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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》。
) R$ Q& |$ Q6 C* R4 A. {$ {# j李斯特全部作品目录-1- E  n4 A' S; B

: f- Y. f2 B, h; X# i/ X+ s1.1 Opera(歌剧)
5 R# {" ~$ l7 q7 c; F/ \- C' F
. u, m# c8 K) s% Z! w, R' BS.1, Don Sanche, ou Le chateau de l'amour (1824–25) 歌剧《唐切桑》5 |- Q8 ]" Q$ r* l
1.2 Sacred Choral Works(神圣的合唱作品)2 j9 a4 E) j! h; j$ v
. }; ~! T# K+ O
S.2, The Legend of St. Elisabeth (1857–62) 清唱剧《圣伊丽莎白传奇》
% v. g# L6 L8 Q/ s9 ^S.3, Christus (1855–67) 清唱剧《基督》
' n$ z/ x+ i' X" {) H0 \S.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》: h5 q& b8 X- }5 ]
S.5, Die heilige Cäcilia (1874)& _4 F% y/ Y2 `' B3 ?
S.6, Die Glocken des Strassburger Münsters (Longfellow) (1874)
' J( t9 s' U0 [& CS.7, Cantantibus organis (1879)
) x/ m( Y; w( O/ q: |S.8, Missa quattuor vocum ad aequales concinente organo [first/second version] (1848, 1869)2 D# O9 z0 P2 ]: D
S.9, Missa solennis zur Einweihung der Basilika in Gran (Gran Mass) [first/second version] (1855, 1857–58)
- O9 o. C% U3 N% S$ b7 M& rS.10, Missa choralis, organo concinente (1865)
1 R6 T0 ?( ?% ]) x  k( fS.11, Hungarian Coronation Mass (1866–67)
$ K3 Q9 X4 H9 j2 US.12, Requiem (1867–68)" t- K& D, Z7 g0 Z: x' z7 O
S.13, Psalm 13 (Herr, wie lange ?) [first/second/third verion] (1855, 1858, 1862)$ B1 k1 ]2 U* Z1 ~6 f6 h: V: }
S.14, Psalm 18 (Coeli enarrant) (1860)) y3 H  p. m" B3 S- i2 ]6 g
S.15, Psalm 23 (Mein Gott, der ist mein Hirt) [first version: chorus, soloist & orchestra] [second version: chorus, soloist & violin, piano, harp, organ] (1859, 1862)
  I+ b) h' X/ qS.15a, Psalm 116 (Laudate Dominum) (1869)4 Y4 P2 @8 r9 |8 R
S.16, Psalm 129 (De profundis) (1880–83)' S: E$ P! r) |6 V0 A
S.17, Psalm 137 (By the Rivers of Babylon) [first/second version] (1859–62)7 w9 {8 j/ a, y( e
S.18, Five choruses with French texts [5 choruses] (1840–49)0 t9 |2 K* T/ T9 X! p: y
S.19, Hymne de l'enfant à son réveil (Lamartine) [first/second version] (1847, 1862)) Z* {7 _7 S4 i8 W, P4 P
S.20, Ave Maria I [first/second version] (1846, 1852)2 _5 F" Y: G0 V5 K- X8 O! B
S.21, Pater noster II [first/second version] (1846, 1848)4 t/ L8 R; u! a, ^# ]
S.22, Pater noster IV (1850)
3 M' E. E, a8 e/ uS.23, Domine salvum fac regem (1853)- t9 {- f) [( r' r: y
S.24, Te Deum II (1853?)6 s, G/ N) V& ~
S.25, Beati pauperes spiritu (Die Seligkeiten) (1853)2 B: \# |2 C' c4 B# l1 T
S.26, Festgesang zur Eröffnung der zehnten allgemeinen deutschen Lehrerversammlung (1858)3 ~# S: o4 E  p% g
S.27, Te Deum I (1867)
- j6 ^8 T6 o2 o, K- u* \; w& kS.28, An den heiligen Franziskus von Paula (b. 1860)
" _0 Y% Y! O9 M, rS.29, Pater noster I (b. 1860)  G- M, G, u$ j% [# d. F, H* ^
S.30, Responsorien und Antiphonen [5 sets] (1860)8 D  M6 T2 U7 ]' E7 N
S.31, Christus ist geboren I [first/second version] (1863?)
% Z& |4 w9 M1 R) X" ?6 s9 O* pS.32, Christus ist geboren II [first/second version] (1863?)8 ~( S0 J4 r3 `7 u0 x5 d8 B  z  t
S.33, Slavimo Slavno Slaveni! [first/second version] (1863, 1866)
0 \  t6 ~7 P4 x$ ?3 o& @S.34, Ave maris stella [first/second version] (1865–66, 1868)
& o7 I) G* R- }; a3 ~" PS.35, Crux! (Guichon de Grandpont) (1865)3 W: Y; l) q$ ~2 s0 X3 a  S) X' `
S.36, Dall' alma Roma (1866); d' A8 z, R1 w2 v) T
S.37, Mihi autem adhaerere (from Psalm 73) (1868)) F: H) ^& e1 P- t
S.38, Ave Maria II (1869)
; j# o& r4 r0 f$ F/ u7 sS.39, Inno a Maria Vergine (1869)( i  p* i# U4 D. x
S.40, O salutaris hostia I (1869?)
5 g# f# X, W" V% E4 ZS.41, Pater noster III [first/second version] (1869)
% I$ [1 S, ]" C  `0 hS.42, Tantum ergo [first/second version] (1869)
+ ~- O) V  C4 t7 T5 HS.43, O salutaris hostia II (1870?)
1 A; u( c8 f- q3 kS.44, Ave verum corpus (1871)2 [1 P( G0 X, y* B$ J
S.45, Libera me (1871)
# N# b" Q/ |' VS.46, Anima Christi sanctifica me [first/second version] (1874, ca. 1874)) Z% s; h( J6 Z' o( }3 S& E4 U: A
S.47, St Christopher. Legend (1881)7 A2 V# ?: a/ m" Y3 j
S.48, Der Herr bewahret die Seelen seiner Heiligen (1875)# z- N8 ~3 y* n* n7 g* H
S.49, Weihnachtslied (O heilige Nacht) (a. 1876)7 m) w6 E! V, F0 @% b
S.50, 12 Alte deutsche geistliche Weisen (Chorales) [12 chorals] (ca. 1878-79)
; O$ b/ G' @& M- FS.51, Gott sei uns gnädig und barmherzig (1878)
8 Z! p' N( e! f+ X  ?- O3 h9 uS.52, Septem Sacramenta. Responsoria com organo vel harmonio concinente (1878)
/ e+ j: t( ?2 t8 k( ?' y+ {. bS.53, Via Crucis (1878–79)5 ]. b! P* p  @+ z
S.54, O Roma nobilis (1879)6 s* e, r2 @) S: v. Z5 K' s* `
S.55, Ossa arida (1879)
' ~; A% \1 S* [9 r3 kS.56, Rosario [4 chorals] (1879)
- B' B6 B" D* y$ X$ PS.57, In domum Domino imibus (1884?)3 J! ?7 ^+ a5 ]. a  `/ z" P
S.58, O sacrum convivium (1884?)# P2 ~, E% y+ P* ~- p8 f
S.59, Pro Papa (ca. 1880)/ l) U3 C0 u9 A+ p0 L- D
S.60, Zur Trauung. Geistliche Vermählungsmusik (Ave Maria III) (1883)
: }1 Q+ R/ c* w# x7 US.61, Nun danket alle Gott (1883)
# S' h& Z& o3 A8 lS.62, Mariengarten (b. 1884)6 @+ b7 X. z& X& W
S.63, Qui seminant in lacrimis (1884)% R! i' G! v4 b* d0 o& p/ z) K
S.64, Pax vobiscum! (1885)
$ j2 {/ ~0 H; j- e: V. n* @4 pS.65, Qui Mariam absolvisti (1885)  C9 Q" ^# N, |
S.66, Salve Regina (1885)' U  L  o$ B! k; K
1.3 Secular Choral Works(世俗的合唱作品)
9 B  L$ G- I( Z" L. Y9 C; [8 ~S.67, Beethoven Cantata No. 1: Festkantate zur Enthüllung (1845)  L. z5 p4 j- M
S.68, Beethoven Cantata No. 2: Zur Säkularfeier Beethovens (1869–70)
5 h4 T  W3 H8 e. k9 t2 o8 [S.69, Chöre zu Herders Entfesseltem Prometheus (1850)3 {0 p4 \+ O5 p
S.70, An die Künstler (Schiller) [first/second/third verion] (1853, 1853, 1856)) L, q$ w. ]$ K8 \& I4 \# U
S.71, Gaudeamus igitur. Humoreske (1869), v! W3 c$ n/ z) E7 F6 @- e
S.72, Vierstimmige Männergesänge [4 chorals] (for Mozart-Stiftung) (1841)
9 \+ M/ U) u/ Q3 t/ rS.73, Es war einmal ein König (1845)9 m* ?2 L) B% W. @0 l
S.74, Das deutsche Vaterland (1839)' B/ X5 Z2 R# D5 y/ \& R
S.75, über allen Gipfeln ist Ruh (Goethe) [first/second version] (1842, 1849)
6 M1 R- |+ A  N# ]& yS.76, Das düstre Meer umrauscht mich (1842)
" P9 [2 g3 k2 ~" @, Y' z; dS.77, Die lustige Legion (A. Buchheim) (1846)
  \1 T8 N! v/ xS.78, Trinkspruch (1843)
6 `% {/ O9 R, sS.79, Titan (Schobert) (1842–47)
5 d; Y5 K) k& h. w! h3 c! HS.80, Les quatre éléments (Autran) (1845)
0 o3 S( q( l) e8 z4 y+ _& ], M! iS.81, Le forgeron (de Lamennais) (1845), C, E, h) w$ U; D. [' t
S.82, Arbeiterchor (de Lamennais?) (1848)* g# h! ?" \& p' s8 U9 x
S.83, Ungaria-Kantate (Hungaria 1848 Cantata) (1848). Y6 {! I2 v2 F" s! \* d( D
S.84, Licht, mehr Licht (1849). j4 T/ W/ x: @0 a  o4 _1 i0 L
S.85, Chorus of Angels from Goethe's Faust (1849)
+ i9 W& N0 B/ O5 cS.86, Festchor zur Enthüllung des Herder-Dankmals in Weimar (A. Schöll) (1850)0 ~: s% W, S% k) L
S.87, Weimars Volkslied (Cornelius) [6 versions] (1857)
3 a) {2 A; l8 [4 R  o. nS.88, Morgenlied (Hoffmann von Fallersleben) (1859)( _; ?6 [: n6 Y9 ]  J
S.89, Mit klingendem Spiel (1859–62 ?)
4 Q' y( e+ h3 {; {7 J7 e0 ]3 kS.90, Für Männergesang [12 chorals] (1842–60). d! @4 [9 |3 B: p5 n9 }
S.91, Das Lied der Begeisterung. A lelkesedes dala (1871)4 i& Z/ G) b0 r* O. ~# ]0 {0 f, y+ ^
S.92, Carl August weilt mit uns. Festgesang zur Enthüllung des Carl-August-Denkmals in Weimar am 3 September 1875 (1875)
/ y: i+ |6 ~( I$ p! nS.93, Ungarisches Königslied. Magyar Király-dal (ábrányi) [6 version] (1883)2 n9 y4 K. T  ~* u9 R+ K" U6 J
S.94, Gruss (1885?)
% Q7 z- w1 J  w! A" h. @1.4 Orchestral Works(管弦乐作品)
$ n& b3 W. H* E& w- E
" }+ c! ^) O0 O' P) r& X1.4.1 Symphonic Poems(交响诗)
' O; j1 s; I) ~
7 [4 _- W+ d! n1 j$ ]" J8 j: Q; ?S.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/ U. q1 v2 R; c' e7 O- j. r8 D
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》, z, D; Y/ t/ P* q6 O
S.97, Poème symphonique No. 3, Les Préludes (1848) 第三交响诗“前奏曲”% x* T5 V# C) W8 W
S.98, Poème symphonique No. 4, Orpheus (1853–54) 第四交响诗 《奥菲欧》
0 e, A& l& T. D+ N  P7 ?3 {- gS.99, Poème symphonique No. 5, Prometheus [first/second version] (1850, 1855) 第五交响诗《普罗米修斯》
; r, L% A3 F7 L4 jS.100, Poème symphonique No. 6, Mazeppa [first/second version] (1851, b. 1854) 第六交响诗《马捷帕》; j* ]: H3 v3 l; I! e% f
S.101, Poème symphonique No. 7, Festklänge [revisions added to 1863 pub] (1853) 第七交响诗《节日之声》
( j) d( f( }/ U7 VS.102, Poème symphonique No. 8, Héroïde funèbre [first/second version] (1849–50, 1854)  第八交响诗《英雄的葬礼》
' |& X. r6 G( Y; n! u+ dS.103, Poème symphonique No. 9, Hungaria (1854) 第九交响诗《匈牙利》0 r/ s3 T5 S" r# Z5 H: T1 J
S.104, Poème symphonique No. 10, Hamlet (1858) 第十交响《哈姆雷特》
, U+ G, ?- n" v6 \" p2 ?& n* KS.105, Poème symphonique No. 11, Hunnenschlacht (1856–57) 第十一交响诗《匈奴之战》; P6 `" |. I! `' X7 ?, ?3 n* e9 q# R
S.106, Poème symphonique No. 12, Die Ideale (1857) 第十二交响诗《理想》
/ D) P( h7 ^  s, u/ w" }1 S1 F8 pS.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》
) I8 A- S+ r: e2 i8 ^1.4.2 Other Orchestral Works(其他管弦乐作品)0 M6 O6 H9 ?* f" B7 n

