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[中国作家] 李斯特全部作品目录

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geci110 发表于 2015-7-22 18:33:13 | 显示全部楼层 |阅读模式
李斯特最重要的作品是《浮士德交响曲》、《但丁交响曲》、《匈牙利狂想曲》、交响诗《前奏曲》、《马捷帕》、四首钢琴协奏曲、《B小调钢琴奏鸣曲》、《12首超技练习曲》和《旅行岁月》。
, _5 ~! s1 k) L5 o李斯特全部作品目录-1: p* F% q0 Q. ?3 ~' M4 ?
8 Y- l" e( b  e  j- u
1.1 Opera(歌剧)! K( c6 Z8 O6 J( v7 Q0 P
: _* X. N2 }4 f4 @) A
S.1, Don Sanche, ou Le chateau de l'amour (1824–25) 歌剧《唐切桑》
0 t' c9 V$ o/ Y! f. _/ ]7 s$ d* j8 Z( O1.2 Sacred Choral Works(神圣的合唱作品)
% z$ r4 S$ n% ]8 L6 f/ w3 L& d( @. b
S.2, The Legend of St. Elisabeth (1857–62) 清唱剧《圣伊丽莎白传奇》+ |7 U) _; m. ]7 M. z7 `5 g
S.3, Christus (1855–67) 清唱剧《基督》' v7 u4 e& ^  \( {
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》9 Z1 C0 ^3 [4 }/ \- B- h
S.5, Die heilige Cäcilia (1874)+ T8 n( h9 S3 l* A
S.6, Die Glocken des Strassburger Münsters (Longfellow) (1874)
* z. H. d% I0 R( K$ d+ t% I2 v! lS.7, Cantantibus organis (1879)
& f- \; W1 [4 Y4 l# p) YS.8, Missa quattuor vocum ad aequales concinente organo [first/second version] (1848, 1869)5 c3 L9 |9 L3 u  r
S.9, Missa solennis zur Einweihung der Basilika in Gran (Gran Mass) [first/second version] (1855, 1857–58)
& Q9 a( i" Z9 R8 r- q& l; [! tS.10, Missa choralis, organo concinente (1865)7 Y$ c+ C+ l8 I) g$ q
S.11, Hungarian Coronation Mass (1866–67)
) E2 ~' W  A. s  ~& }* }% {) ^0 w% S7 nS.12, Requiem (1867–68)
. c- j. N! y3 J' q: W4 ]S.13, Psalm 13 (Herr, wie lange ?) [first/second/third verion] (1855, 1858, 1862)
3 E) a- `0 N0 c; f2 zS.14, Psalm 18 (Coeli enarrant) (1860); \- q* i6 X7 ~5 @9 A
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)
  n# I8 E5 X" D/ X& xS.15a, Psalm 116 (Laudate Dominum) (1869)! f6 M: J8 ?- m% f
S.16, Psalm 129 (De profundis) (1880–83)0 y/ B, |2 h9 Y( o6 k( h, t  j$ x
S.17, Psalm 137 (By the Rivers of Babylon) [first/second version] (1859–62)
& E% P$ S* `" u+ K0 Q' O8 SS.18, Five choruses with French texts [5 choruses] (1840–49): ^/ \5 [. W" q, E# m5 V
S.19, Hymne de l'enfant à son réveil (Lamartine) [first/second version] (1847, 1862). B% V8 }- w2 a% a
S.20, Ave Maria I [first/second version] (1846, 1852)( p$ x  Q9 C8 Y8 q
S.21, Pater noster II [first/second version] (1846, 1848)5 q1 w  Y5 V3 ]6 R! G
S.22, Pater noster IV (1850)& n- F. E2 Y. `$ J0 m: G) ~
S.23, Domine salvum fac regem (1853)
0 ^5 C& z$ r4 g) US.24, Te Deum II (1853?)
0 Q  ]1 C. L1 n5 US.25, Beati pauperes spiritu (Die Seligkeiten) (1853)
# b5 [) h. \$ O! c# F( ]S.26, Festgesang zur Eröffnung der zehnten allgemeinen deutschen Lehrerversammlung (1858)
& Z: f5 A  G3 ^9 F1 w9 oS.27, Te Deum I (1867)' }- }$ |( B( D* s5 e7 J$ T
S.28, An den heiligen Franziskus von Paula (b. 1860)
% y/ ?% U1 Z5 b3 }% F" U5 tS.29, Pater noster I (b. 1860)/ w, ?. V7 F# f8 d; }
S.30, Responsorien und Antiphonen [5 sets] (1860). h8 }/ o+ F) |( b" a
S.31, Christus ist geboren I [first/second version] (1863?)& ~2 y. I2 x5 u1 f* P
S.32, Christus ist geboren II [first/second version] (1863?)
7 Z" t- E, o& B' ZS.33, Slavimo Slavno Slaveni! [first/second version] (1863, 1866)4 E/ |7 S0 y  ?7 e
S.34, Ave maris stella [first/second version] (1865–66, 1868)
7 S* a6 s! q  {7 ?  r3 zS.35, Crux! (Guichon de Grandpont) (1865), n5 b' v# W+ `! _( U
S.36, Dall' alma Roma (1866)+ x* ?3 c/ c/ |# {. ]6 e
S.37, Mihi autem adhaerere (from Psalm 73) (1868)3 _# L8 c* }# @8 h# g
S.38, Ave Maria II (1869)7 Y6 \1 ~+ ]" P* e, S
S.39, Inno a Maria Vergine (1869)
& {- A) A: E# y  @3 JS.40, O salutaris hostia I (1869?)+ T- D+ b7 y6 H! D+ ^: s( ^
S.41, Pater noster III [first/second version] (1869)/ R& ^: P9 r5 D( W; t. B, B) H
S.42, Tantum ergo [first/second version] (1869)5 n  g1 F# M/ O# X' F
S.43, O salutaris hostia II (1870?)- r% h7 J! Q1 V) n; c
S.44, Ave verum corpus (1871)
9 O; d5 U# Y- c' M  C7 _& L* {$ A$ SS.45, Libera me (1871)& a) w( Z# U" O
S.46, Anima Christi sanctifica me [first/second version] (1874, ca. 1874): c6 p' P& O9 K3 e4 T
S.47, St Christopher. Legend (1881)
! N' \  @, H; }  NS.48, Der Herr bewahret die Seelen seiner Heiligen (1875)
$ Q, I, }( W' C: O* A9 dS.49, Weihnachtslied (O heilige Nacht) (a. 1876)9 `( D# v1 z" O( Q) q
S.50, 12 Alte deutsche geistliche Weisen (Chorales) [12 chorals] (ca. 1878-79)
* R. M! ]5 p* p. B0 O) OS.51, Gott sei uns gnädig und barmherzig (1878)
( I# d9 q  c) ?* J1 U1 BS.52, Septem Sacramenta. Responsoria com organo vel harmonio concinente (1878)2 |2 e$ w- i2 u( P) W
S.53, Via Crucis (1878–79)0 E+ L2 A# p, d" Y: x4 d
S.54, O Roma nobilis (1879)# {* W. W6 v& K% c( k( J
S.55, Ossa arida (1879)
8 A; F: L  I+ m$ _! `( D+ C* l$ I! }( ZS.56, Rosario [4 chorals] (1879); @6 P/ Y( Z! k. b  a% a0 `" B; b# v
S.57, In domum Domino imibus (1884?)
3 `/ v2 Q' t, u( h2 US.58, O sacrum convivium (1884?)/ e# w; y/ h6 x1 t, D
S.59, Pro Papa (ca. 1880)( z) a1 c" V* i) @; O
S.60, Zur Trauung. Geistliche Vermählungsmusik (Ave Maria III) (1883)
# v6 q$ B( ^' B# V8 }' T) iS.61, Nun danket alle Gott (1883)
0 k( z8 N% D4 p1 Q5 E) ~+ ], JS.62, Mariengarten (b. 1884)
2 @1 S4 I: ?  \: |5 X; ^S.63, Qui seminant in lacrimis (1884)7 e. V. }( {4 q+ h, ?- ?
S.64, Pax vobiscum! (1885)
2 t4 O: j) V* h% [S.65, Qui Mariam absolvisti (1885)! i& B; X* ^7 v( U* U5 X
S.66, Salve Regina (1885)
  P3 e9 `  `/ s; ~8 Y( J  A0 N1.3 Secular Choral Works(世俗的合唱作品)
+ G7 y* H: ~4 y$ M4 w4 ?8 a" NS.67, Beethoven Cantata No. 1: Festkantate zur Enthüllung (1845)
7 i( n7 U* s  S# z, s$ ?6 MS.68, Beethoven Cantata No. 2: Zur Säkularfeier Beethovens (1869–70)
7 L9 y+ N+ G+ J1 ~$ N( OS.69, Chöre zu Herders Entfesseltem Prometheus (1850)
: I# q6 r5 {; D% _6 US.70, An die Künstler (Schiller) [first/second/third verion] (1853, 1853, 1856)
; r0 @+ n2 e! @4 I# j. n6 F0 SS.71, Gaudeamus igitur. Humoreske (1869)
8 O+ {6 F* K* L2 r( b( G: Z5 wS.72, Vierstimmige Männergesänge [4 chorals] (for Mozart-Stiftung) (1841)) T3 w& b$ g; D9 p
S.73, Es war einmal ein König (1845)# U* A$ r& w; v
S.74, Das deutsche Vaterland (1839); J% v5 {' W3 `' Z1 }4 l
S.75, über allen Gipfeln ist Ruh (Goethe) [first/second version] (1842, 1849)( |% U8 E% r. B" u
S.76, Das düstre Meer umrauscht mich (1842)- A- Y1 Z! s6 I; p
S.77, Die lustige Legion (A. Buchheim) (1846)0 o8 y! H+ ]+ M8 `0 y" P1 n
S.78, Trinkspruch (1843)
9 ^) X2 n1 G, J+ l( c0 g" _S.79, Titan (Schobert) (1842–47)
& G# }2 s& O" aS.80, Les quatre éléments (Autran) (1845)
& b" T5 e( C; G$ I$ G6 kS.81, Le forgeron (de Lamennais) (1845)
; g5 f' i1 M% h( r7 `% WS.82, Arbeiterchor (de Lamennais?) (1848)
* Y& ^( |3 M# ]4 F( @S.83, Ungaria-Kantate (Hungaria 1848 Cantata) (1848)- Q/ V7 ]$ D0 L2 ?8 @# N, ^
S.84, Licht, mehr Licht (1849)
- e3 t' w+ C& b; [& ~; DS.85, Chorus of Angels from Goethe's Faust (1849)
. m0 v5 q  N$ A" Z/ mS.86, Festchor zur Enthüllung des Herder-Dankmals in Weimar (A. Schöll) (1850)
" P1 j* ]3 T/ n: VS.87, Weimars Volkslied (Cornelius) [6 versions] (1857)5 R# L& y( b: T9 W; z) p/ J3 N
S.88, Morgenlied (Hoffmann von Fallersleben) (1859)& `  [5 @# H% M" e. @8 V, a. d
S.89, Mit klingendem Spiel (1859–62 ?)
+ g4 p4 p: t+ f4 q: D% mS.90, Für Männergesang [12 chorals] (1842–60): A7 t' e/ G9 w- q, ?4 o0 O
S.91, Das Lied der Begeisterung. A lelkesedes dala (1871)4 p  g' L5 g. A, {; F& c: Z
S.92, Carl August weilt mit uns. Festgesang zur Enthüllung des Carl-August-Denkmals in Weimar am 3 September 1875 (1875)! k+ r2 y  _" ~: N! f1 C/ n
S.93, Ungarisches Königslied. Magyar Király-dal (ábrányi) [6 version] (1883)
5 n8 Z' z4 F- y( r! f: DS.94, Gruss (1885?)
+ F' A8 c; n8 ]8 S+ Z4 ~/ q% l% ~1.4 Orchestral Works(管弦乐作品)
0 ^; B* ?& S$ z& v" D8 d) f3 }4 o% G6 N$ p/ P- {: N
1.4.1 Symphonic Poems(交响诗)7 r, S# s/ `4 _! }1 Q" N8 h8 k
2 a. G) [" y( k. b
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/ p5 r  Y* C/ g+ X! D" M/ R0 R
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》
8 g/ K- Y: q" Z1 VS.97, Poème symphonique No. 3, Les Préludes (1848) 第三交响诗“前奏曲”
, Q1 W$ r1 g( o& X! z9 I+ iS.98, Poème symphonique No. 4, Orpheus (1853–54) 第四交响诗 《奥菲欧》
  |, L3 R; M4 wS.99, Poème symphonique No. 5, Prometheus [first/second version] (1850, 1855) 第五交响诗《普罗米修斯》- J5 m3 F% z) X4 U5 Q! G, K$ n
S.100, Poème symphonique No. 6, Mazeppa [first/second version] (1851, b. 1854) 第六交响诗《马捷帕》8 ^; P, k# `* ^
S.101, Poème symphonique No. 7, Festklänge [revisions added to 1863 pub] (1853) 第七交响诗《节日之声》7 w$ d, L' s) y# r/ S* U! a. G
S.102, Poème symphonique No. 8, Héroïde funèbre [first/second version] (1849–50, 1854)  第八交响诗《英雄的葬礼》9 {/ u" f8 X, p0 h
S.103, Poème symphonique No. 9, Hungaria (1854) 第九交响诗《匈牙利》2 m; v% Y' J+ q; _8 p: U
S.104, Poème symphonique No. 10, Hamlet (1858) 第十交响《哈姆雷特》
( R( g8 ^7 `* P+ ^1 hS.105, Poème symphonique No. 11, Hunnenschlacht (1856–57) 第十一交响诗《匈奴之战》( [7 h# U" z& k
S.106, Poème symphonique No. 12, Die Ideale (1857) 第十二交响诗《理想》
8 D% P' V7 o( j8 I3 D* cS.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》+ A5 }$ M- Z( H: V" U
1.4.2 Other Orchestral Works(其他管弦乐作品)
+ v: H/ Y& _% K5 O+ D4 M" N, D* a
" G( K" i7 D) U9 E9 S+ E& fS.108, Eine Faust-Symphonie [first/second version] (1854, 1861)3 ^" `' q7 e* h) w
S.109, Eine Symphonie zu Dante's Divina Commedia (1855–56). X- d2 ^- ~" j! @* o
S.110, Deux épisodes d'apres le Faust de Lenau [2 pieces] (1859–61)- u) N: l0 _/ b' R9 F& [; A
S.111, Zweite Mephisto Waltz (1881)
! @* I2 _( o7 J+ m9 q* j8 D' jS.112, Trois Odes Funèbres [3 pieces] (1860–66)- ~: [* f$ N' |  Y! b
S.113, Salve Polonia (1863), V# B0 P: ]9 b9 _
S.114, Künstlerfestzug zur Schillerfeier (1857)
" p, |0 F4 C7 s  ~  rS.115, Festmarsch zur Goethejubiläumsfeier [first/second version] (1849, 1857)
6 R- w) n5 M3 j# S$ e0 K# BS.116, Festmarsch nach Motiven von E.H.z.S.-C.-G. (1857)
  r/ ^/ c, i1 l1 j9 ~3 j' N6 KS.117, Rákóczy March (1865)' _/ c$ x4 `# j
S.118, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (am 8 Juni 1867) (1870)% b$ E$ ?  V  I5 l5 F7 t% m: s. ~
S.119, Ungarischer Sturmmarsch (1875)
" A8 a% z. `9 F; i' k& c1.5 Piano and Orchestra(钢琴与乐队)
8 q: W9 h) E9 s3 T- S) L7 h
5 i3 I. d( `. C1 p* j/ q0 l6 ]9 X
) I+ L& _, _9 `* a7 K
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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)5 r+ A" S3 i: M
S.121, Malédiction (with string orchestra) (1833)  诅咒  钢琴与弦乐队7 ^  ?$ B  [8 @7 Q* |+ h7 b
S.122, Fantasie über Beethovens Ruinen von Athen [first/second version] (1837?, 1849)' _4 v9 ^! i9 }6 J
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  o6 a) R& r2 f0 z: F$ a  u
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
) y4 q# S) y7 ~, c" z  d! US.125, Piano Concerto No. 2 in A major [first/second version] (1839, 1849) A大调第二钢琴协奏曲: j9 Z% n; }4 k( O5 v( i9 |! D
S.125a, Piano Concerto No. 3 in E flat (1836–39)
# s, G" Z& o, X7 o: t5 e: I0 VS.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
! ^* G; j8 k, A$ K% p5 yS.126a, Piano Concerto "In the Hungarian Style" [probably by Sophie Menter] (1885)4 b: U- g9 C7 I/ j/ @# c
1.6 Chamber Music(室内乐等)( Z* x- Z& Z! H& @8 d2 {

