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[中国作家] 李斯特全部作品目录

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geci110 发表于 2015-7-22 18:33:13 | 显示全部楼层 |阅读模式
李斯特最重要的作品是《浮士德交响曲》、《但丁交响曲》、《匈牙利狂想曲》、交响诗《前奏曲》、《马捷帕》、四首钢琴协奏曲、《B小调钢琴奏鸣曲》、《12首超技练习曲》和《旅行岁月》。
8 d1 E7 B% K, q+ T& E  r李斯特全部作品目录-1
6 I6 h' F, C8 w' L0 u5 T- |2 S8 U, L0 s
1.1 Opera(歌剧)  K8 f" i  V3 Y
7 \, L3 `% k7 e4 J
S.1, Don Sanche, ou Le chateau de l'amour (1824–25) 歌剧《唐切桑》
# U3 |  }/ X" t- Z$ {1.2 Sacred Choral Works(神圣的合唱作品)* X' t; g3 q& }' a
9 A2 ]" E6 k  W, |
S.2, The Legend of St. Elisabeth (1857–62) 清唱剧《圣伊丽莎白传奇》
6 C2 m0 E4 I6 Z% ?  }$ O. TS.3, Christus (1855–67) 清唱剧《基督》9 I2 l1 V' z, u& M8 P
S.4, Cantico del sol di Francesco d'Assisi [first/second version] (1862, 1880–81) 清唱剧《阿西西的圣方济圣歌》
$ w' R; R- `$ xS.5, Die heilige Cäcilia (1874). e& i% S: R. R8 d1 v# R# a
S.6, Die Glocken des Strassburger Münsters (Longfellow) (1874)5 E8 Q# I8 E5 ]& u7 S% j
S.7, Cantantibus organis (1879)
  P/ h! t: H- E; K$ v4 x7 O' Y/ f( R. _S.8, Missa quattuor vocum ad aequales concinente organo [first/second version] (1848, 1869)
% D( @$ l7 n) i9 t" t4 US.9, Missa solennis zur Einweihung der Basilika in Gran (Gran Mass) [first/second version] (1855, 1857–58)
# q" v* [$ P5 z! z4 F' l0 `6 I8 FS.10, Missa choralis, organo concinente (1865)- d3 u0 {4 @1 F/ v1 s5 q4 b
S.11, Hungarian Coronation Mass (1866–67)) t$ [2 @( l5 D, [
S.12, Requiem (1867–68)
5 l5 T% g; ?2 h2 kS.13, Psalm 13 (Herr, wie lange ?) [first/second/third verion] (1855, 1858, 1862)* b& N: A0 x) v, i& O* R+ o4 x) O
S.14, Psalm 18 (Coeli enarrant) (1860)
7 N, c9 U# S2 x3 e1 M" X% \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)
! Z! P# J0 P& h) T- F1 xS.15a, Psalm 116 (Laudate Dominum) (1869)
8 W! s. a+ K* dS.16, Psalm 129 (De profundis) (1880–83)! J" D/ a+ d- x1 Y! \
S.17, Psalm 137 (By the Rivers of Babylon) [first/second version] (1859–62)
& W' a( ^. W" }S.18, Five choruses with French texts [5 choruses] (1840–49): s- k" B: {; Y6 k$ R' J' n
S.19, Hymne de l'enfant à son réveil (Lamartine) [first/second version] (1847, 1862)
) Q0 C3 {! F! J# {. A( ~S.20, Ave Maria I [first/second version] (1846, 1852)
2 t! o( j8 q% @S.21, Pater noster II [first/second version] (1846, 1848)
& y  b" o" Y7 G9 y3 oS.22, Pater noster IV (1850)
+ e6 z( X: P  s, B7 z8 L2 W2 yS.23, Domine salvum fac regem (1853)
( ~; @5 ]3 h' @S.24, Te Deum II (1853?)
' n, P) z' H. W4 m; `S.25, Beati pauperes spiritu (Die Seligkeiten) (1853)4 S, j2 e- p" e: p  S
S.26, Festgesang zur Eröffnung der zehnten allgemeinen deutschen Lehrerversammlung (1858)& \& O9 t2 {/ {7 O
S.27, Te Deum I (1867)7 v% P" E6 x6 T; J* {
S.28, An den heiligen Franziskus von Paula (b. 1860)
- e" F! Q$ ~7 Q1 ES.29, Pater noster I (b. 1860)
$ k: N/ D9 v* R& T  `S.30, Responsorien und Antiphonen [5 sets] (1860)
- N5 r0 [' _) M. }% b/ V: d. K( AS.31, Christus ist geboren I [first/second version] (1863?)+ O- |6 H  d5 Y' V2 R. P! |$ e: A1 ~
S.32, Christus ist geboren II [first/second version] (1863?)- j- p4 [2 B2 y# v5 z* |
S.33, Slavimo Slavno Slaveni! [first/second version] (1863, 1866)6 B1 z2 ]6 t# p
S.34, Ave maris stella [first/second version] (1865–66, 1868)
3 l0 a: T  D# O$ u* O3 J* l, X5 lS.35, Crux! (Guichon de Grandpont) (1865)# v; f# y5 C( |6 j# J' d+ ?
S.36, Dall' alma Roma (1866)2 S4 H$ H8 w* N
S.37, Mihi autem adhaerere (from Psalm 73) (1868)
# }+ E- D4 O3 Q$ r+ nS.38, Ave Maria II (1869)
6 h, c+ O4 J* O, ~+ f0 GS.39, Inno a Maria Vergine (1869)
3 |5 m7 b9 b* S' r2 E$ @S.40, O salutaris hostia I (1869?)
- e# A& s# Q2 W$ CS.41, Pater noster III [first/second version] (1869)/ z7 l2 C4 Y* _& Q
S.42, Tantum ergo [first/second version] (1869)
5 |* o- k: s+ w# ]; SS.43, O salutaris hostia II (1870?)
+ E- P' l; `1 t6 RS.44, Ave verum corpus (1871)0 q, Y( R9 }$ ~- V! d* P+ ~1 y8 ]
S.45, Libera me (1871)
& q2 \: }; h- a1 K6 JS.46, Anima Christi sanctifica me [first/second version] (1874, ca. 1874)
5 ?( q8 a0 p; A1 xS.47, St Christopher. Legend (1881)
) B- h7 R1 h. A1 x% |S.48, Der Herr bewahret die Seelen seiner Heiligen (1875)
1 _$ t  g( D7 c3 n& XS.49, Weihnachtslied (O heilige Nacht) (a. 1876)
  P0 _, v& ^* I% v: S$ M: uS.50, 12 Alte deutsche geistliche Weisen (Chorales) [12 chorals] (ca. 1878-79)
1 y4 R0 P9 N7 w$ q4 C; T6 k1 ^S.51, Gott sei uns gnädig und barmherzig (1878)
' d4 N; K1 r! u9 q$ F/ Y" nS.52, Septem Sacramenta. Responsoria com organo vel harmonio concinente (1878)
1 L0 j  V6 f* \" T+ L, wS.53, Via Crucis (1878–79)& O- T  ?) {& \) ^+ y- g
S.54, O Roma nobilis (1879): M1 h4 O1 B8 ~" k5 g! b& o) r
S.55, Ossa arida (1879)
" D* W! I$ v  U  B9 u+ R5 C* MS.56, Rosario [4 chorals] (1879); x) e! |; z/ M+ w
S.57, In domum Domino imibus (1884?)5 O7 M& k, b- z. L* P% R( [4 R9 o
S.58, O sacrum convivium (1884?)
. W3 {9 J- X* `3 C6 s% iS.59, Pro Papa (ca. 1880)
1 o- P" X3 u% d- h. ~2 @$ d5 kS.60, Zur Trauung. Geistliche Vermählungsmusik (Ave Maria III) (1883), \) x% Y% f) Q
S.61, Nun danket alle Gott (1883)
$ J) n) y, g' ^$ l  ?S.62, Mariengarten (b. 1884)% T( M+ B, K* e# r5 H
S.63, Qui seminant in lacrimis (1884)
. b8 p4 P1 B! c1 F" O$ p2 IS.64, Pax vobiscum! (1885)
$ {: ]8 d/ i% @7 W. r4 t3 ~7 G- rS.65, Qui Mariam absolvisti (1885)2 E  r" x1 D0 g4 b
S.66, Salve Regina (1885)
2 O' p5 \' g' q. a1.3 Secular Choral Works(世俗的合唱作品): f7 b; V9 W1 \3 B7 [
S.67, Beethoven Cantata No. 1: Festkantate zur Enthüllung (1845)
+ L$ h; s" j: B( Y9 D( L. nS.68, Beethoven Cantata No. 2: Zur Säkularfeier Beethovens (1869–70)
4 O% q0 V) t, a+ US.69, Chöre zu Herders Entfesseltem Prometheus (1850)
0 U+ r9 b4 L4 Q4 Y4 oS.70, An die Künstler (Schiller) [first/second/third verion] (1853, 1853, 1856)
8 n8 C- f  x+ x/ i) J- BS.71, Gaudeamus igitur. Humoreske (1869)
% l7 f8 W3 t' R; Z& D, WS.72, Vierstimmige Männergesänge [4 chorals] (for Mozart-Stiftung) (1841)
/ K* \3 D$ K" j) l4 OS.73, Es war einmal ein König (1845)
) }+ g& g  [$ q- q; I" C, dS.74, Das deutsche Vaterland (1839)7 Q2 W: P- V! h9 k2 @' U) Q
S.75, über allen Gipfeln ist Ruh (Goethe) [first/second version] (1842, 1849)
8 ~$ M+ M) G$ ]& {S.76, Das düstre Meer umrauscht mich (1842)
& I6 x' W( X, w- iS.77, Die lustige Legion (A. Buchheim) (1846)
8 S  O- R2 e7 f) `$ M6 z2 \, aS.78, Trinkspruch (1843)+ C& Y- ^7 }! t0 A* n
S.79, Titan (Schobert) (1842–47)' s& t$ A# D* G; D, x7 t
S.80, Les quatre éléments (Autran) (1845)8 w( v. X$ ]0 z+ D
S.81, Le forgeron (de Lamennais) (1845)
9 w% n) B% C, S! T) D( LS.82, Arbeiterchor (de Lamennais?) (1848)
( @3 H3 @# g6 N* U$ Y1 R5 KS.83, Ungaria-Kantate (Hungaria 1848 Cantata) (1848)' F& J, n7 L' D/ Q) I9 \6 |
S.84, Licht, mehr Licht (1849); m3 E- h" U) ?8 a. ^
S.85, Chorus of Angels from Goethe's Faust (1849)
7 n" }* ~; p; j1 `; i7 ^2 qS.86, Festchor zur Enthüllung des Herder-Dankmals in Weimar (A. Schöll) (1850)3 E* i9 t& ?7 `% s2 V) p; T& D( b
S.87, Weimars Volkslied (Cornelius) [6 versions] (1857)
! R$ y( E; I) \S.88, Morgenlied (Hoffmann von Fallersleben) (1859)0 P2 M0 o/ L* z$ m0 Y% k. L- j( j
S.89, Mit klingendem Spiel (1859–62 ?)
+ l* k* O/ T% YS.90, Für Männergesang [12 chorals] (1842–60)
( t- l# w- y/ s" ^$ {) U" B9 mS.91, Das Lied der Begeisterung. A lelkesedes dala (1871)
! e4 w( w* H8 X) A$ m2 nS.92, Carl August weilt mit uns. Festgesang zur Enthüllung des Carl-August-Denkmals in Weimar am 3 September 1875 (1875); x/ d, @5 |1 X% \' \( F3 ~  U- U! n/ R
S.93, Ungarisches Königslied. Magyar Király-dal (ábrányi) [6 version] (1883)
+ l3 z" L9 j5 t7 H7 wS.94, Gruss (1885?)3 y) K& t, s6 k7 U. k$ y$ u
1.4 Orchestral Works(管弦乐作品)% j: r% T% p: x

