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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》。  |5 m% f3 |, k# l& l* ?
李斯特全部作品目录-19 i/ Y, x4 i9 v$ u0 x. \
2 a: q! c, Y. J; @/ u% Q- g7 H! r7 R
1.1 Opera(歌剧)4 L( i0 b/ a; D, [$ z5 g
' d7 s( @$ D8 B
S.1, Don Sanche, ou Le chateau de l'amour (1824–25) 歌剧《唐切桑》
- F$ y# R5 }6 {9 R( U1.2 Sacred Choral Works(神圣的合唱作品)
+ |, K2 c9 Y! W1 a4 ?  u5 N2 |& d  u0 Y* N
S.2, The Legend of St. Elisabeth (1857–62) 清唱剧《圣伊丽莎白传奇》
! e( T( i3 j' W0 [/ ]% @; S2 VS.3, Christus (1855–67) 清唱剧《基督》
- r: r9 a8 F3 |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》
6 n9 x! s1 j" V6 W. \& a$ s6 gS.5, Die heilige Cäcilia (1874)
- ]. i5 d0 P4 ?- D  m7 q9 D0 E4 NS.6, Die Glocken des Strassburger Münsters (Longfellow) (1874)6 J/ I- v% U3 `) @" j
S.7, Cantantibus organis (1879)
  H" ]7 H1 L# x/ z/ r7 bS.8, Missa quattuor vocum ad aequales concinente organo [first/second version] (1848, 1869)+ b% U8 W: d+ W4 D( Y1 B
S.9, Missa solennis zur Einweihung der Basilika in Gran (Gran Mass) [first/second version] (1855, 1857–58)5 y* k' s0 U8 n! C4 U6 s4 Y
S.10, Missa choralis, organo concinente (1865)1 g0 e- j* x+ R6 G, B
S.11, Hungarian Coronation Mass (1866–67), l; V6 g, J; [) t# }- N
S.12, Requiem (1867–68)( Z& R! P# F% Z' [( L9 g2 v  j
S.13, Psalm 13 (Herr, wie lange ?) [first/second/third verion] (1855, 1858, 1862)
2 G& \0 k$ w' N- j4 uS.14, Psalm 18 (Coeli enarrant) (1860)* ]# I' a  k; w+ s! p
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)
+ g% R; X9 A1 D  p- wS.15a, Psalm 116 (Laudate Dominum) (1869)9 S% E# G6 L4 v: a, {
S.16, Psalm 129 (De profundis) (1880–83); v7 b  y  R1 I" M2 k1 b
S.17, Psalm 137 (By the Rivers of Babylon) [first/second version] (1859–62)
$ d/ }$ d" K5 R/ V6 }" P+ H; RS.18, Five choruses with French texts [5 choruses] (1840–49)
; O5 K* o; [  d8 U  a! a/ vS.19, Hymne de l'enfant à son réveil (Lamartine) [first/second version] (1847, 1862)/ V" i. ~6 f4 X* h
S.20, Ave Maria I [first/second version] (1846, 1852)
2 {$ Q3 H  Y# nS.21, Pater noster II [first/second version] (1846, 1848)
2 Q7 c# l0 r" B% NS.22, Pater noster IV (1850)
- Z- Y) C. X$ j  Z' q5 E( E* AS.23, Domine salvum fac regem (1853)
/ G. |8 d) E: ]2 Q8 L3 |S.24, Te Deum II (1853?)% X7 _4 n+ C9 b6 u1 Q0 H
S.25, Beati pauperes spiritu (Die Seligkeiten) (1853)
, l& _% O, x2 |3 a. z' sS.26, Festgesang zur Eröffnung der zehnten allgemeinen deutschen Lehrerversammlung (1858)# j" a, y* c% \1 ^1 E; Y7 @
S.27, Te Deum I (1867)
! T5 E% x+ t# G  I; j" \S.28, An den heiligen Franziskus von Paula (b. 1860)
* B. _% @0 n0 Y$ _/ H- tS.29, Pater noster I (b. 1860), |; ?- [3 S' @
S.30, Responsorien und Antiphonen [5 sets] (1860)
) Y+ _% J7 ]  a& y" g* ]+ w! tS.31, Christus ist geboren I [first/second version] (1863?)
4 C; v" T/ r2 j7 US.32, Christus ist geboren II [first/second version] (1863?)
* I; o9 ]) W" ~7 b. P" u4 hS.33, Slavimo Slavno Slaveni! [first/second version] (1863, 1866)
1 c$ ], J, D( U+ AS.34, Ave maris stella [first/second version] (1865–66, 1868)4 s. j& w$ r- l! G; J* m; T
S.35, Crux! (Guichon de Grandpont) (1865)$ {, x  d4 |, q' P6 h
S.36, Dall' alma Roma (1866)
$ d$ p" ]. {( k$ ]: p+ {" tS.37, Mihi autem adhaerere (from Psalm 73) (1868)! d6 H& D# B( A7 [/ j
S.38, Ave Maria II (1869)8 g9 P) |  @  R' K! w2 H5 q- l
S.39, Inno a Maria Vergine (1869)
8 Q3 v9 L( L+ o8 ~  y- AS.40, O salutaris hostia I (1869?)
, N7 ~# x  T. z( C0 `S.41, Pater noster III [first/second version] (1869)9 @9 e5 z, [- H' x+ _6 G0 R# ?4 D2 x
S.42, Tantum ergo [first/second version] (1869)
2 Z7 n9 m; I; L+ V. |9 q" OS.43, O salutaris hostia II (1870?)
: @- \  L, W5 f+ u* N3 j6 l4 W% fS.44, Ave verum corpus (1871)/ G, Z/ f6 ~. \. {  B: c/ e
S.45, Libera me (1871)
5 K) D$ u  V3 h3 P; R( wS.46, Anima Christi sanctifica me [first/second version] (1874, ca. 1874)
" x# A- ~: I+ F( a8 }S.47, St Christopher. Legend (1881)4 r; L2 a2 ^0 x, t) X
S.48, Der Herr bewahret die Seelen seiner Heiligen (1875)
( C. r1 r. ?* L) R8 d7 tS.49, Weihnachtslied (O heilige Nacht) (a. 1876): [4 W- m5 b  j5 l
S.50, 12 Alte deutsche geistliche Weisen (Chorales) [12 chorals] (ca. 1878-79)" ^, I: f5 a4 a
S.51, Gott sei uns gnädig und barmherzig (1878)
% n, y" C0 U0 q' s: k- vS.52, Septem Sacramenta. Responsoria com organo vel harmonio concinente (1878)
" o% J( O- R8 D. u" vS.53, Via Crucis (1878–79)
& `0 o' V; p8 i3 v. L0 i& [S.54, O Roma nobilis (1879)
& M$ ?6 u& r1 M. Y% ]S.55, Ossa arida (1879)
3 P. V5 V; z0 K/ z1 yS.56, Rosario [4 chorals] (1879)$ b5 z4 K& X' ]
S.57, In domum Domino imibus (1884?)% j# y+ k: v9 F+ b+ D6 P3 f$ e
S.58, O sacrum convivium (1884?)
6 v- c0 F4 w0 W0 ?7 l: N6 TS.59, Pro Papa (ca. 1880)+ o, b, |  j& k5 J
S.60, Zur Trauung. Geistliche Vermählungsmusik (Ave Maria III) (1883)
1 z5 M2 q# i. CS.61, Nun danket alle Gott (1883)
) q- x3 x  \% V2 ^$ p% y& w2 GS.62, Mariengarten (b. 1884)
) h, Q) q' `& ~4 ^S.63, Qui seminant in lacrimis (1884)3 z) y. P! w7 N" s* ~+ W
S.64, Pax vobiscum! (1885)9 y2 U8 \+ \6 P$ J
S.65, Qui Mariam absolvisti (1885)' ~6 n; q* R4 n3 C' a" D
S.66, Salve Regina (1885)
6 B" [+ s3 |, H* o1.3 Secular Choral Works(世俗的合唱作品)
, k0 q& a0 n+ z' ]$ V7 fS.67, Beethoven Cantata No. 1: Festkantate zur Enthüllung (1845)
: K+ ~$ F8 k! f* C2 c' X+ V( V+ IS.68, Beethoven Cantata No. 2: Zur Säkularfeier Beethovens (1869–70)
3 p  F* L+ @  U. Z* o0 @" C4 T. _6 ~S.69, Chöre zu Herders Entfesseltem Prometheus (1850)
2 X! J$ C- y/ t, r  ^S.70, An die Künstler (Schiller) [first/second/third verion] (1853, 1853, 1856)
) }5 @1 x2 `9 j; o# M0 f8 dS.71, Gaudeamus igitur. Humoreske (1869)$ d& R; R) a" d1 k1 u9 e  \  B
S.72, Vierstimmige Männergesänge [4 chorals] (for Mozart-Stiftung) (1841)
$ r+ t" W) P" B% G6 d" WS.73, Es war einmal ein König (1845)
* @8 b; O0 A8 WS.74, Das deutsche Vaterland (1839)2 P2 R) ^  i- c. c  m
S.75, über allen Gipfeln ist Ruh (Goethe) [first/second version] (1842, 1849)+ n" o2 q4 j* e- B6 z
S.76, Das düstre Meer umrauscht mich (1842)( m1 E: K! n5 e- u6 i" g  J
S.77, Die lustige Legion (A. Buchheim) (1846); g% T+ X6 V! O5 ^3 W! L1 E: {/ S
S.78, Trinkspruch (1843)
/ i* L  X2 z2 n- _S.79, Titan (Schobert) (1842–47)" V9 s; O/ Z0 N6 J
S.80, Les quatre éléments (Autran) (1845)  J8 I/ b1 Y5 K
S.81, Le forgeron (de Lamennais) (1845)/ h$ a( m$ Z: g9 N+ s1 g7 F
S.82, Arbeiterchor (de Lamennais?) (1848)
& N8 i3 g% ~7 B1 j" J1 [S.83, Ungaria-Kantate (Hungaria 1848 Cantata) (1848)
/ {8 |! l6 A7 m* RS.84, Licht, mehr Licht (1849)4 z# k+ |3 N" G" h
S.85, Chorus of Angels from Goethe's Faust (1849)* [+ R; d5 I; X
S.86, Festchor zur Enthüllung des Herder-Dankmals in Weimar (A. Schöll) (1850)
. a. j0 h3 N7 N8 \' `  r& NS.87, Weimars Volkslied (Cornelius) [6 versions] (1857)' m8 f( Z, ^; F0 h- I2 i( H& `
S.88, Morgenlied (Hoffmann von Fallersleben) (1859)
0 I0 r) }4 f, S/ y, X+ hS.89, Mit klingendem Spiel (1859–62 ?)6 O6 }. S/ t2 p
S.90, Für Männergesang [12 chorals] (1842–60); k0 y' |1 P+ V
S.91, Das Lied der Begeisterung. A lelkesedes dala (1871)
5 U' N; K+ ?' ^7 B4 n" M6 ^/ g2 wS.92, Carl August weilt mit uns. Festgesang zur Enthüllung des Carl-August-Denkmals in Weimar am 3 September 1875 (1875)
4 U6 H3 n% `' R# US.93, Ungarisches Königslied. Magyar Király-dal (ábrányi) [6 version] (1883)% ^  U9 L3 O3 y8 o6 _/ ^" H
S.94, Gruss (1885?)
* M2 o$ P# |9 t0 R; q7 r1.4 Orchestral Works(管弦乐作品)4 V: l" N+ ~' R; Z% k
' b/ g* l9 z( F8 x8 {2 ]' [
1.4.1 Symphonic Poems(交响诗)
/ k) \! O. T! y0 _& |" B
5 {  r5 }. u/ C0 @& C) MS.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* y5 i8 J, T  t! r; Y9 O
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》
7 o' \8 _) `( v3 H! A# KS.97, Poème symphonique No. 3, Les Préludes (1848) 第三交响诗“前奏曲”
5 v, e& r/ C) M: o  B1 }2 iS.98, Poème symphonique No. 4, Orpheus (1853–54) 第四交响诗 《奥菲欧》
" g4 O" ?  _* o5 T$ Z' H# wS.99, Poème symphonique No. 5, Prometheus [first/second version] (1850, 1855) 第五交响诗《普罗米修斯》" h4 W" w; Q7 L% u4 s# r
S.100, Poème symphonique No. 6, Mazeppa [first/second version] (1851, b. 1854) 第六交响诗《马捷帕》2 l0 S- ^5 S4 v' r* O- R
S.101, Poème symphonique No. 7, Festklänge [revisions added to 1863 pub] (1853) 第七交响诗《节日之声》
; r4 q7 y4 n' m0 X! t7 zS.102, Poème symphonique No. 8, Héroïde funèbre [first/second version] (1849–50, 1854)  第八交响诗《英雄的葬礼》
' f* ?3 `( _; K: aS.103, Poème symphonique No. 9, Hungaria (1854) 第九交响诗《匈牙利》
! X1 M2 \3 m& lS.104, Poème symphonique No. 10, Hamlet (1858) 第十交响《哈姆雷特》
8 ?2 r2 n; Z, e0 V- rS.105, Poème symphonique No. 11, Hunnenschlacht (1856–57) 第十一交响诗《匈奴之战》' x1 _& Y: ^7 i: E: y
S.106, Poème symphonique No. 12, Die Ideale (1857) 第十二交响诗《理想》: t- e# w; t. m& v- p6 z
S.107, Poème symphonique No. 13, Von der Wiege bis zum Grabe (From the Cradle to the Grave) (1881–82) 第十三交响诗《从摇篮到坟墓》
% k( G# B) R- R1.4.2 Other Orchestral Works(其他管弦乐作品)
! f: |9 F. }' r- F6 I& R& o" K, v: \' A, j! u
S.108, Eine Faust-Symphonie [first/second version] (1854, 1861)
3 P& o, n# v9 z9 E9 c: uS.109, Eine Symphonie zu Dante's Divina Commedia (1855–56)8 d8 r( s' @$ W. Q- R
S.110, Deux épisodes d'apres le Faust de Lenau [2 pieces] (1859–61)4 S5 J4 d/ x/ ^0 H" T% t1 R& }$ f
S.111, Zweite Mephisto Waltz (1881)
2 x1 m) Q+ w' e; G3 ]S.112, Trois Odes Funèbres [3 pieces] (1860–66)# B3 ]+ G$ \2 O9 F$ C* l7 ^' j3 ]% d
S.113, Salve Polonia (1863); z5 ~3 D* g; V" l7 P3 _9 O" }1 v
S.114, Künstlerfestzug zur Schillerfeier (1857)2 V8 u- ^  y* g" _6 ^" `
S.115, Festmarsch zur Goethejubiläumsfeier [first/second version] (1849, 1857)5 U& A" M# v7 H6 A2 }& e/ U; i
S.116, Festmarsch nach Motiven von E.H.z.S.-C.-G. (1857)
) s5 A6 i9 s; @! }3 ^2 kS.117, Rákóczy March (1865)1 ~3 C  P* O! K' ~
S.118, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (am 8 Juni 1867) (1870)
$ S( u( H$ @( I: zS.119, Ungarischer Sturmmarsch (1875)
6 V  V) r, k; I/ l+ C  v1.5 Piano and Orchestra(钢琴与乐队)
: K" Z' N: C$ ]- V) b. l8 u, t0 E# @% i6 Z
7 H- E! n% K" W7 _8 x! H
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)
$ q. S0 H' H( J- g" v, HS.121, Malédiction (with string orchestra) (1833)  诅咒  钢琴与弦乐队6 L' ^5 U  ?+ u8 l4 w! k/ N  A
S.122, Fantasie über Beethovens Ruinen von Athen [first/second version] (1837?, 1849)
0 P6 h4 M& I) Y/ a) q. C$ Z7 fS.123, Fantasie über ungarische Volksmelodien (1852) 匈牙利民歌主题幻想曲 为钢琴与乐队而作
- x; A/ b  [" d8 I7 IS.124, Piano Concerto No. 1 in E flat [first/second version] (1849, 1856) 降E大调第一钢琴协奏曲
$ F4 i( l$ O: l  q2 h; |S.125, Piano Concerto No. 2 in A major [first/second version] (1839, 1849) A大调第二钢琴协奏曲
; B' r' Q3 |9 pS.125a, Piano Concerto No. 3 in E flat (1836–39)
4 L% S+ r6 W) U$ @; qS.126, Totentanz. Paraphrase on Dies Irae [Feruccio Busoni's 'De Profundis'/final version] (1849, 1859) 死之舞 为钢琴与乐队而作9 X/ @4 M0 z# X$ z( `
S.126a, Piano Concerto "In the Hungarian Style" [probably by Sophie Menter] (1885)
, f- F. I8 J' \# u$ Q1.6 Chamber Music(室内乐等)
/ ?" {. a  o) r7 V& r% ^# ?- Y1 Z- h" O# n8 ]' `8 X
S.126b, Zwei Waltzer [2 pieces] (1832)9 b5 S  I7 p$ o0 u7 A+ J

