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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》。: h& K  R' @2 Y. Y9 Y4 z
李斯特全部作品目录-1, q( `( U+ Y! V' @1 i

0 H, `, `# M" J8 [- d# w  q1.1 Opera(歌剧)
7 ]5 R  y2 F& V: J! m, E4 h- C1 l% N' ^4 _* c8 u& C; |
S.1, Don Sanche, ou Le chateau de l'amour (1824–25) 歌剧《唐切桑》8 P6 [- Z- \7 J5 K9 q
1.2 Sacred Choral Works(神圣的合唱作品)
* v' `: D- o9 h( s; M8 }* ^3 T/ i0 x0 U7 e5 {3 n
S.2, The Legend of St. Elisabeth (1857–62) 清唱剧《圣伊丽莎白传奇》* y8 t: y: f6 a5 s
S.3, Christus (1855–67) 清唱剧《基督》+ `' C- s* h0 Z+ X1 h6 S) o! |4 U
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》9 A* \7 }7 ^6 m
S.5, Die heilige Cäcilia (1874)7 h; X0 O' A! y" U2 E9 g7 K
S.6, Die Glocken des Strassburger Münsters (Longfellow) (1874)
5 x2 `! H; V( [5 hS.7, Cantantibus organis (1879)
% }* y9 T( H7 SS.8, Missa quattuor vocum ad aequales concinente organo [first/second version] (1848, 1869); {% h) M' a: H: o( \5 z* x
S.9, Missa solennis zur Einweihung der Basilika in Gran (Gran Mass) [first/second version] (1855, 1857–58)9 z+ x7 b: @; ]
S.10, Missa choralis, organo concinente (1865)9 P3 ?7 ?$ f- B" k
S.11, Hungarian Coronation Mass (1866–67)5 o4 v5 _" e- E( k, R
S.12, Requiem (1867–68)3 z4 |4 r) q5 v6 k/ r
S.13, Psalm 13 (Herr, wie lange ?) [first/second/third verion] (1855, 1858, 1862)# p5 V* y9 `/ n7 ?) c# J; F+ b
S.14, Psalm 18 (Coeli enarrant) (1860)
. H5 q; n% l1 F3 z; h8 D6 x4 O) rS.15, Psalm 23 (Mein Gott, der ist mein Hirt) [first version: chorus, soloist & orchestra] [second version: chorus, soloist & violin, piano, harp, organ] (1859, 1862)* _3 d% {: q9 C$ [
S.15a, Psalm 116 (Laudate Dominum) (1869)
% s% C* {: _1 dS.16, Psalm 129 (De profundis) (1880–83)9 U: E) A1 C- A2 m& v8 m# c$ e4 Y
S.17, Psalm 137 (By the Rivers of Babylon) [first/second version] (1859–62)
: H" P7 O6 P& B$ v5 ZS.18, Five choruses with French texts [5 choruses] (1840–49)8 X! O4 _2 Q) |; u( O! S
S.19, Hymne de l'enfant à son réveil (Lamartine) [first/second version] (1847, 1862)
2 H0 s  f3 v6 mS.20, Ave Maria I [first/second version] (1846, 1852)( B0 J2 G9 _% X3 @, x, t, c  y( c
S.21, Pater noster II [first/second version] (1846, 1848)
7 \$ K- b! A; j* lS.22, Pater noster IV (1850)
+ ]; Q0 q2 I2 fS.23, Domine salvum fac regem (1853)+ T1 n( |9 r+ B5 K- |. I' w( }8 `
S.24, Te Deum II (1853?)
/ J# g' @7 H8 Q) E& xS.25, Beati pauperes spiritu (Die Seligkeiten) (1853)
1 c' t5 f( ~2 k# C7 wS.26, Festgesang zur Eröffnung der zehnten allgemeinen deutschen Lehrerversammlung (1858)/ W8 F& x; \: s& R2 t; v
S.27, Te Deum I (1867)
* l  f9 W. \( S6 uS.28, An den heiligen Franziskus von Paula (b. 1860)* Q1 J+ q! I. n  v1 j9 r* G( b8 u
S.29, Pater noster I (b. 1860)) K" ~$ ~5 j% i7 N" A8 T9 ]* {
S.30, Responsorien und Antiphonen [5 sets] (1860)5 f1 `# a, K; o( J7 C5 a/ {
S.31, Christus ist geboren I [first/second version] (1863?)
4 ]7 S# V5 o0 D* B5 i' a, R4 PS.32, Christus ist geboren II [first/second version] (1863?)4 [" P2 P, V0 `$ a# r
S.33, Slavimo Slavno Slaveni! [first/second version] (1863, 1866)
" L# z2 P- _# U3 j6 c1 D' C, d5 ES.34, Ave maris stella [first/second version] (1865–66, 1868)! u/ B5 S! Q# P; ~
S.35, Crux! (Guichon de Grandpont) (1865)
( ?0 J+ j5 o4 A# G3 ?; m) QS.36, Dall' alma Roma (1866)7 ]: k4 }! i* _. @. x3 @
S.37, Mihi autem adhaerere (from Psalm 73) (1868)! k" G! [$ s, f" _; x! x
S.38, Ave Maria II (1869)
; e1 B2 e: ~5 yS.39, Inno a Maria Vergine (1869)
! Q) |+ w* c9 K. O0 O* |S.40, O salutaris hostia I (1869?)
6 t: P7 \) ~0 Z$ @* w: w1 XS.41, Pater noster III [first/second version] (1869)/ C8 Q7 f# C- G
S.42, Tantum ergo [first/second version] (1869)
$ ^6 T3 T6 j5 Y( ]0 g3 i* LS.43, O salutaris hostia II (1870?)& T1 U/ b! q6 P( b! }% B0 ?
S.44, Ave verum corpus (1871)
/ Y9 r9 Y/ z9 p9 O, T# bS.45, Libera me (1871)
7 y, M: Q0 k2 Q. _1 r2 m. iS.46, Anima Christi sanctifica me [first/second version] (1874, ca. 1874)$ Y1 R5 K/ v+ O0 ?9 I3 P) ]
S.47, St Christopher. Legend (1881)
8 ?# B4 X1 O0 i1 F2 R4 A# _$ DS.48, Der Herr bewahret die Seelen seiner Heiligen (1875)) x: e+ n) L( q5 Q5 T, D4 h# F9 P% o; l
S.49, Weihnachtslied (O heilige Nacht) (a. 1876)
8 w8 m" W# s. Z  ^- J: xS.50, 12 Alte deutsche geistliche Weisen (Chorales) [12 chorals] (ca. 1878-79)$ g  m* K. T2 `! X, g6 s" ~
S.51, Gott sei uns gnädig und barmherzig (1878)  O% G2 n' s$ q* V
S.52, Septem Sacramenta. Responsoria com organo vel harmonio concinente (1878)& A$ r: U5 F$ D) p( d) ^/ C
S.53, Via Crucis (1878–79)
, |! l5 Y  f  m. GS.54, O Roma nobilis (1879)
: I& V5 m% z$ S; Q, ?/ O* f; MS.55, Ossa arida (1879)
9 C% ~: N. `! L) V4 @' V! KS.56, Rosario [4 chorals] (1879)- G$ Z2 c; d" K4 x. b# q7 o! |* h
S.57, In domum Domino imibus (1884?)
6 i1 N% C# A7 a  I) g& MS.58, O sacrum convivium (1884?)
  k$ P) s8 [9 }: G, YS.59, Pro Papa (ca. 1880)
- p3 Y2 K$ A" l# p* f# X. o6 OS.60, Zur Trauung. Geistliche Vermählungsmusik (Ave Maria III) (1883)4 G+ U; x& Y6 T+ J, v; V+ u
S.61, Nun danket alle Gott (1883)" f* s# a4 x7 h
S.62, Mariengarten (b. 1884)5 w9 |' ?8 _, q- K6 r4 l% ?9 F
S.63, Qui seminant in lacrimis (1884)
; V5 F" {9 Q8 `1 @( F# iS.64, Pax vobiscum! (1885)
( ^3 f8 v0 z' |. g: b  Q7 _S.65, Qui Mariam absolvisti (1885)
+ Y. [9 z* Z- c5 d( U- bS.66, Salve Regina (1885)) V/ \$ r7 K- ]% W1 D, z  y
1.3 Secular Choral Works(世俗的合唱作品)- h: r: ~* q6 P1 t
S.67, Beethoven Cantata No. 1: Festkantate zur Enthüllung (1845)
5 |7 I* a' W( v8 I* JS.68, Beethoven Cantata No. 2: Zur Säkularfeier Beethovens (1869–70)
+ b; Z2 s, B4 jS.69, Chöre zu Herders Entfesseltem Prometheus (1850)
) s5 c# d9 N7 y: y9 V4 u2 D( z3 aS.70, An die Künstler (Schiller) [first/second/third verion] (1853, 1853, 1856)
+ {$ Z  j  ~( X7 K( PS.71, Gaudeamus igitur. Humoreske (1869)
& P8 ?+ s9 c* NS.72, Vierstimmige Männergesänge [4 chorals] (for Mozart-Stiftung) (1841)
" t: O( [* \4 \: r1 _% E& U# NS.73, Es war einmal ein König (1845)5 P5 J+ |7 g3 i) `$ G
S.74, Das deutsche Vaterland (1839)  G# @+ {/ B; A/ }$ M
S.75, über allen Gipfeln ist Ruh (Goethe) [first/second version] (1842, 1849)
# M6 @& N3 j9 z$ e- J8 C; |' o  U$ {S.76, Das düstre Meer umrauscht mich (1842)
1 g: j/ F2 L5 t" ^S.77, Die lustige Legion (A. Buchheim) (1846)9 F( n; W, f' g
S.78, Trinkspruch (1843)
3 A  A9 N8 F; vS.79, Titan (Schobert) (1842–47)
( J3 m# n* m* ~; d- v3 @( |" l$ TS.80, Les quatre éléments (Autran) (1845)  U) Z# Y2 V; |% B) F- g
S.81, Le forgeron (de Lamennais) (1845)- ^; K4 Y* M& d5 u" l' d% L
S.82, Arbeiterchor (de Lamennais?) (1848)
7 w& x. E* P% h' dS.83, Ungaria-Kantate (Hungaria 1848 Cantata) (1848)0 b3 G0 r' u$ B8 D2 a
S.84, Licht, mehr Licht (1849)  }8 Z7 H  N% C0 S
S.85, Chorus of Angels from Goethe's Faust (1849)
9 v. z- b) l) t6 c/ r7 U4 P) XS.86, Festchor zur Enthüllung des Herder-Dankmals in Weimar (A. Schöll) (1850)
; ]7 V- N1 W3 x6 KS.87, Weimars Volkslied (Cornelius) [6 versions] (1857)5 ?5 _- v- X. O' d' S! K
S.88, Morgenlied (Hoffmann von Fallersleben) (1859)7 K5 Q) G& [+ g7 q) _
S.89, Mit klingendem Spiel (1859–62 ?)6 Q' D1 `" b& a7 T8 m9 c6 a  m
S.90, Für Männergesang [12 chorals] (1842–60): A6 X: V4 [5 s( F! S
S.91, Das Lied der Begeisterung. A lelkesedes dala (1871)( R3 l( G/ N% S0 v3 Q3 o
S.92, Carl August weilt mit uns. Festgesang zur Enthüllung des Carl-August-Denkmals in Weimar am 3 September 1875 (1875)/ x' K, ]) h/ Q* z/ C/ Y) q! O
S.93, Ungarisches Königslied. Magyar Király-dal (ábrányi) [6 version] (1883)) b) x% R+ x- i/ i
S.94, Gruss (1885?)# m0 A: e9 m+ E* V% k+ v
1.4 Orchestral Works(管弦乐作品)+ m& a; _& e$ o, N9 \
7 }$ }6 t# @# o3 |" ?
1.4.1 Symphonic Poems(交响诗)
+ G7 w, O4 X" T' F
! C) D- n( z) g: b$ T  [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
: }, q0 @" l5 y  V+ nS.96, Poème symphonique No. 2, Tasso, Lamento e Trionfo [first/second/third version] (1849, 1850–51, 1854) 《塔索，哀叹与胜利》% m/ b2 r) F: I- r5 O/ T
S.97, Poème symphonique No. 3, Les Préludes (1848) 第三交响诗“前奏曲”3 Q+ C- M: P: s
S.98, Poème symphonique No. 4, Orpheus (1853–54) 第四交响诗 《奥菲欧》
* k6 T& H% l% P' g5 A2 kS.99, Poème symphonique No. 5, Prometheus [first/second version] (1850, 1855) 第五交响诗《普罗米修斯》
6 g8 y/ T& y, N; ?* VS.100, Poème symphonique No. 6, Mazeppa [first/second version] (1851, b. 1854) 第六交响诗《马捷帕》
8 F; L7 W  @2 Z9 e) GS.101, Poème symphonique No. 7, Festklänge [revisions added to 1863 pub] (1853) 第七交响诗《节日之声》$ j/ Z, Y2 p9 ]/ L; [$ v- O
S.102, Poème symphonique No. 8, Héroïde funèbre [first/second version] (1849–50, 1854)  第八交响诗《英雄的葬礼》6 v% n4 d. W2 B+ E5 u' J4 k
S.103, Poème symphonique No. 9, Hungaria (1854) 第九交响诗《匈牙利》5 M! u! y* R: ~. Q8 P
S.104, Poème symphonique No. 10, Hamlet (1858) 第十交响《哈姆雷特》
1 h$ T' |. \9 j* z0 [S.105, Poème symphonique No. 11, Hunnenschlacht (1856–57) 第十一交响诗《匈奴之战》
6 d" C9 i# {$ v! }, L8 QS.106, Poème symphonique No. 12, Die Ideale (1857) 第十二交响诗《理想》
4 _* K6 ^1 r& O& N, xS.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 v8 I% [' o5 b" Y( l
1.4.2 Other Orchestral Works(其他管弦乐作品)
) n7 J% q  o- m$ F
. l4 s- B7 o! c* V+ g% KS.108, Eine Faust-Symphonie [first/second version] (1854, 1861)
% I: x( g( B! v: p% {9 ^S.109, Eine Symphonie zu Dante's Divina Commedia (1855–56)
6 I' J* y, W4 dS.110, Deux épisodes d'apres le Faust de Lenau [2 pieces] (1859–61)
  E( f( q6 m/ X2 C* v$ s+ k; vS.111, Zweite Mephisto Waltz (1881)
- H* |1 |; P# X+ \. S  I( ~S.112, Trois Odes Funèbres [3 pieces] (1860–66)
* d& t! E7 Z+ @' J8 Q' PS.113, Salve Polonia (1863)6 N9 d$ p3 h0 i8 ?2 E
S.114, Künstlerfestzug zur Schillerfeier (1857)
6 A, E3 D( b, a7 IS.115, Festmarsch zur Goethejubiläumsfeier [first/second version] (1849, 1857)
4 q/ T, d+ D: x' S6 NS.116, Festmarsch nach Motiven von E.H.z.S.-C.-G. (1857)
# A  _; l( P) \! F  a# ?, yS.117, Rákóczy March (1865)
( p5 F) L6 Y" `* T7 e/ H' P- d9 RS.118, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (am 8 Juni 1867) (1870)
7 X9 M* X6 R" u0 X. R' G0 X; tS.119, Ungarischer Sturmmarsch (1875)' c, ?: h. u6 ^3 s+ B& j
1.5 Piano and Orchestra(钢琴与乐队)
( y* W7 ]9 w: n8 Q0 h6 I$ E+ @4 R' ~! p+ h+ }
  P/ r$ b* h9 ?' D! l
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)- R0 y6 v! Q6 r& W; p' [
S.121, Malédiction (with string orchestra) (1833)  诅咒  钢琴与弦乐队  }+ e- X( u3 ^8 S0 }
S.122, Fantasie über Beethovens Ruinen von Athen [first/second version] (1837?, 1849)
8 X( \" |* e& [, rS.123, Fantasie über ungarische Volksmelodien (1852) 匈牙利民歌主题幻想曲 为钢琴与乐队而作
' [4 \$ e  b; {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& x) I2 Z/ `6 x) N
S.125, Piano Concerto No. 2 in A major [first/second version] (1839, 1849) A大调第二钢琴协奏曲
9 r  A# ^- h' D: X* vS.125a, Piano Concerto No. 3 in E flat (1836–39)
( e( }9 x2 v0 G; Q5 [* }; nS.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& |6 k6 u' y% {, N% h* \
S.126a, Piano Concerto "In the Hungarian Style" [probably by Sophie Menter] (1885)
4 o$ s6 ?# U+ }- a0 G1.6 Chamber Music(室内乐等)7 ]3 s' o, ~6 t( c- [
: d9 I0 E8 Z5 U0 E8 d6 [3 f! F' p
S.126b, Zwei Waltzer [2 pieces] (1832)
% i) Y2 u; S8 i; C
9 P+ E2 Q0 Q; tS.127, Duo (Sonata) - Sur des thèmes polonais (1832-35 ?)
# r& v) P% {8 x& y7 QS.128, Grand duo concertant sur la romance de M.Lafont Le Marin [first/second version] (ca. 1835-37, 1849)& o4 K! L3 N3 z& l1 b
S.129, Epithalam zu Eduard. Reményis Vermählungsfeier (1872)
% H* ~: a( G  Q* e6 X  {/ ]S.130, élégie No. 1 [first/second/third version] (1874)
$ H. c- U, ?! U4 D. c5 q1 }+ C/ I( `S.131, élégie No. 2 (1877)- n: l( c- u. Y% Q- z" h
S.132, Romance oubliée (1880)
, b9 ~/ Q8 {  i2 X0 y: K6 WS.133, Die Wiege (1881?)
& y, P0 A7 P4 Y6 A) v, yS.134, La lugubre gondola [first/second version] (1883?, 1885?)8 d+ @6 B! F% I: `
S.135, Am Grabe Richard Wagners (1883)0 F; F/ v2 N- o8 ^- F1 H
1.7 Piano Solo
- c- M/ Y7 G1 C2 t: q) l3 }: e7 y0 q9 i- v6 n4 A8 l
1.7.1 Studies(钢琴练习曲)
% U  O1 M" m5 ^4 u- j4 B8 C, z$ S1 [- M0 M& U9 a; X
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# j6 }* t8 D1 L: e: |# V) S0 p
S.137, Douze grandes études [second version, 12 pieces] (1837) 《12首超技练习曲》
  k& f% f1 Y  c! `, xS.138, Mazeppa [intermediate version of S137/4] (1840) 练习曲“玛捷帕”* y/ C, K5 w3 b. j
S.139, Douze études d'exécution transcendante [final version, 12 pieces] (1852) 12首超技练习曲) k' B, I5 Q+ h% n  U9 T
S.140, études d'exécution transcendante d'après Paganini [first version, 6 pieces] (1838) 帕格尼尼超技练习曲/ m2 @4 Z3 o) r4 r
S.141, Grandes études de Paganini [second version, 6 pieces] (1851)  6首帕格尼尼大练习曲, h; p  P! y& P) x) L4 d
S.142, Morceau de salon, étude de perfectionnement [Ab Irato, first version] (1840) 高级练习曲“沙龙小品”- O5 K. M; F. C" M
S.143, Ab Irato, étude de perfectionnement [second version] (1852) 高级练习曲“愤怒”- U# {- `* b9 U0 t, }
S.144, Trois études de concert [3 pieces] (1848?)  3首音乐会练习曲5 j' A+ L* `: O' Q
1.    Il lamento
6 X% e0 O/ r4 ~+ m% i: W. o2.    La leggierezza
3 I  h/ f. q( r! f, E3.    Un sospiro( X! T5 w1 D3 f. |) [6 m
S.145, Zwei Konzertetüden [2 pieces] (1862–63)  2首音乐会练习曲
) B& `1 s- T" O5 H% ^- W1.    Waldesrauschen* W7 |6 M" ~& {3 [
2.    Gnomenreigen
# |' u. A/ B- |! P) a  I9 pS.146, Technische Studien [68 studies] (ca. 1868-80)  钢琴技巧练习! T5 ]0 ]0 F$ \( {- Y3 N( u  r
1.7.2 Various Original Works(各种原创作品)/ q/ N- B" c& Z# b7 d- y6 K( Z

