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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》。
! \- i! g  N4 U- Q" O, R8 n! G# A( }# I李斯特全部作品目录-1% y' y8 n. p# R9 P. Q# M( y
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1.1 Opera(歌剧)6 d# W0 v9 d$ h3 R. p

- c, [* [5 `8 d  `S.1, Don Sanche, ou Le chateau de l'amour (1824–25) 歌剧《唐切桑》7 C# c4 R) x8 n+ D+ ^. ^8 N/ h
1.2 Sacred Choral Works(神圣的合唱作品)- _# d  o' w0 I

& H. N/ w1 n. q5 N% \3 K, t( FS.2, The Legend of St. Elisabeth (1857–62) 清唱剧《圣伊丽莎白传奇》
5 J; G3 D- W9 ES.3, Christus (1855–67) 清唱剧《基督》
$ J% b2 x, Z1 Q9 ^# |5 Z+ h9 i) sS.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 K( ~: \( r& nS.5, Die heilige Cäcilia (1874)
% u( [$ _1 L4 z" O) C% P* n" x* BS.6, Die Glocken des Strassburger Münsters (Longfellow) (1874)
' Y, R$ f& |. U* SS.7, Cantantibus organis (1879)
( z- l8 T& W. ^S.8, Missa quattuor vocum ad aequales concinente organo [first/second version] (1848, 1869)
  i( ]% u6 O& ?/ T! IS.9, Missa solennis zur Einweihung der Basilika in Gran (Gran Mass) [first/second version] (1855, 1857–58)3 t' w: I* J4 W/ M! [8 ~
S.10, Missa choralis, organo concinente (1865)
3 e; s8 K! \* T# t% {+ b! `6 KS.11, Hungarian Coronation Mass (1866–67)
3 M0 {8 {) g5 bS.12, Requiem (1867–68)5 G+ S" Z5 m' G$ d7 y+ l( [
S.13, Psalm 13 (Herr, wie lange ?) [first/second/third verion] (1855, 1858, 1862)
/ Y8 y2 L* b5 v- u' o, j6 [S.14, Psalm 18 (Coeli enarrant) (1860)
, a3 D* B, p9 _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)6 V4 j6 A& |2 X  ]6 w2 z  d! l9 p
S.15a, Psalm 116 (Laudate Dominum) (1869)
, |/ U1 g+ y1 fS.16, Psalm 129 (De profundis) (1880–83)
4 W$ r' w3 A2 Q% m8 E% nS.17, Psalm 137 (By the Rivers of Babylon) [first/second version] (1859–62)& u: ^- q- Z; ^
S.18, Five choruses with French texts [5 choruses] (1840–49)
0 `1 z8 K$ l% aS.19, Hymne de l'enfant à son réveil (Lamartine) [first/second version] (1847, 1862)
! W+ }3 \7 s5 @/ R( GS.20, Ave Maria I [first/second version] (1846, 1852)
- C" C  {6 j7 d! }- i; aS.21, Pater noster II [first/second version] (1846, 1848)
* \' T0 ]- _& l2 ?+ cS.22, Pater noster IV (1850)1 \& w) r1 O& n! G9 L% v
S.23, Domine salvum fac regem (1853)
' ^, j' i% c& H! F( WS.24, Te Deum II (1853?)
6 ^- T% q: M" J$ b6 K1 \S.25, Beati pauperes spiritu (Die Seligkeiten) (1853)4 D4 f% J, D: [4 w0 M  S
S.26, Festgesang zur Eröffnung der zehnten allgemeinen deutschen Lehrerversammlung (1858)5 d- V# l+ J9 b0 q" u
S.27, Te Deum I (1867)
7 R. j; f$ d) P2 X, HS.28, An den heiligen Franziskus von Paula (b. 1860)$ c0 ^$ h1 u$ {
S.29, Pater noster I (b. 1860)
4 t0 ]- _0 ~% P" H. xS.30, Responsorien und Antiphonen [5 sets] (1860)9 c1 Z- p1 @; U) v  a7 M( m
S.31, Christus ist geboren I [first/second version] (1863?)$ l* {2 K3 C7 c, L" O# N& y, \, K# J2 U
S.32, Christus ist geboren II [first/second version] (1863?)
# f) }8 N3 k) y( ^S.33, Slavimo Slavno Slaveni! [first/second version] (1863, 1866)
) r8 E7 w7 u# x$ ~# h' h: lS.34, Ave maris stella [first/second version] (1865–66, 1868)
3 J% u9 ~+ X6 d' @: t4 U2 A# iS.35, Crux! (Guichon de Grandpont) (1865)* s. d6 [8 k; q2 q) ^2 p
S.36, Dall' alma Roma (1866)
* U1 C8 O8 _' a0 C: V7 g, QS.37, Mihi autem adhaerere (from Psalm 73) (1868); h9 ~2 C" [  D* J4 z) M. t) j6 Q
S.38, Ave Maria II (1869)
0 G  ^4 i4 |: V) q2 G: o* vS.39, Inno a Maria Vergine (1869)
9 d/ D8 j  {# c3 h# OS.40, O salutaris hostia I (1869?)
( m9 `4 Q8 D# A- c2 o2 |3 \S.41, Pater noster III [first/second version] (1869)
5 l, y1 b. U$ F0 k' S6 v* [S.42, Tantum ergo [first/second version] (1869)) U4 ]% L  @8 E" b- B
S.43, O salutaris hostia II (1870?)
5 K8 X2 J# i, x7 A) D0 G* oS.44, Ave verum corpus (1871)/ H- H. g( r- k3 t
S.45, Libera me (1871)
0 x3 M4 `! |; |  G7 Z; `5 l8 PS.46, Anima Christi sanctifica me [first/second version] (1874, ca. 1874)8 N; O; r, _# A- N6 S: x( o
S.47, St Christopher. Legend (1881)
: d1 @8 p+ h2 H% G1 A5 }2 c- ~# gS.48, Der Herr bewahret die Seelen seiner Heiligen (1875): l0 o$ q9 x9 E# @" k* Y7 d
S.49, Weihnachtslied (O heilige Nacht) (a. 1876)1 c/ U2 T4 P- `
S.50, 12 Alte deutsche geistliche Weisen (Chorales) [12 chorals] (ca. 1878-79)
& A5 d! M3 A2 K) V/ JS.51, Gott sei uns gnädig und barmherzig (1878)! \3 f& O/ O$ U& ?. \( X4 h! ]
S.52, Septem Sacramenta. Responsoria com organo vel harmonio concinente (1878)7 ]. T8 o0 B6 G4 @1 q
S.53, Via Crucis (1878–79)" B2 `/ I: l: P( U
S.54, O Roma nobilis (1879)9 n0 x5 M) V& O$ x
S.55, Ossa arida (1879)' b1 J5 v& V# ^" ~' D, _, o
S.56, Rosario [4 chorals] (1879)
- r# t# ^6 ?; ES.57, In domum Domino imibus (1884?)
5 G7 ?- D7 p. S9 A; BS.58, O sacrum convivium (1884?). @2 K* ~# o7 d
S.59, Pro Papa (ca. 1880)
1 O3 K6 ~+ U5 `& b7 rS.60, Zur Trauung. Geistliche Vermählungsmusik (Ave Maria III) (1883)
1 t% I% O, b8 C* A4 X: j, H- [' [. X# ?( vS.61, Nun danket alle Gott (1883)( c$ x) k# z/ M- Z' T  k
S.62, Mariengarten (b. 1884)+ @( Z* u9 R) r0 V/ a
S.63, Qui seminant in lacrimis (1884)# \2 L: M4 t& y" t6 z$ |
S.64, Pax vobiscum! (1885)( B4 ^* k" l+ N; `" ^, ~
S.65, Qui Mariam absolvisti (1885)
$ c! L2 n* N! K; g; WS.66, Salve Regina (1885)4 i: k$ E1 C6 t
1.3 Secular Choral Works(世俗的合唱作品)
, E, t7 j. u) P, H( ]) X  oS.67, Beethoven Cantata No. 1: Festkantate zur Enthüllung (1845)
5 L$ o5 {  H5 @0 bS.68, Beethoven Cantata No. 2: Zur Säkularfeier Beethovens (1869–70)2 q4 c: {* R" D( A
S.69, Chöre zu Herders Entfesseltem Prometheus (1850)
5 u2 `+ N9 V" XS.70, An die Künstler (Schiller) [first/second/third verion] (1853, 1853, 1856)
8 }& c+ E1 z( L( f6 US.71, Gaudeamus igitur. Humoreske (1869)
; n" d- ~  j; _" G$ kS.72, Vierstimmige Männergesänge [4 chorals] (for Mozart-Stiftung) (1841)
, e3 {4 t* f- {0 oS.73, Es war einmal ein König (1845)
7 V1 F1 ^; \( ~4 m, ^! G5 P) w/ tS.74, Das deutsche Vaterland (1839)8 u8 S/ N" E' \5 s1 P- c7 j
S.75, über allen Gipfeln ist Ruh (Goethe) [first/second version] (1842, 1849)
, f3 C& f9 H, F& q. }8 O1 W$ |S.76, Das düstre Meer umrauscht mich (1842)% A; ~1 M2 c0 U% |7 B) A
S.77, Die lustige Legion (A. Buchheim) (1846)" @5 b# x4 f$ U- R0 O
S.78, Trinkspruch (1843)
! m( }8 \. c8 Q% ~$ o5 \! HS.79, Titan (Schobert) (1842–47)
( A5 D5 f) y5 E$ kS.80, Les quatre éléments (Autran) (1845)5 s1 R' \& n: Q$ `
S.81, Le forgeron (de Lamennais) (1845)  E' V* E( `6 ?+ b# K! e* A
S.82, Arbeiterchor (de Lamennais?) (1848)% K. j' L+ _7 j% g5 |1 s! Z% w
S.83, Ungaria-Kantate (Hungaria 1848 Cantata) (1848)
( O. j- o) H( @& oS.84, Licht, mehr Licht (1849)
! a$ y. }* t% |0 o4 g6 n" x. o& QS.85, Chorus of Angels from Goethe's Faust (1849)
. j- s( F+ L) z6 e3 j6 F( wS.86, Festchor zur Enthüllung des Herder-Dankmals in Weimar (A. Schöll) (1850)) w6 R3 L6 G/ x- ]* f
S.87, Weimars Volkslied (Cornelius) [6 versions] (1857): C8 o7 x+ S+ c$ P* [0 [
S.88, Morgenlied (Hoffmann von Fallersleben) (1859)' ]8 k/ c9 G. o: m
S.89, Mit klingendem Spiel (1859–62 ?)  t8 W8 x! [6 P& ]6 A0 V1 k) r% u
S.90, Für Männergesang [12 chorals] (1842–60)
9 ], {) j! `; K" R& A/ _: DS.91, Das Lied der Begeisterung. A lelkesedes dala (1871)
: Q* h9 v; o& @) n. PS.92, Carl August weilt mit uns. Festgesang zur Enthüllung des Carl-August-Denkmals in Weimar am 3 September 1875 (1875)
0 w& C8 H9 h: U% L: Q8 lS.93, Ungarisches Königslied. Magyar Király-dal (ábrányi) [6 version] (1883)
2 e4 b9 F! A3 c! A7 D: K, d2 }S.94, Gruss (1885?)( o4 d( P" J1 i# {9 |4 X6 d
1.4 Orchestral Works(管弦乐作品)
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1.4.1 Symphonic Poems(交响诗)
% k# X, `5 K" I4 {
2 E* n- C/ s5 P8 c  R5 A( jS.95, Poème symphonique No. 1, Ce qu'on entend sur la montagne (Berg Symphonie) [first/second/third version] (1848–49, 1850, 1854) 第一交响诗 山间所闻4 I) D- [1 H% T! R; V8 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》5 u3 a, R& Q" J0 ~6 a% K; W
S.97, Poème symphonique No. 3, Les Préludes (1848) 第三交响诗“前奏曲”" H1 ]! }; ^4 T8 c: B- p
S.98, Poème symphonique No. 4, Orpheus (1853–54) 第四交响诗 《奥菲欧》7 w  `2 @) @9 \8 O
S.99, Poème symphonique No. 5, Prometheus [first/second version] (1850, 1855) 第五交响诗《普罗米修斯》% {9 m* R6 \0 I: M
S.100, Poème symphonique No. 6, Mazeppa [first/second version] (1851, b. 1854) 第六交响诗《马捷帕》
) a4 D" ~7 F, z" ~; \8 Z$ o7 A3 h6 DS.101, Poème symphonique No. 7, Festklänge [revisions added to 1863 pub] (1853) 第七交响诗《节日之声》
  n7 A, B8 c5 d. Q, zS.102, Poème symphonique No. 8, Héroïde funèbre [first/second version] (1849–50, 1854)  第八交响诗《英雄的葬礼》* y* @- f" M5 ]1 H; Q: G$ N4 o
S.103, Poème symphonique No. 9, Hungaria (1854) 第九交响诗《匈牙利》  H' L. f. m7 _. L. T5 {
S.104, Poème symphonique No. 10, Hamlet (1858) 第十交响《哈姆雷特》6 A5 c1 z* ]# f2 u5 I
S.105, Poème symphonique No. 11, Hunnenschlacht (1856–57) 第十一交响诗《匈奴之战》
% Y/ o1 }' M( x2 Y" A; LS.106, Poème symphonique No. 12, Die Ideale (1857) 第十二交响诗《理想》3 H, P& g% m! v/ P2 C
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》. h" u( J; N4 }9 M0 m4 ~! L
1.4.2 Other Orchestral Works(其他管弦乐作品)
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( x5 @  {' y) m$ tS.108, Eine Faust-Symphonie [first/second version] (1854, 1861)! f! Z4 c8 _2 h  E+ \: k7 }4 k6 n! |
S.109, Eine Symphonie zu Dante's Divina Commedia (1855–56)
( ~% C; S* Z8 N- W! c2 XS.110, Deux épisodes d'apres le Faust de Lenau [2 pieces] (1859–61)
9 e& [- m( Q! ]1 _+ x$ `S.111, Zweite Mephisto Waltz (1881)
6 ?. ?) s- n- tS.112, Trois Odes Funèbres [3 pieces] (1860–66)+ ]' Q7 s. R. ~3 M* ]
S.113, Salve Polonia (1863)
7 r/ S, O* ]; U/ T% QS.114, Künstlerfestzug zur Schillerfeier (1857)
+ W" z# ^+ p( w( YS.115, Festmarsch zur Goethejubiläumsfeier [first/second version] (1849, 1857)
" m5 V" _1 U, M: I2 kS.116, Festmarsch nach Motiven von E.H.z.S.-C.-G. (1857)
# f% F4 R/ P% I; TS.117, Rákóczy March (1865)* b" v: O4 m* s$ a
S.118, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (am 8 Juni 1867) (1870)- S0 P9 t3 \% s% X
S.119, Ungarischer Sturmmarsch (1875)
; j  U( R$ X/ s% ^5 E9 U7 ^1.5 Piano and Orchestra(钢琴与乐队)
3 `6 G7 Q0 u0 \
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$ x+ }: L4 n1 H3 z
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)6 L$ w# C+ G4 y" S
S.121, Malédiction (with string orchestra) (1833)  诅咒  钢琴与弦乐队2 P% q: \1 U, l# V# l
S.122, Fantasie über Beethovens Ruinen von Athen [first/second version] (1837?, 1849)# _8 k, A$ N) ]3 {2 @, x' G0 @/ b
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9 i# x8 t% K, Y# ?
S.124, Piano Concerto No. 1 in E flat [first/second version] (1849, 1856) 降E大调第一钢琴协奏曲
" e) Z$ ~( c2 _( N6 IS.125, Piano Concerto No. 2 in A major [first/second version] (1839, 1849) A大调第二钢琴协奏曲. ^6 g% [) \2 K
S.125a, Piano Concerto No. 3 in E flat (1836–39)5 `  M% h4 r: c8 l3 C8 l
S.126, Totentanz. Paraphrase on Dies Irae [Feruccio Busoni's 'De Profundis'/final version] (1849, 1859) 死之舞 为钢琴与乐队而作
8 n0 c6 @# F6 D8 SS.126a, Piano Concerto "In the Hungarian Style" [probably by Sophie Menter] (1885)2 y% U1 p0 g" |4 C; H: [
1.6 Chamber Music(室内乐等); z3 H( f$ w% b* r7 {$ j

7 w# X) _8 T$ k) wS.126b, Zwei Waltzer [2 pieces] (1832)
2 U/ g- f2 `2 R% Q# i0 h0 O6 h
/ `6 Q7 {* X( x1 }5 q5 cS.127, Duo (Sonata) - Sur des thèmes polonais (1832-35 ?)
2 d# |8 ]' ~! ], [+ a, tS.128, Grand duo concertant sur la romance de M.Lafont Le Marin [first/second version] (ca. 1835-37, 1849)- Y$ b& o1 ~" b6 P
S.129, Epithalam zu Eduard. Reményis Vermählungsfeier (1872)1 ?3 a5 E. o5 ]" M) h* {. u7 n
S.130, élégie No. 1 [first/second/third version] (1874)& ]; H6 L% J$ ]2 ~* }! K  w
S.131, élégie No. 2 (1877)3 G! B/ Z) m/ m1 m% h
S.132, Romance oubliée (1880)
$ D) a6 ~) Q& LS.133, Die Wiege (1881?)
7 A, C5 o. |# E6 jS.134, La lugubre gondola [first/second version] (1883?, 1885?)
) r$ A7 C6 @3 v1 F! O& U" cS.135, Am Grabe Richard Wagners (1883)
/ s( H( |* g+ N: L; G6 ^1.7 Piano Solo
- N: D8 \  u& X+ N3 \* j3 a- w$ B! ^; R) W1 i9 C' W
1.7.1 Studies(钢琴练习曲)* m  N: M5 V: a" @! Z

