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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》。
' Y# n2 J8 u3 |! k% {( w李斯特全部作品目录-15 d* s. M1 y/ w$ N$ ?

! [7 B, T0 {- }% q/ M4 o+ D1.1 Opera(歌剧)8 U; Z2 a: a7 E: u5 r  t$ P3 U8 ]* d
, {) N+ P& q6 i! C' J1 N' ]
S.1, Don Sanche, ou Le chateau de l'amour (1824–25) 歌剧《唐切桑》
7 c" W) ~. V6 N6 o* t1.2 Sacred Choral Works(神圣的合唱作品)
' T; Q3 y8 z. \9 r, I; Z  \7 O( J! I% b$ J* J: K6 U
S.2, The Legend of St. Elisabeth (1857–62) 清唱剧《圣伊丽莎白传奇》5 v3 y! q/ r9 j& F+ Y7 @$ }4 m2 q
S.3, Christus (1855–67) 清唱剧《基督》
1 s! ?5 S) p% ^# N' f/ gS.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》
; e. ]0 m8 z! k' cS.5, Die heilige Cäcilia (1874)
, U: N) T7 }: A+ f6 I6 N1 d" VS.6, Die Glocken des Strassburger Münsters (Longfellow) (1874)
  f& |$ R. |5 }9 x2 ~, d' GS.7, Cantantibus organis (1879)
  w% {8 i# w3 jS.8, Missa quattuor vocum ad aequales concinente organo [first/second version] (1848, 1869)
" ~& D0 W# k7 c; D" N7 _S.9, Missa solennis zur Einweihung der Basilika in Gran (Gran Mass) [first/second version] (1855, 1857–58)" E# W% S7 }+ M4 ?. t/ o
S.10, Missa choralis, organo concinente (1865)
1 \* V8 g4 Y1 _S.11, Hungarian Coronation Mass (1866–67)
7 _6 M6 a7 |2 e1 zS.12, Requiem (1867–68)
8 r! Q: ~( j. K+ N; ES.13, Psalm 13 (Herr, wie lange ?) [first/second/third verion] (1855, 1858, 1862)
+ a- {4 |; {( m( x2 GS.14, Psalm 18 (Coeli enarrant) (1860)
) G* p' I: E( F: r% I, h0 ^2 LS.15, Psalm 23 (Mein Gott, der ist mein Hirt) [first version: chorus, soloist & orchestra] [second version: chorus, soloist & violin, piano, harp, organ] (1859, 1862)
' V* ^5 j4 q5 W7 Q( R9 l1 cS.15a, Psalm 116 (Laudate Dominum) (1869)
/ Z) \( A2 ?) L7 y2 I% dS.16, Psalm 129 (De profundis) (1880–83)
! h. q# l4 w2 O2 ~7 F( X3 sS.17, Psalm 137 (By the Rivers of Babylon) [first/second version] (1859–62)
$ F. |' t* Z  s$ t5 w( m7 cS.18, Five choruses with French texts [5 choruses] (1840–49)
) A6 v) |% y2 ?4 X1 xS.19, Hymne de l'enfant à son réveil (Lamartine) [first/second version] (1847, 1862)( a% d& _& t7 V9 U
S.20, Ave Maria I [first/second version] (1846, 1852)
% a) k2 |% B. B& U/ _S.21, Pater noster II [first/second version] (1846, 1848)& a1 j' [" X/ d5 j) _
S.22, Pater noster IV (1850)
5 \( D$ i' u: B" m+ H: \; E. [S.23, Domine salvum fac regem (1853); [) u- C" n! G2 k' D4 P- i
S.24, Te Deum II (1853?)* X+ c6 t" P/ {+ x
S.25, Beati pauperes spiritu (Die Seligkeiten) (1853)
: R( k8 O, l9 WS.26, Festgesang zur Eröffnung der zehnten allgemeinen deutschen Lehrerversammlung (1858)- m9 g, e' h/ _/ L
S.27, Te Deum I (1867)
& n7 r/ N; b2 T) L& pS.28, An den heiligen Franziskus von Paula (b. 1860)- M6 A" j/ v4 D0 F( ~+ l
S.29, Pater noster I (b. 1860), r, j6 M0 e4 h
S.30, Responsorien und Antiphonen [5 sets] (1860)6 E& A. Q: D, U1 O* G3 H8 \
S.31, Christus ist geboren I [first/second version] (1863?)# a( O* ^; }& A$ W
S.32, Christus ist geboren II [first/second version] (1863?)
; G7 A8 K! W; }, H9 K. qS.33, Slavimo Slavno Slaveni! [first/second version] (1863, 1866)! R+ r2 E# H* ]( {( [
S.34, Ave maris stella [first/second version] (1865–66, 1868)! s6 U. P! V+ V
S.35, Crux! (Guichon de Grandpont) (1865)
9 C2 }0 b& ^' qS.36, Dall' alma Roma (1866)
5 N: n8 B+ U- j1 T) j; i5 i* iS.37, Mihi autem adhaerere (from Psalm 73) (1868); {1 ?' M9 ~& j
S.38, Ave Maria II (1869)8 q& F% X8 N0 j' f1 u0 ~" _7 t
S.39, Inno a Maria Vergine (1869)0 ^- d# ^1 G3 i- E/ I
S.40, O salutaris hostia I (1869?)9 [7 k0 z3 z+ P4 k8 G7 {+ M; ]
S.41, Pater noster III [first/second version] (1869)
: J. C3 z! z! l. P7 S3 j+ f1 oS.42, Tantum ergo [first/second version] (1869)
6 \2 i. \) j; }S.43, O salutaris hostia II (1870?)4 Y9 |- L! r- z+ t- p% F7 x+ p7 Q% c
S.44, Ave verum corpus (1871)$ {4 v$ ]" ~( n! i8 ^
S.45, Libera me (1871)
( _* B6 @% k- N6 o8 u+ I9 OS.46, Anima Christi sanctifica me [first/second version] (1874, ca. 1874)$ D; k+ K$ b. ?8 t* Z
S.47, St Christopher. Legend (1881): r' o6 b& P8 L2 K4 }! ~# c
S.48, Der Herr bewahret die Seelen seiner Heiligen (1875)
* O9 P2 p( j& c5 W5 `9 A& |. b, u7 F2 tS.49, Weihnachtslied (O heilige Nacht) (a. 1876)  J0 b, a, s' E0 g" }2 ^6 X
S.50, 12 Alte deutsche geistliche Weisen (Chorales) [12 chorals] (ca. 1878-79)
+ q5 f! k( C  }S.51, Gott sei uns gnädig und barmherzig (1878)3 H% @* z8 [8 J% A1 J# d
S.52, Septem Sacramenta. Responsoria com organo vel harmonio concinente (1878)6 x8 y3 `" Z) g8 l: s7 y- V' k
S.53, Via Crucis (1878–79)6 z; R( X7 f2 \5 R2 o8 O" b% J
S.54, O Roma nobilis (1879)
) Q4 E+ E5 c% p5 s- RS.55, Ossa arida (1879)  C% F0 ]9 c) }$ ?: F; j. K
S.56, Rosario [4 chorals] (1879)
: l- z% ]  U7 B- f& Y& ES.57, In domum Domino imibus (1884?)8 E1 f& j& ~% Z/ u0 t
S.58, O sacrum convivium (1884?)+ u: v$ T# D* n0 Z4 H; ^
S.59, Pro Papa (ca. 1880)
+ c# u( }" W8 o, XS.60, Zur Trauung. Geistliche Vermählungsmusik (Ave Maria III) (1883)
4 F- g6 u) |, q! }, M2 iS.61, Nun danket alle Gott (1883)% a; \  s# r+ z/ u
S.62, Mariengarten (b. 1884)
- Z% T5 D0 h  n, {* t2 OS.63, Qui seminant in lacrimis (1884)
, u: z* C( w) J  e: y4 b+ r+ jS.64, Pax vobiscum! (1885)
" J; k3 E8 U  u8 p% w' Y" RS.65, Qui Mariam absolvisti (1885)  I. q: P) N7 ^+ P$ p& l
S.66, Salve Regina (1885). U& l1 }* L1 }+ F" e
1.3 Secular Choral Works(世俗的合唱作品)
6 H9 g* H2 a$ pS.67, Beethoven Cantata No. 1: Festkantate zur Enthüllung (1845)! J" b; T( w. @- V4 L" |
S.68, Beethoven Cantata No. 2: Zur Säkularfeier Beethovens (1869–70)
* X+ T  P8 R/ r* oS.69, Chöre zu Herders Entfesseltem Prometheus (1850)1 G7 Y. e! X1 ~7 Q7 ]. [; S; Z
S.70, An die Künstler (Schiller) [first/second/third verion] (1853, 1853, 1856)5 R5 M/ Q$ {3 o
S.71, Gaudeamus igitur. Humoreske (1869)' Y/ M, `; {9 F& ]+ o
S.72, Vierstimmige Männergesänge [4 chorals] (for Mozart-Stiftung) (1841)
% S; P5 u0 L" e( O3 TS.73, Es war einmal ein König (1845)
2 z( N+ c6 [& Z1 `S.74, Das deutsche Vaterland (1839)! ]# `: {# L! o  m
S.75, über allen Gipfeln ist Ruh (Goethe) [first/second version] (1842, 1849)
/ Q, u, n- S1 j# \S.76, Das düstre Meer umrauscht mich (1842)
6 C' M- N4 L0 L0 wS.77, Die lustige Legion (A. Buchheim) (1846)
! a& T0 }  q  g+ H. sS.78, Trinkspruch (1843)2 |0 D& G3 e: l* x; I$ R* v! J
S.79, Titan (Schobert) (1842–47): C# s- R- t. K6 t1 M
S.80, Les quatre éléments (Autran) (1845)
1 W) b% F! ]& {  p9 s: mS.81, Le forgeron (de Lamennais) (1845)" E. ~! x. x0 k3 m# S
S.82, Arbeiterchor (de Lamennais?) (1848)
( _( t& @6 h4 iS.83, Ungaria-Kantate (Hungaria 1848 Cantata) (1848)" r' @$ @1 ~1 T
S.84, Licht, mehr Licht (1849)
' L& ]$ _! G6 @' `- K% AS.85, Chorus of Angels from Goethe's Faust (1849)
- D- H$ @3 O3 |  I/ {3 RS.86, Festchor zur Enthüllung des Herder-Dankmals in Weimar (A. Schöll) (1850)8 z8 t, }  h  B2 R3 Y% i' W
S.87, Weimars Volkslied (Cornelius) [6 versions] (1857)
6 ~6 e& ^, V8 {# JS.88, Morgenlied (Hoffmann von Fallersleben) (1859)
$ Z0 o% l9 ]" ?( a! {S.89, Mit klingendem Spiel (1859–62 ?)) l+ }- R$ f, ^2 u' Q8 v! l
S.90, Für Männergesang [12 chorals] (1842–60)
1 Z4 R& Z+ [4 _, }. P4 qS.91, Das Lied der Begeisterung. A lelkesedes dala (1871)
3 Y4 n6 l) A3 ^. S# M+ J% ?$ aS.92, Carl August weilt mit uns. Festgesang zur Enthüllung des Carl-August-Denkmals in Weimar am 3 September 1875 (1875)
4 h, v2 H; o) y) i# |0 m% e% sS.93, Ungarisches Königslied. Magyar Király-dal (ábrányi) [6 version] (1883)) B  D; p5 @9 m
S.94, Gruss (1885?)& |# S/ X3 m" p" V
1.4 Orchestral Works(管弦乐作品)7 F. \7 [+ J1 T/ n+ b  X
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1.4.1 Symphonic Poems(交响诗)
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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
4 ^$ `, H2 p. `  P9 J8 BS.96, Poème symphonique No. 2, Tasso, Lamento e Trionfo [first/second/third version] (1849, 1850–51, 1854) 《塔索，哀叹与胜利》
: Q  M% V- z3 L+ KS.97, Poème symphonique No. 3, Les Préludes (1848) 第三交响诗“前奏曲”
3 w# [  O9 F! aS.98, Poème symphonique No. 4, Orpheus (1853–54) 第四交响诗 《奥菲欧》
: Z6 @3 u% X9 |+ ~, oS.99, Poème symphonique No. 5, Prometheus [first/second version] (1850, 1855) 第五交响诗《普罗米修斯》
! L1 V( Q6 K/ I1 m- s5 q  u% j, \S.100, Poème symphonique No. 6, Mazeppa [first/second version] (1851, b. 1854) 第六交响诗《马捷帕》
, O: {! l- J& b( z7 WS.101, Poème symphonique No. 7, Festklänge [revisions added to 1863 pub] (1853) 第七交响诗《节日之声》
0 H. Z# X5 X4 W/ Z# |' @S.102, Poème symphonique No. 8, Héroïde funèbre [first/second version] (1849–50, 1854)  第八交响诗《英雄的葬礼》' @9 U* ~) m" P; H4 n* ]. H. Z
S.103, Poème symphonique No. 9, Hungaria (1854) 第九交响诗《匈牙利》
: x: a& k# p! x6 x* U: iS.104, Poème symphonique No. 10, Hamlet (1858) 第十交响《哈姆雷特》
7 Q/ m/ \2 e) h( q4 U  @S.105, Poème symphonique No. 11, Hunnenschlacht (1856–57) 第十一交响诗《匈奴之战》
4 s- U% e# g  W& [- Y' y2 fS.106, Poème symphonique No. 12, Die Ideale (1857) 第十二交响诗《理想》
4 b! U* q# V2 i0 b' LS.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》' M# t: n$ k( w, h; P& S
1.4.2 Other Orchestral Works(其他管弦乐作品)+ a1 X  h. H  Z4 s2 v7 x1 k0 _7 e
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S.108, Eine Faust-Symphonie [first/second version] (1854, 1861)
, v5 j. K; O+ A' X7 w7 S0 H* }S.109, Eine Symphonie zu Dante's Divina Commedia (1855–56)$ i. m" \5 P2 }5 Q0 u+ J' F* S
S.110, Deux épisodes d'apres le Faust de Lenau [2 pieces] (1859–61)0 V2 h2 O# J* K+ u
S.111, Zweite Mephisto Waltz (1881): `4 M+ w" r9 S- m' ^
S.112, Trois Odes Funèbres [3 pieces] (1860–66)/ W8 l; W; l" |7 `# `! I
S.113, Salve Polonia (1863)3 z8 p! y) v5 T2 a7 R
S.114, Künstlerfestzug zur Schillerfeier (1857)
6 d: }. F; E) W: _7 ES.115, Festmarsch zur Goethejubiläumsfeier [first/second version] (1849, 1857)
( a6 l/ A2 }0 \; H' DS.116, Festmarsch nach Motiven von E.H.z.S.-C.-G. (1857)
& u# ^2 R% g9 @3 O, U% q5 iS.117, Rákóczy March (1865)
/ j: C4 ]8 s/ v! jS.118, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (am 8 Juni 1867) (1870)1 B* _" l3 _( i) P7 O
S.119, Ungarischer Sturmmarsch (1875)
! V; q4 O) ], U1 ?  \: A! l. V1.5 Piano and Orchestra(钢琴与乐队)
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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)
( {! U# i( ]2 Z' A& s3 Q$ v  SS.121, Malédiction (with string orchestra) (1833)  诅咒  钢琴与弦乐队+ ]& l3 J0 D# P) u
S.122, Fantasie über Beethovens Ruinen von Athen [first/second version] (1837?, 1849)8 J8 u& s' d3 Q/ c0 Z
S.123, Fantasie über ungarische Volksmelodien (1852) 匈牙利民歌主题幻想曲 为钢琴与乐队而作5 Z. Y; I- b& [# Q0 `
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 S+ m1 c4 c. u5 \- o$ V
S.125, Piano Concerto No. 2 in A major [first/second version] (1839, 1849) A大调第二钢琴协奏曲
7 {! Q( C/ l9 `S.125a, Piano Concerto No. 3 in E flat (1836–39)
8 H3 g. E8 p* q6 qS.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  H4 J9 H/ S: ~. T8 T
S.126a, Piano Concerto "In the Hungarian Style" [probably by Sophie Menter] (1885)
3 ~$ z, f* g% [8 c1.6 Chamber Music(室内乐等), y9 J. D9 R1 e8 m
3 ^. p, p0 v1 }0 Q. v( c4 c' k) j! E9 r
S.126b, Zwei Waltzer [2 pieces] (1832), Y; s# M; C. q7 _

