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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》。; H7 w; n1 Y9 Z/ B& P4 }
李斯特全部作品目录-1
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4 j% }0 F, z+ S8 B4 ]. f+ N( @! v5 h1.1 Opera(歌剧)* x0 I2 E9 E9 g, h0 ]% z# [0 n. z

* w0 \  z$ L. S( ES.1, Don Sanche, ou Le chateau de l'amour (1824–25) 歌剧《唐切桑》
5 p" r2 g0 X. j2 k/ A/ k' S1.2 Sacred Choral Works(神圣的合唱作品); b7 N( U0 {5 q3 d6 G* H- M4 w
! v% ]- J9 [( i3 j7 z& j
S.2, The Legend of St. Elisabeth (1857–62) 清唱剧《圣伊丽莎白传奇》
7 U* [, G- L: kS.3, Christus (1855–67) 清唱剧《基督》
2 _7 C2 `  C; N& s1 Z1 F  D7 ~* KS.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》' v1 k7 Y0 X+ P! p% e' }7 \
S.5, Die heilige Cäcilia (1874)8 o) }& K8 U; z0 p9 f  ^  }
S.6, Die Glocken des Strassburger Münsters (Longfellow) (1874)
4 w$ n2 e1 Y. e* GS.7, Cantantibus organis (1879)
/ \: v$ K3 u8 Z! C+ N' a8 _S.8, Missa quattuor vocum ad aequales concinente organo [first/second version] (1848, 1869)
, C# D" _: H. k; Q  tS.9, Missa solennis zur Einweihung der Basilika in Gran (Gran Mass) [first/second version] (1855, 1857–58)! I% j. m/ X! n) L0 [/ t( V9 y
S.10, Missa choralis, organo concinente (1865)
5 O; T4 H9 B  [1 A# U; uS.11, Hungarian Coronation Mass (1866–67)
: B3 @1 l; G9 }- n6 q) [S.12, Requiem (1867–68)
( d. ^& n& B: `7 k( @9 SS.13, Psalm 13 (Herr, wie lange ?) [first/second/third verion] (1855, 1858, 1862)
; k% u9 M. ^3 sS.14, Psalm 18 (Coeli enarrant) (1860)4 T/ J+ H, A! B. w! m1 ^* _( 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)
3 U" B: d4 a* S4 b: KS.15a, Psalm 116 (Laudate Dominum) (1869)
9 G" N5 t1 M+ |* V- MS.16, Psalm 129 (De profundis) (1880–83)
9 {! H4 `9 w! p4 y! h6 tS.17, Psalm 137 (By the Rivers of Babylon) [first/second version] (1859–62)
$ M, j/ S9 o! c  VS.18, Five choruses with French texts [5 choruses] (1840–49)
' S4 `8 F5 I- R: M" L- f5 rS.19, Hymne de l'enfant à son réveil (Lamartine) [first/second version] (1847, 1862)
# c# P3 ?+ {$ G) MS.20, Ave Maria I [first/second version] (1846, 1852)
1 G  b0 ]' S7 V( RS.21, Pater noster II [first/second version] (1846, 1848)
; {3 V' Y' ?- W# ^/ N- {S.22, Pater noster IV (1850)
( j% ^& b& `% b' @$ o' F# HS.23, Domine salvum fac regem (1853)2 e3 j) u. y, @
S.24, Te Deum II (1853?)' a* H$ l1 J4 m( W8 u4 c( J
S.25, Beati pauperes spiritu (Die Seligkeiten) (1853)4 q8 l7 M& c( K2 v4 F
S.26, Festgesang zur Eröffnung der zehnten allgemeinen deutschen Lehrerversammlung (1858)! N6 k2 q" o8 C) }! u5 j4 [
S.27, Te Deum I (1867)
# U  |8 S5 R4 l' p; YS.28, An den heiligen Franziskus von Paula (b. 1860)! q, Q+ u5 O1 T7 g' y; b/ f
S.29, Pater noster I (b. 1860)+ W* P% g0 ?" f3 Y& J
S.30, Responsorien und Antiphonen [5 sets] (1860)
8 {1 ~# g  Z6 e+ L' l  Q) |/ [S.31, Christus ist geboren I [first/second version] (1863?)9 u3 Q8 W# o: a7 Y# T1 u2 R
S.32, Christus ist geboren II [first/second version] (1863?)  f% j" O1 A) F1 E; B) I/ J
S.33, Slavimo Slavno Slaveni! [first/second version] (1863, 1866)
7 g* A) C4 L# QS.34, Ave maris stella [first/second version] (1865–66, 1868)
6 U- j1 ?0 R. f. ^* g/ fS.35, Crux! (Guichon de Grandpont) (1865); o; L) w& N1 `( |' Q# ~# h: D
S.36, Dall' alma Roma (1866)# ^( N' u3 z" [9 Y
S.37, Mihi autem adhaerere (from Psalm 73) (1868)* k$ `: p1 c3 J7 `0 r
S.38, Ave Maria II (1869)
$ H( M+ g0 ~/ CS.39, Inno a Maria Vergine (1869)7 z9 v# J* D. Q" u& U
S.40, O salutaris hostia I (1869?)3 Y6 P/ X$ h% h- Z
S.41, Pater noster III [first/second version] (1869)
" e' f9 k" i$ Z+ U) B) i- U, cS.42, Tantum ergo [first/second version] (1869): `4 X, M3 |8 y) [0 S  H# C
S.43, O salutaris hostia II (1870?)) `) `" u5 L; `4 e. L
S.44, Ave verum corpus (1871)7 j& e: ?% z7 K- z: ]
S.45, Libera me (1871)* P; I& x: n0 G0 K; W- z
S.46, Anima Christi sanctifica me [first/second version] (1874, ca. 1874)
7 Y" {0 S( l- c; F+ l) E" G' t( {S.47, St Christopher. Legend (1881)
* x4 N( i0 c  }( GS.48, Der Herr bewahret die Seelen seiner Heiligen (1875); q% X5 F9 R7 C  h& h
S.49, Weihnachtslied (O heilige Nacht) (a. 1876)  S5 k, T7 d2 x; {7 L5 X
S.50, 12 Alte deutsche geistliche Weisen (Chorales) [12 chorals] (ca. 1878-79)
8 Y, Z0 S: M* B# b. BS.51, Gott sei uns gnädig und barmherzig (1878). p, q4 i* v) M5 U/ u
S.52, Septem Sacramenta. Responsoria com organo vel harmonio concinente (1878): S9 b* v7 e+ u( ]  i. `, R% X% N
S.53, Via Crucis (1878–79)$ ~9 P  Z& ], v4 m, Q
S.54, O Roma nobilis (1879)
" E' P/ K. N0 s) K5 v; K' w" lS.55, Ossa arida (1879)
7 f7 |9 [6 D- r; C0 hS.56, Rosario [4 chorals] (1879)
  C4 M  U4 \, q8 w- p, w2 N  q$ M+ Y% CS.57, In domum Domino imibus (1884?)
0 a1 \; w& p  lS.58, O sacrum convivium (1884?)3 F( m. g( c: z5 M/ c2 I
S.59, Pro Papa (ca. 1880)
* p1 d6 K$ z5 O. R& S0 k0 PS.60, Zur Trauung. Geistliche Vermählungsmusik (Ave Maria III) (1883)
2 c5 i' W# C* g" v( g% B, `: \: N( F( aS.61, Nun danket alle Gott (1883), W9 X: K( b0 l5 n
S.62, Mariengarten (b. 1884)
9 N' c3 X' _" [+ b7 l0 |. V% cS.63, Qui seminant in lacrimis (1884)
+ P* \% x" s$ r7 YS.64, Pax vobiscum! (1885)
& g+ ?6 o1 y7 d! }, t- \S.65, Qui Mariam absolvisti (1885)6 |- }9 f, n( |' p- Q+ B/ T
S.66, Salve Regina (1885)9 v9 o  v- N% E8 y
1.3 Secular Choral Works(世俗的合唱作品)
: x) P' Z! y. X! JS.67, Beethoven Cantata No. 1: Festkantate zur Enthüllung (1845)9 U" @% m* n2 J% L: ?) d' K% p+ R
S.68, Beethoven Cantata No. 2: Zur Säkularfeier Beethovens (1869–70)
0 ^3 j0 k9 R; j  A2 {S.69, Chöre zu Herders Entfesseltem Prometheus (1850)
, S6 ~$ b( V* f3 \- ]- z; V/ h% xS.70, An die Künstler (Schiller) [first/second/third verion] (1853, 1853, 1856)
& t: ^( U. U, e" f- l- rS.71, Gaudeamus igitur. Humoreske (1869)
/ e! N9 V& ?5 `* j  tS.72, Vierstimmige Männergesänge [4 chorals] (for Mozart-Stiftung) (1841)" V' ]1 j& r' S) `: j
S.73, Es war einmal ein König (1845)
* ^) U3 w& y# R( Q4 }- o+ xS.74, Das deutsche Vaterland (1839)  p5 A# \  ~1 O/ M  K9 F7 N5 D; \4 _2 k
S.75, über allen Gipfeln ist Ruh (Goethe) [first/second version] (1842, 1849)
. i! O3 W. n; [4 I4 o1 F# tS.76, Das düstre Meer umrauscht mich (1842)1 x" p; u6 k; z7 B% Q9 F/ {; F
S.77, Die lustige Legion (A. Buchheim) (1846)% a* g* I9 P" W. x% K
S.78, Trinkspruch (1843)
. L; @4 z+ F! }1 K7 VS.79, Titan (Schobert) (1842–47)
8 T! r! w: ^5 W# Z* O( fS.80, Les quatre éléments (Autran) (1845)
& H% A$ Q; g! B5 WS.81, Le forgeron (de Lamennais) (1845)$ Q6 `1 x& B2 L( B/ o9 [
S.82, Arbeiterchor (de Lamennais?) (1848)0 \6 z$ m6 C* z& Q7 t6 R9 ?
S.83, Ungaria-Kantate (Hungaria 1848 Cantata) (1848)/ |5 l2 t% X) A* _
S.84, Licht, mehr Licht (1849)! D+ f! t& ~1 `' z  F
S.85, Chorus of Angels from Goethe's Faust (1849); x* C/ G& t- W8 m; ~: O0 g( O% }# p
S.86, Festchor zur Enthüllung des Herder-Dankmals in Weimar (A. Schöll) (1850)
* }! q  M% V6 k& ?4 SS.87, Weimars Volkslied (Cornelius) [6 versions] (1857)$ g1 b" x" d3 s1 e0 U& `
S.88, Morgenlied (Hoffmann von Fallersleben) (1859)
# ~+ |& p6 ]/ m* g8 i' xS.89, Mit klingendem Spiel (1859–62 ?)
2 h: o8 C2 L. s9 g. @" g4 K: r# MS.90, Für Männergesang [12 chorals] (1842–60), j; _. W9 R* t7 W( Q6 {! V
S.91, Das Lied der Begeisterung. A lelkesedes dala (1871)1 X2 D5 `5 Q; y
S.92, Carl August weilt mit uns. Festgesang zur Enthüllung des Carl-August-Denkmals in Weimar am 3 September 1875 (1875)
- J* Z3 @3 G! F+ [' D- IS.93, Ungarisches Königslied. Magyar Király-dal (ábrányi) [6 version] (1883)
9 s% b, [! G: Q2 G1 n( ~: J( IS.94, Gruss (1885?)
- D4 |- s7 a# d5 i  s% F1.4 Orchestral Works(管弦乐作品)
8 l& N$ o+ k, |4 r  K. c: W# F5 |, m3 k- N
1.4.1 Symphonic Poems(交响诗)% v- Q0 i  Z* B
& c4 ^8 `( k% u2 t( ]9 ^  A
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
+ O0 z; t2 @+ y% }' |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》
) _" E# ?0 [8 N% QS.97, Poème symphonique No. 3, Les Préludes (1848) 第三交响诗“前奏曲”+ d" _, ^0 P8 c) X
S.98, Poème symphonique No. 4, Orpheus (1853–54) 第四交响诗 《奥菲欧》: V' ?: g: k$ \. f- B5 g# Y
S.99, Poème symphonique No. 5, Prometheus [first/second version] (1850, 1855) 第五交响诗《普罗米修斯》$ I8 F9 t% f, U  d
S.100, Poème symphonique No. 6, Mazeppa [first/second version] (1851, b. 1854) 第六交响诗《马捷帕》- {: u) ]6 B2 u9 ^& C* H  ~/ U% ?
S.101, Poème symphonique No. 7, Festklänge [revisions added to 1863 pub] (1853) 第七交响诗《节日之声》( s. l# `! W5 x2 _
S.102, Poème symphonique No. 8, Héroïde funèbre [first/second version] (1849–50, 1854)  第八交响诗《英雄的葬礼》
% K2 b2 H( A3 q/ v3 Q2 c' zS.103, Poème symphonique No. 9, Hungaria (1854) 第九交响诗《匈牙利》
7 Y$ ]2 z5 t6 E/ {, V, H3 s" Z- \S.104, Poème symphonique No. 10, Hamlet (1858) 第十交响《哈姆雷特》3 E0 `7 i* R& r$ G. `6 p
S.105, Poème symphonique No. 11, Hunnenschlacht (1856–57) 第十一交响诗《匈奴之战》
+ W2 J, H9 ]: |8 ]S.106, Poème symphonique No. 12, Die Ideale (1857) 第十二交响诗《理想》" q) j4 M! q( a+ ^
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》
" X, |: m$ q1 f8 _) a1.4.2 Other Orchestral Works(其他管弦乐作品)- |1 Q/ p+ z6 K  P

3 v9 [( X( ~: b4 Q# L8 qS.108, Eine Faust-Symphonie [first/second version] (1854, 1861)) N& G: D! b+ M, }9 n4 F
S.109, Eine Symphonie zu Dante's Divina Commedia (1855–56)5 @9 q* y# u  J: ?) z
S.110, Deux épisodes d'apres le Faust de Lenau [2 pieces] (1859–61)7 [1 X( q/ a, I; ^
S.111, Zweite Mephisto Waltz (1881)" H# P0 E; R2 L) ~, s
S.112, Trois Odes Funèbres [3 pieces] (1860–66); T- o" l5 M; y9 Q
S.113, Salve Polonia (1863)
# H0 d. J% L5 W) t  GS.114, Künstlerfestzug zur Schillerfeier (1857)
5 H; }$ ~  w' @2 T5 s* ~S.115, Festmarsch zur Goethejubiläumsfeier [first/second version] (1849, 1857)8 U+ {5 M  X0 {+ J% N1 [: q" ^+ N
S.116, Festmarsch nach Motiven von E.H.z.S.-C.-G. (1857)7 E3 u9 T9 y/ b- Y3 P
S.117, Rákóczy March (1865)
; P" `2 |/ A+ B) d% _" v1 T  uS.118, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (am 8 Juni 1867) (1870)4 W; U, G3 }1 w. S7 T! C8 _! h3 k
S.119, Ungarischer Sturmmarsch (1875)/ X; ], q7 z+ b- _
1.5 Piano and Orchestra(钢琴与乐队)
$ f- ]% I3 x: q; _, m! D, P7 ?1 q! u+ f
0 C: Z" k" d( b& m
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)
3 Q# y) B% T$ i) KS.121, Malédiction (with string orchestra) (1833)  诅咒  钢琴与弦乐队& Q, s0 \6 s7 i6 w) z
S.122, Fantasie über Beethovens Ruinen von Athen [first/second version] (1837?, 1849)
; Q+ q, L* p2 W, RS.123, Fantasie über ungarische Volksmelodien (1852) 匈牙利民歌主题幻想曲 为钢琴与乐队而作
+ k* l' {9 t0 h5 L* `% D$ R* l5 f8 D. zS.124, Piano Concerto No. 1 in E flat [first/second version] (1849, 1856) 降E大调第一钢琴协奏曲
+ s* C5 D/ O6 Y# ]: k$ _/ NS.125, Piano Concerto No. 2 in A major [first/second version] (1839, 1849) A大调第二钢琴协奏曲! f' s1 Q9 e$ M8 {. v
S.125a, Piano Concerto No. 3 in E flat (1836–39)
/ F" d+ \5 X, V0 F; |% {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
  ^& m- u* O6 V- gS.126a, Piano Concerto "In the Hungarian Style" [probably by Sophie Menter] (1885); V7 o. e: |2 a2 F! ]- a
1.6 Chamber Music(室内乐等)( o7 G8 ^5 o8 k6 }

$ c5 Z  c9 ]* H/ K3 U) d3 G+ iS.126b, Zwei Waltzer [2 pieces] (1832); I" M- a7 Z4 B2 U4 K  Q- Z