% t7 j; {9 z- D9 J2 o: R/ oS.126b, Zwei Waltzer [2 pieces] (1832)" t1 {9 i( Y8 N

* D, z. i0 Q' v3 ]/ `8 L9 BS.127, Duo (Sonata) - Sur des thèmes polonais (1832-35 ?)
. c1 C8 T7 t- U- p8 R, sS.128, Grand duo concertant sur la romance de M.Lafont Le Marin [first/second version] (ca. 1835-37, 1849)6 U% r4 \7 o2 A4 H: ^* L$ a/ _
S.129, Epithalam zu Eduard. Reményis Vermählungsfeier (1872)
1 h; e: F7 T/ O& `( s0 GS.130, élégie No. 1 [first/second/third version] (1874)
2 |- N8 P* G7 `% wS.131, élégie No. 2 (1877)0 A* c( z9 B- f! ]: t  T
S.132, Romance oubliée (1880)" P- r7 Q, }0 q2 H2 Y3 L' O& v
S.133, Die Wiege (1881?)
3 a+ H8 X+ Y) [0 u! L% h) LS.134, La lugubre gondola [first/second version] (1883?, 1885?)8 z2 s% R/ e! e, X
S.135, Am Grabe Richard Wagners (1883)1 d6 t; _$ @8 t$ R: x: \5 S
1.7 Piano Solo
9 n! S4 R/ k' o  d6 U4 I
: g& K; _5 H4 @, P1.7.1 Studies(钢琴练习曲)3 i- Z. M. I) A; t1 v

) m% n' R% z1 X! F: p. T) }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 `1 n' T4 k) M; N; J5 xS.137, Douze grandes études [second version, 12 pieces] (1837) 《12首超技练习曲》, p# s8 v" |" q
S.138, Mazeppa [intermediate version of S137/4] (1840) 练习曲“玛捷帕”' Z6 D0 l$ ^, [
S.139, Douze études d'exécution transcendante [final version, 12 pieces] (1852) 12首超技练习曲4 }  L9 m9 n# P) i( |4 J- L& r
S.140, études d'exécution transcendante d'après Paganini [first version, 6 pieces] (1838) 帕格尼尼超技练习曲5 r; b+ W. M4 o+ {- S
S.141, Grandes études de Paganini [second version, 6 pieces] (1851)  6首帕格尼尼大练习曲
3 e7 a; f) N" A+ M9 uS.142, Morceau de salon, étude de perfectionnement [Ab Irato, first version] (1840) 高级练习曲“沙龙小品”/ K( s. [. [3 d( c- ^0 s
S.143, Ab Irato, étude de perfectionnement [second version] (1852) 高级练习曲“愤怒”# A6 L* J' D4 F6 S
S.144, Trois études de concert [3 pieces] (1848?)  3首音乐会练习曲
2 V/ `& E% p5 p! i$ ?1.    Il lamento& o, q; |9 d+ l0 r0 Z- Y1 w* r
2.    La leggierezza
( e4 Y" J4 i6 h% v& v+ R5 Q3.    Un sospiro
1 D3 @9 X( t2 l0 h' C' v: nS.145, Zwei Konzertetüden [2 pieces] (1862–63)  2首音乐会练习曲
' {' y0 A$ p3 a' D) _! m' F1.    Waldesrauschen
; ^7 {* M# d- o) C: W, O2.    Gnomenreigen7 E- ]+ j' e+ n/ ^* {; j2 ]& w
S.146, Technische Studien [68 studies] (ca. 1868-80)  钢琴技巧练习
/ m/ y! D9 t" g- C2 ?6 L1.7.2 Various Original Works(各种原创作品)
8 T; @7 v; \" t9 i8 L5 z; _- g% h/ R# w( @, @0 n, n. i( b- Q' l: Z
S.147, Variation on a Waltz by Diabelli (1822)  狄亚贝利圆舞曲主题变奏曲8 R. y# ]2 s9 ~# s. l
S.148, Huit variations (1824?) 降A大调原创主题变奏曲  e0 d: j" Z! G% p3 T
S.149, Sept variations brillantes dur un thème de G. Rossini (1824?)
" U; B5 I- f, L, \+ S- O6 HS.150, Impromptu brilliant sur des thèmes de Rossini et Spontini (1824) 罗西尼与斯蓬蒂尼主题即兴曲
6 u; `8 M0 o/ _7 Q( [; b/ L% SS.151, Allegro di bravura (1824) 华丽的快板
; L$ w8 ?' i: t: jS.152, Rondo di bravura (1824) 华丽回旋曲
& _1 D/ K2 P, B: T6 Y! Y/ }- \S.152a, Klavierstück (?)
$ ~" C# n( l0 fS.153, Scherzo in G minor (1827) g小调谐谑曲
5 s9 Q5 J. x  n; gS.153a, Marche funèbre (1827)1 \: x8 t# w8 |- G- d) J
S.153b, Grand solo caractèristique d'apropos une chansonette de Panseron [private collection, score inaccessible] (1830–32) [1]
' X/ \( z0 D% `! E+ HS.154, Harmonies poétiques et religieuses [Pensée des morts, first version] (1833, 1835) 宗教诗情曲
9 V7 o  q% q9 F% F  s# qS.155, Apparitions [3 pieces] (1834) 显现 三首钢琴小品
9 b* l6 {+ m2 C5 H. g3 l! c$ dS.156, Album d'un voyageur [3 sets; 7, 9, 3 pieces] (1835–38) 旅行者札记+ Q9 W4 T7 P  B
S.156a, Trois morceaux suisses [3 pieces] (1835–36), l2 V- B% g/ {) o: c: F5 ~
S.157, Fantaisie romantique sur deux mélodies suisses (1836) 浪漫幻想曲
) g- ^2 [  y. L$ b& a4 bS.157a, Sposalizio (1838–39)
0 F. O) m3 a3 M; e) ]S.157b, Il penseroso [first version] (1839)) G# S5 |* h" r- s4 T
S.157c, Canzonetta del Salvator Rosa [first version] (1849)
/ R+ `, \4 @$ k% ES.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& Q5 k1 J( y9 H( a
S.158a, Paralipomènes à la Divina Commedia [Dante Sonata original 2 movement version] (1844–45)
  D8 h; n- R8 _3 S  S8 s* Y. TS.158b, Prologomènes à la Divina Commedia [Dante Sonata second version] (1844–45)
9 B. T- k/ c5 S0 N! fS.158c, Adagio in C major (Dante Sonata albumleaf) (1844–45)
- C+ X- I, l4 b( J  yS.159, Venezia e Napoli [first version, 4 pieces] (1840?)  威尼斯和拿波里, C3 U. s2 _& ]0 Y/ Z+ O
S.160, Années de pèlerinage. Première année; Suisse [9 pieces] (1848–55)  旅行岁月(第一集)- 瑞士游记
: B. n3 d. B; q, k2 {S.161, Années de pèlerinage. Deuxième année; Italie [7 pieces] (1839–49) 旅行岁月(第二集)- 意大利游记* P; W. @* w2 p* ]- z
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
8 k$ D9 Y( q1 o: w9 B. h3 R' B/ VS.162a, Den Schutz-Engeln (Angelus! Prière à l'ange gardien) [4 drafts] (1877–82)
  L6 _( l5 J2 [1 k/ c) ?- m1 w0 iS.162b, Den Cypressen der Villa d'Este - Thrénodie II [first draft] (1882)
2 G& d/ R7 Y2 Y- n0 Z  JS.162c, Sunt lacrymae rerum [first version] (1872)! F+ D7 t0 V- E, W' T0 ?# x
S.162d, Sunt lacrymae rerum [intermediate version] (1877)
' y' _, d' k/ f0 D. yS.162e, En mémoire de Maximilian I [Marche funèbre first version] (1867)
4 V8 L7 w# [8 ~7 x. mS.162f, Postludium - Nachspiel - Sursum corda! [first version] (1877)  o1 a2 h8 O" V2 ?
S.163, Années de pèlerinage. Troisième année [7 pieces] (1867–77)   旅行岁月(第三集)
% N  y" _0 G+ [2 a- }( r% r  }S.163a, Album-Leaf: Andantino pour Emile et Charlotte Loudon (1828) [2] 降E大调纪念册的一页* }" }0 \% T2 b& F* b. x* y
S.163a/1, Album Leaf in F sharp minor (1828)降E大调纪念册的一页
4 A) D4 f( ^9 ~8 }: }$ S) h" \3 JS.163b, Album-Leaf (Ah vous dirai-je, maman) (1833)& W2 w! g8 i$ w. g$ x: o7 b8 a7 Q
S.163c, Album-Leaf in C minor (Pressburg) (1839)( |( a  z, w# P* ]8 O3 X( J2 R
S.163d, Album-Leaf in E major (Leipzig) (1840); U( N9 _- f6 C( @; \
S.164, Feuille d'album No. 1 (1840) E大调纪念册的一页* Y1 P8 v- C8 u: g
S.164a, Album Leaf in E major (Vienna) (1840)
/ Z8 s. C9 {9 }4 N9 D' _S.164b, Album Leaf in E flat (Leipzig) (1840)
- ^8 t; |1 a( C: H  |S.164c, Album-Leaf: Exeter Preludio (1841)
% W( e/ S; p# V5 E. U& M3 E' V! ZS.164d, Album-Leaf in E major (Detmold) (1840)2 x5 i& P9 g( W5 H/ I
S.164e, Album-Leaf: Magyar (1841)" c! J) Z, B  _' S8 U
S.164f, Album-Leaf in A minor (Rákóczi-Marsch) (1841)3 G1 f, k0 ?' M- H$ Q$ ?3 w9 {
S.164g, Album-Leaf: Berlin Preludio (1842)
4 Z. V2 I; J- Z& B# \4 [S.165, Feuille d'album (in A flat) (1841) 降A大调纪念册的一页
  ]3 `0 Y* \* G0 j0 h2 s3 PS.166, Albumblatt in waltz form (1841) A大调圆舞曲风格纪念册的一页, L7 E; ^: X9 O# s, k
S.166a, Album Leaf in E major (1843)$ W* a7 @& b0 @
S.166b, Album-Leaf in A flat (Portugal) (1844)- \( g8 o+ a6 ?* H4 s1 ~, A! ~2 G
S.166c, Album-Leaf in A flat (1844)
/ F6 \+ H$ H0 ^) o, ~S.166d, Album-Leaf: Lyon prélude (1844)
5 W( l5 q  Y; t$ w0 i' ~4 a" r8 FS.166e, Album-Leaf: Prélude omnitonique (1844)
* M4 y3 p! R0 W( r0 Y, yS.166f, Album-Leaf: Braunschweig preludio (1844)
  I, t0 X6 C) z6 Y) a1 d2 F7 e# TS.166g, Album-Leaf: Serenade (1840–49)
1 ~* f# J: F4 \: a- s' ^S.166h, Album-Leaf: Andante religioso (1846)0 H" A  l$ }5 f  ~- {1 r3 k- I0 b1 N
S.166k, Album Leaf in A major: Friska (ca. 1846-49)
% B! p# c: h2 j9 F8 IS.166m-n, Albumblätter für Prinzessin Marie von Sayn-Wittgenstein (1847)
5 y0 O0 C- m; N; h" }9 ES.167, Feuille d'album No. 2 [Die Zelle in Nonnenwerth, third version] (1843) a小调纪念册的一页+ b) v; j% {! y: d, b# I, O
S.167a, Ruhig [catalogue error; see Strauss/Tausig introduction and coda]1 a5 f* d$ M2 `0 H  e
S.167b, Miniatur Lieder [score not accessible at present] (?)
2 r' }. P5 }6 K/ j9 vS.167c, Album-Leaf (from the Agnus Dei of the Missa Solennis, S9) (1860–69): O0 u% x9 W1 \# D5 a. z7 Y, ^' g
S.167d, Album-Leaf (from the symphonic poem Orpheus, S98) (1860)5 l8 o/ e  l3 c, u
S.167e, Album-Leaf (from the symphonic poem Die Ideale, S106) (1861)% B( B) C. W$ ^! \5 T  [
S.167f, Album Leaf in G major (ca. 1860)8 d2 ~+ c/ ~# P& a  `0 n
S.168, Elégie sur des motifs du Prince Louis Ferdinand de Prusse [first/second version] (1842, 1851) 悲歌
  a' K4 r: C0 a" e. _+ u4 B& A8 dS.168a, Andante amoroso (1847?), X# g; O  t" V3 ]+ u, Q2 W* s
S.169, Romance (O pourquoi donc) (1848) e小调浪漫曲
* s5 ?$ {% p) {2 j6 MS.170, Ballade No. 1 in D flat (Le chant du croisé) (1845–48) 叙事曲一
. i; _. |* H" ^1 u- x9 a4 z- ?S.170a, Ballade No. 2 [first draft] (1853)
8 A$ v1 H- A  p' ^% j5 c4 hS.171, Ballade No. 2 in B minor (1853) 叙事曲二
, g% e$ D( b% M4 DS.171a, Madrigal (Consolations) [first series, 6 pieces] (1844)4 D7 ]: l9 B! Y5 r% C
S.171b, Album Leaf or Consolation No. 1 (1870–79)
" [6 M+ p, h( lS.171c, Prière de l'enfant à son reveil [first version] (1840)
- n5 }6 A- c* P8 ]0 k/ z5 ?S.171d, Préludes et harmonies poétiques et religie (1845)5 }1 J/ T6 [7 N% u! n2 d- ^5 B
S.171e, Litanies de Marie [first version] (1846–47)( p) y6 @/ c& P! _( e
S.172, Consolations (Six penseés poétiques) (1849–50) 6首安慰曲
4 f( G; j: m) c5 LS.172a, Harmonies poétiques et religieuses [1847 cycle] (1847)
' m0 B6 i- k' z1 Q! h: SS.172a/3&4, Hymne du matin, Hymne de la nuit [formerly S173a] (1847)# e; C/ W3 S0 ?! `/ G9 C
S.173, Harmonies poétiques et religieuses [second version] (1845–52) 诗与宗教的和谐
( g1 p: c1 Y) T0 dS.174, Berceuse [first/second version] (1854, 1862) 摇篮曲
4 I/ D  E: F" q4 M4 [& ?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)  {9 u, y/ q+ \# @+ x6 ]
2.    St. François de Paule marchant sur les flots (Walking on the Waves)' c. d+ Q7 R" ?* `- M
S.175a, Grand solo de concert [Grosses Konzertsolo, first version] (1850)4 n' e2 W0 q7 E" a7 m
S.176, Grosses Konzertsolo [second version] (1849–50 ?) 独奏大协奏曲3 s( F$ l& M, }% u& H- D3 S
S.177, Scherzo and March (1851) 谐谑曲与进行曲$ G: [( R! P# A9 v9 {# l
S.178, Piano Sonata in B minor (1852–53)  b小调钢琴奏鸣曲
+ I5 O3 P3 i" G* U; U, J5 u8 T% H9 LS.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
; Z* f9 |7 U( [2 Z/ X. }  @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7 a1 K; X" u. y& ?1 F% ~+ }& g
S.181, Sarabande and Chaconne from Handel's opera Almira (1881)
1 a- G" u6 h7 Q7 j0 ~) iS.182, Ave Maria - Die Glocken von Rom (1862) 圣母颂“罗马的钟声”2 W, E" d: B* h
S.183, Alleluia et Ave Maria [2 pieces] (1862) 哈利路亚与圣母颂
: ~% \/ r" N4 W: o4 U& q! wS.184, Urbi et orbi. Bénédiction papale (1864): i1 R3 \& \$ c8 c- S
S.185, Vexilla regis prodeunt (1864)
2 j" L( G& S/ h1 ^6 l# A0 ]S.185a, Weihnachtsbaum [first version, 12 pieces] (1876)
5 U7 ^6 U. ~/ g& P, V4 T% m1 HS.186, Weihnachtsbaum [second version, 12 pieces] (1875–76) 钢琴曲集《圣诞树》0 F* ~8 m- v! o3 y. H$ t
S.187, Sancta Dorothea (1877) 圣多萝西娅( }+ e  k" g' r) w& w
S.187a, Resignazione [first/second version] (1877)' T  P8 T# i# x
S.188, In festo transfigurationis Domini nostri Jesu Christi (1880) 我主耶稣基督之变形7 s% G8 l5 Q8 p0 b8 i9 R% @7 V5 b
S.189, Klavierstück No. 1 (1866)
+ P) Y+ w% O4 Z8 n, G; [& _! @S.189a, Klavierstück No. 2 (1845); ]! V8 _5 v. ]' h# K3 [
S.189b, Klavierstück (?)- o) D6 ^* u( c) p5 U" t
S.190, Un portrait en musique de la Marquise de Blocqueville (1868)
* v7 [" Z# B2 S! V- {S.191, Impromptu (1872) 升F大调即兴曲“夜曲”- N3 k. o2 r0 ?  f
S.192, Fünf Klavierstücke (for Baroness von Meyendorff) [5 pieces] (1865–79) 5首钢琴小品0 U: y3 K5 N) f* o) ?7 X
S.193, Klavierstuck (in F sharp major) (a. 1860) 升F大调钢琴小品
. M: e( m' t. m- t, OS.194, Mosonyis Grabgeleit (Mosonyi gyázmenete) (1870) 在莫佐尼墓前) n( p# f' D! L6 M7 B$ ^' H5 n
S.195, Dem andenken Petofis (Petofi Szellemenek) (1877) 纪念裴多菲
* A; f6 o+ d' w, \- ?S.195a, Schlummerlied im Grabe [Elegie No 1, first version] (1874)
! j: K/ R; B. r+ n! x8 D1 d) YS.196, élégie No. 1 (1874)9 C/ t. Y0 C8 m0 l9 {- m3 C
S.196a, Entwurf der Ramann-Elegie [Elegie No 2, first draft] (1877)
! C) C- g; r  U" Y' pS.197, élégie No. 2 (1877)
, |2 ?. E7 Z: q  X+ L" R- _2 iS.197a, Toccata (1879–81) 托卡塔0 t2 \& R; l3 `3 R% S5 j
S.197b, National Hymne - Kaiser Wilhelm! (1876), b+ n! Z: Z' y4 S6 H7 z
S.198, Wiegenlied (Chant du herceau) (1880) 摇篮曲
+ T$ z9 B( X+ e* \5 KS.199, Nuages gris (Trübe Wolken) (1881) 灰色的云
" ^; Q) P: w5 p! w0 q; AS.199a, La lugubre gondola I (Der Trauergondol) [Vienna draft] (1882)
0 n# F) n1 Q! \9 O* QS.200, La lugubre gondola [2 pieces] (1882, 1885) 葬礼小船
  ]' L, r2 b: N9 a: F( P& Z; `/ [2 ]) L- ]% l9 r' M) v
李斯特全部作品目录-2
5 R( z% U8 H1 ]/ L$ O2 [# a( a6 A1 k6 f
S.201, R. W. - Venezia (1883) 告别瓦格纳和威尼斯
3 c; C; {3 ?" y, z5 AS.202, Am Grabe Richard Wagners (1883) 在瓦格纳墓前
/ ^3 P+ d. V' [7 V2 FS.203, Schlaflos, Frage und Antwort (Nocturne after a poem by Toni Raab) (1883) 夜曲“沉睡,思考和回答”
8 F% M! r$ O; w8 v' F6 HS.204, Receuillement (Bellini in Memoriam) (1877) 冥想
. \/ s8 r& [: B& iS.205, Historische ungarische Bildnisse (Magyar arcképek) [original version, 7 pieces] (1885) 匈牙利历史人物肖像$ [8 s# y2 D2 D7 C6 y% p
S.205a, Historische ungarische Bildnisse [revised order and conclusion, 7 pieces] (1885)
' s9 f) y1 |6 S' E5 O9 V; @S.206, Trauervorspiel und Trauermarsch (1885) 葬礼前奏曲和葬礼进行曲
& G, c' }9 {! B% |2 ~S.207, En rêve. Nocturne (1885) 夜曲“梦中”
) q$ m% f; [7 y) t4 X' [S.207a, Prélude à la polka de Borodine (and Borodin's Polka) (1880)6 f8 |; X0 [1 r) E
S.208, Unstern: sinistre, disastro (1880–86) 凶兆、灾难7 ]7 V6 `5 t' P
1.7.3 Works in Dance Form(为舞蹈的作品)& B  [: R9 U' ^! T" ?