3 ~, e$ N& ?9 e% w7 }0 L" |. \S.127, Duo (Sonata) - Sur des thèmes polonais (1832-35 ?)) a* H9 L6 k% \) C% r
S.128, Grand duo concertant sur la romance de M.Lafont Le Marin [first/second version] (ca. 1835-37, 1849)( _# r/ M1 a  H, q
S.129, Epithalam zu Eduard. Reményis Vermählungsfeier (1872)( C. H# b3 u9 q  Y( X
S.130, élégie No. 1 [first/second/third version] (1874)
- l3 ?) R9 c( [( @: vS.131, élégie No. 2 (1877)! g* j" j8 P  F* ]" F4 \% ^
S.132, Romance oubliée (1880)/ z- g' h; t- D2 C, p5 x
S.133, Die Wiege (1881?)0 r* m* a, z7 \0 f2 e1 @, t+ w
S.134, La lugubre gondola [first/second version] (1883?, 1885?)
% P8 X& B& `8 t. Z5 X# vS.135, Am Grabe Richard Wagners (1883)2 ^/ O) H+ t, ~, u+ M8 Y
1.7 Piano Solo
6 T, _, B; L7 t* j8 |/ C- n: W' q6 D6 m' F6 w
1.7.1 Studies(钢琴练习曲)
+ w6 \' r/ g3 m: Q; e) d& u4 Q; A9 w5 V9 ?7 w) v
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
3 I+ B9 i4 K  u1 x7 ~  `, |  d. NS.137, Douze grandes études [second version, 12 pieces] (1837) 《12首超技练习曲》1 b/ U5 r, h8 L( ]2 k5 k. l, h
S.138, Mazeppa [intermediate version of S137/4] (1840) 练习曲“玛捷帕”
- I. v. n, I* @- z. n8 ]: bS.139, Douze études d'exécution transcendante [final version, 12 pieces] (1852) 12首超技练习曲
; s2 ?( N1 I! T8 l) P7 BS.140, études d'exécution transcendante d'après Paganini [first version, 6 pieces] (1838) 帕格尼尼超技练习曲7 t7 C4 G6 ?% n+ e+ z. r
S.141, Grandes études de Paganini [second version, 6 pieces] (1851)  6首帕格尼尼大练习曲( Z1 t8 V' l! N$ C& z
S.142, Morceau de salon, étude de perfectionnement [Ab Irato, first version] (1840) 高级练习曲“沙龙小品”
& S* h. r) S1 u, v* R- hS.143, Ab Irato, étude de perfectionnement [second version] (1852) 高级练习曲“愤怒”
5 R/ m7 }% P4 Z( Y9 w# H0 e# @S.144, Trois études de concert [3 pieces] (1848?)  3首音乐会练习曲+ ^: U8 |2 j' X; q! D
1.    Il lamento0 y7 r+ S4 e8 r4 h7 l1 ~2 ^+ b
2.    La leggierezza# p0 e" x  M1 T9 s5 ?- Q; `
3.    Un sospiro
" h" P! p, K! m' {0 a8 U- {S.145, Zwei Konzertetüden [2 pieces] (1862–63)  2首音乐会练习曲: C# X' U! m! g0 Z0 q) ^, I
1.    Waldesrauschen
, h& C" w, p: A2 g8 q% ~2.    Gnomenreigen- t4 l7 j7 N' w' l. `( o0 c6 n7 B
S.146, Technische Studien [68 studies] (ca. 1868-80)  钢琴技巧练习
" i5 P- f5 G- C) I8 T2 w1.7.2 Various Original Works(各种原创作品), }1 c! k% V" b4 L+ \5 D" t* Y

/ i( q1 d) U; N6 ~, d, C* o5 i5 DS.147, Variation on a Waltz by Diabelli (1822)  狄亚贝利圆舞曲主题变奏曲
; o/ }) G0 P$ T0 qS.148, Huit variations (1824?) 降A大调原创主题变奏曲
3 K5 v; i# Z( d1 q4 _8 h6 sS.149, Sept variations brillantes dur un thème de G. Rossini (1824?)
& U5 y  l: K0 F" 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5 [' }* c4 ?" {
S.151, Allegro di bravura (1824) 华丽的快板
$ D( m  `" H8 P2 u3 CS.152, Rondo di bravura (1824) 华丽回旋曲
7 p. t! r: S& j) y+ V" tS.152a, Klavierstück (?)6 K+ j. w* P  M  j( r/ v
S.153, Scherzo in G minor (1827) g小调谐谑曲$ G2 Q/ I: T, m4 h6 P3 |9 r' E% P- n& J
S.153a, Marche funèbre (1827)
" K4 M* v, O& t* D3 }S.153b, Grand solo caractèristique d'apropos une chansonette de Panseron [private collection, score inaccessible] (1830–32) [1]
* T* ]% }/ m) T  D" `  B7 v, p+ y: ZS.154, Harmonies poétiques et religieuses [Pensée des morts, first version] (1833, 1835) 宗教诗情曲& d( m" p. A* X: h
S.155, Apparitions [3 pieces] (1834) 显现 三首钢琴小品
. d" ~& z) g) _% x+ K" JS.156, Album d'un voyageur [3 sets; 7, 9, 3 pieces] (1835–38) 旅行者札记/ U7 v. C. o* o6 M" ^* w
S.156a, Trois morceaux suisses [3 pieces] (1835–36)- D; R) x8 S7 W, W5 L
S.157, Fantaisie romantique sur deux mélodies suisses (1836) 浪漫幻想曲* F  b+ T5 W5 Z0 ]2 |
S.157a, Sposalizio (1838–39)9 ?  S- z4 m+ u* r' ]
S.157b, Il penseroso [first version] (1839)
% h6 I% ]5 g$ C! SS.157c, Canzonetta del Salvator Rosa [first version] (1849); z; I2 l5 k- P6 m: q  Z* z
S.158, Tre sonetti del Petrarca [3 pieces, first versions of S161/4-6] (1844–45)  3首彼特拉克十四行诗
5 x5 z  A3 m  i- `S.158a, Paralipomènes à la Divina Commedia [Dante Sonata original 2 movement version] (1844–45)2 |" m, T' Z; H# |, x
S.158b, Prologomènes à la Divina Commedia [Dante Sonata second version] (1844–45)
; ^3 B. i( L& V' R0 ~S.158c, Adagio in C major (Dante Sonata albumleaf) (1844–45)
! V2 N- f7 ]! U- I" U1 `6 K5 \S.159, Venezia e Napoli [first version, 4 pieces] (1840?)  威尼斯和拿波里
: y7 u8 E- E6 G6 o0 tS.160, Années de pèlerinage. Première année; Suisse [9 pieces] (1848–55)  旅行岁月（第一集）- 瑞士游记$ T( m4 ?6 {) U) G0 m
S.161, Années de pèlerinage. Deuxième année; Italie [7 pieces] (1839–49) 旅行岁月（第二集）- 意大利游记, G" F# r2 g' [" Q8 H
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
. L: c2 ]3 V8 {- x9 t. Z2 W) R2 uS.162a, Den Schutz-Engeln (Angelus! Prière à l'ange gardien) [4 drafts] (1877–82)
! M0 U7 d5 B& M: c  P4 ^/ i% JS.162b, Den Cypressen der Villa d'Este - Thrénodie II [first draft] (1882)0 h2 J: r9 H& [* F
S.162c, Sunt lacrymae rerum [first version] (1872), @9 Y( }5 |. I' ?& s
S.162d, Sunt lacrymae rerum [intermediate version] (1877)
' O( R/ ?6 R* XS.162e, En mémoire de Maximilian I [Marche funèbre first version] (1867)
+ {* x2 }' s* Y7 WS.162f, Postludium - Nachspiel - Sursum corda! [first version] (1877)5 j% r6 q, j/ b+ m
S.163, Années de pèlerinage. Troisième année [7 pieces] (1867–77)   旅行岁月（第三集）
6 \+ ]. h+ E0 A" BS.163a, Album-Leaf: Andantino pour Emile et Charlotte Loudon (1828) [2] 降E大调纪念册的一页
7 F2 }8 ]0 W; U8 t0 A& ^3 rS.163a/1, Album Leaf in F sharp minor (1828)降E大调纪念册的一页- p5 r; X$ o! F
S.163b, Album-Leaf (Ah vous dirai-je, maman) (1833)  Z6 o  N6 I9 s9 T/ ^9 @2 w
S.163c, Album-Leaf in C minor (Pressburg) (1839)
) _# e3 c! A6 e* v% g$ N( ?( `S.163d, Album-Leaf in E major (Leipzig) (1840)
; v& A9 t2 Y9 I# w% p* _' d8 AS.164, Feuille d'album No. 1 (1840) E大调纪念册的一页. D: j% f" @" V" K6 [' p9 p
S.164a, Album Leaf in E major (Vienna) (1840)2 c  M& _; x' i+ r
S.164b, Album Leaf in E flat (Leipzig) (1840)
  \  Z2 y5 k8 H# N: f: }- CS.164c, Album-Leaf: Exeter Preludio (1841)
. k% g& S% K2 `7 m8 A; US.164d, Album-Leaf in E major (Detmold) (1840)
9 [- v, {4 u- ?* VS.164e, Album-Leaf: Magyar (1841)7 B0 u. D+ ?: K6 P6 z4 w  R- {6 l
S.164f, Album-Leaf in A minor (Rákóczi-Marsch) (1841)
% v7 Y# ^' u9 o' zS.164g, Album-Leaf: Berlin Preludio (1842)9 X4 V$ _$ n, W% c3 e
S.165, Feuille d'album (in A flat) (1841) 降A大调纪念册的一页
; a" ~! z- {/ m: q6 c$ Y- S2 gS.166, Albumblatt in waltz form (1841) A大调圆舞曲风格纪念册的一页0 u& ?- o/ E  y( |; L% G
S.166a, Album Leaf in E major (1843)  c+ w+ f& m5 Q, S
S.166b, Album-Leaf in A flat (Portugal) (1844)) f/ \0 D. Q# L' {0 r! C- {
S.166c, Album-Leaf in A flat (1844)
, g& f" r( M# H6 |$ RS.166d, Album-Leaf: Lyon prélude (1844)8 a7 H& f; s% g
S.166e, Album-Leaf: Prélude omnitonique (1844)
& A9 Q& `% F, G" l6 b! `S.166f, Album-Leaf: Braunschweig preludio (1844)
  [4 l) p0 R& L6 C5 nS.166g, Album-Leaf: Serenade (1840–49)
0 J8 w) a/ J& p- PS.166h, Album-Leaf: Andante religioso (1846)
( I8 F5 y$ S2 o0 x( p+ h: Y  VS.166k, Album Leaf in A major: Friska (ca. 1846-49)5 H8 j) ?' _, R9 {3 g- I" M/ R
S.166m-n, Albumblätter für Prinzessin Marie von Sayn-Wittgenstein (1847)! i/ t& _+ [& q+ p) D9 q
S.167, Feuille d'album No. 2 [Die Zelle in Nonnenwerth, third version] (1843) a小调纪念册的一页6 e+ [$ Y. ~; \; z1 O0 {! k
S.167a, Ruhig [catalogue error; see Strauss/Tausig introduction and coda]
* X2 k7 k3 m) `. e* j; |7 TS.167b, Miniatur Lieder [score not accessible at present] (?)
2 i# `/ ]' W+ b) Q9 `3 P2 TS.167c, Album-Leaf (from the Agnus Dei of the Missa Solennis, S9) (1860–69)" t+ ~1 T& X/ O8 i5 ^6 j9 Q
S.167d, Album-Leaf (from the symphonic poem Orpheus, S98) (1860)
, O& o4 ^7 e" {+ y8 V: Y$ tS.167e, Album-Leaf (from the symphonic poem Die Ideale, S106) (1861)) q/ L- J5 p  x( ]
S.167f, Album Leaf in G major (ca. 1860)" `7 H" P% a& B2 I' p3 }
S.168, Elégie sur des motifs du Prince Louis Ferdinand de Prusse [first/second version] (1842, 1851) 悲歌7 z  f, N) j8 J/ I( v/ Q
S.168a, Andante amoroso (1847?)
% u+ H0 x9 Z# L+ Q5 a( HS.169, Romance (O pourquoi donc) (1848) e小调浪漫曲
: b* c" o+ o4 K5 N0 SS.170, Ballade No. 1 in D flat (Le chant du croisé) (1845–48) 叙事曲一
1 b. a* x3 @- K" d9 cS.170a, Ballade No. 2 [first draft] (1853); ?+ V9 x4 m* M' r1 K3 `/ t
S.171, Ballade No. 2 in B minor (1853) 叙事曲二. [- o7 e) G4 P* w+ G6 o: Y  \
S.171a, Madrigal (Consolations) [first series, 6 pieces] (1844)
8 X. ]' T0 @+ O2 s7 A5 o( e2 oS.171b, Album Leaf or Consolation No. 1 (1870–79)& h& J+ Z" a3 {1 v/ q8 C! J! G' h# s
S.171c, Prière de l'enfant à son reveil [first version] (1840)% q% @: K( t' E& c% b
S.171d, Préludes et harmonies poétiques et religie (1845)
" s6 \' H9 Y- C( Y# }S.171e, Litanies de Marie [first version] (1846–47)2 }; A* @$ E$ c: }, A
S.172, Consolations (Six penseés poétiques) (1849–50) 6首安慰曲! z  R$ J5 _& [9 S
S.172a, Harmonies poétiques et religieuses [1847 cycle] (1847)$ S7 @* ?3 i9 b6 o% h, G  p
S.172a/3&4, Hymne du matin, Hymne de la nuit [formerly S173a] (1847)
# _, ~, y# ]3 `& ~; SS.173, Harmonies poétiques et religieuses [second version] (1845–52) 诗与宗教的和谐
; p. m; [# J: X% X3 M7 _1 U8 xS.174, Berceuse [first/second version] (1854, 1862) 摇篮曲
" F7 e! L5 E+ s* E( p! l' x  T* [0 _% F2 dS.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)
; n5 S, D( i# d$ H+ e2.    St. François de Paule marchant sur les flots (Walking on the Waves)5 E" x  @& {* G6 m( k5 ^/ M
S.175a, Grand solo de concert [Grosses Konzertsolo, first version] (1850)
$ F* C3 O3 `4 D# J6 {; ZS.176, Grosses Konzertsolo [second version] (1849–50 ?) 独奏大协奏曲
# {) E- w! T# k# S8 m  GS.177, Scherzo and March (1851) 谐谑曲与进行曲
* C% ]6 S8 l7 }0 J* c1 ^' PS.178, Piano Sonata in B minor (1852–53)  b小调钢琴奏鸣曲
" q* ^7 Y. I+ M+ U* mS.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
% }* s0 p) ?) @. sS.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! c% L2 @3 a. w6 t# i; R8 f6 \
S.181, Sarabande and Chaconne from Handel's opera Almira (1881)
4 A/ Z& P  P6 E* E3 RS.182, Ave Maria - Die Glocken von Rom (1862) 圣母颂“罗马的钟声”
; Z7 J) i# z/ ?) w: Z* l( z7 MS.183, Alleluia et Ave Maria [2 pieces] (1862) 哈利路亚与圣母颂
4 |! q, {- L, e0 v3 C% KS.184, Urbi et orbi. Bénédiction papale (1864); B1 w6 c, ^5 G0 a% |3 G0 n
S.185, Vexilla regis prodeunt (1864)8 G. c5 [* D) F6 S5 o6 f
S.185a, Weihnachtsbaum [first version, 12 pieces] (1876)8 Z& F) A" N6 V7 M8 e' I0 R
S.186, Weihnachtsbaum [second version, 12 pieces] (1875–76) 钢琴曲集《圣诞树》9 T9 C/ Q1 F) I$ p  z+ a, h7 v
S.187, Sancta Dorothea (1877) 圣多萝西娅2 N$ |* O7 R: }, b9 R
S.187a, Resignazione [first/second version] (1877)7 }7 G: H% x' [. C( \" f
S.188, In festo transfigurationis Domini nostri Jesu Christi (1880) 我主耶稣基督之变形- ]& y! }! E. E3 n  X
S.189, Klavierstück No. 1 (1866)
) ?4 E5 V) H6 N- [! xS.189a, Klavierstück No. 2 (1845)
6 @5 L3 f& H+ g: d  s; z7 L- ?S.189b, Klavierstück (?): j4 Q% Y& l# n0 e/ l  R/ m+ M3 m
S.190, Un portrait en musique de la Marquise de Blocqueville (1868)4 l- a. E+ ?5 V2 S; c. `
S.191, Impromptu (1872) 升F大调即兴曲“夜曲”
( J6 v3 @/ a* S. M% L& y3 TS.192, Fünf Klavierstücke (for Baroness von Meyendorff) [5 pieces] (1865–79) 5首钢琴小品
0 q" K. Q7 {# i2 D% a, hS.193, Klavierstuck (in F sharp major) (a. 1860) 升F大调钢琴小品
; i, |& _1 ^5 f2 eS.194, Mosonyis Grabgeleit (Mosonyi gyázmenete) (1870) 在莫佐尼墓前
% V) Y7 L5 {$ {, I; zS.195, Dem andenken Petofis (Petofi Szellemenek) (1877) 纪念裴多菲
* \0 ]& S  ?4 H2 I& ]& N, g/ Q2 NS.195a, Schlummerlied im Grabe [Elegie No 1, first version] (1874)
5 Z2 [, V  o; V9 vS.196, élégie No. 1 (1874)
: j0 k  V& `( v& I% g  C2 IS.196a, Entwurf der Ramann-Elegie [Elegie No 2, first draft] (1877)) x- j0 Z% B# R+ ?
S.197, élégie No. 2 (1877)- R1 f) Y# ~1 d. Z  M
S.197a, Toccata (1879–81) 托卡塔
, f, a- X  [  ]. X/ R$ K( gS.197b, National Hymne - Kaiser Wilhelm! (1876)
  u" [; A! {; Y1 ^" g2 |6 @S.198, Wiegenlied (Chant du herceau) (1880) 摇篮曲
  d, R  h4 l! s4 O) eS.199, Nuages gris (Trübe Wolken) (1881) 灰色的云  D- P- \: b% a3 I) @/ d
S.199a, La lugubre gondola I (Der Trauergondol) [Vienna draft] (1882)1 ]1 ?7 u' ?2 r! x1 a  _& b/ _
S.200, La lugubre gondola [2 pieces] (1882, 1885) 葬礼小船
; @, s! R* E. p1 G
2 F7 o# B9 L# I) r  [) R李斯特全部作品目录-21 }) h1 p2 f! o0 [' ]; Q