3 c8 E) j- k4 z6 o. xS.127, Duo (Sonata) - Sur des thèmes polonais (1832-35 ?)+ s: y! M- a1 Z/ n' E
S.128, Grand duo concertant sur la romance de M.Lafont Le Marin [first/second version] (ca. 1835-37, 1849)
# h) J: Z0 z$ ^; E) HS.129, Epithalam zu Eduard. Reményis Vermählungsfeier (1872)# C+ s9 K% }! |( t9 t( G( [
S.130, élégie No. 1 [first/second/third version] (1874)
, k/ |3 D! ~% ]" _3 a5 {# L7 pS.131, élégie No. 2 (1877)
/ y- E+ Y' s/ v- Q4 n) M6 b* JS.132, Romance oubliée (1880)
9 h" r1 V- f7 v; k+ L" j! H2 F0 ~S.133, Die Wiege (1881?)
. N0 g( d# t: m6 ^5 JS.134, La lugubre gondola [first/second version] (1883?, 1885?)
- v/ U' }$ }$ }3 KS.135, Am Grabe Richard Wagners (1883)
: B: a* F. f! l9 Q# s1.7 Piano Solo7 I- V6 h  \2 O6 P# B2 l
$ Z! Z: @) L6 d
1.7.1 Studies(钢琴练习曲)
% I9 [  l/ W7 Q( S3 R; B: A; D; n6 q, e' s4 u) Y, ?, a- l0 o" w
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4 |! Q' }8 Z9 v* T0 ?8 d2 f
S.137, Douze grandes études [second version, 12 pieces] (1837) 《12首超技练习曲》2 f9 R% t$ `+ |3 F. C. A4 x3 a
S.138, Mazeppa [intermediate version of S137/4] (1840) 练习曲“玛捷帕”
* J5 F( L* w( O4 y" B7 M' q1 nS.139, Douze études d'exécution transcendante [final version, 12 pieces] (1852) 12首超技练习曲
4 d0 ~+ s% \; sS.140, études d'exécution transcendante d'après Paganini [first version, 6 pieces] (1838) 帕格尼尼超技练习曲
2 w& M2 b* o0 \( I8 AS.141, Grandes études de Paganini [second version, 6 pieces] (1851)  6首帕格尼尼大练习曲$ F1 \+ k; ~9 O4 n, ?1 m6 y5 h
S.142, Morceau de salon, étude de perfectionnement [Ab Irato, first version] (1840) 高级练习曲“沙龙小品”' R' [  V  _4 C6 _
S.143, Ab Irato, étude de perfectionnement [second version] (1852) 高级练习曲“愤怒”5 x: S' B9 M/ N8 f2 D7 t% D* e
S.144, Trois études de concert [3 pieces] (1848?)  3首音乐会练习曲/ {" r, V( v. D; b, r$ e) P
1.    Il lamento! E& f4 S1 M' C. M
2.    La leggierezza
9 \1 s3 E4 Z( r6 Q3.    Un sospiro
9 h: B# U) W+ S2 @& S8 Z: }S.145, Zwei Konzertetüden [2 pieces] (1862–63)  2首音乐会练习曲
" @' g1 {& G  O+ ]1.    Waldesrauschen1 u% u* M0 T% l; u* E
2.    Gnomenreigen! H; H, m- m* j
S.146, Technische Studien [68 studies] (ca. 1868-80)  钢琴技巧练习7 v! K' T3 {" {+ f
1.7.2 Various Original Works(各种原创作品)
8 f5 R4 N1 e. i/ S5 N, R) `9 t% Y! c' @
+ ~' w& Z. J4 ^3 l0 _& x! gS.147, Variation on a Waltz by Diabelli (1822)  狄亚贝利圆舞曲主题变奏曲
& h5 K: o, ]7 D( m; l- L; mS.148, Huit variations (1824?) 降A大调原创主题变奏曲3 W- O1 \- m* ]2 B5 T/ m
S.149, Sept variations brillantes dur un thème de G. Rossini (1824?)
5 w4 ^, O( {4 [1 y1 y8 PS.150, Impromptu brilliant sur des thèmes de Rossini et Spontini (1824) 罗西尼与斯蓬蒂尼主题即兴曲- P$ {; o) l: U8 C4 N
S.151, Allegro di bravura (1824) 华丽的快板
1 i6 l" h5 `$ y. c# lS.152, Rondo di bravura (1824) 华丽回旋曲" V( C( W+ r+ b  d9 K" q8 Z3 x# l$ q
S.152a, Klavierstück (?)! |. n+ F0 C" C+ R
S.153, Scherzo in G minor (1827) g小调谐谑曲8 Y5 L/ U, i% ?. m! A0 {
S.153a, Marche funèbre (1827)4 l$ I" K, A# `: J
S.153b, Grand solo caractèristique d'apropos une chansonette de Panseron [private collection, score inaccessible] (1830–32) [1]
* a! G' `1 t- L% fS.154, Harmonies poétiques et religieuses [Pensée des morts, first version] (1833, 1835) 宗教诗情曲6 s0 Z: I/ h. r3 L4 z
S.155, Apparitions [3 pieces] (1834) 显现 三首钢琴小品
( ]; f6 {) ~. L# M# H2 f- \S.156, Album d'un voyageur [3 sets; 7, 9, 3 pieces] (1835–38) 旅行者札记( |# s0 _4 w; R. R
S.156a, Trois morceaux suisses [3 pieces] (1835–36)% i& m  P% a& j1 L  p8 T$ R
S.157, Fantaisie romantique sur deux mélodies suisses (1836) 浪漫幻想曲
, x1 \' V% Y  ~& NS.157a, Sposalizio (1838–39)5 W. t6 U4 M- c
S.157b, Il penseroso [first version] (1839)
4 x" B4 A# r2 J$ H( |, FS.157c, Canzonetta del Salvator Rosa [first version] (1849)" I% {, J5 @' F8 ^- w8 i
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
: q# I5 b5 S/ A; _S.158a, Paralipomènes à la Divina Commedia [Dante Sonata original 2 movement version] (1844–45)0 h; G! y/ I$ i6 O# b- X
S.158b, Prologomènes à la Divina Commedia [Dante Sonata second version] (1844–45)
8 ~: Y8 w. c1 ]! X3 Y& c0 v5 RS.158c, Adagio in C major (Dante Sonata albumleaf) (1844–45)
/ Q( d0 O4 F: m$ _' qS.159, Venezia e Napoli [first version, 4 pieces] (1840?)  威尼斯和拿波里
3 j! v+ ?6 c7 d5 GS.160, Années de pèlerinage. Première année; Suisse [9 pieces] (1848–55)  旅行岁月（第一集）- 瑞士游记& A, m$ n2 J/ P4 L- [- {; p
S.161, Années de pèlerinage. Deuxième année; Italie [7 pieces] (1839–49) 旅行岁月（第二集）- 意大利游记- }7 {+ s0 Q6 ~; B# n3 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
' A+ M: ^& k- A) }1 J+ f* ^S.162a, Den Schutz-Engeln (Angelus! Prière à l'ange gardien) [4 drafts] (1877–82)
. b" N5 ~+ ?$ g' d8 ~S.162b, Den Cypressen der Villa d'Este - Thrénodie II [first draft] (1882)$ r% l5 f, _( W
S.162c, Sunt lacrymae rerum [first version] (1872)+ d; n. E7 }3 s
S.162d, Sunt lacrymae rerum [intermediate version] (1877)  X9 q' Q" Y! _/ p3 p  z- B  l5 x  ]
S.162e, En mémoire de Maximilian I [Marche funèbre first version] (1867)
, R6 n  H) a$ r6 N3 l  SS.162f, Postludium - Nachspiel - Sursum corda! [first version] (1877)4 G8 m, q# P5 a, L" w' e
S.163, Années de pèlerinage. Troisième année [7 pieces] (1867–77)   旅行岁月（第三集）
2 F  W0 k& Y& tS.163a, Album-Leaf: Andantino pour Emile et Charlotte Loudon (1828) [2] 降E大调纪念册的一页0 Z" b( |/ P. T. q; \  [; ~( ^
S.163a/1, Album Leaf in F sharp minor (1828)降E大调纪念册的一页
% I, \+ o: E3 N. L, L: _& ]9 US.163b, Album-Leaf (Ah vous dirai-je, maman) (1833)
3 ~) y: V# x5 ]8 ]S.163c, Album-Leaf in C minor (Pressburg) (1839)
% i* Q- E8 K  r* wS.163d, Album-Leaf in E major (Leipzig) (1840)! s1 i- a' v* h* e  W3 Q: [
S.164, Feuille d'album No. 1 (1840) E大调纪念册的一页
* [' C$ D$ ~, H4 j. T2 zS.164a, Album Leaf in E major (Vienna) (1840)
, Y0 Z5 _+ \1 @, k$ yS.164b, Album Leaf in E flat (Leipzig) (1840)3 H* S% W* d+ x. d% }/ I* e# e
S.164c, Album-Leaf: Exeter Preludio (1841)! W1 P; c, p! s/ f( ~* N
S.164d, Album-Leaf in E major (Detmold) (1840)
8 I+ y6 t! k. X- Q" A  t' a; f! aS.164e, Album-Leaf: Magyar (1841)
1 q( U1 G9 i4 K$ Y7 }' jS.164f, Album-Leaf in A minor (Rákóczi-Marsch) (1841)  H3 y1 R+ F- K0 S+ W8 t% u. K
S.164g, Album-Leaf: Berlin Preludio (1842)
, V+ J! \/ E$ n$ }! j+ r  GS.165, Feuille d'album (in A flat) (1841) 降A大调纪念册的一页" o3 I3 d4 h9 c1 I% t
S.166, Albumblatt in waltz form (1841) A大调圆舞曲风格纪念册的一页
6 X+ u' z; R; q5 iS.166a, Album Leaf in E major (1843)
4 i1 N! U: r4 M0 c6 G6 [( E/ a5 ^S.166b, Album-Leaf in A flat (Portugal) (1844)% ~6 E1 P' Y2 m9 o( I
S.166c, Album-Leaf in A flat (1844)
  ~. z- u, n3 |, d# ~S.166d, Album-Leaf: Lyon prélude (1844)$ r9 }6 i" l/ ^
S.166e, Album-Leaf: Prélude omnitonique (1844)
' C9 M  R; ~8 g9 A1 L: K7 V8 kS.166f, Album-Leaf: Braunschweig preludio (1844)
$ z5 ~5 P3 z* {, G% e0 GS.166g, Album-Leaf: Serenade (1840–49)
, V7 H- d* C0 z3 o- |- lS.166h, Album-Leaf: Andante religioso (1846)) Q5 B6 Y. E( d0 s3 A! H1 Y$ t7 z
S.166k, Album Leaf in A major: Friska (ca. 1846-49)
: D9 u. y" ]( O# O$ D) r# ]S.166m-n, Albumblätter für Prinzessin Marie von Sayn-Wittgenstein (1847)
! w8 G- z, j* p! [  AS.167, Feuille d'album No. 2 [Die Zelle in Nonnenwerth, third version] (1843) a小调纪念册的一页. c8 t) d" s$ b0 Y, @7 E* V
S.167a, Ruhig [catalogue error; see Strauss/Tausig introduction and coda]) @9 y. I& ]0 m/ Q6 }& Q2 Z
S.167b, Miniatur Lieder [score not accessible at present] (?)
1 j) X, M9 }9 NS.167c, Album-Leaf (from the Agnus Dei of the Missa Solennis, S9) (1860–69)
# I! g/ i( \! X2 V( u7 h2 v7 R" aS.167d, Album-Leaf (from the symphonic poem Orpheus, S98) (1860): T0 B% n* ~4 E4 x+ r% H
S.167e, Album-Leaf (from the symphonic poem Die Ideale, S106) (1861)
; E: Q# N( m" ^" b7 O/ YS.167f, Album Leaf in G major (ca. 1860)
7 `, ?5 t* L# W, Y  TS.168, Elégie sur des motifs du Prince Louis Ferdinand de Prusse [first/second version] (1842, 1851) 悲歌
3 r5 d# p/ C9 O( [S.168a, Andante amoroso (1847?): K) i0 C( Z4 o; `4 V' \: j' {
S.169, Romance (O pourquoi donc) (1848) e小调浪漫曲
+ [, w  [" h& D$ w( W  f: KS.170, Ballade No. 1 in D flat (Le chant du croisé) (1845–48) 叙事曲一
2 ~1 n- l' v2 @- p: [S.170a, Ballade No. 2 [first draft] (1853)
* n/ D( \! q# u# WS.171, Ballade No. 2 in B minor (1853) 叙事曲二
& e! `; a7 Q+ I. @S.171a, Madrigal (Consolations) [first series, 6 pieces] (1844). w  w  P- k& e9 R
S.171b, Album Leaf or Consolation No. 1 (1870–79)
8 i+ O/ ^& d2 R& S) F; uS.171c, Prière de l'enfant à son reveil [first version] (1840), u# \: y( p; h7 Z$ @
S.171d, Préludes et harmonies poétiques et religie (1845)
, |$ t. m! E/ ^" {- PS.171e, Litanies de Marie [first version] (1846–47)
' |( X) h' W/ f) m# Q, lS.172, Consolations (Six penseés poétiques) (1849–50) 6首安慰曲2 ?$ p% G8 G* P
S.172a, Harmonies poétiques et religieuses [1847 cycle] (1847): `5 m. j2 H1 ~: T% F0 {2 @
S.172a/3&4, Hymne du matin, Hymne de la nuit [formerly S173a] (1847)
/ i3 P6 e4 L  N- e$ }0 i) |S.173, Harmonies poétiques et religieuses [second version] (1845–52) 诗与宗教的和谐
2 S6 Z& ^2 h& XS.174, Berceuse [first/second version] (1854, 1862) 摇篮曲2 l; g* {% _5 t+ O( L
S.175, Deux légendes [2 pieces] (1862–63) 2首传奇
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 楼主| geci110 发表于 2015-7-22 18:34:13 | 显示全部楼层
1.    St. François d'Assise. La prédication aux oiseaux (Preaching to the Birds)
' D1 q! l% ^2 \% J2.    St. François de Paule marchant sur les flots (Walking on the Waves)) g! [4 ?7 [7 D8 v% z) P6 r( A3 T- S
S.175a, Grand solo de concert [Grosses Konzertsolo, first version] (1850)% ?# F, h1 F) F: e
S.176, Grosses Konzertsolo [second version] (1849–50 ?) 独奏大协奏曲! w8 P! T0 _! |7 q" i1 @' c1 h
S.177, Scherzo and March (1851) 谐谑曲与进行曲0 ?; O, f+ I- [. C) S
S.178, Piano Sonata in B minor (1852–53)  b小调钢琴奏鸣曲+ Q" F8 v" j, Q0 `
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2 o; a6 H& `* e3 i1 v& P. 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' k9 r! ?: z  u% {) l, u4 i
S.181, Sarabande and Chaconne from Handel's opera Almira (1881)
5 |! i  {# O' M1 ?S.182, Ave Maria - Die Glocken von Rom (1862) 圣母颂“罗马的钟声”
0 @; F+ G! y8 f' @5 N5 x/ LS.183, Alleluia et Ave Maria [2 pieces] (1862) 哈利路亚与圣母颂# r2 F5 D3 [& m4 `8 [6 y
S.184, Urbi et orbi. Bénédiction papale (1864): {0 B+ z$ M" m* n5 K! ?
S.185, Vexilla regis prodeunt (1864)
3 s  H& a6 S- O  RS.185a, Weihnachtsbaum [first version, 12 pieces] (1876)3 p( d8 F' r5 D+ o
S.186, Weihnachtsbaum [second version, 12 pieces] (1875–76) 钢琴曲集《圣诞树》
6 `9 m# a! f$ S' @% p1 ES.187, Sancta Dorothea (1877) 圣多萝西娅
1 \. g7 n) W; ^$ ]0 [S.187a, Resignazione [first/second version] (1877)9 m1 L$ T# g) k- ~8 n7 c& p
S.188, In festo transfigurationis Domini nostri Jesu Christi (1880) 我主耶稣基督之变形3 x' o* Z+ [7 B+ P
S.189, Klavierstück No. 1 (1866)! i; O1 w. X) D8 e" e
S.189a, Klavierstück No. 2 (1845)4 i8 r$ i6 _( R6 l9 f
S.189b, Klavierstück (?)
6 l* F9 |$ `* f4 l6 DS.190, Un portrait en musique de la Marquise de Blocqueville (1868)# K$ r; y3 H$ P9 G5 A2 j
S.191, Impromptu (1872) 升F大调即兴曲“夜曲”9 S" ~9 B  r+ U8 B7 y
S.192, Fünf Klavierstücke (for Baroness von Meyendorff) [5 pieces] (1865–79) 5首钢琴小品$ j: q. b3 N3 W% c- J2 q" p7 f
S.193, Klavierstuck (in F sharp major) (a. 1860) 升F大调钢琴小品
2 F$ y6 m: |8 j8 A# r0 [* e0 LS.194, Mosonyis Grabgeleit (Mosonyi gyázmenete) (1870) 在莫佐尼墓前" E! R! v, S( B; \4 P
S.195, Dem andenken Petofis (Petofi Szellemenek) (1877) 纪念裴多菲6 \! }% C$ A! `% Q; l
S.195a, Schlummerlied im Grabe [Elegie No 1, first version] (1874)8 w4 ~/ Q9 U. X+ P4 d
S.196, élégie No. 1 (1874)
/ `7 X" J: v, X' T8 T2 t9 g8 JS.196a, Entwurf der Ramann-Elegie [Elegie No 2, first draft] (1877)
3 g% k1 [! ?, Q7 x/ o% p  RS.197, élégie No. 2 (1877)
1 I, x) d" ]* C& t+ G7 K& r* T7 ]S.197a, Toccata (1879–81) 托卡塔
8 x9 p" X9 g, h! JS.197b, National Hymne - Kaiser Wilhelm! (1876), W: x0 ?" @1 h
S.198, Wiegenlied (Chant du herceau) (1880) 摇篮曲
) ]( O7 W! Y8 _+ s4 h: c! vS.199, Nuages gris (Trübe Wolken) (1881) 灰色的云3 j- ~+ k- w% L) Q
S.199a, La lugubre gondola I (Der Trauergondol) [Vienna draft] (1882)
% E1 P& l  x; f- rS.200, La lugubre gondola [2 pieces] (1882, 1885) 葬礼小船
" _( ?; Z9 C: x& G/ N) }+ w: L
% Y$ a% d7 U8 @5 C李斯特全部作品目录-2
/ X) j: u8 ?' R9 D- s% P- _0 \  ?9 _
S.201, R. W. - Venezia (1883) 告别瓦格纳和威尼斯
/ A1 {' m+ F9 W6 @0 o2 K3 B  oS.202, Am Grabe Richard Wagners (1883) 在瓦格纳墓前
/ h: `; m( p1 h# Y# NS.203, Schlaflos, Frage und Antwort (Nocturne after a poem by Toni Raab) (1883) 夜曲“沉睡，思考和回答”' _8 G) S; l; }( |8 B* {; C2 D
S.204, Receuillement (Bellini in Memoriam) (1877) 冥想! K0 s" O* f1 D% j7 G) i
S.205, Historische ungarische Bildnisse (Magyar arcképek) [original version, 7 pieces] (1885) 匈牙利历史人物肖像
; R% R! C1 x; w! E" kS.205a, Historische ungarische Bildnisse [revised order and conclusion, 7 pieces] (1885)
; @" b" i) g9 X5 P: P/ PS.206, Trauervorspiel und Trauermarsch (1885) 葬礼前奏曲和葬礼进行曲
5 h5 v6 a4 Q0 B' d, S3 nS.207, En rêve. Nocturne (1885) 夜曲“梦中”- M/ p; F& S6 x5 }3 i1 h1 z
S.207a, Prélude à la polka de Borodine (and Borodin's Polka) (1880)$ t( k" M% O$ Y
S.208, Unstern: sinistre, disastro (1880–86) 凶兆、灾难3 O! |, ~0 C( @2 W$ o0 J2 Q
1.7.3 Works in Dance Form(为舞蹈的作品)3 I% t1 B: C5 e. Z3 v3 N6 w

