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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》。
8 H' T# a; X) E! T+ L+ P李斯特全部作品目录-1% i4 y, I0 |/ {8 g+ j

' Z( g2 ^) L- p' t/ z" n1 Z4 s( j, p" q1.1 Opera(歌剧)% N  e. y0 [: I2 n

) v: }+ C9 W" h% ^! z8 h+ q( ^2 ?S.1, Don Sanche, ou Le chateau de l'amour (1824–25) 歌剧《唐切桑》
2 _0 g; k; [, b" ?$ J1.2 Sacred Choral Works(神圣的合唱作品)3 l# Q8 a+ ^! `% Y8 J# e
' S) t1 f) K% K4 M: r, |
S.2, The Legend of St. Elisabeth (1857–62) 清唱剧《圣伊丽莎白传奇》
6 U1 E$ o5 x4 [9 {- PS.3, Christus (1855–67) 清唱剧《基督》) F4 e6 m# c  B: G* Y4 `
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》
5 r3 R# y7 w% ^: `: |S.5, Die heilige Cäcilia (1874)
; [4 F& t' ?0 k6 QS.6, Die Glocken des Strassburger Münsters (Longfellow) (1874)3 Y+ z4 \$ I9 k7 C1 G) Z' C
S.7, Cantantibus organis (1879)% d4 G! W' o- K# R: Z* M3 T/ V$ Z
S.8, Missa quattuor vocum ad aequales concinente organo [first/second version] (1848, 1869)
2 N8 X/ N4 o3 C; ZS.9, Missa solennis zur Einweihung der Basilika in Gran (Gran Mass) [first/second version] (1855, 1857–58)+ D5 ^0 ^, X) K7 D
S.10, Missa choralis, organo concinente (1865)& h8 Y* c( j" v1 I. B) l
S.11, Hungarian Coronation Mass (1866–67)
' b# m) K9 P) G2 w. A$ E) k, zS.12, Requiem (1867–68)
1 j" @0 a8 L2 G: e1 N7 b2 |7 O- hS.13, Psalm 13 (Herr, wie lange ?) [first/second/third verion] (1855, 1858, 1862); x/ d) p. X, e
S.14, Psalm 18 (Coeli enarrant) (1860)- q- u' q. h8 E( A) R; y4 L
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)  X0 k$ o, m& t2 C
S.15a, Psalm 116 (Laudate Dominum) (1869)3 A6 Q3 x) u4 C0 U& M( T
S.16, Psalm 129 (De profundis) (1880–83)% y3 _; H8 g; y7 K& u. R
S.17, Psalm 137 (By the Rivers of Babylon) [first/second version] (1859–62)# C% z1 r8 i) [8 M- K
S.18, Five choruses with French texts [5 choruses] (1840–49)- a& B/ j% Z; c8 T. G
S.19, Hymne de l'enfant à son réveil (Lamartine) [first/second version] (1847, 1862)
3 V- x! X, A2 ~" BS.20, Ave Maria I [first/second version] (1846, 1852)
$ N( _2 v$ N, G) c. z+ CS.21, Pater noster II [first/second version] (1846, 1848)* {+ E6 v3 Y  [+ W3 W
S.22, Pater noster IV (1850)4 s. `- V; c+ G6 s
S.23, Domine salvum fac regem (1853)3 ]5 D# @$ d& \9 [) m$ I. u+ |
S.24, Te Deum II (1853?)
2 a; k1 |9 f* Y6 h0 E0 jS.25, Beati pauperes spiritu (Die Seligkeiten) (1853)
4 @& H6 N/ L. X- n( g6 U+ D4 W- mS.26, Festgesang zur Eröffnung der zehnten allgemeinen deutschen Lehrerversammlung (1858)2 e1 k1 v1 X  E  U
S.27, Te Deum I (1867)7 f7 A9 c; z& h7 X+ U: M
S.28, An den heiligen Franziskus von Paula (b. 1860)
* O. X% b2 k) p: s! _! C1 f* tS.29, Pater noster I (b. 1860)- {5 f5 k  d. F3 \  x% T; X2 o
S.30, Responsorien und Antiphonen [5 sets] (1860)4 m1 o; R4 c0 U7 d. k% v
S.31, Christus ist geboren I [first/second version] (1863?)  I  e% z4 H+ k: V- |( i
S.32, Christus ist geboren II [first/second version] (1863?)
/ _( u$ ?* G9 S! p1 d7 B  l' C$ yS.33, Slavimo Slavno Slaveni! [first/second version] (1863, 1866)2 s% w) S- p4 q9 A! {
S.34, Ave maris stella [first/second version] (1865–66, 1868)" N0 x/ ?  _! ]) L* C
S.35, Crux! (Guichon de Grandpont) (1865)
2 d! \1 W) p4 J1 G$ JS.36, Dall' alma Roma (1866)! f9 H9 P1 a$ F# i7 X1 K
S.37, Mihi autem adhaerere (from Psalm 73) (1868)' P5 @  g, i4 I
S.38, Ave Maria II (1869)* z% c# C" J: O/ T; v- b4 O
S.39, Inno a Maria Vergine (1869)
5 E( M$ q6 f/ s. d0 X# q0 f% lS.40, O salutaris hostia I (1869?)
% R; N8 M- I4 D1 O5 hS.41, Pater noster III [first/second version] (1869)
; e  W& a1 N, c# w' ]/ TS.42, Tantum ergo [first/second version] (1869)" _! P2 P. W8 p# W- M
S.43, O salutaris hostia II (1870?)
1 N8 H, [; F2 G- A3 \S.44, Ave verum corpus (1871)
% O- _) v# {0 p) HS.45, Libera me (1871)
3 X! x" J, L4 c5 }, j6 GS.46, Anima Christi sanctifica me [first/second version] (1874, ca. 1874)5 l5 O( ~  t5 [% ^/ \4 z
S.47, St Christopher. Legend (1881)
2 j6 k, C9 r. J& uS.48, Der Herr bewahret die Seelen seiner Heiligen (1875)
: W* h( `$ Z' m! P: DS.49, Weihnachtslied (O heilige Nacht) (a. 1876)2 k' z9 b9 L# x4 ^2 `% u1 s: A
S.50, 12 Alte deutsche geistliche Weisen (Chorales) [12 chorals] (ca. 1878-79)$ e: Q. w8 _6 A+ }
S.51, Gott sei uns gnädig und barmherzig (1878)
* T' C  |+ j' z4 V0 C  @S.52, Septem Sacramenta. Responsoria com organo vel harmonio concinente (1878)# B6 G7 A' V: n4 M
S.53, Via Crucis (1878–79)
) M- j4 E) V! jS.54, O Roma nobilis (1879)2 j, \! @5 p/ j; l( J
S.55, Ossa arida (1879)3 Y6 U9 `  U9 A" q
S.56, Rosario [4 chorals] (1879)
1 d) O$ h1 M( F: u- y2 t8 vS.57, In domum Domino imibus (1884?)+ p* S/ S1 L6 |" N0 e: R
S.58, O sacrum convivium (1884?)
. d2 u" D2 W1 t3 I6 l& RS.59, Pro Papa (ca. 1880)
9 S+ _3 u. f+ H' N1 q: B+ S1 G8 GS.60, Zur Trauung. Geistliche Vermählungsmusik (Ave Maria III) (1883)
! L" C( z0 X! @3 OS.61, Nun danket alle Gott (1883)' u# X- h  q) }' l5 m8 q/ ?
S.62, Mariengarten (b. 1884)
' G+ f3 L4 n0 J: Z) L5 @" _! q7 IS.63, Qui seminant in lacrimis (1884)9 C1 g( m" R  F
S.64, Pax vobiscum! (1885)0 ]9 p' e2 B4 Q  f
S.65, Qui Mariam absolvisti (1885)
) a* l9 Q5 U( Z7 t! S# iS.66, Salve Regina (1885)
# w5 @' N, S- _  ?$ b/ a1.3 Secular Choral Works(世俗的合唱作品)
! }' L, q2 A3 F6 {S.67, Beethoven Cantata No. 1: Festkantate zur Enthüllung (1845)
% R, k- n' D% E- ]( }" QS.68, Beethoven Cantata No. 2: Zur Säkularfeier Beethovens (1869–70)( @. ~/ \: v/ Z2 I$ y( t
S.69, Chöre zu Herders Entfesseltem Prometheus (1850)1 {8 I( R/ r5 ^% N  J1 e5 k
S.70, An die Künstler (Schiller) [first/second/third verion] (1853, 1853, 1856)
4 s* C0 ^5 X7 G. c* ^S.71, Gaudeamus igitur. Humoreske (1869)
) T5 |  P1 R6 M" Z' B( g2 T, HS.72, Vierstimmige Männergesänge [4 chorals] (for Mozart-Stiftung) (1841), K7 R# |" `5 q. `( x- ~
S.73, Es war einmal ein König (1845)
3 P5 U- H0 o7 ]4 k1 pS.74, Das deutsche Vaterland (1839)
3 {* W) K: `! O; i- u6 gS.75, über allen Gipfeln ist Ruh (Goethe) [first/second version] (1842, 1849)
2 u$ C; T" D6 @# X8 \* L( p( l+ WS.76, Das düstre Meer umrauscht mich (1842); B9 O* G7 \. f+ ^) M
S.77, Die lustige Legion (A. Buchheim) (1846)
3 k- o2 o7 `9 P! s  Y& U' LS.78, Trinkspruch (1843)* Q8 I* R" A, l4 A- m. ]8 M
S.79, Titan (Schobert) (1842–47)
9 y; B; H" U# `2 J& yS.80, Les quatre éléments (Autran) (1845)
: |: a4 v4 T7 P0 \% b* u6 }S.81, Le forgeron (de Lamennais) (1845)
' G  e, @; r# }1 _( ]S.82, Arbeiterchor (de Lamennais?) (1848)
2 \  u' @& _+ e' p5 RS.83, Ungaria-Kantate (Hungaria 1848 Cantata) (1848)' ^" X$ V: [" f, Q3 K
S.84, Licht, mehr Licht (1849)
. h4 E" I; ~: R3 ?S.85, Chorus of Angels from Goethe's Faust (1849)
( E- `3 |% b# SS.86, Festchor zur Enthüllung des Herder-Dankmals in Weimar (A. Schöll) (1850)
- D  x& c7 T% e! c. SS.87, Weimars Volkslied (Cornelius) [6 versions] (1857)
! `) f  I  y3 M' f: r1 yS.88, Morgenlied (Hoffmann von Fallersleben) (1859)
2 z: i2 v7 r, ?. uS.89, Mit klingendem Spiel (1859–62 ?)
, k8 s/ E9 E$ ^/ H% nS.90, Für Männergesang [12 chorals] (1842–60)
- C6 T: W7 _2 Q% |S.91, Das Lied der Begeisterung. A lelkesedes dala (1871)+ F4 L& D, Q+ j; [3 W% Y: N, m
S.92, Carl August weilt mit uns. Festgesang zur Enthüllung des Carl-August-Denkmals in Weimar am 3 September 1875 (1875)
7 C7 G, H1 `( ^% oS.93, Ungarisches Königslied. Magyar Király-dal (ábrányi) [6 version] (1883)7 `6 H: j4 q* X+ F) C
S.94, Gruss (1885?)
7 Y$ i' I' ~$ Q% N+ Z$ {+ f5 N1.4 Orchestral Works(管弦乐作品)
) q* _9 ?" P" L0 ~9 A/ k# J3 r  Z0 E4 E
1.4.1 Symphonic Poems(交响诗)
" r& a+ V( h& S: |3 C  d: o! I" h- G
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( N( L: G. p9 \" ^( f" C
S.96, Poème symphonique No. 2, Tasso, Lamento e Trionfo [first/second/third version] (1849, 1850–51, 1854) 《塔索，哀叹与胜利》
/ A+ r  A. m2 o6 _* ]$ iS.97, Poème symphonique No. 3, Les Préludes (1848) 第三交响诗“前奏曲”9 C- R. D7 X" S: ~) q7 n
S.98, Poème symphonique No. 4, Orpheus (1853–54) 第四交响诗 《奥菲欧》
3 p4 ~8 y+ y7 oS.99, Poème symphonique No. 5, Prometheus [first/second version] (1850, 1855) 第五交响诗《普罗米修斯》7 Y% F) _( e) H) V% W; u9 M
S.100, Poème symphonique No. 6, Mazeppa [first/second version] (1851, b. 1854) 第六交响诗《马捷帕》
0 Y0 M' N$ H+ v0 F3 PS.101, Poème symphonique No. 7, Festklänge [revisions added to 1863 pub] (1853) 第七交响诗《节日之声》7 j# R0 q3 W7 z' v
S.102, Poème symphonique No. 8, Héroïde funèbre [first/second version] (1849–50, 1854)  第八交响诗《英雄的葬礼》& V  s3 Q& j1 i3 n
S.103, Poème symphonique No. 9, Hungaria (1854) 第九交响诗《匈牙利》7 J6 q' ?* y. o: g2 g6 w! u
S.104, Poème symphonique No. 10, Hamlet (1858) 第十交响《哈姆雷特》8 X, g8 L$ R7 m: u. }; @
S.105, Poème symphonique No. 11, Hunnenschlacht (1856–57) 第十一交响诗《匈奴之战》
  g8 G( X# {% r3 R' k5 QS.106, Poème symphonique No. 12, Die Ideale (1857) 第十二交响诗《理想》
) a7 O& b) _) E  R; d8 i- US.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》  U6 O3 b8 _) R' X1 Q; C6 |
1.4.2 Other Orchestral Works(其他管弦乐作品)
. X: z  {7 P7 t/ z3 A" A/ e6 r0 J5 x
S.108, Eine Faust-Symphonie [first/second version] (1854, 1861)
: J* u* Q/ w. rS.109, Eine Symphonie zu Dante's Divina Commedia (1855–56)
7 V+ e6 L0 A3 V' s7 ?. ?& {4 t, JS.110, Deux épisodes d'apres le Faust de Lenau [2 pieces] (1859–61)
0 S9 l* S7 P) T  BS.111, Zweite Mephisto Waltz (1881): p. e! L; d' `( ]
S.112, Trois Odes Funèbres [3 pieces] (1860–66)3 `- N+ i2 O; @+ e4 b
S.113, Salve Polonia (1863)5 S9 F' B9 M. }: l  A3 }* n7 \
S.114, Künstlerfestzug zur Schillerfeier (1857)) l# z( S4 j! A- e, F1 S+ T" ?
S.115, Festmarsch zur Goethejubiläumsfeier [first/second version] (1849, 1857)
- E3 Y$ R) q  A- T% L- S3 RS.116, Festmarsch nach Motiven von E.H.z.S.-C.-G. (1857)
1 e; Z! w$ N4 E* l: J- ~S.117, Rákóczy March (1865)
1 o' u) }& \3 j+ a( B: hS.118, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (am 8 Juni 1867) (1870)
- l) @8 v! s% F4 u9 c$ J5 A' DS.119, Ungarischer Sturmmarsch (1875); L$ G! c  \5 d& l
1.5 Piano and Orchestra(钢琴与乐队)& Y% V3 U% ^* e3 m
' |: N$ E" K) H

4 Y) m) ]3 S) }8 c
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)) e* D0 ]( k" p
S.121, Malédiction (with string orchestra) (1833)  诅咒  钢琴与弦乐队
: }1 d) M6 f2 Q! }- o2 k- {S.122, Fantasie über Beethovens Ruinen von Athen [first/second version] (1837?, 1849). u3 J+ f- W# M) _, v6 E# {1 K# u
S.123, Fantasie über ungarische Volksmelodien (1852) 匈牙利民歌主题幻想曲 为钢琴与乐队而作
, N% S3 j, ]3 y9 Y5 P# P5 YS.124, Piano Concerto No. 1 in E flat [first/second version] (1849, 1856) 降E大调第一钢琴协奏曲
8 t3 l3 ]) z0 ]1 ]2 FS.125, Piano Concerto No. 2 in A major [first/second version] (1839, 1849) A大调第二钢琴协奏曲
+ _8 y' U* t8 |2 \/ t4 o, hS.125a, Piano Concerto No. 3 in E flat (1836–39)
' P7 V) |8 S) D% v* m  u" PS.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 k: Q- O# ~2 {& k8 o0 m* l( ~S.126a, Piano Concerto "In the Hungarian Style" [probably by Sophie Menter] (1885). _2 q# ]6 ?, v( g2 j4 i
1.6 Chamber Music(室内乐等)) V& i  r, Q* |
6 R3 b8 }$ @3 H6 }* D( n2 G
S.126b, Zwei Waltzer [2 pieces] (1832)2 h& a( D5 D  c$ K# Y+ Z2 u: \5 n' O