) g/ l2 ^1 b6 Y4 Q0 DS.136, études en douze exercices dans tous les tons majeurs et mineurs [first version, 12 pieces] (1826) 12首钢琴练习曲
( X4 c! F4 \% XS.137, Douze grandes études [second version, 12 pieces] (1837) 《12首超技练习曲》
9 M' r: x& a; A: w5 r! V+ }S.138, Mazeppa [intermediate version of S137/4] (1840) 练习曲“玛捷帕”
) U: G4 [( H* h( g3 k5 B2 k$ k' TS.139, Douze études d'exécution transcendante [final version, 12 pieces] (1852) 12首超技练习曲9 K% x; A- |2 [$ _1 @
S.140, études d'exécution transcendante d'après Paganini [first version, 6 pieces] (1838) 帕格尼尼超技练习曲9 ]. n4 T8 f4 p1 y6 ^, m6 P
S.141, Grandes études de Paganini [second version, 6 pieces] (1851)  6首帕格尼尼大练习曲
% U8 }8 K+ s3 l5 N7 o. D9 Z! W% b* ZS.142, Morceau de salon, étude de perfectionnement [Ab Irato, first version] (1840) 高级练习曲“沙龙小品”
4 Y6 L: o# }: n) J: g3 x; S3 J5 J) VS.143, Ab Irato, étude de perfectionnement [second version] (1852) 高级练习曲“愤怒”
! M" @" y9 n* G* ]7 X4 \S.144, Trois études de concert [3 pieces] (1848?)  3首音乐会练习曲+ X" u8 b& u% Q8 V1 i# N9 u7 ^3 f$ I3 _
1.    Il lamento
5 n& w1 g8 w1 S+ [4 ]. s2.    La leggierezza
. n! V. t8 D; m$ T3.    Un sospiro
5 d# b. i5 L0 CS.145, Zwei Konzertetüden [2 pieces] (1862–63)  2首音乐会练习曲5 {, p& m, F0 `# b
1.    Waldesrauschen' N0 s# Y, P4 O7 u; f
2.    Gnomenreigen+ t5 g9 G1 o4 a4 [% p! }
S.146, Technische Studien [68 studies] (ca. 1868-80)  钢琴技巧练习6 H8 d. m/ r  [  `2 i
1.7.2 Various Original Works(各种原创作品)0 w0 s8 s% }5 O( D
  |* }4 m/ P* ?+ r# j
S.147, Variation on a Waltz by Diabelli (1822)  狄亚贝利圆舞曲主题变奏曲
9 F4 [# W) q: D, ?6 {' M* ZS.148, Huit variations (1824?) 降A大调原创主题变奏曲$ A- q. I2 |+ y# e1 @
S.149, Sept variations brillantes dur un thème de G. Rossini (1824?)! d! ~6 g4 p' I2 q3 D* A
S.150, Impromptu brilliant sur des thèmes de Rossini et Spontini (1824) 罗西尼与斯蓬蒂尼主题即兴曲
7 e0 L& X# P% H2 mS.151, Allegro di bravura (1824) 华丽的快板2 y+ c$ U6 R/ x! a
S.152, Rondo di bravura (1824) 华丽回旋曲4 X: O+ `- ?  \  l* h& J% t3 k
S.152a, Klavierstück (?)
) ]/ h/ X6 [# c) {" n+ L  MS.153, Scherzo in G minor (1827) g小调谐谑曲, Z" h  H6 t9 z  w6 V; X
S.153a, Marche funèbre (1827)2 V0 g6 g& N0 P) j! H9 g
S.153b, Grand solo caractèristique d'apropos une chansonette de Panseron [private collection, score inaccessible] (1830–32) [1]
# H1 u  ]' L$ V" U* ]S.154, Harmonies poétiques et religieuses [Pensée des morts, first version] (1833, 1835) 宗教诗情曲: s- G+ O- f' F  R: [8 x
S.155, Apparitions [3 pieces] (1834) 显现 三首钢琴小品: M- Y! j, o' ^/ J- r) T
S.156, Album d'un voyageur [3 sets; 7, 9, 3 pieces] (1835–38) 旅行者札记
/ o" E; l$ M# {' |* oS.156a, Trois morceaux suisses [3 pieces] (1835–36)7 K4 v! w$ K2 v2 b
S.157, Fantaisie romantique sur deux mélodies suisses (1836) 浪漫幻想曲
7 b7 G  a0 ?3 G% AS.157a, Sposalizio (1838–39)* ?3 r. ~8 o& E) ?( z
S.157b, Il penseroso [first version] (1839)
- t6 i4 R6 [- _' s9 s+ iS.157c, Canzonetta del Salvator Rosa [first version] (1849)
# b+ s$ C! ^( O3 fS.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
6 h" q7 y/ {- ~' MS.158a, Paralipomènes à la Divina Commedia [Dante Sonata original 2 movement version] (1844–45)
7 X* R$ q# }, D8 bS.158b, Prologomènes à la Divina Commedia [Dante Sonata second version] (1844–45)2 D3 ]9 `5 S) V9 b  V
S.158c, Adagio in C major (Dante Sonata albumleaf) (1844–45)" Y1 E7 b  u7 U4 M  a
S.159, Venezia e Napoli [first version, 4 pieces] (1840?)  威尼斯和拿波里
& ^2 F8 J2 n  v$ M0 ~( dS.160, Années de pèlerinage. Première année; Suisse [9 pieces] (1848–55)  旅行岁月（第一集）- 瑞士游记
3 e. a, p7 U" z2 _/ s2 RS.161, Années de pèlerinage. Deuxième année; Italie [7 pieces] (1839–49) 旅行岁月（第二集）- 意大利游记
/ v* s! P$ D- B/ }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( s. e+ _5 X, d+ y8 `! w$ f" j+ N
S.162a, Den Schutz-Engeln (Angelus! Prière à l'ange gardien) [4 drafts] (1877–82)
" w, f% n# C* B2 d1 [; F; IS.162b, Den Cypressen der Villa d'Este - Thrénodie II [first draft] (1882); F6 \; }, I5 A1 b
S.162c, Sunt lacrymae rerum [first version] (1872)1 U* _0 s5 R# F4 q- S( p0 z% J, t
S.162d, Sunt lacrymae rerum [intermediate version] (1877)
* x6 |; N% J0 k6 e2 i/ {3 |S.162e, En mémoire de Maximilian I [Marche funèbre first version] (1867)
0 j( L: [$ a6 }! h! `S.162f, Postludium - Nachspiel - Sursum corda! [first version] (1877)$ t* Q5 \$ w0 A- s) I6 k0 P
S.163, Années de pèlerinage. Troisième année [7 pieces] (1867–77)   旅行岁月（第三集）8 w2 e0 b" U7 T4 W' U  _* j
S.163a, Album-Leaf: Andantino pour Emile et Charlotte Loudon (1828) [2] 降E大调纪念册的一页
$ [' p) g* j# f8 I# K" iS.163a/1, Album Leaf in F sharp minor (1828)降E大调纪念册的一页6 }- b7 ~' I$ i" Y3 d9 R2 ~: Q
S.163b, Album-Leaf (Ah vous dirai-je, maman) (1833)
' ^" `2 {& R7 @7 D7 \6 |, y( |8 kS.163c, Album-Leaf in C minor (Pressburg) (1839)
8 C( D+ k& Q3 r# F9 \- v' T$ qS.163d, Album-Leaf in E major (Leipzig) (1840)5 h6 y* {, W3 h5 ~
S.164, Feuille d'album No. 1 (1840) E大调纪念册的一页
8 k( m/ c  |/ b+ J8 MS.164a, Album Leaf in E major (Vienna) (1840)
8 m+ o5 i4 h0 T+ i; M& [! S: w+ hS.164b, Album Leaf in E flat (Leipzig) (1840)
4 K* q0 [  H, LS.164c, Album-Leaf: Exeter Preludio (1841)
1 m; Y3 y% Q9 r' F. @; o( QS.164d, Album-Leaf in E major (Detmold) (1840)$ o- q# J+ f/ G0 {" O
S.164e, Album-Leaf: Magyar (1841)# Q  l7 i3 G. ?7 a
S.164f, Album-Leaf in A minor (Rákóczi-Marsch) (1841): u8 o2 U" g6 C% e" ~* ?
S.164g, Album-Leaf: Berlin Preludio (1842)
7 ]. y: T9 j: C7 w" n2 Z% oS.165, Feuille d'album (in A flat) (1841) 降A大调纪念册的一页, {  ]. U% v. B& \2 ^4 s6 z8 Z
S.166, Albumblatt in waltz form (1841) A大调圆舞曲风格纪念册的一页
/ ]4 _1 q* n6 e- p# JS.166a, Album Leaf in E major (1843)& c/ A9 H/ l. ^5 v! H& ?) _
S.166b, Album-Leaf in A flat (Portugal) (1844)( D( Z: p& w2 ]) b2 k% `, s. r6 G
S.166c, Album-Leaf in A flat (1844)
; b6 T# ~6 U; n5 z- ~( GS.166d, Album-Leaf: Lyon prélude (1844)0 n5 H! a$ G' U2 N) E, E
S.166e, Album-Leaf: Prélude omnitonique (1844)
% Z$ ]3 R$ n# C6 x$ }$ L4 ZS.166f, Album-Leaf: Braunschweig preludio (1844)9 m1 j, r/ H/ t5 M
S.166g, Album-Leaf: Serenade (1840–49); Q+ y! b6 r& t8 \
S.166h, Album-Leaf: Andante religioso (1846)
2 n  j* b! f0 N* QS.166k, Album Leaf in A major: Friska (ca. 1846-49)
% W/ O4 q+ }! C( K; WS.166m-n, Albumblätter für Prinzessin Marie von Sayn-Wittgenstein (1847)! {1 P5 T; y; Z9 T
S.167, Feuille d'album No. 2 [Die Zelle in Nonnenwerth, third version] (1843) a小调纪念册的一页
' W" h  C" E$ x$ {8 q5 p' j0 IS.167a, Ruhig [catalogue error; see Strauss/Tausig introduction and coda]
" H; C' L) I6 Z8 G+ lS.167b, Miniatur Lieder [score not accessible at present] (?)5 r, ]+ x  ]; Q- A* \' S
S.167c, Album-Leaf (from the Agnus Dei of the Missa Solennis, S9) (1860–69)
  V% f6 V$ I6 k1 s# a0 ^$ LS.167d, Album-Leaf (from the symphonic poem Orpheus, S98) (1860): {. ?( ?" ]) z3 |9 S7 s
S.167e, Album-Leaf (from the symphonic poem Die Ideale, S106) (1861)$ Z/ G2 m' b6 k+ H1 q
S.167f, Album Leaf in G major (ca. 1860)
' A. T0 c$ T/ ^8 T# L% L, Y; n! TS.168, Elégie sur des motifs du Prince Louis Ferdinand de Prusse [first/second version] (1842, 1851) 悲歌9 o& r) F, u# K, H/ K
S.168a, Andante amoroso (1847?)
* O! q7 f6 [" l5 U1 Q$ G9 L5 ?S.169, Romance (O pourquoi donc) (1848) e小调浪漫曲
' q) f  I8 i) G' G* iS.170, Ballade No. 1 in D flat (Le chant du croisé) (1845–48) 叙事曲一
( O9 }$ _3 G, t0 ?S.170a, Ballade No. 2 [first draft] (1853)& @( z6 ~8 n: o6 W$ A  C/ D5 D! o
S.171, Ballade No. 2 in B minor (1853) 叙事曲二& d0 Z7 \4 }, Q8 {4 V/ j
S.171a, Madrigal (Consolations) [first series, 6 pieces] (1844)
  q" J2 b8 J+ ?" `! s! w: J' H' x. ZS.171b, Album Leaf or Consolation No. 1 (1870–79)
7 G  p: Z" x! d+ b) b5 cS.171c, Prière de l'enfant à son reveil [first version] (1840)) R* q. ~1 h1 K+ ~4 @7 t$ g
S.171d, Préludes et harmonies poétiques et religie (1845)
) X. c8 a' m2 I$ ~S.171e, Litanies de Marie [first version] (1846–47)2 k% B( n8 b) x6 @( }! R/ N- |3 R4 A
S.172, Consolations (Six penseés poétiques) (1849–50) 6首安慰曲
- X9 P6 v* I6 c1 t: E. k* _- MS.172a, Harmonies poétiques et religieuses [1847 cycle] (1847)
8 I# W9 W; Y* [  q! H& OS.172a/3&4, Hymne du matin, Hymne de la nuit [formerly S173a] (1847)
% [3 G) X# Y$ x1 d8 rS.173, Harmonies poétiques et religieuses [second version] (1845–52) 诗与宗教的和谐" W/ K/ \+ f& K! G/ C$ u, w- w& W
S.174, Berceuse [first/second version] (1854, 1862) 摇篮曲
  ]% }+ Z/ H, W2 L) n6 SS.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 @1 Q$ W# [  }2 d; I+ ?2.    St. François de Paule marchant sur les flots (Walking on the Waves)/ H; f, s( b; v# }( V& J3 A- P3 h
S.175a, Grand solo de concert [Grosses Konzertsolo, first version] (1850)
+ i( d; _8 W8 u4 }) NS.176, Grosses Konzertsolo [second version] (1849–50 ?) 独奏大协奏曲: W( x: D, V4 }" ]9 s9 P/ ]/ n
S.177, Scherzo and March (1851) 谐谑曲与进行曲
* t  p3 P& l3 Q3 j0 GS.178, Piano Sonata in B minor (1852–53)  b小调钢琴奏鸣曲
) `  C& |' \: t9 s/ sS.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8 i+ A: B7 y  I- {
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
* R4 e8 Y- j+ m0 _) {6 YS.181, Sarabande and Chaconne from Handel's opera Almira (1881)0 o" J' J  x* b
S.182, Ave Maria - Die Glocken von Rom (1862) 圣母颂“罗马的钟声”
3 b7 p, x% _$ l9 vS.183, Alleluia et Ave Maria [2 pieces] (1862) 哈利路亚与圣母颂
1 t9 `, n9 K# NS.184, Urbi et orbi. Bénédiction papale (1864)4 W% z8 R4 {7 X2 t  ~! B
S.185, Vexilla regis prodeunt (1864)
9 c* y+ ]" G. p9 B% b" cS.185a, Weihnachtsbaum [first version, 12 pieces] (1876)
$ ?. s' B" D4 X- |2 ~8 N+ k* X" YS.186, Weihnachtsbaum [second version, 12 pieces] (1875–76) 钢琴曲集《圣诞树》
( r# K+ S: v. R" iS.187, Sancta Dorothea (1877) 圣多萝西娅# z6 e' c7 W" e" @+ `6 z( Q
S.187a, Resignazione [first/second version] (1877)
5 I5 i% }" Z+ _6 b& `S.188, In festo transfigurationis Domini nostri Jesu Christi (1880) 我主耶稣基督之变形
; _( a7 x* \  ~0 I" n- d( x0 U1 SS.189, Klavierstück No. 1 (1866)2 L; y! P1 P3 R* B6 C" W
S.189a, Klavierstück No. 2 (1845)' i# Q0 N$ S8 W) B$ J+ t# K
S.189b, Klavierstück (?)/ Z# O+ F7 _- O
S.190, Un portrait en musique de la Marquise de Blocqueville (1868), D- f1 j& I- }/ \
S.191, Impromptu (1872) 升F大调即兴曲“夜曲”$ @& A; C$ W4 i1 ]: q2 @, L/ a
S.192, Fünf Klavierstücke (for Baroness von Meyendorff) [5 pieces] (1865–79) 5首钢琴小品
. a! Z9 p- k9 @: F6 {S.193, Klavierstuck (in F sharp major) (a. 1860) 升F大调钢琴小品: X* ]0 y: w4 W% U8 S
S.194, Mosonyis Grabgeleit (Mosonyi gyázmenete) (1870) 在莫佐尼墓前( D9 a- X* R% b( y
S.195, Dem andenken Petofis (Petofi Szellemenek) (1877) 纪念裴多菲
# N; S% ^4 I) P$ z5 w* {. Z  IS.195a, Schlummerlied im Grabe [Elegie No 1, first version] (1874)
$ T, x! U, G2 |( D2 GS.196, élégie No. 1 (1874)
& A# i8 X6 {6 i' j5 s$ E$ IS.196a, Entwurf der Ramann-Elegie [Elegie No 2, first draft] (1877)1 D! j# s/ b* ?  h' y& O7 p$ V# x
S.197, élégie No. 2 (1877)
7 n, r" a) B: z) m" DS.197a, Toccata (1879–81) 托卡塔7 j* [4 d, [! h. T0 E/ B
S.197b, National Hymne - Kaiser Wilhelm! (1876)
8 S' _8 S# T- `8 \3 _1 i( VS.198, Wiegenlied (Chant du herceau) (1880) 摇篮曲
5 s+ a9 S* `9 X- b; e7 r; rS.199, Nuages gris (Trübe Wolken) (1881) 灰色的云( R% v, O. w1 j/ ?1 O% F& `
S.199a, La lugubre gondola I (Der Trauergondol) [Vienna draft] (1882)
7 n9 p8 C! Z; u* @( \, o* L7 JS.200, La lugubre gondola [2 pieces] (1882, 1885) 葬礼小船
/ l3 I* y! s3 A5 F# a1 L8 R8 A. R1 @6 _& n' T0 g: N* ?
李斯特全部作品目录-2$ g; G' ^! J* t: c; a6 w& ^0 q