) O. k7 l$ m, C/ w5 L; oS.127, Duo (Sonata) - Sur des thèmes polonais (1832-35 ?)  G5 w2 ]" k: o& r
S.128, Grand duo concertant sur la romance de M.Lafont Le Marin [first/second version] (ca. 1835-37, 1849)
; ~$ \4 D. v' v8 M5 eS.129, Epithalam zu Eduard. Reményis Vermählungsfeier (1872)$ i0 n' L2 P7 f
S.130, élégie No. 1 [first/second/third version] (1874)% ?' m: P: O! `
S.131, élégie No. 2 (1877)
* ]* A' b! h9 M) U! kS.132, Romance oubliée (1880)' D5 W( F- f; M- N# |+ d
S.133, Die Wiege (1881?)
, q  s% Q2 _# }9 s  x, \S.134, La lugubre gondola [first/second version] (1883?, 1885?)
* O! G' t. |$ s2 ?7 }S.135, Am Grabe Richard Wagners (1883)
$ p/ `. _( a: A0 Z' ]1.7 Piano Solo
1 J2 E6 E+ W7 B& C6 A, g5 `) P( Z: C" o- R. R# ~+ z
1.7.1 Studies(钢琴练习曲)
* O5 k' t* \& ?9 t: t3 C; x. f+ G
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. Y4 x. T  Y2 U6 P' s
S.137, Douze grandes études [second version, 12 pieces] (1837) 《12首超技练习曲》
) ]2 M$ h$ I/ h7 A: Z8 N  ^S.138, Mazeppa [intermediate version of S137/4] (1840) 练习曲“玛捷帕”7 K9 I& m: M5 W! E2 `+ d
S.139, Douze études d'exécution transcendante [final version, 12 pieces] (1852) 12首超技练习曲
8 F4 @5 e1 [6 A, `' f3 t% w+ SS.140, études d'exécution transcendante d'après Paganini [first version, 6 pieces] (1838) 帕格尼尼超技练习曲: W5 i. G; o1 A+ L1 \
S.141, Grandes études de Paganini [second version, 6 pieces] (1851)  6首帕格尼尼大练习曲
9 J4 o5 d5 f9 `5 A1 o% iS.142, Morceau de salon, étude de perfectionnement [Ab Irato, first version] (1840) 高级练习曲“沙龙小品”8 s% n2 A* W4 e6 T/ V3 g6 q
S.143, Ab Irato, étude de perfectionnement [second version] (1852) 高级练习曲“愤怒”0 X0 L$ |4 J) I& Y
S.144, Trois études de concert [3 pieces] (1848?)  3首音乐会练习曲+ G% X$ ~8 d" s/ ^% W1 Q
1.    Il lamento7 Y" E' `, h- p# p- F: V2 S0 z
2.    La leggierezza% D4 h' q# j6 l. `* ^
3.    Un sospiro
8 I" j! G1 H& G+ D' B2 _S.145, Zwei Konzertetüden [2 pieces] (1862–63)  2首音乐会练习曲& b; c4 ^& J  m5 W2 w7 X( h: o
1.    Waldesrauschen
/ h) X+ o/ m+ J, z) z2.    Gnomenreigen  u% A* d3 O2 ~+ S, A9 d' I0 ^, [
S.146, Technische Studien [68 studies] (ca. 1868-80)  钢琴技巧练习1 P- x/ [9 }( k; j% r( [9 ]8 O
1.7.2 Various Original Works(各种原创作品)2 r. [, p; V/ t1 s' J
6 G* ]8 [; `. V4 U
S.147, Variation on a Waltz by Diabelli (1822)  狄亚贝利圆舞曲主题变奏曲) K( o1 G( B, k5 w
S.148, Huit variations (1824?) 降A大调原创主题变奏曲
: @5 R0 p4 c- R. D) z6 RS.149, Sept variations brillantes dur un thème de G. Rossini (1824?)& e  @& d9 n$ H. T- x4 N
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9 l+ V( n# G/ c+ D, {
S.151, Allegro di bravura (1824) 华丽的快板
: M! C+ W. m' o* uS.152, Rondo di bravura (1824) 华丽回旋曲
( f  q2 n9 l0 v2 R( tS.152a, Klavierstück (?)6 U1 Z) l+ d6 r$ X
S.153, Scherzo in G minor (1827) g小调谐谑曲9 e$ R# x5 z+ R% z
S.153a, Marche funèbre (1827)! I0 t4 _9 B5 q3 B/ C
S.153b, Grand solo caractèristique d'apropos une chansonette de Panseron [private collection, score inaccessible] (1830–32) [1]
6 a1 a3 C! c: u2 w0 x. }  [3 rS.154, Harmonies poétiques et religieuses [Pensée des morts, first version] (1833, 1835) 宗教诗情曲5 B: g% C$ Z9 ?/ S" B
S.155, Apparitions [3 pieces] (1834) 显现 三首钢琴小品
; B" B3 h- O  I& H+ ~- T- p% }+ E; wS.156, Album d'un voyageur [3 sets; 7, 9, 3 pieces] (1835–38) 旅行者札记9 ~  q- l, N% J( {
S.156a, Trois morceaux suisses [3 pieces] (1835–36)* F* J& ~' e8 ]- I2 y
S.157, Fantaisie romantique sur deux mélodies suisses (1836) 浪漫幻想曲. \7 L  }7 }/ N2 X$ o( p7 P( u
S.157a, Sposalizio (1838–39)- L& {" a/ \2 ~- ?% D) x7 `
S.157b, Il penseroso [first version] (1839)
( I' r# d2 j6 S  {+ s+ Z8 d+ ES.157c, Canzonetta del Salvator Rosa [first version] (1849)" _0 j$ Y8 \# h$ U/ I- P
S.158, Tre sonetti del Petrarca [3 pieces, first versions of S161/4-6] (1844–45)  3首彼特拉克十四行诗0 a" g  w0 Q+ e- K( ^( Y5 T, v
S.158a, Paralipomènes à la Divina Commedia [Dante Sonata original 2 movement version] (1844–45)( Z2 n8 q1 D. _* c( S3 ~
S.158b, Prologomènes à la Divina Commedia [Dante Sonata second version] (1844–45)
% Q9 q' A2 a$ TS.158c, Adagio in C major (Dante Sonata albumleaf) (1844–45)
. K* s' O" o+ l$ ^  [" RS.159, Venezia e Napoli [first version, 4 pieces] (1840?)  威尼斯和拿波里
" |- F& `( o+ P) s' OS.160, Années de pèlerinage. Première année; Suisse [9 pieces] (1848–55)  旅行岁月（第一集）- 瑞士游记# H7 ]5 L2 U6 G5 t8 {; n
S.161, Années de pèlerinage. Deuxième année; Italie [7 pieces] (1839–49) 旅行岁月（第二集）- 意大利游记9 S( h8 f6 T; w/ T( |
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
- r) r& c( G7 c6 T2 y) Q7 |2 a  Z2 A  NS.162a, Den Schutz-Engeln (Angelus! Prière à l'ange gardien) [4 drafts] (1877–82)
7 }$ E7 C$ j9 ]% \0 Z: L7 K) CS.162b, Den Cypressen der Villa d'Este - Thrénodie II [first draft] (1882)
  l9 Q: c) |7 D$ d- [( US.162c, Sunt lacrymae rerum [first version] (1872)4 \: i# T. p" A. y# X
S.162d, Sunt lacrymae rerum [intermediate version] (1877)
& K0 s" _6 b4 b8 R6 {4 cS.162e, En mémoire de Maximilian I [Marche funèbre first version] (1867)
+ r7 \; g* _8 i& WS.162f, Postludium - Nachspiel - Sursum corda! [first version] (1877)
6 j' O6 U; n$ J/ nS.163, Années de pèlerinage. Troisième année [7 pieces] (1867–77)   旅行岁月（第三集）# o' b$ o' l( E% F
S.163a, Album-Leaf: Andantino pour Emile et Charlotte Loudon (1828) [2] 降E大调纪念册的一页
/ }8 w- G( C" t2 G+ h! B- e0 pS.163a/1, Album Leaf in F sharp minor (1828)降E大调纪念册的一页
/ b; I0 E6 \0 W% p  Q9 f6 z( sS.163b, Album-Leaf (Ah vous dirai-je, maman) (1833)/ W0 j( z  O; ~: U! F4 _
S.163c, Album-Leaf in C minor (Pressburg) (1839)
5 O6 c" ?% j& d/ f, [: AS.163d, Album-Leaf in E major (Leipzig) (1840)6 b4 l" h6 h+ a: @: i6 p' c
S.164, Feuille d'album No. 1 (1840) E大调纪念册的一页- {6 H' ?+ }* n# I$ v! o5 V& ]
S.164a, Album Leaf in E major (Vienna) (1840)
' p3 _6 l9 J- n* x  ~S.164b, Album Leaf in E flat (Leipzig) (1840)
' E; \2 ]1 a8 p# P9 ]& ES.164c, Album-Leaf: Exeter Preludio (1841)
, m- h) M4 J2 V( S4 P2 |. _6 CS.164d, Album-Leaf in E major (Detmold) (1840), a3 ~$ p* t! Z, ]7 }0 j( d* |
S.164e, Album-Leaf: Magyar (1841)
! M7 T: B. }3 f! f9 f; }S.164f, Album-Leaf in A minor (Rákóczi-Marsch) (1841)
  Q( p5 o6 b4 c& k) b' pS.164g, Album-Leaf: Berlin Preludio (1842)
/ i2 E; E" S* S! z( u' c( N' ]# cS.165, Feuille d'album (in A flat) (1841) 降A大调纪念册的一页
$ b) d2 S8 E8 o/ W3 N1 w( ]- q9 FS.166, Albumblatt in waltz form (1841) A大调圆舞曲风格纪念册的一页
7 M) R' ^, V/ e) D3 T0 xS.166a, Album Leaf in E major (1843)" N+ M$ ^$ ~# p# X! \9 b9 ^
S.166b, Album-Leaf in A flat (Portugal) (1844)2 g$ t' U3 G1 v& ]
S.166c, Album-Leaf in A flat (1844)+ X5 f1 P& j: L% \* _" M
S.166d, Album-Leaf: Lyon prélude (1844)3 f0 F: L- @* z  X; \. F
S.166e, Album-Leaf: Prélude omnitonique (1844)9 w  u- B6 e7 ~5 Z# y
S.166f, Album-Leaf: Braunschweig preludio (1844)* Y& \* A  a- z; h
S.166g, Album-Leaf: Serenade (1840–49)
0 B2 ^, v+ t: ~$ Q, wS.166h, Album-Leaf: Andante religioso (1846)
+ \. A$ @4 X2 w- d, z2 i0 {! ^S.166k, Album Leaf in A major: Friska (ca. 1846-49)* R7 C; T; b4 O4 @6 A$ n
S.166m-n, Albumblätter für Prinzessin Marie von Sayn-Wittgenstein (1847)
4 X+ P9 v. I4 M+ }: y1 |& I7 OS.167, Feuille d'album No. 2 [Die Zelle in Nonnenwerth, third version] (1843) a小调纪念册的一页
) i8 Q* M: \- {" k% s/ y  @. WS.167a, Ruhig [catalogue error; see Strauss/Tausig introduction and coda]8 H- t4 m# e+ X
S.167b, Miniatur Lieder [score not accessible at present] (?): h6 L: x+ J6 s8 o8 ?$ Z: F' y' ]
S.167c, Album-Leaf (from the Agnus Dei of the Missa Solennis, S9) (1860–69)% @0 Y8 W* w* s" O- q) C+ P( p' u/ P* P
S.167d, Album-Leaf (from the symphonic poem Orpheus, S98) (1860)$ Y2 S- l& H- E/ x$ y
S.167e, Album-Leaf (from the symphonic poem Die Ideale, S106) (1861)
# @/ ~, X" @0 O+ SS.167f, Album Leaf in G major (ca. 1860)% B" b3 z* B! F/ `
S.168, Elégie sur des motifs du Prince Louis Ferdinand de Prusse [first/second version] (1842, 1851) 悲歌& ?, F0 t# ^% R' B. {$ {- J
S.168a, Andante amoroso (1847?)3 L# N5 I, m- w8 D7 Z( M9 X
S.169, Romance (O pourquoi donc) (1848) e小调浪漫曲
+ @' ]3 E6 C0 ]4 bS.170, Ballade No. 1 in D flat (Le chant du croisé) (1845–48) 叙事曲一2 p4 |( E" L5 _4 G
S.170a, Ballade No. 2 [first draft] (1853); Z2 [7 Y: T' U! z5 h  Z+ U' ]
S.171, Ballade No. 2 in B minor (1853) 叙事曲二
) M2 C" Z7 T% e4 ]- bS.171a, Madrigal (Consolations) [first series, 6 pieces] (1844)
' Q9 C7 E/ t$ h& P4 XS.171b, Album Leaf or Consolation No. 1 (1870–79)
( v$ R- H5 ]  W- S$ TS.171c, Prière de l'enfant à son reveil [first version] (1840)
5 [- P: f  Z- U- zS.171d, Préludes et harmonies poétiques et religie (1845)' g9 a8 Q1 a& t$ `, h4 t; m+ L
S.171e, Litanies de Marie [first version] (1846–47)0 u7 B! N8 R  \  T* m
S.172, Consolations (Six penseés poétiques) (1849–50) 6首安慰曲1 e, o* q  }1 Z- g* u
S.172a, Harmonies poétiques et religieuses [1847 cycle] (1847)
& P% s5 Q$ p1 k/ h& E5 j$ N6 @S.172a/3&4, Hymne du matin, Hymne de la nuit [formerly S173a] (1847)
: q3 N$ ?8 w/ }0 YS.173, Harmonies poétiques et religieuses [second version] (1845–52) 诗与宗教的和谐+ f) K  i5 s6 E' Y2 s3 a
S.174, Berceuse [first/second version] (1854, 1862) 摇篮曲
5 f1 O9 b: W0 |. E+ C& s* X5 CS.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)
: m; I; q1 j4 @: ^2 m7 h4 q/ j2.    St. François de Paule marchant sur les flots (Walking on the Waves)* `1 _: r: P0 e9 g  B! U3 ]
S.175a, Grand solo de concert [Grosses Konzertsolo, first version] (1850)
9 l$ ]" @+ @# T1 u; ^; {/ ~7 qS.176, Grosses Konzertsolo [second version] (1849–50 ?) 独奏大协奏曲
3 b) W6 F, E/ R5 h0 f; wS.177, Scherzo and March (1851) 谐谑曲与进行曲
% p' D( H" V: l! e( l) bS.178, Piano Sonata in B minor (1852–53)  b小调钢琴奏鸣曲' s( r  _4 }7 q1 W. @  q3 o
S.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
- E1 j. W1 _6 k% ]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
; J1 w+ m5 o$ f9 b( }- b) nS.181, Sarabande and Chaconne from Handel's opera Almira (1881)
# J- I& j+ x- z5 @! l9 f* vS.182, Ave Maria - Die Glocken von Rom (1862) 圣母颂“罗马的钟声”
( S  j* @+ o& H; a* V3 dS.183, Alleluia et Ave Maria [2 pieces] (1862) 哈利路亚与圣母颂5 I( [: a" `! p0 Q
S.184, Urbi et orbi. Bénédiction papale (1864)
. b, L: X5 F% P/ _+ US.185, Vexilla regis prodeunt (1864)
) `( a0 c( l$ eS.185a, Weihnachtsbaum [first version, 12 pieces] (1876)
+ _2 i4 m. h# ^! {! ^2 lS.186, Weihnachtsbaum [second version, 12 pieces] (1875–76) 钢琴曲集《圣诞树》
4 `& E, f9 e- E# I, |S.187, Sancta Dorothea (1877) 圣多萝西娅
# v* ?  ^4 H2 c6 y8 _: h( S/ wS.187a, Resignazione [first/second version] (1877)1 {0 q$ x' x% U1 S. ^: V, M
S.188, In festo transfigurationis Domini nostri Jesu Christi (1880) 我主耶稣基督之变形
3 [$ Y5 h9 h& L7 h! S: Y7 y: A& e7 JS.189, Klavierstück No. 1 (1866)4 m; I5 W; r; _! [6 T
S.189a, Klavierstück No. 2 (1845)
3 x, Q. m! {- v! SS.189b, Klavierstück (?). f/ U$ U$ E4 A$ }* o" u; t4 `% _' J
S.190, Un portrait en musique de la Marquise de Blocqueville (1868)
- q$ n9 L& n" Q! v& h6 LS.191, Impromptu (1872) 升F大调即兴曲“夜曲”
7 p. g1 h. t4 t* w2 |) wS.192, Fünf Klavierstücke (for Baroness von Meyendorff) [5 pieces] (1865–79) 5首钢琴小品
. r9 q3 [  }! `  G) V! k! tS.193, Klavierstuck (in F sharp major) (a. 1860) 升F大调钢琴小品
. X% n" e: w- k7 r! l+ CS.194, Mosonyis Grabgeleit (Mosonyi gyázmenete) (1870) 在莫佐尼墓前
0 o+ _% u3 Q- H) v3 G3 [: e/ u) RS.195, Dem andenken Petofis (Petofi Szellemenek) (1877) 纪念裴多菲* L2 ?, S( B. {
S.195a, Schlummerlied im Grabe [Elegie No 1, first version] (1874)0 B4 \3 m+ o! ~& Y+ Z
S.196, élégie No. 1 (1874)
; |/ a/ K% y( n5 P' r5 a2 ^5 FS.196a, Entwurf der Ramann-Elegie [Elegie No 2, first draft] (1877)8 e; l! ?+ n% E
S.197, élégie No. 2 (1877)# Z" ^3 z  v; M5 [! i# X
S.197a, Toccata (1879–81) 托卡塔
) Z$ @& }+ z1 IS.197b, National Hymne - Kaiser Wilhelm! (1876)
2 ?. h; `9 t; b  J( [7 }$ sS.198, Wiegenlied (Chant du herceau) (1880) 摇篮曲
7 x* \. Y8 \  l0 n' _$ k: AS.199, Nuages gris (Trübe Wolken) (1881) 灰色的云1 y  b" i$ o* ?/ E4 a% K) f: `
S.199a, La lugubre gondola I (Der Trauergondol) [Vienna draft] (1882)
+ r3 @2 D% {- K: NS.200, La lugubre gondola [2 pieces] (1882, 1885) 葬礼小船
) \7 W/ z# R7 [4 T" [
) V0 G! K: b' s' `% {李斯特全部作品目录-2
* A0 m/ e+ W$ f6 I  D* j* n, O; N6 H9 i1 h9 f; l
S.201, R. W. - Venezia (1883) 告别瓦格纳和威尼斯+ ]" \/ o  C! D. S
S.202, Am Grabe Richard Wagners (1883) 在瓦格纳墓前
4 A* P4 C" f2 w0 m* MS.203, Schlaflos, Frage und Antwort (Nocturne after a poem by Toni Raab) (1883) 夜曲“沉睡，思考和回答”
5 m; H" N# B. h. g8 CS.204, Receuillement (Bellini in Memoriam) (1877) 冥想
0 l" ?/ y( x4 ^7 T, i& aS.205, Historische ungarische Bildnisse (Magyar arcképek) [original version, 7 pieces] (1885) 匈牙利历史人物肖像' F7 P/ I1 \/ N- c! {
S.205a, Historische ungarische Bildnisse [revised order and conclusion, 7 pieces] (1885)+ I) v$ Q2 s5 A4 @& _. T( i& f
S.206, Trauervorspiel und Trauermarsch (1885) 葬礼前奏曲和葬礼进行曲
$ P+ s4 ^  V( f( w# KS.207, En rêve. Nocturne (1885) 夜曲“梦中”! I7 I2 s3 c  r
S.207a, Prélude à la polka de Borodine (and Borodin's Polka) (1880)4 O* N# {: e4 I0 s! o4 w
S.208, Unstern: sinistre, disastro (1880–86) 凶兆、灾难3 A2 p3 f' U/ E9 X" T
1.7.3 Works in Dance Form(为舞蹈的作品); i; f9 j( J" M9 `) `6 E

