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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》。
, |# e" B. E2 r7 h! r3 O  ^李斯特全部作品目录-14 k& b8 V" ], X: k
- {5 I3 X8 w( S& `& V0 u8 l/ Q  c' Y! M
1.1 Opera(歌剧)
3 Y# K/ K# O0 G
8 d2 n7 h: o$ }! z" {+ O" ?S.1, Don Sanche, ou Le chateau de l'amour (1824–25) 歌剧《唐切桑》
: S+ ?) h( {( z: Q7 Q6 ]4 H/ [1.2 Sacred Choral Works(神圣的合唱作品)
) k* U' d! Z- ^' e/ m7 F4 s8 C2 z! `/ H/ @1 ^
S.2, The Legend of St. Elisabeth (1857–62) 清唱剧《圣伊丽莎白传奇》
0 o: A& `/ p( @) ]1 ~) Q2 t$ n: BS.3, Christus (1855–67) 清唱剧《基督》6 q. ]2 J1 S) ]4 d$ d
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》4 K* e- H& ^9 }5 e5 s
S.5, Die heilige Cäcilia (1874)7 k( |9 o1 m5 Q% c  E
S.6, Die Glocken des Strassburger Münsters (Longfellow) (1874)3 Q: G; R' f2 c9 T5 E
S.7, Cantantibus organis (1879)
5 X4 w! R, k: Y* h( ]) t$ _' {/ mS.8, Missa quattuor vocum ad aequales concinente organo [first/second version] (1848, 1869)- M6 n" }* Y9 Q' P8 r+ _3 I  k% P9 \+ `
S.9, Missa solennis zur Einweihung der Basilika in Gran (Gran Mass) [first/second version] (1855, 1857–58)( h3 V. b8 A0 f
S.10, Missa choralis, organo concinente (1865)9 `% a. E) |/ q& I
S.11, Hungarian Coronation Mass (1866–67)
, N$ O3 t1 @7 K4 hS.12, Requiem (1867–68)
+ _2 j6 ^0 ]0 |& N5 N) }* k  N: iS.13, Psalm 13 (Herr, wie lange ?) [first/second/third verion] (1855, 1858, 1862)
$ v; T& R" C. rS.14, Psalm 18 (Coeli enarrant) (1860)- t* ^7 I2 z* O, ]
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)% e, v' v/ T$ U4 J5 n
S.15a, Psalm 116 (Laudate Dominum) (1869)
% t! K, R- Z+ B1 [8 SS.16, Psalm 129 (De profundis) (1880–83)
& \4 m+ n, P5 o* GS.17, Psalm 137 (By the Rivers of Babylon) [first/second version] (1859–62)" _3 L' z, y0 s4 B- n
S.18, Five choruses with French texts [5 choruses] (1840–49)
5 g1 _; y9 Z9 l0 E! ?S.19, Hymne de l'enfant à son réveil (Lamartine) [first/second version] (1847, 1862)# T* t" \# L  G% m: ]" |+ A
S.20, Ave Maria I [first/second version] (1846, 1852)
& f, k( e6 }4 [S.21, Pater noster II [first/second version] (1846, 1848)
/ z( }1 M, N6 W( yS.22, Pater noster IV (1850)
2 T. G: p- {+ O; n  P* @; xS.23, Domine salvum fac regem (1853)' E" @' ^' I, h0 q' b# z6 ~0 ?
S.24, Te Deum II (1853?)! A8 x4 j4 R: K
S.25, Beati pauperes spiritu (Die Seligkeiten) (1853)* v( Q2 U: k1 K- X1 q
S.26, Festgesang zur Eröffnung der zehnten allgemeinen deutschen Lehrerversammlung (1858)% a- `9 [- e5 K5 `* G
S.27, Te Deum I (1867)
* T4 o% D4 T+ I; Z0 j. ?3 Q0 \S.28, An den heiligen Franziskus von Paula (b. 1860)
; O3 I& n! O5 @+ dS.29, Pater noster I (b. 1860)
. \* p& K+ u! |4 q! C5 t  KS.30, Responsorien und Antiphonen [5 sets] (1860); d  g( u3 i" B1 s+ J5 q& V
S.31, Christus ist geboren I [first/second version] (1863?)3 A! k; y$ t8 Y, l2 a) d
S.32, Christus ist geboren II [first/second version] (1863?)) Q; A+ a0 c) v6 o( r8 k1 j. }
S.33, Slavimo Slavno Slaveni! [first/second version] (1863, 1866)
; v' k& N9 d0 Y; b' n. ~S.34, Ave maris stella [first/second version] (1865–66, 1868)7 J+ g  T) w! T0 R3 I. l
S.35, Crux! (Guichon de Grandpont) (1865)0 o* z5 K* E7 H' q
S.36, Dall' alma Roma (1866)
* M* O' H7 v2 a8 \& o2 \  I/ cS.37, Mihi autem adhaerere (from Psalm 73) (1868)
0 T; x$ Q! E% ^: _S.38, Ave Maria II (1869)" e+ V9 Y0 g, w( D, D( x8 }
S.39, Inno a Maria Vergine (1869)
! Q: {4 F9 f! W4 Z3 Y! D0 h1 uS.40, O salutaris hostia I (1869?)- T" `, p6 l% z4 K9 a( q
S.41, Pater noster III [first/second version] (1869)( r% u$ \% ^% J, P, `
S.42, Tantum ergo [first/second version] (1869)$ z' [/ s. d+ H) H6 z
S.43, O salutaris hostia II (1870?)" I0 s) w5 W: @$ P$ w
S.44, Ave verum corpus (1871)
5 D9 F6 I9 U) J- J; i% A5 W9 mS.45, Libera me (1871)
# B. }% \: R" W9 X7 r% qS.46, Anima Christi sanctifica me [first/second version] (1874, ca. 1874)3 U8 v: `: X" F
S.47, St Christopher. Legend (1881)
/ Z- I, z6 x; j6 B2 M& {+ GS.48, Der Herr bewahret die Seelen seiner Heiligen (1875), g% W- L: N2 X. n
S.49, Weihnachtslied (O heilige Nacht) (a. 1876)
  F2 U( L* g- l( o: vS.50, 12 Alte deutsche geistliche Weisen (Chorales) [12 chorals] (ca. 1878-79)
' f% O. X7 q% `$ S0 Q0 @S.51, Gott sei uns gnädig und barmherzig (1878)
2 S! ]1 E* ^% O# N7 KS.52, Septem Sacramenta. Responsoria com organo vel harmonio concinente (1878)9 c: C4 Z: v5 E  ^, }
S.53, Via Crucis (1878–79), ?8 @+ o. Q7 n) X# s
S.54, O Roma nobilis (1879)
1 J  x, H, Z: L; q" L+ j8 b& H0 p) iS.55, Ossa arida (1879)
' u/ j9 O$ R! S# C! w% R7 ]3 G% ?S.56, Rosario [4 chorals] (1879)% s7 T  N$ T3 p" c
S.57, In domum Domino imibus (1884?)
" Y" ?2 x' @/ u7 Z: M- NS.58, O sacrum convivium (1884?)
9 \: j3 c5 z% V9 _S.59, Pro Papa (ca. 1880)
( R: h3 v3 `) @, HS.60, Zur Trauung. Geistliche Vermählungsmusik (Ave Maria III) (1883)8 }: `; R' }# {$ N+ u( i+ g
S.61, Nun danket alle Gott (1883)
( O& v- G6 ?/ r; r! SS.62, Mariengarten (b. 1884)
* r" ?5 \+ G4 Q! L: }S.63, Qui seminant in lacrimis (1884)8 m( F% _/ d8 B+ X. A- x. I
S.64, Pax vobiscum! (1885)
4 J! E% y0 c. [  U' OS.65, Qui Mariam absolvisti (1885)
: X+ T3 f% y8 O) P/ v, Q: |, ^S.66, Salve Regina (1885)( g) H) g" K  v0 A" U" k$ w% L
1.3 Secular Choral Works(世俗的合唱作品)0 z% v. M& f4 j& S. a  }- H4 M! Q
S.67, Beethoven Cantata No. 1: Festkantate zur Enthüllung (1845)
4 _4 n! y( k  F4 H2 p6 N3 l, CS.68, Beethoven Cantata No. 2: Zur Säkularfeier Beethovens (1869–70)
3 D$ b( S8 v. Y9 y0 @S.69, Chöre zu Herders Entfesseltem Prometheus (1850)
, G( `, \& b7 V; z- Q3 K# A$ vS.70, An die Künstler (Schiller) [first/second/third verion] (1853, 1853, 1856)
9 ^! T- `! {  `) F, u6 X& cS.71, Gaudeamus igitur. Humoreske (1869)5 _4 c8 S2 B$ B# o* l9 r# B
S.72, Vierstimmige Männergesänge [4 chorals] (for Mozart-Stiftung) (1841)
4 L, N: |4 ?1 wS.73, Es war einmal ein König (1845)' B+ Z# O* m! @$ _7 O3 }# ?) T
S.74, Das deutsche Vaterland (1839)
2 O6 |' q% Z, T2 b0 u1 V4 L- Q. R+ aS.75, über allen Gipfeln ist Ruh (Goethe) [first/second version] (1842, 1849)4 m% S" x/ s0 s
S.76, Das düstre Meer umrauscht mich (1842)
6 x0 Z7 \5 i5 p9 {) A) aS.77, Die lustige Legion (A. Buchheim) (1846)! z1 }4 [# t5 V* d" Z9 C8 ]
S.78, Trinkspruch (1843)
* W, x* ]6 v0 f: x- SS.79, Titan (Schobert) (1842–47)
8 A5 `: M* {- x* M0 I# T/ hS.80, Les quatre éléments (Autran) (1845)
# C  i& t) Z: r7 z* S* l0 BS.81, Le forgeron (de Lamennais) (1845)& d0 @. ^4 B  k" z$ h+ [, B) e
S.82, Arbeiterchor (de Lamennais?) (1848)
3 i7 `% i: s( V' }  Z  s, G! c3 JS.83, Ungaria-Kantate (Hungaria 1848 Cantata) (1848)2 _/ j' Z- T4 K' e; l
S.84, Licht, mehr Licht (1849)
( g$ o$ j2 V; `3 I2 d, y! f) hS.85, Chorus of Angels from Goethe's Faust (1849)
" a. z' p4 {% r3 S. yS.86, Festchor zur Enthüllung des Herder-Dankmals in Weimar (A. Schöll) (1850)
4 N+ a" z8 z; O4 D( CS.87, Weimars Volkslied (Cornelius) [6 versions] (1857)0 Q! }, ^3 T7 R! z* P  Y
S.88, Morgenlied (Hoffmann von Fallersleben) (1859)! W/ I$ b: y. M5 m
S.89, Mit klingendem Spiel (1859–62 ?)
5 \8 ?/ n9 R1 @' ?" A% GS.90, Für Männergesang [12 chorals] (1842–60)) ~8 j2 {6 L4 d( s
S.91, Das Lied der Begeisterung. A lelkesedes dala (1871)" I9 c6 j, x, {5 I, I2 `
S.92, Carl August weilt mit uns. Festgesang zur Enthüllung des Carl-August-Denkmals in Weimar am 3 September 1875 (1875)
( R* [6 h; L0 eS.93, Ungarisches Königslied. Magyar Király-dal (ábrányi) [6 version] (1883): W5 ^6 j6 j$ g. s
S.94, Gruss (1885?)
2 i, E: N6 j$ F) [- M1 r1.4 Orchestral Works(管弦乐作品)& x) @( A- W( p( z4 m2 ^0 q

  b- G/ n# y- {0 f# _6 W1.4.1 Symphonic Poems(交响诗)
6 Q% K5 w) b( }8 K2 Q" Z
6 D. y, ]2 Z) Y1 BS.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
/ t0 x! C, F  yS.96, Poème symphonique No. 2, Tasso, Lamento e Trionfo [first/second/third version] (1849, 1850–51, 1854) 《塔索，哀叹与胜利》& n3 G: V) ?; Q; r* N
S.97, Poème symphonique No. 3, Les Préludes (1848) 第三交响诗“前奏曲”6 }& Q+ {, n4 x$ l4 p, B
S.98, Poème symphonique No. 4, Orpheus (1853–54) 第四交响诗 《奥菲欧》) }' b9 ^3 O: V% X/ k0 f4 i: X5 j
S.99, Poème symphonique No. 5, Prometheus [first/second version] (1850, 1855) 第五交响诗《普罗米修斯》
2 z$ C9 [0 i; x, t. E: T4 MS.100, Poème symphonique No. 6, Mazeppa [first/second version] (1851, b. 1854) 第六交响诗《马捷帕》# {8 {$ I8 V+ E2 L1 m; `- B4 {
S.101, Poème symphonique No. 7, Festklänge [revisions added to 1863 pub] (1853) 第七交响诗《节日之声》
8 Q3 E2 g4 z! F2 m! [, ?S.102, Poème symphonique No. 8, Héroïde funèbre [first/second version] (1849–50, 1854)  第八交响诗《英雄的葬礼》
! S+ m  l# X6 e. xS.103, Poème symphonique No. 9, Hungaria (1854) 第九交响诗《匈牙利》
+ W7 ~# n1 O" F1 f9 eS.104, Poème symphonique No. 10, Hamlet (1858) 第十交响《哈姆雷特》& _( w, b8 W. [+ B/ q% {
S.105, Poème symphonique No. 11, Hunnenschlacht (1856–57) 第十一交响诗《匈奴之战》
+ H" h( o# n, L( W* V; LS.106, Poème symphonique No. 12, Die Ideale (1857) 第十二交响诗《理想》
* f( |& v) r2 t* q( {% u3 q; Y8 @S.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》0 i1 n  h/ e. Y4 |
1.4.2 Other Orchestral Works(其他管弦乐作品)
$ N2 r0 g. _: L4 Z
$ N; t) i% T" @+ @) dS.108, Eine Faust-Symphonie [first/second version] (1854, 1861)
& j' \5 A) Q# `+ L- i% ZS.109, Eine Symphonie zu Dante's Divina Commedia (1855–56)1 _/ s# I' D  [5 i
S.110, Deux épisodes d'apres le Faust de Lenau [2 pieces] (1859–61)
: O' `+ f0 X8 Z; b- X! u+ `& ~- BS.111, Zweite Mephisto Waltz (1881)
" g* h- X9 i2 l% w# ]" mS.112, Trois Odes Funèbres [3 pieces] (1860–66)
4 M  B$ G( B0 oS.113, Salve Polonia (1863)
4 B6 h& X3 b0 r$ b# o% qS.114, Künstlerfestzug zur Schillerfeier (1857)7 R) n4 N. i+ `$ V+ o
S.115, Festmarsch zur Goethejubiläumsfeier [first/second version] (1849, 1857)
9 |: c  H8 C2 v. k1 b8 C/ RS.116, Festmarsch nach Motiven von E.H.z.S.-C.-G. (1857)
1 X8 H( U+ b3 C' b# GS.117, Rákóczy March (1865)4 i+ q# f' j$ f( m' |  z, C4 X9 r
S.118, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (am 8 Juni 1867) (1870)
6 R  ~4 [3 C) N/ a' P: M. h" QS.119, Ungarischer Sturmmarsch (1875)
; q6 r( o& \' Y1.5 Piano and Orchestra(钢琴与乐队)4 A3 A' _/ l: ^: W

" T1 O% K6 y( Q6 P! O: _, n" t4 K! ^: O
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)
$ S  H+ X5 U% B" bS.121, Malédiction (with string orchestra) (1833)  诅咒  钢琴与弦乐队7 c6 R2 Y8 {+ S' g" S! g
S.122, Fantasie über Beethovens Ruinen von Athen [first/second version] (1837?, 1849)
0 |1 Q) z( z9 {# }% NS.123, Fantasie über ungarische Volksmelodien (1852) 匈牙利民歌主题幻想曲 为钢琴与乐队而作2 ^% o- C+ P4 a: A: d/ M( R
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: L. _0 {) I+ R9 B$ L
S.125, Piano Concerto No. 2 in A major [first/second version] (1839, 1849) A大调第二钢琴协奏曲) F! k4 J0 h7 F3 W& f: w
S.125a, Piano Concerto No. 3 in E flat (1836–39)
3 ]3 S1 M3 S7 d/ x; W8 R: ]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
+ K3 B7 J: s- c  m6 n- xS.126a, Piano Concerto "In the Hungarian Style" [probably by Sophie Menter] (1885)
# I# ^& P+ X  D# ?; O1.6 Chamber Music(室内乐等)7 Q8 x* b5 j9 c  f6 J9 x( x$ g

2 v) n! f2 A6 e6 z' T4 E' NS.126b, Zwei Waltzer [2 pieces] (1832)3 m! C4 n3 Z; `7 R( Q! U4 z

