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S.252, Rondeau fantastique sur un thème espagnol, El Contrabandista (Garcia) (1836)- O7 a' D# G9 X% m* e% m& |. g
S.252a, La romanesca [first/second version] (ca. 1832, b. 1852)
/ s7 d* i" N1 G" E: C, \S.253, Grosse Konzertfantasie über Spanische Weisen (1853)
: \6 z+ K4 x" C1 k0 D3 `5 w$ o( o! WS.254, Rhapsodie espagnole (1863?) 西班牙狂想曲
A: T, z* O; ? H; q3 {0 [S.254x, Rapsodie espagnole [orchestrated by Feruccio Busoni] (?)( P# c: n! [2 d* |; j
1.8 Piano Duet(钢琴二重奏)8 y7 c1 m D. C
9 C# h; m; O0 ~- {/ W8 k
S.255, Festpolonaise [now S619a] (1876)' O3 n) `8 r8 v. {' k" ~
S.256, Variation on the Chopstick Theme (1880)
2 p5 L, _$ w1 D8 hS.256a, Nottorno [Not by Liszt?] (?)5 b6 J2 U4 i, X9 s( s6 {- e0 s
1.9 Two Pianos(双钢琴)+ B. T6 e3 O! a0 K; G- I! O
( P5 \& J9 |; F* M: x+ V/ JS.257, Grosses Konzertstück über Mendelssohns Lieder ohne Worte (1834)( r% S& C, o6 F* b6 I/ p e
S.258, Concerto pathétique (b. 1856) e小调钢琴协奏曲“悲怆”
6 D& @; Z( U M1.10 Organ(管风琴)
( Z7 w" {+ l# p
( }5 ?5 l% \: E) H" }& b& m5 WS.259, Fantasy and Fugue on the chorale Ad nos, ad salutarem undam (1850)4 r0 @- E2 m! B+ X8 B
S.260, Präludium und Fuge über das Thema BACH [first/second version] (1855, 1870)1 o: t% V% ?0 ?
S.261, Pio IX. Der Papsthymnus (1863?); U/ l! O) G+ J1 j; e
S.261a, Andante religioso (1861?)$ T& s3 @) H, |; \
S.262, Ora pro nobis. Litanei (1864)
& S+ T n' T! F3 T; NS.263, Resignazione (1877), m7 V4 v4 T2 @( W: [: i" i
S.264, Missa pro organo lectarum celebrationi missarum adjumento inserviens (1879)
* b4 G: H- u1 O+ d! J! wS.265, Gebet (1879)
9 J* h1 e$ N$ G+ ], @! t/ tS.266, Requiem für die Orgel (1883)
. L+ j9 @" S( a8 ?. o% vS.267, Am Grabe Richard Wagners (1883)( Q( @9 s1 b$ k" ^; f8 |$ v( F
S.268, Zwei Vortragsstücke [2 pieces] (1884); X7 p; m$ B5 F+ d' i7 D
1.11 Songs(歌曲)
% Y3 F/ a* Y+ E, v- z2 Y# Q* g% S
1 O& Z8 e O. j( ~; XS.269, Angiolin dal biondo crin (Marchese C. Bocella) [first/second version] (1839, ?)9 S; c! D7 H$ [: t8 Y( ~% A( |* n
S.270, Three Petrarch Sonnets [3 songs, first/second version] (1844–45, 1854]
) \- ]% r8 V1 ]* f5 n6 ^' ^* b7 X* M1 eS.271, Il m'aimait tant (Delphine Gay) (1840?)
, g7 i$ j6 `8 A$ `S.272, Am Rhein im schönen Strome (Heine) [first/second version] (1840?, 1854)# L6 b2 f6 l' O* L h: D; s
S.273, Die Lorelie (Heine) [first/second version] (1841, ?)5 k8 z! C9 A* M r, E; \/ o* \
S.274, Die Zelle in Nonnenwerth [first/second version revised 1862] (b. 1841, 1857)* Y# s& ^2 p: a+ d5 a
S.275, Mignons Lied (Kennst du das Land) (Goethe) [first/second/third version] (1842, 1854, 1860): a+ Q0 F; l, c" N" c6 W& E$ p
S.276, Comment, disaient-ils (Hugo) [first/second version] (1842, ?)
: W5 ^, R# I% K' ?% B. K7 LS.277, Bist du (Prince E. Metschersky) [first/revised version] (1843, ca. 1878-79)% s( o+ u1 P$ h4 }6 _
S.278, Es war ein König in Thule (Goethe) [first/second version] (1842, ?)+ _; O: B, j% q/ H4 H
S.279, Der du von dem Himmel bist (Goethe) [first/second/third version] (1842, ?, 1860)
, S6 p; h# O8 }3 j) `$ u! TS.280, Freudvoll und leidvoll (Goethe) [first/second/third version] (1844, 1848?, ?)