5 @) o) [# ?3 e6 q. K/ H( [S.208a, Waltz (in A major) (b. 1825) A大调圆舞曲, {' Z  G+ l9 Y& G  h4 V
S.209, Grande valse di bravura [first version of S214/1] (1835) 华丽的大圆舞曲+ c4 U" u7 |  r; n" O" |
S.209a, Waltz (in E flat) (1840)$ }; T0 c& W; B% Q1 ^: ^2 W, e
S.210, Valse mélancolique [first version of S214/2] (1839) 忧郁圆舞曲
7 P# l( o5 Q& k% ES.210a, Valse mélancolique [intermediate version] (1840)
2 r3 \. \+ i; O" P* s& F9 CS.210b, Valse (in A major) (1830–39)
2 q9 l3 E, K/ A: j% @S.211, Ländler (in A flat major) (1843) 降A大调兰德勒舞曲9 O  U0 Y# g& H5 G
S.211a, Ländler (in D major) (1879)
( \9 j: d% ]+ _" O* VS.212, Petite valse favorite [first/second version] (1842, 1843)
1 O7 l2 R" p& ~. C& RS.212b, Mariotte. Valse pour Marie (1840)
3 q+ `' I" H+ f7 FS.213, Valse-impromptu (1850?) 即兴圆舞曲  O6 s0 a! Q0 L$ C
S.213a, Valse-impromptu [with later additions] (1880)6 X/ p$ v( A$ [, M
S.214, Trois caprice-valses [3 pieces] [second versions of S209, S210, S401] (1850?)3 y; b$ g8 [2 h
S.214a, Carousel de Madame Pelet-Narbone (ca. 1875-81)) N0 n- J( ^' [6 T" b, G' t- }8 w
S.215, Valses oubliées [4 pieces] (1881–84) 4首被遗忘的圆舞曲4 K" \8 y7 _6 _- M
S.215a, Dritter Mephisto-Walzer (Mephisto Waltz No. 3) [first draft] (1883)
% Y) U( n: R, \, I. [8 N# y( hS.216, Dritter Mephisto-Walzer (Mephisto Waltz No. 3) (1883) 第三梅菲斯特圆舞曲$ r  j; j8 Y' D6 i
S.216a, Bagatelle sans tonalité (1885)
7 M& @6 o' |* K9 n; jS.216b, Vierter Mephisto-Walzer (Mephisto Waltz No. 4) [first version] (1885)  第四梅菲斯特圆舞曲9 A; q1 x5 H3 t$ y6 u, `/ _$ L
S.217, Mephisto Polka [first/second version] (1883) 梅菲斯特波尔卡5 q" b: Z2 D# K+ I0 _
S.218, Galop (in A minor) (1841?) a小调加洛普舞曲0 M& o+ [: `% ^/ @/ A
S.219, Grand galop chromatique [original version] (1838) 华丽的半音阶加洛普舞曲& G8 J1 i) ]) Z' I( h
S.219bis, Grand galop chromatique [simplified version] (1838). M5 w: U4 |: o0 K% o4 K: t5 N) P
S.220, Galop de Bal (1840?)
; s3 P  V( _8 |/ f) i% u  VS.221, Mazurka brillante] (1850) 华丽玛祖卡# b, A' W# X: b, d+ c/ T  g5 g; G
S.221a, Mazurka in F minor [Not by Liszt?] (?)
2 p) x) k7 H- }S.222, [catalogue error; same as S212]0 ?4 G* d3 c; `4 r* p; |  D4 i
S.223, Deux Polonaises [2 pieces] (1851) 2首波洛奈兹舞曲4 [) x2 x5 o$ q4 u- ?2 n4 j
S.224, Csárdás macabre (1881–82)" u1 r0 N/ [$ |
S.225, Two Csárdás [2 pieces] (1884)
8 ^% [' A. c  j. YS.226, Festvorspiel (1856)/ p8 N- z) M  E/ u) x3 G: m
S.226a, Marche funèbre (1827)% P; J9 g+ x* }! \: l
S.227, Goethe Festmarsch [first version] (1849). f% U8 F5 }9 L* f8 E4 p
S.228, Huldigungsmarsch [first/second version] (1853)
1 L# [8 ^! m$ ~S.229, Vom Fels zum Meer! - Deutscher Siegesmarsch (1853–56): U# C3 k: x. [
S.230, Bülow-Marsch (1883)
! o/ l1 X+ k7 ~5 O0 r( }, B- `! NS.230a, Festpolonaise (1876)
, P: n/ s/ ]: U3 }( [0 d# cS.231, Heroischer Marsch in ungarischem Stil (1840)
, k" Q9 z0 `4 S# F" ]5 c) R/ vS.232, Ungarischer Sturmmarsch [earlier version of S524] (1843?). Z! U/ d1 V% N2 O, Z+ s
S.233, Ungarischer Geschwindmarsch (1870)! ]- Y6 h9 g5 Q( C. @1 y. @
S.233a, Siegesmarsch. Marche triomphale (Victory March) (?)9 V! V5 x7 U4 P; g: k! g( ~- b( T
S.233b, Marche hongroise (in E flat minor) (1844)
6 g1 S1 H) y: O8 K, l1.7.4 Works on National Themes(主题作品)1 J9 ?; w' ?1 H! H, g; V/ M/ ~  ]

- \9 c$ c: b8 D1.7.4.1 Czech
4 ?9 c& c) G. a+ c+ y: ~+ a# ~- }2 S% S8 S0 X
S.234, Hussitenlied (Melody by J.Krov) (1840)' p7 f- g& R" n2 V. d) C, q
1.7.4.2 English" J% g' W2 S( i) F! \4 d

4 T- r( W# x4 f3 f( N5 a$ FS.235, God Save the Queen (1841)) V9 w1 N9 j6 `! Z; _% C
1.7.4.3 French- ~( V1 z2 |. T9 ^1 T7 y

  W. f! D2 f* f- qS.236, Faribolo Pasteur and Chanson du Béarn [2 pieces] (1844)
* k4 c& W. `3 _0 I8 k. j0 I+ Y" JS.237, La marseillaise (1872?)
) I3 g; E8 M  x7 L8 u9 NS.238, La cloche sonne (1850?)
! X8 k2 g- ^/ j4 v  H2 g, FS.239, Vive Henri IV (1870-80 ?)9 Q" L$ S# t/ _9 M
1.7.4.4 German
. O4 N3 L" ^" R6 S" e( X; E- C; G5 B4 v4 L
S.240, Gaudeamus igitur. Concert paraphrase [first/second version] (1843, 1853)4 _# L- j' _! c
1.7.4.5 Hungarian
( c* d" {& Z% I7 J0 E! q7 \8 w* W& V3 P) S
S.241, Hungarian Recruiting Songs (Zum Andenken) (By Fáy & Bihari) (1828)
( `! I$ g  z* b* \; V8 c$ FS.241a, Ungarische Romanzero (Hungarian Songbook) [18 pieces] (1853)
9 K' [% }, n9 ^0 f8 ES.241b, Magyar tempo (1840)4 L  d4 T6 W4 o$ |
S.242, Magyar Dalok: Magyar Rapszódiák [21 pieces] (1839–47)7 e+ t* K9 n5 a1 O) i' f( @0 t7 N
S.242a, Rákóczi-Marsch [first version] (1839–1840)1 ^6 U* u  K: X2 j3 Z  f, g. q
S.243, Ungarische National-Melodien [3 pieces] (ca. 1843)9 ^- N' T; A" q. _' S9 [( o* O
S.243a, Célèbre mélodie hongroise (a. 1866)4 T. v  p& m. j" j5 P0 L
S.244, Hungarian Rhapsodies (Rapsodies hongroises) [19 pieces] (1846–86)  19首匈牙利狂想曲
4 j+ I" G3 K. b5 L+ {! jS.244a, Rákóczi-Marsch [from orchestral version] (1863)
% C4 [# b. }# \- A# K, GS.244b, Rákóczi-Marsch [simplified version of S244a] (1871)4 ~2 e& j/ i9 Y
S.244c, Rákóczi-Marsch [popular version] (?)
; B: ]/ J5 `/ \1 s$ `S.245, Fünf ungarische Volkslieder (Abranyi) [5 pieces] (1873)( h3 A$ S+ w  j. }# m3 z
S.246, Puszta-Wehmut (A Puszta Keserve) (1880–86 ?)
4 q  Q4 f: R8 ^9 t5 t1.7.4.6 Italian4 G: p6 n1 k% k( t1 k0 N5 y

- K" y2 I+ K) CS.248, Canzone Napolitana [first/second version] (1842)$ m2 X: b9 T  c: W; e  z7 A+ }
1.7.4.7 Polish' E% N# F# t- M( t* M

! U8 v" t( C( P. d$ V9 a( h6 L& TS.249, Glanes de Woronince [3 pieces] (1847–48)
) d( b2 @4 C' pS.249a, Mélodie polonaise [short draft] (1871)5 q0 D- p  H: _
S.249b, Dumka (1871)
& Z# G6 [3 [. Z! AS.249c, Air cosaque (1871)
" b( E) x5 `9 r5 h. f1.7.4.8 Russian& g9 G* \( G: z, }- k