5 T9 C# ^; o$ ]7 ?7 g* YS.127, Duo (Sonata) - Sur des thèmes polonais (1832-35 ?)5 c( ]0 }2 S# @3 Y( ~
S.128, Grand duo concertant sur la romance de M.Lafont Le Marin [first/second version] (ca. 1835-37, 1849)
* z) o) h! N' d- y4 x5 LS.129, Epithalam zu Eduard. Reményis Vermählungsfeier (1872)0 x- [" G. M3 t# m; z% q; J. J
S.130, élégie No. 1 [first/second/third version] (1874)1 |% l& c2 q! C* R
S.131, élégie No. 2 (1877)
$ I( g" k8 s( \4 Q9 P0 c2 v3 TS.132, Romance oubliée (1880)
* G  d, u- G' D9 h/ f5 q0 mS.133, Die Wiege (1881?)$ J; s* a! f: ]: f4 O0 T
S.134, La lugubre gondola [first/second version] (1883?, 1885?)$ e7 u4 C6 Z' ]
S.135, Am Grabe Richard Wagners (1883)
. }: k% J5 h  Q. n+ e1.7 Piano Solo
$ L" ~# `6 j9 t4 T) f+ n; q( A' f- U5 k0 W/ r
1.7.1 Studies(钢琴练习曲)
$ d' `7 \% D! @: A7 z) C1 o) c
, a6 L4 x( B8 I; q% |: IS.136, études en douze exercices dans tous les tons majeurs et mineurs [first version, 12 pieces] (1826) 12首钢琴练习曲0 F, J+ `- R5 F5 w5 U$ M5 j0 E
S.137, Douze grandes études [second version, 12 pieces] (1837) 《12首超技练习曲》
  \# ^. d0 m1 L* I, _S.138, Mazeppa [intermediate version of S137/4] (1840) 练习曲“玛捷帕”# T+ H9 v, R8 M
S.139, Douze études d'exécution transcendante [final version, 12 pieces] (1852) 12首超技练习曲
# @! t# Z" K! ]- R$ C: YS.140, études d'exécution transcendante d'après Paganini [first version, 6 pieces] (1838) 帕格尼尼超技练习曲+ o' m( L( K' {: h! W9 y
S.141, Grandes études de Paganini [second version, 6 pieces] (1851)  6首帕格尼尼大练习曲
* |  F; h; e/ X. y% J9 U+ M2 h- O& fS.142, Morceau de salon, étude de perfectionnement [Ab Irato, first version] (1840) 高级练习曲“沙龙小品”
+ B- t* a: ~3 i. l" H0 `0 s8 |S.143, Ab Irato, étude de perfectionnement [second version] (1852) 高级练习曲“愤怒”8 {: S% m7 w5 w" N& C9 R# Z2 U5 F  x9 M
S.144, Trois études de concert [3 pieces] (1848?)  3首音乐会练习曲0 o, }. t. @+ t& y" d
1.    Il lamento
! u( g4 x1 W) r+ I2.    La leggierezza
0 J1 Q" O- Q- q1 o) i3.    Un sospiro" c4 F( z/ S  B) U$ K
S.145, Zwei Konzertetüden [2 pieces] (1862–63)  2首音乐会练习曲  E- B0 w7 y5 @4 @1 H
1.    Waldesrauschen) u1 j$ d0 I5 s, M. X# U8 l6 `1 m. w
2.    Gnomenreigen
% V- k% [7 H" Z. ?S.146, Technische Studien [68 studies] (ca. 1868-80)  钢琴技巧练习
5 M& p/ H$ I" h& `$ g1.7.2 Various Original Works(各种原创作品): ?7 w% |# T5 q5 m, V

* ?! `: \. h8 t. qS.147, Variation on a Waltz by Diabelli (1822)  狄亚贝利圆舞曲主题变奏曲) X  [' ]4 U, [1 ^) g
S.148, Huit variations (1824?) 降A大调原创主题变奏曲
1 q- R) t2 r7 L1 e+ LS.149, Sept variations brillantes dur un thème de G. Rossini (1824?)
1 B( j8 G. I0 e" `S.150, Impromptu brilliant sur des thèmes de Rossini et Spontini (1824) 罗西尼与斯蓬蒂尼主题即兴曲
7 x: o" O; e' kS.151, Allegro di bravura (1824) 华丽的快板
" L- }6 [, J1 t4 uS.152, Rondo di bravura (1824) 华丽回旋曲
( V* D& S0 V1 @8 r+ L/ K  ^8 vS.152a, Klavierstück (?)3 ^  J0 n! J. Y9 Y9 W+ D
S.153, Scherzo in G minor (1827) g小调谐谑曲4 E/ J9 W; W# ?+ n$ L; _8 v. f. _
S.153a, Marche funèbre (1827): Y1 b' a( n3 Q2 v4 ^& Q3 S
S.153b, Grand solo caractèristique d'apropos une chansonette de Panseron [private collection, score inaccessible] (1830–32) [1]
; g" U5 \$ Z1 r& [/ \3 f8 qS.154, Harmonies poétiques et religieuses [Pensée des morts, first version] (1833, 1835) 宗教诗情曲3 H: v- P/ K1 f/ @7 w/ ]" p1 v1 E
S.155, Apparitions [3 pieces] (1834) 显现 三首钢琴小品8 g+ b, n1 A& F2 U2 O) P3 U
S.156, Album d'un voyageur [3 sets; 7, 9, 3 pieces] (1835–38) 旅行者札记0 k2 V: v* K+ J. G
S.156a, Trois morceaux suisses [3 pieces] (1835–36)
+ A% I' N3 G0 G/ a; SS.157, Fantaisie romantique sur deux mélodies suisses (1836) 浪漫幻想曲
- j2 ?  T4 @6 e3 e/ n3 nS.157a, Sposalizio (1838–39)
) O) s: J0 s  _5 Q$ s' q, {S.157b, Il penseroso [first version] (1839)
% R. h' G7 o7 N0 [S.157c, Canzonetta del Salvator Rosa [first version] (1849)
, d( E: h1 `7 f9 MS.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+ \- G3 l: _+ d
S.158a, Paralipomènes à la Divina Commedia [Dante Sonata original 2 movement version] (1844–45)  G9 b8 z; {$ \& J' v9 S
S.158b, Prologomènes à la Divina Commedia [Dante Sonata second version] (1844–45)
" U5 ^7 Z4 o% i+ D" G+ jS.158c, Adagio in C major (Dante Sonata albumleaf) (1844–45)) {0 |0 F( K0 w8 X
S.159, Venezia e Napoli [first version, 4 pieces] (1840?)  威尼斯和拿波里+ h6 g2 S6 O3 m, }  G/ h9 k1 ^! J' q
S.160, Années de pèlerinage. Première année; Suisse [9 pieces] (1848–55)  旅行岁月（第一集）- 瑞士游记* `/ E3 r3 s/ Q* V
S.161, Années de pèlerinage. Deuxième année; Italie [7 pieces] (1839–49) 旅行岁月（第二集）- 意大利游记$ S6 g2 w8 g6 G7 N' `- o
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
, ~2 I, g8 D/ h6 u) v  u- a2 R9 \S.162a, Den Schutz-Engeln (Angelus! Prière à l'ange gardien) [4 drafts] (1877–82); \# a6 x' V1 j( C1 G( ?' g+ d
S.162b, Den Cypressen der Villa d'Este - Thrénodie II [first draft] (1882)
6 c' _0 o% w1 \5 O4 u3 T0 qS.162c, Sunt lacrymae rerum [first version] (1872)
$ n. W1 M: y( V' R. h# K: s- QS.162d, Sunt lacrymae rerum [intermediate version] (1877)( D) z: d) L. X: n. U
S.162e, En mémoire de Maximilian I [Marche funèbre first version] (1867)* w) C' r  F" `) N8 i* H+ `. F
S.162f, Postludium - Nachspiel - Sursum corda! [first version] (1877)1 s" c7 m( b% w9 P8 r  h& [- w
S.163, Années de pèlerinage. Troisième année [7 pieces] (1867–77)   旅行岁月（第三集）0 t) s, H7 m6 g* ^5 }" D. R9 K
S.163a, Album-Leaf: Andantino pour Emile et Charlotte Loudon (1828) [2] 降E大调纪念册的一页
) t$ v& V, Q& H7 ?* ^' \2 GS.163a/1, Album Leaf in F sharp minor (1828)降E大调纪念册的一页  i5 f  e; O9 p1 O# l4 L5 X" A
S.163b, Album-Leaf (Ah vous dirai-je, maman) (1833)0 b; r8 M5 {( l- u
S.163c, Album-Leaf in C minor (Pressburg) (1839)
* ?; V/ D$ S1 DS.163d, Album-Leaf in E major (Leipzig) (1840)
9 l* d1 n5 q4 w3 DS.164, Feuille d'album No. 1 (1840) E大调纪念册的一页
: j; {# ^; J- `" Y8 d- KS.164a, Album Leaf in E major (Vienna) (1840)( o& d3 b; i4 e3 ~/ a
S.164b, Album Leaf in E flat (Leipzig) (1840)
$ x8 v3 }+ `+ S+ {S.164c, Album-Leaf: Exeter Preludio (1841)
4 J' a/ i+ Q0 t* J  l( W9 r* x) v7 tS.164d, Album-Leaf in E major (Detmold) (1840)8 z# A; K/ x  n/ f8 Y* R
S.164e, Album-Leaf: Magyar (1841)
4 v* l" J: q# G2 R/ N4 @( T' C! uS.164f, Album-Leaf in A minor (Rákóczi-Marsch) (1841)8 }. Q6 T  c7 ~9 l" J
S.164g, Album-Leaf: Berlin Preludio (1842)
$ `: n0 M: Z0 C7 n( l" x; aS.165, Feuille d'album (in A flat) (1841) 降A大调纪念册的一页- L* W+ X$ ]; d- s
S.166, Albumblatt in waltz form (1841) A大调圆舞曲风格纪念册的一页) C1 _9 s2 _2 [/ Y" s2 d
S.166a, Album Leaf in E major (1843)# k/ n$ _& [: N8 A
S.166b, Album-Leaf in A flat (Portugal) (1844)
3 b4 @$ D, X0 w, u* o. i/ sS.166c, Album-Leaf in A flat (1844)! n2 {" i7 i$ `) Z
S.166d, Album-Leaf: Lyon prélude (1844)# T) \& N# {! h$ t' r
S.166e, Album-Leaf: Prélude omnitonique (1844)' b8 G3 M2 t2 ], t, k
S.166f, Album-Leaf: Braunschweig preludio (1844)
0 ?8 E7 e5 L) p& q# KS.166g, Album-Leaf: Serenade (1840–49)  R2 |/ {6 E9 P+ W7 a
S.166h, Album-Leaf: Andante religioso (1846)5 Q* g3 U5 _) ~( m9 r
S.166k, Album Leaf in A major: Friska (ca. 1846-49). m' h* r( L6 _5 m
S.166m-n, Albumblätter für Prinzessin Marie von Sayn-Wittgenstein (1847)
: }  p& O9 \/ a+ e: T) {S.167, Feuille d'album No. 2 [Die Zelle in Nonnenwerth, third version] (1843) a小调纪念册的一页
; D. B1 ^6 Y. M+ l( XS.167a, Ruhig [catalogue error; see Strauss/Tausig introduction and coda], Y6 K8 t! ^9 ^
S.167b, Miniatur Lieder [score not accessible at present] (?)
: V4 W$ n! r  a* q* o- f; bS.167c, Album-Leaf (from the Agnus Dei of the Missa Solennis, S9) (1860–69)
* z& N/ g% @0 l$ A" mS.167d, Album-Leaf (from the symphonic poem Orpheus, S98) (1860); J' }: R7 b. l" y0 Z& g
S.167e, Album-Leaf (from the symphonic poem Die Ideale, S106) (1861)+ o! N2 F9 j8 g# D% Q$ U
S.167f, Album Leaf in G major (ca. 1860)
: [' V; J$ g+ A* v: }* l/ R! E! bS.168, Elégie sur des motifs du Prince Louis Ferdinand de Prusse [first/second version] (1842, 1851) 悲歌
4 X, G8 z- ^+ _' G& MS.168a, Andante amoroso (1847?), a) a  G: c* I0 M
S.169, Romance (O pourquoi donc) (1848) e小调浪漫曲
1 ]0 P+ l% ]% k  ~7 I* T5 RS.170, Ballade No. 1 in D flat (Le chant du croisé) (1845–48) 叙事曲一2 C" g# U9 V9 r8 _3 T# E  X
S.170a, Ballade No. 2 [first draft] (1853)2 O, `- g( |( `  x; \
S.171, Ballade No. 2 in B minor (1853) 叙事曲二4 b% O/ z  X! {9 G3 z% X# O
S.171a, Madrigal (Consolations) [first series, 6 pieces] (1844), r9 S9 U( M% s- Z7 Q3 S4 e6 C
S.171b, Album Leaf or Consolation No. 1 (1870–79)# I# q0 K& H# }. w+ B. o
S.171c, Prière de l'enfant à son reveil [first version] (1840)
! w$ u; Z: k4 p6 M' e% ~S.171d, Préludes et harmonies poétiques et religie (1845)
8 a# v0 V/ N+ N9 C, T1 ES.171e, Litanies de Marie [first version] (1846–47)( W& E# z% x3 Q. {: a/ J
S.172, Consolations (Six penseés poétiques) (1849–50) 6首安慰曲
* t( X8 O6 E, p/ o  aS.172a, Harmonies poétiques et religieuses [1847 cycle] (1847)
/ N& |% C' C1 ]% \S.172a/3&4, Hymne du matin, Hymne de la nuit [formerly S173a] (1847)
% \% X4 ^% G' _* W6 M' xS.173, Harmonies poétiques et religieuses [second version] (1845–52) 诗与宗教的和谐- t- h+ Z! c, O( @. x* o
S.174, Berceuse [first/second version] (1854, 1862) 摇篮曲
0 E5 ?4 v. ^3 P9 n2 T) V4 l+ O: qS.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 `& d( E$ R2 ?  e2.    St. François de Paule marchant sur les flots (Walking on the Waves)
% e$ X, {( B  _% t  d! ~0 \6 y! O) KS.175a, Grand solo de concert [Grosses Konzertsolo, first version] (1850)$ [9 L# L) [+ |1 d. f. @) x
S.176, Grosses Konzertsolo [second version] (1849–50 ?) 独奏大协奏曲
% j8 w1 N1 C2 ]. t- ]S.177, Scherzo and March (1851) 谐谑曲与进行曲, H: Z# `2 C% [, G
S.178, Piano Sonata in B minor (1852–53)  b小调钢琴奏鸣曲
# S' W% q7 m# z. CS.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5 n+ U5 `8 @7 r. }/ v3 T2 C3 Y, p
S.180, Variations on a theme from Weinen, Klagen, Sorgen, Zagen by J. S. Bach (1862) 巴赫康塔塔主题变奏曲
! r& ?1 a" f5 ]7 ^, eS.181, Sarabande and Chaconne from Handel's opera Almira (1881)
2 g0 C0 h  [3 LS.182, Ave Maria - Die Glocken von Rom (1862) 圣母颂“罗马的钟声”) j. H$ K- |. _' S! V# L
S.183, Alleluia et Ave Maria [2 pieces] (1862) 哈利路亚与圣母颂' T* T: P  f8 G2 o
S.184, Urbi et orbi. Bénédiction papale (1864)
" r8 w, T& H- F" O2 T* I  Q' CS.185, Vexilla regis prodeunt (1864)
' B$ g7 e" D3 |, x' fS.185a, Weihnachtsbaum [first version, 12 pieces] (1876)3 h' e1 q! @6 Y, j( N
S.186, Weihnachtsbaum [second version, 12 pieces] (1875–76) 钢琴曲集《圣诞树》
/ s8 ^; \  x- v4 OS.187, Sancta Dorothea (1877) 圣多萝西娅* j( Z; {" K. X  |& O  o: Q3 r
S.187a, Resignazione [first/second version] (1877)
7 N( s9 n1 k+ s7 G# r4 sS.188, In festo transfigurationis Domini nostri Jesu Christi (1880) 我主耶稣基督之变形
2 q' L) N% f9 j  G: @. _S.189, Klavierstück No. 1 (1866)
% ?+ N( i& b0 ES.189a, Klavierstück No. 2 (1845)9 q3 h" j  ]0 Q, a  t; v8 z
S.189b, Klavierstück (?)# n7 b1 L) T) a$ R4 }; u
S.190, Un portrait en musique de la Marquise de Blocqueville (1868)2 y' w$ u$ f  y9 h& f
S.191, Impromptu (1872) 升F大调即兴曲“夜曲”8 D3 v( b4 f3 [0 {
S.192, Fünf Klavierstücke (for Baroness von Meyendorff) [5 pieces] (1865–79) 5首钢琴小品/ e- I1 ]  Z( y( H6 J8 @; s7 H3 J
S.193, Klavierstuck (in F sharp major) (a. 1860) 升F大调钢琴小品
2 d6 m5 E; C1 f- cS.194, Mosonyis Grabgeleit (Mosonyi gyázmenete) (1870) 在莫佐尼墓前
6 G+ m: q( t% U2 S5 kS.195, Dem andenken Petofis (Petofi Szellemenek) (1877) 纪念裴多菲( a$ s, a! I# d7 x; K/ i
S.195a, Schlummerlied im Grabe [Elegie No 1, first version] (1874)3 D4 n: f# N: ~0 [& Z% P
S.196, élégie No. 1 (1874)& A: @& N# c7 A: _
S.196a, Entwurf der Ramann-Elegie [Elegie No 2, first draft] (1877)% y  E2 E/ n: o; L, j
S.197, élégie No. 2 (1877)* L2 W5 c* }' q; ]' i% `) T
S.197a, Toccata (1879–81) 托卡塔  Y- I8 k$ {9 l- v2 g
S.197b, National Hymne - Kaiser Wilhelm! (1876)
6 r7 q% z% B  Y3 e* _/ m8 fS.198, Wiegenlied (Chant du herceau) (1880) 摇篮曲4 B+ Q0 l; ?3 i9 V, [7 e
S.199, Nuages gris (Trübe Wolken) (1881) 灰色的云. T% K* ?$ n! R/ z0 k( |! |
S.199a, La lugubre gondola I (Der Trauergondol) [Vienna draft] (1882)
. a! X1 P9 ^0 G8 q% j" d, US.200, La lugubre gondola [2 pieces] (1882, 1885) 葬礼小船
  T8 b3 H. N: f4 P' P! ?& D+ _) [
李斯特全部作品目录-24 S& ?+ m  {5 G9 V' u
7 e% h9 |  x" h, M6 W8 d
S.201, R. W. - Venezia (1883) 告别瓦格纳和威尼斯6 i3 e4 \  a1 s6 q/ q, y( r
S.202, Am Grabe Richard Wagners (1883) 在瓦格纳墓前! R7 G. a: q4 W* d4 N: z  I
S.203, Schlaflos, Frage und Antwort (Nocturne after a poem by Toni Raab) (1883) 夜曲“沉睡，思考和回答”
$ o8 }! v: E% X% vS.204, Receuillement (Bellini in Memoriam) (1877) 冥想
4 V! e4 M1 }5 u$ a/ [+ oS.205, Historische ungarische Bildnisse (Magyar arcképek) [original version, 7 pieces] (1885) 匈牙利历史人物肖像. C2 h" ~1 t2 P2 F* i2 K
S.205a, Historische ungarische Bildnisse [revised order and conclusion, 7 pieces] (1885)
. O/ ^9 Q9 I& M" N' y  j4 H( YS.206, Trauervorspiel und Trauermarsch (1885) 葬礼前奏曲和葬礼进行曲
6 w. v$ x. C6 [0 S3 m8 y+ HS.207, En rêve. Nocturne (1885) 夜曲“梦中”
; C1 _- t: }5 G4 eS.207a, Prélude à la polka de Borodine (and Borodin's Polka) (1880)
+ h1 J! r$ }0 b' |; qS.208, Unstern: sinistre, disastro (1880–86) 凶兆、灾难
- W/ J9 n+ l9 a; w6 Y$ z1.7.3 Works in Dance Form(为舞蹈的作品)% L0 N0 I4 r& b; l, N& C0 l/ N
" b9 _8 k( N2 V- h% b2 Q
S.208a, Waltz (in A major) (b. 1825) A大调圆舞曲' L6 ?. F! |6 R, B/ ^; B+ J& T
S.209, Grande valse di bravura [first version of S214/1] (1835) 华丽的大圆舞曲. X  `+ J, h5 t2 {' w2 G
S.209a, Waltz (in E flat) (1840): [/ `  Z( w0 c6 @+ q, P7 x
S.210, Valse mélancolique [first version of S214/2] (1839) 忧郁圆舞曲
! h0 a9 l% N1 A+ f% i) Q' jS.210a, Valse mélancolique [intermediate version] (1840)
: v9 k8 e* q6 z9 Y: d) R& w, CS.210b, Valse (in A major) (1830–39)- }: j) B& X; n% M* o
S.211, Ländler (in A flat major) (1843) 降A大调兰德勒舞曲, b1 a7 q5 u" R2 @2 C/ p
S.211a, Ländler (in D major) (1879)
: a3 ], Z3 F& \7 p: m) |% |2 fS.212, Petite valse favorite [first/second version] (1842, 1843)/ g2 o2 O0 n' ^: w! \7 N* }) O! D4 X
S.212b, Mariotte. Valse pour Marie (1840)
; B* |* _) ?8 j* yS.213, Valse-impromptu (1850?) 即兴圆舞曲
* J( \( i2 z3 z3 xS.213a, Valse-impromptu [with later additions] (1880)
  j* a/ u  c4 a5 m/ ?, sS.214, Trois caprice-valses [3 pieces] [second versions of S209, S210, S401] (1850?)$ {2 j! K, h% r: `0 K* V; k
S.214a, Carousel de Madame Pelet-Narbone (ca. 1875-81)4 M% F9 N4 G6 Z4 N" Q' K* K" \, L6 X
S.215, Valses oubliées [4 pieces] (1881–84) 4首被遗忘的圆舞曲6 [# y# D2 N) b9 a8 u9 s
S.215a, Dritter Mephisto-Walzer (Mephisto Waltz No. 3) [first draft] (1883)
0 p- W; e8 D) [& |/ a+ S/ x% V/ r; Z/ eS.216, Dritter Mephisto-Walzer (Mephisto Waltz No. 3) (1883) 第三梅菲斯特圆舞曲/ N, }9 {7 _9 M0 p, Z
S.216a, Bagatelle sans tonalité (1885)9 v' Q4 R7 U' l* I
S.216b, Vierter Mephisto-Walzer (Mephisto Waltz No. 4) [first version] (1885)  第四梅菲斯特圆舞曲1 Q% p: o  R3 K# a
S.217, Mephisto Polka [first/second version] (1883) 梅菲斯特波尔卡2 A) R( F9 w& T% D1 }, K1 j; s4 `! k
S.218, Galop (in A minor) (1841?) a小调加洛普舞曲( ~! K& i* k# B0 Y+ I# ]6 V: P
S.219, Grand galop chromatique [original version] (1838) 华丽的半音阶加洛普舞曲
8 s( i9 a; W- L2 g- {3 V) GS.219bis, Grand galop chromatique [simplified version] (1838)
! d- C4 k) |4 X7 eS.220, Galop de Bal (1840?)
% k$ C4 t, Q$ ?# y# R3 a7 x3 }S.221, Mazurka brillante] (1850) 华丽玛祖卡  |* p6 {! e* Q* T; C" E' @
S.221a, Mazurka in F minor [Not by Liszt?] (?)7 v( ?7 b- i5 C1 \
S.222, [catalogue error; same as S212]
7 K2 k; ?( L5 k' b1 D. KS.223, Deux Polonaises [2 pieces] (1851) 2首波洛奈兹舞曲
" c# o0 X! L) _9 HS.224, Csárdás macabre (1881–82)
! P: M- m2 G( NS.225, Two Csárdás [2 pieces] (1884)  q3 G9 s  m. \$ H# q( W, u
S.226, Festvorspiel (1856), w2 P5 [0 W0 B- [6 b2 x
S.226a, Marche funèbre (1827)
0 g  Z5 K- H7 Z" [  ]% E+ ~S.227, Goethe Festmarsch [first version] (1849)% W, u4 R! [2 V1 V* L2 [
S.228, Huldigungsmarsch [first/second version] (1853): [* D! g5 b* {: a+ ~! N$ r
S.229, Vom Fels zum Meer! - Deutscher Siegesmarsch (1853–56)
9 V8 \) i+ H* `; hS.230, Bülow-Marsch (1883)  h5 T9 P5 {5 G0 T& e9 n) \
S.230a, Festpolonaise (1876)
# F1 V5 J2 V+ m& b5 NS.231, Heroischer Marsch in ungarischem Stil (1840)6 f( a" W9 I: \# z: {' }+ r! D
S.232, Ungarischer Sturmmarsch [earlier version of S524] (1843?)& w! q+ \$ ^1 H/ F: I, ]; B
S.233, Ungarischer Geschwindmarsch (1870)2 ^7 b) k3 l' q- z% [
S.233a, Siegesmarsch. Marche triomphale (Victory March) (?)
9 I+ G9 x- e3 M3 A! cS.233b, Marche hongroise (in E flat minor) (1844)! S; {; r. N( R+ S; O
1.7.4 Works on National Themes(主题作品)
5 C& I' o7 N0 h7 }1 C& O* z: q
" E( y" X+ ]  p1.7.4.1 Czech/ l% s* F  t% A$ T6 A( c4 H