. `* f6 b9 N5 ?5 n3 x- V. n/ t1.4.1 Symphonic Poems(交响诗)
  B+ J& b6 {& ?1 |
6 ?0 z2 G5 P$ i& aS.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
7 D, e& R7 D1 |  T0 dS.96, Poème symphonique No. 2, Tasso, Lamento e Trionfo [first/second/third version] (1849, 1850–51, 1854) 《塔索,哀叹与胜利》6 y- r1 h% @/ c/ ^
S.97, Poème symphonique No. 3, Les Préludes (1848) 第三交响诗“前奏曲”
; b8 {- _% v' e2 WS.98, Poème symphonique No. 4, Orpheus (1853–54) 第四交响诗 《奥菲欧》5 {" I3 K6 z! b3 T
S.99, Poème symphonique No. 5, Prometheus [first/second version] (1850, 1855) 第五交响诗《普罗米修斯》
" W; }  W& A2 }S.100, Poème symphonique No. 6, Mazeppa [first/second version] (1851, b. 1854) 第六交响诗《马捷帕》
$ [$ d* F8 S3 v4 K% M$ P  ~/ ~S.101, Poème symphonique No. 7, Festklänge [revisions added to 1863 pub] (1853) 第七交响诗《节日之声》
/ ]! A! B% M" A$ [' E7 @5 VS.102, Poème symphonique No. 8, Héroïde funèbre [first/second version] (1849–50, 1854)  第八交响诗《英雄的葬礼》
6 J8 c! ~$ D8 x0 y7 \S.103, Poème symphonique No. 9, Hungaria (1854) 第九交响诗《匈牙利》4 `2 `2 w. I, e: a& ~
S.104, Poème symphonique No. 10, Hamlet (1858) 第十交响《哈姆雷特》
7 b7 Z0 p6 H, o4 P6 sS.105, Poème symphonique No. 11, Hunnenschlacht (1856–57) 第十一交响诗《匈奴之战》
6 E3 X# k7 v& m% p5 k5 Q9 k. fS.106, Poème symphonique No. 12, Die Ideale (1857) 第十二交响诗《理想》0 D" A4 [; K, W5 R- W
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》% {0 J) W8 |8 i' ^7 x  D: Y
1.4.2 Other Orchestral Works(其他管弦乐作品)9 b9 K4 d. R7 ~4 ~: [
& O2 O( G1 E/ w3 X; c
S.108, Eine Faust-Symphonie [first/second version] (1854, 1861)/ v, i% W: I! r' Q; a% W
S.109, Eine Symphonie zu Dante's Divina Commedia (1855–56)5 G+ O8 S8 x& f& |1 e2 Q
S.110, Deux épisodes d'apres le Faust de Lenau [2 pieces] (1859–61)
+ P  o- `. U0 `. K$ gS.111, Zweite Mephisto Waltz (1881)
( c9 @$ x/ {9 t' \8 v5 s7 jS.112, Trois Odes Funèbres [3 pieces] (1860–66)
! \$ o7 Q- a$ G# ]6 {S.113, Salve Polonia (1863)5 L: k$ z4 ]0 T* \
S.114, Künstlerfestzug zur Schillerfeier (1857)/ C1 O9 P4 |0 n
S.115, Festmarsch zur Goethejubiläumsfeier [first/second version] (1849, 1857)
6 h  j1 [* t$ X0 D1 T9 L4 i8 I8 T! tS.116, Festmarsch nach Motiven von E.H.z.S.-C.-G. (1857)
# E  f% o' w5 X8 Z& L5 K9 OS.117, Rákóczy March (1865)
% W% c, `# Z3 ~, r$ U9 o2 n. c+ s6 q4 mS.118, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (am 8 Juni 1867) (1870)" L: h; |0 L9 S) _9 Q9 S% A) C
S.119, Ungarischer Sturmmarsch (1875)
/ j. K: u+ c9 W6 l/ r1.5 Piano and Orchestra(钢琴与乐队)
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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 F  J' u- B! L: l  c/ a& {
S.121, Malédiction (with string orchestra) (1833)  诅咒  钢琴与弦乐队
  m" W/ B3 }: [! L! T5 E# l2 s& n+ B/ NS.122, Fantasie über Beethovens Ruinen von Athen [first/second version] (1837?, 1849)% y* J6 V# W$ H# V) K$ O0 Z" ?; {
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( l4 v7 M1 U7 L; H
S.124, Piano Concerto No. 1 in E flat [first/second version] (1849, 1856) 降E大调第一钢琴协奏曲9 {2 E* v8 q+ y* q* ?9 M8 |4 ]4 x" v/ A
S.125, Piano Concerto No. 2 in A major [first/second version] (1839, 1849) A大调第二钢琴协奏曲
7 C, G$ v6 ?' s4 o- WS.125a, Piano Concerto No. 3 in E flat (1836–39)
' l3 G  X) b1 e; e6 \, q7 |! n& i* iS.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 _# }5 L' h" e% K: m5 b5 R
S.126a, Piano Concerto "In the Hungarian Style" [probably by Sophie Menter] (1885)7 L/ ?" W! c6 B) D
1.6 Chamber Music(室内乐等)0 Z" ~2 C% p2 N- `" S8 o& Q
, u0 ^& d' k4 c4 H4 F6 [* \
S.126b, Zwei Waltzer [2 pieces] (1832)8 M  o* F/ [, h
8 @" z% N& R6 h# t: m; G
S.127, Duo (Sonata) - Sur des thèmes polonais (1832-35 ?)
: a, f5 q1 }( H. Z/ d0 YS.128, Grand duo concertant sur la romance de M.Lafont Le Marin [first/second version] (ca. 1835-37, 1849)+ H* r- U* j! v
S.129, Epithalam zu Eduard. Reményis Vermählungsfeier (1872)& A2 a/ B. p0 g
S.130, élégie No. 1 [first/second/third version] (1874)* g" K9 p& q6 J3 }
S.131, élégie No. 2 (1877): O  x5 H, X0 V: k
S.132, Romance oubliée (1880)$ F% B* o/ [' P2 q/ L, L
S.133, Die Wiege (1881?)
# x2 n3 s: I2 w$ O/ a9 Y# r/ rS.134, La lugubre gondola [first/second version] (1883?, 1885?)
9 z) x, Q$ q- v/ A" }; c" {' pS.135, Am Grabe Richard Wagners (1883). M$ d9 m& G  P6 w8 a/ ~
1.7 Piano Solo9 V7 r1 i' O+ ]2 p0 `5 w3 c
2 e5 Q8 A1 D% ]
1.7.1 Studies(钢琴练习曲)
( X1 f- {5 ]# ^% k) z. ]9 y
7 f0 J. `# y' L9 D& ]3 T- E! C: qS.136, études en douze exercices dans tous les tons majeurs et mineurs [first version, 12 pieces] (1826) 12首钢琴练习曲7 e6 s' `, ~$ d# _
S.137, Douze grandes études [second version, 12 pieces] (1837) 《12首超技练习曲》
% T8 M$ g  F" T4 YS.138, Mazeppa [intermediate version of S137/4] (1840) 练习曲“玛捷帕”; }5 i0 g  d9 g
S.139, Douze études d'exécution transcendante [final version, 12 pieces] (1852) 12首超技练习曲
) S# M+ u% y; E. m6 M6 x% FS.140, études d'exécution transcendante d'après Paganini [first version, 6 pieces] (1838) 帕格尼尼超技练习曲
2 G# Q3 U# C! `S.141, Grandes études de Paganini [second version, 6 pieces] (1851)  6首帕格尼尼大练习曲8 o9 c5 C" s5 x2 Y) a
S.142, Morceau de salon, étude de perfectionnement [Ab Irato, first version] (1840) 高级练习曲“沙龙小品”1 @! f* [3 _# j- @
S.143, Ab Irato, étude de perfectionnement [second version] (1852) 高级练习曲“愤怒”; v2 I8 b5 G2 t& G4 ~
S.144, Trois études de concert [3 pieces] (1848?)  3首音乐会练习曲
% ~3 o9 h" W  d) X* Z1.    Il lamento5 ~! s1 ?- D. t3 |/ F
2.    La leggierezza
" i3 n3 l" f1 x; A/ y* Q- Y- N6 O3.    Un sospiro
5 _/ i) d) h8 x* d$ M+ _' GS.145, Zwei Konzertetüden [2 pieces] (1862–63)  2首音乐会练习曲
0 X6 h7 h. w6 z5 A1.    Waldesrauschen
. i/ p" [- X2 J& e- ~' U' |2.    Gnomenreigen! z2 s6 u* Y& W+ s: d
S.146, Technische Studien [68 studies] (ca. 1868-80)  钢琴技巧练习, o' b  J. q7 J: u
1.7.2 Various Original Works(各种原创作品)# E) q2 e! K* w$ k9 ?
/ |1 F! }8 |  O( x1 ]& j/ p7 |
S.147, Variation on a Waltz by Diabelli (1822)  狄亚贝利圆舞曲主题变奏曲2 Z9 r* m+ Z/ l, o
S.148, Huit variations (1824?) 降A大调原创主题变奏曲/ Y/ G: C8 l: G* x7 ]$ L* X+ `# N0 F
S.149, Sept variations brillantes dur un thème de G. Rossini (1824?): T9 Y9 L: m! M
S.150, Impromptu brilliant sur des thèmes de Rossini et Spontini (1824) 罗西尼与斯蓬蒂尼主题即兴曲- d& u1 d$ o6 k
S.151, Allegro di bravura (1824) 华丽的快板
+ [. l: z1 W" eS.152, Rondo di bravura (1824) 华丽回旋曲2 K' {0 t& [  B1 y' d, |2 j4 t) W
S.152a, Klavierstück (?)  N6 s, {* Z8 _3 n. m2 b* ^
S.153, Scherzo in G minor (1827) g小调谐谑曲5 \& A5 m7 o7 d) f( j% e: ~
S.153a, Marche funèbre (1827)& \. {+ |' Y* l$ N2 T
S.153b, Grand solo caractèristique d'apropos une chansonette de Panseron [private collection, score inaccessible] (1830–32) [1]
1 m  Y' Q. k6 v& ZS.154, Harmonies poétiques et religieuses [Pensée des morts, first version] (1833, 1835) 宗教诗情曲
8 _2 X; X$ o1 ~7 j# P( j  PS.155, Apparitions [3 pieces] (1834) 显现 三首钢琴小品
* l, A. X$ C+ ?  K1 I$ RS.156, Album d'un voyageur [3 sets; 7, 9, 3 pieces] (1835–38) 旅行者札记1 ]8 k. o' s& S( i) D  J
S.156a, Trois morceaux suisses [3 pieces] (1835–36)$ }  Z8 k/ L5 m
S.157, Fantaisie romantique sur deux mélodies suisses (1836) 浪漫幻想曲
2 G. o! y0 R: sS.157a, Sposalizio (1838–39)
# Y3 l$ f# Q6 l/ lS.157b, Il penseroso [first version] (1839)/ R; r0 ^8 v3 f5 w" r0 r, X+ Y4 `' n
S.157c, Canzonetta del Salvator Rosa [first version] (1849)
: m. b' G: o. U. Y9 TS.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
& z8 t3 v- U0 z: LS.158a, Paralipomènes à la Divina Commedia [Dante Sonata original 2 movement version] (1844–45)! h1 g8 M" N9 F- t3 {
S.158b, Prologomènes à la Divina Commedia [Dante Sonata second version] (1844–45)
0 l( v/ Y, B) I5 HS.158c, Adagio in C major (Dante Sonata albumleaf) (1844–45)4 o3 D& w' q  M2 n2 I
S.159, Venezia e Napoli [first version, 4 pieces] (1840?)  威尼斯和拿波里
+ R  h  H) V! A3 m- ~S.160, Années de pèlerinage. Première année; Suisse [9 pieces] (1848–55)  旅行岁月(第一集)- 瑞士游记
& l1 _8 Y6 G$ O, O' ?& AS.161, Années de pèlerinage. Deuxième année; Italie [7 pieces] (1839–49) 旅行岁月(第二集)- 意大利游记5 z' D: h+ b. n2 ~# R) D
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6 t) y/ U1 s9 i9 t* [
S.162a, Den Schutz-Engeln (Angelus! Prière à l'ange gardien) [4 drafts] (1877–82)' b( K9 o, e- q6 `2 r# {  v
S.162b, Den Cypressen der Villa d'Este - Thrénodie II [first draft] (1882)
0 b* V8 ]8 a" p( {S.162c, Sunt lacrymae rerum [first version] (1872)  J& T. k1 K9 n/ u1 p3 i9 D
S.162d, Sunt lacrymae rerum [intermediate version] (1877)
* J( e/ b2 j' p1 k; G& g( [S.162e, En mémoire de Maximilian I [Marche funèbre first version] (1867)" A& K! ~$ T( e5 K; v: t8 L9 b
S.162f, Postludium - Nachspiel - Sursum corda! [first version] (1877)% X: X1 r- W( L& c7 o# {3 F" \8 S* V
S.163, Années de pèlerinage. Troisième année [7 pieces] (1867–77)   旅行岁月(第三集)5 o) [  c" I3 @
S.163a, Album-Leaf: Andantino pour Emile et Charlotte Loudon (1828) [2] 降E大调纪念册的一页
/ \& {. i. q% i2 G! ?4 M' YS.163a/1, Album Leaf in F sharp minor (1828)降E大调纪念册的一页( y) N1 c2 [. ^% r: m
S.163b, Album-Leaf (Ah vous dirai-je, maman) (1833)
7 C/ |; w  _/ z9 V: jS.163c, Album-Leaf in C minor (Pressburg) (1839)
9 E8 i% S2 h( \5 g( sS.163d, Album-Leaf in E major (Leipzig) (1840)
+ |$ S7 Z# t4 e3 ]. `" `S.164, Feuille d'album No. 1 (1840) E大调纪念册的一页5 {( g" j3 _  }( h) [
S.164a, Album Leaf in E major (Vienna) (1840)+ [" i4 u7 I2 g6 y0 e
S.164b, Album Leaf in E flat (Leipzig) (1840)
, o! g' R+ H" D6 F9 o8 P$ YS.164c, Album-Leaf: Exeter Preludio (1841)
- D% e) b. l6 F4 M- c( kS.164d, Album-Leaf in E major (Detmold) (1840)- u+ G% {0 F' \
S.164e, Album-Leaf: Magyar (1841)
% i9 S( O% B6 Z. J" y! {+ R  N2 ?S.164f, Album-Leaf in A minor (Rákóczi-Marsch) (1841)
6 q* P7 y0 x, O/ f: T0 o* GS.164g, Album-Leaf: Berlin Preludio (1842)
% P9 [/ K# W6 t9 h* SS.165, Feuille d'album (in A flat) (1841) 降A大调纪念册的一页) h2 H, p7 J2 n1 q
S.166, Albumblatt in waltz form (1841) A大调圆舞曲风格纪念册的一页
8 d4 X3 d; v. d' y! R* aS.166a, Album Leaf in E major (1843)
1 q+ C- U' y: M7 P  bS.166b, Album-Leaf in A flat (Portugal) (1844): d0 W8 m5 }) X: g  h
S.166c, Album-Leaf in A flat (1844)
  T0 z2 B& ]9 p, V) t2 A6 S1 \S.166d, Album-Leaf: Lyon prélude (1844), \' j  |2 ^, o3 ^2 _, {! ]9 x" b
S.166e, Album-Leaf: Prélude omnitonique (1844)
# e% Y0 K( |6 K7 ]/ |S.166f, Album-Leaf: Braunschweig preludio (1844)7 p  f0 r5 k9 W: }  _9 o1 P7 K
S.166g, Album-Leaf: Serenade (1840–49)  O, O7 e+ w3 r
S.166h, Album-Leaf: Andante religioso (1846)8 t# w4 }: j- L7 Y0 S
S.166k, Album Leaf in A major: Friska (ca. 1846-49)- b7 Y6 e6 a! u4 {
S.166m-n, Albumblätter für Prinzessin Marie von Sayn-Wittgenstein (1847)
+ z5 _! ^; X6 D- ^7 YS.167, Feuille d'album No. 2 [Die Zelle in Nonnenwerth, third version] (1843) a小调纪念册的一页
+ k+ `/ F# Q# {* F! TS.167a, Ruhig [catalogue error; see Strauss/Tausig introduction and coda]
8 F2 q  W3 {# ]S.167b, Miniatur Lieder [score not accessible at present] (?)
1 P# U2 ^, y8 p- [: W- {S.167c, Album-Leaf (from the Agnus Dei of the Missa Solennis, S9) (1860–69)
% U+ ^* C, Y9 ES.167d, Album-Leaf (from the symphonic poem Orpheus, S98) (1860)
6 ^( F3 y0 h( x( M0 `/ TS.167e, Album-Leaf (from the symphonic poem Die Ideale, S106) (1861)
+ v0 Q* P+ V4 }3 I# J, jS.167f, Album Leaf in G major (ca. 1860); t0 u) g- g. o$ Q+ f% U
S.168, Elégie sur des motifs du Prince Louis Ferdinand de Prusse [first/second version] (1842, 1851) 悲歌
( M7 l2 x3 K9 Z* jS.168a, Andante amoroso (1847?)
5 R/ n" j1 \( \5 A9 r6 u; RS.169, Romance (O pourquoi donc) (1848) e小调浪漫曲
% C  D6 J$ Q& k9 `S.170, Ballade No. 1 in D flat (Le chant du croisé) (1845–48) 叙事曲一* A$ k1 L, [1 S: K" z+ f: L6 P7 r
S.170a, Ballade No. 2 [first draft] (1853)  [* |9 c! p& L8 l
S.171, Ballade No. 2 in B minor (1853) 叙事曲二
$ T) [* |/ x+ y9 J# MS.171a, Madrigal (Consolations) [first series, 6 pieces] (1844)
. t. y0 R: j" i0 o. MS.171b, Album Leaf or Consolation No. 1 (1870–79)
! {* Z! l% l1 R3 X6 p4 ~S.171c, Prière de l'enfant à son reveil [first version] (1840)
7 k3 \/ [; @. O, {' N- k1 G( QS.171d, Préludes et harmonies poétiques et religie (1845)$ U* d4 f- l! @3 V5 o2 ^
S.171e, Litanies de Marie [first version] (1846–47)! C; z5 ^$ S+ h# ~5 t8 v3 `& v- U8 V
S.172, Consolations (Six penseés poétiques) (1849–50) 6首安慰曲
2 W+ a. H# ?9 D  w/ yS.172a, Harmonies poétiques et religieuses [1847 cycle] (1847)
+ X6 |1 ]: x5 S% p% L6 r" qS.172a/3&4, Hymne du matin, Hymne de la nuit [formerly S173a] (1847)
; K% v; S4 v& O2 GS.173, Harmonies poétiques et religieuses [second version] (1845–52) 诗与宗教的和谐" Q% |, W( P: P
S.174, Berceuse [first/second version] (1854, 1862) 摇篮曲4 X0 x, `3 n/ T; v% ]7 a3 }
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)% o) x; D9 M3 L1 Z9 Q
2.    St. François de Paule marchant sur les flots (Walking on the Waves)! F9 W( e3 ~$ X1 M& u+ O
S.175a, Grand solo de concert [Grosses Konzertsolo, first version] (1850)/ o8 _: N" p+ S' @- Q
S.176, Grosses Konzertsolo [second version] (1849–50 ?) 独奏大协奏曲
( r8 }& i3 K  q" b6 D' wS.177, Scherzo and March (1851) 谐谑曲与进行曲
& T' [) X2 c% |& t: MS.178, Piano Sonata in B minor (1852–53)  b小调钢琴奏鸣曲
+ L/ J! T7 Q3 k0 ?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
8 Y# Z8 H! e. J2 Y: q/ X, eS.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
7 d1 x  D1 H/ k5 LS.181, Sarabande and Chaconne from Handel's opera Almira (1881)3 w/ {- e3 j  q9 V( }, i' Q: c6 E
S.182, Ave Maria - Die Glocken von Rom (1862) 圣母颂“罗马的钟声”
4 D+ b& f7 \2 j/ O5 wS.183, Alleluia et Ave Maria [2 pieces] (1862) 哈利路亚与圣母颂
" R5 y; i; d' K( NS.184, Urbi et orbi. Bénédiction papale (1864)
% h) E5 i- ~. u# O# L5 {S.185, Vexilla regis prodeunt (1864)* S$ ~& r) M, l& v
S.185a, Weihnachtsbaum [first version, 12 pieces] (1876)6 B; t% j5 z, L( @  W
S.186, Weihnachtsbaum [second version, 12 pieces] (1875–76) 钢琴曲集《圣诞树》
" j/ N, h" j. K6 v% L- zS.187, Sancta Dorothea (1877) 圣多萝西娅
+ z* S2 B* t2 I7 K4 T7 J3 y" uS.187a, Resignazione [first/second version] (1877)' J% r2 ^# I$ V, s2 Q) q, h4 y
S.188, In festo transfigurationis Domini nostri Jesu Christi (1880) 我主耶稣基督之变形* y% g4 L$ f3 _
S.189, Klavierstück No. 1 (1866)7 e: i+ v( ~+ v" K, k+ B
S.189a, Klavierstück No. 2 (1845)
3 L$ W" U- O) @' ~$ u$ q* ^1 B& J+ [S.189b, Klavierstück (?)
9 p! d9 c- Y1 }4 C0 @) p/ v; hS.190, Un portrait en musique de la Marquise de Blocqueville (1868)7 b/ P3 X* z  d( s& ~
S.191, Impromptu (1872) 升F大调即兴曲“夜曲”
; l: V# {: p' I2 F: `+ ]S.192, Fünf Klavierstücke (for Baroness von Meyendorff) [5 pieces] (1865–79) 5首钢琴小品
2 ^- W( D- |& G" Y. b+ Z6 `S.193, Klavierstuck (in F sharp major) (a. 1860) 升F大调钢琴小品
$ Z+ K2 R! r% D$ u6 E- k' ?" W) eS.194, Mosonyis Grabgeleit (Mosonyi gyázmenete) (1870) 在莫佐尼墓前) c% G: x6 |- U- y: |8 f
S.195, Dem andenken Petofis (Petofi Szellemenek) (1877) 纪念裴多菲! a! h5 a# W$ |- E
S.195a, Schlummerlied im Grabe [Elegie No 1, first version] (1874)7 `- b' n; v) A2 ?# s, W/ `& n
S.196, élégie No. 1 (1874)
* ?* }6 E0 r, tS.196a, Entwurf der Ramann-Elegie [Elegie No 2, first draft] (1877)
# J- B3 P% a" GS.197, élégie No. 2 (1877)
; a$ S& d' @( b( }S.197a, Toccata (1879–81) 托卡塔
+ k% a! k3 i  I( iS.197b, National Hymne - Kaiser Wilhelm! (1876)5 V! h7 J0 E3 C  ^; R6 d7 m/ s
S.198, Wiegenlied (Chant du herceau) (1880) 摇篮曲
1 e+ p+ b* l2 K9 p$ B. iS.199, Nuages gris (Trübe Wolken) (1881) 灰色的云6 d/ k4 [% I" J7 d
S.199a, La lugubre gondola I (Der Trauergondol) [Vienna draft] (1882)
. a% F7 R. p, z9 M  RS.200, La lugubre gondola [2 pieces] (1882, 1885) 葬礼小船
' Q4 X( o" m  c$ Z5 @; b- [. r# V! G  F0 r0 U0 g1 i" T6 _
李斯特全部作品目录-25 @; Q* Y; }$ V: y5 p, J
0 w+ W# B" v. Y5 I6 t
S.201, R. W. - Venezia (1883) 告别瓦格纳和威尼斯
3 M& y; s( ^1 b+ v* v$ YS.202, Am Grabe Richard Wagners (1883) 在瓦格纳墓前+ U5 o( ~+ N( @
S.203, Schlaflos, Frage und Antwort (Nocturne after a poem by Toni Raab) (1883) 夜曲“沉睡,思考和回答”
# m! \4 z/ H/ x8 H5 O0 W. ^- gS.204, Receuillement (Bellini in Memoriam) (1877) 冥想
$ e% n. o; R7 A. x  AS.205, Historische ungarische Bildnisse (Magyar arcképek) [original version, 7 pieces] (1885) 匈牙利历史人物肖像$ p( m& d* K, m3 r" C- y2 U
S.205a, Historische ungarische Bildnisse [revised order and conclusion, 7 pieces] (1885)
% g* a" q2 y# BS.206, Trauervorspiel und Trauermarsch (1885) 葬礼前奏曲和葬礼进行曲
4 f% ~8 i- y& \3 E4 Q# r* SS.207, En rêve. Nocturne (1885) 夜曲“梦中”
! t( ]/ Q0 ^' ^- ~7 h7 m. rS.207a, Prélude à la polka de Borodine (and Borodin's Polka) (1880)) y& y: [! J  g. G4 Q% N
S.208, Unstern: sinistre, disastro (1880–86) 凶兆、灾难% Z) \" j* `/ N( R7 e0 e, g$ D1 l
1.7.3 Works in Dance Form(为舞蹈的作品)' z. Y) @4 l3 {" a; q
6 |; F' T6 Y; I1 K& R
S.208a, Waltz (in A major) (b. 1825) A大调圆舞曲
8 ?6 M+ R- v+ V6 a. B7 QS.209, Grande valse di bravura [first version of S214/1] (1835) 华丽的大圆舞曲% Z, {4 d9 y3 ?2 g) ]' L7 C
S.209a, Waltz (in E flat) (1840)
( P! `& O. O/ jS.210, Valse mélancolique [first version of S214/2] (1839) 忧郁圆舞曲) ?$ u( x% \2 G- T' U7 l
S.210a, Valse mélancolique [intermediate version] (1840)
4 k* u: [$ P) o7 i+ u( FS.210b, Valse (in A major) (1830–39)) m' P& n5 r5 B
S.211, Ländler (in A flat major) (1843) 降A大调兰德勒舞曲
- S9 x. J& |% xS.211a, Ländler (in D major) (1879)
1 `1 j' G$ [5 K, Y' jS.212, Petite valse favorite [first/second version] (1842, 1843)) c. G! h- g% B% G1 z4 y3 i* r
S.212b, Mariotte. Valse pour Marie (1840)
6 u8 r; Q, N, v% @! w, @$ k- }S.213, Valse-impromptu (1850?) 即兴圆舞曲
4 y; B, A# u, r* o1 i, CS.213a, Valse-impromptu [with later additions] (1880)% b: `/ i) t$ h" q0 q- @1 \
S.214, Trois caprice-valses [3 pieces] [second versions of S209, S210, S401] (1850?)
, J" G& A' E3 \5 g9 n! U. ~S.214a, Carousel de Madame Pelet-Narbone (ca. 1875-81)
0 d7 G3 R$ N# V7 q" |6 A) xS.215, Valses oubliées [4 pieces] (1881–84) 4首被遗忘的圆舞曲
$ \, ]& s( O0 m  b$ o0 k  RS.215a, Dritter Mephisto-Walzer (Mephisto Waltz No. 3) [first draft] (1883)
1 B8 n8 m0 s5 X8 IS.216, Dritter Mephisto-Walzer (Mephisto Waltz No. 3) (1883) 第三梅菲斯特圆舞曲5 F# P) d# l3 G+ m# o
S.216a, Bagatelle sans tonalité (1885)
+ c" @  T. R1 c! Z+ n' _S.216b, Vierter Mephisto-Walzer (Mephisto Waltz No. 4) [first version] (1885)  第四梅菲斯特圆舞曲0 l. f. o1 C6 F. s
S.217, Mephisto Polka [first/second version] (1883) 梅菲斯特波尔卡
  K0 G( ^- G$ q0 w8 xS.218, Galop (in A minor) (1841?) a小调加洛普舞曲( H2 W9 y, ~# O5 H' b  D
S.219, Grand galop chromatique [original version] (1838) 华丽的半音阶加洛普舞曲
) @3 }- W# n. X" V3 e9 yS.219bis, Grand galop chromatique [simplified version] (1838)& |6 w: Q! a( y* S
S.220, Galop de Bal (1840?)1 y. h) g( }% e0 d
S.221, Mazurka brillante] (1850) 华丽玛祖卡
( k' @0 y- P2 [. f/ ZS.221a, Mazurka in F minor [Not by Liszt?] (?)
  R, ?2 R" O% R3 r) \S.222, [catalogue error; same as S212]# o# Q6 N- _# s' X
S.223, Deux Polonaises [2 pieces] (1851) 2首波洛奈兹舞曲
& g: e& N9 N! S; A! s$ ~* q/ ]+ o7 _S.224, Csárdás macabre (1881–82)
- d" r) b  P5 _* }+ wS.225, Two Csárdás [2 pieces] (1884); F( J5 h6 Z8 h! Z% o
S.226, Festvorspiel (1856)
+ E* h0 Q6 w: p, I1 M7 w) O$ ?S.226a, Marche funèbre (1827)2 l  ~9 l; k/ j3 j. u+ r  y
S.227, Goethe Festmarsch [first version] (1849)/ x% d+ T( k* A% \- E% I
S.228, Huldigungsmarsch [first/second version] (1853)
$ K# P/ E* g- c( N) `  mS.229, Vom Fels zum Meer! - Deutscher Siegesmarsch (1853–56)
# x$ R( m" _0 g8 |+ j# X* T' gS.230, Bülow-Marsch (1883)  D6 t8 Q% {+ F
S.230a, Festpolonaise (1876). ?; }/ R: x0 L2 F7 ?: S4 x$ @
S.231, Heroischer Marsch in ungarischem Stil (1840)' G: U% `( G2 m8 F3 L$ p
S.232, Ungarischer Sturmmarsch [earlier version of S524] (1843?)
" k7 r# `7 J& _/ q. B9 US.233, Ungarischer Geschwindmarsch (1870)4 O3 x0 ^4 l' `  \; J! v7 u6 ^
S.233a, Siegesmarsch. Marche triomphale (Victory March) (?)6 H" [; f: @  W9 ]/ r9 y9 L
S.233b, Marche hongroise (in E flat minor) (1844)
6 n; D" m( @2 }1.7.4 Works on National Themes(主题作品)& x. c) w  y4 ?3 `' P
& W7 T6 w0 I* F- T/ V$ z& ?# d
1.7.4.1 Czech
, e2 X$ e; H; |' c/ a6 A1 f+ y; T' w' \, e
S.234, Hussitenlied (Melody by J.Krov) (1840)  ?" q: ]5 y2 k  z1 W. D5 X5 S
1.7.4.2 English
$ J2 t: d1 A4 G5 y) {8 h; h- a! X4 f, w  t8 ]- C
S.235, God Save the Queen (1841)3 w. L8 T: y) r. x- Y
1.7.4.3 French; D- }; e3 h" |/ g. l5 X' V- D
& U' K2 y6 Y% U4 F8 Z0 @- g
S.236, Faribolo Pasteur and Chanson du Béarn [2 pieces] (1844), g0 e) |) M2 c  H7 C* s
S.237, La marseillaise (1872?)5 U0 E% R5 E7 W+ h: g. a& X/ g
S.238, La cloche sonne (1850?)
# @5 p& ?! V" |/ q4 g! {) AS.239, Vive Henri IV (1870-80 ?)/ e8 i4 g# A9 v6 @
1.7.4.4 German3 H. z5 i2 |( y/ w2 R, I# z
; |! F6 J* o- D
S.240, Gaudeamus igitur. Concert paraphrase [first/second version] (1843, 1853)
% X* E9 S7 D. y8 k5 j4 R6 e1.7.4.5 Hungarian# a8 _4 w, ~% v; t) |# m# f: c: ?* Q

