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中国原创歌词网基地»歌词网 › 学习园地 › 作词写词直播园地 › 李斯特全部作品目录
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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》。4 h9 [0 e6 o# b7 m/ ^, \
李斯特全部作品目录-1
1 l/ F7 Q5 y/ V( n; w$ g# H. w9 G# |
1.1 Opera(歌剧)$ Z& x4 x4 y' o8 r+ `; \! F
6 f. y: r. e2 c+ c+ S) v$ O
S.1, Don Sanche, ou Le chateau de l'amour (1824–25) 歌剧《唐切桑》
  {5 K  B1 g5 I' c+ y& Q, K0 E1.2 Sacred Choral Works(神圣的合唱作品)( `6 n5 {! P% m- y5 X* g

. H) c: v) |! gS.2, The Legend of St. Elisabeth (1857–62) 清唱剧《圣伊丽莎白传奇》
; i+ m# @3 n- a4 Z& g  IS.3, Christus (1855–67) 清唱剧《基督》
" N) K" {$ t" H7 r3 oS.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》
$ k+ W6 `* a/ V6 [: W: J0 A) _S.5, Die heilige Cäcilia (1874)0 Z( A$ ^7 e1 x1 W/ `/ }5 ]  J1 d
S.6, Die Glocken des Strassburger Münsters (Longfellow) (1874)  Q8 v$ K- J8 K. B
S.7, Cantantibus organis (1879)
- p9 H2 J& e7 h' Y/ c; JS.8, Missa quattuor vocum ad aequales concinente organo [first/second version] (1848, 1869)
# J% S( s) v  D9 {6 a' b/ q2 CS.9, Missa solennis zur Einweihung der Basilika in Gran (Gran Mass) [first/second version] (1855, 1857–58)
- ?4 T# Z1 V. P: T! n, oS.10, Missa choralis, organo concinente (1865)' F. {- {+ J+ }6 e- G
S.11, Hungarian Coronation Mass (1866–67)% t$ I# y) F+ }# h; q' ?6 ^
S.12, Requiem (1867–68)1 e* X+ B; b. I6 h& L2 `
S.13, Psalm 13 (Herr, wie lange ?) [first/second/third verion] (1855, 1858, 1862)0 T" ~8 w' b8 o' s! @0 F
S.14, Psalm 18 (Coeli enarrant) (1860)1 e- Q: y& D3 l1 L
S.15, Psalm 23 (Mein Gott, der ist mein Hirt) [first version: chorus, soloist & orchestra] [second version: chorus, soloist & violin, piano, harp, organ] (1859, 1862)
$ @2 v" [! ]4 g8 K' @5 u: v7 X  g' \S.15a, Psalm 116 (Laudate Dominum) (1869)& v8 V& j+ [  M; E3 [* T
S.16, Psalm 129 (De profundis) (1880–83)" P  E6 I, j' n  X9 r
S.17, Psalm 137 (By the Rivers of Babylon) [first/second version] (1859–62)" x6 F, A6 N+ V, J4 B3 {+ U, P: K
S.18, Five choruses with French texts [5 choruses] (1840–49)
  |$ X% X9 V3 V- tS.19, Hymne de l'enfant à son réveil (Lamartine) [first/second version] (1847, 1862); P- x6 @& K& q4 A- k: X
S.20, Ave Maria I [first/second version] (1846, 1852)
" j# {/ d' B: {) ~8 f) JS.21, Pater noster II [first/second version] (1846, 1848)
) r2 J2 p/ _6 [% p; VS.22, Pater noster IV (1850)
& }4 s6 j7 \- Z5 y8 L) B5 y: s& CS.23, Domine salvum fac regem (1853)% b! g% c4 j- k- y
S.24, Te Deum II (1853?)
4 J( ~9 P- S* O( `7 b3 F& aS.25, Beati pauperes spiritu (Die Seligkeiten) (1853)
1 p. J5 y4 ^* ^3 Z! O  ZS.26, Festgesang zur Eröffnung der zehnten allgemeinen deutschen Lehrerversammlung (1858)
% @- u$ o) w$ Z; lS.27, Te Deum I (1867)
4 d) A  ?. T4 s* _& _0 `S.28, An den heiligen Franziskus von Paula (b. 1860)# Z/ s8 y& D  u4 }$ r/ O
S.29, Pater noster I (b. 1860): e& f# F. l/ \5 @' w
S.30, Responsorien und Antiphonen [5 sets] (1860)1 s0 @5 Q8 q' i) ~3 _
S.31, Christus ist geboren I [first/second version] (1863?)
4 h5 e3 y5 P( \3 v$ O& QS.32, Christus ist geboren II [first/second version] (1863?)# s- g1 F& U- _, i# z! K
S.33, Slavimo Slavno Slaveni! [first/second version] (1863, 1866)
3 u$ `- P3 b: U0 }; M8 MS.34, Ave maris stella [first/second version] (1865–66, 1868)% z, R! X+ x; i1 Z6 h# g! B+ ]
S.35, Crux! (Guichon de Grandpont) (1865)* T' V) z; o- k7 \
S.36, Dall' alma Roma (1866)1 `9 t5 n& K% e7 k! {
S.37, Mihi autem adhaerere (from Psalm 73) (1868)6 I7 u3 c# y* s. u7 T5 s! a! ?
S.38, Ave Maria II (1869)
- A/ Z9 S! Z% S( AS.39, Inno a Maria Vergine (1869)5 U! J3 e  Y" }! p
S.40, O salutaris hostia I (1869?)* S5 e0 o8 E: Q# f/ c5 u0 T( Z
S.41, Pater noster III [first/second version] (1869)2 d3 B1 ?0 |$ C/ T( _$ n1 j, a
S.42, Tantum ergo [first/second version] (1869)" [4 U( S! Z% Y) B! b8 C- T& A
S.43, O salutaris hostia II (1870?)
. n6 }1 [9 Q' AS.44, Ave verum corpus (1871): ?. w& U% F  M& P, {4 z- w
S.45, Libera me (1871)
/ g  G0 C5 n+ \" m' ]S.46, Anima Christi sanctifica me [first/second version] (1874, ca. 1874)
" u" w, `3 n. f. [  ^; WS.47, St Christopher. Legend (1881)
' H# ?2 K. C& i, b& n* s5 v( dS.48, Der Herr bewahret die Seelen seiner Heiligen (1875)
: C- Z' M. |; Z5 U5 _S.49, Weihnachtslied (O heilige Nacht) (a. 1876)
; f( ^4 `7 C/ K4 I' {S.50, 12 Alte deutsche geistliche Weisen (Chorales) [12 chorals] (ca. 1878-79)
: n- J% K3 Q1 e- q+ CS.51, Gott sei uns gnädig und barmherzig (1878)) S! ^; d" W5 G- U" f! G
S.52, Septem Sacramenta. Responsoria com organo vel harmonio concinente (1878)
5 l  y  c& Y' z" {7 h4 B/ DS.53, Via Crucis (1878–79)  ]. T# p, F9 ?. c- K, K1 L
S.54, O Roma nobilis (1879)- B! j, P! n# i4 L/ P: d
S.55, Ossa arida (1879)
7 c0 M5 J) N9 R; {$ e5 u$ w+ [S.56, Rosario [4 chorals] (1879)
; S- Q8 {1 r( w8 F# N: ?2 ?7 bS.57, In domum Domino imibus (1884?)8 S7 O. D1 ~/ c$ }$ r
S.58, O sacrum convivium (1884?)9 |$ L% y7 b8 r3 J3 ~! m
S.59, Pro Papa (ca. 1880)
# V2 H$ }( P! @2 \1 mS.60, Zur Trauung. Geistliche Vermählungsmusik (Ave Maria III) (1883)! N0 \9 [4 O1 j
S.61, Nun danket alle Gott (1883)+ B% u/ o) a+ k+ r) E. ^+ G% l
S.62, Mariengarten (b. 1884)& B0 Z5 Y" G. P3 R3 b$ C7 X& I  F) ]
S.63, Qui seminant in lacrimis (1884)
4 |% C' I- y; C! }S.64, Pax vobiscum! (1885)
/ Z! u" u7 F) @S.65, Qui Mariam absolvisti (1885)* A8 `7 C  \4 Z
S.66, Salve Regina (1885)4 ]; L" ?7 ^4 D
1.3 Secular Choral Works(世俗的合唱作品)
* P4 ?0 o) N! D% s, k; p3 u9 {4 gS.67, Beethoven Cantata No. 1: Festkantate zur Enthüllung (1845)5 k1 M& x* j% G+ ~
S.68, Beethoven Cantata No. 2: Zur Säkularfeier Beethovens (1869–70). j' M" [- d) S; e; P% `
S.69, Chöre zu Herders Entfesseltem Prometheus (1850)
  u2 n) J$ K9 B5 y5 J% R0 u1 m7 T6 CS.70, An die Künstler (Schiller) [first/second/third verion] (1853, 1853, 1856): {5 A+ }3 \7 C0 {( z
S.71, Gaudeamus igitur. Humoreske (1869)
; {# M* C: ~$ g& S3 c9 ?S.72, Vierstimmige Männergesänge [4 chorals] (for Mozart-Stiftung) (1841)
) l& e( C5 @9 s7 F2 Y) pS.73, Es war einmal ein König (1845)/ j1 d$ O+ s7 _9 \& I7 S" D
S.74, Das deutsche Vaterland (1839)+ `4 G% D4 l5 v+ M
S.75, über allen Gipfeln ist Ruh (Goethe) [first/second version] (1842, 1849)
3 O, D5 j$ ^2 h! K$ O; HS.76, Das düstre Meer umrauscht mich (1842)/ k! b/ _$ M5 L& I
S.77, Die lustige Legion (A. Buchheim) (1846)
% P8 y7 |. t3 G  OS.78, Trinkspruch (1843)8 w5 D5 `5 U  N
S.79, Titan (Schobert) (1842–47); t- c6 O# w" V
S.80, Les quatre éléments (Autran) (1845)
# g3 Z0 n2 E* k7 Y/ h( }S.81, Le forgeron (de Lamennais) (1845)
" ^  Q- e; F( IS.82, Arbeiterchor (de Lamennais?) (1848)" u! j. l4 U) C: g6 {
S.83, Ungaria-Kantate (Hungaria 1848 Cantata) (1848). |( G) n3 ]; k5 u# ?+ O) h7 l
S.84, Licht, mehr Licht (1849)
9 `; [+ k' u% B$ F8 B8 R! cS.85, Chorus of Angels from Goethe's Faust (1849)) x: @+ F, R. N0 W$ o8 p
S.86, Festchor zur Enthüllung des Herder-Dankmals in Weimar (A. Schöll) (1850)3 x( D) v: Z* m
S.87, Weimars Volkslied (Cornelius) [6 versions] (1857)
2 d8 X$ W' K& m8 w  V+ F; I- KS.88, Morgenlied (Hoffmann von Fallersleben) (1859)& d, J) O6 L# t& d$ S1 o- H
S.89, Mit klingendem Spiel (1859–62 ?)  x# c. E0 S# s
S.90, Für Männergesang [12 chorals] (1842–60)" X1 J8 p, {5 a# q$ H# {
S.91, Das Lied der Begeisterung. A lelkesedes dala (1871)3 ~+ z( ]! Z9 F4 F2 {
S.92, Carl August weilt mit uns. Festgesang zur Enthüllung des Carl-August-Denkmals in Weimar am 3 September 1875 (1875)
! l8 a% N% ?, r+ X! x) e: bS.93, Ungarisches Königslied. Magyar Király-dal (ábrányi) [6 version] (1883)
& _* N' Z1 o) x' ?S.94, Gruss (1885?)7 K+ x" \& t0 v" e
1.4 Orchestral Works(管弦乐作品)$ x1 d# U* ?$ b3 c5 V- ^

$ P6 N* U' ~: n- e# N7 n; t# y1.4.1 Symphonic Poems(交响诗)
0 W! m, ?5 t/ O1 H! t1 D, H2 b) f5 D  H
S.95, Poème symphonique No. 1, Ce qu'on entend sur la montagne (Berg Symphonie) [first/second/third version] (1848–49, 1850, 1854) 第一交响诗 山间所闻. d5 ^$ E% x9 N, v, p
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》
/ v1 \' }- h2 l6 r2 Z& fS.97, Poème symphonique No. 3, Les Préludes (1848) 第三交响诗“前奏曲”
; n5 m7 u1 N" Y. M3 RS.98, Poème symphonique No. 4, Orpheus (1853–54) 第四交响诗 《奥菲欧》- Z% [7 J1 g( M
S.99, Poème symphonique No. 5, Prometheus [first/second version] (1850, 1855) 第五交响诗《普罗米修斯》
8 G* g& V0 D( n$ C, t6 gS.100, Poème symphonique No. 6, Mazeppa [first/second version] (1851, b. 1854) 第六交响诗《马捷帕》0 F: ?2 L% [% `! {
S.101, Poème symphonique No. 7, Festklänge [revisions added to 1863 pub] (1853) 第七交响诗《节日之声》. ^+ r) C. d. N3 ?  V
S.102, Poème symphonique No. 8, Héroïde funèbre [first/second version] (1849–50, 1854)  第八交响诗《英雄的葬礼》1 Z: N! h/ {8 Q  A# j
S.103, Poème symphonique No. 9, Hungaria (1854) 第九交响诗《匈牙利》
: U1 B" n$ ^: k: GS.104, Poème symphonique No. 10, Hamlet (1858) 第十交响《哈姆雷特》( l. h: v3 k. v% u- z2 o
S.105, Poème symphonique No. 11, Hunnenschlacht (1856–57) 第十一交响诗《匈奴之战》
$ m0 `! k* u- M+ rS.106, Poème symphonique No. 12, Die Ideale (1857) 第十二交响诗《理想》  t. P! `8 ]: F  L
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》
; l1 q1 ?1 L/ `( g; g1.4.2 Other Orchestral Works(其他管弦乐作品)
7 T0 B6 `( @8 A" W/ q; U6 f! V  {* ]9 Z  [/ @
S.108, Eine Faust-Symphonie [first/second version] (1854, 1861)
, \. I1 S. ~/ {8 j3 w8 G+ n+ T- A5 hS.109, Eine Symphonie zu Dante's Divina Commedia (1855–56)% L9 y) c% U# V9 c. I
S.110, Deux épisodes d'apres le Faust de Lenau [2 pieces] (1859–61); ^  L  z  Z1 I7 N
S.111, Zweite Mephisto Waltz (1881)  @) a% i9 t1 ~
S.112, Trois Odes Funèbres [3 pieces] (1860–66)$ Y" Q5 G) g; ~* w. s* `* J. k0 _
S.113, Salve Polonia (1863)
+ u3 V7 i: I5 x* {S.114, Künstlerfestzug zur Schillerfeier (1857)" f, m9 m! c8 x7 ?" z
S.115, Festmarsch zur Goethejubiläumsfeier [first/second version] (1849, 1857)
7 p& U! d9 r% E  h1 ?5 fS.116, Festmarsch nach Motiven von E.H.z.S.-C.-G. (1857)
2 ^# r* q) p. Y( R  x7 T% `S.117, Rákóczy March (1865)3 B; P. a& t4 E4 u+ H( V3 ~% K; e
S.118, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (am 8 Juni 1867) (1870)$ ^# ]8 ~7 e3 a
S.119, Ungarischer Sturmmarsch (1875)
. V/ L; e; o/ q, G6 b/ q' v, j- q* P; E1.5 Piano and Orchestra(钢琴与乐队)
7 t( r1 ^+ S3 q- I' z' w
5 o% a6 ~" S5 W+ `  d9 m* R/ g$ U: l6 E. q
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)
1 e: X( D& g6 k5 I+ JS.121, Malédiction (with string orchestra) (1833)  诅咒  钢琴与弦乐队: W) I9 J, B% z4 S  t  I! ~
S.122, Fantasie über Beethovens Ruinen von Athen [first/second version] (1837?, 1849)5 g1 p1 I7 T: r3 \" A  p
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
# ]! ~& f3 R) d9 s# mS.124, Piano Concerto No. 1 in E flat [first/second version] (1849, 1856) 降E大调第一钢琴协奏曲- l3 V3 U5 w8 k& [0 @
S.125, Piano Concerto No. 2 in A major [first/second version] (1839, 1849) A大调第二钢琴协奏曲9 {7 ?; V$ U6 _) V/ `8 j
S.125a, Piano Concerto No. 3 in E flat (1836–39)9 ~7 u1 W  G! W
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2 N+ [% Q" U" G6 P  O
S.126a, Piano Concerto "In the Hungarian Style" [probably by Sophie Menter] (1885)" `. G6 P* `) ~
1.6 Chamber Music(室内乐等)2 Z' {, i7 p" l- y& B" Q+ G1 e1 N