, l8 s4 Z8 |* ~2 \2 o1 LS.201, R. W. - Venezia (1883) 告别瓦格纳和威尼斯% O. g+ X0 |% K9 l
S.202, Am Grabe Richard Wagners (1883) 在瓦格纳墓前
6 y5 e6 |4 F" YS.203, Schlaflos, Frage und Antwort (Nocturne after a poem by Toni Raab) (1883) 夜曲“沉睡，思考和回答”
. P- q. G3 I) _) L% G7 f- BS.204, Receuillement (Bellini in Memoriam) (1877) 冥想& L0 h' `0 G4 y0 ^( S' h  [! ?* [
S.205, Historische ungarische Bildnisse (Magyar arcképek) [original version, 7 pieces] (1885) 匈牙利历史人物肖像
3 E3 A6 d  W. ]4 j8 QS.205a, Historische ungarische Bildnisse [revised order and conclusion, 7 pieces] (1885)$ g( p' s! }( s$ ?6 a* O" Z
S.206, Trauervorspiel und Trauermarsch (1885) 葬礼前奏曲和葬礼进行曲: z# Y/ `8 u9 H- R7 f% R5 y
S.207, En rêve. Nocturne (1885) 夜曲“梦中”. G8 v) T5 d& K6 Z; E
S.207a, Prélude à la polka de Borodine (and Borodin's Polka) (1880)
! S. X4 P: v( q" \* QS.208, Unstern: sinistre, disastro (1880–86) 凶兆、灾难
8 u" M3 V9 f1 T0 s. O1.7.3 Works in Dance Form(为舞蹈的作品)
7 Y- E- a! H4 _  ?7 E( e. a: Y: T9 _5 x+ P
S.208a, Waltz (in A major) (b. 1825) A大调圆舞曲
: I3 w2 c# |  IS.209, Grande valse di bravura [first version of S214/1] (1835) 华丽的大圆舞曲
% e5 ^2 B# M) L9 U- ]7 XS.209a, Waltz (in E flat) (1840)( Y& E" k) \& |
S.210, Valse mélancolique [first version of S214/2] (1839) 忧郁圆舞曲& ^, |0 v% h  f# \6 Q
S.210a, Valse mélancolique [intermediate version] (1840). }7 C. e# Q# u; R7 D
S.210b, Valse (in A major) (1830–39)
" o) V& i/ q# @8 j. j/ iS.211, Ländler (in A flat major) (1843) 降A大调兰德勒舞曲4 O' y% D+ e2 G( H( V: ^2 T
S.211a, Ländler (in D major) (1879)# t9 i3 A% d4 e3 ]" p% \6 r
S.212, Petite valse favorite [first/second version] (1842, 1843)
& S1 x  W/ v0 X5 mS.212b, Mariotte. Valse pour Marie (1840)$ _4 V7 ^% X/ e8 W1 @0 y6 c; m/ o
S.213, Valse-impromptu (1850?) 即兴圆舞曲9 i: @0 ]) l' @- S! Y
S.213a, Valse-impromptu [with later additions] (1880)# v7 {, N: C. k6 q" Y
S.214, Trois caprice-valses [3 pieces] [second versions of S209, S210, S401] (1850?)
7 l/ k$ c0 w+ A5 c' n+ WS.214a, Carousel de Madame Pelet-Narbone (ca. 1875-81)" W4 L6 g; q! i" ]- R
S.215, Valses oubliées [4 pieces] (1881–84) 4首被遗忘的圆舞曲% U% r! l- T. n# d5 H/ E, @
S.215a, Dritter Mephisto-Walzer (Mephisto Waltz No. 3) [first draft] (1883)
3 N4 V/ }6 l- `# ZS.216, Dritter Mephisto-Walzer (Mephisto Waltz No. 3) (1883) 第三梅菲斯特圆舞曲
9 p; r; e4 g% k& g" U9 Y/ ~# jS.216a, Bagatelle sans tonalité (1885)/ r/ I- U) L+ U+ e7 J7 p0 h' z: U0 q
S.216b, Vierter Mephisto-Walzer (Mephisto Waltz No. 4) [first version] (1885)  第四梅菲斯特圆舞曲* B# w0 e! K. k8 X
S.217, Mephisto Polka [first/second version] (1883) 梅菲斯特波尔卡
6 J8 g9 M# j1 S: l: p  ~4 NS.218, Galop (in A minor) (1841?) a小调加洛普舞曲
6 n0 _& R- S, c- a' w4 s  `  U. iS.219, Grand galop chromatique [original version] (1838) 华丽的半音阶加洛普舞曲
) L# |* d/ @. [S.219bis, Grand galop chromatique [simplified version] (1838)& D) V% e3 _, D( a
S.220, Galop de Bal (1840?)
8 o# J# Q# I3 @& H4 l" J! RS.221, Mazurka brillante] (1850) 华丽玛祖卡* P& E2 [, E3 V8 M! n4 `
S.221a, Mazurka in F minor [Not by Liszt?] (?)
0 ~/ H2 o! C- vS.222, [catalogue error; same as S212]
- E. R2 J$ e* a/ ^: jS.223, Deux Polonaises [2 pieces] (1851) 2首波洛奈兹舞曲  D2 R! g, {  R- Z& X0 O: X0 q  h
S.224, Csárdás macabre (1881–82)
0 u6 h9 k" }2 `5 b. B/ cS.225, Two Csárdás [2 pieces] (1884)
: q: D; m# Q8 \* @! J& V3 VS.226, Festvorspiel (1856)
7 I# o( n& v2 e6 D, eS.226a, Marche funèbre (1827)
  `6 r: H) o  P* bS.227, Goethe Festmarsch [first version] (1849)
% q3 s6 e) m2 [$ sS.228, Huldigungsmarsch [first/second version] (1853); d0 g* N  V0 I5 v
S.229, Vom Fels zum Meer! - Deutscher Siegesmarsch (1853–56)
! b5 I' M$ f" E7 E# H/ MS.230, Bülow-Marsch (1883)
9 R' H8 a! q( `/ f* US.230a, Festpolonaise (1876)
. X2 b7 b( z5 n# b# X1 sS.231, Heroischer Marsch in ungarischem Stil (1840)
- y# Z# p( X; j5 t( X! A, p5 j- @S.232, Ungarischer Sturmmarsch [earlier version of S524] (1843?)
/ a8 n1 N6 Q+ vS.233, Ungarischer Geschwindmarsch (1870)
2 P1 B9 n8 @. i) X  ES.233a, Siegesmarsch. Marche triomphale (Victory March) (?)
; F; ]) S% }  Q( e9 q" C3 DS.233b, Marche hongroise (in E flat minor) (1844)# q) q9 _) K3 L* G* `
1.7.4 Works on National Themes(主题作品)3 K9 G( d/ M% \4 i* H( O

' d- d) M  W2 ^  ~6 d, {1.7.4.1 Czech
$ E# f) r$ e  }/ _+ R1 i, d7 ^- e3 m! ]$ q4 l% l4 [. _5 v
S.234, Hussitenlied (Melody by J.Krov) (1840)- G4 w. q6 ?) H( L9 s1 s3 r
1.7.4.2 English
! b2 ~7 k0 z4 b$ r0 C) D
7 i+ q) j( V1 B* C: F; h. j7 v4 ^. ?S.235, God Save the Queen (1841)& k4 L/ m! g/ E& l- k6 T' U8 W
1.7.4.3 French- l6 ^. w8 }+ V) u" V2 @3 c
# A/ f+ {, Z0 K' {/ S$ F
S.236, Faribolo Pasteur and Chanson du Béarn [2 pieces] (1844)  e9 N0 A+ S; D2 \2 V
S.237, La marseillaise (1872?)
3 s, T' ~- F% s5 J1 J( ]3 {S.238, La cloche sonne (1850?)
' `9 o- Q% H% `: o+ k% XS.239, Vive Henri IV (1870-80 ?)
. h8 c5 I, R  p9 X& u1.7.4.4 German
! J; O: D/ E( a4 O/ n! ~" D0 s& E7 L' e
S.240, Gaudeamus igitur. Concert paraphrase [first/second version] (1843, 1853)7 N, W: a! ]5 B9 i, |
1.7.4.5 Hungarian# t3 H8 H; x$ B
+ l6 B( \" m1 o& j, S
S.241, Hungarian Recruiting Songs (Zum Andenken) (By Fáy & Bihari) (1828)% j+ k" X/ Y9 w9 d: J
S.241a, Ungarische Romanzero (Hungarian Songbook) [18 pieces] (1853). u9 D8 A7 B5 j! g
S.241b, Magyar tempo (1840). V& \$ h9 G" j# [3 Y3 J& z
S.242, Magyar Dalok: Magyar Rapszódiák [21 pieces] (1839–47)
5 o# o+ W) D" ^S.242a, Rákóczi-Marsch [first version] (1839–1840)
7 [" c( @6 J+ _% O) A4 Z! t3 Z2 MS.243, Ungarische National-Melodien [3 pieces] (ca. 1843)
& r' f2 T" B3 V# DS.243a, Célèbre mélodie hongroise (a. 1866)
! }$ I7 B- N  B2 S. i  t' HS.244, Hungarian Rhapsodies (Rapsodies hongroises) [19 pieces] (1846–86)  19首匈牙利狂想曲
8 C* L+ s! M9 ]# r1 L& U" TS.244a, Rákóczi-Marsch [from orchestral version] (1863)& B% }7 Y- s6 G6 w
S.244b, Rákóczi-Marsch [simplified version of S244a] (1871)
/ v8 N* C% E  T$ F& u4 wS.244c, Rákóczi-Marsch [popular version] (?)
' c8 J3 S, u( d, }S.245, Fünf ungarische Volkslieder (Abranyi) [5 pieces] (1873)
& L( x& }4 R/ e; K4 |S.246, Puszta-Wehmut (A Puszta Keserve) (1880–86 ?)! g) j3 T% ]8 ~6 u
1.7.4.6 Italian, l/ e. T9 U4 m- f4 x' K

2 w/ h5 r, ~7 |: c" NS.248, Canzone Napolitana [first/second version] (1842)
& R+ p2 @  S6 v, W5 y1.7.4.7 Polish. L- I$ V- B1 ]. e2 g
1 P1 I0 j2 P! f% t4 S0 y4 {! B8 p. \
S.249, Glanes de Woronince [3 pieces] (1847–48)
* V$ _/ P5 Z/ @/ ^: `! MS.249a, Mélodie polonaise [short draft] (1871)/ _( Q( a% W. _3 t
S.249b, Dumka (1871)
8 H8 F+ L) e; Z) F' T: w5 G( @/ `2 aS.249c, Air cosaque (1871)+ \, |. \' r1 p7 M9 ~' k, y
1.7.4.8 Russian0 s7 j8 n/ M# r4 Z( y/ E
2 D, o! B* B7 u9 g8 @/ w% d
S.250, Deux mélodies russes. Arabesques [2 pieces] (1842)
, g2 w% z7 h) I1 m& A' F  ~S.250a, Le rossignol (Alyabyev) [first version of S250/1] (1842)
  X& Q/ }3 s$ Q  W: x) rS.251, Abschied. Russisches Volkslied (1885)
, U( ^$ ^) {% `+ d/ j1.7.4.9 Spanish
7 K2 Q5 T  Q" `( b0 v
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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)" N8 K6 l4 m1 ]' c) \. M
S.252a, La romanesca [first/second version] (ca. 1832, b. 1852)
1 `, ]) _, l4 O4 {' ^S.253, Grosse Konzertfantasie über Spanische Weisen (1853)
! }# F( x) G( F& @1 Q3 n5 lS.254, Rhapsodie espagnole (1863?) 西班牙狂想曲% l1 O5 w! H- c5 S9 F
S.254x, Rapsodie espagnole [orchestrated by Feruccio Busoni] (?)
, E$ G; ?$ }% Z! ?$ ~( m1.8 Piano Duet(钢琴二重奏)
  J# `& T) R0 R2 ?7 z/ `
2 v4 z3 p% `# T2 @S.255, Festpolonaise [now S619a] (1876)
% H* |0 H+ k# S6 M- Y2 W" CS.256, Variation on the Chopstick Theme (1880)* Q" w- Y# f8 q# F( L) I1 t' [& T
S.256a, Nottorno [Not by Liszt?] (?)
5 k& F5 m8 S9 v# G4 Q3 p1.9 Two Pianos(双钢琴), w, c1 e% R& f) L, e

% f# }- u" X& pS.257, Grosses Konzertstück über Mendelssohns Lieder ohne Worte (1834)1 F+ `) _% a# _% ^9 v
S.258, Concerto pathétique (b. 1856)  e小调钢琴协奏曲“悲怆”& C" ]3 a% s0 a7 g4 J
1.10 Organ(管风琴)" e1 E% G' ~# O4 d( A/ C3 A  G

