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[中国作家] 李斯特全部作品目录

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geci110 发表于 2015-7-22 18:33:13 | 显示全部楼层 |阅读模式
李斯特最重要的作品是《浮士德交响曲》、《但丁交响曲》、《匈牙利狂想曲》、交响诗《前奏曲》、《马捷帕》、四首钢琴协奏曲、《B小调钢琴奏鸣曲》、《12首超技练习曲》和《旅行岁月》。
/ @; j% i4 o+ g" Z3 {. g% Q# x李斯特全部作品目录-19 X) U( Y! A$ }% m

3 P8 Z0 ^9 V' F* y% q/ o1.1 Opera(歌剧)2 ^/ ~7 J; v9 V+ j/ L- U
( G1 P- @; s, u3 c
S.1, Don Sanche, ou Le chateau de l'amour (1824–25) 歌剧《唐切桑》( E0 F  Z# H  X
1.2 Sacred Choral Works(神圣的合唱作品). T: Z9 K  N; Q3 s, P  y7 _& {
/ b0 I: ~  ?- d, L( ?" \% A
S.2, The Legend of St. Elisabeth (1857–62) 清唱剧《圣伊丽莎白传奇》( Q5 S- J$ z" ~8 [
S.3, Christus (1855–67) 清唱剧《基督》
2 ]1 K9 }6 C4 e2 k% ]! P7 CS.4, Cantico del sol di Francesco d'Assisi [first/second version] (1862, 1880–81) 清唱剧《阿西西的圣方济圣歌》  U" H0 ^/ O1 m/ H- s
S.5, Die heilige Cäcilia (1874)) Q0 {7 K, p8 E" {- }
S.6, Die Glocken des Strassburger Münsters (Longfellow) (1874)
% }% e" f/ y9 l- [5 c+ V4 NS.7, Cantantibus organis (1879)
- [0 E6 P# y+ y$ [S.8, Missa quattuor vocum ad aequales concinente organo [first/second version] (1848, 1869)) _- G/ y3 j8 C5 z  A+ [# b0 ^
S.9, Missa solennis zur Einweihung der Basilika in Gran (Gran Mass) [first/second version] (1855, 1857–58)
  j! `2 z1 T; a: a7 d* sS.10, Missa choralis, organo concinente (1865)7 C; O5 C+ v! a
S.11, Hungarian Coronation Mass (1866–67)
1 T; i$ D" e" @S.12, Requiem (1867–68). I' m# e& I. @$ A. m
S.13, Psalm 13 (Herr, wie lange ?) [first/second/third verion] (1855, 1858, 1862)7 O, q! i/ F0 _) T1 I. ]  b* N6 J( A
S.14, Psalm 18 (Coeli enarrant) (1860)
+ t3 S; x! x9 i. b  [% fS.15, Psalm 23 (Mein Gott, der ist mein Hirt) [first version: chorus, soloist & orchestra] [second version: chorus, soloist & violin, piano, harp, organ] (1859, 1862)# r. I( W1 E1 r% E# H9 o
S.15a, Psalm 116 (Laudate Dominum) (1869)
% c/ [* g# k: I1 I9 b) _S.16, Psalm 129 (De profundis) (1880–83)* \4 }: ^5 i4 }7 o4 u
S.17, Psalm 137 (By the Rivers of Babylon) [first/second version] (1859–62)1 W: h3 j; [7 L1 l. H, w; C( Y- Y
S.18, Five choruses with French texts [5 choruses] (1840–49)
/ {: Q% e! y& {0 c% ]6 P/ NS.19, Hymne de l'enfant à son réveil (Lamartine) [first/second version] (1847, 1862)
! S6 S- p7 S/ E4 g  ?4 g/ IS.20, Ave Maria I [first/second version] (1846, 1852): C% p! s6 G2 c
S.21, Pater noster II [first/second version] (1846, 1848)- P; W) s- n0 e$ E3 Z/ D
S.22, Pater noster IV (1850)' _8 V: w. D: p- U
S.23, Domine salvum fac regem (1853)) Q7 b% M5 |' D$ E3 H( G( ^
S.24, Te Deum II (1853?)( E5 j* `# s5 {, t9 f
S.25, Beati pauperes spiritu (Die Seligkeiten) (1853)8 i9 G% t- U* L' a: U! {; ]8 V
S.26, Festgesang zur Eröffnung der zehnten allgemeinen deutschen Lehrerversammlung (1858); B' z6 `: z" c( @2 [% K5 o) F
S.27, Te Deum I (1867)+ M- w0 {- J0 R2 g  ~- B! S; x
S.28, An den heiligen Franziskus von Paula (b. 1860)" Y: W+ L( l' c$ Y. W. s  ?
S.29, Pater noster I (b. 1860)* C& S$ X9 R5 _* p7 m4 T4 G
S.30, Responsorien und Antiphonen [5 sets] (1860)) [+ E2 Z6 w; _7 y8 a+ o* C
S.31, Christus ist geboren I [first/second version] (1863?)' L5 [1 D/ s6 \& E5 o. o5 f
S.32, Christus ist geboren II [first/second version] (1863?)
& t; g- s, D+ T; c" FS.33, Slavimo Slavno Slaveni! [first/second version] (1863, 1866). d3 b" {; e6 |7 e4 H
S.34, Ave maris stella [first/second version] (1865–66, 1868)* ^$ m; X3 k+ k  t
S.35, Crux! (Guichon de Grandpont) (1865)( V- A. Z; r/ X0 k! _- \
S.36, Dall' alma Roma (1866)
. L  i( P7 K1 a$ ]- [S.37, Mihi autem adhaerere (from Psalm 73) (1868)+ A: o, O; V) w
S.38, Ave Maria II (1869)6 h7 K8 a9 o4 j3 ], K$ [  m6 h
S.39, Inno a Maria Vergine (1869)
$ D) p* z; p! vS.40, O salutaris hostia I (1869?)6 ^. \  s! I8 g) b
S.41, Pater noster III [first/second version] (1869)- T& M+ e% M( j. O1 l* j) W
S.42, Tantum ergo [first/second version] (1869)* h: w& d  _& G- ?
S.43, O salutaris hostia II (1870?)
3 @! I& ]  b/ N6 Y! J# u; hS.44, Ave verum corpus (1871)
! a. `$ X  E- yS.45, Libera me (1871)
8 G! n; C- v* O# Y5 N2 w/ wS.46, Anima Christi sanctifica me [first/second version] (1874, ca. 1874)+ u, g& a9 M4 V3 {" d0 Z
S.47, St Christopher. Legend (1881)& z& J% Q; Y1 b- P, D; `9 n9 t
S.48, Der Herr bewahret die Seelen seiner Heiligen (1875)
- [: S0 W3 s3 z% KS.49, Weihnachtslied (O heilige Nacht) (a. 1876)
- L0 a5 b9 O8 q1 lS.50, 12 Alte deutsche geistliche Weisen (Chorales) [12 chorals] (ca. 1878-79)
! G4 }+ j5 k. x$ FS.51, Gott sei uns gnädig und barmherzig (1878)9 d) X, p7 x0 V! t
S.52, Septem Sacramenta. Responsoria com organo vel harmonio concinente (1878)
& t! F4 \+ l6 @+ K5 TS.53, Via Crucis (1878–79)
4 b% {3 Y7 L! q; ?; N9 AS.54, O Roma nobilis (1879)' g1 J7 |! m8 E4 v$ u4 p
S.55, Ossa arida (1879)5 {8 M' A# `! r; `: @
S.56, Rosario [4 chorals] (1879)1 N- ~) e, ?: H& {
S.57, In domum Domino imibus (1884?)! Q( i$ W5 S. {
S.58, O sacrum convivium (1884?)* B; W1 s* u2 v
S.59, Pro Papa (ca. 1880); P; G, s, s1 \6 b
S.60, Zur Trauung. Geistliche Vermählungsmusik (Ave Maria III) (1883)
- Q0 r$ H) X% f6 K/ ]S.61, Nun danket alle Gott (1883)
1 r4 k7 A- C1 v( R% r7 @S.62, Mariengarten (b. 1884)
0 J# `7 G+ @# R8 p& HS.63, Qui seminant in lacrimis (1884)4 \) x+ _2 o9 r; m% c; H
S.64, Pax vobiscum! (1885)
0 x0 `+ {+ x8 m, HS.65, Qui Mariam absolvisti (1885)/ B- D. |2 W  }
S.66, Salve Regina (1885)8 i3 W$ V2 a' `4 v3 V) }+ Y
1.3 Secular Choral Works(世俗的合唱作品)
0 D8 i8 B. O1 x: G! GS.67, Beethoven Cantata No. 1: Festkantate zur Enthüllung (1845): _5 R. n; g' f& x' I) c
S.68, Beethoven Cantata No. 2: Zur Säkularfeier Beethovens (1869–70)
5 u" n$ v9 ?+ p) m& G9 RS.69, Chöre zu Herders Entfesseltem Prometheus (1850)+ M9 d% A( G/ t) A! p5 [& }
S.70, An die Künstler (Schiller) [first/second/third verion] (1853, 1853, 1856)% @/ D2 \4 }5 q
S.71, Gaudeamus igitur. Humoreske (1869)* Q% i4 t5 y! L6 D" u
S.72, Vierstimmige Männergesänge [4 chorals] (for Mozart-Stiftung) (1841)
! |7 g. I! t, {S.73, Es war einmal ein König (1845)+ L* X  \) n8 u
S.74, Das deutsche Vaterland (1839)
7 {+ |6 t3 L: \. ]* [S.75, über allen Gipfeln ist Ruh (Goethe) [first/second version] (1842, 1849)8 P( @8 w4 T, [7 `0 `# Q
S.76, Das düstre Meer umrauscht mich (1842)
/ C3 G$ U# x6 \3 p! i9 gS.77, Die lustige Legion (A. Buchheim) (1846)
  Y6 j2 p+ u6 lS.78, Trinkspruch (1843)! e- _3 G' I9 c1 \: [$ R
S.79, Titan (Schobert) (1842–47)# K9 {* u& A! s  b( p. I
S.80, Les quatre éléments (Autran) (1845)
' @9 g6 Y! x1 I4 \7 _S.81, Le forgeron (de Lamennais) (1845)
' p6 ?1 j" j& Z, E. t1 a) A0 ?( dS.82, Arbeiterchor (de Lamennais?) (1848)
0 Y8 g) h% c) R+ E' o. E; u( QS.83, Ungaria-Kantate (Hungaria 1848 Cantata) (1848)
6 j( M% U( e8 US.84, Licht, mehr Licht (1849)7 {3 A' \5 C6 B( g( ~, j4 ~
S.85, Chorus of Angels from Goethe's Faust (1849)
+ R# z% q) Q! V! c8 @9 m5 pS.86, Festchor zur Enthüllung des Herder-Dankmals in Weimar (A. Schöll) (1850)
# \" L" v; E  L) |3 y0 K, PS.87, Weimars Volkslied (Cornelius) [6 versions] (1857)5 s/ i" F" k+ m# b. v9 k
S.88, Morgenlied (Hoffmann von Fallersleben) (1859)
% J3 K; _4 J' V7 d' aS.89, Mit klingendem Spiel (1859–62 ?)' I# u2 ^( P+ Z( v. w8 D
S.90, Für Männergesang [12 chorals] (1842–60)
  W6 p: Z  B- C2 [4 c! eS.91, Das Lied der Begeisterung. A lelkesedes dala (1871)
1 e* O- |, N1 J  E& v+ X* \S.92, Carl August weilt mit uns. Festgesang zur Enthüllung des Carl-August-Denkmals in Weimar am 3 September 1875 (1875)
7 o* O: ~5 c! \& J1 F, B$ H* ES.93, Ungarisches Königslied. Magyar Király-dal (ábrányi) [6 version] (1883)) c  T! w  m# {9 Q
S.94, Gruss (1885?)
, d6 N5 Z8 C% z- f& \3 G1.4 Orchestral Works(管弦乐作品)
% n! I6 `" @. h: B: d- [- y: C& n. H6 a: p# [+ D# i
1.4.1 Symphonic Poems(交响诗)
" f+ y3 P, d- D
8 T9 R$ O0 M, i: l$ C: m# YS.95, Poème symphonique No. 1, Ce qu'on entend sur la montagne (Berg Symphonie) [first/second/third version] (1848–49, 1850, 1854) 第一交响诗 山间所闻5 `- t1 P6 i/ B
S.96, Poème symphonique No. 2, Tasso, Lamento e Trionfo [first/second/third version] (1849, 1850–51, 1854) 《塔索，哀叹与胜利》
9 s2 p& y) l" HS.97, Poème symphonique No. 3, Les Préludes (1848) 第三交响诗“前奏曲”; W3 ?  m' r$ Z+ l
S.98, Poème symphonique No. 4, Orpheus (1853–54) 第四交响诗 《奥菲欧》
. `. x1 d% }# ~7 Z/ c& c9 o9 @S.99, Poème symphonique No. 5, Prometheus [first/second version] (1850, 1855) 第五交响诗《普罗米修斯》
  s, _# x1 S2 W5 ~: w3 f# i8 z7 SS.100, Poème symphonique No. 6, Mazeppa [first/second version] (1851, b. 1854) 第六交响诗《马捷帕》3 ?# n8 _6 \; Y8 f. d
S.101, Poème symphonique No. 7, Festklänge [revisions added to 1863 pub] (1853) 第七交响诗《节日之声》
8 J- @, V, l- m8 `0 oS.102, Poème symphonique No. 8, Héroïde funèbre [first/second version] (1849–50, 1854)  第八交响诗《英雄的葬礼》
9 y- T2 p  k$ m" yS.103, Poème symphonique No. 9, Hungaria (1854) 第九交响诗《匈牙利》
( u0 ]4 J! m/ L/ J6 o% S) ]S.104, Poème symphonique No. 10, Hamlet (1858) 第十交响《哈姆雷特》1 [3 D5 h) k/ I) N- {6 W5 o
S.105, Poème symphonique No. 11, Hunnenschlacht (1856–57) 第十一交响诗《匈奴之战》
$ D" ]/ n1 t/ C  @4 s5 y0 v& WS.106, Poème symphonique No. 12, Die Ideale (1857) 第十二交响诗《理想》
( _- h3 E. f9 v$ fS.107, Poème symphonique No. 13, Von der Wiege bis zum Grabe (From the Cradle to the Grave) (1881–82) 第十三交响诗《从摇篮到坟墓》
. Q: n% o! Y$ j1 }; L% a, a1.4.2 Other Orchestral Works(其他管弦乐作品)
6 o- y- A0 u+ p6 v) w5 ^1 ?3 R' }6 R% p" x
S.108, Eine Faust-Symphonie [first/second version] (1854, 1861)+ M& k6 H6 Y+ O8 ~* Z
S.109, Eine Symphonie zu Dante's Divina Commedia (1855–56)
' z/ C, G4 D: d- E% O# MS.110, Deux épisodes d'apres le Faust de Lenau [2 pieces] (1859–61)- W/ a/ h: I9 e9 W2 E
S.111, Zweite Mephisto Waltz (1881)+ i7 t, ]2 T/ H
S.112, Trois Odes Funèbres [3 pieces] (1860–66)0 h1 C1 [3 y  r* y5 Q' Z
S.113, Salve Polonia (1863)
, V, ^% n9 M# a8 PS.114, Künstlerfestzug zur Schillerfeier (1857)/ f  q6 e2 R- c6 Q% Q$ z2 i
S.115, Festmarsch zur Goethejubiläumsfeier [first/second version] (1849, 1857)+ b! H2 j- F! N
S.116, Festmarsch nach Motiven von E.H.z.S.-C.-G. (1857)3 Z, a4 e4 {3 ^4 \3 B/ z' t
S.117, Rákóczy March (1865)
" X4 H! i! d, r) x* ^& F; ]S.118, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (am 8 Juni 1867) (1870)
* c2 T  H0 Y# X8 c  A% s  ?S.119, Ungarischer Sturmmarsch (1875)8 O9 a# F, q9 r) k! G; F
1.5 Piano and Orchestra(钢琴与乐队)
5 m/ X* y4 }. U3 P2 |& E: v
9 i3 E9 u; i( u) [. j* q/ {& h" W4 G- ]* Y0 B
李斯特
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 楼主| geci110 发表于 2015-7-22 18:33:55 | 显示全部楼层
S.120, Grande Fantaisie Symphonique on themes from Berlioz Lélio (1834)
& e. z/ {& v8 \1 ~/ w/ US.121, Malédiction (with string orchestra) (1833)  诅咒  钢琴与弦乐队- L; E9 A, i8 ~# F3 _4 |
S.122, Fantasie über Beethovens Ruinen von Athen [first/second version] (1837?, 1849); H; Z; S3 i  f
S.123, Fantasie über ungarische Volksmelodien (1852) 匈牙利民歌主题幻想曲 为钢琴与乐队而作
5 E+ @$ W) Q. u9 r' U! y7 PS.124, Piano Concerto No. 1 in E flat [first/second version] (1849, 1856) 降E大调第一钢琴协奏曲
9 T+ ]. ?' x& ^0 |S.125, Piano Concerto No. 2 in A major [first/second version] (1839, 1849) A大调第二钢琴协奏曲
# w4 s. _0 O1 q- a6 xS.125a, Piano Concerto No. 3 in E flat (1836–39). `4 x& ~/ P# a1 H) C+ F3 S$ S
S.126, Totentanz. Paraphrase on Dies Irae [Feruccio Busoni's 'De Profundis'/final version] (1849, 1859) 死之舞 为钢琴与乐队而作2 ?- z4 H4 F% q6 ]$ k$ f2 c; |3 ^
S.126a, Piano Concerto "In the Hungarian Style" [probably by Sophie Menter] (1885)
- K8 T+ }2 N! b& P1.6 Chamber Music(室内乐等)2 @8 d7 B/ W5 g  N, u
# v5 T6 v# l9 a( t
S.126b, Zwei Waltzer [2 pieces] (1832)8 C8 Q2 \$ r" C: A) K8 J