2 N9 `$ c" F( T9 }3 D/ @S.147, Variation on a Waltz by Diabelli (1822)  狄亚贝利圆舞曲主题变奏曲
) |5 e# [5 L8 P7 t! u/ AS.148, Huit variations (1824?) 降A大调原创主题变奏曲0 p" }5 `& P9 s. w
S.149, Sept variations brillantes dur un thème de G. Rossini (1824?); |8 w- F1 T" X6 c) e+ P
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
# w( U# K' @% I) J# p6 mS.151, Allegro di bravura (1824) 华丽的快板
* u4 K, ~0 Z5 N$ iS.152, Rondo di bravura (1824) 华丽回旋曲4 b8 R$ v2 @; R8 u: c  \* v) \6 K
S.152a, Klavierstück (?)
1 r+ X$ b$ \1 ?- ^) z4 N) M  Q5 KS.153, Scherzo in G minor (1827) g小调谐谑曲+ `& _+ z; x% z  j% O; }) ^) z
S.153a, Marche funèbre (1827)
6 _1 D' Z+ K- B: T6 ES.153b, Grand solo caractèristique d'apropos une chansonette de Panseron [private collection, score inaccessible] (1830–32) [1]
, k0 D7 y* H' ]% TS.154, Harmonies poétiques et religieuses [Pensée des morts, first version] (1833, 1835) 宗教诗情曲: C+ b. N! e$ w: J7 b
S.155, Apparitions [3 pieces] (1834) 显现 三首钢琴小品* S3 E$ M. R. O$ g, B0 U
S.156, Album d'un voyageur [3 sets; 7, 9, 3 pieces] (1835–38) 旅行者札记
/ G- q* ^* K8 iS.156a, Trois morceaux suisses [3 pieces] (1835–36)
; F7 x+ s/ m5 p- a$ M9 {0 AS.157, Fantaisie romantique sur deux mélodies suisses (1836) 浪漫幻想曲3 D9 e2 I  `6 o$ M$ y
S.157a, Sposalizio (1838–39)
9 ~9 i8 }6 r. i5 f/ A( xS.157b, Il penseroso [first version] (1839)0 k8 ~3 ?0 o' D2 ?; ?! ^% C
S.157c, Canzonetta del Salvator Rosa [first version] (1849)
, G6 X2 l  O& ]6 qS.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1 Q0 _9 j! J  q- Y) k# y
S.158a, Paralipomènes à la Divina Commedia [Dante Sonata original 2 movement version] (1844–45)
0 A& v+ L$ R7 m( FS.158b, Prologomènes à la Divina Commedia [Dante Sonata second version] (1844–45)
7 U/ u* p7 q% @) e: w/ b- B4 wS.158c, Adagio in C major (Dante Sonata albumleaf) (1844–45)
0 C' V! f, w; L. A, n- R) t+ GS.159, Venezia e Napoli [first version, 4 pieces] (1840?)  威尼斯和拿波里0 Y# J" G2 f0 ?) ]
S.160, Années de pèlerinage. Première année; Suisse [9 pieces] (1848–55)  旅行岁月（第一集）- 瑞士游记( w6 ?7 t8 u& Q  u% ^9 b1 e" b
S.161, Années de pèlerinage. Deuxième année; Italie [7 pieces] (1839–49) 旅行岁月（第二集）- 意大利游记
7 d4 f+ q; U/ V8 h" gS.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
& _8 x$ o# O/ Q; j. j9 c. Z& KS.162a, Den Schutz-Engeln (Angelus! Prière à l'ange gardien) [4 drafts] (1877–82)
5 ]$ t- o, p( TS.162b, Den Cypressen der Villa d'Este - Thrénodie II [first draft] (1882)- h9 W2 k0 ]: k5 G" x* Z7 y' D5 r' h
S.162c, Sunt lacrymae rerum [first version] (1872)
7 S; `2 u; P3 b3 w, o$ F: uS.162d, Sunt lacrymae rerum [intermediate version] (1877)
  j, [  t5 Q/ o' j8 g7 b* g7 D  wS.162e, En mémoire de Maximilian I [Marche funèbre first version] (1867); s0 w  }; Z# n4 A: c' T; L
S.162f, Postludium - Nachspiel - Sursum corda! [first version] (1877)8 w3 _) V* _- {: W. Q% {
S.163, Années de pèlerinage. Troisième année [7 pieces] (1867–77)   旅行岁月（第三集）
$ E1 O. I' f$ c# X" s0 r- PS.163a, Album-Leaf: Andantino pour Emile et Charlotte Loudon (1828) [2] 降E大调纪念册的一页
3 s# u4 G% h  KS.163a/1, Album Leaf in F sharp minor (1828)降E大调纪念册的一页- }5 d- |0 J& ?3 ~
S.163b, Album-Leaf (Ah vous dirai-je, maman) (1833)' w9 M* R5 ?& y! r5 o
S.163c, Album-Leaf in C minor (Pressburg) (1839)
0 Q8 ]6 F1 u/ k6 o7 E5 t7 b& r8 `S.163d, Album-Leaf in E major (Leipzig) (1840)
2 \# V3 z. X7 A/ lS.164, Feuille d'album No. 1 (1840) E大调纪念册的一页
# J, C/ Y9 v3 M2 o! HS.164a, Album Leaf in E major (Vienna) (1840)
  P' n7 p7 j; @/ f( T9 PS.164b, Album Leaf in E flat (Leipzig) (1840)
0 h0 o4 J' m- IS.164c, Album-Leaf: Exeter Preludio (1841)
, F7 \0 w' p1 t2 g  f/ P1 kS.164d, Album-Leaf in E major (Detmold) (1840)
# }% y$ I! _# rS.164e, Album-Leaf: Magyar (1841)! X5 M! d2 t6 i" u
S.164f, Album-Leaf in A minor (Rákóczi-Marsch) (1841), x6 F. _; j% n) F- X) Z' [7 `
S.164g, Album-Leaf: Berlin Preludio (1842)) i  ^$ L: l" n' o
S.165, Feuille d'album (in A flat) (1841) 降A大调纪念册的一页
* M& C9 ^% F: o$ vS.166, Albumblatt in waltz form (1841) A大调圆舞曲风格纪念册的一页
8 n. E  @2 F1 P+ q& hS.166a, Album Leaf in E major (1843)5 i. |4 X5 ?" {# C: e; t$ P
S.166b, Album-Leaf in A flat (Portugal) (1844)
: ?2 f- Z3 `* L. Z1 Y  [, F: hS.166c, Album-Leaf in A flat (1844)* l9 H* c* u+ \: R8 @6 T9 e0 Z
S.166d, Album-Leaf: Lyon prélude (1844)# `: s9 w4 ?1 M
S.166e, Album-Leaf: Prélude omnitonique (1844)
  s9 |# _- S3 U' Z; zS.166f, Album-Leaf: Braunschweig preludio (1844)
' k; A3 C! w5 A8 F, f6 u+ d  pS.166g, Album-Leaf: Serenade (1840–49)
! y! J" j6 ]1 KS.166h, Album-Leaf: Andante religioso (1846). i6 a. ?- i' o; u4 B( P; r8 u
S.166k, Album Leaf in A major: Friska (ca. 1846-49)
( w- z# v6 n$ ]6 h# z: x  mS.166m-n, Albumblätter für Prinzessin Marie von Sayn-Wittgenstein (1847)
8 u/ B, B. B3 M0 c$ TS.167, Feuille d'album No. 2 [Die Zelle in Nonnenwerth, third version] (1843) a小调纪念册的一页6 I( F# G0 O1 q3 j6 I) w, o
S.167a, Ruhig [catalogue error; see Strauss/Tausig introduction and coda]
1 [1 A8 b! o9 T, ES.167b, Miniatur Lieder [score not accessible at present] (?)! x+ s. C* w8 v8 H
S.167c, Album-Leaf (from the Agnus Dei of the Missa Solennis, S9) (1860–69)  {  A( e7 {1 l+ @. A  C8 p
S.167d, Album-Leaf (from the symphonic poem Orpheus, S98) (1860)$ Q, p  v% K1 n( {
S.167e, Album-Leaf (from the symphonic poem Die Ideale, S106) (1861)5 Q# L5 I" c: G
S.167f, Album Leaf in G major (ca. 1860)
. l( U/ ~; P1 a# ^- ]7 M7 R" nS.168, Elégie sur des motifs du Prince Louis Ferdinand de Prusse [first/second version] (1842, 1851) 悲歌
2 e$ ?/ Z  O( d6 U) }S.168a, Andante amoroso (1847?)9 a& n# T+ L8 Y5 t- C# P+ Q
S.169, Romance (O pourquoi donc) (1848) e小调浪漫曲
( [5 F+ c# g3 I/ J  wS.170, Ballade No. 1 in D flat (Le chant du croisé) (1845–48) 叙事曲一2 l( p$ U" @, d$ C8 c* A6 e$ w
S.170a, Ballade No. 2 [first draft] (1853)2 k. k) n- Q) A( M
S.171, Ballade No. 2 in B minor (1853) 叙事曲二8 ^4 L4 t! y" k8 z  C( V0 R5 n7 |! E
S.171a, Madrigal (Consolations) [first series, 6 pieces] (1844)/ M; s0 g9 h: R, X8 C# K; }
S.171b, Album Leaf or Consolation No. 1 (1870–79)
  Y+ @' i( x) ?* P$ s8 L0 w) a0 QS.171c, Prière de l'enfant à son reveil [first version] (1840)
7 r8 E- W7 Z' Q9 Y! i% u5 ~) tS.171d, Préludes et harmonies poétiques et religie (1845)
: g! E9 d; s" w! tS.171e, Litanies de Marie [first version] (1846–47)! |& U# \  W+ w* i2 w% [3 q1 v
S.172, Consolations (Six penseés poétiques) (1849–50) 6首安慰曲0 s) w4 O. j8 P; P" _" E- S) Y
S.172a, Harmonies poétiques et religieuses [1847 cycle] (1847)
6 G6 D) a6 _( ?6 e. ^, hS.172a/3&4, Hymne du matin, Hymne de la nuit [formerly S173a] (1847)9 b" ]- k+ l, K" i6 c
S.173, Harmonies poétiques et religieuses [second version] (1845–52) 诗与宗教的和谐$ ?8 m, D5 S( z$ X8 E0 T2 l: d( Z
S.174, Berceuse [first/second version] (1854, 1862) 摇篮曲4 M8 y# J/ g- j3 }9 k
S.175, Deux légendes [2 pieces] (1862–63) 2首传奇
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 楼主| geci110 发表于 2015-7-22 18:34:13 | 显示全部楼层
1.    St. François d'Assise. La prédication aux oiseaux (Preaching to the Birds)" |0 r+ D! J+ u5 o2 S
2.    St. François de Paule marchant sur les flots (Walking on the Waves)
  U4 g1 l! C4 i  `S.175a, Grand solo de concert [Grosses Konzertsolo, first version] (1850)
* g5 N0 K3 q5 k2 \2 bS.176, Grosses Konzertsolo [second version] (1849–50 ?) 独奏大协奏曲
2 V3 G3 q3 u+ E: [- MS.177, Scherzo and March (1851) 谐谑曲与进行曲0 |' A- y' N7 C0 x* {
S.178, Piano Sonata in B minor (1852–53)  b小调钢琴奏鸣曲
3 w  u; k7 G7 \% ?4 W' M4 NS.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  [# [$ v' M- G* M2 f. ?( R
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1 \3 a- F+ \! t& F
S.181, Sarabande and Chaconne from Handel's opera Almira (1881)6 n5 M3 N# w6 R7 e  `/ u4 E. s& }
S.182, Ave Maria - Die Glocken von Rom (1862) 圣母颂“罗马的钟声”3 f; k" \4 h" |, f( U
S.183, Alleluia et Ave Maria [2 pieces] (1862) 哈利路亚与圣母颂
) }3 o" i. D$ t3 L5 U& zS.184, Urbi et orbi. Bénédiction papale (1864)
* c& K! X/ ~+ BS.185, Vexilla regis prodeunt (1864)' J6 G0 O. @3 g  M/ k4 G! f
S.185a, Weihnachtsbaum [first version, 12 pieces] (1876)' I8 g; n4 {6 O$ L0 v  R; f3 U
S.186, Weihnachtsbaum [second version, 12 pieces] (1875–76) 钢琴曲集《圣诞树》( [' @4 @' M6 J) d4 L  X. B1 a
S.187, Sancta Dorothea (1877) 圣多萝西娅* l- k/ }9 o- j
S.187a, Resignazione [first/second version] (1877)% t$ _& W  ]. z9 D' Q  U7 E
S.188, In festo transfigurationis Domini nostri Jesu Christi (1880) 我主耶稣基督之变形
) w- T' \% T8 r4 `) O: x5 o% KS.189, Klavierstück No. 1 (1866), H) z9 k+ @$ X) b5 i
S.189a, Klavierstück No. 2 (1845)
3 A+ X: \3 S" {) ^0 B" @  }S.189b, Klavierstück (?)& n; p8 T, ^2 l# d# g. x  j1 Y6 W7 m- h
S.190, Un portrait en musique de la Marquise de Blocqueville (1868)
% F- X3 B6 S0 R& VS.191, Impromptu (1872) 升F大调即兴曲“夜曲”  q: d0 x% N3 x7 O0 V
S.192, Fünf Klavierstücke (for Baroness von Meyendorff) [5 pieces] (1865–79) 5首钢琴小品" |5 b8 W2 Q/ a, j- }5 M
S.193, Klavierstuck (in F sharp major) (a. 1860) 升F大调钢琴小品
2 V5 m* I. h$ A! OS.194, Mosonyis Grabgeleit (Mosonyi gyázmenete) (1870) 在莫佐尼墓前
; N7 V/ K6 C# l$ oS.195, Dem andenken Petofis (Petofi Szellemenek) (1877) 纪念裴多菲
0 g* [. y8 O/ |3 C( g2 q  w1 U6 rS.195a, Schlummerlied im Grabe [Elegie No 1, first version] (1874). v* D3 Z" Y) ?
S.196, élégie No. 1 (1874)$ A3 c$ t9 a# G' t
S.196a, Entwurf der Ramann-Elegie [Elegie No 2, first draft] (1877)/ D0 @  V7 \: V7 S3 S6 q3 K6 e- n
S.197, élégie No. 2 (1877)
5 e$ B! Q4 d/ O1 BS.197a, Toccata (1879–81) 托卡塔
& c/ m( |5 j1 f* \, CS.197b, National Hymne - Kaiser Wilhelm! (1876)
2 d4 T! G0 y! T( M" vS.198, Wiegenlied (Chant du herceau) (1880) 摇篮曲& w. X4 p: s2 n8 s5 T
S.199, Nuages gris (Trübe Wolken) (1881) 灰色的云- a7 k1 o' u+ ?# A% o: M3 a; p& ?
S.199a, La lugubre gondola I (Der Trauergondol) [Vienna draft] (1882)1 K" T9 Y0 S! ?
S.200, La lugubre gondola [2 pieces] (1882, 1885) 葬礼小船4 s7 J7 Y. a; W' `) E( X
, o2 b. @& ?) O& v& d
李斯特全部作品目录-2
5 s3 H! F1 }. ~7 Q  S- v. h" e  U  ^+ ], K
S.201, R. W. - Venezia (1883) 告别瓦格纳和威尼斯7 W% Z% B. w- I5 L8 ]7 b1 v; v
S.202, Am Grabe Richard Wagners (1883) 在瓦格纳墓前
. r" Y3 K, ^5 Y5 ]S.203, Schlaflos, Frage und Antwort (Nocturne after a poem by Toni Raab) (1883) 夜曲“沉睡，思考和回答”
7 t) r/ `) Z5 p  tS.204, Receuillement (Bellini in Memoriam) (1877) 冥想# x" o. _1 e) K: ?; a; S
S.205, Historische ungarische Bildnisse (Magyar arcképek) [original version, 7 pieces] (1885) 匈牙利历史人物肖像
# J9 p% w2 ^! K/ ?4 zS.205a, Historische ungarische Bildnisse [revised order and conclusion, 7 pieces] (1885)& K5 r) |8 F/ T: v7 b& p! s
S.206, Trauervorspiel und Trauermarsch (1885) 葬礼前奏曲和葬礼进行曲0 I5 \- l9 j2 q  U: U
S.207, En rêve. Nocturne (1885) 夜曲“梦中”& N% G/ w& n( }0 L
S.207a, Prélude à la polka de Borodine (and Borodin's Polka) (1880); k) u- J. h, i
S.208, Unstern: sinistre, disastro (1880–86) 凶兆、灾难
" {; q; M4 a! F1.7.3 Works in Dance Form(为舞蹈的作品)
8 p  x5 ?. N: e# w! W; Z6 I  J3 }) x6 V. j/ K( C3 ~/ a
S.208a, Waltz (in A major) (b. 1825) A大调圆舞曲. c! r) ~$ c6 m
S.209, Grande valse di bravura [first version of S214/1] (1835) 华丽的大圆舞曲
+ [! V' V& M4 n" b4 _# j( ?S.209a, Waltz (in E flat) (1840)
# J+ k9 M; b2 U( ~, wS.210, Valse mélancolique [first version of S214/2] (1839) 忧郁圆舞曲
# j) ^5 x) X% ~% tS.210a, Valse mélancolique [intermediate version] (1840)5 h% g4 ^& V8 A$ O- i( M2 S
S.210b, Valse (in A major) (1830–39)2 [0 t6 |. `4 @3 j4 O3 D
S.211, Ländler (in A flat major) (1843) 降A大调兰德勒舞曲
" Y) i" u; Z+ }  x* ^' n8 ?S.211a, Ländler (in D major) (1879)4 a" y' p6 z# D- v
S.212, Petite valse favorite [first/second version] (1842, 1843)- A/ {% T! t6 I4 p) P0 T$ d
S.212b, Mariotte. Valse pour Marie (1840)
% A/ n% `; X) ?& QS.213, Valse-impromptu (1850?) 即兴圆舞曲
: L9 Z$ L$ G5 l) ?8 r6 S9 c$ US.213a, Valse-impromptu [with later additions] (1880)% x9 a% \6 D  C2 h# @4 [5 E9 h7 w& K
S.214, Trois caprice-valses [3 pieces] [second versions of S209, S210, S401] (1850?)" U/ g: i& m( j
S.214a, Carousel de Madame Pelet-Narbone (ca. 1875-81)
& S" B  A5 S6 QS.215, Valses oubliées [4 pieces] (1881–84) 4首被遗忘的圆舞曲
7 S8 g) V+ y' b2 @% m1 m: bS.215a, Dritter Mephisto-Walzer (Mephisto Waltz No. 3) [first draft] (1883)* T. _$ w$ t; F: K2 G- j2 _
S.216, Dritter Mephisto-Walzer (Mephisto Waltz No. 3) (1883) 第三梅菲斯特圆舞曲
% w8 [9 T: L% g0 J7 u: RS.216a, Bagatelle sans tonalité (1885)
5 {( g; M" b4 jS.216b, Vierter Mephisto-Walzer (Mephisto Waltz No. 4) [first version] (1885)  第四梅菲斯特圆舞曲
$ q8 R, d6 b9 r' i. b( D- ?S.217, Mephisto Polka [first/second version] (1883) 梅菲斯特波尔卡
: C, N  b7 {8 ?6 q# m# z. DS.218, Galop (in A minor) (1841?) a小调加洛普舞曲
9 H1 j6 E7 q# L6 d( [' yS.219, Grand galop chromatique [original version] (1838) 华丽的半音阶加洛普舞曲
6 e" A$ r7 _3 N$ f3 _S.219bis, Grand galop chromatique [simplified version] (1838); ^1 i3 R0 F7 D4 A
S.220, Galop de Bal (1840?)9 D+ z+ s2 }* w( R6 H
S.221, Mazurka brillante] (1850) 华丽玛祖卡
  U: O/ G9 L& D$ d0 U5 k7 |& J: u" MS.221a, Mazurka in F minor [Not by Liszt?] (?)
! W7 H, x9 Z- W2 k5 c* uS.222, [catalogue error; same as S212]( `5 O2 E4 x/ [) N
S.223, Deux Polonaises [2 pieces] (1851) 2首波洛奈兹舞曲8 @- b7 O7 V; Y5 u5 m
S.224, Csárdás macabre (1881–82)
2 e. n" o- t# i# n, P9 R# OS.225, Two Csárdás [2 pieces] (1884)3 r# {7 p+ A( G
S.226, Festvorspiel (1856)
' v) U  F7 S+ W2 G; H8 iS.226a, Marche funèbre (1827)# s8 J0 ?- @; P8 S+ W5 ]
S.227, Goethe Festmarsch [first version] (1849)' p1 Z, J$ ~$ \+ y& {# W% \1 \
S.228, Huldigungsmarsch [first/second version] (1853)
. o, C0 D1 \" U4 b7 HS.229, Vom Fels zum Meer! - Deutscher Siegesmarsch (1853–56)
/ D, Q1 R4 M; ~& |S.230, Bülow-Marsch (1883)
' {- r& R4 \# }S.230a, Festpolonaise (1876)
  F5 h" f" n1 L" e. m; d7 vS.231, Heroischer Marsch in ungarischem Stil (1840)4 j2 f" \2 U7 J& g2 {4 C
S.232, Ungarischer Sturmmarsch [earlier version of S524] (1843?)/ Y" q2 ~1 \7 }" z' w  N; Y
S.233, Ungarischer Geschwindmarsch (1870)4 r7 O$ x+ P6 E- `8 i; s
S.233a, Siegesmarsch. Marche triomphale (Victory March) (?)
5 b8 ~) b8 k' w' @/ iS.233b, Marche hongroise (in E flat minor) (1844)$ O9 G' D8 i, v6 w
1.7.4 Works on National Themes(主题作品)
8 Z0 |! p& n; k# {1 ~4 x% R( e
& L, f% e2 S, Y2 q  g1.7.4.1 Czech
' |" ]9 r* n$ x% @. j+ W9 ?4 s2 `9 b- l% `
S.234, Hussitenlied (Melody by J.Krov) (1840), y  C) R# U* Q* j
1.7.4.2 English5 c. m, e2 C: I/ ?1 }( a4 M0 G' y
/ Z3 P5 T1 U. c6 D& k
S.235, God Save the Queen (1841)" g, q- e9 O8 n
1.7.4.3 French
; {- a: J/ ~( g  k; y7 S: W
: I& O5 f! B. a- d( V- I: _! nS.236, Faribolo Pasteur and Chanson du Béarn [2 pieces] (1844)8 x6 f1 I! i4 M) j7 I! Q
S.237, La marseillaise (1872?)
, l9 g2 q, }7 Q" X( J/ R$ [3 z) wS.238, La cloche sonne (1850?); g( o" d% d* t& q, q9 y
S.239, Vive Henri IV (1870-80 ?)
% t1 O9 C" o2 O  J1.7.4.4 German
5 b4 i$ [* e! R% W7 z
5 w9 O' N( N5 K  n9 tS.240, Gaudeamus igitur. Concert paraphrase [first/second version] (1843, 1853)' s" M7 G0 |3 ?8 n
1.7.4.5 Hungarian
; Z5 J4 O- p- p0 ~) E# D0 s( L2 N  T
S.241, Hungarian Recruiting Songs (Zum Andenken) (By Fáy & Bihari) (1828)
+ F3 B2 A. D7 T9 h. Q3 E4 ZS.241a, Ungarische Romanzero (Hungarian Songbook) [18 pieces] (1853)  i* ]3 @  C% }2 I5 r
S.241b, Magyar tempo (1840)7 @9 U$ a8 @/ ]9 Y$ ^  T0 t
S.242, Magyar Dalok: Magyar Rapszódiák [21 pieces] (1839–47)
9 |# S# v3 c8 [# YS.242a, Rákóczi-Marsch [first version] (1839–1840)
# U: P3 U% D8 w& {- M# AS.243, Ungarische National-Melodien [3 pieces] (ca. 1843)
$ D6 `8 t" Q" }/ GS.243a, Célèbre mélodie hongroise (a. 1866)
7 o# E, K/ ^4 V' T# Y9 ]: z+ K+ fS.244, Hungarian Rhapsodies (Rapsodies hongroises) [19 pieces] (1846–86)  19首匈牙利狂想曲7 s/ a4 u* A* M# n- b  y2 k3 v
S.244a, Rákóczi-Marsch [from orchestral version] (1863)
; H; z$ z/ {8 lS.244b, Rákóczi-Marsch [simplified version of S244a] (1871)
8 o) y% M$ @' C5 n: RS.244c, Rákóczi-Marsch [popular version] (?)
0 O; o: H1 ?' e/ ]6 v- C6 H9 gS.245, Fünf ungarische Volkslieder (Abranyi) [5 pieces] (1873)
% t$ h% p) ?5 o* U! ?# Y0 G% j% mS.246, Puszta-Wehmut (A Puszta Keserve) (1880–86 ?)
1 y4 j/ G& v( ]1 R& k1.7.4.6 Italian
% A; p5 l5 q4 ~9 s7 Y9 c" h
) S' d: e) H2 F6 {! P( xS.248, Canzone Napolitana [first/second version] (1842)1 |% N0 h# f  i3 j( R, `( {, _- M
1.7.4.7 Polish% ^2 o1 q- ~+ ^! T
  |8 h6 U! [. B
S.249, Glanes de Woronince [3 pieces] (1847–48)
0 u0 v6 M! o8 }* fS.249a, Mélodie polonaise [short draft] (1871)
2 [$ g9 D1 R! T8 \S.249b, Dumka (1871)& M) H9 a+ }) H! i, o2 @2 b
S.249c, Air cosaque (1871)
; W& ]1 q4 ], q  ~( r, j" a9 W1.7.4.8 Russian
7 y2 F# R- }, x  v8 J& c+ E7 [; h& S, `
S.250, Deux mélodies russes. Arabesques [2 pieces] (1842)
/ O' g# Y! w9 {S.250a, Le rossignol (Alyabyev) [first version of S250/1] (1842)
# W* q/ {) H5 ?/ g, c& oS.251, Abschied. Russisches Volkslied (1885)
3 a+ {) K' v1 x1.7.4.9 Spanish
: R, }3 n  r' C4 |+ k1 a
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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). x$ q! Q5 V0 I
S.252a, La romanesca [first/second version] (ca. 1832, b. 1852)
- Y% Q& P. p2 q5 Q, A& pS.253, Grosse Konzertfantasie über Spanische Weisen (1853)' ?3 w9 ?  K6 v  d# q0 v
S.254, Rhapsodie espagnole (1863?) 西班牙狂想曲
# f1 D# S/ C" b' R( QS.254x, Rapsodie espagnole [orchestrated by Feruccio Busoni] (?)4 G$ l  W' `( m
1.8 Piano Duet(钢琴二重奏)" g7 `6 a8 P' x2 C7 W4 C0 D+ K
& f5 S( r3 V+ G+ a
S.255, Festpolonaise [now S619a] (1876)& q1 w6 U  A' R3 F& I
S.256, Variation on the Chopstick Theme (1880). w+ a9 I% R9 V+ Z6 X6 K
S.256a, Nottorno [Not by Liszt?] (?)
; s0 i7 ?/ B. n+ O% u' ^0 G# \1.9 Two Pianos(双钢琴)1 m) S9 A& h0 w5 H7 M% T- @