( c: Q# N. s  m4 }( pS.208a, Waltz (in A major) (b. 1825) A大调圆舞曲' r7 K" ^) y  }/ }
S.209, Grande valse di bravura [first version of S214/1] (1835) 华丽的大圆舞曲
1 H+ K* ]2 \0 s- |7 b8 j7 fS.209a, Waltz (in E flat) (1840)% r/ A1 R4 e* s8 v& T
S.210, Valse mélancolique [first version of S214/2] (1839) 忧郁圆舞曲* V9 O1 F& z5 z$ z# S& _4 m9 |
S.210a, Valse mélancolique [intermediate version] (1840)
. H  y8 r7 j: p; L" k/ `9 F+ a% {S.210b, Valse (in A major) (1830–39)7 m4 j( h5 r: ^
S.211, Ländler (in A flat major) (1843) 降A大调兰德勒舞曲
7 m* x! [' ?, g* Z, r5 KS.211a, Ländler (in D major) (1879)3 S" o3 M1 O2 g
S.212, Petite valse favorite [first/second version] (1842, 1843)
% }! Q5 W! V6 ?  X0 j# h' I6 w5 VS.212b, Mariotte. Valse pour Marie (1840)
0 a  W* _9 _+ @4 d1 r  e+ |S.213, Valse-impromptu (1850?) 即兴圆舞曲$ u* H  R3 |6 u$ m7 Z" [
S.213a, Valse-impromptu [with later additions] (1880)  q% {) o% @; g! U& j* X6 P
S.214, Trois caprice-valses [3 pieces] [second versions of S209, S210, S401] (1850?)( g7 H7 q- u7 p8 y6 Y" F; n, }: g
S.214a, Carousel de Madame Pelet-Narbone (ca. 1875-81)& |( H* Y( w4 y2 ^2 s; n
S.215, Valses oubliées [4 pieces] (1881–84) 4首被遗忘的圆舞曲& q, v7 h" e0 [9 E! d) C
S.215a, Dritter Mephisto-Walzer (Mephisto Waltz No. 3) [first draft] (1883)
$ J: ~: Z! n' V8 CS.216, Dritter Mephisto-Walzer (Mephisto Waltz No. 3) (1883) 第三梅菲斯特圆舞曲
  X; H/ V- S9 U; {, HS.216a, Bagatelle sans tonalité (1885)
# Q# O8 _$ P" ]# SS.216b, Vierter Mephisto-Walzer (Mephisto Waltz No. 4) [first version] (1885)  第四梅菲斯特圆舞曲
( p7 b7 N/ ^# I( Z$ H1 F. \S.217, Mephisto Polka [first/second version] (1883) 梅菲斯特波尔卡
; o1 ?8 ?/ B. D7 I2 PS.218, Galop (in A minor) (1841?) a小调加洛普舞曲
4 K) g4 t& ]* T  QS.219, Grand galop chromatique [original version] (1838) 华丽的半音阶加洛普舞曲0 a/ e( \% m2 D+ q& f! ~/ ?
S.219bis, Grand galop chromatique [simplified version] (1838)
. P6 m' N7 G( c8 B! xS.220, Galop de Bal (1840?)8 O4 i# {4 S- g+ _
S.221, Mazurka brillante] (1850) 华丽玛祖卡
) R5 k) [/ h) w6 \- FS.221a, Mazurka in F minor [Not by Liszt?] (?)" u" m) r) H4 r& r3 P( X8 w
S.222, [catalogue error; same as S212]
* u, e0 ^4 R2 D  a3 z+ K( s, @S.223, Deux Polonaises [2 pieces] (1851) 2首波洛奈兹舞曲" @3 K9 O/ [( v9 o& c2 |" l
S.224, Csárdás macabre (1881–82)
7 b8 {7 I$ D2 M- X8 lS.225, Two Csárdás [2 pieces] (1884)7 F3 Z: ?  s5 m8 e  K' H1 u
S.226, Festvorspiel (1856)
; _+ |9 b, X2 p* z- L( xS.226a, Marche funèbre (1827)
5 g$ `4 V' z4 V1 l# f/ ~9 MS.227, Goethe Festmarsch [first version] (1849)
$ `( S8 k1 w3 p4 w. I( [9 QS.228, Huldigungsmarsch [first/second version] (1853)7 j1 ?$ k5 h' O' ^
S.229, Vom Fels zum Meer! - Deutscher Siegesmarsch (1853–56)
+ S) J" `) O, N! [- o/ eS.230, Bülow-Marsch (1883)1 B) S$ M4 A0 v7 N% Q
S.230a, Festpolonaise (1876): ~! T7 P# s, k2 G* F+ V
S.231, Heroischer Marsch in ungarischem Stil (1840)/ l- h: X% `% n0 L4 [
S.232, Ungarischer Sturmmarsch [earlier version of S524] (1843?)
" ^  S6 Y, g$ Q- h, ZS.233, Ungarischer Geschwindmarsch (1870)
$ B5 R# h4 B5 }( n: G- ?3 }S.233a, Siegesmarsch. Marche triomphale (Victory March) (?)% N" W  z9 S4 i  P/ }  g4 G5 @: n6 R
S.233b, Marche hongroise (in E flat minor) (1844)$ f4 w0 N9 k. t+ f1 [
1.7.4 Works on National Themes(主题作品)
6 a- ?# R5 X3 z) [% J% Z' f" M# C* M2 ?5 c( s+ W
1.7.4.1 Czech
7 O/ r$ o  W" \8 w' H1 Q
$ @: F) c% J1 k0 k% dS.234, Hussitenlied (Melody by J.Krov) (1840)5 r. u; _+ h% H6 P8 ]
1.7.4.2 English; r# J) `- T5 n- h

( b4 f. A% z. V0 `0 w, l5 D3 eS.235, God Save the Queen (1841)$ |: m5 I# K4 J5 A
1.7.4.3 French; ]. a2 O6 C9 @0 H' U- G0 i
, q+ a, h( U& P
S.236, Faribolo Pasteur and Chanson du Béarn [2 pieces] (1844)
+ s1 f2 l. J: K- }( A9 GS.237, La marseillaise (1872?)
4 h4 a; D: q6 [3 m/ CS.238, La cloche sonne (1850?)
  R, E# V* C4 p7 D2 t: u7 jS.239, Vive Henri IV (1870-80 ?)
3 u& v: [- v8 L1.7.4.4 German
% H/ o3 g* S: B, W, I. E. X$ T5 F8 C
S.240, Gaudeamus igitur. Concert paraphrase [first/second version] (1843, 1853)2 j  F$ O. t) p& a- U) x
1.7.4.5 Hungarian  K; A0 s" B7 A1 \

% v5 ]5 ^+ O. r6 oS.241, Hungarian Recruiting Songs (Zum Andenken) (By Fáy & Bihari) (1828)- w4 }. O( Z7 L! X& G
S.241a, Ungarische Romanzero (Hungarian Songbook) [18 pieces] (1853)( A3 f" d" `) F7 @2 {+ z2 M
S.241b, Magyar tempo (1840)$ Q, b  E( C# ^: T
S.242, Magyar Dalok: Magyar Rapszódiák [21 pieces] (1839–47)/ Y; G! N- H  a1 A
S.242a, Rákóczi-Marsch [first version] (1839–1840)- j* x) X% X; S- W# a/ Z: f( C
S.243, Ungarische National-Melodien [3 pieces] (ca. 1843)* {: i2 o0 o  T, f* w  ]% U- r/ x
S.243a, Célèbre mélodie hongroise (a. 1866)! G7 I$ t9 ]3 l' c
S.244, Hungarian Rhapsodies (Rapsodies hongroises) [19 pieces] (1846–86)  19首匈牙利狂想曲
1 J5 k8 {$ y; }; w7 DS.244a, Rákóczi-Marsch [from orchestral version] (1863)
" H  ]6 u5 V" E: v, i8 R  US.244b, Rákóczi-Marsch [simplified version of S244a] (1871)
8 p% J: o- l) h. ]: |1 V9 MS.244c, Rákóczi-Marsch [popular version] (?)
2 _8 m0 J7 A1 b+ [" ~+ ]  P: OS.245, Fünf ungarische Volkslieder (Abranyi) [5 pieces] (1873). o( O6 L5 I9 l
S.246, Puszta-Wehmut (A Puszta Keserve) (1880–86 ?), q+ B* O- M' M, a' i/ @  L: P
1.7.4.6 Italian9 }8 J: X  v1 T2 g- h6 _" G

) ?& b3 l+ Z2 X* U  \S.248, Canzone Napolitana [first/second version] (1842)
* H6 p8 q! P' q. ]  Y1.7.4.7 Polish
. [0 p0 v  l' X  B7 ]8 C$ G5 T; e5 [) D7 Z$ F2 i" p; y" u
S.249, Glanes de Woronince [3 pieces] (1847–48)( a5 s3 R5 B5 I# D
S.249a, Mélodie polonaise [short draft] (1871)
; ]' d# n8 e4 q/ A% L1 r! _S.249b, Dumka (1871)
4 c8 X; m% n" F# G& v! F9 V0 k- mS.249c, Air cosaque (1871)  g8 v2 b) c3 ]* s5 V& g8 J
1.7.4.8 Russian$ d8 V1 O* c" j' F4 \