' Y) v) x! B3 i0 xS.126b, Zwei Waltzer [2 pieces] (1832)1 M% p4 ?7 |& D

/ @5 x0 \2 D2 R$ _. iS.127, Duo (Sonata) - Sur des thèmes polonais (1832-35 ?)8 b: h+ m  b" C8 H- V
S.128, Grand duo concertant sur la romance de M.Lafont Le Marin [first/second version] (ca. 1835-37, 1849)
, k! |8 Q# U2 {2 ?5 IS.129, Epithalam zu Eduard. Reményis Vermählungsfeier (1872)
4 h% t$ B; y0 {9 s8 |, j. jS.130, élégie No. 1 [first/second/third version] (1874)
7 h; W3 R$ F/ q1 DS.131, élégie No. 2 (1877)# \) h- \9 k" m% R+ t! ~2 y3 G
S.132, Romance oubliée (1880)+ I0 z, |- F% B9 g5 [( ?+ @
S.133, Die Wiege (1881?)9 j8 i. q6 F( _6 }
S.134, La lugubre gondola [first/second version] (1883?, 1885?)
* o5 l" c; |6 Q+ Z" V9 L7 U% yS.135, Am Grabe Richard Wagners (1883)5 e3 j% C; T3 x
1.7 Piano Solo- e0 i5 |) _# R; e# c& i$ g
! d9 I& U" m9 c/ ~4 S; Y0 t# i
1.7.1 Studies(钢琴练习曲); U( K& b9 U8 d$ ?
8 ]" a2 }, f& I6 {! n! z" @
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. `3 ]2 q. I! n( U" O, R/ V
S.137, Douze grandes études [second version, 12 pieces] (1837) 《12首超技练习曲》
: V. f+ Y' ^) m2 \! o: ]. x% tS.138, Mazeppa [intermediate version of S137/4] (1840) 练习曲“玛捷帕”4 G) q0 u* ]* b( E$ p  D9 U
S.139, Douze études d'exécution transcendante [final version, 12 pieces] (1852) 12首超技练习曲* ]- n6 U6 ?- T# @  Z2 X: L9 E
S.140, études d'exécution transcendante d'après Paganini [first version, 6 pieces] (1838) 帕格尼尼超技练习曲
$ c0 n: S8 W) T6 x# C+ JS.141, Grandes études de Paganini [second version, 6 pieces] (1851)  6首帕格尼尼大练习曲
8 U  h1 B/ m# N6 X& uS.142, Morceau de salon, étude de perfectionnement [Ab Irato, first version] (1840) 高级练习曲“沙龙小品”
+ j5 l5 M( P& g- [& o/ AS.143, Ab Irato, étude de perfectionnement [second version] (1852) 高级练习曲“愤怒”
0 r5 Q' x, }! x& m  c! n1 y# \! PS.144, Trois études de concert [3 pieces] (1848?)  3首音乐会练习曲
7 ]; D* g  g9 R/ _1 l( j. ?1.    Il lamento- a& T4 R" G  ?; ^2 s, Q7 i
2.    La leggierezza
* N* v* t% E8 N3.    Un sospiro
2 j! I$ m% m: `* W; S  HS.145, Zwei Konzertetüden [2 pieces] (1862–63)  2首音乐会练习曲
' R" g) V6 S# C: y+ `1.    Waldesrauschen
. D0 D' C! _9 s2 C4 v2.    Gnomenreigen+ P. B' h2 C1 [' T
S.146, Technische Studien [68 studies] (ca. 1868-80)  钢琴技巧练习
) N% Y9 ^3 o& Z1.7.2 Various Original Works(各种原创作品)
4 T7 c) Z: _' ~2 j  W  s; K7 v5 g- K/ l- i, i% F8 r
S.147, Variation on a Waltz by Diabelli (1822)  狄亚贝利圆舞曲主题变奏曲
  j* m  v$ f2 V, X: U& MS.148, Huit variations (1824?) 降A大调原创主题变奏曲, }& D5 I# k, y6 d1 V- N
S.149, Sept variations brillantes dur un thème de G. Rossini (1824?)
6 Q( B7 Q# t3 S  HS.150, Impromptu brilliant sur des thèmes de Rossini et Spontini (1824) 罗西尼与斯蓬蒂尼主题即兴曲
( g% B- D. P9 G6 B$ V, _S.151, Allegro di bravura (1824) 华丽的快板( T( `9 w) x$ S( F5 C& E" N
S.152, Rondo di bravura (1824) 华丽回旋曲9 T3 C/ V" m9 G% t; W% r
S.152a, Klavierstück (?)5 v- E5 j3 b" B0 \: G
S.153, Scherzo in G minor (1827) g小调谐谑曲6 o8 ?# M8 X4 ]; l) H; u+ R
S.153a, Marche funèbre (1827), ^6 W3 v/ n/ V! v) L7 }
S.153b, Grand solo caractèristique d'apropos une chansonette de Panseron [private collection, score inaccessible] (1830–32) [1]
: l- q' c6 B; `( |( xS.154, Harmonies poétiques et religieuses [Pensée des morts, first version] (1833, 1835) 宗教诗情曲3 O" R  K5 q( I( ]
S.155, Apparitions [3 pieces] (1834) 显现 三首钢琴小品) p! a4 @7 }2 T% `  `
S.156, Album d'un voyageur [3 sets; 7, 9, 3 pieces] (1835–38) 旅行者札记1 p: q' |5 F& N$ ]5 g4 u  ]/ d( u
S.156a, Trois morceaux suisses [3 pieces] (1835–36)
0 Y5 N: |. N: Y' SS.157, Fantaisie romantique sur deux mélodies suisses (1836) 浪漫幻想曲
0 z0 x9 ~: q$ bS.157a, Sposalizio (1838–39). p7 Q* S1 m. ]# G) b$ V
S.157b, Il penseroso [first version] (1839)
$ L1 |# e0 q3 [- ^- YS.157c, Canzonetta del Salvator Rosa [first version] (1849)0 ?8 X* H5 O. l! B
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% v0 I6 W  y* z( K: T: c& s5 w' y" I2 }
S.158a, Paralipomènes à la Divina Commedia [Dante Sonata original 2 movement version] (1844–45)
; \: }* b1 I# y4 \1 i  z2 `, P: {* `3 vS.158b, Prologomènes à la Divina Commedia [Dante Sonata second version] (1844–45)) v: W; P3 I, S) d
S.158c, Adagio in C major (Dante Sonata albumleaf) (1844–45)
4 J2 l+ f2 z+ i$ z. c) zS.159, Venezia e Napoli [first version, 4 pieces] (1840?)  威尼斯和拿波里* [, \5 @/ W, O
S.160, Années de pèlerinage. Première année; Suisse [9 pieces] (1848–55)  旅行岁月（第一集）- 瑞士游记
" y2 @: y% p$ j6 q  s; h' RS.161, Années de pèlerinage. Deuxième année; Italie [7 pieces] (1839–49) 旅行岁月（第二集）- 意大利游记+ t) g. z, [/ `: H
S.162, Venezia e Napoli. Supplément aux Années de pèlerinage 2de volume [3 pieces] (1860)  旅行岁月（第二集补遗）- 威尼斯和拿波里
2 _) K3 m  |) E! K1 s3 O/ P! YS.162a, Den Schutz-Engeln (Angelus! Prière à l'ange gardien) [4 drafts] (1877–82)
; d9 J- b2 s: V7 j/ s) uS.162b, Den Cypressen der Villa d'Este - Thrénodie II [first draft] (1882)
7 I" C, _7 `, \: Y# b/ G0 tS.162c, Sunt lacrymae rerum [first version] (1872)! V( D  k. A. f% y: ^' h
S.162d, Sunt lacrymae rerum [intermediate version] (1877)! ~/ z) p! s) p, Q
S.162e, En mémoire de Maximilian I [Marche funèbre first version] (1867)- B( B: E6 x' L8 c0 y0 P6 H( O1 G: l
S.162f, Postludium - Nachspiel - Sursum corda! [first version] (1877)
8 E" }8 s4 {8 HS.163, Années de pèlerinage. Troisième année [7 pieces] (1867–77)   旅行岁月（第三集）
# m! l( N+ C$ a& h; ^S.163a, Album-Leaf: Andantino pour Emile et Charlotte Loudon (1828) [2] 降E大调纪念册的一页
4 G: {/ P4 ~* b  i9 h! `S.163a/1, Album Leaf in F sharp minor (1828)降E大调纪念册的一页8 H* e. B+ ~' O. O0 z8 s
S.163b, Album-Leaf (Ah vous dirai-je, maman) (1833)
8 N6 i! s! \; O) `" b9 I3 ^$ mS.163c, Album-Leaf in C minor (Pressburg) (1839)+ S) }& {2 R* ]* O+ l- i
S.163d, Album-Leaf in E major (Leipzig) (1840)$ q2 d4 A0 A* Y8 t
S.164, Feuille d'album No. 1 (1840) E大调纪念册的一页
1 M1 c6 Q6 Z3 e5 qS.164a, Album Leaf in E major (Vienna) (1840)
* n/ m/ M; p3 t) Q3 W% T0 dS.164b, Album Leaf in E flat (Leipzig) (1840)
+ `9 m8 H& Z6 A; x1 l- L1 r# Z' XS.164c, Album-Leaf: Exeter Preludio (1841), _2 a6 v: c3 Q0 T
S.164d, Album-Leaf in E major (Detmold) (1840)! D, g1 H+ N6 }, m: _3 X: Y1 y
S.164e, Album-Leaf: Magyar (1841)) v% j6 C; B; J$ I" U
S.164f, Album-Leaf in A minor (Rákóczi-Marsch) (1841), x. J: w& u% L, Y, V4 d8 a
S.164g, Album-Leaf: Berlin Preludio (1842)
1 ?: S5 Q8 s* t0 n0 G/ h3 `3 x7 r. aS.165, Feuille d'album (in A flat) (1841) 降A大调纪念册的一页
( ]! s6 }/ j, M( U. y: dS.166, Albumblatt in waltz form (1841) A大调圆舞曲风格纪念册的一页
3 X2 k$ e6 n$ Q: E1 k, kS.166a, Album Leaf in E major (1843)
6 g0 C. M2 f, d- k. B4 BS.166b, Album-Leaf in A flat (Portugal) (1844)
. Y' b) c; e8 s8 F# nS.166c, Album-Leaf in A flat (1844)
7 c. ], s+ m5 h4 PS.166d, Album-Leaf: Lyon prélude (1844)! y4 e# H# P" V) D
S.166e, Album-Leaf: Prélude omnitonique (1844)% U: [" {- H  U8 C# v7 ?4 l5 Q) o
S.166f, Album-Leaf: Braunschweig preludio (1844)
$ A: T& t/ n, `# h& ?S.166g, Album-Leaf: Serenade (1840–49)
+ L$ T" b" C$ Q1 N# qS.166h, Album-Leaf: Andante religioso (1846)) j- |7 M9 p. L* J6 Z' r
S.166k, Album Leaf in A major: Friska (ca. 1846-49)& F2 o% z" Q4 ?+ [  _- N1 ^8 k
S.166m-n, Albumblätter für Prinzessin Marie von Sayn-Wittgenstein (1847)
- Z3 v! Y  E! e( k' Q. K& I* TS.167, Feuille d'album No. 2 [Die Zelle in Nonnenwerth, third version] (1843) a小调纪念册的一页1 ?: X- C) c2 G9 M8 ]: F
S.167a, Ruhig [catalogue error; see Strauss/Tausig introduction and coda]
5 B" ?1 L+ i0 C" A% US.167b, Miniatur Lieder [score not accessible at present] (?)
" Z1 Z0 g; _2 ]3 d/ d  Z( uS.167c, Album-Leaf (from the Agnus Dei of the Missa Solennis, S9) (1860–69)
( \! K* b+ {( G5 S- [: y! OS.167d, Album-Leaf (from the symphonic poem Orpheus, S98) (1860)
3 Q' V- H& z! U  b, s7 KS.167e, Album-Leaf (from the symphonic poem Die Ideale, S106) (1861); A- U# V4 y8 s4 Z! u/ Z. \
S.167f, Album Leaf in G major (ca. 1860)
- ~/ \$ D* Z8 [S.168, Elégie sur des motifs du Prince Louis Ferdinand de Prusse [first/second version] (1842, 1851) 悲歌7 a4 m  ]! M% r) N. j: ?' u  t: |4 \
S.168a, Andante amoroso (1847?)
, L4 i( Q, r& n* RS.169, Romance (O pourquoi donc) (1848) e小调浪漫曲
) e( J# S6 d# F5 X" ^1 PS.170, Ballade No. 1 in D flat (Le chant du croisé) (1845–48) 叙事曲一+ u" ^* y- j; f$ [
S.170a, Ballade No. 2 [first draft] (1853)
+ z9 o- E) q/ W$ |- pS.171, Ballade No. 2 in B minor (1853) 叙事曲二
, b/ r& b5 ], S4 p7 Z2 KS.171a, Madrigal (Consolations) [first series, 6 pieces] (1844)* }/ c' V7 s; R
S.171b, Album Leaf or Consolation No. 1 (1870–79)
$ j4 ?/ n, X2 FS.171c, Prière de l'enfant à son reveil [first version] (1840). e9 q! I: v# N* u( g' B* |
S.171d, Préludes et harmonies poétiques et religie (1845)% F, O3 F& b) H
S.171e, Litanies de Marie [first version] (1846–47)# X# {* O7 s3 T
S.172, Consolations (Six penseés poétiques) (1849–50) 6首安慰曲. T9 i) }7 U. o7 q* u
S.172a, Harmonies poétiques et religieuses [1847 cycle] (1847)
+ t9 d& q, H5 N: k6 KS.172a/3&4, Hymne du matin, Hymne de la nuit [formerly S173a] (1847)
, t  k$ T1 c! e2 V. g5 QS.173, Harmonies poétiques et religieuses [second version] (1845–52) 诗与宗教的和谐
; Y$ W- L# [1 F% uS.174, Berceuse [first/second version] (1854, 1862) 摇篮曲
; n, {1 K2 \6 c/ W4 u: m5 hS.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)
( I4 b* l, k4 x3 v- h2 Z2.    St. François de Paule marchant sur les flots (Walking on the Waves)
# ?, B: ~% T5 tS.175a, Grand solo de concert [Grosses Konzertsolo, first version] (1850)
8 m' ~+ i+ C- k: ]# PS.176, Grosses Konzertsolo [second version] (1849–50 ?) 独奏大协奏曲: X+ [4 D" p) U; e  W( ]
S.177, Scherzo and March (1851) 谐谑曲与进行曲
4 v3 J+ E* Q- n) h3 E" XS.178, Piano Sonata in B minor (1852–53)  b小调钢琴奏鸣曲- J0 z( y1 k% t: z+ s  d6 i
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, e8 F' K- c$ w) E' Q9 s9 l- U
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
% y) l9 A, C7 |( ?9 [. w9 q3 e2 jS.181, Sarabande and Chaconne from Handel's opera Almira (1881)! ~, T$ X! |4 D* ]
S.182, Ave Maria - Die Glocken von Rom (1862) 圣母颂“罗马的钟声”/ K- ?* I4 i$ T" F
S.183, Alleluia et Ave Maria [2 pieces] (1862) 哈利路亚与圣母颂
6 N. r; {) J! G3 H/ [1 G1 }S.184, Urbi et orbi. Bénédiction papale (1864)
8 w# C( U, W. g! N6 d0 B) oS.185, Vexilla regis prodeunt (1864)- R# z4 C" D$ H1 y7 }
S.185a, Weihnachtsbaum [first version, 12 pieces] (1876)* B6 W4 y* y" o9 s: s1 b# H
S.186, Weihnachtsbaum [second version, 12 pieces] (1875–76) 钢琴曲集《圣诞树》
$ i' C0 w3 y3 J6 Y6 O# ~  PS.187, Sancta Dorothea (1877) 圣多萝西娅; ~5 u% T8 ~5 _6 Y, o
S.187a, Resignazione [first/second version] (1877)
, l# j+ g; }1 k, e. B# l3 q/ vS.188, In festo transfigurationis Domini nostri Jesu Christi (1880) 我主耶稣基督之变形
2 n& s& K9 f9 t# j% H) |+ i; m3 W% vS.189, Klavierstück No. 1 (1866)4 b9 y( L- }5 v
S.189a, Klavierstück No. 2 (1845)7 v, z" A$ K5 w7 l" M# Z9 }' g
S.189b, Klavierstück (?), x$ L7 z$ J# G( [
S.190, Un portrait en musique de la Marquise de Blocqueville (1868)
3 T0 S0 |' Y& JS.191, Impromptu (1872) 升F大调即兴曲“夜曲”
9 Y6 N# C! ^* D2 q* E: j$ x" AS.192, Fünf Klavierstücke (for Baroness von Meyendorff) [5 pieces] (1865–79) 5首钢琴小品$ B0 }# F- m( N, _5 \
S.193, Klavierstuck (in F sharp major) (a. 1860) 升F大调钢琴小品
+ P5 y8 Y- M2 V) v$ s7 U, y+ `S.194, Mosonyis Grabgeleit (Mosonyi gyázmenete) (1870) 在莫佐尼墓前" o' n3 r; i0 z9 V1 p2 g: k( b
S.195, Dem andenken Petofis (Petofi Szellemenek) (1877) 纪念裴多菲, o; j# t) V3 l# s6 K: e
S.195a, Schlummerlied im Grabe [Elegie No 1, first version] (1874)
! t9 d: N* P2 ~0 h/ V- AS.196, élégie No. 1 (1874)$ D5 _- G  j" ~$ F; P
S.196a, Entwurf der Ramann-Elegie [Elegie No 2, first draft] (1877): \; q( g  B6 r: d* ]4 a& O
S.197, élégie No. 2 (1877)
, B3 Y$ i" p! M& E1 a; ?S.197a, Toccata (1879–81) 托卡塔0 U7 y& H/ Q/ Y0 {  d
S.197b, National Hymne - Kaiser Wilhelm! (1876)
) ]# G% o) ]3 c" q) Z* mS.198, Wiegenlied (Chant du herceau) (1880) 摇篮曲
/ ?6 u& F: r! `' M$ B1 y8 \0 IS.199, Nuages gris (Trübe Wolken) (1881) 灰色的云
6 j2 Y# B3 y& T1 vS.199a, La lugubre gondola I (Der Trauergondol) [Vienna draft] (1882)
$ A$ C; H+ }! JS.200, La lugubre gondola [2 pieces] (1882, 1885) 葬礼小船6 B& V7 X5 J6 m# J" [4 |1 K0 w- w- o