3 e1 ^- q% M% \6 \) R! ^4 Y5 VS.208a, Waltz (in A major) (b. 1825) A大调圆舞曲, H( Y# |! j" ^/ l) @1 j
S.209, Grande valse di bravura [first version of S214/1] (1835) 华丽的大圆舞曲& |) J3 Z1 H7 E/ @0 j1 N
S.209a, Waltz (in E flat) (1840)
# V; I" Y; Q% j6 f: B6 I  `: tS.210, Valse mélancolique [first version of S214/2] (1839) 忧郁圆舞曲
) x& w$ |$ Z- R/ o& e- x5 T3 yS.210a, Valse mélancolique [intermediate version] (1840)
+ a5 u9 W- F" Y+ W9 E. h) |S.210b, Valse (in A major) (1830–39)
- D. F5 O( Y& r; `S.211, Ländler (in A flat major) (1843) 降A大调兰德勒舞曲
* x/ U4 G) S* \7 Q) n# d* [S.211a, Ländler (in D major) (1879)
7 B0 I/ N; z: O, i/ US.212, Petite valse favorite [first/second version] (1842, 1843)
( l( m% Z5 ]: _$ N9 `; b% YS.212b, Mariotte. Valse pour Marie (1840)5 L& M6 Y3 I+ M1 I. e, w0 K
S.213, Valse-impromptu (1850?) 即兴圆舞曲5 c2 l. n5 P, R9 }! W6 \& i
S.213a, Valse-impromptu [with later additions] (1880)7 _! k+ x" _& a
S.214, Trois caprice-valses [3 pieces] [second versions of S209, S210, S401] (1850?). G( Y, D6 K" ^& S+ ?
S.214a, Carousel de Madame Pelet-Narbone (ca. 1875-81)
& z7 U& h: A; ^' p, H; lS.215, Valses oubliées [4 pieces] (1881–84) 4首被遗忘的圆舞曲; O) N' L  c; C; }' I
S.215a, Dritter Mephisto-Walzer (Mephisto Waltz No. 3) [first draft] (1883)7 h& w2 E/ ~* s$ c* {6 K# N% A
S.216, Dritter Mephisto-Walzer (Mephisto Waltz No. 3) (1883) 第三梅菲斯特圆舞曲
& J& F3 M: E, D2 i2 U5 @! sS.216a, Bagatelle sans tonalité (1885)
8 N) B% h2 `& R. h9 XS.216b, Vierter Mephisto-Walzer (Mephisto Waltz No. 4) [first version] (1885)  第四梅菲斯特圆舞曲
7 \2 p" Y( c$ qS.217, Mephisto Polka [first/second version] (1883) 梅菲斯特波尔卡5 ~) E8 w" w" P: q  ?% f5 h3 i
S.218, Galop (in A minor) (1841?) a小调加洛普舞曲) [. a6 u+ k0 j( ]! d- O
S.219, Grand galop chromatique [original version] (1838) 华丽的半音阶加洛普舞曲. Y5 k: a% b+ }! c9 Y2 v. Z( t
S.219bis, Grand galop chromatique [simplified version] (1838)! A: o" f! j5 {. U
S.220, Galop de Bal (1840?)' M- |9 T% d% \/ y$ e1 o" V
S.221, Mazurka brillante] (1850) 华丽玛祖卡, E/ R; U+ F4 E9 }" R" M% ^1 P* q( o
S.221a, Mazurka in F minor [Not by Liszt?] (?)2 i1 |$ w; Y, e+ K, {, ^9 k0 Y% ?& H
S.222, [catalogue error; same as S212]$ ^1 b9 G, Y; W, Y1 l. D; D0 `2 `. M& ?
S.223, Deux Polonaises [2 pieces] (1851) 2首波洛奈兹舞曲
* _5 v- P0 Z  Y) n0 y7 ^' w, OS.224, Csárdás macabre (1881–82)
9 R; m: u( I$ CS.225, Two Csárdás [2 pieces] (1884)
0 V( @, M+ M9 p9 aS.226, Festvorspiel (1856); u6 Y2 u# {7 x8 R( _: M/ y. G
S.226a, Marche funèbre (1827)2 A! b" |" L4 P  f! q: T" j0 g) Q( ^; u
S.227, Goethe Festmarsch [first version] (1849)& h: f( P* y: j
S.228, Huldigungsmarsch [first/second version] (1853)
7 s7 t* e4 A1 V, `7 M2 jS.229, Vom Fels zum Meer! - Deutscher Siegesmarsch (1853–56). f( f* ?' }/ Z, A
S.230, Bülow-Marsch (1883)
2 d* w8 G, I2 s/ \8 w2 L0 }S.230a, Festpolonaise (1876)& f+ C- a3 [/ i: s! C9 H; z
S.231, Heroischer Marsch in ungarischem Stil (1840)
+ F+ j/ H( n  w! p# X/ DS.232, Ungarischer Sturmmarsch [earlier version of S524] (1843?)8 L9 b) h- S# z4 `
S.233, Ungarischer Geschwindmarsch (1870)$ ~. y  ?' B& ~  `2 h
S.233a, Siegesmarsch. Marche triomphale (Victory March) (?)
/ n9 F4 N# H$ \# r# e1 ]S.233b, Marche hongroise (in E flat minor) (1844)
9 ~" Q, b9 u7 A; y) G( n1.7.4 Works on National Themes(主题作品)
! t. I2 @. l3 H* i2 p8 E$ T5 g
, J% L5 Z, Y  s/ u; I, f1.7.4.1 Czech! [0 V1 o& q: [. i" I% b- H
2 g- n! V" P5 Y7 ]# ^5 K
S.234, Hussitenlied (Melody by J.Krov) (1840)4 f4 s' _2 L  _) Y
1.7.4.2 English
2 [$ _  K/ f* h& J
4 [; o+ e* K1 C0 L4 }4 ?1 P$ KS.235, God Save the Queen (1841)
" R0 ], M3 f8 W" ]) _- n1.7.4.3 French: P% F! T; L- @+ \

! d" c8 M) C- ?4 U- f2 fS.236, Faribolo Pasteur and Chanson du Béarn [2 pieces] (1844)
3 C  Q$ j. y/ }; {) _S.237, La marseillaise (1872?)
' o1 e6 G& _2 {2 nS.238, La cloche sonne (1850?)
+ h3 q- u+ N, P# y- GS.239, Vive Henri IV (1870-80 ?)
8 M) q" D' h; A, M0 I) h  a8 J# I1.7.4.4 German% Q6 c! @/ L( N8 b$ |7 A- D; c

  L  Z+ `2 a  f8 GS.240, Gaudeamus igitur. Concert paraphrase [first/second version] (1843, 1853)) [7 m* `+ h6 ^+ c! a
1.7.4.5 Hungarian
. o6 O1 ]- _+ ]( y
/ l( {6 }1 z; {# \' Y; ?# ]S.241, Hungarian Recruiting Songs (Zum Andenken) (By Fáy & Bihari) (1828)
9 `: p* G7 M. ~* O4 y' ~4 i: ?S.241a, Ungarische Romanzero (Hungarian Songbook) [18 pieces] (1853)
& j5 x. w) o4 Z9 g. I, w7 v, wS.241b, Magyar tempo (1840)
* i6 A9 g  S, O; m" W1 S( t% ZS.242, Magyar Dalok: Magyar Rapszódiák [21 pieces] (1839–47)
1 q/ P* o' S! C+ b1 \8 gS.242a, Rákóczi-Marsch [first version] (1839–1840)
8 v9 @/ @. e1 D: H" w6 O1 q, \( S( GS.243, Ungarische National-Melodien [3 pieces] (ca. 1843)
# e* P' {* o* lS.243a, Célèbre mélodie hongroise (a. 1866)9 z) J$ O) |1 D5 n, i9 f
S.244, Hungarian Rhapsodies (Rapsodies hongroises) [19 pieces] (1846–86)  19首匈牙利狂想曲: u" N, {* _$ \( z2 C4 A# @& u6 L
S.244a, Rákóczi-Marsch [from orchestral version] (1863)2 C4 R7 F; B$ R
S.244b, Rákóczi-Marsch [simplified version of S244a] (1871)& q* R7 c6 m& F! U8 f
S.244c, Rákóczi-Marsch [popular version] (?)
& E9 m  L) f, J/ MS.245, Fünf ungarische Volkslieder (Abranyi) [5 pieces] (1873)
+ s7 V* U. x, u% q7 y/ |( s7 ~S.246, Puszta-Wehmut (A Puszta Keserve) (1880–86 ?)
: Z3 V) j) Z+ }2 o( U; Z* P1.7.4.6 Italian
. ]( D* m+ ?1 [3 {7 U6 V+ i
/ x: L5 b0 k- {S.248, Canzone Napolitana [first/second version] (1842)
: M# o2 O( j  H! @4 H: d6 w1 D1.7.4.7 Polish) n* _# M: }8 C$ }8 W$ P8 }& \
3 s  B, m7 `. j: h
S.249, Glanes de Woronince [3 pieces] (1847–48)
: `8 g6 E9 \" K' \* S. FS.249a, Mélodie polonaise [short draft] (1871)
' P; J1 J, X, ^3 [0 a% dS.249b, Dumka (1871)
2 }) s# B% F2 GS.249c, Air cosaque (1871)
$ N5 d7 B5 ^7 _4 L, W; [$ [* [( Z1.7.4.8 Russian
1 N( @* Q' g8 J6 [& f) c" v! q3 j+ ^$ X
S.250, Deux mélodies russes. Arabesques [2 pieces] (1842)9 n3 z+ q6 G! a( A( e- }
S.250a, Le rossignol (Alyabyev) [first version of S250/1] (1842)( [" _, r6 D5 b( b
S.251, Abschied. Russisches Volkslied (1885)
, @6 a2 U  s0 ^$ c3 T1.7.4.9 Spanish
0 {: P7 j) S: I1 T. M- j  C8 O
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S.252, Rondeau fantastique sur un thème espagnol, El Contrabandista (Garcia) (1836)
4 r5 T! a) s8 Y0 }+ N7 q1 sS.252a, La romanesca [first/second version] (ca. 1832, b. 1852)
; }" T: k2 Z6 RS.253, Grosse Konzertfantasie über Spanische Weisen (1853)
: S! ~$ c' c" ]4 U( FS.254, Rhapsodie espagnole (1863?) 西班牙狂想曲6 @7 a" t' E) M7 b% A6 J! [
S.254x, Rapsodie espagnole [orchestrated by Feruccio Busoni] (?)  {) v2 J2 p! s+ k# S; H
1.8 Piano Duet(钢琴二重奏)
$ b, O5 X5 d! r6 [, d( V/ {& B7 g  \+ e. a1 m
S.255, Festpolonaise [now S619a] (1876)3 N: I/ ^8 J: N: J3 H' o0 S* j! |
S.256, Variation on the Chopstick Theme (1880)$ [6 p: n' k5 T
S.256a, Nottorno [Not by Liszt?] (?)3 z* Q+ J  J( j2 U' z1 |' e, r
1.9 Two Pianos(双钢琴)3 ]6 x6 r! e8 t% I% U