& j7 @& k6 ?+ e- @S.234, Hussitenlied (Melody by J.Krov) (1840)1 ?( w$ k& F% M3 y1 g$ r* L
1.7.4.2 English
2 D- |% W% `6 X, U3 |
0 _! _9 E/ l/ t  ZS.235, God Save the Queen (1841)
, P! s  e: O; y' F1.7.4.3 French
7 ~5 P& x) m& Y/ ~: C: M1 g; Q( s: Z6 N* d% c4 c
S.236, Faribolo Pasteur and Chanson du Béarn [2 pieces] (1844)! i3 B6 [5 k8 K
S.237, La marseillaise (1872?), Y" }  L( z# I8 E0 k/ p
S.238, La cloche sonne (1850?)9 p' ?* N3 M5 h2 A0 i  S
S.239, Vive Henri IV (1870-80 ?)# G. {, y' m% J% A# z
1.7.4.4 German
, P" T+ M* y0 D: X" p! K& S) |) @) L8 Y8 m, _& K
S.240, Gaudeamus igitur. Concert paraphrase [first/second version] (1843, 1853)
) U: ?3 ?3 |, j7 _/ Y3 z; H9 N1.7.4.5 Hungarian
0 }0 C% {- d3 i; T4 W* K1 I6 ?4 d% w$ p# _0 u1 u3 ~( T% c$ d; X
S.241, Hungarian Recruiting Songs (Zum Andenken) (By Fáy & Bihari) (1828)
- r$ |/ w" A7 M$ R2 H+ ~9 q, VS.241a, Ungarische Romanzero (Hungarian Songbook) [18 pieces] (1853)2 c7 T8 u" K: y" x/ q) m9 O3 P% P
S.241b, Magyar tempo (1840)' ^* {3 S) c8 E+ x2 @* H
S.242, Magyar Dalok: Magyar Rapszódiák [21 pieces] (1839–47)* m" ^1 M6 C# X9 `5 f2 Y, D0 c9 u
S.242a, Rákóczi-Marsch [first version] (1839–1840)  M) N1 j5 [7 u4 J0 w
S.243, Ungarische National-Melodien [3 pieces] (ca. 1843)" I# P# ~; X3 u) f+ n+ x
S.243a, Célèbre mélodie hongroise (a. 1866)
% q4 @! s3 @6 Y9 n9 k* uS.244, Hungarian Rhapsodies (Rapsodies hongroises) [19 pieces] (1846–86)  19首匈牙利狂想曲. T9 u0 t1 k# H' R0 _+ X
S.244a, Rákóczi-Marsch [from orchestral version] (1863)2 f2 V1 ?- w0 ]9 a
S.244b, Rákóczi-Marsch [simplified version of S244a] (1871)4 p- k) c2 U& N$ [( D" I1 d
S.244c, Rákóczi-Marsch [popular version] (?)/ T$ B  _0 d" M- m
S.245, Fünf ungarische Volkslieder (Abranyi) [5 pieces] (1873)( V  n0 C/ Y2 t
S.246, Puszta-Wehmut (A Puszta Keserve) (1880–86 ?); ^$ r( c& x( T& ?& V$ y, m5 u2 m
1.7.4.6 Italian
' |6 T4 z- k0 w) Y( `! t# e0 B, x( ?- i/ U
S.248, Canzone Napolitana [first/second version] (1842)8 c0 C' i3 o$ x- S/ U, N" r
1.7.4.7 Polish
8 ^1 \* j/ I: T9 N3 G1 x
1 |6 }  G* D+ c7 o9 iS.249, Glanes de Woronince [3 pieces] (1847–48)
% W7 @, q/ M( M+ U/ B. NS.249a, Mélodie polonaise [short draft] (1871)
' J8 z- z8 g* I9 l$ ]S.249b, Dumka (1871)
, y- e( m) K8 CS.249c, Air cosaque (1871)! c/ z1 g) V1 d+ A; ?- M' b
1.7.4.8 Russian
1 Q' ]2 x7 ]3 K+ X
4 _( k( T; i& c5 T" n% X0 \S.250, Deux mélodies russes. Arabesques [2 pieces] (1842); f- J, @$ K7 s3 X6 X
S.250a, Le rossignol (Alyabyev) [first version of S250/1] (1842)+ h1 L/ q( j4 G) J
S.251, Abschied. Russisches Volkslied (1885)9 D9 t5 I3 z( j( r6 ~
1.7.4.9 Spanish
6 ^$ ], O6 K1 n! P6 @
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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)
# o6 d" G5 }9 {5 v. @  J- VS.252a, La romanesca [first/second version] (ca. 1832, b. 1852)) ]5 @1 n9 k* Y" [
S.253, Grosse Konzertfantasie über Spanische Weisen (1853)% V: ?/ _( g/ r: Z
S.254, Rhapsodie espagnole (1863?) 西班牙狂想曲% z6 U6 _/ r8 K0 ]. y# S7 ?
S.254x, Rapsodie espagnole [orchestrated by Feruccio Busoni] (?)
5 @9 c0 }4 k0 ~8 P5 j( G9 b1.8 Piano Duet(钢琴二重奏)
* o' i$ \% G  ~$ Z, f1 ]
! t8 _) s; y; V, V2 x4 W2 I# v1 cS.255, Festpolonaise [now S619a] (1876)! i' r* p- d2 v! q" K
S.256, Variation on the Chopstick Theme (1880)8 |2 F/ {' b* C" C* P
S.256a, Nottorno [Not by Liszt?] (?)( i5 E2 D) t' s: V$ w% o* F
1.9 Two Pianos(双钢琴)
% @2 L& L4 V8 O! I! ~/ U  j
* g- X: c+ h4 o2 [: b; bS.257, Grosses Konzertstück über Mendelssohns Lieder ohne Worte (1834)
$ M- w4 O# K5 PS.258, Concerto pathétique (b. 1856)  e小调钢琴协奏曲“悲怆”' D- A0 |: w3 m  |( g' _2 G' b
1.10 Organ(管风琴)0 z) S7 O8 J0 }0 l" m( f
; U- @* Y  ~8 Y7 X
S.259, Fantasy and Fugue on the chorale Ad nos, ad salutarem undam (1850)
3 L$ e" u. b" D+ _  H3 S1 hS.260, Präludium und Fuge über das Thema BACH [first/second version] (1855, 1870)
+ c! D2 b! G0 D( dS.261, Pio IX. Der Papsthymnus (1863?)- C; |- O) V# y7 y4 n' D' |
S.261a, Andante religioso (1861?)  k5 y4 h( w6 j$ \0 d
S.262, Ora pro nobis. Litanei (1864)
. h( U. W9 ?% {S.263, Resignazione (1877)4 G% C" P& l9 F7 r) Y$ X: h
S.264, Missa pro organo lectarum celebrationi missarum adjumento inserviens (1879)2 b0 m+ f: t  M5 m4 _
S.265, Gebet (1879)
( f. y% C- b4 m- i% lS.266, Requiem für die Orgel (1883)
  e$ O# R; `: s; [2 oS.267, Am Grabe Richard Wagners (1883)
; L& Z, U, {1 ~+ k" |$ j7 sS.268, Zwei Vortragsstücke [2 pieces] (1884)
  i- K% R4 t% v! ^! q% D1.11 Songs(歌曲)
2 e( m, W- S8 q; \1 Y# ^2 n) [, Z& Z# B% g; U4 v, T
S.269, Angiolin dal biondo crin (Marchese C. Bocella) [first/second version] (1839, ?)& Q4 \5 t* Z1 s+ U  Z3 r* d% G
S.270, Three Petrarch Sonnets [3 songs, first/second version] (1844–45, 1854]
  W+ C3 R+ L6 z4 [4 m! vS.271, Il m'aimait tant (Delphine Gay) (1840?)4 W/ Y5 G; B/ {( B* ^& k
S.272, Am Rhein im schönen Strome (Heine) [first/second version] (1840?, 1854)
+ ?  E: B) ^' O+ M; s: G" a% FS.273, Die Lorelie (Heine) [first/second version] (1841, ?)
. H9 `# I- ^2 Y' c9 C  T9 PS.274, Die Zelle in Nonnenwerth [first/second version revised 1862] (b. 1841, 1857)
; s$ c8 d$ c) ^S.275, Mignons Lied (Kennst du das Land) (Goethe) [first/second/third version] (1842, 1854, 1860): |# w- p) W1 n* I* @
S.276, Comment, disaient-ils (Hugo) [first/second version] (1842, ?)
; d( U+ M& J$ [3 I) uS.277, Bist du (Prince E. Metschersky) [first/revised version] (1843, ca. 1878-79)* o1 B7 S  G3 ?) n4 C5 U
S.278, Es war ein König in Thule (Goethe) [first/second version] (1842, ?), ]5 {/ b: k6 J
S.279, Der du von dem Himmel bist (Goethe) [first/second/third version] (1842, ?, 1860)8 g. x% S) j1 y4 \, x
S.280, Freudvoll und leidvoll (Goethe) [first/second/third version] (1844, 1848?, ?)6 M; D5 {9 M2 N
S.281, Die Vätergruft (1844)
& q, t9 V; Z, e' T4 LS.282, O quand je dors (Hugo) [first/second version] (1842, ?)4 a& Q2 |$ M6 v
S.283, Enfant, si j'etais roi (Hugo) [first/revised version] (1844?, ?)
7 j3 n8 x" E2 S8 ?; I! cS.284, S'il est un charmant gazon (Hugo) [first/revised version] (1844?, ?)# ~+ X: P6 b* e/ g' l6 f) f! l
S.285, La tombe et la rose (Hugo) (1844?). U& |, [; @4 Y' f7 g; D
S.286, Gastibelza, Bolero (Hugo) (1844?)+ h$ {( Q5 i) P. g8 M- l
S.287, Du bist wie eine Blume (Heine) (1843?)
: _6 u: w! v4 ]: U' LS.288, Was Liebe sei (C. von Hagn) [first/second/third version] (1843?, ca. 1855, 1878–79)! g  V4 Y; G8 ]: {& F
S.289, Vergiftet sind meine Lieder (Heine) [first/revised version] (1842, ?)
+ P$ U3 a  A$ a7 t. VS.290, Morgens steh ich auf und frage (Heine) [first/revised version] (1843?, ca. 1855)
0 x$ _3 i% V8 A6 R$ G# ^S.291, Die todte Nachtigall (Kaufmann) [first/revised version] (1843?, 1878)1 i/ Q! y) W3 l- W# y
S.292, Songs from Schiller's Wilhelm Tell [3 songs, first/revised version] (1845?, ?)
4 Q8 e$ M( `- yS.293, Jeanne d'Arc au bûcher (Dumas) [first/revised version] (1845, 1874)
: E. E3 }# ?* Y( }% DS.294, Es rauschen die Winde [first/second version] (ca. 1845, b. 1856)2 s, X: @, W4 ^% o4 ]8 s" F
S.295, Wo weilt er? (Rellstab) (1844)
+ M) o! X( n9 Z& {+ zS.296, Ich möchte hingehn (Herwegh) [revised later] (1845)( @8 g4 \2 u& S6 q& u, i% [
S.297, Wer nie sein Brot mit Tränen ass (Goethe) [first/revised version] (ca. 1845)
3 l: P  ~  S# J9 Y$ V4 gS.298, O lieb so lang du lieben kannst (Freiligrath) (1845?): t: s  T1 ^  e) F7 L( m
S.299, Isten veled (Farewell) (Horvath) [first/revised version] (1846–47)
6 G2 y' d1 Q: m- S7 C$ i% [9 {: ES.300, Le juif errant (Béranger) (1847)
* d" S  h+ `1 `: YS.301, Kling leise, mein Lied [first/revised version] (1848)9 ^  p4 ?2 c) j; l# ~# u
S.301a, Oh pourquoi donc (Mme Pavloff) (1843)
5 P) i9 \9 I' NS.301b, En ces lieux. élégie (E. Monnier) (1844)0 n8 j% V% p) a5 r3 g8 Z
S.302, Die Macht der Musik (Duchess Helen of Orleans) (1848–49)
% m5 W: K) r* T) a+ J& U' TS.303, Weimars Toten. Dithyrambe (Schober) (b. 1848)! b9 |5 I- z0 H2 {$ n
S.304, Le vieux vagabond (Béranger) (b. 1848)
8 `* ]) W* ^, A3 @5 CS.305, Schwebe, schwebe, blaues Auge [first/revised version] (1845, ?)
8 n% y" d  B( ~; ^) K/ m' YS.306, über allen Gipfeln ist Ruh [first/revised version] (1847?, ?)# K( c# u7 G) J5 |$ B: l
S.306a, Quand tu chantes bercée (Hugo) (1843). H2 I/ o& q  m7 K  W
S.307, Hohe Liebe (Uhland) (1850?)
2 `7 p# H, a( n% Z& AS.308, Gestorben war ich (Seliger tod) (Uhland) (1850?)
. i8 u: x4 `* G) b& n. OS.309, Ein Fichtenbaum steht einsam (Heine) [first/revised version] (ca. 1845, 1854)' Y  x# s. `/ [7 r0 m
S.310, Nimm einen Strahl der Sonne (1849)) E# ^# H5 E3 g6 o, t& q! e
S.311, Anfangs wollt' ich fast verzagen (Heine) (1849)
2 ]0 b' e$ ~: v1 U8 [S.312, Wie singt die Lerche schön (Hoffmann von Fallersleben) (1856?), j( k9 F; z" q/ G# L* A
S.313, Weimars Volkslied (Cornelius) (1857)" {2 r5 a) C, D9 R2 W
S.314, Es muss ein wunderbares sein (Redwitz) (1852)
3 T& X& X3 g3 f8 C0 u9 |* r7 s8 m" a6 dS.315, Ich liebe dich (Rückert) (1857): e; |. A9 o/ Q
S.316, Muttergottes - Sträusslein zum Mai-Monate (Müller) [2 songs] (1857)7 h" d* f* I" T- q. H
S.317, Lasst mich ruhen (Hoffmann von Fallersleben) (1858?)6 P: P- i9 q8 R. T+ E) b( {% I7 e
S.318, In Liebeslust (Hoffmann von Fallersleben) (1858?)" n4 n/ [: e/ E" c; @. P* Z
S.319, Ich scheide (Hoffmann von Fallersleben) (1860)  M% g8 J! {4 k! f' U3 f
S.320, Die drei Zigeuner (Lenau) (1860)& K* |  S& N7 b5 `1 r
S.321, Die stille Wasserrose (Geibel) (1860?)
8 a2 n; t2 V9 i3 KS.322, Wieder möcht ich dir begegnen (Cornelius) (1860)' ^& o1 B- l8 E0 L& H. k  ^4 S; G
S.323, Jugendglück (Pohl) (1860?)9 C* I1 x; Q/ t( S( T; m
S.324, Blume und Duft (Hebbel) (1854)1 ^* ]8 M, x% r( h% e0 u. ~
S.325, Die Fischertochter (Count C. Coronini) (1871)
/ }+ U9 v; {1 Y! LS.326, La perla (Princess Therese von Hohenlohe) (1872)
9 ~$ T1 D. x. A: A( fS.327, J'ai perdu ma force est ma vie. 'Tristesse' (de Musset) (1872)
1 U& S( E, |& a6 B1 a( @$ ?S.328, Ihr Glocken von Marling (Emil Kuh) (1874)2 a, O; z( y+ ?) g' q" L
S.329, Und sprich (Biegeleben) [revised 1878] (1874)
4 w( j: k5 X! w- g  yS.330, Sei Still (Henriette von Schorn) (1877). j4 M8 T1 T& C" J, _8 J
S.331, Gebet (Bodenstedt) (1878?)
8 {8 w4 q4 c7 N: v, Y( [+ N! Q, M8 cS.332, Einst (Bodenstedt) (1878?), ?' U% ?9 t3 Q( g' G$ h+ g
S.333, An Edlitam (Bodenstedt) (1878?)% t, G7 o; f+ w( q
S.334, Der Glückliche (Bodenstedt) (1878?)/ e3 |/ s6 ?. o- \- z! l. \7 y9 b
S.335, Go not, happy day (Tennyson) (1879)
( l8 S" p& o2 _: {- aS.336, Verlassen (G.Michell) (1880)
' w% P7 L( d5 a: @. o1 pS.337, Des tages laute stimmen schweigen (F. von Saar) (1880)% F& \4 ?/ [( O& b1 _7 P  g% X
S.338, Und wir dachten der Toten (Freiligrath) (1880?)
7 b3 |7 [6 V! @' ^# aS.339, Ungarns Gott. A magyarok Istene (Petófi) (1881)8 H/ r& X5 V4 m) M) g6 a9 b
S.340, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)- r) r2 W" x% O8 f! w
S.340a, Ne brani menya, moy drug. (Tolstoy) (1886)
* ?. X( @0 h$ Z1.12 Other Choral Works(其他合唱作品)1 x- l  \9 Y/ m. c! q0 V
S.341, Ave Maria IV (1881)
) ?: E$ {! \/ F8 l) H+ E# YS.342, Le crucifix (Hugo) (1884)
4 D# N! t5 @6 BS.343, Sancta Caecilia (1884)) B1 p7 c  ^" N/ H: J
S.344, O Meer im Abendstrahl (Meissner) (1880)
9 @9 M. J7 @8 M9 U; D3 j  x7 H; v, vS.345, Wartburg-Lieder from Der Braut Willkomm auf Wartburg (Scheffel) [7 chorals] (1872)% b4 q2 g2 X7 v8 h3 Z7 x) m
1.13 Recitations(叙事歌谣颂诗)
3 M3 o; k: `/ q& E2 wS.346, Lenore (Bürger) (1858)( x& |( L9 M& T% x' m# m9 E, \
S.347, Vor hundert Jahren (F. Halm) (1859)
0 J% Y: e4 X- m; n: qS.348, Der traurige Mönch (Lenau) (1860)
" S3 e6 M' L! k; VS.349, Des toten Dichters Liebe (Jókai) (1874)6 S& x6 F: R) X5 X
S.350, Der blinde Sänger (Alexei Tolstoy) (1875)
( Y$ B! c' _! c4 S2. Arrangements, Transcriptions, Fantasies, etc.
. s! G7 B4 ]- K  w- G. A# i) n# O3 j$ z3 \! |" h5 ]$ c5 B! \
2.1 Orchestral Works(管弦乐作品)! `. m9 d. R  H4 I8 |
- V& ]  D4 V. R. P: d3 L' ]- Y
2.1.1 Bülow
0 [& U) S: a- _! z  |/ z- s: O' n* p; L6 n) o: i9 J! N8 u! X  i
S.351, Mazurka Fantasie, Op. 13 (1865)
% }- }" T9 k" Q6 Y+ d7 \# `5 x5 L6 p* K2.1.2 Cornelius
* k' j8 K  [. F$ h/ }$ y+ D/ Z( A# F7 E- {- U+ t
S.352, Second Overture to The Barber of Baghdad [completed from Cornelius's sketches] (1877)7 H4 _( l4 J# w3 w, t+ V9 r8 ]" V
2.1.3 Egressy and Erkel
. f1 W( x, L+ q% H4 }
. B& I  h: m+ A( P  r  u3 `S.353, Szózat und Hymnus (1873)
  W" @2 }# v. K/ L& [" m6 K, g) m2.1.4 Liszt
( _  N9 i' g6 \! O
7 k2 n# v' z" a2 GS.354, Deux légendes (1863)/ D: s. Q* O1 \2 K6 O( q
S.355, Vexilla regis prodeunt (1864)
5 G8 r0 k  ~# dS.356, Festvorspiel (1857)
( o3 D3 O+ g7 e9 `/ bS.357, Huldigungsmarsch [first/second version] (1853, 1857)% U4 g8 K: \4 w" y- Q  o' `% x. W- ^
S.358, Vom Fels zum Meer. Deutscher Siegesmarsch (1860)
& Q3 ~+ T7 o4 m: h" w; K0 mS.359, 6 Rapsodies hongroises (Hungarian Rhapsodies) (?)
& c8 H5 V8 b' i  y: pS.360, A la chapelle Sixtine (Liszt, Allegri & Mozart) [orchestral arrangement of S461, based on Mozart's Ave verum corpus and Allegri's Misere] (1862)
. p6 v: M9 [3 J8 T( f/ m) fS.361, Pio IX. Der Papsthymnus (ca. 1863)
  U+ d7 B0 W% i& I+ z3 KS.362, Benedictus and Offertorium from the Hungarian Coronation Mass [from S11] (1875)
. G; S) H! P/ S7 p2.1.5 Schubert* j. b: o2 T+ x  ~