" [' |# r* K1 F- ES.127, Duo (Sonata) - Sur des thèmes polonais (1832-35 ?)5 [) T6 r! A9 Z+ t( G# V" T. _
S.128, Grand duo concertant sur la romance de M.Lafont Le Marin [first/second version] (ca. 1835-37, 1849)+ N; Z1 [- C# k& M& e
S.129, Epithalam zu Eduard. Reményis Vermählungsfeier (1872)2 U) }; |2 |, v9 q
S.130, élégie No. 1 [first/second/third version] (1874)
% \- r" ~- n3 W% E2 {8 C& VS.131, élégie No. 2 (1877)2 g% V% m' N( W
S.132, Romance oubliée (1880)* \( j" \+ e0 R1 T6 @# R8 l
S.133, Die Wiege (1881?)! w2 `: E. f- v$ V
S.134, La lugubre gondola [first/second version] (1883?, 1885?)
9 U) [0 ?  ]% G0 p, FS.135, Am Grabe Richard Wagners (1883)
  X# o/ ?8 i- k4 ~9 W0 \/ Y4 @, P. h1.7 Piano Solo
$ Q6 S) b" _* f  E4 u$ o  l, Z5 X  S# y" a  S  t3 j7 D) f# O$ r
1.7.1 Studies(钢琴练习曲)9 [* s$ U- M, h. w
0 S' V3 I7 ?' P$ r  h+ o
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
( n7 Z: R; t0 x/ C0 [: }S.137, Douze grandes études [second version, 12 pieces] (1837) 《12首超技练习曲》0 W$ d) N" V2 L3 C+ m& @
S.138, Mazeppa [intermediate version of S137/4] (1840) 练习曲“玛捷帕”
% I; j4 Z% I/ ?, VS.139, Douze études d'exécution transcendante [final version, 12 pieces] (1852) 12首超技练习曲, ~+ L5 E2 U8 g
S.140, études d'exécution transcendante d'après Paganini [first version, 6 pieces] (1838) 帕格尼尼超技练习曲* l8 F" X/ {2 ?) w" h, O
S.141, Grandes études de Paganini [second version, 6 pieces] (1851)  6首帕格尼尼大练习曲
6 W/ I& C: z( l  m4 vS.142, Morceau de salon, étude de perfectionnement [Ab Irato, first version] (1840) 高级练习曲“沙龙小品”
- q" R; j9 i# W1 bS.143, Ab Irato, étude de perfectionnement [second version] (1852) 高级练习曲“愤怒”
  ~7 {6 {' P, U# O  q) |1 fS.144, Trois études de concert [3 pieces] (1848?)  3首音乐会练习曲
- _4 F: _5 {* c1.    Il lamento
6 z& Q5 \" ]: w) f& }2.    La leggierezza
; E0 V( _8 {) }) @5 w3 T3.    Un sospiro" z- [8 u. }- g4 N! w$ b4 r) l9 D. }/ k
S.145, Zwei Konzertetüden [2 pieces] (1862–63)  2首音乐会练习曲& a& d/ x0 R. y  Y
1.    Waldesrauschen
/ X3 E  e4 q  e& P. h+ V2.    Gnomenreigen, d7 q2 u% I5 o- A
S.146, Technische Studien [68 studies] (ca. 1868-80)  钢琴技巧练习
) k3 w5 }% S" p. K, }. F/ b) ^7 M1 @1.7.2 Various Original Works(各种原创作品)
6 N6 m* D' M  }, T
: ], t$ ~+ V3 i1 M& J6 N; X6 yS.147, Variation on a Waltz by Diabelli (1822)  狄亚贝利圆舞曲主题变奏曲
/ t1 l$ R' P0 D8 i% p9 mS.148, Huit variations (1824?) 降A大调原创主题变奏曲
) m2 ?( d7 i( b6 ^S.149, Sept variations brillantes dur un thème de G. Rossini (1824?)1 i4 i8 B& t9 @4 C/ M
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+ R6 \0 M" A/ S) S( N# E
S.151, Allegro di bravura (1824) 华丽的快板
; P$ w% W0 ^# {2 t& _# M9 xS.152, Rondo di bravura (1824) 华丽回旋曲
* x! R3 H1 B" b$ n" u. ], d2 j) ^S.152a, Klavierstück (?)
" e" M+ H0 J4 Q! ~" bS.153, Scherzo in G minor (1827) g小调谐谑曲
* k+ P! H: N% X& N. x1 O4 P5 `S.153a, Marche funèbre (1827)3 X" m4 R$ K+ K0 y
S.153b, Grand solo caractèristique d'apropos une chansonette de Panseron [private collection, score inaccessible] (1830–32) [1]: ?* D  J7 v$ W* I+ u; V$ N* G7 x
S.154, Harmonies poétiques et religieuses [Pensée des morts, first version] (1833, 1835) 宗教诗情曲
8 A# b, h6 c( x9 a- _- JS.155, Apparitions [3 pieces] (1834) 显现 三首钢琴小品
# b! [4 S/ K; VS.156, Album d'un voyageur [3 sets; 7, 9, 3 pieces] (1835–38) 旅行者札记
+ \. t3 T" g/ Z. Y' c3 tS.156a, Trois morceaux suisses [3 pieces] (1835–36)
6 @- \$ @0 c8 u" g$ Q2 t  XS.157, Fantaisie romantique sur deux mélodies suisses (1836) 浪漫幻想曲
4 d) y3 j  E# }- w: O9 g6 P" NS.157a, Sposalizio (1838–39)* k  x+ X8 L6 g* n! p
S.157b, Il penseroso [first version] (1839)
& a0 \) V: R+ t5 |S.157c, Canzonetta del Salvator Rosa [first version] (1849)
" Y7 ]/ w3 {$ d( CS.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
% z1 \! ~( Y$ I8 C  }, m* iS.158a, Paralipomènes à la Divina Commedia [Dante Sonata original 2 movement version] (1844–45)) G& u* F0 j0 Z" t0 M5 Q
S.158b, Prologomènes à la Divina Commedia [Dante Sonata second version] (1844–45)4 ?( L! Z" a, |1 x& t/ z# E& t/ {1 e
S.158c, Adagio in C major (Dante Sonata albumleaf) (1844–45)
& q9 b8 p/ ^8 b& f# ZS.159, Venezia e Napoli [first version, 4 pieces] (1840?)  威尼斯和拿波里
0 R$ c$ o9 T$ @( \$ US.160, Années de pèlerinage. Première année; Suisse [9 pieces] (1848–55)  旅行岁月（第一集）- 瑞士游记; ~& A4 ~- `3 ~( c+ [% V7 o
S.161, Années de pèlerinage. Deuxième année; Italie [7 pieces] (1839–49) 旅行岁月（第二集）- 意大利游记4 a% W' T' B! l
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8 q  Q6 O  E9 ?0 D, q
S.162a, Den Schutz-Engeln (Angelus! Prière à l'ange gardien) [4 drafts] (1877–82)
! Z, o$ \  i) A  p6 j/ y5 c% LS.162b, Den Cypressen der Villa d'Este - Thrénodie II [first draft] (1882)5 D1 P$ @: {9 Q; _- c
S.162c, Sunt lacrymae rerum [first version] (1872)6 m' I8 i% W) J# F& U
S.162d, Sunt lacrymae rerum [intermediate version] (1877)
0 ?# @2 }  Y" H  h/ Y7 R" C0 G3 d6 CS.162e, En mémoire de Maximilian I [Marche funèbre first version] (1867)
- r' Z* r! E4 YS.162f, Postludium - Nachspiel - Sursum corda! [first version] (1877)
( a$ N' }% l; n1 wS.163, Années de pèlerinage. Troisième année [7 pieces] (1867–77)   旅行岁月（第三集）9 ~3 H5 ]' q; l' C; ]+ h7 z
S.163a, Album-Leaf: Andantino pour Emile et Charlotte Loudon (1828) [2] 降E大调纪念册的一页% X/ h, z: n$ `% Y. {! p" g4 L
S.163a/1, Album Leaf in F sharp minor (1828)降E大调纪念册的一页
# Y2 V, ~3 L! US.163b, Album-Leaf (Ah vous dirai-je, maman) (1833)3 P' x" z$ J" Z. S0 F
S.163c, Album-Leaf in C minor (Pressburg) (1839)
$ ]  J3 j- M1 K1 jS.163d, Album-Leaf in E major (Leipzig) (1840)$ Z/ A% C/ n6 w6 K: c( b" G+ x
S.164, Feuille d'album No. 1 (1840) E大调纪念册的一页: h, l6 H' Y# Z! ^3 q' d" S. h
S.164a, Album Leaf in E major (Vienna) (1840)8 `. K: A' L$ J
S.164b, Album Leaf in E flat (Leipzig) (1840)
6 ?0 j: \& Y! hS.164c, Album-Leaf: Exeter Preludio (1841)0 ~* m% `6 j% l  m3 ^/ n
S.164d, Album-Leaf in E major (Detmold) (1840)
3 L! w6 R8 g0 uS.164e, Album-Leaf: Magyar (1841)
" w7 H# y0 o/ D/ Q: C" jS.164f, Album-Leaf in A minor (Rákóczi-Marsch) (1841), o' Z1 m" @. K9 z
S.164g, Album-Leaf: Berlin Preludio (1842). x3 H3 E% ~# |1 a
S.165, Feuille d'album (in A flat) (1841) 降A大调纪念册的一页
0 L3 g% J; |9 W* y% Y& uS.166, Albumblatt in waltz form (1841) A大调圆舞曲风格纪念册的一页# j6 l$ j/ o/ i; |' Q( Q
S.166a, Album Leaf in E major (1843)
. ]; N9 R4 [% [. O. E2 D. uS.166b, Album-Leaf in A flat (Portugal) (1844)& e8 A9 y& Y2 j" s2 q
S.166c, Album-Leaf in A flat (1844)9 m2 G+ Q; b8 x* i$ |
S.166d, Album-Leaf: Lyon prélude (1844)' {7 `8 B% b: {
S.166e, Album-Leaf: Prélude omnitonique (1844)9 b1 J# F# X: G
S.166f, Album-Leaf: Braunschweig preludio (1844)5 Q. C# D6 V; b1 _( o
S.166g, Album-Leaf: Serenade (1840–49)+ t; y1 t/ {  t! R& k+ l3 e. `' O
S.166h, Album-Leaf: Andante religioso (1846)! o: r' Q1 S' F6 g; Y
S.166k, Album Leaf in A major: Friska (ca. 1846-49)
" Q7 B. o! N& ?  tS.166m-n, Albumblätter für Prinzessin Marie von Sayn-Wittgenstein (1847)8 M7 |$ ?! R, R6 p  x3 n! p$ n
S.167, Feuille d'album No. 2 [Die Zelle in Nonnenwerth, third version] (1843) a小调纪念册的一页
! G! H- U4 G$ ~5 x* iS.167a, Ruhig [catalogue error; see Strauss/Tausig introduction and coda]
6 _9 o! T' J- w6 K& u: KS.167b, Miniatur Lieder [score not accessible at present] (?), ~2 A9 f7 d' A2 [! M7 R1 M
S.167c, Album-Leaf (from the Agnus Dei of the Missa Solennis, S9) (1860–69)
4 l# G2 q- y0 U/ ]* M: wS.167d, Album-Leaf (from the symphonic poem Orpheus, S98) (1860)
! v7 q6 B% P, a9 N/ RS.167e, Album-Leaf (from the symphonic poem Die Ideale, S106) (1861)
  f7 g9 [8 s8 ^! uS.167f, Album Leaf in G major (ca. 1860)0 D% e9 V* h- }+ j/ v
S.168, Elégie sur des motifs du Prince Louis Ferdinand de Prusse [first/second version] (1842, 1851) 悲歌
8 H9 G6 x, {1 A" W' U9 SS.168a, Andante amoroso (1847?)
- B# O: w* i, Z; MS.169, Romance (O pourquoi donc) (1848) e小调浪漫曲
# N/ z. v0 g* V( b; c; |) m1 p! j, cS.170, Ballade No. 1 in D flat (Le chant du croisé) (1845–48) 叙事曲一, t' D" g1 W1 y3 O( {; R) L
S.170a, Ballade No. 2 [first draft] (1853)* E8 ~3 [6 v0 X+ M# [
S.171, Ballade No. 2 in B minor (1853) 叙事曲二' C- O' `- K5 m1 k
S.171a, Madrigal (Consolations) [first series, 6 pieces] (1844)
; p- I/ Q4 T9 {S.171b, Album Leaf or Consolation No. 1 (1870–79)* q9 o, r8 A. }, m0 ~2 {3 Q7 C
S.171c, Prière de l'enfant à son reveil [first version] (1840)% y: h9 c' c4 l" D
S.171d, Préludes et harmonies poétiques et religie (1845)5 E1 ]* j8 g8 ?% c- P3 W
S.171e, Litanies de Marie [first version] (1846–47)
6 P8 f9 n0 V4 Y" i5 E  B/ eS.172, Consolations (Six penseés poétiques) (1849–50) 6首安慰曲$ @$ q$ x! u! Q. N  d2 g
S.172a, Harmonies poétiques et religieuses [1847 cycle] (1847)! s$ |2 B. [7 Q4 o& ^
S.172a/3&4, Hymne du matin, Hymne de la nuit [formerly S173a] (1847)
3 D0 i7 t( B3 }, P8 M8 Z" E/ B! W; RS.173, Harmonies poétiques et religieuses [second version] (1845–52) 诗与宗教的和谐
! \: `9 d9 R+ \3 ^0 JS.174, Berceuse [first/second version] (1854, 1862) 摇篮曲
7 w" \- Q/ k8 Z+ Y- z) {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)9 n: c0 z3 {$ Z* K+ a+ m" h7 G( I+ b
2.    St. François de Paule marchant sur les flots (Walking on the Waves): v. z% h5 m/ [  `) f+ s/ r; J( K. x# c
S.175a, Grand solo de concert [Grosses Konzertsolo, first version] (1850)) u- l& J5 n8 J& }2 p/ A' S7 e
S.176, Grosses Konzertsolo [second version] (1849–50 ?) 独奏大协奏曲5 Y1 Z0 h2 W( l1 A2 x
S.177, Scherzo and March (1851) 谐谑曲与进行曲
; g7 l, N, S8 t+ h$ Q% S' V0 J1 L9 V# oS.178, Piano Sonata in B minor (1852–53)  b小调钢琴奏鸣曲
) e. n- v+ t# w! d/ @& E- O# ]. l5 n: HS.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
0 q/ U* f+ L- S: z! @: {" FS.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' }! U2 g# r( h* C" q) C0 LS.181, Sarabande and Chaconne from Handel's opera Almira (1881)
; G) Q- n. U, w) O: c: C) sS.182, Ave Maria - Die Glocken von Rom (1862) 圣母颂“罗马的钟声”' m6 v9 k$ U$ F5 S8 V0 B
S.183, Alleluia et Ave Maria [2 pieces] (1862) 哈利路亚与圣母颂8 o8 q2 Z$ f: _
S.184, Urbi et orbi. Bénédiction papale (1864)
' y; k- e1 n7 [8 w4 I9 iS.185, Vexilla regis prodeunt (1864)2 z$ M0 z! o4 m# U
S.185a, Weihnachtsbaum [first version, 12 pieces] (1876)
4 |, G6 U4 D1 ~4 nS.186, Weihnachtsbaum [second version, 12 pieces] (1875–76) 钢琴曲集《圣诞树》0 E8 U* C4 _) {2 [
S.187, Sancta Dorothea (1877) 圣多萝西娅
& R1 B  j( w& s! b- i  S, F+ @S.187a, Resignazione [first/second version] (1877)! g# N7 x% e3 W5 R% b! y6 D
S.188, In festo transfigurationis Domini nostri Jesu Christi (1880) 我主耶稣基督之变形
  p$ h' L# l2 TS.189, Klavierstück No. 1 (1866)
0 S& N9 Z8 a+ [; {S.189a, Klavierstück No. 2 (1845)
7 ]  p. y) {% N* ?* RS.189b, Klavierstück (?)$ c& }& a$ {4 A6 q7 @0 X/ e
S.190, Un portrait en musique de la Marquise de Blocqueville (1868)
. O) P1 U+ Y) d7 g/ b: o* bS.191, Impromptu (1872) 升F大调即兴曲“夜曲”/ A7 E* v0 u3 x5 H
S.192, Fünf Klavierstücke (for Baroness von Meyendorff) [5 pieces] (1865–79) 5首钢琴小品6 g$ w$ |, M: d* H' Q. h. V: }8 _
S.193, Klavierstuck (in F sharp major) (a. 1860) 升F大调钢琴小品/ _5 u9 q6 y# k" Q. d! ?
S.194, Mosonyis Grabgeleit (Mosonyi gyázmenete) (1870) 在莫佐尼墓前
: s4 H5 X& x, `/ b+ \3 ?: c% Y9 FS.195, Dem andenken Petofis (Petofi Szellemenek) (1877) 纪念裴多菲
6 B$ n& b8 `5 d9 {8 V4 D. wS.195a, Schlummerlied im Grabe [Elegie No 1, first version] (1874)" J1 ^) D& x7 J, P/ x
S.196, élégie No. 1 (1874)
! ^* S1 a( n9 `S.196a, Entwurf der Ramann-Elegie [Elegie No 2, first draft] (1877)
7 |" j, j9 r3 ^* qS.197, élégie No. 2 (1877)1 m9 r3 O# ?9 j9 k$ q, w, J! D' [% O
S.197a, Toccata (1879–81) 托卡塔, d4 R/ K. c; w& i1 Q6 m, V" H, ]
S.197b, National Hymne - Kaiser Wilhelm! (1876)
: O9 o3 J/ ]$ K+ S0 r. pS.198, Wiegenlied (Chant du herceau) (1880) 摇篮曲; `; X5 N6 i0 ]! C5 b
S.199, Nuages gris (Trübe Wolken) (1881) 灰色的云
0 T2 b# Q/ P0 C. @# }. S7 NS.199a, La lugubre gondola I (Der Trauergondol) [Vienna draft] (1882)9 ~5 \" O7 J( }* s+ U3 ?1 ]
S.200, La lugubre gondola [2 pieces] (1882, 1885) 葬礼小船
3 y4 b- Y2 a, E7 }; l: O% d
5 G( j2 r8 Y2 X3 n李斯特全部作品目录-2
& S7 p9 o/ {7 c1 y/ x  H! E0 P! H9 m$ g+ }3 S# t
S.201, R. W. - Venezia (1883) 告别瓦格纳和威尼斯
4 V6 o- p, r9 i- z) j" j1 D/ wS.202, Am Grabe Richard Wagners (1883) 在瓦格纳墓前
) P& u0 N6 n+ p$ W, lS.203, Schlaflos, Frage und Antwort (Nocturne after a poem by Toni Raab) (1883) 夜曲“沉睡，思考和回答”
# ^0 u4 r) L9 C) M" w0 ?S.204, Receuillement (Bellini in Memoriam) (1877) 冥想$ m* _0 J5 d: S# b* V* a2 f4 [2 e
S.205, Historische ungarische Bildnisse (Magyar arcképek) [original version, 7 pieces] (1885) 匈牙利历史人物肖像
( f% A/ J9 D$ I/ c& f8 L' BS.205a, Historische ungarische Bildnisse [revised order and conclusion, 7 pieces] (1885)1 h, t2 G# g5 G
S.206, Trauervorspiel und Trauermarsch (1885) 葬礼前奏曲和葬礼进行曲$ E" `( R, u6 X( p1 U
S.207, En rêve. Nocturne (1885) 夜曲“梦中”
+ f; S4 G- s" m6 n! A  {S.207a, Prélude à la polka de Borodine (and Borodin's Polka) (1880); O+ J! ?% B9 z$ B: q. V' W# V9 f
S.208, Unstern: sinistre, disastro (1880–86) 凶兆、灾难
6 `' X' m& H* u' z# T' O1.7.3 Works in Dance Form(为舞蹈的作品)% j- S5 |7 ?, I% F1 W: A7 l% O