2 p, B5 D$ q6 t* kS.108, Eine Faust-Symphonie [first/second version] (1854, 1861)1 @% W% e/ s! [5 E! C5 t, d
S.109, Eine Symphonie zu Dante's Divina Commedia (1855–56)
, z; h" q: s* q: w. J! b+ {S.110, Deux épisodes d'apres le Faust de Lenau [2 pieces] (1859–61)( S0 O# [/ J, X6 f, q' N3 q: L+ W" \
S.111, Zweite Mephisto Waltz (1881)* W6 {: e2 }" a# C; T
S.112, Trois Odes Funèbres [3 pieces] (1860–66)3 Y0 j& }# k; B
S.113, Salve Polonia (1863)
, o  _2 c: s' ^S.114, Künstlerfestzug zur Schillerfeier (1857)( P: A( @. Z+ }1 n2 z) O5 ^  j/ }/ _
S.115, Festmarsch zur Goethejubiläumsfeier [first/second version] (1849, 1857)/ n% t( Y: k8 i/ u& p
S.116, Festmarsch nach Motiven von E.H.z.S.-C.-G. (1857)$ y' t* t& C0 L3 d
S.117, Rákóczy March (1865)+ j0 \( d, r; L' y$ [5 D; _: k3 e
S.118, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (am 8 Juni 1867) (1870)- j3 P4 _& t2 C/ z" C% ^
S.119, Ungarischer Sturmmarsch (1875)3 @( q6 N5 S1 c. l' i# K3 U, e
1.5 Piano and Orchestra(钢琴与乐队)
" i/ g0 c* c3 q- I+ d9 \1 ^2 W: Q
6 N$ T( c% g2 R9 [1 n/ n! z
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)
+ o# j: h, T* \, h9 }$ B  [( _" vS.121, Malédiction (with string orchestra) (1833)  诅咒  钢琴与弦乐队/ \: D$ ~/ k6 @+ ]* `& k5 g- Q" s9 U
S.122, Fantasie über Beethovens Ruinen von Athen [first/second version] (1837?, 1849)
8 M' J: I( N; b1 d- T/ D7 OS.123, Fantasie über ungarische Volksmelodien (1852) 匈牙利民歌主题幻想曲 为钢琴与乐队而作$ T; \1 d( B$ V3 K" C5 ~. c
S.124, Piano Concerto No. 1 in E flat [first/second version] (1849, 1856) 降E大调第一钢琴协奏曲
0 }/ A, {4 t( Z/ p( HS.125, Piano Concerto No. 2 in A major [first/second version] (1839, 1849) A大调第二钢琴协奏曲1 s$ C' j$ x. t) u0 R% g
S.125a, Piano Concerto No. 3 in E flat (1836–39)4 }) A: ?: {; a
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+ ^* K& P6 G, j
S.126a, Piano Concerto "In the Hungarian Style" [probably by Sophie Menter] (1885)) B1 E: v& {# m0 a* t. r
1.6 Chamber Music(室内乐等)2 Z# U3 i8 x4 F  ~; C, i
; d+ E6 T1 q- v/ u1 K0 \
S.126b, Zwei Waltzer [2 pieces] (1832)
- y& U& [7 ?, b/ c: N& T. `! F0 C7 O+ ^" T/ ]0 q" M  y# r
S.127, Duo (Sonata) - Sur des thèmes polonais (1832-35 ?)
) m/ d1 L; J. [5 U# }2 uS.128, Grand duo concertant sur la romance de M.Lafont Le Marin [first/second version] (ca. 1835-37, 1849)4 ~9 P5 R+ R- ?6 u# O
S.129, Epithalam zu Eduard. Reményis Vermählungsfeier (1872): N( K. _# X5 l0 R. D. ~
S.130, élégie No. 1 [first/second/third version] (1874)
8 A  s! \! n, T% q5 `6 |S.131, élégie No. 2 (1877). r: g/ {. t8 f7 o
S.132, Romance oubliée (1880)' g5 S% H& ?- x0 A- i1 X
S.133, Die Wiege (1881?)5 q, Y8 ?7 h5 Z! d( I* ?
S.134, La lugubre gondola [first/second version] (1883?, 1885?). A) r0 f3 J; D& X5 h5 K
S.135, Am Grabe Richard Wagners (1883)
6 X. \2 @/ M  I: ~  I+ L1.7 Piano Solo
% }  E' j4 l4 o( ^* U7 H! ?
5 {7 E0 K  Y- {# p1.7.1 Studies(钢琴练习曲)
$ k) ?+ r5 s- G0 q0 c2 n) Y" U; O8 |5 ]- E) n& a: `
S.136, études en douze exercices dans tous les tons majeurs et mineurs [first version, 12 pieces] (1826) 12首钢琴练习曲: N5 R3 y8 l+ ]% E
S.137, Douze grandes études [second version, 12 pieces] (1837) 《12首超技练习曲》# G: c( u0 ?/ @3 V$ \
S.138, Mazeppa [intermediate version of S137/4] (1840) 练习曲“玛捷帕”5 V" ?* L, ]  a2 p& U9 p# P
S.139, Douze études d'exécution transcendante [final version, 12 pieces] (1852) 12首超技练习曲* V. u6 i7 \6 i+ K' j+ W
S.140, études d'exécution transcendante d'après Paganini [first version, 6 pieces] (1838) 帕格尼尼超技练习曲
% c/ F: H2 ^; @5 y! b& }S.141, Grandes études de Paganini [second version, 6 pieces] (1851)  6首帕格尼尼大练习曲/ K  c3 k0 r6 }# d1 Y
S.142, Morceau de salon, étude de perfectionnement [Ab Irato, first version] (1840) 高级练习曲“沙龙小品”
: a+ |: S% y3 KS.143, Ab Irato, étude de perfectionnement [second version] (1852) 高级练习曲“愤怒”0 n* u& T) D( d" S9 R
S.144, Trois études de concert [3 pieces] (1848?)  3首音乐会练习曲
, J' I5 ~4 F2 P1 k" t. c1.    Il lamento* p6 c. j: n! I% f: y
2.    La leggierezza
1 v3 v" G3 Z8 {3.    Un sospiro" d* P* _# t+ D' \3 m
S.145, Zwei Konzertetüden [2 pieces] (1862–63)  2首音乐会练习曲
3 j4 Z. i1 Z8 D1.    Waldesrauschen
( F. [8 C% m& J8 E2.    Gnomenreigen" T& n$ @6 _; G1 V; i! Y' n
S.146, Technische Studien [68 studies] (ca. 1868-80)  钢琴技巧练习
: m( `1 c/ z: ^1.7.2 Various Original Works(各种原创作品)
$ N. T7 k4 \+ m3 s8 y
1 F. [  M+ M) A+ M' |7 CS.147, Variation on a Waltz by Diabelli (1822)  狄亚贝利圆舞曲主题变奏曲5 O8 w1 E, Q& `. u- p
S.148, Huit variations (1824?) 降A大调原创主题变奏曲
7 }1 {8 r) a9 a, v0 mS.149, Sept variations brillantes dur un thème de G. Rossini (1824?)
1 z) A2 M3 R# a2 IS.150, Impromptu brilliant sur des thèmes de Rossini et Spontini (1824) 罗西尼与斯蓬蒂尼主题即兴曲
: x6 P, y' G0 s( q" H0 QS.151, Allegro di bravura (1824) 华丽的快板% g; T+ P* K& d( b) b) h8 m, H7 y
S.152, Rondo di bravura (1824) 华丽回旋曲2 Y, b! [& x6 W9 ?; c
S.152a, Klavierstück (?)
) l% ?/ ~% h5 A# s8 N( K' US.153, Scherzo in G minor (1827) g小调谐谑曲& O8 q( f/ Y0 o+ H- p9 b; x
S.153a, Marche funèbre (1827)
! @! D& G+ p3 US.153b, Grand solo caractèristique d'apropos une chansonette de Panseron [private collection, score inaccessible] (1830–32) [1]
+ ?) O+ H) c- D" QS.154, Harmonies poétiques et religieuses [Pensée des morts, first version] (1833, 1835) 宗教诗情曲
! W5 ~2 e, Q) w7 i0 }S.155, Apparitions [3 pieces] (1834) 显现 三首钢琴小品
6 S) N) ]1 u; M/ R6 X9 J  S! ES.156, Album d'un voyageur [3 sets; 7, 9, 3 pieces] (1835–38) 旅行者札记; u! x' A: U, x5 i9 n# F
S.156a, Trois morceaux suisses [3 pieces] (1835–36)
4 t, A& |; t' e1 I2 ^S.157, Fantaisie romantique sur deux mélodies suisses (1836) 浪漫幻想曲
6 o; `" ^: e3 \6 [S.157a, Sposalizio (1838–39)" E+ M3 `, `% _/ A
S.157b, Il penseroso [first version] (1839)
' M; U* o' j, c8 P( ~3 \; L. gS.157c, Canzonetta del Salvator Rosa [first version] (1849)
2 N, w  H1 k. f2 n# I5 W& J4 F! xS.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. x, F& ]" n8 W- {+ K5 C
S.158a, Paralipomènes à la Divina Commedia [Dante Sonata original 2 movement version] (1844–45)8 A% }9 `: _: `$ l8 c' Y
S.158b, Prologomènes à la Divina Commedia [Dante Sonata second version] (1844–45)
" K2 e0 Q  h) f" b9 Z  y: qS.158c, Adagio in C major (Dante Sonata albumleaf) (1844–45)
! @* }6 ~# S( N, {# M1 L% Z! n2 x% fS.159, Venezia e Napoli [first version, 4 pieces] (1840?)  威尼斯和拿波里/ M! T7 h5 c5 c) P* \, p  D
S.160, Années de pèlerinage. Première année; Suisse [9 pieces] (1848–55)  旅行岁月（第一集）- 瑞士游记
! t+ T1 Y, o% U# T$ w5 \S.161, Années de pèlerinage. Deuxième année; Italie [7 pieces] (1839–49) 旅行岁月（第二集）- 意大利游记7 y+ x- v6 C) J2 J( c$ `2 F
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# W7 q3 |! f) ?4 |4 U3 @, q
S.162a, Den Schutz-Engeln (Angelus! Prière à l'ange gardien) [4 drafts] (1877–82)
$ s( K8 j1 F) z8 E6 g( Z5 ], DS.162b, Den Cypressen der Villa d'Este - Thrénodie II [first draft] (1882)6 Y5 V, C1 A2 W3 n
S.162c, Sunt lacrymae rerum [first version] (1872)' L# D8 H/ ]& l  r" ~
S.162d, Sunt lacrymae rerum [intermediate version] (1877)
7 i$ U! Q, ]; o- zS.162e, En mémoire de Maximilian I [Marche funèbre first version] (1867), B9 @( ^4 b# D' }7 @! X. C
S.162f, Postludium - Nachspiel - Sursum corda! [first version] (1877)
5 ~! B7 I  S0 L3 pS.163, Années de pèlerinage. Troisième année [7 pieces] (1867–77)   旅行岁月（第三集）' ^' R/ D, _# ?8 V& T  \
S.163a, Album-Leaf: Andantino pour Emile et Charlotte Loudon (1828) [2] 降E大调纪念册的一页
! ^5 g0 X8 c  `. S7 hS.163a/1, Album Leaf in F sharp minor (1828)降E大调纪念册的一页
& s! J! ?$ }5 W( _! ~3 NS.163b, Album-Leaf (Ah vous dirai-je, maman) (1833)6 C& G9 j$ Z# \: L7 K, ?3 r+ Y
S.163c, Album-Leaf in C minor (Pressburg) (1839)
7 O6 Y5 E' B9 U, y! X( E3 ZS.163d, Album-Leaf in E major (Leipzig) (1840)4 n$ c" t, O+ j7 v' s& }% x
S.164, Feuille d'album No. 1 (1840) E大调纪念册的一页0 s8 J' t4 ?9 N) B3 L: d  J/ p9 d
S.164a, Album Leaf in E major (Vienna) (1840)
  R% z  b9 E; f1 x) h5 Y( A; l: ~S.164b, Album Leaf in E flat (Leipzig) (1840)- Z7 b8 }' }7 N, J+ s5 N5 Q
S.164c, Album-Leaf: Exeter Preludio (1841)0 `0 A: i8 K) f4 ~
S.164d, Album-Leaf in E major (Detmold) (1840)
( e1 ]  q* A; P/ m- G5 T: U5 W, iS.164e, Album-Leaf: Magyar (1841): w% d2 y2 x  |2 u7 R
S.164f, Album-Leaf in A minor (Rákóczi-Marsch) (1841)
5 j6 N% l2 w& t( n* @3 f+ S/ D. \S.164g, Album-Leaf: Berlin Preludio (1842)
/ q; [* s, _# q' V; cS.165, Feuille d'album (in A flat) (1841) 降A大调纪念册的一页
, R5 W1 w# f! IS.166, Albumblatt in waltz form (1841) A大调圆舞曲风格纪念册的一页
" I# u5 H  s5 o. gS.166a, Album Leaf in E major (1843)
8 R3 w% `9 ]& Z" p6 uS.166b, Album-Leaf in A flat (Portugal) (1844)
, i" H0 V; a4 a- k# S+ q' n2 ES.166c, Album-Leaf in A flat (1844)7 Q) o. A% `2 g+ O. U: r( b
S.166d, Album-Leaf: Lyon prélude (1844)' b3 z: ^: C4 T+ h! t
S.166e, Album-Leaf: Prélude omnitonique (1844)" P* ?7 ^3 X- W+ z
S.166f, Album-Leaf: Braunschweig preludio (1844)9 M/ n( D& H: v  E# x, K/ I2 X
S.166g, Album-Leaf: Serenade (1840–49)& A0 c1 p$ K$ y" k9 c4 f! R. b
S.166h, Album-Leaf: Andante religioso (1846)# G- `( p. {- P6 b! y& D/ n
S.166k, Album Leaf in A major: Friska (ca. 1846-49)
! C# I7 {, q5 FS.166m-n, Albumblätter für Prinzessin Marie von Sayn-Wittgenstein (1847)
) a; Q5 |; i1 \8 _& i, ]7 JS.167, Feuille d'album No. 2 [Die Zelle in Nonnenwerth, third version] (1843) a小调纪念册的一页& M$ @4 J8 t: [7 z& s8 }& \
S.167a, Ruhig [catalogue error; see Strauss/Tausig introduction and coda]
) |0 [# _: P. `. O. b3 E3 JS.167b, Miniatur Lieder [score not accessible at present] (?)4 j  [9 ?" K, ]6 ~& k
S.167c, Album-Leaf (from the Agnus Dei of the Missa Solennis, S9) (1860–69)8 [7 X% _( ^% y# R3 t" c2 \) ^
S.167d, Album-Leaf (from the symphonic poem Orpheus, S98) (1860)& p2 K; g4 \4 A4 {" Z6 {+ [3 p& h
S.167e, Album-Leaf (from the symphonic poem Die Ideale, S106) (1861)
2 S! g9 w8 x2 I; `S.167f, Album Leaf in G major (ca. 1860)4 x# S, n% [' o8 c; J
S.168, Elégie sur des motifs du Prince Louis Ferdinand de Prusse [first/second version] (1842, 1851) 悲歌* K/ U* b- U( q  {
S.168a, Andante amoroso (1847?)6 ?0 B- c9 h; x+ u! s
S.169, Romance (O pourquoi donc) (1848) e小调浪漫曲. n; A" _! ]) m& J
S.170, Ballade No. 1 in D flat (Le chant du croisé) (1845–48) 叙事曲一
, I& ]3 c# x) @9 z& R& xS.170a, Ballade No. 2 [first draft] (1853)- ]0 T& f* g2 Y% z6 f+ c, ]
S.171, Ballade No. 2 in B minor (1853) 叙事曲二
. [+ J: f) \# `" ~S.171a, Madrigal (Consolations) [first series, 6 pieces] (1844): u$ ?0 x' S$ R" V4 x9 r
S.171b, Album Leaf or Consolation No. 1 (1870–79)1 y4 J# c" W5 t2 s8 x+ \
S.171c, Prière de l'enfant à son reveil [first version] (1840)
8 `; m$ r) l7 Z* |# n! n& s! |S.171d, Préludes et harmonies poétiques et religie (1845)
' Q  }5 n* V* w+ t0 FS.171e, Litanies de Marie [first version] (1846–47)) h2 X* f3 x+ m2 C5 |
S.172, Consolations (Six penseés poétiques) (1849–50) 6首安慰曲
) j. T3 y5 Q! n- `: IS.172a, Harmonies poétiques et religieuses [1847 cycle] (1847)
3 M1 W2 f1 H  A9 i, L  g3 JS.172a/3&4, Hymne du matin, Hymne de la nuit [formerly S173a] (1847); j0 j6 P) u, f6 @# e
S.173, Harmonies poétiques et religieuses [second version] (1845–52) 诗与宗教的和谐
/ a, J" f- w2 ES.174, Berceuse [first/second version] (1854, 1862) 摇篮曲
( k# j' b& }6 A& \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)4 I/ l) O4 j4 n* h3 H# z+ o
2.    St. François de Paule marchant sur les flots (Walking on the Waves)" p9 o1 p: ?% x9 z; ~2 O
S.175a, Grand solo de concert [Grosses Konzertsolo, first version] (1850)
# w& o4 C, [4 O5 NS.176, Grosses Konzertsolo [second version] (1849–50 ?) 独奏大协奏曲# c5 F7 \- x2 }, n2 o% b
S.177, Scherzo and March (1851) 谐谑曲与进行曲% K2 W7 R( g& b: K. ^% y- R/ p
S.178, Piano Sonata in B minor (1852–53)  b小调钢琴奏鸣曲
5 H7 v& x! X, ]* y" KS.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
# c9 g+ w/ E% }$ zS.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
1 r% p4 t, x6 ~# US.181, Sarabande and Chaconne from Handel's opera Almira (1881)
+ x- |! r  z2 F  k! \9 BS.182, Ave Maria - Die Glocken von Rom (1862) 圣母颂“罗马的钟声”
8 _0 X) S2 ?  l  h+ OS.183, Alleluia et Ave Maria [2 pieces] (1862) 哈利路亚与圣母颂
2 h4 C7 i4 C6 t% @" LS.184, Urbi et orbi. Bénédiction papale (1864)
/ A8 ^& N5 ]! |) ^S.185, Vexilla regis prodeunt (1864)) I$ x* G4 M% w/ k
S.185a, Weihnachtsbaum [first version, 12 pieces] (1876)
3 `( w) j- l/ Y: YS.186, Weihnachtsbaum [second version, 12 pieces] (1875–76) 钢琴曲集《圣诞树》
' }* p4 I" s7 d/ N" m) Q$ J, XS.187, Sancta Dorothea (1877) 圣多萝西娅4 H) {6 j, f* w$ [* [3 b
S.187a, Resignazione [first/second version] (1877)
2 {- M& Q" b: S4 @; I7 f( d8 `S.188, In festo transfigurationis Domini nostri Jesu Christi (1880) 我主耶稣基督之变形
5 k' a$ X) D, hS.189, Klavierstück No. 1 (1866)9 y2 M: c' J8 g8 D) {7 X
S.189a, Klavierstück No. 2 (1845)1 F, f. s- ~- w) @5 \% I' S
S.189b, Klavierstück (?)( j$ T8 z4 y3 }% c
S.190, Un portrait en musique de la Marquise de Blocqueville (1868)
: Z, q$ z1 c1 A' V# N4 ^S.191, Impromptu (1872) 升F大调即兴曲“夜曲”/ a6 g( F+ c5 Q' N, }2 Y
S.192, Fünf Klavierstücke (for Baroness von Meyendorff) [5 pieces] (1865–79) 5首钢琴小品9 y' p8 S1 Q4 J
S.193, Klavierstuck (in F sharp major) (a. 1860) 升F大调钢琴小品
7 L4 X/ H7 g: l* X3 h8 \S.194, Mosonyis Grabgeleit (Mosonyi gyázmenete) (1870) 在莫佐尼墓前
" j: j( Z& }' P' a. ]& c8 ]7 [S.195, Dem andenken Petofis (Petofi Szellemenek) (1877) 纪念裴多菲
3 ?0 C6 G4 O+ O4 KS.195a, Schlummerlied im Grabe [Elegie No 1, first version] (1874)
' J" Y6 ~3 t" Q( X9 y) }) QS.196, élégie No. 1 (1874)
2 N( i1 U  \( zS.196a, Entwurf der Ramann-Elegie [Elegie No 2, first draft] (1877)" R/ g3 ~6 Y1 t# M
S.197, élégie No. 2 (1877)
3 X% K. f* K( e- k6 I/ F' ]S.197a, Toccata (1879–81) 托卡塔( d: I* C6 V/ u8 S" C' O3 `
S.197b, National Hymne - Kaiser Wilhelm! (1876)
" ^: [% ^% V+ M5 l- wS.198, Wiegenlied (Chant du herceau) (1880) 摇篮曲- h0 U7 l2 I$ _; B
S.199, Nuages gris (Trübe Wolken) (1881) 灰色的云
* e: G! P6 D& v! s" ~9 W5 G$ ^S.199a, La lugubre gondola I (Der Trauergondol) [Vienna draft] (1882)" O, F. L" N1 \. M# g- P& T- @
S.200, La lugubre gondola [2 pieces] (1882, 1885) 葬礼小船
0 Z/ t8 v- [) ^5 @) w9 S: B0 R% y2 V7 k: I6 M8 F1 c( n# c
李斯特全部作品目录-2
5 ]" Q) f5 }; W
+ K8 w6 p# U2 m* v$ oS.201, R. W. - Venezia (1883) 告别瓦格纳和威尼斯
  {0 s4 B( V1 ^0 eS.202, Am Grabe Richard Wagners (1883) 在瓦格纳墓前
' K' B; S2 U4 N2 `3 VS.203, Schlaflos, Frage und Antwort (Nocturne after a poem by Toni Raab) (1883) 夜曲“沉睡，思考和回答”: x; C: b$ S* X# ~6 S
S.204, Receuillement (Bellini in Memoriam) (1877) 冥想
) Q7 N$ K2 b3 M& c! p7 m' ^S.205, Historische ungarische Bildnisse (Magyar arcképek) [original version, 7 pieces] (1885) 匈牙利历史人物肖像
% M+ O( n1 m. PS.205a, Historische ungarische Bildnisse [revised order and conclusion, 7 pieces] (1885)
2 l$ l0 g5 j3 q% DS.206, Trauervorspiel und Trauermarsch (1885) 葬礼前奏曲和葬礼进行曲6 j1 n9 \, V; `" o/ l
S.207, En rêve. Nocturne (1885) 夜曲“梦中”; b9 A" m& _3 u) H% k  Q
S.207a, Prélude à la polka de Borodine (and Borodin's Polka) (1880)
: e) G5 U" y: m( a% Z7 {+ f/ KS.208, Unstern: sinistre, disastro (1880–86) 凶兆、灾难
9 I9 O3 t/ v9 w1.7.3 Works in Dance Form(为舞蹈的作品), J4 B6 ^) s# Q
4 i, i; x7 g% @% z' T, t2 z  r
S.208a, Waltz (in A major) (b. 1825) A大调圆舞曲
! F/ C( \4 ~  |" k, Z  z5 H  IS.209, Grande valse di bravura [first version of S214/1] (1835) 华丽的大圆舞曲+ D! Q. _& h& c- J$ R: F( b) C3 c
S.209a, Waltz (in E flat) (1840)
& M  R/ O/ h+ n. V/ U: b" ]; d/ JS.210, Valse mélancolique [first version of S214/2] (1839) 忧郁圆舞曲
8 p# P" E! T5 A- GS.210a, Valse mélancolique [intermediate version] (1840)
9 A1 K* F9 I" CS.210b, Valse (in A major) (1830–39)
5 c& O0 I7 w$ |. ]$ @* qS.211, Ländler (in A flat major) (1843) 降A大调兰德勒舞曲9 H+ {8 F8 \7 P% e. S
S.211a, Ländler (in D major) (1879)" b8 A7 j! r9 j& |1 \: j* Z" u
S.212, Petite valse favorite [first/second version] (1842, 1843)
6 i) g$ J/ O; F, c9 xS.212b, Mariotte. Valse pour Marie (1840)
! Y8 D9 j0 B$ W) ZS.213, Valse-impromptu (1850?) 即兴圆舞曲6 _7 {' Z  b( b9 ?) ]9 ?) G; g# W
S.213a, Valse-impromptu [with later additions] (1880)
- i7 y# a9 f6 eS.214, Trois caprice-valses [3 pieces] [second versions of S209, S210, S401] (1850?)4 j) }+ r, ^/ ]9 r6 ^
S.214a, Carousel de Madame Pelet-Narbone (ca. 1875-81)
$ j+ J% g% B+ ~; _) z% RS.215, Valses oubliées [4 pieces] (1881–84) 4首被遗忘的圆舞曲
; ?7 v4 \, _' F: |- J+ o( n1 AS.215a, Dritter Mephisto-Walzer (Mephisto Waltz No. 3) [first draft] (1883)1 X: W$ W" d* }7 a( R5 s
S.216, Dritter Mephisto-Walzer (Mephisto Waltz No. 3) (1883) 第三梅菲斯特圆舞曲
. o. Y0 t# L' Z* {  a/ gS.216a, Bagatelle sans tonalité (1885)
& M4 O' f, W: V$ C8 F& oS.216b, Vierter Mephisto-Walzer (Mephisto Waltz No. 4) [first version] (1885)  第四梅菲斯特圆舞曲; m- Y, Z. b6 N- g
S.217, Mephisto Polka [first/second version] (1883) 梅菲斯特波尔卡
7 n$ f/ D  |# J$ _S.218, Galop (in A minor) (1841?) a小调加洛普舞曲6 J9 V8 x7 d- z& C2 l) E+ v6 t7 C
S.219, Grand galop chromatique [original version] (1838) 华丽的半音阶加洛普舞曲/ J0 A! Z9 j" J& u  \. ?( a- \; K, G1 B
S.219bis, Grand galop chromatique [simplified version] (1838)
1 V) S" J$ x' ?  C9 ^- ?S.220, Galop de Bal (1840?); i' }7 V. g1 g2 I
S.221, Mazurka brillante] (1850) 华丽玛祖卡
! k9 }1 I8 \. {2 M  ?S.221a, Mazurka in F minor [Not by Liszt?] (?)# c6 V7 N& p7 O. y
S.222, [catalogue error; same as S212]0 u; U& G6 }, N. c- J  E
S.223, Deux Polonaises [2 pieces] (1851) 2首波洛奈兹舞曲) a. W0 d* M! ?/ T% n% X; X% z$ b
S.224, Csárdás macabre (1881–82)6 n+ b# A; u. t  r" j( ^( S
S.225, Two Csárdás [2 pieces] (1884)( u) o! z' |* G4 X
S.226, Festvorspiel (1856)' W' h) V: o4 Q( C8 `
S.226a, Marche funèbre (1827)( M5 [- Q- e% d% k) {
S.227, Goethe Festmarsch [first version] (1849)
% M& j$ ^( ]' G, G5 d* P: F1 \S.228, Huldigungsmarsch [first/second version] (1853)
8 H  ^5 g* @/ s2 x4 N' |3 d% qS.229, Vom Fels zum Meer! - Deutscher Siegesmarsch (1853–56)# Q; b8 S# |( O8 [
S.230, Bülow-Marsch (1883)1 ~. U+ l3 H0 ?
S.230a, Festpolonaise (1876)
) }+ k" y1 M; e# |9 b0 \S.231, Heroischer Marsch in ungarischem Stil (1840): {( X; @1 K2 j
S.232, Ungarischer Sturmmarsch [earlier version of S524] (1843?)! a- ~& ?5 w9 r9 {. K! \2 |- r
S.233, Ungarischer Geschwindmarsch (1870)
* M, Q# I; T, a* A) L$ i& D, _S.233a, Siegesmarsch. Marche triomphale (Victory March) (?)
  |$ M$ Q  \0 Q1 T7 M$ n% PS.233b, Marche hongroise (in E flat minor) (1844)3 W, p/ b3 X  z1 a& ~/ u, u
1.7.4 Works on National Themes(主题作品)
9 d" N! x, T  u7 X3 e
1 Q! a- U! i- Z& o  C1.7.4.1 Czech
1 l9 T2 m# e3 E( ?1 j& y
0 l/ `+ i/ U1 |) M8 Y4 m: IS.234, Hussitenlied (Melody by J.Krov) (1840)3 V1 w' T) q9 w0 ~6 d5 S
1.7.4.2 English
, ?5 b8 Y0 L! p1 k4 J9 ^) C" T5 D3 a, S# t) \6 {
S.235, God Save the Queen (1841), E; O  h+ j* j& ]
1.7.4.3 French; B' I5 l0 R0 N9 K5 k- \) z
$ w. J% @8 p2 X$ \3 N8 }
S.236, Faribolo Pasteur and Chanson du Béarn [2 pieces] (1844)
, _) M- L9 z$ B" T' i! H# y. u4 eS.237, La marseillaise (1872?)* S5 x4 D0 S; m. X  h! d
S.238, La cloche sonne (1850?)+ A1 Y4 D9 i' ^* p: h) A' B, g
S.239, Vive Henri IV (1870-80 ?)5 L! l: X, u7 t
1.7.4.4 German
" [9 k% b3 J4 d. h- s5 p5 j7 [* K/ K( p8 W) k- p) y, o
S.240, Gaudeamus igitur. Concert paraphrase [first/second version] (1843, 1853)% J6 y! v& Y% f2 e1 s$ W
1.7.4.5 Hungarian
/ j% j1 n* g) N4 q, Q: e  P
, @& s, Y  `; K3 P: O; MS.241, Hungarian Recruiting Songs (Zum Andenken) (By Fáy & Bihari) (1828)* \+ L7 L" T& Q) f5 U& F, S
S.241a, Ungarische Romanzero (Hungarian Songbook) [18 pieces] (1853)
( `: t+ v' G* C8 |S.241b, Magyar tempo (1840)
! c& ~. \8 L/ @4 e; n# NS.242, Magyar Dalok: Magyar Rapszódiák [21 pieces] (1839–47)* _: e* q# V  Z8 G, J, a9 h  c
S.242a, Rákóczi-Marsch [first version] (1839–1840)
" F: ?4 H- X8 T' R0 yS.243, Ungarische National-Melodien [3 pieces] (ca. 1843)7 b4 H0 B! \3 p4 {4 i! H9 o
S.243a, Célèbre mélodie hongroise (a. 1866)
- J; Z# [1 c3 m$ U, ~( BS.244, Hungarian Rhapsodies (Rapsodies hongroises) [19 pieces] (1846–86)  19首匈牙利狂想曲, g! I" `  D3 V: t. j, \
S.244a, Rákóczi-Marsch [from orchestral version] (1863)9 r# X, \" y2 N" C) j
S.244b, Rákóczi-Marsch [simplified version of S244a] (1871)
# ?: Z' A2 J2 cS.244c, Rákóczi-Marsch [popular version] (?)
/ c$ p4 }' v, `  N6 kS.245, Fünf ungarische Volkslieder (Abranyi) [5 pieces] (1873)
" K4 ?6 Y; v' c/ QS.246, Puszta-Wehmut (A Puszta Keserve) (1880–86 ?)
" Q$ ?% f9 a# m" F" {: E1.7.4.6 Italian
1 z8 a' ~7 L7 q) ~9 e' }
, b8 @3 t- z! ]+ dS.248, Canzone Napolitana [first/second version] (1842)
  d& X6 w# i- n% ^1.7.4.7 Polish3 N6 W! R! ^( Q* W& A6 I
6 X1 M8 q7 O0 W( @
S.249, Glanes de Woronince [3 pieces] (1847–48). f" v& |% Z( X  \/ r+ P
S.249a, Mélodie polonaise [short draft] (1871)
" R) j  d8 l" ]8 |4 X5 z8 `S.249b, Dumka (1871)
$ c) s1 \* o4 D& W; cS.249c, Air cosaque (1871)$ [/ [1 Q/ m1 N9 X  L9 v
1.7.4.8 Russian
) F" G7 _3 p. s6 Q* z6 }, w0 M+ v6 c3 \; \: Y- h4 F! t$ w; L
S.250, Deux mélodies russes. Arabesques [2 pieces] (1842)
7 ?9 y0 X4 [4 K0 zS.250a, Le rossignol (Alyabyev) [first version of S250/1] (1842)
$ u% s- F* l+ MS.251, Abschied. Russisches Volkslied (1885)
. |$ x! b' D( n& f, L1.7.4.9 Spanish
( W# {6 l9 v0 s; L; O) G
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 楼主| geci110 发表于 2015-7-22 18:34:31 | 显示全部楼层
S.252, Rondeau fantastique sur un thème espagnol, El Contrabandista (Garcia) (1836)
% h9 V) h/ R- t2 YS.252a, La romanesca [first/second version] (ca. 1832, b. 1852)$ B$ v6 Z4 R& P4 g- f
S.253, Grosse Konzertfantasie über Spanische Weisen (1853)
/ V9 m2 ^- G, M- O6 o1 u/ ~  HS.254, Rhapsodie espagnole (1863?) 西班牙狂想曲
0 m3 k" N. p/ \% a- AS.254x, Rapsodie espagnole [orchestrated by Feruccio Busoni] (?), ~# E: ~  k3 K6 L+ O( H! [7 ?8 P
1.8 Piano Duet(钢琴二重奏)
$ m$ p* k( z7 D( x: T% y" {# n+ R- O, x) y/ r/ P  q
S.255, Festpolonaise [now S619a] (1876)
) ^/ w! }+ P% o0 o" x. T* d! xS.256, Variation on the Chopstick Theme (1880)$ o/ V, A, x' i0 V8 W
S.256a, Nottorno [Not by Liszt?] (?)& h3 @9 m  I, F- y; ^$ x
1.9 Two Pianos(双钢琴)7 w# L/ G9 j+ U  D) F( J
- h2 p  F' z% M, e( V  B9 L% g; L9 G- A
S.257, Grosses Konzertstück über Mendelssohns Lieder ohne Worte (1834)
7 w/ |2 B% u7 ]+ a3 `S.258, Concerto pathétique (b. 1856)  e小调钢琴协奏曲“悲怆”
! _* C7 U8 Y0 {4 ]3 q1.10 Organ(管风琴)
9 n) y/ n. G2 s( f4 a' [# \( w( b4 q7 Q% W' g% n# A% H. ~
S.259, Fantasy and Fugue on the chorale Ad nos, ad salutarem undam (1850), J  h, [2 p# [9 b. B4 q: M7 u4 u
S.260, Präludium und Fuge über das Thema BACH [first/second version] (1855, 1870)
2 Y0 `+ ?* F6 XS.261, Pio IX. Der Papsthymnus (1863?)
0 [0 @7 v' j/ ]) i& g6 yS.261a, Andante religioso (1861?), d& H4 H6 Q; W0 T" K9 P7 l
S.262, Ora pro nobis. Litanei (1864)
  C+ B# Q" J: zS.263, Resignazione (1877)) ~2 z2 \' B" ~) U6 T2 Q
S.264, Missa pro organo lectarum celebrationi missarum adjumento inserviens (1879)
' O7 W( p0 ?' DS.265, Gebet (1879)
) h9 S- e2 e3 A$ @. {S.266, Requiem für die Orgel (1883)
+ Z; A* J& u+ Z1 d; K8 Q* M5 MS.267, Am Grabe Richard Wagners (1883)0 @; T- _( d9 ~3 m! n" e0 v' ~  a) ]
S.268, Zwei Vortragsstücke [2 pieces] (1884)
7 Z  w% y( Q0 Z2 Q) a1.11 Songs(歌曲)0 a* B+ B4 @/ X9 P0 }7 J. |