! G$ }; \! n- qS.257, Grosses Konzertstück über Mendelssohns Lieder ohne Worte (1834)7 _$ L8 h( Z2 n
S.258, Concerto pathétique (b. 1856)  e小调钢琴协奏曲“悲怆”. |4 \( f' |9 B9 V7 t4 i% Y- F) }. q7 ]
1.10 Organ(管风琴)) ^# q+ `9 S' q* F: [1 G0 g9 N; p
; u! u" G( p; Z! E' c
S.259, Fantasy and Fugue on the chorale Ad nos, ad salutarem undam (1850)  I3 f) k# Z" k4 ]3 N
S.260, Präludium und Fuge über das Thema BACH [first/second version] (1855, 1870)1 f8 j( ~5 c2 ^$ h
S.261, Pio IX. Der Papsthymnus (1863?)0 M7 _+ E" B/ Q5 _
S.261a, Andante religioso (1861?)5 E: A0 `7 h3 t
S.262, Ora pro nobis. Litanei (1864)
1 n# h6 f! r, P8 p. c% @9 W; h* aS.263, Resignazione (1877)
  Y2 T7 V7 ~  [- Y8 [% cS.264, Missa pro organo lectarum celebrationi missarum adjumento inserviens (1879)
2 L$ C' w9 r, r0 NS.265, Gebet (1879)$ n0 M7 j8 w" A; j" T
S.266, Requiem für die Orgel (1883)7 l& U# }; [' l2 G
S.267, Am Grabe Richard Wagners (1883)
0 v5 Q$ O) s9 W. I+ t' _" iS.268, Zwei Vortragsstücke [2 pieces] (1884)
# J4 b3 l! ?) D9 {5 Q1.11 Songs(歌曲)
- N. J% b. u: R# Z6 C5 l0 D* d4 f+ Z4 Q' \' M
S.269, Angiolin dal biondo crin (Marchese C. Bocella) [first/second version] (1839, ?)1 m% N( c; S$ _. o) M" B( U
S.270, Three Petrarch Sonnets [3 songs, first/second version] (1844–45, 1854]4 X# s" S" E- ^! z
S.271, Il m'aimait tant (Delphine Gay) (1840?)
) u9 _! m6 d- ]S.272, Am Rhein im schönen Strome (Heine) [first/second version] (1840?, 1854)
' z! N' f" {$ ]1 E  a/ tS.273, Die Lorelie (Heine) [first/second version] (1841, ?)
/ _% x$ E, `6 C  vS.274, Die Zelle in Nonnenwerth [first/second version revised 1862] (b. 1841, 1857)* X/ r: g  O# w0 f+ d! X( l
S.275, Mignons Lied (Kennst du das Land) (Goethe) [first/second/third version] (1842, 1854, 1860)- o8 `* ?7 K7 c
S.276, Comment, disaient-ils (Hugo) [first/second version] (1842, ?)
5 w- E0 w, E4 M# c) s5 Y. k) CS.277, Bist du (Prince E. Metschersky) [first/revised version] (1843, ca. 1878-79)
) Q, z: `. w& J8 DS.278, Es war ein König in Thule (Goethe) [first/second version] (1842, ?)
) i5 |& {  A0 O4 @' rS.279, Der du von dem Himmel bist (Goethe) [first/second/third version] (1842, ?, 1860)
; _; b4 |- S6 l" X; u) LS.280, Freudvoll und leidvoll (Goethe) [first/second/third version] (1844, 1848?, ?)- J5 W  f( M# }. j! l, C( f
S.281, Die Vätergruft (1844)
: v+ j& @6 a0 v5 S: j" `/ VS.282, O quand je dors (Hugo) [first/second version] (1842, ?)
( O! x) t! w% f5 {- ~. a+ BS.283, Enfant, si j'etais roi (Hugo) [first/revised version] (1844?, ?)
' c0 f  L- i* a4 ^; QS.284, S'il est un charmant gazon (Hugo) [first/revised version] (1844?, ?)
6 q  c3 W" V* ]! K1 S2 ?( ]S.285, La tombe et la rose (Hugo) (1844?)
! N3 Z! \; }" V9 X& GS.286, Gastibelza, Bolero (Hugo) (1844?)
! D2 k- q. u/ j, d+ ~4 b6 rS.287, Du bist wie eine Blume (Heine) (1843?)
5 `& ]. O9 ~. E8 ~. JS.288, Was Liebe sei (C. von Hagn) [first/second/third version] (1843?, ca. 1855, 1878–79)
& \% F' T" Z5 }, [0 ~S.289, Vergiftet sind meine Lieder (Heine) [first/revised version] (1842, ?)
! j. m/ ]; s7 q' s; \3 O9 ~: RS.290, Morgens steh ich auf und frage (Heine) [first/revised version] (1843?, ca. 1855)
& g! a/ t- D! @/ F' a/ J; j7 Y# v- aS.291, Die todte Nachtigall (Kaufmann) [first/revised version] (1843?, 1878)" x+ {1 }: ?1 d' z
S.292, Songs from Schiller's Wilhelm Tell [3 songs, first/revised version] (1845?, ?)
6 q4 u* a/ t$ d2 J1 x" `, M3 t3 p$ fS.293, Jeanne d'Arc au bûcher (Dumas) [first/revised version] (1845, 1874)2 \: p# K; M# g. m4 M
S.294, Es rauschen die Winde [first/second version] (ca. 1845, b. 1856)1 l0 P4 B% j: j6 P$ y. A  P
S.295, Wo weilt er? (Rellstab) (1844)
. b! t  @8 U# w" `( j$ US.296, Ich möchte hingehn (Herwegh) [revised later] (1845)
1 @8 X; o& l/ e; w7 kS.297, Wer nie sein Brot mit Tränen ass (Goethe) [first/revised version] (ca. 1845)
% j, A2 |% G1 M% e' w6 ]S.298, O lieb so lang du lieben kannst (Freiligrath) (1845?)' I: j- u' Q2 T$ k  e
S.299, Isten veled (Farewell) (Horvath) [first/revised version] (1846–47)
, D! W2 L) n8 g% U: b/ z* gS.300, Le juif errant (Béranger) (1847)* Z2 s0 P5 S: ?4 u/ c
S.301, Kling leise, mein Lied [first/revised version] (1848)) n3 a- O1 [. `( L1 O& y
S.301a, Oh pourquoi donc (Mme Pavloff) (1843)
6 G; U( y3 e: Z+ h; bS.301b, En ces lieux. élégie (E. Monnier) (1844)/ D. V$ P  a' {1 q+ L# i
S.302, Die Macht der Musik (Duchess Helen of Orleans) (1848–49)4 K# J: S1 ~8 }  ?) L* P5 O
S.303, Weimars Toten. Dithyrambe (Schober) (b. 1848)
. c) @, f8 ?* I! J& C/ k) f# t7 QS.304, Le vieux vagabond (Béranger) (b. 1848)( }5 v) X# Z$ q8 r1 x$ {- |
S.305, Schwebe, schwebe, blaues Auge [first/revised version] (1845, ?)
8 l# i! r- N$ X! V+ cS.306, über allen Gipfeln ist Ruh [first/revised version] (1847?, ?)
/ n! t' n' j/ z1 L& @S.306a, Quand tu chantes bercée (Hugo) (1843)" z' u( v5 ]2 f* G3 I
S.307, Hohe Liebe (Uhland) (1850?)
% H9 _+ U* o: n5 nS.308, Gestorben war ich (Seliger tod) (Uhland) (1850?)
' h6 x1 M  ~- i* @* LS.309, Ein Fichtenbaum steht einsam (Heine) [first/revised version] (ca. 1845, 1854)
" n' W4 P: I' y8 K7 t( w! G1 OS.310, Nimm einen Strahl der Sonne (1849)1 w- I1 `. a+ j) p1 J0 k
S.311, Anfangs wollt' ich fast verzagen (Heine) (1849)% y) Z( V  t7 B- V
S.312, Wie singt die Lerche schön (Hoffmann von Fallersleben) (1856?)
1 j* c+ |! x( {# l/ T* R# pS.313, Weimars Volkslied (Cornelius) (1857)
4 K$ }6 }% ?. O- oS.314, Es muss ein wunderbares sein (Redwitz) (1852)
$ t5 ?# M0 _' h' {  HS.315, Ich liebe dich (Rückert) (1857)/ J7 ]/ X3 r0 L0 _, H
S.316, Muttergottes - Sträusslein zum Mai-Monate (Müller) [2 songs] (1857)3 m! Y% J4 }! D( t, Q, t5 m) r, Z
S.317, Lasst mich ruhen (Hoffmann von Fallersleben) (1858?)
+ w, F7 Z% K" L' JS.318, In Liebeslust (Hoffmann von Fallersleben) (1858?)2 s( n: i2 |% B% t
S.319, Ich scheide (Hoffmann von Fallersleben) (1860)
( G7 \) F! V" q, @7 _S.320, Die drei Zigeuner (Lenau) (1860); U1 F6 w" B6 w! T5 v- G4 k3 W
S.321, Die stille Wasserrose (Geibel) (1860?)
$ C# M8 b* l* j+ x" W* M" X& |& }S.322, Wieder möcht ich dir begegnen (Cornelius) (1860)" I% K: }4 u( h4 g) i, g
S.323, Jugendglück (Pohl) (1860?)# P5 o$ y2 t! }! {
S.324, Blume und Duft (Hebbel) (1854)
6 ~  K) K' B3 A. HS.325, Die Fischertochter (Count C. Coronini) (1871)
; ?5 G! R1 q0 C4 n! ^# MS.326, La perla (Princess Therese von Hohenlohe) (1872)% E7 _* m) |9 }# i% g3 {
S.327, J'ai perdu ma force est ma vie. 'Tristesse' (de Musset) (1872)
1 n4 w: g, P& m+ BS.328, Ihr Glocken von Marling (Emil Kuh) (1874)
+ O, Z5 m3 C5 PS.329, Und sprich (Biegeleben) [revised 1878] (1874)$ P8 M2 ?0 U* `2 o
S.330, Sei Still (Henriette von Schorn) (1877)
0 d" J. Y- f7 T, s4 Y/ o% {! JS.331, Gebet (Bodenstedt) (1878?)  E" L. p, I9 `" \
S.332, Einst (Bodenstedt) (1878?)/ d6 P# y' ], v
S.333, An Edlitam (Bodenstedt) (1878?)5 S+ T4 |! V0 u7 }, j+ O$ I
S.334, Der Glückliche (Bodenstedt) (1878?)
' ?9 k  O9 @  S$ w0 [$ a  U3 O, cS.335, Go not, happy day (Tennyson) (1879)
% e& R! d6 {  W; xS.336, Verlassen (G.Michell) (1880)
1 c# n$ j" V2 E) AS.337, Des tages laute stimmen schweigen (F. von Saar) (1880)2 O+ k9 N. s9 S% @1 ^+ k; O& z
S.338, Und wir dachten der Toten (Freiligrath) (1880?)* I3 T# b) j% p2 `
S.339, Ungarns Gott. A magyarok Istene (Petófi) (1881)
) C  X; y0 _$ r- H' g1 OS.340, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)& q8 T# I5 U4 r% I
S.340a, Ne brani menya, moy drug. (Tolstoy) (1886)/ }2 Q3 m! S5 g3 {! G5 p, {3 r' u
1.12 Other Choral Works(其他合唱作品)/ B% U. g( x  ?9 K6 q, t
S.341, Ave Maria IV (1881)
( j' V+ Q7 A: q, G6 _! _S.342, Le crucifix (Hugo) (1884)
+ N6 P) c, C9 e5 r9 ^& m* oS.343, Sancta Caecilia (1884), ?  W7 ?1 x8 Q0 O2 z
S.344, O Meer im Abendstrahl (Meissner) (1880)
! O* h, G+ h8 B* qS.345, Wartburg-Lieder from Der Braut Willkomm auf Wartburg (Scheffel) [7 chorals] (1872)
, P& ?3 C$ q8 j1.13 Recitations(叙事歌谣颂诗)
! q& X9 O# x. p5 t  R% d& g8 s9 sS.346, Lenore (Bürger) (1858)
: l" T* j, P! @& e* m' m  [S.347, Vor hundert Jahren (F. Halm) (1859): L) O9 ]) w* z. d
S.348, Der traurige Mönch (Lenau) (1860)
% D2 X1 M1 v3 U. hS.349, Des toten Dichters Liebe (Jókai) (1874)1 o+ ~" ^& o, T" j5 j1 h4 B, U
S.350, Der blinde Sänger (Alexei Tolstoy) (1875)
( H: C3 j( a% {4 ]- ]+ v2. Arrangements, Transcriptions, Fantasies, etc.# ^7 v4 a1 u+ R
1 S) i4 U) q5 ~$ z
2.1 Orchestral Works(管弦乐作品)
- j: p; P$ v: c/ p# Y8 s) q) u/ i- _; r6 C
2.1.1 Bülow
2 V- I. h! X2 U! O! |
( y6 C6 e5 F$ M) K( S1 eS.351, Mazurka Fantasie, Op. 13 (1865)0 w1 d! {( `. @: v7 A
2.1.2 Cornelius' Q5 t' ^* [7 X) S
/ V( Y/ f) x/ `$ W/ M4 m% ]
S.352, Second Overture to The Barber of Baghdad [completed from Cornelius's sketches] (1877)6 ^, r' Q" L& Q4 }7 {) k. {
2.1.3 Egressy and Erkel5 p$ k  l( p, r4 d
$ F2 v, i$ H+ Y6 e# u4 ?5 P
S.353, Szózat und Hymnus (1873)) S& g- ~# l/ ]/ {. v  x& t
2.1.4 Liszt" T" w4 g( N5 I7 ?  {
: @, U) V  ]$ A
S.354, Deux légendes (1863)
# d. u4 l$ F! {: G+ Z' I& U& oS.355, Vexilla regis prodeunt (1864)
; c2 }* S$ x8 a( rS.356, Festvorspiel (1857)5 s& o. H& L  Z+ y; T) C  d
S.357, Huldigungsmarsch [first/second version] (1853, 1857)8 D/ [! m1 m$ A& V4 A0 |9 s0 ?
S.358, Vom Fels zum Meer. Deutscher Siegesmarsch (1860)
% Q: y! i4 O% k! V, F  m0 n; ES.359, 6 Rapsodies hongroises (Hungarian Rhapsodies) (?)$ W1 P! X& `" [, Z% M8 c2 s. G
S.360, A la chapelle Sixtine (Liszt, Allegri & Mozart) [orchestral arrangement of S461, based on Mozart's Ave verum corpus and Allegri's Misere] (1862)# H  w7 x! g/ v$ u
S.361, Pio IX. Der Papsthymnus (ca. 1863)( `( s' j0 d  T8 `8 j
S.362, Benedictus and Offertorium from the Hungarian Coronation Mass [from S11] (1875)
) c- a& U  k" Z/ V7 d9 w: p! e2.1.5 Schubert
2 ^$ S, v& J, f
- S# V: V" f4 I7 ?$ qS.363, 4 Marches [from Opp. 40, 54, 121] (1859-60)9 O4 y( ], G4 J5 o
2.1.6 Zarembski) t7 A1 v5 U* }" k8 y$ P* \
) B  H: p. u% K. j% B) Y
S.364, Danses galiciennes (1881)" u6 d8 }: C4 E6 R5 _% ~+ X
2.2 Pianoforte and Orchestra(钢琴与乐队)
. o* v, c: U1 k6 l$ D$ O6 |1 `" t* E1 N, D0 ?1 Y
2.2.1 Liszt
5 K5 ~7 J+ p9 i3 S$ g7 ~# U( @6 q$ p, o% m! \8 Y
S.365, Grand solo de concert [prepared by Leslie Howard] (1850)
# t3 k( m' W+ W3 ]" LS.365a, Concerto pathétique (No. 4) in E minor [Liszt, Reuss version] (1885-86)
1 o0 u3 Z  G0 f" c5 @2 OS.365b, Hexaméron, Morceau de concert [orchestration completed by Leslie Howard] (ca. 1839)& R3 |) Z( z1 d& A& T: d- s
2.2.2 Schubert- k- W2 _/ n2 U' H: q1 R% K0 j
% G: n. M% I% \" @, @, [
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( \0 T; i+ O% ?, R- Z) g- ?0 D. }
2.2.3 Weber
, F8 V. c/ d. L' b% i- X5 t5 _9 B8 M
S.367, Polonaise brillante, Op. 72 (1849) 华丽波洛涅兹 为钢琴与乐队而作
! w& H+ j+ T* p% [9 M2.3 Songs with Orchestra(声乐与乐队)  t9 w1 s5 h: D" `5 k
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2.3.1 Korbay) F0 W* [3 c, f" K