: L6 ?  O+ Q' O/ Y) a" n) SS.363, 4 Marches [from Opp. 40, 54, 121] (1859-60)
$ {& ^5 C0 T; K" I2.1.6 Zarembski
- Q; P- D  _; }/ D3 V: C+ a/ r6 z( K* O- y
S.364, Danses galiciennes (1881)
% M- \8 ?0 d. S, D6 c: W2.2 Pianoforte and Orchestra(钢琴与乐队)
4 s9 o' U6 Q2 _4 U1 a& B8 l, k1 S/ k  O5 Q* g& @
2.2.1 Liszt2 k& R3 }& J( c. m' B7 E
7 Y& ~  c2 t' e1 i1 L
S.365, Grand solo de concert [prepared by Leslie Howard] (1850): H7 D" t! c6 M5 x8 Z( F
S.365a, Concerto pathétique (No. 4) in E minor [Liszt, Reuss version] (1885-86)0 C% K0 K/ J4 d+ p2 Y4 S
S.365b, Hexaméron, Morceau de concert [orchestration completed by Leslie Howard] (ca. 1839)
: }& B) y7 p  |8 Z/ `2 b. r2.2.2 Schubert
5 v& g: H" ?2 Y/ [2 X4 c" A) c, c' c
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) ~7 m4 U' O2 s! S8 d
2.2.3 Weber
9 O3 \4 O: ~9 ]; Y
) a1 X3 M* d% ~- x) uS.367, Polonaise brillante, Op. 72 (1849) 华丽波洛涅兹 为钢琴与乐队而作
& g4 ~' U3 ~0 l" v. B5 e- R- G2.3 Songs with Orchestra(声乐与乐队)9 c, ?' {# P: |1 ?* I* s
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2.3.1 Korbay
5 {' }8 P& t3 d7 w7 ^0 `* r' Y/ ^7 Z. p! I
S.368, 2 Songs (Le Matin by Bizet and Gebet by Geibel) (1883)4 L% r. _# k8 [9 k  v
2.3.2 Liszt
( Y! t' P! i0 B/ W+ v( e, h% ~9 L
; H' L2 w  _9 BS.369, Die Lorelei (Heine) (1860)6 i  w, R' i0 E6 |& J
S.370, Mignons Lied (Kennst du dass Land) (Goethe) (1860)6 B- Z3 e: M3 B8 ?% f  k
S.371, Die Vätergruft (Uhland) (1886)
% U4 o- p* E- V( |# ]S.372, Songs from Schillers Wilhelm Tell (ca. 1855), D8 d& L; _8 l$ L) K' i
S.373, Jeanne d'Arc au bûcher (Dumas) [first/second version] (1858, 1874)
: c" e$ T& U& U' e, J# }, K% nS.374, Die drei Zigeuner (Lenau) (1860)
0 N& r% ^" P: h2 N+ o1 {2.3.3 Schubert
8 t  f7 a6 T* a4 {; z+ q
. z, w% I" u) Z! u- c' @) SS.375, 6 Songs (1860)
" T5 s% h2 i6 G9 {5 g; ], T5 QS.376, Die Allmacht (1871)
' w  p) c6 ^, p9 d" W9 u7 Z2.3.4 Zichy: z  N$ S* O0 p" q" m7 r
0 W' z3 S  \' b* _# [1 Z( H8 d
S.377, Der Zaubersee. Ballad (Zichy) (1884)
: j! J) _1 @$ I4 `2.4 Chamber Music(室内乐等)
* v3 [% Q' b! d+ _8 s1 @  p2.4.1 Liszt
1 M) V$ o: V( }
) C2 D' P/ K6 i) \0 KS.377a, La notte (Odes funèbre No. 2) (1864-66), a+ a& {( j5 {& a* Q# C
S.378, Angelus! - Priere aux anges gardiens [first/second version] (1877, 1880)/ [* d. \& w( o& _; y% k
S.379, Rapsodie hongroise No. 9 (Pester Karneval) (?)6 p# O* ]' v" T% D& ~8 V: j8 [
S.379a, Rapsodie hongroise No. 12 (1850-59)
( x! j" j' l1 H. Y' A6 WS.379b, Puszta-Wehmut (A Puszta Keserve) (ca. 1871)
- r/ k! b4 [: a3 wS.380, O du mein holder Abendstern from Tannhäuser (Wagner) (1852)9 [7 ?! m# B( J, d
S.381, Benedictus and Offertorium from the Hungarian Coronation Mass [from S11] (1862)
5 d. W* q+ e. [S.381a, Ungarns Gott. A magyarok Istene (Petófi) (1882)- q- ^! X5 P, G) k! j9 J6 h
S.382, Die Zelle im Nonnenwerth (ca. 1880-86); s$ ^  B  N! K2 s
S.383, Die drei Zigeuner (Lenau) (1864)
6 j* T' I+ S5 a" I. |& Y; F2.5 Pianoforte Solo8 s' }6 \  J9 L0 M; O
8 q  W$ C, R& m" Q0 t4 x
2.5.1 Paraphrases, Operatic Transcriptions, etc.(歌剧改编独奏)
  |+ O9 i% J' E/ j  Y  O- F% f! l, x8 ?2 Y  X/ B$ I+ I
2.5.1.1 ábrányi
/ U4 T1 Z2 p8 o# G1 F' D
. c8 p4 f+ V/ p% F$ J. T1 A! k/ iS.383a, Elaboration on Virág dal (1881)
5 H( S# i. T* V/ L) ~2.5.1.2 Alyabyev
8 Q0 @- V) z/ Z$ Z+ s# X  A2 q3 J; {# ~" Y5 j6 W+ w. h# U0 C
S.384, Mazurka pour piano composée par un amateur de St. Petersbourg (1863)
/ j. c& a( P8 G& v3 v) KS.384a, Variations on Tiszántúli szép leány [anonymous, not by Liszt?] (1846)  S2 W- {) X% N0 T" M
2.5.1.3 Auber
  [  i6 m1 V  H' n! H
7 M# w) l& d* P) R5 B! uS.385, Grande Fantaisie sur la Tyrolienne de l'opera La Fiancée [first/second/third version] (1829, 1835, 1842)
! w0 g4 [! S& O/ t4 Z; s7 @S.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' X& {. X4 }% x% j6 z. q
S.386, Tarantelle di bravura dàprès la Tarantelle de La Muette de Portici [original/Sophie Menter version] (1846, 1869) 塔兰泰拉舞曲 S.386 据奥伯歌剧《波尔蒂契的哑女》主题改编
  s, R! [" O0 x3 G& SS.387, Three Pieces on themes by Auber [with intro piece] (a. 1846): v4 H% t( ?- u* k0 ^# V
S.387a, Piece on an unknown theme (1847)
% J2 l* ~. N2 _; M& G2 Y8 M' i7 y2.5.1.4 Beethoven5 @$ a, W/ N0 v/ s' y
+ _2 i2 Q" K, s1 r# W
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 ?( b4 M* [. Q8 |1 x& A
S.388a, Marche turque des Ruines d'Athenes (1846)) V6 n; `. r' J4 n& Z
S.388b, Fantasie über Beethoven's Ruinen von Athen [first version] (1837)
8 O4 L2 c& R! d# L' |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
( f) [2 F6 I% b+ LS.389a, Cadenza to the first movement of Beethoven's Piano Concerto No. 3 (1879)2 O5 U$ e' X! T9 m4 b, O
2.5.1.5 Bellini
/ N7 u# _9 x) J: g& v. r) f4 p* k6 e9 p9 }  v) l$ L
S.390, Reminiscences des Puritains [first/second version] (1836, 1837)
# T7 s1 Q$ N( z. M0 {: w% }& Y$ sS.391, I Puritani. Introduction and Polonaise (1840)- I4 X9 X- S& k! k% F
S.392, Hexaméron, Morceau de Concert (1837)2 v. ~0 V( o; D9 v0 \( k
S.393, Fantaisie sur des motifs favoris de l'opéra La Sonnambula [first/second/third version] (1839, 1840-41, 1874)" x& ]5 [" u; Z6 Q4 I
S.394, Réminiscences de Norma (1841-43)! D6 a) `6 Q! U/ ]
2.5.1.6 Berlioz
. f8 i2 t$ A2 i( |% Y* M
8 q  w# K, v, v& `% k7 A: DS.395, L'Idée fixe: Andate amoroso [first/second version] (1833 or 1846?, 1865)+ h5 ?2 E: B: l* w
S.396, Benediction et Serment from Benvenuto Cellini (1852)
' e+ Y# Q; E# p2.5.1.7 Donizetti, Gaetano) S( \, j, I, N( N