" i3 b" r4 J/ g6 Y/ ^  s+ RS.257, Grosses Konzertstück über Mendelssohns Lieder ohne Worte (1834)
, b' R4 [7 _  k' FS.258, Concerto pathétique (b. 1856)  e小调钢琴协奏曲“悲怆”
$ R8 N' v, v$ u: |: O, P9 B1.10 Organ(管风琴)
1 c3 q$ O  g) d1 `4 v! j; _( X% F* L! Y# R" N  q. I# ?
S.259, Fantasy and Fugue on the chorale Ad nos, ad salutarem undam (1850)
8 e! ^( l/ e# `! `1 N/ y8 l( G* L; DS.260, Präludium und Fuge über das Thema BACH [first/second version] (1855, 1870)
# j8 B3 O3 q9 |* G. I/ {S.261, Pio IX. Der Papsthymnus (1863?)
  C/ d( G) _! f6 s8 p  ]S.261a, Andante religioso (1861?)
2 E6 N$ _: a0 ?' FS.262, Ora pro nobis. Litanei (1864)5 u0 f  V6 V7 V  b* j
S.263, Resignazione (1877)3 W2 v- a/ s8 X1 J" C% H2 x
S.264, Missa pro organo lectarum celebrationi missarum adjumento inserviens (1879)
- M) T8 X" }% D9 r7 v' T. hS.265, Gebet (1879)
( ?+ e. L4 P- mS.266, Requiem für die Orgel (1883)
3 u% b+ ]: J2 i  Q5 gS.267, Am Grabe Richard Wagners (1883)
' n# ]. z! S/ xS.268, Zwei Vortragsstücke [2 pieces] (1884)" w6 m# a+ D) }  N: b) i
1.11 Songs(歌曲)
6 A. t. `4 P8 s+ y# ^! y: h! v* ~! G
S.269, Angiolin dal biondo crin (Marchese C. Bocella) [first/second version] (1839, ?)
1 K4 `* `  W5 m/ pS.270, Three Petrarch Sonnets [3 songs, first/second version] (1844–45, 1854]
' o+ u* ?$ X# bS.271, Il m'aimait tant (Delphine Gay) (1840?)4 U" S5 _( d% ^$ V+ l+ @
S.272, Am Rhein im schönen Strome (Heine) [first/second version] (1840?, 1854)
/ b/ j' R  f' A- N) r2 P' _# CS.273, Die Lorelie (Heine) [first/second version] (1841, ?)
( V$ y+ C% x2 A4 j0 H6 j: i5 X# uS.274, Die Zelle in Nonnenwerth [first/second version revised 1862] (b. 1841, 1857)+ B, t1 o* T$ K
S.275, Mignons Lied (Kennst du das Land) (Goethe) [first/second/third version] (1842, 1854, 1860)6 h6 A3 i! `( {  T
S.276, Comment, disaient-ils (Hugo) [first/second version] (1842, ?)* Q+ Q8 J" e( t. u2 T9 c
S.277, Bist du (Prince E. Metschersky) [first/revised version] (1843, ca. 1878-79)
, E  p$ U) s8 BS.278, Es war ein König in Thule (Goethe) [first/second version] (1842, ?)2 y7 l9 g+ J2 k# f( x' @2 N: m; B
S.279, Der du von dem Himmel bist (Goethe) [first/second/third version] (1842, ?, 1860)+ m6 X$ E: m* K* n4 L0 X' l, p
S.280, Freudvoll und leidvoll (Goethe) [first/second/third version] (1844, 1848?, ?); D: M  H+ m9 R& ?1 `% Y  x
S.281, Die Vätergruft (1844)
# d( a) W9 Z* D* [S.282, O quand je dors (Hugo) [first/second version] (1842, ?)
; I# p- g, d9 e4 \7 c5 k5 `S.283, Enfant, si j'etais roi (Hugo) [first/revised version] (1844?, ?)
) t: W5 z+ ~. U- G. Q7 _S.284, S'il est un charmant gazon (Hugo) [first/revised version] (1844?, ?)
$ ~2 f$ J1 x4 W+ h) t1 G: ?5 }S.285, La tombe et la rose (Hugo) (1844?)
3 D# t* I& Y6 ]S.286, Gastibelza, Bolero (Hugo) (1844?)5 V7 j- E3 C, l
S.287, Du bist wie eine Blume (Heine) (1843?)
. Y8 G# H$ j' _" o+ yS.288, Was Liebe sei (C. von Hagn) [first/second/third version] (1843?, ca. 1855, 1878–79)$ j2 c  a" Q. T; _' l/ C: L& [
S.289, Vergiftet sind meine Lieder (Heine) [first/revised version] (1842, ?)
* p" s0 }* F: y) ~1 K4 v8 CS.290, Morgens steh ich auf und frage (Heine) [first/revised version] (1843?, ca. 1855)& z+ t, U- U1 i
S.291, Die todte Nachtigall (Kaufmann) [first/revised version] (1843?, 1878)( V7 @$ G& G, N% |7 g3 q, ]- u
S.292, Songs from Schiller's Wilhelm Tell [3 songs, first/revised version] (1845?, ?)
: g! g; j! F. Q% L$ gS.293, Jeanne d'Arc au bûcher (Dumas) [first/revised version] (1845, 1874)  q1 Z/ \5 O  i  a" y2 L
S.294, Es rauschen die Winde [first/second version] (ca. 1845, b. 1856)
2 M) _$ s& K. Q2 ~5 M! kS.295, Wo weilt er? (Rellstab) (1844)* O; s/ w" y' {1 q) `5 W
S.296, Ich möchte hingehn (Herwegh) [revised later] (1845)
- Q7 T1 K5 A3 |. t/ M+ QS.297, Wer nie sein Brot mit Tränen ass (Goethe) [first/revised version] (ca. 1845)+ Z) N7 H! W/ j5 [
S.298, O lieb so lang du lieben kannst (Freiligrath) (1845?)
' r( B/ l9 v: e* K8 Z% a  S* E( D: jS.299, Isten veled (Farewell) (Horvath) [first/revised version] (1846–47)
7 }  x# P! l# A" ^$ `; B7 d3 N+ R" OS.300, Le juif errant (Béranger) (1847)2 I7 @) D) l: Z  L# M
S.301, Kling leise, mein Lied [first/revised version] (1848)
) G! I. Y/ a2 s# ^' ES.301a, Oh pourquoi donc (Mme Pavloff) (1843)
( D- a0 _7 M# ?* P3 W1 RS.301b, En ces lieux. élégie (E. Monnier) (1844)" L% R( g& L7 h; G& ?
S.302, Die Macht der Musik (Duchess Helen of Orleans) (1848–49)
! u3 A. z) H# b* }8 y/ u/ @$ ?S.303, Weimars Toten. Dithyrambe (Schober) (b. 1848)
- f2 Z: b% n! d) w! wS.304, Le vieux vagabond (Béranger) (b. 1848)
. n1 o0 p1 m, u5 I" WS.305, Schwebe, schwebe, blaues Auge [first/revised version] (1845, ?)
1 k& ]4 I- q- C! ^2 ES.306, über allen Gipfeln ist Ruh [first/revised version] (1847?, ?)% ?4 \: {6 q; p9 z
S.306a, Quand tu chantes bercée (Hugo) (1843)
& U. c  k+ z3 L5 C4 gS.307, Hohe Liebe (Uhland) (1850?)
4 B8 H# }' i8 t( j& T1 X6 ^: Q# }S.308, Gestorben war ich (Seliger tod) (Uhland) (1850?)
2 F& U; }( q) C5 F  }! J5 pS.309, Ein Fichtenbaum steht einsam (Heine) [first/revised version] (ca. 1845, 1854)
4 ]: n2 I. k. ?, ^  G5 C6 {$ N8 TS.310, Nimm einen Strahl der Sonne (1849)
# R5 X# m+ l! e% OS.311, Anfangs wollt' ich fast verzagen (Heine) (1849)
6 A4 Y& u9 j" f# h1 Z, e5 x. ^S.312, Wie singt die Lerche schön (Hoffmann von Fallersleben) (1856?)
& W* ?# l$ k( c) cS.313, Weimars Volkslied (Cornelius) (1857)
9 j2 A/ l4 D7 ]1 bS.314, Es muss ein wunderbares sein (Redwitz) (1852)! I" J: i+ K4 O9 ~0 s/ o* P5 j) v
S.315, Ich liebe dich (Rückert) (1857)
4 n9 F( ]/ B; C9 w5 qS.316, Muttergottes - Sträusslein zum Mai-Monate (Müller) [2 songs] (1857)
: x( i; g! q( x3 R8 Y! G9 YS.317, Lasst mich ruhen (Hoffmann von Fallersleben) (1858?)/ D, D* c, M4 x1 f
S.318, In Liebeslust (Hoffmann von Fallersleben) (1858?)
1 g  ~* B4 O4 t, a7 dS.319, Ich scheide (Hoffmann von Fallersleben) (1860)- u& a+ Q# S% E2 y9 U
S.320, Die drei Zigeuner (Lenau) (1860). m8 c* W* n/ v8 _& V# M0 W; s
S.321, Die stille Wasserrose (Geibel) (1860?)
: Z" a. i- c& WS.322, Wieder möcht ich dir begegnen (Cornelius) (1860)
, H0 i0 d8 U! b2 r% w% pS.323, Jugendglück (Pohl) (1860?)$ G+ t% p5 C2 l0 n2 }& z
S.324, Blume und Duft (Hebbel) (1854)* x$ Z! a' [" z6 ]3 x- M
S.325, Die Fischertochter (Count C. Coronini) (1871)9 C0 Y# d) o3 Y2 t+ y. p
S.326, La perla (Princess Therese von Hohenlohe) (1872)
- }6 A: }* n; l, s8 U$ dS.327, J'ai perdu ma force est ma vie. 'Tristesse' (de Musset) (1872), F" s" x# ?  E6 F, g0 k; A
S.328, Ihr Glocken von Marling (Emil Kuh) (1874)( J; J" J7 \5 g
S.329, Und sprich (Biegeleben) [revised 1878] (1874)
1 i( ]( @' x9 O" e  AS.330, Sei Still (Henriette von Schorn) (1877)
; P  p2 D  h- G, vS.331, Gebet (Bodenstedt) (1878?)
3 @& G1 J" ?: ?* rS.332, Einst (Bodenstedt) (1878?)" G( M8 d- F, o3 _& E/ P$ L
S.333, An Edlitam (Bodenstedt) (1878?)
8 [3 k1 @* Q' }6 |+ A% F% _2 z. {9 SS.334, Der Glückliche (Bodenstedt) (1878?)* ^8 p* `1 V# }7 c2 M. p
S.335, Go not, happy day (Tennyson) (1879). B1 w" E5 y0 _/ T9 K
S.336, Verlassen (G.Michell) (1880)+ F! Y6 t" n& {6 B$ R7 f8 N/ C
S.337, Des tages laute stimmen schweigen (F. von Saar) (1880)
; f' W" g' X: Z- W. d) P6 a; K! QS.338, Und wir dachten der Toten (Freiligrath) (1880?)
9 u3 ^% F. e1 [9 aS.339, Ungarns Gott. A magyarok Istene (Petófi) (1881)) d  K+ R7 E( g' L( B
S.340, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)" f0 P0 K6 p, w  U$ t. L( u
S.340a, Ne brani menya, moy drug. (Tolstoy) (1886)
/ N, O" ~. {( `. r$ j# z1.12 Other Choral Works(其他合唱作品)
) x" w+ u1 U) Q6 }' i- _. U6 yS.341, Ave Maria IV (1881)
1 D, V3 o: n; f( b! f- \4 VS.342, Le crucifix (Hugo) (1884)' R, D" J: b6 S0 k1 g; e( P7 H% U
S.343, Sancta Caecilia (1884)7 G$ h7 y9 h+ w& }5 e
S.344, O Meer im Abendstrahl (Meissner) (1880)
* N! u. _- E& u7 MS.345, Wartburg-Lieder from Der Braut Willkomm auf Wartburg (Scheffel) [7 chorals] (1872)
; I2 j  {  P* b; X! l6 o1.13 Recitations(叙事歌谣颂诗)% t7 R! `  v% @, N
S.346, Lenore (Bürger) (1858)
& Y& X. j9 F# ~7 K( S2 F2 b. D" fS.347, Vor hundert Jahren (F. Halm) (1859)3 B. h) D# @8 R8 b- Q4 }
S.348, Der traurige Mönch (Lenau) (1860)
  V- d7 x6 z# K. }) VS.349, Des toten Dichters Liebe (Jókai) (1874)8 f/ P% h' _) z, j
S.350, Der blinde Sänger (Alexei Tolstoy) (1875)8 v1 j; V, g3 P5 P/ J1 ]
2. Arrangements, Transcriptions, Fantasies, etc.8 o6 G. |, t9 k

; H: I  C: i: h/ _1 ]$ B2.1 Orchestral Works(管弦乐作品); q- d1 g# v4 c: e+ M5 o

5 S7 \! J7 C/ b' r. i8 D, N2.1.1 Bülow
0 i) \5 O1 ~3 w% Z; h- U0 j' [5 ?, a- c" e# J. j
S.351, Mazurka Fantasie, Op. 13 (1865)6 L7 ~, o. t- R; ~* O% Y  S6 D
2.1.2 Cornelius1 S" R1 w. z2 z1 I) Z0 x* u2 K, n
- o3 q9 d- [* N0 {+ H' n+ m
S.352, Second Overture to The Barber of Baghdad [completed from Cornelius's sketches] (1877)
7 p; I/ N' P; l4 ^2.1.3 Egressy and Erkel
, b& j/ v& ]8 i4 c. c0 P
- n* t9 u& G2 OS.353, Szózat und Hymnus (1873)) t: D0 D! ^* y6 a; I
2.1.4 Liszt1 W5 S! _* k: w0 V& x% ~0 Q9 h9 A! M

; \( M1 B  H( V  X3 sS.354, Deux légendes (1863)  e5 C5 N2 i8 b/ d8 w1 N4 V  X: F) O9 E
S.355, Vexilla regis prodeunt (1864)) n& D8 R& E" H7 b$ h0 M5 w; a# S
S.356, Festvorspiel (1857)- p/ r  U: J( s0 @/ K/ G7 P% ^
S.357, Huldigungsmarsch [first/second version] (1853, 1857)4 K* G& g' G; x* V, ^/ ^
S.358, Vom Fels zum Meer. Deutscher Siegesmarsch (1860)
$ [$ L! \3 x: @' o8 \& ?, c+ TS.359, 6 Rapsodies hongroises (Hungarian Rhapsodies) (?)
8 K+ r; D5 M& f+ j* tS.360, A la chapelle Sixtine (Liszt, Allegri & Mozart) [orchestral arrangement of S461, based on Mozart's Ave verum corpus and Allegri's Misere] (1862)
1 n: c5 Y. l: L0 BS.361, Pio IX. Der Papsthymnus (ca. 1863)/ c: `! E4 A' K/ U8 ^, f7 r
S.362, Benedictus and Offertorium from the Hungarian Coronation Mass [from S11] (1875)
2 I3 p' C* R- m4 d3 Q" t6 q  T2.1.5 Schubert
6 Z/ R# S6 J  S5 d& Q) A! |: |* M1 S2 q& `: U
S.363, 4 Marches [from Opp. 40, 54, 121] (1859-60)
: I) u# R' X/ ~* A2.1.6 Zarembski* t( ?$ i' a; Y7 C; s* U' o

/ R! ~9 K+ S. X" i% @% ~+ g( i; u* P+ CS.364, Danses galiciennes (1881)
: \" G& S7 J% k, g: T2.2 Pianoforte and Orchestra(钢琴与乐队)
5 [' E; u' U3 T- T- b8 b
; P# ?9 t$ G8 X5 ]  [1 y3 e2.2.1 Liszt
0 Z7 N: N! Y- D
( n! f* u$ A- U9 P' W9 b/ u; VS.365, Grand solo de concert [prepared by Leslie Howard] (1850)% z3 D! K, N( h- U4 }! }2 W) {
S.365a, Concerto pathétique (No. 4) in E minor [Liszt, Reuss version] (1885-86)
2 ^. t2 u" i6 e* u9 k% mS.365b, Hexaméron, Morceau de concert [orchestration completed by Leslie Howard] (ca. 1839)& H3 h/ t$ t) C- ^% y
2.2.2 Schubert3 d: `: W0 j2 A' I2 L
% n/ h* ^. D. [9 j) M2 ~
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- Y7 D+ P6 b- e
2.2.3 Weber/ s/ }& b7 ]) r+ v' z9 `
  g  L4 H8 z2 j* y) u
S.367, Polonaise brillante, Op. 72 (1849) 华丽波洛涅兹 为钢琴与乐队而作
* c: u6 @; W8 y' h2.3 Songs with Orchestra(声乐与乐队)- G. N5 X" i* E$ K
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2.3.1 Korbay. @5 U2 Q8 ?' Y; b) }
5 F- ?4 D) J+ [, f4 i! x% C
S.368, 2 Songs (Le Matin by Bizet and Gebet by Geibel) (1883)6 @* g8 X' u! h0 P9 `
2.3.2 Liszt4 R$ ^& X" ~, z
9 H# g  U2 |) ^
S.369, Die Lorelei (Heine) (1860)% l) w8 R3 H4 R( y2 @$ \
S.370, Mignons Lied (Kennst du dass Land) (Goethe) (1860)
0 p3 s! j; s$ X3 S5 m$ wS.371, Die Vätergruft (Uhland) (1886)3 I" M5 z7 u; R$ n" S
S.372, Songs from Schillers Wilhelm Tell (ca. 1855)! _& z2 y5 w/ r6 d( l
S.373, Jeanne d'Arc au bûcher (Dumas) [first/second version] (1858, 1874)
4 L- l7 G. j% Z9 L# \* h, z( e" JS.374, Die drei Zigeuner (Lenau) (1860)
: t, P- m' |- A$ e4 l  Q0 h2.3.3 Schubert
' v% E$ s8 I  F
7 \7 U$ d2 b" X6 s, E$ Y' P. U  YS.375, 6 Songs (1860)
$ c3 E4 m' D, K0 H0 s# YS.376, Die Allmacht (1871)
0 Y) Y: E6 |1 W6 ~: {; Y4 |# i2.3.4 Zichy
4 F3 H1 Q5 T( y# k3 ?5 g% D8 l, y  I# P% G) F
S.377, Der Zaubersee. Ballad (Zichy) (1884)% g% I4 b" ?  ^3 m2 Q1 g! ~1 f
2.4 Chamber Music(室内乐等)0 z9 v3 x1 V+ E& `8 f; l
2.4.1 Liszt
$ u4 I2 B( Y2 S$ A0 \- q( N! t" K+ d. l! g. I/ {
S.377a, La notte (Odes funèbre No. 2) (1864-66): M: o6 Q) f* J; s
S.378, Angelus! - Priere aux anges gardiens [first/second version] (1877, 1880)
( g4 s1 v% ^( B4 G% _, x* wS.379, Rapsodie hongroise No. 9 (Pester Karneval) (?)/ E  C7 N1 E# p: ?
S.379a, Rapsodie hongroise No. 12 (1850-59)
+ T$ X  R3 j3 n6 E' GS.379b, Puszta-Wehmut (A Puszta Keserve) (ca. 1871)4 B) u+ `6 h7 O2 @
S.380, O du mein holder Abendstern from Tannhäuser (Wagner) (1852): P- z+ a) u6 o( D; Q/ ^
S.381, Benedictus and Offertorium from the Hungarian Coronation Mass [from S11] (1862)
. V6 M- q5 T7 ]  {5 e  y+ p% ZS.381a, Ungarns Gott. A magyarok Istene (Petófi) (1882)6 P: d' M& a8 d
S.382, Die Zelle im Nonnenwerth (ca. 1880-86)
% I/ R: k  U% b0 K: T9 _S.383, Die drei Zigeuner (Lenau) (1864)
- Z7 Y" H. o' P; I; E( t- [  b2.5 Pianoforte Solo
, n$ b' V) T( o9 O4 G6 _
  O. l$ s& C% M. b, W3 }2.5.1 Paraphrases, Operatic Transcriptions, etc.(歌剧改编独奏)
- G- N; m% l: X& u/ q. m) P6 U/ {0 w, n! P8 {* G' t% x6 U
2.5.1.1 ábrányi
0 D& [' B: V$ `/ ^2 h( n# m/ l
5 j6 n. f5 `  `. B$ P6 R. B) J% gS.383a, Elaboration on Virág dal (1881)" a$ b, v9 w  p) \
2.5.1.2 Alyabyev! H3 J! j- Y, A
( e4 ?) P9 F$ U3 g0 p
S.384, Mazurka pour piano composée par un amateur de St. Petersbourg (1863)
0 w9 {: y& T& n( B% B9 r: yS.384a, Variations on Tiszántúli szép leány [anonymous, not by Liszt?] (1846)6 W( D7 L" ~) a  d7 l2 v2 ^
2.5.1.3 Auber
) j/ U/ R8 e* ]5 }
3 g4 c+ _; N* y! fS.385, Grande Fantaisie sur la Tyrolienne de l'opera La Fiancée [first/second/third version] (1829, 1835, 1842)
+ N/ O- _( A" q; Q1 C% H& yS.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
# Y! A( f, u, e# ?) AS.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$ t: c3 m- I+ ]) m! o2 V
S.387, Three Pieces on themes by Auber [with intro piece] (a. 1846)
/ m% b5 k/ ^0 A4 r" r0 @S.387a, Piece on an unknown theme (1847)
% b0 L# Y9 M( n5 |% B: F! A2.5.1.4 Beethoven6 l! j% t. U7 H/ [1 j- Z4 v
2 N  b0 V; w7 Q/ @2 k4 N& t
S.388, Capriccio alla turca sur des motifs de Beethoven (Ruines d'Athènes) (1846) 土耳其随想曲 S.388 - 根据贝多芬《雅典的废墟》配乐素材改编. k' C  z0 G1 I3 x# Y
S.388a, Marche turque des Ruines d'Athenes (1846)
( s. T* A; ^& c2 O- qS.388b, Fantasie über Beethoven's Ruinen von Athen [first version] (1837)
3 K- g( k) S7 N6 V& kS.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
* z- i" R: Y+ o' J$ sS.389a, Cadenza to the first movement of Beethoven's Piano Concerto No. 3 (1879)  P4 O: G# I6 ^$ Y
2.5.1.5 Bellini
0 L/ v7 t# M; ?8 {1 P9 P1 c
& [0 S3 z2 {' i" M3 V6 P/ pS.390, Reminiscences des Puritains [first/second version] (1836, 1837)7 g6 W# }: V5 y2 U6 b
S.391, I Puritani. Introduction and Polonaise (1840)
4 [/ q4 N: y5 U9 o" HS.392, Hexaméron, Morceau de Concert (1837)
% \! O7 o8 [& s" i2 dS.393, Fantaisie sur des motifs favoris de l'opéra La Sonnambula [first/second/third version] (1839, 1840-41, 1874)1 _2 J" B+ s8 \$ T& d( \/ a2 O
S.394, Réminiscences de Norma (1841-43)5 `" f- v* Z: O( g; b: `
2.5.1.6 Berlioz
+ v% @1 u- h/ I3 i, a3 F& r4 k: W( U0 w+ ?- X! M& r' N2 H
S.395, L'Idée fixe: Andate amoroso [first/second version] (1833 or 1846?, 1865)+ e8 {; Q, o( C% f+ K& q
S.396, Benediction et Serment from Benvenuto Cellini (1852)% L9 U! ~; E6 S
2.5.1.7 Donizetti, Gaetano" m9 o) C1 w/ n& K, A
5 t% B7 U9 Q. S. k; g
S.397, Réminiscences de Lucia di Lammermoor (1839)0 B- U1 G% H) A0 _. H1 O
S.398, Marche Funebre et Cavatine de Lucie de Lammermoor (1839)
9 p' s7 G: \* t+ e7 s" `S.399, Nuit d'été à Pausilippe [3 pieces] (1839)
) Q$ a2 p3 p  C: E' E" x2 [  oS.399a, Lucrezia Borgia - Grande fantaisie [first version of S400ii] (1840)2 T2 [& x; k# c% l9 M
, x/ v0 N& A, {9 [/ z  T
李斯特全部作品目录-3
  l1 E6 W2 C5 _! v& ^( I
9 g& i) T8 t. q0 s" e6 q$ iS.400, Réminiscences de Lucrezia Borgia [first/second version] 1840* D/ P" l/ {% D+ N
S.401, Valse a capriccio sur deux motifs de Lucrezia et Parisina [first version of S214/3] (1841)! \! j8 }1 H) N4 P5 X* P) o8 j
S.402, Marche funèbre de Dom Sébastien (1844)
. t4 `, m/ |6 A2.5.1.8 Donizetti, Giuseppe
0 ^0 p7 C( c1 |- p$ p+ s" ]8 u
! t# \3 Y% d: ]) ]S.403, Marche pour le Sultan Abdul Medjid-Khan [first/simplified version] (1847, 1848)4 f9 h4 `3 l% z: E% i! [
2.5.1.9 Duke Ernst% D( {% ~  P+ P( G) [) M