" P+ h2 d# C1 xS.208a, Waltz (in A major) (b. 1825) A大调圆舞曲
1 y% |1 X: z9 {/ MS.209, Grande valse di bravura [first version of S214/1] (1835) 华丽的大圆舞曲1 J  }( Y0 Z6 t: U, [5 |  D5 e
S.209a, Waltz (in E flat) (1840)5 B7 p) g' _- v0 ~0 u/ h3 g0 P! r; T
S.210, Valse mélancolique [first version of S214/2] (1839) 忧郁圆舞曲7 X% ]" g- ]. f
S.210a, Valse mélancolique [intermediate version] (1840)6 s- c- p* r9 V: O9 T, b9 R$ E+ s/ m
S.210b, Valse (in A major) (1830–39)
/ B: f" V8 }' I) Y+ J9 hS.211, Ländler (in A flat major) (1843) 降A大调兰德勒舞曲
  l  z4 g1 N. h9 sS.211a, Ländler (in D major) (1879)% T) I: p2 C# t5 \: G0 I( X
S.212, Petite valse favorite [first/second version] (1842, 1843)
  _  m+ `5 |! k! H1 t! }S.212b, Mariotte. Valse pour Marie (1840)
- F( x3 {4 }, y+ x' ZS.213, Valse-impromptu (1850?) 即兴圆舞曲
, t! Z2 F4 ]3 r/ |5 h: N2 YS.213a, Valse-impromptu [with later additions] (1880)5 [0 p  L7 P8 e9 z; Y" A4 f2 d( x8 e
S.214, Trois caprice-valses [3 pieces] [second versions of S209, S210, S401] (1850?)
1 Q% u- [4 A+ [9 {' L; C" ?S.214a, Carousel de Madame Pelet-Narbone (ca. 1875-81)
2 t' D6 y2 S8 q6 ^1 Q, _S.215, Valses oubliées [4 pieces] (1881–84) 4首被遗忘的圆舞曲
4 P7 g: g( X( u* j* {4 k. l3 \S.215a, Dritter Mephisto-Walzer (Mephisto Waltz No. 3) [first draft] (1883)
" n) Y, l2 g' n! uS.216, Dritter Mephisto-Walzer (Mephisto Waltz No. 3) (1883) 第三梅菲斯特圆舞曲8 |% t& ^# a4 d
S.216a, Bagatelle sans tonalité (1885)
6 q  c9 R6 g; e1 R6 nS.216b, Vierter Mephisto-Walzer (Mephisto Waltz No. 4) [first version] (1885)  第四梅菲斯特圆舞曲9 r' {4 J% ~- Q8 t
S.217, Mephisto Polka [first/second version] (1883) 梅菲斯特波尔卡
& b3 @) O& l& V) x* P' AS.218, Galop (in A minor) (1841?) a小调加洛普舞曲; _8 D6 E4 w8 D: v6 _
S.219, Grand galop chromatique [original version] (1838) 华丽的半音阶加洛普舞曲
  L8 [1 x' G, \7 Y/ qS.219bis, Grand galop chromatique [simplified version] (1838)$ m- ]) n8 G- t2 j  i6 e
S.220, Galop de Bal (1840?)
. B5 }+ S% i$ z& XS.221, Mazurka brillante] (1850) 华丽玛祖卡
9 U8 Z, M6 n& L, |S.221a, Mazurka in F minor [Not by Liszt?] (?)
/ U" l% d4 V; y4 ~S.222, [catalogue error; same as S212]! z( i8 [. \1 k9 q+ p7 x
S.223, Deux Polonaises [2 pieces] (1851) 2首波洛奈兹舞曲* h' {8 b, {" S6 E* U
S.224, Csárdás macabre (1881–82)
6 p% M9 [' z4 Q' u5 BS.225, Two Csárdás [2 pieces] (1884)
6 Y% H& V3 C7 `% W+ l7 j% P  GS.226, Festvorspiel (1856)- G; Q8 F9 Y8 S* \( h# a
S.226a, Marche funèbre (1827)8 w: T# ], Q9 A4 X! ~2 B
S.227, Goethe Festmarsch [first version] (1849)
) X/ i$ R# k: I1 K) Q% I4 iS.228, Huldigungsmarsch [first/second version] (1853)
5 U7 F- l& f7 V$ R. C% gS.229, Vom Fels zum Meer! - Deutscher Siegesmarsch (1853–56)4 z; {4 u2 w* b$ S' C4 E# {
S.230, Bülow-Marsch (1883)
/ r* u: T. A( D" }S.230a, Festpolonaise (1876)
. l' T5 M3 x& X0 b3 y: nS.231, Heroischer Marsch in ungarischem Stil (1840)
  h, i# T( _: CS.232, Ungarischer Sturmmarsch [earlier version of S524] (1843?)7 ~8 q2 G& J& L- b
S.233, Ungarischer Geschwindmarsch (1870)
* p  P2 y' q2 ]: _3 @S.233a, Siegesmarsch. Marche triomphale (Victory March) (?)$ z, M' W2 e8 D: f2 k+ l$ R/ |; b# |
S.233b, Marche hongroise (in E flat minor) (1844)* @0 Q- g: Q, I2 X' G* f
1.7.4 Works on National Themes(主题作品)
2 t' N2 Q$ }9 U) ^( `4 a, q! f. i6 C1 J8 i  m
1.7.4.1 Czech
1 @; A! p. g# E* ]; j
$ l( G  _* c. AS.234, Hussitenlied (Melody by J.Krov) (1840); u' Q$ x0 Q3 b" O& W, ^: C
1.7.4.2 English" x, i# N) S; l% w

, }: w( T7 a, U/ C  y2 tS.235, God Save the Queen (1841). {( z. r7 F/ `0 H) \
1.7.4.3 French
; ?! `5 @* I3 t# ~# c! ^$ H8 E% z: y/ ~/ j% m, P
S.236, Faribolo Pasteur and Chanson du Béarn [2 pieces] (1844)
& D6 l/ G0 h6 h4 _% D3 {0 D( RS.237, La marseillaise (1872?)$ C7 [8 C% B1 j) f
S.238, La cloche sonne (1850?)
+ |$ s; q1 _# y  l4 I# ES.239, Vive Henri IV (1870-80 ?)
! a  v. |: R2 `4 I1.7.4.4 German  A) P/ m3 \- U' {- f4 T. Y
1 t$ y* N# ?1 L
S.240, Gaudeamus igitur. Concert paraphrase [first/second version] (1843, 1853)  W" a/ J! o7 d" B- C8 Z
1.7.4.5 Hungarian
0 v: [  Q0 C7 m. I5 N, g" {
: {7 b: K1 g! n9 C+ R: B) eS.241, Hungarian Recruiting Songs (Zum Andenken) (By Fáy & Bihari) (1828)( i* |7 P" W, O  |/ e
S.241a, Ungarische Romanzero (Hungarian Songbook) [18 pieces] (1853)
) k. W& T& D4 Q. X0 W# o2 U! _S.241b, Magyar tempo (1840)0 P# G- o- _- `4 ~
S.242, Magyar Dalok: Magyar Rapszódiák [21 pieces] (1839–47)
5 k+ E- x" J7 Y# Z% dS.242a, Rákóczi-Marsch [first version] (1839–1840); n, s  D; w& F& ], g+ `
S.243, Ungarische National-Melodien [3 pieces] (ca. 1843)
; q  H; F8 z8 ~8 t4 X# gS.243a, Célèbre mélodie hongroise (a. 1866)
, G% P! |  b/ y: `/ m5 Y1 eS.244, Hungarian Rhapsodies (Rapsodies hongroises) [19 pieces] (1846–86)  19首匈牙利狂想曲
) P" h: B. u% R4 XS.244a, Rákóczi-Marsch [from orchestral version] (1863)
+ e; B. m3 \# [& L& d) u' a- ~( tS.244b, Rákóczi-Marsch [simplified version of S244a] (1871), k- c. y0 T5 O. w- Q
S.244c, Rákóczi-Marsch [popular version] (?)
/ A" A. x9 l4 xS.245, Fünf ungarische Volkslieder (Abranyi) [5 pieces] (1873)
7 [: |2 {! l+ m5 _* ]S.246, Puszta-Wehmut (A Puszta Keserve) (1880–86 ?)& n! ~) n* S6 ^1 j$ D
1.7.4.6 Italian
! ]4 `4 N- u6 U% M! G( F
9 ?; R( a- W2 }. Z3 e$ fS.248, Canzone Napolitana [first/second version] (1842)
  ^/ _- k9 B; b2 U) Y5 J" {7 Q1.7.4.7 Polish7 d4 Y. G' E9 n- A& j4 {, ^
& H- h0 S( C0 Q( ^. b' w
S.249, Glanes de Woronince [3 pieces] (1847–48)
% v( h! V8 a. _" \4 YS.249a, Mélodie polonaise [short draft] (1871)
/ D" W6 ]( g0 dS.249b, Dumka (1871)
  n6 y6 i% O+ J: }! l. OS.249c, Air cosaque (1871)3 b2 E5 }  z, W  e# A6 l
1.7.4.8 Russian
4 m7 X/ I7 W, m2 \
& c. I& }. t* p/ G7 @1 W* G* p/ K1 OS.250, Deux mélodies russes. Arabesques [2 pieces] (1842)
# |/ W6 G5 }9 {2 r" \S.250a, Le rossignol (Alyabyev) [first version of S250/1] (1842)
7 Z2 i6 e6 v, Q# z. SS.251, Abschied. Russisches Volkslied (1885)6 Z% A' @: q' R0 G
1.7.4.9 Spanish
$ `. M9 Z3 Y* f2 `
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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)# {. [' v$ o" r; V( k! J0 l
S.252a, La romanesca [first/second version] (ca. 1832, b. 1852)
# T3 W5 H/ J8 V3 m" ~* xS.253, Grosse Konzertfantasie über Spanische Weisen (1853)
7 R& X7 ~) G# w- [% Y- x$ ]/ YS.254, Rhapsodie espagnole (1863?) 西班牙狂想曲1 @% m( G, y2 u6 X
S.254x, Rapsodie espagnole [orchestrated by Feruccio Busoni] (?)
* ^4 I# n1 E1 d* n2 {9 D5 \! h1.8 Piano Duet(钢琴二重奏)/ k, g& t( K4 x0 K, ?

% L9 c) |6 ^- ^# w( @3 T( Z7 {1 AS.255, Festpolonaise [now S619a] (1876)0 l5 u5 e5 p( m2 Y" Q+ w' k& ]
S.256, Variation on the Chopstick Theme (1880)" ]1 {# n# _/ _& }6 k/ {* V
S.256a, Nottorno [Not by Liszt?] (?)
5 s' t! a2 u( `9 A& }# p5 j9 a7 e1.9 Two Pianos(双钢琴)6 k* u! U! E. D* x9 h0 \