6 R# Q9 I( q1 F; h7 R3 RS.397, Réminiscences de Lucia di Lammermoor (1839)
; i; _5 w9 Z2 d7 ?7 \S.398, Marche Funebre et Cavatine de Lucie de Lammermoor (1839); ^, R2 {  \1 A8 R, A9 U9 f- P
S.399, Nuit d'été à Pausilippe [3 pieces] (1839)( v3 h* I! \+ `, N* L
S.399a, Lucrezia Borgia - Grande fantaisie [first version of S400ii] (1840)
# Y- s; M) B* p$ _: Z
. L6 T9 m( O2 n+ Z) t0 ^李斯特全部作品目录-3
; v% z* U. G! D" e2 ]! t9 b9 n% w/ }- E. s
S.400, Réminiscences de Lucrezia Borgia [first/second version] 1840
0 J( J% W3 W: b2 US.401, Valse a capriccio sur deux motifs de Lucrezia et Parisina [first version of S214/3] (1841)' J% Z& X+ @9 }) q
S.402, Marche funèbre de Dom Sébastien (1844)/ T$ B7 F/ H3 p# `( K
2.5.1.8 Donizetti, Giuseppe
2 C+ f0 G$ u2 R+ i. u7 L1 U- @4 h4 B
S.403, Marche pour le Sultan Abdul Medjid-Khan [first/simplified version] (1847, 1848)& N5 z. s1 r, }% N7 C- K
2.5.1.9 Duke Ernst' T# @( v5 V% Q1 f6 a7 ^$ w: v) Q

" s1 b2 v  i, M! T6 b/ aS.404, Halloh! Jagdchor und Steyrer from the opera Tony (1849)/ n" S& D9 ?' t* o
2.5.1.10 Erkel, Franz
1 V/ k+ R: `9 r1 M0 F: |( j) L* z) v7 x! z# Y3 Z
S.405, Schwanengesang and March from Hunyadi Laszlo (1847)/ S, [" @$ w6 [1 t
2.5.1.11 Festetics
' }# K' l; M+ `: u* ^  n2 i" y# j! I! x! d$ ]' k
S.405a, Pásztor Lakodalmus Variations - Mélodies hongroises [elaboration by Liszt] (1858)
; J% ]) B; ^# q! U. h2.5.1.12 Glinka
" Q" `: I2 K' v0 l9 M  c4 }- _* H! x$ {" M: J
S.406, Tscherkessenmarsch from Ruslan i Lyudmila [first/second version] (1843, 1875)7 N4 {) j' o! {, {; G
2.5.1.13 Gounod  `$ A, v; l- h& h. f! J, D