2 {0 P+ c* H+ kS.404, Halloh! Jagdchor und Steyrer from the opera Tony (1849)
  Q) C2 z" m- r  m) J2.5.1.10 Erkel, Franz
4 ]0 i$ o$ {/ Y  _7 ?9 w7 R+ n2 J, I& m( Y. n4 ~' a) R. r
S.405, Schwanengesang and March from Hunyadi Laszlo (1847)
+ x7 L9 `- Y2 D" ^2 Y: {8 G2.5.1.11 Festetics+ B( ^% D/ o/ r7 K* S

/ |( v; Z, h8 i! C  \* S! ^( LS.405a, Pásztor Lakodalmus Variations - Mélodies hongroises [elaboration by Liszt] (1858)" U0 `) ^3 |# c1 U  }8 R2 f. \
2.5.1.12 Glinka
/ |2 M4 b' D, p9 `- C; E( h: w& J* q5 p3 B! |2 Y( V
S.406, Tscherkessenmarsch from Ruslan i Lyudmila [first/second version] (1843, 1875)
0 |+ L7 }* F. b- {2.5.1.13 Gounod9 L2 d3 r; A0 G- D

7 Z0 Q9 m6 Q, W" q; fS.407, Valse de l'opéra Faust (b. 1861): T7 b/ K5 d( x% {3 G1 i
S.408, Les Sabéennes. Berceuse de l'opéra La Reine de Saba (1861)
/ s1 w: }. f% e, y. H  bS.409, Les Adieux. Rêverie sur un motif de l'opéra Romeo et Juliette (1867)# U' q! @* ~# p9 m4 g( Q; A  {
2.5.1.14 Halévy
0 [9 F& m8 j! ^) g& Z7 ~S.409a, Réminiscences de La Juive (1835)( z! [* b6 H1 ~, P7 d" k2 c2 ^
2.5.1.15 Mendelssohn
/ Z3 J) t8 D& ^4 {S.410, Hochzeitsmarsch und Elfenreigen aus dem Sommernachtstraum (1847-50)$ c; ?. L6 B0 i% y* h( M5 \
2.5.1.16 Mercadante$ H" e" I/ D3 Z# H- w2 \% d
S.411, Soirée italienne. Six amusements (1838)# L( d' W. Y. [! ^7 Q9 O0 H& [
2.5.1.17 Meyerbeer, ~( y/ X; k/ G$ z2 f/ e7 c& g
S.412, Réminiscences des Huguenots - Grande fantaisie dramatique [first/second version] (1836, 1842)( R6 R4 q6 {; a+ l/ g7 J
S.412a, Réminiscences de Robert le Diable - Cavatine (1846?)- R. H5 p0 C" Q0 b' o1 f
S.413, Réminiscences de Robert le Diable - Valse infernale (1840)
+ C* n- h" a& y9 YS.414, Illustrations du Prophète [4 pieces, 4th=S624] 1849-50
5 E" ?# c; e/ \9 a* z% gS.415, Illustrations de l'Africaine [2 pieces] 1865
" y; f0 a( X5 v: ]S.416, Le Moine (1841)
4 o' ]! V: y7 X2.5.1.18 Mosonyi, Michael5 ?; h- l4 ^: q  Q- [( w, Q6 m
S.417, Fantaisie sur l'opéra hongrois Szép Ilonka (1865) 幻想曲 S.417 - 根据莫佐尼歌剧《美丽的海伦》主题改编
! E$ p* H( A* ^7 j/ w  t" x2.5.1.19 Mozart
# Y6 x% S& c/ i5 S9 L& ^S.418, Réminiscences de Don Juan (1841)  k$ E& E" R. A" u9 X' ?* z* V& w
2.5.1.20 Pacini0 k. D$ b( F; j7 E6 _' U
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
% \: ]8 Y; Y4 x; T2.5.1.21 Paganini
- j( i2 Q: H4 V. t4 `! g; q, g9 S. oS.420, Grande Fantaisie de bravoure sur La Clochette (1832-34)  华丽的钟声幻想曲8 e' @  |: u/ d! G& }8 F& w
2.5.1.22 Raff
( E! v5 V$ s1 U2 `0 w+ j4 rS.421, Andante Finale and March from the opera König Alfred [2 pieces] (1853)
, Q0 y5 v3 g& T+ \/ H2.5.1.23 Rossini
( ]" r8 f& a# ], N9 }, ]S.421a, Introduction et Variations from "Siege of Corinth" [introduction only] (1839?)
9 L/ T1 Y8 |! BS.422, Première grande fantaisie (Soirées musicales) [first/second version] (1836). N% v$ S. P/ \1 O; u* K
S.422i, La serenate e l'orgia - Première grande fantaisie (Soirées musicales) [first version] (1836)4 F; P- R$ h4 Y$ ~- E8 t, b" B1 N
S.423, Deuxième grande fantaisie (Soirées musicales) (1836)7 ~2 c/ N- |& ~3 H0 O, I
S.424, Soirées musicales [12 pieces] (1837)3 c6 Q. r/ K5 `; q
2.5.1.24 Schubert
1 q+ g- k4 w: dS.425, Mélodies hongroises [3 pieces] (1839–40), M; g1 Z# a2 [+ h& [
S.425a, Mélodies hongroises [revised versions] (1846)  l( \- A/ E8 r1 W
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
7 b9 |. Z: W# w9 p5 e6 ?+ FS.426a, Marche militaire (ca. 1870)4 u( p2 _$ b. R; [3 m; x; i# x& X0 H; Q
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
( f: C2 A8 V* V3 g$ g2.5.1.25 Sorriano
9 C& T8 |. m" VS.428, Feuille morte. Elégie d'après Sorriano (1844-45)
( n3 j7 H' w; J5 [1 G* J8 p' [2.5.1.26 Tchaikovsky
- F" L( ?. r. uS.429, Polonaise from Eugene Onegin (1879)/ ]' d( g3 l( @% Z
2.5.1.27 Végh, Janos
/ I- k& [. q# u$ _% @  h! w* sS.430, Valse de concert (1882-83)
4 f8 W9 R# i4 @1 G) K2.5.1.28 Verdi& P6 V# q. O  {3 f
S.431, Salve Maria de Jerusalem from I Lombardi [first/second version] (1848, 1882)
( g3 C  b. j+ l7 L- ]4 HS.431a, Ernani - Première paraphrase de concert (1847)& o* _1 s4 S" B6 Y7 Y7 l
S.432, Ernani - Paraphrase de concert (No. 2) [first/second version] (b. 1849, 1860)
! e( d1 r3 l8 K7 ~: aS.433, Miserere du Trovatore (1860)
$ K/ L! D: P  d  tS.434, Rigoletto Paraphrase de Concert (1859)2 ^& g" j6 [3 D# v. [
S.435, Don Carlos Coro e Marcia funebre (1867-68)% D( O# S  L1 A5 M' F5 b
S.436, Aida Danza sacra e duetto finale (1877)
2 _' k  w. C$ D; S1 I8 t: N1 qS.437, Agnus Dei (1877)
4 k, u8 _% X1 Y- @8 X& S- |* jS.438, Réminiscences de Boccanegra (1882)
; D6 w$ q1 i" N5 P* o+ u2.5.1.29 Wagner% I4 b8 @* D* z  z
S.439, Phantasiestück über Motive aus Rienzi (1859)
# n9 Z) y* z% hS.440, Spinnerlied aus Der fliegende Holländer (1860)# q' K* s1 P3 [, I* U
S.441, Ballade aus Der fliegende Holländer (1872)
3 j& X' C9 H  K( G; n+ @5 hS.442, Ouvertüre zu R. Wagners Tannhäuser (1848)
5 |6 Z& ]( X% E! sS.443, Pilgerchor aus Tannhäuser [first/second version] (1861, 1885)
7 `2 E! \2 _+ v0 i1 bS.444, O du mein holder Abendstern aus Tannhäuser (1848)
+ \9 T! I8 \* t$ gS.445, Zwei stücke aus Tannhäuser und Lohengrin (1852)
5 Y" S5 S1 T0 ?" F, uS.446, Aus Lohengrin [3 pieces] (1854)
) }9 M$ ]1 U! b  l  T: u" qS.447, Isoldens Liebestod aus Tristan und Isolde [first/revised version] (1867, 1875)7 ~5 v1 l* P/ {, w- n
S.448, Am stillen Herd aus Die Meistersinger (1871)$ A( H+ m# C2 b* |3 f% M
S.449, Walhall aus Der Ring des Nibelungen (1875); T) b  V2 V, o. V
S.450, Feierlicher Marsch zum heiligen Graal aus Parsifal (1882)2 z1 J2 U1 N/ Z  t. H* s7 j
2.5.1.30 Weber
  M* _/ ]4 ^  D9 Z5 x' XS.451, Freischütz-Fantasie (1840-41)
" `, N) ^0 o5 R9 T3 a' }S.452, Leyer und Schwert [4 pieces] (1848)/ d. h8 S6 A, ?. \
S.453, Einsam bin ich, nicht alleine, from Preciosa (1848)  P" o6 t- \; y0 U, d( G( l
S.454, Schlummerlied mit Arabesken (1848)3 Z7 W' m6 f& y
S.455, Polonaise brillante (1851)
2 ^& `) v+ C" `7 r! E) N+ c. u! h2.5.1.31 Zichy, Count Géza7 m- u/ U3 ^6 \) O- r% E: W
S.456, Valse d'Adele (1877)
. S& C0 H, f4 q* Z( O2.5.1.32 Unknown$ s: E6 O5 U! ?
S.458, Fantasy on Il Giuramento (Mercadante) (1838?)% I3 K7 g0 O' T& k9 z' t  ~( V$ E* c
S.460, Kavallerie-Geschwindmarsch [anonymous] (?)
6 _# r- u$ F' ?# Y, o+ k9 |2.5.2 Partitions de Piano, Transcriptions, etc.
5 y, }; ]% |8 b8 J  j# Q5 D2.5.2.1 Allegri and Mozart" }9 z, _" W4 T9 M
S.461, A la chapelle Sixtine [first/second version] (1862, ?)
: F9 o" c! z* o( R# FS.461a, Ave verum corpus, Kv618 (1862)/ W4 H. S5 p* w* q. M/ I1 z
2.5.2.2 Bach
* l3 L# @( ?" P3 v& W" VS.462, Sechs Praeludien und Fugen für Orgel [6 pieces] (1850)7 y4 @% m6 `4 Z; O1 x
S.463, Organ Fantasy and Fugue in G minor [first/second version] (1860, ?)
- D% O* w* z( a2 K8 L# j+ n2.5.2.3 Beethoven* [. c/ F# g' B# _3 \
S.463a, Symphonie No.5 [first version] (1837)
; [$ z$ R$ k' u# K0 W' sS.463b, Symphonie No.6 [first version] (1837). n  u; v4 _2 B! B8 K4 p
S.463c, Symphonie No.6 [second version. Alternative 5th movement] (1863-64)
$ b+ _4 ]0 l% |, FS.463d, Symphonie No.7 [first version] (1837)
, E8 ?% x! t$ E% `S.463e, Marche funèbre [Beethoven's Eroica Symphony, first version] (1843)
  \( G3 j5 K0 m% M2 L0 vS.464, 贝多芬交响曲 Symphonies de Beethoven [9 pieces] (1863-64)  y: ^9 F' _2 d5 n
S.465, Grand Septuor, Op. 20 (1841)4 I3 ]) V' `4 m
S.466, Adelaïde [third version] (1847)
; e; P! X* w' ]( p! u9 lS.466a, Adelaïde [first version] (1839)
3 W6 B8 I5 ?3 j% RS.466b, Adelaïde [second version] (1840)
3 J  A* _8 U- H+ G- D& Q; `S.467, Sechs Geistlicher Lieder (Gellert) [6 pieces] (1840)& V2 U. v8 f. @  ]; v3 o3 h- J2 n
S.468, Sechs Lieder von Goethe [6 pieces] (b. 1849)4 L3 M# L; n, l1 C$ {) Q2 Z5 g; f  J
S.469, An die ferne Geliebte - Liederkreis [6 pieces] (1849)0 V- w% J9 F3 m: p0 R
2.5.2.4 Berlioz
" `1 s( i3 t* [2 Q; X0 v* c, \S.470, Symphonie Fantastique (1833)- q9 [* G7 ]1 ]) i6 q
S.471, Overture from Les francs-juges (1833)
, D. Y: F; ]6 w* uS.472, Harold en Italie (with viola) (1837)
0 F' b1 @; w" w5 C$ AS.473, Marche des pèlerins from Harold en Italie [first/second version] (1837?, 1862)
( r- y$ f) j+ C( h* e  i. ES.474, Ouverture Le Roi Lear (1837)/ w( f& [, {6 J8 m2 _4 h! [* g7 X
S.475, Valse des Sylphes de la Damnation de Faust (1860)
6 W+ ]  J3 b$ M! Q  v2.5.2.5 Bulhakov
7 k+ h% y( f0 [. n- n. RS.478, Russischer Galopp [first/second version] (1843, 1843), O/ \' r. h; K  T" e
2.5.2.6 von Bülow
- N0 Y9 G" \1 z% ~' q  f0 v: ]S.479, Dante's Sonnett - Tanto gentile e tanto onesta (1874); a9 N" X+ A. H. Q0 F
2.5.2.7 Chopin1 w3 b0 v; T% M, Q6 n1 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
! A1 j6 P0 u% q1 I% o! SS.481, Zigeunerpolka (1847?)
1 \: q0 H) ]) X5 v! k1 j  X* I2.5.2.9 Cui
. V. p1 y1 a7 m% J: hS.482, Tarantella (1885)! y" m$ z5 }2 Z7 v* M0 m) O, |
2.5.2.10 Dargomyschsky, v/ z4 _" }. @; y  j4 y
S.483, Tarantella (1879)
6 x8 h9 p5 f) D4 @2.5.2.11 David, Ferdinand
$ Q$ v% e7 c9 D4 A, G; _S.484, Bunte Reihe, Op. 30 [24 pieces] (1850)
2 n( a6 n8 q7 Q& z( w/ V2.5.2.12 Dessauer1 ^4 {& _$ r+ u
S.485, Drei Lieder (1846)  {# y* A" T* n
2.5.2.13 Ernst, Duke
6 s$ a: T5 p# o; s' r2 ZS.485b, Die Gräberinsel (1842); Z: y* j% |/ n/ A8 L
2.5.2.14 Egressy and Erkel4 q  K. U1 T& O- b2 J
S.486, Szózat und Hymnus (1873)
) o; Q0 Y' V5 m  F& O( u2.5.2.15 Festetics
  @: o3 c; X2 YS.487, Spanisches Ständchen 1846% D5 |/ k) N# H" |
2.5.2.16 Franz
# [" u* B2 V; D. y8 p3 XS.488, Er ist gekommen in Sturm und Regen 1848% T& m7 Z0 D- @! d" f. I
S.489, Zwölf Lieder [12 pieces] (1848)
9 ^7 E. t. p8 f* F4 N4 x& X) s2.5.2.17 Goldschmidt
7 ?+ x* H# X* r% U% {# r$ ?7 S. oS.490, Liebesszene und Fortunas Kugel (1880)
, J7 g1 `0 m9 ~' v9 W2.5.2.18 Gounod
4 R5 t2 `% Z& |, PS.491, Hymne à Sainte Cécile (1866)
7 V0 u4 k, r6 B2.5.2.19 Herbeck
/ F! U- V, i+ |$ T/ X* H% QS.492, Tanzmomente [8 pieces] (1869)
2 u" L. B4 h# R& h( L, V2.5.2.20 Hummel
* J: n7 h9 k5 l7 @1 q$ aS.493, Grosses Septett, Op. 74 (1848)
2 E* U! v" }8 l2.5.2.21 Lassen
$ x2 S! V1 l. b; Q3 pS.494, Löse, Himmel, meine Seele [first/second version] (1861, 1872)9 [; l( \; y* [0 u& N* |
S.495, Ich weil' in tiefer Einsamkeit (1872)' j2 N$ X' @1 H0 b5 M
S.496, Hebbel's Nibelungen & Goethe's Faust [4 pieces] (1878-79)
+ {+ o% i+ g' Z+ ]S.497, Symphonisches Zwischenspiel ('über allen Zauber Liebe') (ca. 1882-83)3 D/ _# h2 u) w  y( q
2.5.2.22 Lessmann! v; h2 r6 e8 X4 r' R
S.498, Drei Lieder ('Tannhäuser') (1882?)3 L7 c% y6 a# V' n
2.5.2.23 Liszt
* J, M5 l1 I- _, y- _! ?$ KS.498a, Drei Stücke aus der heilige Elisabeth (1857-62)+ r4 D' R  r8 ?9 }
S.498b, Zwei Orchesterstücke aus Christus (1862-66)
% h9 H( s1 M2 s. _& d) TS.498c, San Francesco - Preludio (1862-66)
9 t; D0 w/ c( h1 Q( cS.499, Cantico del Sol di San Francesco d'Assisi (1881)
( }/ n8 [2 d% r. v  nS.499a, San Francesco - Preludio per il Cantico del Sol (1880)
4 }3 T) C* D; W3 W% t, m' H! [S.500, Excelsior! - Preludio (1875)
5 K7 v2 T# E/ x! w! m6 NS.501, Benedictus und Offertorium (Missa Coronationalis) (1867)
0 G, e: [, v, G& W0 D/ K9 sS.502, Weihnachtslied II (1864)
8 q5 q/ v" d. c7 F: L6 mS.503, Slavimo Slavno Slaveni! (1863)/ N, r3 p2 w4 N1 G. x
S.504, Ave Maria II (in D) [first/second version in D flat] (1870, 1873)* }$ y# h. i* w/ w( s7 s" R
S.504a, Via Crucis [15 pieces] (1878-79)
5 @( n" F7 h  e: W1 C# QS.504b, Choräle [11 pieces] (1878-79)4 Y6 M+ A" }( s
S.505, Zum Haus des Herrn (In domum Domini ibimus) (1884)% @, r3 ^3 N- H$ t* Q& n
S.506, Ave maris stella (1868)
) q* X# W/ ^. Q1 qS.507, Klavierstück aus der Bonn Beethoven-Cantata (?)7 Z: m: _7 _- p0 v
S.507a, Schnitterchor (Pastorale - Schnitterchor aus Prometheus) (1850)
& j; Z6 }3 F& n/ w/ {S.508, Pastorale. Schnitterchor aus dem Entfesselten Prometheus (1861)
- m7 Z1 R+ ^  IS.509, Gaudeamus igitur - Humoreske (1870)
+ D& f# d0 ]9 v4 \0 j6 q; H: g/ ?  ]S.510, Marche héroïque (?)
6 h+ ]+ ]/ z3 O. b2 O) j" tS.511, Geharnischte Lieder [3 pieces] (1861)% g% b4 s% r  ]8 a! ~
S.511a, Les Préludes (Poème symphonique No. 3) [arranged by Karl Klauser, revised by Liszt] (1863) [1][2]
0 u: x! y( {0 M2 T9 zS.511b, Orpheus (Poème symphonique No. 4) [arranged by Fredrich Spiro, revised by Liszt] (1879) [3]
  H# b/ J( k/ u4 h$ S" ^* JS.511c, Mazeppa (Poème symphonique No. 6) [arranged by Theodor Forchhammer, revised by Liszt] (1870-79) [3]/ m5 G$ J1 \- o  V. o' h
S.511d, Festklänge (Poème symphonique No. 7) [arranged by Ludwig Stark, revised by Liszt] (1870-79) [3]& b6 Q. d- G1 }  b6 w% y
S.511e, Hungaria (Poème symphonique No. 9) [arranged by Fredrich Spiro, revised by Liszt] (1872) [3]0 N; P0 A( c# b8 X: v
S.512, Von der Wiege bis zum Grabe (Poème symphonique No. 13) (1881)
: O3 ]  B' n: o9 fS.513, Gretchen aus Faust-Simpfonie (b 1867 )  e% H0 z3 T8 a4 a4 W, P
S.513a, Der nächtliche Zug (?)! z0 w9 a8 a5 d/ `
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/ Z) p& j! \, a9 R+ ~- [
S.514a, Erster Mephisto-Walzer (Mephisto Waltz No. 1) [with later additions] (1859-62)3 L* [0 f/ E' `/ L
S.515, Zweiter Mephisto-Walzer (Mephisto Waltz No. 2) (1881) 第二梅菲斯特圆舞曲+ s' t1 B! W1 ^$ Q, |9 y
S.516, Les Morts (Ode Funèbre No. 1) (1860)
, G$ h+ L; g  V# ^8 {3 T( hS.516a, La notte (Ode Funèbre No. 2) (?)0 I  V( u1 _& O. Y0 D) [
S.517, Le Triomphe funèbre du Tasse (Odes Funèbre No. 3) (1866)& z4 i1 T: i8 n
S.518, Salve Polonia (a. 1863)
1 o5 I' \3 |! m7 ]: x8 u4 DS.519, Deux Polonaises de St Stanislaus (1870-79)+ K+ L3 t2 v- S: s2 h" j
S.520, Künstlerfestzug [first/second version] (1857-60, 1883)
+ J% y/ G; C. o3 J3 s) vS.521, Festmarsch zur Goethejubiläumsfeier [first/second version] (1857, 1872)
# Y% s, x; a3 z* ?4 QS.522, Festmarsch nach motiven von E.H.z.S.-C.-G (1857)
/ B9 S2 o  A9 G: W+ }$ rS.523, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (1870)0 K6 B3 n1 j2 ?8 n1 ?
S.524, Ungarischer Sturmmarsch [first/second version] (?, 1875)
* H+ w1 |7 q0 D# f' G4 qS.525, Totentanz. Paraphrase on Dies Irae (1860-65). n$ j, ]% ^$ G* y' t
S.526, Epithalam zu Eduard Reményis Vermählungsfeier (?)
4 d* F' E0 ^7 A" n$ Q# HS.527, Romance oubliée (?)4 y' g' I( o9 |# W2 K# A6 q# K
S.527bis, Romance oubliée [short draft] (1880)
* p* l1 w3 H6 b/ [S.529, Fantasie und Fuge über das Thema BACH [first/second version] (1856, 1870) 巴赫主题幻想曲与赋格+ J8 [) ]. L1 }% R# E9 N+ p
S.530, L'Hymne du Pape. Inno del Papa. Der Papsthymnus (1864)0 i) @7 N( A* H8 c; P
S.531, Buch der Lieder I [5 pieces] (?); L- `6 i3 B, H# a( z) L
S.532, Die Lorelei (Heine) [second version] (1861)0 I7 h* D/ F1 F. a7 e( P8 v, x" H) R' g
S.533, Il m'aimait tant (Delphine Gay) (1842)
7 ^. l: @' r& d( fS.534, Die Zelle in Nonnenwerth (Felix Lichnowski) [first/second/fourth version] (1842, 1860, 1880)
' q3 v6 ^2 p1 y+ G. DS.535, Comment, disaient-ils [Buch der Lieder II] (1845?)0 `' q4 C; e6 r
S.536, O quand je dors [Buch der Lieder II] (1847?): t9 ^; P9 o5 R8 T
S.537, Enfant, si j'étais roi [Buch der Lieder II] (1847?)