6 j2 E" v. A3 US.257, Grosses Konzertstück über Mendelssohns Lieder ohne Worte (1834)' Y* j, Z4 F) }
S.258, Concerto pathétique (b. 1856)  e小调钢琴协奏曲“悲怆”
8 v3 ^& Q* g( d- F, Z) T% ^# Y1.10 Organ(管风琴)6 L7 b. {0 F4 j  b" z
5 o- g" L& F+ A! M, k" N: u
S.259, Fantasy and Fugue on the chorale Ad nos, ad salutarem undam (1850)4 L- P! w+ _5 I' ^! Z
S.260, Präludium und Fuge über das Thema BACH [first/second version] (1855, 1870)' v, `" g; Z. f# N
S.261, Pio IX. Der Papsthymnus (1863?)
' ]# d: T$ z4 o. J! `1 W: y* h1 D$ GS.261a, Andante religioso (1861?)
% |  b- F  @) b- ?- ^S.262, Ora pro nobis. Litanei (1864)) R0 E) z& i# _, g* B  k
S.263, Resignazione (1877)$ f6 j3 H! G- L( S$ P8 ]0 \( O8 K
S.264, Missa pro organo lectarum celebrationi missarum adjumento inserviens (1879)6 ]/ Q% r9 \8 N
S.265, Gebet (1879)( q  |( ~! V; P1 i2 o! q/ V* \
S.266, Requiem für die Orgel (1883)# Y+ {; w& A5 R4 ^7 N, h
S.267, Am Grabe Richard Wagners (1883)
2 b6 V7 o- @/ j# MS.268, Zwei Vortragsstücke [2 pieces] (1884)$ F# Q8 r5 r, }/ @6 v) `
1.11 Songs(歌曲)
6 e2 V( A  ~) n
- u3 X1 u* `3 B* RS.269, Angiolin dal biondo crin (Marchese C. Bocella) [first/second version] (1839, ?)
8 P' ~! G  A% \, wS.270, Three Petrarch Sonnets [3 songs, first/second version] (1844–45, 1854]
1 z. ]- c7 J) h. _S.271, Il m'aimait tant (Delphine Gay) (1840?); `. e% h% }* G6 x7 x6 d8 M
S.272, Am Rhein im schönen Strome (Heine) [first/second version] (1840?, 1854)
9 i* j+ g) S/ c. `$ F7 T# G/ w. ?S.273, Die Lorelie (Heine) [first/second version] (1841, ?)0 `! t% P5 d$ @/ o, }; [# G
S.274, Die Zelle in Nonnenwerth [first/second version revised 1862] (b. 1841, 1857); X8 U/ K6 D# H* ?2 O1 F2 G5 _
S.275, Mignons Lied (Kennst du das Land) (Goethe) [first/second/third version] (1842, 1854, 1860)
7 N3 P7 I) `* S# A7 VS.276, Comment, disaient-ils (Hugo) [first/second version] (1842, ?)
- P2 O& ?# B3 `3 f4 n' m, RS.277, Bist du (Prince E. Metschersky) [first/revised version] (1843, ca. 1878-79)0 @( ?$ i4 F$ P4 m1 M. b
S.278, Es war ein König in Thule (Goethe) [first/second version] (1842, ?)
) M% e5 t' N4 h' T6 _5 mS.279, Der du von dem Himmel bist (Goethe) [first/second/third version] (1842, ?, 1860)! q, K! W9 ?2 f+ p& h7 O
S.280, Freudvoll und leidvoll (Goethe) [first/second/third version] (1844, 1848?, ?)' w% h( s; i6 Z, k
S.281, Die Vätergruft (1844)) }( Y( x! n% {3 D+ a5 A
S.282, O quand je dors (Hugo) [first/second version] (1842, ?)
" Z* Y1 U& c) e( w" B- S, {6 ES.283, Enfant, si j'etais roi (Hugo) [first/revised version] (1844?, ?)
! t2 e1 @; M! t8 L2 X8 QS.284, S'il est un charmant gazon (Hugo) [first/revised version] (1844?, ?)0 B% Q! [* D/ r: T  \
S.285, La tombe et la rose (Hugo) (1844?)4 f5 c: l' i5 V5 Z+ D/ f6 E# p+ x
S.286, Gastibelza, Bolero (Hugo) (1844?)' U0 n2 y0 z& B! t7 D. \7 c
S.287, Du bist wie eine Blume (Heine) (1843?)
$ `: F6 n7 r+ D; _+ w* d5 [% m0 ES.288, Was Liebe sei (C. von Hagn) [first/second/third version] (1843?, ca. 1855, 1878–79)
+ ]% ~% y: x4 E2 C; WS.289, Vergiftet sind meine Lieder (Heine) [first/revised version] (1842, ?): E+ y( P2 o% c! d' S5 _# [6 t9 @
S.290, Morgens steh ich auf und frage (Heine) [first/revised version] (1843?, ca. 1855)* N5 G6 l: C+ g3 Q8 z
S.291, Die todte Nachtigall (Kaufmann) [first/revised version] (1843?, 1878)/ s; }' ~5 d  t1 l$ l' ?
S.292, Songs from Schiller's Wilhelm Tell [3 songs, first/revised version] (1845?, ?)
* C6 w8 {+ Q) @. E$ CS.293, Jeanne d'Arc au bûcher (Dumas) [first/revised version] (1845, 1874)4 W9 h) u9 `/ N: c, n* q
S.294, Es rauschen die Winde [first/second version] (ca. 1845, b. 1856)
3 Y- E7 B3 F) e1 gS.295, Wo weilt er? (Rellstab) (1844)5 g6 l' u$ B) |
S.296, Ich möchte hingehn (Herwegh) [revised later] (1845)
7 T/ N6 t% `3 j2 L$ G* \6 fS.297, Wer nie sein Brot mit Tränen ass (Goethe) [first/revised version] (ca. 1845)
" H2 a% Z7 h3 v8 x3 l! SS.298, O lieb so lang du lieben kannst (Freiligrath) (1845?). E" v1 S1 x2 F1 n$ h
S.299, Isten veled (Farewell) (Horvath) [first/revised version] (1846–47)
% u# X$ K6 q$ |* J/ a! c0 s. b% ]: ]S.300, Le juif errant (Béranger) (1847)
' b9 ~* Q6 n( gS.301, Kling leise, mein Lied [first/revised version] (1848)
5 D3 R' @# z1 W0 K, F% LS.301a, Oh pourquoi donc (Mme Pavloff) (1843)
8 H) _$ }- t/ D; ~% |S.301b, En ces lieux. élégie (E. Monnier) (1844); s* b4 i9 ^: n9 l6 Q3 F6 z
S.302, Die Macht der Musik (Duchess Helen of Orleans) (1848–49)
5 p. W% S8 S9 O& U3 D6 `" kS.303, Weimars Toten. Dithyrambe (Schober) (b. 1848)
# X5 \8 _$ Y3 {' lS.304, Le vieux vagabond (Béranger) (b. 1848)
  }8 f5 h, Z% W# tS.305, Schwebe, schwebe, blaues Auge [first/revised version] (1845, ?), {2 l) C8 }# F5 c$ D
S.306, über allen Gipfeln ist Ruh [first/revised version] (1847?, ?)
3 i' Q$ v( Z& n; P! y- ^" e+ OS.306a, Quand tu chantes bercée (Hugo) (1843)
% B7 d. n: \3 F* q7 H- k* iS.307, Hohe Liebe (Uhland) (1850?)
; M8 G# b  B% Y0 _4 W3 F* Z# x" f( eS.308, Gestorben war ich (Seliger tod) (Uhland) (1850?)8 \! R& D4 q. S
S.309, Ein Fichtenbaum steht einsam (Heine) [first/revised version] (ca. 1845, 1854)
# f) w) ?+ T" u; L4 xS.310, Nimm einen Strahl der Sonne (1849)
& |2 V: D- R/ w: VS.311, Anfangs wollt' ich fast verzagen (Heine) (1849)
! y5 n, D3 x; T/ z+ lS.312, Wie singt die Lerche schön (Hoffmann von Fallersleben) (1856?)9 z( U/ U  L; @
S.313, Weimars Volkslied (Cornelius) (1857)
3 A1 C5 H8 b: A) I9 X7 p) QS.314, Es muss ein wunderbares sein (Redwitz) (1852)
2 u5 U# ^6 r! B: LS.315, Ich liebe dich (Rückert) (1857)
1 j4 R5 k" c5 `4 K& LS.316, Muttergottes - Sträusslein zum Mai-Monate (Müller) [2 songs] (1857)% C: D8 s7 ?9 ~8 A+ Y* j
S.317, Lasst mich ruhen (Hoffmann von Fallersleben) (1858?)0 C7 ^7 b! [0 d6 U) \# K
S.318, In Liebeslust (Hoffmann von Fallersleben) (1858?): h# ^* M3 w/ }/ J* [$ L6 x0 Q
S.319, Ich scheide (Hoffmann von Fallersleben) (1860)  w6 d+ y/ X( |0 u: e' \
S.320, Die drei Zigeuner (Lenau) (1860)! p0 L5 U. h/ q* c7 I; q- ~
S.321, Die stille Wasserrose (Geibel) (1860?)- R1 E6 {7 e, b* l2 I
S.322, Wieder möcht ich dir begegnen (Cornelius) (1860)
% O, I' {* W& Q, u6 T# TS.323, Jugendglück (Pohl) (1860?)5 N3 @& h3 O1 J7 {( D
S.324, Blume und Duft (Hebbel) (1854)6 [0 c6 k1 w0 Y+ ~6 x3 ]. E$ P
S.325, Die Fischertochter (Count C. Coronini) (1871)- b; i$ s) B1 K7 Z( n& W
S.326, La perla (Princess Therese von Hohenlohe) (1872)+ M  e/ C" |# l
S.327, J'ai perdu ma force est ma vie. 'Tristesse' (de Musset) (1872)
% u8 g4 N; k  u5 ^' V; x8 wS.328, Ihr Glocken von Marling (Emil Kuh) (1874)+ ^3 P0 b# T  e
S.329, Und sprich (Biegeleben) [revised 1878] (1874)$ p0 E5 R' W0 S' H" n5 e
S.330, Sei Still (Henriette von Schorn) (1877)5 `; q& a( B) W
S.331, Gebet (Bodenstedt) (1878?)
/ ?4 Q( y( k# S, X$ VS.332, Einst (Bodenstedt) (1878?)
, I% x. M$ e1 V8 _* n9 n6 nS.333, An Edlitam (Bodenstedt) (1878?)
$ o* J% j$ H: sS.334, Der Glückliche (Bodenstedt) (1878?)
$ J1 R/ K# s2 ?7 s; ES.335, Go not, happy day (Tennyson) (1879)
& A) L) j- r1 z- Y; ~% @7 V5 VS.336, Verlassen (G.Michell) (1880)
6 w5 t# f5 u! m1 O4 }( n) JS.337, Des tages laute stimmen schweigen (F. von Saar) (1880)& s7 p( u6 s" D% x( d
S.338, Und wir dachten der Toten (Freiligrath) (1880?)
; y" `0 C# r0 s8 y: ^6 q$ l; ^S.339, Ungarns Gott. A magyarok Istene (Petófi) (1881)
5 Z, m/ m% J' ?' N* vS.340, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)* ^' `( }* _8 I, D+ h+ I" ]3 a$ S
S.340a, Ne brani menya, moy drug. (Tolstoy) (1886)" R+ m1 c0 X: b, l$ r# _
1.12 Other Choral Works(其他合唱作品)" n, ]( x* U6 ~7 l/ X! X
S.341, Ave Maria IV (1881)" {3 k  h" Z! }! S+ ^7 ~4 k, U8 ?
S.342, Le crucifix (Hugo) (1884)* X; V: I' X, _- g9 f" E* s
S.343, Sancta Caecilia (1884); N9 v1 f% g9 [& d  G6 H2 _& X
S.344, O Meer im Abendstrahl (Meissner) (1880)
  }, S: f8 r, r& S! r2 T8 x6 [7 \S.345, Wartburg-Lieder from Der Braut Willkomm auf Wartburg (Scheffel) [7 chorals] (1872)- [1 n& y* I  Z9 H2 y& \
1.13 Recitations(叙事歌谣颂诗)
3 u- v7 P1 L3 {0 p* H+ W/ |* A4 ZS.346, Lenore (Bürger) (1858)8 m( {. F1 c, |4 {- N( j4 X8 R
S.347, Vor hundert Jahren (F. Halm) (1859)
" S5 }! x) d9 ES.348, Der traurige Mönch (Lenau) (1860)4 M8 p" W+ m3 n9 J- r: ?4 q
S.349, Des toten Dichters Liebe (Jókai) (1874)
: v% N0 k& Z5 n( W6 rS.350, Der blinde Sänger (Alexei Tolstoy) (1875)
5 r, p5 i9 k* i; D2. Arrangements, Transcriptions, Fantasies, etc.. Z) P0 [- X# |) Y: T$ C) ?

( E  Z% A+ d7 g: i+ t2.1 Orchestral Works(管弦乐作品)2 X. S+ w9 w) }' G* L2 m0 O

# ^* `8 R0 Q) b: \7 @2.1.1 Bülow# m  P4 A: f+ N0 @; {) g# u( b

% _! D8 X# Z' J  YS.351, Mazurka Fantasie, Op. 13 (1865)1 m1 r/ s& V- D2 i
2.1.2 Cornelius: t# p7 T  v! ^4 y: s: a

6 _2 _( P; B; h# Q; i& K. V) pS.352, Second Overture to The Barber of Baghdad [completed from Cornelius's sketches] (1877)
) z! F) I% {0 C' ]" \4 W6 E$ Y2.1.3 Egressy and Erkel2 _8 N0 G; ^0 l6 G- w* m

' m2 z' I0 k: |4 h# Y3 F0 NS.353, Szózat und Hymnus (1873)
  J, L- l' h7 `* u3 o2.1.4 Liszt0 `0 u# o5 ?) a% ^7 y. U5 D8 Q
' M6 E6 j( g% w3 y
S.354, Deux légendes (1863)
4 Z& J) i# Q/ K! FS.355, Vexilla regis prodeunt (1864)' y7 l) T* b! T
S.356, Festvorspiel (1857)
. ]7 L/ g4 z' |, A3 I$ u/ h: ?! kS.357, Huldigungsmarsch [first/second version] (1853, 1857)
* E4 x1 i4 N7 z& W/ b, y+ {/ N$ s$ wS.358, Vom Fels zum Meer. Deutscher Siegesmarsch (1860)7 x+ w& m: w* b! W5 R; i! t
S.359, 6 Rapsodies hongroises (Hungarian Rhapsodies) (?)
9 Q) f& _# K+ o& y( q& eS.360, A la chapelle Sixtine (Liszt, Allegri & Mozart) [orchestral arrangement of S461, based on Mozart's Ave verum corpus and Allegri's Misere] (1862)
* C! b6 M" n* J+ I/ _S.361, Pio IX. Der Papsthymnus (ca. 1863)
' n, j! c* J3 p+ A. aS.362, Benedictus and Offertorium from the Hungarian Coronation Mass [from S11] (1875)" q5 D0 T1 r$ j
2.1.5 Schubert
- ^. G- U9 a- A  E  a# k2 |' X" H2 G
S.363, 4 Marches [from Opp. 40, 54, 121] (1859-60)9 v4 T2 W3 H: K% \7 V; ]! G4 |
2.1.6 Zarembski
! |7 S' O$ b- s; y- P* u
4 \, r/ x, {& s* I6 w1 @0 G+ Y5 US.364, Danses galiciennes (1881). M/ Q. e2 Y7 O# O& X0 r6 E. W
2.2 Pianoforte and Orchestra(钢琴与乐队)
9 `" f6 h1 Q  U) K6 G5 A/ n4 h' F4 S! g
2.2.1 Liszt- s1 D& g" c% H* h

$ ?2 Z) P9 N( z  i/ l& eS.365, Grand solo de concert [prepared by Leslie Howard] (1850)
9 d+ {/ [8 S2 e9 r7 z6 w+ k: Z6 j) ]* YS.365a, Concerto pathétique (No. 4) in E minor [Liszt, Reuss version] (1885-86)1 l( m1 P1 I7 U6 _+ D  [+ \
S.365b, Hexaméron, Morceau de concert [orchestration completed by Leslie Howard] (ca. 1839)8 R3 z6 N# g0 G% W8 I' D& j( ^/ w
2.2.2 Schubert9 e6 w) U. G. y

4 D' b: c' n  z( }6 w9 z2 V" v5 gS.366, Wanderer-Fantasie (Fantasia in C major, Op. 15) (1851)  流浪者幻想曲 - 为钢琴与乐队而作# k' ?! o: _- d
2.2.3 Weber; n' Z) G( m2 s; p! R+ U

. i5 W# H) O  L/ b6 O$ OS.367, Polonaise brillante, Op. 72 (1849) 华丽波洛涅兹 为钢琴与乐队而作
* n/ P* P4 M) D- B4 E" n! T- f2.3 Songs with Orchestra(声乐与乐队)( n; Q, ~  ~3 p7 B* K0 m9 _
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2.3.1 Korbay
4 h& D4 A4 |& ^8 j/ Y7 G4 v4 i/ \" s5 H+ m- w5 X1 U
S.368, 2 Songs (Le Matin by Bizet and Gebet by Geibel) (1883)! Z+ G% z% _/ C6 D6 c9 K. J
2.3.2 Liszt
; W4 [0 m7 [; t* {, g
9 q4 H8 j: O" l! o: h4 F  i6 cS.369, Die Lorelei (Heine) (1860)3 A9 Z& ?$ Y3 Z" e8 j
S.370, Mignons Lied (Kennst du dass Land) (Goethe) (1860)
% P) Z2 G- w! I' yS.371, Die Vätergruft (Uhland) (1886)
2 }% \' g: a8 L  i' N* DS.372, Songs from Schillers Wilhelm Tell (ca. 1855)
" p! a5 x3 ?. B2 `S.373, Jeanne d'Arc au bûcher (Dumas) [first/second version] (1858, 1874)& X, j  D" q2 ?3 G
S.374, Die drei Zigeuner (Lenau) (1860)
: o1 U( S! ~- i) {2.3.3 Schubert# c8 V- T: [( ]# m- l
: ^: L# U" h' R
S.375, 6 Songs (1860)
$ I8 Y' U  ^, V9 Q0 KS.376, Die Allmacht (1871); X. D% `! `! Q( M+ _+ E( \% |
2.3.4 Zichy
/ a8 F4 W* P" N5 J, |+ f3 q' N
S.377, Der Zaubersee. Ballad (Zichy) (1884)
  @8 R" V* m" Y0 r0 q7 O4 R3 ^+ D2.4 Chamber Music(室内乐等)
; ], [7 k/ d7 B7 z; I2.4.1 Liszt
* }  v9 p: Q7 `9 g8 V7 Z0 @8 Q
8 ]7 C8 N1 p* S) y9 ZS.377a, La notte (Odes funèbre No. 2) (1864-66)4 l! |5 w1 Q! K1 S
S.378, Angelus! - Priere aux anges gardiens [first/second version] (1877, 1880)
. Y0 g: N, P1 Z1 C5 T/ [! bS.379, Rapsodie hongroise No. 9 (Pester Karneval) (?)6 }# }8 _. ^0 `! `( t
S.379a, Rapsodie hongroise No. 12 (1850-59)
0 V5 T1 N, O; G4 \  hS.379b, Puszta-Wehmut (A Puszta Keserve) (ca. 1871); F$ ?. K7 J0 }# k4 S; b: ^
S.380, O du mein holder Abendstern from Tannhäuser (Wagner) (1852)
- v; I9 h9 I( V" m! e! m4 hS.381, Benedictus and Offertorium from the Hungarian Coronation Mass [from S11] (1862)! X; T' L: m  J7 S  J' O% ^' n& E
S.381a, Ungarns Gott. A magyarok Istene (Petófi) (1882)
! [6 ?' @- `( f/ o6 u9 x! ]S.382, Die Zelle im Nonnenwerth (ca. 1880-86)4 V" k- g  R, s$ X
S.383, Die drei Zigeuner (Lenau) (1864)
* Y+ h3 G$ x1 R' z2.5 Pianoforte Solo3 U# c/ D0 n# [( c7 Z/ A% K
4 K" R  n4 M: }3 b( ^( c
2.5.1 Paraphrases, Operatic Transcriptions, etc.(歌剧改编独奏)
8 O! Y. K! b- v/ [" ?# P" E% G; N) h2 g) B, F
2.5.1.1 ábrányi% O/ m! g# o" S) |6 U' V- K
1 Q6 o5 ]3 K1 L2 _2 Q
S.383a, Elaboration on Virág dal (1881)3 M( m# \1 V* z4 S
2.5.1.2 Alyabyev7 K9 E, Z9 V1 ?4 F3 @
5 `, B9 ~+ d1 a7 m3 S+ G9 C
S.384, Mazurka pour piano composée par un amateur de St. Petersbourg (1863)% c) r; _  r& u. d0 w; L& W8 g" O$ }
S.384a, Variations on Tiszántúli szép leány [anonymous, not by Liszt?] (1846)
/ P$ H( t5 n  `% Q2.5.1.3 Auber
; A) P) q. y/ s- H# l
/ S' B6 m$ Q1 G& m: DS.385, Grande Fantaisie sur la Tyrolienne de l'opera La Fiancée [first/second/third version] (1829, 1835, 1842)5 f' r' g1 i8 G! b
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
  K+ o' b6 `% x8 sS.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+ J2 q& L+ G; d8 c) b+ o
S.387, Three Pieces on themes by Auber [with intro piece] (a. 1846)/ R+ L) R  z# h: m) q
S.387a, Piece on an unknown theme (1847)3 W6 k( _, f- X6 a$ O3 A% K
2.5.1.4 Beethoven
9 u/ R: H( S  I* G
9 f* M: i& }" _' lS.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4 V+ x) ]% n0 m* J$ i) `. m" ~' {
S.388a, Marche turque des Ruines d'Athenes (1846)
+ y8 a, D7 X. M7 \S.388b, Fantasie über Beethoven's Ruinen von Athen [first version] (1837)
: r! X( _# g! F) vS.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' I. [+ a9 |1 p  k! a6 a
S.389a, Cadenza to the first movement of Beethoven's Piano Concerto No. 3 (1879)
2 y4 U7 h$ \9 X* b: y2.5.1.5 Bellini
1 \1 d+ |7 V" _* a1 s" ?# R& d; W
S.390, Reminiscences des Puritains [first/second version] (1836, 1837)
% G. W& W, x) V. P: z6 K5 ]) v1 ZS.391, I Puritani. Introduction and Polonaise (1840)3 V* ?* J# p; B, {
S.392, Hexaméron, Morceau de Concert (1837)3 e3 |  P: D6 N3 }5 t
S.393, Fantaisie sur des motifs favoris de l'opéra La Sonnambula [first/second/third version] (1839, 1840-41, 1874)/ b0 r+ X3 s* q
S.394, Réminiscences de Norma (1841-43)
. K2 S9 Q7 R/ C) ^( U  ~4 _0 V2.5.1.6 Berlioz2 C3 w! M% i) D/ M/ H! T