5 V4 G3 g5 {5 M7 L6 dS.368, 2 Songs (Le Matin by Bizet and Gebet by Geibel) (1883)
5 t$ `$ L) _% {' M) T& J2.3.2 Liszt
3 o& |7 J) I' g* S0 [- t( ~- s/ D% K9 a, y: B6 P
S.369, Die Lorelei (Heine) (1860)
+ P+ u4 Q6 Q$ N' R3 j$ Q6 cS.370, Mignons Lied (Kennst du dass Land) (Goethe) (1860)2 {$ W1 e3 K1 w; F- k3 n: K
S.371, Die Vätergruft (Uhland) (1886)& P/ C0 \( w  o2 d1 r2 Z4 K
S.372, Songs from Schillers Wilhelm Tell (ca. 1855)
+ c0 k/ e( v, @3 X) A. gS.373, Jeanne d'Arc au bûcher (Dumas) [first/second version] (1858, 1874)9 W) G2 r. U) J# |6 o1 o
S.374, Die drei Zigeuner (Lenau) (1860)9 o! ?8 S, \/ A1 @& k5 O" m
2.3.3 Schubert
2 X1 e% p  H9 q( }8 a! @5 Q; |9 j6 V' W0 Q& v
S.375, 6 Songs (1860)& M% j/ Q/ h( ]5 t
S.376, Die Allmacht (1871)5 ^; K5 p' W& P* x  z
2.3.4 Zichy0 j  J4 v5 V# Q' P, B5 u: ]4 r
$ c- J& e7 y1 `1 h
S.377, Der Zaubersee. Ballad (Zichy) (1884)" C& y4 }: m0 Y: Z* c
2.4 Chamber Music(室内乐等)4 x: ?  S& ?; O% j; H) o
2.4.1 Liszt( G; D7 [- f  r7 Q# k' W5 k

& r- ^8 }/ w+ F* \0 lS.377a, La notte (Odes funèbre No. 2) (1864-66)  a6 c* G2 J7 @  |( x4 j! E, J4 }
S.378, Angelus! - Priere aux anges gardiens [first/second version] (1877, 1880)
  b/ R5 L8 ]! N3 m4 bS.379, Rapsodie hongroise No. 9 (Pester Karneval) (?)% e, j5 D: O2 F' }
S.379a, Rapsodie hongroise No. 12 (1850-59)5 ~. ~- @9 P: R! _: b) b
S.379b, Puszta-Wehmut (A Puszta Keserve) (ca. 1871)' z9 X( E* x# Z  d- a9 N* x  h& a
S.380, O du mein holder Abendstern from Tannhäuser (Wagner) (1852)
7 L5 t& P( ?; \6 A# Y/ [7 l# CS.381, Benedictus and Offertorium from the Hungarian Coronation Mass [from S11] (1862)
; x7 _) y. R4 D* H% T2 SS.381a, Ungarns Gott. A magyarok Istene (Petófi) (1882)
7 n* f' ^( K; K+ ]5 N5 ES.382, Die Zelle im Nonnenwerth (ca. 1880-86)
. v5 A8 R7 r* S) F$ t$ FS.383, Die drei Zigeuner (Lenau) (1864)
# f9 e7 b6 ?9 r, m" V1 P4 n2.5 Pianoforte Solo5 f6 X- H# [- Y$ i0 I, M6 [* H
* v2 J( I0 k/ ^: p  R) U8 J
2.5.1 Paraphrases, Operatic Transcriptions, etc.(歌剧改编独奏)
1 K+ Q* [5 y8 _2 ~" u/ A+ q1 n+ S; s# G+ n
2.5.1.1 ábrányi4 a. T$ p% k% Y6 {: y: w: W
6 r* b' q; `% a- v+ N
S.383a, Elaboration on Virág dal (1881)
6 s2 W$ D! ^# F* Y" n1 k2.5.1.2 Alyabyev- h0 t) a; o( ~

3 }, Q7 l4 a4 x$ R. E+ M$ c5 f8 BS.384, Mazurka pour piano composée par un amateur de St. Petersbourg (1863)
3 [: i6 j& P( Q/ v1 T! ?) b- {. O9 _( ZS.384a, Variations on Tiszántúli szép leány [anonymous, not by Liszt?] (1846)
% @! p& d$ V- s1 K  u  G3 c+ _2.5.1.3 Auber) r6 t9 j" i0 ?; F! r6 j- H. G) M