/ |2 m3 r9 a  {- g5 e8 ^$ d  @" dS.259, Fantasy and Fugue on the chorale Ad nos, ad salutarem undam (1850)
1 V% k9 g2 U% W! u6 ZS.260, Präludium und Fuge über das Thema BACH [first/second version] (1855, 1870)! a6 S) S" b0 Q, `, u( L! E
S.261, Pio IX. Der Papsthymnus (1863?)
8 W! e7 o! W" b6 R5 @& ?6 US.261a, Andante religioso (1861?)
0 v1 B$ [$ ?, d6 w% ]& z9 B6 `S.262, Ora pro nobis. Litanei (1864)
6 M2 T+ q$ c5 N9 G. V4 qS.263, Resignazione (1877)
3 u; }7 v4 {) PS.264, Missa pro organo lectarum celebrationi missarum adjumento inserviens (1879)
4 p" I* n. C* ^* A( E  |+ J2 V8 hS.265, Gebet (1879)
$ p1 i: I, W$ t0 W7 d+ r: E# R+ uS.266, Requiem für die Orgel (1883)
' P) w# W- X  v* I, X+ B  [- [S.267, Am Grabe Richard Wagners (1883). h- E% f5 C# _. e2 _0 L+ q
S.268, Zwei Vortragsstücke [2 pieces] (1884)
. M  ~# j9 }& z- {1.11 Songs(歌曲)
3 {+ h5 D7 |& F+ P  p. }! ^6 w) H' X+ ]% I, g6 l
S.269, Angiolin dal biondo crin (Marchese C. Bocella) [first/second version] (1839, ?)
  r8 n+ C0 q5 u4 n! w( E# m+ _S.270, Three Petrarch Sonnets [3 songs, first/second version] (1844–45, 1854]
8 o6 A- Q4 W& V9 V& rS.271, Il m'aimait tant (Delphine Gay) (1840?)/ C6 z% j& n& |1 W5 I& p
S.272, Am Rhein im schönen Strome (Heine) [first/second version] (1840?, 1854)
8 ]: ], r: f4 i' E+ }S.273, Die Lorelie (Heine) [first/second version] (1841, ?)
0 }1 r1 l* D& Q) ZS.274, Die Zelle in Nonnenwerth [first/second version revised 1862] (b. 1841, 1857)8 A4 O: M# j4 n8 N, l3 Q
S.275, Mignons Lied (Kennst du das Land) (Goethe) [first/second/third version] (1842, 1854, 1860)
! D1 b2 N1 f1 M1 v  U, mS.276, Comment, disaient-ils (Hugo) [first/second version] (1842, ?)
2 V4 _' Y2 k" e8 T# e- r* R5 nS.277, Bist du (Prince E. Metschersky) [first/revised version] (1843, ca. 1878-79)
- R2 v9 C0 u5 R2 l! q9 VS.278, Es war ein König in Thule (Goethe) [first/second version] (1842, ?)
( N; A% h( @1 DS.279, Der du von dem Himmel bist (Goethe) [first/second/third version] (1842, ?, 1860)
5 Y9 p8 }! w: }) X/ hS.280, Freudvoll und leidvoll (Goethe) [first/second/third version] (1844, 1848?, ?)
$ O- I3 I  F: V. Q8 ZS.281, Die Vätergruft (1844)! q& |2 |- ^$ i1 R6 d4 d( |# i
S.282, O quand je dors (Hugo) [first/second version] (1842, ?)5 n1 c# Q, U- s5 G8 S4 I' z' V
S.283, Enfant, si j'etais roi (Hugo) [first/revised version] (1844?, ?)& _9 X; |8 o+ m  s# d; g# o; W
S.284, S'il est un charmant gazon (Hugo) [first/revised version] (1844?, ?)
2 @; y& ~- o- a. c. u' sS.285, La tombe et la rose (Hugo) (1844?)7 w/ E9 F* x4 x0 r+ m/ U. C2 `
S.286, Gastibelza, Bolero (Hugo) (1844?)
- n# M; R# v! H7 _S.287, Du bist wie eine Blume (Heine) (1843?), S# W* H( \4 t4 R# m. W' ]
S.288, Was Liebe sei (C. von Hagn) [first/second/third version] (1843?, ca. 1855, 1878–79)& f4 k2 N$ e3 a. Q# e0 `7 k
S.289, Vergiftet sind meine Lieder (Heine) [first/revised version] (1842, ?)  C$ M' K6 i0 N% K, F
S.290, Morgens steh ich auf und frage (Heine) [first/revised version] (1843?, ca. 1855)0 F- B* h, o  T/ |  O( x
S.291, Die todte Nachtigall (Kaufmann) [first/revised version] (1843?, 1878)
' A& K6 W6 X" z+ |! i) l; DS.292, Songs from Schiller's Wilhelm Tell [3 songs, first/revised version] (1845?, ?)) n/ h. D% K/ @
S.293, Jeanne d'Arc au bûcher (Dumas) [first/revised version] (1845, 1874)
  K1 O, K4 D2 y( @S.294, Es rauschen die Winde [first/second version] (ca. 1845, b. 1856)0 C2 @" l2 Z9 C, P. z* [
S.295, Wo weilt er? (Rellstab) (1844)* e4 Y0 S7 C2 r; R
S.296, Ich möchte hingehn (Herwegh) [revised later] (1845)1 y- v& N2 `8 n# R; k8 ?4 x5 A
S.297, Wer nie sein Brot mit Tränen ass (Goethe) [first/revised version] (ca. 1845)
9 B& x& e* W5 a& @' VS.298, O lieb so lang du lieben kannst (Freiligrath) (1845?)
9 H! i2 p5 q+ q' AS.299, Isten veled (Farewell) (Horvath) [first/revised version] (1846–47). f/ _0 }+ ~3 m
S.300, Le juif errant (Béranger) (1847)# p' ?. I* R- _) w7 f/ l0 ^0 I% r4 d
S.301, Kling leise, mein Lied [first/revised version] (1848)
: x3 H/ ^& _: V- V) L2 ^S.301a, Oh pourquoi donc (Mme Pavloff) (1843)' W! T& x8 k' O7 n
S.301b, En ces lieux. élégie (E. Monnier) (1844)
/ ]8 f; \4 O' h/ oS.302, Die Macht der Musik (Duchess Helen of Orleans) (1848–49)( N0 R5 l% I% x
S.303, Weimars Toten. Dithyrambe (Schober) (b. 1848)1 P$ g4 D& V' J( T& _, R
S.304, Le vieux vagabond (Béranger) (b. 1848)
' j: G5 k4 d1 A$ @0 g( D7 HS.305, Schwebe, schwebe, blaues Auge [first/revised version] (1845, ?)9 P5 l! `; X+ |: j
S.306, über allen Gipfeln ist Ruh [first/revised version] (1847?, ?)% n9 E! L1 t. w8 M6 P# K1 ~' k) k, {
S.306a, Quand tu chantes bercée (Hugo) (1843)( p9 L5 l5 K# F' z
S.307, Hohe Liebe (Uhland) (1850?)
9 L/ R7 r4 C) i; {S.308, Gestorben war ich (Seliger tod) (Uhland) (1850?)
' F8 ^9 w0 S- v5 TS.309, Ein Fichtenbaum steht einsam (Heine) [first/revised version] (ca. 1845, 1854)2 P- c. @+ I/ e5 _
S.310, Nimm einen Strahl der Sonne (1849)) I* `* X: V3 i: r% N
S.311, Anfangs wollt' ich fast verzagen (Heine) (1849); O  e& q  n8 B/ t$ C5 B- J+ ~/ G7 T
S.312, Wie singt die Lerche schön (Hoffmann von Fallersleben) (1856?)% q- d! l5 W: e# L0 S" Z" B3 f
S.313, Weimars Volkslied (Cornelius) (1857)* C5 D8 r! [1 ^( k, m6 w4 b
S.314, Es muss ein wunderbares sein (Redwitz) (1852)% U% D  Z5 G0 w3 V2 m
S.315, Ich liebe dich (Rückert) (1857)
% z8 |6 `. M/ h& N1 M. [4 d; BS.316, Muttergottes - Sträusslein zum Mai-Monate (Müller) [2 songs] (1857)
: q+ v  L0 t4 J9 q9 I- aS.317, Lasst mich ruhen (Hoffmann von Fallersleben) (1858?)
1 \" ?0 o; S, o, _6 D  l5 jS.318, In Liebeslust (Hoffmann von Fallersleben) (1858?)1 y( h- F+ F' Y8 }" D) I
S.319, Ich scheide (Hoffmann von Fallersleben) (1860)
; p/ c; V) |) ~3 e9 }* y2 Z& t7 DS.320, Die drei Zigeuner (Lenau) (1860)9 A6 f+ R+ M/ G9 K; R
S.321, Die stille Wasserrose (Geibel) (1860?)
6 D+ Z+ k+ _0 [# [S.322, Wieder möcht ich dir begegnen (Cornelius) (1860)
' Z& `0 y% V" J& a% E$ D5 XS.323, Jugendglück (Pohl) (1860?)
; r  a9 q. H" M7 ]* n" L7 RS.324, Blume und Duft (Hebbel) (1854)$ u4 K' Z; k1 G/ b5 y) T
S.325, Die Fischertochter (Count C. Coronini) (1871)
9 O9 y; c$ ]: zS.326, La perla (Princess Therese von Hohenlohe) (1872)  E# ?! M8 S2 |6 f! ^/ y
S.327, J'ai perdu ma force est ma vie. 'Tristesse' (de Musset) (1872)' Y, Q1 a+ }0 K
S.328, Ihr Glocken von Marling (Emil Kuh) (1874)
7 Q6 P( C4 m0 M6 I: n, HS.329, Und sprich (Biegeleben) [revised 1878] (1874)4 D: l1 s" a1 a6 M
S.330, Sei Still (Henriette von Schorn) (1877)
; p  z: N0 y" `! P; O1 z9 _  VS.331, Gebet (Bodenstedt) (1878?)8 U( o: t) A0 T/ p( r$ k) Y
S.332, Einst (Bodenstedt) (1878?)
# n) L7 {& i" `0 D( j) k4 x9 e; {S.333, An Edlitam (Bodenstedt) (1878?)
  l& `8 y! s% K6 C+ @S.334, Der Glückliche (Bodenstedt) (1878?)
  Q+ O0 O& v# ?4 V0 n0 |& C, ZS.335, Go not, happy day (Tennyson) (1879)$ z- P3 c: @* k8 n+ {
S.336, Verlassen (G.Michell) (1880)3 _1 N6 A7 D, d  x# w4 C
S.337, Des tages laute stimmen schweigen (F. von Saar) (1880)7 `$ O/ H$ T) h' M* l+ [7 N
S.338, Und wir dachten der Toten (Freiligrath) (1880?)" ]+ m; M) `: O% G
S.339, Ungarns Gott. A magyarok Istene (Petófi) (1881)& I3 k/ K# u- ~# f% v
S.340, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)& }! i; H" T; _; L2 n: v
S.340a, Ne brani menya, moy drug. (Tolstoy) (1886)1 W( R' @* h8 P2 Z( D
1.12 Other Choral Works(其他合唱作品)
" K" W7 r) r5 d2 G# `& ^S.341, Ave Maria IV (1881)
3 ?8 o& f) q! nS.342, Le crucifix (Hugo) (1884)
- F; ~7 o4 U4 x8 L0 f$ @# BS.343, Sancta Caecilia (1884)
8 _7 v/ j9 W4 d0 H0 S. M. ?S.344, O Meer im Abendstrahl (Meissner) (1880)
4 g: K& B$ _/ Z5 H' k) i1 v9 `4 ]S.345, Wartburg-Lieder from Der Braut Willkomm auf Wartburg (Scheffel) [7 chorals] (1872)6 D9 k9 s( ~' e* p5 i7 u- m
1.13 Recitations(叙事歌谣颂诗)
4 I5 Q2 @# s0 O; q- KS.346, Lenore (Bürger) (1858)/ ]; Z3 y2 A5 m% k+ o0 s
S.347, Vor hundert Jahren (F. Halm) (1859)" b9 t1 S% G% a8 X5 e. B- }
S.348, Der traurige Mönch (Lenau) (1860)+ I% b) U4 |  ?( @
S.349, Des toten Dichters Liebe (Jókai) (1874), e% b: @& p9 K( o8 {9 H$ Y( C
S.350, Der blinde Sänger (Alexei Tolstoy) (1875)
$ z+ P% T! V4 O. Z" F0 g2. Arrangements, Transcriptions, Fantasies, etc.
9 K5 T- }0 @' P! p" g5 a4 u7 c: [, K! Z" Y8 R- ^
2.1 Orchestral Works(管弦乐作品)
$ J9 u# t3 B5 i0 Z  g" a3 Y  a& a! ?' v" a) ]$ y( a+ Z: \
2.1.1 Bülow
5 b/ K! m) v: R; b/ i4 Q3 Y
1 g8 \) b) T) {8 g) O& F" ]S.351, Mazurka Fantasie, Op. 13 (1865)
% k+ p) w4 Y" M4 G! z+ |; @2.1.2 Cornelius1 R5 z# t7 ?/ a

0 h9 A2 J2 R" v" S: zS.352, Second Overture to The Barber of Baghdad [completed from Cornelius's sketches] (1877), `# o: ~/ e0 [/ I2 W
2.1.3 Egressy and Erkel
9 b5 V+ j& N1 V3 k! S/ [2 v. d" n  W2 c
S.353, Szózat und Hymnus (1873)
$ h% X) F- D0 R2.1.4 Liszt# L( Z, k+ K5 K) ]' x1 S
9 q) u6 ^2 [! ~) a
S.354, Deux légendes (1863)% n+ ~4 v' e( b  T# X
S.355, Vexilla regis prodeunt (1864)6 O) ]( G) J+ B* F9 L3 J
S.356, Festvorspiel (1857)
9 F" M0 U! ?6 D" y' m7 oS.357, Huldigungsmarsch [first/second version] (1853, 1857)! G) N8 C2 d! H6 i
S.358, Vom Fels zum Meer. Deutscher Siegesmarsch (1860)4 X) u. L" [% Y9 }1 I9 E$ M
S.359, 6 Rapsodies hongroises (Hungarian Rhapsodies) (?)
- c( B/ D! H, d* O+ wS.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: K! p$ W$ T3 x& p2 {" A  m$ B' [S.361, Pio IX. Der Papsthymnus (ca. 1863)
$ p: j) g( C* P& G- A9 b# k! o  ZS.362, Benedictus and Offertorium from the Hungarian Coronation Mass [from S11] (1875)" n3 F/ a, F- p5 a$ _/ b- C
2.1.5 Schubert
8 c4 ^2 k) f% y/ ^
# a9 B# ~  G$ w0 m$ v) _S.363, 4 Marches [from Opp. 40, 54, 121] (1859-60)
. o2 v' \- |; T2 _! Y2.1.6 Zarembski
$ c; C0 W: u' p5 \6 v5 F
8 b7 @. K6 I) Y$ D, @S.364, Danses galiciennes (1881)6 B! I, k7 b& m* W: k  Y/ t
2.2 Pianoforte and Orchestra(钢琴与乐队)
; W; y+ N, w* h% T+ c8 n" v
+ B2 c/ r: c; O! M7 v2.2.1 Liszt
% Q/ o/ F2 g8 i
, d& O* p! `6 _* {6 {6 c6 MS.365, Grand solo de concert [prepared by Leslie Howard] (1850): x# }& l' y/ p, k! Q6 @+ q
S.365a, Concerto pathétique (No. 4) in E minor [Liszt, Reuss version] (1885-86)8 D# Z! q$ s: _" |3 C
S.365b, Hexaméron, Morceau de concert [orchestration completed by Leslie Howard] (ca. 1839)
# L& w0 G, {; M, K6 C$ _2.2.2 Schubert% B; Y3 Y8 U  h# j& N6 z
8 f% Z! z4 H4 w+ w' c+ m+ B
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
3 J9 W* U: a( G- B3 X' J) \& n2.2.3 Weber+ l* d1 b0 `8 h- N' W
( H" K, X" z$ a. r3 }
S.367, Polonaise brillante, Op. 72 (1849) 华丽波洛涅兹 为钢琴与乐队而作# L# D# {0 H5 z3 ~7 J# K
2.3 Songs with Orchestra(声乐与乐队)
5 K* Y! N7 X8 r: a+ G5 \5 Q. }
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2.3.1 Korbay8 L* X) H$ ^9 T, t
4 G" N1 q) B% {6 D3 I# x9 W: d0 D
S.368, 2 Songs (Le Matin by Bizet and Gebet by Geibel) (1883), M8 k4 C: S3 {2 ~# h/ T3 G
2.3.2 Liszt0 A) U/ ~2 Q8 H0 \6 g# d

* s; X( s7 e( g+ s1 OS.369, Die Lorelei (Heine) (1860): }6 b) O' N5 P- G; y( H8 K6 p0 C
S.370, Mignons Lied (Kennst du dass Land) (Goethe) (1860)9 _, f, K2 f- ?1 F
S.371, Die Vätergruft (Uhland) (1886)
1 Z; K' N  N# wS.372, Songs from Schillers Wilhelm Tell (ca. 1855)6 k* c( m! B$ N( z9 X* k
S.373, Jeanne d'Arc au bûcher (Dumas) [first/second version] (1858, 1874)" @8 A2 ]3 K. W3 D% G! Q" l
S.374, Die drei Zigeuner (Lenau) (1860)& }0 @5 Z/ S, i$ t
2.3.3 Schubert
/ ~# y, _( }/ N# B$ W, V5 t! A
; O  _7 D& _( I$ u' W8 NS.375, 6 Songs (1860)1 o8 i- C6 r" i$ F" ^" u
S.376, Die Allmacht (1871)2 m5 S! \& a5 [, ~9 W! _
2.3.4 Zichy
3 t: i1 p& U1 _" r- B( x! g5 y* x  V6 C; A  v
S.377, Der Zaubersee. Ballad (Zichy) (1884)
, o/ M' Y3 ~! D6 l5 J8 E2 @2 x2.4 Chamber Music(室内乐等)
& N6 E/ I7 P, q; X  p2.4.1 Liszt& P( h( x3 H- ?$ i8 a0 U% }; b, C

! y* O* Z! r) R* r  T+ KS.377a, La notte (Odes funèbre No. 2) (1864-66)
" S$ I+ O) P# P* v2 gS.378, Angelus! - Priere aux anges gardiens [first/second version] (1877, 1880)
( N2 Q' g6 f" @! a) _( Y/ |3 US.379, Rapsodie hongroise No. 9 (Pester Karneval) (?)( f5 \+ s4 t; T% f' g6 ?
S.379a, Rapsodie hongroise No. 12 (1850-59)
- v& N- b( P8 ]+ |S.379b, Puszta-Wehmut (A Puszta Keserve) (ca. 1871)) p5 \: q, R7 k1 m1 F! s, j' @
S.380, O du mein holder Abendstern from Tannhäuser (Wagner) (1852)
7 \7 K8 k, @! KS.381, Benedictus and Offertorium from the Hungarian Coronation Mass [from S11] (1862)
4 G. }$ _7 A2 ~S.381a, Ungarns Gott. A magyarok Istene (Petófi) (1882)
: }( a! E0 t' M! ?S.382, Die Zelle im Nonnenwerth (ca. 1880-86)
) D6 W: [0 T3 h5 j: g) z% CS.383, Die drei Zigeuner (Lenau) (1864)
# N! V( r+ F7 y, d( h; [" N& j2.5 Pianoforte Solo$ S. I) q% ]0 D' c; k* _

; o7 P. ~" c3 k1 \8 c8 O9 a* @2.5.1 Paraphrases, Operatic Transcriptions, etc.(歌剧改编独奏)3 s& ?2 ^! \5 D0 }, L  E$ }

. A$ s  p2 X- l) P2.5.1.1 ábrányi
* B/ U% |( _4 g# [6 C
# p' M" {! `& r  u1 M' }5 IS.383a, Elaboration on Virág dal (1881)
* r% W2 x# \' `2.5.1.2 Alyabyev% Q0 g: ]# K# ?# b. Y( \6 m9 \
4 B* W( u+ x4 J0 g! k7 I) l/ u' D
S.384, Mazurka pour piano composée par un amateur de St. Petersbourg (1863)
& Z  B/ Y0 ]# p% @1 w" w. HS.384a, Variations on Tiszántúli szép leány [anonymous, not by Liszt?] (1846)
! n& k1 B, E4 f. }- @& w2.5.1.3 Auber
% N$ K8 z0 Y- j  x5 D# R2 _% N& R6 R  |+ R
S.385, Grande Fantaisie sur la Tyrolienne de l'opera La Fiancée [first/second/third version] (1829, 1835, 1842)
$ D, \. E- \$ g9 @" ZS.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
3 K3 p, B* ^7 s5 p% L5 YS.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% @# }0 K2 t# ~8 d8 g% g8 W! F
S.387, Three Pieces on themes by Auber [with intro piece] (a. 1846)# Y7 ?+ k6 K8 }% F
S.387a, Piece on an unknown theme (1847)
8 G' w: ~0 z" J7 X2.5.1.4 Beethoven9 z0 k7 t, O" V& q( A