9 [2 g" S2 L! Y5 B$ g1 QS.395, L'Idée fixe: Andate amoroso [first/second version] (1833 or 1846?, 1865)& A! p4 ^6 A' e& u9 e1 \
S.396, Benediction et Serment from Benvenuto Cellini (1852)
, p: o7 P, F, F2.5.1.7 Donizetti, Gaetano
% i+ n/ c8 Z5 v9 X$ @, n/ O: J3 i/ `* ?( R7 D0 m2 M# h3 C
S.397, Réminiscences de Lucia di Lammermoor (1839)
4 G) g$ f/ m  |# N& ?; f5 {S.398, Marche Funebre et Cavatine de Lucie de Lammermoor (1839)  @* n; r- B9 Q' D" R
S.399, Nuit d'été à Pausilippe [3 pieces] (1839)
3 W; N/ h% `- A7 z7 l3 KS.399a, Lucrezia Borgia - Grande fantaisie [first version of S400ii] (1840)0 _. K! Y, P, S$ G2 ~$ k$ m  Z

) A! E; J4 {8 n3 l) B李斯特全部作品目录-31 @. _& c( s! C- r

0 R+ ^! Y5 \2 z% a* OS.400, Réminiscences de Lucrezia Borgia [first/second version] 18407 d5 b' h! ~8 h0 L
S.401, Valse a capriccio sur deux motifs de Lucrezia et Parisina [first version of S214/3] (1841)
% d& C' ~+ Y2 {( SS.402, Marche funèbre de Dom Sébastien (1844)0 e7 x% D, {% ?# w' Y( v
2.5.1.8 Donizetti, Giuseppe
' c2 i; G  D3 `/ d
' E- f5 S3 W' ^. AS.403, Marche pour le Sultan Abdul Medjid-Khan [first/simplified version] (1847, 1848)
; e" j- u, ~) J+ G2.5.1.9 Duke Ernst2 W* Y- N; [6 b! v0 Y
8 v  D; B! [* s& N
S.404, Halloh! Jagdchor und Steyrer from the opera Tony (1849)
) j* {& N+ R" a4 E. @& ~& l$ R7 S2.5.1.10 Erkel, Franz
. K/ ^; r5 O! W2 P1 q# F( d+ C
3 l- ~- P/ c0 yS.405, Schwanengesang and March from Hunyadi Laszlo (1847)
: f" B9 g! V6 v  Q$ P2.5.1.11 Festetics# _' i/ C/ k7 F1 E+ E* D: }2 C" Y
4 r: s" r" b/ M3 V/ z% z
S.405a, Pásztor Lakodalmus Variations - Mélodies hongroises [elaboration by Liszt] (1858)
/ m$ Q8 P, k- F+ {2.5.1.12 Glinka! V) O8 @4 w. @# S! V
+ z' J: }+ G- f, G
S.406, Tscherkessenmarsch from Ruslan i Lyudmila [first/second version] (1843, 1875). B- Y! ~2 V; U& d, X4 L
2.5.1.13 Gounod
/ E! E$ {8 l3 v/ l/ U) h! U+ Z' Z$ g* K- _" _
S.407, Valse de l'opéra Faust (b. 1861)9 x; f$ J. G% A
S.408, Les Sabéennes. Berceuse de l'opéra La Reine de Saba (1861)0 @8 \9 _; _. u$ P' {: O
S.409, Les Adieux. Rêverie sur un motif de l'opéra Romeo et Juliette (1867)
5 ~, x: `: R" ^+ f+ n& J# a7 [. I2.5.1.14 Halévy3 L1 A( z7 H6 J  ]. ?
S.409a, Réminiscences de La Juive (1835)
' C  V& x+ m# U: w3 ~# ?2.5.1.15 Mendelssohn( p$ p7 y2 E" e% S7 d/ F3 R
S.410, Hochzeitsmarsch und Elfenreigen aus dem Sommernachtstraum (1847-50)( _8 X# f# }9 R
2.5.1.16 Mercadante
/ l+ \+ x; }+ C2 U2 P9 Q% \& ~8 ZS.411, Soirée italienne. Six amusements (1838)
$ p) k; _' O1 ?7 F1 y2.5.1.17 Meyerbeer
0 ~* i# ~) O$ h3 J4 |S.412, Réminiscences des Huguenots - Grande fantaisie dramatique [first/second version] (1836, 1842)
% ?2 f3 h* v3 ~S.412a, Réminiscences de Robert le Diable - Cavatine (1846?), ]7 ?( |3 d) t2 P2 n; b/ Y8 j
S.413, Réminiscences de Robert le Diable - Valse infernale (1840)
5 ?" ~0 B' H; _+ g- [S.414, Illustrations du Prophète [4 pieces, 4th=S624] 1849-50
, _* U: l( j) E' W, Q, X) H9 ~: ~3 dS.415, Illustrations de l'Africaine [2 pieces] 1865
- x. r, V0 C5 Q% zS.416, Le Moine (1841)
, n/ v2 m7 ^& H! d2.5.1.18 Mosonyi, Michael# P+ O* l2 f* D1 }! d
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
# D% K8 W$ }8 _6 d2.5.1.19 Mozart# l, O1 B2 l# F7 i# x
S.418, Réminiscences de Don Juan (1841)
! V% k4 c1 @1 J. r3 Q1 I* o' e$ P+ M2.5.1.20 Pacini
. Q& n  s# [# w0 c8 wS.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) \. C9 s" V0 E3 @5 t3 p5 k: D$ ?
2.5.1.21 Paganini
- Z2 }# V/ ?7 b! N& q, _% I3 US.420, Grande Fantaisie de bravoure sur La Clochette (1832-34)  华丽的钟声幻想曲6 v6 Z3 c$ x+ X3 ]
2.5.1.22 Raff
: x" `0 w# d! a, j0 }S.421, Andante Finale and March from the opera König Alfred [2 pieces] (1853)
- s4 H% A9 i* t2.5.1.23 Rossini
0 c5 q5 R% F3 NS.421a, Introduction et Variations from "Siege of Corinth" [introduction only] (1839?)6 q+ y8 f6 r# ~! v( \* z1 @
S.422, Première grande fantaisie (Soirées musicales) [first/second version] (1836)* ]$ G7 n- v( E5 j' q
S.422i, La serenate e l'orgia - Première grande fantaisie (Soirées musicales) [first version] (1836)
5 _3 Z. c% b% h, s% h5 s) [! X4 VS.423, Deuxième grande fantaisie (Soirées musicales) (1836)* t1 n" A$ m  j9 J
S.424, Soirées musicales [12 pieces] (1837)) _/ }' B" M: a) f
2.5.1.24 Schubert
. v4 N) x( Z8 o# JS.425, Mélodies hongroises [3 pieces] (1839–40), f5 N, U2 u, U3 u& z
S.425a, Mélodies hongroises [revised versions] (1846), O+ k( F7 F" B% |2 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% \  ]% d7 ]  D5 h! [
S.426a, Marche militaire (ca. 1870)( p$ S8 y# w$ A$ R; @, a5 n3 I/ `. S. d
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- Y7 ~* L+ E/ u, r# g* m9 C8 l
2.5.1.25 Sorriano
7 h  p+ n/ A2 KS.428, Feuille morte. Elégie d'après Sorriano (1844-45)5 T' T! L4 J" [* K& ?1 J8 V: Y6 u
2.5.1.26 Tchaikovsky
$ L4 D" t0 L" ?9 T) _. k  y- dS.429, Polonaise from Eugene Onegin (1879)2 {  Y% O! k: Z( B' h
2.5.1.27 Végh, Janos
6 u- B5 f* E( P) X0 k4 U' Q' O$ rS.430, Valse de concert (1882-83)0 k% Y8 Y! y* H: n
2.5.1.28 Verdi
( h8 \  {+ W6 e/ J: A" oS.431, Salve Maria de Jerusalem from I Lombardi [first/second version] (1848, 1882)
3 a4 t( ?8 J' ~( ], V' q% wS.431a, Ernani - Première paraphrase de concert (1847)
: ~# `$ p: l* g5 c! b9 M/ \$ yS.432, Ernani - Paraphrase de concert (No. 2) [first/second version] (b. 1849, 1860)
9 B& y9 W9 K( `/ JS.433, Miserere du Trovatore (1860)/ C) W$ X2 S( L
S.434, Rigoletto Paraphrase de Concert (1859)
) H3 r0 c1 ?6 Z& O5 e- q' e% NS.435, Don Carlos Coro e Marcia funebre (1867-68)5 z. ^. u9 e: v$ D& D- y7 G
S.436, Aida Danza sacra e duetto finale (1877)
  ~, Y5 z3 C4 K  M- |S.437, Agnus Dei (1877)
5 ?) [5 L  n5 E4 ]& hS.438, Réminiscences de Boccanegra (1882)! M; |, c" k2 j' G9 S# k
2.5.1.29 Wagner. N: }, H# r' b8 o4 L
S.439, Phantasiestück über Motive aus Rienzi (1859)
' V$ [6 ?- j5 t1 i! r" B( x$ @S.440, Spinnerlied aus Der fliegende Holländer (1860)5 Y1 w/ j) c. m
S.441, Ballade aus Der fliegende Holländer (1872)
0 z- L6 Z* i  ^1 b8 _S.442, Ouvertüre zu R. Wagners Tannhäuser (1848)
3 K  c4 e( b; ]# o, a* _S.443, Pilgerchor aus Tannhäuser [first/second version] (1861, 1885)% c# w( g: r" F( x$ G' S2 T
S.444, O du mein holder Abendstern aus Tannhäuser (1848)# K' T6 \1 N( n+ Y
S.445, Zwei stücke aus Tannhäuser und Lohengrin (1852)
- U8 X$ b& h- H5 x) wS.446, Aus Lohengrin [3 pieces] (1854)( `/ j. U4 i( i  E( c6 d
S.447, Isoldens Liebestod aus Tristan und Isolde [first/revised version] (1867, 1875)
: r, e# b$ a+ f; d# X5 ~S.448, Am stillen Herd aus Die Meistersinger (1871)' X7 G9 ?1 Q2 L1 Z' o
S.449, Walhall aus Der Ring des Nibelungen (1875)
2 M1 `2 g! G% w# JS.450, Feierlicher Marsch zum heiligen Graal aus Parsifal (1882)
! h5 M% V% q9 N) S2.5.1.30 Weber
: N" h$ x: r1 O% J+ mS.451, Freischütz-Fantasie (1840-41), B$ j% w4 m9 d( g7 a; _
S.452, Leyer und Schwert [4 pieces] (1848): B* V/ n/ U8 t+ U* y" B
S.453, Einsam bin ich, nicht alleine, from Preciosa (1848)" g/ Q5 J* h+ Y$ N4 `+ v9 i- [
S.454, Schlummerlied mit Arabesken (1848): c6 m: W( a, H" K7 w+ Z. v
S.455, Polonaise brillante (1851). b+ M" |2 ^8 q/ D5 O
2.5.1.31 Zichy, Count Géza% |7 V+ m  c' Y  P) n! k% w
S.456, Valse d'Adele (1877)+ O% A& ~6 ?8 n, K2 \) a
2.5.1.32 Unknown
, {$ i8 W) f* B- K* xS.458, Fantasy on Il Giuramento (Mercadante) (1838?)
! B# ^) A9 Z0 e; GS.460, Kavallerie-Geschwindmarsch [anonymous] (?)# w9 i, ~  B$ m9 d/ Q) h' x
2.5.2 Partitions de Piano, Transcriptions, etc.5 H6 M* i" @! f# b- ], H% p& L$ G
2.5.2.1 Allegri and Mozart
  V. a/ d. ]3 G6 z' X: _2 qS.461, A la chapelle Sixtine [first/second version] (1862, ?)
& S' y, B# F4 h3 T! Y( _2 ]- FS.461a, Ave verum corpus, Kv618 (1862)9 y7 Y  p# E/ i
2.5.2.2 Bach0 P8 r  r' M  e2 Z; W. p) A
S.462, Sechs Praeludien und Fugen für Orgel [6 pieces] (1850)0 U; g/ ]: F9 w- [6 @
S.463, Organ Fantasy and Fugue in G minor [first/second version] (1860, ?)3 y# I1 j! o/ O# b7 w* j3 y) P
2.5.2.3 Beethoven
% k8 s  v+ C* D) l) T% N( XS.463a, Symphonie No.5 [first version] (1837)
0 s. V; t: ~7 L" U6 _5 H8 Z2 IS.463b, Symphonie No.6 [first version] (1837)# Z6 M1 u: j; @8 U! p# B$ D. k
S.463c, Symphonie No.6 [second version. Alternative 5th movement] (1863-64)
0 H$ x4 ], ]6 p9 ^" DS.463d, Symphonie No.7 [first version] (1837)
8 ], ?5 Q  d6 pS.463e, Marche funèbre [Beethoven's Eroica Symphony, first version] (1843)
( R0 j3 n( t7 I# c7 J" b' g; K0 YS.464, 贝多芬交响曲 Symphonies de Beethoven [9 pieces] (1863-64)1 q- G) Z' |! z' z* ?$ Q6 `
S.465, Grand Septuor, Op. 20 (1841)
# o0 c* G+ m5 t" P" u2 ]S.466, Adelaïde [third version] (1847)9 G* ]; f) H% t: p0 h1 \: t$ B
S.466a, Adelaïde [first version] (1839)1 ~- h$ I6 E1 N
S.466b, Adelaïde [second version] (1840): |: X2 c/ h! x( s# u
S.467, Sechs Geistlicher Lieder (Gellert) [6 pieces] (1840)2 Z4 T! o9 v8 X! j3 d7 _
S.468, Sechs Lieder von Goethe [6 pieces] (b. 1849). p# h1 E2 B% d8 \6 W) W
S.469, An die ferne Geliebte - Liederkreis [6 pieces] (1849)
! Y8 G9 c9 q$ ?: B  J2.5.2.4 Berlioz
! l8 c7 t. ^* k' l  h* s3 nS.470, Symphonie Fantastique (1833). P- F, c) ^6 r7 ^+ o* P: N, @
S.471, Overture from Les francs-juges (1833)7 u* _, a" }/ b1 ^
S.472, Harold en Italie (with viola) (1837)
8 x3 f3 F: j5 A1 Z& @S.473, Marche des pèlerins from Harold en Italie [first/second version] (1837?, 1862)
, n* ?. ?: x: Z5 r& z: H7 \9 |8 R/ }S.474, Ouverture Le Roi Lear (1837)
& e9 Z& s3 j: R# |& z8 YS.475, Valse des Sylphes de la Damnation de Faust (1860)
) {- q0 p# P5 T: f, P2.5.2.5 Bulhakov" i% d  }4 q" k3 v- b+ S# \8 C3 w
S.478, Russischer Galopp [first/second version] (1843, 1843): e/ E5 S$ S. p; X* A$ s1 h
2.5.2.6 von Bülow
8 F; k, `2 w) A, N1 hS.479, Dante's Sonnett - Tanto gentile e tanto onesta (1874)
% i( ?# \& z; N& u0 G5 m/ j2.5.2.7 Chopin& ?, G. @: K6 A4 T) N# F+ `4 J, [
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" I6 t2 T. S5 d3 {
S.481, Zigeunerpolka (1847?)
5 ?& N; \* E( H0 w2.5.2.9 Cui, T& R$ h, m& G, E2 I5 {- j# U1 B7 ?
S.482, Tarantella (1885)
4 c, f: P$ c$ h* G+ Q% v5 e2.5.2.10 Dargomyschsky
" u1 R6 v; R& {2 \* oS.483, Tarantella (1879)
% g4 s2 j$ `* s3 P' Z! D2.5.2.11 David, Ferdinand
+ h3 r2 g0 R$ n! p; s, ^S.484, Bunte Reihe, Op. 30 [24 pieces] (1850)# i- h7 v* }3 o
2.5.2.12 Dessauer# ?3 K! z- U3 ]" w! x
S.485, Drei Lieder (1846)
) w2 V* J! ]+ r8 D/ h2.5.2.13 Ernst, Duke; I: v7 i" t4 A3 U+ P$ V
S.485b, Die Gräberinsel (1842)4 l# i8 l/ `. e# X0 l0 n. ^8 ]1 ]& o
2.5.2.14 Egressy and Erkel/ V7 t" S; D. w5 ]8 l  r6 F- \( N
S.486, Szózat und Hymnus (1873)9 a" h% s3 B6 V7 I9 |' h' p9 z
2.5.2.15 Festetics( @1 |% m. `# H, L6 s9 b$ k
S.487, Spanisches Ständchen 1846
0 u3 C  W$ E; D$ H- u" Y2.5.2.16 Franz1 l: w! Q. V' [. Z% [& f3 v6 |4 u8 l4 i
S.488, Er ist gekommen in Sturm und Regen 1848' b5 V2 z$ o; E5 o* X4 z# Z1 D1 S
S.489, Zwölf Lieder [12 pieces] (1848)
& e' i& U; K  y2.5.2.17 Goldschmidt
3 p% g  l; P# C4 ^S.490, Liebesszene und Fortunas Kugel (1880)0 v$ v! ]9 P6 @. L3 `- c( P/ ]
2.5.2.18 Gounod
* ]8 i. _9 y, B" _; @% nS.491, Hymne à Sainte Cécile (1866)
/ T( h. C4 V; p: Z0 k7 D2 o: ?2.5.2.19 Herbeck: \$ x  b$ B  w
S.492, Tanzmomente [8 pieces] (1869)
4 z0 @4 C6 d1 V% g. @2.5.2.20 Hummel; X2 G( _# O0 }) y' P0 E/ t
S.493, Grosses Septett, Op. 74 (1848)
* }& z5 t2 P- N2.5.2.21 Lassen
3 E: X' k, m, U& @+ jS.494, Löse, Himmel, meine Seele [first/second version] (1861, 1872)
+ O1 |$ o, h" f3 I# xS.495, Ich weil' in tiefer Einsamkeit (1872)) `8 T6 Z$ u! o/ i3 ~& E) W$ c, `
S.496, Hebbel's Nibelungen & Goethe's Faust [4 pieces] (1878-79)* T! `5 L9 Y/ F+ ^& L! t
S.497, Symphonisches Zwischenspiel ('über allen Zauber Liebe') (ca. 1882-83)
! \0 l* R, I+ h* l2.5.2.22 Lessmann# s' H" y/ |* ~, U8 B9 t5 z
S.498, Drei Lieder ('Tannhäuser') (1882?)* j7 l3 h3 z8 x! i3 D
2.5.2.23 Liszt
, j+ j6 Y4 R# W" e5 }2 ?3 oS.498a, Drei Stücke aus der heilige Elisabeth (1857-62)$ b5 w$ D' ?6 U' b; J1 |
S.498b, Zwei Orchesterstücke aus Christus (1862-66)! j6 n$ T$ B% z4 y
S.498c, San Francesco - Preludio (1862-66)% E; F$ u9 c' p. r8 N, t# t