/ k  ]+ x; h! Y3 B& r4 u& R- HS.250, Deux mélodies russes. Arabesques [2 pieces] (1842)) h* q/ g! u0 a: {
S.250a, Le rossignol (Alyabyev) [first version of S250/1] (1842)
/ w/ {9 Q3 o: o& t: `+ j! Z3 |2 m) SS.251, Abschied. Russisches Volkslied (1885)4 a  P# Z: c5 B
1.7.4.9 Spanish5 G+ U: ]; A: {; ?3 e% ~. j- z3 l" t
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 楼主| geci110 发表于 2015-7-22 18:34:31 | 显示全部楼层
S.252, Rondeau fantastique sur un thème espagnol, El Contrabandista (Garcia) (1836)
5 k/ K, I) y1 }7 s+ xS.252a, La romanesca [first/second version] (ca. 1832, b. 1852), U0 K' l/ v: U6 `; u. `3 z0 J; g
S.253, Grosse Konzertfantasie über Spanische Weisen (1853)% N; H! f$ T/ d" w7 n  r
S.254, Rhapsodie espagnole (1863?) 西班牙狂想曲
% V$ M; r1 `% s2 n" p. IS.254x, Rapsodie espagnole [orchestrated by Feruccio Busoni] (?)8 {0 u- Y# W8 K. W$ `# C% h
1.8 Piano Duet(钢琴二重奏), {0 C1 w- z1 O, K: M8 z+ _
( ^6 p1 [" I+ F, O- f4 N. @/ I
S.255, Festpolonaise [now S619a] (1876). `- Y* x6 @# B/ y/ N. W
S.256, Variation on the Chopstick Theme (1880)
! x6 b5 s2 N& }# }; l0 D* RS.256a, Nottorno [Not by Liszt?] (?)
& Y  w2 a$ k, J8 E$ Q/ ~5 J1.9 Two Pianos(双钢琴)
+ h$ J: L. X* y5 p: I  D' ?
6 Z% Y" r. l! uS.257, Grosses Konzertstück über Mendelssohns Lieder ohne Worte (1834), r. ]8 F) ?2 X- d3 J0 g, \- p. s
S.258, Concerto pathétique (b. 1856)  e小调钢琴协奏曲“悲怆”4 s0 s4 A  x  B  n2 b+ j& B. r+ D
1.10 Organ(管风琴)$ J7 [8 c' J& r  }& f7 g- r; v; G
% p5 i5 w: r% {4 {
S.259, Fantasy and Fugue on the chorale Ad nos, ad salutarem undam (1850)
3 d8 i) F2 z; P6 US.260, Präludium und Fuge über das Thema BACH [first/second version] (1855, 1870)+ d. O# n9 z- [& r
S.261, Pio IX. Der Papsthymnus (1863?)
6 @# n, v; e" h  I) n$ d/ F( QS.261a, Andante religioso (1861?)
$ e( `$ t# E5 b5 S0 A* }$ m/ T( uS.262, Ora pro nobis. Litanei (1864)
; N( H- y% J- v7 {- e0 eS.263, Resignazione (1877)) z/ Y/ @/ N( w/ e6 m4 a6 n4 e. W
S.264, Missa pro organo lectarum celebrationi missarum adjumento inserviens (1879)
# r  N( X+ Y, H) BS.265, Gebet (1879)
7 B. j4 A; W8 G7 ~( _S.266, Requiem für die Orgel (1883)% i" }0 D7 p' b4 j1 o' R
S.267, Am Grabe Richard Wagners (1883)
) Z0 L( c9 [1 u4 z9 N* M1 cS.268, Zwei Vortragsstücke [2 pieces] (1884), V4 Z- z5 @1 h0 h8 O& [
1.11 Songs(歌曲)
; d- s/ J4 z' g! b- v
' O5 R5 c: C9 zS.269, Angiolin dal biondo crin (Marchese C. Bocella) [first/second version] (1839, ?)
  O! V7 V5 \8 E3 O- A' j+ \! H; ?S.270, Three Petrarch Sonnets [3 songs, first/second version] (1844–45, 1854]
, f4 {' _- U) _, PS.271, Il m'aimait tant (Delphine Gay) (1840?)
, G4 X& S. y6 l, u3 s. nS.272, Am Rhein im schönen Strome (Heine) [first/second version] (1840?, 1854)
1 j" `& z" a: K. x) ?S.273, Die Lorelie (Heine) [first/second version] (1841, ?)
1 p$ P" b5 [, R3 AS.274, Die Zelle in Nonnenwerth [first/second version revised 1862] (b. 1841, 1857); I- k5 E# H& [: J9 t! M
S.275, Mignons Lied (Kennst du das Land) (Goethe) [first/second/third version] (1842, 1854, 1860)
5 _  y: y0 R3 X. J. F/ q# P: }S.276, Comment, disaient-ils (Hugo) [first/second version] (1842, ?)) Q) y! n6 u. U! j8 C2 t* V  B7 |
S.277, Bist du (Prince E. Metschersky) [first/revised version] (1843, ca. 1878-79)" x: a7 t& _& l$ S9 t5 W+ o
S.278, Es war ein König in Thule (Goethe) [first/second version] (1842, ?)$ b! J3 d0 g* X7 O+ B
S.279, Der du von dem Himmel bist (Goethe) [first/second/third version] (1842, ?, 1860)
+ Q2 ~( h5 N; V. s9 Q1 jS.280, Freudvoll und leidvoll (Goethe) [first/second/third version] (1844, 1848?, ?). |( W1 ~, K2 L
S.281, Die Vätergruft (1844)3 }8 E8 L; X0 \9 G
S.282, O quand je dors (Hugo) [first/second version] (1842, ?)- a/ r2 b8 A% N
S.283, Enfant, si j'etais roi (Hugo) [first/revised version] (1844?, ?)
4 L' u) s9 r. W( AS.284, S'il est un charmant gazon (Hugo) [first/revised version] (1844?, ?)
. u* Z$ r# `( W, {S.285, La tombe et la rose (Hugo) (1844?)
: h) m5 A6 S$ y- K" T6 e5 @S.286, Gastibelza, Bolero (Hugo) (1844?); p0 q1 O  b1 }5 I' I1 ~# ~
S.287, Du bist wie eine Blume (Heine) (1843?)
4 x0 K8 e2 [% n% g7 N. c, aS.288, Was Liebe sei (C. von Hagn) [first/second/third version] (1843?, ca. 1855, 1878–79)
6 ^2 X+ Z" ^! AS.289, Vergiftet sind meine Lieder (Heine) [first/revised version] (1842, ?)
* ]1 D- ?3 l4 ], m* q' K% ^; \S.290, Morgens steh ich auf und frage (Heine) [first/revised version] (1843?, ca. 1855)( @" K% [4 Z# Z1 Y. \& X
S.291, Die todte Nachtigall (Kaufmann) [first/revised version] (1843?, 1878)4 V9 `  C8 _) I1 P$ r! z0 O
S.292, Songs from Schiller's Wilhelm Tell [3 songs, first/revised version] (1845?, ?)
1 `0 a2 y- |4 e9 uS.293, Jeanne d'Arc au bûcher (Dumas) [first/revised version] (1845, 1874)
! U4 v! t' |6 W8 v1 w5 x- h) P5 KS.294, Es rauschen die Winde [first/second version] (ca. 1845, b. 1856); z* P: Q1 s9 i; k9 A
S.295, Wo weilt er? (Rellstab) (1844)* ?. N! m9 }3 c" B; G- V4 @
S.296, Ich möchte hingehn (Herwegh) [revised later] (1845)6 P) `* p2 ]: f1 s# ^1 C* a
S.297, Wer nie sein Brot mit Tränen ass (Goethe) [first/revised version] (ca. 1845)
. v% h  B/ E6 \2 C0 k8 VS.298, O lieb so lang du lieben kannst (Freiligrath) (1845?)9 |$ R0 Q& m7 E  J- u
S.299, Isten veled (Farewell) (Horvath) [first/revised version] (1846–47)+ n6 |6 e8 S- X7 \: W; u
S.300, Le juif errant (Béranger) (1847)
0 {2 ]1 _, l" ES.301, Kling leise, mein Lied [first/revised version] (1848)  X! a' z4 R: x1 q( l
S.301a, Oh pourquoi donc (Mme Pavloff) (1843)
8 d. V1 t; h" B5 @4 p( [S.301b, En ces lieux. élégie (E. Monnier) (1844)5 i9 u) Y- v6 L+ V" k- q% U
S.302, Die Macht der Musik (Duchess Helen of Orleans) (1848–49)8 R' O/ h0 ^8 T  B- ~5 z( C
S.303, Weimars Toten. Dithyrambe (Schober) (b. 1848)7 |9 z/ `, F+ q5 \- Y7 {% T* [
S.304, Le vieux vagabond (Béranger) (b. 1848)
! p# u( a* y! W' o. a# h) HS.305, Schwebe, schwebe, blaues Auge [first/revised version] (1845, ?)
* c# E) X( H. r- I, a$ }8 M; ?S.306, über allen Gipfeln ist Ruh [first/revised version] (1847?, ?)) {! O0 ?+ Q% D* }* I  w. S
S.306a, Quand tu chantes bercée (Hugo) (1843)
: U: Z; @8 F) OS.307, Hohe Liebe (Uhland) (1850?)5 J' E* p0 j3 i0 Q, m# I& a$ j
S.308, Gestorben war ich (Seliger tod) (Uhland) (1850?)
. a' p7 a& f+ d+ u8 [S.309, Ein Fichtenbaum steht einsam (Heine) [first/revised version] (ca. 1845, 1854)
* t7 r/ H& Q( }7 US.310, Nimm einen Strahl der Sonne (1849). C, O0 D  G% m( G) B- Y1 \& y
S.311, Anfangs wollt' ich fast verzagen (Heine) (1849)
+ ?6 ?$ }! L/ e* i6 N1 O! u1 D; r5 `- ^S.312, Wie singt die Lerche schön (Hoffmann von Fallersleben) (1856?)& t' h7 z4 X& l
S.313, Weimars Volkslied (Cornelius) (1857)0 y3 U  q- \* j- j3 w; R  @" _! }0 a
S.314, Es muss ein wunderbares sein (Redwitz) (1852)
* {2 H8 [5 K& T1 PS.315, Ich liebe dich (Rückert) (1857)
/ ~5 \$ S& q2 I9 b- w  uS.316, Muttergottes - Sträusslein zum Mai-Monate (Müller) [2 songs] (1857). l" y3 w6 W- e$ N8 h
S.317, Lasst mich ruhen (Hoffmann von Fallersleben) (1858?)
+ Y! r- Z- Q1 s* Q0 G1 O  WS.318, In Liebeslust (Hoffmann von Fallersleben) (1858?)
* z" v; i4 v1 I/ o5 iS.319, Ich scheide (Hoffmann von Fallersleben) (1860)# e& S$ q6 |2 ]( u
S.320, Die drei Zigeuner (Lenau) (1860)& B$ V1 ~4 o# C( [6 v; ]
S.321, Die stille Wasserrose (Geibel) (1860?)
  C$ C6 p; \" _8 }S.322, Wieder möcht ich dir begegnen (Cornelius) (1860)4 `" ]8 H6 a# k  O& }  n
S.323, Jugendglück (Pohl) (1860?)1 t4 ]: O! L; I" \7 }
S.324, Blume und Duft (Hebbel) (1854)+ s+ w: W7 ^' u
S.325, Die Fischertochter (Count C. Coronini) (1871)( r& o) m; k; k+ X- M, k1 i
S.326, La perla (Princess Therese von Hohenlohe) (1872)' I% S2 H: q: j; e9 ~/ ]
S.327, J'ai perdu ma force est ma vie. 'Tristesse' (de Musset) (1872)
& u; @# w8 h" B, p; C) \: G. sS.328, Ihr Glocken von Marling (Emil Kuh) (1874)
4 K9 A% g- w2 d; VS.329, Und sprich (Biegeleben) [revised 1878] (1874)$ v: ^( {) h* c. N
S.330, Sei Still (Henriette von Schorn) (1877)0 A4 g7 x- }( W1 G1 E, D4 B
S.331, Gebet (Bodenstedt) (1878?)* U; t$ V) n- @# \7 `. ]
S.332, Einst (Bodenstedt) (1878?)+ R/ E7 I) F3 m& J/ V
S.333, An Edlitam (Bodenstedt) (1878?)# c. A9 y: s$ l  k2 j$ l2 z* G
S.334, Der Glückliche (Bodenstedt) (1878?): J/ g" t! |# q/ w2 K
S.335, Go not, happy day (Tennyson) (1879), ~+ G! o: [# {0 U- L
S.336, Verlassen (G.Michell) (1880)
8 O- l( B5 h, A8 q% XS.337, Des tages laute stimmen schweigen (F. von Saar) (1880)7 V0 N, l5 x, l# e* V* @
S.338, Und wir dachten der Toten (Freiligrath) (1880?)
; z4 N8 o- E: e8 HS.339, Ungarns Gott. A magyarok Istene (Petófi) (1881)6 V) o7 t+ s# S3 Z9 O
S.340, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)
% f; P+ Z% I3 h1 O, uS.340a, Ne brani menya, moy drug. (Tolstoy) (1886)
0 j2 M, p: H1 z) H7 i, W4 K1.12 Other Choral Works(其他合唱作品)
. `3 D) x; G* c* c4 @. Z" gS.341, Ave Maria IV (1881)
7 s, i5 `6 W+ d/ l2 P& r/ HS.342, Le crucifix (Hugo) (1884)- {: |, X1 u6 m" J. f7 t
S.343, Sancta Caecilia (1884)
7 X; o5 f& W9 I  B8 `# IS.344, O Meer im Abendstrahl (Meissner) (1880)
$ B+ w- D) q2 H* \( L- \5 ~7 Y4 MS.345, Wartburg-Lieder from Der Braut Willkomm auf Wartburg (Scheffel) [7 chorals] (1872)
3 v8 \$ ^1 }: {1.13 Recitations(叙事歌谣颂诗)
. x& v& K: \/ D4 w1 Z! \1 FS.346, Lenore (Bürger) (1858)7 [6 [" x* P# S9 _
S.347, Vor hundert Jahren (F. Halm) (1859)
. u& F0 z6 b: a( a7 |! y* Y$ R" IS.348, Der traurige Mönch (Lenau) (1860)" w2 D: x2 n+ ?7 y: D$ e
S.349, Des toten Dichters Liebe (Jókai) (1874)6 @, E/ E( ^) k4 E
S.350, Der blinde Sänger (Alexei Tolstoy) (1875)
: u1 e. q1 e! W) m2. Arrangements, Transcriptions, Fantasies, etc.
' s$ q( j& n! G: n- r: k
$ L; M# k7 R0 ^3 X1 |! f- }2.1 Orchestral Works(管弦乐作品)0 T- n4 Q$ S5 x6 M3 W$ x& c
4 X% t! o6 z9 }% j* A
2.1.1 Bülow
; K7 D, J( X; s6 ]8 w  m( L) i+ T2 n2 O3 z0 j. D0 D3 A* ^
S.351, Mazurka Fantasie, Op. 13 (1865)) j( b" ~' ?/ H& h
2.1.2 Cornelius
, w& M9 c' f9 x8 V
0 Q! Y7 E. c( c! `% p, j- j$ ?. pS.352, Second Overture to The Barber of Baghdad [completed from Cornelius's sketches] (1877)
* ]9 v, S% ]9 r" N, q  T2.1.3 Egressy and Erkel
  S; h6 }# {3 P" q/ L" Q
" J8 r/ M9 y1 o! X& \S.353, Szózat und Hymnus (1873)! l+ x5 ^2 {. V- y, J- ~
2.1.4 Liszt
$ x9 t: ~  ^5 \5 L- H. ^( f. R) x# h3 `9 z' N8 ]
S.354, Deux légendes (1863)' D2 G8 l/ M  N) M
S.355, Vexilla regis prodeunt (1864)! Y$ p; `" N8 @5 n+ L3 z2 M, A
S.356, Festvorspiel (1857)
  a( z( N8 N5 a" s) o3 ?S.357, Huldigungsmarsch [first/second version] (1853, 1857)
) J7 S4 p6 I; T1 G+ }% OS.358, Vom Fels zum Meer. Deutscher Siegesmarsch (1860)
7 w3 O- u+ Q7 E8 Y5 H% VS.359, 6 Rapsodies hongroises (Hungarian Rhapsodies) (?)0 v# F: b5 E% Q* V; U* o7 }
S.360, A la chapelle Sixtine (Liszt, Allegri & Mozart) [orchestral arrangement of S461, based on Mozart's Ave verum corpus and Allegri's Misere] (1862)
" ?- `6 W1 [5 W3 YS.361, Pio IX. Der Papsthymnus (ca. 1863). J4 k& }1 U1 W9 `
S.362, Benedictus and Offertorium from the Hungarian Coronation Mass [from S11] (1875)
( `$ H. Z( l+ `. J4 k* A2.1.5 Schubert
5 E; s1 ?. i0 ?$ z/ I
0 S9 @7 E1 g4 P# w, [: N1 rS.363, 4 Marches [from Opp. 40, 54, 121] (1859-60)
8 y4 l% @- k- x1 e2.1.6 Zarembski: q  U/ w& ]) C# M; @! l$ r+ M! e
6 M0 @- h9 q- `6 x6 A/ w
S.364, Danses galiciennes (1881)
# o" K! ~. ~; v) r- G2.2 Pianoforte and Orchestra(钢琴与乐队)! {) u: `( B0 V' H, ?6 e# u
- R/ N8 |$ {2 a& f+ f/ E
2.2.1 Liszt
; x, k8 W2 v8 L6 b; X1 x  O! X( y  D( Q
S.365, Grand solo de concert [prepared by Leslie Howard] (1850)
5 y- e) N% P5 ^* mS.365a, Concerto pathétique (No. 4) in E minor [Liszt, Reuss version] (1885-86)- t; ~  p. p& ^! e4 E
S.365b, Hexaméron, Morceau de concert [orchestration completed by Leslie Howard] (ca. 1839)0 J8 `( v8 |% k! X0 j2 P" B
2.2.2 Schubert
1 q9 ^8 t( _+ t( t
! x2 f$ L3 ^; S7 yS.366, Wanderer-Fantasie (Fantasia in C major, Op. 15) (1851)  流浪者幻想曲 - 为钢琴与乐队而作+ n* p) F7 s# Q2 U2 J: E; _
2.2.3 Weber/ F, W6 g. b2 e0 m6 W
" a4 G: t. u0 ]% d0 S
S.367, Polonaise brillante, Op. 72 (1849) 华丽波洛涅兹 为钢琴与乐队而作3 P. C0 b& j$ T; S- R
2.3 Songs with Orchestra(声乐与乐队)$ M: K/ I- J9 e9 Z7 r
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2.3.1 Korbay
9 c/ V2 F) n, [8 X4 E
) b) i' {2 w5 v0 h- H# KS.368, 2 Songs (Le Matin by Bizet and Gebet by Geibel) (1883)7 }5 A- X4 i3 @7 H8 c& G
2.3.2 Liszt) X6 \; E9 W' B1 \! n8 [$ Q3 e/ A

( g3 ]4 U& i( }) F3 w/ y) B: PS.369, Die Lorelei (Heine) (1860)
- b4 J! [4 X! W+ \  }3 n) sS.370, Mignons Lied (Kennst du dass Land) (Goethe) (1860)
; T) w/ J: ?+ i" m5 i& {$ B" dS.371, Die Vätergruft (Uhland) (1886): H/ T5 i  o- @
S.372, Songs from Schillers Wilhelm Tell (ca. 1855)
# Q# I$ n  \. GS.373, Jeanne d'Arc au bûcher (Dumas) [first/second version] (1858, 1874)
$ ]0 G1 P% K5 h4 f4 h; O  HS.374, Die drei Zigeuner (Lenau) (1860)
( @' x& V$ o8 T& H: E- C2.3.3 Schubert+ g! L: _: x( H( \
% D' f: I" h$ ?3 k  \" o! R; v
S.375, 6 Songs (1860)
/ s+ X. f- j/ IS.376, Die Allmacht (1871)* h9 G, n  q" |3 O
2.3.4 Zichy
0 v6 W0 Z# h4 S. h! Z. T4 g  W% m3 O7 Q# P4 b; d% s( S9 Q& l
S.377, Der Zaubersee. Ballad (Zichy) (1884)
6 J& |5 K; s# x$ X& Z2.4 Chamber Music(室内乐等)( y; C; r7 S& s$ S! I0 u2 y9 P8 q
2.4.1 Liszt3 }$ Q2 Q! Z: U) _

% |: t. S) b0 s: U6 g! a  `) ES.377a, La notte (Odes funèbre No. 2) (1864-66)+ w( e) j# ^7 A6 f+ s! F
S.378, Angelus! - Priere aux anges gardiens [first/second version] (1877, 1880)
, H. K$ z! j& Z1 Y0 US.379, Rapsodie hongroise No. 9 (Pester Karneval) (?)& f8 h8 l( o4 l4 m0 j! S* v- |# D
S.379a, Rapsodie hongroise No. 12 (1850-59)
' P5 `* ]8 ~3 A4 sS.379b, Puszta-Wehmut (A Puszta Keserve) (ca. 1871)
: I! v: z$ _/ [6 `( ^2 TS.380, O du mein holder Abendstern from Tannhäuser (Wagner) (1852)/ J  z' X+ G$ |9 a5 f+ c
S.381, Benedictus and Offertorium from the Hungarian Coronation Mass [from S11] (1862)  B" f4 x: z0 \: O" f
S.381a, Ungarns Gott. A magyarok Istene (Petófi) (1882)6 O2 B9 C3 j$ {
S.382, Die Zelle im Nonnenwerth (ca. 1880-86)
$ f/ M" j% J3 P& l3 cS.383, Die drei Zigeuner (Lenau) (1864)
. c  P! k3 a' j' r2.5 Pianoforte Solo
7 p$ K5 N  d- M. z3 u4 x
2 M: \6 y- ~' y2.5.1 Paraphrases, Operatic Transcriptions, etc.(歌剧改编独奏)
2 x1 B- A' ]0 d. o, }5 b0 {( w! \5 G
1 ?/ @. x7 `! C( I# r8 {: [2.5.1.1 ábrányi
! p2 }# e0 l, L  A8 N* b0 c8 o7 T; n2 d1 @/ ~; p, X; A9 G
S.383a, Elaboration on Virág dal (1881)0 m# P- [2 j" h& _# n8 J7 M
2.5.1.2 Alyabyev0 e% G2 F! n* U& R( ]