7 Q/ R6 u+ F6 Y* D+ LS.385, Grande Fantaisie sur la Tyrolienne de l'opera La Fiancée [first/second/third version] (1829, 1835, 1842)
- _9 {0 u8 H' w6 QS.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
! m8 v4 {$ N; B( r* {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! h; N  C$ w. b4 O! Q
S.387, Three Pieces on themes by Auber [with intro piece] (a. 1846)* E2 b! u0 Z5 b9 r7 A. G
S.387a, Piece on an unknown theme (1847)
5 o5 H3 B* u! R" q* z8 `2.5.1.4 Beethoven
/ C' c! b7 A) j# C0 B1 H" B
# ?$ n1 C. S1 V* K: HS.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
. C9 l+ N! W$ ^# ?S.388a, Marche turque des Ruines d'Athenes (1846)8 j4 @) `& z  W# v  w; x- ?
S.388b, Fantasie über Beethoven's Ruinen von Athen [first version] (1837)1 b. v) c/ L3 X' J
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* ~5 m, ~4 l/ w( B( }4 US.389a, Cadenza to the first movement of Beethoven's Piano Concerto No. 3 (1879)3 P) `3 C4 ^% r- E: R
2.5.1.5 Bellini/ J# M" `8 y3 x. i( D7 p

& E! |4 G! o) [, bS.390, Reminiscences des Puritains [first/second version] (1836, 1837)
& C) |4 b7 N, Y3 J0 l1 DS.391, I Puritani. Introduction and Polonaise (1840)2 g7 S* i2 M7 m5 S: Q7 s$ e
S.392, Hexaméron, Morceau de Concert (1837)( O% C; z4 A; q. l
S.393, Fantaisie sur des motifs favoris de l'opéra La Sonnambula [first/second/third version] (1839, 1840-41, 1874)$ L& n% V% C& c; G: g! P0 j  [- H
S.394, Réminiscences de Norma (1841-43)
" {1 p, D+ f3 q5 U+ t2.5.1.6 Berlioz) |+ r( ^1 x+ N$ p1 \+ @6 ~7 t

  x0 r9 C, }6 R" ]8 WS.395, L'Idée fixe: Andate amoroso [first/second version] (1833 or 1846?, 1865)7 Z5 L' J% c2 ^
S.396, Benediction et Serment from Benvenuto Cellini (1852)
+ K0 f5 E- A+ j2.5.1.7 Donizetti, Gaetano
7 s4 T) I' v+ C( p
$ {; m5 d+ x" w! h$ J9 U* j' jS.397, Réminiscences de Lucia di Lammermoor (1839)+ s+ ?) M" }* X  d* A: q1 q
S.398, Marche Funebre et Cavatine de Lucie de Lammermoor (1839)& I4 x7 n% R/ J: p( ^" [, C  {9 L
S.399, Nuit d'été à Pausilippe [3 pieces] (1839)
+ J: m) ~+ N0 D9 x) AS.399a, Lucrezia Borgia - Grande fantaisie [first version of S400ii] (1840)
( N, S+ I. U4 b6 {
; d: ~' G: o& K; C李斯特全部作品目录-3
- A* y% I+ r- d, X) F5 n* }: O4 Q; T+ z3 ~9 a
S.400, Réminiscences de Lucrezia Borgia [first/second version] 1840
# `  Q, F  b- K& M; n! }S.401, Valse a capriccio sur deux motifs de Lucrezia et Parisina [first version of S214/3] (1841)/ @  `6 R6 G7 D
S.402, Marche funèbre de Dom Sébastien (1844)
# x" ~- ~" p$ S- F2.5.1.8 Donizetti, Giuseppe
* R" Z& w- d+ h6 M2 J! f$ L9 M9 D$ q4 K: B
S.403, Marche pour le Sultan Abdul Medjid-Khan [first/simplified version] (1847, 1848)
( G4 C. L- [* t4 |9 e% J& z& V0 Z9 @2.5.1.9 Duke Ernst/ l! Q1 S& w7 J% f4 P
3 @8 t6 w5 s. N: ?1 ?1 e
S.404, Halloh! Jagdchor und Steyrer from the opera Tony (1849)
. {0 R( Q- V( ?  G; ]2.5.1.10 Erkel, Franz
- j7 j- e2 [# w3 E0 u$ _! w* W: l8 _2 @
S.405, Schwanengesang and March from Hunyadi Laszlo (1847)
4 z9 t% V: Z8 m' T2 V5 u( [2.5.1.11 Festetics$ m" X" h! p8 A! d1 r& j* Q* o