) @" A; K8 K9 MS.241, Hungarian Recruiting Songs (Zum Andenken) (By Fáy & Bihari) (1828)
- v3 ]  s/ {& Z5 S) \" iS.241a, Ungarische Romanzero (Hungarian Songbook) [18 pieces] (1853)$ Y# d0 \0 e2 w& B
S.241b, Magyar tempo (1840)1 t/ h4 M3 J# E
S.242, Magyar Dalok: Magyar Rapszódiák [21 pieces] (1839–47)
, N( ]$ N' E( ZS.242a, Rákóczi-Marsch [first version] (1839–1840)
2 U' O. c7 r( U% zS.243, Ungarische National-Melodien [3 pieces] (ca. 1843)0 Z1 u+ k3 F; v
S.243a, Célèbre mélodie hongroise (a. 1866)
- s: @7 h+ J9 u1 f6 G: |S.244, Hungarian Rhapsodies (Rapsodies hongroises) [19 pieces] (1846–86)  19首匈牙利狂想曲* M( g4 p8 Q2 D# s6 z" B: o! R
S.244a, Rákóczi-Marsch [from orchestral version] (1863)) c: V8 I; Y5 X& G
S.244b, Rákóczi-Marsch [simplified version of S244a] (1871)" m7 g. V0 ?: ?3 U( o, p1 X
S.244c, Rákóczi-Marsch [popular version] (?)
2 W; M9 T7 T: Z2 S/ k) DS.245, Fünf ungarische Volkslieder (Abranyi) [5 pieces] (1873)9 l$ ?8 G* X0 w' S, }
S.246, Puszta-Wehmut (A Puszta Keserve) (1880–86 ?)
3 f* I# y0 ?! N. b1.7.4.6 Italian
1 V6 S  O, e5 Q- d6 U& C
1 n! O2 k2 H2 iS.248, Canzone Napolitana [first/second version] (1842)8 w0 O+ l$ S8 g0 D# X
1.7.4.7 Polish
, l" [* U, G3 V# W  s2 A  G4 P1 x$ p9 }
& H+ M2 I+ O- p; R$ I: PS.249, Glanes de Woronince [3 pieces] (1847–48)% L6 \# t4 {+ @2 K
S.249a, Mélodie polonaise [short draft] (1871)* h; ]# g$ ]  ^; c
S.249b, Dumka (1871). m  k: e9 D' |3 J  A/ V
S.249c, Air cosaque (1871)5 ~- ~$ c: v' j- C& X6 L0 \! z6 K! `
1.7.4.8 Russian, f+ w. k- W# m8 U

# J1 ?4 A4 g( v, G' i" o9 d1 pS.250, Deux mélodies russes. Arabesques [2 pieces] (1842)' R/ O2 c- o1 j  {
S.250a, Le rossignol (Alyabyev) [first version of S250/1] (1842)" G# I2 V( N, ^: |; C- f# ]2 f) n+ E3 ^
S.251, Abschied. Russisches Volkslied (1885)% h1 Z& @" G7 q+ O# I' L
1.7.4.9 Spanish
: h6 l, D2 N9 B" y$ p
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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)6 l( g2 X  U- ]+ G( B, Y$ c8 ?
S.252a, La romanesca [first/second version] (ca. 1832, b. 1852)" i; ]0 M$ n% Y
S.253, Grosse Konzertfantasie über Spanische Weisen (1853)
0 ], N) Q4 I: r1 E+ v. Z: VS.254, Rhapsodie espagnole (1863?) 西班牙狂想曲
. c8 q$ `" @4 i0 F6 g# `S.254x, Rapsodie espagnole [orchestrated by Feruccio Busoni] (?)
( Q: k7 x2 @' W* O; k% h/ m% f0 B3 Y1.8 Piano Duet(钢琴二重奏)
4 d! ]3 K1 ?5 @. ^
2 ~/ \! k, H% b* a  f, j$ yS.255, Festpolonaise [now S619a] (1876), u9 j' Y3 A# p+ q, R  E' b/ L
S.256, Variation on the Chopstick Theme (1880)# Y0 x0 M: u( q  J2 v# f0 B8 \
S.256a, Nottorno [Not by Liszt?] (?)# y5 c! B! Q8 ]0 _7 s. A
1.9 Two Pianos(双钢琴)! L" A  w  r6 U& O6 R