% D+ K: o) p' ?, [' oS.250, Deux mélodies russes. Arabesques [2 pieces] (1842)
+ r1 A# Y4 j2 c8 e) LS.250a, Le rossignol (Alyabyev) [first version of S250/1] (1842)7 i8 c& T$ ?* z+ H0 [
S.251, Abschied. Russisches Volkslied (1885)
5 z! I7 k% P6 V7 I( p! E5 ^1.7.4.9 Spanish
% X) ~- o4 {5 ^6 @
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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)
7 B" Z3 `! X  j) ?: MS.252a, La romanesca [first/second version] (ca. 1832, b. 1852)+ b, s" E8 W7 y3 W; W( E, w/ K& k+ R
S.253, Grosse Konzertfantasie über Spanische Weisen (1853)+ T; m  z  \7 t7 s. ?  t
S.254, Rhapsodie espagnole (1863?) 西班牙狂想曲( `' ^6 v- D: X% Y
S.254x, Rapsodie espagnole [orchestrated by Feruccio Busoni] (?)/ Y* u: p% ^7 [$ U; }6 _+ V( K
1.8 Piano Duet(钢琴二重奏)
0 r3 n+ C) m1 A8 ^0 Y) R" _0 m. k9 `1 v
S.255, Festpolonaise [now S619a] (1876)
2 X$ q( A. y, x. ^! B2 g3 QS.256, Variation on the Chopstick Theme (1880)
& Y% \3 D, l  g, Z" YS.256a, Nottorno [Not by Liszt?] (?)2 c* g5 @& D6 ~7 \% {" j
1.9 Two Pianos(双钢琴)5 f: U1 F8 N6 Q% g" B* }
, X. J) |$ V. g/ Q& I
S.257, Grosses Konzertstück über Mendelssohns Lieder ohne Worte (1834)% c; v& v) W' U; E! ~# X; P  `, f1 x
S.258, Concerto pathétique (b. 1856)  e小调钢琴协奏曲“悲怆”
# z7 X+ M) M* G4 w" [3 Q  z9 i1 X1.10 Organ(管风琴)
' P3 v% T* M. @2 Q6 G
3 T8 u% D, I6 KS.259, Fantasy and Fugue on the chorale Ad nos, ad salutarem undam (1850). E( P0 S, Z0 h1 Y* x+ S9 I( u
S.260, Präludium und Fuge über das Thema BACH [first/second version] (1855, 1870)$ r3 |; Z: [0 `% ]" u
S.261, Pio IX. Der Papsthymnus (1863?)
( n8 U+ P9 R7 S) ?S.261a, Andante religioso (1861?)
9 k( W6 A% G6 j4 BS.262, Ora pro nobis. Litanei (1864)6 C0 o- ~( u8 s# V
S.263, Resignazione (1877)
) c: X0 g6 F8 m: y$ f+ `S.264, Missa pro organo lectarum celebrationi missarum adjumento inserviens (1879)# T, y; e/ R% X; Z8 _/ N- S7 `, S4 j
S.265, Gebet (1879)8 ~; O6 P. O4 y) e; B( E
S.266, Requiem für die Orgel (1883)0 b$ L" }2 b9 w
S.267, Am Grabe Richard Wagners (1883)
8 c! p) T2 g# Z9 j' ?' @S.268, Zwei Vortragsstücke [2 pieces] (1884): y! R: L9 }: D' v- r- f
1.11 Songs(歌曲)/ e# M  b, ?# \4 A2 \& P
" @! ?+ E& X; w) I) z+ v6 I
S.269, Angiolin dal biondo crin (Marchese C. Bocella) [first/second version] (1839, ?)
. a$ B: Z. x+ }: |S.270, Three Petrarch Sonnets [3 songs, first/second version] (1844–45, 1854]
3 S5 u+ x& k; ]S.271, Il m'aimait tant (Delphine Gay) (1840?)
. U, s  g2 j( LS.272, Am Rhein im schönen Strome (Heine) [first/second version] (1840?, 1854)8 D% L9 ~- O  U, h  \! k& t
S.273, Die Lorelie (Heine) [first/second version] (1841, ?)! Z5 p: |: Y3 A) w) P
S.274, Die Zelle in Nonnenwerth [first/second version revised 1862] (b. 1841, 1857)! Q* q( I, r! h% z, g& A
S.275, Mignons Lied (Kennst du das Land) (Goethe) [first/second/third version] (1842, 1854, 1860)
8 N/ b) U7 f! y7 p( k0 TS.276, Comment, disaient-ils (Hugo) [first/second version] (1842, ?)
& I% j! c3 P) @0 k% x8 TS.277, Bist du (Prince E. Metschersky) [first/revised version] (1843, ca. 1878-79)
# x- [; v  A# P  o0 b* pS.278, Es war ein König in Thule (Goethe) [first/second version] (1842, ?)
+ |8 ~# y2 S; L) |& p1 L. V; w9 J' |/ CS.279, Der du von dem Himmel bist (Goethe) [first/second/third version] (1842, ?, 1860)
1 Y( B7 O, F& }  X8 dS.280, Freudvoll und leidvoll (Goethe) [first/second/third version] (1844, 1848?, ?)) f) {1 Y$ ~  z  X
S.281, Die Vätergruft (1844)
  a' n. c. f3 Q+ x+ n. {& yS.282, O quand je dors (Hugo) [first/second version] (1842, ?)) Z  }7 B& M7 J6 Q0 ^8 q
S.283, Enfant, si j'etais roi (Hugo) [first/revised version] (1844?, ?)( h: s$ g) M; p7 U$ @
S.284, S'il est un charmant gazon (Hugo) [first/revised version] (1844?, ?)
7 D& G# K' G4 j( S! A3 r  a, US.285, La tombe et la rose (Hugo) (1844?)" [9 [. i+ f% F0 M) O
S.286, Gastibelza, Bolero (Hugo) (1844?)
1 n/ w3 W" K8 W$ x% US.287, Du bist wie eine Blume (Heine) (1843?)& p& _* K0 g! R0 `
S.288, Was Liebe sei (C. von Hagn) [first/second/third version] (1843?, ca. 1855, 1878–79)
. \9 `( B! Y" \/ H6 J. p3 oS.289, Vergiftet sind meine Lieder (Heine) [first/revised version] (1842, ?)
8 X- [9 _/ Y  s9 o% e0 ZS.290, Morgens steh ich auf und frage (Heine) [first/revised version] (1843?, ca. 1855)
' u# U6 {( L- N, t' @S.291, Die todte Nachtigall (Kaufmann) [first/revised version] (1843?, 1878)
" g' {' O* j/ ^S.292, Songs from Schiller's Wilhelm Tell [3 songs, first/revised version] (1845?, ?)
' i  [7 X8 [4 M% M/ ?# ZS.293, Jeanne d'Arc au bûcher (Dumas) [first/revised version] (1845, 1874)
8 Y2 O; N% _: V9 g. Q( G' LS.294, Es rauschen die Winde [first/second version] (ca. 1845, b. 1856). E3 m5 U  b4 H: Z, @3 d8 a
S.295, Wo weilt er? (Rellstab) (1844)
: `7 G7 n5 ~& g- u" eS.296, Ich möchte hingehn (Herwegh) [revised later] (1845)
+ S8 m9 r' U0 _' AS.297, Wer nie sein Brot mit Tränen ass (Goethe) [first/revised version] (ca. 1845)
, Y5 t/ C6 V+ f" e% E3 FS.298, O lieb so lang du lieben kannst (Freiligrath) (1845?)  x- S( U5 I. [! K- N5 L; n- b
S.299, Isten veled (Farewell) (Horvath) [first/revised version] (1846–47)
: w: w1 p& |5 ^" hS.300, Le juif errant (Béranger) (1847): ^: Z3 f+ A: h/ P8 ?/ S
S.301, Kling leise, mein Lied [first/revised version] (1848)
' m' |5 k/ }5 X; N9 tS.301a, Oh pourquoi donc (Mme Pavloff) (1843)9 O: [% R* ~9 y; a; b
S.301b, En ces lieux. élégie (E. Monnier) (1844)
- v! q: k/ M& e0 K! IS.302, Die Macht der Musik (Duchess Helen of Orleans) (1848–49)% c2 S  y8 \8 c
S.303, Weimars Toten. Dithyrambe (Schober) (b. 1848)
! H3 T, ^/ T( W, H. _$ e7 X- g( WS.304, Le vieux vagabond (Béranger) (b. 1848)! P$ [+ p8 }1 r# R" R) {
S.305, Schwebe, schwebe, blaues Auge [first/revised version] (1845, ?)! g# _) h5 g8 x* _+ u3 `0 a
S.306, über allen Gipfeln ist Ruh [first/revised version] (1847?, ?)
  S5 W- L7 Q6 |. [S.306a, Quand tu chantes bercée (Hugo) (1843)5 C# A- n1 j8 `
S.307, Hohe Liebe (Uhland) (1850?)5 Z4 u2 w, j% [* p1 m, M
S.308, Gestorben war ich (Seliger tod) (Uhland) (1850?)
9 y. p$ i+ S5 G$ i' `5 q" uS.309, Ein Fichtenbaum steht einsam (Heine) [first/revised version] (ca. 1845, 1854)
: a% G" o# b1 Y$ j. MS.310, Nimm einen Strahl der Sonne (1849)) l7 ]" ^2 @# R8 b, Y
S.311, Anfangs wollt' ich fast verzagen (Heine) (1849)
9 X0 L, c6 y" E/ a; ~2 e% XS.312, Wie singt die Lerche schön (Hoffmann von Fallersleben) (1856?); G" K# ?, [) x6 [8 m. |8 F
S.313, Weimars Volkslied (Cornelius) (1857)
# c, m  D  h, c9 l4 i4 J2 WS.314, Es muss ein wunderbares sein (Redwitz) (1852)
! q' \! w5 o& IS.315, Ich liebe dich (Rückert) (1857)
- ~- @# E; j, bS.316, Muttergottes - Sträusslein zum Mai-Monate (Müller) [2 songs] (1857)  Q3 ~7 M6 W( c# F' N% w* j
S.317, Lasst mich ruhen (Hoffmann von Fallersleben) (1858?)
3 r+ u2 H2 Y3 A/ \/ v7 J' S& F0 }S.318, In Liebeslust (Hoffmann von Fallersleben) (1858?)7 |1 d$ |& O2 i) d4 b) T" G
S.319, Ich scheide (Hoffmann von Fallersleben) (1860)
6 Z' X$ ?1 h; N- B& r. n+ W/ l  MS.320, Die drei Zigeuner (Lenau) (1860)
: P! O, Y% ^% HS.321, Die stille Wasserrose (Geibel) (1860?)
4 G- t/ v$ ]8 T' M' hS.322, Wieder möcht ich dir begegnen (Cornelius) (1860): _8 L% Q' m5 ~4 W3 y
S.323, Jugendglück (Pohl) (1860?)2 v% f& b7 Q" Q2 w) z
S.324, Blume und Duft (Hebbel) (1854)6 l0 M. C/ T7 k+ }+ U9 h( d
S.325, Die Fischertochter (Count C. Coronini) (1871)3 V* @) p' y6 Z9 J9 B
S.326, La perla (Princess Therese von Hohenlohe) (1872). N9 ]% S2 F$ S
S.327, J'ai perdu ma force est ma vie. 'Tristesse' (de Musset) (1872)
: P* h  E+ ~- b' i9 DS.328, Ihr Glocken von Marling (Emil Kuh) (1874)( V+ r- W( `1 k3 X% ]" d& r3 x
S.329, Und sprich (Biegeleben) [revised 1878] (1874)* g) y" u& `) G1 x/ x) k% ^- C' A
S.330, Sei Still (Henriette von Schorn) (1877)( n( M) p0 n) P9 T: I
S.331, Gebet (Bodenstedt) (1878?)
2 z* j) r) u* Y# _" F1 X) z- _3 oS.332, Einst (Bodenstedt) (1878?)1 A) `0 }, H2 {9 e/ N% o" S7 ]
S.333, An Edlitam (Bodenstedt) (1878?)
( _! @8 h, k) \3 [! mS.334, Der Glückliche (Bodenstedt) (1878?)
6 W6 z. p( g4 cS.335, Go not, happy day (Tennyson) (1879)6 r8 f8 P$ g" Q# ?& b/ Y9 L8 E
S.336, Verlassen (G.Michell) (1880)* i6 _4 O- L9 s: o' P4 V. O- E- P
S.337, Des tages laute stimmen schweigen (F. von Saar) (1880)
; a. o9 U# u! C, @$ Z" _S.338, Und wir dachten der Toten (Freiligrath) (1880?)& _& S2 _1 b; t& g& E5 d( w6 g0 K
S.339, Ungarns Gott. A magyarok Istene (Petófi) (1881)# D, G4 m# Z7 y  F# s8 a
S.340, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)
  _" G" O8 k% X0 v9 k9 J$ r3 A" LS.340a, Ne brani menya, moy drug. (Tolstoy) (1886)
4 k( U! J  T/ O. ^1.12 Other Choral Works(其他合唱作品)
3 k' J5 M+ C7 a1 ]" sS.341, Ave Maria IV (1881)
% [, ~9 e3 k1 Q: ~S.342, Le crucifix (Hugo) (1884)
# X& M  ~9 N7 H2 N2 cS.343, Sancta Caecilia (1884)
% d' G: `- k, V" T% LS.344, O Meer im Abendstrahl (Meissner) (1880)
$ `9 N8 H9 V+ b, Y! qS.345, Wartburg-Lieder from Der Braut Willkomm auf Wartburg (Scheffel) [7 chorals] (1872)
- j4 x# J+ L, V3 U8 {1.13 Recitations(叙事歌谣颂诗)$ t0 d+ R) ^$ _' M
S.346, Lenore (Bürger) (1858)* d8 e, Z) W! L) {9 `9 ^
S.347, Vor hundert Jahren (F. Halm) (1859)
! l+ Z& R1 n/ rS.348, Der traurige Mönch (Lenau) (1860)4 O8 m8 t8 G  q; \9 \
S.349, Des toten Dichters Liebe (Jókai) (1874)2 v- _7 {' w- D/ H9 m
S.350, Der blinde Sänger (Alexei Tolstoy) (1875)
8 U* F" @* J1 T3 ~3 F6 y2. Arrangements, Transcriptions, Fantasies, etc.9 |; A" L. ^% @8 ]  m8 y) i7 J

( V" Y4 u! c, F2.1 Orchestral Works(管弦乐作品)4 m) ~7 F$ q9 ~$ s# J

' s$ U+ I/ I$ p! H2.1.1 Bülow7 f3 B- H& A/ U+ W' B
) M4 s# U- L6 i
S.351, Mazurka Fantasie, Op. 13 (1865)! E2 y+ Z6 [, T% p, e
2.1.2 Cornelius
9 }7 t* R. a( ^0 A5 Y5 {& e. i. W$ ?& A3 `% l* b
S.352, Second Overture to The Barber of Baghdad [completed from Cornelius's sketches] (1877)
7 j! i4 s, R' {2.1.3 Egressy and Erkel
* a6 H3 l/ d( \" K6 ?
4 o! L9 x2 p0 V% L/ n! l* l/ sS.353, Szózat und Hymnus (1873)# g. ?* @+ }7 d5 A& n! v" a! D- p
2.1.4 Liszt
1 b4 _* u+ ~& y( `- e  r& ~* T: F8 l& W( Z
S.354, Deux légendes (1863)
$ u( S. m# b/ f, M! p, US.355, Vexilla regis prodeunt (1864)
) R5 o0 o, y6 tS.356, Festvorspiel (1857)
. L" {* a, v5 F8 {$ WS.357, Huldigungsmarsch [first/second version] (1853, 1857)
. C4 Y4 B9 ~" T7 A' KS.358, Vom Fels zum Meer. Deutscher Siegesmarsch (1860)
9 Q- A& \8 y4 j9 qS.359, 6 Rapsodies hongroises (Hungarian Rhapsodies) (?)
9 V( b1 N$ m, |/ C9 U! y+ I3 BS.360, A la chapelle Sixtine (Liszt, Allegri & Mozart) [orchestral arrangement of S461, based on Mozart's Ave verum corpus and Allegri's Misere] (1862)4 d* I: A$ S! W, x9 T
S.361, Pio IX. Der Papsthymnus (ca. 1863)7 M' I2 R% \* q* P
S.362, Benedictus and Offertorium from the Hungarian Coronation Mass [from S11] (1875)4 X& E  A4 h/ v' v! z
2.1.5 Schubert7 z* f; @( K' w* c
6 s1 r; U8 p1 V
S.363, 4 Marches [from Opp. 40, 54, 121] (1859-60)- y' i, L* A2 H3 {! _8 U
2.1.6 Zarembski
4 k5 ^; d- _! y) ?9 V, \1 k. _5 E5 N& e/ x3 M" j  s( E' o( b
S.364, Danses galiciennes (1881): e- [9 r" [) I6 s
2.2 Pianoforte and Orchestra(钢琴与乐队)
* x1 r$ S4 _: S' m" G: C/ Y
* g" s9 |9 Y0 o9 D2.2.1 Liszt
% ]: A& j% `1 u- j/ J% m+ n# d# h* U5 N
S.365, Grand solo de concert [prepared by Leslie Howard] (1850)
0 u7 K$ K' f) P% c: m: cS.365a, Concerto pathétique (No. 4) in E minor [Liszt, Reuss version] (1885-86)2 |6 {, c, L% @8 y8 i, K# Z
S.365b, Hexaméron, Morceau de concert [orchestration completed by Leslie Howard] (ca. 1839), x! _0 X1 c! }9 B( @! P& K
2.2.2 Schubert
6 [* @5 S, f/ b0 z6 t2 a! g* A* Z+ @* t% m
S.366, Wanderer-Fantasie (Fantasia in C major, Op. 15) (1851)  流浪者幻想曲 - 为钢琴与乐队而作0 @, w1 \) O9 A( b5 _( a
2.2.3 Weber5 p4 m) n! @8 y6 |% |! q, ?
- z' S. k; @9 O& H0 q1 X
S.367, Polonaise brillante, Op. 72 (1849) 华丽波洛涅兹 为钢琴与乐队而作
% d) d5 Z9 m- w) J2 Z( D" V: B2.3 Songs with Orchestra(声乐与乐队)' }$ F- J  H& W, s2 T  g/ M' G. ]
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2.3.1 Korbay4 L8 b* x  S) r/ M0 M8 W7 c( x

/ \% f  ?: k7 D- C- R+ H: v; lS.368, 2 Songs (Le Matin by Bizet and Gebet by Geibel) (1883)
7 c0 }* _, y' e" u/ J/ f- l& z! N2.3.2 Liszt
( {: v* h* B5 \: G, I2 z/ U/ G; \8 u9 S: k' E. k4 m
S.369, Die Lorelei (Heine) (1860); V0 H1 ~0 ]& |, `3 B
S.370, Mignons Lied (Kennst du dass Land) (Goethe) (1860)
, c3 {* c& T9 U  cS.371, Die Vätergruft (Uhland) (1886)
4 W& w8 n! S1 g6 P2 J% k8 }) {, LS.372, Songs from Schillers Wilhelm Tell (ca. 1855)" q- x0 @3 Q( R2 A
S.373, Jeanne d'Arc au bûcher (Dumas) [first/second version] (1858, 1874)( w! \$ k8 z0 L
S.374, Die drei Zigeuner (Lenau) (1860)
2 e- e) s& m) X6 [; n2 J1 ^1 V2.3.3 Schubert
* Z+ f0 P8 m. [# e3 ~
8 s7 S4 ], x3 Z8 c" \* h. dS.375, 6 Songs (1860)+ z# s1 S. y/ v/ H# Z
S.376, Die Allmacht (1871)
, D. K8 f1 {9 c9 ?1 I) N- R2.3.4 Zichy4 J6 ^) o- I# [( [

7 S% Y; m0 p" eS.377, Der Zaubersee. Ballad (Zichy) (1884)
5 v. K' Q- y6 c5 C% I4 R2.4 Chamber Music(室内乐等)
$ q! d7 @3 L4 \, x8 p2 y9 [+ _2.4.1 Liszt/ t2 c! g6 f  ]3 z8 I+ z
& \- _" m8 n3 n0 O- F
S.377a, La notte (Odes funèbre No. 2) (1864-66)" w' x- F. z; K: P  E3 D
S.378, Angelus! - Priere aux anges gardiens [first/second version] (1877, 1880)
( Z% i* ~7 c8 A4 zS.379, Rapsodie hongroise No. 9 (Pester Karneval) (?)
: U$ B/ a" P$ _9 p+ nS.379a, Rapsodie hongroise No. 12 (1850-59)
- G+ F2 f! X( S3 `1 iS.379b, Puszta-Wehmut (A Puszta Keserve) (ca. 1871)
; h  {7 s1 u* U: E! Y/ dS.380, O du mein holder Abendstern from Tannhäuser (Wagner) (1852)
, d( G: C% t7 [/ e- _8 hS.381, Benedictus and Offertorium from the Hungarian Coronation Mass [from S11] (1862)( K: D2 V5 o- z7 N
S.381a, Ungarns Gott. A magyarok Istene (Petófi) (1882)- \6 y" q! V" s/ z/ j+ s
S.382, Die Zelle im Nonnenwerth (ca. 1880-86)
: L+ }/ l% _7 \S.383, Die drei Zigeuner (Lenau) (1864)# F: b! a8 L0 ?
2.5 Pianoforte Solo; S1 m+ b( y; ]4 c! D