" Q- D$ ~5 B) I4 w李斯特全部作品目录-2" e# \- z) i. h  [

" W0 [( [; f% l5 Q6 a3 dS.201, R. W. - Venezia (1883) 告别瓦格纳和威尼斯
1 T, {0 H  D7 L- G0 f; p: }S.202, Am Grabe Richard Wagners (1883) 在瓦格纳墓前
5 i) {; V$ ]2 I1 g2 P) `% yS.203, Schlaflos, Frage und Antwort (Nocturne after a poem by Toni Raab) (1883) 夜曲“沉睡，思考和回答”; }  b+ C1 h  t( Z8 M* q
S.204, Receuillement (Bellini in Memoriam) (1877) 冥想2 G- i: E) n- ~! A( W$ a5 v( d
S.205, Historische ungarische Bildnisse (Magyar arcképek) [original version, 7 pieces] (1885) 匈牙利历史人物肖像
, R* r  r! V! d1 z5 FS.205a, Historische ungarische Bildnisse [revised order and conclusion, 7 pieces] (1885)
, r& k0 Y' |$ }* u. H7 ZS.206, Trauervorspiel und Trauermarsch (1885) 葬礼前奏曲和葬礼进行曲
! k, n  ]8 U0 Z9 KS.207, En rêve. Nocturne (1885) 夜曲“梦中”: @8 y: ~; |8 m$ Q. o
S.207a, Prélude à la polka de Borodine (and Borodin's Polka) (1880)
0 e( A) n1 l; `) U  y( zS.208, Unstern: sinistre, disastro (1880–86) 凶兆、灾难# I1 w3 a; p7 x. x
1.7.3 Works in Dance Form(为舞蹈的作品)5 Q! A+ [3 r0 t% C7 D( C

0 u* Q2 S) Q, V5 v$ J/ E4 RS.208a, Waltz (in A major) (b. 1825) A大调圆舞曲
, g/ @4 Z& `5 w6 P  f: |, q1 JS.209, Grande valse di bravura [first version of S214/1] (1835) 华丽的大圆舞曲# h, k% d9 U/ c/ E' d: y( Q
S.209a, Waltz (in E flat) (1840)3 R& e& v. c! {% j
S.210, Valse mélancolique [first version of S214/2] (1839) 忧郁圆舞曲3 Z' q9 O. M5 \6 i4 ~! @$ e4 G
S.210a, Valse mélancolique [intermediate version] (1840)
+ `8 n) b! S. d- c/ sS.210b, Valse (in A major) (1830–39)* [( i4 }1 `9 Z/ n
S.211, Ländler (in A flat major) (1843) 降A大调兰德勒舞曲; w" N9 O. m" U7 `
S.211a, Ländler (in D major) (1879)
+ y" x0 c0 a/ l. l3 W# VS.212, Petite valse favorite [first/second version] (1842, 1843)
- I; R8 X- ~& L4 H6 mS.212b, Mariotte. Valse pour Marie (1840); b& n# y/ L$ j" P3 F, D0 X
S.213, Valse-impromptu (1850?) 即兴圆舞曲  O) c: ~1 ]! o8 G) |
S.213a, Valse-impromptu [with later additions] (1880)
' t& w% a: I* p' H; cS.214, Trois caprice-valses [3 pieces] [second versions of S209, S210, S401] (1850?)
; g$ e' |- b4 l# q; m8 e% HS.214a, Carousel de Madame Pelet-Narbone (ca. 1875-81)
" P  a$ Q) n: n7 N4 y- x- D; g% yS.215, Valses oubliées [4 pieces] (1881–84) 4首被遗忘的圆舞曲8 T% R3 G- }* l& }, `: E8 _( \% `
S.215a, Dritter Mephisto-Walzer (Mephisto Waltz No. 3) [first draft] (1883)6 X( |$ O- ?+ N7 u5 I1 R) T
S.216, Dritter Mephisto-Walzer (Mephisto Waltz No. 3) (1883) 第三梅菲斯特圆舞曲: e: ]; d' t! C/ p1 d
S.216a, Bagatelle sans tonalité (1885)4 J! z  g- I1 \9 g( ^" O
S.216b, Vierter Mephisto-Walzer (Mephisto Waltz No. 4) [first version] (1885)  第四梅菲斯特圆舞曲! V8 r0 |/ Q1 M. ~
S.217, Mephisto Polka [first/second version] (1883) 梅菲斯特波尔卡) X9 M. N0 B/ m3 k
S.218, Galop (in A minor) (1841?) a小调加洛普舞曲
5 n2 s% l- _( t: {S.219, Grand galop chromatique [original version] (1838) 华丽的半音阶加洛普舞曲% I, n8 m( U( ?+ m3 w& n( l
S.219bis, Grand galop chromatique [simplified version] (1838)
" _/ i- k& N8 g2 o4 |: ~8 I, qS.220, Galop de Bal (1840?)
! {; M) _3 ?3 WS.221, Mazurka brillante] (1850) 华丽玛祖卡
4 W; \* f% f! t( \% S+ BS.221a, Mazurka in F minor [Not by Liszt?] (?)/ ~( Y( X/ i+ U. C
S.222, [catalogue error; same as S212]
- \; l! T9 }) q, }0 A  \S.223, Deux Polonaises [2 pieces] (1851) 2首波洛奈兹舞曲3 v9 f! T. {0 L, q# \& F5 j
S.224, Csárdás macabre (1881–82)
. K8 M% u; ]$ d7 E5 g- `7 f- YS.225, Two Csárdás [2 pieces] (1884)( D0 s( S# q& P7 h
S.226, Festvorspiel (1856)  b: p0 s: e2 \" @; `8 f% ]
S.226a, Marche funèbre (1827), S( @7 e/ d0 O6 O; q  B6 g
S.227, Goethe Festmarsch [first version] (1849)8 |$ t' ]# ?2 F; Y. U
S.228, Huldigungsmarsch [first/second version] (1853)& I- ~" u8 Z4 |+ ]  ~: ^5 n- a
S.229, Vom Fels zum Meer! - Deutscher Siegesmarsch (1853–56)
. ]& M& T8 l! A* [  Z4 B. OS.230, Bülow-Marsch (1883)
1 G5 ?; @! O) L$ PS.230a, Festpolonaise (1876)
8 K2 o+ x. v, V8 nS.231, Heroischer Marsch in ungarischem Stil (1840)
: J' r2 s; }# I5 ?S.232, Ungarischer Sturmmarsch [earlier version of S524] (1843?)) e9 _6 r9 j& }5 A" G
S.233, Ungarischer Geschwindmarsch (1870)
2 \) ^/ C6 b3 |4 S; ~S.233a, Siegesmarsch. Marche triomphale (Victory March) (?)( C. r" E9 l5 {2 N
S.233b, Marche hongroise (in E flat minor) (1844)
! ^% l# E, ~3 Q& A1 {1.7.4 Works on National Themes(主题作品)
: O: s8 o% x3 ?& ?8 f) s
! V7 K( i. J& Y: v: K1.7.4.1 Czech; f& O- @. g" Z9 Z0 e8 Y) \6 `3 q
' s4 }6 T3 w0 n9 K' T+ ]
S.234, Hussitenlied (Melody by J.Krov) (1840)
' f/ S- Q6 q' G# Z) O1.7.4.2 English
$ d5 u; n7 X, \) l. ^3 w1 Z' A" p5 N4 u0 T" I8 }
S.235, God Save the Queen (1841)
" z1 U- N1 v1 l; |; Z9 d* x1.7.4.3 French' F: G+ E  o: j8 W
: b9 N2 }& [( |. p
S.236, Faribolo Pasteur and Chanson du Béarn [2 pieces] (1844)! f2 K4 A1 u3 d* x9 C: o* D( X
S.237, La marseillaise (1872?)% X: G4 H9 P& L: k9 a
S.238, La cloche sonne (1850?)+ N  a1 l: y) f9 m) I+ N4 R
S.239, Vive Henri IV (1870-80 ?)4 F$ l" r$ @. p* a
1.7.4.4 German0 @: N1 E+ _" i- p/ a# g
) l9 F+ c7 l: q8 i% z2 K$ g3 }
S.240, Gaudeamus igitur. Concert paraphrase [first/second version] (1843, 1853)
) x& @/ O& G7 `) `4 d7 N1.7.4.5 Hungarian$ V0 ?( Y: R' p3 m/ L3 Q, c

- x- X. k0 I) n- RS.241, Hungarian Recruiting Songs (Zum Andenken) (By Fáy & Bihari) (1828)
( `/ O! ~1 R: R3 Y% z4 R; c' rS.241a, Ungarische Romanzero (Hungarian Songbook) [18 pieces] (1853)
* w; I. l$ w, i7 Q( TS.241b, Magyar tempo (1840)9 [! ~$ R$ u+ `% i& T
S.242, Magyar Dalok: Magyar Rapszódiák [21 pieces] (1839–47)
4 [2 |! X5 ]: C8 O- o( @+ W  wS.242a, Rákóczi-Marsch [first version] (1839–1840)
) ?9 t! Z3 z# TS.243, Ungarische National-Melodien [3 pieces] (ca. 1843)
1 w; s) w, n) Z2 RS.243a, Célèbre mélodie hongroise (a. 1866)" X2 C. s  y( G5 I2 s. j, c4 z
S.244, Hungarian Rhapsodies (Rapsodies hongroises) [19 pieces] (1846–86)  19首匈牙利狂想曲% m% W1 x3 A4 D" c$ Y2 v9 x
S.244a, Rákóczi-Marsch [from orchestral version] (1863)
& ?6 D* M1 c" k) Y! uS.244b, Rákóczi-Marsch [simplified version of S244a] (1871)# B9 d+ X. O2 ]% h# t
S.244c, Rákóczi-Marsch [popular version] (?)" P7 e& k- T$ O& k1 t( m
S.245, Fünf ungarische Volkslieder (Abranyi) [5 pieces] (1873)1 \  ~0 F7 o1 d& L
S.246, Puszta-Wehmut (A Puszta Keserve) (1880–86 ?), C( Q; O$ I* _* s7 g
1.7.4.6 Italian+ z$ Z0 b7 W$ D7 }

6 ]  ], D+ R% i1 Z) qS.248, Canzone Napolitana [first/second version] (1842)
: S7 f* |* n( K6 ?1.7.4.7 Polish% R/ c! }# w9 L7 [

( Z3 V9 I* J5 [. D- ]" bS.249, Glanes de Woronince [3 pieces] (1847–48)+ S2 J; e5 _9 y( \
S.249a, Mélodie polonaise [short draft] (1871)
  `% r2 \1 e+ ?, g0 c5 ^* IS.249b, Dumka (1871)0 w. a: @" g4 m0 o( a
S.249c, Air cosaque (1871)1 r$ ~" U5 m. h: m- E' [! X' \
1.7.4.8 Russian
" b+ i6 c- u$ X8 V0 B5 q2 k
* m, |' t; E# X$ F. L% j! eS.250, Deux mélodies russes. Arabesques [2 pieces] (1842)
8 H( X& ~( f  s8 T1 K# Z3 T8 XS.250a, Le rossignol (Alyabyev) [first version of S250/1] (1842)
! ?& p  E* _. V8 wS.251, Abschied. Russisches Volkslied (1885)
2 J5 B5 q1 N5 Q3 g' Z' k1.7.4.9 Spanish  W+ w/ s+ \' |8 o9 d
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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)5 ]5 u4 x# L6 {6 p; l" J
S.252a, La romanesca [first/second version] (ca. 1832, b. 1852)
/ D: K1 `5 P7 R+ SS.253, Grosse Konzertfantasie über Spanische Weisen (1853)
# R3 Y# w. Q! m( ?S.254, Rhapsodie espagnole (1863?) 西班牙狂想曲3 u6 m5 M- U) M! w  U# w
S.254x, Rapsodie espagnole [orchestrated by Feruccio Busoni] (?)
8 x( w7 Z; x. |: d9 C* l4 a1.8 Piano Duet(钢琴二重奏)
9 Q0 C# o- i3 b  p: s! M, ~3 D' O: T4 q% \. k" u* X( X/ C' c8 r1 z
S.255, Festpolonaise [now S619a] (1876)
2 W* L" m% v- K4 ~3 i  B0 P6 J% HS.256, Variation on the Chopstick Theme (1880)
3 {: |4 e7 R, NS.256a, Nottorno [Not by Liszt?] (?)- p5 i8 w2 G+ j0 n9 k, H
1.9 Two Pianos(双钢琴)
1 ]' J7 Z$ u# w+ O" w
$ n+ g2 W* @6 OS.257, Grosses Konzertstück über Mendelssohns Lieder ohne Worte (1834)* g( M# w* ^. p' o3 n/ G
S.258, Concerto pathétique (b. 1856)  e小调钢琴协奏曲“悲怆”
; H- N6 z% L7 e3 x/ f: k" ]" b$ J7 e1.10 Organ(管风琴)* I# F# h( J4 m5 {$ X$ M
" L9 C& x% x- s
S.259, Fantasy and Fugue on the chorale Ad nos, ad salutarem undam (1850)7 E3 z0 W) `  P5 R4 ?4 ?  `0 \' Y
S.260, Präludium und Fuge über das Thema BACH [first/second version] (1855, 1870)4 L4 [, I" f# z8 j! A* A$ x
S.261, Pio IX. Der Papsthymnus (1863?)
! |- o4 Z3 n* v/ PS.261a, Andante religioso (1861?)
/ C% ~7 i) n" @% g0 u3 j0 i# ]$ \S.262, Ora pro nobis. Litanei (1864)  o. y6 V- s+ s4 P+ D
S.263, Resignazione (1877)
3 {2 c/ i, \* t8 Q& MS.264, Missa pro organo lectarum celebrationi missarum adjumento inserviens (1879)
  K2 V/ r! b2 v( G1 }& F2 ^% {S.265, Gebet (1879)
/ N; k% o0 y0 b6 B$ h; b7 b1 v$ QS.266, Requiem für die Orgel (1883)  r0 l# m6 A; x$ D
S.267, Am Grabe Richard Wagners (1883)
3 o/ Z4 P$ i0 i0 d% ]S.268, Zwei Vortragsstücke [2 pieces] (1884)
  k) i: V$ h# g" y# x6 r' ]1.11 Songs(歌曲)4 U8 e! B- l8 [2 X. @' V* X