/ o' I; v$ S" v2 y3 J9 \/ jS.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5 F1 w( t, w% h/ T# t4 r* b1 S
S.388a, Marche turque des Ruines d'Athenes (1846)& P  c! d$ N& H1 [
S.388b, Fantasie über Beethoven's Ruinen von Athen [first version] (1837)
9 U4 k1 u$ X* O8 O; Q" ES.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
8 [- _& O1 U) \0 I! fS.389a, Cadenza to the first movement of Beethoven's Piano Concerto No. 3 (1879)
, z4 {! ?8 ]7 M7 p9 b2.5.1.5 Bellini
7 @& Z; d+ ~0 s6 x7 c7 W0 ]4 W- ]! E+ }8 P! {
S.390, Reminiscences des Puritains [first/second version] (1836, 1837)
( v$ F( ~) d5 t# `9 c# CS.391, I Puritani. Introduction and Polonaise (1840)
9 O' f* F& q- J5 N  a$ }7 J. \  a9 ]S.392, Hexaméron, Morceau de Concert (1837)
8 j0 |4 v9 u' Y* p5 P& V$ z% H7 |S.393, Fantaisie sur des motifs favoris de l'opéra La Sonnambula [first/second/third version] (1839, 1840-41, 1874)
4 Y' X! a* U9 V. T% t2 M7 j. I2 ?S.394, Réminiscences de Norma (1841-43)
  z$ ~& R- R6 h) C4 I, {2.5.1.6 Berlioz: A1 e; K7 k$ d; M) i1 g3 `; m

' N6 L* ~& u5 k+ W4 O* h( D% e3 C* m1 e  l6 DS.395, L'Idée fixe: Andate amoroso [first/second version] (1833 or 1846?, 1865)
, i) {+ A% R7 F* A1 I" \% ES.396, Benediction et Serment from Benvenuto Cellini (1852)' T! n/ d0 O5 N) @
2.5.1.7 Donizetti, Gaetano
) `+ Y# A& m' e% }# n. J; i2 q( o. h9 K
S.397, Réminiscences de Lucia di Lammermoor (1839)' P" V" a+ y. @$ V
S.398, Marche Funebre et Cavatine de Lucie de Lammermoor (1839)6 [/ j$ }+ O% r# I2 S4 O  h8 N5 v
S.399, Nuit d'été à Pausilippe [3 pieces] (1839)1 C  J# ~1 B* p
S.399a, Lucrezia Borgia - Grande fantaisie [first version of S400ii] (1840)
7 O7 s+ D2 q! R3 I
0 [. m. C/ W) G/ X. v: Q# m! X5 W6 M* v李斯特全部作品目录-3
* Q9 V2 q( _8 B+ M, o* U0 O+ h4 M: v: ?7 V
S.400, Réminiscences de Lucrezia Borgia [first/second version] 1840
0 Y' D# u  j7 W3 qS.401, Valse a capriccio sur deux motifs de Lucrezia et Parisina [first version of S214/3] (1841)
$ t1 D7 o$ ^& a+ o0 `S.402, Marche funèbre de Dom Sébastien (1844)
: P  C: ?$ J" |" i5 [! @6 I& k2.5.1.8 Donizetti, Giuseppe1 Q; d0 A# ?  X, |: `+ G) C

  ?( K. P/ n6 ?/ q: Z8 {+ A' qS.403, Marche pour le Sultan Abdul Medjid-Khan [first/simplified version] (1847, 1848)
& D# U( F2 ]8 l2.5.1.9 Duke Ernst/ H7 k. L6 N" G* i5 w2 R

  F5 v# w! W# h% x" Q3 ^& @S.404, Halloh! Jagdchor und Steyrer from the opera Tony (1849)
0 {8 y* ]4 {% C* k; U2.5.1.10 Erkel, Franz
, L5 H; X/ w9 o" I0 g. `+ y7 n8 O" J3 p4 H3 U
S.405, Schwanengesang and March from Hunyadi Laszlo (1847)
8 W1 [8 a0 z0 }2.5.1.11 Festetics
8 z! }* w& E1 P9 C1 N# c; J0 b
- y! v* L4 I. }) `- R0 vS.405a, Pásztor Lakodalmus Variations - Mélodies hongroises [elaboration by Liszt] (1858)
$ R. W' z1 t3 X& X& Z2.5.1.12 Glinka
- x% ~& P4 k3 F' i7 e! y: Q4 n8 }6 a. b" d1 g
S.406, Tscherkessenmarsch from Ruslan i Lyudmila [first/second version] (1843, 1875)" O" e9 f. Q* T% t4 ]
2.5.1.13 Gounod6 ]% t9 P; e/ |9 V2 x