: a- ^9 f4 B; SS.269, Angiolin dal biondo crin (Marchese C. Bocella) [first/second version] (1839, ?)3 R% e/ \" a, X- y& t
S.270, Three Petrarch Sonnets [3 songs, first/second version] (1844–45, 1854]
( H; E5 H5 h( l, vS.271, Il m'aimait tant (Delphine Gay) (1840?). |3 @7 U5 n- G9 q) `9 t
S.272, Am Rhein im schönen Strome (Heine) [first/second version] (1840?, 1854)! d9 n& H& p0 _$ G' d
S.273, Die Lorelie (Heine) [first/second version] (1841, ?)$ s& l6 [2 E0 U! i" y
S.274, Die Zelle in Nonnenwerth [first/second version revised 1862] (b. 1841, 1857)- p% Z7 Q- i( a# I: p; ?
S.275, Mignons Lied (Kennst du das Land) (Goethe) [first/second/third version] (1842, 1854, 1860)
  f) z* t" t) C' HS.276, Comment, disaient-ils (Hugo) [first/second version] (1842, ?)' v6 Q2 ]* f2 x' k( e3 F& B
S.277, Bist du (Prince E. Metschersky) [first/revised version] (1843, ca. 1878-79)
) \: r: ~: Q& N- @; Z3 W& iS.278, Es war ein König in Thule (Goethe) [first/second version] (1842, ?)" F! K# k  ^" i2 q, q
S.279, Der du von dem Himmel bist (Goethe) [first/second/third version] (1842, ?, 1860)( x! M/ a0 q  A# O. W+ p
S.280, Freudvoll und leidvoll (Goethe) [first/second/third version] (1844, 1848?, ?)
* }* h! ]0 {* G7 B; J: e6 yS.281, Die Vätergruft (1844)
+ E9 F1 @5 b% \9 |$ d8 I$ M: LS.282, O quand je dors (Hugo) [first/second version] (1842, ?)$ h2 k8 A$ B1 U4 M$ o" c! G0 T9 L+ d
S.283, Enfant, si j'etais roi (Hugo) [first/revised version] (1844?, ?)
# k) Z" X/ f5 R: A7 }; U8 T5 uS.284, S'il est un charmant gazon (Hugo) [first/revised version] (1844?, ?)( o  A! E0 n$ C5 T$ S
S.285, La tombe et la rose (Hugo) (1844?)
: N3 c2 V, B/ W+ n" BS.286, Gastibelza, Bolero (Hugo) (1844?)
5 V8 b/ w6 L  pS.287, Du bist wie eine Blume (Heine) (1843?)
3 v3 u; o4 ^* aS.288, Was Liebe sei (C. von Hagn) [first/second/third version] (1843?, ca. 1855, 1878–79)
# `) d- T. u$ p$ Y: hS.289, Vergiftet sind meine Lieder (Heine) [first/revised version] (1842, ?)
% {* l6 [; f4 X" ?S.290, Morgens steh ich auf und frage (Heine) [first/revised version] (1843?, ca. 1855)) u8 @1 @7 @% v& ~4 Q4 D+ v- c
S.291, Die todte Nachtigall (Kaufmann) [first/revised version] (1843?, 1878)! f2 Q' w+ O5 o6 K: Z5 K
S.292, Songs from Schiller's Wilhelm Tell [3 songs, first/revised version] (1845?, ?)
# \: r& l# K- ?S.293, Jeanne d'Arc au bûcher (Dumas) [first/revised version] (1845, 1874)
; T2 _/ @* }5 Y& X! hS.294, Es rauschen die Winde [first/second version] (ca. 1845, b. 1856)2 H  U$ N+ s- E7 V
S.295, Wo weilt er? (Rellstab) (1844)
. ~" k3 T4 Q5 W& m- E4 uS.296, Ich möchte hingehn (Herwegh) [revised later] (1845)
8 z; }8 m$ k9 F( e- q8 h) TS.297, Wer nie sein Brot mit Tränen ass (Goethe) [first/revised version] (ca. 1845)% a8 w* L5 h, P
S.298, O lieb so lang du lieben kannst (Freiligrath) (1845?)
7 s; @' ]- i! \( JS.299, Isten veled (Farewell) (Horvath) [first/revised version] (1846–47)
) E) F4 Q" l% J' D5 j3 J3 c! SS.300, Le juif errant (Béranger) (1847)
, b: ?8 v: c1 \; V, X' d) HS.301, Kling leise, mein Lied [first/revised version] (1848)
) M: k( C" }+ M% C0 K9 hS.301a, Oh pourquoi donc (Mme Pavloff) (1843)
# }" d" Y  X: k5 MS.301b, En ces lieux. élégie (E. Monnier) (1844)
3 f' M" f  f; VS.302, Die Macht der Musik (Duchess Helen of Orleans) (1848–49)0 ^: U7 I1 L1 i$ w% c, X
S.303, Weimars Toten. Dithyrambe (Schober) (b. 1848); Z8 A0 D+ l5 K4 O( J  }
S.304, Le vieux vagabond (Béranger) (b. 1848)7 C1 H2 n' T7 l
S.305, Schwebe, schwebe, blaues Auge [first/revised version] (1845, ?)
$ m% Z- \7 T* u. S" L; lS.306, über allen Gipfeln ist Ruh [first/revised version] (1847?, ?)  y% l3 _# N% H
S.306a, Quand tu chantes bercée (Hugo) (1843)5 U3 P# \# y4 |3 ]
S.307, Hohe Liebe (Uhland) (1850?)4 d& b; N9 z# F* X" _
S.308, Gestorben war ich (Seliger tod) (Uhland) (1850?)
, `1 C6 s, z) }S.309, Ein Fichtenbaum steht einsam (Heine) [first/revised version] (ca. 1845, 1854)
) S1 i8 m9 ~2 q: w% L! eS.310, Nimm einen Strahl der Sonne (1849)
% a! `% P! X. [7 X9 f0 C* {S.311, Anfangs wollt' ich fast verzagen (Heine) (1849)
3 e# M8 O( p4 v- nS.312, Wie singt die Lerche schön (Hoffmann von Fallersleben) (1856?)  T5 E: P3 U. N9 r9 N: i  b
S.313, Weimars Volkslied (Cornelius) (1857)
% N* s' p; {3 `, @. dS.314, Es muss ein wunderbares sein (Redwitz) (1852)* d& V9 i3 K" m  r5 H
S.315, Ich liebe dich (Rückert) (1857); Z0 O' q: x7 p3 }# n
S.316, Muttergottes - Sträusslein zum Mai-Monate (Müller) [2 songs] (1857)
) X5 ^4 ^. @& r7 u3 v  OS.317, Lasst mich ruhen (Hoffmann von Fallersleben) (1858?)$ Q/ X. T6 c# i. k9 y* \& Y9 N
S.318, In Liebeslust (Hoffmann von Fallersleben) (1858?)% J  d7 ]; c7 y2 c( {
S.319, Ich scheide (Hoffmann von Fallersleben) (1860)
) C4 Z) d2 d' z/ I7 g! xS.320, Die drei Zigeuner (Lenau) (1860)
$ @  }% H1 U( a; S  p9 m) h7 AS.321, Die stille Wasserrose (Geibel) (1860?)9 ^# p0 P, `4 J
S.322, Wieder möcht ich dir begegnen (Cornelius) (1860)7 I5 G% k. h. n8 p3 C% z
S.323, Jugendglück (Pohl) (1860?)7 S) ~/ m) m* k  H0 k! y3 Q
S.324, Blume und Duft (Hebbel) (1854)
; o  \( G; i8 k! \# n1 P' r4 D4 [S.325, Die Fischertochter (Count C. Coronini) (1871)# F* u$ J! ^: Z7 z
S.326, La perla (Princess Therese von Hohenlohe) (1872)& n7 d0 ]" @6 X. r7 M  k1 Z* x; w
S.327, J'ai perdu ma force est ma vie. 'Tristesse' (de Musset) (1872)
0 Y; c; B9 o# W" R  nS.328, Ihr Glocken von Marling (Emil Kuh) (1874)
- t& @" x: g, _* R# ^8 B) R0 S" W5 _+ yS.329, Und sprich (Biegeleben) [revised 1878] (1874)
' E5 A& [9 N& I6 V6 _: YS.330, Sei Still (Henriette von Schorn) (1877)
5 h/ R/ ^; y: _4 u  w$ b* p3 J5 VS.331, Gebet (Bodenstedt) (1878?)) b* V" ]% r* [7 ^6 Y2 |
S.332, Einst (Bodenstedt) (1878?)
( m4 M+ N) j% j+ W# Q# ZS.333, An Edlitam (Bodenstedt) (1878?)
/ o2 o, `; l$ X4 P+ R0 c1 FS.334, Der Glückliche (Bodenstedt) (1878?)) d4 `! d2 X( A  I% D9 o
S.335, Go not, happy day (Tennyson) (1879)
: v! U# ^2 x) h9 WS.336, Verlassen (G.Michell) (1880)/ ~+ z) h0 L8 Z5 c2 Z
S.337, Des tages laute stimmen schweigen (F. von Saar) (1880), Z( R1 k3 }6 U& Z
S.338, Und wir dachten der Toten (Freiligrath) (1880?)
- |/ P8 N7 ^4 lS.339, Ungarns Gott. A magyarok Istene (Petófi) (1881)# {, Q9 K( D6 Q
S.340, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)* q/ F+ }5 T5 [) A  j
S.340a, Ne brani menya, moy drug. (Tolstoy) (1886)6 B9 s& }' k' h$ d2 _* R% A
1.12 Other Choral Works(其他合唱作品)! S6 N! ?- F- j- h/ x
S.341, Ave Maria IV (1881)
# |: n+ R7 i# u1 h3 iS.342, Le crucifix (Hugo) (1884)& {! O5 C: P8 u7 z9 k/ k8 A
S.343, Sancta Caecilia (1884)
2 Z. c/ v" o# u2 [9 }5 aS.344, O Meer im Abendstrahl (Meissner) (1880)
5 d1 @) I! C/ K: `S.345, Wartburg-Lieder from Der Braut Willkomm auf Wartburg (Scheffel) [7 chorals] (1872)
  U# q4 a7 Q1 f0 ~9 d& ?1.13 Recitations(叙事歌谣颂诗)
' W. S/ T; N* qS.346, Lenore (Bürger) (1858)* \' ]2 |/ K  W
S.347, Vor hundert Jahren (F. Halm) (1859)  @+ ~( ~6 s& `& l- t; c4 G# c  j
S.348, Der traurige Mönch (Lenau) (1860)
  X$ D. w7 [% RS.349, Des toten Dichters Liebe (Jókai) (1874)* n. I1 I, \. k2 A. e- a. c
S.350, Der blinde Sänger (Alexei Tolstoy) (1875)
8 l- n) I/ E4 w8 M2. Arrangements, Transcriptions, Fantasies, etc.
8 d, p7 u1 Q$ N+ y2 H; ~8 g4 }  U8 P4 [
2.1 Orchestral Works(管弦乐作品)0 P; ]7 K2 E( T
  s3 k: J) d( V5 |/ Y& `
2.1.1 Bülow1 A, R( P# ^2 F1 R/ |' S