" I2 i- p* a# X3 i4 GS.201, R. W. - Venezia (1883) 告别瓦格纳和威尼斯, F% M; i4 I8 Q5 w& ~
S.202, Am Grabe Richard Wagners (1883) 在瓦格纳墓前
: Y8 n3 m2 z3 mS.203, Schlaflos, Frage und Antwort (Nocturne after a poem by Toni Raab) (1883) 夜曲“沉睡，思考和回答”: h& K9 D' n' k% V1 x2 Q. C# ~
S.204, Receuillement (Bellini in Memoriam) (1877) 冥想
5 f% e- J6 l* _9 o! G  [S.205, Historische ungarische Bildnisse (Magyar arcképek) [original version, 7 pieces] (1885) 匈牙利历史人物肖像! [- a! T* d# L, ]6 K
S.205a, Historische ungarische Bildnisse [revised order and conclusion, 7 pieces] (1885)
( r8 r/ ~  L7 {; s7 f" KS.206, Trauervorspiel und Trauermarsch (1885) 葬礼前奏曲和葬礼进行曲" g' d9 c$ R! h5 N! g) i
S.207, En rêve. Nocturne (1885) 夜曲“梦中”2 H+ m; U0 }0 P$ e! a1 R
S.207a, Prélude à la polka de Borodine (and Borodin's Polka) (1880)
$ u+ ^, k% y+ D* y7 y6 u9 B0 s9 ?S.208, Unstern: sinistre, disastro (1880–86) 凶兆、灾难5 r: B, l" ?- {+ {0 Q' E4 [6 B
1.7.3 Works in Dance Form(为舞蹈的作品)% I- ~/ n7 Z! k& D/ I
2 V4 S) V; q& Y: q( U$ A% |
S.208a, Waltz (in A major) (b. 1825) A大调圆舞曲
$ j" J  [  v. \0 s$ D9 Y: jS.209, Grande valse di bravura [first version of S214/1] (1835) 华丽的大圆舞曲
: D: ?  [+ U$ @S.209a, Waltz (in E flat) (1840)4 T, Q& I# A, S2 _0 j; j8 N0 W
S.210, Valse mélancolique [first version of S214/2] (1839) 忧郁圆舞曲8 F4 }0 O& T$ }+ a8 }* V! h& o
S.210a, Valse mélancolique [intermediate version] (1840)
6 N) E5 d! ~* V+ Y' \" m: ]S.210b, Valse (in A major) (1830–39)
+ n4 Y6 G& V$ I' H7 K3 F2 D; ^S.211, Ländler (in A flat major) (1843) 降A大调兰德勒舞曲+ j4 f7 P7 ]7 U, c" k
S.211a, Ländler (in D major) (1879)
7 ?. X6 A- c# I( }S.212, Petite valse favorite [first/second version] (1842, 1843)+ B0 u1 ~0 H  @: F% v2 B* f
S.212b, Mariotte. Valse pour Marie (1840)
" |3 B! G- F6 `$ i8 q. k# ZS.213, Valse-impromptu (1850?) 即兴圆舞曲; h( w4 A5 F* U8 h8 \
S.213a, Valse-impromptu [with later additions] (1880)- ?. V. q5 F6 k% S+ m* A, W
S.214, Trois caprice-valses [3 pieces] [second versions of S209, S210, S401] (1850?)" G. V! M8 G  M9 g1 r
S.214a, Carousel de Madame Pelet-Narbone (ca. 1875-81)8 p0 W7 S  N' R0 ~' K/ C
S.215, Valses oubliées [4 pieces] (1881–84) 4首被遗忘的圆舞曲
" T+ Q  H7 c7 AS.215a, Dritter Mephisto-Walzer (Mephisto Waltz No. 3) [first draft] (1883)- e, A1 L" }2 z5 ?9 O
S.216, Dritter Mephisto-Walzer (Mephisto Waltz No. 3) (1883) 第三梅菲斯特圆舞曲, M- U' ~3 x# q! N% t( {
S.216a, Bagatelle sans tonalité (1885)
$ X- `" G% E1 B- Y+ jS.216b, Vierter Mephisto-Walzer (Mephisto Waltz No. 4) [first version] (1885)  第四梅菲斯特圆舞曲
- [5 i9 c- G% z  x* z& y6 H3 H1 SS.217, Mephisto Polka [first/second version] (1883) 梅菲斯特波尔卡* K/ w5 k) h, B( X- h; L
S.218, Galop (in A minor) (1841?) a小调加洛普舞曲2 A2 f; W7 m3 w
S.219, Grand galop chromatique [original version] (1838) 华丽的半音阶加洛普舞曲) \) R! V) ]% H
S.219bis, Grand galop chromatique [simplified version] (1838)6 }* E1 N4 i, _
S.220, Galop de Bal (1840?)7 a' O' A. q" A, M! [' K
S.221, Mazurka brillante] (1850) 华丽玛祖卡
3 p( I( h) j' Z8 c& a/ h: R  r4 nS.221a, Mazurka in F minor [Not by Liszt?] (?)
; R0 q$ [7 P% L2 RS.222, [catalogue error; same as S212]) o1 w2 [9 n) @1 R: O4 j
S.223, Deux Polonaises [2 pieces] (1851) 2首波洛奈兹舞曲, G9 l: N' e  F4 G$ I; m( U. F. q
S.224, Csárdás macabre (1881–82)
$ h% U" i! B, o( t: NS.225, Two Csárdás [2 pieces] (1884)
# I( V" H  N! ?9 NS.226, Festvorspiel (1856). i6 D6 Q6 m& |+ e. h
S.226a, Marche funèbre (1827)+ g8 g2 X( P2 ]7 t% H
S.227, Goethe Festmarsch [first version] (1849)& }  N# W/ t. `
S.228, Huldigungsmarsch [first/second version] (1853)% f! r0 Q& n' f( t3 b0 r% A6 E
S.229, Vom Fels zum Meer! - Deutscher Siegesmarsch (1853–56)1 D% P# V6 G: K# L% @, A$ f
S.230, Bülow-Marsch (1883)
1 p: j" D& F5 X% A; b; ^6 ?S.230a, Festpolonaise (1876)$ M/ m- |$ X7 q3 ~( t1 M
S.231, Heroischer Marsch in ungarischem Stil (1840)$ `5 i0 i5 i: T" g# d
S.232, Ungarischer Sturmmarsch [earlier version of S524] (1843?)
0 K/ U# o; z. h4 ]7 ?0 ~8 Q. N0 {S.233, Ungarischer Geschwindmarsch (1870)
2 e' B9 n& D4 P+ ]; w! hS.233a, Siegesmarsch. Marche triomphale (Victory March) (?)* \7 p% @$ a6 }- W, g4 m
S.233b, Marche hongroise (in E flat minor) (1844)- S" q% C( t! U5 W% w! A+ y4 @
1.7.4 Works on National Themes(主题作品)
/ X6 p. D3 k0 l( H# a4 H5 T
! ^. M( i/ O$ n8 R* D1.7.4.1 Czech9 v9 \) G/ C5 k2 c" a* i, }; W: p

( l. }) n9 I0 T* R: Y( |S.234, Hussitenlied (Melody by J.Krov) (1840)
! A$ n4 x" }& m6 H1.7.4.2 English# l# o  X+ f% g" [7 \! O

  {. L- ~2 e. N- m/ ^# qS.235, God Save the Queen (1841)& A  I* @3 X0 a: E% U
1.7.4.3 French8 `6 f5 c; u& j5 {) D4 ~
+ l- I, ^: A% b3 f, ^7 k
S.236, Faribolo Pasteur and Chanson du Béarn [2 pieces] (1844)8 t$ k' U. F( R. R
S.237, La marseillaise (1872?)0 y5 e8 B9 J  l7 ~8 c* W& \
S.238, La cloche sonne (1850?)1 K; @7 ^; i1 i$ O/ P3 S1 Q! }
S.239, Vive Henri IV (1870-80 ?)
0 ^& ~2 m8 f  ?4 ?% b7 T1.7.4.4 German; Y/ M, c* {/ G9 i5 j  M
% n$ j! n+ j( S; Z# x  c. x: a
S.240, Gaudeamus igitur. Concert paraphrase [first/second version] (1843, 1853). e1 W) B" _. P
1.7.4.5 Hungarian7 q" u- t, A/ ], P1 @/ j
( K6 d0 j6 M: W% o' i
S.241, Hungarian Recruiting Songs (Zum Andenken) (By Fáy & Bihari) (1828)6 `) f( P! r5 k) v* ~) _
S.241a, Ungarische Romanzero (Hungarian Songbook) [18 pieces] (1853)
. C/ [( {/ Y4 D9 {! rS.241b, Magyar tempo (1840)
0 y5 ~1 f6 K, s2 R7 z" y2 Z4 HS.242, Magyar Dalok: Magyar Rapszódiák [21 pieces] (1839–47), P" E' J, [$ q1 l
S.242a, Rákóczi-Marsch [first version] (1839–1840)6 [$ c( i( f' ~" a/ K2 i
S.243, Ungarische National-Melodien [3 pieces] (ca. 1843)* D7 D# G3 N; e# }& }5 D
S.243a, Célèbre mélodie hongroise (a. 1866)
" Q4 {2 b  r  RS.244, Hungarian Rhapsodies (Rapsodies hongroises) [19 pieces] (1846–86)  19首匈牙利狂想曲1 [/ t: C" g. L" j
S.244a, Rákóczi-Marsch [from orchestral version] (1863)' A7 E3 p5 x  A8 b3 W, c! d
S.244b, Rákóczi-Marsch [simplified version of S244a] (1871)
! b7 z# P6 g4 z3 c6 h; b+ I/ QS.244c, Rákóczi-Marsch [popular version] (?)
- U/ H" G. q) {2 w- lS.245, Fünf ungarische Volkslieder (Abranyi) [5 pieces] (1873)
+ ?& E7 m) u) OS.246, Puszta-Wehmut (A Puszta Keserve) (1880–86 ?)8 T6 {4 Z2 c$ G7 K' U* g+ p
1.7.4.6 Italian# |2 D6 G  d& N. F3 d2 v4 j

* S) h+ A, {$ P7 d9 c& F4 I  {1 dS.248, Canzone Napolitana [first/second version] (1842)
% E) T) o* ^  K9 R% @1.7.4.7 Polish  f) l, G) ~& ^# ]+ C/ j% q5 [

) W& \1 D, l8 A" G0 CS.249, Glanes de Woronince [3 pieces] (1847–48)
: b' J# w9 I% Y) {, w1 b; f- y8 aS.249a, Mélodie polonaise [short draft] (1871)
( P. G+ @9 S7 _& \S.249b, Dumka (1871)3 f5 X, E/ c( m! |; J+ T
S.249c, Air cosaque (1871)  F. u) d0 E0 X  Q/ }9 A
1.7.4.8 Russian
, ?% d" m4 o6 `3 G" C
5 S- O+ l6 B: zS.250, Deux mélodies russes. Arabesques [2 pieces] (1842)0 c$ M' s3 E) M& M( D: G- b8 p
S.250a, Le rossignol (Alyabyev) [first version of S250/1] (1842)
0 m  |# [9 ?" T% AS.251, Abschied. Russisches Volkslied (1885). o0 Q0 E7 k" \' f
1.7.4.9 Spanish
& a% L( R6 m2 Q0 S& N
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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)
( n' G8 x# k8 A$ P( dS.252a, La romanesca [first/second version] (ca. 1832, b. 1852)
3 `8 v0 u3 x: g/ _. J4 TS.253, Grosse Konzertfantasie über Spanische Weisen (1853)
1 ?% ~, b' w1 XS.254, Rhapsodie espagnole (1863?) 西班牙狂想曲( E" Z" q4 d0 I, |+ _, j& E* e/ A
S.254x, Rapsodie espagnole [orchestrated by Feruccio Busoni] (?)7 o' e0 V% F; b! }6 Z. P& i
1.8 Piano Duet(钢琴二重奏)
' o; l3 U+ \# ~2 s( R- i" y+ S" y! z7 `4 ^
S.255, Festpolonaise [now S619a] (1876)
, ]0 E. H. f% m! fS.256, Variation on the Chopstick Theme (1880)2 W5 h0 K0 ?) b5 S1 r- r
S.256a, Nottorno [Not by Liszt?] (?)6 `$ X3 Y. B+ I0 V
1.9 Two Pianos(双钢琴)
) m. j8 B: Y8 X: i/ ^9 v
) e: h1 P$ J4 C8 DS.257, Grosses Konzertstück über Mendelssohns Lieder ohne Worte (1834)
1 {5 f& C. Z  E- n$ xS.258, Concerto pathétique (b. 1856)  e小调钢琴协奏曲“悲怆”
  F6 ~' u2 ~1 T) k$ r1.10 Organ(管风琴)' I; C+ _5 R) i! M5 @" Y$ f
% E, @+ i1 [3 e$ b) ]5 Z+ S4 b6 C
S.259, Fantasy and Fugue on the chorale Ad nos, ad salutarem undam (1850)
8 ^% X) v; _; `0 ]0 C0 z8 iS.260, Präludium und Fuge über das Thema BACH [first/second version] (1855, 1870)
0 N9 l4 T5 p+ l" d2 d$ S; @S.261, Pio IX. Der Papsthymnus (1863?)
# U/ ^. g/ u4 v; o; ~S.261a, Andante religioso (1861?)
+ L3 x. D0 x4 Q" {! W$ }S.262, Ora pro nobis. Litanei (1864)# d/ N8 H6 I% I
S.263, Resignazione (1877)
( ~% z/ S8 L, n8 \! RS.264, Missa pro organo lectarum celebrationi missarum adjumento inserviens (1879)
5 ~" o& w& E2 j) J5 U; JS.265, Gebet (1879)2 R, a# O2 E6 D# `6 g2 ]
S.266, Requiem für die Orgel (1883), z. u9 S( ]6 r3 k" V
S.267, Am Grabe Richard Wagners (1883)8 k0 m( ^( V3 R* W
S.268, Zwei Vortragsstücke [2 pieces] (1884)" j: C# R7 l2 f6 @
1.11 Songs(歌曲)" q1 g0 I5 h5 e! v