1 F, e* \4 t; r: D9 y; WS.407, Valse de l'opéra Faust (b. 1861). c* J( B! b9 \6 e
S.408, Les Sabéennes. Berceuse de l'opéra La Reine de Saba (1861)6 b5 w' z( @1 Z( B5 s' s/ W
S.409, Les Adieux. Rêverie sur un motif de l'opéra Romeo et Juliette (1867)1 G7 ?( ^7 s$ c3 ^
2.5.1.14 Halévy1 E) A  u5 Z# p9 }& x3 L( d: y* J
S.409a, Réminiscences de La Juive (1835)
- H5 Z7 S: F, z4 Q* b2.5.1.15 Mendelssohn
; [( b: K7 f' {! cS.410, Hochzeitsmarsch und Elfenreigen aus dem Sommernachtstraum (1847-50)
! M/ ]9 y4 M% d2.5.1.16 Mercadante
) `) e, D( g3 p# q( tS.411, Soirée italienne. Six amusements (1838); s  ?: f9 i' g; x  W
2.5.1.17 Meyerbeer
. o7 n/ K0 L( m' x4 y; P  P: ]4 FS.412, Réminiscences des Huguenots - Grande fantaisie dramatique [first/second version] (1836, 1842)' y8 h$ _( `6 {5 K% Z8 x$ X
S.412a, Réminiscences de Robert le Diable - Cavatine (1846?)0 l) l- [0 w. J% K) |. d/ \
S.413, Réminiscences de Robert le Diable - Valse infernale (1840)
0 o7 P6 X6 R. i) cS.414, Illustrations du Prophète [4 pieces, 4th=S624] 1849-50
6 g5 T4 S/ l' [S.415, Illustrations de l'Africaine [2 pieces] 1865. |- t: d- d" [4 ~* _$ F
S.416, Le Moine (1841)
/ \* r# Q1 \! x: F$ ~. G2.5.1.18 Mosonyi, Michael) e( r5 i9 C4 d+ I! @6 E
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9 V2 Z; i& H$ g- E* G; \* p3 V
2.5.1.19 Mozart- R, q: B7 Y/ z8 Q- B3 v. b4 f
S.418, Réminiscences de Don Juan (1841)# B% U, g9 U  l! ]1 P/ v
2.5.1.20 Pacini
) Q1 \4 S3 R/ `S.419, Divertissement sur la cavatine "I tuoi frequenti palpiti" (1835) 嬉游曲 S.419 - 根据帕奇尼歌剧《奈奥比》主题改编2 k1 H& [% _1 `7 ~4 `* q
2.5.1.21 Paganini; R* V; q/ }, L7 H* H
S.420, Grande Fantaisie de bravoure sur La Clochette (1832-34)  华丽的钟声幻想曲$ f0 X: v* z7 G  s
2.5.1.22 Raff: ~- v- K8 v; E& {
S.421, Andante Finale and March from the opera König Alfred [2 pieces] (1853)# P, g4 ^0 O. H: J& Q
2.5.1.23 Rossini( d) H2 ?4 @1 c9 i: j& S7 K" E4 \& A
S.421a, Introduction et Variations from "Siege of Corinth" [introduction only] (1839?)$ d% b  |7 s0 l( ^! J+ R+ g
S.422, Première grande fantaisie (Soirées musicales) [first/second version] (1836)" K0 b" Q3 S# e9 V
S.422i, La serenate e l'orgia - Première grande fantaisie (Soirées musicales) [first version] (1836)
4 `7 {; u$ W8 D# t- M( e! A+ iS.423, Deuxième grande fantaisie (Soirées musicales) (1836)
5 M# U& `* ?! Q0 t5 }6 e" Y. IS.424, Soirées musicales [12 pieces] (1837)
% q7 J2 w3 a- X, F+ @/ F2.5.1.24 Schubert. h7 Q4 n& l: w8 F3 a& G0 A
S.425, Mélodies hongroises [3 pieces] (1839–40)
% j- f/ h7 K4 m! k2 Z6 g7 L; Z/ kS.425a, Mélodies hongroises [revised versions] (1846)+ q: J8 T# s" g! l1 y6 K6 L
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" ^% z, m) V- N7 P% z% M6 \
S.426a, Marche militaire (ca. 1870)7 K! H9 ~% W$ }9 j0 i
S.427, Soirées de Vienne [9 pieces] (1852) 维也纳之夜 S.427 根据舒伯特《随想圆舞曲》改编
9 p7 y1 A3 q& |2.5.1.25 Sorriano" t& H$ u$ A- R* V$ e: w; X, J% f* K/ b
S.428, Feuille morte. Elégie d'après Sorriano (1844-45)1 j2 E5 m2 G6 A4 E4 Z5 d
2.5.1.26 Tchaikovsky
7 w! l$ o$ }, m' z* k8 KS.429, Polonaise from Eugene Onegin (1879)) G" C8 y) O: p6 ~9 G, o8 t; }
2.5.1.27 Végh, Janos) B& _4 u; ^: _. U3 A& E( w2 N+ F
S.430, Valse de concert (1882-83)
8 I! A$ {5 l0 I7 r, U2 B! L& e2.5.1.28 Verdi
8 G1 l- R4 a& h% j0 b5 e7 ?2 X0 [S.431, Salve Maria de Jerusalem from I Lombardi [first/second version] (1848, 1882)
* G  H# f8 ?3 j( a# e" }/ z; Z1 T. hS.431a, Ernani - Première paraphrase de concert (1847)$ C3 m; W+ w! l. F" k
S.432, Ernani - Paraphrase de concert (No. 2) [first/second version] (b. 1849, 1860)  g0 @+ K. g5 Z0 F
S.433, Miserere du Trovatore (1860)
7 c6 Y. Q' ]4 A8 \, z; t. j& O- XS.434, Rigoletto Paraphrase de Concert (1859)
+ ]8 {# @! q- F1 d2 {8 R9 V5 \S.435, Don Carlos Coro e Marcia funebre (1867-68)
4 T% m! U" o8 I9 dS.436, Aida Danza sacra e duetto finale (1877): c  H6 [2 b- e" m& t- R
S.437, Agnus Dei (1877)
, @8 H1 U) Y" OS.438, Réminiscences de Boccanegra (1882)9 [8 w$ e1 b  A
2.5.1.29 Wagner
4 x  [" y/ g# G$ YS.439, Phantasiestück über Motive aus Rienzi (1859)
! x* m* o1 ~' @, ]$ p& D  o5 fS.440, Spinnerlied aus Der fliegende Holländer (1860)
) r% n" C- A, \& a( ^S.441, Ballade aus Der fliegende Holländer (1872). o, ~, p9 i, V$ S# n; A
S.442, Ouvertüre zu R. Wagners Tannhäuser (1848)
6 b- |0 {9 B  o' cS.443, Pilgerchor aus Tannhäuser [first/second version] (1861, 1885)+ M% r$ b& d$ f* l* _
S.444, O du mein holder Abendstern aus Tannhäuser (1848)
8 B' I* b, r! ]) T, N0 F: BS.445, Zwei stücke aus Tannhäuser und Lohengrin (1852)
6 g" P0 w& ^2 b5 c+ J2 }2 w% ~S.446, Aus Lohengrin [3 pieces] (1854)
4 }2 p7 O! k0 KS.447, Isoldens Liebestod aus Tristan und Isolde [first/revised version] (1867, 1875)
( k5 D2 Q& _2 J7 w% G) LS.448, Am stillen Herd aus Die Meistersinger (1871), P7 o5 t4 n9 i9 `3 J
S.449, Walhall aus Der Ring des Nibelungen (1875)
& ~1 [6 [% r1 {, K4 X& _& KS.450, Feierlicher Marsch zum heiligen Graal aus Parsifal (1882)' R/ g( B, j+ A* M
2.5.1.30 Weber8 A: v0 z- c, |$ U/ s/ R
S.451, Freischütz-Fantasie (1840-41)
$ ~0 z$ {* q( |6 t5 }' SS.452, Leyer und Schwert [4 pieces] (1848)3 V# U& k7 G  Y' _
S.453, Einsam bin ich, nicht alleine, from Preciosa (1848)8 j$ \* K1 x0 o0 n1 F3 i
S.454, Schlummerlied mit Arabesken (1848)6 N3 g* a7 U7 y1 S6 {
S.455, Polonaise brillante (1851)
0 i+ T5 C$ W! t! ^' X+ V2.5.1.31 Zichy, Count Géza
9 a4 Q# x* Z8 _  z$ IS.456, Valse d'Adele (1877)
( L+ R" w& p, B" s$ k0 T# w) M& M2.5.1.32 Unknown
5 U, t" R" q. d4 tS.458, Fantasy on Il Giuramento (Mercadante) (1838?)
3 B3 p( {* O0 V, z3 ?5 nS.460, Kavallerie-Geschwindmarsch [anonymous] (?)6 X7 \% z+ ]# G3 Y. R) q
2.5.2 Partitions de Piano, Transcriptions, etc.
( U: H) B* j2 S: R0 w2.5.2.1 Allegri and Mozart9 ?5 ]# ~6 t  j/ d" z$ }% C. p
S.461, A la chapelle Sixtine [first/second version] (1862, ?)
2 t! P" T& d$ g1 }3 f/ {+ NS.461a, Ave verum corpus, Kv618 (1862)
, ]0 I7 B- [$ g7 E* J# r1 y% D2.5.2.2 Bach  X2 u0 }" p) C: l
S.462, Sechs Praeludien und Fugen für Orgel [6 pieces] (1850)6 z( l: A( s7 r: l9 }* ^
S.463, Organ Fantasy and Fugue in G minor [first/second version] (1860, ?)
9 `# N. n) u7 x8 A+ ~2.5.2.3 Beethoven" N& j$ y( o; P0 H6 p
S.463a, Symphonie No.5 [first version] (1837)
- h) J! {0 [7 J3 f5 ZS.463b, Symphonie No.6 [first version] (1837)
$ R: s2 i0 y/ h& W: o5 T" IS.463c, Symphonie No.6 [second version. Alternative 5th movement] (1863-64)5 T( l- X7 @# w
S.463d, Symphonie No.7 [first version] (1837)) }+ P- B$ }0 b& c6 X# O
S.463e, Marche funèbre [Beethoven's Eroica Symphony, first version] (1843)& g+ O8 j# l8 {5 V4 y
S.464, 贝多芬交响曲 Symphonies de Beethoven [9 pieces] (1863-64)" I& h3 }1 d. F- A# U9 _) f
S.465, Grand Septuor, Op. 20 (1841): V$ I- o7 C4 O) O
S.466, Adelaïde [third version] (1847)+ f2 w5 N; U5 H( e& Q- O
S.466a, Adelaïde [first version] (1839)4 F1 ~. b/ T' w5 S- \7 k; W4 i
S.466b, Adelaïde [second version] (1840); L3 U! }4 P/ e
S.467, Sechs Geistlicher Lieder (Gellert) [6 pieces] (1840)
" T. E+ s& R; d! z. {S.468, Sechs Lieder von Goethe [6 pieces] (b. 1849)
2 A/ J' M4 I. N: j: A3 t6 mS.469, An die ferne Geliebte - Liederkreis [6 pieces] (1849)
8 D6 {1 E! u2 j; v8 }, v; H3 ~/ ^4 z' y2.5.2.4 Berlioz
+ i: j4 d7 U, e8 p3 A; `# Y  hS.470, Symphonie Fantastique (1833)# c3 C. ^+ n7 P1 m
S.471, Overture from Les francs-juges (1833)
( k* K9 [5 j, E7 N: B$ b; DS.472, Harold en Italie (with viola) (1837)
( A1 U( Y9 y+ B/ P+ ?S.473, Marche des pèlerins from Harold en Italie [first/second version] (1837?, 1862)
' k/ Q1 e+ J4 g+ B4 US.474, Ouverture Le Roi Lear (1837)
) @; Z( \* N7 fS.475, Valse des Sylphes de la Damnation de Faust (1860)
0 }$ B8 i1 _0 s2.5.2.5 Bulhakov
2 F  \% o( m5 v$ SS.478, Russischer Galopp [first/second version] (1843, 1843)# _3 D! v- z( @- f; w( N
2.5.2.6 von Bülow
5 p) @2 R1 O! d' ]2 s6 k4 iS.479, Dante's Sonnett - Tanto gentile e tanto onesta (1874)
5 z* n: T9 ?0 d2 Z2.5.2.7 Chopin
4 k" X/ r6 q4 x1 r! pS.480, Six Chants polonais, Op. 74 [6 pieces] (1847-60) 6首波兰歌曲 S.480 - 根据肖邦《17首波兰歌曲》Op.74 改编
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 楼主| geci110 发表于 2015-7-22 18:35:21 | 显示全部楼层
2.5.2.8 Conradi
. b( L; }3 E6 g* c3 f  Q2 l2 F, XS.481, Zigeunerpolka (1847?)5 {. ^6 Q( D7 }( z7 I# w+ D
2.5.2.9 Cui
6 u( E5 P( }$ m0 p8 r+ x' p5 @S.482, Tarantella (1885)" ?& W. M0 K* J5 ~* Y% q
2.5.2.10 Dargomyschsky
9 |+ P. Z8 i; v- m; [S.483, Tarantella (1879)
3 j; P/ q! B/ e8 m2.5.2.11 David, Ferdinand
8 Y9 k6 _- F9 XS.484, Bunte Reihe, Op. 30 [24 pieces] (1850)
4 o# `  J. ~- m0 \; W2.5.2.12 Dessauer- |! g0 D; _0 h" {5 j  M
S.485, Drei Lieder (1846)- ~  Q2 U2 C& n4 N& N+ a! X
2.5.2.13 Ernst, Duke9 n5 D% ^4 @) ]6 w4 p! s, r
S.485b, Die Gräberinsel (1842)
0 N  `1 m$ E: F3 |/ ^/ d. }" g2.5.2.14 Egressy and Erkel* F9 ^0 |* B8 v: i7 l/ d: [
S.486, Szózat und Hymnus (1873)
. i- c8 V* s& B& y$ ]; [2.5.2.15 Festetics
8 C) z  x2 o' X9 J9 dS.487, Spanisches Ständchen 1846# D) D# w" p3 s2 e
2.5.2.16 Franz, Y" H% |4 @# F0 e+ f* i1 w
S.488, Er ist gekommen in Sturm und Regen 1848
1 e: Q! }/ |7 p3 \S.489, Zwölf Lieder [12 pieces] (1848)
# q/ v: l2 w1 `0 c: t: n' E6 F2.5.2.17 Goldschmidt
* j  ~& {; g  h$ j6 }  M+ mS.490, Liebesszene und Fortunas Kugel (1880)
: o! f' V5 ~, j9 H/ ?" O' V2.5.2.18 Gounod' f. N5 |# q+ x" G
S.491, Hymne à Sainte Cécile (1866)5 x& W0 X6 k  v% @, K* |9 X/ v
2.5.2.19 Herbeck
# x, G$ ]; r; N% {- Y5 JS.492, Tanzmomente [8 pieces] (1869)! N/ m* x% R! e4 ]/ V. y
2.5.2.20 Hummel* X# }+ O" o7 i0 q' B7 `) _
S.493, Grosses Septett, Op. 74 (1848)! b. ]4 s; k) C/ t, ~; ^
2.5.2.21 Lassen
) V  g; }. b+ |S.494, Löse, Himmel, meine Seele [first/second version] (1861, 1872)
; q7 y. S* {% Y. O% P/ |  J; [S.495, Ich weil' in tiefer Einsamkeit (1872)* h0 n% e% H& k/ t) u: A+ \! P
S.496, Hebbel's Nibelungen & Goethe's Faust [4 pieces] (1878-79)
' [8 B4 C2 a* q: z! @. r0 d6 f& iS.497, Symphonisches Zwischenspiel ('über allen Zauber Liebe') (ca. 1882-83)
, h. F  c5 u- Y+ r* T2 ~- Q2.5.2.22 Lessmann3 I: w) P: @' h
S.498, Drei Lieder ('Tannhäuser') (1882?)
5 D) ^1 j8 r% n2.5.2.23 Liszt- `8 E" z) u3 c2 G" t
S.498a, Drei Stücke aus der heilige Elisabeth (1857-62)
7 B: A( T& _& }1 [$ g' g8 XS.498b, Zwei Orchesterstücke aus Christus (1862-66)
; [* p# l% C* `( |" HS.498c, San Francesco - Preludio (1862-66)
9 o4 ?1 p% i, W! W! Y5 |* ES.499, Cantico del Sol di San Francesco d'Assisi (1881)0 N3 @( y' N4 |+ }% c
S.499a, San Francesco - Preludio per il Cantico del Sol (1880)9 `; U; A* {5 z, b2 \, g& \
S.500, Excelsior! - Preludio (1875)" ]% `; o$ Q: A5 Y
S.501, Benedictus und Offertorium (Missa Coronationalis) (1867)$ j" _: D) Y# W9 k8 J
S.502, Weihnachtslied II (1864)
' J+ Y  m+ |( D6 N1 [9 I  ?1 S8 rS.503, Slavimo Slavno Slaveni! (1863)
3 R2 x, p7 e$ x/ D1 i# IS.504, Ave Maria II (in D) [first/second version in D flat] (1870, 1873)
; F; O1 N! ~1 P$ G4 j( N$ wS.504a, Via Crucis [15 pieces] (1878-79)! n9 r, `' U* W$ c$ Z: g6 a; P
S.504b, Choräle [11 pieces] (1878-79)
/ I5 _; ?, `7 b+ @. f- a, MS.505, Zum Haus des Herrn (In domum Domini ibimus) (1884); o8 ~8 S' l# r* ^4 B
S.506, Ave maris stella (1868)
+ s; Y! q$ R* RS.507, Klavierstück aus der Bonn Beethoven-Cantata (?)
9 v4 l! k& k4 {- k+ Z" {# Z5 aS.507a, Schnitterchor (Pastorale - Schnitterchor aus Prometheus) (1850)
5 t8 L9 |! z. l0 D( a( Q4 ES.508, Pastorale. Schnitterchor aus dem Entfesselten Prometheus (1861)7 I# s/ H$ \. G9 F4 A  M" }0 d
S.509, Gaudeamus igitur - Humoreske (1870)
9 ^* W! K8 V9 H& j8 N2 x5 bS.510, Marche héroïque (?)9 _# n( m: @$ y6 \2 _
S.511, Geharnischte Lieder [3 pieces] (1861)
9 A8 @' t5 R! {, p) wS.511a, Les Préludes (Poème symphonique No. 3) [arranged by Karl Klauser, revised by Liszt] (1863) [1][2]
: y/ g# N; K: K+ H: XS.511b, Orpheus (Poème symphonique No. 4) [arranged by Fredrich Spiro, revised by Liszt] (1879) [3]4 @4 F# p! L5 Y
S.511c, Mazeppa (Poème symphonique No. 6) [arranged by Theodor Forchhammer, revised by Liszt] (1870-79) [3]
  X" t. ~3 w* \S.511d, Festklänge (Poème symphonique No. 7) [arranged by Ludwig Stark, revised by Liszt] (1870-79) [3]
' |, h5 N: R  Q$ R, bS.511e, Hungaria (Poème symphonique No. 9) [arranged by Fredrich Spiro, revised by Liszt] (1872) [3]
" G8 q4 [) m# e' _$ K4 pS.512, Von der Wiege bis zum Grabe (Poème symphonique No. 13) (1881)
- h9 z* R! t: E: f( _S.513, Gretchen aus Faust-Simpfonie (b 1867 )
$ |4 ]- i; a1 \7 |S.513a, Der nächtliche Zug (?)
+ y" C" G& r0 P2 e! a) ?5 D* eS.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
: {4 H7 H6 H, g+ LS.514a, Erster Mephisto-Walzer (Mephisto Waltz No. 1) [with later additions] (1859-62)
  K8 |8 ]: I# d* c. w/ U' vS.515, Zweiter Mephisto-Walzer (Mephisto Waltz No. 2) (1881) 第二梅菲斯特圆舞曲% X. S# B* w$ t; T" |' s/ g9 Q
S.516, Les Morts (Ode Funèbre No. 1) (1860)
( L% Q1 J) ^) f# a  vS.516a, La notte (Ode Funèbre No. 2) (?)
5 I: M5 S+ ^1 ~( B  KS.517, Le Triomphe funèbre du Tasse (Odes Funèbre No. 3) (1866)
: k6 C! h! ^/ [/ |S.518, Salve Polonia (a. 1863)
/ j7 U! [6 d; E0 [S.519, Deux Polonaises de St Stanislaus (1870-79)
8 B7 t! ]7 x8 ~& W9 p2 QS.520, Künstlerfestzug [first/second version] (1857-60, 1883)! i; l$ M6 f: a: r
S.521, Festmarsch zur Goethejubiläumsfeier [first/second version] (1857, 1872)0 z+ @7 @$ T1 f2 u2 f7 W% V
S.522, Festmarsch nach motiven von E.H.z.S.-C.-G (1857)% O; q# V, l) U/ M4 c+ [8 V
S.523, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (1870)' a$ ^& G' Q' v3 }9 @
S.524, Ungarischer Sturmmarsch [first/second version] (?, 1875)
/ |& x7 H: E" j! LS.525, Totentanz. Paraphrase on Dies Irae (1860-65)
/ D0 ?5 G" w; l- ^+ KS.526, Epithalam zu Eduard Reményis Vermählungsfeier (?)
5 _& B! U, p' h9 r, tS.527, Romance oubliée (?)) Y8 ^1 ~- Q* b6 d# [5 V0 |
S.527bis, Romance oubliée [short draft] (1880)! B3 {3 m% v! o( ~2 ?+ n, U
S.529, Fantasie und Fuge über das Thema BACH [first/second version] (1856, 1870) 巴赫主题幻想曲与赋格+ l! {4 S- y" l- F% G
S.530, L'Hymne du Pape. Inno del Papa. Der Papsthymnus (1864)) P9 `2 ]: M; S8 U$ D
S.531, Buch der Lieder I [5 pieces] (?)
# Q! m8 U$ k8 e7 ~9 v* F* W* JS.532, Die Lorelei (Heine) [second version] (1861)
( {& H  b( Q- T! {; o: xS.533, Il m'aimait tant (Delphine Gay) (1842)1 I4 S! b& N. |5 f9 y) G2 ~0 c9 ^
S.534, Die Zelle in Nonnenwerth (Felix Lichnowski) [first/second/fourth version] (1842, 1860, 1880)" @5 V$ s; @0 p. ?2 q/ `4 c
S.535, Comment, disaient-ils [Buch der Lieder II] (1845?)
4 J& n& z! [3 d( q& M. w  `5 QS.536, O quand je dors [Buch der Lieder II] (1847?)1 x8 }1 O* {3 A: N. }& [& w+ b/ t
S.537, Enfant, si j'étais roi [Buch der Lieder II] (1847?)
' X" d9 Z1 t7 ]* a, v- R5 {S.538, S'il est un charmant gazon [Buch der Lieder II] (1847?)
0 n+ ^1 U# i" E3 d6 hS.539, La tombe et la rose [Buch der Lieder II] (1847?)
0 Z$ ^: v3 O- r8 T" \S.540, Gastibelza [Buch der Lieder II] (1847?)
5 T# Z2 @- E( i. v5 d/ A8 wS.541, Liebesträume. Drei Notturnos (ca. 1850)  3首夜曲“爱之梦”
# d* \- f1 d2 g7 o9 D! P8 b) H8 oS.542, Weimars Volkslied [first/second version] (1857, ?)
6 c' _8 M- b7 \1 X! R+ f$ }S.542a, Ich liebe dich (?)( m! `( ~3 e4 v( {- t
S.542b, Fanfare zur Enthüllung des Carl-Augusts Monument (?)
" ~' r; y- R0 f$ ^* F4 m( ES.543, Ungarns Gott. A magyarok Istene (Petófi)]] [original/(S543bis)left-hand version] (1881)
* F7 M8 \- F: E7 X* DS.544, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)
! I! j; K& |0 q% @! vS.545, Ave Maria IV (1881)
8 J* }0 \( f2 h. r1 X: FS.546, Der blinde Sänger (Alexei Tolstoy) [solo version] (1878)2 g. x8 d$ C5 ?8 A. H
S.546a, O Roma nobilis (1879)5 w; n! n% j2 q9 t
2.5.2.24 Mendelssohn" }! E; w; N8 X1 @
S.547, Sieben Lieder (from Opp. 19, 34, 47) [7 pieces] (1840)8 N" h( {$ i# m1 ~% ]& M
S.548, Wasserfahrt and Der Jäger Abschied (from Op. 50) [2 pieces] (1848)
3 W# @+ y7 `* H" p2.5.2.25 Meyerbeer
3 e5 M6 V' C+ f" WS.549, Festmarsch zu Schillers 100-Jähriger Geburtsfeier (?)
- i3 O5 N# n3 b! \0 X; `, _2.5.2.26 Mozart
) l. s1 F& p1 d( q$ XS.550, Zwei Transcriptionen über Themen aus Mozart's Requiem, K626 [2 pieces] (1862)8 Y. ~' P3 i" v) s& E/ `7 h
2.5.2.27 Pezzini3 U6 y3 _6 U! v
S.551, Una stella amica. Mazurka (?)
0 U- j* I: E! B* f9 t. `2.5.2.28 Raff1 Z. Z( O! ?3 O# r* i) n- N* a
S.551a, Einleitung und Coda zu Raffs Walzer in Des-dur (opus 54/1) (1880)# _" q: F9 j: E+ f; |, f5 f  ]8 G8 g. ^
2.5.2.29 Rossini
4 n% y+ F0 o9 U8 E3 ^S.552, Ouverture de l'opéra Guillaume Tell (1838)& S6 c0 J0 C/ p7 m: T* l" \6 l
S.552a, Caritas [La charité, first version] (1847); d" |3 a( Y+ H6 R, a0 O
S.552b, La caritá [La charité, simplified version] (1847)
% \3 |/ V6 K$ l$ x* S& ^S.553, Deux Transcriptions [2 pieces] (1847)
6 b( q) S; ~8 L2.5.2.30 Rubinstein2 V0 W  C4 q* }8 F+ @
S.554, Zwei Lieder [2 pieces] (1880)2 d3 w: ?( Q6 A0 `
S.554a, Einleitung und Coda sur des notes fausses (1880): n: |' @1 t1 h! r! i/ l9 Q5 R
2.5.2.31 Saint-Saëns
" X) e$ x4 T: f) Y! fS.555, Danse macabre, Op. 40 (1876)
; S- D# M& {9 B9 ]9 s2.5.2.32 Schubert: [; I4 f+ ~5 ?, E& z: V# W
S.556, Die Rose [first/intermediate/second version] (1832, ca. 1837, 1838)& O# J8 b" p7 N4 l4 m! L" W" v& K  n5 w
S.557, Lob der Tränen (1837)) s5 S  c/ ^: B: e
S.557a, Erlkönig [first version] (?)
6 u6 n$ C" Y8 x: h1 h! R4 CS.557b, Meeresstille [first version] (?)
. p# N& ]3 i- a, R6 I" U; r8 e$ Z2 @6 pS.557b/bis, Meeresstille [first version, ossia] (?)
. ]. f1 a! {# @S.557c, Frühlingsglaube [first version] (?)! ~' D' L7 D4 q0 k- w6 p
S.557d, Ave Maria (Ellens dritter Gesang) [first version] (?)
: [8 \. S) g- K2 ^8 SS.558, 12 Lieder (1837-38)+ P3 S% N5 D. X9 @+ F
S.558bis, 12 Lieder [revised versions of Nos. 3, 4, 7, 8, 9, 11] (ca. 1839)
6 B' ^6 @- [& W1 _* \S.559, Der Gondelfahrer, Op. 28 (1838)
: \7 d6 ?% N! s( \S.559a, Sérénade [Ständchen, first version] (1837)8 k6 a, s  |' A: i
S.560, Schwanengesang [14 pieces] (1838-39)$ \8 V/ {, H  W# _2 x2 ]* }' ]
S.560bis, Schwanengesang [14 pieces, alternative versions] (ca. 1839)) V6 T" S' {! p" L
S.561, Winterreise [12 pieces] (1839)
8 X$ \) A$ D+ g$ J3 G; ]; V( o& N( |S.561, Winterreise [alternative versions of Nos. 2, 3, 7, 10,] (ca. 1839); K, L8 p( _6 H+ i
S.562, Geistliche Lieder [4 pieces] (1841)
) {+ U" J4 I' X2 u+ VS.563, Six mélodies célèbres [6 pieces, 1st by Weyrauch] (1844)
( I+ u% O, I. `( ^) k6 K0 @S.564, Die Forelle [second version] (1846)1 Z2 l! w9 u- E) ]8 b5 u
S.565, Six Mélodies favorites de La belle meunière [6 pieces] (1846)
7 t3 B3 M! B( ^S.565bis, Müllerlieder [6 pieces, revised versions] (ca. 1879)
- H% X9 F/ y( ?! R8 rS.565a, Wandererfantasie (Grosse Fantasie in C-dur) (ca. 1868)' d! K6 |/ T& o) A
S.565b, Schubert's Impromptus [2 pieces, Op. 90/2-3] (ca. 1868)' E. m& N# G' l& a& ~, x
2.5.2.33 Schumann# L) Z, S/ Y) O: \1 p
S.566, Widmung, Liebeslied (1848)7 P/ O8 M: [, x. Y
S.566a, Widmung, Liebeslied [sketch of a more literal transcription] (1848)3 @% E: ^7 `3 I( y* J: z3 D
S.567, An den Sonnenschein, Rotes Röslein (1861); I% R! f! v& i1 G4 m  _
S.568, Frühlingsnacht (überm Garten durch die Lüfte) (1872)- N3 W$ ]  K, W7 K  `6 ]
S.569, Zehn Lieder von Robert und Clara Schumann [10 pieces] (1872)
% b, M& ?" Z4 F6 VS.570, Provençalisches Minnelied (1881)" a/ y' ]: F& y" E% G
2.5.2.34 Smetana
* I" J- L# P9 t1 C# ~5 }& i8 Z9 _4 IS.570a, Einleitung und Coda zu Smetanas Polka (de salon, opus 7/1) (1880)0 M0 H9 m4 H6 j% x0 l
2.5.2.35 Spohr( U' `5 ?6 c4 h& v  E/ f
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+ g8 q* u) Y$ K# |7 B
S.571a, Einleitung und Schlußtakte zu Tausigs dritter Valse-Caprice (1880); d1 x/ o" K' W
2.5.2.37 Szabady and Massenet
) \2 j2 m4 [  l( D) J9 ^; PS.572, Revive Szegedin (1879)
2 |2 E: w3 |1 F' I! x3 J3 i2.5.2.38 Széchényi, Count Imre3 D, P7 x; H6 b' u3 |# o% q- t2 P
S.573, Bevezetés és magyar indulò (1872)
3 x; e" j9 [5 s* k$ n. D2.5.2.39 Tirindelli
# a/ I8 [1 T9 c+ `S.573a, Seconda mazurka variata (1880)$ I4 _$ x. ?/ {7 H" E! u
2.5.2.40 Weber
: i/ v) {3 i2 d: H* y" j- U1 jS.574, Ouverture Oberon (1846?)
8 V$ x+ l5 F4 |# J- pS.575, Ouverture Der Freischütz (1840-41)+ a6 ]# `) C8 u+ @& `  w
S.576, Jubelouverture (1846)/ b( [! e" ^1 H
S.576a, Konzertstück, Op. 79 (ca. 1868)
% x; S2 v# e. Z: i2.5.2.41 Wielhorsky, Count Michael
/ O' U5 v1 M9 r! O! _2 h4 wS.577, Lyubila ya [first/second version] (1843, ?)
3 W. D5 m2 |3 D7 D0 `7 S' N9 G2.6 Pianoforte Duet(钢琴二重奏)
, S0 V: d0 L3 k& s2 P0 o0 W) F9 y% ]2.6.1 Field
( |! E9 ?. t) [  b! k5 ~0 \6 |8 s/ @S.577a, 11 Nocturnes (Nos. 1-9, 14, 18 and Nocturne Pastorale in E) (?)3 o, B/ g" I# x' F6 ^) Y/ B
2.6.2 Liszt0 d9 B; w* D" D
S.578, 4 Pieces from St. Elisabeth (1862)
9 f8 F  D* a# f/ I1 I5 ?2 R$ mS.579, Christus Oratorio 4th and 5th section (?)
  }, x0 g* I) R$ \. vS.580, Excelsior! - Preludio (?)9 A0 m- Y% g8 }6 g, T% G  U4 A
S.581, Benedictus and Offertorium from the Hungarian Coronation Mass (1869)
; I- {* p0 q3 S( ~S.582, O Lamm Gottes, unschuldig (1878-79)
9 `. g* s3 X% E1 F7 U/ I) n8 |* d5 qS.583, Via Crucis (?)
6 n+ |$ j0 C% J: n7 _8 Y1 @S.584, Festkantate zur Enthüllung des Beethoven-Denkmals in Bonn (1845)
- I/ B: j  i3 r; }, b: yS.585, Pastorale. Schnitterchor aus dem Entfesselten Prometheus (1861): E- A1 r* ^' g; D7 T2 Y
S.586, Gaudeamus igitur. Humoreske (1870)
2 ]4 D. \% a$ j; Z8 H2 sS.587, Marche héroique (?)
7 Z( Q, x5 W/ _! Y3 C5 `" yS.588, Weimars Volkslied (Cornelius) (1857)
! A$ Z  n+ z  _, x: uS.589, Ce qu'on entend sur la montagne (Poème symphonique No. 1) (1874)
0 w7 V8 Q: T% X! v% [" m8 }2 vS.590, Tasso, Lamento e Trionfo (Poème symphonique No. 2) (1858)0 ?  Q5 k! _+ [6 w
S.591, Les Préludes (Poème symphonique No. 3) (ca. 1858)5 @/ V0 j: |. m( }# v
S.592, Orpheus (Poème symphonique No. 4) (ca. 1858)
' z& g8 R: J8 Y4 M4 K( F. _S.593, Prometheus (Poème symphonique No. 5) (1858)
3 D+ j# `% a8 r5 e. d- ~& hS.594, Mazeppa (Poème symphonique No. 6) (1874); S3 e0 U5 i% I& W( y
S.595, Festklänge (Poème symphonique No. 7) (1854-61)' ?6 i9 X+ A& x
S.596, Hungaria (Poème symphonique No. 9) (1874?)
& o$ |' U+ _; P; K+ v" ^; KS.569a, Héroïde funèbre (Poème symphonique No. 8) (ca. 1877)) [, G4 q* I1 k0 W+ V, w
S.596b, Hunnenschlacht (Poème symphonique No. 11) (ca. 1877)
- V2 y/ G# V  F" V6 x) `, wS.596c, Die Ideale (Poème symphonique No. 12) (ca. 1874-77)7 M& u. ^* j4 N. f
S.597, Hamlet (Poème symphonique No. 10) (1874)6 V( m1 T: X4 M$ O/ F/ h0 g0 }
S.598, Von der Wiege bis zum Grabe (Poème symphonique No. 13) (From the Cradle to the Grave) (1881)( {) ?6 o; S2 e2 J9 K
S.599, Two episodes from Lenau's Faust (1861-62); C, j! x+ q5 R4 F+ H% u5 F
李斯特全部作品目录-4
0 H. s) P/ b) I2 d9 w* }) R0 ~* f8 C/ X& v* y$ {  t
S.600, Mephisto Waltz No. 2 (1881)
; y  M' ~" X4 f: T; E" mS.601, Les Morts (Ode Funébre No. 1) (1866)
( ]" E4 d" t5 W, KS.602, La Notte (Ode Funébre No. 2) (1866)- u3 l" g. f6 C! G- I' J
S.603, Le Triomphe Funèbre du Tasse (Ode Funébre No. 3) (1866?)& }+ t! w9 ~" f- e; @: h
S.604, Salve Polonia (1863)# _" e- t$ O$ X
S.605, Künstlerfestzug zur Schillerfeier (1859)& t& n) R4 Q; {: q. \
S.606, Festmarsch zur Goethejubiläumsfeier (ca. 1858)
! d, e9 [, C: k+ u) ?S.607, Festmarsch nach Motiven von E.H. zu S.-C.-G. (ca. 1859)3 W$ K& X4 N( Q, v
S.608, Rákóczy March (1870)
: ]' b* s7 Y8 B8 s, P7 b, `S.609, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (1870)" @+ {; m3 N: p$ T
S.610, Ungarischer Sturmmarsch (1875)  D3 T2 [  Q0 _$ `) h# f
S.611, Epithalam (1872)+ V7 f1 ~0 Z  {. L6 [% p6 r
S.612, Elégie (1874)$ T+ @- D9 Y& n6 R3 G- J6 v2 m; e
S.613, Weihnachtsbaum (1876)0 Q" z! Z7 q1 n) Z' h9 b
S.614, Dem Andenken Petöfis (Petófi Szellemének) (1877)
' d! s5 J8 E* h0 nS.615, Grande Valse di Bravura (1836)
& @7 p: X4 M; S( I& \S.616, Grand Galop Chromatique (1838)( d- ]1 _0 Z7 f' ~. o5 A
S.617, Csárdás macabre (1882)
& G, {6 m+ ]" @" t( E; sS.618, Csárdás obstiné (ca. 1884)5 I  {0 `6 f5 A9 U
S.618a, Vom Fels zum Meer. Deutscher Siegesmarsch (?)
. s: ^) W2 m# u$ {S.619, Bülow-Marsch (ca. 1883)! G( q+ R) k- N5 Y) W
S.619a, Festpolonaise (1876) [4]
! n7 i/ O* ~- rS.620, Hussitenlied (Melody by J.Krov) (1840)
- ?. l8 n& y/ RS.621, 6 Hungarian Rhapsodies [from the orchestral version, S359] (1874)
0 C# e0 I8 ]& K8 H- B9 ^4 jS.622, Rapsodie hongroise No. 16 (1882)4 b- ^, h) O( i" u2 W% t; u' c' u$ l
S.623, Rapsodie hongroise No. 18 (1885)
* ]( f# r. V/ q  Z6 T8 }) zS.623a, Rapsodie hongroise No. 19 (ca. 1885)/ b7 o4 @3 @  l; j( S
S.624, Fantasy and Fugue on the chorale Ad nos, ad salutarem undam (1850)
. M! u. ~+ V' t3 Z- ?2 gS.625, L'Hymne du Pape (Der Papsthymnus) (1865)
" b' R3 f3 Z7 o1 p5 P/ Z/ B8 YS.626, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)3 {+ h* u  V# k" {" z
S.627, Fantaisie sur des motifs de l'opéra La Sonnambula (Bellini) (1852)& P$ b" R& O; M  X+ H7 g" v; Y
S.628, Bénédiction et serment (Berlioz's 'Benvenuto Cellini') (1852)& K- e! l5 i, m/ ~# R
S.628a, Marche et cavatine (Donizetti's Lucia) (?)% s( F4 j! q9 ~  R; y4 s8 T7 H" p
S.628b, Szózat und Hymnus (Egressy and Erkel) (1873)
: H; t0 c2 I/ [S.629, Tscherkessenmarsch (Glinka's Ruslan i Lyudmila) (1843)
: O$ _( U8 U9 Z/ HS.630, Réminiscences de Robert le Diable - Valse infernale (Meyerbeer) (1841-43)
$ u7 W& {4 Q% I- J0 L0 {- U& TS.631, Andante finale und Marsch (Raff's 'König Alfred') (1853)% @% u4 E$ B7 }5 r. ^" h, `& @
S.632, 4 Marches (Schubert) (1879)
. m/ C" U' W, Q3 k1 ]3 vS.633, A la chapelle Sixtine (Allegri Mozart) (1865)
. f: ?" j0 G8 Q. bS.634, Grand Septuor Op. 20 (Beethoven) (1841)+ Y$ u" t, [' E, A6 {. `2 R  s
2.6.3 Mozart' I4 x3 M4 i) Y! B: w
S.634a, Adagio from Mozart's Die Zauberflöte (1875-81?)0 a" s! G  I3 }8 L# b
2.7 Two Pianofortes(双钢琴)$ ~9 ^% f8 G% _) q
2.7.1 Liszt+ [* l+ A; V- ]2 _8 I1 h
S.635, Ce qu'on entend sur la montagne (Poème symphonique No. 1) (ca. 1854-57)
7 l1 u+ c1 i9 W. [# |! B2 o4 L! YS.636, Tasso, Lamento e Trionfo (Poème symphonique No. 2) (ca. 1857)1 F+ o( `  A3 H6 W) z7 O! D
S.637, Les Préludes (Poème symphonique No. 3) (ca. 1854-56)/ y* t$ `1 Q+ \  s
S.638, Orpheus (Poème symphonique No. 4) (ca. 1854-56)
& c; c5 o. S$ Q, A$ |S.639, Prometheus (Poème symphonique No. 5) (1855-56)/ k7 U( b# d# Q
S.640, Mazeppa (Poème symphonique No. 6) (1855)( l- K6 i1 m& p( `5 s* D- T# x
S.641, Festklänge (Poème symphonique No. 7) (ca. 1853-56)1 N4 M! t/ e! S$ @: z
S.642, Héroide Funèbre (Poème symphonique No. 8) (ca. 1854-56)  G, P" n7 @4 d) ?6 t! ?$ R; R* G2 i
S.643, Hungaria (Poème symphonique No. 9) (ca. 1854-61)
3 f: ?% v9 F3 e& ZS.644, Hamlet (Poème symphonique No. 10) (ca. 1858-61)4 l( y! z7 ^/ |5 f: f
S.645, Hunnenschlacht (Poème symphonique No. 11) (1857)8 T3 t* h+ U1 }4 O
S.646, Die Ideale (Poème symphonique No. 12) (1857-58)- _5 d7 k5 X" b9 N8 z4 }4 C+ j0 e
S.647, A Faust Symphony, in three character pictures (1856)
6 \7 @( ]0 S( K% ^: ]7 K: @S.648, A Symphony to Dante's Devina Commedia (ca. 1856-59)
0 ]. T9 \) x$ T8 v- N( b/ IS.649, Fantasie über Beethovens Ruinen von Athen (1865)6 N) h  G2 @1 W: `2 Q# ^
S.650, Piano Concerto No. 1 in E flat major (1853)
. y4 M2 J) L( J' w" S0 l; nS.651, Piano Concerto No. 2 in A major (1859)" M! A; H! j+ B0 N' S
S.652, Totentanz. Paraphrase on Dies Irae (1859)
- @* v- S& }7 R( d. k! g  p4 RS.653, Wandererfantasie (Schubert) (a. 1859)
, r; w' |- z% DS.654, Hexaméron, Morceau de Concert (1837)- M  y7 o: j8 z; ^+ v
S.655, Réminiscences de Norma (Bellini) (1841)
; J3 v3 s$ b9 g) cS.656, Réminiscences de Don Juan (Mozart) (1841)7 b5 Z2 t+ M6 I
S.657, Symphony No. 9 (Beethoven) (1851)
: E, y* I) w- y; q) lS.657a/1, Piano Concerto No. 3 (Beethoven) (1878)+ h& L; k' q- x, g0 {
S.657a/2, Piano Concerto No. 4 (Beethoven) (1878)
+ q- b4 V6 {/ Q+ }' i3 x* Q, uS.657a/3, Piano Concerto No. 5 (Beethoven) (1878)
4 b$ B7 J! X) z* U% R* k4 BS.657b, Bülow-Marsch [2-pianos, 8-hands] (1884)
4 K' Q5 m' _1 J' T4 k2 t1 r2.8 Organ(管风琴)5 ^3 O8 C! V7 D9 y1 E) F
2.8.1 Allegri und Mozart" K6 Q+ `# \) y9 }- a1 {1 C( E
S.658, évocation à la Chapelle Sixtine (1862)
- |2 _- w& v' r! \4 l' O+ y2.8.2 Arcadelt
3 |; x0 B- l1 c; w, \S.659, Ave Maria (1862)
. }9 o# J( ~. Z) E" ~4 L2.8.3 Bach
3 F! F7 [& H% m! `
, ]6 f- n: i0 ]) O  QS.660, Einleitung und Fuge aus der Motette Ich hatte viel Bekümmernis und Andante Aus tiefer Not [2 pieces] (1860); E- `7 c/ c3 c) t. E
S.661, Adagio from Bach Violin Sonata No. 4 (BWV1017) (1864)
; n+ w; p9 _6 Z* Z+ y/ F! Z5 v2 d# X2.8.4 Chopin
0 y) H# E% }$ h
* j4 C/ H& g3 Y) lS.662, 2 Préludes from Op. 28 (Nos. 4, 9) (1863)) G, V  Q# t6 W) l
2.8.5 Lassus( k- R$ S2 }+ U* L  v