2 O/ f+ d) R/ x0 P3 k7 u) k) Q7 hS.127, Duo (Sonata) - Sur des thèmes polonais (1832-35 ?)' d! P: w2 `4 J+ k2 p$ ^( M- j
S.128, Grand duo concertant sur la romance de M.Lafont Le Marin [first/second version] (ca. 1835-37, 1849)& y$ X. C; c# l
S.129, Epithalam zu Eduard. Reményis Vermählungsfeier (1872)
6 e4 _2 |9 r5 H- C. FS.130, élégie No. 1 [first/second/third version] (1874)7 c- d# j2 c6 ?) @6 n6 u! q
S.131, élégie No. 2 (1877)
: \' a4 U4 h2 G! `8 `S.132, Romance oubliée (1880)6 y  Y$ `  J- [0 [! O- {8 A3 U
S.133, Die Wiege (1881?)7 z% S( S: p* A0 g1 t( B
S.134, La lugubre gondola [first/second version] (1883?, 1885?), F" Q6 [7 E4 n
S.135, Am Grabe Richard Wagners (1883). `, \" g9 ]: F0 C' [/ J9 o
1.7 Piano Solo
9 C9 R# L! n" J
1 w4 Y; ]- c! j8 U8 E8 V1.7.1 Studies(钢琴练习曲)
4 ]$ t9 E8 b* N  ~: e/ K& j
/ B/ {- h$ Q7 C7 F$ Z) x- Z' K: W+ PS.136, études en douze exercices dans tous les tons majeurs et mineurs [first version, 12 pieces] (1826) 12首钢琴练习曲6 Z0 B8 X: P2 w
S.137, Douze grandes études [second version, 12 pieces] (1837) 《12首超技练习曲》! `! ?2 t: y) `! o& ]3 {, N' S
S.138, Mazeppa [intermediate version of S137/4] (1840) 练习曲“玛捷帕”
/ g% B, Q0 c" l# Q+ a/ `+ rS.139, Douze études d'exécution transcendante [final version, 12 pieces] (1852) 12首超技练习曲
* e  b( k" H3 @S.140, études d'exécution transcendante d'après Paganini [first version, 6 pieces] (1838) 帕格尼尼超技练习曲
1 N7 r' x8 l$ T) N  S$ kS.141, Grandes études de Paganini [second version, 6 pieces] (1851)  6首帕格尼尼大练习曲1 o4 ]6 h% i4 }9 ?
S.142, Morceau de salon, étude de perfectionnement [Ab Irato, first version] (1840) 高级练习曲“沙龙小品”
) Y, `' X- L# R3 eS.143, Ab Irato, étude de perfectionnement [second version] (1852) 高级练习曲“愤怒”
" `# y: W3 _5 _: g9 t: W) v& {% SS.144, Trois études de concert [3 pieces] (1848?)  3首音乐会练习曲6 H# Z* p1 R- |# p! o
1.    Il lamento
- M& {( v6 p. d$ V7 h' v( X7 m2.    La leggierezza
& u8 ~; Z1 O0 n7 F. u/ n2 @3.    Un sospiro' {4 X. c& c3 Y& F# E; @2 w
S.145, Zwei Konzertetüden [2 pieces] (1862–63)  2首音乐会练习曲
: S* R8 v* W, b2 t1.    Waldesrauschen
* a5 d9 C/ s  L  k- N! S! _  Q2.    Gnomenreigen" f' d2 T0 R3 s2 {8 V7 B+ J
S.146, Technische Studien [68 studies] (ca. 1868-80)  钢琴技巧练习- H- S$ w4 E5 F' U. w5 K; `
1.7.2 Various Original Works(各种原创作品). ]8 q, }3 }/ t" ?3 `$ O
2 ]& J& V" O. x3 G  ?% l
S.147, Variation on a Waltz by Diabelli (1822)  狄亚贝利圆舞曲主题变奏曲
3 X9 A9 I; L+ vS.148, Huit variations (1824?) 降A大调原创主题变奏曲
9 M4 t2 p9 L: j4 e$ ^; XS.149, Sept variations brillantes dur un thème de G. Rossini (1824?)+ ?  k' s7 r+ b" O5 W
S.150, Impromptu brilliant sur des thèmes de Rossini et Spontini (1824) 罗西尼与斯蓬蒂尼主题即兴曲- U+ c% W0 L) T' P' O
S.151, Allegro di bravura (1824) 华丽的快板
9 @9 k4 q/ y' D$ V6 i# uS.152, Rondo di bravura (1824) 华丽回旋曲+ o9 B* F7 G+ k" ?2 G
S.152a, Klavierstück (?)/ A' _% o6 p5 ^) {6 P( s& l
S.153, Scherzo in G minor (1827) g小调谐谑曲1 D  m8 k9 ^; u3 S0 b
S.153a, Marche funèbre (1827)2 H+ |4 e( J9 W) D
S.153b, Grand solo caractèristique d'apropos une chansonette de Panseron [private collection, score inaccessible] (1830–32) [1]8 i. o1 G+ n  l5 c9 a& H$ K
S.154, Harmonies poétiques et religieuses [Pensée des morts, first version] (1833, 1835) 宗教诗情曲! B  X* I: W% m5 ~/ `' Y3 {
S.155, Apparitions [3 pieces] (1834) 显现 三首钢琴小品
( E& I. o/ g! z  [3 cS.156, Album d'un voyageur [3 sets; 7, 9, 3 pieces] (1835–38) 旅行者札记
' C/ {% D' L  h! t! J6 I$ A8 b. wS.156a, Trois morceaux suisses [3 pieces] (1835–36)  {  U: j6 p% L  z$ `6 m* }4 c
S.157, Fantaisie romantique sur deux mélodies suisses (1836) 浪漫幻想曲4 Q3 @# ~1 E7 u8 L% L' v* G
S.157a, Sposalizio (1838–39)* f; R8 r' h- Z
S.157b, Il penseroso [first version] (1839)8 g* f4 Y; d( `, o+ t) Z
S.157c, Canzonetta del Salvator Rosa [first version] (1849)" e$ P; ^% G8 K/ _- D1 o
S.158, Tre sonetti del Petrarca [3 pieces, first versions of S161/4-6] (1844–45)  3首彼特拉克十四行诗$ d' i$ e: I3 w- t7 Y4 o: \& B
S.158a, Paralipomènes à la Divina Commedia [Dante Sonata original 2 movement version] (1844–45), |3 q3 ]7 L% e( f" B. ~
S.158b, Prologomènes à la Divina Commedia [Dante Sonata second version] (1844–45)
6 ?2 b0 w4 B8 i4 z7 I9 f' k; \6 SS.158c, Adagio in C major (Dante Sonata albumleaf) (1844–45)) Y- o8 A" G6 Z* M* w
S.159, Venezia e Napoli [first version, 4 pieces] (1840?)  威尼斯和拿波里+ T9 k/ [* t  ?  T
S.160, Années de pèlerinage. Première année; Suisse [9 pieces] (1848–55)  旅行岁月（第一集）- 瑞士游记
; i8 H/ A; w" FS.161, Années de pèlerinage. Deuxième année; Italie [7 pieces] (1839–49) 旅行岁月（第二集）- 意大利游记5 o6 O( {/ D, J5 [& z* i( K8 p
S.162, Venezia e Napoli. Supplément aux Années de pèlerinage 2de volume [3 pieces] (1860)  旅行岁月（第二集补遗）- 威尼斯和拿波里( {, l0 j; ]' R' d3 r, z+ V
S.162a, Den Schutz-Engeln (Angelus! Prière à l'ange gardien) [4 drafts] (1877–82)
0 ?1 M4 y  y1 @1 i1 y5 ?5 T2 O9 ZS.162b, Den Cypressen der Villa d'Este - Thrénodie II [first draft] (1882)
, z( a+ Q% N; Y8 n- ~' O$ xS.162c, Sunt lacrymae rerum [first version] (1872)* Z" t; C+ u! U. b+ `" c
S.162d, Sunt lacrymae rerum [intermediate version] (1877)
) V% R  U+ [7 ?  f; ~& c3 r9 xS.162e, En mémoire de Maximilian I [Marche funèbre first version] (1867)5 |" G1 v* B1 @
S.162f, Postludium - Nachspiel - Sursum corda! [first version] (1877)
! ^* F7 b; K) A& e) {8 W! CS.163, Années de pèlerinage. Troisième année [7 pieces] (1867–77)   旅行岁月（第三集）9 y& @7 L9 T% Z+ |
S.163a, Album-Leaf: Andantino pour Emile et Charlotte Loudon (1828) [2] 降E大调纪念册的一页
7 s3 T; l% |$ P  A- N! p- P  BS.163a/1, Album Leaf in F sharp minor (1828)降E大调纪念册的一页
7 J5 O9 a8 a5 B  H# h, `4 i5 G4 pS.163b, Album-Leaf (Ah vous dirai-je, maman) (1833)
/ a+ Q% _! J) b( ?. D2 T' VS.163c, Album-Leaf in C minor (Pressburg) (1839)
9 S* o2 G0 y1 t: R+ O# j/ T$ _9 F0 wS.163d, Album-Leaf in E major (Leipzig) (1840); n# {$ |# w- Y6 D2 S3 z- V+ ~
S.164, Feuille d'album No. 1 (1840) E大调纪念册的一页8 t/ W' S# Y' b0 j# |
S.164a, Album Leaf in E major (Vienna) (1840)
3 Z4 M( E7 D, }0 S; `3 VS.164b, Album Leaf in E flat (Leipzig) (1840)
  l2 `: g9 Z( B+ jS.164c, Album-Leaf: Exeter Preludio (1841)9 T8 A' l/ j0 c/ d1 J- b
S.164d, Album-Leaf in E major (Detmold) (1840)
6 V! X* R- C: B  u+ ]7 iS.164e, Album-Leaf: Magyar (1841)
: o9 {& r( g# ~& WS.164f, Album-Leaf in A minor (Rákóczi-Marsch) (1841)$ Q3 _5 v5 Z* m& ~/ b) F: f
S.164g, Album-Leaf: Berlin Preludio (1842): n# c" b3 K" m6 `  y& M( B
S.165, Feuille d'album (in A flat) (1841) 降A大调纪念册的一页
0 G+ k; ~& ~( G, Y& L( {' ZS.166, Albumblatt in waltz form (1841) A大调圆舞曲风格纪念册的一页! r( O# T  S! n- Y
S.166a, Album Leaf in E major (1843)" X: D: V6 _! V, ~+ C" C! D4 e
S.166b, Album-Leaf in A flat (Portugal) (1844)( B% _" ?, X) p/ V% \. J/ {
S.166c, Album-Leaf in A flat (1844)
, v9 Y, z: x2 O- e) B9 PS.166d, Album-Leaf: Lyon prélude (1844)
9 V2 z- `( ^7 x1 ]+ nS.166e, Album-Leaf: Prélude omnitonique (1844)
, j, {1 l9 A7 ?; ?S.166f, Album-Leaf: Braunschweig preludio (1844)9 k1 y9 g' q9 ?% e
S.166g, Album-Leaf: Serenade (1840–49)
/ M& L5 U- F' m. {3 dS.166h, Album-Leaf: Andante religioso (1846)6 }8 J2 T) G  t/ t$ H, N% u! N
S.166k, Album Leaf in A major: Friska (ca. 1846-49)4 t9 l( P4 F3 `, F- d
S.166m-n, Albumblätter für Prinzessin Marie von Sayn-Wittgenstein (1847)
  X; n+ S2 q' K$ c; d& G4 E  ^S.167, Feuille d'album No. 2 [Die Zelle in Nonnenwerth, third version] (1843) a小调纪念册的一页+ Z. x5 f* e# K9 i3 e
S.167a, Ruhig [catalogue error; see Strauss/Tausig introduction and coda], @+ O# a" w9 ]1 g' C
S.167b, Miniatur Lieder [score not accessible at present] (?)
5 [) N! f, a6 k0 C+ ?/ IS.167c, Album-Leaf (from the Agnus Dei of the Missa Solennis, S9) (1860–69)8 g' B. _* _+ }1 i8 P2 P8 W3 H
S.167d, Album-Leaf (from the symphonic poem Orpheus, S98) (1860)2 q8 {1 @2 S) ^& W' h: d
S.167e, Album-Leaf (from the symphonic poem Die Ideale, S106) (1861)
" P  D9 P5 c7 E( eS.167f, Album Leaf in G major (ca. 1860)7 j5 d: ~; X3 {, a. p0 T: k2 D+ w
S.168, Elégie sur des motifs du Prince Louis Ferdinand de Prusse [first/second version] (1842, 1851) 悲歌4 A: X5 v; q7 y4 s5 ^
S.168a, Andante amoroso (1847?)8 J0 j- p/ [- N
S.169, Romance (O pourquoi donc) (1848) e小调浪漫曲* B% Y5 ~0 }4 ~9 [
S.170, Ballade No. 1 in D flat (Le chant du croisé) (1845–48) 叙事曲一
/ x9 ?# S3 @8 P/ q- t! M; |& \S.170a, Ballade No. 2 [first draft] (1853)
1 n, G& G+ I& f# T# t6 V, iS.171, Ballade No. 2 in B minor (1853) 叙事曲二9 d! S2 c0 S+ D9 [
S.171a, Madrigal (Consolations) [first series, 6 pieces] (1844)2 N9 B) y0 w' z7 q
S.171b, Album Leaf or Consolation No. 1 (1870–79)" _3 V  I6 B8 T& e5 v
S.171c, Prière de l'enfant à son reveil [first version] (1840)# B: C9 o+ t! C7 n3 C- J
S.171d, Préludes et harmonies poétiques et religie (1845)
- ]) C: k& Y, VS.171e, Litanies de Marie [first version] (1846–47)% k/ ?# a1 z0 H( k
S.172, Consolations (Six penseés poétiques) (1849–50) 6首安慰曲
$ I* ~/ a. v. e! Q+ z3 T/ A. L) sS.172a, Harmonies poétiques et religieuses [1847 cycle] (1847)
- L6 e4 b+ i1 n% E9 \S.172a/3&4, Hymne du matin, Hymne de la nuit [formerly S173a] (1847)- D4 B/ _* U9 o5 ^' l# W
S.173, Harmonies poétiques et religieuses [second version] (1845–52) 诗与宗教的和谐
* V5 W. S& }7 v& }5 ?( Z7 mS.174, Berceuse [first/second version] (1854, 1862) 摇篮曲! A# ]8 d. E+ m
S.175, Deux légendes [2 pieces] (1862–63) 2首传奇
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 楼主| geci110 发表于 2015-7-22 18:34:13 | 显示全部楼层
1.    St. François d'Assise. La prédication aux oiseaux (Preaching to the Birds)
3 Z5 [) ?! t0 N- A2.    St. François de Paule marchant sur les flots (Walking on the Waves)
" c0 n1 e" m) ~8 Z( m# TS.175a, Grand solo de concert [Grosses Konzertsolo, first version] (1850)
: c7 ~" }" {! A4 v7 DS.176, Grosses Konzertsolo [second version] (1849–50 ?) 独奏大协奏曲
+ I6 N4 m# J/ i$ M3 V# gS.177, Scherzo and March (1851) 谐谑曲与进行曲
2 v4 k/ s/ [4 E9 US.178, Piano Sonata in B minor (1852–53)  b小调钢琴奏鸣曲3 `5 E( \6 T7 H5 ^8 Q
S.179, Prelude after a theme from Weinen, Klagen, Sorgen, Zagen by J. S. Bach (1859)  前奏曲“哭泣、哀悼、忧虑、恐惧”S.179 - 根据巴赫第12康塔塔主题而作
% @2 C! H, N; }5 M* l+ K6 gS.180, Variations on a theme from Weinen, Klagen, Sorgen, Zagen by J. S. Bach (1862) 巴赫康塔塔主题变奏曲
+ {" R; U' m( U1 w5 US.181, Sarabande and Chaconne from Handel's opera Almira (1881)
1 z1 s8 |/ y" F6 T2 Z8 U0 b: A' c" BS.182, Ave Maria - Die Glocken von Rom (1862) 圣母颂“罗马的钟声”/ R, h  y; A% K5 g
S.183, Alleluia et Ave Maria [2 pieces] (1862) 哈利路亚与圣母颂
; G) Z6 M, G! zS.184, Urbi et orbi. Bénédiction papale (1864)
7 m/ e) V5 c- J8 }0 ^( zS.185, Vexilla regis prodeunt (1864), [9 ^: j+ C% Z' j
S.185a, Weihnachtsbaum [first version, 12 pieces] (1876)
7 o/ l2 s2 Z0 I$ K/ h; j- `S.186, Weihnachtsbaum [second version, 12 pieces] (1875–76) 钢琴曲集《圣诞树》, D/ a5 ]" Z( B! b; G/ m8 {
S.187, Sancta Dorothea (1877) 圣多萝西娅  x# W( C4 J, g; g! s, z
S.187a, Resignazione [first/second version] (1877)
- S% [  e+ \$ X- B  v" JS.188, In festo transfigurationis Domini nostri Jesu Christi (1880) 我主耶稣基督之变形% |. T3 G! f1 i( y  U
S.189, Klavierstück No. 1 (1866)& {6 c( S% `* Z& ]
S.189a, Klavierstück No. 2 (1845)
, Z4 X+ ^$ [0 ?5 ]) I) C! lS.189b, Klavierstück (?)0 a4 p1 r: y$ P% p& k- Z
S.190, Un portrait en musique de la Marquise de Blocqueville (1868)
9 Z* a! R# E. A3 R; E% ?& pS.191, Impromptu (1872) 升F大调即兴曲“夜曲”8 q1 |! j* I' `  c7 x
S.192, Fünf Klavierstücke (for Baroness von Meyendorff) [5 pieces] (1865–79) 5首钢琴小品1 l- ~  }3 w+ J  l. L
S.193, Klavierstuck (in F sharp major) (a. 1860) 升F大调钢琴小品
$ }: d! |+ m& q9 R( @3 h; PS.194, Mosonyis Grabgeleit (Mosonyi gyázmenete) (1870) 在莫佐尼墓前9 n" B+ j' E. L
S.195, Dem andenken Petofis (Petofi Szellemenek) (1877) 纪念裴多菲
4 @6 G* U/ J# o) i' ]S.195a, Schlummerlied im Grabe [Elegie No 1, first version] (1874)7 r8 _) E/ Y; B% J8 w
S.196, élégie No. 1 (1874); [/ ]/ l5 d1 \: G
S.196a, Entwurf der Ramann-Elegie [Elegie No 2, first draft] (1877)
0 T7 x+ O+ C& y$ lS.197, élégie No. 2 (1877)
& \. {. r0 S3 H; `S.197a, Toccata (1879–81) 托卡塔
$ G0 H4 V+ R: s$ s2 q: U' x9 kS.197b, National Hymne - Kaiser Wilhelm! (1876)
8 q* x+ G" ?! eS.198, Wiegenlied (Chant du herceau) (1880) 摇篮曲% ^0 o. }! u" U: T. h/ l, Z
S.199, Nuages gris (Trübe Wolken) (1881) 灰色的云
9 [/ t; K0 K; J  Y1 kS.199a, La lugubre gondola I (Der Trauergondol) [Vienna draft] (1882)( ~* z, a: P5 P" g$ z2 a) Y
S.200, La lugubre gondola [2 pieces] (1882, 1885) 葬礼小船
# E  ]/ J/ s6 ~: O' U' d& f8 n& }) r$ l  h+ K% q
李斯特全部作品目录-2
. V' @+ R8 Q' q9 X. x
% O% Q% N* {6 m7 ZS.201, R. W. - Venezia (1883) 告别瓦格纳和威尼斯9 N" R0 ]# E! D
S.202, Am Grabe Richard Wagners (1883) 在瓦格纳墓前: ]& w# y6 `3 e' p( c
S.203, Schlaflos, Frage und Antwort (Nocturne after a poem by Toni Raab) (1883) 夜曲“沉睡，思考和回答”
! _9 e' c' \, ~( ~' qS.204, Receuillement (Bellini in Memoriam) (1877) 冥想* a7 {% s6 x) L
S.205, Historische ungarische Bildnisse (Magyar arcképek) [original version, 7 pieces] (1885) 匈牙利历史人物肖像& G  B1 O2 E* u( x5 O+ A) _. m; Y) X
S.205a, Historische ungarische Bildnisse [revised order and conclusion, 7 pieces] (1885)
9 j7 @0 Q8 b& C9 j1 i3 fS.206, Trauervorspiel und Trauermarsch (1885) 葬礼前奏曲和葬礼进行曲
( B% l% I* W# \S.207, En rêve. Nocturne (1885) 夜曲“梦中”
" K4 e- J0 ~- L' ~5 |+ [6 zS.207a, Prélude à la polka de Borodine (and Borodin's Polka) (1880)! N. p: ]: k8 m; M4 E
S.208, Unstern: sinistre, disastro (1880–86) 凶兆、灾难
8 K2 D4 C1 e2 u9 z/ T1.7.3 Works in Dance Form(为舞蹈的作品)
) B( c4 ]0 i, j- o9 A1 G) n- H: H: X
S.208a, Waltz (in A major) (b. 1825) A大调圆舞曲' ]' X6 t/ m+ a% C% O* m
S.209, Grande valse di bravura [first version of S214/1] (1835) 华丽的大圆舞曲
, u6 l6 p( S! n1 X0 FS.209a, Waltz (in E flat) (1840)+ g5 a$ W% l. }" l9 k7 |) j" k8 `  l
S.210, Valse mélancolique [first version of S214/2] (1839) 忧郁圆舞曲; g8 J6 Y+ ~1 p
S.210a, Valse mélancolique [intermediate version] (1840)
  B" T2 l2 e1 e) |) p9 ], [S.210b, Valse (in A major) (1830–39)3 m8 J; o2 i* {- u
S.211, Ländler (in A flat major) (1843) 降A大调兰德勒舞曲) o  _* H( F& h/ b7 M0 C
S.211a, Ländler (in D major) (1879)+ E2 ~3 p; `: T" w( T* U
S.212, Petite valse favorite [first/second version] (1842, 1843)
0 r2 q3 z! C! @' R$ RS.212b, Mariotte. Valse pour Marie (1840)# t- _- V# _  c) @8 O9 P/ ?1 A% n
S.213, Valse-impromptu (1850?) 即兴圆舞曲
* [  _2 Z; `  HS.213a, Valse-impromptu [with later additions] (1880)
3 q0 M. t! O) PS.214, Trois caprice-valses [3 pieces] [second versions of S209, S210, S401] (1850?)( q- n7 }% @, e, m- N/ n0 u4 O0 o
S.214a, Carousel de Madame Pelet-Narbone (ca. 1875-81)2 z" N! g+ P% a$ }7 I7 L  ~
S.215, Valses oubliées [4 pieces] (1881–84) 4首被遗忘的圆舞曲2 v% H3 Y0 K! O
S.215a, Dritter Mephisto-Walzer (Mephisto Waltz No. 3) [first draft] (1883)
+ s% r& `$ n% F! E, r1 h+ T& ]S.216, Dritter Mephisto-Walzer (Mephisto Waltz No. 3) (1883) 第三梅菲斯特圆舞曲
* q6 Q7 d( s' r- [. v9 r# MS.216a, Bagatelle sans tonalité (1885)
% R9 }' _, y% C9 OS.216b, Vierter Mephisto-Walzer (Mephisto Waltz No. 4) [first version] (1885)  第四梅菲斯特圆舞曲% a* h# T* n4 @: a- ]
S.217, Mephisto Polka [first/second version] (1883) 梅菲斯特波尔卡
! O' L. R! A9 [1 w' q6 w8 NS.218, Galop (in A minor) (1841?) a小调加洛普舞曲
! g. h$ E3 I3 k, FS.219, Grand galop chromatique [original version] (1838) 华丽的半音阶加洛普舞曲2 H& U3 O, t( F% T( {2 L
S.219bis, Grand galop chromatique [simplified version] (1838)& a) ^* j4 R9 _
S.220, Galop de Bal (1840?)5 ]/ K+ z# c& \
S.221, Mazurka brillante] (1850) 华丽玛祖卡% a) s! v7 C% g$ }# S3 h
S.221a, Mazurka in F minor [Not by Liszt?] (?)- h0 K7 F" k; C# ^1 }
S.222, [catalogue error; same as S212]: c" U3 p, S) _) c% L3 [% S6 Y3 J5 @6 _
S.223, Deux Polonaises [2 pieces] (1851) 2首波洛奈兹舞曲
" v; b4 y  Q) ?, t6 P8 B# XS.224, Csárdás macabre (1881–82)# h/ S+ W& J$ ]! M2 C. Z  d# |& A
S.225, Two Csárdás [2 pieces] (1884). z( `6 ^+ J9 |6 H* `
S.226, Festvorspiel (1856)
. f; ^1 U7 x5 N( j: N' b5 E2 OS.226a, Marche funèbre (1827)
" z8 }, x6 O$ o, [" V$ g! U" CS.227, Goethe Festmarsch [first version] (1849)( L9 j$ c3 s, R; o6 K7 w- @( c
S.228, Huldigungsmarsch [first/second version] (1853)6 d* U9 r6 K! s  n8 X: g
S.229, Vom Fels zum Meer! - Deutscher Siegesmarsch (1853–56)
' n9 @5 \0 G5 C8 M8 n8 X% z0 U5 ?S.230, Bülow-Marsch (1883)+ h2 f- d/ w2 V7 P4 D
S.230a, Festpolonaise (1876)
2 R8 o! ]% w/ b# b! p1 ]4 X, f7 CS.231, Heroischer Marsch in ungarischem Stil (1840)
& A2 z: X2 k4 d9 R5 d8 w4 }' ~S.232, Ungarischer Sturmmarsch [earlier version of S524] (1843?)+ z+ i! q5 s0 r: b6 w
S.233, Ungarischer Geschwindmarsch (1870)
9 s. S/ W* p& cS.233a, Siegesmarsch. Marche triomphale (Victory March) (?)' m& s, e+ Y, ^( \; V( c
S.233b, Marche hongroise (in E flat minor) (1844)
0 ?/ O; ^3 L* A  B' U9 n" E1.7.4 Works on National Themes(主题作品)
0 |4 b; B2 i! p+ M7 F% ~1 d8 w& _6 K
1.7.4.1 Czech" T$ o' m1 \9 h2 E# \( y3 V+ C
/ ?2 f# q" n' C& G+ r% v8 i
S.234, Hussitenlied (Melody by J.Krov) (1840)
- \4 ?" q: ~2 R6 T  H4 V1.7.4.2 English9 x, Z5 v- }( O  B7 O* h2 t8 h: u$ ?
, N( ]( j2 G8 e4 [& T% {5 {0 _+ T
S.235, God Save the Queen (1841)0 G9 c. G5 z2 l+ \
1.7.4.3 French
; Y/ Z) N1 D7 g: ?4 V5 s/ n& v
/ Z1 K0 h- y7 W  H' X! k- LS.236, Faribolo Pasteur and Chanson du Béarn [2 pieces] (1844)$ \5 H( Y! @& ?; Z1 e( Z9 W  H
S.237, La marseillaise (1872?)3 a; V. O$ I% K) I1 S
S.238, La cloche sonne (1850?)
8 W& g3 G. A3 j& r. H# SS.239, Vive Henri IV (1870-80 ?)) Q) p% }2 e% C9 V3 ]4 w
1.7.4.4 German4 G9 D& w. K" O