& F! f/ q4 u& G( |S.384, Mazurka pour piano composée par un amateur de St. Petersbourg (1863)- `. }* D" y0 h1 x# x
S.384a, Variations on Tiszántúli szép leány [anonymous, not by Liszt?] (1846); R3 t- E. y9 L) f
2.5.1.3 Auber
! V* n2 r1 k3 v6 Y$ ~+ A- N6 [' a* I3 x5 q  c! W
S.385, Grande Fantaisie sur la Tyrolienne de l'opera La Fiancée [first/second/third version] (1829, 1835, 1842)
2 {" s3 A& G# I; I! w( jS.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: h5 h5 s$ q9 Y4 s
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
$ q: \5 z+ N) YS.387, Three Pieces on themes by Auber [with intro piece] (a. 1846)( Q( }2 T9 C! @, P& k
S.387a, Piece on an unknown theme (1847)
) T! L  a) i  B, {6 d5 J" ^. v2.5.1.4 Beethoven
! M/ V5 q4 V0 g$ g' R3 z- g& r
3 u% U- v# X. {! US.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
9 x8 [2 {$ Z0 _1 ~( m1 dS.388a, Marche turque des Ruines d'Athenes (1846)
, m' t9 |4 D, D/ S( T. }) ^* \S.388b, Fantasie über Beethoven's Ruinen von Athen [first version] (1837), }2 j; K- f. \4 c6 I6 |
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
$ `* B0 {- j& eS.389a, Cadenza to the first movement of Beethoven's Piano Concerto No. 3 (1879)7 o" \6 o" e* o$ ^
2.5.1.5 Bellini
& d" q8 ~7 \' J5 I" O% ~' h
* O0 ^% o- s+ x4 S+ j3 jS.390, Reminiscences des Puritains [first/second version] (1836, 1837)6 p5 W+ R' W3 B. Y# T0 y8 P& l
S.391, I Puritani. Introduction and Polonaise (1840)
$ J# Z- ?9 N+ {5 v  US.392, Hexaméron, Morceau de Concert (1837)
/ d4 U' Q& {' v0 lS.393, Fantaisie sur des motifs favoris de l'opéra La Sonnambula [first/second/third version] (1839, 1840-41, 1874)" M4 v$ G8 v. k" E
S.394, Réminiscences de Norma (1841-43)
- _  N" v" ~. I% k2.5.1.6 Berlioz0 @0 v# u5 ?8 B" |" I4 k& r/ C

9 p1 J) m( k1 `1 ]( c! k( RS.395, L'Idée fixe: Andate amoroso [first/second version] (1833 or 1846?, 1865)
& z& X& Y2 J( z7 h  KS.396, Benediction et Serment from Benvenuto Cellini (1852)& m4 a1 ~$ q' V* f; k% x7 }$ c5 t0 P
2.5.1.7 Donizetti, Gaetano
5 ]: R4 I' M2 H" Z6 ]: M
- R% {) {1 r- [S.397, Réminiscences de Lucia di Lammermoor (1839)
+ H+ j  v" ~5 W* I, F, zS.398, Marche Funebre et Cavatine de Lucie de Lammermoor (1839): u/ B) P/ g; ~! p! A
S.399, Nuit d'été à Pausilippe [3 pieces] (1839)
( t9 _- |- ^4 a) U( s; _/ {S.399a, Lucrezia Borgia - Grande fantaisie [first version of S400ii] (1840)4 H9 B- d7 A& d# ]2 p! S

; u) Q- o  `' }) l" E( s" R李斯特全部作品目录-38 h( X0 V& c4 q+ q. ~4 V+ N
, w8 s" s* m3 ^5 h. d' _: K& }. Q
S.400, Réminiscences de Lucrezia Borgia [first/second version] 1840. r- s1 E( l( S/ @% u4 @* S0 a2 s
S.401, Valse a capriccio sur deux motifs de Lucrezia et Parisina [first version of S214/3] (1841)  z# ?& l# s0 G+ S8 G1 k
S.402, Marche funèbre de Dom Sébastien (1844)
( C2 |  L  ~- _) ~+ L& Q2.5.1.8 Donizetti, Giuseppe
/ G7 t, O( P* e9 A5 ^2 K
" t( n! Y$ }* @: G0 ~S.403, Marche pour le Sultan Abdul Medjid-Khan [first/simplified version] (1847, 1848)
; T7 ?2 D& F* K( J$ D9 n7 o; N' Z  S/ d2.5.1.9 Duke Ernst
: m$ K/ y) |$ ]3 y. `: \6 ^
$ \* i8 S7 }% I2 ^. }% RS.404, Halloh! Jagdchor und Steyrer from the opera Tony (1849)! g3 C: y  h9 E" f+ [
2.5.1.10 Erkel, Franz+ I4 `; n+ E4 T4 ^# o$ S6 [