0 V: V' w. W* Q: Q# G) [S.269, Angiolin dal biondo crin (Marchese C. Bocella) [first/second version] (1839, ?)
* k1 o7 T" s4 A) DS.270, Three Petrarch Sonnets [3 songs, first/second version] (1844–45, 1854]" ~2 }* G" G! V, z6 u* x
S.271, Il m'aimait tant (Delphine Gay) (1840?)( l0 N; }; H& P4 e2 ^. v( p1 E
S.272, Am Rhein im schönen Strome (Heine) [first/second version] (1840?, 1854)
$ d4 \: h3 @/ N0 [0 ]S.273, Die Lorelie (Heine) [first/second version] (1841, ?): ]2 H, t4 x3 X$ X/ s. }) P( Q
S.274, Die Zelle in Nonnenwerth [first/second version revised 1862] (b. 1841, 1857)" y- x, `2 ^4 `( Q
S.275, Mignons Lied (Kennst du das Land) (Goethe) [first/second/third version] (1842, 1854, 1860)
  Q/ }' M% |) R$ c5 bS.276, Comment, disaient-ils (Hugo) [first/second version] (1842, ?)
' @( w! a5 U+ C: pS.277, Bist du (Prince E. Metschersky) [first/revised version] (1843, ca. 1878-79)( \& {  x0 w2 a8 g# o0 s$ u6 ]. n
S.278, Es war ein König in Thule (Goethe) [first/second version] (1842, ?)
7 l9 O& o8 ]9 A) m$ O# qS.279, Der du von dem Himmel bist (Goethe) [first/second/third version] (1842, ?, 1860)" v1 D# Z6 S% U1 x
S.280, Freudvoll und leidvoll (Goethe) [first/second/third version] (1844, 1848?, ?). c0 w+ }$ r6 U& @4 F0 r* W- ~
S.281, Die Vätergruft (1844)* _3 M2 V7 H6 S( ^' D" y+ p
S.282, O quand je dors (Hugo) [first/second version] (1842, ?)
+ v. ~, F) ]- E& ^* `  VS.283, Enfant, si j'etais roi (Hugo) [first/revised version] (1844?, ?)3 b" }* C+ A0 e. U& f. E% @
S.284, S'il est un charmant gazon (Hugo) [first/revised version] (1844?, ?)
) N& D8 S& |' i5 V" w/ aS.285, La tombe et la rose (Hugo) (1844?)
2 m3 w4 `( ?- h; P8 e/ AS.286, Gastibelza, Bolero (Hugo) (1844?)
+ c# l. v. c/ RS.287, Du bist wie eine Blume (Heine) (1843?)3 j8 T$ Y  M" g) ?3 h8 j% m
S.288, Was Liebe sei (C. von Hagn) [first/second/third version] (1843?, ca. 1855, 1878–79)5 ?" j) k. D0 G& y8 K
S.289, Vergiftet sind meine Lieder (Heine) [first/revised version] (1842, ?)4 C) X6 p7 S1 B4 Z" s2 q6 E2 P2 ^) G
S.290, Morgens steh ich auf und frage (Heine) [first/revised version] (1843?, ca. 1855)4 O4 F: X$ \, G1 k+ @% z1 D
S.291, Die todte Nachtigall (Kaufmann) [first/revised version] (1843?, 1878)6 l- g+ ~) I. w/ Z
S.292, Songs from Schiller's Wilhelm Tell [3 songs, first/revised version] (1845?, ?)
' k0 M7 `7 F& a0 vS.293, Jeanne d'Arc au bûcher (Dumas) [first/revised version] (1845, 1874)
/ R. r( o* g/ x0 T1 P8 k# tS.294, Es rauschen die Winde [first/second version] (ca. 1845, b. 1856)
5 I$ u: n9 U; J& K& n0 qS.295, Wo weilt er? (Rellstab) (1844)
( ]/ R( z! c6 Y+ u& E3 dS.296, Ich möchte hingehn (Herwegh) [revised later] (1845)
* Q8 C+ P. I. R, TS.297, Wer nie sein Brot mit Tränen ass (Goethe) [first/revised version] (ca. 1845)
1 J5 o0 B& G* ~2 V& f# gS.298, O lieb so lang du lieben kannst (Freiligrath) (1845?)7 J0 W( C2 j/ Q$ Z8 W6 T0 R
S.299, Isten veled (Farewell) (Horvath) [first/revised version] (1846–47)
5 Z) f. L9 y' l4 d. y% z' ?S.300, Le juif errant (Béranger) (1847)+ E/ j: o3 d( O, D
S.301, Kling leise, mein Lied [first/revised version] (1848)
# h5 j8 \+ O6 y: t* XS.301a, Oh pourquoi donc (Mme Pavloff) (1843)/ S8 z7 ?( R- b9 E& t1 C" q$ R' Q  p
S.301b, En ces lieux. élégie (E. Monnier) (1844)
2 J7 A5 M8 {& u: fS.302, Die Macht der Musik (Duchess Helen of Orleans) (1848–49)" w0 |3 j2 G8 E3 j' C
S.303, Weimars Toten. Dithyrambe (Schober) (b. 1848)
: C% r* j/ f2 M" I0 q8 SS.304, Le vieux vagabond (Béranger) (b. 1848)9 g; S( l' f: ]2 n
S.305, Schwebe, schwebe, blaues Auge [first/revised version] (1845, ?), C6 G2 m. V7 f$ p3 Z
S.306, über allen Gipfeln ist Ruh [first/revised version] (1847?, ?)/ N$ l" t- ]0 N8 \
S.306a, Quand tu chantes bercée (Hugo) (1843)" ~1 y3 C- g% l$ W
S.307, Hohe Liebe (Uhland) (1850?)
& W! i; V5 k  O% c, g$ rS.308, Gestorben war ich (Seliger tod) (Uhland) (1850?)) E6 p' [0 e" f1 z
S.309, Ein Fichtenbaum steht einsam (Heine) [first/revised version] (ca. 1845, 1854)
6 v, b! e2 l7 uS.310, Nimm einen Strahl der Sonne (1849)
* E7 T$ v& v6 P: W0 [4 P" _3 @  M" ~( fS.311, Anfangs wollt' ich fast verzagen (Heine) (1849)8 ]: T9 m# t3 b% R+ d7 p- Z! S) |
S.312, Wie singt die Lerche schön (Hoffmann von Fallersleben) (1856?)4 {& p/ u" V% o$ r- A* J2 q' Q
S.313, Weimars Volkslied (Cornelius) (1857)6 ]7 k+ [& D' [7 m* s; l9 q
S.314, Es muss ein wunderbares sein (Redwitz) (1852)
) z% X( i3 J. t2 z! zS.315, Ich liebe dich (Rückert) (1857)
: B! p& U& z/ [$ y+ e2 U* G" qS.316, Muttergottes - Sträusslein zum Mai-Monate (Müller) [2 songs] (1857)
, f& ]0 @: p0 |7 `# e) b: n+ ~7 iS.317, Lasst mich ruhen (Hoffmann von Fallersleben) (1858?)
9 I- I& x, H3 [9 u9 ~S.318, In Liebeslust (Hoffmann von Fallersleben) (1858?)
+ m: k& T6 M( x3 {9 dS.319, Ich scheide (Hoffmann von Fallersleben) (1860)
3 `8 Z* z$ l- g: F9 s( ?S.320, Die drei Zigeuner (Lenau) (1860)
7 n8 `- S8 ~/ t, F) j* Q- C# pS.321, Die stille Wasserrose (Geibel) (1860?)
  H: k. @& t$ M" A  {2 IS.322, Wieder möcht ich dir begegnen (Cornelius) (1860): u# }! w% p. L0 F2 F0 y3 q
S.323, Jugendglück (Pohl) (1860?)+ C5 a' P- K+ v) S/ _3 z. q
S.324, Blume und Duft (Hebbel) (1854)# c/ Q, N. ?0 ^4 y7 ^, W  B4 g' R
S.325, Die Fischertochter (Count C. Coronini) (1871)
7 E5 L% J( s) D* P3 E7 E' BS.326, La perla (Princess Therese von Hohenlohe) (1872)
* k* n# K8 D6 u0 IS.327, J'ai perdu ma force est ma vie. 'Tristesse' (de Musset) (1872)6 R: |6 |0 f" {
S.328, Ihr Glocken von Marling (Emil Kuh) (1874)
2 O' c' E. D/ G* x6 e# ~. D* A6 ~S.329, Und sprich (Biegeleben) [revised 1878] (1874)
/ z* ~1 L7 d" LS.330, Sei Still (Henriette von Schorn) (1877)
. d9 W6 Y7 p+ r5 Z3 g7 H1 j7 M* j3 WS.331, Gebet (Bodenstedt) (1878?)
4 H/ [0 T' E& Q! R3 L! IS.332, Einst (Bodenstedt) (1878?)
0 W, ?0 }$ s% |4 p6 Z8 AS.333, An Edlitam (Bodenstedt) (1878?)
: c1 L7 z( K% [) J% FS.334, Der Glückliche (Bodenstedt) (1878?)
7 h  |# G$ `% X: S4 s% pS.335, Go not, happy day (Tennyson) (1879)
! p* @; z' o# bS.336, Verlassen (G.Michell) (1880)4 L) n. {+ {- n/ w1 k$ `
S.337, Des tages laute stimmen schweigen (F. von Saar) (1880)
# l" ]' ]$ b+ t% ^  @( o4 L( Q& H9 CS.338, Und wir dachten der Toten (Freiligrath) (1880?)# c2 W2 ~% F/ [( S, o& a. @
S.339, Ungarns Gott. A magyarok Istene (Petófi) (1881)
4 O6 E0 K( t7 ], S' hS.340, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)3 D" W& H& B" U0 t- E* |- D$ C
S.340a, Ne brani menya, moy drug. (Tolstoy) (1886)
( g% E6 }3 s& u7 N1.12 Other Choral Works(其他合唱作品); c+ h& a" @5 ~2 f+ q* q# {
S.341, Ave Maria IV (1881)
! v' {5 Y  H( ^+ C. Y& J5 t0 c. HS.342, Le crucifix (Hugo) (1884)
" c/ w; o+ Z, X- c* R+ F& iS.343, Sancta Caecilia (1884)! I7 j  f1 B( W! [" N
S.344, O Meer im Abendstrahl (Meissner) (1880)% e( X- S1 s$ ^1 ^! l  j, N( H
S.345, Wartburg-Lieder from Der Braut Willkomm auf Wartburg (Scheffel) [7 chorals] (1872)
2 R  c& C4 k" t& o7 a. X$ p3 l4 `1.13 Recitations(叙事歌谣颂诗). d: @7 \5 \; w! d
S.346, Lenore (Bürger) (1858)
( O! ]( i/ @- b$ @1 \S.347, Vor hundert Jahren (F. Halm) (1859)
& O& r2 I: Y+ i/ S+ [  i8 aS.348, Der traurige Mönch (Lenau) (1860)+ o% E+ ?7 E* k/ h
S.349, Des toten Dichters Liebe (Jókai) (1874)& J9 e' Z+ ?5 t. ?+ ]9 ?/ w' e
S.350, Der blinde Sänger (Alexei Tolstoy) (1875)
7 A# h0 y3 H) t% Q+ `. ?2. Arrangements, Transcriptions, Fantasies, etc.3 R8 l' G/ C4 _1 k9 @$ I

' e* i5 Q; E& G1 j# V2.1 Orchestral Works(管弦乐作品)- _! n, a$ a/ S2 i# q4 L% x

0 V$ g) S1 `# P3 B  k5 X+ |2.1.1 Bülow
' H$ h: P. ^/ B, V7 U- g1 n0 j7 [8 q9 T
S.351, Mazurka Fantasie, Op. 13 (1865)% B* v: q) T9 r6 @& X& O4 T! X0 o
2.1.2 Cornelius
4 W6 v4 F& W2 L
6 a# ]( I2 |' J; E* ?- c8 t/ IS.352, Second Overture to The Barber of Baghdad [completed from Cornelius's sketches] (1877)
' u9 Q6 d3 z7 g& |# F2.1.3 Egressy and Erkel
: x1 ], {8 z1 l9 _( l; }3 L0 o& G1 O
2 Q6 v- O  n2 qS.353, Szózat und Hymnus (1873)+ W1 h6 [( S0 X8 f+ i; ~) Q2 p8 ~) l
2.1.4 Liszt% w+ i% u+ Y! `, _' m: y
  T! ^# m0 [( o/ D5 t. B. ]$ ^: W
S.354, Deux légendes (1863)4 E4 k3 T) R) g5 F1 v+ `6 u0 ~3 T, [
S.355, Vexilla regis prodeunt (1864)
/ D& ?. s3 L  ?S.356, Festvorspiel (1857)
: t" p  v2 {+ x, u6 ^S.357, Huldigungsmarsch [first/second version] (1853, 1857)0 |# Q( d. r' L7 N
S.358, Vom Fels zum Meer. Deutscher Siegesmarsch (1860)
0 j/ }1 J" }9 y" KS.359, 6 Rapsodies hongroises (Hungarian Rhapsodies) (?)
7 o' E6 X2 t4 F: J% E" P9 t5 vS.360, A la chapelle Sixtine (Liszt, Allegri & Mozart) [orchestral arrangement of S461, based on Mozart's Ave verum corpus and Allegri's Misere] (1862)
/ x1 w( E" u. _* z& ^" V+ nS.361, Pio IX. Der Papsthymnus (ca. 1863)
9 [' h; h0 e0 XS.362, Benedictus and Offertorium from the Hungarian Coronation Mass [from S11] (1875)) }! m9 E  s" Z2 ?
2.1.5 Schubert
8 q5 F6 s1 }, ^9 ?0 c, q: t' [3 U, C" A5 e, }* v' b8 B
S.363, 4 Marches [from Opp. 40, 54, 121] (1859-60)
* Y+ L. D% _4 h' z! B  C2.1.6 Zarembski
- L( z/ G- m& o  z- a7 |5 {& l5 ^% N2 K+ c: e3 i
S.364, Danses galiciennes (1881)
/ J$ }( l: U$ ]- S% B0 u$ w2.2 Pianoforte and Orchestra(钢琴与乐队)
& V5 U5 A2 m, p" ?8 O
" g) x8 d! p% [. I* P% J7 v( {2.2.1 Liszt8 F) f' @1 _- h# r' ?8 j

; q  M. d, I% v: J+ ~+ QS.365, Grand solo de concert [prepared by Leslie Howard] (1850)5 M' y9 [2 a- x; D
S.365a, Concerto pathétique (No. 4) in E minor [Liszt, Reuss version] (1885-86)9 O! P! S) Z) e- \: q
S.365b, Hexaméron, Morceau de concert [orchestration completed by Leslie Howard] (ca. 1839)
8 E) w# v2 ]5 ~0 |7 _2.2.2 Schubert
( u7 \7 O* N- m$ x" W) t- e
( C. o3 I: T! `* g* 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
. T% V9 x! e$ b4 V, L( C3 v9 Z* I2.2.3 Weber
7 Z1 S9 S" G* e, I& o0 M% H) E8 n# y  y" J
S.367, Polonaise brillante, Op. 72 (1849) 华丽波洛涅兹 为钢琴与乐队而作
. M4 T! J% I9 V/ U. J2.3 Songs with Orchestra(声乐与乐队)7 ^8 V8 v$ ?0 M; W: S6 V
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2.3.1 Korbay
+ [/ V4 H1 \1 [- v2 n; J
0 [5 L; K0 m6 F8 D' J! q( }: ]" hS.368, 2 Songs (Le Matin by Bizet and Gebet by Geibel) (1883)
% M! O& x. [" [/ {7 M0 {3 P0 T2.3.2 Liszt
% }* ~/ E3 s0 _# m# C9 w  P5 A5 a) g
' o) Q6 T- U5 V, V3 r9 NS.369, Die Lorelei (Heine) (1860)* U, f+ u; M; P, ^5 X5 [% s0 ~
S.370, Mignons Lied (Kennst du dass Land) (Goethe) (1860)3 q' s  l8 K7 @, ^! E) x
S.371, Die Vätergruft (Uhland) (1886)
' {' W) [% f1 f: F7 sS.372, Songs from Schillers Wilhelm Tell (ca. 1855)9 \7 U. m9 `# T2 V* o( ?
S.373, Jeanne d'Arc au bûcher (Dumas) [first/second version] (1858, 1874)' B/ \' ~) C, s( j# y
S.374, Die drei Zigeuner (Lenau) (1860)' @5 c. o$ @( e5 [; i
2.3.3 Schubert# @' l$ L: i) G
6 y, i( J* H( ]  B+ B; q3 }. n
S.375, 6 Songs (1860)
1 [( t: k+ p5 Q+ \8 q3 u: GS.376, Die Allmacht (1871)
! j( i/ ~4 R! ]+ l. d8 b) p3 v2.3.4 Zichy( U( i4 B; X5 V# `1 z( T

; R9 v$ n7 y! V# e/ ]4 kS.377, Der Zaubersee. Ballad (Zichy) (1884)  [* S% J. D4 b# y1 Z3 ?* M
2.4 Chamber Music(室内乐等)# V. i/ ~- F  j" w" P6 ^3 w
2.4.1 Liszt3 b; ^9 ?( _- q, W

# s6 j- M1 Z- h4 Q6 S' X9 e- YS.377a, La notte (Odes funèbre No. 2) (1864-66)2 x! j! _: Z: C  f; \2 G
S.378, Angelus! - Priere aux anges gardiens [first/second version] (1877, 1880)$ [8 F% H7 E+ l& C8 o/ A
S.379, Rapsodie hongroise No. 9 (Pester Karneval) (?)
& o0 e. d# P+ `6 T, y, n+ N+ `S.379a, Rapsodie hongroise No. 12 (1850-59)
' ]# [' G' P2 p! \7 Z7 u9 l9 {S.379b, Puszta-Wehmut (A Puszta Keserve) (ca. 1871)
( \8 I, u: f' M, G* }; P% }  S1 uS.380, O du mein holder Abendstern from Tannhäuser (Wagner) (1852)
' E/ d) m0 [" G4 A% ]. s# QS.381, Benedictus and Offertorium from the Hungarian Coronation Mass [from S11] (1862)+ r" M; d! d3 s% N: v
S.381a, Ungarns Gott. A magyarok Istene (Petófi) (1882)
! w5 N+ y! l8 ?$ @S.382, Die Zelle im Nonnenwerth (ca. 1880-86)& K4 b' c- l+ [0 o0 y$ Q
S.383, Die drei Zigeuner (Lenau) (1864)
, G0 Q+ f) e* O7 X; y9 P9 K2.5 Pianoforte Solo9 U3 ^9 U9 e" \" ?  m  \! W2 ^
* L  ~1 O; p6 |  V* _6 a
2.5.1 Paraphrases, Operatic Transcriptions, etc.(歌剧改编独奏)3 F, l  y8 V) B* v- \' I) _8 X