2 I) S: c5 X# b: @1 D; G8 ]S.240, Gaudeamus igitur. Concert paraphrase [first/second version] (1843, 1853)- b9 S/ T3 u# q& \5 @
1.7.4.5 Hungarian' l# L6 L' G1 @. Z

; g' S4 y2 M7 B+ w0 N. h4 PS.241, Hungarian Recruiting Songs (Zum Andenken) (By Fáy & Bihari) (1828)
% t& \+ Q! |( ?' `5 t- uS.241a, Ungarische Romanzero (Hungarian Songbook) [18 pieces] (1853)
4 o& Y6 _3 Y0 d' R. ~& k/ MS.241b, Magyar tempo (1840)& n. ~! w: G! F2 A0 {  \
S.242, Magyar Dalok: Magyar Rapszódiák [21 pieces] (1839–47)) p6 w; b& [3 u# K  }) [4 {
S.242a, Rákóczi-Marsch [first version] (1839–1840)8 b7 S' z: e4 ?' r" r
S.243, Ungarische National-Melodien [3 pieces] (ca. 1843)
$ Z- S! D: t) NS.243a, Célèbre mélodie hongroise (a. 1866)
" ^) o7 Y: ^! D0 ]/ PS.244, Hungarian Rhapsodies (Rapsodies hongroises) [19 pieces] (1846–86)  19首匈牙利狂想曲
% T4 Y+ ?' _% i4 G# nS.244a, Rákóczi-Marsch [from orchestral version] (1863)* p: q  X5 Z$ k- ]. ]/ i1 R( w
S.244b, Rákóczi-Marsch [simplified version of S244a] (1871)% |$ ?) L  W7 d3 s+ A
S.244c, Rákóczi-Marsch [popular version] (?)
) Y; ^- `' n& }; o: G- S% e2 ?S.245, Fünf ungarische Volkslieder (Abranyi) [5 pieces] (1873)# @4 b+ E- U/ t0 e. }! ^' d
S.246, Puszta-Wehmut (A Puszta Keserve) (1880–86 ?)! g% F0 B" g% H' F% L
1.7.4.6 Italian+ u1 z  ~$ L8 \& n% {
8 x6 a0 I- r/ {; \- ]$ c6 M- J
S.248, Canzone Napolitana [first/second version] (1842)- A7 ^, _4 t, P2 q5 q
1.7.4.7 Polish; O4 b! O/ p' T/ f! p- V& |
' K) b7 F" y# A$ j! {
S.249, Glanes de Woronince [3 pieces] (1847–48)( F. \& C" y' t; O" P) \- v& S
S.249a, Mélodie polonaise [short draft] (1871)
$ A  X) k- s  AS.249b, Dumka (1871)
" K( `0 W+ E2 Z1 ~! A% GS.249c, Air cosaque (1871)8 f3 M# l' T: b; a
1.7.4.8 Russian4 P2 ?2 j3 \* P: A) z1 y
1 l5 Z* B6 _) J/ e7 A) X" K- B1 u
S.250, Deux mélodies russes. Arabesques [2 pieces] (1842)( L$ r/ [/ H. l3 _( c# e4 ]
S.250a, Le rossignol (Alyabyev) [first version of S250/1] (1842)3 h3 M, J( z9 B' z& u1 _3 Y
S.251, Abschied. Russisches Volkslied (1885)
% L% @* n+ u. G7 H5 u( H1.7.4.9 Spanish
: d0 p- o% r* g4 Z5 x* m+ G
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S.252, Rondeau fantastique sur un thème espagnol, El Contrabandista (Garcia) (1836)* x- m3 d8 K+ E8 p9 I$ U1 ]+ M/ {
S.252a, La romanesca [first/second version] (ca. 1832, b. 1852)3 {) r& a  g2 _+ E4 H- A0 P
S.253, Grosse Konzertfantasie über Spanische Weisen (1853): N" {/ C# f/ d) E4 L; J
S.254, Rhapsodie espagnole (1863?) 西班牙狂想曲
/ l# d2 R9 v3 u) |! eS.254x, Rapsodie espagnole [orchestrated by Feruccio Busoni] (?)
4 _( A3 }5 o8 `8 R! u/ h, z1.8 Piano Duet(钢琴二重奏)
3 I7 n1 y$ r2 e0 A
- V5 h  G7 [( S& q6 ]2 G' t) SS.255, Festpolonaise [now S619a] (1876); N1 |7 E; _! T/ `( W
S.256, Variation on the Chopstick Theme (1880)' A5 z, a+ W" A* m
S.256a, Nottorno [Not by Liszt?] (?)
4 j: `9 V- ?1 P/ v+ \! y1.9 Two Pianos(双钢琴)* R4 I. F' }6 ~
( y  V) I2 `1 B( S$ h
S.257, Grosses Konzertstück über Mendelssohns Lieder ohne Worte (1834)
5 ^: d( `$ P2 l0 GS.258, Concerto pathétique (b. 1856)  e小调钢琴协奏曲“悲怆”3 `6 ]! d& ]6 X- Y1 C4 \
1.10 Organ(管风琴)! ^# Q1 t$ V9 m' H( H3 F  u$ T