2 N! T5 S# f2 w3 I! o' m1 E7 g2.5.1 Paraphrases, Operatic Transcriptions, etc.(歌剧改编独奏)
* e: y& C6 D0 {8 M4 `
2 d/ m- c) ~+ |' `# z/ \% H  I2.5.1.1 ábrányi
4 z; E; Y7 o/ ^# T! @! N
, t6 f4 h( h/ Z$ S' k- T% N! aS.383a, Elaboration on Virág dal (1881). V1 W0 B% n5 Z' L3 ^
2.5.1.2 Alyabyev
$ \3 r/ l4 K# x" v# Y) L3 ?& H) d9 c) W  L! G
S.384, Mazurka pour piano composée par un amateur de St. Petersbourg (1863)
& f0 L) Z8 `) W3 \S.384a, Variations on Tiszántúli szép leány [anonymous, not by Liszt?] (1846)2 e: K3 l9 B' {$ a! L2 y
2.5.1.3 Auber
; s& x3 C- m7 S  v, h* @5 h3 O4 L  Z0 C/ D! U
S.385, Grande Fantaisie sur la Tyrolienne de l'opera La Fiancée [first/second/third version] (1829, 1835, 1842)
4 C6 B& E0 p3 Q7 v8 B) FS.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
: q. H& \0 A1 p: M& `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! d" o( p+ S+ h4 [
S.387, Three Pieces on themes by Auber [with intro piece] (a. 1846)7 j5 w9 I: {& ], y7 L
S.387a, Piece on an unknown theme (1847)
% }5 A& _3 d& e% q# w2.5.1.4 Beethoven
) z( F  d6 L7 b: K5 A6 z4 w6 z8 |; K
S.388, Capriccio alla turca sur des motifs de Beethoven (Ruines d'Athènes) (1846) 土耳其随想曲 S.388 - 根据贝多芬《雅典的废墟》配乐素材改编. k) P7 C1 r3 K3 y, R/ N& _2 S
S.388a, Marche turque des Ruines d'Athenes (1846)
: J3 \) E# E3 qS.388b, Fantasie über Beethoven's Ruinen von Athen [first version] (1837)
$ E  s( R6 X2 u$ cS.389, Fantasie über Beethoven's Ruinen von Athen [second version] (1852) 幻想曲 S.389 - 根据贝多芬《雅典的废墟》配乐素材改编
' I# ^# ~+ U/ {- v( U4 M( YS.389a, Cadenza to the first movement of Beethoven's Piano Concerto No. 3 (1879)/ b" y, Y1 c8 b1 z
2.5.1.5 Bellini
. `6 [. s- x# Z3 T  X# ]! z2 V
& D9 c5 e4 y; `S.390, Reminiscences des Puritains [first/second version] (1836, 1837)
, S: j2 u" L; SS.391, I Puritani. Introduction and Polonaise (1840)
' _( ~! g* C! n3 YS.392, Hexaméron, Morceau de Concert (1837)5 b0 s0 r8 ]/ `- h( v$ U
S.393, Fantaisie sur des motifs favoris de l'opéra La Sonnambula [first/second/third version] (1839, 1840-41, 1874)
" E  J' A2 Q- i. z$ l1 S& xS.394, Réminiscences de Norma (1841-43)8 N6 n4 [6 |. {$ Z0 p
2.5.1.6 Berlioz
) y: j* V" @" O" E9 d7 x
# Y, s! H0 ]" G( n( d- N+ B# L; xS.395, L'Idée fixe: Andate amoroso [first/second version] (1833 or 1846?, 1865)
$ x! z7 p8 |8 a7 Q) [% r0 t6 b$ R0 JS.396, Benediction et Serment from Benvenuto Cellini (1852)
" v# y  L% o2 y2.5.1.7 Donizetti, Gaetano* i3 [6 ?8 O/ @# a7 A+ `

/ B' w4 d' o% d, D0 ?7 FS.397, Réminiscences de Lucia di Lammermoor (1839)
* Q+ p; m) c5 l) SS.398, Marche Funebre et Cavatine de Lucie de Lammermoor (1839)
3 [, R# M8 q9 p0 r- c/ K9 D, IS.399, Nuit d'été à Pausilippe [3 pieces] (1839)( N# i( f4 v6 t( x4 A0 l2 B& q( p
S.399a, Lucrezia Borgia - Grande fantaisie [first version of S400ii] (1840)- o0 k, J1 _* M9 Q6 b, ~# w( k