; e: {* G1 O) N& @+ {S.269, Angiolin dal biondo crin (Marchese C. Bocella) [first/second version] (1839, ?)" ]! |( ~6 t& i' c: o: k# d
S.270, Three Petrarch Sonnets [3 songs, first/second version] (1844–45, 1854]
- v! R- B* o, ^/ J9 H* HS.271, Il m'aimait tant (Delphine Gay) (1840?)
' M2 b1 V: Y, K) n0 y& W# KS.272, Am Rhein im schönen Strome (Heine) [first/second version] (1840?, 1854)
: Q% b/ m4 ]* Q' tS.273, Die Lorelie (Heine) [first/second version] (1841, ?)
- Q3 |' p& R4 X5 @/ ~S.274, Die Zelle in Nonnenwerth [first/second version revised 1862] (b. 1841, 1857)% h6 M5 X  p$ }
S.275, Mignons Lied (Kennst du das Land) (Goethe) [first/second/third version] (1842, 1854, 1860)
: S8 I$ I# R: S+ d4 XS.276, Comment, disaient-ils (Hugo) [first/second version] (1842, ?)+ ]" W- ?/ a! J* J! f4 {) B
S.277, Bist du (Prince E. Metschersky) [first/revised version] (1843, ca. 1878-79)
# ]; i. \# c  L" h9 x5 X0 OS.278, Es war ein König in Thule (Goethe) [first/second version] (1842, ?)
/ f9 j7 Z) q; o, L0 US.279, Der du von dem Himmel bist (Goethe) [first/second/third version] (1842, ?, 1860), A$ f. b5 ]3 }1 k, _3 m8 h. P
S.280, Freudvoll und leidvoll (Goethe) [first/second/third version] (1844, 1848?, ?)6 c8 Q5 H6 J' v2 _$ D& e
S.281, Die Vätergruft (1844)
8 s& c3 `* Q, M4 fS.282, O quand je dors (Hugo) [first/second version] (1842, ?)6 R$ b2 Z$ C2 x5 z+ j
S.283, Enfant, si j'etais roi (Hugo) [first/revised version] (1844?, ?)
& V4 ?4 p) x$ D' T! `S.284, S'il est un charmant gazon (Hugo) [first/revised version] (1844?, ?)
8 {+ p4 F. O3 [0 J! [# \5 e. mS.285, La tombe et la rose (Hugo) (1844?). U' p  j" L& G7 P5 P; r: C& ]
S.286, Gastibelza, Bolero (Hugo) (1844?)
% e  i6 w. _0 ?  u, CS.287, Du bist wie eine Blume (Heine) (1843?)
& X3 e9 c1 Q" V' ]+ J; q4 n/ cS.288, Was Liebe sei (C. von Hagn) [first/second/third version] (1843?, ca. 1855, 1878–79)) {: H) }/ s; X# F- P
S.289, Vergiftet sind meine Lieder (Heine) [first/revised version] (1842, ?): T3 ]8 x; c2 L
S.290, Morgens steh ich auf und frage (Heine) [first/revised version] (1843?, ca. 1855)$ P8 v/ C$ T: o! Z
S.291, Die todte Nachtigall (Kaufmann) [first/revised version] (1843?, 1878)$ a. Z. R+ l/ t  O5 `; o
S.292, Songs from Schiller's Wilhelm Tell [3 songs, first/revised version] (1845?, ?)
  O4 K$ a! }6 y' Y$ c, HS.293, Jeanne d'Arc au bûcher (Dumas) [first/revised version] (1845, 1874); q2 B# E2 C$ n2 v/ l/ {% S
S.294, Es rauschen die Winde [first/second version] (ca. 1845, b. 1856)
) x8 M1 ]* v" ^1 VS.295, Wo weilt er? (Rellstab) (1844)
( N/ i$ Y- z. v4 I" tS.296, Ich möchte hingehn (Herwegh) [revised later] (1845)
6 d2 Q4 }6 s2 L) q! \S.297, Wer nie sein Brot mit Tränen ass (Goethe) [first/revised version] (ca. 1845)
) O4 P* S/ M' N7 _5 |" dS.298, O lieb so lang du lieben kannst (Freiligrath) (1845?)
  R4 j' @1 `+ QS.299, Isten veled (Farewell) (Horvath) [first/revised version] (1846–47)% s: G. g4 R2 L# [+ I. u: [1 {$ M
S.300, Le juif errant (Béranger) (1847)
. V5 O+ J' d9 J" ?. _S.301, Kling leise, mein Lied [first/revised version] (1848). j5 n1 I0 e& k/ |" S
S.301a, Oh pourquoi donc (Mme Pavloff) (1843)
( A, S5 V4 `1 K$ bS.301b, En ces lieux. élégie (E. Monnier) (1844)+ F0 Z. Y- s, p' j/ P  p
S.302, Die Macht der Musik (Duchess Helen of Orleans) (1848–49)+ m6 }! }7 o- p! c/ S
S.303, Weimars Toten. Dithyrambe (Schober) (b. 1848). V" {5 ]$ w  q! _' r/ |
S.304, Le vieux vagabond (Béranger) (b. 1848)
. z  h, X4 y( r& ^+ L6 LS.305, Schwebe, schwebe, blaues Auge [first/revised version] (1845, ?)
; `) f9 r* ^- Q0 y6 S/ ~. h  KS.306, über allen Gipfeln ist Ruh [first/revised version] (1847?, ?)! M  X" d7 n# j9 @; @% u
S.306a, Quand tu chantes bercée (Hugo) (1843)
& |0 O0 @/ n( b% ^7 @5 y# HS.307, Hohe Liebe (Uhland) (1850?)
- Z5 Z0 D; E! N( AS.308, Gestorben war ich (Seliger tod) (Uhland) (1850?)
+ }  T) z% @$ B4 p! K6 I, O3 P3 \S.309, Ein Fichtenbaum steht einsam (Heine) [first/revised version] (ca. 1845, 1854)& Z) q: D$ n3 l: ~1 n
S.310, Nimm einen Strahl der Sonne (1849); b0 U3 z; Z: U
S.311, Anfangs wollt' ich fast verzagen (Heine) (1849)
$ q. U. m* z- aS.312, Wie singt die Lerche schön (Hoffmann von Fallersleben) (1856?)
- a2 o  w; q4 f/ D9 F" a5 U5 C, ?S.313, Weimars Volkslied (Cornelius) (1857)
+ x* {, n  O, c" g* {1 ], l3 BS.314, Es muss ein wunderbares sein (Redwitz) (1852)% e- d& m6 b8 ~! l$ s- I5 C5 ]
S.315, Ich liebe dich (Rückert) (1857)2 [- E1 Q* S. F6 j0 W' `3 i
S.316, Muttergottes - Sträusslein zum Mai-Monate (Müller) [2 songs] (1857)
  L8 P  p( _9 PS.317, Lasst mich ruhen (Hoffmann von Fallersleben) (1858?)
1 H; @$ _9 M8 I# u+ WS.318, In Liebeslust (Hoffmann von Fallersleben) (1858?)5 p+ g4 f& Q3 ]( D- |1 @6 q7 F
S.319, Ich scheide (Hoffmann von Fallersleben) (1860)
3 O& z. K% l# c! c9 \S.320, Die drei Zigeuner (Lenau) (1860)7 H/ L& c- I2 u7 q& f2 E7 h
S.321, Die stille Wasserrose (Geibel) (1860?), g( [) z) r7 f. x1 t4 ^
S.322, Wieder möcht ich dir begegnen (Cornelius) (1860)
) k0 m- ?! G8 ]: f$ D2 X% T+ I1 V( iS.323, Jugendglück (Pohl) (1860?)4 e# ^. e6 ^( ^: i$ s
S.324, Blume und Duft (Hebbel) (1854)
3 [1 w( c, P$ y4 f' FS.325, Die Fischertochter (Count C. Coronini) (1871)
! ?% I: ^: {$ v' ^" l. |3 T9 aS.326, La perla (Princess Therese von Hohenlohe) (1872)5 g; V' c" X8 K; V
S.327, J'ai perdu ma force est ma vie. 'Tristesse' (de Musset) (1872)8 T' {3 Q. A9 S) \" X3 A4 V
S.328, Ihr Glocken von Marling (Emil Kuh) (1874)1 \+ K  f, u: a9 C3 B- M% c! d! z
S.329, Und sprich (Biegeleben) [revised 1878] (1874)
6 W- ], W. M# d9 K/ N7 u! D$ hS.330, Sei Still (Henriette von Schorn) (1877)
, h* u/ B# N$ x. _S.331, Gebet (Bodenstedt) (1878?)8 U) {; P8 H1 m, A
S.332, Einst (Bodenstedt) (1878?)
& R% z  X4 j0 j8 O- x( SS.333, An Edlitam (Bodenstedt) (1878?)
. T% ~# o1 `0 S' t' C! G9 NS.334, Der Glückliche (Bodenstedt) (1878?)7 j% G4 F! R- p9 h' x$ C; D# Y0 `
S.335, Go not, happy day (Tennyson) (1879)
1 q5 {" L1 J! f' aS.336, Verlassen (G.Michell) (1880)! X- v, |3 I# y' y  T
S.337, Des tages laute stimmen schweigen (F. von Saar) (1880)2 f% f$ p, z' h" m, e/ u
S.338, Und wir dachten der Toten (Freiligrath) (1880?)
4 J, k8 ]+ t+ A1 RS.339, Ungarns Gott. A magyarok Istene (Petófi) (1881)
/ w; z* n8 a( @7 AS.340, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)- A0 R6 _( N2 D1 ]! v
S.340a, Ne brani menya, moy drug. (Tolstoy) (1886)) D% |% Z$ c" j- ?' b7 x
1.12 Other Choral Works(其他合唱作品)' x: N1 R6 I' H- d
S.341, Ave Maria IV (1881)" v' L- ?2 e* D
S.342, Le crucifix (Hugo) (1884)
: l. g0 A) e5 k9 |/ V0 n- @- v; \S.343, Sancta Caecilia (1884)
5 J3 D+ w( c0 x4 V; PS.344, O Meer im Abendstrahl (Meissner) (1880)3 y$ U  f& U$ T' T0 c
S.345, Wartburg-Lieder from Der Braut Willkomm auf Wartburg (Scheffel) [7 chorals] (1872)
! ]4 L* F6 w# w/ D0 U  l1.13 Recitations(叙事歌谣颂诗)" r( b- W7 A, v7 c( C
S.346, Lenore (Bürger) (1858)
) F3 L& F- Z9 s/ q/ T8 TS.347, Vor hundert Jahren (F. Halm) (1859)
" }. W& ?8 I5 _& ]8 CS.348, Der traurige Mönch (Lenau) (1860)" w4 Y) U( ~' T- |
S.349, Des toten Dichters Liebe (Jókai) (1874)
$ I  ?- L4 o* }) FS.350, Der blinde Sänger (Alexei Tolstoy) (1875)
! Y: Z2 S& ~' O) [2. Arrangements, Transcriptions, Fantasies, etc.2 S* ~9 N( z5 d' }4 H2 Z) Y+ y6 v
5 `* F4 y& y; t
2.1 Orchestral Works(管弦乐作品)4 b( i' D; T' Q5 a; ~" Q) `

+ a8 Z$ ~5 @: G* K( E2.1.1 Bülow
: R+ M1 d5 g+ I% W+ Q8 K. P. x5 N' ^# C& T3 ]
S.351, Mazurka Fantasie, Op. 13 (1865)
' J! H* e8 o; I8 T: Z  w2.1.2 Cornelius( f! B5 h& }6 W9 O
7 x; ~# b% |+ n) P1 A* Y
S.352, Second Overture to The Barber of Baghdad [completed from Cornelius's sketches] (1877)
6 }+ V( C) g4 V! K9 w; G6 G4 q2.1.3 Egressy and Erkel. n% }# }/ S4 U. M9 o4 Q0 a/ }* P
( ~) u4 U) E! `1 [+ c' C
S.353, Szózat und Hymnus (1873)6 h$ a6 o4 z& I/ R, u4 s6 k
2.1.4 Liszt
4 P; A9 L- r' s- K0 N) |: Z  @9 k  b
S.354, Deux légendes (1863)+ z2 z4 H' W( y6 {: D/ x
S.355, Vexilla regis prodeunt (1864)
; N+ Y4 y4 {3 o% a) J- I! k; JS.356, Festvorspiel (1857)
5 H+ C( @; i0 m4 `+ d6 [1 VS.357, Huldigungsmarsch [first/second version] (1853, 1857)3 @6 S. f2 J) F. C7 a
S.358, Vom Fels zum Meer. Deutscher Siegesmarsch (1860)0 W2 F+ x- w2 Q' u3 b
S.359, 6 Rapsodies hongroises (Hungarian Rhapsodies) (?)$ j$ b2 D) g! N6 H) }2 m, a
S.360, A la chapelle Sixtine (Liszt, Allegri & Mozart) [orchestral arrangement of S461, based on Mozart's Ave verum corpus and Allegri's Misere] (1862)9 }0 u" S+ z6 {; C* k; S
S.361, Pio IX. Der Papsthymnus (ca. 1863); r1 q; t1 m! E9 B& }9 ]- b* t" c
S.362, Benedictus and Offertorium from the Hungarian Coronation Mass [from S11] (1875)
6 X, I1 |, E. a! C7 Z2.1.5 Schubert
( c) Z( h2 x' ^
& y/ X. V% H' u7 a( s: \. pS.363, 4 Marches [from Opp. 40, 54, 121] (1859-60)
; a* q5 c  F( w+ _5 y2.1.6 Zarembski
7 m( i! Y$ z% K! n- `
- f6 k, {1 K' |S.364, Danses galiciennes (1881)1 y5 ?) E# g* Q! {9 A
2.2 Pianoforte and Orchestra(钢琴与乐队)0 l9 r+ C3 r6 p5 s" y" v
9 ^) _! T2 H# }6 U
2.2.1 Liszt
: B, x& P: X2 r; |* P9 _( g2 n: l: d
0 O3 i% ^$ \3 n1 P4 f0 j2 XS.365, Grand solo de concert [prepared by Leslie Howard] (1850)
' B* Z( U% l4 L2 m) ES.365a, Concerto pathétique (No. 4) in E minor [Liszt, Reuss version] (1885-86)0 x) ]; R$ F- k9 t3 P. Y- A. ]
S.365b, Hexaméron, Morceau de concert [orchestration completed by Leslie Howard] (ca. 1839)" Y4 }5 F0 @: G0 x+ x  J: w7 T5 N
2.2.2 Schubert! c  j! ?; M  `# c  L* n6 S0 `
% V- Y- z3 N% K4 w
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+ x0 Y9 n- n& @7 ~9 n8 P
2.2.3 Weber
- a- \" `/ e& C% A2 g1 |5 d8 @2 R6 p: P6 E; m4 X  Y
S.367, Polonaise brillante, Op. 72 (1849) 华丽波洛涅兹 为钢琴与乐队而作) [. v8 d/ F( w- j+ A8 U
2.3 Songs with Orchestra(声乐与乐队)
- k" B& T. D) {7 k
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2.3.1 Korbay4 a8 t5 y) P) K) [9 C  o

$ a, E5 e" z3 A% MS.368, 2 Songs (Le Matin by Bizet and Gebet by Geibel) (1883)
1 b" N! P! u. P; v2.3.2 Liszt
- H+ T' R5 A5 o1 ^8 a& O
# i" h! P9 u) _% n$ R& nS.369, Die Lorelei (Heine) (1860)
" F$ f% G+ N4 W2 P- iS.370, Mignons Lied (Kennst du dass Land) (Goethe) (1860)8 X1 A& p3 o6 t9 S# `
S.371, Die Vätergruft (Uhland) (1886)6 z) A% Z/ h4 {7 M
S.372, Songs from Schillers Wilhelm Tell (ca. 1855)
1 m4 ^& ~. Z4 ]* n/ |$ lS.373, Jeanne d'Arc au bûcher (Dumas) [first/second version] (1858, 1874)
- i; U8 M- m! N! J' m( x- o# q6 DS.374, Die drei Zigeuner (Lenau) (1860)0 w" T# c9 ~! {; b" g: |
2.3.3 Schubert0 F9 ]9 U0 D  ~
, _; s6 L8 b% B: b8 M* `- g
S.375, 6 Songs (1860)
9 X$ Y4 V; [1 P- p6 xS.376, Die Allmacht (1871)1 m; K. E# {# T
2.3.4 Zichy) s$ W3 A+ p4 T  }0 F. t- F3 Q( `
5 d+ r* {) w+ Q# I0 ^" E
S.377, Der Zaubersee. Ballad (Zichy) (1884)& D6 k7 r9 E( C
2.4 Chamber Music(室内乐等)0 ^0 L' |3 x) R" i
2.4.1 Liszt
" o! K: d! L( ?2 U! R' A* k% t+ Y. I! k- p) Q8 f9 N/ i9 g
S.377a, La notte (Odes funèbre No. 2) (1864-66)2 t" l/ H& q1 m! i! H6 o% }* s: k, q
S.378, Angelus! - Priere aux anges gardiens [first/second version] (1877, 1880)3 v. P- [" L9 v5 I8 I) z" g' b4 L# n
S.379, Rapsodie hongroise No. 9 (Pester Karneval) (?)* @! H! M8 m3 f7 b! B! f0 f
S.379a, Rapsodie hongroise No. 12 (1850-59)
3 h) P2 J5 R$ H( l, vS.379b, Puszta-Wehmut (A Puszta Keserve) (ca. 1871)
  @  d4 q' d) N2 {S.380, O du mein holder Abendstern from Tannhäuser (Wagner) (1852)  p! m5 I# C% J1 j3 ^1 P
S.381, Benedictus and Offertorium from the Hungarian Coronation Mass [from S11] (1862)9 T+ p  j+ q8 I! h
S.381a, Ungarns Gott. A magyarok Istene (Petófi) (1882)
) A: W, |: C3 e) q+ w( p9 mS.382, Die Zelle im Nonnenwerth (ca. 1880-86)/ k: J! k, K: E' i, ~
S.383, Die drei Zigeuner (Lenau) (1864)
* ^  P  P0 r2 ?7 o, q2.5 Pianoforte Solo
; a- D+ J! w# [. R& N
) Q' w5 X' O, c) K' U% R2.5.1 Paraphrases, Operatic Transcriptions, etc.(歌剧改编独奏)8 G' e6 K; k3 o8 Q7 D" q
0 P! G. _1 z- d2 E4 A9 S* r7 O
2.5.1.1 ábrányi
5 a/ v5 q4 F: {2 _
# S) k- e0 _) I) kS.383a, Elaboration on Virág dal (1881)
! ^9 D! C* U" S" i2.5.1.2 Alyabyev" p% F+ [: l6 i" Y9 t8 r8 |  v
4 q5 g" H3 |% @! b. |9 k
S.384, Mazurka pour piano composée par un amateur de St. Petersbourg (1863)
$ e. ?' Z8 a/ ~" g7 ^# ?- d2 CS.384a, Variations on Tiszántúli szép leány [anonymous, not by Liszt?] (1846)9 b  F' X& C8 v7 E' S3 A
2.5.1.3 Auber
( e# N/ o8 u0 ]9 r& p- t% u8 e: |' r& s$ {: a2 u% b) Y
S.385, Grande Fantaisie sur la Tyrolienne de l'opera La Fiancée [first/second/third version] (1829, 1835, 1842)3 O9 \5 q! R2 `* L# A  j  d
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1 }% U( M) ^1 f
S.386, Tarantelle di bravura dàprès la Tarantelle de La Muette de Portici [original/Sophie Menter version] (1846, 1869) 塔兰泰拉舞曲 S.386 据奥伯歌剧《波尔蒂契的哑女》主题改编. a8 k, c  @0 a6 z7 Z3 ]' p( r% s
S.387, Three Pieces on themes by Auber [with intro piece] (a. 1846)
, ?. M7 g" j5 j9 O) zS.387a, Piece on an unknown theme (1847)  s. Y2 r4 ?. D! L3 B; }# u7 Z
2.5.1.4 Beethoven
2 D3 U* \  e7 D* D7 Y
1 r" o% D6 [( |. |* c+ `3 P* J1 pS.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7 W1 K  C2 g5 `7 J& d# m7 Z
S.388a, Marche turque des Ruines d'Athenes (1846)
) m, }* b: l- _- E: J9 b& |S.388b, Fantasie über Beethoven's Ruinen von Athen [first version] (1837)
7 G" ~2 m$ O( 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) a4 }6 `3 |6 C' Q2 p0 H+ j
S.389a, Cadenza to the first movement of Beethoven's Piano Concerto No. 3 (1879). z$ t( I+ W& ?) y& t
2.5.1.5 Bellini
6 n" }( F: Y4 W/ i6 Y. H" e4 l4 M7 |0 O2 o/ {
S.390, Reminiscences des Puritains [first/second version] (1836, 1837)
( R% u" H0 H: v  E: L) `2 T% jS.391, I Puritani. Introduction and Polonaise (1840)2 Z" s" T# O4 P! V& a& S# ^- C
S.392, Hexaméron, Morceau de Concert (1837)
  ~6 `9 M6 g3 M5 A0 |5 _5 Y4 u5 z9 K, c' |S.393, Fantaisie sur des motifs favoris de l'opéra La Sonnambula [first/second/third version] (1839, 1840-41, 1874)2 z* e( x4 s9 H! q) i1 ?- Q
S.394, Réminiscences de Norma (1841-43)% ^0 D$ B& {% j4 d2 y/ S$ Q2 s3 z
2.5.1.6 Berlioz
) n! J, |& H; ~
2 I& U, G$ G( D1 US.395, L'Idée fixe: Andate amoroso [first/second version] (1833 or 1846?, 1865); Q& j+ S/ u2 u% F' U- G+ K
S.396, Benediction et Serment from Benvenuto Cellini (1852)
* L9 B$ J' r: u+ E2.5.1.7 Donizetti, Gaetano
. `7 A$ G# f1 T. Y6 }
9 S+ ~  Z/ @6 G$ r* L% d9 \S.397, Réminiscences de Lucia di Lammermoor (1839)
: f+ D8 ~$ g5 nS.398, Marche Funebre et Cavatine de Lucie de Lammermoor (1839)
3 _. |% O5 B: Z1 I; h6 R) uS.399, Nuit d'été à Pausilippe [3 pieces] (1839)
, Q! _- ~7 J. N# f/ }5 n) bS.399a, Lucrezia Borgia - Grande fantaisie [first version of S400ii] (1840)9 X* }1 y9 f. X8 @; y' s, h