/ l( |  @2 w6 ]7 q; B2.5.1.1 ábrányi! D8 }; b, H- K1 _0 }

( Z  Y* ]1 v" V2 ~S.383a, Elaboration on Virág dal (1881)+ n8 y5 W, L1 ?( z
2.5.1.2 Alyabyev
7 w% T( k6 v; t$ E3 t$ I. @" a( D' M1 N8 e
S.384, Mazurka pour piano composée par un amateur de St. Petersbourg (1863)
' U: Q* L! p' Z; B% b# r" [S.384a, Variations on Tiszántúli szép leány [anonymous, not by Liszt?] (1846)
7 t- t: f' x$ r# {4 q4 E2.5.1.3 Auber
" }9 p  p3 }! G9 _% P
  r1 K3 I- X, C+ S/ @3 t9 Y) @S.385, Grande Fantaisie sur la Tyrolienne de l'opera La Fiancée [first/second/third version] (1829, 1835, 1842)+ u7 }5 x0 ]( e0 I3 H
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
, B0 y, X2 }. q" y+ wS.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
0 a: Y: g+ x% k8 l: u4 a0 AS.387, Three Pieces on themes by Auber [with intro piece] (a. 1846)- h4 S. X/ Z- x8 z2 N
S.387a, Piece on an unknown theme (1847), \9 S! a5 j6 b, j! ~. {
2.5.1.4 Beethoven
0 i( o& D% n7 _0 I+ \
! s/ T( T1 Y6 H( G+ V. l0 I* ZS.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 \9 `2 c; c) J, X
S.388a, Marche turque des Ruines d'Athenes (1846)
. [6 V. I* j7 P* i. j& o1 JS.388b, Fantasie über Beethoven's Ruinen von Athen [first version] (1837)
7 x+ t7 Y2 R) P6 d, RS.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% m* Q$ h2 u# S% X' S$ w3 I; q
S.389a, Cadenza to the first movement of Beethoven's Piano Concerto No. 3 (1879)
. n  n5 J6 Z  I- L0 c2.5.1.5 Bellini, L. K0 N2 D" O! i8 L

7 {1 \9 x9 J- Y: ]$ j. sS.390, Reminiscences des Puritains [first/second version] (1836, 1837)
2 |8 }) ~1 d% rS.391, I Puritani. Introduction and Polonaise (1840)
& D# V2 C# F. v8 bS.392, Hexaméron, Morceau de Concert (1837)7 a0 w5 T/ v! l% E) t' |
S.393, Fantaisie sur des motifs favoris de l'opéra La Sonnambula [first/second/third version] (1839, 1840-41, 1874)$ S5 h* V* C( x! H
S.394, Réminiscences de Norma (1841-43)" N2 a& h$ g: c. ]7 z( Y
2.5.1.6 Berlioz4 X" k* Z3 a- t' t8 A, M
& x, s; m$ B% S! K8 v/ w
S.395, L'Idée fixe: Andate amoroso [first/second version] (1833 or 1846?, 1865)3 x7 k, j. z+ o
S.396, Benediction et Serment from Benvenuto Cellini (1852)
, k& E8 u: Y! F; D8 P! P) E, b2.5.1.7 Donizetti, Gaetano6 a8 Z9 l" J; ^- Y+ l

# Z  v( v+ j0 Y8 L. T/ g" aS.397, Réminiscences de Lucia di Lammermoor (1839)
4 q: j- G  @: K* iS.398, Marche Funebre et Cavatine de Lucie de Lammermoor (1839)+ ?! {0 l$ K: v; d
S.399, Nuit d'été à Pausilippe [3 pieces] (1839)
# p" l* W6 i# Z$ M8 v8 v/ @& FS.399a, Lucrezia Borgia - Grande fantaisie [first version of S400ii] (1840)
+ S) o6 R% {2 v# H7 R
% O. w0 }. ~0 s. r7 V. S: z李斯特全部作品目录-3  ~0 ^  X# D1 W) `- G" p* o  x

" d9 T) D0 I' x, A$ d) h7 @, N) @S.400, Réminiscences de Lucrezia Borgia [first/second version] 1840
0 F4 q) u" V) ]9 NS.401, Valse a capriccio sur deux motifs de Lucrezia et Parisina [first version of S214/3] (1841), U' _+ X5 w$ j' _- v* S6 J1 K9 n
S.402, Marche funèbre de Dom Sébastien (1844)
: E: z' z$ c& H2.5.1.8 Donizetti, Giuseppe6 j1 g5 S5 ]& G7 ~# c6 w4 x

& v* X& e! M; I& _* h* w6 x2 S8 CS.403, Marche pour le Sultan Abdul Medjid-Khan [first/simplified version] (1847, 1848)9 g+ W0 J6 _; ?/ q* e. `6 {6 d1 p# H
2.5.1.9 Duke Ernst
7 k2 r$ _6 y% f9 i8 l2 s! d
6 K- f' z0 G- q/ o9 s7 U3 ^! YS.404, Halloh! Jagdchor und Steyrer from the opera Tony (1849)
, c1 k9 q/ F" D- Z6 n2.5.1.10 Erkel, Franz
' L  j* v' Q/ P$ @* f
% P- i* W$ l" X: i. f" O5 lS.405, Schwanengesang and March from Hunyadi Laszlo (1847)
& H! g3 f2 v1 B' ~2 v2.5.1.11 Festetics
$ B9 i& b( N8 r4 b+ ~$ f* S
$ N. F7 a  Z. q2 q  HS.405a, Pásztor Lakodalmus Variations - Mélodies hongroises [elaboration by Liszt] (1858)' X4 F0 l& M1 n  |+ p
2.5.1.12 Glinka8 [$ _3 \3 F' A* n; K4 @5 T