2 C- C2 A. s$ p) O: @8 XS.351, Mazurka Fantasie, Op. 13 (1865)* Y4 @  D% c+ r# s3 H' m. G: @
2.1.2 Cornelius
/ H5 {, N" b! U: H* s+ B; r1 `2 J) T( y" t& T( e6 T: g
S.352, Second Overture to The Barber of Baghdad [completed from Cornelius's sketches] (1877)  ?: b; N# U0 h1 T* g% c: T) L* W& s
2.1.3 Egressy and Erkel
" c. c/ W- C/ Z6 L& C
, w9 C, C& c( y, A1 R0 NS.353, Szózat und Hymnus (1873)' j4 n9 h  ^2 W6 M9 j% W8 M% v
2.1.4 Liszt5 J0 R; [% ?: q5 e: k; U
! l4 [. i5 F/ y& q! g" s
S.354, Deux légendes (1863)' O; S2 A3 ^) P6 T' \8 \
S.355, Vexilla regis prodeunt (1864)
* I7 Y4 z2 ^" s' p5 qS.356, Festvorspiel (1857)
7 T% C  i+ p  Z3 H4 H' ?S.357, Huldigungsmarsch [first/second version] (1853, 1857)
& n9 @# |8 q9 [5 \3 d( N' v! tS.358, Vom Fels zum Meer. Deutscher Siegesmarsch (1860)7 n- m3 {/ k+ d9 M+ ?8 H, ]
S.359, 6 Rapsodies hongroises (Hungarian Rhapsodies) (?)
" {$ ^9 Q7 z, D: n1 ?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)* j# {! o" a1 h8 y
S.361, Pio IX. Der Papsthymnus (ca. 1863)
2 k) j/ i' u1 F9 u5 `4 S. X4 uS.362, Benedictus and Offertorium from the Hungarian Coronation Mass [from S11] (1875)% R- r, z+ _, {) ]6 Q
2.1.5 Schubert5 H) H/ S! M4 c8 }, S
2 F1 A6 x! s. ]$ E, M  o( z
S.363, 4 Marches [from Opp. 40, 54, 121] (1859-60)0 U5 z. L8 `! @0 ], l9 Y: N
2.1.6 Zarembski6 S% k# K' j6 a. h# p% {
! f4 d9 r6 W1 V' F2 T8 ^
S.364, Danses galiciennes (1881)+ s& s" s% w' ^  }
2.2 Pianoforte and Orchestra(钢琴与乐队)
! J9 ]3 u/ z- v7 K7 g9 b7 J5 B
2.2.1 Liszt# P7 w$ R% F1 d, `+ [: X

" x2 {4 ^. c# E# G8 Y6 M" {. H( dS.365, Grand solo de concert [prepared by Leslie Howard] (1850)- v8 v8 F! G0 O
S.365a, Concerto pathétique (No. 4) in E minor [Liszt, Reuss version] (1885-86)
8 ^. p# ]) n6 `- i* Z; lS.365b, Hexaméron, Morceau de concert [orchestration completed by Leslie Howard] (ca. 1839)) L9 h$ ^! v+ w+ y, ~9 P  d* u
2.2.2 Schubert
9 O* a! t8 y/ C; V
0 e1 ~  {0 S& p" QS.366, Wanderer-Fantasie (Fantasia in C major, Op. 15) (1851)  流浪者幻想曲 - 为钢琴与乐队而作* L' ~' `, T+ {& K
2.2.3 Weber8 s; N' e3 |( a4 C  m

" S6 J4 A- P# s+ k$ v0 [S.367, Polonaise brillante, Op. 72 (1849) 华丽波洛涅兹 为钢琴与乐队而作
2 F; J& W8 A  S1 b5 x% A2.3 Songs with Orchestra(声乐与乐队)
% ?/ c3 E/ O/ D! X1 w9 m
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2.3.1 Korbay% f. k+ @6 w1 v, g/ L
! s. `' O6 Y; ^2 Y7 P! a
S.368, 2 Songs (Le Matin by Bizet and Gebet by Geibel) (1883)
1 j' S% j# Q: }0 l1 g2.3.2 Liszt0 C4 L* F4 B5 b* L. v1 p

  r9 `5 B" j' ]# a- B; b* ^S.369, Die Lorelei (Heine) (1860)
) K5 X$ ]$ W: q* qS.370, Mignons Lied (Kennst du dass Land) (Goethe) (1860)' {# M6 j( z% ]# a7 \, S0 h* ~
S.371, Die Vätergruft (Uhland) (1886)
7 \8 m; O6 R- {, US.372, Songs from Schillers Wilhelm Tell (ca. 1855)2 V% ?, w, @* d% X+ o
S.373, Jeanne d'Arc au bûcher (Dumas) [first/second version] (1858, 1874)
- K7 C. J/ q# A$ v' z# L+ OS.374, Die drei Zigeuner (Lenau) (1860)$ `1 r7 ~' i5 [
2.3.3 Schubert
" K8 Q7 ~1 G( s5 y7 u/ P
) n% e) K9 \: A- Q4 aS.375, 6 Songs (1860)$ N+ n6 P+ b0 w8 v! p4 `4 n
S.376, Die Allmacht (1871)
2 P& P+ B7 V; }8 Q0 d* P2.3.4 Zichy
6 u$ j  P- k0 n" ^' z% f2 u$ g# X8 L! h+ _8 C- l) D
S.377, Der Zaubersee. Ballad (Zichy) (1884)0 ^/ q2 N6 a$ c* ^; ?) A
2.4 Chamber Music(室内乐等)
& O8 X. x3 m  |1 b2.4.1 Liszt
% }' Z0 ]1 l. m/ G6 R) n3 G# u8 F% L! j2 [  B: a$ w8 ]. H' ^* Z
S.377a, La notte (Odes funèbre No. 2) (1864-66)
1 N) k9 B( P- o2 G9 pS.378, Angelus! - Priere aux anges gardiens [first/second version] (1877, 1880)  e4 m( w* P. X+ N; M
S.379, Rapsodie hongroise No. 9 (Pester Karneval) (?)* s7 @+ w; X) h+ p
S.379a, Rapsodie hongroise No. 12 (1850-59)& w. |- }0 F3 |. w
S.379b, Puszta-Wehmut (A Puszta Keserve) (ca. 1871)
) Y8 C/ e4 |3 v: W/ PS.380, O du mein holder Abendstern from Tannhäuser (Wagner) (1852)  X7 [5 c" {, `# t( d9 _
S.381, Benedictus and Offertorium from the Hungarian Coronation Mass [from S11] (1862)6 C# f( s9 K: v' P! v; [. p8 {
S.381a, Ungarns Gott. A magyarok Istene (Petófi) (1882)
. `' ~: {% @9 zS.382, Die Zelle im Nonnenwerth (ca. 1880-86)9 q6 b' A; G6 x) y
S.383, Die drei Zigeuner (Lenau) (1864)  m4 X$ [# ]; H) m
2.5 Pianoforte Solo
% Q- S1 s  i. F! F9 i, S* l* f+ t# K
2.5.1 Paraphrases, Operatic Transcriptions, etc.(歌剧改编独奏)
+ y! X' A4 d  l% f
/ a8 X( o! ]" {' _$ n& v6 l2.5.1.1 ábrányi& G0 F" c9 e9 F6 X$ i
0 n3 g4 t) N4 Z2 z! {. \7 p7 ~
S.383a, Elaboration on Virág dal (1881)5 z. e, Q7 ~. R" V  o
2.5.1.2 Alyabyev
; ?5 d  N5 j+ a- @) X5 E6 J( i, C! c1 n/ M; P3 d' {2 i/ _8 ]! D
S.384, Mazurka pour piano composée par un amateur de St. Petersbourg (1863), I6 H; [$ Z* U) p$ p8 p1 `
S.384a, Variations on Tiszántúli szép leány [anonymous, not by Liszt?] (1846)- @- z& C7 {2 ?2 `" a
2.5.1.3 Auber
7 N& }* f8 F' J# y5 B$ y6 \* ]1 f
8 ^6 e& [. e# }- _2 Y- a+ GS.385, Grande Fantaisie sur la Tyrolienne de l'opera La Fiancée [first/second/third version] (1829, 1835, 1842)
$ }! `9 K/ C# cS.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
! N2 D: G6 X6 D  l; M0 VS.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% \) H- M4 v4 t, ]" e/ }" B
S.387, Three Pieces on themes by Auber [with intro piece] (a. 1846)1 Z( a) p$ J6 u5 {
S.387a, Piece on an unknown theme (1847)
7 z5 ^4 {# _( O) x. z. i2 V$ A8 r  X2.5.1.4 Beethoven& z3 P7 s) `) q" p( d9 f' O
3 y% z" X. |$ Y2 z5 j
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3 q( |. }* j1 y9 c7 L
S.388a, Marche turque des Ruines d'Athenes (1846)9 t4 i: k5 K/ n* \( r# F: `
S.388b, Fantasie über Beethoven's Ruinen von Athen [first version] (1837)  J1 z4 B% o  H3 g9 L/ V8 d) W/ {
S.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
. Z9 T$ ~  ~7 @! OS.389a, Cadenza to the first movement of Beethoven's Piano Concerto No. 3 (1879)" E4 O6 Q! I. J9 m# [4 n0 w2 c- g% B
2.5.1.5 Bellini
) k1 `# Z- z/ j7 ]
7 G" C# D4 b$ u$ uS.390, Reminiscences des Puritains [first/second version] (1836, 1837)2 h& A) u1 t; ^
S.391, I Puritani. Introduction and Polonaise (1840); x" B. }4 o/ U- r
S.392, Hexaméron, Morceau de Concert (1837)
+ q3 i- y9 Y. U+ ?S.393, Fantaisie sur des motifs favoris de l'opéra La Sonnambula [first/second/third version] (1839, 1840-41, 1874)
# |1 t: O4 q: l$ y) b- |% y' ?; [3 rS.394, Réminiscences de Norma (1841-43)
9 N8 S3 b  {5 S3 s% J2.5.1.6 Berlioz3 i6 w' Z; ^1 y8 h) B# f1 z! f