3 ?" z' o2 p) X. z$ }S.405, Schwanengesang and March from Hunyadi Laszlo (1847)) i, {& X! U+ Q$ s; M
2.5.1.11 Festetics
+ F: @# e: S# T. i1 v
9 a# r) L3 G$ iS.405a, Pásztor Lakodalmus Variations - Mélodies hongroises [elaboration by Liszt] (1858)/ n' |4 }: v' C$ S# W4 j
2.5.1.12 Glinka
* c7 f" C% P& c7 d6 h0 ]) a$ s) C  c$ A  T( m8 D- M
S.406, Tscherkessenmarsch from Ruslan i Lyudmila [first/second version] (1843, 1875)
) D. H  \- }$ t& T5 h2.5.1.13 Gounod
7 x9 [6 S' b% T9 _  S
- n, g" G# v* s. i% zS.407, Valse de l'opéra Faust (b. 1861)' e# z4 J4 d8 U+ m$ {" w2 O2 H( n, g
S.408, Les Sabéennes. Berceuse de l'opéra La Reine de Saba (1861)* x. Y& [+ [/ H  T' h5 i
S.409, Les Adieux. Rêverie sur un motif de l'opéra Romeo et Juliette (1867)3 a  u1 }. X( K5 X
2.5.1.14 Halévy3 X9 C8 }7 r3 E3 a: W- ]
S.409a, Réminiscences de La Juive (1835)
8 \, i4 T) ?) \$ H7 f2.5.1.15 Mendelssohn5 K0 a) B. c( w" T2 C- q8 D; v% t# a. w
S.410, Hochzeitsmarsch und Elfenreigen aus dem Sommernachtstraum (1847-50). [( `: X. m: u6 G
2.5.1.16 Mercadante# k2 V1 ^  T" p5 B* B1 P- ~
S.411, Soirée italienne. Six amusements (1838)" y+ o% ]. v' {" G: @9 B7 h
2.5.1.17 Meyerbeer
3 U0 C9 }. h0 a/ Y1 x5 K+ P2 jS.412, Réminiscences des Huguenots - Grande fantaisie dramatique [first/second version] (1836, 1842)
1 [) [& H! c. G1 q/ ?# u# ?( yS.412a, Réminiscences de Robert le Diable - Cavatine (1846?)
% S! @: P' e8 {S.413, Réminiscences de Robert le Diable - Valse infernale (1840)
# T" j. S+ I5 p) @# b1 T+ QS.414, Illustrations du Prophète [4 pieces, 4th=S624] 1849-505 O# d1 v6 m; I
S.415, Illustrations de l'Africaine [2 pieces] 1865
/ ^  X6 O. u( M1 k. N& VS.416, Le Moine (1841)
! D4 ]2 T( y  o6 L' s% b2.5.1.18 Mosonyi, Michael
& D! a# w) r: z7 |& A- fS.417, Fantaisie sur l'opéra hongrois Szép Ilonka (1865) 幻想曲 S.417 - 根据莫佐尼歌剧《美丽的海伦》主题改编
7 }2 z8 w/ U1 X6 S' h; ~3 }3 n2.5.1.19 Mozart1 K% n: d4 N& J3 Z  Y1 f
S.418, Réminiscences de Don Juan (1841)
  x+ a1 F% c& q. y/ J5 {2.5.1.20 Pacini
; z. B% u8 C" c. r0 p, Q$ BS.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
3 h1 F4 H7 S4 d3 X* M2.5.1.21 Paganini
4 g- h& \1 p" E0 h8 US.420, Grande Fantaisie de bravoure sur La Clochette (1832-34)  华丽的钟声幻想曲( o* F6 u8 m* ?
2.5.1.22 Raff
5 r4 E% s: p& k: _3 WS.421, Andante Finale and March from the opera König Alfred [2 pieces] (1853)
1 m( ~6 u0 h$ Q0 N) `2.5.1.23 Rossini2 Q; e  T- H1 z5 B
S.421a, Introduction et Variations from "Siege of Corinth" [introduction only] (1839?)" Y6 L4 f; l- y8 W% k, e
S.422, Première grande fantaisie (Soirées musicales) [first/second version] (1836); m" p; }$ J- n1 I
S.422i, La serenate e l'orgia - Première grande fantaisie (Soirées musicales) [first version] (1836)* q5 E, ^* B. W. l
S.423, Deuxième grande fantaisie (Soirées musicales) (1836)
$ F0 A# q3 a) ~2 O2 k: I" R6 tS.424, Soirées musicales [12 pieces] (1837)
5 }& D4 t( c! ^5 ?' |) H2.5.1.24 Schubert4 ~  T5 B5 g! W
S.425, Mélodies hongroises [3 pieces] (1839–40)% l- c& m9 ~, W
S.425a, Mélodies hongroises [revised versions] (1846)
& T. ]/ A$ G  N5 @' FS.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% K% A" X6 Y8 U9 }& s
S.426a, Marche militaire (ca. 1870)
+ o- ?. R$ Z6 ~; @6 d5 M3 c' nS.427, Soirées de Vienne [9 pieces] (1852) 维也纳之夜 S.427 根据舒伯特《随想圆舞曲》改编
! _' f. ]! J- T2.5.1.25 Sorriano& w! I, k: d. E9 c3 A' w' s* o
S.428, Feuille morte. Elégie d'après Sorriano (1844-45)
1 A. g2 n$ t5 g3 P* W2.5.1.26 Tchaikovsky% y! c; j9 H$ N5 Q* t
S.429, Polonaise from Eugene Onegin (1879)
- B+ b8 U1 B6 k8 O; \& r2.5.1.27 Végh, Janos+ J$ J3 ?+ I8 Y1 N7 A
S.430, Valse de concert (1882-83)
/ P# Y9 r$ J8 J1 n# g2.5.1.28 Verdi8 ^. z0 V/ ~" l! H. q* q# k
S.431, Salve Maria de Jerusalem from I Lombardi [first/second version] (1848, 1882)- }. q5 [' b. D1 l: s+ z
S.431a, Ernani - Première paraphrase de concert (1847)
8 I% K; l1 k/ r' g2 B& V; G/ Y3 pS.432, Ernani - Paraphrase de concert (No. 2) [first/second version] (b. 1849, 1860). X+ \9 @( ?( l- W: ~
S.433, Miserere du Trovatore (1860)6 \4 D5 ~) j0 k. N, w" ]
S.434, Rigoletto Paraphrase de Concert (1859)- w0 u, v$ C  _' Z# x
S.435, Don Carlos Coro e Marcia funebre (1867-68)% w7 d2 c( D" u+ ^/ @9 ]3 |
S.436, Aida Danza sacra e duetto finale (1877)! \8 t; D/ q# K3 Y% V
S.437, Agnus Dei (1877); s$ [* P4 M0 a" s
S.438, Réminiscences de Boccanegra (1882)3 ~5 f* s9 D! b
2.5.1.29 Wagner
. r) I* y( S$ D% r! `8 CS.439, Phantasiestück über Motive aus Rienzi (1859)
6 u! D5 p% r; y' sS.440, Spinnerlied aus Der fliegende Holländer (1860)
: G/ V8 }# }4 J3 t% F8 \S.441, Ballade aus Der fliegende Holländer (1872)# w4 O4 u# ?5 O3 c8 U8 Z* {
S.442, Ouvertüre zu R. Wagners Tannhäuser (1848)$ U2 t; m2 n! @! M5 k0 o4 R. o8 _
S.443, Pilgerchor aus Tannhäuser [first/second version] (1861, 1885)( y* a* [' A$ N) I- o+ c, D$ q8 B
S.444, O du mein holder Abendstern aus Tannhäuser (1848)
, \* E! b7 g, D. F9 a" ?1 C4 _8 pS.445, Zwei stücke aus Tannhäuser und Lohengrin (1852)
7 p- H6 w, }( ^. H$ L  C/ fS.446, Aus Lohengrin [3 pieces] (1854)
5 r# w5 e5 O) c6 f# M$ t7 V. N7 ^S.447, Isoldens Liebestod aus Tristan und Isolde [first/revised version] (1867, 1875)- {4 K5 }2 |& q. v7 W# C. G
S.448, Am stillen Herd aus Die Meistersinger (1871)
+ l: u1 J: d! {1 BS.449, Walhall aus Der Ring des Nibelungen (1875)
' x" v: n0 E* b+ p& u, H2 eS.450, Feierlicher Marsch zum heiligen Graal aus Parsifal (1882)
, [/ Y1 K$ f1 G$ ]2.5.1.30 Weber
* k) |% P, {9 t5 \5 KS.451, Freischütz-Fantasie (1840-41)
+ U+ H3 ^: ]6 B: }S.452, Leyer und Schwert [4 pieces] (1848)
8 O( v4 d! i8 B9 q6 O- wS.453, Einsam bin ich, nicht alleine, from Preciosa (1848)
6 z- e. N, A4 _$ Q4 lS.454, Schlummerlied mit Arabesken (1848)
3 c5 ?- ~/ D5 S. s) a1 cS.455, Polonaise brillante (1851); y, b+ D: _/ _- t0 u, ^
2.5.1.31 Zichy, Count Géza
$ `% R& z9 T+ k* z3 d" zS.456, Valse d'Adele (1877)
& r$ J8 i7 `4 S) C3 D  g. u1 {2.5.1.32 Unknown4 _3 E* ~+ s) Y7 |( ~3 z" j" |
S.458, Fantasy on Il Giuramento (Mercadante) (1838?)' M* y; W6 r! o% X0 s3 n
S.460, Kavallerie-Geschwindmarsch [anonymous] (?)
/ p/ y4 @! [; n( m! |2.5.2 Partitions de Piano, Transcriptions, etc.
/ e: I+ T/ V+ T  n  R0 V2.5.2.1 Allegri and Mozart
; |* r: A! G$ C( B0 k, CS.461, A la chapelle Sixtine [first/second version] (1862, ?)
8 H2 D6 I! _0 H" n. `S.461a, Ave verum corpus, Kv618 (1862): ~" M$ W# M0 p* R, L: [
2.5.2.2 Bach+ p1 x5 i! M: c4 a( f8 Y
S.462, Sechs Praeludien und Fugen für Orgel [6 pieces] (1850)
6 W7 m  R" v! C4 D1 B  zS.463, Organ Fantasy and Fugue in G minor [first/second version] (1860, ?)  X8 Q5 Y1 r2 j
2.5.2.3 Beethoven
' V3 k1 R: o" Q) k5 qS.463a, Symphonie No.5 [first version] (1837)' G) M6 V" y. r& e6 o. y9 B& k5 H
S.463b, Symphonie No.6 [first version] (1837)3 E! B! ?6 s  v7 Q. v5 `
S.463c, Symphonie No.6 [second version. Alternative 5th movement] (1863-64)
1 b, @0 c8 s6 B- h: CS.463d, Symphonie No.7 [first version] (1837)
* n( X  B2 X. _! j7 ?. F& G' W+ yS.463e, Marche funèbre [Beethoven's Eroica Symphony, first version] (1843)* I' d( t- S+ U$ |, S
S.464, 贝多芬交响曲 Symphonies de Beethoven [9 pieces] (1863-64)3 U# p2 n+ ~. U7 u0 T9 R, V
S.465, Grand Septuor, Op. 20 (1841)
* X8 i0 u* v$ v+ [S.466, Adelaïde [third version] (1847)
8 b& Y& t3 H6 E5 X' `S.466a, Adelaïde [first version] (1839)
2 `2 |1 m% P# `5 WS.466b, Adelaïde [second version] (1840)
: u* M  ?( ]7 x  I5 eS.467, Sechs Geistlicher Lieder (Gellert) [6 pieces] (1840)% }+ ]$ I; S# q& K4 R! Y2 ~
S.468, Sechs Lieder von Goethe [6 pieces] (b. 1849)5 ~" v( y# ]2 T5 _
S.469, An die ferne Geliebte - Liederkreis [6 pieces] (1849); k# S" ^) @# L! u, m4 o  ?+ Q
2.5.2.4 Berlioz( c, h) @6 A+ k9 u. ~6 @
S.470, Symphonie Fantastique (1833)
$ G0 L3 q/ a( H3 a* U- `0 fS.471, Overture from Les francs-juges (1833)
; L7 O) A" e, s6 |& l6 w' GS.472, Harold en Italie (with viola) (1837), Y/ p. N  w# Q: U& B- m. c8 J
S.473, Marche des pèlerins from Harold en Italie [first/second version] (1837?, 1862)
- L1 d( D. Y) V5 W/ ~) ~7 bS.474, Ouverture Le Roi Lear (1837)+ q3 u) I% ~8 u1 e% G5 m
S.475, Valse des Sylphes de la Damnation de Faust (1860)
+ v2 N% U$ Q" ]" w5 n8 |8 l2.5.2.5 Bulhakov
, P2 z* E( a0 \- \S.478, Russischer Galopp [first/second version] (1843, 1843)
( Y" ]& V5 _  e0 |+ Z" l, a! F2.5.2.6 von Bülow
9 P2 q# K  i7 [S.479, Dante's Sonnett - Tanto gentile e tanto onesta (1874)
/ Y6 X& J% N4 t! c' O7 C2.5.2.7 Chopin$ Q  ~6 ^; D: I0 A& O, h9 u
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
( d8 T, D. N  [1 t" b, [1 IS.481, Zigeunerpolka (1847?)- E( ~8 `# r2 a9 `" O
2.5.2.9 Cui- K! H% o1 H+ \- J1 f
S.482, Tarantella (1885)" Z5 H; P- f: v. ~; _4 B% G
2.5.2.10 Dargomyschsky' |( k, m7 R& Q/ B, a
S.483, Tarantella (1879)
( d, H! f2 `9 p2.5.2.11 David, Ferdinand6 K% R- \- N5 s( O! T! D
S.484, Bunte Reihe, Op. 30 [24 pieces] (1850)/ c' ~2 O  t1 A/ [& c2 U
2.5.2.12 Dessauer
2 ^% h/ c5 V. E) Z- m. I) aS.485, Drei Lieder (1846)# h5 ]  Q1 O- Q" ~# J6 D: _3 g
2.5.2.13 Ernst, Duke
% `/ Z# e$ V  S- U( ?& ^S.485b, Die Gräberinsel (1842)5 b% e1 @( f! j
2.5.2.14 Egressy and Erkel& F8 u# R& }0 Z5 y3 y
S.486, Szózat und Hymnus (1873)! X" ]# c, }) b0 _3 n
2.5.2.15 Festetics) W7 [( X: {+ Y' f
S.487, Spanisches Ständchen 18465 ]3 ?, W$ s# d; U; |* X8 n! Z
2.5.2.16 Franz
& @; P+ w; R2 jS.488, Er ist gekommen in Sturm und Regen 18480 }$ _9 f, t5 n. v! d
S.489, Zwölf Lieder [12 pieces] (1848)
4 [" H5 y- }7 L0 J2 B% ~2.5.2.17 Goldschmidt9 }6 W# G& o- h" k1 f6 A
S.490, Liebesszene und Fortunas Kugel (1880)
- H" B1 o  ~7 Q2 t2.5.2.18 Gounod( p5 N9 W; S3 o
S.491, Hymne à Sainte Cécile (1866)+ Q# r( ~. Q& E2 I) b; H
2.5.2.19 Herbeck
  o) x) w- X/ n3 {- x# C! dS.492, Tanzmomente [8 pieces] (1869). ~$ @* r& R; b! @
2.5.2.20 Hummel8 e4 t. p* L& y, F5 n
S.493, Grosses Septett, Op. 74 (1848)
2 D: L/ g# x# e2.5.2.21 Lassen$ A, H( ?! Y. f+ g
S.494, Löse, Himmel, meine Seele [first/second version] (1861, 1872)
5 Z6 L. W* `/ JS.495, Ich weil' in tiefer Einsamkeit (1872)
9 N! c+ ?  l3 US.496, Hebbel's Nibelungen & Goethe's Faust [4 pieces] (1878-79)
6 A; O% l' f% H8 g: V* K3 qS.497, Symphonisches Zwischenspiel ('über allen Zauber Liebe') (ca. 1882-83)) w% E: d) w' e* M
2.5.2.22 Lessmann
7 ?- |" ^+ h# B5 N2 u$ L8 I9 w& uS.498, Drei Lieder ('Tannhäuser') (1882?)1 i3 X4 S; \; O+ @0 s
2.5.2.23 Liszt4 t0 [* \" H" a: _+ F! a
S.498a, Drei Stücke aus der heilige Elisabeth (1857-62)+ R3 _  ]' [2 T( K) @3 _, Y
S.498b, Zwei Orchesterstücke aus Christus (1862-66)
4 q' h2 B, j6 m  w) @S.498c, San Francesco - Preludio (1862-66)3 X& X- |$ p' ~, }
S.499, Cantico del Sol di San Francesco d'Assisi (1881)5 m+ n, t1 X/ b- ^- @4 v( P& g
S.499a, San Francesco - Preludio per il Cantico del Sol (1880)
; k) V/ l0 j7 A: k& T7 XS.500, Excelsior! - Preludio (1875)( R/ F$ i' I8 u2 i
S.501, Benedictus und Offertorium (Missa Coronationalis) (1867)
6 J( [' A4 r( I9 n: M& y/ `S.502, Weihnachtslied II (1864)  F& r0 R% b# Y+ O
S.503, Slavimo Slavno Slaveni! (1863)
, Y" q' R- a- }. E# gS.504, Ave Maria II (in D) [first/second version in D flat] (1870, 1873)  t* R% K% b% c% _; f3 ?
S.504a, Via Crucis [15 pieces] (1878-79)
; J- ]) g8 K' a3 N* ^S.504b, Choräle [11 pieces] (1878-79)$ Y. F3 A5 G% @4 _
S.505, Zum Haus des Herrn (In domum Domini ibimus) (1884)' |" X0 z* U# G# ]+ g+ F
S.506, Ave maris stella (1868)
  w+ E0 b( q. S# c+ J6 ^. RS.507, Klavierstück aus der Bonn Beethoven-Cantata (?)) }0 S8 x% K0 g5 M  ]
S.507a, Schnitterchor (Pastorale - Schnitterchor aus Prometheus) (1850)* N9 W: B6 P( a, O' }* p; Z- b
S.508, Pastorale. Schnitterchor aus dem Entfesselten Prometheus (1861)
* M7 W- m( }% Z, l9 [S.509, Gaudeamus igitur - Humoreske (1870)
  b/ C% g  z+ E- f8 {$ A! [1 {3 G7 iS.510, Marche héroïque (?)( J* v0 J+ J4 O0 ~8 Z+ H
S.511, Geharnischte Lieder [3 pieces] (1861)/ A2 o8 o* _. v3 a
S.511a, Les Préludes (Poème symphonique No. 3) [arranged by Karl Klauser, revised by Liszt] (1863) [1][2]
$ d7 \- R# D5 U! A$ v5 bS.511b, Orpheus (Poème symphonique No. 4) [arranged by Fredrich Spiro, revised by Liszt] (1879) [3]; x1 o/ C4 ^/ N
S.511c, Mazeppa (Poème symphonique No. 6) [arranged by Theodor Forchhammer, revised by Liszt] (1870-79) [3]
: E8 Z# z8 @/ d8 vS.511d, Festklänge (Poème symphonique No. 7) [arranged by Ludwig Stark, revised by Liszt] (1870-79) [3]
1 {' m4 g$ r0 @) QS.511e, Hungaria (Poème symphonique No. 9) [arranged by Fredrich Spiro, revised by Liszt] (1872) [3]
: p* g' ]& Z; @S.512, Von der Wiege bis zum Grabe (Poème symphonique No. 13) (1881)" L2 j/ ~5 Q- O! ~  Y5 ~9 p% v
S.513, Gretchen aus Faust-Simpfonie (b 1867 )9 q8 p5 m. m* C. @( j
S.513a, Der nächtliche Zug (?)9 ~( n) h( q3 J2 ^- T6 E
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2 B( N1 @: q- j
S.514a, Erster Mephisto-Walzer (Mephisto Waltz No. 1) [with later additions] (1859-62)
) Y; [1 w  \3 `, zS.515, Zweiter Mephisto-Walzer (Mephisto Waltz No. 2) (1881) 第二梅菲斯特圆舞曲8 N# A; Q- V4 ]7 z
S.516, Les Morts (Ode Funèbre No. 1) (1860)
, s9 c& E+ P& k* |  YS.516a, La notte (Ode Funèbre No. 2) (?)
* a# _$ |: {9 uS.517, Le Triomphe funèbre du Tasse (Odes Funèbre No. 3) (1866)
, X& O, s& l; QS.518, Salve Polonia (a. 1863)
1 ^* P  t8 Z9 x1 q0 [S.519, Deux Polonaises de St Stanislaus (1870-79)
% V: Y5 M, R+ JS.520, Künstlerfestzug [first/second version] (1857-60, 1883)
) m* B6 X5 Q% e1 r( @  ^' [S.521, Festmarsch zur Goethejubiläumsfeier [first/second version] (1857, 1872)( b8 s. W7 Q* d7 i& Q
S.522, Festmarsch nach motiven von E.H.z.S.-C.-G (1857)
3 L8 J3 J" R2 l* F1 G7 [S.523, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (1870)
( k+ |' r" I# c) x0 }& R- MS.524, Ungarischer Sturmmarsch [first/second version] (?, 1875)
2 s$ p8 e1 F1 bS.525, Totentanz. Paraphrase on Dies Irae (1860-65)3 f; V7 Y- }9 R( L: u6 r
S.526, Epithalam zu Eduard Reményis Vermählungsfeier (?)2 s. S% x6 s1 J2 y
S.527, Romance oubliée (?)2 E3 x9 e  Q' ~5 G
S.527bis, Romance oubliée [short draft] (1880)
6 J: P$ C0 H! U' l. y& WS.529, Fantasie und Fuge über das Thema BACH [first/second version] (1856, 1870) 巴赫主题幻想曲与赋格
  Y7 b5 T+ T5 b& T) b3 p9 JS.530, L'Hymne du Pape. Inno del Papa. Der Papsthymnus (1864)% ^2 z2 j5 d$ }- c
S.531, Buch der Lieder I [5 pieces] (?)/ e% v, Y2 q( @5 I  d9 {
S.532, Die Lorelei (Heine) [second version] (1861)
. X% x1 u  R, B( V' |: zS.533, Il m'aimait tant (Delphine Gay) (1842)
& j: _# ?9 i& K$ c3 eS.534, Die Zelle in Nonnenwerth (Felix Lichnowski) [first/second/fourth version] (1842, 1860, 1880)( ~+ Q/ @/ I! a8 V
S.535, Comment, disaient-ils [Buch der Lieder II] (1845?)4 v5 e+ Q" g! W% ^
S.536, O quand je dors [Buch der Lieder II] (1847?)
! w# K9 }) D1 d8 b! O7 U5 z( _S.537, Enfant, si j'étais roi [Buch der Lieder II] (1847?)
9 {* F  \9 U. j  o2 x. ^" \S.538, S'il est un charmant gazon [Buch der Lieder II] (1847?)
9 L  \& R$ d- l& D( DS.539, La tombe et la rose [Buch der Lieder II] (1847?)+ p2 h7 W  Y/ x# }. e, F
S.540, Gastibelza [Buch der Lieder II] (1847?)! Z( y1 [: _# G  |  Z, F
S.541, Liebesträume. Drei Notturnos (ca. 1850)  3首夜曲“爱之梦”
, g1 w3 t* T& ?5 h4 |) S# CS.542, Weimars Volkslied [first/second version] (1857, ?)
% ^4 \# q3 n2 b2 J5 kS.542a, Ich liebe dich (?)
4 ~6 M/ P( x$ \* ^: g# N0 WS.542b, Fanfare zur Enthüllung des Carl-Augusts Monument (?)/ U9 y; E3 e! V7 B* p9 o0 F# @1 M
S.543, Ungarns Gott. A magyarok Istene (Petófi)]] [original/(S543bis)left-hand version] (1881)1 B& L( l" d! c+ l
S.544, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)9 m1 ~' T( V. ]' e
S.545, Ave Maria IV (1881)5 y- y/ k3 |, a0 y9 b
S.546, Der blinde Sänger (Alexei Tolstoy) [solo version] (1878)
4 w1 s9 {3 \) R- A$ KS.546a, O Roma nobilis (1879)
5 V" L8 B3 u- z7 ?2.5.2.24 Mendelssohn& a6 P0 F8 r: ?3 E) t+ A  ^% x" ]
S.547, Sieben Lieder (from Opp. 19, 34, 47) [7 pieces] (1840)
: \# \, X- b5 }: i+ \, O! o1 sS.548, Wasserfahrt and Der Jäger Abschied (from Op. 50) [2 pieces] (1848)0 S, s- W& W$ c8 T1 f+ U
2.5.2.25 Meyerbeer
: y& F( B9 F9 p8 t$ l3 N9 TS.549, Festmarsch zu Schillers 100-Jähriger Geburtsfeier (?)9 T& u6 M, f9 Y6 k: b0 N) c
2.5.2.26 Mozart# z$ U! F6 T5 m- ~3 d  [$ n
S.550, Zwei Transcriptionen über Themen aus Mozart's Requiem, K626 [2 pieces] (1862)
3 p/ Z& l/ N  C0 M" c$ H2.5.2.27 Pezzini$ T  W' S$ }; w: ^+ x# w0 @$ q' W; @
S.551, Una stella amica. Mazurka (?)
; q. T$ p+ Z0 e5 i! E2.5.2.28 Raff
5 b3 V1 j0 I4 d1 QS.551a, Einleitung und Coda zu Raffs Walzer in Des-dur (opus 54/1) (1880)
, k* t4 i6 T/ p2.5.2.29 Rossini* g7 W! K) `1 Y; r
S.552, Ouverture de l'opéra Guillaume Tell (1838)9 r+ e! ^* F  r/ C
S.552a, Caritas [La charité, first version] (1847)
* q; t) q. [: Q2 F" [! }. P$ [' fS.552b, La caritá [La charité, simplified version] (1847)# ~' I4 v: z( l  g( q6 X
S.553, Deux Transcriptions [2 pieces] (1847)
1 |8 U9 O' W* x5 z, Y, H2.5.2.30 Rubinstein3 h  L( }* N1 P
S.554, Zwei Lieder [2 pieces] (1880)
0 _# n( U# \/ \- t  H* [S.554a, Einleitung und Coda sur des notes fausses (1880)5 E7 G' t3 ~9 r0 f. K# l% b
2.5.2.31 Saint-Saëns  v, H8 _# p' K: H
S.555, Danse macabre, Op. 40 (1876)
. ^- x4 u1 M# |# i- l" _2.5.2.32 Schubert, B+ S8 {' y& a& A3 F& j. P! L
S.556, Die Rose [first/intermediate/second version] (1832, ca. 1837, 1838)# P1 i1 ^, W1 V, S% f3 E2 }6 X- P" a' V0 C
S.557, Lob der Tränen (1837)6 H0 N1 u0 G; B% l1 f3 G8 Q3 Z% K6 K
S.557a, Erlkönig [first version] (?)% f7 ~; e' t  n, K  N' H, I
S.557b, Meeresstille [first version] (?), T( L$ \, x* b
S.557b/bis, Meeresstille [first version, ossia] (?)" Z# Z+ v3 I0 a- B" R
S.557c, Frühlingsglaube [first version] (?)
- E+ M8 b4 P' w7 A& FS.557d, Ave Maria (Ellens dritter Gesang) [first version] (?)
5 v' o# o; u2 Y3 S  |, ES.558, 12 Lieder (1837-38)
4 T" \, \0 R# P2 i3 Z' w; GS.558bis, 12 Lieder [revised versions of Nos. 3, 4, 7, 8, 9, 11] (ca. 1839)
. `" S: F+ w! t% \4 g1 eS.559, Der Gondelfahrer, Op. 28 (1838)
1 }3 P! x1 \8 m& G/ f* j  @3 SS.559a, Sérénade [Ständchen, first version] (1837)6 r5 {' r2 }- j& t
S.560, Schwanengesang [14 pieces] (1838-39)
) Z$ s1 ~" p! H5 H* ^. b1 PS.560bis, Schwanengesang [14 pieces, alternative versions] (ca. 1839)
  D% p' h. u0 y3 GS.561, Winterreise [12 pieces] (1839)& m9 a  M: \2 z" k. W* B' z2 e4 ?
S.561, Winterreise [alternative versions of Nos. 2, 3, 7, 10,] (ca. 1839)
! w* C1 y! m  i1 @# `9 c5 j7 LS.562, Geistliche Lieder [4 pieces] (1841)4 X- _" F- p0 t! M4 p# J8 H* x
S.563, Six mélodies célèbres [6 pieces, 1st by Weyrauch] (1844)" G& S$ D/ X; S- b% T( \
S.564, Die Forelle [second version] (1846)& P2 ]- W3 h9 Y9 ]
S.565, Six Mélodies favorites de La belle meunière [6 pieces] (1846)  A! p7 @7 U  E# l
S.565bis, Müllerlieder [6 pieces, revised versions] (ca. 1879)
5 [! ^) `- |& ]3 v6 ]5 t# R1 |" E% NS.565a, Wandererfantasie (Grosse Fantasie in C-dur) (ca. 1868)
6 q) ?0 ]. {$ H+ m  Q, XS.565b, Schubert's Impromptus [2 pieces, Op. 90/2-3] (ca. 1868)
! a7 `- E# `+ h+ F. u% u+ K2.5.2.33 Schumann; i, ~; E: a1 t
S.566, Widmung, Liebeslied (1848)9 B& e( h  R. V/ E/ h* I
S.566a, Widmung, Liebeslied [sketch of a more literal transcription] (1848)1 K4 N! h9 Q8 D/ x: d1 R' q
S.567, An den Sonnenschein, Rotes Röslein (1861)
$ y8 a8 H; D5 ^1 `$ t# i3 _  fS.568, Frühlingsnacht (überm Garten durch die Lüfte) (1872)5 a0 c; G9 l" {' t# F
S.569, Zehn Lieder von Robert und Clara Schumann [10 pieces] (1872)
8 g' n6 P& O' u0 o/ ~5 DS.570, Provençalisches Minnelied (1881)
5 ?( o8 ]* c0 M% s9 L2.5.2.34 Smetana9 m$ q' \8 o% _) _: Y2 ~
S.570a, Einleitung und Coda zu Smetanas Polka (de salon, opus 7/1) (1880)
6 E4 `0 g6 y# W4 R* U2.5.2.35 Spohr
+ u$ \- _7 d# }; L$ i: _+ iS.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, \0 \2 }- H8 `( Y: r
S.571a, Einleitung und Schlußtakte zu Tausigs dritter Valse-Caprice (1880)
* f7 g# e5 X( m/ A( Z2.5.2.37 Szabady and Massenet4 h0 P, S' R" C" T; Q$ q
S.572, Revive Szegedin (1879)- {# T/ F$ Y- U' ]) o, j, T
2.5.2.38 Széchényi, Count Imre
# _: @" e$ e( @  p# vS.573, Bevezetés és magyar indulò (1872)
6 z( W4 N1 p: w. @* d: f2 d3 P2.5.2.39 Tirindelli# b8 O1 [# `5 m3 v. e
S.573a, Seconda mazurka variata (1880)+ Z4 f- T& D7 x
2.5.2.40 Weber8 q# D3 v& V7 h' o. y. [) T
S.574, Ouverture Oberon (1846?)
! V' s, X1 B# Y1 ]5 ^6 JS.575, Ouverture Der Freischütz (1840-41)
! M) w) i" N! d9 L: }/ Q( r! `5 sS.576, Jubelouverture (1846)
: k' t" r1 g: ]* H. US.576a, Konzertstück, Op. 79 (ca. 1868)
) u6 H- s! T7 t  \2.5.2.41 Wielhorsky, Count Michael2 }' r; e0 Q. W& L# w+ C( q
S.577, Lyubila ya [first/second version] (1843, ?), h0 q# x8 N- g' c& y; _  V
2.6 Pianoforte Duet(钢琴二重奏)
: Y3 s, H# y9 @2.6.1 Field
$ M; J* p9 P. SS.577a, 11 Nocturnes (Nos. 1-9, 14, 18 and Nocturne Pastorale in E) (?)' R$ ~) B3 R! l1 Q/ T; i
2.6.2 Liszt
% x% n" Y" A. Y, e& vS.578, 4 Pieces from St. Elisabeth (1862)/ U- g3 O; _. r3 e: c. ?0 c
S.579, Christus Oratorio 4th and 5th section (?)* l6 Q. L+ L' c; w+ ?+ B; G
S.580, Excelsior! - Preludio (?)
- J* O# Y: r* k# `- aS.581, Benedictus and Offertorium from the Hungarian Coronation Mass (1869)
' ?+ Q( J: M- G) H5 X- E& US.582, O Lamm Gottes, unschuldig (1878-79)
$ {/ W) F/ O( N& h/ @. nS.583, Via Crucis (?)0 d7 w2 M4 X, }. A/ j
S.584, Festkantate zur Enthüllung des Beethoven-Denkmals in Bonn (1845)' c$ `8 t6 d* o, C: j5 k
S.585, Pastorale. Schnitterchor aus dem Entfesselten Prometheus (1861)  Y; O( z2 T4 t4 q) }$ l! `
S.586, Gaudeamus igitur. Humoreske (1870), u" I1 G6 Q% Y" ^6 k) Q$ c6 z
S.587, Marche héroique (?)4 }9 ^- |9 f4 o! F2 t: q$ }3 l" {
S.588, Weimars Volkslied (Cornelius) (1857)
, j) w5 H. n; b8 R0 ?( uS.589, Ce qu'on entend sur la montagne (Poème symphonique No. 1) (1874)
# M' P* E. l" w9 H% T! K- GS.590, Tasso, Lamento e Trionfo (Poème symphonique No. 2) (1858)8 x1 d$ [! {* B# M9 b
S.591, Les Préludes (Poème symphonique No. 3) (ca. 1858)/ }& A! j5 N" b$ {; ]8 }
S.592, Orpheus (Poème symphonique No. 4) (ca. 1858)9 p  X# d$ _0 H2 H
S.593, Prometheus (Poème symphonique No. 5) (1858)
/ s# q/ i$ ^4 Q  H2 z; D; GS.594, Mazeppa (Poème symphonique No. 6) (1874)
# S  I6 o  ?2 k, U& ]1 SS.595, Festklänge (Poème symphonique No. 7) (1854-61)
# @+ x4 {" {6 u* x" M& _S.596, Hungaria (Poème symphonique No. 9) (1874?)" N5 D7 b& U+ Q& `; ~9 E) [# @) i
S.569a, Héroïde funèbre (Poème symphonique No. 8) (ca. 1877), x/ R8 d1 T5 u6 H! U
S.596b, Hunnenschlacht (Poème symphonique No. 11) (ca. 1877)& x- J( v5 h  Q% B; Y0 n& C3 y+ f
S.596c, Die Ideale (Poème symphonique No. 12) (ca. 1874-77)% S0 J! ?% a  z
S.597, Hamlet (Poème symphonique No. 10) (1874)
) C3 s1 b. w2 r; e, g' B" DS.598, Von der Wiege bis zum Grabe (Poème symphonique No. 13) (From the Cradle to the Grave) (1881)8 Q2 d8 X& B3 G- ^1 b( R! z
S.599, Two episodes from Lenau's Faust (1861-62)
+ U0 D2 Y* n8 \/ E6 }$ W4 @' h( L李斯特全部作品目录-40 }9 `, `) O/ |. s1 F
% b* `1 i# f  T% f0 ?: }
S.600, Mephisto Waltz No. 2 (1881)7 [: s* {) g2 r
S.601, Les Morts (Ode Funébre No. 1) (1866)
4 B% j9 d4 R0 n/ a$ LS.602, La Notte (Ode Funébre No. 2) (1866)) p4 h" r' k6 e# s1 M1 M! ^
S.603, Le Triomphe Funèbre du Tasse (Ode Funébre No. 3) (1866?)& @% b# L  j8 \+ h! n. U0 Z
S.604, Salve Polonia (1863)2 @' N6 m# j  c9 z
S.605, Künstlerfestzug zur Schillerfeier (1859)
: I3 m! s. v1 k9 K2 P% |S.606, Festmarsch zur Goethejubiläumsfeier (ca. 1858)0 n. ]7 F0 \0 n* z2 e: N
S.607, Festmarsch nach Motiven von E.H. zu S.-C.-G. (ca. 1859)
+ D9 B5 f' O  \5 _( E- y; ]S.608, Rákóczy March (1870)
- T  b8 y! o+ Z; X8 l% kS.609, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (1870)$ C( y/ n: d3 k3 t- H
S.610, Ungarischer Sturmmarsch (1875)
' L. p$ i# u6 P1 `2 _& R( p* OS.611, Epithalam (1872)1 O8 @7 J4 x- z/ }2 j; P+ H) ]
S.612, Elégie (1874). G, n; B. {4 U$ L6 T
S.613, Weihnachtsbaum (1876)9 k8 v" z0 ~$ y  k' V3 J
S.614, Dem Andenken Petöfis (Petófi Szellemének) (1877)5 V, t5 P0 S3 m5 h8 J
S.615, Grande Valse di Bravura (1836)6 B) F' D5 G& M9 M0 d0 v) U* S
S.616, Grand Galop Chromatique (1838)) n, S9 M% `3 A9 G2 W3 p& w
S.617, Csárdás macabre (1882)& n* k4 o7 Q* [- a
S.618, Csárdás obstiné (ca. 1884)
6 [2 e9 _' }1 r+ GS.618a, Vom Fels zum Meer. Deutscher Siegesmarsch (?)9 l% h8 n7 |4 m" i
S.619, Bülow-Marsch (ca. 1883)
( [3 f, M; R: {, kS.619a, Festpolonaise (1876) [4]1 t' [. R3 n" b
S.620, Hussitenlied (Melody by J.Krov) (1840)
( U: z( J, m/ R: E; \S.621, 6 Hungarian Rhapsodies [from the orchestral version, S359] (1874)
0 ~' B( i% h2 X7 P  kS.622, Rapsodie hongroise No. 16 (1882)0 p' n; T. h- I5 r" k0 `
S.623, Rapsodie hongroise No. 18 (1885)# E' ]) O) \/ _* v; B4 R
S.623a, Rapsodie hongroise No. 19 (ca. 1885)) e4 A4 G& q: u( U
S.624, Fantasy and Fugue on the chorale Ad nos, ad salutarem undam (1850)
: p8 F  M+ L9 P5 Y( C6 d7 SS.625, L'Hymne du Pape (Der Papsthymnus) (1865)+ H4 y: Z) ~& l  E+ b
S.626, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883). ?. E. }4 n* L; X) z
S.627, Fantaisie sur des motifs de l'opéra La Sonnambula (Bellini) (1852)
# {: W& B1 z5 Z) }( YS.628, Bénédiction et serment (Berlioz's 'Benvenuto Cellini') (1852)
* a5 r) Y& w2 M) f$ kS.628a, Marche et cavatine (Donizetti's Lucia) (?)
) J- `4 t5 q5 B" L5 I5 ?6 sS.628b, Szózat und Hymnus (Egressy and Erkel) (1873)
5 v+ h1 l' W$ o; ]: a% [0 {. US.629, Tscherkessenmarsch (Glinka's Ruslan i Lyudmila) (1843); |6 Q7 t$ p- A' }! g5 r
S.630, Réminiscences de Robert le Diable - Valse infernale (Meyerbeer) (1841-43)
0 e# H: t- h& D. fS.631, Andante finale und Marsch (Raff's 'König Alfred') (1853). v1 w# r* m/ I4 S* A- L7 A5 j$ x
S.632, 4 Marches (Schubert) (1879)$ z' V. x% E3 U, S
S.633, A la chapelle Sixtine (Allegri Mozart) (1865)9 x' I% G1 j5 |) T) v
S.634, Grand Septuor Op. 20 (Beethoven) (1841)1 r2 T) ~# ]* L6 z7 b  k
2.6.3 Mozart) X2 P; X9 T* ^5 }! i
S.634a, Adagio from Mozart's Die Zauberflöte (1875-81?)
5 G5 K% C9 s+ o7 w2.7 Two Pianofortes(双钢琴)# w* y5 S, t  w2 z3 t  \" o+ v+ s
2.7.1 Liszt
) |4 G$ o' D9 nS.635, Ce qu'on entend sur la montagne (Poème symphonique No. 1) (ca. 1854-57)
- b( T& W, y! p0 W. F+ E! lS.636, Tasso, Lamento e Trionfo (Poème symphonique No. 2) (ca. 1857)& R& q4 g6 ?" l. }: N1 q! i
S.637, Les Préludes (Poème symphonique No. 3) (ca. 1854-56)
1 M1 P* j$ a% _, Y9 {- p/ ?S.638, Orpheus (Poème symphonique No. 4) (ca. 1854-56)
3 f# C: c$ W. q6 H0 P0 ZS.639, Prometheus (Poème symphonique No. 5) (1855-56)
: C. r  ^$ g' @0 z- N8 MS.640, Mazeppa (Poème symphonique No. 6) (1855)) }' o6 b- M  M' A( `2 Y
S.641, Festklänge (Poème symphonique No. 7) (ca. 1853-56)
9 d% U4 h! s1 n. ]( b. OS.642, Héroide Funèbre (Poème symphonique No. 8) (ca. 1854-56)
6 w& D! @% X( U* ^S.643, Hungaria (Poème symphonique No. 9) (ca. 1854-61)$ [/ w5 n* n7 Q0 n$ e( m8 W
S.644, Hamlet (Poème symphonique No. 10) (ca. 1858-61)% G- C% ]4 j, S
S.645, Hunnenschlacht (Poème symphonique No. 11) (1857)4 \+ t9 f& l# \+ x+ y
S.646, Die Ideale (Poème symphonique No. 12) (1857-58)3 |, P" B1 ~  L0 z$ D
S.647, A Faust Symphony, in three character pictures (1856)
7 v* s: a0 v+ b5 O. iS.648, A Symphony to Dante's Devina Commedia (ca. 1856-59)& u7 S# {- F) U- t6 D% ?0 P
S.649, Fantasie über Beethovens Ruinen von Athen (1865)
& u" l* b; Q5 U. K4 i  AS.650, Piano Concerto No. 1 in E flat major (1853)0 U" w3 N- {  U% C
S.651, Piano Concerto No. 2 in A major (1859)
$ z: D2 q* t4 x) R" ~  VS.652, Totentanz. Paraphrase on Dies Irae (1859), y$ ?# V! z" t( s) b) O" w2 b
S.653, Wandererfantasie (Schubert) (a. 1859)
& f; n7 _5 ^. TS.654, Hexaméron, Morceau de Concert (1837)3 x6 g# |; H/ _
S.655, Réminiscences de Norma (Bellini) (1841)
/ F/ o4 W! Y/ y( g. K! W6 dS.656, Réminiscences de Don Juan (Mozart) (1841)
* a: h0 W, h! ~, J$ z- D, ~3 eS.657, Symphony No. 9 (Beethoven) (1851)
/ T+ H1 K; t% O+ K- d0 W6 SS.657a/1, Piano Concerto No. 3 (Beethoven) (1878)
8 k) A- }: \9 t8 _- {6 LS.657a/2, Piano Concerto No. 4 (Beethoven) (1878)) w/ \3 C  w' E- w6 |4 ?: m
S.657a/3, Piano Concerto No. 5 (Beethoven) (1878)
! t7 \* O8 Y* k/ y9 d' E4 YS.657b, Bülow-Marsch [2-pianos, 8-hands] (1884)
( h# o- A2 W; Q0 b7 [2 Q2 u! g2.8 Organ(管风琴)0 o6 `: n7 h- t$ e) Z
2.8.1 Allegri und Mozart( P# K( U2 V; Z- b* Y7 u
S.658, évocation à la Chapelle Sixtine (1862)
1 \1 w# g; A  M7 n2.8.2 Arcadelt( V. u, E- L$ f, o( `  ^
S.659, Ave Maria (1862)! \9 U3 l# }' q* d, L
2.8.3 Bach( V+ s* y" q' ~/ ~
: t: q$ j# U4 M8 X- v
S.660, Einleitung und Fuge aus der Motette Ich hatte viel Bekümmernis und Andante Aus tiefer Not [2 pieces] (1860)8 U- Y( {3 \& X8 _) h
S.661, Adagio from Bach Violin Sonata No. 4 (BWV1017) (1864)
, H. o, q+ A* N2.8.4 Chopin4 l( N- R( D+ o5 ^/ n! D

