of the Mill. It was also set by some twelve other composers as well as in German and Danish translations. And in addition to the songs, just two Spenserian stanzas from the Pilgrimage's Canto III have had musical settings: stanza 72 by the American composer Larry Austin in 1979 and a German translation of stanza 85 by Robert von Hornstein (1833–1890). There were also two European Romantic composers who referenced Childe Harold’s Pilgrimage in their programmatic works. Hector Berlioz recorded in his memoires that, in composing Harold en Italie (1834), he wished to draw on memories of his wanderings in the Abruzzi, making of the solo for viola at its start "a sort of melancholic reverie in the manner of Byron’s Childe Harold" (une sorte de rêveur mélancolique dans le genre du Child-Harold de Byron). Nevertheless, Donald Tovey has pointed out in his analysis of the work that "there is no trace in Berlioz's music of any of the famous passages of Childe Harold". 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,