' H% i2 a. t6 b6 z7 G7 mS.257, Grosses Konzertstück über Mendelssohns Lieder ohne Worte (1834)
) Z: ~4 a; H1 V( H  pS.258, Concerto pathétique (b. 1856)  e小调钢琴协奏曲“悲怆”
$ C2 K+ @- ~, e' O/ t: Q7 ?1.10 Organ(管风琴)6 y( L3 U2 D, y3 q' N9 o  }, P
  o: c' ^0 L6 U/ B! G. n2 ?
S.259, Fantasy and Fugue on the chorale Ad nos, ad salutarem undam (1850), B/ d% t5 J1 I$ n4 E
S.260, Präludium und Fuge über das Thema BACH [first/second version] (1855, 1870)6 z  T# o" `$ {( M( ?. t
S.261, Pio IX. Der Papsthymnus (1863?)& ^- [- q1 }3 l: Y6 t9 |2 N
S.261a, Andante religioso (1861?)
6 k9 d# ]5 \& j% T+ O; }) uS.262, Ora pro nobis. Litanei (1864)
7 I  @5 a% s8 J+ t4 n  ^  H. @; ?S.263, Resignazione (1877)
0 \' i8 `% a1 q) hS.264, Missa pro organo lectarum celebrationi missarum adjumento inserviens (1879)# D$ h+ g! D9 W2 [: w& _1 I& h
S.265, Gebet (1879)
+ e9 E; t2 c8 W# F1 \4 dS.266, Requiem für die Orgel (1883)6 i; ]  i) ~" D9 R
S.267, Am Grabe Richard Wagners (1883)- z2 P" S  `& ^6 b2 O* `
S.268, Zwei Vortragsstücke [2 pieces] (1884)
0 f" f7 U2 y$ }% W" O1.11 Songs(歌曲)
: g( x3 o$ t3 r- U
9 S5 W3 X- K: ~) T, X5 z9 vS.269, Angiolin dal biondo crin (Marchese C. Bocella) [first/second version] (1839, ?)
0 k3 l+ |/ P1 b: K4 ~S.270, Three Petrarch Sonnets [3 songs, first/second version] (1844–45, 1854]6 i; l; y& d8 Y
S.271, Il m'aimait tant (Delphine Gay) (1840?)3 D1 b; f: T5 G! v) C
S.272, Am Rhein im schönen Strome (Heine) [first/second version] (1840?, 1854)
- w6 i3 F! D" h, u; M1 LS.273, Die Lorelie (Heine) [first/second version] (1841, ?)
* Y; D8 l; Y; A) PS.274, Die Zelle in Nonnenwerth [first/second version revised 1862] (b. 1841, 1857)7 `  V- p- Z" t8 q6 n9 E
S.275, Mignons Lied (Kennst du das Land) (Goethe) [first/second/third version] (1842, 1854, 1860)
, ]6 C7 H* y2 ?0 x. i% y$ W' ]S.276, Comment, disaient-ils (Hugo) [first/second version] (1842, ?)
9 _: q! ^( {) b8 S( a0 fS.277, Bist du (Prince E. Metschersky) [first/revised version] (1843, ca. 1878-79)
# f: W- L6 B$ O4 QS.278, Es war ein König in Thule (Goethe) [first/second version] (1842, ?)8 r, {# r6 J' _9 p
S.279, Der du von dem Himmel bist (Goethe) [first/second/third version] (1842, ?, 1860)
1 N: e0 B4 J+ ~& u) e/ b1 bS.280, Freudvoll und leidvoll (Goethe) [first/second/third version] (1844, 1848?, ?)
% L# O7 \1 ?5 Y' u# P4 L3 gS.281, Die Vätergruft (1844)1 |/ i; E/ U) P- N  o" U" m
S.282, O quand je dors (Hugo) [first/second version] (1842, ?)
- b2 M6 [: k7 s; b' H, I7 ES.283, Enfant, si j'etais roi (Hugo) [first/revised version] (1844?, ?)
7 i- t5 Q, V- W1 Y' V9 fS.284, S'il est un charmant gazon (Hugo) [first/revised version] (1844?, ?)! `( |. k7 _+ k7 S5 h1 K  j  J+ H" H
S.285, La tombe et la rose (Hugo) (1844?)* K6 x8 v* y$ o$ L
S.286, Gastibelza, Bolero (Hugo) (1844?)
8 \2 h9 p& Y: J5 H& @+ ^2 [9 P8 HS.287, Du bist wie eine Blume (Heine) (1843?)
# u& D* a% o5 q6 P1 t" @S.288, Was Liebe sei (C. von Hagn) [first/second/third version] (1843?, ca. 1855, 1878–79)
4 p9 ~$ C5 Q- V9 ~- e4 o; @4 FS.289, Vergiftet sind meine Lieder (Heine) [first/revised version] (1842, ?)
9 `" {+ L0 t8 g% |5 JS.290, Morgens steh ich auf und frage (Heine) [first/revised version] (1843?, ca. 1855)
' K) ]: o; W. c- d2 mS.291, Die todte Nachtigall (Kaufmann) [first/revised version] (1843?, 1878)# e5 V4 h4 w* |" H1 t; e2 k( P' \0 c
S.292, Songs from Schiller's Wilhelm Tell [3 songs, first/revised version] (1845?, ?)
  F6 m$ x; f  WS.293, Jeanne d'Arc au bûcher (Dumas) [first/revised version] (1845, 1874)
- t; G6 `9 W3 g. eS.294, Es rauschen die Winde [first/second version] (ca. 1845, b. 1856)
4 ^: g. g  i+ P0 C$ ]0 Y" cS.295, Wo weilt er? (Rellstab) (1844)7 N8 m* ?$ @4 }" a5 w0 S+ w
S.296, Ich möchte hingehn (Herwegh) [revised later] (1845)
! c; `7 g5 a% {5 P3 V5 Z: LS.297, Wer nie sein Brot mit Tränen ass (Goethe) [first/revised version] (ca. 1845)
3 Z  H9 G' X3 s* J/ aS.298, O lieb so lang du lieben kannst (Freiligrath) (1845?)
. y3 h' n0 q8 ~5 S* v/ G$ w( KS.299, Isten veled (Farewell) (Horvath) [first/revised version] (1846–47)
& G5 W  t( d- k: e4 J3 R/ VS.300, Le juif errant (Béranger) (1847)8 E/ K1 s) Q! c2 I' T5 R
S.301, Kling leise, mein Lied [first/revised version] (1848)
" N( o+ P& C5 m7 ~+ p3 `  l7 I& gS.301a, Oh pourquoi donc (Mme Pavloff) (1843)
8 `+ t' w1 [8 TS.301b, En ces lieux. élégie (E. Monnier) (1844)- S( E6 J7 ]. c& g( B
S.302, Die Macht der Musik (Duchess Helen of Orleans) (1848–49)" L, R# W0 q% ]8 [
S.303, Weimars Toten. Dithyrambe (Schober) (b. 1848)/ \7 L. Y- ]) Y
S.304, Le vieux vagabond (Béranger) (b. 1848)
2 E. g2 r1 m8 h/ m. BS.305, Schwebe, schwebe, blaues Auge [first/revised version] (1845, ?)( A; Z5 ]0 L" @& ?: E: g% |1 F
S.306, über allen Gipfeln ist Ruh [first/revised version] (1847?, ?)& i5 f5 _9 f/ k$ e
S.306a, Quand tu chantes bercée (Hugo) (1843)
. R/ O' W8 Z. ^& [S.307, Hohe Liebe (Uhland) (1850?)
: g5 E' ^; A& S3 b: N* xS.308, Gestorben war ich (Seliger tod) (Uhland) (1850?)) F: [8 _# }% d' v$ `! M/ ~
S.309, Ein Fichtenbaum steht einsam (Heine) [first/revised version] (ca. 1845, 1854)9 o: l! C/ Q! e2 e# e, q
S.310, Nimm einen Strahl der Sonne (1849)' a8 h* O0 _) I0 e# h7 _) ^
S.311, Anfangs wollt' ich fast verzagen (Heine) (1849)5 C' E1 O6 O# x7 c9 R- f; T* V3 H7 c
S.312, Wie singt die Lerche schön (Hoffmann von Fallersleben) (1856?)7 U$ v9 ~- `+ D+ b+ m4 ^' L  Z( w. E% ^" \
S.313, Weimars Volkslied (Cornelius) (1857)2 z: \4 ~8 o4 [' L; z- e0 ?6 m
S.314, Es muss ein wunderbares sein (Redwitz) (1852)
) U4 b1 V" s  z0 W# O, U% u: `S.315, Ich liebe dich (Rückert) (1857)
0 ~) y' m" y% x5 c2 U. k7 jS.316, Muttergottes - Sträusslein zum Mai-Monate (Müller) [2 songs] (1857)
8 w; F6 B9 v: O1 SS.317, Lasst mich ruhen (Hoffmann von Fallersleben) (1858?)4 A) A- a' X  C- U4 X. c# x
S.318, In Liebeslust (Hoffmann von Fallersleben) (1858?)4 |- H& X$ o8 C* J% W
S.319, Ich scheide (Hoffmann von Fallersleben) (1860)
5 K/ }: B! \7 LS.320, Die drei Zigeuner (Lenau) (1860)9 A9 p# [6 y+ ^0 S0 V  _$ q
S.321, Die stille Wasserrose (Geibel) (1860?)9 C# a3 v: b; m- n. |
S.322, Wieder möcht ich dir begegnen (Cornelius) (1860)
0 b7 D' x9 W) o. ^% _# m* o( v7 tS.323, Jugendglück (Pohl) (1860?)) G7 X) x( e, E3 X4 `
S.324, Blume und Duft (Hebbel) (1854): I4 I. P, R& |( n+ e9 Y
S.325, Die Fischertochter (Count C. Coronini) (1871)/ `! S9 ]. Z# |
S.326, La perla (Princess Therese von Hohenlohe) (1872)
! U) \, ]. s0 B9 \# p/ CS.327, J'ai perdu ma force est ma vie. 'Tristesse' (de Musset) (1872)" m1 B: Z6 X5 \% n! s. _
S.328, Ihr Glocken von Marling (Emil Kuh) (1874). R2 v! T/ h9 J% Q/ k, a* R
S.329, Und sprich (Biegeleben) [revised 1878] (1874)( z' }3 }. }; b# G9 ^/ T
S.330, Sei Still (Henriette von Schorn) (1877)3 T2 k! a2 H( f( v5 d' ~- u) p
S.331, Gebet (Bodenstedt) (1878?)& G) p  M5 l0 {# [0 ]
S.332, Einst (Bodenstedt) (1878?): ]  i7 _' `" C4 h
S.333, An Edlitam (Bodenstedt) (1878?)
7 J2 T5 L' ^% _5 o; `S.334, Der Glückliche (Bodenstedt) (1878?)% p5 V' S4 G. y2 J4 `+ T% w- J
S.335, Go not, happy day (Tennyson) (1879)
3 J( d( v7 C) i3 {  U( yS.336, Verlassen (G.Michell) (1880)
. `- r9 P; i  T, b  kS.337, Des tages laute stimmen schweigen (F. von Saar) (1880)
5 I0 T" U  k5 B$ R+ t* nS.338, Und wir dachten der Toten (Freiligrath) (1880?)
; X3 ?) F, w! [& E/ i+ s+ o8 G6 G! qS.339, Ungarns Gott. A magyarok Istene (Petófi) (1881)/ _7 a( Z: m% S  C( L/ g3 f
S.340, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883), }9 |  s' p) m  `
S.340a, Ne brani menya, moy drug. (Tolstoy) (1886)8 @$ A) l9 A4 [2 N
1.12 Other Choral Works(其他合唱作品)
9 R( ]  {9 h. j! n6 j3 vS.341, Ave Maria IV (1881)
) u6 f5 |, j7 P5 g/ v8 uS.342, Le crucifix (Hugo) (1884)& E; v; A" N" r) j0 h
S.343, Sancta Caecilia (1884)/ s2 x( e% B0 c1 ?) w9 |- P* \
S.344, O Meer im Abendstrahl (Meissner) (1880)/ a- h* X- h! N; r1 m, `5 [3 I; i
S.345, Wartburg-Lieder from Der Braut Willkomm auf Wartburg (Scheffel) [7 chorals] (1872)
! E0 n! h% ~1 O1 p1.13 Recitations(叙事歌谣颂诗)9 t% r- r- I3 F; ~1 u
S.346, Lenore (Bürger) (1858)
8 k0 `6 k7 m' e: C% G8 l7 ES.347, Vor hundert Jahren (F. Halm) (1859)
' s  Z% A$ M) Y7 `  N7 f  V% OS.348, Der traurige Mönch (Lenau) (1860)
; s3 z5 I% k) S  p8 G9 CS.349, Des toten Dichters Liebe (Jókai) (1874)1 Z+ q. D+ w" l9 s
S.350, Der blinde Sänger (Alexei Tolstoy) (1875). U8 V; E0 _: {2 v* h9 j
2. Arrangements, Transcriptions, Fantasies, etc.( E( ~5 b; ?* ~. H8 J6 K6 g+ L

' |! p( i8 _5 S/ w9 `/ n; z; n- |2.1 Orchestral Works(管弦乐作品)- Q, K/ W4 X2 x' q
' t* e& Z: S) r) T$ @/ j
2.1.1 Bülow/ S; I: i/ `+ B: s0 G
2 V; V) d2 o* u
S.351, Mazurka Fantasie, Op. 13 (1865)1 |* }4 ]4 h5 w) a6 n* R
2.1.2 Cornelius6 A4 |5 @, w% m# J' V/ I* r

" O  @' b6 D$ @" G& C. d; _( Y3 pS.352, Second Overture to The Barber of Baghdad [completed from Cornelius's sketches] (1877)
5 [7 p: {- ]3 z) C5 v2.1.3 Egressy and Erkel4 K: d+ ]1 h; [4 J) ]1 `: s1 ]. M/ p. {

1 ]! ^2 y2 H% x' YS.353, Szózat und Hymnus (1873)
5 u, O  g8 ?9 N6 L, T1 }' F2.1.4 Liszt
5 ?; [- b( F) F6 _) l' B6 p9 C) y7 ^6 y6 N9 F
S.354, Deux légendes (1863)4 X$ ^/ M# x& {% f
S.355, Vexilla regis prodeunt (1864)" G& @; c0 D, ^6 z  B
S.356, Festvorspiel (1857)
$ P) m* Q0 a2 U0 uS.357, Huldigungsmarsch [first/second version] (1853, 1857)  L# O5 a: ?6 u9 L  `: Q) f
S.358, Vom Fels zum Meer. Deutscher Siegesmarsch (1860)
) n$ `# ]3 |9 p) l. p  a8 }9 y0 |0 ]S.359, 6 Rapsodies hongroises (Hungarian Rhapsodies) (?)
4 K8 R4 K5 J& k& r8 J, w6 pS.360, A la chapelle Sixtine (Liszt, Allegri & Mozart) [orchestral arrangement of S461, based on Mozart's Ave verum corpus and Allegri's Misere] (1862)
3 r; c: `/ b( G5 Q  HS.361, Pio IX. Der Papsthymnus (ca. 1863)2 ^$ O1 I! R$ [* q( e" i
S.362, Benedictus and Offertorium from the Hungarian Coronation Mass [from S11] (1875)) J! K5 e7 R( {: X* C2 M" j/ w
2.1.5 Schubert- K1 L% M) N2 N3 R3 z3 Z+ @& l
: N7 ^9 ]4 v& P5 G' y* h- f; T
S.363, 4 Marches [from Opp. 40, 54, 121] (1859-60)
! x" U+ v" T) m2.1.6 Zarembski
/ F: }/ _! p" T* O; s
, Z7 e9 j& `% p4 K0 h" N& ]S.364, Danses galiciennes (1881)
% }* a- D6 U6 b" l, S. ^2.2 Pianoforte and Orchestra(钢琴与乐队)
8 q  S& c( [+ ?6 @2 y( ?
0 ]. Z8 r* P8 k7 I2.2.1 Liszt7 [7 p5 L6 f0 W# R5 f

% G* f2 s; J  t9 P0 t$ u* R2 zS.365, Grand solo de concert [prepared by Leslie Howard] (1850)/ R' S; ?$ m, p) j2 |
S.365a, Concerto pathétique (No. 4) in E minor [Liszt, Reuss version] (1885-86)
! A# k% [1 K, {S.365b, Hexaméron, Morceau de concert [orchestration completed by Leslie Howard] (ca. 1839); d) Y- m" h" Q5 _/ n' \" g6 Y+ o. V7 P& d
2.2.2 Schubert2 q0 N1 ~! F& A* n: t$ o$ z# P) l# W+ R
2 k+ M, R$ p& w: W- c2 {0 s
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 z3 V7 n+ N3 E2 m5 ~( |, w  {$ M
2.2.3 Weber
2 R) e% z+ S  H$ p6 w. r% c* O" M- ~2 r( a3 a" `
S.367, Polonaise brillante, Op. 72 (1849) 华丽波洛涅兹 为钢琴与乐队而作$ _% |" ^' o$ Z) n0 c6 b- d
2.3 Songs with Orchestra(声乐与乐队)+ ?( T$ q# e" S
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2.3.1 Korbay% J: m: V; m( M! P4 E' d- e
* y3 @2 E" Q' n$ ~8 z% ]
S.368, 2 Songs (Le Matin by Bizet and Gebet by Geibel) (1883)
  w% p) ^$ v+ d( H9 y, |1 a2.3.2 Liszt
" k) q! ^% A4 d* r2 r% D/ z, i. J& M
5 t3 l3 n8 c. C6 ]4 zS.369, Die Lorelei (Heine) (1860)
" B. R7 X9 G/ g5 OS.370, Mignons Lied (Kennst du dass Land) (Goethe) (1860)) S5 T* q5 F5 B3 i
S.371, Die Vätergruft (Uhland) (1886)
2 n9 d' u' [7 d/ A. IS.372, Songs from Schillers Wilhelm Tell (ca. 1855)
4 C* _7 J; W# H. d% h& W, NS.373, Jeanne d'Arc au bûcher (Dumas) [first/second version] (1858, 1874)6 _  I$ l  R. r1 y* m* j
S.374, Die drei Zigeuner (Lenau) (1860)' D7 q$ q& w6 r9 L9 n! ~9 ~
2.3.3 Schubert) H. T4 Q6 G; [

; U. ^) f/ f" a* q7 eS.375, 6 Songs (1860)
% q, c; Y3 u. ?9 d) E) FS.376, Die Allmacht (1871)* c! r, S/ l, h( k' l
2.3.4 Zichy
! {# K! c; g1 O* {2 U& m% |) l4 s* l) U; p6 X' d7 Q/ |3 d
S.377, Der Zaubersee. Ballad (Zichy) (1884)
$ S7 e2 l/ l1 u7 }. t8 S2.4 Chamber Music(室内乐等)
( c' \7 p6 Y, C2.4.1 Liszt
9 o9 r6 I* K* A3 p+ X5 Z
. ~' D# ]1 i' \4 V# b7 B) O: Q+ e) qS.377a, La notte (Odes funèbre No. 2) (1864-66)
5 z6 x3 ~/ Y! u: Q" }S.378, Angelus! - Priere aux anges gardiens [first/second version] (1877, 1880)
- ^  P0 i3 M7 B3 d. @, Q( RS.379, Rapsodie hongroise No. 9 (Pester Karneval) (?)( U0 X# G2 Q0 ~9 A+ k
S.379a, Rapsodie hongroise No. 12 (1850-59)9 Q1 K! r; C/ ~/ q1 \* U8 C; H
S.379b, Puszta-Wehmut (A Puszta Keserve) (ca. 1871)
+ n, z' ^9 X% c( E9 r. V* O( SS.380, O du mein holder Abendstern from Tannhäuser (Wagner) (1852)/ e5 o* M) b3 c1 c4 Q" h' y$ ^
S.381, Benedictus and Offertorium from the Hungarian Coronation Mass [from S11] (1862)) G6 b% C. _5 C
S.381a, Ungarns Gott. A magyarok Istene (Petófi) (1882)
# k7 P6 Z0 O7 WS.382, Die Zelle im Nonnenwerth (ca. 1880-86)
) m9 I  |- o' ~2 O' v; r: F; n' F! Z2 LS.383, Die drei Zigeuner (Lenau) (1864)5 |- ^( ?. N% B
2.5 Pianoforte Solo' G: d4 I( j" T  A6 G9 Q

6 O! F) E2 @' l8 k: B2.5.1 Paraphrases, Operatic Transcriptions, etc.(歌剧改编独奏)" q9 _8 |8 Y0 i. \8 Q' c1 V

  L4 ^; U" |# p3 ^. n+ G2.5.1.1 ábrányi% D5 F$ ]( [( R
) }, \2 ~+ |1 N! w
S.383a, Elaboration on Virág dal (1881)6 Z) V- U7 r1 i4 {5 I3 [$ w* L( ~3 Q# w
2.5.1.2 Alyabyev
: R0 W# Q/ ?: u2 d) Y% ]1 A' F1 A! J0 V& L3 v' S
S.384, Mazurka pour piano composée par un amateur de St. Petersbourg (1863)
4 H! B, g4 j3 W0 x, R/ [$ pS.384a, Variations on Tiszántúli szép leány [anonymous, not by Liszt?] (1846)
7 f' S+ X: Q/ j! B  G" v2.5.1.3 Auber
5 B) c: Z0 N1 V  T1 g+ a) x- i/ V+ [# ~% H! }
S.385, Grande Fantaisie sur la Tyrolienne de l'opera La Fiancée [first/second/third version] (1829, 1835, 1842)
* w) ^( A3 z4 d. X( N% u# S' [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0 X. d; y' V# 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
* C% Y8 c. f* jS.387, Three Pieces on themes by Auber [with intro piece] (a. 1846)2 b6 G4 e3 p" f- N
S.387a, Piece on an unknown theme (1847)4 ^* l. D. J! G1 ^) c
2.5.1.4 Beethoven5 ?: ]$ p3 T# ]$ S4 |