S.499, Cantico del Sol di San Francesco d'Assisi (1881)' Z( [# A7 A# p4 \2 \1 x
S.499a, San Francesco - Preludio per il Cantico del Sol (1880)
/ n( ~" p8 G5 s, ^. @S.500, Excelsior! - Preludio (1875)
" C; y) t6 U) jS.501, Benedictus und Offertorium (Missa Coronationalis) (1867)2 i- V  |6 X) V& m( C6 l7 a; o
S.502, Weihnachtslied II (1864)
9 h" j4 U, g3 v5 SS.503, Slavimo Slavno Slaveni! (1863)
& g1 {$ s% X; }, W9 g$ q: j" QS.504, Ave Maria II (in D) [first/second version in D flat] (1870, 1873)
' j, _' {5 I8 [/ NS.504a, Via Crucis [15 pieces] (1878-79)4 _  |- Q0 H7 t0 w( T$ c* `8 ~* `
S.504b, Choräle [11 pieces] (1878-79)
' |; V0 y9 H. g/ ]" R/ W1 U) sS.505, Zum Haus des Herrn (In domum Domini ibimus) (1884)
, q% a/ y# W, j- nS.506, Ave maris stella (1868)
  J# X( u. v% Q* q: SS.507, Klavierstück aus der Bonn Beethoven-Cantata (?)
- Y: W- O- i, b1 C2 d. hS.507a, Schnitterchor (Pastorale - Schnitterchor aus Prometheus) (1850)( q8 d% x$ E) z' c& g0 w$ f- r
S.508, Pastorale. Schnitterchor aus dem Entfesselten Prometheus (1861)3 `3 T* d4 S' m" {5 x% |
S.509, Gaudeamus igitur - Humoreske (1870)
# u' [* d9 _# z+ x! l9 FS.510, Marche héroïque (?)
+ @4 Z) X3 I0 B# jS.511, Geharnischte Lieder [3 pieces] (1861)
' j* k' U' q8 A0 z1 f, O. ?8 tS.511a, Les Préludes (Poème symphonique No. 3) [arranged by Karl Klauser, revised by Liszt] (1863) [1][2]
$ f! l( K! d- @% |S.511b, Orpheus (Poème symphonique No. 4) [arranged by Fredrich Spiro, revised by Liszt] (1879) [3]
. o+ i4 h0 ]3 Z/ A% q) F  S2 RS.511c, Mazeppa (Poème symphonique No. 6) [arranged by Theodor Forchhammer, revised by Liszt] (1870-79) [3]7 R# R! A* X5 ~$ H, E
S.511d, Festklänge (Poème symphonique No. 7) [arranged by Ludwig Stark, revised by Liszt] (1870-79) [3]
* n% d2 _; W3 Q0 B& W. FS.511e, Hungaria (Poème symphonique No. 9) [arranged by Fredrich Spiro, revised by Liszt] (1872) [3]. b& s& X9 j: W2 k+ g
S.512, Von der Wiege bis zum Grabe (Poème symphonique No. 13) (1881)" b; H3 d# Y$ |+ n% j
S.513, Gretchen aus Faust-Simpfonie (b 1867 )
# Z7 q2 D5 [; m: w* [3 f7 FS.513a, Der nächtliche Zug (?)
+ |/ H& ?! E' o. }3 TS.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
/ ]1 Y- l0 @/ ~) p% G% US.514a, Erster Mephisto-Walzer (Mephisto Waltz No. 1) [with later additions] (1859-62)7 q/ k1 ?8 P: ~2 H
S.515, Zweiter Mephisto-Walzer (Mephisto Waltz No. 2) (1881) 第二梅菲斯特圆舞曲
4 Y" y  g+ w$ h( \  i8 K4 w+ yS.516, Les Morts (Ode Funèbre No. 1) (1860)  ~& z! Q# s  C% E# M/ C7 a7 j
S.516a, La notte (Ode Funèbre No. 2) (?)
% o  q8 r0 p. ]S.517, Le Triomphe funèbre du Tasse (Odes Funèbre No. 3) (1866)
! l2 ^7 S  D5 t2 s! u# D) yS.518, Salve Polonia (a. 1863)! j) R% T  q* x  W( J
S.519, Deux Polonaises de St Stanislaus (1870-79)
) L6 e( o3 b4 f/ ?; @S.520, Künstlerfestzug [first/second version] (1857-60, 1883)' T1 s  v: E2 x
S.521, Festmarsch zur Goethejubiläumsfeier [first/second version] (1857, 1872)
% a# \3 K- @. B; QS.522, Festmarsch nach motiven von E.H.z.S.-C.-G (1857)
3 r! U+ z* [1 uS.523, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (1870)# W, M0 p8 Z; B6 L
S.524, Ungarischer Sturmmarsch [first/second version] (?, 1875)
0 b- {, i' `1 f: PS.525, Totentanz. Paraphrase on Dies Irae (1860-65)
; P( l' `1 H3 T  g  `! M! eS.526, Epithalam zu Eduard Reményis Vermählungsfeier (?)6 G0 E8 U! Y. m2 E+ V& W& e
S.527, Romance oubliée (?)9 N) S$ c8 k1 }0 w
S.527bis, Romance oubliée [short draft] (1880)+ A3 O! w6 k! D) T
S.529, Fantasie und Fuge über das Thema BACH [first/second version] (1856, 1870) 巴赫主题幻想曲与赋格8 X4 ?/ m" S8 A# v  f; z
S.530, L'Hymne du Pape. Inno del Papa. Der Papsthymnus (1864)
* T* Z' ^* ^# R, U8 X2 ?+ lS.531, Buch der Lieder I [5 pieces] (?)+ U) Z8 V: F) ?
S.532, Die Lorelei (Heine) [second version] (1861)8 [5 U0 z% d) g' J
S.533, Il m'aimait tant (Delphine Gay) (1842)( ?! D: B6 a3 w  r/ A& I7 D2 @6 e: x
S.534, Die Zelle in Nonnenwerth (Felix Lichnowski) [first/second/fourth version] (1842, 1860, 1880)( G* [# }; Y/ _3 Y* b% N0 p
S.535, Comment, disaient-ils [Buch der Lieder II] (1845?)
6 I/ h# x+ c& x3 a8 AS.536, O quand je dors [Buch der Lieder II] (1847?)
# y& e9 O( _. e" T6 TS.537, Enfant, si j'étais roi [Buch der Lieder II] (1847?), ^/ F- u- k4 B1 x- J9 F+ u
S.538, S'il est un charmant gazon [Buch der Lieder II] (1847?)
7 W, K, |# t" l2 b( RS.539, La tombe et la rose [Buch der Lieder II] (1847?). g! J0 L: @5 T. \# a& d! h5 b
S.540, Gastibelza [Buch der Lieder II] (1847?)
$ I. P1 \4 q1 S6 X1 e' ]- nS.541, Liebesträume. Drei Notturnos (ca. 1850)  3首夜曲“爱之梦”
, ]' R& [) e3 `2 JS.542, Weimars Volkslied [first/second version] (1857, ?)
7 A9 C' C9 B& Q0 n3 \, V; j" RS.542a, Ich liebe dich (?)7 J3 @5 y" [4 t6 W2 X2 O
S.542b, Fanfare zur Enthüllung des Carl-Augusts Monument (?)
! t  i6 R" f# BS.543, Ungarns Gott. A magyarok Istene (Petófi)]] [original/(S543bis)left-hand version] (1881)% f4 j9 d- Z$ a- t
S.544, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)
6 E! F* [! p& v  U! ^! M! o, d& TS.545, Ave Maria IV (1881)
3 k! g) h3 \% }0 G6 O/ yS.546, Der blinde Sänger (Alexei Tolstoy) [solo version] (1878)
8 T: C9 K; V  YS.546a, O Roma nobilis (1879)
$ r. j6 z9 M4 S2.5.2.24 Mendelssohn, N! c$ R9 Z; ^5 t  n
S.547, Sieben Lieder (from Opp. 19, 34, 47) [7 pieces] (1840)% ~7 X; L; T8 m; ^, P: ?  L  ~
S.548, Wasserfahrt and Der Jäger Abschied (from Op. 50) [2 pieces] (1848)
# J5 i/ I: b" x( e! M- Y2.5.2.25 Meyerbeer
! ], C2 P, q' C) _/ dS.549, Festmarsch zu Schillers 100-Jähriger Geburtsfeier (?)
, t9 Y7 C1 }7 @7 N2.5.2.26 Mozart6 o  M+ K0 o- _
S.550, Zwei Transcriptionen über Themen aus Mozart's Requiem, K626 [2 pieces] (1862)  X& I5 ]4 n( L  v; v
2.5.2.27 Pezzini
# L$ @* V6 k7 @- SS.551, Una stella amica. Mazurka (?)6 R: v; v" I  x) e% O- l
2.5.2.28 Raff: E: r& ?5 p; [' I) p0 ~
S.551a, Einleitung und Coda zu Raffs Walzer in Des-dur (opus 54/1) (1880)
( y4 s1 C# g& G# Q7 R5 R2 \! C2.5.2.29 Rossini7 V6 W  H2 }( B+ h" L
S.552, Ouverture de l'opéra Guillaume Tell (1838)
6 b& z. Z* x# O" o1 X! h9 Q1 u7 hS.552a, Caritas [La charité, first version] (1847)) {# w- L% T8 ^2 C  i7 O
S.552b, La caritá [La charité, simplified version] (1847)6 r2 Z9 d; N  L
S.553, Deux Transcriptions [2 pieces] (1847)0 n' U- M1 h" O0 U
2.5.2.30 Rubinstein' E& V$ e+ _* c# K
S.554, Zwei Lieder [2 pieces] (1880)5 E" N' ~5 k* n$ J) C( m
S.554a, Einleitung und Coda sur des notes fausses (1880)
4 b; f+ |; B% m8 \2.5.2.31 Saint-Saëns
" F8 V6 l4 E3 m. Z% k6 Z  Y; BS.555, Danse macabre, Op. 40 (1876)
0 o6 f: |  E0 f. J. y2.5.2.32 Schubert
, y* v+ g8 F. g$ n( kS.556, Die Rose [first/intermediate/second version] (1832, ca. 1837, 1838)/ r# a" I" `; z; _7 k' a
S.557, Lob der Tränen (1837)7 S* u- p+ N0 X
S.557a, Erlkönig [first version] (?)
" W+ u" A% ~4 c5 G1 ?; bS.557b, Meeresstille [first version] (?)
# z! q( w1 K9 k4 g& b5 t: mS.557b/bis, Meeresstille [first version, ossia] (?)
8 k( m3 b% B; v- MS.557c, Frühlingsglaube [first version] (?)
- i) f( a: g! Z7 H) Q* }S.557d, Ave Maria (Ellens dritter Gesang) [first version] (?)/ ~& M% S: o/ Z  K, A$ U
S.558, 12 Lieder (1837-38)# ?! b1 D1 k8 X) q& Z! M7 Z
S.558bis, 12 Lieder [revised versions of Nos. 3, 4, 7, 8, 9, 11] (ca. 1839)
; E* Z2 i/ e$ h2 y+ n# rS.559, Der Gondelfahrer, Op. 28 (1838)$ B4 Q# s. T2 ^
S.559a, Sérénade [Ständchen, first version] (1837)1 q* _: L3 ?3 l% U
S.560, Schwanengesang [14 pieces] (1838-39)( j+ X: O5 V7 V0 W
S.560bis, Schwanengesang [14 pieces, alternative versions] (ca. 1839)% i8 l( _6 q) u8 q% l
S.561, Winterreise [12 pieces] (1839)
2 G1 m( J" i# }, ]8 v8 I! Q- aS.561, Winterreise [alternative versions of Nos. 2, 3, 7, 10,] (ca. 1839)/ ?! _5 R; _; J( D
S.562, Geistliche Lieder [4 pieces] (1841)$ z% `- [( e* {* m3 k( F
S.563, Six mélodies célèbres [6 pieces, 1st by Weyrauch] (1844)% K8 l( d  t; q7 c: l  C" [
S.564, Die Forelle [second version] (1846)
+ M( g; {0 j( PS.565, Six Mélodies favorites de La belle meunière [6 pieces] (1846)" J2 E  q. F8 j
S.565bis, Müllerlieder [6 pieces, revised versions] (ca. 1879)
: t- {) n, w1 PS.565a, Wandererfantasie (Grosse Fantasie in C-dur) (ca. 1868)
, i7 m- ?8 q$ C7 oS.565b, Schubert's Impromptus [2 pieces, Op. 90/2-3] (ca. 1868)
$ j$ ]  r  z* i; Z% [% G0 K; l2.5.2.33 Schumann
- T; y* i5 f0 ?% @8 j! B1 [0 w0 VS.566, Widmung, Liebeslied (1848)
  I2 b( K6 [) D6 O. ES.566a, Widmung, Liebeslied [sketch of a more literal transcription] (1848)2 w1 {& N; R: S
S.567, An den Sonnenschein, Rotes Röslein (1861)6 _( a- b$ V0 K6 [2 S& u
S.568, Frühlingsnacht (überm Garten durch die Lüfte) (1872)0 k% H# y# p' T5 ^% @4 \  {8 m
S.569, Zehn Lieder von Robert und Clara Schumann [10 pieces] (1872)
0 s8 G/ b% k  b$ j% q! YS.570, Provençalisches Minnelied (1881)- U% Y0 r, _* K) L; Q  p
2.5.2.34 Smetana
) y- q5 p5 W) ?6 cS.570a, Einleitung und Coda zu Smetanas Polka (de salon, opus 7/1) (1880)
0 ~, I" S6 a: k* V3 ~2.5.2.35 Spohr) C0 W& @6 u: L# T8 n
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 Tausig4 v1 y; ^! s1 B  \+ |8 B
S.571a, Einleitung und Schlußtakte zu Tausigs dritter Valse-Caprice (1880)! r1 r" n; B9 y  w% i$ G. _
2.5.2.37 Szabady and Massenet
! g+ x/ O( ?$ {  H0 [8 G5 [S.572, Revive Szegedin (1879)' ^3 d" A1 A- M0 p& I
2.5.2.38 Széchényi, Count Imre2 d9 |4 _, O; R3 }# H# P
S.573, Bevezetés és magyar indulò (1872)
: _* R* b+ z4 j; s2.5.2.39 Tirindelli
! i* m: ?1 U6 F& Q6 w( dS.573a, Seconda mazurka variata (1880)
7 s# j& J% k( W& G9 ]2.5.2.40 Weber) F" H- B! e& P2 \
S.574, Ouverture Oberon (1846?)
+ G, I: f1 Q* p# y6 tS.575, Ouverture Der Freischütz (1840-41)
+ L, \( w) ^* r) d6 T. tS.576, Jubelouverture (1846). X* \" ~8 Z& S5 u+ P8 f
S.576a, Konzertstück, Op. 79 (ca. 1868)
+ F) {9 L  F* ~4 h0 T; {' b2.5.2.41 Wielhorsky, Count Michael, _- B# p6 [# c& e
S.577, Lyubila ya [first/second version] (1843, ?)+ _! L; M$ E9 g; u9 ]' N
2.6 Pianoforte Duet(钢琴二重奏)
# K" t: |6 l: V7 |' a! h2.6.1 Field
! N4 |/ G2 s8 eS.577a, 11 Nocturnes (Nos. 1-9, 14, 18 and Nocturne Pastorale in E) (?)
* g+ V% o0 I' _4 A0 i9 M) [2.6.2 Liszt
0 V4 Z: i- N" o, I+ }S.578, 4 Pieces from St. Elisabeth (1862)& T& f' c7 ^# l; ?
S.579, Christus Oratorio 4th and 5th section (?)
6 q  k8 R# w- U" C: eS.580, Excelsior! - Preludio (?)
1 C$ H& X4 W+ u7 D) W+ ^, H4 CS.581, Benedictus and Offertorium from the Hungarian Coronation Mass (1869)
7 N6 \& p- Q/ r" I0 d8 jS.582, O Lamm Gottes, unschuldig (1878-79)
& O- e* i/ a* \, o( K0 J0 US.583, Via Crucis (?). q1 V9 s! w0 m- ?1 X
S.584, Festkantate zur Enthüllung des Beethoven-Denkmals in Bonn (1845)
4 V" {# N$ G' i& ]# N8 NS.585, Pastorale. Schnitterchor aus dem Entfesselten Prometheus (1861)- c  R1 A: F6 K9 b8 e) Q2 u' q
S.586, Gaudeamus igitur. Humoreske (1870)0 f+ r9 W3 Q* ?1 L' f, W' `
S.587, Marche héroique (?)
  x0 q6 o& z/ e: j5 }8 P8 `S.588, Weimars Volkslied (Cornelius) (1857)6 R7 x: o2 \" q
S.589, Ce qu'on entend sur la montagne (Poème symphonique No. 1) (1874)
8 w. j$ C/ Z( Z$ R! lS.590, Tasso, Lamento e Trionfo (Poème symphonique No. 2) (1858)& }& T" C8 z4 m3 g& ^+ x7 U) j
S.591, Les Préludes (Poème symphonique No. 3) (ca. 1858)9 P1 `! R: N. `$ q
S.592, Orpheus (Poème symphonique No. 4) (ca. 1858); K& X( t. Q& m. S( ?
S.593, Prometheus (Poème symphonique No. 5) (1858)
2 ]' P/ W+ t& ~2 y- p2 |8 I; x. lS.594, Mazeppa (Poème symphonique No. 6) (1874)( B8 Q7 M8 c; L7 F0 L3 |
S.595, Festklänge (Poème symphonique No. 7) (1854-61)+ \9 W6 T: ?2 v0 g. m- Q6 F
S.596, Hungaria (Poème symphonique No. 9) (1874?)0 ^# w# V# m" M0 x& f
S.569a, Héroïde funèbre (Poème symphonique No. 8) (ca. 1877)
6 n% J) _* @$ P' ?S.596b, Hunnenschlacht (Poème symphonique No. 11) (ca. 1877)
, l* x- |$ ^- a) [S.596c, Die Ideale (Poème symphonique No. 12) (ca. 1874-77)+ s& I+ ]7 b7 w/ g7 [/ w4 `
S.597, Hamlet (Poème symphonique No. 10) (1874)
& y9 C: P# ?1 T' A8 i  W" [S.598, Von der Wiege bis zum Grabe (Poème symphonique No. 13) (From the Cradle to the Grave) (1881)
+ {. K, f: L1 L1 J: ES.599, Two episodes from Lenau's Faust (1861-62)9 c) j" g) A0 U1 X: m
李斯特全部作品目录-45 A9 `8 v, y2 P6 h0 ]- C/ `