2 O5 z% \9 e. e5 s) o3 u李斯特全部作品目录-3
# y, v) a+ Z3 s" f' U7 ?+ e8 v* ]4 O
; x9 j* _! m. @/ d3 a: [0 |8 n  KS.400, Réminiscences de Lucrezia Borgia [first/second version] 1840
6 y6 U0 x4 @* `' RS.401, Valse a capriccio sur deux motifs de Lucrezia et Parisina [first version of S214/3] (1841)6 l1 n7 q3 U  x6 v' U' e2 q  z5 {2 \
S.402, Marche funèbre de Dom Sébastien (1844)
) {1 f, k4 h; e1 t8 ~  }, O7 E- F2.5.1.8 Donizetti, Giuseppe
. [- h: ~9 `8 b5 A7 |, m* R, U: B' h1 j- `* a
S.403, Marche pour le Sultan Abdul Medjid-Khan [first/simplified version] (1847, 1848): w6 S; O4 }+ `7 t; |, q" m- U
2.5.1.9 Duke Ernst
, `# v4 ?" w& h' D! ]7 P+ Q( g8 \& g# o; @1 j# v- `
S.404, Halloh! Jagdchor und Steyrer from the opera Tony (1849)9 u) I( M3 _9 `
2.5.1.10 Erkel, Franz) t, }2 d( r2 K- I
. n- F" e" p6 j6 v1 i5 [( C
S.405, Schwanengesang and March from Hunyadi Laszlo (1847)
' C, I7 z# N; L3 a2.5.1.11 Festetics
& [; i! A8 p; k; S4 _( q2 N5 V1 d( }3 U+ o. c+ A) F- {/ X
S.405a, Pásztor Lakodalmus Variations - Mélodies hongroises [elaboration by Liszt] (1858)0 C; K5 o& [+ Y6 g, ?9 v& d) |
2.5.1.12 Glinka
, i/ U3 p! z  r, V2 U
/ ^/ Q& j& U% e* i% tS.406, Tscherkessenmarsch from Ruslan i Lyudmila [first/second version] (1843, 1875)! l7 X/ T' W" H% x( O1 d7 K
2.5.1.13 Gounod9 @, G, v, N4 `9 ]
+ L8 o6 E2 k( X2 F  x
S.407, Valse de l'opéra Faust (b. 1861)7 k. L. C8 r0 [1 I7 D
S.408, Les Sabéennes. Berceuse de l'opéra La Reine de Saba (1861)
" O" p; [. `5 b/ fS.409, Les Adieux. Rêverie sur un motif de l'opéra Romeo et Juliette (1867)
9 J" Q+ Q6 R- h% b0 U/ E, A7 p$ t) @2.5.1.14 Halévy- P! ^% p4 o3 O8 }7 P
S.409a, Réminiscences de La Juive (1835)
: w" o$ C; ?( l# p; O2.5.1.15 Mendelssohn
" u$ r- @4 ?8 E- VS.410, Hochzeitsmarsch und Elfenreigen aus dem Sommernachtstraum (1847-50)
* p* [/ j2 J" |% f) A6 c2.5.1.16 Mercadante3 M* }: w) E. v6 q4 B% A9 Z" }! L
S.411, Soirée italienne. Six amusements (1838)8 ~, A1 U# ~* J
2.5.1.17 Meyerbeer0 \' r7 a- h8 D+ o5 K
S.412, Réminiscences des Huguenots - Grande fantaisie dramatique [first/second version] (1836, 1842)
& C2 p6 D+ g+ q3 |# P- L# h# bS.412a, Réminiscences de Robert le Diable - Cavatine (1846?). R- l) x8 Y; I, ~% x, Y
S.413, Réminiscences de Robert le Diable - Valse infernale (1840)/ B# ~$ ~0 U+ a
S.414, Illustrations du Prophète [4 pieces, 4th=S624] 1849-50  Z5 y. T1 E9 d( K
S.415, Illustrations de l'Africaine [2 pieces] 1865) l% t8 N8 B) Z( ~+ N1 _. k9 ?
S.416, Le Moine (1841)
2 m" k( U0 h( ^- g2.5.1.18 Mosonyi, Michael
' p* g- O; b0 q4 eS.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
8 d+ w: Z9 t  q2 W2.5.1.19 Mozart# ?; |$ y1 y! f7 p( P
S.418, Réminiscences de Don Juan (1841)% |; v/ f6 m( m& p& _9 X* d
2.5.1.20 Pacini
0 _; n# x4 f# A0 l5 m3 G* \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" T+ |) V! F. F7 g$ j% D0 j+ G5 U
2.5.1.21 Paganini
& G  Z; D- I% v# L, z. N* sS.420, Grande Fantaisie de bravoure sur La Clochette (1832-34)  华丽的钟声幻想曲, j/ N. [* ^0 t, O6 V
2.5.1.22 Raff! K' x+ G: ]( {; {
S.421, Andante Finale and March from the opera König Alfred [2 pieces] (1853)  N/ u0 }0 w7 ~
2.5.1.23 Rossini* s5 G- J' y" d0 R" }. L
S.421a, Introduction et Variations from "Siege of Corinth" [introduction only] (1839?)) H9 E9 U4 p. `/ u2 r
S.422, Première grande fantaisie (Soirées musicales) [first/second version] (1836)1 y3 V7 R5 p5 I
S.422i, La serenate e l'orgia - Première grande fantaisie (Soirées musicales) [first version] (1836)
) D- r5 {4 h; p  U$ HS.423, Deuxième grande fantaisie (Soirées musicales) (1836)
$ |, p7 @1 z5 Y' L) B! X; G# h) U! _S.424, Soirées musicales [12 pieces] (1837)3 H- h1 n* L6 u- m( T5 h
2.5.1.24 Schubert
( E- P1 e- z: V2 V2 d5 |S.425, Mélodies hongroises [3 pieces] (1839–40)" S0 c* L2 M! ?9 K
S.425a, Mélodies hongroises [revised versions] (1846)
% W8 u& Y+ W% DS.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  p; b6 W- e7 o: [' _* ^
S.426a, Marche militaire (ca. 1870)
2 N# u  K0 q- \7 j& ES.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0 L1 k9 i; u$ B' R& Y/ c6 A
2.5.1.25 Sorriano# V  c; k& s1 G' J. X% \+ C0 s5 k6 ?
S.428, Feuille morte. Elégie d'après Sorriano (1844-45)8 q. {. i5 w* Z) q8 p9 F
2.5.1.26 Tchaikovsky* P1 Z" r" z: c4 u
S.429, Polonaise from Eugene Onegin (1879)
! G% y) z8 y2 l9 H/ A2.5.1.27 Végh, Janos
1 \2 c/ c& ~3 L( D9 |9 jS.430, Valse de concert (1882-83)
& k& z4 c7 ]2 S5 J% p2.5.1.28 Verdi% h. P) e+ e8 c' O, `
S.431, Salve Maria de Jerusalem from I Lombardi [first/second version] (1848, 1882)( j& I5 M% a) [3 u  K( `
S.431a, Ernani - Première paraphrase de concert (1847)% o6 d& ^2 z& y: \5 x4 c
S.432, Ernani - Paraphrase de concert (No. 2) [first/second version] (b. 1849, 1860)
8 G8 K- K4 y$ c0 o& ES.433, Miserere du Trovatore (1860)3 F2 y/ Q' t& S
S.434, Rigoletto Paraphrase de Concert (1859)* Z. P* e) N$ ~
S.435, Don Carlos Coro e Marcia funebre (1867-68)
$ B. `1 D  r3 F+ f4 m0 `- US.436, Aida Danza sacra e duetto finale (1877)
  [. p& G+ ?9 n( O, `- [# PS.437, Agnus Dei (1877)" S# q1 D- h: V! ^9 X& e
S.438, Réminiscences de Boccanegra (1882)
6 V6 n' X- R0 z2.5.1.29 Wagner
7 b- \/ B/ ]6 s. ^4 Z7 Y. g3 ~S.439, Phantasiestück über Motive aus Rienzi (1859)* m9 T* t* P' o
S.440, Spinnerlied aus Der fliegende Holländer (1860)( M8 I; P$ a# a% Y/ u8 g
S.441, Ballade aus Der fliegende Holländer (1872)# `! o' U* t# U: N
S.442, Ouvertüre zu R. Wagners Tannhäuser (1848): }2 p0 ~* Y/ v7 H
S.443, Pilgerchor aus Tannhäuser [first/second version] (1861, 1885)7 ?5 C) I/ G' |# K0 [
S.444, O du mein holder Abendstern aus Tannhäuser (1848)3 F0 ~  a& s- J( F5 ^: H1 i
S.445, Zwei stücke aus Tannhäuser und Lohengrin (1852)# M# f% `1 g' S1 j/ r5 i& s: B7 j
S.446, Aus Lohengrin [3 pieces] (1854)
4 X2 b: `- w0 j; k  x: }S.447, Isoldens Liebestod aus Tristan und Isolde [first/revised version] (1867, 1875)
: K8 y- R1 l8 ]  Q- v- kS.448, Am stillen Herd aus Die Meistersinger (1871)
4 E  \  s3 z( rS.449, Walhall aus Der Ring des Nibelungen (1875)7 m2 i; y  d& C. w* ?3 y
S.450, Feierlicher Marsch zum heiligen Graal aus Parsifal (1882)
, u3 X8 M/ Z, i0 F% \5 B) K' [2.5.1.30 Weber
7 x4 k  b" r, m- K3 u" C* w/ VS.451, Freischütz-Fantasie (1840-41)
' @0 x3 I' i, {. ?5 U* [5 tS.452, Leyer und Schwert [4 pieces] (1848)
1 p' _& P7 I, }+ C" `S.453, Einsam bin ich, nicht alleine, from Preciosa (1848), x" |' r$ i( L1 b5 d
S.454, Schlummerlied mit Arabesken (1848)
, ^8 H2 t7 G8 v" ^* s% dS.455, Polonaise brillante (1851)
! {% n; o1 e3 M7 K6 M2.5.1.31 Zichy, Count Géza! K- J( X) |* y( {. W, _9 }
S.456, Valse d'Adele (1877)
+ B7 E: m* a; L/ q2.5.1.32 Unknown9 D$ b" O0 _. B$ ?
S.458, Fantasy on Il Giuramento (Mercadante) (1838?)
6 e5 a; m5 h3 }2 \8 u: T' v# KS.460, Kavallerie-Geschwindmarsch [anonymous] (?)0 F7 J% W1 ~, d8 X0 j
2.5.2 Partitions de Piano, Transcriptions, etc.
9 o& t" b, F: J* i2.5.2.1 Allegri and Mozart& o2 c% [+ H8 x/ i
S.461, A la chapelle Sixtine [first/second version] (1862, ?)! u/ T0 T4 P- j/ o
S.461a, Ave verum corpus, Kv618 (1862)
5 a; d9 r& s: V# ~9 y3 b) ~2.5.2.2 Bach
; j9 z3 H+ L- G+ }" h" DS.462, Sechs Praeludien und Fugen für Orgel [6 pieces] (1850)8 |* y- [2 w$ M" _: }+ B. u( i
S.463, Organ Fantasy and Fugue in G minor [first/second version] (1860, ?)
% B$ V$ e7 d6 B5 q5 `2.5.2.3 Beethoven
) g+ v$ N2 v4 l+ u, X! {S.463a, Symphonie No.5 [first version] (1837)5 [- B$ x- \% b+ w! d( i% W
S.463b, Symphonie No.6 [first version] (1837)" c, [( `6 n- ^
S.463c, Symphonie No.6 [second version. Alternative 5th movement] (1863-64). c; I5 {' W% X' @$ b! G
S.463d, Symphonie No.7 [first version] (1837)
9 k" l9 w" X; R$ d$ t/ ?S.463e, Marche funèbre [Beethoven's Eroica Symphony, first version] (1843)3 Q3 k4 j0 n) b6 J
S.464, 贝多芬交响曲 Symphonies de Beethoven [9 pieces] (1863-64)
1 X  V1 c. r3 c# pS.465, Grand Septuor, Op. 20 (1841)
9 j+ g) p: x+ n' V; y; R5 Y& {S.466, Adelaïde [third version] (1847)$ p9 l3 a+ h& T8 O1 D" ~1 u0 ~! Y
S.466a, Adelaïde [first version] (1839)
; F) N- l" \2 m" WS.466b, Adelaïde [second version] (1840)6 J2 ^' i* O6 l7 o
S.467, Sechs Geistlicher Lieder (Gellert) [6 pieces] (1840)9 R- h$ x1 q- D1 {4 l
S.468, Sechs Lieder von Goethe [6 pieces] (b. 1849)+ o2 r# p2 l0 ?& M  \  \& D
S.469, An die ferne Geliebte - Liederkreis [6 pieces] (1849)
7 j; m  b! k& j" A2.5.2.4 Berlioz, \0 |. v) e% H( J# L! Q1 \% v5 F) i
S.470, Symphonie Fantastique (1833)
4 V; f+ B. v9 y( NS.471, Overture from Les francs-juges (1833)
- b/ I) a9 E9 }1 _3 \$ DS.472, Harold en Italie (with viola) (1837)5 p5 x$ N! z0 @8 l( I: b
S.473, Marche des pèlerins from Harold en Italie [first/second version] (1837?, 1862)
4 ]- p2 p2 r2 {! u( H; g& d% yS.474, Ouverture Le Roi Lear (1837)
' k# u" D6 h9 K% u9 n0 q' m: c. HS.475, Valse des Sylphes de la Damnation de Faust (1860)/ Q) z  Z. U6 T. g$ w6 `
2.5.2.5 Bulhakov
# z( M! |# t! ~; OS.478, Russischer Galopp [first/second version] (1843, 1843)# z) i) b# }: |; G2 m" H
2.5.2.6 von Bülow& \$ I% y2 i; `* A* j
S.479, Dante's Sonnett - Tanto gentile e tanto onesta (1874)5 E  m4 T; g& Z: O) ^& k' ]2 `
2.5.2.7 Chopin2 S+ c0 Z+ [- A
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
- t( j* N. L( J! r3 D/ `* uS.481, Zigeunerpolka (1847?)
, \" T: H, I, o2.5.2.9 Cui
$ @# ~! T0 Q" s8 `S.482, Tarantella (1885)# U. N: @- |0 o! Y
2.5.2.10 Dargomyschsky" O. {8 U  n' x8 e
S.483, Tarantella (1879)
9 ^; J0 o+ _. L) E2.5.2.11 David, Ferdinand# k2 C2 |1 X9 G' k# [
S.484, Bunte Reihe, Op. 30 [24 pieces] (1850)* a( d: S7 E4 \6 N! q5 q/ E  q
2.5.2.12 Dessauer! Z1 u4 i* _( q. r6 o' j5 O
S.485, Drei Lieder (1846)
+ x2 m2 y! B0 A2.5.2.13 Ernst, Duke$ M$ M6 a, E3 b  }) b) S/ @& x
S.485b, Die Gräberinsel (1842)6 u9 f, \2 H9 U: e
2.5.2.14 Egressy and Erkel
; b5 A4 L# {% ~, b" kS.486, Szózat und Hymnus (1873): D! l) e7 @2 V! u! z3 S
2.5.2.15 Festetics
$ ]6 {, Z2 A* bS.487, Spanisches Ständchen 1846
; _5 N1 `9 o0 {+ C/ I: m5 h8 {2.5.2.16 Franz# t6 I; g" [  k) G
S.488, Er ist gekommen in Sturm und Regen 18483 `  E) ~* |  ^7 m/ x* z6 m& U
S.489, Zwölf Lieder [12 pieces] (1848)& \/ b6 Y% z1 L4 Q$ L9 v
2.5.2.17 Goldschmidt
! n/ V2 x4 B" W; `S.490, Liebesszene und Fortunas Kugel (1880)
% s/ n) T& O6 W* m9 r2.5.2.18 Gounod
  y7 {' f% n  x8 B# E" N/ Z" [S.491, Hymne à Sainte Cécile (1866); n( Y2 j& B5 Y1 `) p4 l. C
2.5.2.19 Herbeck( Z1 v3 L2 k0 {, y8 C
S.492, Tanzmomente [8 pieces] (1869)! k  S9 g) D/ ]) ~( M( j
2.5.2.20 Hummel3 V; N8 }3 I  w0 z* ]
S.493, Grosses Septett, Op. 74 (1848)
; ]( ?" b# h6 {# I; N) a* ~) q2.5.2.21 Lassen* g8 V9 N' z* v6 x; S
S.494, Löse, Himmel, meine Seele [first/second version] (1861, 1872)
, u( s6 o( D, a5 m( kS.495, Ich weil' in tiefer Einsamkeit (1872)- P2 M6 N7 t- X5 C. i
S.496, Hebbel's Nibelungen & Goethe's Faust [4 pieces] (1878-79)
: m# N: A. e8 b3 r  OS.497, Symphonisches Zwischenspiel ('über allen Zauber Liebe') (ca. 1882-83)! J" r5 A' e! T
2.5.2.22 Lessmann
7 g) o, h4 b4 ]) ?( {( y2 ES.498, Drei Lieder ('Tannhäuser') (1882?)
/ C* ~) v/ M) q9 P2.5.2.23 Liszt; j. E0 b" R3 d4 R8 o" \
S.498a, Drei Stücke aus der heilige Elisabeth (1857-62)8 y) ~4 ~. H3 a& O# d6 z
S.498b, Zwei Orchesterstücke aus Christus (1862-66)
$ d) k  I* H% N0 _5 @, X1 \S.498c, San Francesco - Preludio (1862-66)6 \8 `% Q1 s4 ~  Y* \" r" y
S.499, Cantico del Sol di San Francesco d'Assisi (1881)
# a6 `* j' ~8 e! N" uS.499a, San Francesco - Preludio per il Cantico del Sol (1880)
/ w% v5 e: ^7 d9 V6 E2 T. Z( cS.500, Excelsior! - Preludio (1875)
( g6 I. D/ R* W9 q4 dS.501, Benedictus und Offertorium (Missa Coronationalis) (1867)
$ l" X/ R( n: p7 b3 dS.502, Weihnachtslied II (1864)  C- ?, A3 j# ?0 p* y. c6 W
S.503, Slavimo Slavno Slaveni! (1863)/ B- @; ?& z4 L1 C
S.504, Ave Maria II (in D) [first/second version in D flat] (1870, 1873): z; d3 l% J3 z# f; P6 |  g
S.504a, Via Crucis [15 pieces] (1878-79)
' F& G, V9 k+ z* N. J: L6 `S.504b, Choräle [11 pieces] (1878-79)- F- c+ i2 B+ u, U+ C$ \9 u9 a) N$ t2 e
S.505, Zum Haus des Herrn (In domum Domini ibimus) (1884)
7 g  Y5 k: p6 R4 P: |- Z8 X' S  KS.506, Ave maris stella (1868)
* ]2 `1 \1 G+ q* B$ @( F# `S.507, Klavierstück aus der Bonn Beethoven-Cantata (?)
6 z. Y. x: E8 `9 ]: T7 |S.507a, Schnitterchor (Pastorale - Schnitterchor aus Prometheus) (1850)
7 {! h7 n# |7 e: z. PS.508, Pastorale. Schnitterchor aus dem Entfesselten Prometheus (1861)) d. D- [2 M1 I5 x
S.509, Gaudeamus igitur - Humoreske (1870)5 N( o- l- c. F( `. U. z8 H: M% J
S.510, Marche héroïque (?)
+ I" Y& T/ y4 V2 }' m7 HS.511, Geharnischte Lieder [3 pieces] (1861). j( u" \, B9 k" h3 {+ \
S.511a, Les Préludes (Poème symphonique No. 3) [arranged by Karl Klauser, revised by Liszt] (1863) [1][2]/ J& G7 w8 a* h$ ~
S.511b, Orpheus (Poème symphonique No. 4) [arranged by Fredrich Spiro, revised by Liszt] (1879) [3]7 {; W. e/ N6 g: g0 O
S.511c, Mazeppa (Poème symphonique No. 6) [arranged by Theodor Forchhammer, revised by Liszt] (1870-79) [3]
& Y& T5 f5 {$ P0 K6 o# XS.511d, Festklänge (Poème symphonique No. 7) [arranged by Ludwig Stark, revised by Liszt] (1870-79) [3]/ j3 f) C$ m# x3 Q# {  ~" ]8 \
S.511e, Hungaria (Poème symphonique No. 9) [arranged by Fredrich Spiro, revised by Liszt] (1872) [3]/ q" x* b2 C: V0 f
S.512, Von der Wiege bis zum Grabe (Poème symphonique No. 13) (1881)  h$ M# a4 N. c8 c% V# W" u, J, J
S.513, Gretchen aus Faust-Simpfonie (b 1867 )& C6 U0 h! i1 y9 e3 r; k
S.513a, Der nächtliche Zug (?). S( v& T3 s$ s8 E' r
S.514, Erster Mephisto-Walzer (Mephisto Waltz No. 1, Der Tanz in der Dorfschenke) [original version] (1859-62) 第一梅菲斯特圆舞曲
* ^7 x' [9 b. [$ W3 `# zS.514a, Erster Mephisto-Walzer (Mephisto Waltz No. 1) [with later additions] (1859-62)/ L; Q( U: |3 q; V$ G* ~
S.515, Zweiter Mephisto-Walzer (Mephisto Waltz No. 2) (1881) 第二梅菲斯特圆舞曲7 D5 S: Y4 I* e0 W
S.516, Les Morts (Ode Funèbre No. 1) (1860)1 J5 `+ }5 Z( q7 i% p, m" q
S.516a, La notte (Ode Funèbre No. 2) (?)
' S& v( w& v( l8 qS.517, Le Triomphe funèbre du Tasse (Odes Funèbre No. 3) (1866)
$ |( R( m" W4 FS.518, Salve Polonia (a. 1863)
0 [, [4 C" o  L; v" eS.519, Deux Polonaises de St Stanislaus (1870-79)0 I% ^0 b+ W- m0 F
S.520, Künstlerfestzug [first/second version] (1857-60, 1883)
6 ]& M$ J9 Y* {) b3 kS.521, Festmarsch zur Goethejubiläumsfeier [first/second version] (1857, 1872)
( X& k. H, A1 A) D7 vS.522, Festmarsch nach motiven von E.H.z.S.-C.-G (1857)
1 G7 l; o( a2 i3 O; z7 K' sS.523, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (1870)/ Y5 y# {' q) j
S.524, Ungarischer Sturmmarsch [first/second version] (?, 1875)
$ z& k9 r& C9 e0 S. WS.525, Totentanz. Paraphrase on Dies Irae (1860-65): _$ r5 X7 ~% X. f9 }% P
S.526, Epithalam zu Eduard Reményis Vermählungsfeier (?)
4 ~+ H5 _( g# v" a, S% h/ ^% hS.527, Romance oubliée (?)
: B  `/ W" k. V. h! bS.527bis, Romance oubliée [short draft] (1880)4 j1 T+ K" G' j, c1 F! N! ]. r( e
S.529, Fantasie und Fuge über das Thema BACH [first/second version] (1856, 1870) 巴赫主题幻想曲与赋格
& j" m) v# O4 u8 U4 O& i4 G$ WS.530, L'Hymne du Pape. Inno del Papa. Der Papsthymnus (1864)
3 y7 g* N) v- D' eS.531, Buch der Lieder I [5 pieces] (?)) L3 g) x" l7 t3 d% @
S.532, Die Lorelei (Heine) [second version] (1861): s" v7 T9 K' z
S.533, Il m'aimait tant (Delphine Gay) (1842)0 P: `7 t1 {: g! U0 C  ]
S.534, Die Zelle in Nonnenwerth (Felix Lichnowski) [first/second/fourth version] (1842, 1860, 1880)6 P. C; \( b; u& Z7 k4 _% W
S.535, Comment, disaient-ils [Buch der Lieder II] (1845?)
/ M; T/ D: _& yS.536, O quand je dors [Buch der Lieder II] (1847?)* D) s, R. b6 g# n& T1 `
S.537, Enfant, si j'étais roi [Buch der Lieder II] (1847?)6 z& u* @) _; e; f
S.538, S'il est un charmant gazon [Buch der Lieder II] (1847?)8 I% ^# n. P. A0 ~# O( _
S.539, La tombe et la rose [Buch der Lieder II] (1847?)
. m+ k4 |. O2 |8 k8 D0 N, |S.540, Gastibelza [Buch der Lieder II] (1847?)$ Z( X; Y' }2 h
S.541, Liebesträume. Drei Notturnos (ca. 1850)  3首夜曲“爱之梦”
% N" ?5 B( n, m4 }8 wS.542, Weimars Volkslied [first/second version] (1857, ?)
; ^9 C( X! d. ~- ]6 S9 }0 o2 vS.542a, Ich liebe dich (?)
0 Q/ `; u1 s+ L& @9 J' dS.542b, Fanfare zur Enthüllung des Carl-Augusts Monument (?)
( A( b8 u4 n0 ~# |9 BS.543, Ungarns Gott. A magyarok Istene (Petófi)]] [original/(S543bis)left-hand version] (1881)
9 W6 k4 f" W, j, d8 w; b) ~( `S.544, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)7 ^( L  W$ b) w) N1 |* w2 U& I
S.545, Ave Maria IV (1881)- H6 c+ F% k: T7 U
S.546, Der blinde Sänger (Alexei Tolstoy) [solo version] (1878)! b2 ]: e4 P) k/ K- `0 f7 B  N
S.546a, O Roma nobilis (1879)  ]3 j5 O. k3 D& k: H0 u
2.5.2.24 Mendelssohn
$ ^8 k" _6 I9 O/ ^' WS.547, Sieben Lieder (from Opp. 19, 34, 47) [7 pieces] (1840)
: g. v3 F2 s1 \9 s5 ~# KS.548, Wasserfahrt and Der Jäger Abschied (from Op. 50) [2 pieces] (1848)' t! b- L2 i, g" b# o: `2 u* A# h
2.5.2.25 Meyerbeer" E% e0 c  o& g
S.549, Festmarsch zu Schillers 100-Jähriger Geburtsfeier (?)  p) h" c' o* L7 U* J3 _9 @0 ]
2.5.2.26 Mozart
, n6 x4 G3 I' }+ a4 b+ A1 FS.550, Zwei Transcriptionen über Themen aus Mozart's Requiem, K626 [2 pieces] (1862)
9 p1 \( Z3 ~8 Z8 y' C; R2.5.2.27 Pezzini6 m' G- Q( w: ]+ N3 @1 w9 X
S.551, Una stella amica. Mazurka (?)
/ Q. M9 R5 e8 p( U) q% c8 V, ~! s2.5.2.28 Raff
5 t) z* A  l$ I; NS.551a, Einleitung und Coda zu Raffs Walzer in Des-dur (opus 54/1) (1880); a( K% F/ u0 W
2.5.2.29 Rossini) |8 H/ o* T) E  o
S.552, Ouverture de l'opéra Guillaume Tell (1838)/ G3 A0 s4 Q3 t# s' [  h& P1 p
S.552a, Caritas [La charité, first version] (1847)
7 R0 R5 ]( `4 B* u/ d1 W( NS.552b, La caritá [La charité, simplified version] (1847)
1 Z! [) D4 x* s2 M- r( X, }S.553, Deux Transcriptions [2 pieces] (1847)
6 I0 c1 d) q" U) m! T9 P2.5.2.30 Rubinstein
1 a1 V6 F0 L! b- U) D& HS.554, Zwei Lieder [2 pieces] (1880)* f& C, L" F: c4 s
S.554a, Einleitung und Coda sur des notes fausses (1880)5 p! i, }) W, ]8 F6 p; V3 Z. P
2.5.2.31 Saint-Saëns
" V4 C7 {# J2 z- K, i! h& u; H2 zS.555, Danse macabre, Op. 40 (1876)1 v" v- K/ G" I$ O1 {
2.5.2.32 Schubert
1 r* G9 h$ o- b' l& ^% R2 @( ?9 {S.556, Die Rose [first/intermediate/second version] (1832, ca. 1837, 1838). C( `5 j' N; y0 i
S.557, Lob der Tränen (1837)
3 O  ]+ Q* ~( J- o" v5 N: \S.557a, Erlkönig [first version] (?)5 ^9 J. R/ }) k3 |( Y8 q5 H7 B
S.557b, Meeresstille [first version] (?)9 F, O+ g, o- q  o( }5 v
S.557b/bis, Meeresstille [first version, ossia] (?)
. Y" w1 ]0 @; K5 Z! zS.557c, Frühlingsglaube [first version] (?)
- G: b1 \8 u' H. s+ D  [; h% A6 m2 ]S.557d, Ave Maria (Ellens dritter Gesang) [first version] (?)
1 A6 {& e2 p. rS.558, 12 Lieder (1837-38), S3 R1 o1 ~, {
S.558bis, 12 Lieder [revised versions of Nos. 3, 4, 7, 8, 9, 11] (ca. 1839)
- _5 x7 `+ M, g$ J- GS.559, Der Gondelfahrer, Op. 28 (1838)
3 N0 O7 }$ f* f8 z; {/ k6 QS.559a, Sérénade [Ständchen, first version] (1837)+ p. n) @6 D  v5 ], D( @. ?0 Z
S.560, Schwanengesang [14 pieces] (1838-39)& {% O% U# Q, d: Y0 x
S.560bis, Schwanengesang [14 pieces, alternative versions] (ca. 1839)/ h# {% s& ~3 }) o- y
S.561, Winterreise [12 pieces] (1839)
$ D! c$ |4 d9 c& P, o8 a3 LS.561, Winterreise [alternative versions of Nos. 2, 3, 7, 10,] (ca. 1839)
+ L4 t( ?* f& C9 L& C2 y7 M6 AS.562, Geistliche Lieder [4 pieces] (1841)
- }" c# J& E/ ]8 H+ J+ AS.563, Six mélodies célèbres [6 pieces, 1st by Weyrauch] (1844)
! N; T$ m& n( o/ m* T" u$ eS.564, Die Forelle [second version] (1846)
+ n8 \7 g$ m! X, VS.565, Six Mélodies favorites de La belle meunière [6 pieces] (1846): V" u4 V7 |. M: g1 y
S.565bis, Müllerlieder [6 pieces, revised versions] (ca. 1879)* g1 F' g7 B/ t' I6 l7 v- o4 E" F
S.565a, Wandererfantasie (Grosse Fantasie in C-dur) (ca. 1868)
7 W, i9 A+ i0 @( nS.565b, Schubert's Impromptus [2 pieces, Op. 90/2-3] (ca. 1868)
, H" J; g; B1 z0 ]$ v1 a* V2.5.2.33 Schumann
% g6 S7 O" [( P2 S4 zS.566, Widmung, Liebeslied (1848)
* w  \/ U- i& C2 ^4 P& x0 c, HS.566a, Widmung, Liebeslied [sketch of a more literal transcription] (1848)( m$ B, S% A+ K
S.567, An den Sonnenschein, Rotes Röslein (1861)
% G* ?( A: A* P+ dS.568, Frühlingsnacht (überm Garten durch die Lüfte) (1872)7 w0 _7 c/ E2 T
S.569, Zehn Lieder von Robert und Clara Schumann [10 pieces] (1872)2 b% k! S4 u# {3 z0 A' J6 o
S.570, Provençalisches Minnelied (1881): @. n- [" D. J& Q6 A+ O( F
2.5.2.34 Smetana7 R. x) c( K. P# l& ~
S.570a, Einleitung und Coda zu Smetanas Polka (de salon, opus 7/1) (1880)2 y  H7 v* v1 A* K3 t9 p- X" D% `
2.5.2.35 Spohr) r1 X6 S! I' @9 h7 `
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 Tausig8 a3 s0 h: m' g
S.571a, Einleitung und Schlußtakte zu Tausigs dritter Valse-Caprice (1880)$ f. j) A1 w! D- I
2.5.2.37 Szabady and Massenet
% D$ \5 S$ x& ?: I( A; P+ lS.572, Revive Szegedin (1879)
+ F8 _8 @1 |5 y5 S: U. j2 `& h2 P2.5.2.38 Széchényi, Count Imre8 G- w" b- }. r( x! f3 h
S.573, Bevezetés és magyar indulò (1872)5 |4 a: ]3 v% U8 r9 y" [( s
2.5.2.39 Tirindelli8 k% Y3 P5 r2 P$ F3 ~( t
S.573a, Seconda mazurka variata (1880)* X7 s& ^) A) L, [7 F& X
2.5.2.40 Weber/ Z; c# y0 c$ V$ M
S.574, Ouverture Oberon (1846?)
) M% f6 L& G0 e/ z' w) M/ ?S.575, Ouverture Der Freischütz (1840-41)0 ~$ L9 j: Z, P0 j% j% q
S.576, Jubelouverture (1846)+ c" N9 M1 m2 O  x( V4 z
S.576a, Konzertstück, Op. 79 (ca. 1868)# Q5 H. h' l0 V4 h( c$ A
2.5.2.41 Wielhorsky, Count Michael8 `/ D. Q, a0 N, |. Z7 c
S.577, Lyubila ya [first/second version] (1843, ?)
0 V- o8 M; A/ Q3 f  {2.6 Pianoforte Duet(钢琴二重奏)+ s& ~; o* r9 [5 H2 V
2.6.1 Field
6 m4 R6 b0 F. k3 h2 F* v# YS.577a, 11 Nocturnes (Nos. 1-9, 14, 18 and Nocturne Pastorale in E) (?)0 Z1 h1 q) c" {" ]" o1 c- N
2.6.2 Liszt* Q7 x& H1 _- R2 B) ]7 ]6 ?
S.578, 4 Pieces from St. Elisabeth (1862)
$ U# \" E/ B2 ^: XS.579, Christus Oratorio 4th and 5th section (?)
$ C" a; i1 Z2 C% U+ E9 r# NS.580, Excelsior! - Preludio (?)
0 d1 @# _) ]& ]8 x' ?7 @S.581, Benedictus and Offertorium from the Hungarian Coronation Mass (1869)' z& k( n, c1 b6 Q" ~7 I
S.582, O Lamm Gottes, unschuldig (1878-79)
4 l# I/ j0 o, D( j. m( LS.583, Via Crucis (?)! P( W0 G0 y5 d" {
S.584, Festkantate zur Enthüllung des Beethoven-Denkmals in Bonn (1845)
; }: p0 r* ?# O9 n% OS.585, Pastorale. Schnitterchor aus dem Entfesselten Prometheus (1861)
6 H3 X0 K8 S9 N# Y1 q: I! S3 yS.586, Gaudeamus igitur. Humoreske (1870)
3 ]) I' I0 ]% V+ x" VS.587, Marche héroique (?)0 a4 ~1 b- }" ~5 C( S
S.588, Weimars Volkslied (Cornelius) (1857)
$ _! @# X3 t5 d6 l& L5 I) US.589, Ce qu'on entend sur la montagne (Poème symphonique No. 1) (1874)( t0 P) B9 U6 _- i7 x3 U
S.590, Tasso, Lamento e Trionfo (Poème symphonique No. 2) (1858)/ }: p" G9 a7 A$ e$ f5 R
S.591, Les Préludes (Poème symphonique No. 3) (ca. 1858)
/ Z5 f! O/ C7 G3 H, _+ w! VS.592, Orpheus (Poème symphonique No. 4) (ca. 1858)/ p: y' ]3 B. u7 `1 S4 h3 y1 e8 M
S.593, Prometheus (Poème symphonique No. 5) (1858)5 ?: ]$ w. ]4 z4 |( W. y& L
S.594, Mazeppa (Poème symphonique No. 6) (1874)/ g" v6 n1 Y% j. }! R
S.595, Festklänge (Poème symphonique No. 7) (1854-61): `- o3 e' T& j# X' u1 q
S.596, Hungaria (Poème symphonique No. 9) (1874?)
5 g- N- I0 x+ ~  g6 qS.569a, Héroïde funèbre (Poème symphonique No. 8) (ca. 1877)
! S; a+ d/ M* v, w& W2 ?# lS.596b, Hunnenschlacht (Poème symphonique No. 11) (ca. 1877)
0 Z1 f" s$ g& [0 OS.596c, Die Ideale (Poème symphonique No. 12) (ca. 1874-77)
0 ~+ F; e( N7 {S.597, Hamlet (Poème symphonique No. 10) (1874)4 f1 R4 x) j2 `6 Z
S.598, Von der Wiege bis zum Grabe (Poème symphonique No. 13) (From the Cradle to the Grave) (1881)
. E  Y0 F5 m# ~1 o4 t, V9 ^# ]S.599, Two episodes from Lenau's Faust (1861-62)1 j' z$ r# i. a7 ]  {4 j) L
李斯特全部作品目录-4
1 d* A8 p: A' _' J
. M) c4 A/ J0 I0 J% US.600, Mephisto Waltz No. 2 (1881)
: q: k3 K- _/ ~- [S.601, Les Morts (Ode Funébre No. 1) (1866)8 s; {+ F# P/ d! B! N6 m& j- e
S.602, La Notte (Ode Funébre No. 2) (1866)- T  c" k$ S' \* i- v
S.603, Le Triomphe Funèbre du Tasse (Ode Funébre No. 3) (1866?)
3 [1 {' D$ I9 K; B8 E. r( F( ]S.604, Salve Polonia (1863)
: z" n2 o4 E' o5 U+ s* ?4 |& nS.605, Künstlerfestzug zur Schillerfeier (1859)# B5 g  D4 L* K$ n$ [
S.606, Festmarsch zur Goethejubiläumsfeier (ca. 1858)
7 B0 a; r+ R4 t$ \S.607, Festmarsch nach Motiven von E.H. zu S.-C.-G. (ca. 1859)' V  z+ F  H6 i, j8 C& w: f4 ^: f
S.608, Rákóczy March (1870)
; V; `( |# t6 g4 S8 xS.609, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (1870). b5 g0 R- g$ }+ t( k. ~
S.610, Ungarischer Sturmmarsch (1875)% s' F4 b4 l6 ?! G3 V
S.611, Epithalam (1872)
( R, d6 t1 [; D$ Z# M, vS.612, Elégie (1874)
2 q6 i" b5 _8 D3 L4 [' CS.613, Weihnachtsbaum (1876)
( Q* j4 K/ N7 v: y$ WS.614, Dem Andenken Petöfis (Petófi Szellemének) (1877)( n" i& F, s$ U
S.615, Grande Valse di Bravura (1836)0 r/ E' }( ]0 T+ V7 k. ]4 n# f* X
S.616, Grand Galop Chromatique (1838); ~! Z0 M: J$ s# ^+ [8 Y5 Y6 w
S.617, Csárdás macabre (1882)
1 S# _2 ~: H: [0 KS.618, Csárdás obstiné (ca. 1884)9 s2 ~) k: F3 i6 D
S.618a, Vom Fels zum Meer. Deutscher Siegesmarsch (?)9 o& a; r% Z/ I" }. v
S.619, Bülow-Marsch (ca. 1883)
5 B1 I  Q; F% jS.619a, Festpolonaise (1876) [4]
8 T1 t, D0 |% B8 O" oS.620, Hussitenlied (Melody by J.Krov) (1840)
! r1 P2 R5 D: z& ?$ d1 ^S.621, 6 Hungarian Rhapsodies [from the orchestral version, S359] (1874)/ |8 s+ j$ _4 ]& G  w6 y- J9 c' {9 a
S.622, Rapsodie hongroise No. 16 (1882)1 `* w% j) E* {9 E7 z
S.623, Rapsodie hongroise No. 18 (1885)
' T9 Q+ U: s# t* \' QS.623a, Rapsodie hongroise No. 19 (ca. 1885)
& b, h# w+ _9 hS.624, Fantasy and Fugue on the chorale Ad nos, ad salutarem undam (1850)
+ l8 J$ ~6 D+ n, h( C0 t5 qS.625, L'Hymne du Pape (Der Papsthymnus) (1865)
9 i: b- K/ X$ k: }# Q4 P- U7 jS.626, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)
2 \3 z' y2 \9 g$ V9 YS.627, Fantaisie sur des motifs de l'opéra La Sonnambula (Bellini) (1852)7 Z$ |- F, {8 d+ t5 P
S.628, Bénédiction et serment (Berlioz's 'Benvenuto Cellini') (1852)
. ^# g1 V5 n) c- ?S.628a, Marche et cavatine (Donizetti's Lucia) (?)* C. g" M5 n9 K
S.628b, Szózat und Hymnus (Egressy and Erkel) (1873)
" }3 j8 p( _! hS.629, Tscherkessenmarsch (Glinka's Ruslan i Lyudmila) (1843)
* \# M% K8 u/ f( k$ mS.630, Réminiscences de Robert le Diable - Valse infernale (Meyerbeer) (1841-43)
& S+ R; X! i; a, y* w  {S.631, Andante finale und Marsch (Raff's 'König Alfred') (1853)
. ^- V: q4 ?+ U4 s9 G9 m4 E1 t! DS.632, 4 Marches (Schubert) (1879)( w$ x: W) v! }2 y
S.633, A la chapelle Sixtine (Allegri Mozart) (1865)- Z% h( F3 A! I" O
S.634, Grand Septuor Op. 20 (Beethoven) (1841)+ P2 n/ _+ a( q0 d  [4 d
2.6.3 Mozart; y7 G) A( ], u& o, H
S.634a, Adagio from Mozart's Die Zauberflöte (1875-81?)
+ D0 Y, p( S5 b8 `2.7 Two Pianofortes(双钢琴)
3 z* H" D6 I" U, V& j( Z+ l* d2.7.1 Liszt" r; G0 f+ ^$ F( T) c/ B( i
S.635, Ce qu'on entend sur la montagne (Poème symphonique No. 1) (ca. 1854-57)$ [! }. z7 v$ ~& P% \& |: n5 V" y
S.636, Tasso, Lamento e Trionfo (Poème symphonique No. 2) (ca. 1857)& v! `* y" T% U2 @8 q# m' b1 p. C
S.637, Les Préludes (Poème symphonique No. 3) (ca. 1854-56)- Z4 a) j; n. G0 n
S.638, Orpheus (Poème symphonique No. 4) (ca. 1854-56)" t* }; x5 ~6 c. y8 u$ P  z
S.639, Prometheus (Poème symphonique No. 5) (1855-56)7 G( s- F1 R7 ?: \. E. @1 h7 k' x' }
S.640, Mazeppa (Poème symphonique No. 6) (1855)
7 y3 ?; m. c# @0 V+ B7 ES.641, Festklänge (Poème symphonique No. 7) (ca. 1853-56)2 [2 U! Y/ [+ h
S.642, Héroide Funèbre (Poème symphonique No. 8) (ca. 1854-56)
7 u: Z5 O- l+ v8 V0 J) q9 M( QS.643, Hungaria (Poème symphonique No. 9) (ca. 1854-61)
) U% v' H. Q, }6 r3 W0 J, q7 ?S.644, Hamlet (Poème symphonique No. 10) (ca. 1858-61)3 ^2 p; U5 @' R8 M
S.645, Hunnenschlacht (Poème symphonique No. 11) (1857)7 i8 k; a) `- ~
S.646, Die Ideale (Poème symphonique No. 12) (1857-58)( x* g) J0 w2 Q" Q, i) K0 W' e5 Y
S.647, A Faust Symphony, in three character pictures (1856)) I3 H( P7 f8 q5 A
S.648, A Symphony to Dante's Devina Commedia (ca. 1856-59). _! t$ f* ]" S: x1 r; B8 X9 o
S.649, Fantasie über Beethovens Ruinen von Athen (1865)
' h+ ~3 H( l' `8 o5 N& V1 }S.650, Piano Concerto No. 1 in E flat major (1853)
- D1 ^& [8 s1 E% U4 A: eS.651, Piano Concerto No. 2 in A major (1859)
' ?7 G$ p" g" w1 l3 PS.652, Totentanz. Paraphrase on Dies Irae (1859)
) ]9 ?) p( o' T1 g0 cS.653, Wandererfantasie (Schubert) (a. 1859)
. P: q/ d8 W0 P9 k! dS.654, Hexaméron, Morceau de Concert (1837)1 p) Z* p' W0 |. U' T+ Q+ c( R, \
S.655, Réminiscences de Norma (Bellini) (1841)2 k3 F9 v( o$ `& n0 j
S.656, Réminiscences de Don Juan (Mozart) (1841)
" \% l- H# ]: LS.657, Symphony No. 9 (Beethoven) (1851)( @8 e% s/ @; j. |- a
S.657a/1, Piano Concerto No. 3 (Beethoven) (1878)7 @# X. z( x( p: \
S.657a/2, Piano Concerto No. 4 (Beethoven) (1878)" E) n( k; I2 s  q, r) o" a0 {
S.657a/3, Piano Concerto No. 5 (Beethoven) (1878)
2 _$ t. ?( l, LS.657b, Bülow-Marsch [2-pianos, 8-hands] (1884)7 [* [( \" G  L6 `! W
2.8 Organ(管风琴)
: J. p3 Z! U8 U7 z$ b# f# G* a2.8.1 Allegri und Mozart, }: P& P/ W" z  [/ Y% m. u2 Y
S.658, évocation à la Chapelle Sixtine (1862)
" N" Q8 c- o7 o7 j' `2.8.2 Arcadelt1 q" P4 j) G. `! l* S
S.659, Ave Maria (1862)# P3 L+ R) x% d+ L. z/ i8 B5 n
2.8.3 Bach+ B0 g  R3 Z$ H5 ~7 [