3 s9 }- A3 D; n! |* B" E; ZS.406, Tscherkessenmarsch from Ruslan i Lyudmila [first/second version] (1843, 1875)
, X$ P# g2 t  b1 x$ \% {6 y2.5.1.13 Gounod
; T" O6 @. j2 e5 d
  A/ t2 t+ _) K2 V: RS.407, Valse de l'opéra Faust (b. 1861)* E6 H5 Z5 M* t) K
S.408, Les Sabéennes. Berceuse de l'opéra La Reine de Saba (1861)
: i) U' K4 B8 R' ^S.409, Les Adieux. Rêverie sur un motif de l'opéra Romeo et Juliette (1867)
7 s. y; j$ W7 {/ K) `2.5.1.14 Halévy
0 F; A8 H8 e' ~$ FS.409a, Réminiscences de La Juive (1835)
: b  R, D9 A7 ~2 W6 s# [" e2.5.1.15 Mendelssohn
) T8 I3 ]: |7 f2 DS.410, Hochzeitsmarsch und Elfenreigen aus dem Sommernachtstraum (1847-50)! c* I: I  h2 V  H. D
2.5.1.16 Mercadante) Y5 N/ t1 M0 ?& J* I+ B1 g
S.411, Soirée italienne. Six amusements (1838)
! m  U: n) ?. {' c. i0 U1 e2.5.1.17 Meyerbeer! M: S) f/ ?' G2 g2 q
S.412, Réminiscences des Huguenots - Grande fantaisie dramatique [first/second version] (1836, 1842)  r- ?* P9 c% `0 i) @% G  M
S.412a, Réminiscences de Robert le Diable - Cavatine (1846?)
6 ~7 g$ O9 [' D6 RS.413, Réminiscences de Robert le Diable - Valse infernale (1840)
& R4 J  D8 K* |$ s3 ZS.414, Illustrations du Prophète [4 pieces, 4th=S624] 1849-50. {6 ~$ u+ Q& }7 R* ^5 s& V$ s
S.415, Illustrations de l'Africaine [2 pieces] 1865
3 Y# m' u* ~! ^# ]4 p/ fS.416, Le Moine (1841)
5 U1 F% {, ?0 F) f5 e, a! h2.5.1.18 Mosonyi, Michael
& V0 _- ^/ G. o' X+ b/ Q6 m/ A1 KS.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
7 `6 v" q5 h: r  g, K3 N* a" n8 f2.5.1.19 Mozart( H. V2 \8 L5 m5 B1 r* N. l) }4 V
S.418, Réminiscences de Don Juan (1841)
, K1 ]- n5 P  ?8 B7 P$ r  F3 _2.5.1.20 Pacini/ K2 i8 L3 g" v6 x' V7 R
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5 @3 U+ z8 [/ ^9 @. |
2.5.1.21 Paganini  H7 `1 Y8 _6 p# ?, a! z  o
S.420, Grande Fantaisie de bravoure sur La Clochette (1832-34)  华丽的钟声幻想曲
: j2 L* V& M1 R, p5 _! U) J$ e2.5.1.22 Raff
5 [  `7 |. L: Q$ h/ ^S.421, Andante Finale and March from the opera König Alfred [2 pieces] (1853)) ~; B5 x9 \2 X6 _& U) h1 F
2.5.1.23 Rossini
3 }  D! O  N: x+ F, `- h7 BS.421a, Introduction et Variations from "Siege of Corinth" [introduction only] (1839?)( ~' f3 E5 k1 [5 b8 u
S.422, Première grande fantaisie (Soirées musicales) [first/second version] (1836)/ {- f+ v8 C5 G/ u/ |, d$ O  y
S.422i, La serenate e l'orgia - Première grande fantaisie (Soirées musicales) [first version] (1836)8 ?" W9 f! Z# ]" T. W  E6 O
S.423, Deuxième grande fantaisie (Soirées musicales) (1836)
. r. t& i0 h! m3 n; a/ B9 x2 \S.424, Soirées musicales [12 pieces] (1837)
. I$ U0 F" x) X1 M9 S' ^2.5.1.24 Schubert
& U# C/ c2 c) b( e8 O7 R" fS.425, Mélodies hongroises [3 pieces] (1839–40)
6 E, A" k, {  F. {) sS.425a, Mélodies hongroises [revised versions] (1846)
. L8 {% a+ {6 S. yS.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
) n) H9 k. l3 b  ?7 O6 p$ \/ h( gS.426a, Marche militaire (ca. 1870)+ {7 a) r5 b4 n4 ?% X$ ~  D+ w2 s) A
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
5 a; S# O8 }6 v7 q2.5.1.25 Sorriano( ]# P- }# \6 y7 H+ {
S.428, Feuille morte. Elégie d'après Sorriano (1844-45)0 q9 N: \" R/ ]/ }
2.5.1.26 Tchaikovsky
1 L9 c9 U( L( s' d  n) yS.429, Polonaise from Eugene Onegin (1879)
+ L& p, c' d2 W& O/ u* t; s# S0 F2.5.1.27 Végh, Janos
( v- {9 u3 \8 J# h, ?7 eS.430, Valse de concert (1882-83)# F/ v8 j; g; u4 v  b3 d/ l6 n
2.5.1.28 Verdi
! K. ^0 r1 h1 n+ U. P" K6 JS.431, Salve Maria de Jerusalem from I Lombardi [first/second version] (1848, 1882)
- u. d" R" J& ]8 ]7 p2 u1 A. X/ pS.431a, Ernani - Première paraphrase de concert (1847)
! Q. U! V: v$ t. X* yS.432, Ernani - Paraphrase de concert (No. 2) [first/second version] (b. 1849, 1860)
; W7 f8 c( p! d; AS.433, Miserere du Trovatore (1860)
& p7 b5 Z* {6 pS.434, Rigoletto Paraphrase de Concert (1859)# q1 x  i( ?9 V. u. C; E- b( m& e
S.435, Don Carlos Coro e Marcia funebre (1867-68)
7 z) o; m% g; A7 ]1 u3 z4 mS.436, Aida Danza sacra e duetto finale (1877)
5 Y* Z% V* O$ r( Q: |  gS.437, Agnus Dei (1877)" `! K9 u3 R; `8 @& L; N
S.438, Réminiscences de Boccanegra (1882); m% v6 H# x$ H, m& O' E
2.5.1.29 Wagner
7 T' V, C) g0 \" F  nS.439, Phantasiestück über Motive aus Rienzi (1859)6 e9 U% K0 w3 A1 a& L8 w) C
S.440, Spinnerlied aus Der fliegende Holländer (1860)
: y; Q9 }6 n9 k0 O) ~9 ^) uS.441, Ballade aus Der fliegende Holländer (1872)1 ]2 O3 k, z9 Y' ^
S.442, Ouvertüre zu R. Wagners Tannhäuser (1848)
6 V+ W" v/ J2 m, e% C; u) q2 C  ^S.443, Pilgerchor aus Tannhäuser [first/second version] (1861, 1885); B# g- x* d5 ~6 |0 w
S.444, O du mein holder Abendstern aus Tannhäuser (1848)5 G" l( X" H' M8 o# L% J
S.445, Zwei stücke aus Tannhäuser und Lohengrin (1852)+ U2 f0 l4 G, @6 Z+ P
S.446, Aus Lohengrin [3 pieces] (1854)! [! M- {' o* F7 k# z9 r' m4 Q. K0 w
S.447, Isoldens Liebestod aus Tristan und Isolde [first/revised version] (1867, 1875)
6 {5 J1 x9 g" i( v6 [" [S.448, Am stillen Herd aus Die Meistersinger (1871)
# `6 ]" c- Q- W; D, `6 KS.449, Walhall aus Der Ring des Nibelungen (1875)
! t% l. l7 B. H! c% B- j  iS.450, Feierlicher Marsch zum heiligen Graal aus Parsifal (1882)( V, j, ~; `; V! T% s
2.5.1.30 Weber, C2 K; ^0 f% j
S.451, Freischütz-Fantasie (1840-41)
0 R, o+ o' P, }S.452, Leyer und Schwert [4 pieces] (1848)8 b$ p+ A) T* B5 w& p
S.453, Einsam bin ich, nicht alleine, from Preciosa (1848)
! m# e! Z3 g; W" K* x' Z! n3 k" dS.454, Schlummerlied mit Arabesken (1848)
+ f  x' u1 y, d' YS.455, Polonaise brillante (1851)
! ~7 k# W! Z& \9 }' E7 |% ~1 L; [9 O3 J2.5.1.31 Zichy, Count Géza, P+ H( f; C, V1 B
S.456, Valse d'Adele (1877)
: r! Q3 x! q, l2.5.1.32 Unknown. d1 G" E+ i+ w/ g0 @: a
S.458, Fantasy on Il Giuramento (Mercadante) (1838?)6 v9 p0 c# F8 c
S.460, Kavallerie-Geschwindmarsch [anonymous] (?)
  G0 J0 H6 X' k2.5.2 Partitions de Piano, Transcriptions, etc.3 t  r& O* ]3 q# v
2.5.2.1 Allegri and Mozart/ e& P8 I* o) d
S.461, A la chapelle Sixtine [first/second version] (1862, ?)2 s( ^, t+ i/ @
S.461a, Ave verum corpus, Kv618 (1862); n' _3 O# z: @' X( v
2.5.2.2 Bach5 K! h2 e7 ~% e, E, M! K/ x
S.462, Sechs Praeludien und Fugen für Orgel [6 pieces] (1850)
8 s$ |4 b# {. P( LS.463, Organ Fantasy and Fugue in G minor [first/second version] (1860, ?): }- k8 H3 |! g* K
2.5.2.3 Beethoven
& r" B$ \# t4 q6 t' ?S.463a, Symphonie No.5 [first version] (1837)
1 R  M( ]+ T4 c7 N. ~/ h2 c) \' AS.463b, Symphonie No.6 [first version] (1837)
" ]+ q6 {3 R( N! RS.463c, Symphonie No.6 [second version. Alternative 5th movement] (1863-64)! B# G! ?. A) i+ _* a
S.463d, Symphonie No.7 [first version] (1837); y3 c9 Q) C! h+ o1 ~
S.463e, Marche funèbre [Beethoven's Eroica Symphony, first version] (1843)
# ?7 ?2 e* l; Y; f' `% X& o: {S.464, 贝多芬交响曲 Symphonies de Beethoven [9 pieces] (1863-64)! l% Q6 r+ [7 }, u
S.465, Grand Septuor, Op. 20 (1841)
: `4 x4 S) Z9 a5 H- q  lS.466, Adelaïde [third version] (1847)
! u8 K# H$ q: g! HS.466a, Adelaïde [first version] (1839)' d3 d# T$ ]' }  n6 t
S.466b, Adelaïde [second version] (1840)
' }& ]  d4 A# @! V+ ~$ r" HS.467, Sechs Geistlicher Lieder (Gellert) [6 pieces] (1840)- W( ^6 ^9 j. s8 A
S.468, Sechs Lieder von Goethe [6 pieces] (b. 1849)7 S2 y3 G; N1 |2 c2 {; O
S.469, An die ferne Geliebte - Liederkreis [6 pieces] (1849)
; @1 S( E" J9 N4 k+ d2.5.2.4 Berlioz
8 a: V, c+ Y" CS.470, Symphonie Fantastique (1833)0 h* D, q4 r# E0 O
S.471, Overture from Les francs-juges (1833)9 X$ p9 R8 U6 T. z$ F
S.472, Harold en Italie (with viola) (1837)3 q* d7 ?* }3 m9 n7 M, \
S.473, Marche des pèlerins from Harold en Italie [first/second version] (1837?, 1862)
9 J9 z6 f1 c' ?7 A- `S.474, Ouverture Le Roi Lear (1837)
# ~. F$ W. x0 Y2 H* oS.475, Valse des Sylphes de la Damnation de Faust (1860)7 f: _% q" [! G
2.5.2.5 Bulhakov! H3 L9 \% B/ H  W6 h. `
S.478, Russischer Galopp [first/second version] (1843, 1843)
8 I8 z4 T- l0 s# G' u2.5.2.6 von Bülow; \7 N3 v2 n* l, \$ {9 g+ ?! Q
S.479, Dante's Sonnett - Tanto gentile e tanto onesta (1874)3 Y* @  E/ R7 j% F  i, x4 x
2.5.2.7 Chopin6 l& y1 ^7 Y/ ~6 {( d" ?# b
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
- Q4 d, C' W7 K5 |8 S$ X- QS.481, Zigeunerpolka (1847?)
) h& A4 t1 Y4 g: x6 m2.5.2.9 Cui
) c! d1 i! h9 d9 M7 O, g4 mS.482, Tarantella (1885)% `* I9 U6 f0 w( u( I+ y3 s
2.5.2.10 Dargomyschsky
0 S2 g" Y' N9 H: B' q0 v' O5 U% FS.483, Tarantella (1879)
3 H6 C' ]8 U" f8 U& D) w; C* f- j2.5.2.11 David, Ferdinand$ `3 G9 \3 ^1 ?2 z3 n: @" L
S.484, Bunte Reihe, Op. 30 [24 pieces] (1850)+ f: w0 B! B' ]& ]8 n
2.5.2.12 Dessauer9 z5 |! A$ w: v- J) q7 T  @; t
S.485, Drei Lieder (1846)5 j$ i. x( q( G8 i2 ]) E: K
2.5.2.13 Ernst, Duke
5 s% U/ _4 N3 q6 d5 D1 r$ ]; |( US.485b, Die Gräberinsel (1842)
8 k3 r1 {' h8 B3 B! @: V2.5.2.14 Egressy and Erkel0 j5 p' }; p  `, b4 u
S.486, Szózat und Hymnus (1873)6 T( a+ Y5 y) G' i1 k4 F
2.5.2.15 Festetics
: t: C! b" f" n5 i7 _/ v. PS.487, Spanisches Ständchen 1846
( ]2 Z) i2 U: U. Y. X2.5.2.16 Franz
; D% ^* Y7 S% W. Y5 c8 jS.488, Er ist gekommen in Sturm und Regen 1848
& W, [( O8 \$ T5 x( XS.489, Zwölf Lieder [12 pieces] (1848)' q1 S/ ~8 s* B# Q- z
2.5.2.17 Goldschmidt
+ `$ ?  @& \  Y, HS.490, Liebesszene und Fortunas Kugel (1880)* _" R6 S9 ^0 E- R; ?
2.5.2.18 Gounod
& ]5 _) }% n; B1 k: U- _S.491, Hymne à Sainte Cécile (1866). A5 K& u2 k! m1 t
2.5.2.19 Herbeck
- u+ R- N/ p/ \4 O* V* S$ l' ]S.492, Tanzmomente [8 pieces] (1869)8 o0 M& F3 H7 A7 @
2.5.2.20 Hummel
4 P( D9 U5 t% ?2 \3 D, r: g4 VS.493, Grosses Septett, Op. 74 (1848)
+ u1 ^1 \$ M$ `5 F2.5.2.21 Lassen7 w8 A, l" a9 z# E# x- l
S.494, Löse, Himmel, meine Seele [first/second version] (1861, 1872)
7 l- s* h1 r6 x- w3 vS.495, Ich weil' in tiefer Einsamkeit (1872)
1 C& s( F: Q* h# @S.496, Hebbel's Nibelungen & Goethe's Faust [4 pieces] (1878-79)
+ p1 _& R3 J  h( I  W3 G9 ES.497, Symphonisches Zwischenspiel ('über allen Zauber Liebe') (ca. 1882-83)" b8 L7 S) l# b9 t
2.5.2.22 Lessmann
. T9 [+ F; U9 V3 i3 cS.498, Drei Lieder ('Tannhäuser') (1882?)9 k+ s% a- U' v( L2 y
2.5.2.23 Liszt: E& Q/ l9 E* R  X! t
S.498a, Drei Stücke aus der heilige Elisabeth (1857-62)
8 c- }: V/ s9 r' }$ j+ l* cS.498b, Zwei Orchesterstücke aus Christus (1862-66)5 e/ w) h2 ?2 O5 `7 ?3 J
S.498c, San Francesco - Preludio (1862-66)
  X/ M$ c% A+ B* I& [3 SS.499, Cantico del Sol di San Francesco d'Assisi (1881)" @3 q( J: X+ s( o9 z
S.499a, San Francesco - Preludio per il Cantico del Sol (1880)7 J/ g' g1 o+ {" R
S.500, Excelsior! - Preludio (1875)! |7 \3 R: U1 O% j- I- b
S.501, Benedictus und Offertorium (Missa Coronationalis) (1867)/ O, }# v9 W% [1 q3 W. v
S.502, Weihnachtslied II (1864)" x: p7 y9 g5 ?1 y+ V' }/ T
S.503, Slavimo Slavno Slaveni! (1863)
& U# n2 {2 W' j  l0 @& S. eS.504, Ave Maria II (in D) [first/second version in D flat] (1870, 1873)" c: {6 l7 w& a6 f: N
S.504a, Via Crucis [15 pieces] (1878-79)  h; X$ K6 z5 r2 a
S.504b, Choräle [11 pieces] (1878-79)
% w* l0 ~+ D. |/ @4 @/ ]: I7 N8 NS.505, Zum Haus des Herrn (In domum Domini ibimus) (1884)% w- k; b2 ^, ^3 C1 a2 B
S.506, Ave maris stella (1868)$ _4 E+ y8 p; g0 T% k: X
S.507, Klavierstück aus der Bonn Beethoven-Cantata (?)
) V8 W8 R) s7 m5 [6 DS.507a, Schnitterchor (Pastorale - Schnitterchor aus Prometheus) (1850)) `1 g4 C, [$ N8 }
S.508, Pastorale. Schnitterchor aus dem Entfesselten Prometheus (1861)
- V, u6 K  V' v' B1 ^& N# w6 }( _S.509, Gaudeamus igitur - Humoreske (1870)( z) n1 d+ w( h5 D, Y0 M2 W& C8 J
S.510, Marche héroïque (?)
) u; y4 W; |* d! tS.511, Geharnischte Lieder [3 pieces] (1861)
! O/ r% M* Q& T$ hS.511a, Les Préludes (Poème symphonique No. 3) [arranged by Karl Klauser, revised by Liszt] (1863) [1][2]
3 k( m3 p* Q) I4 e4 R: G4 gS.511b, Orpheus (Poème symphonique No. 4) [arranged by Fredrich Spiro, revised by Liszt] (1879) [3]5 k, e0 j) Y9 x4 n, A) c/ z
S.511c, Mazeppa (Poème symphonique No. 6) [arranged by Theodor Forchhammer, revised by Liszt] (1870-79) [3]
& `" H0 ?) V# D% l( Y: Z% T! \S.511d, Festklänge (Poème symphonique No. 7) [arranged by Ludwig Stark, revised by Liszt] (1870-79) [3]
1 _! q2 R% y5 yS.511e, Hungaria (Poème symphonique No. 9) [arranged by Fredrich Spiro, revised by Liszt] (1872) [3]
6 h1 U2 `5 ?$ O# i- x/ R2 o& t5 R, dS.512, Von der Wiege bis zum Grabe (Poème symphonique No. 13) (1881)' {& e: Q5 ^$ ^  V# M
S.513, Gretchen aus Faust-Simpfonie (b 1867 )
2 q0 f* X& w) S6 E* E/ iS.513a, Der nächtliche Zug (?)
; b! ?8 u" A# GS.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- \" I" n4 M- j0 a; S5 Y0 A4 I
S.514a, Erster Mephisto-Walzer (Mephisto Waltz No. 1) [with later additions] (1859-62)- ]0 \; x  J5 \) H0 `
S.515, Zweiter Mephisto-Walzer (Mephisto Waltz No. 2) (1881) 第二梅菲斯特圆舞曲
  u6 D" V! N" v1 Z1 d* F* x' jS.516, Les Morts (Ode Funèbre No. 1) (1860)
% j3 V( m6 y2 B7 N& E* v# n! {6 aS.516a, La notte (Ode Funèbre No. 2) (?)1 u6 m% j+ r- _. ]
S.517, Le Triomphe funèbre du Tasse (Odes Funèbre No. 3) (1866)
4 C; H' P$ B( l, }! ]! US.518, Salve Polonia (a. 1863)& [3 x9 _" Q! ^4 a
S.519, Deux Polonaises de St Stanislaus (1870-79)& [3 c+ A2 K4 p& u* u( y" k
S.520, Künstlerfestzug [first/second version] (1857-60, 1883): A7 V! _6 r4 `! T! f
S.521, Festmarsch zur Goethejubiläumsfeier [first/second version] (1857, 1872)0 p9 l' i+ O8 E' f
S.522, Festmarsch nach motiven von E.H.z.S.-C.-G (1857)
7 L0 ^8 A7 F$ z( iS.523, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (1870)8 q0 R0 v2 W/ \7 f
S.524, Ungarischer Sturmmarsch [first/second version] (?, 1875)4 o; |* x# p8 Z5 ^9 _! h" [; ^/ B
S.525, Totentanz. Paraphrase on Dies Irae (1860-65)
8 d: [# C; Y2 t, P7 zS.526, Epithalam zu Eduard Reményis Vermählungsfeier (?)
$ L! [1 q7 ]) Z6 z0 {S.527, Romance oubliée (?): M5 W( K4 N  r" i! s/ [
S.527bis, Romance oubliée [short draft] (1880)0 R! S/ q1 u/ Q+ g5 m1 g4 D
S.529, Fantasie und Fuge über das Thema BACH [first/second version] (1856, 1870) 巴赫主题幻想曲与赋格
$ }' i! f; @! TS.530, L'Hymne du Pape. Inno del Papa. Der Papsthymnus (1864)+ Q1 b; Y7 K& v2 a, Z- w
S.531, Buch der Lieder I [5 pieces] (?)
- h# q3 Q- E! v' w+ I$ H" \. m% [S.532, Die Lorelei (Heine) [second version] (1861)$ Y, e. r# G8 E7 N: k- F8 }
S.533, Il m'aimait tant (Delphine Gay) (1842). D/ Q4 }' ^- h4 U) {1 X7 p/ z. i
S.534, Die Zelle in Nonnenwerth (Felix Lichnowski) [first/second/fourth version] (1842, 1860, 1880)3 @  a/ N+ ^/ t, t
S.535, Comment, disaient-ils [Buch der Lieder II] (1845?)
; O- ]1 ]6 o) F1 Q9 U* w6 n: I) cS.536, O quand je dors [Buch der Lieder II] (1847?)
, c' y8 M; t% ^# G9 BS.537, Enfant, si j'étais roi [Buch der Lieder II] (1847?)# h$ S9 B' G7 e& D/ N
S.538, S'il est un charmant gazon [Buch der Lieder II] (1847?)
, c3 L' x$ o2 uS.539, La tombe et la rose [Buch der Lieder II] (1847?)3 @& C2 ^  e8 G; C4 ]7 N- e
S.540, Gastibelza [Buch der Lieder II] (1847?)5 r: d) A9 T5 \- C9 E
S.541, Liebesträume. Drei Notturnos (ca. 1850)  3首夜曲“爱之梦”
6 ^' M. A( X5 Z( XS.542, Weimars Volkslied [first/second version] (1857, ?)
. y5 A& x1 K$ l7 ?, ~0 B% W0 z7 xS.542a, Ich liebe dich (?)7 M% C/ _" q4 o' g6 D: Y. J
S.542b, Fanfare zur Enthüllung des Carl-Augusts Monument (?), `% r+ Y% b/ u2 `) C
S.543, Ungarns Gott. A magyarok Istene (Petófi)]] [original/(S543bis)left-hand version] (1881)* C! {# z9 h! {4 c8 f
S.544, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)1 Z& {& y/ ~& L& M% N
S.545, Ave Maria IV (1881)
' E# m8 x" g- [% n; E' ^! \S.546, Der blinde Sänger (Alexei Tolstoy) [solo version] (1878)
  v2 H& `% |4 m5 vS.546a, O Roma nobilis (1879)
6 T2 s( B: I/ c+ X; |2.5.2.24 Mendelssohn$ O" b* `* B* _0 ^6 Y* h
S.547, Sieben Lieder (from Opp. 19, 34, 47) [7 pieces] (1840)
  ?+ h, A: D  M, Y7 s+ r8 ]S.548, Wasserfahrt and Der Jäger Abschied (from Op. 50) [2 pieces] (1848)
5 |1 F7 n9 g- \2.5.2.25 Meyerbeer
+ V7 l; p: b* _+ ]) \2 dS.549, Festmarsch zu Schillers 100-Jähriger Geburtsfeier (?)
; Y) k( n/ B; h  U8 c2.5.2.26 Mozart, b6 M( a% A$ a' _6 d" U1 c
S.550, Zwei Transcriptionen über Themen aus Mozart's Requiem, K626 [2 pieces] (1862)3 b" V& v: e& U" n
2.5.2.27 Pezzini/ T! ^1 I# r4 P  f) E0 Y
S.551, Una stella amica. Mazurka (?)
1 k) [  C" M5 d' O2 O- ]+ V2.5.2.28 Raff/ c3 y5 m4 o0 r" V1 b
S.551a, Einleitung und Coda zu Raffs Walzer in Des-dur (opus 54/1) (1880)
% K9 j! ]5 r. j+ ]" {; M; E- W8 Y2.5.2.29 Rossini
8 }. q! A  O& M/ g- W5 rS.552, Ouverture de l'opéra Guillaume Tell (1838)
# ~- d4 i, O7 m+ i, O# TS.552a, Caritas [La charité, first version] (1847)
0 \2 N8 B$ A& U( kS.552b, La caritá [La charité, simplified version] (1847)
+ e8 {. J% \7 I2 ]0 xS.553, Deux Transcriptions [2 pieces] (1847)) a; k9 ^8 U0 E# e/ d' v
2.5.2.30 Rubinstein8 C1 T2 Q" P- u- s. L
S.554, Zwei Lieder [2 pieces] (1880)
! @/ @% o: z( G- N4 `4 _: WS.554a, Einleitung und Coda sur des notes fausses (1880)
( x3 r5 p; y3 x) Z2.5.2.31 Saint-Saëns, z! k. L# V5 K+ X
S.555, Danse macabre, Op. 40 (1876)
. B4 A" ^0 U6 I6 B: {4 X& z2.5.2.32 Schubert: C, w8 `2 m8 c$ o& p) S7 Q
S.556, Die Rose [first/intermediate/second version] (1832, ca. 1837, 1838)
0 ]( a' {0 f& z1 v: OS.557, Lob der Tränen (1837)- Q. D' j) S; U, c) C; i; k
S.557a, Erlkönig [first version] (?)
  k* N* w$ J$ h( c7 RS.557b, Meeresstille [first version] (?)
! r. B# l' |& Z' bS.557b/bis, Meeresstille [first version, ossia] (?). ~; z: o( w+ o6 ~# G* D/ ^3 b
S.557c, Frühlingsglaube [first version] (?)# n  R+ X% b% S
S.557d, Ave Maria (Ellens dritter Gesang) [first version] (?)
8 X( p! o: ~! |* t# I* GS.558, 12 Lieder (1837-38)
6 i) m- Y( e, G3 PS.558bis, 12 Lieder [revised versions of Nos. 3, 4, 7, 8, 9, 11] (ca. 1839)
" Q# Q1 q, q  ?3 a- ~  XS.559, Der Gondelfahrer, Op. 28 (1838)2 v( F9 v0 X0 F
S.559a, Sérénade [Ständchen, first version] (1837)3 a* C- z7 t  b
S.560, Schwanengesang [14 pieces] (1838-39)& Y. o1 F( V6 z5 W7 H- v5 @
S.560bis, Schwanengesang [14 pieces, alternative versions] (ca. 1839)) s- [2 N( M6 D$ |. ^5 U! h
S.561, Winterreise [12 pieces] (1839)
. {; S7 L6 x! K4 T7 B1 QS.561, Winterreise [alternative versions of Nos. 2, 3, 7, 10,] (ca. 1839)( E8 k( ^8 o# k, P4 b' s
S.562, Geistliche Lieder [4 pieces] (1841)" O9 W/ T7 r2 h7 t/ t
S.563, Six mélodies célèbres [6 pieces, 1st by Weyrauch] (1844)7 l: M. Q$ p: {: q! d5 V) }; I
S.564, Die Forelle [second version] (1846)
& t7 g8 J# H0 C: x# A1 I0 hS.565, Six Mélodies favorites de La belle meunière [6 pieces] (1846)
( \+ d* J1 u& a% I  [' ?S.565bis, Müllerlieder [6 pieces, revised versions] (ca. 1879)+ L2 \9 y3 Q% l; x7 K0 }) ?
S.565a, Wandererfantasie (Grosse Fantasie in C-dur) (ca. 1868)1 V' Q$ a% I5 o/ x! L$ ~2 b
S.565b, Schubert's Impromptus [2 pieces, Op. 90/2-3] (ca. 1868)' \5 R. D4 {  m2 e; y& A
2.5.2.33 Schumann: g+ ^$ |  L  b+ k( C
S.566, Widmung, Liebeslied (1848)
0 s, M- Q1 M. tS.566a, Widmung, Liebeslied [sketch of a more literal transcription] (1848)) D, D4 z) l- \$ h0 t4 U# j
S.567, An den Sonnenschein, Rotes Röslein (1861)
% q: N) k0 w; C4 `S.568, Frühlingsnacht (überm Garten durch die Lüfte) (1872)
( d! j9 H% S: Y( O1 r2 D2 rS.569, Zehn Lieder von Robert und Clara Schumann [10 pieces] (1872)% P% e9 v) o: Q6 @: i9 n
S.570, Provençalisches Minnelied (1881)1 P& b7 N7 Y9 c" |
2.5.2.34 Smetana! W6 j, E: Y5 E) P
S.570a, Einleitung und Coda zu Smetanas Polka (de salon, opus 7/1) (1880)
# [3 Q; F9 h0 F3 B2.5.2.35 Spohr& r/ g0 s8 c- a0 y1 E! \
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/ H6 V0 [( J  C% B$ E0 h8 M+ s
S.571a, Einleitung und Schlußtakte zu Tausigs dritter Valse-Caprice (1880)/ z! S$ }! t9 [; P2 ^/ d# `! j
2.5.2.37 Szabady and Massenet
$ ~+ m5 j7 @8 }& q) E* p) O- `; {9 ?% NS.572, Revive Szegedin (1879)
1 T4 x  l7 |) U( L: B# S& s  {, Z2.5.2.38 Széchényi, Count Imre
$ X/ ?, u$ b' E8 z: P; Q! j: u! i) ?S.573, Bevezetés és magyar indulò (1872). z5 k5 s7 {% N9 \* S3 G$ o
2.5.2.39 Tirindelli1 Y- h2 ~% M2 t2 q/ c1 R
S.573a, Seconda mazurka variata (1880)$ s# ^" @5 A$ _% a+ G
2.5.2.40 Weber0 M* F+ \% o0 ~+ ^" o/ L% b: `
S.574, Ouverture Oberon (1846?)* r% t: V1 Q' v$ y; _# h  G
S.575, Ouverture Der Freischütz (1840-41)
" O& X! p3 a" b9 hS.576, Jubelouverture (1846), ?( T/ A$ G% d( w: s5 w8 c3 p7 l/ S
S.576a, Konzertstück, Op. 79 (ca. 1868)
% q2 r! V8 I7 W1 h9 E& s" k, `, z- Z2.5.2.41 Wielhorsky, Count Michael
3 L/ s% ?% N  w. \+ p8 ZS.577, Lyubila ya [first/second version] (1843, ?)
% ]8 I& k  O$ ?% ^% Y2.6 Pianoforte Duet(钢琴二重奏)+ L3 o1 Z# u) c  k
2.6.1 Field  x8 C4 C- W( T1 i& p9 z2 @
S.577a, 11 Nocturnes (Nos. 1-9, 14, 18 and Nocturne Pastorale in E) (?)
$ {4 l# z: E' ^( x2.6.2 Liszt  y% A, x" C; a. |' ~
S.578, 4 Pieces from St. Elisabeth (1862)+ {" J. k" A; H9 r
S.579, Christus Oratorio 4th and 5th section (?)5 a5 L2 e0 X0 I8 e2 D4 C: W( ~6 j/ \/ C
S.580, Excelsior! - Preludio (?)" m7 m0 P; a$ D6 W# E/ T9 |8 @3 A/ ]
S.581, Benedictus and Offertorium from the Hungarian Coronation Mass (1869)
- F) v, s& E* ZS.582, O Lamm Gottes, unschuldig (1878-79)2 |7 q0 t' t4 W2 O" }3 o1 i
S.583, Via Crucis (?)
! `3 M4 G: L. Y2 x: l4 D7 \6 @. LS.584, Festkantate zur Enthüllung des Beethoven-Denkmals in Bonn (1845)+ j9 V& t' h, j8 K+ O+ v4 Y) r
S.585, Pastorale. Schnitterchor aus dem Entfesselten Prometheus (1861)  L  u/ T" O2 k
S.586, Gaudeamus igitur. Humoreske (1870). t& S% ~5 L, Z3 j
S.587, Marche héroique (?)4 k1 x$ V, l- X$ X& i  \
S.588, Weimars Volkslied (Cornelius) (1857)9 h' H- `  p" C: r4 r  Y
S.589, Ce qu'on entend sur la montagne (Poème symphonique No. 1) (1874)% C: a$ g, z  q" W
S.590, Tasso, Lamento e Trionfo (Poème symphonique No. 2) (1858)$ I+ D. y# U8 q
S.591, Les Préludes (Poème symphonique No. 3) (ca. 1858)
' }/ _; G! B+ h0 h! ~( xS.592, Orpheus (Poème symphonique No. 4) (ca. 1858)
0 s3 I2 e4 Q0 f* C% {  N" pS.593, Prometheus (Poème symphonique No. 5) (1858)
+ p4 T9 l6 O* _3 J2 y5 i% L# u. ZS.594, Mazeppa (Poème symphonique No. 6) (1874)" g' Y1 a4 A) @3 h
S.595, Festklänge (Poème symphonique No. 7) (1854-61)0 J2 O' z$ `  ^* {
S.596, Hungaria (Poème symphonique No. 9) (1874?)2 I6 S8 V( |! z4 g4 T
S.569a, Héroïde funèbre (Poème symphonique No. 8) (ca. 1877)
$ f1 }: x1 [; pS.596b, Hunnenschlacht (Poème symphonique No. 11) (ca. 1877)( J/ m7 c; U( H. }4 x
S.596c, Die Ideale (Poème symphonique No. 12) (ca. 1874-77)
6 }. t2 w! j+ O' ]S.597, Hamlet (Poème symphonique No. 10) (1874), {6 v0 d' N: C$ d7 l/ m
S.598, Von der Wiege bis zum Grabe (Poème symphonique No. 13) (From the Cradle to the Grave) (1881)5 i! \- @6 E+ j3 P5 k3 x
S.599, Two episodes from Lenau's Faust (1861-62)
3 n+ }: n" Q( W* J3 m) o5 v- E李斯特全部作品目录-40 A7 v, N) L; Y: C