4 p9 Q. s6 O& _6 [S.281, Die Vätergruft (1844)
1 E' ~; \9 A+ G, S8 ?0 @S.282, O quand je dors (Hugo) [first/second version] (1842, ?)( t% T; D5 f( e0 y# F
S.283, Enfant, si j'etais roi (Hugo) [first/revised version] (1844?, ?)# _3 q6 v9 K8 F
S.284, S'il est un charmant gazon (Hugo) [first/revised version] (1844?, ?)
4 c1 [$ L0 {3 R) MS.285, La tombe et la rose (Hugo) (1844?)* v' u0 r- K2 X! F) t
S.286, Gastibelza, Bolero (Hugo) (1844?)
6 v) F& O: \9 Q" rS.287, Du bist wie eine Blume (Heine) (1843?)
5 u4 X( X1 x( d1 ~! l1 {* OS.288, Was Liebe sei (C. von Hagn) [first/second/third version] (1843?, ca. 1855, 1878–79)
# E4 p. g$ s \. R4 m/ NS.289, Vergiftet sind meine Lieder (Heine) [first/revised version] (1842, ?)
6 Y' w$ \6 R0 B& M$ ]S.290, Morgens steh ich auf und frage (Heine) [first/revised version] (1843?, ca. 1855)9 O5 b# s; z5 H
S.291, Die todte Nachtigall (Kaufmann) [first/revised version] (1843?, 1878)* A, q9 @: J1 v2 O1 o! t( u6 o
S.292, Songs from Schiller's Wilhelm Tell [3 songs, first/revised version] (1845?, ?)* _) s! k$ d5 d1 |% K
S.293, Jeanne d'Arc au bûcher (Dumas) [first/revised version] (1845, 1874)9 q0 A- O; p% C/ w6 W$ T' C
S.294, Es rauschen die Winde [first/second version] (ca. 1845, b. 1856)
6 i9 `: I. d( a2 }: ]S.295, Wo weilt er? (Rellstab) (1844)
2 s) O8 `* j* q qS.296, Ich möchte hingehn (Herwegh) [revised later] (1845)" w! D. e& c: z6 w
S.297, Wer nie sein Brot mit Tränen ass (Goethe) [first/revised version] (ca. 1845): k a7 N/ H8 G4 x; q- M2 [
S.298, O lieb so lang du lieben kannst (Freiligrath) (1845?)2 { T) G& d9 p. |- v7 W
S.299, Isten veled (Farewell) (Horvath) [first/revised version] (1846–47)
' {, f/ Q0 l6 W k( `S.300, Le juif errant (Béranger) (1847)
" b+ L2 B2 E2 k, r# }5 ?! R, B4 RS.301, Kling leise, mein Lied [first/revised version] (1848)
/ G% v* [, P. {# P8 G8 ^+ VS.301a, Oh pourquoi donc (Mme Pavloff) (1843)
5 l9 c/ a B3 o& W% L2 \9 @9 U5 eS.301b, En ces lieux. élégie (E. Monnier) (1844)4 O! n `3 w# {( V/ @$ h3 B, u
S.302, Die Macht der Musik (Duchess Helen of Orleans) (1848–49)
9 c$ Q) }% I3 e3 ?* e* }S.303, Weimars Toten. Dithyrambe (Schober) (b. 1848)+ [/ c s+ C0 Y
S.304, Le vieux vagabond (Béranger) (b. 1848)
. [4 C3 x; s T5 C7 Z8 ZS.305, Schwebe, schwebe, blaues Auge [first/revised version] (1845, ?)
/ |# r/ N: @* R4 d$ wS.306, über allen Gipfeln ist Ruh [first/revised version] (1847?, ?)- Z3 m$ A9 ~- x2 ~7 i. k# D% H6 u9 J
S.306a, Quand tu chantes bercée (Hugo) (1843)
% {5 l) J8 p' a+ ?S.307, Hohe Liebe (Uhland) (1850?)
2 u/ N$ a: q+ s2 |3 OS.308, Gestorben war ich (Seliger tod) (Uhland) (1850?)