* l- d( a. o9 E0 n* J) s& V9 gS.538, S'il est un charmant gazon [Buch der Lieder II] (1847?)3 k0 B" |1 k0 V; ?7 H) o, E; P
S.539, La tombe et la rose [Buch der Lieder II] (1847?)
$ K. v, r+ v/ }9 ^$ i' \4 J6 VS.540, Gastibelza [Buch der Lieder II] (1847?)
7 O' [- W: }# F6 r  n0 ?* W0 OS.541, Liebesträume. Drei Notturnos (ca. 1850)  3首夜曲“爱之梦”
3 l: r+ v# X* u/ D; i) eS.542, Weimars Volkslied [first/second version] (1857, ?)7 t/ n3 N, q) I5 n% {. |' J
S.542a, Ich liebe dich (?)% q5 t1 U: B; P- s8 w% C
S.542b, Fanfare zur Enthüllung des Carl-Augusts Monument (?)
% g% O6 m' I$ L* zS.543, Ungarns Gott. A magyarok Istene (Petófi)]] [original/(S543bis)left-hand version] (1881)) C* Z5 a9 `. _% M, x7 ^+ D- u
S.544, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)
, `4 r2 V$ R1 y" K8 ]: U3 n2 }& TS.545, Ave Maria IV (1881)% I1 {4 B/ }" c; W! d: }% o
S.546, Der blinde Sänger (Alexei Tolstoy) [solo version] (1878)
) ?1 i2 g- f, k3 @/ f3 TS.546a, O Roma nobilis (1879)
; A' o# m) R/ g: @5 G3 w9 x, |2.5.2.24 Mendelssohn& n5 c/ f0 I5 ~( x7 T; d( Y% ~
S.547, Sieben Lieder (from Opp. 19, 34, 47) [7 pieces] (1840)
  u$ o' }5 D' F+ ZS.548, Wasserfahrt and Der Jäger Abschied (from Op. 50) [2 pieces] (1848)
- _+ Z- w# d  J( A5 z3 X3 ~6 F5 }2.5.2.25 Meyerbeer* X0 l' o% f& J$ S' J3 Y, [# L( ~
S.549, Festmarsch zu Schillers 100-Jähriger Geburtsfeier (?)4 b( |+ X" u7 I. A6 m6 B
2.5.2.26 Mozart. Y, a0 o/ N4 \2 K, ~" J% u
S.550, Zwei Transcriptionen über Themen aus Mozart's Requiem, K626 [2 pieces] (1862)9 Q) k& F+ G+ w
2.5.2.27 Pezzini' c$ ]* a+ ?4 O
S.551, Una stella amica. Mazurka (?)
& f' Y9 Y. R* B& R1 o5 g. w' }2.5.2.28 Raff: N9 |9 x0 T2 g) Q0 F; Z0 b8 s
S.551a, Einleitung und Coda zu Raffs Walzer in Des-dur (opus 54/1) (1880)
, z; G' o0 n' n3 ?+ \, P2.5.2.29 Rossini
+ Q/ I/ q8 s4 P. GS.552, Ouverture de l'opéra Guillaume Tell (1838)3 l6 y6 Y6 H( W
S.552a, Caritas [La charité, first version] (1847)& X; {( q5 K: U9 b* X! u0 w
S.552b, La caritá [La charité, simplified version] (1847)  A: m/ F8 T# N
S.553, Deux Transcriptions [2 pieces] (1847)
% ^% l3 }, h9 O9 x/ h, S2.5.2.30 Rubinstein
- a6 A; n0 V& ?( BS.554, Zwei Lieder [2 pieces] (1880)  A7 P6 R% }6 w, w, b' E5 P
S.554a, Einleitung und Coda sur des notes fausses (1880)
  Q% h# C( G  c2.5.2.31 Saint-Saëns& \$ {( K- a# f4 I& R; D
S.555, Danse macabre, Op. 40 (1876)
: `: \7 ?5 ^( d2.5.2.32 Schubert
8 @- }4 y3 j2 k( W9 L( O" p; IS.556, Die Rose [first/intermediate/second version] (1832, ca. 1837, 1838)
8 V' ~9 i% q! n- C( `# V7 W- XS.557, Lob der Tränen (1837)
7 l0 E$ M: O- g9 k- [( aS.557a, Erlkönig [first version] (?)
2 O1 w/ m+ {+ p0 NS.557b, Meeresstille [first version] (?)
9 ?. v, B& D5 M6 }6 }! }S.557b/bis, Meeresstille [first version, ossia] (?)/ Z$ m1 M" K  k  n
S.557c, Frühlingsglaube [first version] (?)
0 q* i8 C( @/ w6 o+ y. _% WS.557d, Ave Maria (Ellens dritter Gesang) [first version] (?); ?  c7 m7 h- n8 ?. }9 Y
S.558, 12 Lieder (1837-38)5 Q: A/ L" |! e/ ]* T7 u9 N* f
S.558bis, 12 Lieder [revised versions of Nos. 3, 4, 7, 8, 9, 11] (ca. 1839)
* g  ]" M; G- L- O3 o1 o" uS.559, Der Gondelfahrer, Op. 28 (1838)1 F8 C4 C! o6 b; Y! {
S.559a, Sérénade [Ständchen, first version] (1837)
9 {! l6 _1 J$ q5 E# U; tS.560, Schwanengesang [14 pieces] (1838-39)3 l" x( u, o# @' q
S.560bis, Schwanengesang [14 pieces, alternative versions] (ca. 1839)
8 r8 n, y+ u* h) B; q. dS.561, Winterreise [12 pieces] (1839)
3 D* ?3 f1 E" C: MS.561, Winterreise [alternative versions of Nos. 2, 3, 7, 10,] (ca. 1839)
5 y4 ?8 I7 E$ ]! Q! TS.562, Geistliche Lieder [4 pieces] (1841)
  R! ^# K& t& `3 |+ j8 pS.563, Six mélodies célèbres [6 pieces, 1st by Weyrauch] (1844)
- }  X; c, C# w2 N$ MS.564, Die Forelle [second version] (1846)
8 r, G( ?7 O* a& K3 q5 ~  jS.565, Six Mélodies favorites de La belle meunière [6 pieces] (1846)% ^9 G. _7 C1 m- a% B0 Q: n& `- g
S.565bis, Müllerlieder [6 pieces, revised versions] (ca. 1879)
7 n7 z/ x/ N" y+ h5 _" t0 lS.565a, Wandererfantasie (Grosse Fantasie in C-dur) (ca. 1868), `3 Z$ t7 A/ u) \
S.565b, Schubert's Impromptus [2 pieces, Op. 90/2-3] (ca. 1868)
4 k& J: N, s7 ]3 t  B8 O( ?. q" U2.5.2.33 Schumann
+ u( {9 g+ p, h  GS.566, Widmung, Liebeslied (1848). ]) Z3 `$ a7 t: Z: g, N4 O, R
S.566a, Widmung, Liebeslied [sketch of a more literal transcription] (1848)
, |% {4 l) L. J$ cS.567, An den Sonnenschein, Rotes Röslein (1861)  p  Z: d8 W% `" ~$ \
S.568, Frühlingsnacht (überm Garten durch die Lüfte) (1872)  r) C/ j" L1 v$ U
S.569, Zehn Lieder von Robert und Clara Schumann [10 pieces] (1872)
' @! ?' u" T4 a1 E: ^% eS.570, Provençalisches Minnelied (1881)
4 |, ~9 S& O/ s* J) T+ |% M1 [2.5.2.34 Smetana
  j) C% _: I: u  B- s5 o( s# wS.570a, Einleitung und Coda zu Smetanas Polka (de salon, opus 7/1) (1880)" H7 g6 @3 E! r/ G$ G
2.5.2.35 Spohr. x& F( k0 Y9 ]
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 Tausig2 W  V' J0 S8 Y
S.571a, Einleitung und Schlußtakte zu Tausigs dritter Valse-Caprice (1880)
# g# n4 \- N4 t! R2.5.2.37 Szabady and Massenet7 d& O$ |+ ?) k
S.572, Revive Szegedin (1879)! b% g9 x% I+ ]4 E5 n4 V3 I& g
2.5.2.38 Széchényi, Count Imre
0 Y! Q. x  O4 Y+ TS.573, Bevezetés és magyar indulò (1872)
0 _0 Q+ M6 J  k# [7 b2.5.2.39 Tirindelli" S6 q+ W6 b0 r( S
S.573a, Seconda mazurka variata (1880)6 e3 Z$ \5 w9 J/ {& [0 B  W
2.5.2.40 Weber% U) K5 E7 ]/ W, O& S" ]7 V
S.574, Ouverture Oberon (1846?)
: Y& Z, H- n4 f# K4 c, f9 E, a1 X! ~S.575, Ouverture Der Freischütz (1840-41)2 U+ `6 i2 N* h* |- y
S.576, Jubelouverture (1846)9 V' X' ?! k" R# P
S.576a, Konzertstück, Op. 79 (ca. 1868). ^3 S% T! ]: i* u1 k' i4 g$ U( s
2.5.2.41 Wielhorsky, Count Michael
: p' {$ H) S% c( LS.577, Lyubila ya [first/second version] (1843, ?)* m& y! J* Q* o: L& ]
2.6 Pianoforte Duet(钢琴二重奏)6 o1 J0 L3 s1 B. A2 T5 V/ S
2.6.1 Field
  O( `5 ~% ^" K0 R7 t4 US.577a, 11 Nocturnes (Nos. 1-9, 14, 18 and Nocturne Pastorale in E) (?)
8 V9 j( x1 i  x  p8 ^2.6.2 Liszt
  Q; D6 \1 h+ v6 \* F) A$ U7 h0 BS.578, 4 Pieces from St. Elisabeth (1862)
2 s; M, ~6 @4 i2 mS.579, Christus Oratorio 4th and 5th section (?), Y& D) E8 c, X1 T) x
S.580, Excelsior! - Preludio (?)
' `$ [6 J8 `/ ^S.581, Benedictus and Offertorium from the Hungarian Coronation Mass (1869)
: p/ z1 N9 g2 }5 }# q) J( cS.582, O Lamm Gottes, unschuldig (1878-79)
- u$ d! h: ^; |, E! n4 ?) FS.583, Via Crucis (?)4 z  `9 [; [: K7 j0 O
S.584, Festkantate zur Enthüllung des Beethoven-Denkmals in Bonn (1845)
+ ?! p. ^' B$ X0 c7 w% ^& X# v9 cS.585, Pastorale. Schnitterchor aus dem Entfesselten Prometheus (1861)/ M9 Q& Y3 W( x! Z) X) ^
S.586, Gaudeamus igitur. Humoreske (1870); b7 }3 r+ ?, k# }. ~% G
S.587, Marche héroique (?): Q4 G" t* a5 u! V# n/ s3 S
S.588, Weimars Volkslied (Cornelius) (1857)
7 ^" v; W+ `) q0 M% A& V6 e8 v8 \S.589, Ce qu'on entend sur la montagne (Poème symphonique No. 1) (1874)5 O, L6 l* `, k
S.590, Tasso, Lamento e Trionfo (Poème symphonique No. 2) (1858)! t" `2 g4 ^, k7 U
S.591, Les Préludes (Poème symphonique No. 3) (ca. 1858)
$ {+ o- Y* U7 O- T3 [8 nS.592, Orpheus (Poème symphonique No. 4) (ca. 1858). o- _( R& t& v# y
S.593, Prometheus (Poème symphonique No. 5) (1858)% H! B# M" @, `3 d
S.594, Mazeppa (Poème symphonique No. 6) (1874)* i4 p. v* }  W# `
S.595, Festklänge (Poème symphonique No. 7) (1854-61)4 N/ M. I6 l5 C) D% ?  K& j$ A4 A( W8 j
S.596, Hungaria (Poème symphonique No. 9) (1874?)% j1 }4 \) b7 G6 O/ b7 H
S.569a, Héroïde funèbre (Poème symphonique No. 8) (ca. 1877)5 i# ^& H" W( Z' A  O  n  K; n/ B
S.596b, Hunnenschlacht (Poème symphonique No. 11) (ca. 1877), I, h) H$ a1 U  {, |* T
S.596c, Die Ideale (Poème symphonique No. 12) (ca. 1874-77), w* H3 Y/ p, `6 O; j
S.597, Hamlet (Poème symphonique No. 10) (1874)/ g0 T0 G* P! l" [4 ^$ |0 d$ o
S.598, Von der Wiege bis zum Grabe (Poème symphonique No. 13) (From the Cradle to the Grave) (1881)  f) Z: B$ a. P7 r% X3 ^
S.599, Two episodes from Lenau's Faust (1861-62)( A- y4 B$ J' j6 B
李斯特全部作品目录-4; }- \% {7 Y# l, J# w5 u5 E
4 @8 a/ D% [# @8 I# V
S.600, Mephisto Waltz No. 2 (1881)" D  }2 L" G; K
S.601, Les Morts (Ode Funébre No. 1) (1866)
" v( O" Y% e7 @6 O( N6 t. xS.602, La Notte (Ode Funébre No. 2) (1866)
1 q- J& X, y1 K3 ?S.603, Le Triomphe Funèbre du Tasse (Ode Funébre No. 3) (1866?)0 W, f5 N( D8 u5 T# y: R
S.604, Salve Polonia (1863)1 Z4 y8 J" z' d& }
S.605, Künstlerfestzug zur Schillerfeier (1859); G  Q( U; f7 m; q8 y) I
S.606, Festmarsch zur Goethejubiläumsfeier (ca. 1858)3 Z% G! X& K* _' c; N- f6 h( @
S.607, Festmarsch nach Motiven von E.H. zu S.-C.-G. (ca. 1859)( n6 Y8 R( |0 q9 E
S.608, Rákóczy March (1870)
- h5 c6 M- I' a, `& c; wS.609, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (1870), D/ ]$ s8 Z0 b2 t- A4 f, [
S.610, Ungarischer Sturmmarsch (1875)
+ x+ a7 V/ m% D% X: c9 u" b' XS.611, Epithalam (1872)! [: I  x6 B4 I* B$ Y0 a
S.612, Elégie (1874)
+ S2 X5 a3 F, R0 g. x6 tS.613, Weihnachtsbaum (1876)
, ?: T7 h  B& J, p  }+ ES.614, Dem Andenken Petöfis (Petófi Szellemének) (1877)
2 h  D8 B3 M$ `/ k& ~( H2 L7 L% |S.615, Grande Valse di Bravura (1836)0 J/ u$ m  t% Z1 X/ B
S.616, Grand Galop Chromatique (1838)
' x' N" m3 K" ^( k$ B/ yS.617, Csárdás macabre (1882)6 p; s( }/ x. b7 C9 x1 g
S.618, Csárdás obstiné (ca. 1884)( c7 X% y( E0 v# P) Y+ u
S.618a, Vom Fels zum Meer. Deutscher Siegesmarsch (?)4 r- |9 I6 C  \: H$ `; b% u
S.619, Bülow-Marsch (ca. 1883)
5 p: W/ j% ?- @+ x3 J7 gS.619a, Festpolonaise (1876) [4]; ~! b* m" E, g6 g: [
S.620, Hussitenlied (Melody by J.Krov) (1840)& M2 G. G  z- I2 V, E
S.621, 6 Hungarian Rhapsodies [from the orchestral version, S359] (1874)1 e6 R) W# R3 [# J5 `
S.622, Rapsodie hongroise No. 16 (1882)
" n7 p% v1 h- B; aS.623, Rapsodie hongroise No. 18 (1885)
" \" S- @( [& X, o  OS.623a, Rapsodie hongroise No. 19 (ca. 1885)
4 c4 q2 Z" n2 H5 S, X, |. ?3 H( `5 JS.624, Fantasy and Fugue on the chorale Ad nos, ad salutarem undam (1850)
) H# F. ^: w1 iS.625, L'Hymne du Pape (Der Papsthymnus) (1865)" T" Q" ]3 L4 T0 x7 r9 @" B
S.626, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)
+ x2 V5 f5 r3 ~$ j8 SS.627, Fantaisie sur des motifs de l'opéra La Sonnambula (Bellini) (1852)
! |! o1 b" B) ^( j  fS.628, Bénédiction et serment (Berlioz's 'Benvenuto Cellini') (1852)
, B2 P: b4 }! `. y% sS.628a, Marche et cavatine (Donizetti's Lucia) (?)
7 R7 z/ G0 B" E- d& T* N6 \! OS.628b, Szózat und Hymnus (Egressy and Erkel) (1873)
& f. {% _7 O6 c! S( z& KS.629, Tscherkessenmarsch (Glinka's Ruslan i Lyudmila) (1843)
# l% P4 @" l! D; y! q4 E+ A' @8 |S.630, Réminiscences de Robert le Diable - Valse infernale (Meyerbeer) (1841-43)
3 M; U5 v- m' Q5 y8 b! rS.631, Andante finale und Marsch (Raff's 'König Alfred') (1853); D0 ?2 b/ v: B$ U+ y( `' p( s
S.632, 4 Marches (Schubert) (1879)
! K! x, L1 Q0 g8 v6 KS.633, A la chapelle Sixtine (Allegri Mozart) (1865)
( d4 Y7 X# o9 Y2 {) M$ dS.634, Grand Septuor Op. 20 (Beethoven) (1841)0 [& s! m' E- L" i; R: V, d
2.6.3 Mozart0 Z0 p/ A; v; e# Q' p
S.634a, Adagio from Mozart's Die Zauberflöte (1875-81?)
5 B4 C( v. {- s9 P  C2.7 Two Pianofortes(双钢琴), m- Z' |  R: ^4 _7 k
2.7.1 Liszt' P0 L0 Y' B. k; Q9 d/ h9 `, N0 m
S.635, Ce qu'on entend sur la montagne (Poème symphonique No. 1) (ca. 1854-57)# |" J# i4 ~$ x- o7 Z2 F7 g
S.636, Tasso, Lamento e Trionfo (Poème symphonique No. 2) (ca. 1857)* o8 b" k5 o2 Q( x& ?' J
S.637, Les Préludes (Poème symphonique No. 3) (ca. 1854-56)
. e' }- w& o$ ?+ i& j7 QS.638, Orpheus (Poème symphonique No. 4) (ca. 1854-56)' U2 x" n2 k( n# `
S.639, Prometheus (Poème symphonique No. 5) (1855-56)" w9 ^- t, ?! g: Z
S.640, Mazeppa (Poème symphonique No. 6) (1855): k- m# t) G# z# T7 p4 S: B- i" v
S.641, Festklänge (Poème symphonique No. 7) (ca. 1853-56)7 y3 p2 s# T6 C7 x7 ]- e4 X
S.642, Héroide Funèbre (Poème symphonique No. 8) (ca. 1854-56)
$ N' ~* F8 p  t1 ]5 @# _8 nS.643, Hungaria (Poème symphonique No. 9) (ca. 1854-61)0 i' J4 L# j1 _1 b
S.644, Hamlet (Poème symphonique No. 10) (ca. 1858-61)
! r) [, c. `6 Z2 K$ a2 iS.645, Hunnenschlacht (Poème symphonique No. 11) (1857)8 y1 R4 ^' Z3 T. S# b0 _
S.646, Die Ideale (Poème symphonique No. 12) (1857-58)
( F) I; }" A+ q( y: y  PS.647, A Faust Symphony, in three character pictures (1856)7 y& I- k+ T1 F1 H6 _( ]
S.648, A Symphony to Dante's Devina Commedia (ca. 1856-59)
4 D, S( g! h+ B5 T7 ^' ES.649, Fantasie über Beethovens Ruinen von Athen (1865)
9 o) G1 s9 p' V/ u& US.650, Piano Concerto No. 1 in E flat major (1853)
, F! F# x' H; _/ e0 JS.651, Piano Concerto No. 2 in A major (1859)
$ p- z3 x- b# H% e" D8 yS.652, Totentanz. Paraphrase on Dies Irae (1859)" d, e4 W1 p$ K: N: e) B/ j- B+ F! U
S.653, Wandererfantasie (Schubert) (a. 1859)
0 s' _" @( ^" a  n1 IS.654, Hexaméron, Morceau de Concert (1837)( X6 v% b' C- v/ F' X
S.655, Réminiscences de Norma (Bellini) (1841)
2 L+ V, J) v& v* xS.656, Réminiscences de Don Juan (Mozart) (1841)
9 d5 Z5 ^9 P0 m. ~! w& YS.657, Symphony No. 9 (Beethoven) (1851)
$ O& M! x: E1 Z0 P, o5 }S.657a/1, Piano Concerto No. 3 (Beethoven) (1878)
3 A- T% s" x4 e3 m+ j) v3 _/ pS.657a/2, Piano Concerto No. 4 (Beethoven) (1878)7 `+ h  f" p+ t: o- K8 I! O
S.657a/3, Piano Concerto No. 5 (Beethoven) (1878)
6 T. _/ U/ e7 D, tS.657b, Bülow-Marsch [2-pianos, 8-hands] (1884)$ T  M: i  I" u6 y: C# S0 e
2.8 Organ(管风琴)' h, x, ~  w1 i$ L! N9 S. O
2.8.1 Allegri und Mozart) j( @# T* N. ?. g7 ]
S.658, évocation à la Chapelle Sixtine (1862)
: \& A+ V& r( w2.8.2 Arcadelt
! b& _" C6 @, G3 P& P4 a; f2 ^S.659, Ave Maria (1862)5 k6 v( w* Y. `9 e) ^7 e. a- F) B
2.8.3 Bach
' _1 j: a# V6 d6 r4 ~/ A6 T) F, o% V" w3 ]
S.660, Einleitung und Fuge aus der Motette Ich hatte viel Bekümmernis und Andante Aus tiefer Not [2 pieces] (1860)8 ~. {! |' C  _+ J, p7 C, W% |; y( q
S.661, Adagio from Bach Violin Sonata No. 4 (BWV1017) (1864)! r, {: x; q6 }* K+ g  j% m7 [
2.8.4 Chopin
1 M" ?) ^) E; _4 v* ?( [  @; j; L: F
S.662, 2 Préludes from Op. 28 (Nos. 4, 9) (1863)
) U$ ^$ {6 n% p( d2.8.5 Lassus
' B; [: M5 T! Y: m; `/ O
' v1 o4 v7 P0 GS.663, Regina coeli laetare (1865)1 V+ `, c$ ]. ]1 `6 n2 a8 Z
2.8.6 Liszt/ j( O  h" _7 x1 L
: ?) c* q( R# x. p( ^) L! Z: G5 y  i
S.664, Tu es Petrus from Christus (1867)
+ l$ R) |/ K. x7 w1 aS.665, San Francesco (1880)
3 s" g  ?6 `- `5 MS.666, Excelsior! - Preludio (?)! \: g) e: X$ W, P  ~
S.667, Offertorium from the Hungarian Coronation Mass (1867)
+ t7 d0 x8 x6 d2 eS.668, Slavimo Slavno Slaveni (1863)" S1 B* a) n/ a. p; J- i( e' w! ?
S.669, Zwei Kirchenhymnen [2 pieces] (1877)
% g% [/ u" M2 d& ZS.670, Rosario [3 pieces] (1879)6 w& w( i+ j# p/ ^3 J0 e
S.671, Zum Haus des Herrn (In domum Domini ibimus) (1884): U! v0 x* Q: Y: j
S.672, Weimars Volkslied (Cornelius) (1865)
% H) f, k) e- dS.673, Weinen, Klagen' Variationen (1863)
. G1 ?& m5 V  V# d5 @S.674, Ungarns Gott. A magyarok Istene (Petófi) (1882)
" j0 d; \3 T9 n) |( FS.674a, O sacrum convivium [2 versions] (?)
3 m9 ^+ Z/ e5 m; E% j6 j' {" ]/ C2.8.7 Nicolai, N* U; F! f7 o; L# n0 e# o