- e1 F  [5 r1 \8 b* MS.395, L'Idée fixe: Andate amoroso [first/second version] (1833 or 1846?, 1865)" ]4 s7 E8 Y2 C& ]; Q
S.396, Benediction et Serment from Benvenuto Cellini (1852)
/ ^( K3 h9 Y/ X3 e! g! I6 C2.5.1.7 Donizetti, Gaetano
. o: j# g7 e3 Z3 L. c3 y. l& B2 a9 ~9 g1 }* R$ U
S.397, Réminiscences de Lucia di Lammermoor (1839)' S8 {$ x0 k, p
S.398, Marche Funebre et Cavatine de Lucie de Lammermoor (1839)
% a; @. J, n6 \8 n7 A3 H1 FS.399, Nuit d'été à Pausilippe [3 pieces] (1839)
! S8 y' D2 I( ^S.399a, Lucrezia Borgia - Grande fantaisie [first version of S400ii] (1840)/ l& s4 @$ E$ |9 d: `6 }
- p- f) q# q* H# b, j% {
李斯特全部作品目录-3
& g5 {# R7 j$ i8 Z/ Y
1 k. U- H( m: W. L7 X0 h( f7 G( ^S.400, Réminiscences de Lucrezia Borgia [first/second version] 1840
% H) W) [! I8 \. q0 X+ \S.401, Valse a capriccio sur deux motifs de Lucrezia et Parisina [first version of S214/3] (1841)# L/ K/ y7 R# d) D5 d) M
S.402, Marche funèbre de Dom Sébastien (1844)) [  x  v) M  j$ R5 @3 `
2.5.1.8 Donizetti, Giuseppe
0 T2 }, X0 d5 D5 V
$ d3 d/ V9 B$ B7 {. Q" d% CS.403, Marche pour le Sultan Abdul Medjid-Khan [first/simplified version] (1847, 1848); N1 l4 y: i: ~' y  _
2.5.1.9 Duke Ernst
1 \3 Y1 J; S# Q3 Y( T) I. b/ e! m5 H" s" `! I( J1 i8 i
S.404, Halloh! Jagdchor und Steyrer from the opera Tony (1849)9 }  {$ |. ^7 B! ?+ P
2.5.1.10 Erkel, Franz
1 l, C# ?1 X* J# _/ s) J8 p
5 ~) c, g8 ^! W2 L* L! v# XS.405, Schwanengesang and March from Hunyadi Laszlo (1847)# d( N9 Z# i& Z9 A
2.5.1.11 Festetics  w$ V% `1 F- V& _: L$ A& T