: J- m! d7 k! ^  u1 b2 d: z/ Q& vS.259, Fantasy and Fugue on the chorale Ad nos, ad salutarem undam (1850); ~7 \" O% Y# Y/ T2 P- ?) A* B
S.260, Präludium und Fuge über das Thema BACH [first/second version] (1855, 1870)0 s0 v3 n, F% S9 k) s8 _/ F
S.261, Pio IX. Der Papsthymnus (1863?), [- b' e! c6 u/ W, ?, @# C6 B6 A
S.261a, Andante religioso (1861?); u: |4 C% V, t) r0 e0 H/ w
S.262, Ora pro nobis. Litanei (1864)8 J* D% r) a0 `( t& E
S.263, Resignazione (1877), P4 n$ i2 Z1 L  ]. ]& _& A
S.264, Missa pro organo lectarum celebrationi missarum adjumento inserviens (1879)+ K# [7 a2 Z( A
S.265, Gebet (1879)* u2 y- j+ e2 H- [# @, \
S.266, Requiem für die Orgel (1883)# O8 }5 n1 G6 m# D; ]. G9 M! k3 a' L
S.267, Am Grabe Richard Wagners (1883)' {4 g/ o3 z! B" J. e! a7 |4 p
S.268, Zwei Vortragsstücke [2 pieces] (1884)4 i' j( o5 o1 u9 Q" b, g5 Z" O
1.11 Songs(歌曲)
: @. p3 K  K, L9 a4 ~. x' @, P8 f2 z% `: i8 C
S.269, Angiolin dal biondo crin (Marchese C. Bocella) [first/second version] (1839, ?)1 o, w4 e( p+ K" I& V
S.270, Three Petrarch Sonnets [3 songs, first/second version] (1844–45, 1854]7 K# o( N( J0 [! y% ]/ \$ N
S.271, Il m'aimait tant (Delphine Gay) (1840?)+ n, S9 b/ |7 }) r5 N
S.272, Am Rhein im schönen Strome (Heine) [first/second version] (1840?, 1854), J9 ^. ?3 \# @* ^5 K
S.273, Die Lorelie (Heine) [first/second version] (1841, ?)
. Z$ j+ f6 h3 I6 j7 k4 rS.274, Die Zelle in Nonnenwerth [first/second version revised 1862] (b. 1841, 1857)
( l' g  J4 }* O$ [8 M' x& oS.275, Mignons Lied (Kennst du das Land) (Goethe) [first/second/third version] (1842, 1854, 1860)
+ U+ p1 g, V$ S" _4 |0 K4 x. fS.276, Comment, disaient-ils (Hugo) [first/second version] (1842, ?)  M3 y: Y% A3 B) E  }8 Q, S3 n
S.277, Bist du (Prince E. Metschersky) [first/revised version] (1843, ca. 1878-79)4 D9 C( n- H% S8 b6 w# ?
S.278, Es war ein König in Thule (Goethe) [first/second version] (1842, ?)
, T# J- |3 l& pS.279, Der du von dem Himmel bist (Goethe) [first/second/third version] (1842, ?, 1860)
$ T% U  C, a0 K  eS.280, Freudvoll und leidvoll (Goethe) [first/second/third version] (1844, 1848?, ?)
! y2 e/ p5 ^5 r2 aS.281, Die Vätergruft (1844)
0 z' p5 ?6 Y6 g) a: ]0 y: jS.282, O quand je dors (Hugo) [first/second version] (1842, ?)
8 P! l9 P. j. O- k( X4 dS.283, Enfant, si j'etais roi (Hugo) [first/revised version] (1844?, ?)
3 X$ v5 T$ A& f1 {) ?# GS.284, S'il est un charmant gazon (Hugo) [first/revised version] (1844?, ?)
) K( ?3 _% ~$ z( c$ vS.285, La tombe et la rose (Hugo) (1844?)
, D% y  b, F* k" [/ |S.286, Gastibelza, Bolero (Hugo) (1844?)
4 Z/ e# R* v/ ?, fS.287, Du bist wie eine Blume (Heine) (1843?)
+ F, ?' S( C  mS.288, Was Liebe sei (C. von Hagn) [first/second/third version] (1843?, ca. 1855, 1878–79)
2 r8 k$ M! T8 Y8 m1 V' ?& N7 LS.289, Vergiftet sind meine Lieder (Heine) [first/revised version] (1842, ?)
3 Q& g1 ^* F# C" tS.290, Morgens steh ich auf und frage (Heine) [first/revised version] (1843?, ca. 1855)1 d/ R" H& _' C9 k
S.291, Die todte Nachtigall (Kaufmann) [first/revised version] (1843?, 1878)
/ t2 M; j0 Y! {6 V9 G; JS.292, Songs from Schiller's Wilhelm Tell [3 songs, first/revised version] (1845?, ?)& W5 E1 e! u, ]: h- U6 A
S.293, Jeanne d'Arc au bûcher (Dumas) [first/revised version] (1845, 1874)
! ~0 J- l% ^! ?- t% d* pS.294, Es rauschen die Winde [first/second version] (ca. 1845, b. 1856)
' H1 y/ Y) v! nS.295, Wo weilt er? (Rellstab) (1844)) P, i+ \2 T! a5 G! ?0 j/ _- c
S.296, Ich möchte hingehn (Herwegh) [revised later] (1845)4 M6 J$ k1 c/ @% b6 a1 Q2 S
S.297, Wer nie sein Brot mit Tränen ass (Goethe) [first/revised version] (ca. 1845)4 z8 T. X8 R2 _$ r  O3 p  f
S.298, O lieb so lang du lieben kannst (Freiligrath) (1845?)2 o" j/ a% v- \% F! i& N' S
S.299, Isten veled (Farewell) (Horvath) [first/revised version] (1846–47)
/ c( W* v- o6 W# X& o3 g+ b) x5 T: ES.300, Le juif errant (Béranger) (1847)
. c( O- y  s; ?+ v3 q' yS.301, Kling leise, mein Lied [first/revised version] (1848)
% n3 L& F2 K- F3 p2 x+ T; _. dS.301a, Oh pourquoi donc (Mme Pavloff) (1843), ?7 x5 [, F) m
S.301b, En ces lieux. élégie (E. Monnier) (1844)
' b6 @4 c* c3 n- b: zS.302, Die Macht der Musik (Duchess Helen of Orleans) (1848–49)1 J( z3 F( ?  t& n+ f. L: w
S.303, Weimars Toten. Dithyrambe (Schober) (b. 1848)
; d) I, P! b* `0 k$ v. p# eS.304, Le vieux vagabond (Béranger) (b. 1848)
5 k# z% |: V1 H; B  {; |3 y. @* hS.305, Schwebe, schwebe, blaues Auge [first/revised version] (1845, ?)
7 D# V/ n1 {6 xS.306, über allen Gipfeln ist Ruh [first/revised version] (1847?, ?)
) [7 K, Y% |" {" lS.306a, Quand tu chantes bercée (Hugo) (1843)
0 Y1 Z, r" `2 s% r# t) A# _, jS.307, Hohe Liebe (Uhland) (1850?)
6 ?3 C# U  B- B* m( f9 D4 i, H0 @9 {S.308, Gestorben war ich (Seliger tod) (Uhland) (1850?)
7 [# y! v& [7 v1 hS.309, Ein Fichtenbaum steht einsam (Heine) [first/revised version] (ca. 1845, 1854)
6 s  J3 }" ~0 o- O" V7 N& f( O, nS.310, Nimm einen Strahl der Sonne (1849)
% ]/ j. B  Q& yS.311, Anfangs wollt' ich fast verzagen (Heine) (1849)$ X4 o( c& q7 r8 W$ S
S.312, Wie singt die Lerche schön (Hoffmann von Fallersleben) (1856?)
1 b; c9 Q  T/ x6 v1 F2 NS.313, Weimars Volkslied (Cornelius) (1857)
" [& [' }8 d: ~; D' Q4 i% DS.314, Es muss ein wunderbares sein (Redwitz) (1852)! R8 M( j5 p& l5 h' k2 ]
S.315, Ich liebe dich (Rückert) (1857)
) |# J0 x3 A9 {% [0 G- w5 C# \S.316, Muttergottes - Sträusslein zum Mai-Monate (Müller) [2 songs] (1857)7 c9 _# M! q/ F$ G
S.317, Lasst mich ruhen (Hoffmann von Fallersleben) (1858?), A6 q+ a; W- h% B$ C1 Z; B
S.318, In Liebeslust (Hoffmann von Fallersleben) (1858?)
$ }" ]8 w- k  ^# V5 ]4 z1 L" M1 ]S.319, Ich scheide (Hoffmann von Fallersleben) (1860)" i  [6 e- L, }3 w+ r
S.320, Die drei Zigeuner (Lenau) (1860)
; W6 z0 E. g  b. v% P, OS.321, Die stille Wasserrose (Geibel) (1860?)! \4 E; g9 ~% k! \( t
S.322, Wieder möcht ich dir begegnen (Cornelius) (1860)
9 |) k7 ^/ K1 H8 n. F1 l$ q2 QS.323, Jugendglück (Pohl) (1860?): l+ J6 s9 r, A6 e+ q4 Q
S.324, Blume und Duft (Hebbel) (1854)% x. l. Q* b8 Y3 T( l
S.325, Die Fischertochter (Count C. Coronini) (1871)
- K7 g/ H$ V2 r6 r$ j) d3 Q# m7 iS.326, La perla (Princess Therese von Hohenlohe) (1872)( W3 o6 L0 s! I7 e$ ]$ D4 d9 x: G
S.327, J'ai perdu ma force est ma vie. 'Tristesse' (de Musset) (1872)  J# g& t9 x; ~' d7 O( q
S.328, Ihr Glocken von Marling (Emil Kuh) (1874)
" G, A0 P. W! C0 b: p9 }5 _" AS.329, Und sprich (Biegeleben) [revised 1878] (1874)) d; n% b+ y4 }+ V. I
S.330, Sei Still (Henriette von Schorn) (1877)
; m& k& R2 X2 mS.331, Gebet (Bodenstedt) (1878?)& \7 v* M3 F) A1 M  {
S.332, Einst (Bodenstedt) (1878?)
/ I; [5 g; W/ ]3 {+ Q+ WS.333, An Edlitam (Bodenstedt) (1878?)! h5 T* B7 Q% A! J
S.334, Der Glückliche (Bodenstedt) (1878?)
! e5 W1 k) c5 z" c" I, IS.335, Go not, happy day (Tennyson) (1879)' S: R/ o9 g+ @1 e. g! l
S.336, Verlassen (G.Michell) (1880)
* h/ g8 J# g, {, |S.337, Des tages laute stimmen schweigen (F. von Saar) (1880)
5 M+ S' O, S0 g" AS.338, Und wir dachten der Toten (Freiligrath) (1880?)
2 a8 z/ k  }  T  p" U. d2 \) xS.339, Ungarns Gott. A magyarok Istene (Petófi) (1881)* A( T2 l7 ?( p2 r! M
S.340, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)
- h: X. L, g5 ?5 i4 T) Q; A' o, |; y& zS.340a, Ne brani menya, moy drug. (Tolstoy) (1886)! I0 |+ J: i4 k+ e
1.12 Other Choral Works(其他合唱作品)
; p- @+ h" Y7 k1 E& d9 D/ ~S.341, Ave Maria IV (1881)
) q8 \6 T( d$ e0 v7 oS.342, Le crucifix (Hugo) (1884)
5 x: L8 E0 I4 U! pS.343, Sancta Caecilia (1884)2 j$ J; `. }! p
S.344, O Meer im Abendstrahl (Meissner) (1880)% V$ ^; o* `" M1 z" g, z
S.345, Wartburg-Lieder from Der Braut Willkomm auf Wartburg (Scheffel) [7 chorals] (1872)
: W; u  T6 s0 u6 f$ D1.13 Recitations(叙事歌谣颂诗)
0 M- I$ Y0 M  m- E8 \7 c8 H; F: Z: iS.346, Lenore (Bürger) (1858)% q. j) ]8 }1 G
S.347, Vor hundert Jahren (F. Halm) (1859)
( x( g5 y5 [( zS.348, Der traurige Mönch (Lenau) (1860)& {( u( l1 J9 d# F! R& `
S.349, Des toten Dichters Liebe (Jókai) (1874)2 I4 h+ s0 o- ?( T0 e/ Z6 l7 {" o3 G
S.350, Der blinde Sänger (Alexei Tolstoy) (1875)3 C2 F) }2 D! f( v' f* N! n
2. Arrangements, Transcriptions, Fantasies, etc.
% g, S' N5 m! n% Z5 C& `2 I! u% V& g- W7 Z4 l5 Z' Q5 ]
2.1 Orchestral Works(管弦乐作品)9 k, v  |. t$ ]. }: v

1 {6 m* k6 ~6 ?5 n9 Q2.1.1 Bülow7 J) `8 f9 d% w& [0 Y: H

: a* u1 v8 e; H, I. Q6 q$ y& `- f6 y) nS.351, Mazurka Fantasie, Op. 13 (1865)( v& a0 U2 Q$ m8 ]) C& m
2.1.2 Cornelius
2 G$ ?% ]7 T3 I3 {% ~! b. f
5 r- G8 y. q- K1 B+ T2 \S.352, Second Overture to The Barber of Baghdad [completed from Cornelius's sketches] (1877)
/ D$ ]6 m8 i' B5 @8 x0 q2.1.3 Egressy and Erkel* @4 V& d: s7 ^2 L
6 i# H3 d) T6 u+ z
S.353, Szózat und Hymnus (1873)
/ f" h, b( W% K2 F: o" m2.1.4 Liszt
( L2 Q3 h9 x% O8 S( U$ s) |# R* l" Y8 t3 Q
S.354, Deux légendes (1863)
0 E' d8 x9 |: n4 e. z" i8 ZS.355, Vexilla regis prodeunt (1864)
4 m* h4 |3 B  p3 x# j# z$ ^S.356, Festvorspiel (1857); |5 [: |4 F- U6 a' R1 }' S/ P
S.357, Huldigungsmarsch [first/second version] (1853, 1857)
4 ~" L2 T$ D' L% p: U9 PS.358, Vom Fels zum Meer. Deutscher Siegesmarsch (1860). F) k/ t  i! b* x% ^& W
S.359, 6 Rapsodies hongroises (Hungarian Rhapsodies) (?), f. [1 P- |- t7 d2 a2 ~
S.360, A la chapelle Sixtine (Liszt, Allegri & Mozart) [orchestral arrangement of S461, based on Mozart's Ave verum corpus and Allegri's Misere] (1862)
" i9 O& g& Q4 H! Y# IS.361, Pio IX. Der Papsthymnus (ca. 1863)
" K& p- o" A2 ^8 v( `# \S.362, Benedictus and Offertorium from the Hungarian Coronation Mass [from S11] (1875), I0 g+ w; ?" `) h9 r
2.1.5 Schubert
+ w4 w4 `& c# D% r) d: v- c- ]3 l0 H: R1 F
S.363, 4 Marches [from Opp. 40, 54, 121] (1859-60)8 w, F  ~3 v8 Y- u: l, C( K3 _1 |
2.1.6 Zarembski' j; j/ L6 X9 ^2 m) ~
5 F  D0 b2 f1 z4 ?2 \
S.364, Danses galiciennes (1881)# t- ?- h! ?9 I5 q9 c) [" c$ V/ `7 N1 a
2.2 Pianoforte and Orchestra(钢琴与乐队)
1 G/ y- X6 r; t1 Z9 g4 ]" q7 O, G: _$ D. X0 K2 K) W5 E# q
2.2.1 Liszt
- J; r) b, A' ?# P
+ ^, P/ k' r$ S; \S.365, Grand solo de concert [prepared by Leslie Howard] (1850)
% X$ v0 l! ~7 w+ Z. U. s; G- NS.365a, Concerto pathétique (No. 4) in E minor [Liszt, Reuss version] (1885-86)
1 F; M% Y' g- v; i& pS.365b, Hexaméron, Morceau de concert [orchestration completed by Leslie Howard] (ca. 1839)
6 D& @7 T8 t* @5 e2.2.2 Schubert3 Y9 O! F2 B2 e6 i- I4 m

- `% \# X& g# }" q8 ?S.366, Wanderer-Fantasie (Fantasia in C major, Op. 15) (1851)  流浪者幻想曲 - 为钢琴与乐队而作  ]5 u, r0 i4 D4 j' Q5 ?" W. g
2.2.3 Weber
* c1 a$ o/ k" d- X7 K2 }: b; v. ^1 U  ?5 U% `# q
S.367, Polonaise brillante, Op. 72 (1849) 华丽波洛涅兹 为钢琴与乐队而作- m& F' V+ F$ d& Y
2.3 Songs with Orchestra(声乐与乐队)3 v: ]7 f& E% ]' ^* N  h3 l
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2.3.1 Korbay
! ~8 ^6 ]6 |( g2 l/ |, k/ ]. t2 D+ }" C* x" C
S.368, 2 Songs (Le Matin by Bizet and Gebet by Geibel) (1883)
: o6 S4 t+ t! p3 l3 [2.3.2 Liszt+ v% o5 }* T- s, i$ R$ r) ^! P
6 }% Y0 [) R! J# ]
S.369, Die Lorelei (Heine) (1860)
4 w- E" s: Y4 ]+ Z2 x! L2 gS.370, Mignons Lied (Kennst du dass Land) (Goethe) (1860)
2 ~' d5 g7 N% V2 ]9 WS.371, Die Vätergruft (Uhland) (1886)! w! k/ J6 a  U0 q! N
S.372, Songs from Schillers Wilhelm Tell (ca. 1855)
- ?2 s( b( |$ \$ sS.373, Jeanne d'Arc au bûcher (Dumas) [first/second version] (1858, 1874)
% U; N: K4 t1 AS.374, Die drei Zigeuner (Lenau) (1860)3 G4 r2 T( o/ @7 v
2.3.3 Schubert/ N$ N& N# v6 R$ @$ t
8 P' F7 b, [3 z, O
S.375, 6 Songs (1860)
1 ^  F3 b! r& t8 @S.376, Die Allmacht (1871)
2 y* A# n0 {- h2 m3 z+ |6 K' \2.3.4 Zichy' ^  S# a  D8 L/ L) F% A

  G, w) G8 Z6 R, ]* ^S.377, Der Zaubersee. Ballad (Zichy) (1884)7 H- D2 O2 p! C: U3 ]$ R
2.4 Chamber Music(室内乐等)
9 K* \, C* X3 u1 ~  \5 S2.4.1 Liszt
. z# z1 M7 @+ a! a- X' o
8 D* V) u0 w1 U% Z$ y: aS.377a, La notte (Odes funèbre No. 2) (1864-66)6 O6 M2 W# V2 x& w0 T. c
S.378, Angelus! - Priere aux anges gardiens [first/second version] (1877, 1880)& a" y. h5 a( _% ]$ Q
S.379, Rapsodie hongroise No. 9 (Pester Karneval) (?); K+ v! o) }, P+ t$ ^* c4 Z
S.379a, Rapsodie hongroise No. 12 (1850-59)
5 _! V6 ?& O% j5 e7 v3 MS.379b, Puszta-Wehmut (A Puszta Keserve) (ca. 1871)
8 o* y. l! e7 L% D& k, DS.380, O du mein holder Abendstern from Tannhäuser (Wagner) (1852)
  L! n# J& i6 i" a6 h( I) uS.381, Benedictus and Offertorium from the Hungarian Coronation Mass [from S11] (1862)
/ C5 H$ U! |5 ^' E0 b6 t& V7 U& [S.381a, Ungarns Gott. A magyarok Istene (Petófi) (1882)9 o8 O& S4 F+ ?; ^! J
S.382, Die Zelle im Nonnenwerth (ca. 1880-86)6 a7 A  k. d# D
S.383, Die drei Zigeuner (Lenau) (1864)
; E" I* @* k, M! b2.5 Pianoforte Solo
7 W+ x8 U. _: D2 q
: U6 }- Q6 k8 {- v& O! A: t2.5.1 Paraphrases, Operatic Transcriptions, etc.(歌剧改编独奏)
4 o# M  ]3 c% ]5 M
! i. d; [0 N9 d' @2.5.1.1 ábrányi0 J0 R8 {% J, C6 {3 d
; ^5 }  N. d2 f( B- G) |
S.383a, Elaboration on Virág dal (1881)3 [8 A  n0 m& o* P/ y; Q7 G
2.5.1.2 Alyabyev* o6 S7 b9 Z. |% j5 ?& Y3 y0 [