* k1 P9 m3 @7 J7 S+ PS.675, Kirchliche Festoverture (1852)9 _0 ^" T3 A5 j
2.8.8 Wagner
3 U1 Y: g) |8 W# \( G- E
9 Y$ `+ M4 r; M/ j& @) P) hS.676, Pilgerchor from Wagner's Tannhäuser (1860)
. |0 |/ ]  E5 Z1 T0 ~* G* C) f2.9 Organ with Other Instruments(管风琴和其他)
! }# N+ k  Y) I" I" S
3 T0 j* Q& F  `7 ]  a8 o9 NS.677, Hosannah from Cantico del sol di San Francesco d'Assisi (for organ and bass trombone) (1862)
5 P' l1 u; f( `/ [S.678, Offertorium and Benedictus from the Hungarian Coronation Mass (1869)
! f* e. ]! d6 N/ T1 [7 c+ w( VS.679, Aria 'Cujus animam' from Rossini's Stabat Mater (for organ and trombone) (?)1 l# A7 q0 {- G/ k# y
Vocal Arrangements声乐
4 V# e; `2 Q) d7 D* I7 W
& S. h+ n. n1 \; j( e" sS.680, Ave maris stella (1868)
( s) X8 l+ Q- G5 J5 f1 e; `681, Ave Maria II (1869) % ~/ S& `  i4 h. k4 m6 T2 E) S. P* K
S.682, Air du Stabat Mater (Rossini) (?)
% J# }0 m* U1 f; @S.683, Serbisches Lied (Hohenzollern-Hechtingen, Prince FWC. von) (?)
/ G6 L/ P0 `6 V$ u$ V& v& @S.684, Barcarolle vénitienne (Pantaleoni) (?)" k& x% K0 a; M% [& y, [8 m: T
S.685, Es hat geflammt die ganze Nacht (Grand Duchess Pavlovna) (?)
6 S3 t( h' e! }$ P 8 Y9 q. g. Y; }+ X3 `
2.10 Recitations
( h  P/ R0 R5 t6 @- Z% SS.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