% }! V. x6 K9 C  G+ u# k李斯特全部作品目录-3
: W3 c" N& a7 S8 Z/ E- t* J( {# u4 U& N; G- W% D
S.400, Réminiscences de Lucrezia Borgia [first/second version] 1840
: ]8 {5 k# z) X9 L* cS.401, Valse a capriccio sur deux motifs de Lucrezia et Parisina [first version of S214/3] (1841)
  v1 [! v( T6 M# O8 Z) uS.402, Marche funèbre de Dom Sébastien (1844)
6 E$ ^- ~7 V& a% Z2.5.1.8 Donizetti, Giuseppe5 U5 Z3 D6 j  r
' Y: r! M4 f" c! C9 y) E
S.403, Marche pour le Sultan Abdul Medjid-Khan [first/simplified version] (1847, 1848)
  J* X# V) Q7 `$ l9 Q3 g2.5.1.9 Duke Ernst; [  a  N- K, h( x& Z' d8 x  U

& `4 C$ H+ C$ u% D1 _S.404, Halloh! Jagdchor und Steyrer from the opera Tony (1849)& y0 q" G+ c- H# i
2.5.1.10 Erkel, Franz9 K! y# i# X8 b. \, Y& K

# ~0 H7 ^' k6 U; w1 u* QS.405, Schwanengesang and March from Hunyadi Laszlo (1847)
, S9 Z6 k  I& Z; H9 @4 }1 \2.5.1.11 Festetics" f( c) C! g  p2 J

( C' o0 Y$ k; M9 h, u& cS.405a, Pásztor Lakodalmus Variations - Mélodies hongroises [elaboration by Liszt] (1858)
. B8 J! c6 \3 |; c2.5.1.12 Glinka- h! l" G/ s' r