, T6 D! O4 f( P4 D! z7 bS.600, Mephisto Waltz No. 2 (1881)
0 \( _/ h4 E. u5 k- VS.601, Les Morts (Ode Funébre No. 1) (1866)
( O1 J4 F6 p1 oS.602, La Notte (Ode Funébre No. 2) (1866)8 [$ W* ^8 L4 I: b7 M' W. K7 w* n# ~
S.603, Le Triomphe Funèbre du Tasse (Ode Funébre No. 3) (1866?)$ l: S: n9 _) E# \" G$ g5 R. N# E; [4 C
S.604, Salve Polonia (1863)
0 _0 j& M- b- P0 FS.605, Künstlerfestzug zur Schillerfeier (1859)
- O8 T: Y6 N' d( c' E' _( sS.606, Festmarsch zur Goethejubiläumsfeier (ca. 1858)! k9 u) B% L: f5 H1 F9 T* G
S.607, Festmarsch nach Motiven von E.H. zu S.-C.-G. (ca. 1859)
- T% _/ r6 \3 W: AS.608, Rákóczy March (1870)4 c1 `. M- _- Z! O" j# p2 L; [: {
S.609, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (1870)9 @  m  Q* N% e4 C
S.610, Ungarischer Sturmmarsch (1875)
2 m* z' [& {; C2 q# V- t: \& R5 pS.611, Epithalam (1872)9 {" C. s+ M$ @0 N. x& X
S.612, Elégie (1874)" t2 [3 [. s1 n" h3 q
S.613, Weihnachtsbaum (1876)
! t5 ~. {' ]$ X1 d# ~/ rS.614, Dem Andenken Petöfis (Petófi Szellemének) (1877)
  g9 F  }% R$ B2 FS.615, Grande Valse di Bravura (1836)
; b# d( l% d# T4 x$ zS.616, Grand Galop Chromatique (1838)
) n4 a4 ]) w0 q! G- GS.617, Csárdás macabre (1882)
$ O8 r$ t* B% Z/ S+ }# k! ]S.618, Csárdás obstiné (ca. 1884)0 I% d  o2 J9 D4 X
S.618a, Vom Fels zum Meer. Deutscher Siegesmarsch (?)2 s0 [0 V9 \, E3 g  u' U' s
S.619, Bülow-Marsch (ca. 1883)
5 R& `8 G& u/ D8 N: t) U; |( XS.619a, Festpolonaise (1876) [4]3 V, L$ d1 [' z9 M# z# K
S.620, Hussitenlied (Melody by J.Krov) (1840)$ r) J" o4 R- u, T9 s
S.621, 6 Hungarian Rhapsodies [from the orchestral version, S359] (1874)
7 n( d1 c0 z  j( BS.622, Rapsodie hongroise No. 16 (1882)
3 k" y% Y/ a- c- _& ES.623, Rapsodie hongroise No. 18 (1885)* _( {3 H6 l( m: [
S.623a, Rapsodie hongroise No. 19 (ca. 1885)# v% f& f4 C. s
S.624, Fantasy and Fugue on the chorale Ad nos, ad salutarem undam (1850)
5 B/ o5 R. h+ RS.625, L'Hymne du Pape (Der Papsthymnus) (1865)8 Y3 E: _1 z+ y+ |' I5 i+ ?/ O
S.626, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)
; u6 K% ~* d% V: NS.627, Fantaisie sur des motifs de l'opéra La Sonnambula (Bellini) (1852)
- [9 G  j# l9 R3 n( S4 W  N9 ES.628, Bénédiction et serment (Berlioz's 'Benvenuto Cellini') (1852)
5 i4 a( N2 q2 \7 ]S.628a, Marche et cavatine (Donizetti's Lucia) (?)
9 U( Z4 @8 e5 v. N& g# YS.628b, Szózat und Hymnus (Egressy and Erkel) (1873)
* P( S$ T$ c3 |* ^) K0 KS.629, Tscherkessenmarsch (Glinka's Ruslan i Lyudmila) (1843)
* q& N! v2 ~) h: v5 z5 u. \, ^$ KS.630, Réminiscences de Robert le Diable - Valse infernale (Meyerbeer) (1841-43)  s/ I# p- ^5 g' b4 Y9 C6 _! f& \
S.631, Andante finale und Marsch (Raff's 'König Alfred') (1853)
! [! v! Q- j. A, y6 ES.632, 4 Marches (Schubert) (1879)
; K( V, N% a2 H/ a6 P7 M; Q0 jS.633, A la chapelle Sixtine (Allegri Mozart) (1865)
) n1 D0 M0 b! {  l' ^- YS.634, Grand Septuor Op. 20 (Beethoven) (1841)
) X; E! N( g% h- P% g9 i2.6.3 Mozart
6 Y9 N, Q' e4 OS.634a, Adagio from Mozart's Die Zauberflöte (1875-81?)
8 w/ a5 s% G+ B9 L' z2.7 Two Pianofortes(双钢琴)& Q) v* c/ f0 m) [; _
2.7.1 Liszt; |, R& \5 h- ~! c0 l8 Q
S.635, Ce qu'on entend sur la montagne (Poème symphonique No. 1) (ca. 1854-57)
  h! C2 p1 W, c6 x3 E" O3 G7 FS.636, Tasso, Lamento e Trionfo (Poème symphonique No. 2) (ca. 1857)
5 `/ n; Q  ?, h1 Y. t7 gS.637, Les Préludes (Poème symphonique No. 3) (ca. 1854-56)/ |: W$ r: ~; x5 n" m
S.638, Orpheus (Poème symphonique No. 4) (ca. 1854-56)0 L$ D; A) \% {; A
S.639, Prometheus (Poème symphonique No. 5) (1855-56)
/ w* }/ r6 e8 K( ^7 r. v0 DS.640, Mazeppa (Poème symphonique No. 6) (1855)9 I( o5 S; a* V* R6 n* b5 ?5 Z& Y! g
S.641, Festklänge (Poème symphonique No. 7) (ca. 1853-56)
  e; R7 f' C& `  KS.642, Héroide Funèbre (Poème symphonique No. 8) (ca. 1854-56)5 R* T. W- |1 ]1 C+ J
S.643, Hungaria (Poème symphonique No. 9) (ca. 1854-61): u8 `! H0 }$ ?1 |+ {$ s; Y
S.644, Hamlet (Poème symphonique No. 10) (ca. 1858-61)
3 b9 @; K; t6 `( x+ ZS.645, Hunnenschlacht (Poème symphonique No. 11) (1857); n7 Y* x; D6 r% {1 @
S.646, Die Ideale (Poème symphonique No. 12) (1857-58)/ D8 `8 U/ [6 o- C$ P1 x
S.647, A Faust Symphony, in three character pictures (1856)
$ K% I! a2 F- n3 M) G6 R3 T, nS.648, A Symphony to Dante's Devina Commedia (ca. 1856-59)
) B: {6 Y% T% M5 a( M% iS.649, Fantasie über Beethovens Ruinen von Athen (1865)
/ C- }: Z0 o4 t. m, _, XS.650, Piano Concerto No. 1 in E flat major (1853)
; S2 b, r( g; s/ `% u- @% r" gS.651, Piano Concerto No. 2 in A major (1859). |  \- X, L6 v" h. \, p" N9 W
S.652, Totentanz. Paraphrase on Dies Irae (1859)+ P* M4 [- e* ~# y' `9 K
S.653, Wandererfantasie (Schubert) (a. 1859)
! }( r9 \' i* b& j5 ^- B1 gS.654, Hexaméron, Morceau de Concert (1837). w. K4 H5 `1 E* j9 V" o
S.655, Réminiscences de Norma (Bellini) (1841)5 ?9 k" M. W4 \# g7 w/ N+ O
S.656, Réminiscences de Don Juan (Mozart) (1841)& E! j+ ?# U' b" p3 O
S.657, Symphony No. 9 (Beethoven) (1851)
; s0 w: k1 r+ [; mS.657a/1, Piano Concerto No. 3 (Beethoven) (1878)$ h! g; S4 l% P( p
S.657a/2, Piano Concerto No. 4 (Beethoven) (1878)
7 A, S, }5 h5 t; H% k7 S; LS.657a/3, Piano Concerto No. 5 (Beethoven) (1878)
. |, a* u: U9 ^* j% C9 u' uS.657b, Bülow-Marsch [2-pianos, 8-hands] (1884)7 ^& ~3 q7 |$ `, q9 V. i
2.8 Organ(管风琴)9 Q3 [# t( f9 P/ a' i" E
2.8.1 Allegri und Mozart3 m' d8 J+ v& ]! a1 c
S.658, évocation à la Chapelle Sixtine (1862)
, I9 `; T, j0 G  q; `. I4 q) m2.8.2 Arcadelt
; y: T6 a% q7 |+ ~4 I# fS.659, Ave Maria (1862)
/ G& w% P0 I) b/ m2.8.3 Bach
/ h& E9 \+ u! A" P3 V
9 g: E: K( p: @! e% GS.660, Einleitung und Fuge aus der Motette Ich hatte viel Bekümmernis und Andante Aus tiefer Not [2 pieces] (1860); C. m/ p5 C: T2 v4 [5 W- T) y
S.661, Adagio from Bach Violin Sonata No. 4 (BWV1017) (1864)
. t! Q/ Q+ \. Q( m! O  [" t2.8.4 Chopin+ X( [* G# d  W

: j0 z- i) k) B& O% B, B. SS.662, 2 Préludes from Op. 28 (Nos. 4, 9) (1863)0 O3 Z* E, f, Y1 p) L0 x
2.8.5 Lassus
% s! A% q  P& ~" W
0 A. p, Z% d# K% U, vS.663, Regina coeli laetare (1865)
$ q# E" c* m0 M3 R7 _/ C4 }3 H3 u& k2.8.6 Liszt" M, Y% ~! d9 m# d& g( O

  ^, p$ _. N7 q/ X$ _S.664, Tu es Petrus from Christus (1867)# B0 o- i- W; g- \/ g
S.665, San Francesco (1880)# U- r9 }; j1 y8 b9 x
S.666, Excelsior! - Preludio (?): ^% |6 u: O% m* z; t% w& E
S.667, Offertorium from the Hungarian Coronation Mass (1867)
' k. l- ~& e0 {7 OS.668, Slavimo Slavno Slaveni (1863)' h7 T% `8 H" J4 o, _
S.669, Zwei Kirchenhymnen [2 pieces] (1877)
: O5 v: {: O: b0 m6 B5 e/ kS.670, Rosario [3 pieces] (1879)6 }% g" {/ _& P/ l  [6 L. H" q
S.671, Zum Haus des Herrn (In domum Domini ibimus) (1884)
! ~/ T0 {+ B& Y9 M& L6 s- LS.672, Weimars Volkslied (Cornelius) (1865)% @2 p% `- \% p
S.673, Weinen, Klagen' Variationen (1863)
+ e" S7 s* A! P9 X, IS.674, Ungarns Gott. A magyarok Istene (Petófi) (1882); {+ y+ g7 x. m$ p, k. A* Q# _4 E
S.674a, O sacrum convivium [2 versions] (?)5 |* E/ K5 `7 _7 ^. h
2.8.7 Nicolai
2 Q- [4 x3 {5 p4 L
$ x* c: W, W) b3 ^, AS.675, Kirchliche Festoverture (1852)
! G- }2 u$ m" m3 j. o$ O$ x6 y2.8.8 Wagner: [- t* f6 l- ^3 A* U
2 \4 S, ^& G. w
S.676, Pilgerchor from Wagner's Tannhäuser (1860): S4 J1 g: S+ M" T2 G5 U
2.9 Organ with Other Instruments(管风琴和其他)* D  F( x3 J1 ^3 }6 h