8 G2 T" f3 P% P6 k8 J$ p  kS.405a, Pásztor Lakodalmus Variations - Mélodies hongroises [elaboration by Liszt] (1858)$ v! g3 K) g  |
2.5.1.12 Glinka1 T$ z! s% M3 u$ I; M7 E- R
2 b9 K$ \% h' `# g- F# {
S.406, Tscherkessenmarsch from Ruslan i Lyudmila [first/second version] (1843, 1875)
' e$ Q3 u  A; }7 B1 S! L' \1 g8 e2.5.1.13 Gounod  L# ?- f" N+ f* R
6 s/ G( h: C! `* G
S.407, Valse de l'opéra Faust (b. 1861)
% g1 o, G+ E6 B/ D& O! r# PS.408, Les Sabéennes. Berceuse de l'opéra La Reine de Saba (1861)
, a! E5 J( D7 oS.409, Les Adieux. Rêverie sur un motif de l'opéra Romeo et Juliette (1867)
" W6 I( h9 `8 I/ _/ p/ ~+ ]. O9 D2.5.1.14 Halévy
) c! ?! J) [# e  R  {- RS.409a, Réminiscences de La Juive (1835)
1 e2 u4 B8 |. _- P, K0 Y5 A2.5.1.15 Mendelssohn! M& G+ t2 Z! d$ Y: P+ T
S.410, Hochzeitsmarsch und Elfenreigen aus dem Sommernachtstraum (1847-50)- N  g/ N, \8 y! m4 V1 L  `
2.5.1.16 Mercadante
4 k! g& v- X' G( ES.411, Soirée italienne. Six amusements (1838)
4 v2 B$ I8 B: I2 A2.5.1.17 Meyerbeer, M. A6 Q8 @5 z9 f; |
S.412, Réminiscences des Huguenots - Grande fantaisie dramatique [first/second version] (1836, 1842)7 v# K" v* L7 G$ t4 R
S.412a, Réminiscences de Robert le Diable - Cavatine (1846?)
, v5 X1 j( `+ y' B) r$ r; nS.413, Réminiscences de Robert le Diable - Valse infernale (1840)4 x1 O: z3 N- _8 q
S.414, Illustrations du Prophète [4 pieces, 4th=S624] 1849-50& j! ^& \# G+ O7 n5 m
S.415, Illustrations de l'Africaine [2 pieces] 1865
& q* P. }1 @3 k! tS.416, Le Moine (1841)& {; o, |- M2 R' }! \8 v7 ^# y
2.5.1.18 Mosonyi, Michael" |' ~# P) B. }* i! U
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; G& i$ d" S  R# y! S! [+ x) E
2.5.1.19 Mozart* q% F+ L; k; M! y. h& ^# x4 i3 l
S.418, Réminiscences de Don Juan (1841)
9 N2 v  U6 P. N5 O  K4 q# p; C) h2.5.1.20 Pacini
# c9 g# z9 V/ VS.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
: `" O" i  E5 f2.5.1.21 Paganini
! I# F8 M0 e& r. ?6 z0 M  R7 H6 {S.420, Grande Fantaisie de bravoure sur La Clochette (1832-34)  华丽的钟声幻想曲* @  R+ T: a  |/ ?
2.5.1.22 Raff
; B9 W/ d* b' k& x$ q3 sS.421, Andante Finale and March from the opera König Alfred [2 pieces] (1853)
: e* f3 L8 Y% P# S8 \- e+ B0 \1 x2.5.1.23 Rossini/ `) ?# y9 o  I  q8 W- D
S.421a, Introduction et Variations from "Siege of Corinth" [introduction only] (1839?)$ Z$ r* l( L% E8 A- F/ J
S.422, Première grande fantaisie (Soirées musicales) [first/second version] (1836), q- Q8 u$ }/ p" Z8 C. e
S.422i, La serenate e l'orgia - Première grande fantaisie (Soirées musicales) [first version] (1836)) `/ q5 w) M0 N) n2 V% V2 C" A+ G" M
S.423, Deuxième grande fantaisie (Soirées musicales) (1836)/ `. U; v; Z. ~
S.424, Soirées musicales [12 pieces] (1837)2 p8 z2 O( {( A0 Q& e% m
2.5.1.24 Schubert
& |3 {7 B7 h9 ~6 i' s+ {# `7 ]S.425, Mélodies hongroises [3 pieces] (1839–40)5 m( @7 E  W% |8 U% N1 y& {; ~
S.425a, Mélodies hongroises [revised versions] (1846)/ |  H' q# N( T5 t  E) i3 O
S.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
, u% L4 [* d6 IS.426a, Marche militaire (ca. 1870)
* `& r8 `4 {) \) cS.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; w8 Q# x: s7 W* H# i# T
2.5.1.25 Sorriano: p7 Q$ J* x* U7 S% G
S.428, Feuille morte. Elégie d'après Sorriano (1844-45)- [8 G" h8 K  N1 i+ Z: y9 V
2.5.1.26 Tchaikovsky$ L9 i" N' I: V% _
S.429, Polonaise from Eugene Onegin (1879)) e& D: m7 q7 L
2.5.1.27 Végh, Janos' f$ s) g  h- |8 E
S.430, Valse de concert (1882-83)
% @- f& d4 V) C2.5.1.28 Verdi# A7 b+ J& U, R8 f7 [  m  E
S.431, Salve Maria de Jerusalem from I Lombardi [first/second version] (1848, 1882)
3 y% |" y: W' ~, ~1 `; W% W  @S.431a, Ernani - Première paraphrase de concert (1847)4 j% h+ v; }& d$ R, L2 {! I! U& |* f3 S
S.432, Ernani - Paraphrase de concert (No. 2) [first/second version] (b. 1849, 1860)
) K" A* S% s) a7 |0 D$ SS.433, Miserere du Trovatore (1860)
1 u  e. F, A) X# X' R3 I0 YS.434, Rigoletto Paraphrase de Concert (1859)1 ~7 T$ w4 W7 u4 [
S.435, Don Carlos Coro e Marcia funebre (1867-68)
' U  h8 Y- F7 t8 Y) n* NS.436, Aida Danza sacra e duetto finale (1877)
3 e* d) t9 l, S1 a/ c" bS.437, Agnus Dei (1877)
: `* k/ G% o* o& rS.438, Réminiscences de Boccanegra (1882)' A6 d& r( ?; Q/ m, [: Q& D
2.5.1.29 Wagner
6 y4 h2 k* Y+ G2 _' n/ H( pS.439, Phantasiestück über Motive aus Rienzi (1859)
+ Y) T2 t7 M2 ^+ C: ES.440, Spinnerlied aus Der fliegende Holländer (1860)7 g: V: J! Z* M* ~" y
S.441, Ballade aus Der fliegende Holländer (1872)! C. J6 E' A$ \# E- K) q5 _
S.442, Ouvertüre zu R. Wagners Tannhäuser (1848)
. s6 x( v' i$ a" j' [$ Z! E# aS.443, Pilgerchor aus Tannhäuser [first/second version] (1861, 1885)1 C% G0 t  }5 j1 z! O6 F2 m
S.444, O du mein holder Abendstern aus Tannhäuser (1848)
" X& @* W9 _% A8 b/ fS.445, Zwei stücke aus Tannhäuser und Lohengrin (1852)$ P7 W3 ?# K, v) ^" P
S.446, Aus Lohengrin [3 pieces] (1854)- D0 K% B  S/ M7 J, B( A
S.447, Isoldens Liebestod aus Tristan und Isolde [first/revised version] (1867, 1875)8 l5 j0 V, L5 |
S.448, Am stillen Herd aus Die Meistersinger (1871)
6 p" S3 F# y' B( H% dS.449, Walhall aus Der Ring des Nibelungen (1875)
8 h6 S  U2 b6 s9 [( oS.450, Feierlicher Marsch zum heiligen Graal aus Parsifal (1882)3 L# K2 f! i' p. z; t
2.5.1.30 Weber9 X' v* m* z: {% e# i) T  ]( o
S.451, Freischütz-Fantasie (1840-41)
! q, \. l4 r: }  D4 t/ AS.452, Leyer und Schwert [4 pieces] (1848)
% M. n  S. {  GS.453, Einsam bin ich, nicht alleine, from Preciosa (1848)  p" u/ e* z5 x. D
S.454, Schlummerlied mit Arabesken (1848)' e  r# ?4 a7 }( u3 B
S.455, Polonaise brillante (1851)
& y8 J$ z; ]: [$ ~, T: j2.5.1.31 Zichy, Count Géza
# g* d0 g( O$ b/ @2 n  E; Q1 u3 U2 v, TS.456, Valse d'Adele (1877)
/ N1 Q5 |$ a5 u% b2.5.1.32 Unknown
; b( Z: S7 Q) k; V4 tS.458, Fantasy on Il Giuramento (Mercadante) (1838?)1 F3 N, Z* w8 x* P/ I  i& q0 y; l$ c
S.460, Kavallerie-Geschwindmarsch [anonymous] (?)5 G3 }1 n6 {1 {5 v+ g( m9 P0 M
2.5.2 Partitions de Piano, Transcriptions, etc.
: Z1 _! @4 j. ^" j% c& P. [4 m2.5.2.1 Allegri and Mozart
6 K" ?- f5 ~2 ]0 H/ y+ hS.461, A la chapelle Sixtine [first/second version] (1862, ?)
: |" i0 [! r; E1 r1 lS.461a, Ave verum corpus, Kv618 (1862)+ ~) }$ e0 [" }+ E
2.5.2.2 Bach- U3 ^3 |% I, G8 ]
S.462, Sechs Praeludien und Fugen für Orgel [6 pieces] (1850)
9 ^8 j7 @$ |) `  q( V6 IS.463, Organ Fantasy and Fugue in G minor [first/second version] (1860, ?)
* o  N# O% ^* c$ h. o$ M1 \( V2.5.2.3 Beethoven
7 k% ]( ^' ~" c' lS.463a, Symphonie No.5 [first version] (1837)% Z# w' J7 x# r# _/ Z/ I/ \/ z3 ?" Y
S.463b, Symphonie No.6 [first version] (1837)* |9 u' [9 T% z" V8 r1 W
S.463c, Symphonie No.6 [second version. Alternative 5th movement] (1863-64)1 i+ i: ~# N/ i  y0 O2 S
S.463d, Symphonie No.7 [first version] (1837)
4 Q, _- t8 y) uS.463e, Marche funèbre [Beethoven's Eroica Symphony, first version] (1843)
( ]( j2 B* I, o  C- f# hS.464, 贝多芬交响曲 Symphonies de Beethoven [9 pieces] (1863-64)
9 \% @0 y% C3 @0 hS.465, Grand Septuor, Op. 20 (1841)9 f4 A$ v; `9 X, Q( G( y( |! U
S.466, Adelaïde [third version] (1847)
/ D- q  j# t4 z! U2 l, jS.466a, Adelaïde [first version] (1839)9 H% i) N' w8 j$ C/ x) r; U
S.466b, Adelaïde [second version] (1840)
$ I& {/ s: J  P7 `S.467, Sechs Geistlicher Lieder (Gellert) [6 pieces] (1840)
( r# o+ V  ~3 kS.468, Sechs Lieder von Goethe [6 pieces] (b. 1849)* O9 S9 h% h, c3 e* n6 D
S.469, An die ferne Geliebte - Liederkreis [6 pieces] (1849)
9 J! C: H: y. S2.5.2.4 Berlioz
+ Z! C- m& ~! ?1 Y2 i" BS.470, Symphonie Fantastique (1833)/ ~0 j. y  H* {. n- a3 H' c0 j+ K
S.471, Overture from Les francs-juges (1833)
' j( G- W* j8 b4 X7 ]8 tS.472, Harold en Italie (with viola) (1837)
/ V. U3 p, h3 r+ s" VS.473, Marche des pèlerins from Harold en Italie [first/second version] (1837?, 1862)* d( Z: d. l2 ^! X- f0 R. p
S.474, Ouverture Le Roi Lear (1837)
2 D" N" w8 C. e$ y% |6 |) GS.475, Valse des Sylphes de la Damnation de Faust (1860)9 j2 }; b, ?  D* n8 s* D6 C
2.5.2.5 Bulhakov
$ m, q& D  ?7 q5 e. fS.478, Russischer Galopp [first/second version] (1843, 1843)
5 O, b& t. g7 d3 G- N# v+ G2.5.2.6 von Bülow
4 Q6 x) W2 e: h8 P; M3 qS.479, Dante's Sonnett - Tanto gentile e tanto onesta (1874)1 p0 I& v0 l6 Y( `% L0 f+ w
2.5.2.7 Chopin
: Q. f' ^9 i$ r+ I# Q, H, N4 OS.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 Conradi1 {* R, f- L$ \3 n9 n1 v, z; f/ j' J
S.481, Zigeunerpolka (1847?)
" ?& F! I- V, i! ~4 z7 m( B2.5.2.9 Cui
( H8 g  F- g: ]5 E# M7 bS.482, Tarantella (1885)
- H5 j+ s' x0 o& k) n2.5.2.10 Dargomyschsky8 P9 C' c! [; k' }$ l, M% s
S.483, Tarantella (1879)$ E7 B  M. X+ M& U, ~( N
2.5.2.11 David, Ferdinand
: B. y6 y7 O5 @# t2 [  y% x; TS.484, Bunte Reihe, Op. 30 [24 pieces] (1850)( o' S0 v  _3 v# P0 _
2.5.2.12 Dessauer9 O, x6 r2 v* ^& Q, o! w; n4 y
S.485, Drei Lieder (1846)
& a# C! B/ E; S# ?1 c" e2.5.2.13 Ernst, Duke
9 J2 \) @( h5 y6 v! }$ x! WS.485b, Die Gräberinsel (1842)
& {* x3 m6 f6 b, K( O2.5.2.14 Egressy and Erkel2 y) P, A$ ?4 X1 i7 J5 `
S.486, Szózat und Hymnus (1873)
5 d) y# m* g+ @* z9 h2.5.2.15 Festetics$ o! U8 y' K' y. ^
S.487, Spanisches Ständchen 1846
4 b0 H: t( [8 L5 C: P: T2.5.2.16 Franz" D5 t$ i# [2 o3 t6 I
S.488, Er ist gekommen in Sturm und Regen 1848
# n* T4 ~) d# e+ [% S3 l" SS.489, Zwölf Lieder [12 pieces] (1848)  N7 ~) w4 R# s; d. P% V; I
2.5.2.17 Goldschmidt+ p% t* J% M# C8 O0 a
S.490, Liebesszene und Fortunas Kugel (1880)
3 @. ^8 O; \8 K2.5.2.18 Gounod
4 F1 d2 V' y5 XS.491, Hymne à Sainte Cécile (1866)+ w& x9 g& A# G4 r+ G( `
2.5.2.19 Herbeck
) K$ A! P. q2 n3 L  ?6 G; |S.492, Tanzmomente [8 pieces] (1869)
' F* i5 w4 L* M) V$ d2.5.2.20 Hummel
% [2 K6 `! N0 x( jS.493, Grosses Septett, Op. 74 (1848)( x( ]2 W1 T+ U0 h: h
2.5.2.21 Lassen+ j( W, x  U( s) i
S.494, Löse, Himmel, meine Seele [first/second version] (1861, 1872); ]9 L( a: d  a8 N: K! c1 Q
S.495, Ich weil' in tiefer Einsamkeit (1872)3 p, L; ]1 e" L' Z/ W( |* q
S.496, Hebbel's Nibelungen & Goethe's Faust [4 pieces] (1878-79)
/ d9 g1 Y# ^  U3 ~' ^/ H. mS.497, Symphonisches Zwischenspiel ('über allen Zauber Liebe') (ca. 1882-83)7 a( N4 P+ n+ o* F0 i0 J+ U- O
2.5.2.22 Lessmann5 `0 x+ f8 c+ ?
S.498, Drei Lieder ('Tannhäuser') (1882?)
9 L# k7 {  U0 |; S5 k" A2.5.2.23 Liszt
% V+ _, Y1 \4 K5 zS.498a, Drei Stücke aus der heilige Elisabeth (1857-62)
- U+ ]% b; ~) S2 DS.498b, Zwei Orchesterstücke aus Christus (1862-66)
6 ~2 S2 K( b- R$ o9 kS.498c, San Francesco - Preludio (1862-66)- Y% U$ V. [, O
S.499, Cantico del Sol di San Francesco d'Assisi (1881)3 Q0 H& t; z- J$ q! `5 `
S.499a, San Francesco - Preludio per il Cantico del Sol (1880)7 B4 k3 L: }% F! d; c
S.500, Excelsior! - Preludio (1875)) s3 T! t! H; l, ^2 s% ?5 N- @) ]
S.501, Benedictus und Offertorium (Missa Coronationalis) (1867)0 S1 A5 q/ J2 a8 d: x1 ~
S.502, Weihnachtslied II (1864)+ }& E& Y, d5 G  X3 n
S.503, Slavimo Slavno Slaveni! (1863), Z$ c/ I2 s, u* z
S.504, Ave Maria II (in D) [first/second version in D flat] (1870, 1873)' C6 T! W* |1 k4 X" s2 T
S.504a, Via Crucis [15 pieces] (1878-79)
) P' u( n+ d* T2 P4 U: dS.504b, Choräle [11 pieces] (1878-79)' u0 H$ I+ M& W: K6 g% V
S.505, Zum Haus des Herrn (In domum Domini ibimus) (1884)
9 N3 {# T+ K! w& m3 Z6 |S.506, Ave maris stella (1868)
7 D% q) {3 {0 w2 d: x6 lS.507, Klavierstück aus der Bonn Beethoven-Cantata (?)& W/ M5 M) V& A# N8 E
S.507a, Schnitterchor (Pastorale - Schnitterchor aus Prometheus) (1850)
, w8 s9 z$ j0 cS.508, Pastorale. Schnitterchor aus dem Entfesselten Prometheus (1861)
& ^0 l7 `3 o& _; {S.509, Gaudeamus igitur - Humoreske (1870)( }6 p* _) z+ \/ n# O& R
S.510, Marche héroïque (?)7 \2 \  }! i. M
S.511, Geharnischte Lieder [3 pieces] (1861)& f  v7 t4 r! e, ~$ \
S.511a, Les Préludes (Poème symphonique No. 3) [arranged by Karl Klauser, revised by Liszt] (1863) [1][2]  Y# r6 _$ v& G' |
S.511b, Orpheus (Poème symphonique No. 4) [arranged by Fredrich Spiro, revised by Liszt] (1879) [3]
0 @' Y: F* m6 ?8 _$ m, ES.511c, Mazeppa (Poème symphonique No. 6) [arranged by Theodor Forchhammer, revised by Liszt] (1870-79) [3]
3 T: L* S  z. g) F; r0 Q2 AS.511d, Festklänge (Poème symphonique No. 7) [arranged by Ludwig Stark, revised by Liszt] (1870-79) [3]
$ ^& v7 _1 l9 Q" A6 `S.511e, Hungaria (Poème symphonique No. 9) [arranged by Fredrich Spiro, revised by Liszt] (1872) [3]9 N1 ]+ p% ]( U' w  k- B% I
S.512, Von der Wiege bis zum Grabe (Poème symphonique No. 13) (1881)
! i  a( s0 T. a: YS.513, Gretchen aus Faust-Simpfonie (b 1867 ). ?' }% L. U* y; V/ v; Z
S.513a, Der nächtliche Zug (?)
* ?% w0 P% }! e* N. BS.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3 I+ e9 s  Z$ u! I
S.514a, Erster Mephisto-Walzer (Mephisto Waltz No. 1) [with later additions] (1859-62)
+ w: d' ~$ o7 |$ ?! pS.515, Zweiter Mephisto-Walzer (Mephisto Waltz No. 2) (1881) 第二梅菲斯特圆舞曲' N2 J3 ?% w- H9 h' I# o9 w( S
S.516, Les Morts (Ode Funèbre No. 1) (1860)
6 U1 v) d# u0 TS.516a, La notte (Ode Funèbre No. 2) (?)+ R; k+ @, M0 S1 @' s( r) T
S.517, Le Triomphe funèbre du Tasse (Odes Funèbre No. 3) (1866)2 K1 c. l3 s; \/ a# c6 s
S.518, Salve Polonia (a. 1863)
* P2 o# W, J% [S.519, Deux Polonaises de St Stanislaus (1870-79)0 f% l' {& r4 |" p" |
S.520, Künstlerfestzug [first/second version] (1857-60, 1883), I; g; m  W9 d
S.521, Festmarsch zur Goethejubiläumsfeier [first/second version] (1857, 1872)
8 x9 J: D- ~/ H- `8 H1 `4 k. KS.522, Festmarsch nach motiven von E.H.z.S.-C.-G (1857)
. h6 d% i# z' o# \S.523, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (1870)  J- L: q, Q" F
S.524, Ungarischer Sturmmarsch [first/second version] (?, 1875)
# V+ M+ W% }" N* a5 [S.525, Totentanz. Paraphrase on Dies Irae (1860-65)- {) ^; x( f' u) Z( F' D: |
S.526, Epithalam zu Eduard Reményis Vermählungsfeier (?)
$ e. x& R! m, b( H6 S: cS.527, Romance oubliée (?)
* ^5 y: F6 o6 F' eS.527bis, Romance oubliée [short draft] (1880)
: P+ h/ x1 \2 l- a, kS.529, Fantasie und Fuge über das Thema BACH [first/second version] (1856, 1870) 巴赫主题幻想曲与赋格3 X: @. J/ ?; ]; n) N* _( \
S.530, L'Hymne du Pape. Inno del Papa. Der Papsthymnus (1864): w8 f2 \0 ^; _2 H
S.531, Buch der Lieder I [5 pieces] (?)& Q( t( \) ~. [/ G- q5 R0 H( r" G- P
S.532, Die Lorelei (Heine) [second version] (1861)5 l5 z" w$ v; G; z
S.533, Il m'aimait tant (Delphine Gay) (1842)5 a( J  k3 o. V2 B
S.534, Die Zelle in Nonnenwerth (Felix Lichnowski) [first/second/fourth version] (1842, 1860, 1880)9 ?" z( d1 B5 ]7 P
S.535, Comment, disaient-ils [Buch der Lieder II] (1845?)8 a& l0 C/ T( S1 e
S.536, O quand je dors [Buch der Lieder II] (1847?)
' Z! s* o4 j  e( v3 @( uS.537, Enfant, si j'étais roi [Buch der Lieder II] (1847?)
& Z& y2 g5 ^& Y: m$ m( ~: l6 dS.538, S'il est un charmant gazon [Buch der Lieder II] (1847?)2 ^, a- _+ Y3 j6 k7 S( o
S.539, La tombe et la rose [Buch der Lieder II] (1847?)# j( e( Y$ G, \( k4 G. Y
S.540, Gastibelza [Buch der Lieder II] (1847?)! i7 _) G% W5 @) c: u) f
S.541, Liebesträume. Drei Notturnos (ca. 1850)  3首夜曲“爱之梦”
9 o. ]1 v! a& {1 fS.542, Weimars Volkslied [first/second version] (1857, ?)
+ X. Y% S3 P. c- g$ WS.542a, Ich liebe dich (?)1 M' W) R, P7 X7 b! K
S.542b, Fanfare zur Enthüllung des Carl-Augusts Monument (?)% D( y0 M& z4 b2 G; o
S.543, Ungarns Gott. A magyarok Istene (Petófi)]] [original/(S543bis)left-hand version] (1881)
. T7 E: D4 B& w! [S.544, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)! u6 _% ]5 e5 k) J" z# F1 b
S.545, Ave Maria IV (1881)( \5 h( F- N. o+ n  e. U6 F
S.546, Der blinde Sänger (Alexei Tolstoy) [solo version] (1878)5 W1 _% l- H; \) [2 W
S.546a, O Roma nobilis (1879)
( h0 F( M5 k) X/ R. L3 d2.5.2.24 Mendelssohn7 T! H+ d) Z# I- Y( X' |% l( O
S.547, Sieben Lieder (from Opp. 19, 34, 47) [7 pieces] (1840)
! j" g+ |, [. F& ]9 Y+ Z; U7 |S.548, Wasserfahrt and Der Jäger Abschied (from Op. 50) [2 pieces] (1848)! H  W; L: U6 B, i- b
2.5.2.25 Meyerbeer/ p2 f5 v4 }9 C8 b2 T
S.549, Festmarsch zu Schillers 100-Jähriger Geburtsfeier (?)  m3 u2 m9 a! s6 e" M$ S) r5 I
2.5.2.26 Mozart. k" B; G2 M: a+ b6 h
S.550, Zwei Transcriptionen über Themen aus Mozart's Requiem, K626 [2 pieces] (1862)2 t0 W  ?" E" q, s
2.5.2.27 Pezzini
% \3 t5 t7 Q0 l- KS.551, Una stella amica. Mazurka (?)
& I: D: N: ?6 Z0 B2.5.2.28 Raff" I+ s9 q+ Y% [/ l; u; B
S.551a, Einleitung und Coda zu Raffs Walzer in Des-dur (opus 54/1) (1880)
: }: f% J4 @! {0 B: C$ v) R( p) t2.5.2.29 Rossini
& n8 e4 T& x. y3 K+ YS.552, Ouverture de l'opéra Guillaume Tell (1838)
" H4 [9 V& i- X1 _/ yS.552a, Caritas [La charité, first version] (1847)
  I. a* n; \- n  c' ?4 xS.552b, La caritá [La charité, simplified version] (1847)9 v6 K3 D  a* f$ i4 H
S.553, Deux Transcriptions [2 pieces] (1847)+ k5 f$ ]# [2 D! Q9 e* X
2.5.2.30 Rubinstein
( \6 m% D  W  m! d$ i& GS.554, Zwei Lieder [2 pieces] (1880)1 h/ i% b" s/ i
S.554a, Einleitung und Coda sur des notes fausses (1880)  A2 S: e  l9 |* ?) ^3 D2 k1 {
2.5.2.31 Saint-Saëns
8 |$ X* G% W7 JS.555, Danse macabre, Op. 40 (1876)
. B# T5 |$ N9 P  ]; ?2.5.2.32 Schubert
  k" _2 _' @" a; G7 Z% h* dS.556, Die Rose [first/intermediate/second version] (1832, ca. 1837, 1838)9 C9 n0 F' Q4 Z+ h- O( ]$ H
S.557, Lob der Tränen (1837)
. D0 {( [# E- f: SS.557a, Erlkönig [first version] (?)$ k) l$ c  N8 o+ [
S.557b, Meeresstille [first version] (?)
' |! \8 M2 f- g+ a2 NS.557b/bis, Meeresstille [first version, ossia] (?)
+ `, T1 _" P$ V2 z" w- u( M% h" {( PS.557c, Frühlingsglaube [first version] (?)* Z( ]* }0 K% u7 d
S.557d, Ave Maria (Ellens dritter Gesang) [first version] (?)& b$ t9 x9 @; F2 k; ]+ w, n9 N
S.558, 12 Lieder (1837-38): M7 ]+ b0 U) i2 ^
S.558bis, 12 Lieder [revised versions of Nos. 3, 4, 7, 8, 9, 11] (ca. 1839)
) s% @/ j0 t- U& L8 V( E, k" ~S.559, Der Gondelfahrer, Op. 28 (1838)! ?& N8 a" u- B# j* N  r+ A
S.559a, Sérénade [Ständchen, first version] (1837)
' G; H+ q- t2 d2 D' w$ a; _S.560, Schwanengesang [14 pieces] (1838-39)
* T5 r2 o5 M; n4 J9 }S.560bis, Schwanengesang [14 pieces, alternative versions] (ca. 1839)
$ Z: J* h! c- F$ S: Z# HS.561, Winterreise [12 pieces] (1839)
# ^9 A- M% Z) N9 j2 h6 [$ p+ e+ i, s. HS.561, Winterreise [alternative versions of Nos. 2, 3, 7, 10,] (ca. 1839)6 e- S' X& p- w- \
S.562, Geistliche Lieder [4 pieces] (1841)" z$ b( |5 x4 q2 [" S5 @# N1 Y7 M8 E
S.563, Six mélodies célèbres [6 pieces, 1st by Weyrauch] (1844)3 b. D, b3 i" @% q
S.564, Die Forelle [second version] (1846)* K, c5 d& {; V" O& P) g2 e2 s( Z
S.565, Six Mélodies favorites de La belle meunière [6 pieces] (1846)* s8 t) {  V+ U& k; y3 z$ _, s- n& _
S.565bis, Müllerlieder [6 pieces, revised versions] (ca. 1879)
, M9 U7 n& Y4 @+ Q5 `" e' ^; jS.565a, Wandererfantasie (Grosse Fantasie in C-dur) (ca. 1868)
8 [8 G& M6 d4 q+ I9 H: d, IS.565b, Schubert's Impromptus [2 pieces, Op. 90/2-3] (ca. 1868)( D! q3 r" t/ N5 C- m' L# u( _% O
2.5.2.33 Schumann
7 ?" W* n; b0 k! F2 N5 i; D5 xS.566, Widmung, Liebeslied (1848)
) z5 L8 n% ?& w" I, k* JS.566a, Widmung, Liebeslied [sketch of a more literal transcription] (1848)
$ t; {, `* V4 G+ A* K; wS.567, An den Sonnenschein, Rotes Röslein (1861)
! Y5 O: w4 Y8 b' z  F0 YS.568, Frühlingsnacht (überm Garten durch die Lüfte) (1872)
% g) `! v# t$ z- zS.569, Zehn Lieder von Robert und Clara Schumann [10 pieces] (1872)
/ h: m7 h1 N% m% n! F& Z8 sS.570, Provençalisches Minnelied (1881)
" g# V4 B5 n- n+ s; Y2.5.2.34 Smetana" Q6 n$ R$ a% c! h3 T/ v/ {! i
S.570a, Einleitung und Coda zu Smetanas Polka (de salon, opus 7/1) (1880)
5 Y& E" Q1 F2 g) v) w2.5.2.35 Spohr; ]: y2 q) s) }2 |6 t* s5 Z
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& h$ M, ~. f1 k  p6 m
S.571a, Einleitung und Schlußtakte zu Tausigs dritter Valse-Caprice (1880)
* Q. p7 ]" |0 @2.5.2.37 Szabady and Massenet
2 L" s8 Y* ^* ^S.572, Revive Szegedin (1879)
: Z! P& C2 C$ {/ o$ |2.5.2.38 Széchényi, Count Imre; U' Q* P- M% F. F, y
S.573, Bevezetés és magyar indulò (1872)
  M- O- u/ f. K; m7 S: U8 c6 X) K2.5.2.39 Tirindelli( X# U0 U/ E0 [, y# x9 m7 l! t) z
S.573a, Seconda mazurka variata (1880)! y! V  j/ Y8 W
2.5.2.40 Weber
* b: C7 `8 ^& Z; _) P" ?5 NS.574, Ouverture Oberon (1846?)
7 L# }+ ]- W9 R7 T) g1 `S.575, Ouverture Der Freischütz (1840-41)# s" P; B9 b6 B7 z0 A6 R
S.576, Jubelouverture (1846)
5 C! ^( i) {! M" B' H" |  f% m# KS.576a, Konzertstück, Op. 79 (ca. 1868)+ C! R- O8 v, i+ n
2.5.2.41 Wielhorsky, Count Michael
+ A& n* Y5 m1 K$ y5 p4 ZS.577, Lyubila ya [first/second version] (1843, ?)
! q# E2 J: O+ F$ q" G2.6 Pianoforte Duet(钢琴二重奏)
( k1 n" o/ s* G2.6.1 Field
7 p3 L' O. H) a6 I7 M' o0 lS.577a, 11 Nocturnes (Nos. 1-9, 14, 18 and Nocturne Pastorale in E) (?)
. _2 [2 r( O0 B" U( p* {2.6.2 Liszt( Q! _( x+ E7 }& F
S.578, 4 Pieces from St. Elisabeth (1862)5 Z5 t/ `2 ?  w! I
S.579, Christus Oratorio 4th and 5th section (?)
$ d; t8 Z2 J& z" I. `& ~S.580, Excelsior! - Preludio (?)
) h. L) j, U& hS.581, Benedictus and Offertorium from the Hungarian Coronation Mass (1869)
3 @5 c+ g8 |$ U: @( h: GS.582, O Lamm Gottes, unschuldig (1878-79)& T* y  I: }3 k" c
S.583, Via Crucis (?)- g* @; ?6 J( t* Q% R9 l% Y- R
S.584, Festkantate zur Enthüllung des Beethoven-Denkmals in Bonn (1845)
, h0 g% J/ w2 M$ nS.585, Pastorale. Schnitterchor aus dem Entfesselten Prometheus (1861)
* x4 e7 Z+ Y# @! |S.586, Gaudeamus igitur. Humoreske (1870)
! U5 w7 e# f: b! s& R0 Z1 `S.587, Marche héroique (?)+ M: U' I2 x9 r5 i) T
S.588, Weimars Volkslied (Cornelius) (1857): A3 c0 ]1 Y- \$ d9 L1 D
S.589, Ce qu'on entend sur la montagne (Poème symphonique No. 1) (1874)5 l5 n( j" {6 ^# U3 B4 s8 Y
S.590, Tasso, Lamento e Trionfo (Poème symphonique No. 2) (1858): l+ C+ B# `9 t, Z1 S
S.591, Les Préludes (Poème symphonique No. 3) (ca. 1858): I% c, ]6 d# a1 `+ P4 Z  a) ?# Q
S.592, Orpheus (Poème symphonique No. 4) (ca. 1858)  Y1 J6 ?+ o  n5 Y: ~0 H* N
S.593, Prometheus (Poème symphonique No. 5) (1858)" T3 t+ {4 L- [9 k$ \) M
S.594, Mazeppa (Poème symphonique No. 6) (1874)& ^  P4 r6 ]* [% x: \( ]* Y
S.595, Festklänge (Poème symphonique No. 7) (1854-61)
2 H% O% d3 e& j/ V+ rS.596, Hungaria (Poème symphonique No. 9) (1874?)% ^2 A) d* Q/ ^. b7 I
S.569a, Héroïde funèbre (Poème symphonique No. 8) (ca. 1877)$ a, X  K; W% u, V4 l
S.596b, Hunnenschlacht (Poème symphonique No. 11) (ca. 1877)6 J5 W7 z9 N4 {' W7 M' {
S.596c, Die Ideale (Poème symphonique No. 12) (ca. 1874-77)
9 y# t9 \2 Z! ^7 RS.597, Hamlet (Poème symphonique No. 10) (1874)
# A5 a$ Q# O: U& Q$ M8 ?S.598, Von der Wiege bis zum Grabe (Poème symphonique No. 13) (From the Cradle to the Grave) (1881)
4 y$ Q( D4 l8 Q9 W; AS.599, Two episodes from Lenau's Faust (1861-62)
* e5 h2 p/ m% v/ H李斯特全部作品目录-4
$ B6 m: d7 X& ^- v
6 T8 e9 U' _& ]0 l1 \S.600, Mephisto Waltz No. 2 (1881)
7 ~7 R8 _$ z+ A5 M+ U' RS.601, Les Morts (Ode Funébre No. 1) (1866)8 }; c& {# x7 n. G
S.602, La Notte (Ode Funébre No. 2) (1866)
% B2 z6 ]- y/ ~0 _9 JS.603, Le Triomphe Funèbre du Tasse (Ode Funébre No. 3) (1866?)% c; @/ r; \* V6 d% b+ |
S.604, Salve Polonia (1863)3 k9 H  B- [0 o5 _9 R, Y
S.605, Künstlerfestzug zur Schillerfeier (1859)& Y3 d. g' d5 w+ W. t* [$ |5 E8 [
S.606, Festmarsch zur Goethejubiläumsfeier (ca. 1858)9 k; Z7 o& ~2 m0 @) C; ?* A
S.607, Festmarsch nach Motiven von E.H. zu S.-C.-G. (ca. 1859)1 q% p  C) l. C
S.608, Rákóczy March (1870)
/ M: [  ], j4 t( F9 B, Q2 z9 ?S.609, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (1870)/ _0 u2 E; D9 [, k
S.610, Ungarischer Sturmmarsch (1875)7 [  w9 B/ ~( \
S.611, Epithalam (1872)! ~8 N$ c# b) r4 e/ L  l0 G
S.612, Elégie (1874)
$ ]7 P# M0 T7 @, j1 iS.613, Weihnachtsbaum (1876)
0 f. q* b" l. R& c/ J7 \S.614, Dem Andenken Petöfis (Petófi Szellemének) (1877)2 h/ u$ o! Q; F4 y( n/ K, d( X: l
S.615, Grande Valse di Bravura (1836)* M* i( _8 }! G7 g9 V: m
S.616, Grand Galop Chromatique (1838)
! G+ U3 _' x& [9 x' eS.617, Csárdás macabre (1882)
* D" X5 l$ a; g6 uS.618, Csárdás obstiné (ca. 1884)& B( f! ~  q% y* X3 T# k/ b
S.618a, Vom Fels zum Meer. Deutscher Siegesmarsch (?)' b; @5 ]* Q) u6 ?2 w/ I
S.619, Bülow-Marsch (ca. 1883)
6 ^) [9 t. o; ^3 q& u0 TS.619a, Festpolonaise (1876) [4]
" A: O& Z- o( |# ]S.620, Hussitenlied (Melody by J.Krov) (1840)* w  B& o& a+ l. n& G5 e" o7 w
S.621, 6 Hungarian Rhapsodies [from the orchestral version, S359] (1874)
. C' d6 ^/ \) G! X& z% }0 KS.622, Rapsodie hongroise No. 16 (1882)
. k! d4 _; r" A9 r2 m# y; ]S.623, Rapsodie hongroise No. 18 (1885)( f; n5 }$ f' e! m2 l$ ?: k
S.623a, Rapsodie hongroise No. 19 (ca. 1885)' w5 q! g: b( c5 m% X5 G: u/ `( I
S.624, Fantasy and Fugue on the chorale Ad nos, ad salutarem undam (1850)' G5 ^3 j4 s  X+ z' b# L1 E
S.625, L'Hymne du Pape (Der Papsthymnus) (1865)
- h5 e4 Z! R- E+ K. [' J9 s$ pS.626, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)
5 [% ^* a) D8 ?+ |+ V/ k1 FS.627, Fantaisie sur des motifs de l'opéra La Sonnambula (Bellini) (1852)
: p. m6 r  `; BS.628, Bénédiction et serment (Berlioz's 'Benvenuto Cellini') (1852)6 J7 Q) Q( i( f. V: h7 r) e& J# l4 B
S.628a, Marche et cavatine (Donizetti's Lucia) (?), H* n- y9 h0 s) _5 |- D
S.628b, Szózat und Hymnus (Egressy and Erkel) (1873)3 i  I0 \& r% \; |) G# `
S.629, Tscherkessenmarsch (Glinka's Ruslan i Lyudmila) (1843)# x4 f' ]/ Q. m% n/ o9 q
S.630, Réminiscences de Robert le Diable - Valse infernale (Meyerbeer) (1841-43)
8 j+ `. W* W: Y- lS.631, Andante finale und Marsch (Raff's 'König Alfred') (1853)% H+ e4 ~; `: z
S.632, 4 Marches (Schubert) (1879)
, T. o, T7 c. R9 C; CS.633, A la chapelle Sixtine (Allegri Mozart) (1865)+ `$ a- p' R% b( O( i) P
S.634, Grand Septuor Op. 20 (Beethoven) (1841)& ?& l$ G0 u3 H$ L8 c& Z: Y: N4 I! f
2.6.3 Mozart
  t, E. b$ ^9 W; K% s9 D1 Y5 W. aS.634a, Adagio from Mozart's Die Zauberflöte (1875-81?): ]+ u! z. l  b' t! s3 D' V1 o
2.7 Two Pianofortes(双钢琴)
! R/ E" ?, l; @+ I( z3 d; e2.7.1 Liszt! `: z' b7 ~9 }4 j
S.635, Ce qu'on entend sur la montagne (Poème symphonique No. 1) (ca. 1854-57)  d) l: M! c% d4 L
S.636, Tasso, Lamento e Trionfo (Poème symphonique No. 2) (ca. 1857)& v$ L+ u3 L# X0 @1 ]" _' O8 u( ^6 S
S.637, Les Préludes (Poème symphonique No. 3) (ca. 1854-56)3 G( E4 h1 e5 k1 j# j/ R
S.638, Orpheus (Poème symphonique No. 4) (ca. 1854-56)& B4 u8 M% I, X! `
S.639, Prometheus (Poème symphonique No. 5) (1855-56)8 ~8 w6 \/ b' E' j
S.640, Mazeppa (Poème symphonique No. 6) (1855)8 {) M: u8 O& J
S.641, Festklänge (Poème symphonique No. 7) (ca. 1853-56)$ k* g, W* _3 m( @3 _/ x
S.642, Héroide Funèbre (Poème symphonique No. 8) (ca. 1854-56)
' V, j% W' M" B) j$ N, _3 M. |. JS.643, Hungaria (Poème symphonique No. 9) (ca. 1854-61)
( N8 ]7 q0 v' l, FS.644, Hamlet (Poème symphonique No. 10) (ca. 1858-61)  R6 g2 z( t4 e' K' Z$ U: O
S.645, Hunnenschlacht (Poème symphonique No. 11) (1857)2 r& {$ x( [- p/ L6 S
S.646, Die Ideale (Poème symphonique No. 12) (1857-58)
; }) H" Y+ _1 `& F: k2 zS.647, A Faust Symphony, in three character pictures (1856); ~; n" E5 B$ ]) H: m
S.648, A Symphony to Dante's Devina Commedia (ca. 1856-59)4 \) G3 `1 S3 y) b1 P; H: d0 }
S.649, Fantasie über Beethovens Ruinen von Athen (1865)
& x3 F; D( j& M3 s& R  @- |) jS.650, Piano Concerto No. 1 in E flat major (1853)3 K! D6 u( L% A' e
S.651, Piano Concerto No. 2 in A major (1859)9 |' W  _! J* @, i
S.652, Totentanz. Paraphrase on Dies Irae (1859)
8 g/ G9 y& l- c+ |/ K0 R2 ~S.653, Wandererfantasie (Schubert) (a. 1859)
% {- a' O. G; z9 qS.654, Hexaméron, Morceau de Concert (1837); `& a9 K# J7 d" X9 K6 L+ n: V
S.655, Réminiscences de Norma (Bellini) (1841)
( l) b8 p. R2 a% D( U7 _& }S.656, Réminiscences de Don Juan (Mozart) (1841)# E6 [, W* F. z) x* \4 D
S.657, Symphony No. 9 (Beethoven) (1851)* i- i+ G" L  t- k) a
S.657a/1, Piano Concerto No. 3 (Beethoven) (1878)$ I% i7 v) m7 y* `7 ^. j0 ~
S.657a/2, Piano Concerto No. 4 (Beethoven) (1878)
3 i6 n5 x, k+ f! A' MS.657a/3, Piano Concerto No. 5 (Beethoven) (1878)
, t2 H/ }- o$ D2 J' R$ t* L1 _S.657b, Bülow-Marsch [2-pianos, 8-hands] (1884)+ J8 T' b8 @) _+ O1 r
2.8 Organ(管风琴)1 t; w6 `0 {8 O: R' G% ^+ g
2.8.1 Allegri und Mozart1 U! M7 P7 ~' m: ~5 z  H# V( M! i
S.658, évocation à la Chapelle Sixtine (1862)
" e- X9 G$ }1 a  J, f) t- Q2.8.2 Arcadelt
2 V! W+ [% |8 E% CS.659, Ave Maria (1862)
) W7 c1 l" V, P# _3 e; r" w4 h2.8.3 Bach
7 C( U3 {# r( B  J5 g6 X' v/ [
/ U. ]- w  r3 m8 D  w% ZS.660, Einleitung und Fuge aus der Motette Ich hatte viel Bekümmernis und Andante Aus tiefer Not [2 pieces] (1860)
. t: Z: S8 x+ w( z0 wS.661, Adagio from Bach Violin Sonata No. 4 (BWV1017) (1864); k( K9 y* z- u
2.8.4 Chopin3 _) K$ J& Z# ]' u
* B0 i2 ~0 C) \
S.662, 2 Préludes from Op. 28 (Nos. 4, 9) (1863)3 ~& h3 B$ a; J+ h% H- p
2.8.5 Lassus4 p5 h' U  Y7 C0 k