( G* k' h) \* i$ NS.406, Tscherkessenmarsch from Ruslan i Lyudmila [first/second version] (1843, 1875)
# G8 W9 y. X9 z( B2.5.1.13 Gounod
' [, T' o+ l, d; P
! @- T1 q  F  oS.407, Valse de l'opéra Faust (b. 1861)3 P( P# F4 `4 r2 w& u
S.408, Les Sabéennes. Berceuse de l'opéra La Reine de Saba (1861)$ |( B% i, _' z; q
S.409, Les Adieux. Rêverie sur un motif de l'opéra Romeo et Juliette (1867)
3 l) N5 @& P: t) I- ?2 V3 y2.5.1.14 Halévy' E2 |3 Y% a0 |1 R0 r* l) m6 U$ K
S.409a, Réminiscences de La Juive (1835)3 e# i( L8 l& \: s
2.5.1.15 Mendelssohn
( a* n! Z9 m" O( oS.410, Hochzeitsmarsch und Elfenreigen aus dem Sommernachtstraum (1847-50)
( L$ r! P, V. o/ p2.5.1.16 Mercadante. Y. R9 I3 g9 _# N& o( |% D
S.411, Soirée italienne. Six amusements (1838)
, ?: E6 ^: @# h% t2.5.1.17 Meyerbeer% v3 L4 @1 ~$ u' N3 j3 V; E( m3 S
S.412, Réminiscences des Huguenots - Grande fantaisie dramatique [first/second version] (1836, 1842)  D# L) W8 p% Y9 P5 m" v6 x% ?' D" g6 ]
S.412a, Réminiscences de Robert le Diable - Cavatine (1846?)
% f7 J7 W6 L- m& M! P5 {S.413, Réminiscences de Robert le Diable - Valse infernale (1840)
5 [4 I6 G' n: V, AS.414, Illustrations du Prophète [4 pieces, 4th=S624] 1849-50# o# G6 G' x1 M3 D4 T
S.415, Illustrations de l'Africaine [2 pieces] 18650 w2 x- B# V6 U7 c
S.416, Le Moine (1841)
0 g' Z8 V% c  {7 E2.5.1.18 Mosonyi, Michael
) h. O" C8 N/ B* h; h+ OS.417, Fantaisie sur l'opéra hongrois Szép Ilonka (1865) 幻想曲 S.417 - 根据莫佐尼歌剧《美丽的海伦》主题改编
9 v; t# v/ r- `2.5.1.19 Mozart
7 ~! `5 n% z+ i5 _8 oS.418, Réminiscences de Don Juan (1841)
0 c4 o; \' q4 L) g8 G( }; Y5 W) a2.5.1.20 Pacini
/ T( j& \4 h3 n1 k9 @) H1 N6 kS.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# [. M0 T2 E' ^( D0 d/ u
2.5.1.21 Paganini3 A, |. V: R# c* a; B! V$ }
S.420, Grande Fantaisie de bravoure sur La Clochette (1832-34)  华丽的钟声幻想曲
: I8 q& e9 G2 h& Z2 f2.5.1.22 Raff
4 y) `' Q! `7 K1 W. L- {S.421, Andante Finale and March from the opera König Alfred [2 pieces] (1853)
' s$ h( k- \& u1 s2.5.1.23 Rossini# E6 J$ c9 Y& Y( D$ U0 C
S.421a, Introduction et Variations from "Siege of Corinth" [introduction only] (1839?)
! q9 _4 A. C0 [S.422, Première grande fantaisie (Soirées musicales) [first/second version] (1836)
) ]0 r+ r6 Q/ eS.422i, La serenate e l'orgia - Première grande fantaisie (Soirées musicales) [first version] (1836); _4 U7 A8 r) f& F
S.423, Deuxième grande fantaisie (Soirées musicales) (1836)+ Y0 O; p) x* s: q1 T
S.424, Soirées musicales [12 pieces] (1837)
" v! l* Q+ w- `( n* U2.5.1.24 Schubert* L/ G, D" k# |) w  b) G" S
S.425, Mélodies hongroises [3 pieces] (1839–40)) c' Q8 c% C7 |* L$ s' u+ Q' {4 Z
S.425a, Mélodies hongroises [revised versions] (1846)
# a1 P4 M/ g. b: W7 S. o1 d3 j& nS.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 z" L+ Y/ E- s  a0 @3 R5 xS.426a, Marche militaire (ca. 1870)
. h  o! M# x2 [- Y8 S2 bS.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6 h" b+ T5 G, J" x7 }
2.5.1.25 Sorriano
) v/ q: b# y6 p# }1 WS.428, Feuille morte. Elégie d'après Sorriano (1844-45)' {! |5 [; J) C$ X7 P& b1 ]3 h
2.5.1.26 Tchaikovsky& t) D# {7 o& o, j
S.429, Polonaise from Eugene Onegin (1879)" F' E" {$ V% n0 y' T/ F2 A
2.5.1.27 Végh, Janos
" R: \2 Z, l: SS.430, Valse de concert (1882-83)
4 t  z. e- q; U, u* N+ i, K( z2.5.1.28 Verdi
* g7 V( L3 Q3 `7 aS.431, Salve Maria de Jerusalem from I Lombardi [first/second version] (1848, 1882)& H! @4 _* G) }# Q2 o% K' [1 [
S.431a, Ernani - Première paraphrase de concert (1847)
: F3 o1 f  ?: B( n2 H5 V* BS.432, Ernani - Paraphrase de concert (No. 2) [first/second version] (b. 1849, 1860)
/ o4 f$ j4 H; \/ \& C, }% N0 TS.433, Miserere du Trovatore (1860)+ ?( f; _" l3 k+ W, o
S.434, Rigoletto Paraphrase de Concert (1859)- \5 u2 I( n8 l% e
S.435, Don Carlos Coro e Marcia funebre (1867-68)% m' M0 d; r. r, g7 x* p
S.436, Aida Danza sacra e duetto finale (1877)
' t4 O- e& {! c+ Q2 WS.437, Agnus Dei (1877)
! o& j% D. ?9 AS.438, Réminiscences de Boccanegra (1882), D/ R4 Y1 U) t5 R) c
2.5.1.29 Wagner: Y) c5 J& R7 V# G6 `7 A2 U( _% e4 F
S.439, Phantasiestück über Motive aus Rienzi (1859)
9 b, b6 d+ E) LS.440, Spinnerlied aus Der fliegende Holländer (1860)
8 p1 u( p: a; t* w2 _, c( G+ D1 e' ?0 d4 [S.441, Ballade aus Der fliegende Holländer (1872)2 l) P2 Y, I! ^
S.442, Ouvertüre zu R. Wagners Tannhäuser (1848)
2 o6 s1 f9 W) `0 R& US.443, Pilgerchor aus Tannhäuser [first/second version] (1861, 1885)7 M: A9 w9 E9 u- \1 V( Z. r* j
S.444, O du mein holder Abendstern aus Tannhäuser (1848)& R! F; f$ l3 Z% @  P  p3 V
S.445, Zwei stücke aus Tannhäuser und Lohengrin (1852)
! d' {+ @' N# H/ x5 k% A$ U7 ^S.446, Aus Lohengrin [3 pieces] (1854)  `0 p* I" n) h, i# n+ C* x
S.447, Isoldens Liebestod aus Tristan und Isolde [first/revised version] (1867, 1875)# I( N9 x4 r4 j: z  [  \
S.448, Am stillen Herd aus Die Meistersinger (1871); |' }6 ^) D0 u  T" X% g
S.449, Walhall aus Der Ring des Nibelungen (1875)( M: I8 S& r6 Q6 C( g7 U- n
S.450, Feierlicher Marsch zum heiligen Graal aus Parsifal (1882)
7 |: Z4 n  k5 Y+ r; p. C1 ^2.5.1.30 Weber
4 {1 z, x' ^! AS.451, Freischütz-Fantasie (1840-41)
/ I& E+ G( O6 aS.452, Leyer und Schwert [4 pieces] (1848)$ s; x' L' c8 N2 y+ V
S.453, Einsam bin ich, nicht alleine, from Preciosa (1848)' X0 a4 d# c8 k. v* g5 L
S.454, Schlummerlied mit Arabesken (1848)! R$ D! F( x! c3 u9 _. }
S.455, Polonaise brillante (1851)/ d8 m! c1 z& g9 J5 e
2.5.1.31 Zichy, Count Géza
* J, y* E9 X. ]( G7 lS.456, Valse d'Adele (1877)0 n  b  {8 y* `/ M! j& q8 S& `% a) c: @
2.5.1.32 Unknown: l/ g! Z' A' C, Q5 b0 m) q
S.458, Fantasy on Il Giuramento (Mercadante) (1838?)% X4 |) J% [# l' g; N4 F% P- \
S.460, Kavallerie-Geschwindmarsch [anonymous] (?)
6 s* y, i, m* v3 ]% f( p( T, f2.5.2 Partitions de Piano, Transcriptions, etc.3 h2 L) U0 `8 a0 t
2.5.2.1 Allegri and Mozart
0 }1 F! a/ z) l; B0 K: p$ ~S.461, A la chapelle Sixtine [first/second version] (1862, ?)
5 q2 K4 f6 d, c9 h, b( ?. dS.461a, Ave verum corpus, Kv618 (1862)
' z2 j' F+ E( G& Q5 S+ L$ ~3 v2.5.2.2 Bach
- D9 ~0 V& p7 O( VS.462, Sechs Praeludien und Fugen für Orgel [6 pieces] (1850)
5 N* v2 {6 `6 F0 s4 CS.463, Organ Fantasy and Fugue in G minor [first/second version] (1860, ?)4 M( J/ o3 F3 G
2.5.2.3 Beethoven, r2 I% i4 b/ N! n' C
S.463a, Symphonie No.5 [first version] (1837)
: d. F$ W! @" c( PS.463b, Symphonie No.6 [first version] (1837)8 ~. ^6 C+ R- f! T& p
S.463c, Symphonie No.6 [second version. Alternative 5th movement] (1863-64)$ D1 Q  K& y0 Z5 N# L1 Y( r9 C
S.463d, Symphonie No.7 [first version] (1837)
; S& }2 ?, |# n1 P) ~S.463e, Marche funèbre [Beethoven's Eroica Symphony, first version] (1843), J* D: @  i' G8 n3 }, Y( L
S.464, 贝多芬交响曲 Symphonies de Beethoven [9 pieces] (1863-64)6 x0 f' [; a% V6 J6 Y; {* i
S.465, Grand Septuor, Op. 20 (1841)5 L+ t0 f. Z7 Y& `: H# q, \, O
S.466, Adelaïde [third version] (1847)
1 _1 u8 |; C: X; A: l: \2 OS.466a, Adelaïde [first version] (1839)
2 W* ?. ^0 q- [S.466b, Adelaïde [second version] (1840)) ~5 a3 ^4 Q3 Q* m
S.467, Sechs Geistlicher Lieder (Gellert) [6 pieces] (1840)9 a' |3 X6 _/ x  a  `" U) p! r
S.468, Sechs Lieder von Goethe [6 pieces] (b. 1849)
  f4 v) O2 N0 T& W. u/ YS.469, An die ferne Geliebte - Liederkreis [6 pieces] (1849)" o& m+ g9 g  Q7 q) A
2.5.2.4 Berlioz
/ T3 [9 K1 W8 q) n; e: v& b& US.470, Symphonie Fantastique (1833)
( l, l, g, E3 a% C+ [, nS.471, Overture from Les francs-juges (1833), E% R% l; t8 V5 t1 N, g4 ~
S.472, Harold en Italie (with viola) (1837)) H1 f# K6 n# `. G- l& Q$ H
S.473, Marche des pèlerins from Harold en Italie [first/second version] (1837?, 1862)
4 L8 y" _( u7 \$ o; x' aS.474, Ouverture Le Roi Lear (1837)
: G3 n5 D' x' |) U, Q% OS.475, Valse des Sylphes de la Damnation de Faust (1860)0 V  p. [4 k$ I/ O
2.5.2.5 Bulhakov
0 h( n, }, y. }( n! g4 j2 JS.478, Russischer Galopp [first/second version] (1843, 1843)" l  K7 |; @7 d3 T& v
2.5.2.6 von Bülow
8 R. O0 I) l# fS.479, Dante's Sonnett - Tanto gentile e tanto onesta (1874)
, Z% J* i' C/ p& a( x& K$ u2 I2.5.2.7 Chopin3 O& u6 C9 e1 R! @5 y
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* F' s. ?. u* h9 p& r
S.481, Zigeunerpolka (1847?)* |# Q2 X% p" A  J0 z
2.5.2.9 Cui( V, g0 K' F: y6 [6 t
S.482, Tarantella (1885)
- y+ ?- n0 X, v$ W2.5.2.10 Dargomyschsky
4 _8 I) L2 b* e. C7 y# P2 c  G! xS.483, Tarantella (1879)$ q4 ]2 ~& m4 q- o
2.5.2.11 David, Ferdinand9 ~& M5 E: s3 T+ X$ @8 P( l
S.484, Bunte Reihe, Op. 30 [24 pieces] (1850)
- _/ H) K) x5 N% d2 U! S2.5.2.12 Dessauer
: L) j- Z. p+ j2 D; t$ }" ~S.485, Drei Lieder (1846), q9 B0 E, ^, z! _9 X, _$ }
2.5.2.13 Ernst, Duke
2 X* w! L9 z/ MS.485b, Die Gräberinsel (1842)1 T% }9 Z" ?  n5 v7 _) n7 r# Q
2.5.2.14 Egressy and Erkel: S6 O0 Q0 ^* G$ c, X+ i3 s
S.486, Szózat und Hymnus (1873)
9 h0 L; g5 _+ s* Q  S2.5.2.15 Festetics' i! }' ?. X0 j! [2 x/ z* c: Z
S.487, Spanisches Ständchen 18460 F! h) @! p" u2 m0 K8 n
2.5.2.16 Franz
7 c9 ^" j# m9 t* {8 n) AS.488, Er ist gekommen in Sturm und Regen 1848
. }; m' E, S; I8 q/ fS.489, Zwölf Lieder [12 pieces] (1848)
: [0 P* i+ l% Z8 y4 k2.5.2.17 Goldschmidt0 s; ?7 i- @1 @$ r
S.490, Liebesszene und Fortunas Kugel (1880)
9 s7 ^! N4 {5 _' x+ B5 z+ x  q2.5.2.18 Gounod
% b- i  c9 E8 J7 |S.491, Hymne à Sainte Cécile (1866)
4 I" l7 }# g0 R6 E- {9 a) r2.5.2.19 Herbeck. K, y# N( @1 b4 F3 M* o
S.492, Tanzmomente [8 pieces] (1869)5 Z% @- N& T' ]% z) c4 J8 l
2.5.2.20 Hummel9 \8 L  C, X/ Z
S.493, Grosses Septett, Op. 74 (1848). M+ e1 x0 [3 a  H, N
2.5.2.21 Lassen$ X( w( K! b4 b* H$ e4 s8 F6 k) z7 p
S.494, Löse, Himmel, meine Seele [first/second version] (1861, 1872)
/ q3 P$ ?6 Y& ]. j% o6 @S.495, Ich weil' in tiefer Einsamkeit (1872): w6 U# h- G: ~1 D
S.496, Hebbel's Nibelungen & Goethe's Faust [4 pieces] (1878-79)
) ]6 P! d  Y" ]3 l: z/ G, jS.497, Symphonisches Zwischenspiel ('über allen Zauber Liebe') (ca. 1882-83)7 G9 Y2 |! B/ B( i0 u
2.5.2.22 Lessmann
: m7 S) n+ s8 RS.498, Drei Lieder ('Tannhäuser') (1882?)
, m" w3 p! q8 ^# H5 j2.5.2.23 Liszt$ p2 w+ _( B1 T$ \" |, y: e+ i
S.498a, Drei Stücke aus der heilige Elisabeth (1857-62)
' l3 w  ?! @7 P/ i6 k$ L! kS.498b, Zwei Orchesterstücke aus Christus (1862-66)2 D! w3 U3 Y6 }! p
S.498c, San Francesco - Preludio (1862-66)
( G) a1 ~! N9 N& U+ z  lS.499, Cantico del Sol di San Francesco d'Assisi (1881)) ?( w) i5 J3 N) {0 ]
S.499a, San Francesco - Preludio per il Cantico del Sol (1880)  y' h2 I; b& T7 D! }, u
S.500, Excelsior! - Preludio (1875)
" b* d$ ~% @! }% g% \) E$ ]S.501, Benedictus und Offertorium (Missa Coronationalis) (1867), _' H$ F# F2 f1 m! {( n' I: ]
S.502, Weihnachtslied II (1864)
$ o7 L, r+ C3 K  M" N* IS.503, Slavimo Slavno Slaveni! (1863)
* h( r* E7 e7 n' q# MS.504, Ave Maria II (in D) [first/second version in D flat] (1870, 1873)
2 v1 [4 F2 F. a: d1 F8 sS.504a, Via Crucis [15 pieces] (1878-79). z$ F, Z3 Y# J" r1 r
S.504b, Choräle [11 pieces] (1878-79)
2 y; X9 ~1 B' y* z, NS.505, Zum Haus des Herrn (In domum Domini ibimus) (1884)
  ^2 S1 ^  v0 O7 ~S.506, Ave maris stella (1868), X% y' S2 L' B; W; @
S.507, Klavierstück aus der Bonn Beethoven-Cantata (?)) n& z  h+ t6 K" @' l
S.507a, Schnitterchor (Pastorale - Schnitterchor aus Prometheus) (1850)
% d8 j/ C4 _! q5 Z9 m! IS.508, Pastorale. Schnitterchor aus dem Entfesselten Prometheus (1861)
( r  [2 q+ n8 u, X, \  FS.509, Gaudeamus igitur - Humoreske (1870)
, ^5 A/ v$ r5 w( t& j: HS.510, Marche héroïque (?)/ A3 T; h+ @- k
S.511, Geharnischte Lieder [3 pieces] (1861)9 S! z, F, ?% j: C4 m4 b8 g
S.511a, Les Préludes (Poème symphonique No. 3) [arranged by Karl Klauser, revised by Liszt] (1863) [1][2]# D0 j; f# J9 A) z- n
S.511b, Orpheus (Poème symphonique No. 4) [arranged by Fredrich Spiro, revised by Liszt] (1879) [3]
( P) Z2 }% d; O: \S.511c, Mazeppa (Poème symphonique No. 6) [arranged by Theodor Forchhammer, revised by Liszt] (1870-79) [3]
% w+ o2 R/ t- ^  oS.511d, Festklänge (Poème symphonique No. 7) [arranged by Ludwig Stark, revised by Liszt] (1870-79) [3]9 Q, q( w( A, ^+ s% y* b
S.511e, Hungaria (Poème symphonique No. 9) [arranged by Fredrich Spiro, revised by Liszt] (1872) [3]
& i+ k4 ~% R7 O2 l3 w" j9 k/ kS.512, Von der Wiege bis zum Grabe (Poème symphonique No. 13) (1881)
. u! N+ E5 x0 j7 D* tS.513, Gretchen aus Faust-Simpfonie (b 1867 )/ o1 x  |2 I7 I6 z/ O6 b
S.513a, Der nächtliche Zug (?)
- E9 `- a) z/ [8 r7 q. ~3 @$ B: aS.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
9 Z& Z1 X1 x7 J  m; WS.514a, Erster Mephisto-Walzer (Mephisto Waltz No. 1) [with later additions] (1859-62)4 ?+ ~/ B8 _) o4 Z; }3 F$ `+ }3 o8 E, j
S.515, Zweiter Mephisto-Walzer (Mephisto Waltz No. 2) (1881) 第二梅菲斯特圆舞曲
- b; C- W) a6 Q8 v& q5 [6 PS.516, Les Morts (Ode Funèbre No. 1) (1860); j; l1 j. L0 f4 y8 m) f* e" X
S.516a, La notte (Ode Funèbre No. 2) (?)
7 K" p: {9 r% nS.517, Le Triomphe funèbre du Tasse (Odes Funèbre No. 3) (1866)
, d1 G2 l9 C+ T( b- |. MS.518, Salve Polonia (a. 1863)
) x& ]* i- {. I% u0 P2 QS.519, Deux Polonaises de St Stanislaus (1870-79)
9 z1 L  f* A4 w( B7 H6 `$ AS.520, Künstlerfestzug [first/second version] (1857-60, 1883)
5 ^; L9 d6 E$ L5 L* uS.521, Festmarsch zur Goethejubiläumsfeier [first/second version] (1857, 1872)
. S; i& _' ^# C% BS.522, Festmarsch nach motiven von E.H.z.S.-C.-G (1857)1 {1 h- F# |) B9 m  A- X. G
S.523, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (1870)
8 S  W+ K  N% h8 XS.524, Ungarischer Sturmmarsch [first/second version] (?, 1875)
$ O" [" \: x2 @2 d/ NS.525, Totentanz. Paraphrase on Dies Irae (1860-65)5 E& k# U* X( j$ S
S.526, Epithalam zu Eduard Reményis Vermählungsfeier (?)
3 V+ j( {* U% l* O' jS.527, Romance oubliée (?)
" H! a2 @4 R7 aS.527bis, Romance oubliée [short draft] (1880)
/ R1 Q) x; S4 m5 X2 m* [S.529, Fantasie und Fuge über das Thema BACH [first/second version] (1856, 1870) 巴赫主题幻想曲与赋格  T( b; U  C  V
S.530, L'Hymne du Pape. Inno del Papa. Der Papsthymnus (1864)
) C3 p% r' W% W, q( JS.531, Buch der Lieder I [5 pieces] (?)
6 z; m% l& D5 C: n" ]. OS.532, Die Lorelei (Heine) [second version] (1861)
; ?1 k" Y" \1 y2 nS.533, Il m'aimait tant (Delphine Gay) (1842)
8 l7 z; \0 {* m+ ~( @! w1 i; i6 uS.534, Die Zelle in Nonnenwerth (Felix Lichnowski) [first/second/fourth version] (1842, 1860, 1880)
& Y8 c6 |7 z- t& \) @! v7 `5 bS.535, Comment, disaient-ils [Buch der Lieder II] (1845?)! o1 H- J# [: u+ g( l
S.536, O quand je dors [Buch der Lieder II] (1847?)4 s5 n% \" `6 N3 p2 O% U  t
S.537, Enfant, si j'étais roi [Buch der Lieder II] (1847?)
7 H5 ?! U9 y6 NS.538, S'il est un charmant gazon [Buch der Lieder II] (1847?)
% N6 p) U+ j7 d2 Z# e+ s  w9 ?S.539, La tombe et la rose [Buch der Lieder II] (1847?)
  T) K3 v# a" g& S; g; OS.540, Gastibelza [Buch der Lieder II] (1847?)3 R" {+ x1 W/ y2 |
S.541, Liebesträume. Drei Notturnos (ca. 1850)  3首夜曲“爱之梦”0 Q1 d, V# g+ {" Z( @% `9 G% u4 c3 ~) R
S.542, Weimars Volkslied [first/second version] (1857, ?)
8 G7 N- U( v, y' [+ _S.542a, Ich liebe dich (?)
; J6 ^: P! y2 `9 K8 XS.542b, Fanfare zur Enthüllung des Carl-Augusts Monument (?)
9 h5 _$ g2 l0 _2 t/ j2 d# c% A9 [S.543, Ungarns Gott. A magyarok Istene (Petófi)]] [original/(S543bis)left-hand version] (1881)
6 p! ~' ?- M, N4 @( tS.544, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883); G. v5 _1 C9 X  m: a( q* G& K
S.545, Ave Maria IV (1881)
, X) T1 J9 y7 U7 g6 DS.546, Der blinde Sänger (Alexei Tolstoy) [solo version] (1878)' H/ M/ i& [& w/ T& J! K: N3 c
S.546a, O Roma nobilis (1879)
8 c( T  B! {) Y4 F1 ^2.5.2.24 Mendelssohn
6 u5 _/ t8 l; DS.547, Sieben Lieder (from Opp. 19, 34, 47) [7 pieces] (1840)0 a5 d" b3 D5 N  o2 G. f2 Q6 O. v+ [
S.548, Wasserfahrt and Der Jäger Abschied (from Op. 50) [2 pieces] (1848)
. |5 t( V  j9 J  E; u# R2.5.2.25 Meyerbeer
. h+ d7 o8 o6 U3 g* }S.549, Festmarsch zu Schillers 100-Jähriger Geburtsfeier (?)7 Q' z% a" X/ F( z+ d) O$ U
2.5.2.26 Mozart, A# U) J3 |  k) v* S* q  H# W; O
S.550, Zwei Transcriptionen über Themen aus Mozart's Requiem, K626 [2 pieces] (1862)
$ u3 h4 B1 T5 s0 G2 o8 x2.5.2.27 Pezzini6 e1 T, E8 M/ f/ X. J
S.551, Una stella amica. Mazurka (?)
3 n! D- s, B: ~) g2.5.2.28 Raff! w" }, q) C( b7 h& P
S.551a, Einleitung und Coda zu Raffs Walzer in Des-dur (opus 54/1) (1880)
/ |. ~/ d- P4 F. D2.5.2.29 Rossini8 q7 ]$ f$ q; N9 |
S.552, Ouverture de l'opéra Guillaume Tell (1838)4 Y; e+ o: [. ?, B1 l* x* c1 O
S.552a, Caritas [La charité, first version] (1847)
; ]) t# G7 P" x$ ~( N8 A0 B5 i# ZS.552b, La caritá [La charité, simplified version] (1847)
* b+ o- i4 @6 w1 A- B: G; |S.553, Deux Transcriptions [2 pieces] (1847)6 E/ h/ k8 H+ r* j% z' H
2.5.2.30 Rubinstein
- H3 Z  X: c# R9 Q2 P- j# q! ^8 pS.554, Zwei Lieder [2 pieces] (1880)
& g  W- h4 m, \S.554a, Einleitung und Coda sur des notes fausses (1880)* u1 Q4 z1 V- p1 ~) W* G  O2 b2 P
2.5.2.31 Saint-Saëns
9 Q3 e8 s7 \0 l6 C$ JS.555, Danse macabre, Op. 40 (1876)
7 f& ]: N* r- [4 \2.5.2.32 Schubert
- [" I8 p( n6 ^, u6 d7 t# hS.556, Die Rose [first/intermediate/second version] (1832, ca. 1837, 1838)4 {; V( E9 q# \* s7 a
S.557, Lob der Tränen (1837)
; U, x3 A. r$ \8 N* k, dS.557a, Erlkönig [first version] (?)& t0 ~( Q/ `; F* o& l
S.557b, Meeresstille [first version] (?)  U* e" U+ Z5 S
S.557b/bis, Meeresstille [first version, ossia] (?)) X+ X/ q9 O; m2 S- {) Z' Q) W* j
S.557c, Frühlingsglaube [first version] (?)
  V, i" q# w6 q/ v2 Y7 _S.557d, Ave Maria (Ellens dritter Gesang) [first version] (?)) ]; V- Y$ h  V6 n
S.558, 12 Lieder (1837-38)+ v" K4 a( S! C7 c! q3 f/ c# M
S.558bis, 12 Lieder [revised versions of Nos. 3, 4, 7, 8, 9, 11] (ca. 1839)  ?& i/ Y/ P0 |7 G
S.559, Der Gondelfahrer, Op. 28 (1838)
: A  Z  N% H4 y) W1 t' OS.559a, Sérénade [Ständchen, first version] (1837)
) Y/ b3 e) V8 t' bS.560, Schwanengesang [14 pieces] (1838-39)
# l7 n" k) b! m5 h/ \S.560bis, Schwanengesang [14 pieces, alternative versions] (ca. 1839)% K: R5 z9 H$ f) c, J8 `
S.561, Winterreise [12 pieces] (1839)% x4 n4 H3 T$ i, L$ R5 A, r
S.561, Winterreise [alternative versions of Nos. 2, 3, 7, 10,] (ca. 1839)( |4 z: c0 ~: q  }# {" X6 I8 l, _
S.562, Geistliche Lieder [4 pieces] (1841)
: r) m5 o; J5 N$ R+ _9 X2 j$ x" }S.563, Six mélodies célèbres [6 pieces, 1st by Weyrauch] (1844)
$ u. K. z  Y. q. _2 x9 C& ^S.564, Die Forelle [second version] (1846)9 k- w" Q( A! y/ c7 J7 [$ ]
S.565, Six Mélodies favorites de La belle meunière [6 pieces] (1846)
! H6 n( a5 `" k/ Q* r: k) VS.565bis, Müllerlieder [6 pieces, revised versions] (ca. 1879), h; Y+ t% s2 [
S.565a, Wandererfantasie (Grosse Fantasie in C-dur) (ca. 1868)- b' ~% Q4 i- ~) D& n8 M
S.565b, Schubert's Impromptus [2 pieces, Op. 90/2-3] (ca. 1868)1 k" W( Q# \+ f8 k
2.5.2.33 Schumann: O4 p# T  Y, f4 |/ }5 N
S.566, Widmung, Liebeslied (1848)
6 C. N6 b  c& h% G( y8 DS.566a, Widmung, Liebeslied [sketch of a more literal transcription] (1848)
9 r% s9 n8 G# z# L' W0 |S.567, An den Sonnenschein, Rotes Röslein (1861)  v- j- d9 Y- o' K
S.568, Frühlingsnacht (überm Garten durch die Lüfte) (1872)+ s6 K5 c9 Y4 j3 A  k  J" w% L
S.569, Zehn Lieder von Robert und Clara Schumann [10 pieces] (1872)
$ w9 T% Y, R9 Y6 sS.570, Provençalisches Minnelied (1881)
& j: S+ B9 v: l( h  U2.5.2.34 Smetana
: `# i# I7 L5 fS.570a, Einleitung und Coda zu Smetanas Polka (de salon, opus 7/1) (1880)
( l! T" G' Q- D4 x- q2.5.2.35 Spohr: m4 f' H/ @5 ^) l: ?
S.571, Die Rose aus Zemire und Azor (1876) 玫瑰浪漫曲 S.571 - 根据施波尔歌剧《美女与野兽》浪漫曲改编
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 楼主| geci110 发表于 2015-7-22 18:35:37 | 显示全部楼层
2.5.2.36 Tausig
& e5 {8 m4 Q# L7 S( WS.571a, Einleitung und Schlußtakte zu Tausigs dritter Valse-Caprice (1880)
; V1 s! x$ e( t) Q5 O& N2.5.2.37 Szabady and Massenet- [( ~  W" L$ i5 ]9 ^* |: B
S.572, Revive Szegedin (1879)! K) M5 U9 X1 @* N0 {
2.5.2.38 Széchényi, Count Imre
0 O/ H$ u3 `; b0 z5 w. e+ }7 F! KS.573, Bevezetés és magyar indulò (1872)/ N/ q5 R  ]: {% A7 y3 _3 B
2.5.2.39 Tirindelli/ v$ U. {7 v" `/ @3 n5 p7 M1 F
S.573a, Seconda mazurka variata (1880)% a9 _- f1 V. `
2.5.2.40 Weber
1 I: S/ n9 c/ W: R2 v" sS.574, Ouverture Oberon (1846?)% L7 G1 w* `( r# `  l' h. x8 l% \
S.575, Ouverture Der Freischütz (1840-41)
! C$ y: W* l4 O3 V% C! rS.576, Jubelouverture (1846)9 V' m, ?  e( g, Q
S.576a, Konzertstück, Op. 79 (ca. 1868)
; H4 X, w, e) }9 y+ m/ C6 h4 z) M2.5.2.41 Wielhorsky, Count Michael" P( s+ H. K" |2 p: d* {
S.577, Lyubila ya [first/second version] (1843, ?)
+ ]% c0 h+ s8 G8 l/ j2.6 Pianoforte Duet(钢琴二重奏)% r( H' b' b+ ]" {
2.6.1 Field
2 G7 _1 H5 A- G4 A! g, mS.577a, 11 Nocturnes (Nos. 1-9, 14, 18 and Nocturne Pastorale in E) (?)
  `, P& j3 n2 ^! ^7 G2.6.2 Liszt6 W1 A/ G0 W% F4 @) O$ E
S.578, 4 Pieces from St. Elisabeth (1862)
% U' e! t5 M0 c1 D, hS.579, Christus Oratorio 4th and 5th section (?)" ]8 n2 Y4 o8 e4 a' Z0 p( v, }
S.580, Excelsior! - Preludio (?)' g) r; R" h6 N+ e6 ^
S.581, Benedictus and Offertorium from the Hungarian Coronation Mass (1869)) p4 e4 k+ i8 q: z
S.582, O Lamm Gottes, unschuldig (1878-79)
, d6 B  }2 C4 G" U; KS.583, Via Crucis (?)
9 ]& A8 }' B9 US.584, Festkantate zur Enthüllung des Beethoven-Denkmals in Bonn (1845)
2 L0 E+ P% O6 D, q4 H1 x4 nS.585, Pastorale. Schnitterchor aus dem Entfesselten Prometheus (1861)
0 n/ i7 U0 ^0 }; |- `S.586, Gaudeamus igitur. Humoreske (1870)
$ r2 `# j; F8 {* R$ HS.587, Marche héroique (?)# z  A" x0 _+ v
S.588, Weimars Volkslied (Cornelius) (1857)
. Q- e% E' m3 h, T. LS.589, Ce qu'on entend sur la montagne (Poème symphonique No. 1) (1874)
! E% I6 U& t0 ], T" VS.590, Tasso, Lamento e Trionfo (Poème symphonique No. 2) (1858)/ m1 n: b5 h( N' {
S.591, Les Préludes (Poème symphonique No. 3) (ca. 1858)
: R$ ~% h5 x! R/ x1 p5 VS.592, Orpheus (Poème symphonique No. 4) (ca. 1858)
$ _6 m- v( Z% Z  M0 [$ \S.593, Prometheus (Poème symphonique No. 5) (1858)! L9 H$ i* D5 \, h+ v$ s( c
S.594, Mazeppa (Poème symphonique No. 6) (1874)
) Z( x* S! y' r# g9 {$ O8 o* VS.595, Festklänge (Poème symphonique No. 7) (1854-61)
) d# l( l; m8 r9 ES.596, Hungaria (Poème symphonique No. 9) (1874?)
! I' s2 A6 \* }8 F* F" `" oS.569a, Héroïde funèbre (Poème symphonique No. 8) (ca. 1877)! M! C% ]: ~: M
S.596b, Hunnenschlacht (Poème symphonique No. 11) (ca. 1877)
, m; F% J0 n: o+ X: D4 r: ?S.596c, Die Ideale (Poème symphonique No. 12) (ca. 1874-77)$ `! s/ y, p: p; H
S.597, Hamlet (Poème symphonique No. 10) (1874)2 a0 c. B% }4 q/ |* b! D
S.598, Von der Wiege bis zum Grabe (Poème symphonique No. 13) (From the Cradle to the Grave) (1881)5 \2 n, z7 i( K3 A- Z2 D! E
S.599, Two episodes from Lenau's Faust (1861-62)& V* p+ a  e7 q( r: S1 Z  o
李斯特全部作品目录-43 B9 {8 W" o+ M- \