# d8 ~  ^( S2 lS.677, Hosannah from Cantico del sol di San Francesco d'Assisi (for organ and bass trombone) (1862)
: i% }& e: A- i. FS.678, Offertorium and Benedictus from the Hungarian Coronation Mass (1869): r5 K! g4 o( B) V5 P* t
S.679, Aria 'Cujus animam' from Rossini's Stabat Mater (for organ and trombone) (?)5 X" ~* n# b( S: k' h
Vocal Arrangements声乐" r4 ?8 i8 _" d& o* E$ K
8 d, g6 M# i3 R  ^" G! B, D6 o
S.680, Ave maris stella (1868)
2 E  Q; s1 ~6 H  [* @6 P8 o" e681, Ave Maria II (1869)
4 ]4 D8 A' T/ q  T) f0 `3 `S.682, Air du Stabat Mater (Rossini) (?) 7 R2 s$ c1 Q0 P4 }# C
S.683, Serbisches Lied (Hohenzollern-Hechtingen, Prince FWC. von) (?)+ \# T& X- Q, w" f# H
S.684, Barcarolle vénitienne (Pantaleoni) (?)5 S& @: u1 i' P+ G# e
S.685, Es hat geflammt die ganze Nacht (Grand Duchess Pavlovna) (?)9 p6 C1 }! n7 X6 g/ k
7 u! a% \) U0 w1 _9 {5 p; T
2.10 Recitations! a9 |, G! G( d' @. K
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

6 h1 o" l1 _1 N4 [3 s9 J& m
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2 D9 ^8 ?) Q" p5 I* C
3. Appendix# Q+ c$ B" N1 m

: @% t% ~; r& x* F3.1 Unfinished Works
2 G, A$ M4 x2 E
1 b* }+ S% B! KS.687, Sardanapale (Byron) [opera, partly sketched, 111 pages] (?)- d) K7 u& [' o
S.688, Oratorio - Die Legende vom heiligen Stanislaus [sacred choral] (1873-85)
4 j2 w  }, C/ o  B5 uS.688a, St Stanislaus fragment [solo piano, Library of Congress] (1880-86)0 o0 \* ?; S. t4 i
S.689, Singe, wem Gesang gegeben [secular choral] (1847)
# h; y7 F+ C4 B; f) US.690, Revolutionary Symphony [unfinished, revised 1848] (1830). ]$ q; ]$ O% A5 C; k) V4 Y+ m
S.691, De Profundis [piano and orchestra, De Profundis - Psaume instrumental] (1834?)
% I1 T  A6 }! ^5 g( p6 ]S.692, Violin Concerto [only sketched] (1860)
& A# }9 k6 ^1 r# G0 Q- o1 dS.692a, The Four Seasons String quartet (Vivaldi) (1880?)) _, p5 C+ z, }7 M' G( [7 j8 T
S.692b, Anfang einer jugendsonate [solo piano] (1825)
4 B7 l& l; b" v: {  l* z! {2 f- R, ES.692c, Allegro maestoso [solo piano] (1826)
$ }% n+ T+ g2 xS.692d, Rákóczi-Marsch [solo piano, first version, simplified, unfinished] (1839)
4 `; L4 a. a3 x: I) dS.692e, Winzerchor (Prometheus) [solo piano] (1850)
& h( U& J2 O% N3 j5 ~" HS.693, Deux marches dans le genre hongrois [solo piano, 2 pieces] (1840?)- B3 f( X) L4 g1 I- V! ]5 T
S.693a, Zwei Stücke aus der heilige Elisabeth [solo piano] (1862)
  A8 @. N+ v+ O0 n$ ^% I/ KS.694, Fantasie über englische Themen [solo piano] (1840?)% `- A3 ?1 i' l4 c
S.695, Morceau en fa majeur [solo piano] (1843?)- h" }# c4 {% N4 W, a8 |% \4 c+ v# E
S.695a, Litanie de Marie [solo piano] (1847)
  n& L" ^% K! {( ?1 c7 B8 S2 i$ MS.695b, Zigeuner-Epos [solo piano, 11 pieces] (ca. 1848)+ U4 g% R# _! W: X3 Z
S.696, Mephisto Waltz No.4 (1884) 第四梅菲斯特圆舞曲
) R( V2 F% r# z- J1 T% V# Q. XS.697, Fantasie über Themen aus Figaro und Don Giovanni (Mozart) [solo piano arrangement] (1842)4 g* `4 o0 f& y* r& D+ c$ x/ m/ C
S.698, La Mandragore - Ballade de l'opéra Jean de Nivelle de L. Delibes [solo piano arrangement] (a. 1880)' m" c0 `! C8 g0 S; P+ F' L: e
S.699, La Notte (Odes Funèbre no. 2) [solo piano arrangement] (1864-66)6 B! Y* \# Q  C# ], v3 O
S.700, Grand Fantaisie (Variations) sur des thèmes de Paganini [first/second version; completed by Mezö] (1845), Q5 a: `8 o2 ]/ X" U, V
S.700a, Variations sur Le Carnaval de Venise (Paganini) [solo piano arrangement] (?)
3 ^+ ~9 f& l: t" a( W% kS.701, Den Felsengipfel stieg ich einst hinan [song] (?)8 E9 ?  z  g$ ^- f6 O
S.701a, Allegro di bravura [orchestra, arrangement] (ca. 1830)
. h1 T# i4 Y$ NS.701b, Marie-Poème [solo piano] (1837)" a: M  M. i! A5 N! o$ S
S.701c, Andante sensibilissimo [solo piano] (1880-86)! ^# l% h3 d( o
S.701d, Melodie in Dorische Tonart [solo piano] (1860)
" M* w5 v' x4 y) H7 ]2 O0 Y8 m4 b- cS.701e, Dante fragment [solo piano] (1839)
8 z9 ^$ n  N! m$ K4 R. AS.701f, Glasgow fragment [solo piano] (?)
/ j! B- C0 ~  ?( C- }- GS.701g, Polnisch - sketch [solo piano] (1870-79)
3 S* M) m7 q; N# y+ W$ R6 N# {S.701h/1, Operatic aria - and sketched variation [solo piano] (?)  F6 Q7 x( @5 I9 G9 ^; p
S.701h/2, Valse infernale (Meyerbeer) - theme [solo piano arrangement] (?)
+ [9 u- z+ \2 I+ S# T7 M2 X  ZS.701j, Harmonie nach Rossini's Carità (La charité) [solo piano arrangement] (1847)  L- _0 B8 @9 |2 l) P
S.701k, Korrekturblatt (to an earlier version of La lugubre gondola) [solo piano] (1882)3 N. A% a" P  z9 W8 ]# {
3.2 Doubtful or Lost
; {; z8 q& ^7 K8 ^+ t: `6 L6 p4 }* I
3.2.1 Sacred Choral Works
, m" e5 G9 _5 P* Z. h$ ~9 a0 |1 H) v! t
S.702, Tantum Ergo (1822)
7 X1 g. r8 j" W1 G% B- c9 k- qS.703, Psalm 2 (1851)1 ?/ a2 L, t* ^" |6 ~2 g9 A
S.704, Requiem on the death of Emperor Maximilian of Mexico (?)
+ z! Y8 M5 M. e0 ^1 p/ p$ LS.705, The Creation (?)! C1 N  t9 W% X9 B% L8 ]
S.706, Benedictus [doubtful] (?): ~1 Y6 {3 ~+ d
S.707, Excelsior [arrangement, doubtful] (?)
; v2 J. W, u7 A9 [  L7 h/ q3.2.2 Secular Choral Works
! N" n( z4 r: F- b; q( B8 t2 V1 [6 A* V, M
S.708, Rinaldo [doubtful] (ca. 1848)1 B9 }6 u( N7 s, y+ m4 \+ x; }
3.2.3 Orchestral Works
' r  U! C+ r$ L( U) U& n) W
  K8 m  p- t" ^  ES.709, Salve Polonia [rediscovered, renumbered as S113] (1863)
! ?4 O& E/ D: X" D- f/ P% YS.710, Funeral March (?)
8 c( H/ N2 ^$ p% BS.711, Csárdás macabre [arrangement] (?)
; t2 a, v& j+ c- x9 IS.712, Romance oubliée [arrangement] (?)% J4 ^' U/ k& C: l/ i) ]
3.2.4 Piano and Orchestra
5 K- x  H/ f+ R6 X% |9 l
  l: l  i) Q& US.713/1, Piano Concerto in A minor (1825?)& A+ \0 H+ x* h* I6 V  D) |
S.713/2, Piano Concerto (1825?)
% t1 h) T" g- d# bS.714, Piano Concerto in the Hungarian style [by Sophie Menter, renumbered as S126a] (1885)
1 c% b! ]3 F/ {, P4 ]. w- bS.715, Piano Concerto in the Italian style (?)6 ~+ ?* l$ Q; Y0 `! u
S.716, Grande fantaisie symphonique [orchestral] (?)
. \" P) S' @, x8 r3.2.5 Chamber Music. v& a2 D/ L5 s0 o$ ^9 V' f

$ n) I( ]! S0 o/ QS.717, Trio (1825)
1 N& |' k/ _0 I3 M0 ~6 aS.718, Quintet (1825)
$ k/ B  f; _. M) yS.719, The Four Seasons String Quartet (Vivaldi) [rediscovered, renumbered as S692a]0 S' q. q& h4 M' M4 y4 s
S.720, Allegro moderato (?); ?4 x1 e+ R; U* l
S.721, Prelude (?)8 l8 v" h! h; x+ e
S.722, La notte (Odes funèbre no.2) [rediscovered, renumbered as S377a] (1864-66)
" W% N9 f% D; }. y7 I& ZS.723, Tristia [arrangement, from Vallée d'Obermann S160/6] (1880-86 ?); U; A& d- {/ g$ @
S.723a, Postlude on theme from Orpheus [arrangement] (?)1 y5 h' b, d) Y# f$ A
3.2.6 Pianoforte Solo6 R. x( m# v0 b! q. m3 ^9 |

" Y3 @0 N3 C' H' E; I8 w5 ~6 l" {S.724, Rondo and Fantasy (1824)
3 [: m6 \. q/ @# a8 VS.725, 3 Sonatas (1825)
9 u# O+ }! i/ p$ M/ `+ pS.726, Study (?)6 k9 `( l' P' X- r9 ?
S.726a, Valse (?)
) k% c. v- ?: j! z& Z- e# t+ ^" P李斯特全部作品目录-56 |8 G4 r3 T: _& v
3 O' l% l0 n; \0 I
S.727, Prélude omnitonique (?). r: I* U" s+ G. k  z
S.728, Sospiri (Fünf Klavierstücke) [rediscovered, renumbered as S192/5] (1879)2 [) P. ?3 e) M6 j, \* [
S.729, [rediscovered, renumbered as 42(?)]1 S' u9 d7 _; v" K, O. G" g
S.730, Dem Andenken Petöfis (Petófi Szellemének) [rediscovered, renumbered as S195] (1877)) {! @. U  Y6 B1 @& U
S.731, Valse élégiaque (?)
0 _' M3 I& ~! r% V- hS.732, Valse Oubliée No.4 [rediscovered, renumbered as S215/4] (1883-84)
; b& g7 M' k9 F7 o# R0 J" bS.733, Marche hongroise (in E flat minor) [rediscovered, renumbered as S233b] (1844)( f$ Z7 L- F9 \' p
S.734, Ländler (?)0 m* Y1 \' u% `9 S
S.735, Air cosaque (?)
4 p6 z8 E$ m' K& NS.736, Kerepsi csárdás (?)
+ D+ U% V( Y6 B+ S6 \S.737, 3 morceaux en style de danse ancien hongrois (?)
* y! J; ^; N4 V4 ?. ^4 QS.738, Spanish folksong arrangement (?)) A$ y! i0 j2 o- s3 Z: {
3.2.6.1 Arrangements3 Q$ p6 q9 l. t1 {3 O9 e
4 ?! E) l8 {, Z" {3 J. K. K! L9 r
S.739, Corolian Overture (Beethoven) (?)& p, u5 N8 |' ?; f8 ], X% E$ d, W
S.740, Egmont Overture (Beethoven) (?); R5 P" C: L% c% H/ ~
S.741, Le carnaval romain - Overture (Berlioz) (?)1 s. X; D/ V# X
S.742, Duettino (Donizetti) (?)
, t; T& G( r8 x' x+ CS.743, Soldiers Chorus from Guonod's Faust (?)2 a4 f3 V, g4 [# M7 n
S.743a, Fantasia on themes from Halévy's Guitarero (b. 1841)
- j9 m% b8 }! C" qS.744, Paraphrase on Act 4 of Kullak's Dom Sebastien (?)' r4 O( U' B1 R& v+ H+ j, M
S.745, Funeral March (?)  w9 {5 Q$ d( _  g6 K
S.746, Andante Maestoso (?). n+ ^. M8 r+ n
S.747, Poco adagio (from Missa Solemnis) (?)
7 u/ O* G$ z! V) u& V; K% cS.748, Overture to Mozarts "Die Zauberflöte" (?)
/ l2 Q  u! B; ^S.749, Preussischer Armeemarsch (Radovsky) (?)
! g. V3 Y3 V9 {S.750, Siege de Corynthe, Introduction (?)
+ M6 J1 V5 P) @# [# n; mS.751, Nonetto e Mose, Fantasia on themes by Rossini (?)
/ [7 X' w. S2 |: AS.752, Gelb rollt (Rubinstein) (?)
/ U/ v5 s3 h4 M, AS.753, Alfonso und Estrella, Act 1 (Schubert) (?)
( `; N. p; Q+ U4 {- |S.754, Seconda mazurka variata (Tirindelli) [rediscovered, renumbered as S573a] (1880)
( F0 b9 m" k3 m$ B9 f  }3.2.7 Pianoforte Duet
) G( a* f. |, a: Y) I( V! D( ^6 [. z5 ]; }+ O( X! F
S.755, Sonata (?)
2 p, y! E. V, v9 I3.2.8 Two Pianofortes
) I- F8 s8 D% g; U7 ?3 C5 |/ ?/ ^! h5 l
S.756, Mosonyis Grabgeleit (?)6 s- W; \; _, V& g: F, L  z
S.757, La triomphe funébre du Tasse (?)
6 G0 Z8 d; `7 l! N$ c3.2.9 Organ
7 R- B4 R) Z1 J2 @" w
! ^2 g+ Z0 E- F$ L! o0 S# yS.758, The Organ (Herder) (?)$ _/ q; ]" {3 {/ O; z+ u- H% f
S.759, Consolation [arrangement] (?)
: E5 U& R( B- ]0 zS.760, Cantico del sol di St. Francesco [arrangement] (?). o7 X! [* z. }9 X+ z# q  ~9 {# q
S.761, Marche funèbre (Chopin) [arrangement] (?)
( _7 Q  U0 B$ V4 g1 o) y* M5 x3.2.10 Songs7 E5 k% y( R' S; N+ r
  ?) q7 v$ b2 N/ p8 p
S.762, Air de Chateaubriand (?)
$ J8 s4 m2 J, r& MS.763, Strophes de Herlossohn (?)( [7 o5 v/ n! _: P/ n7 A' Q2 }
S.764, Kränze pour chant (?)
9 o4 H7 S* V- a# t( \' @" CS.765, Glöcken (Müller) (?)# P5 j: }! e. D/ U; i) S2 i
S.765a, L'aube naît (Hugo) (1842?)' F; f" s4 Z+ s- y* z
S.766, Der Papsthymnus (?)
6 ^$ O$ |# K# Z5 c" T  m0 O7 YS.767, Excelsior (?)2 C: i) T7 e- D2 m; v# U
3.2.11 Recitations
4 _2 _6 G" y. q2 q& |3 T- v( u3 L8 l3 D0 Z
S.768, Der ewige jude (Schubart) (?)2 ?! I* v) {( X8 q
3.3 Supplement8 S! a$ m5 z# g

; J, K$ G% N* h1 r7 q* fS.990, Fantasy and Fugue on the chorale "Ad nos, ad salutarem undam" (played by Liszt to Walter Bache) [solo piano, arrangement] (b. 1862)# a" L6 o) H4 T2 k
S.991, Waltz in A major [chamber, arrangement] (?)
3 g, R' D1 I% y4 T- nS.993, Wartburg Lieder (Scheffel) [orchestral, arrangement] (?)9 ], c* Q  @9 N3 V/ A2 L) [* x2 H" M9 C
S.994, Grand solo caractéristique à propos d'une chansonette de Panseron [solo piano, arrangement] (1830-32)1 _5 _: J+ f; P; G
S.995, Variations de bravoure sur des thémes de Paganini [unfinished] (1845)1 N3 j, ], X( q4 f" P7 [
S.996, Stabat Mater [solo piano] (1870-79 ?)
/ U4 T, E# [( T3 M" `! D8 nS.997, 5 Variationen über Romanze aus 'Joseph' (Méhul) (by Franz Xaver Mozart, attributed to Liszt) (ca. 1834)* n$ U6 ?7 m. d2 M
S.998, Adagio in C [solo piano] (1841)
( ]+ |; f- d0 @) X) Y* m/ aS.999, Andante Maestoso [organ] (?), I" i& R9 q- D; y& Q. S
降E大调钢琴协奏曲（遗作）Piano Concerto in E flat Major Op.posth
, C8 ~1 S/ c4 |4 q# d2首悲歌 2 Elegies
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