+ b; o( U6 \+ W9 l9 i* IS.600, Mephisto Waltz No. 2 (1881)+ @2 `; H; r) N: ]. F$ B
S.601, Les Morts (Ode Funébre No. 1) (1866)
$ S4 L; ]5 r# w9 y% QS.602, La Notte (Ode Funébre No. 2) (1866)
# t6 _: x  S+ |. j& M, YS.603, Le Triomphe Funèbre du Tasse (Ode Funébre No. 3) (1866?)$ q3 L1 _' y5 F9 h5 P
S.604, Salve Polonia (1863)* L/ l! p) v" H3 O1 M+ D" V
S.605, Künstlerfestzug zur Schillerfeier (1859)
9 v& K- ]. ^8 M. m! [S.606, Festmarsch zur Goethejubiläumsfeier (ca. 1858)
# T4 b" q  b" i' u5 i; dS.607, Festmarsch nach Motiven von E.H. zu S.-C.-G. (ca. 1859)  z' d! I5 c/ c" z6 t
S.608, Rákóczy March (1870)4 c0 q& y' @1 k8 m  a
S.609, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (1870)
1 m' C$ l8 c8 g5 x0 e& }: yS.610, Ungarischer Sturmmarsch (1875)# @$ l- `2 B5 v% E
S.611, Epithalam (1872)
* Y' M, k, p( ]  R$ y! HS.612, Elégie (1874): r% i* D/ A: r# Y
S.613, Weihnachtsbaum (1876)
7 U& l' f- w. s" Q: z7 k! S) ^S.614, Dem Andenken Petöfis (Petófi Szellemének) (1877)* l2 w, F7 E' _& E
S.615, Grande Valse di Bravura (1836)
* M& |- C% ?6 w9 K& G% l/ ?# L2 LS.616, Grand Galop Chromatique (1838)
) H0 w( C; u4 w  qS.617, Csárdás macabre (1882)2 _* ?& Y3 h/ e4 A/ v( b
S.618, Csárdás obstiné (ca. 1884)
; l/ m# `: ~+ I, V. ~S.618a, Vom Fels zum Meer. Deutscher Siegesmarsch (?)- h9 ~6 T# z1 g2 J6 [. f
S.619, Bülow-Marsch (ca. 1883)
3 o5 h/ b; `$ ]1 d; b/ Z; sS.619a, Festpolonaise (1876) [4]1 ^# w$ C- O8 v4 g/ B
S.620, Hussitenlied (Melody by J.Krov) (1840). C0 d% X- E0 O9 J5 A
S.621, 6 Hungarian Rhapsodies [from the orchestral version, S359] (1874)
' a+ t1 |4 `# |$ g! l6 uS.622, Rapsodie hongroise No. 16 (1882)
- v# q. ^# g0 \% D' P1 `S.623, Rapsodie hongroise No. 18 (1885)3 T. b1 F4 t" s
S.623a, Rapsodie hongroise No. 19 (ca. 1885)
' i9 F7 o7 _* o2 _8 X$ H8 K5 gS.624, Fantasy and Fugue on the chorale Ad nos, ad salutarem undam (1850)7 [( C: B  j1 x7 c3 m
S.625, L'Hymne du Pape (Der Papsthymnus) (1865)) p# E5 `' `- B
S.626, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)+ n/ f4 A0 U- {: a7 W$ Y
S.627, Fantaisie sur des motifs de l'opéra La Sonnambula (Bellini) (1852)+ }  L6 L5 f( e3 F) x. R/ y: w
S.628, Bénédiction et serment (Berlioz's 'Benvenuto Cellini') (1852)9 o% h6 e! y4 m0 n$ F; m) u
S.628a, Marche et cavatine (Donizetti's Lucia) (?)
  j$ c9 J) V2 k, s. n' p" ?S.628b, Szózat und Hymnus (Egressy and Erkel) (1873): L. i3 n9 t  K% a1 k9 _
S.629, Tscherkessenmarsch (Glinka's Ruslan i Lyudmila) (1843)
4 @5 U0 a9 `# D- eS.630, Réminiscences de Robert le Diable - Valse infernale (Meyerbeer) (1841-43)+ B5 _- Z# e  k0 z  `/ w6 T
S.631, Andante finale und Marsch (Raff's 'König Alfred') (1853)
1 n3 V/ a2 _6 m5 YS.632, 4 Marches (Schubert) (1879)
* {( ^4 X* X0 tS.633, A la chapelle Sixtine (Allegri Mozart) (1865); m8 B  Q% l* x% W9 h3 K+ f2 g+ P
S.634, Grand Septuor Op. 20 (Beethoven) (1841)
9 ?, u" O/ _+ S2 V2.6.3 Mozart
0 `& H% }; Q0 }* w( q% SS.634a, Adagio from Mozart's Die Zauberflöte (1875-81?)
: V0 B4 i! r$ a2.7 Two Pianofortes(双钢琴)
& S' I3 s1 c9 k: P' @! k2.7.1 Liszt
, i6 `" \, d" P$ eS.635, Ce qu'on entend sur la montagne (Poème symphonique No. 1) (ca. 1854-57)# ?: |7 ?* ~% p; G$ e% V4 e
S.636, Tasso, Lamento e Trionfo (Poème symphonique No. 2) (ca. 1857)6 x( P* T: O9 K( Z- {, B' f
S.637, Les Préludes (Poème symphonique No. 3) (ca. 1854-56)1 ]8 J( W3 n8 @
S.638, Orpheus (Poème symphonique No. 4) (ca. 1854-56)
$ `- o2 w0 J$ B4 c, v* }S.639, Prometheus (Poème symphonique No. 5) (1855-56)
) W6 h$ c! u/ [! r: s" qS.640, Mazeppa (Poème symphonique No. 6) (1855)( E0 k+ y3 l& ]) N
S.641, Festklänge (Poème symphonique No. 7) (ca. 1853-56)
$ `/ R5 ~$ Y( x/ R3 l8 p! U; T  hS.642, Héroide Funèbre (Poème symphonique No. 8) (ca. 1854-56)( \/ ~$ P5 I5 ?4 d1 B* }* _
S.643, Hungaria (Poème symphonique No. 9) (ca. 1854-61)7 q5 A2 N" Q7 u( M6 ~8 @- u* L
S.644, Hamlet (Poème symphonique No. 10) (ca. 1858-61)
: y, ^! Q! E5 g0 V1 J# V+ |) f+ jS.645, Hunnenschlacht (Poème symphonique No. 11) (1857)
( V, y  v7 o, N/ F- F; DS.646, Die Ideale (Poème symphonique No. 12) (1857-58)! x! [( i2 `( _
S.647, A Faust Symphony, in three character pictures (1856)
3 G7 ~* t+ M5 @S.648, A Symphony to Dante's Devina Commedia (ca. 1856-59), }% T/ @0 f& f5 ]. b7 `
S.649, Fantasie über Beethovens Ruinen von Athen (1865)
9 B5 i# u, [% I8 {" L& F" lS.650, Piano Concerto No. 1 in E flat major (1853)
4 L) a1 o! x6 L1 {1 qS.651, Piano Concerto No. 2 in A major (1859)
3 {8 \+ n( i' T7 d* Q0 jS.652, Totentanz. Paraphrase on Dies Irae (1859)
. y5 \. }" G5 u" f% GS.653, Wandererfantasie (Schubert) (a. 1859)8 x7 @+ H& i9 h
S.654, Hexaméron, Morceau de Concert (1837)3 U' Y8 H( J- h5 }
S.655, Réminiscences de Norma (Bellini) (1841): i2 p# p8 n  y' Q6 p2 {
S.656, Réminiscences de Don Juan (Mozart) (1841)
  p1 C. B1 L3 `0 G# x9 i% t3 uS.657, Symphony No. 9 (Beethoven) (1851)
* m; V+ R# t, D8 N5 bS.657a/1, Piano Concerto No. 3 (Beethoven) (1878)5 z& e* U/ m1 e/ i9 x$ @3 D" Q8 M
S.657a/2, Piano Concerto No. 4 (Beethoven) (1878)
! `. q; H* S' C) o% l3 G, v' gS.657a/3, Piano Concerto No. 5 (Beethoven) (1878)# g; s. S; p; @9 ^0 n" v# o; v2 c
S.657b, Bülow-Marsch [2-pianos, 8-hands] (1884)1 ~) z" E  J: ~4 T" Z
2.8 Organ(管风琴)
9 j8 O0 |  O  Z& @! n2.8.1 Allegri und Mozart, }, H" l0 N- P8 F+ w: t& f" F. j
S.658, évocation à la Chapelle Sixtine (1862)8 I" M7 \4 h* ^& Z6 L/ X
2.8.2 Arcadelt
+ A/ k# j& G$ z/ F" hS.659, Ave Maria (1862)
9 z# P8 j5 v1 I2 B2.8.3 Bach! Q9 Z( ?9 a9 W
& m3 t8 g, x' R$ D: }
S.660, Einleitung und Fuge aus der Motette Ich hatte viel Bekümmernis und Andante Aus tiefer Not [2 pieces] (1860)6 J( Z, O+ Q- K' v) {+ s0 K! q0 [
S.661, Adagio from Bach Violin Sonata No. 4 (BWV1017) (1864), g& I5 e/ G9 j" F3 G* U2 R1 Z
2.8.4 Chopin
6 @" f( z! V' U6 i1 H) ~4 _/ {( ]. E6 ]( V
S.662, 2 Préludes from Op. 28 (Nos. 4, 9) (1863)
8 p& p: t' W) n7 R8 w' |2.8.5 Lassus
) J! S9 V/ D) ]' [7 X. B  [! n4 D0 Q: z( L+ o0 e$ Q3 F' f7 b: W) e" }5 q  Y" m
S.663, Regina coeli laetare (1865)
2 r3 ^6 z1 Q3 Y, `" F9 q$ S' O2.8.6 Liszt  O  R. F7 Z) s" m" Q$ R& H& P

; C1 P8 U( l. z- PS.664, Tu es Petrus from Christus (1867)2 g% M  f2 Y5 z; s  \% g$ Z- M
S.665, San Francesco (1880)1 x  k0 p5 f/ r
S.666, Excelsior! - Preludio (?)( t( a& L0 [) Y7 Y
S.667, Offertorium from the Hungarian Coronation Mass (1867)
  d7 C3 A3 g  O: {S.668, Slavimo Slavno Slaveni (1863)
% x4 B+ [5 t* M5 X, B+ p) eS.669, Zwei Kirchenhymnen [2 pieces] (1877)2 B8 X6 @5 Y  D5 l& a/ ^# c. f* h
S.670, Rosario [3 pieces] (1879)
5 F9 g" a  O2 i* j0 _' |S.671, Zum Haus des Herrn (In domum Domini ibimus) (1884)
3 I) b0 U6 j) c$ mS.672, Weimars Volkslied (Cornelius) (1865)
) L' l0 |2 d, q, A/ c$ ~# d5 F  I: WS.673, Weinen, Klagen' Variationen (1863)' y# w" f  t, L/ N3 R% r
S.674, Ungarns Gott. A magyarok Istene (Petófi) (1882)
8 v5 X+ v8 u/ K4 y" D6 HS.674a, O sacrum convivium [2 versions] (?)2 F7 V6 K8 ~* W% ^: ^. a
2.8.7 Nicolai, E. v% r7 o. z- P6 o# c& ^
6 v# f5 E/ ?: T5 [5 G: j
S.675, Kirchliche Festoverture (1852)( G# e' `- R1 M% k+ ?: P  H$ U& Q
2.8.8 Wagner( D! P( W1 v$ N2 G5 ~
1 _9 a' w" ?1 J" r4 B3 P
S.676, Pilgerchor from Wagner's Tannhäuser (1860)
! [$ Z  z' f0 o5 |! L) k6 K2.9 Organ with Other Instruments(管风琴和其他)
2 k' r5 X5 R- X- U3 I9 p0 X6 ^, U3 m) Z/ J6 d
S.677, Hosannah from Cantico del sol di San Francesco d'Assisi (for organ and bass trombone) (1862)5 r/ k# k& l+ t* }
S.678, Offertorium and Benedictus from the Hungarian Coronation Mass (1869)
. C, M: I* X5 c, }  X1 z! B1 Z) H' tS.679, Aria 'Cujus animam' from Rossini's Stabat Mater (for organ and trombone) (?)" m" }7 {/ w. b) ?! N6 l
Vocal Arrangements声乐' x( c. h3 z6 r( `  M: o- d