+ p" M) h' X6 ~2 ~: P; j0 OS.660, Einleitung und Fuge aus der Motette Ich hatte viel Bekümmernis und Andante Aus tiefer Not [2 pieces] (1860)2 Q! |  ~. M3 _" i2 O9 P
S.661, Adagio from Bach Violin Sonata No. 4 (BWV1017) (1864)1 \4 Y5 v  r* |" H7 i: X
2.8.4 Chopin
' o8 e) _/ E0 G0 {6 K! D
2 Y4 o' q" N7 pS.662, 2 Préludes from Op. 28 (Nos. 4, 9) (1863)/ p: `& Y- Z/ y" L
2.8.5 Lassus  O  P3 v6 @1 m3 S& l

; w+ N  g* L: c/ A9 T6 NS.663, Regina coeli laetare (1865)& D. T9 }0 c# N% A% _$ f0 N! d
2.8.6 Liszt
" h0 ]3 d, C. @* B1 n5 G2 I) M+ B' j
S.664, Tu es Petrus from Christus (1867)
, [8 K' K+ R- P9 jS.665, San Francesco (1880)
7 |+ m# g+ ~+ w4 SS.666, Excelsior! - Preludio (?)2 K  K7 z0 e" C+ S* H& Y  P
S.667, Offertorium from the Hungarian Coronation Mass (1867)
' R" z2 {$ Y$ l; p3 @9 e6 D, |1 eS.668, Slavimo Slavno Slaveni (1863)
4 O3 y, f2 N) K) h4 r8 }. gS.669, Zwei Kirchenhymnen [2 pieces] (1877)& P* v' J; l' e8 V
S.670, Rosario [3 pieces] (1879)
8 Y, \% g( p- V6 Z- y1 [S.671, Zum Haus des Herrn (In domum Domini ibimus) (1884)- w1 K2 |  `: }( Z9 n7 r+ l% s
S.672, Weimars Volkslied (Cornelius) (1865)
0 I! W0 G  ]* q# `S.673, Weinen, Klagen' Variationen (1863)0 K9 |$ ]" Q  Y( Q
S.674, Ungarns Gott. A magyarok Istene (Petófi) (1882)7 @* }2 \. D4 Y; |! T
S.674a, O sacrum convivium [2 versions] (?)
; ^& L1 N% x( D  I0 B3 C2.8.7 Nicolai6 \2 _0 m: u3 m6 ?* u

- Z* N) n) ~/ l) L4 h; M8 ^! wS.675, Kirchliche Festoverture (1852)
0 o* Y9 p: a) T$ I7 t, X$ l* G5 m2.8.8 Wagner
2 G4 G: ]/ k0 O) V  `
! E9 Y* `" |8 R6 H: k7 lS.676, Pilgerchor from Wagner's Tannhäuser (1860)
" s. L8 n0 r& e  R1 o7 L- k. D2.9 Organ with Other Instruments(管风琴和其他)' K4 C. q8 z% p* C3 ]7 z# I% T, g
" N& A* c6 d8 L! q( B" f
S.677, Hosannah from Cantico del sol di San Francesco d'Assisi (for organ and bass trombone) (1862)
% s* l: p9 F3 C' a* _S.678, Offertorium and Benedictus from the Hungarian Coronation Mass (1869)
. [+ W. E8 j- c" |. aS.679, Aria 'Cujus animam' from Rossini's Stabat Mater (for organ and trombone) (?)
8 W% a6 S8 Q' Z7 Z! J& VVocal Arrangements声乐% |+ [3 E% C% ]' w: j