6 P' h7 H) B6 j4 R  aS.405a, Pásztor Lakodalmus Variations - Mélodies hongroises [elaboration by Liszt] (1858)& o, S& u) q- j: y4 O# x: x
2.5.1.12 Glinka
9 i" w0 Z0 R& Y9 j5 |# i+ u, q4 d! b2 z$ k6 z
S.406, Tscherkessenmarsch from Ruslan i Lyudmila [first/second version] (1843, 1875)
( D' s1 T* F* K" u9 J2.5.1.13 Gounod
+ @, N. X. R" n3 Y
6 k7 p9 h2 Q  j7 k0 a* X) GS.407, Valse de l'opéra Faust (b. 1861)
( a: C- B$ ^" j. R: B' O. ]S.408, Les Sabéennes. Berceuse de l'opéra La Reine de Saba (1861): I; P* {% p' W- A" Z7 @
S.409, Les Adieux. Rêverie sur un motif de l'opéra Romeo et Juliette (1867)
' n2 ?' ?3 G( T- b: a2.5.1.14 Halévy
6 ~+ ~. g: G4 _8 T4 p3 PS.409a, Réminiscences de La Juive (1835)
! q4 E; v3 X; Z( h- a1 J2.5.1.15 Mendelssohn
& b; x5 e. e9 O: n0 u2 B3 _S.410, Hochzeitsmarsch und Elfenreigen aus dem Sommernachtstraum (1847-50)
: \! D0 A1 b5 |2.5.1.16 Mercadante- F/ E, Z+ f5 a4 v/ x7 x. \3 k, ?
S.411, Soirée italienne. Six amusements (1838)2 J- L" e2 e9 Q0 r1 y4 O
2.5.1.17 Meyerbeer
1 B3 K) [# I; `  xS.412, Réminiscences des Huguenots - Grande fantaisie dramatique [first/second version] (1836, 1842)
% ^! \! l" j: c7 q7 ~3 NS.412a, Réminiscences de Robert le Diable - Cavatine (1846?)( o. \' [% x& i! [7 I! I2 Z. C
S.413, Réminiscences de Robert le Diable - Valse infernale (1840)6 ]* J9 F# b' j9 \
S.414, Illustrations du Prophète [4 pieces, 4th=S624] 1849-50. R$ o, o" {  |4 [# p1 A
S.415, Illustrations de l'Africaine [2 pieces] 18659 S% ?: m2 c8 h+ O/ u
S.416, Le Moine (1841)
2 x) ]! R7 O9 p' S& J2.5.1.18 Mosonyi, Michael; ]( O$ H% b8 C& x$ b" F
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1 i+ M( w: j/ Q$ p; K
2.5.1.19 Mozart
) O  g% n+ m. v  I% |$ u: ]& I$ K* [S.418, Réminiscences de Don Juan (1841). k2 Z/ P1 T! `, I0 r: O
2.5.1.20 Pacini/ H3 r6 m1 q6 ]% S/ h% z- b( E8 e
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
( q8 O8 u$ W, E" |0 V4 X2.5.1.21 Paganini
+ _" o- i$ S. _) b8 HS.420, Grande Fantaisie de bravoure sur La Clochette (1832-34)  华丽的钟声幻想曲4 q( R& l* T* V! w+ l$ E0 }9 a0 G
2.5.1.22 Raff. h6 M+ S7 p$ v6 j! g" s
S.421, Andante Finale and March from the opera König Alfred [2 pieces] (1853)
4 F8 W. ?! k; x, r+ \2.5.1.23 Rossini
7 y2 v! p5 j( DS.421a, Introduction et Variations from "Siege of Corinth" [introduction only] (1839?)! J& b7 J* c4 X* G3 m! o# `
S.422, Première grande fantaisie (Soirées musicales) [first/second version] (1836)1 n! i9 I( [; |3 h" ]) m# F
S.422i, La serenate e l'orgia - Première grande fantaisie (Soirées musicales) [first version] (1836)
6 E, k8 U" ~, `5 aS.423, Deuxième grande fantaisie (Soirées musicales) (1836)0 t& @# P6 l9 \5 _( @" `7 f( w
S.424, Soirées musicales [12 pieces] (1837)( T" }7 X& i9 D* e8 j" R" `( x6 R
2.5.1.24 Schubert* u9 [, F* m; R8 _$ F+ X
S.425, Mélodies hongroises [3 pieces] (1839–40)( [- J+ H+ E0 S
S.425a, Mélodies hongroises [revised versions] (1846)0 P( O  E* b) @) Q7 q, _6 E
S.426, Schubert's Marches [3 pieces] (1846) 3首进行曲 S.426 - 根据舒伯特《进行曲》D.819 和D.968b 改编/ U% b% g% K% x: k8 ]1 Q
S.426a, Marche militaire (ca. 1870)
/ d  N8 v4 B( b: |$ M3 n: ?% yS.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, c) T- x+ a9 V5 a9 x1 e+ ^
2.5.1.25 Sorriano
  g1 D1 t9 D3 d; C, w! Q: n) G7 L0 ~S.428, Feuille morte. Elégie d'après Sorriano (1844-45)
: [& k+ L+ Y/ b$ E3 r2.5.1.26 Tchaikovsky" X/ {+ x( m7 r( D3 W- l
S.429, Polonaise from Eugene Onegin (1879)
" ~; E/ X- Y  C( |4 E0 t2.5.1.27 Végh, Janos0 m( C& J5 d, s( `) A& H( `6 x
S.430, Valse de concert (1882-83)1 Z; H7 b$ r( W2 H
2.5.1.28 Verdi
) J( C9 i6 y2 f4 p3 l; ]( TS.431, Salve Maria de Jerusalem from I Lombardi [first/second version] (1848, 1882)1 y- A' c5 q+ I! s$ [6 O
S.431a, Ernani - Première paraphrase de concert (1847)8 G) N6 e. f/ B) C. U6 }+ ^
S.432, Ernani - Paraphrase de concert (No. 2) [first/second version] (b. 1849, 1860)6 }$ t$ p# n3 F) F% Q
S.433, Miserere du Trovatore (1860)
; f1 G* ~: {2 y# rS.434, Rigoletto Paraphrase de Concert (1859)
) W% i- S3 z, US.435, Don Carlos Coro e Marcia funebre (1867-68)) L: K6 k  ?/ _, g
S.436, Aida Danza sacra e duetto finale (1877)
8 r. Q8 u- q# {& A) gS.437, Agnus Dei (1877)
+ f$ W7 U- E) ^' R4 Z& X. f" E9 ^, kS.438, Réminiscences de Boccanegra (1882)
, s( T, o0 \9 }. M2.5.1.29 Wagner2 s4 Z% C( \6 U5 G' J
S.439, Phantasiestück über Motive aus Rienzi (1859)
. c' e& t: q7 e: Z6 FS.440, Spinnerlied aus Der fliegende Holländer (1860)
0 U6 L* I8 f' h: ?& E2 cS.441, Ballade aus Der fliegende Holländer (1872)
; F& }4 k( d% t3 E6 f+ J4 nS.442, Ouvertüre zu R. Wagners Tannhäuser (1848)0 J4 |' h. Z/ a/ _" q
S.443, Pilgerchor aus Tannhäuser [first/second version] (1861, 1885)& _) ~+ W4 f: y7 w' [" ]
S.444, O du mein holder Abendstern aus Tannhäuser (1848)
/ X) y: c2 e: c6 N6 LS.445, Zwei stücke aus Tannhäuser und Lohengrin (1852)
$ ], v! T; F% O+ ZS.446, Aus Lohengrin [3 pieces] (1854): O( s  K- _( _
S.447, Isoldens Liebestod aus Tristan und Isolde [first/revised version] (1867, 1875)
* ]" W; u" t/ T4 N: eS.448, Am stillen Herd aus Die Meistersinger (1871)9 K, H& Y9 w8 v5 X1 T. F( \
S.449, Walhall aus Der Ring des Nibelungen (1875)9 L' P. ]1 ?- J7 i
S.450, Feierlicher Marsch zum heiligen Graal aus Parsifal (1882)8 c1 V! `3 p$ W  q: R6 a. Z
2.5.1.30 Weber
  i, d. v( a) {. j; m: H; n2 vS.451, Freischütz-Fantasie (1840-41)
3 v1 E, v/ y! \6 `. m' SS.452, Leyer und Schwert [4 pieces] (1848)- v- H7 |0 }+ v$ G
S.453, Einsam bin ich, nicht alleine, from Preciosa (1848)+ t4 Z, V8 X- ^1 V( E- J! i- M( g
S.454, Schlummerlied mit Arabesken (1848)
% v5 |6 _9 d# h, SS.455, Polonaise brillante (1851)
/ r) \4 ?0 ~  t2 m+ u1 Y2.5.1.31 Zichy, Count Géza; `* c5 v9 f, [+ ?9 |
S.456, Valse d'Adele (1877)
3 T3 ]4 \3 c0 ?0 `6 b6 t2.5.1.32 Unknown
& ?4 C4 U4 }- e; C6 kS.458, Fantasy on Il Giuramento (Mercadante) (1838?)
- f. x: Z6 t- q  S4 Q% nS.460, Kavallerie-Geschwindmarsch [anonymous] (?)
' V9 P: a  w6 ~% G1 X8 {: |/ M2.5.2 Partitions de Piano, Transcriptions, etc.
3 M& r3 Q' R9 {8 D) i$ p$ U  U2.5.2.1 Allegri and Mozart
9 |1 a  Y3 O/ SS.461, A la chapelle Sixtine [first/second version] (1862, ?)
; q" _' Z0 s% S: W0 P) t2 Z3 I: iS.461a, Ave verum corpus, Kv618 (1862), L5 Q6 a+ H. K1 y
2.5.2.2 Bach$ u1 I* j. F3 g7 Z+ i$ M
S.462, Sechs Praeludien und Fugen für Orgel [6 pieces] (1850)
3 z/ n( q8 J, V0 Z. w5 sS.463, Organ Fantasy and Fugue in G minor [first/second version] (1860, ?)) f/ e( ~' k. n" d) R
2.5.2.3 Beethoven& M3 O8 l+ k( C7 V+ Q5 A
S.463a, Symphonie No.5 [first version] (1837)
9 T" v) R% X; E  PS.463b, Symphonie No.6 [first version] (1837)
$ |, D! y, P! r8 t- N( mS.463c, Symphonie No.6 [second version. Alternative 5th movement] (1863-64)/ Y" r0 _1 P4 U0 ?, y
S.463d, Symphonie No.7 [first version] (1837)5 ^+ {9 r' z$ G2 T
S.463e, Marche funèbre [Beethoven's Eroica Symphony, first version] (1843)( A4 s, @) R$ L6 g6 l1 B6 G, o, K
S.464, 贝多芬交响曲 Symphonies de Beethoven [9 pieces] (1863-64)- H4 O* d3 W6 N* Y" m
S.465, Grand Septuor, Op. 20 (1841)% V: O) {! l# T% O7 M4 w9 G# d& c
S.466, Adelaïde [third version] (1847)$ \" ^; ~; x  T7 A3 R" j: X. o
S.466a, Adelaïde [first version] (1839)" f2 G. ?; B7 P$ a2 g3 A
S.466b, Adelaïde [second version] (1840)
( w$ t; N) x# `1 H* R2 D, bS.467, Sechs Geistlicher Lieder (Gellert) [6 pieces] (1840)- y, @* P! a! x; `+ l* x$ b
S.468, Sechs Lieder von Goethe [6 pieces] (b. 1849)+ @$ _" a7 r% t& H; h
S.469, An die ferne Geliebte - Liederkreis [6 pieces] (1849)& i; X  H2 w4 S; ]% j
2.5.2.4 Berlioz' c4 }! {7 j/ {8 r0 m
S.470, Symphonie Fantastique (1833)+ S, }, Q% I: {$ n- K* ^9 K! j
S.471, Overture from Les francs-juges (1833)
, i  p1 J: j9 o2 z7 r: @. z9 kS.472, Harold en Italie (with viola) (1837)
. m- G% X5 r6 {: ES.473, Marche des pèlerins from Harold en Italie [first/second version] (1837?, 1862)
2 J% t/ ~7 I! H3 HS.474, Ouverture Le Roi Lear (1837)
; s2 p( X9 c* B) w. B  aS.475, Valse des Sylphes de la Damnation de Faust (1860)- e3 ~9 S, s( q8 o7 H
2.5.2.5 Bulhakov2 }- _- ^6 j7 ?' a  C1 n  d# x
S.478, Russischer Galopp [first/second version] (1843, 1843)3 z2 ~8 |2 d# q
2.5.2.6 von Bülow
4 E! N; o7 ]0 |& I: K6 q- O/ P" jS.479, Dante's Sonnett - Tanto gentile e tanto onesta (1874)6 p' V$ J7 l# P4 _- F
2.5.2.7 Chopin+ W8 A1 U( e9 f8 N4 u$ m) q
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! b" _$ N5 Q! g7 ?( I, d2 G# H; b; n
S.481, Zigeunerpolka (1847?)) c" m  d& I% @
2.5.2.9 Cui
0 e/ Z6 o9 O& ?. ^8 V' HS.482, Tarantella (1885)- `" Z/ n+ F1 s7 s( F- [  R
2.5.2.10 Dargomyschsky
, n4 d( Y4 Z! nS.483, Tarantella (1879)& [! t# a- I4 x& N
2.5.2.11 David, Ferdinand
# K' p' Q) U/ t/ [' h3 rS.484, Bunte Reihe, Op. 30 [24 pieces] (1850)
1 @! m. A. E/ \, B, i4 _" I' ^/ Q2.5.2.12 Dessauer
0 [/ D& k+ i( U: `+ x& C8 xS.485, Drei Lieder (1846)% S0 z; S0 r! w7 J# B- S8 W& U
2.5.2.13 Ernst, Duke
+ b6 N; w1 h& d% X8 QS.485b, Die Gräberinsel (1842)
* v% ?9 [0 C6 S3 }: ]0 ?6 @' F2.5.2.14 Egressy and Erkel4 `4 H) C" q& L
S.486, Szózat und Hymnus (1873)
1 Q* ^$ u" v7 [2.5.2.15 Festetics# c$ F% b& P8 y+ S& k
S.487, Spanisches Ständchen 1846( i+ m/ I- v% J6 s# S, F
2.5.2.16 Franz. h% L5 ~7 L, V: {, `7 f
S.488, Er ist gekommen in Sturm und Regen 1848& j3 \  [; |4 K
S.489, Zwölf Lieder [12 pieces] (1848)
5 K& M0 @. @3 {2.5.2.17 Goldschmidt
* x$ P+ v; z  a0 AS.490, Liebesszene und Fortunas Kugel (1880)2 |( u# v3 O5 u0 _4 q# S  A
2.5.2.18 Gounod
: F: z& L; @( M3 I2 K! w: zS.491, Hymne à Sainte Cécile (1866)8 t' p% K3 O. Q/ @+ a" N
2.5.2.19 Herbeck
6 Q; r0 \6 }' U5 O1 ?S.492, Tanzmomente [8 pieces] (1869)
+ I7 Q& h1 ~( w. [) N. i4 Y2.5.2.20 Hummel
, m" M: N* j0 F9 O2 I; _7 ^S.493, Grosses Septett, Op. 74 (1848)$ z$ _' Y* a' L$ v* |) N: X  w& I
2.5.2.21 Lassen0 r+ Z0 H( B9 s7 K2 t7 b# Z, |" f  w" v
S.494, Löse, Himmel, meine Seele [first/second version] (1861, 1872)
' X) C1 `/ x9 H  v8 i6 X8 ?S.495, Ich weil' in tiefer Einsamkeit (1872)
, U4 \( e; P2 Z* u+ KS.496, Hebbel's Nibelungen & Goethe's Faust [4 pieces] (1878-79)$ N& v0 ^, {& `+ L: X- R
S.497, Symphonisches Zwischenspiel ('über allen Zauber Liebe') (ca. 1882-83)2 S* G9 n$ k) W, V/ y5 h6 T& A
2.5.2.22 Lessmann
8 |+ L/ u3 z, R3 K9 wS.498, Drei Lieder ('Tannhäuser') (1882?)
  w) U7 C- |1 x2 a9 u5 V: @1 x2.5.2.23 Liszt6 a1 _) z3 t1 k5 P
S.498a, Drei Stücke aus der heilige Elisabeth (1857-62): w% N9 t2 h7 M- ]
S.498b, Zwei Orchesterstücke aus Christus (1862-66)9 F) O3 F3 R/ J! w* z
S.498c, San Francesco - Preludio (1862-66)! f+ k- k. K, r8 l* }
S.499, Cantico del Sol di San Francesco d'Assisi (1881)2 F5 M' t$ m$ J
S.499a, San Francesco - Preludio per il Cantico del Sol (1880)
. {  L9 F6 m% NS.500, Excelsior! - Preludio (1875)
# r8 ?9 p( L6 \0 [3 eS.501, Benedictus und Offertorium (Missa Coronationalis) (1867)
, D' {) {- l1 X1 z8 J: S5 TS.502, Weihnachtslied II (1864)
) I% W% y6 V8 l# A4 FS.503, Slavimo Slavno Slaveni! (1863)7 e! X1 P7 `3 f- B% o
S.504, Ave Maria II (in D) [first/second version in D flat] (1870, 1873)/ z) P  z( p2 `9 a0 a( d! E. G) _
S.504a, Via Crucis [15 pieces] (1878-79)
" b& L& g# ?  IS.504b, Choräle [11 pieces] (1878-79)
- Q1 ?7 A  F5 Y& Y# k7 q; Z5 Y; LS.505, Zum Haus des Herrn (In domum Domini ibimus) (1884)
% R( S; {9 j) h4 r8 R7 R8 G- US.506, Ave maris stella (1868)/ E- X2 ^$ ~: Q; A% c/ L4 L
S.507, Klavierstück aus der Bonn Beethoven-Cantata (?)7 ^- t4 i1 I0 X& l3 w6 K- |
S.507a, Schnitterchor (Pastorale - Schnitterchor aus Prometheus) (1850)
9 d) M9 u. |! M1 C, l4 M4 q" A$ OS.508, Pastorale. Schnitterchor aus dem Entfesselten Prometheus (1861)$ e; |7 y( J7 p2 {; `
S.509, Gaudeamus igitur - Humoreske (1870)* }7 K) i) R% S1 |' p& K3 p8 W5 ^3 F
S.510, Marche héroïque (?)+ H  M; t1 p% }# Q' [
S.511, Geharnischte Lieder [3 pieces] (1861)
% y2 X$ o+ w  v& T! _S.511a, Les Préludes (Poème symphonique No. 3) [arranged by Karl Klauser, revised by Liszt] (1863) [1][2]
" f! y8 J% d6 IS.511b, Orpheus (Poème symphonique No. 4) [arranged by Fredrich Spiro, revised by Liszt] (1879) [3]2 N* b; o! ~3 N+ @; L
S.511c, Mazeppa (Poème symphonique No. 6) [arranged by Theodor Forchhammer, revised by Liszt] (1870-79) [3]
3 |( D9 H$ ]; PS.511d, Festklänge (Poème symphonique No. 7) [arranged by Ludwig Stark, revised by Liszt] (1870-79) [3]
2 r) a8 E4 J3 U1 ?0 j8 ]0 `S.511e, Hungaria (Poème symphonique No. 9) [arranged by Fredrich Spiro, revised by Liszt] (1872) [3]
, Y9 d; k* M' WS.512, Von der Wiege bis zum Grabe (Poème symphonique No. 13) (1881)
9 T" E" x" w1 E0 b- vS.513, Gretchen aus Faust-Simpfonie (b 1867 )% N; |7 Z! g+ ~; \8 s7 |$ x( q) e
S.513a, Der nächtliche Zug (?)1 G5 E4 v" ?) `& j
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
$ |% s" e- M0 V1 N) R4 U' jS.514a, Erster Mephisto-Walzer (Mephisto Waltz No. 1) [with later additions] (1859-62)8 s9 N* U- L( R# ^, i( n
S.515, Zweiter Mephisto-Walzer (Mephisto Waltz No. 2) (1881) 第二梅菲斯特圆舞曲
5 w$ r: l  w0 ]/ ?S.516, Les Morts (Ode Funèbre No. 1) (1860)
+ @' }4 @5 _- \% `, A& rS.516a, La notte (Ode Funèbre No. 2) (?)
2 m9 L/ M* k, J+ g4 W" _& p3 \S.517, Le Triomphe funèbre du Tasse (Odes Funèbre No. 3) (1866)  Y2 b  T9 y$ o& F+ {+ b: Q. `
S.518, Salve Polonia (a. 1863)% M- q: J3 y% h
S.519, Deux Polonaises de St Stanislaus (1870-79)% U, p. }' A! A$ Q$ \/ ~& w
S.520, Künstlerfestzug [first/second version] (1857-60, 1883). L. _: P3 W; [
S.521, Festmarsch zur Goethejubiläumsfeier [first/second version] (1857, 1872)
% ]9 L  O! l' ]7 o! i5 b( OS.522, Festmarsch nach motiven von E.H.z.S.-C.-G (1857)+ J0 e, W/ \9 N( }$ D
S.523, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (1870)
  A. E$ G- j% y) K+ q0 T7 \S.524, Ungarischer Sturmmarsch [first/second version] (?, 1875)
' p" m/ L# B, s9 l' k* BS.525, Totentanz. Paraphrase on Dies Irae (1860-65)
9 K- k+ H: Y7 D: u' p& a4 vS.526, Epithalam zu Eduard Reményis Vermählungsfeier (?)
1 X/ \0 U" n3 m  l6 S: l$ AS.527, Romance oubliée (?)
* g2 B3 z3 g% F: qS.527bis, Romance oubliée [short draft] (1880)
  u: A+ M2 n; B9 s3 tS.529, Fantasie und Fuge über das Thema BACH [first/second version] (1856, 1870) 巴赫主题幻想曲与赋格
" S' Z& G/ M7 o' ~5 fS.530, L'Hymne du Pape. Inno del Papa. Der Papsthymnus (1864)
  ~- T% ?" c' \8 M0 M. [' JS.531, Buch der Lieder I [5 pieces] (?)) t! G0 ~' k) t" ~. \. M
S.532, Die Lorelei (Heine) [second version] (1861)2 r+ p: _+ Q" p8 ]8 a$ G" G
S.533, Il m'aimait tant (Delphine Gay) (1842)% x5 r/ ?9 C: H9 \
S.534, Die Zelle in Nonnenwerth (Felix Lichnowski) [first/second/fourth version] (1842, 1860, 1880)
2 w4 o' Y; H9 j. L2 lS.535, Comment, disaient-ils [Buch der Lieder II] (1845?)8 s/ ~2 L2 F# m) |+ y: y7 i& h3 H/ D* A
S.536, O quand je dors [Buch der Lieder II] (1847?)
& I* N6 A3 E$ K0 w: [1 j/ f$ h, l" GS.537, Enfant, si j'étais roi [Buch der Lieder II] (1847?)
, o# \' i1 [; a& W3 I1 j: ?, dS.538, S'il est un charmant gazon [Buch der Lieder II] (1847?)
. z3 X. R- J' S2 DS.539, La tombe et la rose [Buch der Lieder II] (1847?)
( b( m* P: W' l+ `' zS.540, Gastibelza [Buch der Lieder II] (1847?)& m/ G- \( O" H6 x& C7 t
S.541, Liebesträume. Drei Notturnos (ca. 1850)  3首夜曲“爱之梦”
+ G# y3 T; p# ], T: gS.542, Weimars Volkslied [first/second version] (1857, ?)2 C7 z; R) X& h0 r9 b3 Q
S.542a, Ich liebe dich (?)
7 S( G6 B1 ]) P( AS.542b, Fanfare zur Enthüllung des Carl-Augusts Monument (?)
! x8 B& j, a& F1 i  Y+ H! pS.543, Ungarns Gott. A magyarok Istene (Petófi)]] [original/(S543bis)left-hand version] (1881)
1 N+ W6 Q6 C7 j, M1 @4 n- ~4 [" NS.544, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)8 F( Q* g$ ?2 A# m0 E; E
S.545, Ave Maria IV (1881). [4 c  \8 p; V0 h  I
S.546, Der blinde Sänger (Alexei Tolstoy) [solo version] (1878), \# i4 k1 O2 {2 j6 {" }# a) T
S.546a, O Roma nobilis (1879). r, [9 B* w4 Y3 t; [9 X- T
2.5.2.24 Mendelssohn% X2 l! a. X2 P0 j* \% O. ?
S.547, Sieben Lieder (from Opp. 19, 34, 47) [7 pieces] (1840)/ k2 e6 c9 |# f' B7 ]5 B
S.548, Wasserfahrt and Der Jäger Abschied (from Op. 50) [2 pieces] (1848)
2 X" Z$ L% \# P! ~2 `& i2.5.2.25 Meyerbeer/ l% n: H  }4 ]' f, V
S.549, Festmarsch zu Schillers 100-Jähriger Geburtsfeier (?)
, C. O+ t/ R5 F  M  U' k/ i2 D2.5.2.26 Mozart: a5 v4 ~5 q- c6 F5 g- R
S.550, Zwei Transcriptionen über Themen aus Mozart's Requiem, K626 [2 pieces] (1862)5 T2 J; {; I% n5 _' @8 D' R
2.5.2.27 Pezzini
: v/ ]* C% q# Y. q6 p; QS.551, Una stella amica. Mazurka (?)
8 ^) w) {1 s  ?$ h2.5.2.28 Raff$ e, W2 B- w( r& `; _$ a
S.551a, Einleitung und Coda zu Raffs Walzer in Des-dur (opus 54/1) (1880)6 {" J8 C6 O2 ?( O
2.5.2.29 Rossini
2 Y1 C) }5 m: Y! S% P0 DS.552, Ouverture de l'opéra Guillaume Tell (1838)
+ G' p" ?: u8 j& ^/ k3 {S.552a, Caritas [La charité, first version] (1847)4 u) g" z/ Z8 Z8 U8 O5 F9 Z. {! x8 L/ i
S.552b, La caritá [La charité, simplified version] (1847)
' n  ~* L! M3 a# Q7 @S.553, Deux Transcriptions [2 pieces] (1847)" T7 l" z3 E# @  f
2.5.2.30 Rubinstein
, }& @0 c$ i: ES.554, Zwei Lieder [2 pieces] (1880)  F3 B* ]1 q' X/ h, _4 x0 t
S.554a, Einleitung und Coda sur des notes fausses (1880)% N) i0 x9 @- i+ H% C
2.5.2.31 Saint-Saëns8 W5 X# T/ D9 G" U; c
S.555, Danse macabre, Op. 40 (1876)
' [: @0 m& J9 x, F8 x3 a2.5.2.32 Schubert  K7 E& a1 _7 n& |/ m8 ~  b% v; ?
S.556, Die Rose [first/intermediate/second version] (1832, ca. 1837, 1838)
: w1 y; v/ m0 j% Q) {S.557, Lob der Tränen (1837)4 o* ^% Z- [/ T: S: }/ r- ]' a5 w
S.557a, Erlkönig [first version] (?)
4 j. j% p7 v  B9 |' c; NS.557b, Meeresstille [first version] (?)
' y* M4 S+ P; AS.557b/bis, Meeresstille [first version, ossia] (?)- ~- y' l9 K1 b; y/ W" p: ]
S.557c, Frühlingsglaube [first version] (?)% C8 D: e: M4 ^$ J
S.557d, Ave Maria (Ellens dritter Gesang) [first version] (?)
/ z# ~3 {' s" R' S- {1 tS.558, 12 Lieder (1837-38)" L9 X9 ], A6 E% d* a: |
S.558bis, 12 Lieder [revised versions of Nos. 3, 4, 7, 8, 9, 11] (ca. 1839)
# F3 Q& O8 v5 n+ k& q4 vS.559, Der Gondelfahrer, Op. 28 (1838)& O8 }' d! W( ], O) P
S.559a, Sérénade [Ständchen, first version] (1837)# {- |( J. X5 v$ ^8 ?: N# |
S.560, Schwanengesang [14 pieces] (1838-39)) O& b( J. o" z0 o; `+ i4 c
S.560bis, Schwanengesang [14 pieces, alternative versions] (ca. 1839)
( ~9 l. m. S% c8 W2 ^6 GS.561, Winterreise [12 pieces] (1839)
# k) T, u! @0 tS.561, Winterreise [alternative versions of Nos. 2, 3, 7, 10,] (ca. 1839)
# \; F- H! J. U( LS.562, Geistliche Lieder [4 pieces] (1841)( k7 F, i$ O1 O! {5 E
S.563, Six mélodies célèbres [6 pieces, 1st by Weyrauch] (1844)/ X! m  N( H& d2 I* S7 V" i6 v! M
S.564, Die Forelle [second version] (1846)
$ [2 q4 e$ ~% ?; @5 W% Q" qS.565, Six Mélodies favorites de La belle meunière [6 pieces] (1846)4 w, \0 \& Z9 M) ]# L6 C
S.565bis, Müllerlieder [6 pieces, revised versions] (ca. 1879)# a8 p* o6 K4 V
S.565a, Wandererfantasie (Grosse Fantasie in C-dur) (ca. 1868)
+ l8 \. a3 \+ X1 RS.565b, Schubert's Impromptus [2 pieces, Op. 90/2-3] (ca. 1868)7 F2 ?6 g+ Z, L+ A2 X
2.5.2.33 Schumann; `8 U3 D# m9 a) Q; q9 m3 s- w3 ^
S.566, Widmung, Liebeslied (1848); N- [/ S- b4 Z" L- X+ h
S.566a, Widmung, Liebeslied [sketch of a more literal transcription] (1848)2 Z+ a0 p- U+ |) @) m, M
S.567, An den Sonnenschein, Rotes Röslein (1861)0 s% u; Q& g" z& ]2 f" x
S.568, Frühlingsnacht (überm Garten durch die Lüfte) (1872)6 Q" x, K3 C3 g" O* E) w
S.569, Zehn Lieder von Robert und Clara Schumann [10 pieces] (1872), x  H, L) p9 O5 f7 `  V
S.570, Provençalisches Minnelied (1881)
& C% h/ y; I- X1 x2.5.2.34 Smetana
& |$ H4 w1 V1 `( o# yS.570a, Einleitung und Coda zu Smetanas Polka (de salon, opus 7/1) (1880)
- S) S( s. i* w# E+ b0 [9 J* M2.5.2.35 Spohr
2 U% o+ W3 F9 M# `' \% `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 Tausig5 O  Y1 i8 l# }
S.571a, Einleitung und Schlußtakte zu Tausigs dritter Valse-Caprice (1880)
" h8 u9 [+ g5 U$ S  u, ^) ?* a2.5.2.37 Szabady and Massenet  N( t/ k- v! `# Z7 z
S.572, Revive Szegedin (1879)2 e- K" J, u9 s& x0 H
2.5.2.38 Széchényi, Count Imre' ~: k4 H' Z6 `+ ?" R" x; s/ c$ g
S.573, Bevezetés és magyar indulò (1872)- T; C% G; k# t/ C2 o# l7 F3 i/ ]
2.5.2.39 Tirindelli2 Y- j2 {1 R# u$ T; M
S.573a, Seconda mazurka variata (1880)
( q, V- r  t$ s8 t2.5.2.40 Weber  O" X3 J, Y* c6 F  T
S.574, Ouverture Oberon (1846?)# G6 S  j7 _1 y" y: k
S.575, Ouverture Der Freischütz (1840-41)
& A' }6 X- z" w5 z% ?8 T0 d% R- sS.576, Jubelouverture (1846)3 B/ j; j& G% O2 c7 m! p) ?
S.576a, Konzertstück, Op. 79 (ca. 1868)# X# e7 r' m; F9 N8 R! N. p
2.5.2.41 Wielhorsky, Count Michael  ?' [3 k, h' K, H- v8 @4 }
S.577, Lyubila ya [first/second version] (1843, ?)
$ q2 {! h- r9 M! D2.6 Pianoforte Duet(钢琴二重奏)
; P  d0 P4 U3 {2 h4 b2.6.1 Field
& l1 M8 q0 c. Q4 ]# S0 PS.577a, 11 Nocturnes (Nos. 1-9, 14, 18 and Nocturne Pastorale in E) (?)* G- ?; u* j  j, m3 k/ w
2.6.2 Liszt& c$ e! m, u: o8 V
S.578, 4 Pieces from St. Elisabeth (1862)% B2 d6 G& W6 o; g' B
S.579, Christus Oratorio 4th and 5th section (?)1 y6 h( k9 Q6 @0 q8 j  i3 g( S% U: G( \
S.580, Excelsior! - Preludio (?)" B+ x+ T0 d- t* i' I7 J, J
S.581, Benedictus and Offertorium from the Hungarian Coronation Mass (1869), D) B6 q9 J# @
S.582, O Lamm Gottes, unschuldig (1878-79)2 v5 |% @' R+ p% f0 a( D2 m
S.583, Via Crucis (?)
' h0 N7 t6 {2 N) u* B8 SS.584, Festkantate zur Enthüllung des Beethoven-Denkmals in Bonn (1845)' k6 c3 m0 r% U4 r) n  R+ K  |5 f
S.585, Pastorale. Schnitterchor aus dem Entfesselten Prometheus (1861)! v% O' Q9 M; {$ g
S.586, Gaudeamus igitur. Humoreske (1870)
5 a! X* f, r* o4 }7 O: x# Z* YS.587, Marche héroique (?)* B' J& i, p' U2 O2 z' a6 @: Y
S.588, Weimars Volkslied (Cornelius) (1857)* E8 `. ]6 f( G
S.589, Ce qu'on entend sur la montagne (Poème symphonique No. 1) (1874)3 s) X* N4 G$ w( y. t2 \4 B
S.590, Tasso, Lamento e Trionfo (Poème symphonique No. 2) (1858)! [3 ]- E6 L: Z
S.591, Les Préludes (Poème symphonique No. 3) (ca. 1858). }$ W8 w4 q1 t4 l; R7 ?* U& D% G
S.592, Orpheus (Poème symphonique No. 4) (ca. 1858)
* u& M7 s% F7 f2 JS.593, Prometheus (Poème symphonique No. 5) (1858)
6 ^/ C, k  H! a4 SS.594, Mazeppa (Poème symphonique No. 6) (1874)+ `4 [; B6 C) ~$ i
S.595, Festklänge (Poème symphonique No. 7) (1854-61): S' x+ y9 m+ z; }! J6 y% Z
S.596, Hungaria (Poème symphonique No. 9) (1874?)
' Z- j2 X7 y5 v0 f4 PS.569a, Héroïde funèbre (Poème symphonique No. 8) (ca. 1877)4 |5 ~$ y6 g% s
S.596b, Hunnenschlacht (Poème symphonique No. 11) (ca. 1877)) J' i+ Z* }: {5 ^- o
S.596c, Die Ideale (Poème symphonique No. 12) (ca. 1874-77)
8 S8 r5 P! {8 [! l; wS.597, Hamlet (Poème symphonique No. 10) (1874)$ R: @' e* d) |, |& T0 ]( ]- W; l
S.598, Von der Wiege bis zum Grabe (Poème symphonique No. 13) (From the Cradle to the Grave) (1881)
- B  b+ a, p5 H7 O) ~$ Z  G+ ^! F1 @S.599, Two episodes from Lenau's Faust (1861-62)% \* Z6 T9 Q% }2 `" j5 s! F
李斯特全部作品目录-44 M% u6 _9 |% N" P" }
; N! Z1 O+ j% a( [* G
S.600, Mephisto Waltz No. 2 (1881)3 h6 Y# K1 U% [0 W6 \$ s3 s
S.601, Les Morts (Ode Funébre No. 1) (1866)
2 }6 l: h4 D7 F: a- u0 N/ [S.602, La Notte (Ode Funébre No. 2) (1866)
0 _- V- f* C( AS.603, Le Triomphe Funèbre du Tasse (Ode Funébre No. 3) (1866?)
; A0 j! G) T9 `9 R5 @7 h+ M) k5 lS.604, Salve Polonia (1863)& C8 [' `/ l9 x8 @! h5 ?1 l' _5 {' G
S.605, Künstlerfestzug zur Schillerfeier (1859), b7 X# s6 A9 ~: M/ g
S.606, Festmarsch zur Goethejubiläumsfeier (ca. 1858)
* t* y  F7 X) g9 b, I& r/ Z) XS.607, Festmarsch nach Motiven von E.H. zu S.-C.-G. (ca. 1859)# F9 u1 o) p. X- a3 g
S.608, Rákóczy March (1870)
# ^! R; t! O( T& ^! {S.609, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (1870), I  R5 w4 i6 T' ~5 v
S.610, Ungarischer Sturmmarsch (1875)
, J: y+ q$ ?4 y  X+ c7 v- H% b8 }6 XS.611, Epithalam (1872)* Q4 I% L. Q4 f- B( D
S.612, Elégie (1874)0 a6 P$ ~" c  c! @% M1 F5 d+ I
S.613, Weihnachtsbaum (1876)
& I- C6 o1 _3 d4 `' cS.614, Dem Andenken Petöfis (Petófi Szellemének) (1877)
3 i4 T7 V6 I- V% J7 P' I  mS.615, Grande Valse di Bravura (1836)7 M! d9 J# x0 W5 [" V
S.616, Grand Galop Chromatique (1838)
3 }0 P# H! f3 h$ z' BS.617, Csárdás macabre (1882)
. @1 {8 q: R8 H* VS.618, Csárdás obstiné (ca. 1884)
: O/ M! R2 }+ OS.618a, Vom Fels zum Meer. Deutscher Siegesmarsch (?)3 v6 n$ {, @3 b0 A& s$ a
S.619, Bülow-Marsch (ca. 1883)
5 y  V$ G# m, i5 a; G6 XS.619a, Festpolonaise (1876) [4]+ f! W' m6 X/ ^$ N3 B9 t- M9 X
S.620, Hussitenlied (Melody by J.Krov) (1840)! d3 F  c1 [) ]" o& l) x0 U
S.621, 6 Hungarian Rhapsodies [from the orchestral version, S359] (1874)
- W6 f+ {6 z- e% U' `2 Q! i; qS.622, Rapsodie hongroise No. 16 (1882)
1 ?2 ]6 n& D" t+ X& NS.623, Rapsodie hongroise No. 18 (1885)
0 I6 u6 F, t9 u. D6 P& j9 N* W( KS.623a, Rapsodie hongroise No. 19 (ca. 1885)
, Z! e  n1 x. CS.624, Fantasy and Fugue on the chorale Ad nos, ad salutarem undam (1850)) n0 p* d! `/ I4 Q- U' G$ D5 ^+ e
S.625, L'Hymne du Pape (Der Papsthymnus) (1865)! Z$ I/ b& L' I- u0 d% W. W
S.626, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)
. W  J% N$ z! P$ mS.627, Fantaisie sur des motifs de l'opéra La Sonnambula (Bellini) (1852)( y) v9 j& x9 Z6 U2 g1 z& W( p  M6 l
S.628, Bénédiction et serment (Berlioz's 'Benvenuto Cellini') (1852)# s: K: c% |! f0 D
S.628a, Marche et cavatine (Donizetti's Lucia) (?)4 F8 p: U; F. m3 h( {
S.628b, Szózat und Hymnus (Egressy and Erkel) (1873)( d! c2 ^, N* W1 n( U' H! D0 Q
S.629, Tscherkessenmarsch (Glinka's Ruslan i Lyudmila) (1843)! c6 @9 G" G  O# `4 \; P
S.630, Réminiscences de Robert le Diable - Valse infernale (Meyerbeer) (1841-43)! [: K5 V: r  e) j6 U* ~
S.631, Andante finale und Marsch (Raff's 'König Alfred') (1853)
. K* g! p3 M3 a* i" d* YS.632, 4 Marches (Schubert) (1879)* J& k. k5 h( C1 v  j  v6 M0 _/ A
S.633, A la chapelle Sixtine (Allegri Mozart) (1865)
: W& ^6 M: U( i% l9 m3 @3 @5 US.634, Grand Septuor Op. 20 (Beethoven) (1841)
9 C- _9 u  z# k2.6.3 Mozart
" Y, I' u, _2 S3 _S.634a, Adagio from Mozart's Die Zauberflöte (1875-81?), l3 u7 V- h' l/ z4 x$ g9 d! P
2.7 Two Pianofortes(双钢琴)
: Z3 D5 _6 Z1 h2.7.1 Liszt
' v# r6 }: y! U/ v9 `% j' XS.635, Ce qu'on entend sur la montagne (Poème symphonique No. 1) (ca. 1854-57)
; R7 r: r3 B( iS.636, Tasso, Lamento e Trionfo (Poème symphonique No. 2) (ca. 1857)
6 s# R3 B5 J' oS.637, Les Préludes (Poème symphonique No. 3) (ca. 1854-56)
( s) Y/ L4 L& `5 v% ES.638, Orpheus (Poème symphonique No. 4) (ca. 1854-56)6 G8 [: `& r2 v) o/ ?; K
S.639, Prometheus (Poème symphonique No. 5) (1855-56)
# O& ?4 u, @; x) C5 HS.640, Mazeppa (Poème symphonique No. 6) (1855)& M. H+ X( k; O
S.641, Festklänge (Poème symphonique No. 7) (ca. 1853-56)
2 [' C/ t: E5 H1 p& lS.642, Héroide Funèbre (Poème symphonique No. 8) (ca. 1854-56)+ J, o7 G- s& F2 u, A! G
S.643, Hungaria (Poème symphonique No. 9) (ca. 1854-61)0 z' i" |- @* T; L2 `* @. h' {
S.644, Hamlet (Poème symphonique No. 10) (ca. 1858-61)) Y) f* N! \5 w6 l8 }4 Z8 L
S.645, Hunnenschlacht (Poème symphonique No. 11) (1857)* L7 m: S9 l7 c
S.646, Die Ideale (Poème symphonique No. 12) (1857-58)! Y  v: H1 ~! E4 @
S.647, A Faust Symphony, in three character pictures (1856)
6 v9 ?/ v% B5 v& LS.648, A Symphony to Dante's Devina Commedia (ca. 1856-59)
! ?7 O# _) c2 \) \S.649, Fantasie über Beethovens Ruinen von Athen (1865)5 G6 b5 g: \* [, \5 C
S.650, Piano Concerto No. 1 in E flat major (1853)
( t/ E" ]& G0 v1 E  A) jS.651, Piano Concerto No. 2 in A major (1859)- D% W4 L3 |  {8 Q5 A/ ~
S.652, Totentanz. Paraphrase on Dies Irae (1859)
' H$ |- c) E7 U2 r( T7 @' a: yS.653, Wandererfantasie (Schubert) (a. 1859)
+ S" \" t3 }9 h, `# d7 sS.654, Hexaméron, Morceau de Concert (1837)
) W' E& T' J) ]8 ^S.655, Réminiscences de Norma (Bellini) (1841)7 r. Y: `0 O) u6 u
S.656, Réminiscences de Don Juan (Mozart) (1841)
) o* k( |9 J, \/ ]1 e# K1 ?S.657, Symphony No. 9 (Beethoven) (1851)6 {5 l' e# e  h+ I$ L. T. q; j
S.657a/1, Piano Concerto No. 3 (Beethoven) (1878)( ^& W" C' B; l1 O9 X. B: [4 S' U: U
S.657a/2, Piano Concerto No. 4 (Beethoven) (1878): u* s; x$ H. ]5 s% X& M* i
S.657a/3, Piano Concerto No. 5 (Beethoven) (1878)
. }9 u0 G2 y: }' PS.657b, Bülow-Marsch [2-pianos, 8-hands] (1884)/ Q  q# T% t. ^
2.8 Organ(管风琴)
5 d1 d5 v9 k0 u, F7 H2.8.1 Allegri und Mozart, {; U0 s+ H( x* R4 W8 [
S.658, évocation à la Chapelle Sixtine (1862)
. r# x2 s& e8 S; Z/ j  x) x2.8.2 Arcadelt$ \! h8 i5 X4 I* _4 k* F
S.659, Ave Maria (1862)( c" E# W; U4 T+ G+ B1 W, W
2.8.3 Bach
% h* U( f; D, A. H8 B0 Q
* h0 J6 b7 |. D: M& D% [1 _S.660, Einleitung und Fuge aus der Motette Ich hatte viel Bekümmernis und Andante Aus tiefer Not [2 pieces] (1860)3 t: ?, o: N- j+ p! y- s
S.661, Adagio from Bach Violin Sonata No. 4 (BWV1017) (1864)
1 P  a  {! C: p9 \# F) b$ V' m" u6 o2.8.4 Chopin
1 \) l6 Z) r+ ?- ^
) T0 K' i! H$ c8 c, b- _S.662, 2 Préludes from Op. 28 (Nos. 4, 9) (1863)
9 V% u& ]* W! c3 b  s2.8.5 Lassus/ A; c8 L& L% ~/ o; P. [6 D