/ X1 h7 T6 B5 j. i* p! p. RS.680, Ave maris stella (1868)" c  h' O  g" n6 @  t, m, O
681, Ave Maria II (1869) $ B4 I- U7 ?; s5 \) k9 k
S.682, Air du Stabat Mater (Rossini) (?)
' D+ E4 f8 O( B/ b) Z; M1 s& L, LS.683, Serbisches Lied (Hohenzollern-Hechtingen, Prince FWC. von) (?)
* A5 V: m. n- l, Y1 RS.684, Barcarolle vénitienne (Pantaleoni) (?)
6 G6 s; u$ O2 G( S) T4 R- a0 RS.685, Es hat geflammt die ganze Nacht (Grand Duchess Pavlovna) (?)" D+ n* Q9 K2 G. f

! T9 v) q0 T: Y' g2 M' m& U; y2.10 Recitations
6 Y! L; r0 F/ M: j* P, K! VS.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

1 _* d8 d- X- O7 {
! I4 w: I0 X# w+ R5 _/ @/ Y- g- m2 H3 i

. ~1 y0 d3 P8 S4 S
4 O) q, f3 G, H: t/ H  C! c9 l! i( z) W5 ~8 f# H: U7 F
& P1 Q/ J  X) S: ^

/ ?5 ]1 r: k' o# l; ~3. Appendix% ^- \5 U; O. u/ Q0 v+ n

3 Z0 E/ I4 {% l+ F3.1 Unfinished Works/ h/ [, c3 g: q1 ?' V
7 R9 o' `8 Q0 d7 x! A
S.687, Sardanapale (Byron) [opera, partly sketched, 111 pages] (?)9 N- }* d! j. M( o9 M
S.688, Oratorio - Die Legende vom heiligen Stanislaus [sacred choral] (1873-85)9 r! u, M3 C5 n- G0 g  q) m
S.688a, St Stanislaus fragment [solo piano, Library of Congress] (1880-86)
7 z8 \; s+ I# M4 D0 tS.689, Singe, wem Gesang gegeben [secular choral] (1847)
$ i. D+ t- |6 [S.690, Revolutionary Symphony [unfinished, revised 1848] (1830)( I; O2 ^1 S7 \, N/ P* B' b
S.691, De Profundis [piano and orchestra, De Profundis - Psaume instrumental] (1834?)
; G5 X1 c, s5 p! N! m: Y- M; ZS.692, Violin Concerto [only sketched] (1860): S7 d3 E  s+ y! j
S.692a, The Four Seasons String quartet (Vivaldi) (1880?)
: d, X5 p, O( Y* S, H- b9 kS.692b, Anfang einer jugendsonate [solo piano] (1825)
( B$ Z. s4 _1 b% D4 IS.692c, Allegro maestoso [solo piano] (1826): Z5 D4 F+ _) c3 v* n
S.692d, Rákóczi-Marsch [solo piano, first version, simplified, unfinished] (1839), Z# y; F" t: p; |
S.692e, Winzerchor (Prometheus) [solo piano] (1850): K) ]. D. ~% d2 M" Z, q( I, J
S.693, Deux marches dans le genre hongrois [solo piano, 2 pieces] (1840?)! T9 W- Q# W) ]1 `$ S
S.693a, Zwei Stücke aus der heilige Elisabeth [solo piano] (1862)
4 d9 ~. B  r9 D' e) w' yS.694, Fantasie über englische Themen [solo piano] (1840?)
8 o6 J+ }9 b5 p( r" F1 S; I  K2 ZS.695, Morceau en fa majeur [solo piano] (1843?)
: u+ F* t6 E( j! rS.695a, Litanie de Marie [solo piano] (1847)9 Q4 m  e. `+ j: r/ e1 m6 d
S.695b, Zigeuner-Epos [solo piano, 11 pieces] (ca. 1848)5 H2 g) z2 p/ Y6 B1 f* W) l
S.696, Mephisto Waltz No.4 (1884) 第四梅菲斯特圆舞曲" P: q. ?3 m/ u9 Z
S.697, Fantasie über Themen aus Figaro und Don Giovanni (Mozart) [solo piano arrangement] (1842)
* t# Y" y) @$ x: [S.698, La Mandragore - Ballade de l'opéra Jean de Nivelle de L. Delibes [solo piano arrangement] (a. 1880)
- s/ y+ S% h7 R. d( y1 I. vS.699, La Notte (Odes Funèbre no. 2) [solo piano arrangement] (1864-66)
& I7 o; k) @' P2 f2 j' A$ ?; xS.700, Grand Fantaisie (Variations) sur des thèmes de Paganini [first/second version; completed by Mezö] (1845)
% }* r  I4 e2 R- k! d4 ?; G  CS.700a, Variations sur Le Carnaval de Venise (Paganini) [solo piano arrangement] (?)
; T+ ?0 k& e; j: F' F; X) xS.701, Den Felsengipfel stieg ich einst hinan [song] (?)
) K2 S1 C0 M' v. \$ u4 J" bS.701a, Allegro di bravura [orchestra, arrangement] (ca. 1830)* J2 w1 X; Y6 a
S.701b, Marie-Poème [solo piano] (1837)
3 ?: ^( |) v" E2 m+ \$ yS.701c, Andante sensibilissimo [solo piano] (1880-86)
( A7 i& c1 V+ K: Q: ZS.701d, Melodie in Dorische Tonart [solo piano] (1860)
: @& y: C- L9 D1 ]9 [( E; ]9 `S.701e, Dante fragment [solo piano] (1839)* o! Q2 u- n9 R9 T. [/ M6 F
S.701f, Glasgow fragment [solo piano] (?). Q2 m8 @7 K% W
S.701g, Polnisch - sketch [solo piano] (1870-79)) m2 U! X. N! I, F' g  I+ C6 B
S.701h/1, Operatic aria - and sketched variation [solo piano] (?)/ y, g- l! t: i4 g  [. w% @5 r
S.701h/2, Valse infernale (Meyerbeer) - theme [solo piano arrangement] (?)
( O& W2 Z& _! k0 K  f% u, eS.701j, Harmonie nach Rossini's Carità (La charité) [solo piano arrangement] (1847)( v  Y* m7 e, D% g( o
S.701k, Korrekturblatt (to an earlier version of La lugubre gondola) [solo piano] (1882)# P( M7 C( C. J0 B+ W1 K: D4 Z0 ]" c
3.2 Doubtful or Lost9 \$ m* a5 h' j5 }1 M* n6 N
2 @+ n$ s! D3 o! s+ H4 n9 r) Y9 z. N
3.2.1 Sacred Choral Works0 ^1 k0 i' E# I: w

  f8 r) j. K- S6 OS.702, Tantum Ergo (1822)2 o. Q, F7 D1 F# z$ Q# T
S.703, Psalm 2 (1851)7 B1 Z/ ?8 o$ X
S.704, Requiem on the death of Emperor Maximilian of Mexico (?)
  g! T% U# X% Z/ M; OS.705, The Creation (?)
1 b6 i7 c. J4 v$ D0 KS.706, Benedictus [doubtful] (?); [. E( J  `  L: _
S.707, Excelsior [arrangement, doubtful] (?)8 }0 u% P( r# y  w
3.2.2 Secular Choral Works
1 h3 ~9 t) U. I: {8 p) O4 F8 A6 \' b5 w+ G$ B0 `& Q
S.708, Rinaldo [doubtful] (ca. 1848)
) B* D5 N* c& x& Q1 F- |* j3.2.3 Orchestral Works
' V  Y7 t% D! F5 ]4 }# @) K4 N  E, L" ^# L" l4 Z/ R- m
S.709, Salve Polonia [rediscovered, renumbered as S113] (1863)6 D; z! Y- l- s* }
S.710, Funeral March (?)
1 p; S9 c1 N) f0 PS.711, Csárdás macabre [arrangement] (?)
) G) ~$ ?5 f& T, `0 r3 LS.712, Romance oubliée [arrangement] (?)
( a4 x/ x) ^5 v, {1 f. l3.2.4 Piano and Orchestra1 U2 L4 F: t; z" Q0 i

* ^4 }5 R, }5 {S.713/1, Piano Concerto in A minor (1825?)
, _" d! |: a, ?' |! gS.713/2, Piano Concerto (1825?)
- S! G1 f6 N; yS.714, Piano Concerto in the Hungarian style [by Sophie Menter, renumbered as S126a] (1885)
+ D, \( n3 ^8 M& z0 ?S.715, Piano Concerto in the Italian style (?)
6 s4 D2 X& g; a; Z0 iS.716, Grande fantaisie symphonique [orchestral] (?)
4 E0 y) {6 i  O3.2.5 Chamber Music/ E1 F  G9 q4 B/ `( I2 k

& {6 f8 U. v" E: ]" HS.717, Trio (1825)& i8 g+ O, X6 L: W( T. l
S.718, Quintet (1825)! U; g% S' j: m) g" |0 ]6 m
S.719, The Four Seasons String Quartet (Vivaldi) [rediscovered, renumbered as S692a]; Y" b) V  n5 J' `: ^0 I
S.720, Allegro moderato (?)) O1 e4 V5 e7 X# R. C2 C1 [# a, h% m; S! v
S.721, Prelude (?)  j1 J5 u" s4 j9 v, d
S.722, La notte (Odes funèbre no.2) [rediscovered, renumbered as S377a] (1864-66)
; d$ l$ _0 }4 J# f% bS.723, Tristia [arrangement, from Vallée d'Obermann S160/6] (1880-86 ?)
+ ~0 E! X3 ~% d0 E, C7 P. V$ zS.723a, Postlude on theme from Orpheus [arrangement] (?)  B2 F! O# N( E% v0 q1 ?
3.2.6 Pianoforte Solo
* {) c6 _6 B! E8 K9 C# g
# g/ Q' ^; J* \) A8 |+ YS.724, Rondo and Fantasy (1824)
+ M; H7 N5 D0 p- x' {S.725, 3 Sonatas (1825)3 l) @" A7 a) }% F- b
S.726, Study (?)
9 A& i) W) e3 z+ v/ B# JS.726a, Valse (?)4 `; |) r+ g5 J+ X" @
李斯特全部作品目录-5) o, I7 U6 u/ C8 }) P7 S, B) h+ ^

+ ]% m! ~2 d7 w! i  ~2 ES.727, Prélude omnitonique (?). W5 f* `4 [  ?* v
S.728, Sospiri (Fünf Klavierstücke) [rediscovered, renumbered as S192/5] (1879)
+ z" Q  z- U0 f5 G9 b6 _" m+ q, LS.729, [rediscovered, renumbered as 42(?)]! C; D! T' S+ b( r! q
S.730, Dem Andenken Petöfis (Petófi Szellemének) [rediscovered, renumbered as S195] (1877)
( P! G6 c5 S$ d5 G" ~S.731, Valse élégiaque (?)
+ T. n' C. W0 r3 a, Z* d! VS.732, Valse Oubliée No.4 [rediscovered, renumbered as S215/4] (1883-84)1 ~6 o- @# s3 t  l! O9 F
S.733, Marche hongroise (in E flat minor) [rediscovered, renumbered as S233b] (1844)
% Q( _2 p* o( @  E7 pS.734, Ländler (?)
3 Y3 i7 e. F2 w- K+ @; RS.735, Air cosaque (?)
' ?4 w0 g4 F! \) ^S.736, Kerepsi csárdás (?)* \, P! ]+ ^' P& z
S.737, 3 morceaux en style de danse ancien hongrois (?); R4 R7 f$ O6 c/ c
S.738, Spanish folksong arrangement (?)& p3 E" O, l6 x
3.2.6.1 Arrangements- U9 ?4 J) E8 ^4 |

0 y5 ~  S+ [' NS.739, Corolian Overture (Beethoven) (?)
- T9 }$ G6 t; I, B$ q- U0 oS.740, Egmont Overture (Beethoven) (?)  H( C- o+ M9 j. Q
S.741, Le carnaval romain - Overture (Berlioz) (?)* \+ e" N, I; R# \: o
S.742, Duettino (Donizetti) (?)
" q% `: U8 ?* \S.743, Soldiers Chorus from Guonod's Faust (?)( k* [) K! v4 g" i4 U. h
S.743a, Fantasia on themes from Halévy's Guitarero (b. 1841)* E- s1 [- P7 o$ ]2 N
S.744, Paraphrase on Act 4 of Kullak's Dom Sebastien (?)0 V9 R+ }& D8 a+ g$ a
S.745, Funeral March (?)4 ~" y+ Z/ B4 Y
S.746, Andante Maestoso (?)& c7 j$ `9 F- q- j3 H$ I
S.747, Poco adagio (from Missa Solemnis) (?), Y, X9 H, X" j2 {; r
S.748, Overture to Mozarts "Die Zauberflöte" (?)( e2 `* B: ^  J' \0 e* @
S.749, Preussischer Armeemarsch (Radovsky) (?)
) X& E/ |, a) {- r9 P  K; {" P  WS.750, Siege de Corynthe, Introduction (?)* A. }. Q# h! a2 d) A# ^" H7 H3 f& {
S.751, Nonetto e Mose, Fantasia on themes by Rossini (?)  _5 g2 q0 e4 Z5 M, {2 n7 |7 d0 E
S.752, Gelb rollt (Rubinstein) (?)
# Y4 `+ c- H7 [0 s8 `. K' `S.753, Alfonso und Estrella, Act 1 (Schubert) (?)
+ Y" ^6 B! H' F3 f  j  A: xS.754, Seconda mazurka variata (Tirindelli) [rediscovered, renumbered as S573a] (1880)
  K- ~9 t) |# J* r# s/ m0 t3.2.7 Pianoforte Duet
9 b8 }* p$ @( d# h4 x7 y2 o2 v( p2 x) n
S.755, Sonata (?)5 ?, [  S+ d3 V: d: t) ]" H0 V8 Z
3.2.8 Two Pianofortes2 U# v! {$ M& q* s
% ~& h( w3 b" o6 x/ t
S.756, Mosonyis Grabgeleit (?)% s: k+ G% V9 c
S.757, La triomphe funébre du Tasse (?)" D2 T. B: B3 b0 G
3.2.9 Organ
& |" B7 p) b7 ]0 z! o4 x2 j8 c  M
" x" z% ~) S& N1 I; k  zS.758, The Organ (Herder) (?)
5 H) b8 Q( e1 x) h7 fS.759, Consolation [arrangement] (?)
9 Y; N) f- s6 w! |( K$ _  ~# hS.760, Cantico del sol di St. Francesco [arrangement] (?)
  x, j7 @! h1 K2 D; O+ Q! A3 _/ _S.761, Marche funèbre (Chopin) [arrangement] (?)5 f8 o# z0 V+ Y1 `
3.2.10 Songs& Q, K+ s  }" g8 k
2 J# W3 e) o) |; |7 \5 ]7 P- c
S.762, Air de Chateaubriand (?)
" ^; @; ^( X: A/ ]. _S.763, Strophes de Herlossohn (?)! Y; m7 {' \4 c. O6 L. D* {
S.764, Kränze pour chant (?)
3 g( v& W& H, X& j; G! t  _  aS.765, Glöcken (Müller) (?)
- o- x2 i8 M! rS.765a, L'aube naît (Hugo) (1842?)/ |( B) Q# ]! L) s& c) ]
S.766, Der Papsthymnus (?)1 _5 s4 e" H, u7 t
S.767, Excelsior (?)( ]# e( }) I, ?5 Z: K. C- J) z% ?
3.2.11 Recitations
5 f/ v1 x4 `% z. @* }/ C( a( E7 S( L3 ^% A" [5 ?
S.768, Der ewige jude (Schubart) (?)5 W. J9 ]# g$ |% G; T
3.3 Supplement! v, j! N8 P; g. |
& f6 T* J' m3 T: ~8 e+ `
S.990, Fantasy and Fugue on the chorale "Ad nos, ad salutarem undam" (played by Liszt to Walter Bache) [solo piano, arrangement] (b. 1862): e2 Y* S0 K2 k
S.991, Waltz in A major [chamber, arrangement] (?)
0 }$ G; V  w: ?, YS.993, Wartburg Lieder (Scheffel) [orchestral, arrangement] (?): v) N0 s2 {1 @% X4 \7 t; h) \; d
S.994, Grand solo caractéristique à propos d'une chansonette de Panseron [solo piano, arrangement] (1830-32)
% L! ]3 w( ~! N6 \S.995, Variations de bravoure sur des thémes de Paganini [unfinished] (1845)
1 }. p+ n7 d/ N& YS.996, Stabat Mater [solo piano] (1870-79 ?)
+ `- t3 S# z+ X9 C& L9 R, vS.997, 5 Variationen über Romanze aus 'Joseph' (Méhul) (by Franz Xaver Mozart, attributed to Liszt) (ca. 1834)0 S: p( Y. L! W, @0 T1 Y
S.998, Adagio in C [solo piano] (1841)' ?: d3 ]& L3 v) k, l0 U
S.999, Andante Maestoso [organ] (?)
7 v/ ]' l3 \- B" `/ S降E大调钢琴协奏曲（遗作）Piano Concerto in E flat Major Op.posth8 `& }1 N5 o  N( p" ~
2首悲歌 2 Elegies
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