% k9 u( ]) a+ G; z1 xS.407, Valse de l'opéra Faust (b. 1861)4 o! T$ P7 f7 X1 p! S' g: D
S.408, Les Sabéennes. Berceuse de l'opéra La Reine de Saba (1861)
* m! {! _0 d) D9 q( c8 US.409, Les Adieux. Rêverie sur un motif de l'opéra Romeo et Juliette (1867)
% G/ `! u8 u. R) c( d. Z2.5.1.14 Halévy3 O& r' q( o  D6 B. R& c
S.409a, Réminiscences de La Juive (1835)5 Z4 w" C: \! r5 ^4 \( ]" }
2.5.1.15 Mendelssohn
( s/ g3 ?2 q0 E2 L% M* KS.410, Hochzeitsmarsch und Elfenreigen aus dem Sommernachtstraum (1847-50): L, l' V3 w0 u5 z6 z5 `( O
2.5.1.16 Mercadante& B! g$ l' y3 _  J! E; o, c8 g
S.411, Soirée italienne. Six amusements (1838)
% d8 U# k2 y) {- k2.5.1.17 Meyerbeer( i: g5 g  Y1 z2 @4 C4 N5 ^; }# I( J
S.412, Réminiscences des Huguenots - Grande fantaisie dramatique [first/second version] (1836, 1842)( l' S' O. s2 o
S.412a, Réminiscences de Robert le Diable - Cavatine (1846?)( ?8 v! e4 m" i- ^' a' G- [
S.413, Réminiscences de Robert le Diable - Valse infernale (1840)2 {2 k) {/ \" t5 A& ?* C
S.414, Illustrations du Prophète [4 pieces, 4th=S624] 1849-501 D8 r! ?* N4 ?8 U/ K8 W
S.415, Illustrations de l'Africaine [2 pieces] 1865
+ I, Y0 P: D+ c1 [: ~2 E3 bS.416, Le Moine (1841)( e- B0 Y) ^  s, N; W
2.5.1.18 Mosonyi, Michael8 p/ [: n1 i1 P; [! M1 f2 k
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/ e  x- U1 G% f& ?1 v5 |
2.5.1.19 Mozart
9 x6 n& g+ f. i3 J- r: I- k9 IS.418, Réminiscences de Don Juan (1841)
' K) Q* P  V8 E) ^  N/ v( n2.5.1.20 Pacini
8 x# A- A! F" U/ F" @4 [# fS.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8 D; `* u+ h* Q& }5 }
2.5.1.21 Paganini, Y$ ^+ X' z# S. [( T& E* W
S.420, Grande Fantaisie de bravoure sur La Clochette (1832-34)  华丽的钟声幻想曲
: u- {) }3 j; z4 [4 d/ }. J1 ~2.5.1.22 Raff
  {! i6 x, W" P; tS.421, Andante Finale and March from the opera König Alfred [2 pieces] (1853)% r0 Q( q/ R; _7 f3 B0 D
2.5.1.23 Rossini
, O' ^5 Z0 p9 E; K8 }/ kS.421a, Introduction et Variations from "Siege of Corinth" [introduction only] (1839?). Y  j# Z( g6 O
S.422, Première grande fantaisie (Soirées musicales) [first/second version] (1836)5 n3 k' u& M/ c0 B, b
S.422i, La serenate e l'orgia - Première grande fantaisie (Soirées musicales) [first version] (1836)% ^; {" I1 f2 Z
S.423, Deuxième grande fantaisie (Soirées musicales) (1836)
- c" }$ c# t2 ?0 s, YS.424, Soirées musicales [12 pieces] (1837)
$ G4 E# L: Z/ H5 a1 Y1 [2.5.1.24 Schubert" y8 Q7 D" M' I) t$ l8 Q- }0 A
S.425, Mélodies hongroises [3 pieces] (1839–40)& T* Q/ l+ t1 W' h* N6 \
S.425a, Mélodies hongroises [revised versions] (1846)- H3 F, ~( L) Q( z+ f
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; R* Z. k; r0 ]/ X9 P' C5 p
S.426a, Marche militaire (ca. 1870)" t/ J5 _5 u3 N- F
S.427, Soirées de Vienne [9 pieces] (1852) 维也纳之夜 S.427 根据舒伯特《随想圆舞曲》改编
, D, y4 }' P! c% S* o% v) t: Q, i" v2.5.1.25 Sorriano1 ?- ~" p# I8 u! J% W
S.428, Feuille morte. Elégie d'après Sorriano (1844-45)
# P9 z( ]( M  d# ?" `5 |2.5.1.26 Tchaikovsky; J( h/ L" x7 x% V9 g, }# r
S.429, Polonaise from Eugene Onegin (1879)
2 q6 V# Y% N. r& m, B2.5.1.27 Végh, Janos$ p7 Z" ?5 Q8 e: {
S.430, Valse de concert (1882-83)
9 M. ^3 f6 C: W* y0 g2.5.1.28 Verdi
$ |: w# O6 }+ k5 y) e7 h5 x. @' C" k" ZS.431, Salve Maria de Jerusalem from I Lombardi [first/second version] (1848, 1882)) i! V: C- p: O, i& [; E' W
S.431a, Ernani - Première paraphrase de concert (1847)
0 Y( d" i, j% {* \1 [2 O2 HS.432, Ernani - Paraphrase de concert (No. 2) [first/second version] (b. 1849, 1860)6 Z" r3 l7 M6 @* w! k& g* f+ C/ V
S.433, Miserere du Trovatore (1860)& R, W, f* E) S, J
S.434, Rigoletto Paraphrase de Concert (1859)  U3 P! u/ d. \
S.435, Don Carlos Coro e Marcia funebre (1867-68)
8 b' d2 d( T# {S.436, Aida Danza sacra e duetto finale (1877)- Z& h# P: H  b0 r- C' k
S.437, Agnus Dei (1877)
4 i+ Z2 D9 Q1 y6 PS.438, Réminiscences de Boccanegra (1882)
' F. W0 Y; E$ F6 |% o2.5.1.29 Wagner4 r. m: }+ s, h
S.439, Phantasiestück über Motive aus Rienzi (1859)
+ a( D8 s3 P* p7 X4 h$ OS.440, Spinnerlied aus Der fliegende Holländer (1860)
7 q4 [: _& y! n* Y, P! S! ES.441, Ballade aus Der fliegende Holländer (1872)
/ I+ N; D  z* p" \S.442, Ouvertüre zu R. Wagners Tannhäuser (1848)
  j% D. B% k, D0 Z( s# f% d, U" CS.443, Pilgerchor aus Tannhäuser [first/second version] (1861, 1885)
4 y# I  [0 W* |6 m! Q* f- qS.444, O du mein holder Abendstern aus Tannhäuser (1848)
6 K2 C0 N7 E+ r( dS.445, Zwei stücke aus Tannhäuser und Lohengrin (1852)
/ t3 L) e0 J5 u0 BS.446, Aus Lohengrin [3 pieces] (1854)/ L% P" ~8 A' N
S.447, Isoldens Liebestod aus Tristan und Isolde [first/revised version] (1867, 1875)
1 _# q* S$ ~- ^/ GS.448, Am stillen Herd aus Die Meistersinger (1871)3 e% `6 G& j: y9 O# \
S.449, Walhall aus Der Ring des Nibelungen (1875)4 q0 `% \! J2 K6 n# n
S.450, Feierlicher Marsch zum heiligen Graal aus Parsifal (1882), j4 L! o8 |1 s4 z1 I- @6 B$ w2 q
2.5.1.30 Weber+ {* F! R+ H" f3 ^/ r% R
S.451, Freischütz-Fantasie (1840-41)9 b2 D, y$ ?. d' ?0 E
S.452, Leyer und Schwert [4 pieces] (1848)
+ Z2 R7 U) G8 VS.453, Einsam bin ich, nicht alleine, from Preciosa (1848)
7 A" o, p, X5 e& y3 o* L! kS.454, Schlummerlied mit Arabesken (1848); V$ {- {* _- y2 F6 m
S.455, Polonaise brillante (1851)
$ u) G$ q; _, S: W) J2.5.1.31 Zichy, Count Géza* k8 M& \. m* u1 H
S.456, Valse d'Adele (1877)
, z! ^) Y7 P8 K8 U, O1 {. q2.5.1.32 Unknown2 a3 H$ |* N3 l7 c* Z% e
S.458, Fantasy on Il Giuramento (Mercadante) (1838?)% c5 J- z3 ~% }9 t( j
S.460, Kavallerie-Geschwindmarsch [anonymous] (?)
8 I  B4 W! r8 L3 w# b2.5.2 Partitions de Piano, Transcriptions, etc.: C. c7 P3 j1 B: s& E
2.5.2.1 Allegri and Mozart% G7 l1 a; F2 G5 v# L; U' d& ?
S.461, A la chapelle Sixtine [first/second version] (1862, ?)" e) ]6 J0 ^# K2 T: m/ U5 X
S.461a, Ave verum corpus, Kv618 (1862), o) n* \1 X3 A
2.5.2.2 Bach
- x; S$ I" N! ^S.462, Sechs Praeludien und Fugen für Orgel [6 pieces] (1850)$ z9 A9 n/ [0 ]$ D; H
S.463, Organ Fantasy and Fugue in G minor [first/second version] (1860, ?)0 ?' R4 Y- R+ _  w) b
2.5.2.3 Beethoven
9 k3 _& G; X. c' z6 [S.463a, Symphonie No.5 [first version] (1837)+ R8 @" Y: L: O7 U
S.463b, Symphonie No.6 [first version] (1837)
. L7 |! P% O0 [2 q' E- u) YS.463c, Symphonie No.6 [second version. Alternative 5th movement] (1863-64)6 }5 J# I) X0 _2 Q
S.463d, Symphonie No.7 [first version] (1837)/ d# @6 x/ Z# ]0 F) F7 J' D
S.463e, Marche funèbre [Beethoven's Eroica Symphony, first version] (1843)
' u, x( p, a/ j, f0 D+ j2 Q+ xS.464, 贝多芬交响曲 Symphonies de Beethoven [9 pieces] (1863-64)' b$ F0 H! \  C* B( k
S.465, Grand Septuor, Op. 20 (1841)4 K( J2 i5 x% d3 P) M2 E
S.466, Adelaïde [third version] (1847)
3 O( m  y' d* x. M, fS.466a, Adelaïde [first version] (1839)
- c1 I0 \; d, e9 o! T0 ZS.466b, Adelaïde [second version] (1840)
7 `0 |4 P5 z. b7 a0 r& bS.467, Sechs Geistlicher Lieder (Gellert) [6 pieces] (1840)6 y, [& }( ^& ]+ O; ^
S.468, Sechs Lieder von Goethe [6 pieces] (b. 1849)9 k% B1 |/ _; x' G9 T0 _
S.469, An die ferne Geliebte - Liederkreis [6 pieces] (1849)
: q5 N4 V: ?! P' o* I8 v) Z% I2.5.2.4 Berlioz
8 B# Y0 p8 ?0 m$ tS.470, Symphonie Fantastique (1833)
4 N4 K$ s; l& `0 e5 ^4 J: F! sS.471, Overture from Les francs-juges (1833)
5 S9 f# r$ r; e. ^/ U3 _S.472, Harold en Italie (with viola) (1837)! Y/ a/ V5 L. I. B2 ?3 h; i
S.473, Marche des pèlerins from Harold en Italie [first/second version] (1837?, 1862)
/ W! h! A* Y! D$ {  l% bS.474, Ouverture Le Roi Lear (1837)" {4 R. P( d4 P, N' Q$ P; o
S.475, Valse des Sylphes de la Damnation de Faust (1860)7 _+ M( _/ j- @% @" M9 F8 b3 d
2.5.2.5 Bulhakov; C# A6 q* f* i- e6 D
S.478, Russischer Galopp [first/second version] (1843, 1843)2 q; M/ r. d2 s% m& |
2.5.2.6 von Bülow
" j; U% Y8 T5 H/ vS.479, Dante's Sonnett - Tanto gentile e tanto onesta (1874)$ f" w; ^4 k; o! m8 i! r
2.5.2.7 Chopin( _- {0 N, N$ L2 D
S.480, Six Chants polonais, Op. 74 [6 pieces] (1847-60) 6首波兰歌曲 S.480 - 根据肖邦《17首波兰歌曲》Op.74 改编
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 楼主| geci110 发表于 2015-7-22 18:35:21 | 显示全部楼层
2.5.2.8 Conradi
- J9 z+ f% `2 `+ c) B& D1 U9 |* j0 l- ZS.481, Zigeunerpolka (1847?)- P/ }0 g' L2 K, p( y+ }; X
2.5.2.9 Cui
) @2 a+ ?8 R' a# cS.482, Tarantella (1885)
) l! V6 g9 n7 y/ ^+ C9 m2 t2.5.2.10 Dargomyschsky, W+ j7 {8 Q6 g9 C) S! P4 d7 i
S.483, Tarantella (1879)
, m. M# u  {0 X& Y! K2.5.2.11 David, Ferdinand
. N& }) j* e) ?7 V" C) I/ ^S.484, Bunte Reihe, Op. 30 [24 pieces] (1850)! `$ ^9 Z. k/ c
2.5.2.12 Dessauer
* w5 |2 F& e( i: B0 NS.485, Drei Lieder (1846)4 w5 R* z8 ?6 ^2 L) V$ f8 E
2.5.2.13 Ernst, Duke& t) E- ]: Q/ V. r6 ^
S.485b, Die Gräberinsel (1842)
5 i  {+ Y9 m! N3 W2 ^8 u% j2.5.2.14 Egressy and Erkel) A, _0 g# K" L; {0 p& W. P
S.486, Szózat und Hymnus (1873)( H$ ]( m* F' {0 w3 }
2.5.2.15 Festetics
' G) y; ?, m) ?$ ~9 o2 P# Y8 xS.487, Spanisches Ständchen 1846: s* m7 I2 G+ B" M$ c' J
2.5.2.16 Franz
/ H7 j, \( z9 H4 |3 [5 M  e/ W  CS.488, Er ist gekommen in Sturm und Regen 1848
$ N. h& Y% D) l' O  ]* MS.489, Zwölf Lieder [12 pieces] (1848)
0 ?/ u0 u# t9 h. X2 O+ ^2.5.2.17 Goldschmidt8 u3 d% K# _" o; F! F
S.490, Liebesszene und Fortunas Kugel (1880)9 Z- ~$ y9 c- r' i2 Z
2.5.2.18 Gounod. U6 f# |9 H" F, z4 V$ a
S.491, Hymne à Sainte Cécile (1866)0 p7 _. O* f) I% {' K/ l
2.5.2.19 Herbeck
3 t8 [/ x4 \7 S) C1 @+ t/ L( F* J- OS.492, Tanzmomente [8 pieces] (1869). h( J% c5 Q2 d/ m7 d/ M" ~
2.5.2.20 Hummel) o! {9 j( G! V. o! `, T
S.493, Grosses Septett, Op. 74 (1848)5 F& d3 v6 R5 E0 c; K" ]0 M
2.5.2.21 Lassen
7 E" D8 T& G& w! \3 pS.494, Löse, Himmel, meine Seele [first/second version] (1861, 1872)
/ e3 A+ q; O" O, o! t8 Q+ S' w$ ?S.495, Ich weil' in tiefer Einsamkeit (1872)) j* M( R0 H3 t# i" ?; i% f9 y
S.496, Hebbel's Nibelungen & Goethe's Faust [4 pieces] (1878-79)" `- y+ o( ^) l$ r1 c3 `
S.497, Symphonisches Zwischenspiel ('über allen Zauber Liebe') (ca. 1882-83)
# g- X2 m. a/ b) _, O- p" J, w2.5.2.22 Lessmann# h& C) r5 E. R1 z' s9 Q
S.498, Drei Lieder ('Tannhäuser') (1882?)) x. T/ r$ b- h! t7 l' J
2.5.2.23 Liszt# {" P. n8 N- a4 y* b# h% r3 [
S.498a, Drei Stücke aus der heilige Elisabeth (1857-62)& j+ ]+ |- k$ d8 }4 z" A6 t% W& j
S.498b, Zwei Orchesterstücke aus Christus (1862-66)3 V9 q: A9 r" ~, j, K: m
S.498c, San Francesco - Preludio (1862-66): i0 D2 F5 Q8 f$ n
S.499, Cantico del Sol di San Francesco d'Assisi (1881)4 s1 e5 V, {$ v# e# Z4 ?( v
S.499a, San Francesco - Preludio per il Cantico del Sol (1880)
4 C3 j' N8 e! K, D9 m$ \S.500, Excelsior! - Preludio (1875)$ e( ?2 H# U* Z5 t
S.501, Benedictus und Offertorium (Missa Coronationalis) (1867)4 z9 a2 Q7 y1 x: g) \- F: l) j9 w- T
S.502, Weihnachtslied II (1864)
+ G$ M9 K; [. c* _" D  D5 J+ ^( RS.503, Slavimo Slavno Slaveni! (1863)
3 r' T) ]& i" @2 t2 z0 MS.504, Ave Maria II (in D) [first/second version in D flat] (1870, 1873)
3 A! X& T% j7 ^" e+ t" a! zS.504a, Via Crucis [15 pieces] (1878-79)) x2 J6 w0 d8 d1 T
S.504b, Choräle [11 pieces] (1878-79)
5 W" D8 Y; S$ h( D' \3 IS.505, Zum Haus des Herrn (In domum Domini ibimus) (1884)
# O9 y3 O" Y& j- i0 n; K& mS.506, Ave maris stella (1868)
# V( D1 A: u7 ~S.507, Klavierstück aus der Bonn Beethoven-Cantata (?)
- z* E! }& ~/ S. s9 @$ {& eS.507a, Schnitterchor (Pastorale - Schnitterchor aus Prometheus) (1850)4 X& @9 L2 a7 N* ^. I
S.508, Pastorale. Schnitterchor aus dem Entfesselten Prometheus (1861)
# C% e9 j( X8 ~3 M9 f5 K% tS.509, Gaudeamus igitur - Humoreske (1870)* i% E) X$ ^& \1 b) n# E
S.510, Marche héroïque (?)
. ~) J5 S0 G1 o) G# XS.511, Geharnischte Lieder [3 pieces] (1861)/ |4 \" n5 [  e
S.511a, Les Préludes (Poème symphonique No. 3) [arranged by Karl Klauser, revised by Liszt] (1863) [1][2]) N7 Z3 w" t$ S6 ]
S.511b, Orpheus (Poème symphonique No. 4) [arranged by Fredrich Spiro, revised by Liszt] (1879) [3]; R0 C- ?5 e0 I4 `4 d5 `8 N
S.511c, Mazeppa (Poème symphonique No. 6) [arranged by Theodor Forchhammer, revised by Liszt] (1870-79) [3]
; S6 a# P* K1 G3 Q: d4 `( J6 MS.511d, Festklänge (Poème symphonique No. 7) [arranged by Ludwig Stark, revised by Liszt] (1870-79) [3]4 z( D" Z  G: ]" ~' }
S.511e, Hungaria (Poème symphonique No. 9) [arranged by Fredrich Spiro, revised by Liszt] (1872) [3]4 q# P! @# J$ Z. e8 N" `" `
S.512, Von der Wiege bis zum Grabe (Poème symphonique No. 13) (1881)
# U/ p, Z0 j" [- d# {S.513, Gretchen aus Faust-Simpfonie (b 1867 )  |" [8 }/ L: m! ?* _
S.513a, Der nächtliche Zug (?). P) s+ x& i3 K6 s! j7 s
S.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8 m  k3 k) g, t/ j# p1 }
S.514a, Erster Mephisto-Walzer (Mephisto Waltz No. 1) [with later additions] (1859-62)
+ L) i& r% l8 N% r: `8 w1 t1 S2 s$ }S.515, Zweiter Mephisto-Walzer (Mephisto Waltz No. 2) (1881) 第二梅菲斯特圆舞曲
6 y9 i7 r" @4 H7 v4 ]+ cS.516, Les Morts (Ode Funèbre No. 1) (1860)
% ?  W7 K* X3 U4 h; hS.516a, La notte (Ode Funèbre No. 2) (?)0 Z' l8 q! v" n' w3 ]& M
S.517, Le Triomphe funèbre du Tasse (Odes Funèbre No. 3) (1866)
9 c( F0 [( t; j! ~* {S.518, Salve Polonia (a. 1863)
# _; N6 s; Y6 `* VS.519, Deux Polonaises de St Stanislaus (1870-79)- C2 \7 B4 G1 h) {8 c, e
S.520, Künstlerfestzug [first/second version] (1857-60, 1883)1 T6 U0 z- v# k3 D
S.521, Festmarsch zur Goethejubiläumsfeier [first/second version] (1857, 1872)1 w# d. h+ V# f
S.522, Festmarsch nach motiven von E.H.z.S.-C.-G (1857)
, V3 U+ `3 X& q4 Q4 ^( `2 pS.523, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (1870)
0 y/ e5 d$ k- ?# ?  O! ^) LS.524, Ungarischer Sturmmarsch [first/second version] (?, 1875)
9 t& n) W! [! Q$ Q3 r7 tS.525, Totentanz. Paraphrase on Dies Irae (1860-65)
/ M3 I# V: n% l: lS.526, Epithalam zu Eduard Reményis Vermählungsfeier (?)
4 Z. |2 I( n2 V) U: [S.527, Romance oubliée (?)5 l' v6 P( Q! b; G0 U
S.527bis, Romance oubliée [short draft] (1880)
6 p$ y: K* b5 {2 `S.529, Fantasie und Fuge über das Thema BACH [first/second version] (1856, 1870) 巴赫主题幻想曲与赋格
( s+ u$ c2 _: @& n( \S.530, L'Hymne du Pape. Inno del Papa. Der Papsthymnus (1864)
2 a" I( S; y# [. q  K% IS.531, Buch der Lieder I [5 pieces] (?)
1 P( K& \" r& lS.532, Die Lorelei (Heine) [second version] (1861)( K8 z5 W& d8 ~' N
S.533, Il m'aimait tant (Delphine Gay) (1842)+ g, n4 v! [) A$ _: N1 W' S) D
S.534, Die Zelle in Nonnenwerth (Felix Lichnowski) [first/second/fourth version] (1842, 1860, 1880)# m& p& F( z! @8 c+ v' r/ d! {' O, _
S.535, Comment, disaient-ils [Buch der Lieder II] (1845?)
# o% u. v0 ~  K* HS.536, O quand je dors [Buch der Lieder II] (1847?)- U3 I+ v! H$ n3 Q1 N5 c6 w6 j
S.537, Enfant, si j'étais roi [Buch der Lieder II] (1847?)6 Y* ^! f1 U1 T! h) Q9 |: P+ z* Q
S.538, S'il est un charmant gazon [Buch der Lieder II] (1847?)
. a4 ^# f- a3 S7 YS.539, La tombe et la rose [Buch der Lieder II] (1847?)) Z: B* t  p# b+ C9 u) P2 `1 a
S.540, Gastibelza [Buch der Lieder II] (1847?)3 {, O. s6 @4 c/ r! r
S.541, Liebesträume. Drei Notturnos (ca. 1850)  3首夜曲“爱之梦”
( J! g- K' v3 |- m3 ~1 \S.542, Weimars Volkslied [first/second version] (1857, ?)
1 R! N8 _# {9 U( TS.542a, Ich liebe dich (?)
+ H6 {: j( f" mS.542b, Fanfare zur Enthüllung des Carl-Augusts Monument (?)5 p) I9 ]8 }5 P+ \. ^
S.543, Ungarns Gott. A magyarok Istene (Petófi)]] [original/(S543bis)left-hand version] (1881)
' a2 Y0 f. R4 q/ U- ]S.544, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)* I. O/ E2 C* U' U) R$ |1 y7 l) [9 y
S.545, Ave Maria IV (1881), }& i3 p6 M7 U1 H6 k, j  E
S.546, Der blinde Sänger (Alexei Tolstoy) [solo version] (1878)
; e- s1 K# q5 uS.546a, O Roma nobilis (1879)
7 r' s* n( J+ r/ S' O) B, S2.5.2.24 Mendelssohn
: k  u0 A0 F5 N, C8 GS.547, Sieben Lieder (from Opp. 19, 34, 47) [7 pieces] (1840)
  o, ]1 @3 C. ^& R+ }S.548, Wasserfahrt and Der Jäger Abschied (from Op. 50) [2 pieces] (1848)
. A9 E/ w0 ]6 e  w3 L- U2.5.2.25 Meyerbeer
1 |3 ^2 \' I& E' t  ]# o* ^S.549, Festmarsch zu Schillers 100-Jähriger Geburtsfeier (?)7 h* b4 M/ W" W: t
2.5.2.26 Mozart2 q8 w2 I8 \3 K* ?6 q7 R. s- y0 B9 L+ J/ G
S.550, Zwei Transcriptionen über Themen aus Mozart's Requiem, K626 [2 pieces] (1862)
( V6 `. E* d; m7 y! h2.5.2.27 Pezzini7 X$ H9 C/ R% \
S.551, Una stella amica. Mazurka (?)# G3 u  X1 f5 c! E( E; s- Z
2.5.2.28 Raff
9 X4 b! ^# H4 Y" _! FS.551a, Einleitung und Coda zu Raffs Walzer in Des-dur (opus 54/1) (1880)
$ s: o" N- ?8 P2 p2.5.2.29 Rossini
. c+ ^3 I# d  m/ y: tS.552, Ouverture de l'opéra Guillaume Tell (1838)/ s: J6 ]; Q. Y$ p/ G! j8 m
S.552a, Caritas [La charité, first version] (1847). v: @7 w5 E$ d: Y4 A) u
S.552b, La caritá [La charité, simplified version] (1847)
2 G1 [" H1 ?, K/ aS.553, Deux Transcriptions [2 pieces] (1847)' [+ j2 v" A9 ^+ B2 B8 r' D* d
2.5.2.30 Rubinstein
% y" U' T0 p( p* a0 H% c( x- }S.554, Zwei Lieder [2 pieces] (1880)2 O7 `! X3 |8 S7 ~' d
S.554a, Einleitung und Coda sur des notes fausses (1880)
: \$ n' @' a$ k2.5.2.31 Saint-Saëns
4 f" H# A# |' J9 Q# y) x) r: pS.555, Danse macabre, Op. 40 (1876)
6 o8 _: J: _/ w/ x2.5.2.32 Schubert
. I, P0 {& V* g  q8 ~- f$ Q* IS.556, Die Rose [first/intermediate/second version] (1832, ca. 1837, 1838)/ S( K, y' S; M
S.557, Lob der Tränen (1837)+ R; s' x$ G' K4 V5 l
S.557a, Erlkönig [first version] (?)$ T% i- e! I4 v$ X
S.557b, Meeresstille [first version] (?)# X$ D: n' f9 a/ b
S.557b/bis, Meeresstille [first version, ossia] (?). b' v/ a, a$ J8 [7 P1 m
S.557c, Frühlingsglaube [first version] (?)
& B) z9 x* H8 ~# X* V3 |6 U1 bS.557d, Ave Maria (Ellens dritter Gesang) [first version] (?)7 x" q2 \+ j3 \" l7 U# R' h3 D$ A
S.558, 12 Lieder (1837-38)- c4 z% |' o2 c4 h  `& o: c
S.558bis, 12 Lieder [revised versions of Nos. 3, 4, 7, 8, 9, 11] (ca. 1839)6 W8 h7 t0 f" `
S.559, Der Gondelfahrer, Op. 28 (1838)
3 A, m$ v. H: |S.559a, Sérénade [Ständchen, first version] (1837)+ M; W' e2 z4 j+ \2 M
S.560, Schwanengesang [14 pieces] (1838-39)$ Q4 @& n1 s; g  H5 ?. k6 |
S.560bis, Schwanengesang [14 pieces, alternative versions] (ca. 1839)
6 K+ ?5 z0 a* F' l9 \S.561, Winterreise [12 pieces] (1839)
" ~  e$ q/ j7 c& N: oS.561, Winterreise [alternative versions of Nos. 2, 3, 7, 10,] (ca. 1839)* I' |! m& E# c% V0 q
S.562, Geistliche Lieder [4 pieces] (1841)5 x3 c, n' m" Q! k, h" ^# c
S.563, Six mélodies célèbres [6 pieces, 1st by Weyrauch] (1844)2 M+ Y, h- M# N, ~8 L2 a- S3 k7 k
S.564, Die Forelle [second version] (1846)
  a5 Y: v. _- m4 v  xS.565, Six Mélodies favorites de La belle meunière [6 pieces] (1846)7 V3 i) V& g$ n' y% g8 d
S.565bis, Müllerlieder [6 pieces, revised versions] (ca. 1879)
& W* ~: Q% X: e6 c/ ES.565a, Wandererfantasie (Grosse Fantasie in C-dur) (ca. 1868)1 }" z/ R) T5 s/ l$ T
S.565b, Schubert's Impromptus [2 pieces, Op. 90/2-3] (ca. 1868)
2 ~0 I6 A  q8 p9 k) E2.5.2.33 Schumann, r/ R: Q# `! W7 y
S.566, Widmung, Liebeslied (1848)
, r3 e9 }5 O6 P4 p% gS.566a, Widmung, Liebeslied [sketch of a more literal transcription] (1848)
* r3 J, d0 v& L2 QS.567, An den Sonnenschein, Rotes Röslein (1861)
3 O6 U$ @) o  l% J& KS.568, Frühlingsnacht (überm Garten durch die Lüfte) (1872)
; b9 k' p; p& hS.569, Zehn Lieder von Robert und Clara Schumann [10 pieces] (1872)4 T8 n* l+ J) c0 w; \
S.570, Provençalisches Minnelied (1881)
! n' T+ V0 \, ^  K3 Z3 T' A8 K2.5.2.34 Smetana* M  q1 w8 b0 k  Z  ]2 V0 y
S.570a, Einleitung und Coda zu Smetanas Polka (de salon, opus 7/1) (1880)6 O% S& A7 @; r& g: ~- ?
2.5.2.35 Spohr6 n. E5 f+ O4 H: p3 R4 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
3 S) V  @9 Z% }S.571a, Einleitung und Schlußtakte zu Tausigs dritter Valse-Caprice (1880)
) `4 B7 i0 R! |3 x4 _2.5.2.37 Szabady and Massenet
2 \$ S% G% C9 M- ^) yS.572, Revive Szegedin (1879)
9 v) Z. E* Q/ ?7 a2.5.2.38 Széchényi, Count Imre3 G: D* h! R4 s8 `' I# V: o: v
S.573, Bevezetés és magyar indulò (1872)% k+ F  c3 g$ w# f5 S! e' j9 J
2.5.2.39 Tirindelli* x: a( V  F7 g) T4 O- o0 n) z
S.573a, Seconda mazurka variata (1880)
4 H7 L7 ^- m  L. A" y2.5.2.40 Weber
) G7 u% `4 K1 g4 N& i4 dS.574, Ouverture Oberon (1846?)8 ^9 f4 P: {/ t7 E
S.575, Ouverture Der Freischütz (1840-41); Z* g1 A7 r: K7 T, ~
S.576, Jubelouverture (1846)
7 M- [5 H* ~" S2 |0 P3 HS.576a, Konzertstück, Op. 79 (ca. 1868)
# |) Z- O* G- S8 P  t# [2.5.2.41 Wielhorsky, Count Michael
0 B3 D& ^  N0 i9 e& y& J% ~& KS.577, Lyubila ya [first/second version] (1843, ?)
% }+ y5 x3 `) T: N3 E* |* S2.6 Pianoforte Duet(钢琴二重奏)
! X4 p, w5 K4 @  W2 s! |2.6.1 Field
/ ?' u& q3 l& D0 q( C& }& KS.577a, 11 Nocturnes (Nos. 1-9, 14, 18 and Nocturne Pastorale in E) (?)+ N2 o: g/ `5 E9 H5 S% b4 `1 a
2.6.2 Liszt9 S* X/ e3 L. n' i8 f4 q% G& m
S.578, 4 Pieces from St. Elisabeth (1862)
" h+ _6 H& [8 |9 o; f8 i1 M  aS.579, Christus Oratorio 4th and 5th section (?)
1 A' h- j# ^/ {S.580, Excelsior! - Preludio (?)
; Y9 n; a. }0 A/ ZS.581, Benedictus and Offertorium from the Hungarian Coronation Mass (1869)
0 x0 a8 `5 `) T0 s7 Q7 e- E; FS.582, O Lamm Gottes, unschuldig (1878-79)
' t" z8 I4 T. [4 e+ ^S.583, Via Crucis (?)" N8 `2 [4 U5 O5 X' _& H7 r
S.584, Festkantate zur Enthüllung des Beethoven-Denkmals in Bonn (1845)- P( Y  z9 G8 B9 A
S.585, Pastorale. Schnitterchor aus dem Entfesselten Prometheus (1861)
' E9 t+ q) p1 S5 y! p  ?$ kS.586, Gaudeamus igitur. Humoreske (1870)
! v0 `3 {$ b( J2 }5 \! LS.587, Marche héroique (?)4 S4 Y. b8 e7 @8 a: V7 J
S.588, Weimars Volkslied (Cornelius) (1857)' O# s7 V( o" ~
S.589, Ce qu'on entend sur la montagne (Poème symphonique No. 1) (1874)
8 P5 u5 y$ t* yS.590, Tasso, Lamento e Trionfo (Poème symphonique No. 2) (1858)* P: n9 |$ W* @. c8 o' p' W# I
S.591, Les Préludes (Poème symphonique No. 3) (ca. 1858); d: E  [/ ^; n9 B
S.592, Orpheus (Poème symphonique No. 4) (ca. 1858)
( N2 ]* ?4 S8 Y; b7 PS.593, Prometheus (Poème symphonique No. 5) (1858)5 l. U, M0 J3 c6 T' b: J
S.594, Mazeppa (Poème symphonique No. 6) (1874)
, L2 K2 b4 M* v8 s$ B" IS.595, Festklänge (Poème symphonique No. 7) (1854-61)* Z2 \1 N9 ?6 c5 l
S.596, Hungaria (Poème symphonique No. 9) (1874?)
8 K0 u- ~& F" V" _: M- GS.569a, Héroïde funèbre (Poème symphonique No. 8) (ca. 1877), u* K# B7 v5 e( V/ O
S.596b, Hunnenschlacht (Poème symphonique No. 11) (ca. 1877)
5 D, p* @" M% W. L* R" yS.596c, Die Ideale (Poème symphonique No. 12) (ca. 1874-77); i4 d- J5 h; x7 O( j0 c( D
S.597, Hamlet (Poème symphonique No. 10) (1874)
+ }; [/ X" Y) e- g5 P, B$ US.598, Von der Wiege bis zum Grabe (Poème symphonique No. 13) (From the Cradle to the Grave) (1881)9 y( Q, V. l) _7 i
S.599, Two episodes from Lenau's Faust (1861-62)
* N; w% k+ y5 n! D+ q李斯特全部作品目录-4
9 L% h* Z. o. V& m/ W+ s
; a. w, t9 C" g3 e# ~% w) }S.600, Mephisto Waltz No. 2 (1881). q7 r7 W% W. p) M/ n' p9 g3 C
S.601, Les Morts (Ode Funébre No. 1) (1866)
, l. y& T! h' e- z. u9 E  K* CS.602, La Notte (Ode Funébre No. 2) (1866)
0 `) |  m0 g! Y# K4 k) rS.603, Le Triomphe Funèbre du Tasse (Ode Funébre No. 3) (1866?)6 G8 I" y1 _4 \5 X0 I& _
S.604, Salve Polonia (1863)
1 ^/ q$ `' E- @0 gS.605, Künstlerfestzug zur Schillerfeier (1859)
6 u, ~/ b- @! d2 t7 [$ H8 n! L7 zS.606, Festmarsch zur Goethejubiläumsfeier (ca. 1858), _2 c5 e2 Q& \( \0 n7 r
S.607, Festmarsch nach Motiven von E.H. zu S.-C.-G. (ca. 1859)
5 Z  l4 H: I- x3 YS.608, Rákóczy March (1870)7 O$ z" ]9 m: n4 c
S.609, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (1870)# c2 I- R# }3 O. k5 Y
S.610, Ungarischer Sturmmarsch (1875)
' a4 o  k% f5 `" J  p$ p& o& eS.611, Epithalam (1872)
, U" O0 C2 a2 b% cS.612, Elégie (1874)% D6 b1 h- k( |0 j
S.613, Weihnachtsbaum (1876)! Q. o2 M5 L' _9 \: ?, l: \
S.614, Dem Andenken Petöfis (Petófi Szellemének) (1877), p8 r) {$ O# T' N4 F& S/ y
S.615, Grande Valse di Bravura (1836)/ o4 ]7 f6 g6 R: |! t7 y0 k4 C+ w: B
S.616, Grand Galop Chromatique (1838)% j# w( g& J2 U8 Z) q9 C7 {) M/ n2 Q
S.617, Csárdás macabre (1882)
1 o* Z1 \5 i6 f5 H( k5 s/ j2 PS.618, Csárdás obstiné (ca. 1884)" E( S3 S) R; q, b( ]
S.618a, Vom Fels zum Meer. Deutscher Siegesmarsch (?)
8 T, r  j9 ]1 ?* N3 XS.619, Bülow-Marsch (ca. 1883)6 E  v5 f9 o2 E2 s, @
S.619a, Festpolonaise (1876) [4]# h: J1 V: P* s, ?4 \( C5 q3 I$ A
S.620, Hussitenlied (Melody by J.Krov) (1840)
$ A. Z2 R* A% V4 r. k! l$ oS.621, 6 Hungarian Rhapsodies [from the orchestral version, S359] (1874)7 {4 l8 J* b3 e% \2 o# a- O
S.622, Rapsodie hongroise No. 16 (1882)! i5 c- u5 [6 K; I9 `( Y" H
S.623, Rapsodie hongroise No. 18 (1885)9 x5 H' _* u/ A
S.623a, Rapsodie hongroise No. 19 (ca. 1885)
# F/ m, ?2 c" ~0 I1 y; ]: H, E6 HS.624, Fantasy and Fugue on the chorale Ad nos, ad salutarem undam (1850)
! Y+ A( I6 P3 N( v# b6 Q- E3 c8 US.625, L'Hymne du Pape (Der Papsthymnus) (1865)& s& m' E4 X$ x
S.626, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)
. V7 q$ U7 w) |# b+ eS.627, Fantaisie sur des motifs de l'opéra La Sonnambula (Bellini) (1852)/ o8 Q  k- D& @
S.628, Bénédiction et serment (Berlioz's 'Benvenuto Cellini') (1852)% ^* l6 C$ a" I4 n, J- R
S.628a, Marche et cavatine (Donizetti's Lucia) (?)
3 l; C) y+ L, W- WS.628b, Szózat und Hymnus (Egressy and Erkel) (1873)
7 B5 \1 ?' h5 o9 o( M7 yS.629, Tscherkessenmarsch (Glinka's Ruslan i Lyudmila) (1843)
, ^0 V4 Y9 l0 V/ tS.630, Réminiscences de Robert le Diable - Valse infernale (Meyerbeer) (1841-43)+ A4 c6 I+ O, c( ~- R2 }! n: A
S.631, Andante finale und Marsch (Raff's 'König Alfred') (1853)
7 e) I& p; n6 x' C  ]S.632, 4 Marches (Schubert) (1879)9 H: g# I$ c5 h
S.633, A la chapelle Sixtine (Allegri Mozart) (1865)6 Q9 b3 j5 \: V. V2 b* g
S.634, Grand Septuor Op. 20 (Beethoven) (1841)) s1 K2 b: U2 C
2.6.3 Mozart$ {. b4 Z7 h& I9 q! Y# d
S.634a, Adagio from Mozart's Die Zauberflöte (1875-81?)
) L4 a5 R2 F  ]  M% Q- S2.7 Two Pianofortes(双钢琴)
3 d- W9 U0 }& J$ g: j2.7.1 Liszt1 r: `3 {8 O8 ^7 @- J' c6 I
S.635, Ce qu'on entend sur la montagne (Poème symphonique No. 1) (ca. 1854-57)
  O& q  K# X" i/ Y2 `9 _% h) L  vS.636, Tasso, Lamento e Trionfo (Poème symphonique No. 2) (ca. 1857)8 \; ~5 w0 v0 x# O, P% S
S.637, Les Préludes (Poème symphonique No. 3) (ca. 1854-56). n' ~9 a! p7 z4 m$ Y
S.638, Orpheus (Poème symphonique No. 4) (ca. 1854-56). j. |* c: E3 W: R1 H  |
S.639, Prometheus (Poème symphonique No. 5) (1855-56)+ f1 j* a9 B, |8 |; Y7 o
S.640, Mazeppa (Poème symphonique No. 6) (1855)
5 O' Z6 U* Z& l( }S.641, Festklänge (Poème symphonique No. 7) (ca. 1853-56): I$ s0 c8 q2 W; X
S.642, Héroide Funèbre (Poème symphonique No. 8) (ca. 1854-56)
6 {' J9 l8 |' m( l: z. pS.643, Hungaria (Poème symphonique No. 9) (ca. 1854-61)
- c$ ^7 i4 Y4 R) O: D. kS.644, Hamlet (Poème symphonique No. 10) (ca. 1858-61)+ f+ P) n, {# u7 g8 d! G
S.645, Hunnenschlacht (Poème symphonique No. 11) (1857)5 E% @* M8 v5 ^0 F5 g
S.646, Die Ideale (Poème symphonique No. 12) (1857-58)
- _3 V% b6 c: D* AS.647, A Faust Symphony, in three character pictures (1856)
; Y9 u1 V8 S5 H5 SS.648, A Symphony to Dante's Devina Commedia (ca. 1856-59)5 V5 A; W0 n/ e% Q" U$ d
S.649, Fantasie über Beethovens Ruinen von Athen (1865)8 Z- k" p) t/ U9 S6 E/ b8 A
S.650, Piano Concerto No. 1 in E flat major (1853)  W; s6 m9 {7 d/ T7 w
S.651, Piano Concerto No. 2 in A major (1859)/ h2 ]2 e. x% r+ }  Q& S& M. F; k0 C
S.652, Totentanz. Paraphrase on Dies Irae (1859)
4 `7 K! k! F: ?/ n  v" ?  [7 Y/ J9 ~S.653, Wandererfantasie (Schubert) (a. 1859)8 Q, u0 y) y$ z, w5 J, E- d+ W4 L
S.654, Hexaméron, Morceau de Concert (1837)& m2 K5 n2 C  H3 b/ M- x+ g% `
S.655, Réminiscences de Norma (Bellini) (1841)
7 [* K7 D3 Y9 N: z4 oS.656, Réminiscences de Don Juan (Mozart) (1841)( N5 t7 M& t8 y; ]0 J/ \
S.657, Symphony No. 9 (Beethoven) (1851)* a. @) `$ E1 @& `: Z! ~
S.657a/1, Piano Concerto No. 3 (Beethoven) (1878)9 Y% i4 B/ ^$ O" U
S.657a/2, Piano Concerto No. 4 (Beethoven) (1878)
8 x8 N0 A: k, eS.657a/3, Piano Concerto No. 5 (Beethoven) (1878)1 {; m3 T9 a. B6 a8 n0 O6 u& I1 a( {
S.657b, Bülow-Marsch [2-pianos, 8-hands] (1884)
: C" W/ v6 j. v! F8 v, g% b2.8 Organ(管风琴)
+ \6 f1 u1 v& |) [- ~2 y2.8.1 Allegri und Mozart+ P" v1 E( U# W$ |2 H% U
S.658, évocation à la Chapelle Sixtine (1862): L( ]' @0 J, H8 j
2.8.2 Arcadelt) G5 V7 p1 z- J$ |  o! c- i. C
S.659, Ave Maria (1862)
  s, X$ Q* V3 H  b2.8.3 Bach
2 c. I0 }" q0 m' W' O( i% a
6 @4 e- I# M& t( J) {2 AS.660, Einleitung und Fuge aus der Motette Ich hatte viel Bekümmernis und Andante Aus tiefer Not [2 pieces] (1860)
8 P" q7 k+ b0 W+ w+ {' wS.661, Adagio from Bach Violin Sonata No. 4 (BWV1017) (1864)/ D' t6 \" R4 h2 U/ f% M
2.8.4 Chopin) Z; V5 ]0 @1 y% v2 C2 C& G  G