: e* a6 h* @+ q! fS.663, Regina coeli laetare (1865)' D  e9 l$ ^- t1 z
2.8.6 Liszt
3 q: S- ?, D* Y  G) x3 c5 ]7 ?" p4 v( b& L: |) o
S.664, Tu es Petrus from Christus (1867)% p& A: N: z( x" ]% ~/ V) n
S.665, San Francesco (1880). _" q( [( I7 T( L* d  e. ]
S.666, Excelsior! - Preludio (?)6 |) a8 e7 H% v# z5 D
S.667, Offertorium from the Hungarian Coronation Mass (1867)
% O; i; C. T, [3 dS.668, Slavimo Slavno Slaveni (1863)
2 a! G' Y5 w" o# ~S.669, Zwei Kirchenhymnen [2 pieces] (1877)  {6 G/ j& J& I6 l  H5 b( @
S.670, Rosario [3 pieces] (1879). _5 z' c! R& @' M; d" ^* C6 v  G
S.671, Zum Haus des Herrn (In domum Domini ibimus) (1884)+ z4 @2 v; l, W' `+ e
S.672, Weimars Volkslied (Cornelius) (1865)
7 L! C; b2 E) q1 |8 o3 TS.673, Weinen, Klagen' Variationen (1863)/ p  \% Q/ J1 [2 j' l$ v0 i& _
S.674, Ungarns Gott. A magyarok Istene (Petófi) (1882)5 I4 }& g4 W+ m  M- ~+ ?0 o& Q1 l9 [
S.674a, O sacrum convivium [2 versions] (?)
9 {7 Z- b5 G; K: A8 ~5 u4 Y  k2.8.7 Nicolai
2 v- u; x. N3 _) _% k0 h$ e' L8 j, o! Y3 B. `: ]* l
S.675, Kirchliche Festoverture (1852)
3 h4 ~& L% K7 \2.8.8 Wagner
  T$ {% c! [) k: u3 H
! s/ r4 a# X% W' p3 G9 gS.676, Pilgerchor from Wagner's Tannhäuser (1860)- t5 b* R3 @3 V% `- R" y6 i+ N
2.9 Organ with Other Instruments(管风琴和其他)8 b' h4 x6 b- Z* S( y' f
0 k: K' A! r% V
S.677, Hosannah from Cantico del sol di San Francesco d'Assisi (for organ and bass trombone) (1862)
  E, u6 Z) D' `6 A, ^+ @: eS.678, Offertorium and Benedictus from the Hungarian Coronation Mass (1869)" f# a- h! A( ]# H/ ~1 H
S.679, Aria 'Cujus animam' from Rossini's Stabat Mater (for organ and trombone) (?)2 J2 l# i$ e$ o, v& l* C$ ~# h
Vocal Arrangements声乐
, B, ~/ h+ p" J& K5 W. `# y) \
, [! m  I3 C% `( @! LS.680, Ave maris stella (1868)" x$ p: Z* u6 R+ U( r" k8 u; C
681, Ave Maria II (1869) " m. w1 |% e: V3 `
S.682, Air du Stabat Mater (Rossini) (?) 6 A' F) C* p0 T( @  M
S.683, Serbisches Lied (Hohenzollern-Hechtingen, Prince FWC. von) (?)
4 ]: Q% a. }$ mS.684, Barcarolle vénitienne (Pantaleoni) (?)
, F, E  h4 D) HS.685, Es hat geflammt die ganze Nacht (Grand Duchess Pavlovna) (?)% g4 X" F5 j7 O- G