. v- p9 \$ j3 L! YS.600, Mephisto Waltz No. 2 (1881)+ u) f. i* z2 v3 T& w9 D
S.601, Les Morts (Ode Funébre No. 1) (1866)6 G' N# T; W6 W  x
S.602, La Notte (Ode Funébre No. 2) (1866)
/ u1 O" s. d$ P% QS.603, Le Triomphe Funèbre du Tasse (Ode Funébre No. 3) (1866?)! C" k' V  V5 ^3 E) ^8 V+ R
S.604, Salve Polonia (1863): `$ H/ U' N  @
S.605, Künstlerfestzug zur Schillerfeier (1859)& R% H" Q; X7 g; r' l# ?% V
S.606, Festmarsch zur Goethejubiläumsfeier (ca. 1858)" b# f6 d; c  c3 ^
S.607, Festmarsch nach Motiven von E.H. zu S.-C.-G. (ca. 1859)
$ O: s2 e  n7 |# w+ I6 LS.608, Rákóczy March (1870)
$ p% @& ?# K# x7 XS.609, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (1870)2 ^- N% H3 C% O, ~" x
S.610, Ungarischer Sturmmarsch (1875)
3 U' h- j" l6 i# l1 zS.611, Epithalam (1872)5 z7 @  Q: o( Z0 Y+ |5 m: F) g
S.612, Elégie (1874)4 E( t( g/ _" ^9 [- F5 p6 \7 y
S.613, Weihnachtsbaum (1876)
0 \3 D& U8 H& K7 }' Q7 Q# zS.614, Dem Andenken Petöfis (Petófi Szellemének) (1877)
/ o7 }1 D4 ^3 p0 X/ q! F' j0 _% BS.615, Grande Valse di Bravura (1836)
* X0 g1 |  g) y; i, \S.616, Grand Galop Chromatique (1838)
! e1 ?: B2 I# C+ a8 |; b2 Q: ?S.617, Csárdás macabre (1882)! T" B% R0 n8 }2 F; @/ R
S.618, Csárdás obstiné (ca. 1884)
4 v4 M, K, O! U* c0 D# `2 IS.618a, Vom Fels zum Meer. Deutscher Siegesmarsch (?)# N" n$ S6 r( s9 r# n" H
S.619, Bülow-Marsch (ca. 1883)$ c+ q) t1 O7 r+ D
S.619a, Festpolonaise (1876) [4]. e- t. |* e. X! k
S.620, Hussitenlied (Melody by J.Krov) (1840)
3 S$ b* G' s& Z$ z( ZS.621, 6 Hungarian Rhapsodies [from the orchestral version, S359] (1874). o! l) l) y3 U; W0 `
S.622, Rapsodie hongroise No. 16 (1882)
  m( M: t$ k" p* T6 a. JS.623, Rapsodie hongroise No. 18 (1885)+ a) m. P1 L' P/ Y: A4 p$ I
S.623a, Rapsodie hongroise No. 19 (ca. 1885)+ }$ v( U6 E4 w
S.624, Fantasy and Fugue on the chorale Ad nos, ad salutarem undam (1850)& G4 x# x7 w! M$ `
S.625, L'Hymne du Pape (Der Papsthymnus) (1865)
7 W4 r' @, P4 |% t8 {# F5 C6 o( q- CS.626, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)" }! _4 i" r/ W2 z
S.627, Fantaisie sur des motifs de l'opéra La Sonnambula (Bellini) (1852)
: I; U+ o  P8 ES.628, Bénédiction et serment (Berlioz's 'Benvenuto Cellini') (1852)
  D/ C6 k' [( b- Y7 V* m* pS.628a, Marche et cavatine (Donizetti's Lucia) (?)
! `$ w- U1 C5 C' N7 w9 dS.628b, Szózat und Hymnus (Egressy and Erkel) (1873)
; \& E' `9 Y4 W9 Z' U+ tS.629, Tscherkessenmarsch (Glinka's Ruslan i Lyudmila) (1843)' v9 X- G! x+ E
S.630, Réminiscences de Robert le Diable - Valse infernale (Meyerbeer) (1841-43)
# A! o( E: K5 uS.631, Andante finale und Marsch (Raff's 'König Alfred') (1853)
2 |: R* p* j1 K6 e$ T. [* JS.632, 4 Marches (Schubert) (1879)6 `  r! _/ ]" ]
S.633, A la chapelle Sixtine (Allegri Mozart) (1865)% D1 k+ f" `9 m2 o9 {# u
S.634, Grand Septuor Op. 20 (Beethoven) (1841)
5 Y) N. w* m9 j% Q2.6.3 Mozart2 b" S  v" P. Q  y- a
S.634a, Adagio from Mozart's Die Zauberflöte (1875-81?)
2 J7 P; e/ U8 f0 W1 D7 I) X2.7 Two Pianofortes(双钢琴)
6 H( Q8 U# x6 f+ }1 q& W' }4 i2.7.1 Liszt
9 ?4 i' R+ U; R9 J0 L$ r: xS.635, Ce qu'on entend sur la montagne (Poème symphonique No. 1) (ca. 1854-57)* ^! V+ o: ]% q( V" f
S.636, Tasso, Lamento e Trionfo (Poème symphonique No. 2) (ca. 1857)
- H5 I" H5 v8 V; `( \! |. U) r) aS.637, Les Préludes (Poème symphonique No. 3) (ca. 1854-56)
+ c( r$ T0 w7 }: f6 H* QS.638, Orpheus (Poème symphonique No. 4) (ca. 1854-56)
- T  e+ r! ^0 q% QS.639, Prometheus (Poème symphonique No. 5) (1855-56)9 k1 \# S) G: H8 _; o: c0 G, m+ S
S.640, Mazeppa (Poème symphonique No. 6) (1855)# h. N* |. _$ q: y* S  R, v
S.641, Festklänge (Poème symphonique No. 7) (ca. 1853-56)
( |. F$ }( M! h& P$ E3 S) GS.642, Héroide Funèbre (Poème symphonique No. 8) (ca. 1854-56)7 {; x$ R: ?7 U
S.643, Hungaria (Poème symphonique No. 9) (ca. 1854-61)
! e& O. [3 P  e) o+ aS.644, Hamlet (Poème symphonique No. 10) (ca. 1858-61)1 B3 M1 v9 c& a4 P8 _8 T% Z3 V/ {
S.645, Hunnenschlacht (Poème symphonique No. 11) (1857)8 Y9 z! Y% S( A
S.646, Die Ideale (Poème symphonique No. 12) (1857-58)* Y/ i9 o+ y+ ^1 _3 {6 L; W: _
S.647, A Faust Symphony, in three character pictures (1856)
$ w! Z! e/ g# w9 \S.648, A Symphony to Dante's Devina Commedia (ca. 1856-59)& N% y( G0 s$ f* F
S.649, Fantasie über Beethovens Ruinen von Athen (1865)
! T* |: L7 G, W' J: }S.650, Piano Concerto No. 1 in E flat major (1853)+ o6 }1 b1 v+ q: v1 M6 V. Z# T
S.651, Piano Concerto No. 2 in A major (1859). z) z5 ^! n( y5 p  z; e6 T6 E/ y
S.652, Totentanz. Paraphrase on Dies Irae (1859)4 M' S4 F7 F" b* U8 l* s( N
S.653, Wandererfantasie (Schubert) (a. 1859)
2 U; ^! l# I7 d+ t" Z* U  Q# S6 tS.654, Hexaméron, Morceau de Concert (1837)
& h  @& P2 ^  M* X- O8 vS.655, Réminiscences de Norma (Bellini) (1841)
3 m+ A; _8 B1 f$ o7 t# RS.656, Réminiscences de Don Juan (Mozart) (1841)
) g, J2 Z' \6 K% B0 v8 [S.657, Symphony No. 9 (Beethoven) (1851)
( b. P0 [7 _" u9 `) \1 @' WS.657a/1, Piano Concerto No. 3 (Beethoven) (1878)
; y3 l  b4 k% a& a, [+ w; J- |$ f" ZS.657a/2, Piano Concerto No. 4 (Beethoven) (1878)
: X0 b# o5 T$ `1 a" S2 L# ?S.657a/3, Piano Concerto No. 5 (Beethoven) (1878)8 a! b; h6 a) b0 O& i
S.657b, Bülow-Marsch [2-pianos, 8-hands] (1884)4 I6 @9 A( M/ [$ l9 ^! h8 e
2.8 Organ(管风琴)
! @. Y' L" r4 `2.8.1 Allegri und Mozart/ F3 [0 Q8 a; b2 V4 a3 p
S.658, évocation à la Chapelle Sixtine (1862)+ c" w) ?. a5 C2 W  p; g
2.8.2 Arcadelt
0 a# z* z$ A* U& |1 F" @S.659, Ave Maria (1862)' `$ L' i. q2 N3 k, o
2.8.3 Bach
6 J- j9 ]2 P* r$ z$ d2 I# r: a& O5 Y+ _2 c6 s- {
S.660, Einleitung und Fuge aus der Motette Ich hatte viel Bekümmernis und Andante Aus tiefer Not [2 pieces] (1860)
  U0 n; {8 O) qS.661, Adagio from Bach Violin Sonata No. 4 (BWV1017) (1864)
% S$ |- |9 l3 f  Z2.8.4 Chopin
" \; ~% J) n7 Z$ u7 t3 k* P$ d+ j; [, V$ s6 w5 k! |/ _- D
S.662, 2 Préludes from Op. 28 (Nos. 4, 9) (1863)
& O7 ]  B# S' W9 F# _) _$ w7 I$ Z2.8.5 Lassus8 a  T3 m6 J8 }' F& @  l# M

  C% c: A- O) `+ E+ sS.663, Regina coeli laetare (1865)
- G4 ^: u# A# X+ U2.8.6 Liszt
9 c5 p% E* _8 Q! L' e& Q3 a' |
; m+ g" h  n' c' ^; E7 ]S.664, Tu es Petrus from Christus (1867)' H  N) d4 A. a
S.665, San Francesco (1880)
( R( I2 N5 k% t' h/ ^! ES.666, Excelsior! - Preludio (?)2 @$ F' }/ y. Z& Q
S.667, Offertorium from the Hungarian Coronation Mass (1867)
8 y2 C6 j! q2 g( xS.668, Slavimo Slavno Slaveni (1863)( m6 ~( z/ n; N& m4 h
S.669, Zwei Kirchenhymnen [2 pieces] (1877), i- h% O5 [: S
S.670, Rosario [3 pieces] (1879)$ t, @: _/ g; ^3 `2 b6 r9 @
S.671, Zum Haus des Herrn (In domum Domini ibimus) (1884)
4 N, S3 g8 l3 q, jS.672, Weimars Volkslied (Cornelius) (1865)5 ]/ T7 @  W0 O, H7 C
S.673, Weinen, Klagen' Variationen (1863)
1 u- r5 c' v' s' q8 OS.674, Ungarns Gott. A magyarok Istene (Petófi) (1882)* t( q! g7 \$ u8 H. j) V
S.674a, O sacrum convivium [2 versions] (?)6 H; |$ X6 g* {3 A+ e6 z$ u
2.8.7 Nicolai) {1 j! W9 V0 }7 A+ h: A+ O
) T% p# a: l% O+ h* s! {* v) f
S.675, Kirchliche Festoverture (1852); d! \: A$ s; A" H& @6 I6 R
2.8.8 Wagner
. P- e! n0 j/ v9 W0 ?- M7 M4 G  g. j
S.676, Pilgerchor from Wagner's Tannhäuser (1860)) t% O+ `) ~1 Z4 v8 a/ N5 e+ d
2.9 Organ with Other Instruments(管风琴和其他)) E+ L! y3 u: z; x: }7 ]& p) u
2 Y+ g# v0 H& H$ }! C6 c
S.677, Hosannah from Cantico del sol di San Francesco d'Assisi (for organ and bass trombone) (1862)
! A% P8 J0 Q# V6 eS.678, Offertorium and Benedictus from the Hungarian Coronation Mass (1869)
& E2 q  _2 {3 e' Q, u% b) x) NS.679, Aria 'Cujus animam' from Rossini's Stabat Mater (for organ and trombone) (?)2 Z8 X! v7 [- W1 M
Vocal Arrangements声乐  n7 c4 m. R# X