# s# V: B5 f' _- G5 x1 h* z! P' d. p  sS.662, 2 Préludes from Op. 28 (Nos. 4, 9) (1863)  @7 ?8 k6 x, k+ d
2.8.5 Lassus# r" x* e$ m* c' ~0 F1 R5 v

, j# t. c4 ^& J. LS.663, Regina coeli laetare (1865)
, u- F, I' s2 a; }: L9 X1 C- S/ `2 G2.8.6 Liszt
* ]9 z/ a  B+ V8 r
0 C# ?3 H; U* B" q  fS.664, Tu es Petrus from Christus (1867)4 N0 D0 K. c# e
S.665, San Francesco (1880)
! B% Q4 l# r, h  \4 e- M3 }+ X, QS.666, Excelsior! - Preludio (?)
1 v) l* T( K, v" V/ w' F( lS.667, Offertorium from the Hungarian Coronation Mass (1867)
. r5 ?/ R6 R+ K$ vS.668, Slavimo Slavno Slaveni (1863)
9 M$ |" q& u# [3 |  o+ RS.669, Zwei Kirchenhymnen [2 pieces] (1877)
7 b, _$ J; K0 ^# S, y2 nS.670, Rosario [3 pieces] (1879)1 P9 \+ j/ R; W1 I' `
S.671, Zum Haus des Herrn (In domum Domini ibimus) (1884)& G7 Z% A) m# E6 f; M% T1 c
S.672, Weimars Volkslied (Cornelius) (1865)6 \8 u5 R6 F1 }9 z4 h: d( U
S.673, Weinen, Klagen' Variationen (1863)
/ }' g% a; C: D0 A% OS.674, Ungarns Gott. A magyarok Istene (Petófi) (1882)) `; U6 B8 q1 C
S.674a, O sacrum convivium [2 versions] (?)/ B: V' J6 ^; z
2.8.7 Nicolai; l+ t+ j' K& e+ K* O& ]
& @5 X, I0 W* @+ {# \( P3 n
S.675, Kirchliche Festoverture (1852)* u5 L! B( ]' ]9 M* ?
2.8.8 Wagner
. u' h7 d! k' p2 c9 M# k+ r9 ]) O- s2 J- r) [9 k6 e" k& F" q
S.676, Pilgerchor from Wagner's Tannhäuser (1860)
7 g. e0 F3 W4 O5 z6 I2.9 Organ with Other Instruments(管风琴和其他)
  \! _" e4 k, I2 Q0 ^
$ ~# _9 F6 K! u( J3 vS.677, Hosannah from Cantico del sol di San Francesco d'Assisi (for organ and bass trombone) (1862)0 M4 ?% s9 t1 Q# d& N
S.678, Offertorium and Benedictus from the Hungarian Coronation Mass (1869)
6 |9 ^' q$ d1 ]) w  KS.679, Aria 'Cujus animam' from Rossini's Stabat Mater (for organ and trombone) (?)& a2 R! u+ T' m6 l1 M8 P
Vocal Arrangements声乐
. x: C' O0 f2 U$ L) i
  J* j8 a8 |, {( E# O6 k/ \* mS.680, Ave maris stella (1868)1 ^8 W8 V4 c6 \
681, Ave Maria II (1869)
! u" }" \7 A- m! ?( I& n$ QS.682, Air du Stabat Mater (Rossini) (?)
3 D- P/ Z, n' D0 H3 _8 X, hS.683, Serbisches Lied (Hohenzollern-Hechtingen, Prince FWC. von) (?)
# a- E" H! j9 c0 H5 a# GS.684, Barcarolle vénitienne (Pantaleoni) (?)% Y; q# Z/ {3 K: i5 n) g
S.685, Es hat geflammt die ganze Nacht (Grand Duchess Pavlovna) (?)1 ]$ T6 C2 S3 U
0 F# K4 x+ V2 j/ ?
2.10 Recitations
1 M7 J* Y3 [) T; Z. P; aS.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
* m/ J1 ~1 H( R5 F3 E2 e" d