; e2 n  s% M9 k7 ^2 sS.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$ l( z7 h3 A- P8 ?0 H# K! f
S.388a, Marche turque des Ruines d'Athenes (1846)! P# y9 C% o- c1 M/ j# N. a
S.388b, Fantasie über Beethoven's Ruinen von Athen [first version] (1837), p- a) w2 U) L% T
S.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
) Y( C4 V) D' b5 X2 p' Y1 l% [S.389a, Cadenza to the first movement of Beethoven's Piano Concerto No. 3 (1879)9 |5 C9 R7 I& G2 _: X
2.5.1.5 Bellini) e& Z+ a6 d( I0 b2 I0 C: ~

9 r6 }6 ~6 @8 r7 S3 z, XS.390, Reminiscences des Puritains [first/second version] (1836, 1837)
  S9 ^9 x" o  Q0 H6 s8 ]6 J; vS.391, I Puritani. Introduction and Polonaise (1840)
* K0 n5 p0 h$ @S.392, Hexaméron, Morceau de Concert (1837)  ?! h9 K4 v3 l6 q2 k4 h7 o/ s
S.393, Fantaisie sur des motifs favoris de l'opéra La Sonnambula [first/second/third version] (1839, 1840-41, 1874)
% c9 q, o& A2 NS.394, Réminiscences de Norma (1841-43): I5 Y* }  Y5 \6 `; u
2.5.1.6 Berlioz+ g& ^' M7 A3 ?9 L  V$ x2 s6 t3 D
% T+ Y* L% F$ p3 F2 U
S.395, L'Idée fixe: Andate amoroso [first/second version] (1833 or 1846?, 1865)
8 K! C0 ~3 c: z/ |S.396, Benediction et Serment from Benvenuto Cellini (1852)) A6 o. s9 Y% K8 \  z0 i
2.5.1.7 Donizetti, Gaetano
5 N; h  Z6 z- v% s) c0 y0 d1 i3 }+ h5 [  x. w
S.397, Réminiscences de Lucia di Lammermoor (1839)# b1 a: V! h6 {' \4 d9 P
S.398, Marche Funebre et Cavatine de Lucie de Lammermoor (1839)/ c+ e( ]$ @9 J+ v/ z
S.399, Nuit d'été à Pausilippe [3 pieces] (1839); e' _+ `9 L: z  p; |# ]# W
S.399a, Lucrezia Borgia - Grande fantaisie [first version of S400ii] (1840)* l) g$ @! O! |