/ _- m, n1 n9 H; sS.663, Regina coeli laetare (1865)- r1 S. [1 P: |" d" j' n
2.8.6 Liszt
* @0 m) t4 Q: T8 \: x/ S* H6 P& a
/ X3 N% \8 [3 \% M0 ]S.664, Tu es Petrus from Christus (1867)
6 E9 I0 E: F! C7 K1 r/ ES.665, San Francesco (1880)
  ]7 s' }  M  N' pS.666, Excelsior! - Preludio (?), l# I& h. u  N- \4 h! c! w
S.667, Offertorium from the Hungarian Coronation Mass (1867)
' w( k2 a8 z: }# ^/ q% {9 G8 n7 YS.668, Slavimo Slavno Slaveni (1863)
9 ?& w7 {9 q1 G# `2 }$ s1 sS.669, Zwei Kirchenhymnen [2 pieces] (1877)% f' S0 ^' X1 @2 o, J3 I
S.670, Rosario [3 pieces] (1879), ?* W) T) m0 h
S.671, Zum Haus des Herrn (In domum Domini ibimus) (1884)
" x) ]2 M: u& x2 g9 C/ xS.672, Weimars Volkslied (Cornelius) (1865)
6 N" m3 c" u! dS.673, Weinen, Klagen' Variationen (1863): k* s+ m" m9 C
S.674, Ungarns Gott. A magyarok Istene (Petófi) (1882)
# W& N% \* B0 f( T, B& l5 eS.674a, O sacrum convivium [2 versions] (?)4 C/ V" j* t7 r% ^9 {
2.8.7 Nicolai
. M. R1 f# o  R! |* L3 G6 L! Q7 c
- O% W9 Q  R$ ~! V; kS.675, Kirchliche Festoverture (1852)3 G+ I' W$ X# q6 m  m. z/ ?
2.8.8 Wagner
* o# b. m( p7 [1 g2 W9 e+ v
4 Q' H# g, p3 ^$ K1 kS.676, Pilgerchor from Wagner's Tannhäuser (1860)6 q4 u3 S( K3 R. [4 C* a
2.9 Organ with Other Instruments(管风琴和其他)
$ ]3 j) l: i! m- |' Y7 H& t- l& m) M8 k
S.677, Hosannah from Cantico del sol di San Francesco d'Assisi (for organ and bass trombone) (1862)
, A2 @; K* V- K" l2 n: z. C5 G" K9 iS.678, Offertorium and Benedictus from the Hungarian Coronation Mass (1869)
0 A* w1 Y% o3 L# k: ?& x% GS.679, Aria 'Cujus animam' from Rossini's Stabat Mater (for organ and trombone) (?)
/ i1 C. X5 s% W" [& {Vocal Arrangements声乐2 h+ T  s: E" @$ ?. m