" k. }- R9 ~# T4 }4 o0 L6 d5 RS.384, Mazurka pour piano composée par un amateur de St. Petersbourg (1863)- a- C; h& p( ^, @  }
S.384a, Variations on Tiszántúli szép leány [anonymous, not by Liszt?] (1846)6 G; i- X+ A# a4 _: l/ Y
2.5.1.3 Auber
- o3 Z4 n! \+ S0 ]
' b/ |8 X7 X) M8 u& U/ aS.385, Grande Fantaisie sur la Tyrolienne de l'opera La Fiancée [first/second/third version] (1829, 1835, 1842)
: A2 z- E) a! Z. i* K! f4 aS.385a, Tyrolean Melody (b. 1856) 提洛尔旋律 S.385a 根据奥伯歌剧《未婚妻》主题改编# N& \" f; N3 W
S.386, Tarantelle di bravura dàprès la Tarantelle de La Muette de Portici [original/Sophie Menter version] (1846, 1869) 塔兰泰拉舞曲 S.386 据奥伯歌剧《波尔蒂契的哑女》主题改编, j* h9 z3 z; N' l% u
S.387, Three Pieces on themes by Auber [with intro piece] (a. 1846). n/ L( D, `/ m' a+ t& k
S.387a, Piece on an unknown theme (1847)
1 Z1 X! F) g1 x# k% m% `2.5.1.4 Beethoven
0 p% f1 t0 \) Z) ]& G* M! P7 V. @% }9 Y% s
S.388, Capriccio alla turca sur des motifs de Beethoven (Ruines d'Athènes) (1846) 土耳其随想曲 S.388 - 根据贝多芬《雅典的废墟》配乐素材改编
- E4 H/ l0 ~( t& ~S.388a, Marche turque des Ruines d'Athenes (1846)* v3 |& x$ H" A
S.388b, Fantasie über Beethoven's Ruinen von Athen [first version] (1837)
; _& z4 C+ c5 E# _4 d) h% C+ V9 V8 GS.389, Fantasie über Beethoven's Ruinen von Athen [second version] (1852) 幻想曲 S.389 - 根据贝多芬《雅典的废墟》配乐素材改编/ q! u. [) j" H% ?# ^# {  d( {
S.389a, Cadenza to the first movement of Beethoven's Piano Concerto No. 3 (1879)
7 y! w" ?. e2 z# [5 Z3 P- f2.5.1.5 Bellini
4 d. F* Y' r8 |$ x. m8 c' K% x3 h+ W  i( k1 Y2 }) D. W* ]! o9 Y
S.390, Reminiscences des Puritains [first/second version] (1836, 1837)
) g& P1 R8 T+ x3 mS.391, I Puritani. Introduction and Polonaise (1840)
. g+ D5 I# Y1 {" F. P4 T2 _S.392, Hexaméron, Morceau de Concert (1837)
: Y  z$ q  y% D$ ~S.393, Fantaisie sur des motifs favoris de l'opéra La Sonnambula [first/second/third version] (1839, 1840-41, 1874)- N3 D; F' [  ~) n# P! O
S.394, Réminiscences de Norma (1841-43)- x6 `' i& R" M4 L. ?5 S9 J
2.5.1.6 Berlioz
( e7 J3 v! B/ N7 V7 o+ p$ ]& Y; p! I) P. f  w, }
S.395, L'Idée fixe: Andate amoroso [first/second version] (1833 or 1846?, 1865)4 H* z  X6 `8 c' Q1 S( ?' v0 f. x
S.396, Benediction et Serment from Benvenuto Cellini (1852)
2 {# Z+ t9 @, @$ Q' f! N. z1 h2.5.1.7 Donizetti, Gaetano
  y. Z* g  ?( b- @% g1 F; c' R: Z( u1 ?/ U) m- r) F( B6 I
S.397, Réminiscences de Lucia di Lammermoor (1839)$ ~+ A5 [; T9 E5 U; ^4 \
S.398, Marche Funebre et Cavatine de Lucie de Lammermoor (1839)
" q' f6 }* i6 T% qS.399, Nuit d'été à Pausilippe [3 pieces] (1839)' B" @- C0 n; }+ |9 T$ R
S.399a, Lucrezia Borgia - Grande fantaisie [first version of S400ii] (1840)
) Z( ^/ d7 u* F* _3 _* E2 B8 }: O, ?$ [7 U, s
李斯特全部作品目录-33 o, Y$ v9 Y, V. Y) f
4 k" x5 C4 E+ w; f8 L
S.400, Réminiscences de Lucrezia Borgia [first/second version] 1840( z2 O' Q$ @5 Y
S.401, Valse a capriccio sur deux motifs de Lucrezia et Parisina [first version of S214/3] (1841)) k" y$ M* f# k  C, b' r3 ?* s1 J
S.402, Marche funèbre de Dom Sébastien (1844)6 }, m- z0 U! A$ D
2.5.1.8 Donizetti, Giuseppe* Z8 X+ ^5 X# _
$ |8 X) ]0 ?" j$ S( B
S.403, Marche pour le Sultan Abdul Medjid-Khan [first/simplified version] (1847, 1848)" f' Z7 V/ J8 C: l
2.5.1.9 Duke Ernst
% J; a+ L% g! k9 t# p  z8 Z) o5 i" \8 H
S.404, Halloh! Jagdchor und Steyrer from the opera Tony (1849)
% t- m3 o. {) _) X' T8 g2.5.1.10 Erkel, Franz
7 ]' y, O( @, v! _: X) y& p9 G6 e5 \. g
S.405, Schwanengesang and March from Hunyadi Laszlo (1847)
$ W/ N7 o3 ]0 ]) N4 I8 a" \5 \' Y2.5.1.11 Festetics
, E8 d- o# D: q$ @4 `* e' ~7 c- \' n0 Q: j  n* x  y0 A8 C* g
S.405a, Pásztor Lakodalmus Variations - Mélodies hongroises [elaboration by Liszt] (1858)
/ x8 E! p% Q4 q/ c2 N* z2.5.1.12 Glinka3 ]7 \# s- ^0 K& L0 r
( G0 Y9 z4 V3 B" ]2 p4 y/ N! S* i+ w+ ?
S.406, Tscherkessenmarsch from Ruslan i Lyudmila [first/second version] (1843, 1875)
# Y/ N2 Y9 F2 A; Q2.5.1.13 Gounod4 n: [* A6 I1 {- `- Z, O* ?) D