" h; C% b0 [# C李斯特全部作品目录-3
( q& L# P+ R; v) E3 X  _: |3 Q& V. W( q
S.400, Réminiscences de Lucrezia Borgia [first/second version] 1840
6 f3 c& T1 ^3 u9 _7 s+ i) \& ]" sS.401, Valse a capriccio sur deux motifs de Lucrezia et Parisina [first version of S214/3] (1841)% s2 c6 |1 x4 x  O' I
S.402, Marche funèbre de Dom Sébastien (1844)
1 `) s. E& X% w! T( P. d! [2.5.1.8 Donizetti, Giuseppe
* p7 i8 j) A- G2 T
, g, }9 F5 N+ s9 R, B3 w5 QS.403, Marche pour le Sultan Abdul Medjid-Khan [first/simplified version] (1847, 1848)
0 `- r) q5 _. ]+ P. I2 k9 Y; K& Q2.5.1.9 Duke Ernst
( L! l% a8 g4 `- M/ z7 G6 R- x3 [
S.404, Halloh! Jagdchor und Steyrer from the opera Tony (1849)3 q# c' J3 K. D
2.5.1.10 Erkel, Franz
5 K9 ?$ t. W9 }# O3 `# k& I8 |7 E, o4 {
S.405, Schwanengesang and March from Hunyadi Laszlo (1847)/ n& P1 I# p) q
2.5.1.11 Festetics
( V; F4 ?+ E, R1 H. R  F9 ~
' `$ h( Q, o: R2 LS.405a, Pásztor Lakodalmus Variations - Mélodies hongroises [elaboration by Liszt] (1858)
& Z  j: g  _$ v; t) X# y" c% E% e2.5.1.12 Glinka
& b# B0 l* }( c( k% m& V5 ]
2 }& ~- Q$ K; e- C. [( ~% [4 \% I2 bS.406, Tscherkessenmarsch from Ruslan i Lyudmila [first/second version] (1843, 1875)
7 u% r6 \; W: ^2.5.1.13 Gounod! Y! t- n  N' u% n( b. Z) k4 a
2 u/ A/ j% i+ O" p
S.407, Valse de l'opéra Faust (b. 1861)
( b& T5 W; D/ t$ ~. P, b, `- lS.408, Les Sabéennes. Berceuse de l'opéra La Reine de Saba (1861)1 i1 N' ?  p: z! Q" z8 x- Q
S.409, Les Adieux. Rêverie sur un motif de l'opéra Romeo et Juliette (1867)
7 K6 j' j  b3 i- z; {2.5.1.14 Halévy
, U( J! T/ o& l" t0 Y( zS.409a, Réminiscences de La Juive (1835)
, Q3 ?, E) w1 `7 ?& T# V* T2.5.1.15 Mendelssohn  D6 K! N1 y1 b: `& P; L9 Q/ t
S.410, Hochzeitsmarsch und Elfenreigen aus dem Sommernachtstraum (1847-50)
! l3 R) l# z  K# T+ t) y2.5.1.16 Mercadante
( U9 ^( b, U$ G: U' L$ B+ {) kS.411, Soirée italienne. Six amusements (1838)$ [5 j  `' ^" g2 c9 L
2.5.1.17 Meyerbeer1 n; j# _1 E7 @6 u* H# z
S.412, Réminiscences des Huguenots - Grande fantaisie dramatique [first/second version] (1836, 1842)3 S* V( I; k# ^9 C( }
S.412a, Réminiscences de Robert le Diable - Cavatine (1846?)
% I2 n1 w' L' {! b; ]* {; IS.413, Réminiscences de Robert le Diable - Valse infernale (1840)
% l% E6 e5 H* L; y) V) S% WS.414, Illustrations du Prophète [4 pieces, 4th=S624] 1849-505 K- |) z! A+ b6 y* n. o# {
S.415, Illustrations de l'Africaine [2 pieces] 18658 d# B/ z/ P" Y" i% E+ r  a6 k% o8 P
S.416, Le Moine (1841)
$ ?6 S: b, \1 z3 M! R( Y) ?% J2.5.1.18 Mosonyi, Michael
- r2 i2 I  V# c. b  d/ I8 A3 ^# u, ~S.417, Fantaisie sur l'opéra hongrois Szép Ilonka (1865) 幻想曲 S.417 - 根据莫佐尼歌剧《美丽的海伦》主题改编
/ V5 V8 T# R3 x' [/ i8 K2.5.1.19 Mozart
6 E! n) v& R( |. f- v6 @S.418, Réminiscences de Don Juan (1841)7 c6 s$ Y6 ]! h( w" q8 c; E0 Y5 l! t
2.5.1.20 Pacini! z. M! e; U  ?! }
S.419, Divertissement sur la cavatine "I tuoi frequenti palpiti" (1835) 嬉游曲 S.419 - 根据帕奇尼歌剧《奈奥比》主题改编
( l; J+ Y. l. c4 b) I2.5.1.21 Paganini
# R$ t, A7 G* o* `2 L7 ]S.420, Grande Fantaisie de bravoure sur La Clochette (1832-34)  华丽的钟声幻想曲
2 Q6 C, E) U& }, G9 R2.5.1.22 Raff
# E3 t1 u4 `- s  bS.421, Andante Finale and March from the opera König Alfred [2 pieces] (1853)" W% ?5 P) _" c0 P% {
2.5.1.23 Rossini. k0 j  W* H8 z! X
S.421a, Introduction et Variations from "Siege of Corinth" [introduction only] (1839?)
% y$ T" H% E( BS.422, Première grande fantaisie (Soirées musicales) [first/second version] (1836)1 C2 j, g8 B2 C. X# w5 C
S.422i, La serenate e l'orgia - Première grande fantaisie (Soirées musicales) [first version] (1836)
, A: D, _, n% A* w* i8 gS.423, Deuxième grande fantaisie (Soirées musicales) (1836)
3 |' p: e% C9 W2 i  rS.424, Soirées musicales [12 pieces] (1837)
/ g, p% m1 F0 n1 w  q7 {  x: @2.5.1.24 Schubert$ W0 o! y" r! H2 B  K# }8 t. D
S.425, Mélodies hongroises [3 pieces] (1839–40)3 T5 S2 D# E. i" [2 E+ F1 w' o
S.425a, Mélodies hongroises [revised versions] (1846)
/ e& \* M% S3 R/ j: R. F2 IS.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: f. S% F! Z) h
S.426a, Marche militaire (ca. 1870)3 P: B. C5 z1 {! 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# V3 G9 W. F1 x1 D4 T- ]
2.5.1.25 Sorriano
; V+ {: O! M  M9 W0 wS.428, Feuille morte. Elégie d'après Sorriano (1844-45)
$ I% x" h; y2 c4 s1 ]  @2.5.1.26 Tchaikovsky$ V% {0 Y: p. R% V! _" \
S.429, Polonaise from Eugene Onegin (1879): e9 C# y$ O. ?" t# j  {5 l
2.5.1.27 Végh, Janos$ k, G! F2 ~: k. u; C0 j
S.430, Valse de concert (1882-83)6 `6 d3 j; G; P& E
2.5.1.28 Verdi
6 i* ~* [  a% g- P  US.431, Salve Maria de Jerusalem from I Lombardi [first/second version] (1848, 1882)+ I- @- C' {8 K# u2 I- F: C
S.431a, Ernani - Première paraphrase de concert (1847)
) t, Y+ J. c+ L* e2 m3 J  Z" y3 @S.432, Ernani - Paraphrase de concert (No. 2) [first/second version] (b. 1849, 1860)
5 T- k" Y+ s% v, |' ^3 E7 BS.433, Miserere du Trovatore (1860)/ r! h" m2 E  c' s9 i; X9 z
S.434, Rigoletto Paraphrase de Concert (1859)
  G7 Y* `& N' g* M# J' f5 HS.435, Don Carlos Coro e Marcia funebre (1867-68)  d8 ]% x( e, C" s! Q3 K3 Q' {
S.436, Aida Danza sacra e duetto finale (1877)
% u' P( ]# G4 T* P  xS.437, Agnus Dei (1877)
% t$ l5 W% E+ n1 `3 c) M2 a- sS.438, Réminiscences de Boccanegra (1882)0 Q; F& F. _* \
2.5.1.29 Wagner4 d. Z% R" h) i' ^
S.439, Phantasiestück über Motive aus Rienzi (1859); t6 x+ \0 q, Z0 O
S.440, Spinnerlied aus Der fliegende Holländer (1860)+ s$ _9 A2 S; p, o9 r
S.441, Ballade aus Der fliegende Holländer (1872)) M) N4 u" Q9 N" |; ~
S.442, Ouvertüre zu R. Wagners Tannhäuser (1848)
' l4 p1 C% n& C# G$ q/ gS.443, Pilgerchor aus Tannhäuser [first/second version] (1861, 1885)
7 h! Q' v. E$ A/ qS.444, O du mein holder Abendstern aus Tannhäuser (1848)+ g( v) W0 p7 `7 u/ J0 b
S.445, Zwei stücke aus Tannhäuser und Lohengrin (1852)
* q: I9 z- L" o' Y8 w5 b, Y, kS.446, Aus Lohengrin [3 pieces] (1854)4 D5 S5 J- F- U; F% C+ ]) i
S.447, Isoldens Liebestod aus Tristan und Isolde [first/revised version] (1867, 1875)/ D1 ?; O8 E. L: I6 S
S.448, Am stillen Herd aus Die Meistersinger (1871)
5 n+ t! J* b- g$ y7 O3 O% Y4 qS.449, Walhall aus Der Ring des Nibelungen (1875)
3 H5 g7 g9 y% v0 R) G4 mS.450, Feierlicher Marsch zum heiligen Graal aus Parsifal (1882)% L3 Z0 R; q3 }0 I6 @7 N' Z$ N
2.5.1.30 Weber
: I, v* q) Z% h& P5 ]& n$ ~+ E2 o+ _S.451, Freischütz-Fantasie (1840-41)+ g- M7 Y& q: G# L$ l
S.452, Leyer und Schwert [4 pieces] (1848)
9 j1 s' M9 v/ T" o+ Z1 R5 ~S.453, Einsam bin ich, nicht alleine, from Preciosa (1848)' R2 L7 C9 Z6 ~* p" ?
S.454, Schlummerlied mit Arabesken (1848)# U- u$ z; B8 q* B* X7 C
S.455, Polonaise brillante (1851)* [4 u% B. o, o5 f( q5 F7 s
2.5.1.31 Zichy, Count Géza
) P5 \$ R; f: b4 p5 Y' D3 o7 i' JS.456, Valse d'Adele (1877)
% }& z) j7 q, q8 N0 P" R2.5.1.32 Unknown) Q( N+ p( [* S% Y. j
S.458, Fantasy on Il Giuramento (Mercadante) (1838?)4 ]- `  D* ^) \! ?4 y! T" a
S.460, Kavallerie-Geschwindmarsch [anonymous] (?)
3 h# v/ d: c( G8 x2.5.2 Partitions de Piano, Transcriptions, etc.
9 Y0 |, L) j- W4 f( j2.5.2.1 Allegri and Mozart
  z: u: R5 j3 Y  c6 k7 KS.461, A la chapelle Sixtine [first/second version] (1862, ?)  h, V# ?; G3 B) m; r
S.461a, Ave verum corpus, Kv618 (1862)
+ T) L9 ?6 \% ]7 I0 C& N2.5.2.2 Bach
; h+ }  {' y2 a+ B7 S& gS.462, Sechs Praeludien und Fugen für Orgel [6 pieces] (1850)9 y9 F. m' f* A' R' [
S.463, Organ Fantasy and Fugue in G minor [first/second version] (1860, ?)- L+ \/ V( {/ `5 \
2.5.2.3 Beethoven& ~' Q: C: E2 {2 G) Z1 }( D
S.463a, Symphonie No.5 [first version] (1837): w" L2 [0 G# Q/ I0 x; A% E
S.463b, Symphonie No.6 [first version] (1837)9 V, v  o; J6 e5 B/ v
S.463c, Symphonie No.6 [second version. Alternative 5th movement] (1863-64)5 E" R! n3 I8 o9 f: [
S.463d, Symphonie No.7 [first version] (1837)
( `9 {/ g9 w" N! w/ H% e' OS.463e, Marche funèbre [Beethoven's Eroica Symphony, first version] (1843)6 _/ ~3 k8 u0 K7 B
S.464, 贝多芬交响曲 Symphonies de Beethoven [9 pieces] (1863-64)* Y1 O, r1 @1 J- k- z4 p4 y
S.465, Grand Septuor, Op. 20 (1841)
! P$ P4 c  d( T+ t. MS.466, Adelaïde [third version] (1847)/ g; G$ g& {0 c
S.466a, Adelaïde [first version] (1839)
* w* R7 h1 T, |; ?S.466b, Adelaïde [second version] (1840)
) H* h& W- O% p& J+ J/ N% }6 {S.467, Sechs Geistlicher Lieder (Gellert) [6 pieces] (1840)3 x7 d! ~8 h3 l) \; y. U
S.468, Sechs Lieder von Goethe [6 pieces] (b. 1849). Y6 \0 M. J1 @) s% D2 @# ]
S.469, An die ferne Geliebte - Liederkreis [6 pieces] (1849)
" w- W1 U5 H+ ?  X2 x4 X5 Q1 q2.5.2.4 Berlioz- I# P7 N. I0 D/ {/ j
S.470, Symphonie Fantastique (1833)# U7 p* c! G/ |# M! v( J
S.471, Overture from Les francs-juges (1833)! p9 o' \( F5 r# W( G
S.472, Harold en Italie (with viola) (1837)" l! D" S4 N" C- t8 `
S.473, Marche des pèlerins from Harold en Italie [first/second version] (1837?, 1862)
0 v2 ?( J4 Z7 `4 MS.474, Ouverture Le Roi Lear (1837)2 O, a* F6 Q. z3 h7 K
S.475, Valse des Sylphes de la Damnation de Faust (1860). c  A0 N4 {% Q5 d3 w
2.5.2.5 Bulhakov
: i( P0 d* |% L* t% m$ d8 ES.478, Russischer Galopp [first/second version] (1843, 1843)
+ R' v& `3 ~# h0 P% d8 Y- d2.5.2.6 von Bülow
$ }& O+ i: U/ d$ f# y, q9 US.479, Dante's Sonnett - Tanto gentile e tanto onesta (1874)
3 W! ~4 x  C' j9 G2.5.2.7 Chopin
! k! P8 P! B. o* D2 NS.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
; N( n8 ^: f. x" i6 ?; }/ GS.481, Zigeunerpolka (1847?)7 j0 v7 u8 c& L9 z
2.5.2.9 Cui) b7 _$ x7 ?. ~, y
S.482, Tarantella (1885)
( J7 ?, t6 L+ g  t1 ^5 {; L/ v2.5.2.10 Dargomyschsky
, y9 y/ L/ ?+ ~! PS.483, Tarantella (1879)
5 l) D) G3 E: D2 _/ }+ i3 A2.5.2.11 David, Ferdinand& i9 P3 C- C9 I! L8 j2 I
S.484, Bunte Reihe, Op. 30 [24 pieces] (1850)% h' a( t9 @8 {. y9 S- |
2.5.2.12 Dessauer8 m  \; ~2 Q4 M- h
S.485, Drei Lieder (1846)8 j8 v& P; s5 y% H3 y! U/ t
2.5.2.13 Ernst, Duke
7 y; Y5 W% V- {. [4 ]S.485b, Die Gräberinsel (1842)* K3 c# R! Q8 H
2.5.2.14 Egressy and Erkel! v2 u" B' ]( V) B! V" U, N% P+ i
S.486, Szózat und Hymnus (1873)! [4 A* J' b9 J0 T% n7 q$ T. i
2.5.2.15 Festetics" H6 c, s& f) t$ ^$ W5 ~9 W
S.487, Spanisches Ständchen 18462 ^- M7 E: n' |* X
2.5.2.16 Franz
" M  ^6 C' X5 q3 @3 c9 {S.488, Er ist gekommen in Sturm und Regen 1848
+ K) s; R6 y+ f4 gS.489, Zwölf Lieder [12 pieces] (1848)- J: l& r! }9 d+ X6 N0 c) p& n+ p
2.5.2.17 Goldschmidt- {6 G9 \3 }1 H# b& z7 W$ D
S.490, Liebesszene und Fortunas Kugel (1880)5 Y; g- G' A1 t1 `) e. I! z  ?
2.5.2.18 Gounod6 o9 @3 X7 b# p% Y% ]' t
S.491, Hymne à Sainte Cécile (1866)  t. [/ N, N# R: u% h
2.5.2.19 Herbeck: R8 n* g/ x1 l' r
S.492, Tanzmomente [8 pieces] (1869)" y+ N' n* ^. Y1 P& O$ v3 B* B
2.5.2.20 Hummel
1 ^. f: M2 N& _5 F- p4 ^S.493, Grosses Septett, Op. 74 (1848)' k! p5 \0 R8 H" y. K: l
2.5.2.21 Lassen
: U9 _/ W! G! G6 U4 J( lS.494, Löse, Himmel, meine Seele [first/second version] (1861, 1872)
1 Y; `( f/ y9 {S.495, Ich weil' in tiefer Einsamkeit (1872)- w( l( |# z1 x: z4 g
S.496, Hebbel's Nibelungen & Goethe's Faust [4 pieces] (1878-79)6 j; z8 S4 ?1 h
S.497, Symphonisches Zwischenspiel ('über allen Zauber Liebe') (ca. 1882-83)
; \. L: v) q* N2.5.2.22 Lessmann
7 S) c8 o6 f; P( @S.498, Drei Lieder ('Tannhäuser') (1882?)+ p7 W+ I3 y: o  M
2.5.2.23 Liszt% j6 v& `% a& C, ~2 q! H8 H4 W
S.498a, Drei Stücke aus der heilige Elisabeth (1857-62)
) F3 o4 r6 N* k& h$ g1 \/ TS.498b, Zwei Orchesterstücke aus Christus (1862-66)
2 ], Y! S5 }/ Z5 L" x& N+ a3 FS.498c, San Francesco - Preludio (1862-66)
; _6 k" g. g, M! Q* X$ RS.499, Cantico del Sol di San Francesco d'Assisi (1881)" i( ]! ~  K6 Y( ?6 j( V- ~
S.499a, San Francesco - Preludio per il Cantico del Sol (1880)
) z1 C) D" W. `5 VS.500, Excelsior! - Preludio (1875)
. b5 ^* W# o, }# a+ x0 I( DS.501, Benedictus und Offertorium (Missa Coronationalis) (1867)# f. ^- k$ t8 e" f6 U
S.502, Weihnachtslied II (1864)3 T9 [+ j! l* ]4 q% }: ^
S.503, Slavimo Slavno Slaveni! (1863)
2 |/ a$ \$ u: x; X/ N( z$ |' a- I, \' LS.504, Ave Maria II (in D) [first/second version in D flat] (1870, 1873)0 a/ Y$ _% ^7 V$ u. ], u5 T
S.504a, Via Crucis [15 pieces] (1878-79), W- d$ a9 V' A& m; F6 ^! j
S.504b, Choräle [11 pieces] (1878-79)  I/ G" Z+ D- Q5 |+ N7 s/ z
S.505, Zum Haus des Herrn (In domum Domini ibimus) (1884)
/ R+ M: Q5 R% t* R+ x8 y5 `) RS.506, Ave maris stella (1868)
0 t: z1 A8 B; }9 x  KS.507, Klavierstück aus der Bonn Beethoven-Cantata (?)
) A4 M0 V! r! U7 JS.507a, Schnitterchor (Pastorale - Schnitterchor aus Prometheus) (1850)( _' r% m! N! `: @. q- a
S.508, Pastorale. Schnitterchor aus dem Entfesselten Prometheus (1861)& E  r1 j$ r# s6 s+ H
S.509, Gaudeamus igitur - Humoreske (1870)
, W. ~; {1 K1 u4 m9 K- J8 W' rS.510, Marche héroïque (?)
, a0 ]) |6 V8 vS.511, Geharnischte Lieder [3 pieces] (1861)
2 \/ r. H3 m3 w/ `S.511a, Les Préludes (Poème symphonique No. 3) [arranged by Karl Klauser, revised by Liszt] (1863) [1][2]
" z! |) g+ M" P# v0 ?  L2 dS.511b, Orpheus (Poème symphonique No. 4) [arranged by Fredrich Spiro, revised by Liszt] (1879) [3]
' I; n/ g4 N$ G# E. E9 u3 P2 }4 AS.511c, Mazeppa (Poème symphonique No. 6) [arranged by Theodor Forchhammer, revised by Liszt] (1870-79) [3]
/ P' Z! d- ]% s( z5 a; oS.511d, Festklänge (Poème symphonique No. 7) [arranged by Ludwig Stark, revised by Liszt] (1870-79) [3]7 S. _. W& N3 C& U
S.511e, Hungaria (Poème symphonique No. 9) [arranged by Fredrich Spiro, revised by Liszt] (1872) [3]" g* p- v# L5 S3 B4 I/ z5 ^7 a! k
S.512, Von der Wiege bis zum Grabe (Poème symphonique No. 13) (1881)1 J" [& _7 B9 O  x" e
S.513, Gretchen aus Faust-Simpfonie (b 1867 )
( i6 z( Z! z$ @2 P8 \% h7 h' lS.513a, Der nächtliche Zug (?)9 }' V2 E, F) B8 e8 _
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 K2 o4 u3 {, D- x) v, P6 X" ]8 [
S.514a, Erster Mephisto-Walzer (Mephisto Waltz No. 1) [with later additions] (1859-62)8 M- C4 y/ ?$ S9 p- }& \+ Q, V
S.515, Zweiter Mephisto-Walzer (Mephisto Waltz No. 2) (1881) 第二梅菲斯特圆舞曲# E+ k' G% n$ o6 B0 _0 r% E
S.516, Les Morts (Ode Funèbre No. 1) (1860)
0 }+ e( H$ P/ W: hS.516a, La notte (Ode Funèbre No. 2) (?)* R3 w' W; l5 O* P' N- z: y
S.517, Le Triomphe funèbre du Tasse (Odes Funèbre No. 3) (1866)$ N4 y# ]. E& `( z- b; Z, L6 T- l
S.518, Salve Polonia (a. 1863)
# W! h* S* z2 Q2 u  H4 G& c4 ^S.519, Deux Polonaises de St Stanislaus (1870-79)
; c" \8 E1 f, q% ?' y8 ]$ L/ d3 yS.520, Künstlerfestzug [first/second version] (1857-60, 1883)
, j3 `# W  E2 I3 c8 G# ES.521, Festmarsch zur Goethejubiläumsfeier [first/second version] (1857, 1872); H1 x$ W1 Q# u3 \" ?$ m
S.522, Festmarsch nach motiven von E.H.z.S.-C.-G (1857)) d- v5 Q! u7 M! |8 F' ^0 S
S.523, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (1870)6 ?: b. o, j0 R$ M4 ^+ c
S.524, Ungarischer Sturmmarsch [first/second version] (?, 1875)
3 j: @  U- ^/ w3 ~S.525, Totentanz. Paraphrase on Dies Irae (1860-65)
. A5 u, A8 U0 [9 XS.526, Epithalam zu Eduard Reményis Vermählungsfeier (?)
' ?0 J$ G" Q6 I* @! E  T; L- p- hS.527, Romance oubliée (?)- I* W1 O' A1 [3 N" e) ~
S.527bis, Romance oubliée [short draft] (1880)
8 K/ h4 H/ @: R2 f, x7 xS.529, Fantasie und Fuge über das Thema BACH [first/second version] (1856, 1870) 巴赫主题幻想曲与赋格6 w+ p0 B4 }! A! G2 i! N
S.530, L'Hymne du Pape. Inno del Papa. Der Papsthymnus (1864)
0 J& Y2 Z9 |" f% p* |S.531, Buch der Lieder I [5 pieces] (?)
5 @: d5 `% ]1 J% O# L  }  v% GS.532, Die Lorelei (Heine) [second version] (1861), Q, {' k* {+ O5 u; A2 W+ |5 L
S.533, Il m'aimait tant (Delphine Gay) (1842)# R: g* h& H+ _1 M% @6 ?: _6 s
S.534, Die Zelle in Nonnenwerth (Felix Lichnowski) [first/second/fourth version] (1842, 1860, 1880)
8 l1 u% |9 I7 H/ o8 F4 m% U" {/ fS.535, Comment, disaient-ils [Buch der Lieder II] (1845?)
( u" o/ s, b/ q2 X; r6 E( d8 i$ K, y# R/ HS.536, O quand je dors [Buch der Lieder II] (1847?)
" A6 h! ]6 l5 z) i8 X9 ^S.537, Enfant, si j'étais roi [Buch der Lieder II] (1847?)4 t( d0 e( y+ G7 o% s* `
S.538, S'il est un charmant gazon [Buch der Lieder II] (1847?)
5 H3 x: h; M0 C+ x8 r" ^2 G& qS.539, La tombe et la rose [Buch der Lieder II] (1847?)4 @6 N5 ]0 {! p" ]) K, W; D
S.540, Gastibelza [Buch der Lieder II] (1847?)0 j( Y8 [  j4 F$ Z7 n
S.541, Liebesträume. Drei Notturnos (ca. 1850)  3首夜曲“爱之梦”
- A  I1 {4 t; _( ~S.542, Weimars Volkslied [first/second version] (1857, ?)
" o# `, _6 M( WS.542a, Ich liebe dich (?)
9 t3 [1 E, f6 ~+ I% G% p4 ES.542b, Fanfare zur Enthüllung des Carl-Augusts Monument (?)/ Q+ {4 A+ l8 W( _' m
S.543, Ungarns Gott. A magyarok Istene (Petófi)]] [original/(S543bis)left-hand version] (1881)
3 H' c6 a2 q  h& I$ qS.544, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)
  z3 p) ]$ n3 X/ @/ dS.545, Ave Maria IV (1881)8 b5 q9 w- ^" d) E  _1 K$ ^$ a/ o
S.546, Der blinde Sänger (Alexei Tolstoy) [solo version] (1878), g6 h4 P" I* C) t7 `
S.546a, O Roma nobilis (1879); g+ h1 V' y2 X/ Y6 w) B
2.5.2.24 Mendelssohn2 c0 I4 V1 Z8 S4 x
S.547, Sieben Lieder (from Opp. 19, 34, 47) [7 pieces] (1840)
/ T4 h; G" P6 T+ s4 A' t, NS.548, Wasserfahrt and Der Jäger Abschied (from Op. 50) [2 pieces] (1848)! W2 V6 L4 e% P  U2 j
2.5.2.25 Meyerbeer! H+ f6 l7 R; j+ W
S.549, Festmarsch zu Schillers 100-Jähriger Geburtsfeier (?)4 w3 r" t  {  @
2.5.2.26 Mozart
; ^6 \+ X) P( L+ i4 AS.550, Zwei Transcriptionen über Themen aus Mozart's Requiem, K626 [2 pieces] (1862)* q- ?0 `% i- N9 d' Z4 P; c
2.5.2.27 Pezzini+ U" {0 y0 {" F5 H
S.551, Una stella amica. Mazurka (?)% @2 S! z0 b+ C0 z
2.5.2.28 Raff
# m) ~) O3 V1 \9 OS.551a, Einleitung und Coda zu Raffs Walzer in Des-dur (opus 54/1) (1880)
. W' r6 a3 n( _# I1 m' O7 x2.5.2.29 Rossini8 B  q: M5 x3 ~6 Y- z! x3 q
S.552, Ouverture de l'opéra Guillaume Tell (1838)
" I9 F( i2 H7 `% QS.552a, Caritas [La charité, first version] (1847)
2 O! R! I- ]/ G; G" KS.552b, La caritá [La charité, simplified version] (1847)/ l$ i4 i, e# h/ G: t  Z
S.553, Deux Transcriptions [2 pieces] (1847)
% j- y  c$ L- y% {( ^; Y$ w% F& W2.5.2.30 Rubinstein) V. \6 M+ J# V; Q
S.554, Zwei Lieder [2 pieces] (1880)
. p  d0 k* {8 M0 I/ \. zS.554a, Einleitung und Coda sur des notes fausses (1880)
  K5 u: C. i  D/ k! _& \2.5.2.31 Saint-Saëns6 `9 F' H' H9 v, X' H2 ~
S.555, Danse macabre, Op. 40 (1876)
) M! i7 A( Z! E" H' S2.5.2.32 Schubert
; p5 D0 o5 u" w; t+ tS.556, Die Rose [first/intermediate/second version] (1832, ca. 1837, 1838)
# w+ Y. K7 n8 {' ~  b$ E8 h( XS.557, Lob der Tränen (1837)$ |2 W$ N3 j9 E# V* c% A3 t
S.557a, Erlkönig [first version] (?). L3 g7 R9 A( l: n. Z) |
S.557b, Meeresstille [first version] (?)  b) v- S' N  E  W
S.557b/bis, Meeresstille [first version, ossia] (?)% e# x9 N. t+ Q
S.557c, Frühlingsglaube [first version] (?)  B" W3 S3 e- D8 F* K6 V
S.557d, Ave Maria (Ellens dritter Gesang) [first version] (?)
* e6 n' o  J7 s" ]: d2 D/ ES.558, 12 Lieder (1837-38)7 ?! e) f3 @* U
S.558bis, 12 Lieder [revised versions of Nos. 3, 4, 7, 8, 9, 11] (ca. 1839)
. c4 }! I4 P  I! P4 E" k- I8 R: r  Q% DS.559, Der Gondelfahrer, Op. 28 (1838)  _! T1 M7 B( }  S
S.559a, Sérénade [Ständchen, first version] (1837)2 [( r4 k# ]. |6 f5 g  q7 _3 q& x4 G# o
S.560, Schwanengesang [14 pieces] (1838-39)
6 w( U, K, a1 a" b; VS.560bis, Schwanengesang [14 pieces, alternative versions] (ca. 1839)
- l3 f1 i' ^$ Y+ yS.561, Winterreise [12 pieces] (1839)
8 D, u* z2 E' q& ]7 f! e9 e( @% lS.561, Winterreise [alternative versions of Nos. 2, 3, 7, 10,] (ca. 1839)) x8 Z8 M- P4 T$ f  q( e
S.562, Geistliche Lieder [4 pieces] (1841)6 p9 {4 b" F; ^
S.563, Six mélodies célèbres [6 pieces, 1st by Weyrauch] (1844)
9 I% H: i# t; y) c# l  `S.564, Die Forelle [second version] (1846)! I, C% \+ \( ~; e. N$ y
S.565, Six Mélodies favorites de La belle meunière [6 pieces] (1846)
- x1 D% j* L; wS.565bis, Müllerlieder [6 pieces, revised versions] (ca. 1879)" ?! ^( Q% w+ N( l
S.565a, Wandererfantasie (Grosse Fantasie in C-dur) (ca. 1868)
- e; F. l* p- R% [- N, X/ r; Z2 cS.565b, Schubert's Impromptus [2 pieces, Op. 90/2-3] (ca. 1868)0 D. c. ]* P4 g4 i4 f" [
2.5.2.33 Schumann
$ g2 S% O  b' ]! p5 j: j2 AS.566, Widmung, Liebeslied (1848)
: Q* ^0 Z" P3 fS.566a, Widmung, Liebeslied [sketch of a more literal transcription] (1848)% S( d* z. z* Z: K1 x
S.567, An den Sonnenschein, Rotes Röslein (1861)
, A. I3 n5 e) X! w6 Y5 t3 J( oS.568, Frühlingsnacht (überm Garten durch die Lüfte) (1872)6 j, I% e8 P/ ^; B$ ]/ N
S.569, Zehn Lieder von Robert und Clara Schumann [10 pieces] (1872)* O" T) v4 o$ M' g/ c
S.570, Provençalisches Minnelied (1881)
+ W9 h& \# \% X% T! X2.5.2.34 Smetana, H: ~, K& R- @/ Q5 I' _
S.570a, Einleitung und Coda zu Smetanas Polka (de salon, opus 7/1) (1880)" T! F( ?+ O8 }  V2 z
2.5.2.35 Spohr
) G" X# h; L6 q% E$ E0 P* F% LS.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
! S) H1 e( h3 X2 e: O1 KS.571a, Einleitung und Schlußtakte zu Tausigs dritter Valse-Caprice (1880); u$ {! T4 g2 f; R  Z
2.5.2.37 Szabady and Massenet8 k, F9 w3 z. g. ~% q! ~5 b. Q& N  @
S.572, Revive Szegedin (1879)
$ _8 x4 D6 ^0 c; v7 y9 ?- r2.5.2.38 Széchényi, Count Imre' H$ G1 @% c" a2 K
S.573, Bevezetés és magyar indulò (1872)
+ A" V5 o  X$ e6 P/ }2.5.2.39 Tirindelli& G; v  ?$ A7 }1 [6 [* ?9 e
S.573a, Seconda mazurka variata (1880)( z- \- `( f! |$ k. z; Q3 {' \+ M
2.5.2.40 Weber4 B9 S; Z+ D# l! }) _6 T
S.574, Ouverture Oberon (1846?)+ F6 ?+ H/ y; O) _, q: J  ~) C
S.575, Ouverture Der Freischütz (1840-41)6 w& N/ E7 d1 |+ T7 M
S.576, Jubelouverture (1846): P+ x: S/ E3 g/ w; E3 }
S.576a, Konzertstück, Op. 79 (ca. 1868)  F2 l+ T' z: ^8 [/ j2 ^
2.5.2.41 Wielhorsky, Count Michael
2 k6 r: X# H( _& ], a) F. H/ |S.577, Lyubila ya [first/second version] (1843, ?)
- M" b7 e" ?$ S" ]2.6 Pianoforte Duet(钢琴二重奏)
6 M3 P# r6 I7 Q$ A2.6.1 Field3 v  ]* @4 l# Y% [# F+ u1 W3 N- G
S.577a, 11 Nocturnes (Nos. 1-9, 14, 18 and Nocturne Pastorale in E) (?)6 \) [1 B2 y" v. J! F
2.6.2 Liszt3 H5 u  h6 _: k9 M' C
S.578, 4 Pieces from St. Elisabeth (1862)3 l# s! ^# A# r8 Z% M1 J
S.579, Christus Oratorio 4th and 5th section (?)* E  p/ U# y' T) L6 @' `8 @, z
S.580, Excelsior! - Preludio (?)9 h. M! `& {) `# g) A
S.581, Benedictus and Offertorium from the Hungarian Coronation Mass (1869)
6 O6 c, X- f1 g. oS.582, O Lamm Gottes, unschuldig (1878-79)% c: S% I) ]- |% s5 o  h# s
S.583, Via Crucis (?)/ A2 M& a7 p* D' H7 ]
S.584, Festkantate zur Enthüllung des Beethoven-Denkmals in Bonn (1845)
* r9 q& N. [" h8 ?* S; Z4 N- @( v. qS.585, Pastorale. Schnitterchor aus dem Entfesselten Prometheus (1861)
8 d; o/ D8 @/ T& e" J; a  c& l, L- [S.586, Gaudeamus igitur. Humoreske (1870)
8 s# S& s' r  k1 B% VS.587, Marche héroique (?)
3 Q  F$ |1 M9 s) R. N! IS.588, Weimars Volkslied (Cornelius) (1857)
/ Z/ b1 t3 k. T4 hS.589, Ce qu'on entend sur la montagne (Poème symphonique No. 1) (1874)# w( f6 N  Q) r
S.590, Tasso, Lamento e Trionfo (Poème symphonique No. 2) (1858)
; G% Q1 l% ^$ N5 }2 w# j/ b: rS.591, Les Préludes (Poème symphonique No. 3) (ca. 1858)
4 U4 V3 Q: f( q  j8 Z5 nS.592, Orpheus (Poème symphonique No. 4) (ca. 1858)4 }& a+ t/ M0 S) r- I- l& G
S.593, Prometheus (Poème symphonique No. 5) (1858)
: E8 ~; P2 @& ?/ `" @8 ]4 NS.594, Mazeppa (Poème symphonique No. 6) (1874)
* O2 I% Z3 O% Z5 s8 L9 @2 l% Z8 ~S.595, Festklänge (Poème symphonique No. 7) (1854-61)
' V" S# a- d  v/ K, TS.596, Hungaria (Poème symphonique No. 9) (1874?)+ F8 L) k5 U% D/ D1 P: C4 `
S.569a, Héroïde funèbre (Poème symphonique No. 8) (ca. 1877)  j0 `3 C9 _' Y: c
S.596b, Hunnenschlacht (Poème symphonique No. 11) (ca. 1877)+ Z' C1 `) T0 u5 n7 K$ ^0 Y
S.596c, Die Ideale (Poème symphonique No. 12) (ca. 1874-77)
0 j* l$ t8 H2 O% z+ J) k5 ?S.597, Hamlet (Poème symphonique No. 10) (1874)/ K2 \) d- Q1 y# A5 T
S.598, Von der Wiege bis zum Grabe (Poème symphonique No. 13) (From the Cradle to the Grave) (1881)
) Y6 v$ U6 U" I3 P% {, U/ u* [2 ES.599, Two episodes from Lenau's Faust (1861-62)$ m" [7 D$ |+ k& p8 j: X+ _: D* a+ P
李斯特全部作品目录-4
4 k, p# i5 V  g0 F1 o: t2 I& ~* R! C- [- `5 ]% |- i# ]6 y
S.600, Mephisto Waltz No. 2 (1881)
. [$ Y4 i5 r. e- e, [S.601, Les Morts (Ode Funébre No. 1) (1866)8 F4 z4 `, }# N( `$ ^! u1 v
S.602, La Notte (Ode Funébre No. 2) (1866)2 c& ?2 A' N* _1 a
S.603, Le Triomphe Funèbre du Tasse (Ode Funébre No. 3) (1866?)! O) B! K; o# _/ q" V/ b
S.604, Salve Polonia (1863)
+ F: t1 F' C& E, U/ _- L* LS.605, Künstlerfestzug zur Schillerfeier (1859)
9 N: H: H6 R" U" F- J5 v$ g6 XS.606, Festmarsch zur Goethejubiläumsfeier (ca. 1858). P- B6 W1 n; u' ]8 x5 L" I
S.607, Festmarsch nach Motiven von E.H. zu S.-C.-G. (ca. 1859)
; V7 @7 [% J) k2 k/ \S.608, Rákóczy March (1870)
. j4 k/ L/ @0 n+ h, i3 DS.609, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (1870)4 q6 @5 T3 @* F
S.610, Ungarischer Sturmmarsch (1875)$ N" I; Q6 w0 ~7 n
S.611, Epithalam (1872): D, [# P  j, {6 a; K5 B% j
S.612, Elégie (1874): y% {) n# p0 E7 q6 @
S.613, Weihnachtsbaum (1876)
$ u$ {. n2 L+ i; g( A6 [. I+ X0 _S.614, Dem Andenken Petöfis (Petófi Szellemének) (1877)
5 f( o' b7 |% d9 H( S5 mS.615, Grande Valse di Bravura (1836)
1 M0 s8 Q; x- A2 @$ XS.616, Grand Galop Chromatique (1838)
) \" r  ?/ V8 r: ^* ?S.617, Csárdás macabre (1882)
) ?7 S8 C2 V5 NS.618, Csárdás obstiné (ca. 1884)
- P( d# y8 Q1 C- p0 i, [7 HS.618a, Vom Fels zum Meer. Deutscher Siegesmarsch (?)+ @4 i! \6 _2 g% v+ g& R
S.619, Bülow-Marsch (ca. 1883)
! {$ a/ K7 @( A" X; L/ bS.619a, Festpolonaise (1876) [4]  k' D: C8 c  ?4 J
S.620, Hussitenlied (Melody by J.Krov) (1840)
( b1 x+ x  G  S! V+ vS.621, 6 Hungarian Rhapsodies [from the orchestral version, S359] (1874)
( Y% Y: R. y' S* K* ?S.622, Rapsodie hongroise No. 16 (1882); H% f3 r' F* `6 ?: q' N
S.623, Rapsodie hongroise No. 18 (1885)
) M& z5 B. G' e% I8 d1 c- NS.623a, Rapsodie hongroise No. 19 (ca. 1885)' B2 w4 l4 |) R* R2 C. Y6 B
S.624, Fantasy and Fugue on the chorale Ad nos, ad salutarem undam (1850)7 x* U8 C; ~& S( C; y7 D
S.625, L'Hymne du Pape (Der Papsthymnus) (1865)
4 N+ D0 W4 V# Q( w! ?S.626, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)9 @: j9 q  Z) O/ t- Y% K0 e
S.627, Fantaisie sur des motifs de l'opéra La Sonnambula (Bellini) (1852)
+ O" H: k3 C1 m4 Y) N3 ^# IS.628, Bénédiction et serment (Berlioz's 'Benvenuto Cellini') (1852)& ?+ s8 e$ B5 _
S.628a, Marche et cavatine (Donizetti's Lucia) (?)) M- m1 c; H0 h; p- z
S.628b, Szózat und Hymnus (Egressy and Erkel) (1873)
2 @; h) k7 J, F) C: [6 FS.629, Tscherkessenmarsch (Glinka's Ruslan i Lyudmila) (1843)
4 D" ~; k8 O5 r. S) M" V% x, QS.630, Réminiscences de Robert le Diable - Valse infernale (Meyerbeer) (1841-43)- `/ \* w# X5 N. x6 l+ ^3 v
S.631, Andante finale und Marsch (Raff's 'König Alfred') (1853)
7 c3 i0 \5 q0 T' M: c2 V8 u3 mS.632, 4 Marches (Schubert) (1879)
- g( W" F( J# v9 i' a" c7 JS.633, A la chapelle Sixtine (Allegri Mozart) (1865)# D+ q! f: G+ {  Z
S.634, Grand Septuor Op. 20 (Beethoven) (1841); R0 [1 t1 U+ a+ Y
2.6.3 Mozart: ]5 V; M8 B6 ?+ b" u
S.634a, Adagio from Mozart's Die Zauberflöte (1875-81?)7 U% w4 m; [3 a' F4 Z
2.7 Two Pianofortes(双钢琴)5 r$ i. A0 i+ p3 J5 q; O. j# k
2.7.1 Liszt; o. }; d3 c. @
S.635, Ce qu'on entend sur la montagne (Poème symphonique No. 1) (ca. 1854-57)
4 b$ M2 k9 `6 e( i, G& \* AS.636, Tasso, Lamento e Trionfo (Poème symphonique No. 2) (ca. 1857)& T0 U! ?: ^' ]6 J4 l
S.637, Les Préludes (Poème symphonique No. 3) (ca. 1854-56)
8 J6 p0 v) |% ?+ d, i" XS.638, Orpheus (Poème symphonique No. 4) (ca. 1854-56)
7 b- x4 h8 ~8 O* N$ d" PS.639, Prometheus (Poème symphonique No. 5) (1855-56)
/ f4 j/ h1 s4 a) L! v3 LS.640, Mazeppa (Poème symphonique No. 6) (1855)7 p9 W6 i2 b2 w* l* v  j
S.641, Festklänge (Poème symphonique No. 7) (ca. 1853-56)
6 c1 X$ ~5 g8 o/ uS.642, Héroide Funèbre (Poème symphonique No. 8) (ca. 1854-56)" O9 P2 u9 r) A% ~
S.643, Hungaria (Poème symphonique No. 9) (ca. 1854-61)
3 w5 X: J( @0 Z9 w2 eS.644, Hamlet (Poème symphonique No. 10) (ca. 1858-61)
% x* J- ^( n7 S/ OS.645, Hunnenschlacht (Poème symphonique No. 11) (1857)( m" o" g% r: g3 T% a& @# f6 U
S.646, Die Ideale (Poème symphonique No. 12) (1857-58)' \7 k) K: _" Q
S.647, A Faust Symphony, in three character pictures (1856)
8 I8 J- D  b% `5 ?: b, a  m/ xS.648, A Symphony to Dante's Devina Commedia (ca. 1856-59)
9 ?% G+ Z( H" M( ~1 u. O, a8 RS.649, Fantasie über Beethovens Ruinen von Athen (1865)' s% X! e% B" C* o7 p
S.650, Piano Concerto No. 1 in E flat major (1853)
3 c2 U7 b6 J; |, J0 i9 ]S.651, Piano Concerto No. 2 in A major (1859)
, J. I% a9 M1 s+ v* i' S! PS.652, Totentanz. Paraphrase on Dies Irae (1859)  N5 }# C7 A% a, H
S.653, Wandererfantasie (Schubert) (a. 1859)
( y7 h9 P& i: b1 `6 ?. C0 lS.654, Hexaméron, Morceau de Concert (1837)
$ \3 c7 V% u6 h7 P8 DS.655, Réminiscences de Norma (Bellini) (1841)
2 M% z/ ?$ K$ {, g7 V4 eS.656, Réminiscences de Don Juan (Mozart) (1841)
/ H7 p1 @9 L7 Z% x+ xS.657, Symphony No. 9 (Beethoven) (1851)( M7 i$ O+ J$ t
S.657a/1, Piano Concerto No. 3 (Beethoven) (1878)+ b2 u9 j, d* g) p5 G9 D
S.657a/2, Piano Concerto No. 4 (Beethoven) (1878)6 L% a* X+ R. d, B+ s* A
S.657a/3, Piano Concerto No. 5 (Beethoven) (1878)
8 C: @5 l3 p9 y7 ]$ a8 {, lS.657b, Bülow-Marsch [2-pianos, 8-hands] (1884)
4 s% l( R& {/ j) j: ]2.8 Organ(管风琴)! l$ ]: A" g) {4 C9 R
2.8.1 Allegri und Mozart
) m" n9 m% K1 [! pS.658, évocation à la Chapelle Sixtine (1862)4 q, @8 h- ?2 L" I/ c7 }- d0 C8 K
2.8.2 Arcadelt/ b3 }/ e3 ^4 }# _2 ^
S.659, Ave Maria (1862)
9 l# z8 G1 n6 p  c9 K: N, v2.8.3 Bach1 A( s6 i! k8 L
! y( f  }9 p- p$ s( C
S.660, Einleitung und Fuge aus der Motette Ich hatte viel Bekümmernis und Andante Aus tiefer Not [2 pieces] (1860), O1 x- M- z5 t& T
S.661, Adagio from Bach Violin Sonata No. 4 (BWV1017) (1864)
" y9 a8 z2 z$ I7 m# f9 m2.8.4 Chopin, I- B  _3 W; i* M0 u! f0 l
  q2 d3 S8 f6 U& @( ^, H9 [
S.662, 2 Préludes from Op. 28 (Nos. 4, 9) (1863)
, [" i. m0 H% ^& {4 e2.8.5 Lassus
8 s2 T0 ^% p9 W/ p/ p3 ?. }) ^
( C+ P( M, H% B1 h- jS.663, Regina coeli laetare (1865)
" j% Q6 c2 i- ^- }( `  b2.8.6 Liszt
- @" v& y( G/ N/ w3 z. B6 M" B$ o$ j+ d' I" O: X
S.664, Tu es Petrus from Christus (1867)
) i$ Y* @: R9 B, WS.665, San Francesco (1880)3 q! L7 P. P+ ]$ K+ b. S
S.666, Excelsior! - Preludio (?)2 O7 j5 }2 n( O$ f3 f1 B
S.667, Offertorium from the Hungarian Coronation Mass (1867)
1 L; c/ ~3 C2 KS.668, Slavimo Slavno Slaveni (1863)
; i6 m/ `8 i- F' _. r! {4 vS.669, Zwei Kirchenhymnen [2 pieces] (1877)
# D' U. J  m% T9 |1 N* g# IS.670, Rosario [3 pieces] (1879); H6 R/ {8 g- H
S.671, Zum Haus des Herrn (In domum Domini ibimus) (1884)
6 b, t$ m% Z/ @0 S( C& xS.672, Weimars Volkslied (Cornelius) (1865)
0 r5 S7 |8 t4 [S.673, Weinen, Klagen' Variationen (1863)2 Z* `$ Z+ _1 }2 c! X- j( @8 _
S.674, Ungarns Gott. A magyarok Istene (Petófi) (1882)
& r7 q$ ^8 q6 z) l& ~2 f3 m* J# QS.674a, O sacrum convivium [2 versions] (?)6 ]% V4 l% S" U- t, r4 q5 h  {
2.8.7 Nicolai
5 \# p7 D! e; l# p) D$ K% T: m% o5 Z- p  ?8 h
S.675, Kirchliche Festoverture (1852)
5 V) \. O3 B6 [' c( t2.8.8 Wagner
0 {0 P, I1 c# g" |( w  i6 `: {: g8 F! _/ d& `- D* L, o$ M, P( O  S# @
S.676, Pilgerchor from Wagner's Tannhäuser (1860)
% ?! m0 B+ F, P' p5 ~7 X* l- v$ G2.9 Organ with Other Instruments(管风琴和其他)6 |! \9 r+ e- q2 b& ]) A; r: b" A