1 }/ d6 g0 [9 ~S.680, Ave maris stella (1868)+ D/ k% Z) w) n1 w6 O/ K
681, Ave Maria II (1869)
0 C: c. }' q; j1 {" @# |# bS.682, Air du Stabat Mater (Rossini) (?) 0 W, {& p) Q; r, b' p
S.683, Serbisches Lied (Hohenzollern-Hechtingen, Prince FWC. von) (?)% P0 O4 {5 J8 m3 w2 [, @
S.684, Barcarolle vénitienne (Pantaleoni) (?)7 f" D  I" X2 D# t: A' G# q
S.685, Es hat geflammt die ganze Nacht (Grand Duchess Pavlovna) (?)
  ^, n' V5 |' p' P, B ) L0 f2 e5 @# \8 r# o# C
2.10 Recitations* n. f" k7 x$ ^* ^
S.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
" Y1 y# |8 n8 U9 Z
$ x# B* h: _3 z: q

9 g3 w& C. W4 D3 ]  T& A* Z/ ]  Q+ S% i9 ~

: i( i( z; W) }' V. `! L/ L  v7 N7 n9 O8 C( t- Y/ Z1 Z/ G$ b  ^
2 {0 E* [3 s) k+ j6 S; o3 B
3 H6 z$ n8 P$ `! C
3. Appendix
5 x% d$ P+ y0 {  E& y$ j
8 J5 x$ U3 T% }1 ]3.1 Unfinished Works' P7 P# d; K! y) h( @5 \2 s
$ p  j9 y/ D7 |' D0 P2 U
S.687, Sardanapale (Byron) [opera, partly sketched, 111 pages] (?)7 E( D  B  B. k' K5 J
S.688, Oratorio - Die Legende vom heiligen Stanislaus [sacred choral] (1873-85)
; W6 E" s4 v0 \7 m$ o% S4 G$ JS.688a, St Stanislaus fragment [solo piano, Library of Congress] (1880-86)) |* k- I" h' p5 |, V, G, Y. _7 w5 ]0 W9 W
S.689, Singe, wem Gesang gegeben [secular choral] (1847)
) ]7 }2 E! r6 c7 d# J  YS.690, Revolutionary Symphony [unfinished, revised 1848] (1830)
' x- N+ G. K8 R. x& }/ f9 M+ US.691, De Profundis [piano and orchestra, De Profundis - Psaume instrumental] (1834?)+ F6 k6 q  i2 C* z
S.692, Violin Concerto [only sketched] (1860)3 }3 d' h/ K9 X$ `; R2 D
S.692a, The Four Seasons String quartet (Vivaldi) (1880?)0 P7 ]- W1 A2 I. u$ {* J
S.692b, Anfang einer jugendsonate [solo piano] (1825)
3 w3 m, O' b+ h- |( L5 J5 [S.692c, Allegro maestoso [solo piano] (1826)
2 I, {# @5 O" C! Y/ pS.692d, Rákóczi-Marsch [solo piano, first version, simplified, unfinished] (1839)
, e2 O) b# U0 w" g) |$ mS.692e, Winzerchor (Prometheus) [solo piano] (1850)
! E$ a( P' Z5 S# t, vS.693, Deux marches dans le genre hongrois [solo piano, 2 pieces] (1840?)/ E0 b) [. M5 d* [1 ~, t* D
S.693a, Zwei Stücke aus der heilige Elisabeth [solo piano] (1862)9 ~0 @0 r+ X! n
S.694, Fantasie über englische Themen [solo piano] (1840?)
6 T# g* ]  F! h/ d$ J7 \/ N: Q; YS.695, Morceau en fa majeur [solo piano] (1843?)' N# l. I! J. q! I2 d9 {
S.695a, Litanie de Marie [solo piano] (1847). E; y5 d" ^  C! H
S.695b, Zigeuner-Epos [solo piano, 11 pieces] (ca. 1848)! M  \, o! t9 s; d
S.696, Mephisto Waltz No.4 (1884) 第四梅菲斯特圆舞曲
8 V1 Y! @- i% \! W) c1 ~" ZS.697, Fantasie über Themen aus Figaro und Don Giovanni (Mozart) [solo piano arrangement] (1842)1 h! k+ |5 T+ Q0 v
S.698, La Mandragore - Ballade de l'opéra Jean de Nivelle de L. Delibes [solo piano arrangement] (a. 1880)
$ s- I1 H+ f( a6 L* l) c+ }S.699, La Notte (Odes Funèbre no. 2) [solo piano arrangement] (1864-66)
, q; E2 u* I  R. d  t, NS.700, Grand Fantaisie (Variations) sur des thèmes de Paganini [first/second version; completed by Mezö] (1845)
; a0 i5 y! y+ ?S.700a, Variations sur Le Carnaval de Venise (Paganini) [solo piano arrangement] (?)5 a7 n# e+ J. z; P2 P6 T* D
S.701, Den Felsengipfel stieg ich einst hinan [song] (?)6 @, j& P7 M1 v5 S
S.701a, Allegro di bravura [orchestra, arrangement] (ca. 1830)% K" ]3 n" l* _$ f
S.701b, Marie-Poème [solo piano] (1837), X4 q9 J5 y. w$ z' `# `2 u
S.701c, Andante sensibilissimo [solo piano] (1880-86)
: a1 k* s2 o8 a( t0 NS.701d, Melodie in Dorische Tonart [solo piano] (1860)& K& `3 Q5 P7 ^' k- T
S.701e, Dante fragment [solo piano] (1839)5 B6 V# U. S$ w- t" m+ r; J+ H
S.701f, Glasgow fragment [solo piano] (?)7 D6 p- Y6 W9 `% R( g# Z
S.701g, Polnisch - sketch [solo piano] (1870-79)8 a( L4 j; I. w! b9 p; M8 A
S.701h/1, Operatic aria - and sketched variation [solo piano] (?)/ b% i  `3 T9 ^4 o9 a
S.701h/2, Valse infernale (Meyerbeer) - theme [solo piano arrangement] (?)- v& X; H1 S8 F1 L, P4 J4 _
S.701j, Harmonie nach Rossini's Carità (La charité) [solo piano arrangement] (1847)
4 i+ |" R, c, R( W, o+ {/ }S.701k, Korrekturblatt (to an earlier version of La lugubre gondola) [solo piano] (1882)5 v/ g- o  f- i* r+ k" w- \
3.2 Doubtful or Lost2 [7 _7 V7 F0 E( j7 Y
# c( |% G4 ~  C+ R& ?5 }
3.2.1 Sacred Choral Works0 d9 e) d: \0 w# l
  c0 W# Z' a- u9 {9 _/ G  k
S.702, Tantum Ergo (1822)
7 t; o9 T& j; tS.703, Psalm 2 (1851)
% d. z* J1 B7 n; I, HS.704, Requiem on the death of Emperor Maximilian of Mexico (?)
* Y4 H2 m6 O7 j9 y. p( d2 u7 RS.705, The Creation (?)7 J1 Q, y! l6 o6 P+ i$ I1 U
S.706, Benedictus [doubtful] (?)
8 e* @1 D8 r8 o' i$ R, ^S.707, Excelsior [arrangement, doubtful] (?)4 V7 s7 A: P( G/ c$ J
3.2.2 Secular Choral Works
8 q9 P4 \* K' E
. `7 |+ _' d$ }& HS.708, Rinaldo [doubtful] (ca. 1848)1 x0 X+ b, E- v9 J) c5 I2 i& _
3.2.3 Orchestral Works  j0 {% n+ O. P; N

; k% @. g3 x; X  m7 g' x1 ?S.709, Salve Polonia [rediscovered, renumbered as S113] (1863)
1 A% ]0 D: R. l" J: {, W" S+ ~) pS.710, Funeral March (?)
5 R) S- t9 B7 K5 `# {4 VS.711, Csárdás macabre [arrangement] (?)
4 N% e! J) K4 m" jS.712, Romance oubliée [arrangement] (?)
* X* ~1 i  I/ z# L7 r3 z1 h3.2.4 Piano and Orchestra8 W  `/ V3 t3 O+ N! i' X8 C
. B+ s- i) c% v" B. w7 V- ]3 A  a
S.713/1, Piano Concerto in A minor (1825?)
( N. ?! b/ O4 f! a$ uS.713/2, Piano Concerto (1825?)# s3 t2 D& c, Z$ O/ ]2 R* Q
S.714, Piano Concerto in the Hungarian style [by Sophie Menter, renumbered as S126a] (1885)0 c( a. ~9 g; B, `4 J3 i
S.715, Piano Concerto in the Italian style (?)4 W) x2 z9 h0 T3 @0 ^' j
S.716, Grande fantaisie symphonique [orchestral] (?)
/ O# d" `+ \0 t  O7 j3.2.5 Chamber Music
9 H/ Y& C  b# g$ M7 }
' {2 p0 a; u; t$ x( ^+ JS.717, Trio (1825); D3 e; V1 W. S) \
S.718, Quintet (1825)/ f7 |) C5 L# ]# u% j
S.719, The Four Seasons String Quartet (Vivaldi) [rediscovered, renumbered as S692a]
2 y) r; g: q* Y! SS.720, Allegro moderato (?)7 g8 w3 S, Q" ~
S.721, Prelude (?)
. @: n' j) l, Q, }S.722, La notte (Odes funèbre no.2) [rediscovered, renumbered as S377a] (1864-66)% E# c* H! g% E' J  Z, Y4 l0 l
S.723, Tristia [arrangement, from Vallée d'Obermann S160/6] (1880-86 ?)# e2 O" n+ y1 M; w3 V. R( v8 z3 |8 m
S.723a, Postlude on theme from Orpheus [arrangement] (?)
+ W8 M1 o3 P, s9 p5 u# b: s* W9 J3.2.6 Pianoforte Solo
* |: X& ~8 x- E5 ^: X; j, g% Y
5 n- m& t0 v. M. O# x' Q8 ?S.724, Rondo and Fantasy (1824)
% B/ t# a* u* ^' TS.725, 3 Sonatas (1825)# [0 g$ c( W; ?, y1 q
S.726, Study (?)$ s; r! N" p& Q) E1 h1 U
S.726a, Valse (?). x) F9 |! C* q7 K5 F# U
李斯特全部作品目录-5) H* S. {/ a; o8 T' o& N$ m

3 c) W) S) o9 {9 _/ ]% A$ ]; T) `S.727, Prélude omnitonique (?)
8 @" Y# p) r3 R% q! yS.728, Sospiri (Fünf Klavierstücke) [rediscovered, renumbered as S192/5] (1879); f- z, Y; r* W2 ?2 R/ X
S.729, [rediscovered, renumbered as 42(?)]6 W! q( x  }9 u& n4 L0 I
S.730, Dem Andenken Petöfis (Petófi Szellemének) [rediscovered, renumbered as S195] (1877)7 j" ^9 ~  p: {- G; u- q
S.731, Valse élégiaque (?)
" R9 q) X# V' h; E& Y' M) nS.732, Valse Oubliée No.4 [rediscovered, renumbered as S215/4] (1883-84)
* V  M6 E5 i; g5 z& ~# U  tS.733, Marche hongroise (in E flat minor) [rediscovered, renumbered as S233b] (1844)
$ e6 r) C) m8 s' uS.734, Ländler (?)
. N0 {% Y& c( N! [+ H8 ]* S- |- b, k8 `S.735, Air cosaque (?)
. {( l7 v4 t( |S.736, Kerepsi csárdás (?)+ X! p2 w* t% i- C& V
S.737, 3 morceaux en style de danse ancien hongrois (?)
6 I5 j: s0 t$ ~% M/ bS.738, Spanish folksong arrangement (?)8 G' }3 W. @$ y
3.2.6.1 Arrangements
2 _2 p( g8 m% N  ~  W$ g9 _' ^
$ n+ Z6 j  X( F2 QS.739, Corolian Overture (Beethoven) (?)
: A5 W' U6 }; P; v. R6 `0 HS.740, Egmont Overture (Beethoven) (?)
) F3 G* R3 `% P/ ]+ mS.741, Le carnaval romain - Overture (Berlioz) (?)
0 b, ?! c& E- a, h% ~# ^% B9 }; Z- rS.742, Duettino (Donizetti) (?)
$ S! I+ s0 Q, a2 wS.743, Soldiers Chorus from Guonod's Faust (?)
# r+ H* ~0 U0 k2 q  m1 {. R( gS.743a, Fantasia on themes from Halévy's Guitarero (b. 1841)$ g+ c, `( w; Z: ]* c! e: w* m
S.744, Paraphrase on Act 4 of Kullak's Dom Sebastien (?)6 E: [: i' q6 Q" |
S.745, Funeral March (?)8 @0 z1 y7 c: c# s2 P3 F  M1 F& ^
S.746, Andante Maestoso (?)2 {1 I# e! \" f. ?
S.747, Poco adagio (from Missa Solemnis) (?)* F) J# z( w; v
S.748, Overture to Mozarts "Die Zauberflöte" (?)
0 o/ _) ^- o! p- m: S. d: nS.749, Preussischer Armeemarsch (Radovsky) (?)
. b4 E) i5 `8 c; _2 M8 mS.750, Siege de Corynthe, Introduction (?)
6 W0 q9 V1 G6 I( ~% R$ c4 uS.751, Nonetto e Mose, Fantasia on themes by Rossini (?)
9 ~3 H- t% u+ S" A- pS.752, Gelb rollt (Rubinstein) (?): q3 V8 l( ?7 x% E; D; L
S.753, Alfonso und Estrella, Act 1 (Schubert) (?)
6 a# j9 X* u. t% bS.754, Seconda mazurka variata (Tirindelli) [rediscovered, renumbered as S573a] (1880)6 P  v- o& o+ W  g. Q0 R2 n
3.2.7 Pianoforte Duet
- X- `: R8 B: K1 O* n+ C& Q, h: j% j' z1 t7 h3 |4 d: j0 U# z
S.755, Sonata (?)
' |* F- z9 i8 G" ?# k3.2.8 Two Pianofortes2 U1 j& n. r1 ]- C$ i& H3 S
; d: b8 H5 Y$ [9 D8 l$ \1 g
S.756, Mosonyis Grabgeleit (?)
# ?# S9 a' D7 @0 Y/ y5 r7 e) W! cS.757, La triomphe funébre du Tasse (?)
( X+ ?; w) T; v" g' j3.2.9 Organ% @' w9 w$ U  F8 C* i& i; h; f+ [

0 m5 ]6 K) `. f' r( {" `' D! VS.758, The Organ (Herder) (?)
* B, W) t& e. Z) V8 j  P2 x) sS.759, Consolation [arrangement] (?)& [4 `5 [3 _- P2 y# L9 v
S.760, Cantico del sol di St. Francesco [arrangement] (?)
& N0 P( C2 f& uS.761, Marche funèbre (Chopin) [arrangement] (?)
2 F2 @. Q6 I+ t0 P& X9 Q" n3.2.10 Songs
% `5 C+ E8 g9 W: \% O. J# W
0 L" M* U, B2 d6 f! [  U' nS.762, Air de Chateaubriand (?)
/ Z2 a/ V: T* V, g% \! {S.763, Strophes de Herlossohn (?)4 Q/ G  D2 g, o
S.764, Kränze pour chant (?)
& F- D5 ?0 @5 ~. q' E! S: pS.765, Glöcken (Müller) (?)$ s: B0 ^% A. C  x. m5 R1 R
S.765a, L'aube naît (Hugo) (1842?)
' T1 ^6 l8 G: _S.766, Der Papsthymnus (?)
6 {  K# y0 T  {6 KS.767, Excelsior (?)
, W6 I4 ^' ^/ _- @3.2.11 Recitations
# \( s% }. l) ~/ W6 q
' ]: `: Y, O3 Z# D1 E5 v8 B* ]S.768, Der ewige jude (Schubart) (?)3 y/ _* R  H% T+ e: T8 e# y
3.3 Supplement6 ]5 d& b5 T7 D' m

  O0 [3 i. p: K9 Z4 Y# DS.990, Fantasy and Fugue on the chorale "Ad nos, ad salutarem undam" (played by Liszt to Walter Bache) [solo piano, arrangement] (b. 1862). _; p+ ?( _& s" [" n. q- i
S.991, Waltz in A major [chamber, arrangement] (?)0 x' M2 ?/ o8 h5 I9 h6 l" C: r
S.993, Wartburg Lieder (Scheffel) [orchestral, arrangement] (?)
; F8 p6 w8 E6 VS.994, Grand solo caractéristique à propos d'une chansonette de Panseron [solo piano, arrangement] (1830-32): v- `9 R6 e( j$ J+ i3 i7 p
S.995, Variations de bravoure sur des thémes de Paganini [unfinished] (1845)
4 ^$ i) o* l6 H; E$ VS.996, Stabat Mater [solo piano] (1870-79 ?)
* X5 G. ^# [& z+ FS.997, 5 Variationen über Romanze aus 'Joseph' (Méhul) (by Franz Xaver Mozart, attributed to Liszt) (ca. 1834)
$ l: v' x* V  P- m# a  x# |S.998, Adagio in C [solo piano] (1841); u" @) d& S, W
S.999, Andante Maestoso [organ] (?)1 ]- y  }7 K; _0 ?, _+ o% r& M
降E大调钢琴协奏曲（遗作）Piano Concerto in E flat Major Op.posth
! v2 m3 p2 R( ?0 q1 J$ \6 b+ A+ D2首悲歌 2 Elegies
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