/ p+ H7 P) m% n% @- N. i, ^S.663, Regina coeli laetare (1865)
, o2 |- E( z0 @' W% R; s2.8.6 Liszt
. H( E/ S% C% o5 C% X( w% x) \" A  j7 j
S.664, Tu es Petrus from Christus (1867): D5 S* Y% A9 h+ ?9 G! m, @
S.665, San Francesco (1880)( h- @' R2 m& Z
S.666, Excelsior! - Preludio (?)7 h5 T8 [/ D2 U
S.667, Offertorium from the Hungarian Coronation Mass (1867)5 ^: w# D: ?/ X% ]  J
S.668, Slavimo Slavno Slaveni (1863)
  @5 U: ^. i6 k8 O8 g" i' K5 qS.669, Zwei Kirchenhymnen [2 pieces] (1877)
( D( t1 R5 H' y9 g9 W" K3 q, X( ZS.670, Rosario [3 pieces] (1879)7 u7 H% Q" Q+ T( A
S.671, Zum Haus des Herrn (In domum Domini ibimus) (1884)1 s( `5 n% `# ~0 I2 Y; v* R, a
S.672, Weimars Volkslied (Cornelius) (1865)
' l6 u- j1 \* ?& n, O8 z8 i' KS.673, Weinen, Klagen' Variationen (1863)4 i. C5 A  C- }  e) c& i5 D
S.674, Ungarns Gott. A magyarok Istene (Petófi) (1882)7 x0 T' f/ F2 I6 C
S.674a, O sacrum convivium [2 versions] (?)
  K. ?& Q, V; H2.8.7 Nicolai
/ @) i1 u: {7 m
# u, K6 H1 ~6 S/ ^S.675, Kirchliche Festoverture (1852)- A% N9 j+ L9 _9 d7 U1 \, c7 C+ H
2.8.8 Wagner0 E9 I6 c( L  j5 J4 |/ |& g
7 O& \! q6 O5 b& V$ {
S.676, Pilgerchor from Wagner's Tannhäuser (1860)0 g* |) P9 s8 H
2.9 Organ with Other Instruments(管风琴和其他)
. }% s# B. m, v# g. x" P5 C- T# H8 ]) q4 K  s' a0 i( A
S.677, Hosannah from Cantico del sol di San Francesco d'Assisi (for organ and bass trombone) (1862)# S6 ~. Y7 z6 N  [( B+ J
S.678, Offertorium and Benedictus from the Hungarian Coronation Mass (1869)8 [- p0 @. N6 l% x
S.679, Aria 'Cujus animam' from Rossini's Stabat Mater (for organ and trombone) (?)
/ P$ _4 L6 O: |& g+ iVocal Arrangements声乐9 ~3 y3 k) j3 {2 O3 ]
! i1 o9 D- O: G- Z' V( l6 X- K
S.680, Ave maris stella (1868)
! \( d3 ^5 Y" _7 |( O681, Ave Maria II (1869) ) h  G* o3 M* l% z( d; T" n
S.682, Air du Stabat Mater (Rossini) (?) ; [. g( m3 \0 S& |' F) H
S.683, Serbisches Lied (Hohenzollern-Hechtingen, Prince FWC. von) (?)5 o1 ?9 R2 q! e+ B& v9 T& l5 ^
S.684, Barcarolle vénitienne (Pantaleoni) (?)
7 m9 }/ f2 T9 WS.685, Es hat geflammt die ganze Nacht (Grand Duchess Pavlovna) (?)' ^) [( o) t) l- ]8 B" m( P6 ^1 ~
; T6 l% {2 E  z6 q7 h
2.10 Recitations
. S; I' ^6 u8 n* ?& a! U" _' y  QS.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
3 U2 K, P) ?& ~- G/ n, D5 p