. d) v) t* E" N2 o, x- S& i: a/ hS.677, Hosannah from Cantico del sol di San Francesco d'Assisi (for organ and bass trombone) (1862)2 ]$ F) P2 O! X* y7 D
S.678, Offertorium and Benedictus from the Hungarian Coronation Mass (1869), W% ^5 s/ ~8 L" ?2 s0 B. C
S.679, Aria 'Cujus animam' from Rossini's Stabat Mater (for organ and trombone) (?)
* ^  `2 o, W. b! L0 UVocal Arrangements声乐
0 y" t8 Y# Q  P8 n6 E; W2 w( m1 n/ `9 l8 H2 d1 {, U
S.680, Ave maris stella (1868)
% j( K  @: O# V1 |0 Q' e681, Ave Maria II (1869) 3 O3 p2 H( d: b  ^) A
S.682, Air du Stabat Mater (Rossini) (?)
' U. Y. G  t# c- T" n' M7 x% W! M( ~S.683, Serbisches Lied (Hohenzollern-Hechtingen, Prince FWC. von) (?)" p% z4 Q6 D. ^4 [' k
S.684, Barcarolle vénitienne (Pantaleoni) (?)# @( y0 |4 w+ A$ q; T3 f
S.685, Es hat geflammt die ganze Nacht (Grand Duchess Pavlovna) (?)
7 E" Q. u; S( g5 o/ D( O & K( [1 Y' L! v9 Q3 F- n- M
2.10 Recitations
# V( X( {; X8 `) cS.686, Helges Treue (Draeseke) (1860)
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 楼主| geci110 发表于 2015-7-22 18:35:55 | 显示全部楼层