0 l. u8 |) ~- N" F* b
: ]6 e1 ]% Y2 X% n7 S9 t
4 J8 o$ h  l/ ~" t" d
/ s( d# ~- ~$ L1 L3 w
3 n4 G& e7 X2 u6 ~7 Q7 D+ k2 r
- O& S- Y3 K& |! \8 J- C
! k( p) z9 Z3 {/ Z2 Z6 U6 v, z0 R3. Appendix+ v/ i' e) V$ L6 C# q5 G. Z

. Y- z# g+ h. t5 F. R3.1 Unfinished Works
. q  Q4 `1 m1 F7 s7 K. l$ d# d  Z+ e- ]1 d7 N: `/ x
S.687, Sardanapale (Byron) [opera, partly sketched, 111 pages] (?)
! F6 b4 q% L. m9 a# `! Z* j' l# uS.688, Oratorio - Die Legende vom heiligen Stanislaus [sacred choral] (1873-85)  U% s+ M# @( g3 R( U  p- ~: h- C3 I
S.688a, St Stanislaus fragment [solo piano, Library of Congress] (1880-86)  g& T4 L0 y% y
S.689, Singe, wem Gesang gegeben [secular choral] (1847)8 q4 H8 l0 P8 q$ [, Y
S.690, Revolutionary Symphony [unfinished, revised 1848] (1830)
5 ~7 c* E' ~& m0 PS.691, De Profundis [piano and orchestra, De Profundis - Psaume instrumental] (1834?)- _6 _4 {) I: o( e, ]
S.692, Violin Concerto [only sketched] (1860)
) |4 c2 \2 j) x  M+ D/ pS.692a, The Four Seasons String quartet (Vivaldi) (1880?)
  Z* q  R- }' ^# a' P9 ?2 }( MS.692b, Anfang einer jugendsonate [solo piano] (1825)
" c* @+ W# v+ vS.692c, Allegro maestoso [solo piano] (1826)
+ v. L) s  U5 |7 p4 J; B. S, a0 rS.692d, Rákóczi-Marsch [solo piano, first version, simplified, unfinished] (1839)2 h3 t$ g: g/ d6 ]: d
S.692e, Winzerchor (Prometheus) [solo piano] (1850)& g' c( }6 I; q$ D9 R- d
S.693, Deux marches dans le genre hongrois [solo piano, 2 pieces] (1840?)
# r3 |8 d4 Y7 n- ?2 nS.693a, Zwei Stücke aus der heilige Elisabeth [solo piano] (1862)0 S6 D& K7 e3 T: D! l- r1 q
S.694, Fantasie über englische Themen [solo piano] (1840?); ?, N) n. g. X1 S7 i: W+ ]( j- j1 p5 C
S.695, Morceau en fa majeur [solo piano] (1843?)
/ W  C( N1 s8 Y5 hS.695a, Litanie de Marie [solo piano] (1847)% b; o0 k/ T' V7 s6 m
S.695b, Zigeuner-Epos [solo piano, 11 pieces] (ca. 1848)* M+ S: |/ x' A1 e3 t- s7 E! N
S.696, Mephisto Waltz No.4 (1884) 第四梅菲斯特圆舞曲- w& X: Q! m; e9 g+ j3 p
S.697, Fantasie über Themen aus Figaro und Don Giovanni (Mozart) [solo piano arrangement] (1842)  s: x2 V1 R# w5 X$ D  T
S.698, La Mandragore - Ballade de l'opéra Jean de Nivelle de L. Delibes [solo piano arrangement] (a. 1880)6 _" P) N7 _+ b) U) j
S.699, La Notte (Odes Funèbre no. 2) [solo piano arrangement] (1864-66)
" C9 Q$ ^- |6 T+ p+ {+ e" BS.700, Grand Fantaisie (Variations) sur des thèmes de Paganini [first/second version; completed by Mezö] (1845)6 _" C: V  ^* y7 h
S.700a, Variations sur Le Carnaval de Venise (Paganini) [solo piano arrangement] (?)
( K8 R8 V& J' w. C' D/ S* f! E/ E2 pS.701, Den Felsengipfel stieg ich einst hinan [song] (?)
& R5 E1 W' Q! }S.701a, Allegro di bravura [orchestra, arrangement] (ca. 1830)
0 K( n+ S- p& c% m6 u' TS.701b, Marie-Poème [solo piano] (1837)% r0 @! p0 q2 t8 L1 u6 ]# \
S.701c, Andante sensibilissimo [solo piano] (1880-86), o0 e# V6 f6 Z
S.701d, Melodie in Dorische Tonart [solo piano] (1860)
; _+ z$ H0 J, K& ?S.701e, Dante fragment [solo piano] (1839)" b# d/ Y: u9 `, ~) T; Q5 D. a
S.701f, Glasgow fragment [solo piano] (?)) S* `, r2 ~: i- J, H
S.701g, Polnisch - sketch [solo piano] (1870-79)
9 o0 K/ a9 @* Z/ o) |  E' T& \  aS.701h/1, Operatic aria - and sketched variation [solo piano] (?)
6 Q  W# H. y0 lS.701h/2, Valse infernale (Meyerbeer) - theme [solo piano arrangement] (?)
4 f) R( `) t/ T  P4 b$ c1 GS.701j, Harmonie nach Rossini's Carità (La charité) [solo piano arrangement] (1847); W" M9 w3 J' C1 y2 S" H$ d
S.701k, Korrekturblatt (to an earlier version of La lugubre gondola) [solo piano] (1882)' H2 d9 S  D2 g6 o2 ]
3.2 Doubtful or Lost$ g; R9 Y& M, L1 `- @

- C" _1 Q% _  A$ E0 g6 b3.2.1 Sacred Choral Works
" t4 I, I( M/ J# R7 i' ?+ e5 y: S/ H! \! |
S.702, Tantum Ergo (1822)
5 g% q9 s+ t7 c: dS.703, Psalm 2 (1851)
4 m* w8 k- H- n# i; P* _3 h$ r  yS.704, Requiem on the death of Emperor Maximilian of Mexico (?)
7 X5 R5 u' n6 c+ P% s* TS.705, The Creation (?)
+ b! Z' N9 ?: g3 |) V7 c3 O# KS.706, Benedictus [doubtful] (?)& n5 ]$ h& w1 Q& o6 x& f$ G  ]: V
S.707, Excelsior [arrangement, doubtful] (?)# L8 w. R" Y/ U+ N: `- L
3.2.2 Secular Choral Works; d  W* B7 C7 M% {
' h7 x! w$ t# W  E
S.708, Rinaldo [doubtful] (ca. 1848)" {: \0 Y1 F# \5 Y' L+ u
3.2.3 Orchestral Works) I( m/ K+ S4 C1 z% t

( @/ l9 L+ O5 M7 p8 ]) u3 BS.709, Salve Polonia [rediscovered, renumbered as S113] (1863)( [: v8 g! b- d, ?
S.710, Funeral March (?)
8 B2 _1 y# H3 k! v/ ^S.711, Csárdás macabre [arrangement] (?)1 T* b# x2 V) ]2 A' N. j6 M4 l! Q
S.712, Romance oubliée [arrangement] (?)6 x1 J& J, \2 `" M7 ]
3.2.4 Piano and Orchestra
+ t4 ]3 I' w  l) F7 ~5 i. U* L) d( v' s2 V* X
S.713/1, Piano Concerto in A minor (1825?)
& @9 k! L' G8 S& C" k. jS.713/2, Piano Concerto (1825?)0 r( ?$ F9 T3 T2 B7 t
S.714, Piano Concerto in the Hungarian style [by Sophie Menter, renumbered as S126a] (1885)
+ e9 [% C5 S( g& U( qS.715, Piano Concerto in the Italian style (?)' d8 B9 o! b5 O0 V9 U: R8 k) t
S.716, Grande fantaisie symphonique [orchestral] (?); Y, z# C# Z. I+ X+ s
3.2.5 Chamber Music  `' X+ N/ q) b) E. E. q; ^9 q

4 B2 E+ e  l/ C; M  a$ yS.717, Trio (1825)
! c: J, I8 y; c9 N9 e: Q* zS.718, Quintet (1825)
; a& a+ @4 r; iS.719, The Four Seasons String Quartet (Vivaldi) [rediscovered, renumbered as S692a]# m  z3 o! ]$ d2 G  k
S.720, Allegro moderato (?)
7 X& g2 q! _2 i& G* d" yS.721, Prelude (?)
4 i, y% D* w; s' n3 pS.722, La notte (Odes funèbre no.2) [rediscovered, renumbered as S377a] (1864-66)- O% t( z' C/ q
S.723, Tristia [arrangement, from Vallée d'Obermann S160/6] (1880-86 ?)2 ]9 y" E2 p4 y: x
S.723a, Postlude on theme from Orpheus [arrangement] (?)3 {5 V& \; h8 j: q- D
3.2.6 Pianoforte Solo
4 ~# V1 I2 k3 s9 T+ f8 F4 G' T+ Y& c, E7 H' H) B& t& ~
S.724, Rondo and Fantasy (1824)
3 i6 \0 U/ B; \. h: kS.725, 3 Sonatas (1825)/ P1 s. |/ l/ H5 M
S.726, Study (?)2 ^% D2 m5 K/ d$ p+ k+ F) q
S.726a, Valse (?)
" C8 }' i) t6 s6 X. Y; d李斯特全部作品目录-5
1 `$ f3 a  ~, G4 X. y/ f. ]' c% S  ?* i
S.727, Prélude omnitonique (?)8 x' Z3 L0 {0 Y1 z
S.728, Sospiri (Fünf Klavierstücke) [rediscovered, renumbered as S192/5] (1879)7 w3 K( C8 p8 \
S.729, [rediscovered, renumbered as 42(?)]% g5 c8 d5 l, N7 o8 x  Y
S.730, Dem Andenken Petöfis (Petófi Szellemének) [rediscovered, renumbered as S195] (1877)
* ^) f( \! O! K1 y3 @S.731, Valse élégiaque (?)
$ i* b" R- ~  [  zS.732, Valse Oubliée No.4 [rediscovered, renumbered as S215/4] (1883-84)
$ e7 s4 H0 e4 G3 t# J0 M1 }S.733, Marche hongroise (in E flat minor) [rediscovered, renumbered as S233b] (1844)" p' Y& G: F/ R9 Z) Z
S.734, Ländler (?)6 I# |* x% a$ b# P% q& ]- {) y
S.735, Air cosaque (?)
; D2 k  L0 A, ~2 US.736, Kerepsi csárdás (?)
, I8 n' \2 H4 z2 _S.737, 3 morceaux en style de danse ancien hongrois (?)0 s& |+ [8 F' N  Q$ X! O' F
S.738, Spanish folksong arrangement (?)
' R; h+ X+ B  H' x, q3.2.6.1 Arrangements. L; w* Q6 `' \; j

8 Z" P6 l0 ^1 S6 p8 }9 E9 }S.739, Corolian Overture (Beethoven) (?)
* c/ s+ {: P2 k2 uS.740, Egmont Overture (Beethoven) (?)+ q& U/ W! Y, k  t. y7 V/ l
S.741, Le carnaval romain - Overture (Berlioz) (?)
3 o, C6 ]) c- s( _: L+ vS.742, Duettino (Donizetti) (?)
6 B3 ^/ ^' f) Y* }& Y+ J! P- P/ ]' CS.743, Soldiers Chorus from Guonod's Faust (?)' L) K/ t/ k/ B, k
S.743a, Fantasia on themes from Halévy's Guitarero (b. 1841)
3 N  z. ~) Q$ l# ^: M0 w8 |: }3 pS.744, Paraphrase on Act 4 of Kullak's Dom Sebastien (?)
) R0 i2 S& t+ D  s$ h/ Z; D8 qS.745, Funeral March (?)9 B  I% U5 C8 R
S.746, Andante Maestoso (?)
2 m3 b: y  Y7 N1 {S.747, Poco adagio (from Missa Solemnis) (?)4 P" s/ R0 ~: D% D% N# x1 L
S.748, Overture to Mozarts "Die Zauberflöte" (?)
/ `' U8 L- f# J0 q4 iS.749, Preussischer Armeemarsch (Radovsky) (?)! J' z$ c  |0 t  n+ _
S.750, Siege de Corynthe, Introduction (?)  t2 K8 P" V2 r7 Q8 w9 ]8 q$ @! f
S.751, Nonetto e Mose, Fantasia on themes by Rossini (?)
  m) t6 |& N, J3 v- WS.752, Gelb rollt (Rubinstein) (?)
. p: X3 ^# [% l" P& ]- V5 f7 xS.753, Alfonso und Estrella, Act 1 (Schubert) (?)2 {5 G* q- L  T/ j+ l* J7 {1 T0 E
S.754, Seconda mazurka variata (Tirindelli) [rediscovered, renumbered as S573a] (1880)9 \3 T5 m% I/ X' c
3.2.7 Pianoforte Duet: p- L0 r9 R+ s6 e6 f' ~/ m

; }' K* \7 K1 D/ y7 v  \; gS.755, Sonata (?)3 a9 N- N+ `. [$ c3 e
3.2.8 Two Pianofortes
8 G: S; i8 D. C0 [3 _. m% r9 t2 Z" h% |7 ?7 K8 x
S.756, Mosonyis Grabgeleit (?)
( ~* Q4 z% e' j' I- hS.757, La triomphe funébre du Tasse (?)( j- s$ `1 U4 a! c+ P$ A3 i
3.2.9 Organ
) i6 d0 y- K' P5 o) l' ~2 n4 r9 s3 w
/ O/ c9 z) b& U1 h" t, US.758, The Organ (Herder) (?)
8 G& S$ n/ f5 M' [  fS.759, Consolation [arrangement] (?)9 v  G( A+ ~0 t( }2 O1 D3 I7 r
S.760, Cantico del sol di St. Francesco [arrangement] (?)5 u6 Q+ `7 D4 O/ {" Z- [
S.761, Marche funèbre (Chopin) [arrangement] (?)4 I2 V9 F6 d7 h# ^/ W7 K- }1 S
3.2.10 Songs/ l' F; G' L- }$ F; b; K
6 D* o9 p9 j, ^
S.762, Air de Chateaubriand (?)7 X; r5 g5 ~+ n3 Z" [: Q; w
S.763, Strophes de Herlossohn (?)
8 ?/ e, q: J# RS.764, Kränze pour chant (?)
" u6 z. m0 ^: E: s& vS.765, Glöcken (Müller) (?)* Q# b  l; F2 I8 ]. w  C/ Q
S.765a, L'aube naît (Hugo) (1842?)8 w5 z. Y1 e- W) a9 M) _
S.766, Der Papsthymnus (?)) T8 X$ d+ |, {  r$ @
S.767, Excelsior (?)
2 n' p$ I  u  w3 [7 M3.2.11 Recitations( E, @' A# S! v" Z4 C$ L* U
* i# q& U3 c5 e8 L. l3 a3 K6 \
S.768, Der ewige jude (Schubart) (?)8 V+ f6 K$ Q; U! U' ^8 D9 e
3.3 Supplement" Y. S( {6 O3 b8 e6 ~$ M$ g7 m  r; I

% H4 z& _! @6 N# o; c8 pS.990, Fantasy and Fugue on the chorale "Ad nos, ad salutarem undam" (played by Liszt to Walter Bache) [solo piano, arrangement] (b. 1862)% `) L- K1 ^, m3 K3 g7 R$ B
S.991, Waltz in A major [chamber, arrangement] (?)
5 g& T; G, u9 ]" j  |S.993, Wartburg Lieder (Scheffel) [orchestral, arrangement] (?)
& J8 m  a- H. v' z) U! X4 Y# g$ |S.994, Grand solo caractéristique à propos d'une chansonette de Panseron [solo piano, arrangement] (1830-32)3 x4 t. d! |! p( R5 }( [
S.995, Variations de bravoure sur des thémes de Paganini [unfinished] (1845)5 _* d+ F( }- z
S.996, Stabat Mater [solo piano] (1870-79 ?)
3 j' ]! R% M# M# H; W0 ]) cS.997, 5 Variationen über Romanze aus 'Joseph' (Méhul) (by Franz Xaver Mozart, attributed to Liszt) (ca. 1834)! M+ I4 w. L6 u8 G
S.998, Adagio in C [solo piano] (1841)
  Y) g$ y$ w4 h9 d% rS.999, Andante Maestoso [organ] (?)- c; v7 o; H3 S3 L+ Q" L
降E大调钢琴协奏曲（遗作）Piano Concerto in E flat Major Op.posth
( j/ a6 ?% w; v/ \' B6 j$ D2首悲歌 2 Elegies
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