* `) ]. q2 g# ?; N* tS.309, Ein Fichtenbaum steht einsam (Heine) [first/revised version] (ca. 1845, 1854)4 S6 r8 y6 ^5 V. m9 I
S.310, Nimm einen Strahl der Sonne (1849)& b. S2 g1 i% S1 t
S.311, Anfangs wollt' ich fast verzagen (Heine) (1849)
: l' `& ^ }7 k: D! f6 [1 l. ]% sS.312, Wie singt die Lerche schön (Hoffmann von Fallersleben) (1856?); O9 A, P" |' u4 L; @8 g" V+ j w
S.313, Weimars Volkslied (Cornelius) (1857)
* S6 }. k' R5 V+ bS.314, Es muss ein wunderbares sein (Redwitz) (1852)" \8 P$ `+ z4 _
S.315, Ich liebe dich (Rückert) (1857)
. g+ A- R5 _; l- }. y6 MS.316, Muttergottes - Sträusslein zum Mai-Monate (Müller) [2 songs] (1857)7 a9 L, I/ q1 s% M8 ?2 Q
S.317, Lasst mich ruhen (Hoffmann von Fallersleben) (1858?)4 ]* O1 \2 O% u* u" J
S.318, In Liebeslust (Hoffmann von Fallersleben) (1858?)7 `3 j" }" l" u A- |: K4 f# z* z
S.319, Ich scheide (Hoffmann von Fallersleben) (1860)0 V8 w9 w; j! j3 j8 k& m2 q2 K8 ^
S.320, Die drei Zigeuner (Lenau) (1860)
+ `7 I' }4 P, l3 z& HS.321, Die stille Wasserrose (Geibel) (1860?)
- S$ q' s) T! n) U8 L W& M" E# PS.322, Wieder möcht ich dir begegnen (Cornelius) (1860)7 W! X6 L; h9 O, d5 V4 ]
S.323, Jugendglück (Pohl) (1860?)' K) ~9 N/ r5 G9 L8 C; J5 z+ M% j
S.324, Blume und Duft (Hebbel) (1854) h* h+ X, P; k9 r1 ]' u z
S.325, Die Fischertochter (Count C. Coronini) (1871)
& h9 _: t8 V0 m4 {1 T$ zS.326, La perla (Princess Therese von Hohenlohe) (1872)
6 B! ^. z/ U5 ?& gS.327, J'ai perdu ma force est ma vie. 'Tristesse' (de Musset) (1872)' c0 I& s* P% T
S.328, Ihr Glocken von Marling (Emil Kuh) (1874)
! f1 o$ \2 T+ c. M) O- b5 IS.329, Und sprich (Biegeleben) [revised 1878] (1874)
; Y4 W+ k" K; e6 V! P+ QS.330, Sei Still (Henriette von Schorn) (1877)7 W5 k% u X: J# s
S.331, Gebet (Bodenstedt) (1878?): f+ ?0 {/ a z& ?0 {' S; k
S.332, Einst (Bodenstedt) (1878?)
: H. R! w/ D! J9 P# m3 CS.333, An Edlitam (Bodenstedt) (1878?)
' M7 j# p4 R* o8 Z8 SS.334, Der Glückliche (Bodenstedt) (1878?)% Z' o, ~/ Q+ Z
S.335, Go not, happy day (Tennyson) (1879)
: V' k# }+ g6 i9 k" t& I7 `8 gS.336, Verlassen (G.Michell) (1880)& r1 @$ e& j8 O4 I& \% [& |
S.337, Des tages laute stimmen schweigen (F. von Saar) (1880)1 c9 `2 m& {. J8 K9 I& }
S.338, Und wir dachten der Toten (Freiligrath) (1880?)- {& A' o+ p4 }7 l9 `, _5 \
S.339, Ungarns Gott. A magyarok Istene (Petófi) (1881)0 ^& g# i& z Q4 v
S.340, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)' P4 ?0 c1 y, l" g9 l
S.340a, Ne brani menya, moy drug. (Tolstoy) (1886)2 |) o5 Z+ e3 j% z9 F
1.12 Other Choral Works(其他合唱作品)- b+ d2 {$ V1 U3 _2 \2 t4 D% H" U
S.341, Ave Maria IV (1881)$ H- V% N% f4 D) C5 V. A: l1 L7 J
S.342, Le crucifix (Hugo) (1884)
; l8 w8 X9 P' u: ]/ J nS.343, Sancta Caecilia (1884)- v, c5 B& M( I: P) ]* c) v2 e+ ?