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+ }  }3 L0 v# |
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3. Appendix
  g. T( Y3 u: V. v- A5 s: n' e2 H8 ?
3 `6 a" ]2 m3 e! Q9 |3.1 Unfinished Works2 Y3 z) J) b5 {- G: e

" _5 E- }8 Z3 R' O: a0 G1 ^S.687, Sardanapale (Byron) [opera, partly sketched, 111 pages] (?)
3 X9 i# W+ ~3 d/ S' T8 V7 |: zS.688, Oratorio - Die Legende vom heiligen Stanislaus [sacred choral] (1873-85); n1 F, s* X/ m6 N( u
S.688a, St Stanislaus fragment [solo piano, Library of Congress] (1880-86)
# F$ I/ S! H8 Z- SS.689, Singe, wem Gesang gegeben [secular choral] (1847)
) z% M0 D  s5 S; D9 }S.690, Revolutionary Symphony [unfinished, revised 1848] (1830)
/ o5 D# ]! z; t/ h/ {" \; E/ b( ]S.691, De Profundis [piano and orchestra, De Profundis - Psaume instrumental] (1834?)
  g4 n4 S/ w) t5 W  t# @7 a) pS.692, Violin Concerto [only sketched] (1860)( @; g/ P. T& P4 v2 R
S.692a, The Four Seasons String quartet (Vivaldi) (1880?)8 e& m) \( E  \4 Z
S.692b, Anfang einer jugendsonate [solo piano] (1825)* d: u1 Z- Y( m
S.692c, Allegro maestoso [solo piano] (1826). I  m$ R* k& _& X* D$ ]
S.692d, Rákóczi-Marsch [solo piano, first version, simplified, unfinished] (1839)5 O' `# Y2 Z9 D# A& ~5 u$ g
S.692e, Winzerchor (Prometheus) [solo piano] (1850)
5 R2 o! f' Y& z% JS.693, Deux marches dans le genre hongrois [solo piano, 2 pieces] (1840?)
2 H& u& G: r! b) i; S# A% _% f# `S.693a, Zwei Stücke aus der heilige Elisabeth [solo piano] (1862)5 q# V! x$ f/ j" ^/ q6 Z" |6 g/ e
S.694, Fantasie über englische Themen [solo piano] (1840?)
6 x! v8 ~+ q' J0 I% R' JS.695, Morceau en fa majeur [solo piano] (1843?), I5 K# F. Z8 @8 G1 k# L
S.695a, Litanie de Marie [solo piano] (1847)
; d" {% X* g5 z) r+ QS.695b, Zigeuner-Epos [solo piano, 11 pieces] (ca. 1848): H9 f6 w- [8 V) w% S7 j, d
S.696, Mephisto Waltz No.4 (1884) 第四梅菲斯特圆舞曲
$ W) g! `0 s5 N2 Q: [' HS.697, Fantasie über Themen aus Figaro und Don Giovanni (Mozart) [solo piano arrangement] (1842)& _9 d4 V3 Q" H, A
S.698, La Mandragore - Ballade de l'opéra Jean de Nivelle de L. Delibes [solo piano arrangement] (a. 1880)
  c5 O3 U9 k8 }! w( b/ b" WS.699, La Notte (Odes Funèbre no. 2) [solo piano arrangement] (1864-66)
( g4 r" e( l% i6 T7 Q5 k" KS.700, Grand Fantaisie (Variations) sur des thèmes de Paganini [first/second version; completed by Mezö] (1845)
) O; u3 j% L3 {' c2 nS.700a, Variations sur Le Carnaval de Venise (Paganini) [solo piano arrangement] (?)$ u( H% e! ~3 d) ]8 o( L
S.701, Den Felsengipfel stieg ich einst hinan [song] (?)
7 ^- a- w2 S0 n9 [6 ~S.701a, Allegro di bravura [orchestra, arrangement] (ca. 1830)% m3 I: }! ^5 g" I3 r
S.701b, Marie-Poème [solo piano] (1837)' Q9 O) ]. Q) P0 E8 [/ k5 ?6 ~
S.701c, Andante sensibilissimo [solo piano] (1880-86)
; L: K( X( k1 n- fS.701d, Melodie in Dorische Tonart [solo piano] (1860)8 S/ W  b" p4 k2 t8 s! `
S.701e, Dante fragment [solo piano] (1839)7 n9 |* E% [/ ^
S.701f, Glasgow fragment [solo piano] (?)
0 n# b# T1 D2 w( ~: k2 r0 |S.701g, Polnisch - sketch [solo piano] (1870-79), _: T& p! k# V# e5 h
S.701h/1, Operatic aria - and sketched variation [solo piano] (?)2 O# l# p9 w9 A4 Z1 r
S.701h/2, Valse infernale (Meyerbeer) - theme [solo piano arrangement] (?)! H, _$ O- b8 J
S.701j, Harmonie nach Rossini's Carità (La charité) [solo piano arrangement] (1847)
4 \4 |% Q& s6 F0 M# H$ C- N. \# oS.701k, Korrekturblatt (to an earlier version of La lugubre gondola) [solo piano] (1882)
; _, \) l# a6 [" W" M5 j4 ^* r3.2 Doubtful or Lost$ M8 l6 {  `0 \5 n

) {, E3 S1 M3 b) d) T) C% @3.2.1 Sacred Choral Works
, f1 I# B6 E' y4 |. Y! V0 L+ U# ^# @9 a/ M5 H
S.702, Tantum Ergo (1822)! `; a) t! `* B
S.703, Psalm 2 (1851)! J; m6 T! e: S& X
S.704, Requiem on the death of Emperor Maximilian of Mexico (?)& h: Q# Y3 n# V5 l9 _+ [
S.705, The Creation (?)4 x, e8 {2 c3 d+ _4 Y; ?6 t
S.706, Benedictus [doubtful] (?)
7 g0 b1 J) d* L. hS.707, Excelsior [arrangement, doubtful] (?)3 J( C4 n' g* c
3.2.2 Secular Choral Works
2 Q* y9 \6 |* c: i( p2 N% {4 y& t: j3 T5 Z4 Z
S.708, Rinaldo [doubtful] (ca. 1848)* i( ?. s# ]! {; L# x
3.2.3 Orchestral Works
$ \  O8 V' Q& m) e9 D7 O+ F
; X' k' p) I* @& O& g# Y) L/ {S.709, Salve Polonia [rediscovered, renumbered as S113] (1863)
- N7 F0 ~1 u) g1 ES.710, Funeral March (?)- `/ E" U: n" h$ b4 ?  p' H
S.711, Csárdás macabre [arrangement] (?)
9 q* N+ y* k0 O" xS.712, Romance oubliée [arrangement] (?)3 i, z7 P/ e) t! S
3.2.4 Piano and Orchestra' w  F! ~/ W1 l% y

' m3 k# x/ ]7 a1 B: r3 ?& aS.713/1, Piano Concerto in A minor (1825?)
" B2 \% d$ q, R) v& w% u! j3 RS.713/2, Piano Concerto (1825?)
8 H6 C' a/ L  n: gS.714, Piano Concerto in the Hungarian style [by Sophie Menter, renumbered as S126a] (1885)
0 Y4 A+ ^- z+ f; kS.715, Piano Concerto in the Italian style (?)/ c# J# F1 {1 M
S.716, Grande fantaisie symphonique [orchestral] (?)
3 W* f* H- }4 s8 N4 D" J% G3.2.5 Chamber Music! e9 I1 o  i8 Y* X; T

: \) o5 @7 C- V1 e/ X) G# P; z, ES.717, Trio (1825)
2 W7 U% L; B; K% c9 RS.718, Quintet (1825)/ q- p& ?# q+ b
S.719, The Four Seasons String Quartet (Vivaldi) [rediscovered, renumbered as S692a]
2 ?' _4 S8 j7 k4 a" x1 `S.720, Allegro moderato (?)
5 z' f5 p; v! q7 a  eS.721, Prelude (?)
. s0 W: A& Z! l# T& n# H  qS.722, La notte (Odes funèbre no.2) [rediscovered, renumbered as S377a] (1864-66)
! h2 Z0 e8 y% z" J+ u1 R0 [S.723, Tristia [arrangement, from Vallée d'Obermann S160/6] (1880-86 ?)2 }; A3 y9 j3 b) A
S.723a, Postlude on theme from Orpheus [arrangement] (?)5 l! E' B0 f/ `3 i" |# ^
3.2.6 Pianoforte Solo
+ ]; W# C' E9 G+ U( f  O
2 Z( b+ z/ x2 J: cS.724, Rondo and Fantasy (1824)
3 x6 F0 R+ g) s, y8 JS.725, 3 Sonatas (1825)1 l! E# P% C7 a, w+ P, n
S.726, Study (?)
) S# Y. u! n& |4 hS.726a, Valse (?)/ S( D, f) }3 y) D5 b
李斯特全部作品目录-5
7 l  N# E. j9 M
( ?( U1 h7 q, |  \S.727, Prélude omnitonique (?)1 X/ b& S0 N( Y# Q6 q
S.728, Sospiri (Fünf Klavierstücke) [rediscovered, renumbered as S192/5] (1879)
$ R# q5 @2 w/ e! I- E; JS.729, [rediscovered, renumbered as 42(?)]
8 v, X- L, g0 N+ R: @; x8 OS.730, Dem Andenken Petöfis (Petófi Szellemének) [rediscovered, renumbered as S195] (1877)) f+ @1 G( {1 q$ M  Y" Y# [# L
S.731, Valse élégiaque (?)
) M8 L  y" H1 H- _% ~, fS.732, Valse Oubliée No.4 [rediscovered, renumbered as S215/4] (1883-84)
) E" p$ }8 @* E* bS.733, Marche hongroise (in E flat minor) [rediscovered, renumbered as S233b] (1844)
. b& D' `7 \# c$ HS.734, Ländler (?)
3 d, E$ O8 m6 AS.735, Air cosaque (?)* O4 k# O" {' [
S.736, Kerepsi csárdás (?)
7 q, c, z% [* i. F4 PS.737, 3 morceaux en style de danse ancien hongrois (?)
1 C5 t" F$ i5 s3 ?6 KS.738, Spanish folksong arrangement (?)
2 v9 _% }& X  a  J% L$ M3.2.6.1 Arrangements
. V( n& {$ w8 ]; G  z3 ^  V5 Z& u- d% ?8 w# K
S.739, Corolian Overture (Beethoven) (?)
8 f" L( W) x0 g& a2 E* pS.740, Egmont Overture (Beethoven) (?)
  n+ i: ?0 T# V: US.741, Le carnaval romain - Overture (Berlioz) (?)  i; Z1 U, J' B' G% Y9 |
S.742, Duettino (Donizetti) (?)
0 L' O2 d! y# G. O+ m$ Q) z0 N) R  zS.743, Soldiers Chorus from Guonod's Faust (?)
' {# Y$ g/ a3 h8 ^S.743a, Fantasia on themes from Halévy's Guitarero (b. 1841)9 M- j, W) Q$ k% o; j: Q
S.744, Paraphrase on Act 4 of Kullak's Dom Sebastien (?)$ {/ e; z; S3 X+ z5 n" U/ U# V
S.745, Funeral March (?)' X$ O& `9 G6 i  @! ~( j+ g
S.746, Andante Maestoso (?)) d: R# h8 L+ L+ [6 v- _
S.747, Poco adagio (from Missa Solemnis) (?)
- Z% y: N8 r& `  FS.748, Overture to Mozarts "Die Zauberflöte" (?)
' n+ ?5 E/ z, R; K" `8 T: DS.749, Preussischer Armeemarsch (Radovsky) (?)
6 X! \/ D( M4 uS.750, Siege de Corynthe, Introduction (?)
) P9 g5 e! f5 a' L8 z" O& MS.751, Nonetto e Mose, Fantasia on themes by Rossini (?)
! u/ E- [! J6 `! Q& E; _8 s* X; LS.752, Gelb rollt (Rubinstein) (?)
+ X4 ^, d8 `- nS.753, Alfonso und Estrella, Act 1 (Schubert) (?)
3 d4 p3 f- {5 B! A8 f$ x2 n4 K0 TS.754, Seconda mazurka variata (Tirindelli) [rediscovered, renumbered as S573a] (1880)4 K2 w2 Y5 n; I  v0 m
3.2.7 Pianoforte Duet5 ~' L( `, Y1 h; ?, x0 C
; C; G" j- {2 R+ G- E' F
S.755, Sonata (?)" C4 ~' H. c( d
3.2.8 Two Pianofortes
9 G9 R$ ~! o4 N0 S) A$ v) M# {6 D, a5 Y/ Q* {6 T
S.756, Mosonyis Grabgeleit (?)% B5 W+ P/ n9 N* h( N% o
S.757, La triomphe funébre du Tasse (?)+ S5 r5 u4 t' w+ X' g6 L# V
3.2.9 Organ
* j" k1 p2 t8 n6 @5 D4 X2 {" A4 d# B( P
S.758, The Organ (Herder) (?): N! ^8 X. x; K8 Q! @
S.759, Consolation [arrangement] (?)
2 @1 q' V) G0 L9 k% y& gS.760, Cantico del sol di St. Francesco [arrangement] (?)
8 L0 e8 _$ Y' B9 a  `& G- d4 LS.761, Marche funèbre (Chopin) [arrangement] (?)
' D  M. }  V* s& q7 ^5 m3.2.10 Songs
2 M" W9 w$ M4 y: F4 X) k) e" A
$ T# `" k4 I. G/ _# TS.762, Air de Chateaubriand (?)
, J9 f. z" W" L8 b1 f7 Y/ XS.763, Strophes de Herlossohn (?)
" Y, P* N  o% J' A3 CS.764, Kränze pour chant (?)) d; L5 x" F4 y$ O7 T" i
S.765, Glöcken (Müller) (?)
1 H3 m# c" \' jS.765a, L'aube naît (Hugo) (1842?): X4 v4 \+ D9 t+ Y1 \6 a4 a3 A  W
S.766, Der Papsthymnus (?)
2 V. R0 B# V: w2 M4 ES.767, Excelsior (?)' ]) [( Z- w! |' N+ |3 P
3.2.11 Recitations
+ Z0 X8 ^. L& ^5 S0 x( F$ U) C! c7 U1 N, }8 P* t8 L2 A
S.768, Der ewige jude (Schubart) (?)
5 I$ N9 ^' ]  B+ f$ Z% e3.3 Supplement
: R5 O8 P6 B( N. e8 x. v- G
- p2 e+ `9 x% RS.990, Fantasy and Fugue on the chorale "Ad nos, ad salutarem undam" (played by Liszt to Walter Bache) [solo piano, arrangement] (b. 1862)
$ D+ o* n# x+ }, g7 @9 g( m( F. OS.991, Waltz in A major [chamber, arrangement] (?)
& o1 Z' B5 s7 c: eS.993, Wartburg Lieder (Scheffel) [orchestral, arrangement] (?)- ]2 D8 j. S5 x% R* |- S4 m$ N+ g- |
S.994, Grand solo caractéristique à propos d'une chansonette de Panseron [solo piano, arrangement] (1830-32)
, f( o6 o) r& k! ^& Q  l- U* t/ sS.995, Variations de bravoure sur des thémes de Paganini [unfinished] (1845)$ B. A* G0 J8 H( c' Q6 g
S.996, Stabat Mater [solo piano] (1870-79 ?)& E) ]8 O+ R. T2 H+ ~6 o' H! U
S.997, 5 Variationen über Romanze aus 'Joseph' (Méhul) (by Franz Xaver Mozart, attributed to Liszt) (ca. 1834)
$ S* a! B" ?. V4 i# S+ |7 Z  BS.998, Adagio in C [solo piano] (1841): d8 q8 ]" P( a! M2 o
S.999, Andante Maestoso [organ] (?)' [+ b, a  k" E4 Q3 H7 s
降E大调钢琴协奏曲(遗作)Piano Concerto in E flat Major Op.posth2 _3 z" M+ ?7 k1 D
2首悲歌 2 Elegies
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