! {2 v5 c: ]8 E  t2.10 Recitations  v& V% h; ~+ W1 i4 ?4 c, C
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
! c5 F* l! }6 C  i5 W0 w4 ~

- u! J' m6 n% _0 \3 i3 o# r3 l0 A, l1 T

# g/ k$ C( `! M! A  J: g/ r) N) b2 L. @' S9 F2 Q6 t9 ~  j
* `4 G$ b, a" b
: \( S& r* w( u7 C- D5 I+ x
$ }" J  t5 K  T3 |% S: Q( N) E
3. Appendix
2 K; p# b" u" r, H* ~
. a/ N$ a) z5 X/ _9 H6 [3.1 Unfinished Works
# I' ~/ v* V$ M5 Q4 O+ \4 }0 Q# @( r: h! q0 C# ]: P0 T
S.687, Sardanapale (Byron) [opera, partly sketched, 111 pages] (?); A: e* C: |' T( Y2 ]- s4 `
S.688, Oratorio - Die Legende vom heiligen Stanislaus [sacred choral] (1873-85)
% i1 U/ |4 d9 y# }# ?4 US.688a, St Stanislaus fragment [solo piano, Library of Congress] (1880-86)2 }/ J9 E1 s* E9 X
S.689, Singe, wem Gesang gegeben [secular choral] (1847)
/ W2 G8 L' I! OS.690, Revolutionary Symphony [unfinished, revised 1848] (1830)
- o! }1 J) g5 t, b$ j  d/ E, sS.691, De Profundis [piano and orchestra, De Profundis - Psaume instrumental] (1834?)
5 D3 x8 s8 w1 ?( O; {. @7 JS.692, Violin Concerto [only sketched] (1860)( v0 Y% V* n6 E  x$ g( [' Z0 w
S.692a, The Four Seasons String quartet (Vivaldi) (1880?)8 v: t$ U9 J/ G
S.692b, Anfang einer jugendsonate [solo piano] (1825)/ f, T7 Z  g0 t4 m& i) Z1 f8 P
S.692c, Allegro maestoso [solo piano] (1826)
$ _# h& ~. d$ ^0 u6 kS.692d, Rákóczi-Marsch [solo piano, first version, simplified, unfinished] (1839)
7 G7 H6 O2 b0 hS.692e, Winzerchor (Prometheus) [solo piano] (1850)4 c5 H  C% ]' H2 _( P( V4 ~$ B" @5 z
S.693, Deux marches dans le genre hongrois [solo piano, 2 pieces] (1840?)
, _5 G1 y2 ^5 E5 \S.693a, Zwei Stücke aus der heilige Elisabeth [solo piano] (1862)) D* f8 @" n" R8 E! |+ M
S.694, Fantasie über englische Themen [solo piano] (1840?)
7 V! d# o+ K& X& H8 _1 t; US.695, Morceau en fa majeur [solo piano] (1843?)
$ q7 _) `  I) O5 Z4 d+ OS.695a, Litanie de Marie [solo piano] (1847)
+ n0 a4 L$ X- T; u( WS.695b, Zigeuner-Epos [solo piano, 11 pieces] (ca. 1848)
+ M. _5 ?, P! yS.696, Mephisto Waltz No.4 (1884) 第四梅菲斯特圆舞曲8 Z, l$ w$ n# O, r+ J
S.697, Fantasie über Themen aus Figaro und Don Giovanni (Mozart) [solo piano arrangement] (1842)3 J& \$ a2 q. H+ R% i
S.698, La Mandragore - Ballade de l'opéra Jean de Nivelle de L. Delibes [solo piano arrangement] (a. 1880)
/ ~: O% u2 x2 p& |5 a6 JS.699, La Notte (Odes Funèbre no. 2) [solo piano arrangement] (1864-66)  X+ h1 H5 q( w
S.700, Grand Fantaisie (Variations) sur des thèmes de Paganini [first/second version; completed by Mezö] (1845)7 a7 Z8 W* F5 J. O: A! [
S.700a, Variations sur Le Carnaval de Venise (Paganini) [solo piano arrangement] (?); k  Y1 A! O0 t+ F
S.701, Den Felsengipfel stieg ich einst hinan [song] (?)  y4 k! C. E/ ^3 B# S1 P9 U
S.701a, Allegro di bravura [orchestra, arrangement] (ca. 1830)/ S7 ?  U! z& w3 J8 n) X- F
S.701b, Marie-Poème [solo piano] (1837)9 K: h' L" z% V
S.701c, Andante sensibilissimo [solo piano] (1880-86)
$ t* G- v2 n1 q  H0 \- {4 S( ?* A# I. @S.701d, Melodie in Dorische Tonart [solo piano] (1860)5 T+ m" Y$ m6 e7 I+ j
S.701e, Dante fragment [solo piano] (1839)' k% I) t' I7 U
S.701f, Glasgow fragment [solo piano] (?)2 i4 U2 f8 n0 r
S.701g, Polnisch - sketch [solo piano] (1870-79)& w5 p2 ^* ]2 q+ l7 f
S.701h/1, Operatic aria - and sketched variation [solo piano] (?)
$ H1 J; k- A; ^% v3 ^S.701h/2, Valse infernale (Meyerbeer) - theme [solo piano arrangement] (?)
+ J# B# ^: g: T. `) rS.701j, Harmonie nach Rossini's Carità (La charité) [solo piano arrangement] (1847)5 C1 t7 }. y0 H, I% F9 ?9 w
S.701k, Korrekturblatt (to an earlier version of La lugubre gondola) [solo piano] (1882)  D0 j! C$ n/ \# }8 X7 H
3.2 Doubtful or Lost$ `8 [, [9 \! @! t2 g/ a8 P

! v& u3 O% i7 J3.2.1 Sacred Choral Works: m5 z9 R; M, v. ?' I# k1 [

* D- ?5 s3 s; x! ~S.702, Tantum Ergo (1822)
) y4 ^+ n" {1 D$ x' @1 pS.703, Psalm 2 (1851)
) e& o/ ^* V: O0 @! e" O  H  AS.704, Requiem on the death of Emperor Maximilian of Mexico (?)0 h4 l" q$ {6 N7 _+ Q" ~1 a
S.705, The Creation (?)
3 D) N7 ~* Y0 q5 ?5 o- L. `S.706, Benedictus [doubtful] (?)
9 `  O( \; ]; _$ K* h& B' s9 _S.707, Excelsior [arrangement, doubtful] (?)
# s; [# ]1 k/ I2 z4 V3.2.2 Secular Choral Works
+ |+ X, N8 \+ ]6 K' l
7 h' Y4 V( g' S! D  s4 O2 z* B1 lS.708, Rinaldo [doubtful] (ca. 1848)6 o: h' m$ ?5 @( \* J  ?
3.2.3 Orchestral Works( i8 x; A3 g. n1 G8 f0 s, F% @
6 E  M, n2 w) w+ V  H
S.709, Salve Polonia [rediscovered, renumbered as S113] (1863)& t! o0 Y# N, [5 k9 i
S.710, Funeral March (?)
; \! q$ i2 ]2 K; O, cS.711, Csárdás macabre [arrangement] (?); i; q  f* \, `7 o3 J' N
S.712, Romance oubliée [arrangement] (?)
! D+ F+ I' I0 n0 @2 U/ A$ @0 N$ R  {3.2.4 Piano and Orchestra$ u1 f4 j) I/ ~2 R6 K
& \4 `3 a' Y& I
S.713/1, Piano Concerto in A minor (1825?)
7 H+ V) J0 Z; L& x5 p4 j9 wS.713/2, Piano Concerto (1825?)
0 {0 K! Q: k6 Y$ SS.714, Piano Concerto in the Hungarian style [by Sophie Menter, renumbered as S126a] (1885)
/ O, u4 s% ^9 B- {$ ?' U1 G7 F$ QS.715, Piano Concerto in the Italian style (?)- M. x# _' I4 H$ I- O
S.716, Grande fantaisie symphonique [orchestral] (?)
. E& ^  @5 s: q+ c3.2.5 Chamber Music! T7 E2 D% m: z' Q
- M4 o8 x6 t# `9 N& N
S.717, Trio (1825)8 e8 v3 `' b0 W2 f$ u0 E% Y* C, l
S.718, Quintet (1825)
# e1 F1 Z6 X& pS.719, The Four Seasons String Quartet (Vivaldi) [rediscovered, renumbered as S692a]) p9 O& R7 G" y
S.720, Allegro moderato (?)8 i* k3 h: u. C3 J& F: K
S.721, Prelude (?)! o" F$ Z# W' C" k& L& C$ r
S.722, La notte (Odes funèbre no.2) [rediscovered, renumbered as S377a] (1864-66)
! w7 w7 V7 {* }4 o% o6 M  l9 DS.723, Tristia [arrangement, from Vallée d'Obermann S160/6] (1880-86 ?)
8 p7 @5 q, L+ h( q: H* VS.723a, Postlude on theme from Orpheus [arrangement] (?)$ j4 I9 P8 n# @& C( M. T* w7 R
3.2.6 Pianoforte Solo
/ J7 Z+ C% M0 y' ~& @  n' P
+ M6 R3 X! i: q: X  U6 DS.724, Rondo and Fantasy (1824)
6 O: d) R. R6 N0 \) y# fS.725, 3 Sonatas (1825)
2 D: H. C5 M, oS.726, Study (?)
- D9 ]) o7 r7 JS.726a, Valse (?)& \! j: D5 ~/ a% E  z1 Z2 g
李斯特全部作品目录-5# m* X. o, U4 H; Q- c. j8 K" q
# N( k; @* m8 w; V
S.727, Prélude omnitonique (?). |) g5 I( n6 I8 O
S.728, Sospiri (Fünf Klavierstücke) [rediscovered, renumbered as S192/5] (1879)8 B: F( L1 s# M  ~: i  C
S.729, [rediscovered, renumbered as 42(?)]% A: s" r' f- V! z' M! Q* V
S.730, Dem Andenken Petöfis (Petófi Szellemének) [rediscovered, renumbered as S195] (1877)
1 Y  F$ s7 p1 J% q) \( ]S.731, Valse élégiaque (?)4 W0 [' M5 M* K3 S" m
S.732, Valse Oubliée No.4 [rediscovered, renumbered as S215/4] (1883-84). @3 u$ W* [  k
S.733, Marche hongroise (in E flat minor) [rediscovered, renumbered as S233b] (1844)
2 v# Z% [" W7 f& M* W$ @. N( t+ aS.734, Ländler (?)
( y  u7 N" [7 I1 A+ h" Z( [S.735, Air cosaque (?)/ b9 j- {: `" m" x8 |
S.736, Kerepsi csárdás (?)
) q0 v' x% Q# n8 B$ m( I$ VS.737, 3 morceaux en style de danse ancien hongrois (?)+ }8 t! F) C9 K% ?$ ^' L) _
S.738, Spanish folksong arrangement (?)+ W) r+ p+ R) V5 t& ~" M' u
3.2.6.1 Arrangements
; X2 E( a) ?  z3 Y8 n$ s+ w  m3 E  r& L4 a2 Y3 U- p4 i
S.739, Corolian Overture (Beethoven) (?)" V+ i( g# h# }$ |1 @7 v6 E& A
S.740, Egmont Overture (Beethoven) (?)' x: i9 O3 g; m- p. S( }3 O
S.741, Le carnaval romain - Overture (Berlioz) (?)
6 q! \& X5 f2 p( s; C$ sS.742, Duettino (Donizetti) (?)+ m: k  `) B5 k! p) v
S.743, Soldiers Chorus from Guonod's Faust (?)
1 n+ p2 U2 V8 o4 H* M, G4 JS.743a, Fantasia on themes from Halévy's Guitarero (b. 1841): v# s+ X8 J+ i5 b$ S5 A
S.744, Paraphrase on Act 4 of Kullak's Dom Sebastien (?)
# H) m7 |, d( `% A" _3 J% JS.745, Funeral March (?)
1 I: J) c6 l! R$ O( K* eS.746, Andante Maestoso (?)
2 W1 j3 V6 a4 J8 d. `" A" lS.747, Poco adagio (from Missa Solemnis) (?)
+ U  ?  o* H9 V3 Z6 hS.748, Overture to Mozarts "Die Zauberflöte" (?)
7 E8 l  B+ x7 V8 |S.749, Preussischer Armeemarsch (Radovsky) (?)
4 y; O  T$ v2 US.750, Siege de Corynthe, Introduction (?); [5 @) m/ E$ I
S.751, Nonetto e Mose, Fantasia on themes by Rossini (?)
' ]+ [- k8 a; S& r  vS.752, Gelb rollt (Rubinstein) (?)6 ~# f- b& q2 ~0 e
S.753, Alfonso und Estrella, Act 1 (Schubert) (?)
: r" l: w: o+ ~8 z6 }1 z2 ?9 tS.754, Seconda mazurka variata (Tirindelli) [rediscovered, renumbered as S573a] (1880)0 c1 d/ @' {) O' M8 V
3.2.7 Pianoforte Duet
8 a3 U; k& a; w% Y! i7 ?; G
: e8 S0 Z% |% u& y4 ]S.755, Sonata (?)
: ]! ?! O- [' K3.2.8 Two Pianofortes
* b  p" R: y, _- y; j/ A& E! T* q; X% W- J  d5 z
S.756, Mosonyis Grabgeleit (?)
$ c: w2 r# a9 Y0 Y7 PS.757, La triomphe funébre du Tasse (?)4 s  F4 x8 }$ ]6 l' m! c9 v8 P
3.2.9 Organ
% R/ v* h8 J0 O- m
+ R& i/ g6 p8 G0 i8 \S.758, The Organ (Herder) (?)6 s1 ~9 a- d" Z' e
S.759, Consolation [arrangement] (?)
' K- t5 U3 B' H+ q) YS.760, Cantico del sol di St. Francesco [arrangement] (?)9 |# I/ _5 ?+ i! n# i0 V
S.761, Marche funèbre (Chopin) [arrangement] (?)
/ E6 h- j  q" V0 ^1 ], g3.2.10 Songs/ o# j- ~6 `+ I9 I: T
% o' Y4 ^$ L$ a) C2 q
S.762, Air de Chateaubriand (?)
- l  t# V' G' i' O; p9 ~+ ~0 u8 kS.763, Strophes de Herlossohn (?)+ F, b+ o, j8 f
S.764, Kränze pour chant (?)
" V% E: S$ h7 u! r* fS.765, Glöcken (Müller) (?)/ n6 t: t" Q; }; v
S.765a, L'aube naît (Hugo) (1842?)
7 p0 [/ {8 I- J9 h9 f  e0 U$ \. Q; cS.766, Der Papsthymnus (?), R3 S6 [5 X6 `  ^1 ?
S.767, Excelsior (?)+ w3 c. `% \( ~; n1 f
3.2.11 Recitations
3 T. U& H5 N, u5 `7 R* J" C( R+ l+ I7 `+ K* G& K8 [
S.768, Der ewige jude (Schubart) (?)
7 S$ n. ]4 f, {9 `% |( B3.3 Supplement; \8 w$ \8 O5 y! e! q9 B

! u3 m% K: X" b0 JS.990, Fantasy and Fugue on the chorale "Ad nos, ad salutarem undam" (played by Liszt to Walter Bache) [solo piano, arrangement] (b. 1862)
$ c( [4 |; Q+ MS.991, Waltz in A major [chamber, arrangement] (?)
- X# R% P" O) Z% Y: p6 HS.993, Wartburg Lieder (Scheffel) [orchestral, arrangement] (?)
7 Z2 D$ o- [: a- ~S.994, Grand solo caractéristique à propos d'une chansonette de Panseron [solo piano, arrangement] (1830-32)+ ~1 Y( E/ T# L: f0 v8 [
S.995, Variations de bravoure sur des thémes de Paganini [unfinished] (1845)
! S! B/ v: i* e: iS.996, Stabat Mater [solo piano] (1870-79 ?)
7 z2 C7 M3 b, {3 }+ i4 E- zS.997, 5 Variationen über Romanze aus 'Joseph' (Méhul) (by Franz Xaver Mozart, attributed to Liszt) (ca. 1834)
; C( U$ Z2 X! B+ o3 S& ^& `' |/ F' Z% WS.998, Adagio in C [solo piano] (1841). K. S/ l$ c2 H" h& N
S.999, Andante Maestoso [organ] (?)
6 r, k/ [( Y' G- l, K) Q1 h6 j; K降E大调钢琴协奏曲（遗作）Piano Concerto in E flat Major Op.posth
5 p# n3 q# L) M/ B! ?, ^9 K- u7 m1 D2首悲歌 2 Elegies
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