' p3 {# i1 i( v- r1 \+ pS.407, Valse de l'opéra Faust (b. 1861)6 }$ G9 z; m# X( E/ n3 a9 c
S.408, Les Sabéennes. Berceuse de l'opéra La Reine de Saba (1861)
0 k/ |6 r$ v3 f! G: O0 RS.409, Les Adieux. Rêverie sur un motif de l'opéra Romeo et Juliette (1867)
$ e/ O8 y* P0 _# P! M2.5.1.14 Halévy$ c1 ^9 {* D  }- F" S
S.409a, Réminiscences de La Juive (1835)
( P2 _+ H# C7 [. w+ C8 U+ i2.5.1.15 Mendelssohn6 n, B7 h/ b4 j& v# U2 w( q' O/ W1 K
S.410, Hochzeitsmarsch und Elfenreigen aus dem Sommernachtstraum (1847-50)
: r; c% q4 W) \- e& T2.5.1.16 Mercadante$ `2 M" B0 b4 u+ x+ [) h, g, V
S.411, Soirée italienne. Six amusements (1838)
- B( u$ G, a9 [/ o2.5.1.17 Meyerbeer
% Q7 P' r" t. ]# CS.412, Réminiscences des Huguenots - Grande fantaisie dramatique [first/second version] (1836, 1842)+ E; h( }, Q/ h+ ~
S.412a, Réminiscences de Robert le Diable - Cavatine (1846?)
' |+ U; i6 t6 tS.413, Réminiscences de Robert le Diable - Valse infernale (1840)3 E, q% K% M& H7 m$ k- _0 I
S.414, Illustrations du Prophète [4 pieces, 4th=S624] 1849-50. [* G& O: U# r
S.415, Illustrations de l'Africaine [2 pieces] 1865
! W* J6 I2 Y: V! HS.416, Le Moine (1841): _4 J* p+ |" h+ ?, s; w; f
2.5.1.18 Mosonyi, Michael4 M" M0 L% O; o
S.417, Fantaisie sur l'opéra hongrois Szép Ilonka (1865) 幻想曲 S.417 - 根据莫佐尼歌剧《美丽的海伦》主题改编
8 W- `( ^1 N1 f2.5.1.19 Mozart
/ i4 ?& B0 g8 N- [# [# Z7 Q0 d+ {S.418, Réminiscences de Don Juan (1841)% x: {% M& k3 H2 z( F
2.5.1.20 Pacini- P* U9 T4 ]  J- K2 T) u9 p
S.419, Divertissement sur la cavatine "I tuoi frequenti palpiti" (1835) 嬉游曲 S.419 - 根据帕奇尼歌剧《奈奥比》主题改编! i6 f2 A. k7 E5 `% q: w
2.5.1.21 Paganini
8 b' n7 X; i' B7 n! ?1 `) y. a$ BS.420, Grande Fantaisie de bravoure sur La Clochette (1832-34)  华丽的钟声幻想曲( W$ Z% z1 P& {) Z* x
2.5.1.22 Raff) a" S2 A1 t8 I. ~* s* X
S.421, Andante Finale and March from the opera König Alfred [2 pieces] (1853)
$ c5 W! H  h: `. a2.5.1.23 Rossini
& x1 p% U/ }% ]S.421a, Introduction et Variations from "Siege of Corinth" [introduction only] (1839?)2 g6 M! P4 _+ J2 E$ b' x+ ?$ n
S.422, Première grande fantaisie (Soirées musicales) [first/second version] (1836)3 ?( @. b6 s- f% g. r
S.422i, La serenate e l'orgia - Première grande fantaisie (Soirées musicales) [first version] (1836)- m1 B) m7 A" a
S.423, Deuxième grande fantaisie (Soirées musicales) (1836)
) L$ b+ G& T- x9 `3 JS.424, Soirées musicales [12 pieces] (1837)
, z- p$ P4 M  F" I2.5.1.24 Schubert! t! |% i& W( D- \6 s* N/ ~
S.425, Mélodies hongroises [3 pieces] (1839–40)
! t5 w5 g+ A2 h! B2 j9 q. cS.425a, Mélodies hongroises [revised versions] (1846)
+ z1 |" E! v. |$ S. y+ dS.426, Schubert's Marches [3 pieces] (1846) 3首进行曲 S.426 - 根据舒伯特《进行曲》D.819 和D.968b 改编+ B! u3 L+ A" m1 g/ H+ r* C
S.426a, Marche militaire (ca. 1870)8 F; e! P+ ~) p+ Q% o, m- o# c( I
S.427, Soirées de Vienne [9 pieces] (1852) 维也纳之夜 S.427 根据舒伯特《随想圆舞曲》改编% {" D% ~  a. u5 y9 }
2.5.1.25 Sorriano
" P, O* C8 w) |7 n7 k  \S.428, Feuille morte. Elégie d'après Sorriano (1844-45)
8 C& Q" g8 u7 F/ a! j# W6 o; t5 d1 T2.5.1.26 Tchaikovsky4 t) N) T! o0 o3 L. Q
S.429, Polonaise from Eugene Onegin (1879)
- {- }; t9 O9 G; d. g, z/ M2.5.1.27 Végh, Janos( W" J  F* h1 x: d1 w9 h; @+ [
S.430, Valse de concert (1882-83)
0 @' R2 l1 J: C, I5 @; u2.5.1.28 Verdi4 h. l3 {8 d2 S; a# w! J) m" c
S.431, Salve Maria de Jerusalem from I Lombardi [first/second version] (1848, 1882)
4 l/ s9 q# V" mS.431a, Ernani - Première paraphrase de concert (1847)
; q  k! W9 `/ s: US.432, Ernani - Paraphrase de concert (No. 2) [first/second version] (b. 1849, 1860). F( s7 t8 N! i/ E3 A  l* {5 U
S.433, Miserere du Trovatore (1860)' h2 u( J, f+ w: v6 m: x
S.434, Rigoletto Paraphrase de Concert (1859)
* e) n% c# V' a& Y# w0 MS.435, Don Carlos Coro e Marcia funebre (1867-68): i* P  b# Q4 I" o7 O' ]
S.436, Aida Danza sacra e duetto finale (1877)
( U8 B: I2 `# qS.437, Agnus Dei (1877)" A* o9 I: W: z% [3 Z" L
S.438, Réminiscences de Boccanegra (1882)
* B' m1 {' w4 Z& k: \2.5.1.29 Wagner
& z: M) \+ b& b% s1 c) w6 y3 OS.439, Phantasiestück über Motive aus Rienzi (1859)
1 ^4 v0 F# |2 i/ L4 y1 V1 h7 }, z+ W! PS.440, Spinnerlied aus Der fliegende Holländer (1860); r& R+ i+ S8 r  @8 |+ @
S.441, Ballade aus Der fliegende Holländer (1872)
  V5 u2 Y: y) B6 q* F8 @S.442, Ouvertüre zu R. Wagners Tannhäuser (1848)
8 |8 z6 x- `" O5 B+ F; O4 {9 ?" vS.443, Pilgerchor aus Tannhäuser [first/second version] (1861, 1885)
2 p1 V5 K7 A" \9 Y& nS.444, O du mein holder Abendstern aus Tannhäuser (1848)
2 V' n  Q/ s. @, ^% hS.445, Zwei stücke aus Tannhäuser und Lohengrin (1852)
% X- V5 W/ Q; u; VS.446, Aus Lohengrin [3 pieces] (1854): b" g0 ]3 Y# g6 Y0 z. V% s8 M
S.447, Isoldens Liebestod aus Tristan und Isolde [first/revised version] (1867, 1875)
/ E/ ^/ R# S; O* ]S.448, Am stillen Herd aus Die Meistersinger (1871)
& w: [2 t3 s; {: @% a* ~8 ~9 LS.449, Walhall aus Der Ring des Nibelungen (1875)' I! a7 M2 M3 l2 q
S.450, Feierlicher Marsch zum heiligen Graal aus Parsifal (1882)
0 B* h! y* Y2 c. V, o& I2.5.1.30 Weber) j' k& [- J, r4 y
S.451, Freischütz-Fantasie (1840-41)
0 e. B9 n% |6 w2 VS.452, Leyer und Schwert [4 pieces] (1848)
- @2 v. ~3 T$ P1 j8 hS.453, Einsam bin ich, nicht alleine, from Preciosa (1848)
4 u' F/ m7 W) `0 IS.454, Schlummerlied mit Arabesken (1848)
  E3 H' o$ j) }/ NS.455, Polonaise brillante (1851)
9 R, E/ G8 Q8 h/ `  }6 Z2.5.1.31 Zichy, Count Géza0 c, U% v! `: l- a1 _5 ~
S.456, Valse d'Adele (1877)3 G$ }2 S/ T8 d! x! K
2.5.1.32 Unknown2 B- e- v3 K* r; {
S.458, Fantasy on Il Giuramento (Mercadante) (1838?). I: H( U) m" g2 I: V
S.460, Kavallerie-Geschwindmarsch [anonymous] (?)
* Z3 S3 S" `* j# K; i, a, i2.5.2 Partitions de Piano, Transcriptions, etc.
6 ]$ k; ?% C# v2 L9 }2.5.2.1 Allegri and Mozart% B$ \0 U/ P* A( f1 ?
S.461, A la chapelle Sixtine [first/second version] (1862, ?)6 h7 |" p0 i; C/ V
S.461a, Ave verum corpus, Kv618 (1862)6 {& J( c* Y" e* S6 A# C% X( z) G! s
2.5.2.2 Bach
7 t7 ^2 e# q( aS.462, Sechs Praeludien und Fugen für Orgel [6 pieces] (1850)
9 k% v# C! O& a; P. O) lS.463, Organ Fantasy and Fugue in G minor [first/second version] (1860, ?)7 a8 I' s2 s% ]( \
2.5.2.3 Beethoven
4 l0 K: _/ a" [. _( i) U% wS.463a, Symphonie No.5 [first version] (1837)
, B, [; ]) C6 x1 Y+ z; cS.463b, Symphonie No.6 [first version] (1837)
( e1 j9 B. G+ X. |8 zS.463c, Symphonie No.6 [second version. Alternative 5th movement] (1863-64)5 _' I$ j/ A  n% X3 k0 b& Y
S.463d, Symphonie No.7 [first version] (1837)2 v8 ]  J$ \2 Q0 U, i
S.463e, Marche funèbre [Beethoven's Eroica Symphony, first version] (1843)
. b* F' h. v8 ~. ?8 I9 c% b9 I8 DS.464, 贝多芬交响曲 Symphonies de Beethoven [9 pieces] (1863-64)
$ B- f$ N7 X( \8 x& q) _1 t- G  g# y5 bS.465, Grand Septuor, Op. 20 (1841)
! f# c1 \) r' GS.466, Adelaïde [third version] (1847)
9 S7 ?6 ~. N. D* q& G3 C9 ?& kS.466a, Adelaïde [first version] (1839)6 ~, b# t: ]! P
S.466b, Adelaïde [second version] (1840)- T. D3 u# d$ ~: y4 d
S.467, Sechs Geistlicher Lieder (Gellert) [6 pieces] (1840)
* g7 v, \; X/ z9 o4 ]S.468, Sechs Lieder von Goethe [6 pieces] (b. 1849)
4 I$ l" q( U! F' j& SS.469, An die ferne Geliebte - Liederkreis [6 pieces] (1849)% k, s2 X/ [  O7 j. \
2.5.2.4 Berlioz. s0 y0 v. R  E: Q( e. o
S.470, Symphonie Fantastique (1833)
% C8 N5 z: F$ c( m) ^7 b1 @0 |S.471, Overture from Les francs-juges (1833)3 |# H3 c$ W/ M2 R: m
S.472, Harold en Italie (with viola) (1837)
+ k# r0 X4 Q! I) ?6 K( {S.473, Marche des pèlerins from Harold en Italie [first/second version] (1837?, 1862)
3 [# ~  }6 i3 Q" u$ NS.474, Ouverture Le Roi Lear (1837)
" E& t& n5 j) B) ES.475, Valse des Sylphes de la Damnation de Faust (1860)
3 P& Y) U4 Q! U' F) Q1 ^! R2.5.2.5 Bulhakov4 S" ], q, y  P# o; x# d3 d
S.478, Russischer Galopp [first/second version] (1843, 1843)
& T& h0 u& {$ u5 A2.5.2.6 von Bülow
% u) s; q+ k3 T7 `S.479, Dante's Sonnett - Tanto gentile e tanto onesta (1874)
' \0 a% O: _& ~6 {9 R1 F) D2.5.2.7 Chopin
4 Q& ?- ^1 ?6 [; ~' ~S.480, Six Chants polonais, Op. 74 [6 pieces] (1847-60) 6首波兰歌曲 S.480 - 根据肖邦《17首波兰歌曲》Op.74 改编
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 楼主| geci110 发表于 2015-7-22 18:35:21 | 显示全部楼层
2.5.2.8 Conradi+ k! a  P( ~+ r* _2 d: A8 j( h  v
S.481, Zigeunerpolka (1847?)5 b' w- P# {4 r; K/ q
2.5.2.9 Cui! ^% C' Q2 E! ]
S.482, Tarantella (1885)
+ B, _" X5 }2 ]% |5 {( O3 |8 O2.5.2.10 Dargomyschsky( X3 {) g% O6 m" ^5 M, N) k
S.483, Tarantella (1879); k% U: f! L" \& }* f
2.5.2.11 David, Ferdinand
0 i$ K  N2 ]& y# C# oS.484, Bunte Reihe, Op. 30 [24 pieces] (1850)' ]7 t7 A6 l- v
2.5.2.12 Dessauer$ `6 u- `* H+ ~1 n5 r3 u3 d7 F) C
S.485, Drei Lieder (1846)9 M# Y; m$ L+ E- j7 R7 @# |
2.5.2.13 Ernst, Duke8 a4 a% p( a& F  c7 u: ^4 A
S.485b, Die Gräberinsel (1842)) `- i5 s0 b' m$ ]7 w' L
2.5.2.14 Egressy and Erkel
+ w9 o2 I$ J$ H& m/ dS.486, Szózat und Hymnus (1873)" Z3 Z2 S" |( G+ A% K
2.5.2.15 Festetics( W2 B5 u% J. `% s# O; \4 h
S.487, Spanisches Ständchen 18461 I0 x" ], Z4 i0 H- U$ o2 X3 q7 x
2.5.2.16 Franz
: Q5 X0 N/ Y7 ~+ q2 \S.488, Er ist gekommen in Sturm und Regen 1848
/ j+ P2 c4 ]5 \3 g2 n& U' r5 y( x1 RS.489, Zwölf Lieder [12 pieces] (1848)
5 b" ]8 ~& M2 l2 j  @& W! E2.5.2.17 Goldschmidt
( j' x, K5 Z# ?* b. [- y9 uS.490, Liebesszene und Fortunas Kugel (1880). Y$ x! H/ @  ?5 f# C3 S+ t! Z( ~
2.5.2.18 Gounod" n8 y, M$ {; W% W; Y2 f
S.491, Hymne à Sainte Cécile (1866)
" ]# ], H+ ?! \& V$ q9 a2.5.2.19 Herbeck
9 q9 T/ t& {8 h2 q& P" F/ CS.492, Tanzmomente [8 pieces] (1869)
8 |7 Y5 G( f! w6 a  r5 F, f2.5.2.20 Hummel% B: i- ~2 H( J% c4 W: s5 F# k
S.493, Grosses Septett, Op. 74 (1848)
, H% @: w6 Z! n+ k1 X' S' B6 O2.5.2.21 Lassen
5 I' R+ v! z! p) Y1 E/ \) y4 Q6 i' LS.494, Löse, Himmel, meine Seele [first/second version] (1861, 1872)
4 J9 k) s0 B) v7 eS.495, Ich weil' in tiefer Einsamkeit (1872)
/ n! w. D# Y9 }4 D2 R# f" e- jS.496, Hebbel's Nibelungen & Goethe's Faust [4 pieces] (1878-79)1 \& Y" L7 o) _: i
S.497, Symphonisches Zwischenspiel ('über allen Zauber Liebe') (ca. 1882-83)
( Z+ D. {7 B: T$ x- l# \2.5.2.22 Lessmann
) e4 H* o3 m9 S# U7 W5 [& Z# o, {S.498, Drei Lieder ('Tannhäuser') (1882?)0 S2 O$ s7 A4 H* p
2.5.2.23 Liszt
$ E! y* O7 v$ w  L! F9 w  xS.498a, Drei Stücke aus der heilige Elisabeth (1857-62)2 ?1 [+ A" K4 i, |% ^# L: C
S.498b, Zwei Orchesterstücke aus Christus (1862-66)
- O/ b7 m. n" O0 dS.498c, San Francesco - Preludio (1862-66)
( h5 ^# I9 O0 n  uS.499, Cantico del Sol di San Francesco d'Assisi (1881)
; h7 ]$ F! \9 o; S) s/ ^S.499a, San Francesco - Preludio per il Cantico del Sol (1880)$ O. w: H2 H. P
S.500, Excelsior! - Preludio (1875)' }, p. D, \, |
S.501, Benedictus und Offertorium (Missa Coronationalis) (1867)" f) ^8 l* i" Q9 Q
S.502, Weihnachtslied II (1864)
8 M" E7 i6 J0 J7 {3 Z; LS.503, Slavimo Slavno Slaveni! (1863)
. _  |1 m) I( s. l) c6 ~! ?S.504, Ave Maria II (in D) [first/second version in D flat] (1870, 1873)
! {7 o% X( C! q; f% T, ]" G) ES.504a, Via Crucis [15 pieces] (1878-79)
2 N) V# V; {8 \$ l3 \S.504b, Choräle [11 pieces] (1878-79)
5 Y" X4 G  M: U- h* g0 IS.505, Zum Haus des Herrn (In domum Domini ibimus) (1884)9 {+ B, g- B# b; H
S.506, Ave maris stella (1868)% f& O9 U9 }/ _6 K9 T; I
S.507, Klavierstück aus der Bonn Beethoven-Cantata (?)& v. N# p: ~) i) {
S.507a, Schnitterchor (Pastorale - Schnitterchor aus Prometheus) (1850)
. P* X' \: |0 T3 d7 b% nS.508, Pastorale. Schnitterchor aus dem Entfesselten Prometheus (1861)+ q0 w/ X( ~8 Y# u* n
S.509, Gaudeamus igitur - Humoreske (1870)
' `( }4 x8 Z7 X8 c5 p/ NS.510, Marche héroïque (?)
9 v; D- j# w6 l* J. }' u8 F: cS.511, Geharnischte Lieder [3 pieces] (1861)5 Z# i9 g/ A, ~' V( S3 x) `
S.511a, Les Préludes (Poème symphonique No. 3) [arranged by Karl Klauser, revised by Liszt] (1863) [1][2]5 H/ D: k" A; i3 [+ M: T' o
S.511b, Orpheus (Poème symphonique No. 4) [arranged by Fredrich Spiro, revised by Liszt] (1879) [3]
- x- {7 s; v& S2 D0 PS.511c, Mazeppa (Poème symphonique No. 6) [arranged by Theodor Forchhammer, revised by Liszt] (1870-79) [3]
. f3 Y4 j7 D" w: f6 iS.511d, Festklänge (Poème symphonique No. 7) [arranged by Ludwig Stark, revised by Liszt] (1870-79) [3]/ \5 L) m3 `# M3 J3 I4 ^& t. J
S.511e, Hungaria (Poème symphonique No. 9) [arranged by Fredrich Spiro, revised by Liszt] (1872) [3]
7 d$ j) P8 x6 U/ c7 k7 NS.512, Von der Wiege bis zum Grabe (Poème symphonique No. 13) (1881)0 }+ w( o- k* V6 \6 o& ~8 w" t
S.513, Gretchen aus Faust-Simpfonie (b 1867 )
& V# p5 b. u/ }- d7 XS.513a, Der nächtliche Zug (?)
- [+ Z. I) i. m  l' g  f2 jS.514, Erster Mephisto-Walzer (Mephisto Waltz No. 1, Der Tanz in der Dorfschenke) [original version] (1859-62) 第一梅菲斯特圆舞曲0 k8 Y: h: w0 ^& C' a
S.514a, Erster Mephisto-Walzer (Mephisto Waltz No. 1) [with later additions] (1859-62)6 F6 M; x( c2 J0 W' K
S.515, Zweiter Mephisto-Walzer (Mephisto Waltz No. 2) (1881) 第二梅菲斯特圆舞曲
- ]* R2 b) o" _6 r& tS.516, Les Morts (Ode Funèbre No. 1) (1860)
; N  U/ W. N! C+ m: |S.516a, La notte (Ode Funèbre No. 2) (?)% I$ F& h5 a% [% \, k( u0 `; `* `
S.517, Le Triomphe funèbre du Tasse (Odes Funèbre No. 3) (1866)2 S. n7 S2 H9 b# N) W$ W/ R' l
S.518, Salve Polonia (a. 1863)
  Q1 ?5 W  m9 c+ LS.519, Deux Polonaises de St Stanislaus (1870-79)+ G# z  g  Q7 R
S.520, Künstlerfestzug [first/second version] (1857-60, 1883)
- a3 u& o2 U) I3 e/ R( s9 WS.521, Festmarsch zur Goethejubiläumsfeier [first/second version] (1857, 1872)
4 e- a6 ?" V3 \/ aS.522, Festmarsch nach motiven von E.H.z.S.-C.-G (1857)5 J* i) n  |" S7 x, G% a
S.523, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (1870)
; p( ?/ Z; P" z) V2 fS.524, Ungarischer Sturmmarsch [first/second version] (?, 1875)+ w1 @- b4 v7 ?  k( a
S.525, Totentanz. Paraphrase on Dies Irae (1860-65)4 t$ V3 \+ ^! w
S.526, Epithalam zu Eduard Reményis Vermählungsfeier (?)! H5 n: {  ~; V' T
S.527, Romance oubliée (?)9 r# a# A9 ^- k
S.527bis, Romance oubliée [short draft] (1880)( N% a  m8 `2 F! @6 U4 N$ ]& \
S.529, Fantasie und Fuge über das Thema BACH [first/second version] (1856, 1870) 巴赫主题幻想曲与赋格
  b, w5 D1 a# z1 @S.530, L'Hymne du Pape. Inno del Papa. Der Papsthymnus (1864)2 R& T9 ?  p6 L( o
S.531, Buch der Lieder I [5 pieces] (?)
3 R$ a4 }. n, YS.532, Die Lorelei (Heine) [second version] (1861)
, z$ X( g" }7 s( D0 Q- jS.533, Il m'aimait tant (Delphine Gay) (1842)
3 p- W9 W6 z' o/ S& k/ {S.534, Die Zelle in Nonnenwerth (Felix Lichnowski) [first/second/fourth version] (1842, 1860, 1880)
- v7 }" I# T7 TS.535, Comment, disaient-ils [Buch der Lieder II] (1845?)
6 I/ F3 i) l( y. aS.536, O quand je dors [Buch der Lieder II] (1847?)
) l4 Q" n2 H. s* k7 V7 r7 g5 A" KS.537, Enfant, si j'étais roi [Buch der Lieder II] (1847?)
: v4 `. u/ d# l7 J7 y% N9 DS.538, S'il est un charmant gazon [Buch der Lieder II] (1847?)
& |0 ~( q1 b7 Z/ ]S.539, La tombe et la rose [Buch der Lieder II] (1847?)* B3 X" W5 B8 S. }3 L
S.540, Gastibelza [Buch der Lieder II] (1847?)8 o- M( A9 }  S. L& S: T: W
S.541, Liebesträume. Drei Notturnos (ca. 1850)  3首夜曲“爱之梦”9 s( j6 z2 c" v
S.542, Weimars Volkslied [first/second version] (1857, ?)
* y" C5 `7 T) s4 x  l+ A9 @  BS.542a, Ich liebe dich (?). i+ ^4 P; [4 P* p0 X* K
S.542b, Fanfare zur Enthüllung des Carl-Augusts Monument (?)' l& w0 I7 o( ~5 d$ b
S.543, Ungarns Gott. A magyarok Istene (Petófi)]] [original/(S543bis)left-hand version] (1881)
* b5 i: S/ f1 r) u- iS.544, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)
; c7 E6 }, g& t% m, Y9 ^S.545, Ave Maria IV (1881)
- h8 j& S: E; }6 g, Y- BS.546, Der blinde Sänger (Alexei Tolstoy) [solo version] (1878)
  u- d% L1 P% \S.546a, O Roma nobilis (1879)# W: \7 R2 e  n
2.5.2.24 Mendelssohn3 u- f* d3 N; U. W8 H6 S
S.547, Sieben Lieder (from Opp. 19, 34, 47) [7 pieces] (1840)
# d5 T2 }* M) O1 A3 V. K# OS.548, Wasserfahrt and Der Jäger Abschied (from Op. 50) [2 pieces] (1848)
- Y2 ~- F; l9 P+ z2 i2.5.2.25 Meyerbeer
/ r& Z% r3 u5 a5 a; ES.549, Festmarsch zu Schillers 100-Jähriger Geburtsfeier (?)
  |$ D5 l5 O5 \7 R* q0 U. m) r2.5.2.26 Mozart
  h4 t3 v9 q+ X8 zS.550, Zwei Transcriptionen über Themen aus Mozart's Requiem, K626 [2 pieces] (1862)
+ k4 Y% H! R* ~( r2.5.2.27 Pezzini8 s- B" ?, e* n
S.551, Una stella amica. Mazurka (?)
! p) z1 r" c" u) G6 b2.5.2.28 Raff( I! }/ b- U' Y: v
S.551a, Einleitung und Coda zu Raffs Walzer in Des-dur (opus 54/1) (1880)
, C* W4 [  H6 @- W7 e2.5.2.29 Rossini2 s/ t8 f8 P& W
S.552, Ouverture de l'opéra Guillaume Tell (1838)
( Z) A2 \: v* v. i  HS.552a, Caritas [La charité, first version] (1847)
$ j3 M. A& [5 M  u$ h1 z. S  ~S.552b, La caritá [La charité, simplified version] (1847)7 ^& u1 f2 \/ X7 y
S.553, Deux Transcriptions [2 pieces] (1847)( l% M, r) Y. _! w1 l2 y0 }; i
2.5.2.30 Rubinstein6 P( v2 q; k# S$ w
S.554, Zwei Lieder [2 pieces] (1880), \) S( \) Y" \# k+ _  p
S.554a, Einleitung und Coda sur des notes fausses (1880): t( o; \! b- r! m: P
2.5.2.31 Saint-Saëns
' S: z' M8 \$ d" Z5 gS.555, Danse macabre, Op. 40 (1876)
- i4 ~/ V- e9 C! [$ H& N2.5.2.32 Schubert
4 {7 s$ s; \  R& F3 D7 l  [! vS.556, Die Rose [first/intermediate/second version] (1832, ca. 1837, 1838)
3 ~$ v* m& Y& S, uS.557, Lob der Tränen (1837)8 ~" m( r0 S. c7 C7 K
S.557a, Erlkönig [first version] (?)
/ X: U$ ]& P% }: C9 m9 {S.557b, Meeresstille [first version] (?)
8 b' q' r: z6 u' X% h$ l2 H6 yS.557b/bis, Meeresstille [first version, ossia] (?)
  f* g2 Q. w9 NS.557c, Frühlingsglaube [first version] (?)
5 f/ |1 t6 Y+ I' w) SS.557d, Ave Maria (Ellens dritter Gesang) [first version] (?)
- i9 \0 N" O- ]8 Q& f1 LS.558, 12 Lieder (1837-38)$ ~, y5 w* L+ p
S.558bis, 12 Lieder [revised versions of Nos. 3, 4, 7, 8, 9, 11] (ca. 1839)
" {" N# f! G6 c) T; o; ?S.559, Der Gondelfahrer, Op. 28 (1838)- _' t/ y8 W) V5 q8 [" E
S.559a, Sérénade [Ständchen, first version] (1837)
( u& U+ e) X$ o) J3 \S.560, Schwanengesang [14 pieces] (1838-39)7 o5 `9 R  p  w  }3 ]' _- d9 ^# L
S.560bis, Schwanengesang [14 pieces, alternative versions] (ca. 1839)9 Q3 V1 y. G  i: L7 r7 Q0 O* z. c
S.561, Winterreise [12 pieces] (1839)
, [# s9 `. z  ^" XS.561, Winterreise [alternative versions of Nos. 2, 3, 7, 10,] (ca. 1839)- K# u5 Q4 @4 M/ x3 p
S.562, Geistliche Lieder [4 pieces] (1841)8 g( o9 L! `$ A0 U
S.563, Six mélodies célèbres [6 pieces, 1st by Weyrauch] (1844)
0 s" h. r$ j' `$ p% [% ~" M5 W, `S.564, Die Forelle [second version] (1846)
0 w# M' C: {' [- c8 Q, A' qS.565, Six Mélodies favorites de La belle meunière [6 pieces] (1846)7 g+ ^% p9 H& ~# U# `
S.565bis, Müllerlieder [6 pieces, revised versions] (ca. 1879)
2 ?7 c% u3 p# w5 H% ]! D& I: YS.565a, Wandererfantasie (Grosse Fantasie in C-dur) (ca. 1868)) c9 V% M, U7 I% d
S.565b, Schubert's Impromptus [2 pieces, Op. 90/2-3] (ca. 1868)8 x' @0 h3 A9 t- d) q% c+ e- C; C+ H
2.5.2.33 Schumann
3 K- j5 e8 R! a0 s+ u# bS.566, Widmung, Liebeslied (1848)* k; v3 ]' ~; {. N. ?+ E
S.566a, Widmung, Liebeslied [sketch of a more literal transcription] (1848)  h: H# ^  d: V4 |
S.567, An den Sonnenschein, Rotes Röslein (1861)
2 y& E" E& ~4 ?2 B8 b# F, K' w6 jS.568, Frühlingsnacht (überm Garten durch die Lüfte) (1872)
" t9 J: N6 _0 z- [S.569, Zehn Lieder von Robert und Clara Schumann [10 pieces] (1872)& l6 A( }3 W. T
S.570, Provençalisches Minnelied (1881)2 ?6 b+ y% p1 P2 t2 c5 [1 W
2.5.2.34 Smetana( \7 K$ e/ S6 J
S.570a, Einleitung und Coda zu Smetanas Polka (de salon, opus 7/1) (1880)7 D4 V$ J4 K  a( w8 f) m
2.5.2.35 Spohr& R# W# q% S. b, h
S.571, Die Rose aus Zemire und Azor (1876) 玫瑰浪漫曲 S.571 - 根据施波尔歌剧《美女与野兽》浪漫曲改编
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 楼主| geci110 发表于 2015-7-22 18:35:37 | 显示全部楼层
2.5.2.36 Tausig
. Q3 D  P/ r: q1 y" k3 [S.571a, Einleitung und Schlußtakte zu Tausigs dritter Valse-Caprice (1880)! O' |/ B0 J/ Q! _; g0 Z* X
2.5.2.37 Szabady and Massenet" k& ?- |$ C9 Q; A
S.572, Revive Szegedin (1879)2 x4 o: Y! d. h* ~
2.5.2.38 Széchényi, Count Imre# Y" H! k" l+ w2 P  `
S.573, Bevezetés és magyar indulò (1872). m7 x  @& R. d4 O1 R, |: W
2.5.2.39 Tirindelli' q3 M4 w% o, e8 t/ ?  _
S.573a, Seconda mazurka variata (1880)
3 j0 E( ?1 z' I2.5.2.40 Weber
+ O/ D. e- \& `& F8 ?S.574, Ouverture Oberon (1846?): d% o& T' s; @9 ~
S.575, Ouverture Der Freischütz (1840-41)/ `$ j5 B% m: z7 h
S.576, Jubelouverture (1846)
. n3 T$ ]4 m8 |  q6 XS.576a, Konzertstück, Op. 79 (ca. 1868)
7 S9 {5 [+ }9 u- e* N" t0 P2.5.2.41 Wielhorsky, Count Michael
% v- E+ {0 S" b, ?S.577, Lyubila ya [first/second version] (1843, ?)$ z, D+ y; x- U" m& ~/ B
2.6 Pianoforte Duet(钢琴二重奏)
5 u, |- B8 U. `: l; t( O2.6.1 Field* g! O& z; N7 L: g$ x% z$ @
S.577a, 11 Nocturnes (Nos. 1-9, 14, 18 and Nocturne Pastorale in E) (?)( G: {$ R1 S; i9 ^: t
2.6.2 Liszt
7 v8 s2 H, A. PS.578, 4 Pieces from St. Elisabeth (1862), b9 f" S9 ~* t' F' U; T
S.579, Christus Oratorio 4th and 5th section (?). w/ b0 Z7 e7 t& P7 v
S.580, Excelsior! - Preludio (?)
8 K; G% V4 i# K* yS.581, Benedictus and Offertorium from the Hungarian Coronation Mass (1869)
' U4 N9 [8 ^& ?. oS.582, O Lamm Gottes, unschuldig (1878-79)7 f; n. Q: ?; m) v, n; L8 ]" a5 h
S.583, Via Crucis (?)
8 S& F! ]; v" ~, ~S.584, Festkantate zur Enthüllung des Beethoven-Denkmals in Bonn (1845)
  T8 P) ~, S( l; X: Z: dS.585, Pastorale. Schnitterchor aus dem Entfesselten Prometheus (1861)# B7 q, x! \0 y$ K* v7 z& B
S.586, Gaudeamus igitur. Humoreske (1870)5 ~' A  c5 j) j
S.587, Marche héroique (?)
, f. F" {8 p/ [, w& V6 H# ^S.588, Weimars Volkslied (Cornelius) (1857)% g4 v  E; N3 P* a! o& t
S.589, Ce qu'on entend sur la montagne (Poème symphonique No. 1) (1874)
% H, {: `  x0 i% o$ pS.590, Tasso, Lamento e Trionfo (Poème symphonique No. 2) (1858): V5 h" E& K" t( S; q6 V& a8 a
S.591, Les Préludes (Poème symphonique No. 3) (ca. 1858)
. h  B, k$ t- T( e3 _$ LS.592, Orpheus (Poème symphonique No. 4) (ca. 1858)- l. E$ I( i- `
S.593, Prometheus (Poème symphonique No. 5) (1858)
' I3 S& Q* S' q: n+ `# P/ K1 tS.594, Mazeppa (Poème symphonique No. 6) (1874)
5 a! d, W2 k- {1 tS.595, Festklänge (Poème symphonique No. 7) (1854-61)
0 s7 X2 z, i5 x/ ^% h6 S$ qS.596, Hungaria (Poème symphonique No. 9) (1874?)
8 C! w  U: f; E% N6 r. fS.569a, Héroïde funèbre (Poème symphonique No. 8) (ca. 1877)
) n. r3 [$ B# F( \* q+ aS.596b, Hunnenschlacht (Poème symphonique No. 11) (ca. 1877)
) V0 O3 @, c3 E2 |# ]2 h4 LS.596c, Die Ideale (Poème symphonique No. 12) (ca. 1874-77)8 c; q/ H, n6 h3 ~0 ^8 [
S.597, Hamlet (Poème symphonique No. 10) (1874)! G7 c/ t+ \, c
S.598, Von der Wiege bis zum Grabe (Poème symphonique No. 13) (From the Cradle to the Grave) (1881)1 a& H  `+ Y0 s# w9 h+ w5 p
S.599, Two episodes from Lenau's Faust (1861-62)" h9 ?2 L3 _2 @; K  T4 B
李斯特全部作品目录-4, u  J0 ?  c! N1 x" v7 C: ~