6 G, m0 O( v( l. o( fS.662, 2 Préludes from Op. 28 (Nos. 4, 9) (1863)
" ~. @9 _! e1 }9 T2.8.5 Lassus6 n) L8 ?2 I) t

; O/ h: j4 O7 K# B/ i% G" s) O9 b. LS.663, Regina coeli laetare (1865)! Y& S- K0 f- n
2.8.6 Liszt; N% ~& O  Z" f& P

* H* h  I4 ]% E+ L6 Y, d4 dS.664, Tu es Petrus from Christus (1867)
# Q0 S) r# L1 E- ^+ aS.665, San Francesco (1880)
7 M& P! T; _2 T# z+ p# {! Q6 aS.666, Excelsior! - Preludio (?)
& J' }1 ~4 h8 R. \S.667, Offertorium from the Hungarian Coronation Mass (1867)5 F& X! e) O$ j# |8 m8 ~: E
S.668, Slavimo Slavno Slaveni (1863), B: D7 N9 e* q% z9 t, }1 U" t2 k+ t
S.669, Zwei Kirchenhymnen [2 pieces] (1877)
; }5 X/ R' V8 h3 VS.670, Rosario [3 pieces] (1879)- [; G* @; X6 C% U2 M
S.671, Zum Haus des Herrn (In domum Domini ibimus) (1884)* z( M$ t0 ?' e* {7 B/ s8 `
S.672, Weimars Volkslied (Cornelius) (1865)5 F( e5 F7 w9 G& `. v  V* g
S.673, Weinen, Klagen' Variationen (1863)
  _1 `, g) I* V  ^+ d4 s3 L/ lS.674, Ungarns Gott. A magyarok Istene (Petófi) (1882)" M7 `) I; Z6 C3 j/ x! g# P: w
S.674a, O sacrum convivium [2 versions] (?)
5 g6 f; Z2 J' r9 t: \. Q  j2.8.7 Nicolai- U/ \5 E( b( H; Y- t; ~6 U
9 _. o9 E& f0 Q2 K6 f
S.675, Kirchliche Festoverture (1852)
% d* `7 o( V4 j8 n$ n3 Z3 b0 |2.8.8 Wagner
7 |  K/ L7 c2 D/ ?, p" p
* E6 a; B4 ~& K$ RS.676, Pilgerchor from Wagner's Tannhäuser (1860)+ O$ w9 Q  F* |: w  X! T! f0 U
2.9 Organ with Other Instruments(管风琴和其他)
1 [, `: k" ?4 E3 d2 m
1 P+ ~+ E' `7 L% yS.677, Hosannah from Cantico del sol di San Francesco d'Assisi (for organ and bass trombone) (1862)4 y7 H/ v. d5 P& U: |1 [0 f
S.678, Offertorium and Benedictus from the Hungarian Coronation Mass (1869)1 m- v+ ~% _& E$ ?1 F
S.679, Aria 'Cujus animam' from Rossini's Stabat Mater (for organ and trombone) (?)  m/ _& D  V. X3 Q+ l
Vocal Arrangements声乐9 r# F( f4 m9 z% z