S.344, O Meer im Abendstrahl (Meissner) (1880)
+ X' i- Y& V* nS.345, Wartburg-Lieder from Der Braut Willkomm auf Wartburg (Scheffel) [7 chorals] (1872)
5 V$ S$ ~. r6 l5 Q1.13 Recitations(叙事歌谣颂诗)$ V( l$ [# d' V! Y) w
S.346, Lenore (Bürger) (1858)
* ]! Q# x" x1 [S.347, Vor hundert Jahren (F. Halm) (1859)5 N' q/ F/ l# k# ^* |" k
S.348, Der traurige Mönch (Lenau) (1860)3 k! t' c$ J# s" g! a2 @
S.349, Des toten Dichters Liebe (Jókai) (1874)
/ }3 v. l' s# S! A/ n! C8 @1 fS.350, Der blinde Sänger (Alexei Tolstoy) (1875)$ r' S! g9 X c1 E
2. Arrangements, Transcriptions, Fantasies, etc.8 l2 E. N4 B. T- {$ Y7 F) ]
' F# ?; g, @% X5 e* v$ `
2.1 Orchestral Works(管弦乐作品)
& ]6 J& O7 }4 J( p1 y
0 J, c/ S+ N$ v6 e* `" w2.1.1 Bülow2 W+ W N6 X1 L3 e
' ]# a3 F$ J$ T, s
S.351, Mazurka Fantasie, Op. 13 (1865)
c/ N+ h' K! f5 B/ f( n& s1 H; l2.1.2 Cornelius% _. c! v& ]7 f5 m
t1 y" k3 S5 }7 B, i- d$ V3 }; ^S.352, Second Overture to The Barber of Baghdad [completed from Cornelius's sketches] (1877)
" A" A3 a% {0 `+ o7 O2.1.3 Egressy and Erkel" V3 Q- D/ C; ^
2 Q3 q) N; X1 b# d3 U5 j) C
S.353, Szózat und Hymnus (1873)* {( b, |6 o2 C2 a) U
2.1.4 Liszt6 P: f) |5 t' X" W0 `. C O
* z$ @% ]$ E$ Y9 N9 ?+ [% c6 l+ sS.354, Deux légendes (1863)* P9 {' n1 e" k/ M2 v) `0 y+ U
S.355, Vexilla regis prodeunt (1864)2 X0 t, E# M6 L0 H
S.356, Festvorspiel (1857)
+ ]4 `! J8 V' hS.357, Huldigungsmarsch [first/second version] (1853, 1857)7 P9 ^# a1 H; H) L1 T( c1 b6 x
S.358, Vom Fels zum Meer. Deutscher Siegesmarsch (1860)- ~5 n O8 X- K
S.359, 6 Rapsodies hongroises (Hungarian Rhapsodies) (?)
4 G3 o# J s! p) GS.360, A la chapelle Sixtine (Liszt, Allegri & Mozart) [orchestral arrangement of S461, based on Mozart's Ave verum corpus and Allegri's Misere] (1862)2 A- s: N: ~* @# }+ E
S.361, Pio IX. Der Papsthymnus (ca. 1863)/ M. E* c$ [2 a0 z$ h8 ?. ^
S.362, Benedictus and Offertorium from the Hungarian Coronation Mass [from S11] (1875)( ]$ m+ m3 o+ g# N
2.1.5 Schubert: B, a2 ^7 E$ X3 w7 U- s% u
% d N( W4 ?% K- q! \7 rS.363, 4 Marches [from Opp. 40, 54, 121] (1859-60). c/ m/ j( D: m( v# c; `0 `
2.1.6 Zarembski1 e! q! j8 y* \3 V2 Q
( ~9 f7 o+ h( z4 SS.364, Danses galiciennes (1881)
+ T) j: B* j: d3 Z* V2.2 Pianoforte and Orchestra(钢琴与乐队)
2 a* H! ]4 S `7 Y0 l1 r) M% A- @
, B+ M, _, C, y! q. a2.2.1 Liszt
o; t. A/ R C6 P$ ~/ i" q
, h" E5 t1 G! w9 oS.365, Grand solo de concert [prepared by Leslie Howard] (1850)
# t* c" L. ~# ?9 k1 tS.365a, Concerto pathétique (No. 4) in E minor [Liszt, Reuss version] (1885-86); F- m: Z' m* [- t6 s0 }! ]% ~9 C
S.365b, Hexaméron, Morceau de concert [orchestration completed by Leslie Howard] (ca. 1839)
3 d4 m W+ |3 k3 B( ^! L3 T2.2.2 Schubert
( u( o7 ]( C, k: t) |2 s% p5 r8 ?( x" p1 V
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
Q& ~1 J; h0 _, D7 Q* D4 F5 _9 x2.2.3 Weber! [, G& u" S) O+ _& \/ D9 ^
6 O9 }2 m+ F9 Z
S.367, Polonaise brillante, Op. 72 (1849) 华丽波洛涅兹 为钢琴与乐队而作
2 q# H0 q2 x: j, f( ~+ a2.3 Songs with Orchestra(声乐与乐队)5 t) W; q* n! \7 l. T/ _ V! u
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