) ?$ X+ H1 E/ d. m$ oS.600, Mephisto Waltz No. 2 (1881)4 f  S# M0 J& R5 p
S.601, Les Morts (Ode Funébre No. 1) (1866)
" ~% V; C1 ~+ w) H( X8 u8 IS.602, La Notte (Ode Funébre No. 2) (1866)
+ Y+ F8 @, T7 u: @7 CS.603, Le Triomphe Funèbre du Tasse (Ode Funébre No. 3) (1866?)) ?7 t" K6 @$ @% ^+ o
S.604, Salve Polonia (1863)
/ h) \. t: Y6 P# z0 H6 `" d) B- M+ f% x/ kS.605, Künstlerfestzug zur Schillerfeier (1859)6 ~5 e5 o  |6 Q2 w
S.606, Festmarsch zur Goethejubiläumsfeier (ca. 1858)$ M. h8 V9 N" @' }8 M
S.607, Festmarsch nach Motiven von E.H. zu S.-C.-G. (ca. 1859)9 @+ m. s$ k6 K
S.608, Rákóczy March (1870)
! U5 d- \: D1 ~' dS.609, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (1870)
; ?2 Z; q1 `- y  }/ f. k; u: Z9 L8 ?S.610, Ungarischer Sturmmarsch (1875); a' W8 j5 Y' o% @3 |/ C, O
S.611, Epithalam (1872)0 v% X+ g5 H! H: m- S
S.612, Elégie (1874)
; z6 {% w: V8 m; [1 jS.613, Weihnachtsbaum (1876)5 p$ }% \& c( L0 J
S.614, Dem Andenken Petöfis (Petófi Szellemének) (1877)
3 G% u& a* _% T! D$ n" B5 IS.615, Grande Valse di Bravura (1836)
0 b% @- {2 S: |. v$ n' NS.616, Grand Galop Chromatique (1838). p: ^7 [, D1 w* m/ d1 f+ W4 o7 \
S.617, Csárdás macabre (1882)% A" v1 N# T6 t4 g
S.618, Csárdás obstiné (ca. 1884)
: Q. W; H) p; H: xS.618a, Vom Fels zum Meer. Deutscher Siegesmarsch (?)6 J6 `3 t" r0 U
S.619, Bülow-Marsch (ca. 1883)
3 B# F& P% ?6 e' Q: MS.619a, Festpolonaise (1876) [4]
1 o% F/ s8 Q$ B4 |7 aS.620, Hussitenlied (Melody by J.Krov) (1840)
/ e8 O# F. q3 G& `0 ^' cS.621, 6 Hungarian Rhapsodies [from the orchestral version, S359] (1874)
& ?# i4 ^: ?- v# Z0 k6 b( nS.622, Rapsodie hongroise No. 16 (1882)$ T3 w/ f5 d; v: K4 V
S.623, Rapsodie hongroise No. 18 (1885)# a4 |  b) x8 J6 a0 B  ^
S.623a, Rapsodie hongroise No. 19 (ca. 1885)+ n9 R6 v1 L) I( Z) x
S.624, Fantasy and Fugue on the chorale Ad nos, ad salutarem undam (1850)
+ U2 b3 c% x# }% j: [3 RS.625, L'Hymne du Pape (Der Papsthymnus) (1865)
3 D+ V2 I3 N0 M7 B3 b) pS.626, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)
! {3 Q: ]& o0 D: U  rS.627, Fantaisie sur des motifs de l'opéra La Sonnambula (Bellini) (1852)3 @9 `! o  b% X* U. I' x
S.628, Bénédiction et serment (Berlioz's 'Benvenuto Cellini') (1852)9 U5 ~$ D2 `: B; q
S.628a, Marche et cavatine (Donizetti's Lucia) (?)
) o1 ]7 ~6 _- G" j% US.628b, Szózat und Hymnus (Egressy and Erkel) (1873)
% _( j$ g7 F7 TS.629, Tscherkessenmarsch (Glinka's Ruslan i Lyudmila) (1843)+ |1 L# [; i: a, M
S.630, Réminiscences de Robert le Diable - Valse infernale (Meyerbeer) (1841-43)9 `) ?. |1 `: w  Q5 m
S.631, Andante finale und Marsch (Raff's 'König Alfred') (1853)
; G0 [. r/ B% G( I( k% G# `S.632, 4 Marches (Schubert) (1879)2 \% T4 l; w  a% u; q4 G+ H6 T
S.633, A la chapelle Sixtine (Allegri Mozart) (1865)  y: U: j8 F9 P) g; |
S.634, Grand Septuor Op. 20 (Beethoven) (1841)" J* _, m, K5 q( h2 i' X+ r/ w
2.6.3 Mozart3 w. {' \& a8 j! s2 h
S.634a, Adagio from Mozart's Die Zauberflöte (1875-81?)
& V7 ?+ N  }* U! ?; \  T0 l2.7 Two Pianofortes(双钢琴): E* I5 O' E5 M5 I" |% u
2.7.1 Liszt
/ y  k' L( u, U3 o' V  r1 |S.635, Ce qu'on entend sur la montagne (Poème symphonique No. 1) (ca. 1854-57)$ ]8 x( O" s" ]% e$ M6 b2 f
S.636, Tasso, Lamento e Trionfo (Poème symphonique No. 2) (ca. 1857)' w7 f) b: [3 ?0 Z* L
S.637, Les Préludes (Poème symphonique No. 3) (ca. 1854-56)! W# z* c- o" V( |
S.638, Orpheus (Poème symphonique No. 4) (ca. 1854-56)' }9 k  i9 V& f* X9 ?  b
S.639, Prometheus (Poème symphonique No. 5) (1855-56)8 r9 m1 T( b2 B6 N. b. F
S.640, Mazeppa (Poème symphonique No. 6) (1855). W& u5 F& K: u$ l
S.641, Festklänge (Poème symphonique No. 7) (ca. 1853-56)
/ M9 I5 g1 B* m; O/ Z$ JS.642, Héroide Funèbre (Poème symphonique No. 8) (ca. 1854-56)  I( e3 d: E1 ]. f8 {7 H
S.643, Hungaria (Poème symphonique No. 9) (ca. 1854-61)
# g* A/ J6 ^5 p; {3 rS.644, Hamlet (Poème symphonique No. 10) (ca. 1858-61)% w0 C* v  L& \# r" ~* O# O+ }' b
S.645, Hunnenschlacht (Poème symphonique No. 11) (1857)( g( B2 ~9 d; {  d8 L
S.646, Die Ideale (Poème symphonique No. 12) (1857-58)# M9 p$ T% n# e3 T/ ]
S.647, A Faust Symphony, in three character pictures (1856)
7 f+ A. U/ T/ v& pS.648, A Symphony to Dante's Devina Commedia (ca. 1856-59)
& T* b# m1 A/ A5 Z3 A/ S- a) H1 ~1 LS.649, Fantasie über Beethovens Ruinen von Athen (1865)$ ]6 l* C' r- p. D
S.650, Piano Concerto No. 1 in E flat major (1853)
% e) Y! s# @$ h) w3 K6 tS.651, Piano Concerto No. 2 in A major (1859)
3 @: z- y9 o. M9 j, ^S.652, Totentanz. Paraphrase on Dies Irae (1859)
( n5 j% T/ x/ @7 n, uS.653, Wandererfantasie (Schubert) (a. 1859)8 P8 b1 b* a8 I) Z. o
S.654, Hexaméron, Morceau de Concert (1837)& u3 `1 f) m& |. g4 ?( Y5 x
S.655, Réminiscences de Norma (Bellini) (1841)$ f4 w% J# x& |0 K7 K& B: o; W1 s
S.656, Réminiscences de Don Juan (Mozart) (1841)
2 J- f/ C" G' t3 i' LS.657, Symphony No. 9 (Beethoven) (1851)
2 m. I; d* W: r- k0 f! Q3 PS.657a/1, Piano Concerto No. 3 (Beethoven) (1878)
0 E- K4 C4 z' \! b; U3 q5 X$ GS.657a/2, Piano Concerto No. 4 (Beethoven) (1878)
. c3 [5 l1 Z! o" @# ]3 W( uS.657a/3, Piano Concerto No. 5 (Beethoven) (1878)
; P. w1 z9 I' I% r4 p, RS.657b, Bülow-Marsch [2-pianos, 8-hands] (1884)+ p. w. }/ X5 C1 t: g* \; V6 V& i
2.8 Organ(管风琴)
; Z% y5 ?: T! O* ?/ c4 q2.8.1 Allegri und Mozart
! W: b3 V. M; `, p2 [. |& A/ ^S.658, évocation à la Chapelle Sixtine (1862)* k& `6 n. w1 v
2.8.2 Arcadelt
; L  y2 C& O2 {8 ^+ XS.659, Ave Maria (1862)% B0 N, p! z7 n' E6 b1 m
2.8.3 Bach
7 @; k( N- _. ]2 N, m; s; f0 E; z
0 G4 K& h0 \4 V4 O3 f5 B  aS.660, Einleitung und Fuge aus der Motette Ich hatte viel Bekümmernis und Andante Aus tiefer Not [2 pieces] (1860)
& t6 q4 z0 I4 k* l% U% Z% z- ^/ _% m& QS.661, Adagio from Bach Violin Sonata No. 4 (BWV1017) (1864)* o. l$ A5 M8 s$ k
2.8.4 Chopin- t9 R' S( f$ R- y  L
1 m4 y* o# T9 E9 l
S.662, 2 Préludes from Op. 28 (Nos. 4, 9) (1863)
1 y+ Z- U- Q: R2 D: h" ?6 Y2.8.5 Lassus
& ]9 q( B+ E2 V* L$ W# m- {3 b6 R( I' V' `  R* i
S.663, Regina coeli laetare (1865)
6 ]+ i! |9 b5 Y$ n' |% |3 j& a- p# v4 R2.8.6 Liszt5 X9 ?  d: u5 ]" z6 Q7 E

5 P, v0 P+ i! Y! y1 i# \" SS.664, Tu es Petrus from Christus (1867)) q7 h( ?, G8 G7 M
S.665, San Francesco (1880)9 ~8 B8 D- w9 l! Q: ~
S.666, Excelsior! - Preludio (?)& L8 G- ]1 x+ v4 J% t. A
S.667, Offertorium from the Hungarian Coronation Mass (1867)
4 g% {" U, n. JS.668, Slavimo Slavno Slaveni (1863)
  G7 j  L" o2 N: B7 N0 y0 M' PS.669, Zwei Kirchenhymnen [2 pieces] (1877)* P& e+ L: j' _, {. e
S.670, Rosario [3 pieces] (1879)0 G- e( |* o7 {. a  f& f( N3 \. C4 B
S.671, Zum Haus des Herrn (In domum Domini ibimus) (1884)
8 _" k" B/ x3 zS.672, Weimars Volkslied (Cornelius) (1865)2 ~2 N2 B- y# q1 b& ?. `( D5 ?
S.673, Weinen, Klagen' Variationen (1863)
3 z9 t' u  \3 Z" ~, X% D, }S.674, Ungarns Gott. A magyarok Istene (Petófi) (1882)
; j# z1 v4 N* p5 @4 g3 vS.674a, O sacrum convivium [2 versions] (?)7 r" n. _' U& o7 h
2.8.7 Nicolai
4 \( `" _0 _5 O5 ]3 p4 i4 y0 Z5 o* z* o) V( t: F) A
S.675, Kirchliche Festoverture (1852)* {7 O( x% E# y9 y* g/ k+ }
2.8.8 Wagner
: [7 `) N8 z. ~" [' T7 d$ k8 h4 n* n" B4 d. Z2 O. h* }0 ]
S.676, Pilgerchor from Wagner's Tannhäuser (1860)$ t( P3 _5 Q1 P/ q6 C/ Z
2.9 Organ with Other Instruments(管风琴和其他)
) g) n# C# e4 ^5 G/ K: O
- }) b) f6 J' \3 r  ?7 kS.677, Hosannah from Cantico del sol di San Francesco d'Assisi (for organ and bass trombone) (1862)- }' O0 o$ i. I* c' ~6 |
S.678, Offertorium and Benedictus from the Hungarian Coronation Mass (1869)
* k2 J: C) U/ |; MS.679, Aria 'Cujus animam' from Rossini's Stabat Mater (for organ and trombone) (?)" T" n' P) q! S' i9 r& K) Z1 p0 P
Vocal Arrangements声乐
9 c) ?0 P; s6 a; \, J( a+ R- Y. }, \9 B1 Z
S.680, Ave maris stella (1868)/ a( }0 W! v; R3 `# c
681, Ave Maria II (1869) 5 {# N; F4 ]6 S5 Q6 g2 j# p$ \  R( w
S.682, Air du Stabat Mater (Rossini) (?) , z' H, \5 H2 M/ ^+ K
S.683, Serbisches Lied (Hohenzollern-Hechtingen, Prince FWC. von) (?)  Y/ {% V4 B. B) `" P/ ~
S.684, Barcarolle vénitienne (Pantaleoni) (?), k$ Z6 G: G% N. ?  I) B/ W
S.685, Es hat geflammt die ganze Nacht (Grand Duchess Pavlovna) (?)
4 _# b- H& W' u/ e
0 G- ~/ Z* Z/ d. f# @0 \4 {$ n2.10 Recitations
0 j8 u2 U+ f8 |+ j! X4 e! E) ES.686, Helges Treue (Draeseke) (1860)
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 楼主| geci110 发表于 2015-7-22 18:35:55 | 显示全部楼层
8 G/ w- H9 ~; a. z- C6 Y9 K. _! k