3 m. r( [2 g* F8 k# TS.680, Ave maris stella (1868)0 |" Q4 Q1 e( o4 H9 ^
681, Ave Maria II (1869)
. A0 I" ^) x5 {  t, O8 [S.682, Air du Stabat Mater (Rossini) (?)
% o6 O- c$ r- s( i6 k* A$ C) S3 BS.683, Serbisches Lied (Hohenzollern-Hechtingen, Prince FWC. von) (?)
' ?. g% f* X5 M/ VS.684, Barcarolle vénitienne (Pantaleoni) (?)
% ]  j+ u/ c$ e$ QS.685, Es hat geflammt die ganze Nacht (Grand Duchess Pavlovna) (?)
4 j% l* n6 f$ Y. i; s8 m
8 h9 R8 h- G2 E) n+ O2.10 Recitations
! L% o4 N9 y1 o6 M! t3 `S.686, Helges Treue (Draeseke) (1860)
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 楼主| geci110 发表于 2015-7-22 18:35:55 | 显示全部楼层
% z! k( G" q6 v: t6 U" x( L

( k. r* B) V3 u- r3 q2 K# }: Y: N' x1 E. ^5 b1 G9 p( f

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9 T# y: d: O. L4 b3 ?' |, x- F

9 M: K3 v! J$ j, J1 c& r9 @/ U
  }1 u( f. Z& v- s3. Appendix
; b$ r0 T" ~% l7 {. H8 [4 E  S & ^# n1 S' w" y* q3 R' J1 M
3.1 Unfinished Works
3 e# [+ k  H% J3 N& C% ^4 W& N
  q  N; f; @: I% I" U, O3 \/ H) DS.687, Sardanapale (Byron) [opera, partly sketched, 111 pages] (?)
. _2 ]6 f( C' S% X* VS.688, Oratorio - Die Legende vom heiligen Stanislaus [sacred choral] (1873-85)
  N+ T) W/ c, H' g; z$ u* I6 N  ?S.688a, St Stanislaus fragment [solo piano, Library of Congress] (1880-86)
- C# }5 `3 _8 y* \S.689, Singe, wem Gesang gegeben [secular choral] (1847)8 c) }" ^/ V( ^; ]  g
S.690, Revolutionary Symphony [unfinished, revised 1848] (1830)
/ V8 X/ C$ @9 }: r* bS.691, De Profundis [piano and orchestra, De Profundis - Psaume instrumental] (1834?)
: s4 q4 x: ], m. t+ a$ _S.692, Violin Concerto [only sketched] (1860)
% b( L1 n! h& p) s) i4 t; s" jS.692a, The Four Seasons String quartet (Vivaldi) (1880?)
  m8 n' E) o; W: F+ q! nS.692b, Anfang einer jugendsonate [solo piano] (1825)- h6 l) J! D; c6 z+ T
S.692c, Allegro maestoso [solo piano] (1826)% y: f3 m  O& h3 A8 D
S.692d, Rákóczi-Marsch [solo piano, first version, simplified, unfinished] (1839)
: f5 ?: Y2 t% q) G* y4 K& ~S.692e, Winzerchor (Prometheus) [solo piano] (1850)- _+ k; S/ R2 L% ~( T2 `0 u  O
S.693, Deux marches dans le genre hongrois [solo piano, 2 pieces] (1840?)3 t7 M. H1 a/ X: t7 J! I
S.693a, Zwei Stücke aus der heilige Elisabeth [solo piano] (1862)" R2 ]$ m! j: ?4 p! s# ?7 o) R
S.694, Fantasie über englische Themen [solo piano] (1840?)# V2 s! I. o' s8 w0 I, |& F
S.695, Morceau en fa majeur [solo piano] (1843?)
4 ~4 k4 S( n! v  rS.695a, Litanie de Marie [solo piano] (1847)
6 j' h  r) X' x+ _6 j) OS.695b, Zigeuner-Epos [solo piano, 11 pieces] (ca. 1848)9 m0 o: a1 u" o, \3 y
S.696, Mephisto Waltz No.4 (1884) 第四梅菲斯特圆舞曲
6 O- j. G' |5 z# f' T4 pS.697, Fantasie über Themen aus Figaro und Don Giovanni (Mozart) [solo piano arrangement] (1842)0 V3 X" b) ^& Z4 l$ H4 `
S.698, La Mandragore - Ballade de l'opéra Jean de Nivelle de L. Delibes [solo piano arrangement] (a. 1880)
9 s0 Q, F! {! Q; F$ {" w5 |! SS.699, La Notte (Odes Funèbre no. 2) [solo piano arrangement] (1864-66)
  X0 l4 `% _0 L: f% B7 Q' i0 s' KS.700, Grand Fantaisie (Variations) sur des thèmes de Paganini [first/second version; completed by Mezö] (1845)% s( T/ c8 t) {) f# E
S.700a, Variations sur Le Carnaval de Venise (Paganini) [solo piano arrangement] (?)7 E9 a* M  G; l% O, l5 H
S.701, Den Felsengipfel stieg ich einst hinan [song] (?)' I9 k, x/ K! z& m  ~
S.701a, Allegro di bravura [orchestra, arrangement] (ca. 1830)
; o: b" A6 P, d$ _S.701b, Marie-Poème [solo piano] (1837)
3 `9 I/ G" x, \; N3 g$ F' p! ^7 US.701c, Andante sensibilissimo [solo piano] (1880-86)4 x3 C# S# L& f
S.701d, Melodie in Dorische Tonart [solo piano] (1860)8 L  z) o8 p( G* [9 @* W( M* X
S.701e, Dante fragment [solo piano] (1839)
2 e$ u* u$ I5 H! l% c0 B, lS.701f, Glasgow fragment [solo piano] (?)1 X( r6 u$ j  u7 Z* F- R7 O
S.701g, Polnisch - sketch [solo piano] (1870-79)# W3 V  x. `9 C$ c# H' Z+ _% o
S.701h/1, Operatic aria - and sketched variation [solo piano] (?)
$ O0 Y$ C/ {, X5 i( a4 ^S.701h/2, Valse infernale (Meyerbeer) - theme [solo piano arrangement] (?)
: ?. L6 P, O0 r% sS.701j, Harmonie nach Rossini's Carità (La charité) [solo piano arrangement] (1847)# Z8 c7 r. P# ?( D' @
S.701k, Korrekturblatt (to an earlier version of La lugubre gondola) [solo piano] (1882)" e- g& |( i# i+ C/ v
3.2 Doubtful or Lost9 M( t! R: c* k- m# k
  I$ y  x2 e6 X- c
3.2.1 Sacred Choral Works
& ]2 ?) e& \9 X2 p! B: p
+ j/ p. v: A+ n( v6 @4 TS.702, Tantum Ergo (1822)
+ P' g( ?* N* [$ I+ LS.703, Psalm 2 (1851)
6 S" z9 X: W0 TS.704, Requiem on the death of Emperor Maximilian of Mexico (?)
! j$ b" |) g. t1 L( U. E: n! b+ |S.705, The Creation (?)/ ?. `$ u/ \* S# }) ^5 A
S.706, Benedictus [doubtful] (?)$ I; Q1 g: z0 Y* ]. b
S.707, Excelsior [arrangement, doubtful] (?)
. A* ~, C2 `# ?& x3.2.2 Secular Choral Works
4 T0 w6 [$ D" o/ I
5 G7 P8 U' Q( m% u' E/ IS.708, Rinaldo [doubtful] (ca. 1848)
& O4 k% r7 W7 B5 y. H# y2 G: u. R3.2.3 Orchestral Works
" D, @0 `4 Y" ^6 V/ O4 f7 A* ?3 g
$ i) _) b+ S2 pS.709, Salve Polonia [rediscovered, renumbered as S113] (1863)
2 z! }2 g) W* r; fS.710, Funeral March (?); K2 r) i$ Y7 i% Z) B7 \
S.711, Csárdás macabre [arrangement] (?)( {( A* K, C) @9 m
S.712, Romance oubliée [arrangement] (?)! D' z* _  \  S+ Z
3.2.4 Piano and Orchestra6 y# Y7 z  P( g$ z7 Y7 q
0 {$ ?9 K1 W) J8 G
S.713/1, Piano Concerto in A minor (1825?)
8 }( G& [! O& ~' y5 T& I2 c2 IS.713/2, Piano Concerto (1825?)
$ u0 j( s0 T. f, aS.714, Piano Concerto in the Hungarian style [by Sophie Menter, renumbered as S126a] (1885), R! d& ~  }- Y* A2 z* k' V
S.715, Piano Concerto in the Italian style (?)
8 S. M) ~# G5 P6 Y9 h( ES.716, Grande fantaisie symphonique [orchestral] (?)" V" c5 b% M6 K  H! s! Z$ T# E
3.2.5 Chamber Music
/ f& v( Z' E# j2 {9 a8 @$ i- |' `% D. _! `! K' i8 q) g: Z8 t
S.717, Trio (1825); ^" G1 m4 }" p5 e+ H$ x# \
S.718, Quintet (1825)& L, ^6 W" P# J
S.719, The Four Seasons String Quartet (Vivaldi) [rediscovered, renumbered as S692a]
0 A8 x3 T$ z; D6 P9 V* PS.720, Allegro moderato (?): U  |" A- j# H  o& l4 \
S.721, Prelude (?)% E5 U8 k. Q! O1 ?- e7 r3 {& M* j
S.722, La notte (Odes funèbre no.2) [rediscovered, renumbered as S377a] (1864-66)! o, _8 i6 }1 q+ o0 c
S.723, Tristia [arrangement, from Vallée d'Obermann S160/6] (1880-86 ?)
4 _6 P2 t, \( l4 A. _/ N! sS.723a, Postlude on theme from Orpheus [arrangement] (?)
/ p, k2 ~9 S# L& ^0 k3.2.6 Pianoforte Solo9 `- T8 X# l; ?) W  \" ?% ~8 p8 ~

; d$ q& _* J# tS.724, Rondo and Fantasy (1824)
, W- w; p( A* z  I$ v( H# eS.725, 3 Sonatas (1825)5 b' G! H2 d$ s* w4 D& C# C
S.726, Study (?)$ A" \* A9 f. b/ H
S.726a, Valse (?)
7 ~- V, @7 K. H  N李斯特全部作品目录-5
% `8 M5 u+ S4 g8 D0 R$ ]8 Z
' Z. s/ e; F' h$ S/ W$ O0 `! `S.727, Prélude omnitonique (?)# Y2 b" h; a. m' p
S.728, Sospiri (Fünf Klavierstücke) [rediscovered, renumbered as S192/5] (1879)
# x8 l" Y# \+ E4 T3 NS.729, [rediscovered, renumbered as 42(?)]& T, e! E4 K% m( I0 P
S.730, Dem Andenken Petöfis (Petófi Szellemének) [rediscovered, renumbered as S195] (1877)
! D- ?+ V8 H9 pS.731, Valse élégiaque (?)# g. e1 z& B) A
S.732, Valse Oubliée No.4 [rediscovered, renumbered as S215/4] (1883-84)  h; i6 \9 \- s0 o. F5 G
S.733, Marche hongroise (in E flat minor) [rediscovered, renumbered as S233b] (1844)
$ ]+ |2 j/ v6 J8 F1 k. nS.734, Ländler (?)
2 W+ S' T+ T+ l* k' {S.735, Air cosaque (?); }  R* S+ ^8 ~3 D- S# j
S.736, Kerepsi csárdás (?)
2 d! @: y/ \7 b; ~- W2 FS.737, 3 morceaux en style de danse ancien hongrois (?)
% y5 @+ O3 w) e) K  ]S.738, Spanish folksong arrangement (?)6 [9 ^; @7 g; Y+ g, d
3.2.6.1 Arrangements6 V' ^" \1 O. u  Q7 `0 Q
; g/ M: E9 G5 W6 L! G
S.739, Corolian Overture (Beethoven) (?)$ g0 _+ Y7 d% c; D! ^/ W5 N
S.740, Egmont Overture (Beethoven) (?)
. S" n/ h3 n0 K3 B, ?# P, vS.741, Le carnaval romain - Overture (Berlioz) (?)
6 a/ e  J) G$ vS.742, Duettino (Donizetti) (?)
* t2 a$ }) H: H( H) ES.743, Soldiers Chorus from Guonod's Faust (?)
: K( Q6 L. d3 o6 H* m4 r, B* E& IS.743a, Fantasia on themes from Halévy's Guitarero (b. 1841)1 G; {5 W+ d  U& d: D' p5 u
S.744, Paraphrase on Act 4 of Kullak's Dom Sebastien (?)
( a' h! N: F  ~# L; K% AS.745, Funeral March (?)  ~- U  N, g/ Y/ L
S.746, Andante Maestoso (?)
. ^- @. a5 m& b# t, R: U1 iS.747, Poco adagio (from Missa Solemnis) (?)
; P) l9 h6 O- I; \- kS.748, Overture to Mozarts "Die Zauberflöte" (?)
1 h! v9 K. ^5 P+ ~S.749, Preussischer Armeemarsch (Radovsky) (?)- \  f: c. ^$ P
S.750, Siege de Corynthe, Introduction (?)
0 P" n( |3 F2 D7 m  v8 I$ LS.751, Nonetto e Mose, Fantasia on themes by Rossini (?)
# v. y7 ^- u$ J5 VS.752, Gelb rollt (Rubinstein) (?)
; j7 G$ T: ~# r3 W6 v# @' I2 u4 E% zS.753, Alfonso und Estrella, Act 1 (Schubert) (?)
/ r9 ~- ^8 j3 x( p* FS.754, Seconda mazurka variata (Tirindelli) [rediscovered, renumbered as S573a] (1880)
5 J+ R* w9 I/ _3.2.7 Pianoforte Duet
5 J, s, |! i' p+ Z- b1 c3 b
* u( K0 G) _, X4 |* qS.755, Sonata (?)8 R* z" I! b: w! [
3.2.8 Two Pianofortes7 {( M8 X( R0 L7 I/ r! N* O

) ~! _% A5 W* P" L, \  A& ~S.756, Mosonyis Grabgeleit (?)
0 y7 l% T. q; S5 @* [! w0 fS.757, La triomphe funébre du Tasse (?)& w5 _8 `, I; c# {6 O
3.2.9 Organ
0 S; s+ T1 ?/ `- W/ ?, U* M% K
  c- R' I7 d% v. b. _. aS.758, The Organ (Herder) (?)! Q" z' I' l4 I* ^3 R0 E7 d5 z+ }
S.759, Consolation [arrangement] (?)# M4 C( h% |" Z7 d
S.760, Cantico del sol di St. Francesco [arrangement] (?). S  T1 [# Q. b) A0 {, v
S.761, Marche funèbre (Chopin) [arrangement] (?)
: n: y6 P" r5 n, F% N8 d3.2.10 Songs9 d  ~/ M" v: x3 d
/ ~( H' i/ @/ X6 }3 `0 \
S.762, Air de Chateaubriand (?)
9 n9 {% h- k+ z' R# }$ P4 g; VS.763, Strophes de Herlossohn (?)
$ b) T5 s1 L* P# `S.764, Kränze pour chant (?)
: C1 f- V4 q0 tS.765, Glöcken (Müller) (?)
3 R1 @5 I0 D8 x. D) l& _5 w$ ?S.765a, L'aube naît (Hugo) (1842?)
5 _1 x- o. B  H4 v/ u9 E* y  tS.766, Der Papsthymnus (?)
2 w% E5 I# ]5 FS.767, Excelsior (?)! p% @+ b1 N; @; `( Q! R9 O& j
3.2.11 Recitations
' T- f7 Z9 \$ `9 q& H2 z5 s
3 B6 B0 }; b6 k6 X$ K& _( t" oS.768, Der ewige jude (Schubart) (?)7 Z% l: n8 Y' E
3.3 Supplement& d9 x5 W" Q( U$ w
* ?& f5 u& E" [+ o. ]
S.990, Fantasy and Fugue on the chorale "Ad nos, ad salutarem undam" (played by Liszt to Walter Bache) [solo piano, arrangement] (b. 1862)- h8 L3 Z& V1 u) P2 o' f
S.991, Waltz in A major [chamber, arrangement] (?)5 I$ }4 p' |, X
S.993, Wartburg Lieder (Scheffel) [orchestral, arrangement] (?)
' ~" v  x' O7 t6 x1 bS.994, Grand solo caractéristique à propos d'une chansonette de Panseron [solo piano, arrangement] (1830-32)
$ p# j) n) B+ b4 f3 `2 US.995, Variations de bravoure sur des thémes de Paganini [unfinished] (1845)
( c. z; @; X: s1 H1 LS.996, Stabat Mater [solo piano] (1870-79 ?)4 T, M( |4 R: z% Y8 \# K# C
S.997, 5 Variationen über Romanze aus 'Joseph' (Méhul) (by Franz Xaver Mozart, attributed to Liszt) (ca. 1834)
( E4 `( v2 ?" t" D$ ES.998, Adagio in C [solo piano] (1841)
9 t) H: @3 D1 N2 ~  mS.999, Andante Maestoso [organ] (?)
+ P* m: {0 T) Y& m% ^降E大调钢琴协奏曲(遗作)Piano Concerto in E flat Major Op.posth( n  F: o; K5 T' M
2首悲歌 2 Elegies
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