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: h/ S! A+ ?' ]- K3 k% n5 F3. Appendix
* S$ \- N( ~+ h; l 6 @7 F! |2 L1 a
3.1 Unfinished Works
/ j( f* G& q3 ^1 t& O. `+ u* j' g5 l' A/ }) ^
S.687, Sardanapale (Byron) [opera, partly sketched, 111 pages] (?)+ \! h% P% i: \* a
S.688, Oratorio - Die Legende vom heiligen Stanislaus [sacred choral] (1873-85)  O1 S. R( v$ W
S.688a, St Stanislaus fragment [solo piano, Library of Congress] (1880-86)1 u9 s8 |, u3 ?2 L7 z3 v# e
S.689, Singe, wem Gesang gegeben [secular choral] (1847)' f% v8 @/ w2 K) K- X" s
S.690, Revolutionary Symphony [unfinished, revised 1848] (1830)
, h  G- O% M4 \% W9 f  kS.691, De Profundis [piano and orchestra, De Profundis - Psaume instrumental] (1834?)$ y  x8 h$ P# `  q- C
S.692, Violin Concerto [only sketched] (1860)
. m, O6 j* W( d! iS.692a, The Four Seasons String quartet (Vivaldi) (1880?)
* i6 ]2 X' I  A+ o3 O1 `3 vS.692b, Anfang einer jugendsonate [solo piano] (1825)
$ X; {" U( n# U, E2 M9 h* FS.692c, Allegro maestoso [solo piano] (1826)8 h+ ^; i7 q! ~3 B; g% l6 `. S
S.692d, Rákóczi-Marsch [solo piano, first version, simplified, unfinished] (1839)
+ H% w1 c1 e4 p5 q* MS.692e, Winzerchor (Prometheus) [solo piano] (1850)
- V$ H7 L( _# p6 M8 J( V' }S.693, Deux marches dans le genre hongrois [solo piano, 2 pieces] (1840?)' Q- p: W- P* o8 G+ S
S.693a, Zwei Stücke aus der heilige Elisabeth [solo piano] (1862)# ?& O, e4 K5 f! v. D1 h
S.694, Fantasie über englische Themen [solo piano] (1840?)& Y: }9 d# I9 L$ F0 \- N# b
S.695, Morceau en fa majeur [solo piano] (1843?); V; s6 I3 L4 J. S1 a. S6 \# c+ f
S.695a, Litanie de Marie [solo piano] (1847); q" e* Y+ H! q! n0 D( p
S.695b, Zigeuner-Epos [solo piano, 11 pieces] (ca. 1848)
" K, R* C. K& ~+ hS.696, Mephisto Waltz No.4 (1884) 第四梅菲斯特圆舞曲
; c% T$ a- F, K: `S.697, Fantasie über Themen aus Figaro und Don Giovanni (Mozart) [solo piano arrangement] (1842)) o4 W' q+ c( D+ g
S.698, La Mandragore - Ballade de l'opéra Jean de Nivelle de L. Delibes [solo piano arrangement] (a. 1880)6 ~3 N) n. ?% l7 S
S.699, La Notte (Odes Funèbre no. 2) [solo piano arrangement] (1864-66)( l6 Q$ r% e- G9 t2 U
S.700, Grand Fantaisie (Variations) sur des thèmes de Paganini [first/second version; completed by Mezö] (1845)9 L% F4 h  c# V$ O3 p6 M
S.700a, Variations sur Le Carnaval de Venise (Paganini) [solo piano arrangement] (?)
5 y4 N' \" l+ j) mS.701, Den Felsengipfel stieg ich einst hinan [song] (?)
. g7 I) V2 t- I0 z0 M/ P$ Q6 s" I* uS.701a, Allegro di bravura [orchestra, arrangement] (ca. 1830)
) `  t0 K2 ]" P- `  \S.701b, Marie-Poème [solo piano] (1837)
. y/ Z0 D; h3 ^% _% E9 i% `S.701c, Andante sensibilissimo [solo piano] (1880-86)
) j% a' @. ^! K9 u) CS.701d, Melodie in Dorische Tonart [solo piano] (1860)
  Y: n& Z0 Y0 K% r1 x3 IS.701e, Dante fragment [solo piano] (1839)
4 Z1 F/ C8 G0 v2 ?0 W* [S.701f, Glasgow fragment [solo piano] (?)9 X' K- t3 b) V# Z( o
S.701g, Polnisch - sketch [solo piano] (1870-79)
1 i, V; c1 N1 RS.701h/1, Operatic aria - and sketched variation [solo piano] (?)
4 D" L0 m: b4 M1 `S.701h/2, Valse infernale (Meyerbeer) - theme [solo piano arrangement] (?)* G7 P7 N  _/ z+ M9 `2 u
S.701j, Harmonie nach Rossini's Carità (La charité) [solo piano arrangement] (1847)
% u1 x4 q4 R9 o$ [) LS.701k, Korrekturblatt (to an earlier version of La lugubre gondola) [solo piano] (1882)
( X& A. N" O! i) h4 w) L3.2 Doubtful or Lost' s1 O: p2 W' N/ ?

! J' I" u9 t3 f9 I0 w3.2.1 Sacred Choral Works% }6 A- s, E" }7 O8 @

3 }: t! E9 o/ G  A; FS.702, Tantum Ergo (1822)
4 w9 q, d: _  V& K! u7 m7 c+ OS.703, Psalm 2 (1851)+ K. l* V0 @  J/ A) @0 l  k
S.704, Requiem on the death of Emperor Maximilian of Mexico (?)
. ^; V& n& Z  A$ w4 u7 OS.705, The Creation (?)1 {: n, J3 k0 H; J" j6 S
S.706, Benedictus [doubtful] (?)
, M8 I$ ^. y( \S.707, Excelsior [arrangement, doubtful] (?)
% A/ _$ T  W' ]3 y3.2.2 Secular Choral Works
* L( p$ k7 s" w& f$ k5 R. r) Y" |( k* J1 I5 T7 g: g& g- e: b4 D! f: D
S.708, Rinaldo [doubtful] (ca. 1848)4 W7 {# p& F* c4 D
3.2.3 Orchestral Works# l/ D7 v+ A% c+ U8 c

# T( R  _7 `3 g0 j# Z3 bS.709, Salve Polonia [rediscovered, renumbered as S113] (1863)
+ G; }. A5 `' M4 V# Z+ \/ {$ \S.710, Funeral March (?)6 r+ h7 [4 S$ t" X- Y
S.711, Csárdás macabre [arrangement] (?)" {% F3 U# a& p1 _2 |4 b: j
S.712, Romance oubliée [arrangement] (?). `# [3 h. `& j1 n) ^* u" I
3.2.4 Piano and Orchestra
" k" F1 V4 b3 X5 Q0 z& Q  U& I: D# c! X# |" D- `. x! Q5 F8 a
S.713/1, Piano Concerto in A minor (1825?)
! l+ o: u% h& t- gS.713/2, Piano Concerto (1825?)7 U$ t5 j/ d' R' m; t& Z% K3 ^2 @
S.714, Piano Concerto in the Hungarian style [by Sophie Menter, renumbered as S126a] (1885)
: y  j# f1 t4 Y* O$ O' Z- I9 G) hS.715, Piano Concerto in the Italian style (?)
7 L+ G& }! G) ~: W0 }S.716, Grande fantaisie symphonique [orchestral] (?)
7 y3 B' m/ `- B! h  `3.2.5 Chamber Music: s* V. X6 M: A8 \  w( B% H
1 t$ P- T3 d' ^5 z" |1 F
S.717, Trio (1825)
% ?! \' ~8 `0 T/ X  ~5 PS.718, Quintet (1825)
. e$ ]+ H- ~8 D) i' iS.719, The Four Seasons String Quartet (Vivaldi) [rediscovered, renumbered as S692a]
6 J. y% C$ P( e- y9 H, y; t- j0 yS.720, Allegro moderato (?)
$ W6 [+ {5 q6 s1 VS.721, Prelude (?)" t) m. W% `6 i- R7 W
S.722, La notte (Odes funèbre no.2) [rediscovered, renumbered as S377a] (1864-66)
4 z: A( t! ^! C% c. ZS.723, Tristia [arrangement, from Vallée d'Obermann S160/6] (1880-86 ?)# r& I9 k# l& f+ m8 Y3 e) E' L: `
S.723a, Postlude on theme from Orpheus [arrangement] (?)
! k6 [1 k0 C1 O. N9 W0 ?9 r3.2.6 Pianoforte Solo
8 j( t1 V" \5 X/ R9 u- l
, v* a& c3 V' g1 T, L' F7 g% aS.724, Rondo and Fantasy (1824)
" i, P8 a1 F" v$ N8 L  w7 VS.725, 3 Sonatas (1825)2 C3 m' {: f; ?! h" a; f
S.726, Study (?)  ]& Y5 c& o- F5 T, c7 i( N7 \! m, c" D
S.726a, Valse (?)
" \& j  s# ~4 r* W0 k! j李斯特全部作品目录-5" x* O  U2 `2 D' }

& F4 X" C2 }3 {! e( K0 C  y: d" |S.727, Prélude omnitonique (?)) ^& |" q& Q, p. b
S.728, Sospiri (Fünf Klavierstücke) [rediscovered, renumbered as S192/5] (1879)  t7 m* S' W$ ]; p6 ]
S.729, [rediscovered, renumbered as 42(?)]* S, |5 S% Q5 e& r5 ?
S.730, Dem Andenken Petöfis (Petófi Szellemének) [rediscovered, renumbered as S195] (1877)8 Q/ l8 O2 o/ ^2 x$ o
S.731, Valse élégiaque (?)
  ^9 B* S& j& D  FS.732, Valse Oubliée No.4 [rediscovered, renumbered as S215/4] (1883-84)
( u& h) U. M3 `. |  h. wS.733, Marche hongroise (in E flat minor) [rediscovered, renumbered as S233b] (1844)4 {2 k1 s: Z% a# r: ~
S.734, Ländler (?)2 p- I% j, N$ [5 ^
S.735, Air cosaque (?)
" v5 z! I# M# a7 N4 E1 Y' u) _S.736, Kerepsi csárdás (?)
! `- a+ \! x, @+ NS.737, 3 morceaux en style de danse ancien hongrois (?)
' Z9 ~" k# [5 Z) a9 F+ E# US.738, Spanish folksong arrangement (?)
7 v1 R$ m. Y3 W4 O3.2.6.1 Arrangements
( f' x9 u$ S3 `" B% u1 E9 f" t
- }( |- M( y9 z% H, d) J5 E- g7 cS.739, Corolian Overture (Beethoven) (?)
/ {$ Y5 S/ K& U2 _2 u  RS.740, Egmont Overture (Beethoven) (?)
: J6 L1 }/ y' w% DS.741, Le carnaval romain - Overture (Berlioz) (?)
! G$ r4 j/ C9 q( [S.742, Duettino (Donizetti) (?)7 s* l5 `1 x# d+ g
S.743, Soldiers Chorus from Guonod's Faust (?)3 z4 S: Q6 e+ q
S.743a, Fantasia on themes from Halévy's Guitarero (b. 1841)* a8 }' {; L5 ]6 R2 t
S.744, Paraphrase on Act 4 of Kullak's Dom Sebastien (?)
  J' \) t! l( r6 kS.745, Funeral March (?)7 X1 `  G2 S/ J, O8 E$ i& T
S.746, Andante Maestoso (?)8 X6 G* }$ V- _3 H* C, S2 L3 i: e) C
S.747, Poco adagio (from Missa Solemnis) (?)% c" y7 I; N1 `: y" O" t- l# O
S.748, Overture to Mozarts "Die Zauberflöte" (?)
- F5 l- `7 _! K% m1 e3 `# IS.749, Preussischer Armeemarsch (Radovsky) (?)4 z+ x) b2 b$ K
S.750, Siege de Corynthe, Introduction (?)
. T$ Q# s& n' m6 ?, A/ vS.751, Nonetto e Mose, Fantasia on themes by Rossini (?)
9 m0 M, F' O8 ^4 Q* YS.752, Gelb rollt (Rubinstein) (?)3 q) o6 B# b  ]/ ^. n0 l
S.753, Alfonso und Estrella, Act 1 (Schubert) (?)
1 b2 R( a9 d& aS.754, Seconda mazurka variata (Tirindelli) [rediscovered, renumbered as S573a] (1880)* A  S. I7 t! F
3.2.7 Pianoforte Duet
; t8 l& V' F5 T+ g
* w+ p: H9 T3 M7 U8 J9 DS.755, Sonata (?)
$ Q5 C; [/ ~8 J) |2 N7 \0 l3.2.8 Two Pianofortes' N% g$ q* G) @- E, N
7 _6 J2 C, |1 [" K
S.756, Mosonyis Grabgeleit (?), ]5 A7 V$ w$ `  \* {: k. r! j
S.757, La triomphe funébre du Tasse (?)9 @2 u/ r8 z% b# \/ k; c6 [( X
3.2.9 Organ
% D( L# i+ v2 r" W& }5 K7 l' p  m- U( r8 J3 C
S.758, The Organ (Herder) (?)
' e) u9 ]3 v4 }9 M! ?9 R1 A0 a  RS.759, Consolation [arrangement] (?)
; V; C7 \$ w+ D& s7 AS.760, Cantico del sol di St. Francesco [arrangement] (?)
9 ^- D( \, c: O5 z8 f: iS.761, Marche funèbre (Chopin) [arrangement] (?)
1 ~  P4 K+ a6 }  U* g3.2.10 Songs: Z. K; W/ m0 K7 Q
. ?' {: n! `6 Q' K: [) X
S.762, Air de Chateaubriand (?)9 b+ _4 Q( y, a4 `. Z' G
S.763, Strophes de Herlossohn (?)
  b+ w/ ^. J6 k; ]2 {$ `  nS.764, Kränze pour chant (?)" G/ Y" J: B" M3 Y' J
S.765, Glöcken (Müller) (?)4 \1 b; {2 c" S
S.765a, L'aube naît (Hugo) (1842?); e6 @. D; k8 D6 R
S.766, Der Papsthymnus (?)7 O8 h( V, y( v7 ]* `; y
S.767, Excelsior (?)
% U4 Y& t- q0 L4 d3.2.11 Recitations$ q$ k1 g: A: W" z  v6 v% K# ~

; l7 {- `# ~( }: D+ [/ ~/ [$ WS.768, Der ewige jude (Schubart) (?)# v$ m8 e2 b' ]9 |
3.3 Supplement
: }. u0 z# J& y: X1 \( ^3 u7 \3 ^1 `! d: _; ]1 u4 F# \" G9 m0 h
S.990, Fantasy and Fugue on the chorale "Ad nos, ad salutarem undam" (played by Liszt to Walter Bache) [solo piano, arrangement] (b. 1862)
( v5 Y9 x$ U6 E2 wS.991, Waltz in A major [chamber, arrangement] (?)
2 u! z' w+ m% w! n# W! N. D  i" N5 P0 @S.993, Wartburg Lieder (Scheffel) [orchestral, arrangement] (?)
+ m8 t0 O! {% O( M% n- _9 TS.994, Grand solo caractéristique à propos d'une chansonette de Panseron [solo piano, arrangement] (1830-32)8 D9 R! ]$ M& _# i% H8 e  T
S.995, Variations de bravoure sur des thémes de Paganini [unfinished] (1845)
+ U4 m7 q* M6 d# i* @S.996, Stabat Mater [solo piano] (1870-79 ?)
# F2 [3 h& f( ES.997, 5 Variationen über Romanze aus 'Joseph' (Méhul) (by Franz Xaver Mozart, attributed to Liszt) (ca. 1834)
' r: [9 k7 {+ a4 V  IS.998, Adagio in C [solo piano] (1841)
- L/ k, I# h5 j' c" f" J" q5 u" z, L: sS.999, Andante Maestoso [organ] (?)
6 C6 r$ U; X8 ]+ e% R: g$ P降E大调钢琴协奏曲（遗作）Piano Concerto in E flat Major Op.posth
' ~) @0 y. w" f. ?2首悲歌 2 Elegies
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