8 s# `' p+ L# Y6 \3 A9 i, C
2 x. s: D8 q! i% [) h, x' F
& q! p$ K4 f) Y" T( K3 ]) l# T1 D  t* F; |4 a

6 x: a$ V- I' i* H0 s7 d& P% v4 c1 P9 D- K: _( i, e$ Y

" s1 T1 d* Q1 k6 G# d) a8 `/ a3. Appendix" d' @5 a2 B% O, J& i/ I
; T: E9 {6 a: @9 l2 U& ~
3.1 Unfinished Works( h0 T8 A# T9 e) O
6 N0 @2 k1 z( i4 x7 I4 P( l/ g
S.687, Sardanapale (Byron) [opera, partly sketched, 111 pages] (?)
1 t5 s+ b6 g; z+ G& |0 n, lS.688, Oratorio - Die Legende vom heiligen Stanislaus [sacred choral] (1873-85)
1 P3 ]! N3 ]0 ]S.688a, St Stanislaus fragment [solo piano, Library of Congress] (1880-86)
% X" E* m$ a$ S( T( C5 \; z# J* FS.689, Singe, wem Gesang gegeben [secular choral] (1847): T. P4 [$ R4 ]) G7 N  b4 M
S.690, Revolutionary Symphony [unfinished, revised 1848] (1830)
& d+ t8 B; J$ g: |+ d5 \. }0 QS.691, De Profundis [piano and orchestra, De Profundis - Psaume instrumental] (1834?)
! q+ d# q! ?- Z3 n1 I# ]" PS.692, Violin Concerto [only sketched] (1860)
$ C6 Q) N" j" t0 TS.692a, The Four Seasons String quartet (Vivaldi) (1880?)6 c9 P7 S. W4 a' _7 _
S.692b, Anfang einer jugendsonate [solo piano] (1825)! P: Q) X8 v- {7 B+ ^
S.692c, Allegro maestoso [solo piano] (1826)
/ k3 g7 u# Z1 W# r. ], ^- aS.692d, Rákóczi-Marsch [solo piano, first version, simplified, unfinished] (1839)0 l! H8 K, W$ P' p
S.692e, Winzerchor (Prometheus) [solo piano] (1850)3 ]/ ?  f# ?4 }$ R% M2 C! c
S.693, Deux marches dans le genre hongrois [solo piano, 2 pieces] (1840?)! b9 L  _& k3 p5 L) R7 z; Y
S.693a, Zwei Stücke aus der heilige Elisabeth [solo piano] (1862)
0 `' s, C: X8 T; V, RS.694, Fantasie über englische Themen [solo piano] (1840?)
. d& K+ Z) [- H) P5 [S.695, Morceau en fa majeur [solo piano] (1843?)/ j# Y+ A0 l( O; {
S.695a, Litanie de Marie [solo piano] (1847)) K  \& G1 r' s4 h+ c7 O
S.695b, Zigeuner-Epos [solo piano, 11 pieces] (ca. 1848)4 v0 H# E+ T, r7 |* ~5 h+ e
S.696, Mephisto Waltz No.4 (1884) 第四梅菲斯特圆舞曲
0 z5 b  R4 K6 r0 Y# Y6 h9 hS.697, Fantasie über Themen aus Figaro und Don Giovanni (Mozart) [solo piano arrangement] (1842)
" \& }" W: C4 U# g( xS.698, La Mandragore - Ballade de l'opéra Jean de Nivelle de L. Delibes [solo piano arrangement] (a. 1880)% o4 M- F: ^% B7 X1 H  V# g
S.699, La Notte (Odes Funèbre no. 2) [solo piano arrangement] (1864-66)
3 v+ d, H+ A+ r5 c. }S.700, Grand Fantaisie (Variations) sur des thèmes de Paganini [first/second version; completed by Mezö] (1845)- Q9 E  N; c, W9 k( n( T
S.700a, Variations sur Le Carnaval de Venise (Paganini) [solo piano arrangement] (?)
" V( [/ t, d0 M' N# r! k/ T0 uS.701, Den Felsengipfel stieg ich einst hinan [song] (?)
9 w* |" Q, c2 `, o5 k& F  w6 l+ ^5 g2 qS.701a, Allegro di bravura [orchestra, arrangement] (ca. 1830)
8 I* o4 z! O; t8 hS.701b, Marie-Poème [solo piano] (1837)
9 R) R1 n+ ^1 f% L3 d/ s! F5 }S.701c, Andante sensibilissimo [solo piano] (1880-86)
' X; p. E! P( g- {4 s% G! P# sS.701d, Melodie in Dorische Tonart [solo piano] (1860)% J, Y* d- C8 c' z8 _
S.701e, Dante fragment [solo piano] (1839)
7 o  `# x1 U, }+ h, V$ lS.701f, Glasgow fragment [solo piano] (?)( z, t# M: F2 y2 N
S.701g, Polnisch - sketch [solo piano] (1870-79)
% ^) o7 l; \: I6 L$ ]# RS.701h/1, Operatic aria - and sketched variation [solo piano] (?)6 N1 Q$ I" z+ k, E0 _7 _5 H% k
S.701h/2, Valse infernale (Meyerbeer) - theme [solo piano arrangement] (?)/ p1 |6 d$ s( g$ w2 e
S.701j, Harmonie nach Rossini's Carità (La charité) [solo piano arrangement] (1847)
/ U9 S$ A0 H. F5 K# mS.701k, Korrekturblatt (to an earlier version of La lugubre gondola) [solo piano] (1882)/ A! ~. A# _, L$ a* }- x' b
3.2 Doubtful or Lost9 h+ m1 {$ C% q, d4 C1 Q

$ l' s# C% |4 k1 O3.2.1 Sacred Choral Works5 t' q5 i! f# `

% }* ^6 T) e0 AS.702, Tantum Ergo (1822)
& W2 N" w7 a* x; I+ jS.703, Psalm 2 (1851)
% y( v- j3 l9 @! [( ?S.704, Requiem on the death of Emperor Maximilian of Mexico (?)5 S# y4 ]4 E. N& p( `1 J
S.705, The Creation (?)
$ v; {" w1 T( M# jS.706, Benedictus [doubtful] (?)4 P, X. Q9 y- s/ z
S.707, Excelsior [arrangement, doubtful] (?)
$ d7 k' j6 J) m8 h" H3.2.2 Secular Choral Works; _0 [, H( a. o3 T; z/ b

9 F% ]0 t; d2 |: B# ]+ z2 [: TS.708, Rinaldo [doubtful] (ca. 1848)' c- v9 s$ k3 j
3.2.3 Orchestral Works- A" {! G8 h8 ?. b6 r

. s+ h/ {$ ]: TS.709, Salve Polonia [rediscovered, renumbered as S113] (1863)4 \4 M. T( c* t. e/ S
S.710, Funeral March (?)
! B; V& O; X0 H* Y" F- qS.711, Csárdás macabre [arrangement] (?)
: E" |" J& i: K7 n5 Z" i6 yS.712, Romance oubliée [arrangement] (?)5 d; y$ x4 p5 u. b9 I& a
3.2.4 Piano and Orchestra- }( h6 W7 o0 c( i, s) n- j$ M

- Y4 `8 d& V' a( s& DS.713/1, Piano Concerto in A minor (1825?)- k' a9 j4 P  a$ m, A
S.713/2, Piano Concerto (1825?)- i8 y! S& |: E8 l
S.714, Piano Concerto in the Hungarian style [by Sophie Menter, renumbered as S126a] (1885)
2 {0 `- L$ _$ i- WS.715, Piano Concerto in the Italian style (?)( m& [9 X8 U/ B. ^6 \' i
S.716, Grande fantaisie symphonique [orchestral] (?)
4 p0 w2 R- k# K7 P2 R' k2 f3.2.5 Chamber Music3 e" u4 O' s1 n) M8 }" |$ o

0 I: e5 X2 r& c4 z( ?S.717, Trio (1825)
9 a4 X# r6 n" TS.718, Quintet (1825)$ K5 |0 a- B: d) D+ H% d
S.719, The Four Seasons String Quartet (Vivaldi) [rediscovered, renumbered as S692a]
) h4 u$ ?1 l# _9 `* n7 yS.720, Allegro moderato (?)7 a9 W; h# i$ {# P& |0 L. J
S.721, Prelude (?)
3 _7 i0 b! b9 {6 l- V( t$ SS.722, La notte (Odes funèbre no.2) [rediscovered, renumbered as S377a] (1864-66)
" ?9 Z) _1 X+ w1 CS.723, Tristia [arrangement, from Vallée d'Obermann S160/6] (1880-86 ?)- L6 A+ y( M, v
S.723a, Postlude on theme from Orpheus [arrangement] (?)
" G# p% E  U7 M9 I0 s5 x( I3.2.6 Pianoforte Solo1 [% g( U* }/ [, G2 j$ }& l6 R+ v1 o3 S
9 F- E* U; o" ^# p3 {& w
S.724, Rondo and Fantasy (1824)
( ]; ~5 d  b3 @# p) R6 {' Z1 FS.725, 3 Sonatas (1825)
/ i- c: s1 p6 u) W* B! s+ ES.726, Study (?)
9 h) r1 j8 p0 J- [) u2 G2 N5 T7 H0 gS.726a, Valse (?)
7 [, `  k; \5 f& A3 K李斯特全部作品目录-5
9 ]( ?2 h8 v0 _2 U: Y$ x9 p/ I7 h
S.727, Prélude omnitonique (?)- `9 _) d" v/ p7 B4 _& o
S.728, Sospiri (Fünf Klavierstücke) [rediscovered, renumbered as S192/5] (1879)" _% i, y/ g. c( Y
S.729, [rediscovered, renumbered as 42(?)]' R) B! B7 Z! [7 Y
S.730, Dem Andenken Petöfis (Petófi Szellemének) [rediscovered, renumbered as S195] (1877)
2 Q' X$ c2 Z, z# ]6 fS.731, Valse élégiaque (?)
' q. ~# ]! I0 q+ F' h( B# eS.732, Valse Oubliée No.4 [rediscovered, renumbered as S215/4] (1883-84)2 Z: |1 T4 \  h" b
S.733, Marche hongroise (in E flat minor) [rediscovered, renumbered as S233b] (1844)1 }9 x% C; f& q/ [& A
S.734, Ländler (?)
# }! {4 D+ T8 E4 q: {% c+ S' tS.735, Air cosaque (?)- R" l) `4 [' x- F$ g
S.736, Kerepsi csárdás (?)& C' v2 {& J) ~' H
S.737, 3 morceaux en style de danse ancien hongrois (?)' k- s8 U9 B7 N) [  c3 m6 S0 ^
S.738, Spanish folksong arrangement (?), q1 @9 E$ {8 u, e
3.2.6.1 Arrangements! w5 T9 s( C7 `$ q' U- ^

, q; t0 z. X/ G" m; v, V3 zS.739, Corolian Overture (Beethoven) (?)
" ?4 Q8 m" b8 l% H  fS.740, Egmont Overture (Beethoven) (?)4 H4 D0 w: W( J# `8 x$ o# K0 [
S.741, Le carnaval romain - Overture (Berlioz) (?)
( y! E& P. ]. P- oS.742, Duettino (Donizetti) (?)
4 c, \$ p. s; H1 I7 GS.743, Soldiers Chorus from Guonod's Faust (?)
# I0 n# X% @( ]0 q# L$ }S.743a, Fantasia on themes from Halévy's Guitarero (b. 1841)& l/ S" {* n7 ^. X
S.744, Paraphrase on Act 4 of Kullak's Dom Sebastien (?)
# V3 O: K' B; s9 QS.745, Funeral March (?)1 K, i0 y- f( ~0 p. U0 J$ c
S.746, Andante Maestoso (?)
' w/ F$ {/ \  K* a) n' C9 x! vS.747, Poco adagio (from Missa Solemnis) (?)
% h8 W( j& A0 RS.748, Overture to Mozarts "Die Zauberflöte" (?)6 T, T2 _* k9 G. T  r( ~2 Q2 _
S.749, Preussischer Armeemarsch (Radovsky) (?): r& C/ Y: P0 \6 v' `4 u; C
S.750, Siege de Corynthe, Introduction (?)/ \+ a' ]/ l8 e4 u% J! f! J; Z
S.751, Nonetto e Mose, Fantasia on themes by Rossini (?)9 F) V7 @* w3 g, O' [
S.752, Gelb rollt (Rubinstein) (?)
; F* {& A$ q$ d- iS.753, Alfonso und Estrella, Act 1 (Schubert) (?)+ `1 m+ a$ ]3 w) b7 l, ^& f5 f/ Q7 d
S.754, Seconda mazurka variata (Tirindelli) [rediscovered, renumbered as S573a] (1880)
4 w, [7 N$ @0 D4 v0 K3 n& U6 C3.2.7 Pianoforte Duet& I8 K2 p7 x! m! g& h

" n3 `) U; U8 q( c7 B8 M# |S.755, Sonata (?)$ e! N0 C& }- `4 O' h( g
3.2.8 Two Pianofortes: F0 r9 P: P* _8 {; T
6 A/ U0 h7 N! f; w/ e* L  l
S.756, Mosonyis Grabgeleit (?)( S; o4 a2 G' t  F* G% ~7 v9 P  J
S.757, La triomphe funébre du Tasse (?)% I! [; b8 z( c) _. v
3.2.9 Organ
: r& h. C& W& W
% J* B. e; k8 L* |! Z1 J9 }S.758, The Organ (Herder) (?)+ ?6 q' F5 Y) Z* Q7 t4 W
S.759, Consolation [arrangement] (?)) p# v6 Q" W/ S4 y: ~7 U
S.760, Cantico del sol di St. Francesco [arrangement] (?), L) ~; m- J0 ]7 y) a
S.761, Marche funèbre (Chopin) [arrangement] (?)0 U! U( U2 Q% B5 ^- x: N
3.2.10 Songs
0 C7 `8 _0 b% T. @& T( f3 E1 C# F8 E/ B- A
S.762, Air de Chateaubriand (?)3 V. ?. F* ~* {# @* q
S.763, Strophes de Herlossohn (?): i- h8 r( N: T3 N3 Q: C
S.764, Kränze pour chant (?)3 i$ y, F; T$ F( l. I  Z
S.765, Glöcken (Müller) (?)
5 [/ O' `0 J" nS.765a, L'aube naît (Hugo) (1842?)& R: P7 T: @3 Z6 @& m. p, ?
S.766, Der Papsthymnus (?)
& v6 m# G9 S5 W5 ^- qS.767, Excelsior (?)$ p* `6 [6 ^7 [: j2 t2 u' I
3.2.11 Recitations
( K5 Z$ z3 C, b% D2 E2 P2 H+ S  a5 L8 M, Y3 _7 F0 R6 P9 h
S.768, Der ewige jude (Schubart) (?)0 e1 ~/ W: M+ _& e  k
3.3 Supplement
& n. X( V( C3 u" `3 c! g$ ]! [; r6 u( y6 ^: h
S.990, Fantasy and Fugue on the chorale "Ad nos, ad salutarem undam" (played by Liszt to Walter Bache) [solo piano, arrangement] (b. 1862)
. u1 [" C, e9 o0 `/ c3 zS.991, Waltz in A major [chamber, arrangement] (?)
0 I& k+ ?5 C: G2 V. ]3 DS.993, Wartburg Lieder (Scheffel) [orchestral, arrangement] (?)% Y3 B0 l" Y/ X2 ?) Q
S.994, Grand solo caractéristique à propos d'une chansonette de Panseron [solo piano, arrangement] (1830-32)' g* _, w; n2 U3 h$ C
S.995, Variations de bravoure sur des thémes de Paganini [unfinished] (1845)
  I0 W/ H( N. B# u& LS.996, Stabat Mater [solo piano] (1870-79 ?)
8 i0 G, G: ?9 Z, p: j/ u& M0 A' [$ d7 gS.997, 5 Variationen über Romanze aus 'Joseph' (Méhul) (by Franz Xaver Mozart, attributed to Liszt) (ca. 1834)9 ^* g3 o9 g+ O; x! R' `9 e
S.998, Adagio in C [solo piano] (1841)5 S& G- @" c3 j7 C
S.999, Andante Maestoso [organ] (?)
& l$ O7 g: S: R  W降E大调钢琴协奏曲（遗作）Piano Concerto in E flat Major Op.posth; v1 }% V/ h6 j
2首悲歌 2 Elegies
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