; K  }( z7 f; i  P3 d+ Q' {" F. VS.680, Ave maris stella (1868). v$ f2 H# U! k  O% J% T5 W/ p! _
681, Ave Maria II (1869)
3 U# b' m4 v1 N8 s3 ]0 mS.682, Air du Stabat Mater (Rossini) (?)   V& g% {: N3 d8 R5 f* `' P9 V/ ]
S.683, Serbisches Lied (Hohenzollern-Hechtingen, Prince FWC. von) (?)$ V  X: D1 E# X3 O9 ^" C7 S& ]
S.684, Barcarolle vénitienne (Pantaleoni) (?)7 C  W3 |$ M9 A- ?5 J/ n
S.685, Es hat geflammt die ganze Nacht (Grand Duchess Pavlovna) (?)7 u  J% M- }; B# A& p3 F" k

: O. w# n4 ], [0 m! Z2.10 Recitations
1 Y4 F' }, b! H! N8 NS.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

8 Q. a) @7 D# q7 E% E8 g3 x7 @4 ]1 a* X& K  B
# C4 g5 P( I; p. a  z) O# K' i2 i9 ]
  }* S' R# ^6 W- p5 T6 t, ]5 u
& q2 S: ~4 b# l

' W. I% b( K9 w! R; e0 r
" {5 j- j& s7 r
# v5 ^2 S: A- I3. Appendix7 C( `4 u1 ~; o1 R" Q
2 u9 ]8 _- X( h1 b" C1 V: P* O* G; V
3.1 Unfinished Works
* K4 z  ?# `5 s% l9 c: @; g! U/ V# N8 b
- U' R; h3 s0 C5 a4 \4 ^- e& v# E9 eS.687, Sardanapale (Byron) [opera, partly sketched, 111 pages] (?)) }1 U7 T8 p/ ?5 K
S.688, Oratorio - Die Legende vom heiligen Stanislaus [sacred choral] (1873-85)4 T1 E' T, ?/ a5 r
S.688a, St Stanislaus fragment [solo piano, Library of Congress] (1880-86)
$ J/ y0 i; T. x9 Y" k# O5 ~% j" fS.689, Singe, wem Gesang gegeben [secular choral] (1847)
; b1 G1 U" P9 h2 a" D0 mS.690, Revolutionary Symphony [unfinished, revised 1848] (1830)* E9 w* ?2 x, q
S.691, De Profundis [piano and orchestra, De Profundis - Psaume instrumental] (1834?)7 t5 M! H0 B& L/ ~6 b
S.692, Violin Concerto [only sketched] (1860)
# [' ?  n: D' V3 c# n, p, ZS.692a, The Four Seasons String quartet (Vivaldi) (1880?)
3 @% p1 q+ {. H. n7 ES.692b, Anfang einer jugendsonate [solo piano] (1825)
$ z: ]5 a8 g  m0 E& q# qS.692c, Allegro maestoso [solo piano] (1826)* I. z; R2 e# k
S.692d, Rákóczi-Marsch [solo piano, first version, simplified, unfinished] (1839)1 ~9 U5 q3 j7 A$ h9 U# b
S.692e, Winzerchor (Prometheus) [solo piano] (1850): Z/ f8 t; m/ D# M
S.693, Deux marches dans le genre hongrois [solo piano, 2 pieces] (1840?)
0 m$ u% K" p: X$ AS.693a, Zwei Stücke aus der heilige Elisabeth [solo piano] (1862)9 o8 g. _+ ?& Z/ W6 w' z
S.694, Fantasie über englische Themen [solo piano] (1840?)& a* x/ y) z( X4 v' z
S.695, Morceau en fa majeur [solo piano] (1843?)! W' c- u8 f$ r% ?- o% e+ l) V: C6 R6 `
S.695a, Litanie de Marie [solo piano] (1847)
+ d; b$ {3 K! W& o" D- R( [) WS.695b, Zigeuner-Epos [solo piano, 11 pieces] (ca. 1848)
7 Z9 Q, f! x1 |# t) @6 s7 J  aS.696, Mephisto Waltz No.4 (1884) 第四梅菲斯特圆舞曲
& A& d' u' r2 K) C* ES.697, Fantasie über Themen aus Figaro und Don Giovanni (Mozart) [solo piano arrangement] (1842)* c$ e8 Z. W: B' J* z2 j
S.698, La Mandragore - Ballade de l'opéra Jean de Nivelle de L. Delibes [solo piano arrangement] (a. 1880); V1 R" V# m+ a. ^4 r- w
S.699, La Notte (Odes Funèbre no. 2) [solo piano arrangement] (1864-66)
5 x( J6 Z! ]4 X3 zS.700, Grand Fantaisie (Variations) sur des thèmes de Paganini [first/second version; completed by Mezö] (1845)  j' k9 e0 Y4 Y( B
S.700a, Variations sur Le Carnaval de Venise (Paganini) [solo piano arrangement] (?)4 O# I" y) E$ }* y
S.701, Den Felsengipfel stieg ich einst hinan [song] (?)
0 b- e; v6 M; Z) E; d- VS.701a, Allegro di bravura [orchestra, arrangement] (ca. 1830)
1 x" l5 e/ S7 u' ZS.701b, Marie-Poème [solo piano] (1837)
- K, y0 j. ^' i8 vS.701c, Andante sensibilissimo [solo piano] (1880-86)
' `9 |6 ], H5 V2 bS.701d, Melodie in Dorische Tonart [solo piano] (1860)
- z" s& G; N5 R; l$ PS.701e, Dante fragment [solo piano] (1839)
8 R7 |9 w3 o. b% [5 R. a- M& r  ZS.701f, Glasgow fragment [solo piano] (?)
* Z1 W  [+ [8 W8 D; E3 BS.701g, Polnisch - sketch [solo piano] (1870-79). F7 L3 z- t  m1 B7 X: y
S.701h/1, Operatic aria - and sketched variation [solo piano] (?)) ]: u- |; W9 X4 j
S.701h/2, Valse infernale (Meyerbeer) - theme [solo piano arrangement] (?)
. P$ o9 Q  j5 s" @. n, o% C: @S.701j, Harmonie nach Rossini's Carità (La charité) [solo piano arrangement] (1847)5 g; `8 T) U  K, n7 {
S.701k, Korrekturblatt (to an earlier version of La lugubre gondola) [solo piano] (1882)
6 `8 d; ?6 f+ W3.2 Doubtful or Lost
# h% x( W8 P0 q
6 e' Y8 K9 h1 s! ^  ]  x3 N3.2.1 Sacred Choral Works
4 E* B9 r. k& }. \5 b+ _' D0 D$ a2 ?4 u; {! n, Y/ ^
S.702, Tantum Ergo (1822)
+ a) c$ z1 T0 z% y* i% ]- GS.703, Psalm 2 (1851)8 t) G& E  Z1 f7 w' H- U
S.704, Requiem on the death of Emperor Maximilian of Mexico (?)
& I' U- F0 I# B7 S% f" ZS.705, The Creation (?)
( X: A6 E2 K$ V7 w9 RS.706, Benedictus [doubtful] (?). r( m4 J3 \0 i6 w& N8 P6 m4 H
S.707, Excelsior [arrangement, doubtful] (?), D5 B& o: J6 k
3.2.2 Secular Choral Works
* P7 P0 ~5 t9 M, ?0 \
' f, _" R8 `9 _( I0 v3 oS.708, Rinaldo [doubtful] (ca. 1848)
! h, L: z6 ~6 i# d# P9 U3.2.3 Orchestral Works( o+ {- I% y- v* `) {0 c
) v; A8 t# L) ^* z7 Y4 p
S.709, Salve Polonia [rediscovered, renumbered as S113] (1863)! _4 W( R' t1 z: a5 y2 t4 o
S.710, Funeral March (?)8 _) H# c2 Z4 d# w5 m1 ?/ w
S.711, Csárdás macabre [arrangement] (?)
1 Y# w# C, @7 C/ \S.712, Romance oubliée [arrangement] (?)
9 d4 q9 ]$ D5 V% i* p3.2.4 Piano and Orchestra
9 I6 z1 d8 X  f7 \, r) ~2 y, p
$ h+ H/ b+ }1 b7 J0 cS.713/1, Piano Concerto in A minor (1825?)& S9 Z3 [; I) w% \: H
S.713/2, Piano Concerto (1825?)
/ E8 S5 V. b$ C& s6 `" SS.714, Piano Concerto in the Hungarian style [by Sophie Menter, renumbered as S126a] (1885)
$ s. b; J+ S. US.715, Piano Concerto in the Italian style (?)
$ w' Z4 E1 F# c5 Y' L4 aS.716, Grande fantaisie symphonique [orchestral] (?)4 \1 e7 L; C6 f' s# w! a
3.2.5 Chamber Music4 J  |  I2 d& ?7 O; U  ]

+ k. p0 q( J- M8 o+ t& K; R3 P+ CS.717, Trio (1825)" t  t9 [" u+ y2 r9 E
S.718, Quintet (1825)# x4 W1 m3 G1 D2 r5 c9 S5 A
S.719, The Four Seasons String Quartet (Vivaldi) [rediscovered, renumbered as S692a]. W- V7 R& V* V# Y- Q& I
S.720, Allegro moderato (?): J' l+ I% D6 }' E& y7 f% a
S.721, Prelude (?)
' _' L% W8 ]0 v2 `  [% }' l0 k% w4 uS.722, La notte (Odes funèbre no.2) [rediscovered, renumbered as S377a] (1864-66)
: ]: w! k5 ~' n8 [& M9 C( OS.723, Tristia [arrangement, from Vallée d'Obermann S160/6] (1880-86 ?)
  K5 S% z! ]; d4 Z! i) fS.723a, Postlude on theme from Orpheus [arrangement] (?)
9 S* S9 V: I( P, Y7 h3.2.6 Pianoforte Solo
5 s% |' C" G; X
* o3 }% m! g' t  w2 R4 a8 dS.724, Rondo and Fantasy (1824)
- r% K  M9 u9 E$ \, U" D- z* M# RS.725, 3 Sonatas (1825)/ F' S6 S  m! m' t$ Z# {
S.726, Study (?)
" C# W. I0 O) S8 q4 A: PS.726a, Valse (?)6 ^, h( P, f+ Q; A  x% C
李斯特全部作品目录-5
4 ^2 c6 t# j" C# c, q/ M: X+ e* ~- K: o' [/ _
S.727, Prélude omnitonique (?)
/ U% K: N5 S5 p5 B$ C5 o. QS.728, Sospiri (Fünf Klavierstücke) [rediscovered, renumbered as S192/5] (1879)
9 g) P; F/ R6 l+ E) ?S.729, [rediscovered, renumbered as 42(?)]
$ P/ {# N7 I4 }) JS.730, Dem Andenken Petöfis (Petófi Szellemének) [rediscovered, renumbered as S195] (1877)
' i# h/ r6 j' H4 k* [S.731, Valse élégiaque (?)
( F1 V0 R4 e2 y4 \) CS.732, Valse Oubliée No.4 [rediscovered, renumbered as S215/4] (1883-84)
; l/ d% j9 I1 I* G" [; mS.733, Marche hongroise (in E flat minor) [rediscovered, renumbered as S233b] (1844)
  y7 ?  [! O$ N  @S.734, Ländler (?)
" a( K% U* `& B- N5 aS.735, Air cosaque (?)1 j2 P/ n. O) l
S.736, Kerepsi csárdás (?)* \- D" U9 b1 T- G; d9 \* g
S.737, 3 morceaux en style de danse ancien hongrois (?)" p0 a& M0 G+ ^' @" c/ H5 s; |2 M
S.738, Spanish folksong arrangement (?)
  T6 {# w+ E% e; L: D# o3.2.6.1 Arrangements
9 w8 A% @8 m1 ~8 u9 g' w2 K
% H/ c& T/ J7 US.739, Corolian Overture (Beethoven) (?)
" w5 W. k: u% f) ]S.740, Egmont Overture (Beethoven) (?)
) D& O: J8 X4 m6 ?/ q/ O5 q3 ES.741, Le carnaval romain - Overture (Berlioz) (?)
* ]) b/ X! `) D1 @' CS.742, Duettino (Donizetti) (?)
! g0 W! Q, t/ r; d3 e2 rS.743, Soldiers Chorus from Guonod's Faust (?)# V& y+ q; @! Z1 n, x
S.743a, Fantasia on themes from Halévy's Guitarero (b. 1841)
) C1 }5 @; V( P$ `8 K- wS.744, Paraphrase on Act 4 of Kullak's Dom Sebastien (?)
' D: O0 |: y% BS.745, Funeral March (?)
- L. p5 _+ g0 ~9 P, zS.746, Andante Maestoso (?)& a& D1 {/ g4 t
S.747, Poco adagio (from Missa Solemnis) (?)' v/ y9 V7 G! O2 L5 s3 n
S.748, Overture to Mozarts "Die Zauberflöte" (?)
, E* h! f, E% IS.749, Preussischer Armeemarsch (Radovsky) (?)
5 ?6 z, O1 V* @S.750, Siege de Corynthe, Introduction (?)
# v9 ~* W. t2 f: i& \8 ^S.751, Nonetto e Mose, Fantasia on themes by Rossini (?)! w" e$ J" p+ O0 ]
S.752, Gelb rollt (Rubinstein) (?)
3 C% |5 M! F& q0 W- J' JS.753, Alfonso und Estrella, Act 1 (Schubert) (?); O0 c* j9 J1 p* [3 r9 D: b5 [; M
S.754, Seconda mazurka variata (Tirindelli) [rediscovered, renumbered as S573a] (1880)
7 K" Q2 p( `& R) d, D* ~, `3 Z3.2.7 Pianoforte Duet2 J: \! G# R5 {

7 h) U) P0 F1 t, ?0 B' HS.755, Sonata (?)
* n- \/ u* G" c8 {/ c3.2.8 Two Pianofortes$ V( _& g& A7 M/ r! d: l! |$ @8 K3 ?

' ?" b4 O0 Z% ]S.756, Mosonyis Grabgeleit (?)
/ S: l% J4 H7 D+ u' qS.757, La triomphe funébre du Tasse (?)' s( v+ j3 D) n
3.2.9 Organ. K6 e5 u$ v7 c5 a0 I) {
8 O$ }  U! c% G" l, p( `
S.758, The Organ (Herder) (?)
+ ^; p3 X; g- y) MS.759, Consolation [arrangement] (?)
; a# U9 W  r0 W5 ]- Z% OS.760, Cantico del sol di St. Francesco [arrangement] (?)& G+ ?, u. }. ~6 @& D. l# P
S.761, Marche funèbre (Chopin) [arrangement] (?)
" i2 m, @/ I( [3.2.10 Songs( x9 K& u" w" i' ?" r3 \: h

& H& O+ w, Y  _. Q5 A; D' `S.762, Air de Chateaubriand (?)
2 V) H5 a9 n/ ~$ z, {$ Z0 lS.763, Strophes de Herlossohn (?)) }: \7 W: Z. {5 Z4 I. x! }! s
S.764, Kränze pour chant (?)) k  K/ X# B+ e! f6 u
S.765, Glöcken (Müller) (?)& T( l( ?2 p# L* C9 h- e
S.765a, L'aube naît (Hugo) (1842?)
7 H* W2 X% J# }; E/ j! t/ p& X3 JS.766, Der Papsthymnus (?)
, m$ O- j* f2 \$ I' `: aS.767, Excelsior (?)  l# r! C. M# b& K2 M" `
3.2.11 Recitations
1 e( b. C0 R5 S! |: A# F: ~1 L( Y" D1 q+ m* u! _
S.768, Der ewige jude (Schubart) (?)
/ m# w' a6 r$ r, O% |8 L( b3.3 Supplement
/ I' r: K+ _, i5 |! e
$ y) p1 P5 G$ kS.990, Fantasy and Fugue on the chorale "Ad nos, ad salutarem undam" (played by Liszt to Walter Bache) [solo piano, arrangement] (b. 1862)
$ e" O1 v5 N! H7 h" `# |0 J) ~S.991, Waltz in A major [chamber, arrangement] (?)
7 V4 z% O( U  m9 G$ [/ jS.993, Wartburg Lieder (Scheffel) [orchestral, arrangement] (?)+ L7 f1 @' q, w( @5 x9 P( _0 K
S.994, Grand solo caractéristique à propos d'une chansonette de Panseron [solo piano, arrangement] (1830-32)& h8 w0 C, _- ]( s
S.995, Variations de bravoure sur des thémes de Paganini [unfinished] (1845)
" g( S1 a, Z6 N0 [S.996, Stabat Mater [solo piano] (1870-79 ?)* [6 d4 E( p2 C" `4 p
S.997, 5 Variationen über Romanze aus 'Joseph' (Méhul) (by Franz Xaver Mozart, attributed to Liszt) (ca. 1834)
6 e, y6 [# j: b- z+ U/ QS.998, Adagio in C [solo piano] (1841)" @9 }& Z4 m/ E0 K& X
S.999, Andante Maestoso [organ] (?)
$ B# \- E" _. }( p降E大调钢琴协奏曲（遗作）Piano Concerto in E flat Major Op.posth+ k5 B+ {# h8 G
2首悲歌 2 Elegies
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