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9 R2 [; Q/ O: x$ L  Q  k  {
7 B( k2 W8 O" ]: e7 o3 J8 S4 x# |8 F5 N. }; Y# B2 \
' i# g5 Q. Y, M% c8 s9 A
9 ~! e0 A& B& |4 q( I- t
( h4 m6 V  `* E# v1 p3 g5 }% B
3. Appendix- t$ p: d( o+ ~3 Z3 k8 n
& u# y! }0 G- n( h$ p& B3 X
3.1 Unfinished Works  d- X/ N& j; n( N, f7 {
0 G% g6 _* U+ ^$ p- N; C: l7 p
S.687, Sardanapale (Byron) [opera, partly sketched, 111 pages] (?)- k/ b  Q& w& L. k8 o+ c" r1 {/ _# C
S.688, Oratorio - Die Legende vom heiligen Stanislaus [sacred choral] (1873-85): j5 y* Z6 A9 p; w
S.688a, St Stanislaus fragment [solo piano, Library of Congress] (1880-86)
- o/ `1 ^! ?4 z7 SS.689, Singe, wem Gesang gegeben [secular choral] (1847)
/ V* v9 A! `3 P; a5 B$ {S.690, Revolutionary Symphony [unfinished, revised 1848] (1830), d5 U9 O6 Q- q, |' ]
S.691, De Profundis [piano and orchestra, De Profundis - Psaume instrumental] (1834?)
; [& f/ Z4 L' Z" k& p! z7 oS.692, Violin Concerto [only sketched] (1860)0 i! }+ U6 k" L' U  _
S.692a, The Four Seasons String quartet (Vivaldi) (1880?)
/ F0 ~1 S. o1 s  ?& ^5 {7 U2 KS.692b, Anfang einer jugendsonate [solo piano] (1825)
& M) X/ w+ ^3 ^; YS.692c, Allegro maestoso [solo piano] (1826)
/ f8 E. ]9 d/ q& n  {S.692d, Rákóczi-Marsch [solo piano, first version, simplified, unfinished] (1839)
1 I  g7 Z5 I- c- |$ m  rS.692e, Winzerchor (Prometheus) [solo piano] (1850)* D: g/ _7 ?- f7 X1 G+ f1 |2 ~" d
S.693, Deux marches dans le genre hongrois [solo piano, 2 pieces] (1840?). G, }' V# d! f/ n4 T& v- M
S.693a, Zwei Stücke aus der heilige Elisabeth [solo piano] (1862)1 j6 S3 o8 m. `# ~* x
S.694, Fantasie über englische Themen [solo piano] (1840?)
, ^# e0 W. V. y5 c! x: E9 W* ]S.695, Morceau en fa majeur [solo piano] (1843?)
9 P- G6 s( ]; F) |( `' P' k# vS.695a, Litanie de Marie [solo piano] (1847)
; k2 t6 v) i. R" AS.695b, Zigeuner-Epos [solo piano, 11 pieces] (ca. 1848)
# {' V$ Q; Y7 Y9 k' {S.696, Mephisto Waltz No.4 (1884) 第四梅菲斯特圆舞曲0 _' `5 P) w6 T' V" H
S.697, Fantasie über Themen aus Figaro und Don Giovanni (Mozart) [solo piano arrangement] (1842)
) S9 {' q, T3 _) W0 {& |S.698, La Mandragore - Ballade de l'opéra Jean de Nivelle de L. Delibes [solo piano arrangement] (a. 1880)- g  Y& E$ g8 U4 Z. Y% ]
S.699, La Notte (Odes Funèbre no. 2) [solo piano arrangement] (1864-66)4 t  Z/ A2 l. E6 s4 e: j
S.700, Grand Fantaisie (Variations) sur des thèmes de Paganini [first/second version; completed by Mezö] (1845); t, @: C) Q1 Z
S.700a, Variations sur Le Carnaval de Venise (Paganini) [solo piano arrangement] (?)7 T( |! ^) w2 w4 t, N
S.701, Den Felsengipfel stieg ich einst hinan [song] (?)
( m  D( o8 B/ J) R; E) l. V& q0 dS.701a, Allegro di bravura [orchestra, arrangement] (ca. 1830)6 [& ]) {% m2 o9 c) ^+ _# Q- q
S.701b, Marie-Poème [solo piano] (1837)
) e2 t7 e9 @# US.701c, Andante sensibilissimo [solo piano] (1880-86)
/ V( S* b& E* \: U3 C: Y" q  L& HS.701d, Melodie in Dorische Tonart [solo piano] (1860)* _' O, x" g1 C% y
S.701e, Dante fragment [solo piano] (1839)
/ J1 J" J/ X( x$ @S.701f, Glasgow fragment [solo piano] (?)
6 V3 }8 r5 P, b3 H0 t6 n+ I  G1 KS.701g, Polnisch - sketch [solo piano] (1870-79)
' W2 Y3 ^5 D9 H' {4 JS.701h/1, Operatic aria - and sketched variation [solo piano] (?)8 h( b! f' T' N7 z6 g- l0 F
S.701h/2, Valse infernale (Meyerbeer) - theme [solo piano arrangement] (?)
8 y  p; u- p; D2 z  hS.701j, Harmonie nach Rossini's Carità (La charité) [solo piano arrangement] (1847)+ n( Z1 [* M1 Z1 U4 w9 L# P7 ~
S.701k, Korrekturblatt (to an earlier version of La lugubre gondola) [solo piano] (1882)
7 n  ~: g, K) m) n3.2 Doubtful or Lost" c$ O% a, t+ Z+ o8 H
+ z3 [) ?# f9 F9 ~5 \1 ]
3.2.1 Sacred Choral Works: |* ^4 T% K9 T, u) v# [, R( J
/ ~& S% u# C* M; t, w* H
S.702, Tantum Ergo (1822)- T: y2 r" |: q/ r1 V$ N# ]2 q
S.703, Psalm 2 (1851)
5 _6 ?( w# u$ C3 Y0 U0 k5 ES.704, Requiem on the death of Emperor Maximilian of Mexico (?)
, K0 G$ \$ u; }* |/ a" C7 ~+ Y* b9 \2 Q3 lS.705, The Creation (?)5 {6 Z! Y! Q" a% ^; P
S.706, Benedictus [doubtful] (?)! D* H8 y+ F. I5 D5 N
S.707, Excelsior [arrangement, doubtful] (?)1 I) V; Q2 a& h1 `: J
3.2.2 Secular Choral Works5 `% Z" G6 z, y$ \' D* X5 \

* O+ [3 T8 r: {3 I! B4 YS.708, Rinaldo [doubtful] (ca. 1848)
* n, m* B! g# t3.2.3 Orchestral Works6 |! Q1 `( r: V5 g+ A  {

, p# Y* O) Q' P' F9 `8 gS.709, Salve Polonia [rediscovered, renumbered as S113] (1863)
) {- }, L4 z2 X6 B9 i5 o& a' {S.710, Funeral March (?)
" y! u$ I+ i1 L$ _# |S.711, Csárdás macabre [arrangement] (?)
. A/ {+ s* Y* H( g/ [* uS.712, Romance oubliée [arrangement] (?), \( U9 P. A" s
3.2.4 Piano and Orchestra
3 _  w, v. q: i" S/ P! I2 N
& j+ v0 J! r6 A$ v8 ?) e7 E" ?- _S.713/1, Piano Concerto in A minor (1825?)
" z1 p) c1 H1 D( g$ bS.713/2, Piano Concerto (1825?)+ n& N3 L% X* \, Z
S.714, Piano Concerto in the Hungarian style [by Sophie Menter, renumbered as S126a] (1885): [/ {4 W: p% K, N. }
S.715, Piano Concerto in the Italian style (?)
; }0 v! C( d* Z9 `1 ?0 jS.716, Grande fantaisie symphonique [orchestral] (?)
9 Z' A$ H9 I. s4 A" e" T) p# m3.2.5 Chamber Music
( m" ~* s( C  f! g1 p; T4 E6 S1 @& r* i
S.717, Trio (1825)
- i# u" F0 `' [$ B+ VS.718, Quintet (1825)8 U0 h4 n$ V. X' {. O
S.719, The Four Seasons String Quartet (Vivaldi) [rediscovered, renumbered as S692a]
3 E0 s' I2 U6 |# [2 S0 E( }S.720, Allegro moderato (?)
1 O. \: i2 B& N( f1 d/ r' tS.721, Prelude (?)
' s4 I/ H, k. U$ c  v7 `& AS.722, La notte (Odes funèbre no.2) [rediscovered, renumbered as S377a] (1864-66)
' }; ?" c2 a3 g/ IS.723, Tristia [arrangement, from Vallée d'Obermann S160/6] (1880-86 ?)$ K2 }7 v3 g% Y. b# d) h. `9 {. n
S.723a, Postlude on theme from Orpheus [arrangement] (?)
7 z" y+ W6 n) C6 D3.2.6 Pianoforte Solo
3 |% Z. M2 J3 M$ a  f# V: v% D3 }; @0 l  L" r, v% N
S.724, Rondo and Fantasy (1824)
0 K9 g7 f- v* O$ }7 h/ l% \S.725, 3 Sonatas (1825)% L0 R4 p; l" \$ k7 {
S.726, Study (?)
8 D+ _7 ^) ~% a3 D  ^S.726a, Valse (?)( E  W6 \! R& T
李斯特全部作品目录-5# b& Q  [0 M) N2 f3 F( R
4 h% N7 _+ I; Q/ N* H
S.727, Prélude omnitonique (?), o3 \' Y6 _' J; X4 _
S.728, Sospiri (Fünf Klavierstücke) [rediscovered, renumbered as S192/5] (1879)! j4 d5 m: z; F# M: h6 l
S.729, [rediscovered, renumbered as 42(?)]
6 X8 g- M" d3 `" c9 P0 W1 eS.730, Dem Andenken Petöfis (Petófi Szellemének) [rediscovered, renumbered as S195] (1877)3 r  P* }8 W3 u4 V6 e* D
S.731, Valse élégiaque (?)
! P0 S3 R) `' U3 ?) [/ A, nS.732, Valse Oubliée No.4 [rediscovered, renumbered as S215/4] (1883-84)
, H. p) Y* g* I: h3 wS.733, Marche hongroise (in E flat minor) [rediscovered, renumbered as S233b] (1844)* P; i1 Q# z+ W% A2 V; t, M
S.734, Ländler (?)* G1 k% T/ n  @) Q, q8 s0 @
S.735, Air cosaque (?)* H8 I+ ]2 a0 J3 Z! S- k9 h+ S1 W& w
S.736, Kerepsi csárdás (?)
% h' @2 c4 l& L1 ?5 I/ }5 R5 y! h4 [S.737, 3 morceaux en style de danse ancien hongrois (?)7 t0 R* _, Z/ X0 J
S.738, Spanish folksong arrangement (?)4 `9 F" p/ T& Y  |
3.2.6.1 Arrangements
' T* X, m  }% b/ q! P* @) }9 r+ `/ D8 z/ A4 {* e
S.739, Corolian Overture (Beethoven) (?)% b- ~9 ^  Y/ A  r" p1 J0 b! q/ R' ]
S.740, Egmont Overture (Beethoven) (?)0 }% W; }' t3 g: a7 F0 T: n
S.741, Le carnaval romain - Overture (Berlioz) (?)
& h# t, C& q! z4 v' K3 F$ ~S.742, Duettino (Donizetti) (?)
/ w  @/ }/ j, @3 `$ u6 {* BS.743, Soldiers Chorus from Guonod's Faust (?)
4 s2 M( A; N8 k8 D! a8 z! FS.743a, Fantasia on themes from Halévy's Guitarero (b. 1841)5 b6 V, O7 m; u+ [( L
S.744, Paraphrase on Act 4 of Kullak's Dom Sebastien (?)
; f# K. u- x' y5 Z4 CS.745, Funeral March (?)
& Q  o# X1 h! i* x. V$ \S.746, Andante Maestoso (?)
' m& B9 y& n- W  sS.747, Poco adagio (from Missa Solemnis) (?)% C( l# G  _9 w; e( i( [1 \
S.748, Overture to Mozarts "Die Zauberflöte" (?)9 ]2 H5 w  q, l% L+ o
S.749, Preussischer Armeemarsch (Radovsky) (?)
9 A% d* g" q8 t& \8 vS.750, Siege de Corynthe, Introduction (?)
6 A* `7 `4 C* g0 M: O; hS.751, Nonetto e Mose, Fantasia on themes by Rossini (?)) I' H4 C- Y% W5 T. y
S.752, Gelb rollt (Rubinstein) (?)5 n/ J% d1 A& \
S.753, Alfonso und Estrella, Act 1 (Schubert) (?)
6 k$ c, g, a4 m: _' a" k7 N9 US.754, Seconda mazurka variata (Tirindelli) [rediscovered, renumbered as S573a] (1880), ^+ {: i! o9 s5 H
3.2.7 Pianoforte Duet
! y9 f  o% W: V! ^3 j5 q+ h) h; M$ ~6 g9 f$ c& ]) L3 \
S.755, Sonata (?)4 k0 r& U  O% g$ d2 O3 W0 x
3.2.8 Two Pianofortes7 k7 g8 `) C: H( R0 }+ s. u9 \
6 Q+ @8 t( P* Q
S.756, Mosonyis Grabgeleit (?)
. x, _. c8 y0 k7 s9 k) D5 N0 DS.757, La triomphe funébre du Tasse (?)
7 W& l& B, y( X3 F9 U) x7 F3.2.9 Organ$ S5 N- i+ q' {" z

' ?7 T/ D7 ]7 tS.758, The Organ (Herder) (?)
* h9 s# Y) J) n  e$ r: p. tS.759, Consolation [arrangement] (?)
9 p4 d& a9 r1 P3 C* s; sS.760, Cantico del sol di St. Francesco [arrangement] (?)8 \- K' h' N1 e! W9 f) d' Z2 k4 h$ m
S.761, Marche funèbre (Chopin) [arrangement] (?)
* l& J( }; x8 N3.2.10 Songs
2 x' U3 S: D4 ^4 s
3 U: y- h1 A: |$ C- I" A0 eS.762, Air de Chateaubriand (?)
+ R) b% m2 j" i# qS.763, Strophes de Herlossohn (?)
! R) G! h) a4 h( A+ q4 R1 r% CS.764, Kränze pour chant (?)6 ?' c' j. y/ }& _
S.765, Glöcken (Müller) (?)
3 f! g8 n+ ^/ ]4 A. [2 gS.765a, L'aube naît (Hugo) (1842?); N. a; u; k  w. K" L$ D9 t
S.766, Der Papsthymnus (?)6 l8 {% [( T  t
S.767, Excelsior (?)
# N$ |' H) G0 h$ u" N4 c3 |3.2.11 Recitations  x3 `# d, D. T9 L0 \, d1 }

* M2 l5 A( O9 U. D9 y$ JS.768, Der ewige jude (Schubart) (?)
# U/ D' F" @# ^& }6 u( A3.3 Supplement
% T- A7 v( C8 b. l2 N* `% x+ \; X* s" g! J0 V  |( Q, N
S.990, Fantasy and Fugue on the chorale "Ad nos, ad salutarem undam" (played by Liszt to Walter Bache) [solo piano, arrangement] (b. 1862)9 ?( f5 Y8 f2 r) J) P
S.991, Waltz in A major [chamber, arrangement] (?)
9 S6 E+ r# F1 A- IS.993, Wartburg Lieder (Scheffel) [orchestral, arrangement] (?)
, L0 Y- T4 S+ O+ l# TS.994, Grand solo caractéristique à propos d'une chansonette de Panseron [solo piano, arrangement] (1830-32)3 W2 q# p; n$ G+ q) _# E
S.995, Variations de bravoure sur des thémes de Paganini [unfinished] (1845)
0 t% f0 E* C% T# pS.996, Stabat Mater [solo piano] (1870-79 ?)( O4 i1 N' n( {  r) b/ b
S.997, 5 Variationen über Romanze aus 'Joseph' (Méhul) (by Franz Xaver Mozart, attributed to Liszt) (ca. 1834)$ r* Z8 R; E7 Q" [, _, u. F
S.998, Adagio in C [solo piano] (1841)$ Z, ~% c% w$ _! ^6 g2 l  m
S.999, Andante Maestoso [organ] (?)
! i% w" @9 }9 V6 C降E大调钢琴协奏曲（遗作）Piano Concerto in E flat Major Op.posth0 T; n- h# E( _" H% [- p+ c
2首悲歌 2 Elegies
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