2 v2 h" g( y# V7 K/ r& tS.680, Ave maris stella (1868)' l$ e4 e+ A" q  u; Q
681, Ave Maria II (1869) 8 A$ ~' L) H; \2 V' d
S.682, Air du Stabat Mater (Rossini) (?)
/ s$ K; t& B9 A, m; H2 ?9 IS.683, Serbisches Lied (Hohenzollern-Hechtingen, Prince FWC. von) (?)! X$ N  p) L; U4 f5 `6 h
S.684, Barcarolle vénitienne (Pantaleoni) (?)+ ~& m5 Y" G8 U5 p" X
S.685, Es hat geflammt die ganze Nacht (Grand Duchess Pavlovna) (?)
$ U1 H6 c7 ?. N! W) T) C
* J) ?9 Y6 S& f! _/ k2.10 Recitations& p7 J: O  T+ Q6 S
S.686, Helges Treue (Draeseke) (1860)
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 楼主| geci110 发表于 2015-7-22 18:35:55 | 显示全部楼层

/ d' F; J0 f8 B( p) Y3 _" _6 ]6 ~& E9 A& K( I& C! x' s. }

: Y- S9 G! q, c# Q+ m! R
) [3 y+ F* Y: C" A" X" |
+ d, ~; s" ?5 |0 i. B0 c# P' I2 M0 ]9 B  `$ L" r  v

5 [+ r8 t( B9 s( M8 c1 W. I* O6 c
! o: b; a. ]/ p, u- J) o9 ^% ~/ |3. Appendix
8 p+ x$ g8 y, H8 G% N/ T; X5 C
7 A# {# c. k( ?/ p. {+ r) X% Y. l3.1 Unfinished Works
- ~% d9 }! ~1 l0 u3 v3 A: L4 @- u  A8 K
S.687, Sardanapale (Byron) [opera, partly sketched, 111 pages] (?)
; ~- u0 N) e. G/ X& y2 t: x. h% PS.688, Oratorio - Die Legende vom heiligen Stanislaus [sacred choral] (1873-85)6 q2 l( |& l1 S5 f! B  C
S.688a, St Stanislaus fragment [solo piano, Library of Congress] (1880-86)* [; _3 N/ s" E, ~, r4 k% K
S.689, Singe, wem Gesang gegeben [secular choral] (1847)0 I8 b) z. `( f4 H1 ~
S.690, Revolutionary Symphony [unfinished, revised 1848] (1830)
" v; F4 c3 X( _S.691, De Profundis [piano and orchestra, De Profundis - Psaume instrumental] (1834?)
  W& ]- L6 X- u* tS.692, Violin Concerto [only sketched] (1860)
9 \% y8 f. o/ r2 a- _1 RS.692a, The Four Seasons String quartet (Vivaldi) (1880?). Y4 {1 p- o4 [5 E: z" E6 A
S.692b, Anfang einer jugendsonate [solo piano] (1825)
2 t+ o5 c/ `+ K# pS.692c, Allegro maestoso [solo piano] (1826)
- H1 P+ Z5 Z! u+ YS.692d, Rákóczi-Marsch [solo piano, first version, simplified, unfinished] (1839)! Q- S; c3 ]" N2 f$ a3 D
S.692e, Winzerchor (Prometheus) [solo piano] (1850)
0 b# C% N, P; F* k2 g+ j! US.693, Deux marches dans le genre hongrois [solo piano, 2 pieces] (1840?)
$ W6 O$ F) O* n; \. NS.693a, Zwei Stücke aus der heilige Elisabeth [solo piano] (1862); Z4 S0 w6 e( s6 p# q  b
S.694, Fantasie über englische Themen [solo piano] (1840?)
1 g. ], ]& k0 s3 @% I' `S.695, Morceau en fa majeur [solo piano] (1843?)
2 b' g( n- x5 \# E: f4 mS.695a, Litanie de Marie [solo piano] (1847)( A) H9 Q4 U+ c7 Z: k5 e
S.695b, Zigeuner-Epos [solo piano, 11 pieces] (ca. 1848)
# q+ |9 i- H9 ^S.696, Mephisto Waltz No.4 (1884) 第四梅菲斯特圆舞曲; d5 k- i& I" D; X9 g
S.697, Fantasie über Themen aus Figaro und Don Giovanni (Mozart) [solo piano arrangement] (1842); f/ G2 j' l+ C" b) }( n
S.698, La Mandragore - Ballade de l'opéra Jean de Nivelle de L. Delibes [solo piano arrangement] (a. 1880)
3 V4 l* x$ Y" y9 e' X6 b( AS.699, La Notte (Odes Funèbre no. 2) [solo piano arrangement] (1864-66)
3 W* @' a1 ]3 gS.700, Grand Fantaisie (Variations) sur des thèmes de Paganini [first/second version; completed by Mezö] (1845)! h3 S' K$ Q7 c; K% l+ U
S.700a, Variations sur Le Carnaval de Venise (Paganini) [solo piano arrangement] (?)2 ?6 W, \5 C' l* D- K3 m9 i! }  [
S.701, Den Felsengipfel stieg ich einst hinan [song] (?)
" \- H1 ~& G- g5 w1 _" k+ A6 XS.701a, Allegro di bravura [orchestra, arrangement] (ca. 1830)
' ?" W1 b' _  b0 h& a/ P/ QS.701b, Marie-Poème [solo piano] (1837): E8 w/ f7 a7 ]3 ?: {9 Q2 z
S.701c, Andante sensibilissimo [solo piano] (1880-86)- C# @- s9 B% `# e' U
S.701d, Melodie in Dorische Tonart [solo piano] (1860)
( O( I+ Y1 v5 A! Y3 PS.701e, Dante fragment [solo piano] (1839)
" S: ]; U5 j& ]- SS.701f, Glasgow fragment [solo piano] (?)8 f) |0 d& p- U$ y: A
S.701g, Polnisch - sketch [solo piano] (1870-79)
$ y: E/ ]  ?" o) @& z$ P5 lS.701h/1, Operatic aria - and sketched variation [solo piano] (?)
4 ?" ~. f+ y6 \S.701h/2, Valse infernale (Meyerbeer) - theme [solo piano arrangement] (?)
' J( |/ b! a% k- Y+ f- w4 p) YS.701j, Harmonie nach Rossini's Carità (La charité) [solo piano arrangement] (1847)( e  U( u3 E! X! e) |+ T3 W
S.701k, Korrekturblatt (to an earlier version of La lugubre gondola) [solo piano] (1882)
( W$ x3 ~7 x. r4 r( W3.2 Doubtful or Lost
6 Q6 F- G, ?3 V/ N" H5 M8 d, o4 w: X) o: d6 Q# {5 j# O, c- {3 g
3.2.1 Sacred Choral Works9 m% q( }4 Y# C
, K0 g) j/ E2 M! o9 M
S.702, Tantum Ergo (1822)8 {$ E8 C. w. F5 G! R1 ]6 |* v
S.703, Psalm 2 (1851)  n, Y. o$ ~0 o0 y
S.704, Requiem on the death of Emperor Maximilian of Mexico (?)* L# B& V8 C5 q# l& H5 B# p
S.705, The Creation (?)/ V. Q" w5 Q; J3 T% X( s- P4 D$ {
S.706, Benedictus [doubtful] (?)" j2 I2 g/ ]8 W# i
S.707, Excelsior [arrangement, doubtful] (?)" Y& t0 _4 Z* h, `5 I. ]
3.2.2 Secular Choral Works: A* C9 v: w# u, C! }

) V$ S/ c; l1 j' f. h; V7 U9 U( hS.708, Rinaldo [doubtful] (ca. 1848)& K" l" k  K5 j& F4 _& R
3.2.3 Orchestral Works! H, o9 o( ]9 H6 e5 m$ Q
' ]; L7 c9 f* E
S.709, Salve Polonia [rediscovered, renumbered as S113] (1863)/ J- X6 Q% Y4 p. V* U( S) b
S.710, Funeral March (?)! Q8 t3 q3 b1 A- b) H1 A
S.711, Csárdás macabre [arrangement] (?)
/ }/ Z$ C: \9 P5 _; O0 f% [S.712, Romance oubliée [arrangement] (?). r7 d# D+ r: B3 M- i8 e* @7 G
3.2.4 Piano and Orchestra! v# ~$ t( R7 ^2 T
4 t% b4 s1 J. `
S.713/1, Piano Concerto in A minor (1825?)
! S% V( v) {( K# B9 GS.713/2, Piano Concerto (1825?). v' }6 ?5 g! H$ g
S.714, Piano Concerto in the Hungarian style [by Sophie Menter, renumbered as S126a] (1885)# P5 u4 c  C0 X' s
S.715, Piano Concerto in the Italian style (?)  O1 H* `* A+ a
S.716, Grande fantaisie symphonique [orchestral] (?)9 g( L0 v& E0 ?% k! J
3.2.5 Chamber Music
0 t! E, i: a2 o; W; G3 p# N
4 t9 P( c% ~( j  p: `2 {S.717, Trio (1825)* M- {% n$ ?9 k3 B# _) |" G) g
S.718, Quintet (1825). {7 C! e9 g* _' J- z, `: c
S.719, The Four Seasons String Quartet (Vivaldi) [rediscovered, renumbered as S692a]* O1 N: x4 V$ n/ u( G
S.720, Allegro moderato (?)/ `3 U9 W: E& B3 J, a( {! Y
S.721, Prelude (?)
1 J$ l9 x( l4 u+ Q1 XS.722, La notte (Odes funèbre no.2) [rediscovered, renumbered as S377a] (1864-66)
( k! o. f& T8 j1 o/ jS.723, Tristia [arrangement, from Vallée d'Obermann S160/6] (1880-86 ?)+ @# [9 R1 N! Z( {
S.723a, Postlude on theme from Orpheus [arrangement] (?)
1 O- q: D+ T6 h5 M+ P# _$ Z3.2.6 Pianoforte Solo
: `- W/ @$ C* z1 O$ G9 l' N& i+ H
9 k3 O$ a) Y: L+ `% F5 NS.724, Rondo and Fantasy (1824)
( |' }  z% X# e( {- ~S.725, 3 Sonatas (1825)4 i7 X$ o4 h8 k5 \% [5 ]
S.726, Study (?)
1 G4 `2 D1 U; E" L' }+ ES.726a, Valse (?)" [1 l# i  k" X7 _7 L$ j5 S3 r- [
李斯特全部作品目录-5
+ a0 ~" T$ ]  r' m' k
  k1 \# E6 H1 @S.727, Prélude omnitonique (?)/ M+ i5 {% W/ ~
S.728, Sospiri (Fünf Klavierstücke) [rediscovered, renumbered as S192/5] (1879)
, R) t3 M  x+ l" T$ IS.729, [rediscovered, renumbered as 42(?)]+ G5 W- S: u. |  ~2 n
S.730, Dem Andenken Petöfis (Petófi Szellemének) [rediscovered, renumbered as S195] (1877)2 O: j. j. @& `+ t4 k1 F0 l8 ^4 j
S.731, Valse élégiaque (?)
7 [+ `8 m& {" w3 H6 Q3 vS.732, Valse Oubliée No.4 [rediscovered, renumbered as S215/4] (1883-84)6 d1 n& |# J6 U7 h- P2 Z# ^* w
S.733, Marche hongroise (in E flat minor) [rediscovered, renumbered as S233b] (1844)( p7 q0 a, C, G+ {& y7 h8 @3 [
S.734, Ländler (?)" n. ]! S9 }6 W7 G  W; F
S.735, Air cosaque (?)
( r1 q: K2 l. `' a9 vS.736, Kerepsi csárdás (?)4 V6 u6 O2 m1 p* O/ R9 {/ E
S.737, 3 morceaux en style de danse ancien hongrois (?)
- z( K5 E  p2 Q/ @# TS.738, Spanish folksong arrangement (?)
) `6 u1 u! S3 [' ]1 R. Z3.2.6.1 Arrangements
' C) _4 Y1 s6 \( }. f- m7 u
0 R# Z2 p4 T" s) T/ C$ yS.739, Corolian Overture (Beethoven) (?)
' Q% f# d  k$ c' uS.740, Egmont Overture (Beethoven) (?)+ D0 Q/ `) \& }
S.741, Le carnaval romain - Overture (Berlioz) (?)9 l1 J! M; N" R. }4 A
S.742, Duettino (Donizetti) (?): h/ {5 b- `+ ]* m5 d* |6 x
S.743, Soldiers Chorus from Guonod's Faust (?). o( B; P3 X6 k1 j6 ~7 g  D
S.743a, Fantasia on themes from Halévy's Guitarero (b. 1841)4 E: d6 U! U/ P- s
S.744, Paraphrase on Act 4 of Kullak's Dom Sebastien (?)
" h8 J3 [) s8 {4 kS.745, Funeral March (?)/ T) O" h# Z/ O3 O) c
S.746, Andante Maestoso (?)" s1 q* ?/ n5 b% r) A% c& V
S.747, Poco adagio (from Missa Solemnis) (?)! v+ v' `! \7 P: I/ Y
S.748, Overture to Mozarts "Die Zauberflöte" (?)
; X/ U/ B$ \  k6 _6 W, Q) HS.749, Preussischer Armeemarsch (Radovsky) (?)
# U7 Q2 C% E- {# D/ ]+ [; ?9 IS.750, Siege de Corynthe, Introduction (?)
6 e' Q. q5 ]8 H8 l1 H- ^" z' ZS.751, Nonetto e Mose, Fantasia on themes by Rossini (?)
# i0 y. _  {& L. x& P+ QS.752, Gelb rollt (Rubinstein) (?)  ^: B. A( ]6 S; j
S.753, Alfonso und Estrella, Act 1 (Schubert) (?)
* }- H4 [' c$ g+ q# wS.754, Seconda mazurka variata (Tirindelli) [rediscovered, renumbered as S573a] (1880)* ~8 J+ N# J; A2 g6 `5 n9 l0 C
3.2.7 Pianoforte Duet- S0 m* s0 e  y

6 E) a$ [5 P( a# v9 A; f5 aS.755, Sonata (?)
. D3 P9 f. ?/ }$ `7 P, Q- e3.2.8 Two Pianofortes
$ k1 r+ ]1 y; ^, U4 t. [8 ]% ^- w8 |3 X
S.756, Mosonyis Grabgeleit (?)" }3 O# ?3 B+ t( c3 P7 [; d
S.757, La triomphe funébre du Tasse (?)" V: `9 ~" T" B( T0 u
3.2.9 Organ
1 \! P  f8 Z! U) d- \# q1 F2 c
9 \0 U5 s9 v6 t; PS.758, The Organ (Herder) (?)
7 h9 Q+ l9 ~/ Y9 H. v0 e! o- WS.759, Consolation [arrangement] (?)) M; G, i* V1 I" L9 E# H# J
S.760, Cantico del sol di St. Francesco [arrangement] (?)" L+ f4 a) S+ l& V5 e
S.761, Marche funèbre (Chopin) [arrangement] (?)
- q* F, _% p7 [+ \3.2.10 Songs! _; p% p6 I8 R$ _! z6 B+ C9 ~/ v

; C" ?  e! @/ _. M2 @' |7 ^0 IS.762, Air de Chateaubriand (?)1 U- _. Z0 n  W1 a
S.763, Strophes de Herlossohn (?)
7 [& n( B6 V4 B- uS.764, Kränze pour chant (?)
  V4 b  A1 E0 ^" R7 x3 z# T4 p" H! tS.765, Glöcken (Müller) (?)4 @$ h! ^1 u# i+ u9 Z$ |% e; r8 F
S.765a, L'aube naît (Hugo) (1842?)
/ n1 S" B+ S" g6 L3 G, YS.766, Der Papsthymnus (?)6 K* q2 a# t3 l7 ?7 Y
S.767, Excelsior (?)5 j1 E* G+ @; ~5 `: f
3.2.11 Recitations
- W8 N; y5 i+ ]4 Y0 e; ^) Q
8 Z! I: A, y( |. ~" h" B6 TS.768, Der ewige jude (Schubart) (?)
: S; {) w5 H5 N* x" B* E# l0 Q- j3.3 Supplement
& ~5 @" o& ^" `- a0 E' N8 G0 z+ s8 w1 ]& g4 B$ j
S.990, Fantasy and Fugue on the chorale "Ad nos, ad salutarem undam" (played by Liszt to Walter Bache) [solo piano, arrangement] (b. 1862)7 ]8 ^# O3 z/ y5 ~
S.991, Waltz in A major [chamber, arrangement] (?)
0 `6 q4 g' ^! d* T! OS.993, Wartburg Lieder (Scheffel) [orchestral, arrangement] (?)  u5 J5 [! g# T6 I+ l+ Q
S.994, Grand solo caractéristique à propos d'une chansonette de Panseron [solo piano, arrangement] (1830-32)/ _  z9 X6 u& l( k+ s" w8 ^% ]. p
S.995, Variations de bravoure sur des thémes de Paganini [unfinished] (1845)  Z7 i% u& t! t
S.996, Stabat Mater [solo piano] (1870-79 ?)% A6 ^- o8 N, E/ O% e# `/ |9 ]
S.997, 5 Variationen über Romanze aus 'Joseph' (Méhul) (by Franz Xaver Mozart, attributed to Liszt) (ca. 1834)6 d: ^1 }  w. v; H
S.998, Adagio in C [solo piano] (1841)9 S; T4 o9 P. Y
S.999, Andante Maestoso [organ] (?)! H5 Z, |1 T# J8 m1 j" T
降E大调钢琴协奏曲（遗作）Piano Concerto in E flat Major Op.posth
4 p  i% R" k* O: n2首悲歌 2 Elegies
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