If you haven’t heard of Liszt’s “Poetic and Religious Harmonies,” you’re not alone.

Performances and recordings of the 10-movement cycle, nearly an hour and a half of music for solo piano, are rare. Few performers are willing to take on not only its daunting scale, but also its grueling restraint — a cohesion held together in a delicate tension of wild Romanticism and controlled transparency.

It is, in other words, not your typical Liszt. Tellingly, the most famous section, “Funérailles,” is also the closest “Harmonies” gets to the pyrotechnic showiness that has made Liszt a favorite for encores.

“This is definitely a very private Liszt, one who’s retreated to his inner self,” said the pianist Jenny Lin. “I don’t think you could do this at Carnegie Hall. It would be weird.”

So when Ms. Lin and Adam Tendler share “Harmonies,” Sept. 24-27, they’ll be far from Carnegie, in a much more intimate space: the catacomb of Green-Wood Cemetery in Brooklyn. It’s the latest installment of The Angel’s Share, a series organized in the cemetery by Andrew Ousley, of the wryly named organization Death of Classical, which also presents The Crypt Sessions, concerts in the crypt at the Church of the Intercession in Manhattan.