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S.252, Rondeau fantastique sur un thème espagnol, El Contrabandista (Garcia) (1836)
6 N( K j& y/ }+ M/ j' YS.252a, La romanesca [first/second version] (ca. 1832, b. 1852), Z0 n7 G0 Z2 U2 L$ a
S.253, Grosse Konzertfantasie über Spanische Weisen (1853)
4 S2 ^' A3 Q8 J' xS.254, Rhapsodie espagnole (1863?) 西班牙狂想曲" q) K3 w! z; L# n* b( G
S.254x, Rapsodie espagnole [orchestrated by Feruccio Busoni] (?)0 h- Q' Z( p+ V/ n+ p
1.8 Piano Duet(钢琴二重奏)
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/ @' l: ?6 j8 A6 {+ H {) ?* sS.255, Festpolonaise [now S619a] (1876)( h" n3 }0 z$ \5 E8 X
S.256, Variation on the Chopstick Theme (1880)5 ~. V: Q# [* J
S.256a, Nottorno [Not by Liszt?] (?): i0 S( b% C4 B7 f/ P% \" B
1.9 Two Pianos(双钢琴)6 ~ ~7 P. ^* \2 y- g/ {2 s
0 I( h0 ^, p. c( U/ C/ Z
S.257, Grosses Konzertstück über Mendelssohns Lieder ohne Worte (1834)
4 A* i( j6 B. z+ T+ w4 hS.258, Concerto pathétique (b. 1856) e小调钢琴协奏曲“悲怆”
# B/ L! p& j* A7 [+ b( B1.10 Organ(管风琴)' o& J0 e- Q& T
# K3 `# H% R" j# wS.259, Fantasy and Fugue on the chorale Ad nos, ad salutarem undam (1850)) r2 V0 J* \1 A0 i+ _; o% B" R
S.260, Präludium und Fuge über das Thema BACH [first/second version] (1855, 1870)! t" X6 _) R6 N& }
S.261, Pio IX. Der Papsthymnus (1863?)
: `3 s! z7 b! I: o4 ^S.261a, Andante religioso (1861?)5 W+ w' i; Q- u" O/ r! P
S.262, Ora pro nobis. Litanei (1864). y1 S/ V' y _7 E
S.263, Resignazione (1877)/ r; A5 Z: k+ A9 V9 J
S.264, Missa pro organo lectarum celebrationi missarum adjumento inserviens (1879)
$ N, T/ K; M2 w* L% PS.265, Gebet (1879)
: {! Z1 D k% P" ^; ZS.266, Requiem für die Orgel (1883), a/ [% S; {8 N3 R/ f
S.267, Am Grabe Richard Wagners (1883)
; c$ r: U6 b0 [) D5 a# l; o! Y2 T3 IS.268, Zwei Vortragsstücke [2 pieces] (1884)/ s# j+ X) \5 w7 E S& M* ^ w2 r" J
1.11 Songs(歌曲)
% g1 `4 |$ Z4 \" F5 f1 Q
/ O, L# E1 A, u/ G; g8 a, f3 nS.269, Angiolin dal biondo crin (Marchese C. Bocella) [first/second version] (1839, ?)0 {! `8 D4 D3 o
S.270, Three Petrarch Sonnets [3 songs, first/second version] (1844–45, 1854]
7 }, }7 a) T3 w5 Z* o( G6 tS.271, Il m'aimait tant (Delphine Gay) (1840?)" i- e; z9 ]& t% p% v( b4 l
S.272, Am Rhein im schönen Strome (Heine) [first/second version] (1840?, 1854)
" K4 G; G, u% n5 v0 e7 QS.273, Die Lorelie (Heine) [first/second version] (1841, ?)
. W! W7 }3 |8 J+ `# @# L" Y6 WS.274, Die Zelle in Nonnenwerth [first/second version revised 1862] (b. 1841, 1857)* q% N6 ~; _* S9 p0 A" C0 _/ l& a* Y
S.275, Mignons Lied (Kennst du das Land) (Goethe) [first/second/third version] (1842, 1854, 1860)- j( ]- H8 e% L8 [9 y
S.276, Comment, disaient-ils (Hugo) [first/second version] (1842, ?). h D+ N! J1 z3 ~8 y: H
S.277, Bist du (Prince E. Metschersky) [first/revised version] (1843, ca. 1878-79)0 N$ {9 O: w" Y& |: H: W
S.278, Es war ein König in Thule (Goethe) [first/second version] (1842, ?): d& n7 H: a/ e# P3 R. T
S.279, Der du von dem Himmel bist (Goethe) [first/second/third version] (1842, ?, 1860)
- S# }$ c6 f |/ G% zS.280, Freudvoll und leidvoll (Goethe) [first/second/third version] (1844, 1848?, ?)1 X4 Q% d+ G6 R: A$ m$ ^
S.281, Die Vätergruft (1844)
. U1 j! ]" E4 u+ B1 c2 G: d/ b5 \S.282, O quand je dors (Hugo) [first/second version] (1842, ?)
@# K1 U2 q7 j% {) ?/ bS.283, Enfant, si j'etais roi (Hugo) [first/revised version] (1844?, ?)
7 e3 X5 \5 O p7 N, R* V5 D, ~2 OS.284, S'il est un charmant gazon (Hugo) [first/revised version] (1844?, ?)
6 d% |( D7 M" |S.285, La tombe et la rose (Hugo) (1844?)
7 n% x7 ~" B @* W4 u! O3 s- V5 a! R1 d9 nS.286, Gastibelza, Bolero (Hugo) (1844?)' w3 i* j! c- M" S
S.287, Du bist wie eine Blume (Heine) (1843?)) m' w) m8 U% T% z; }: F% M
S.288, Was Liebe sei (C. von Hagn) [first/second/third version] (1843?, ca. 1855, 1878–79)/ D# Z3 q, I) Q+ _
S.289, Vergiftet sind meine Lieder (Heine) [first/revised version] (1842, ?); P; H% U4 J% ]
S.290, Morgens steh ich auf und frage (Heine) [first/revised version] (1843?, ca. 1855)
6 y1 M( O; O; H2 G) a8 ]S.291, Die todte Nachtigall (Kaufmann) [first/revised version] (1843?, 1878)' Q9 M3 @& \4 ^2 @- x9 y5 w+ R
S.292, Songs from Schiller's Wilhelm Tell [3 songs, first/revised version] (1845?, ?)3 ~ o1 ?% }: C$ o0 O
S.293, Jeanne d'Arc au bûcher (Dumas) [first/revised version] (1845, 1874)
3 |9 f6 T7 q0 I# {S.294, Es rauschen die Winde [first/second version] (ca. 1845, b. 1856)
6 Y# e% n. g3 T1 t$ B8 H$ qS.295, Wo weilt er? (Rellstab) (1844)
7 j3 ]3 s3 a; T: j4 I3 L1 XS.296, Ich möchte hingehn (Herwegh) [revised later] (1845)
6 B% A4 l6 p7 n3 H/ w. zS.297, Wer nie sein Brot mit Tränen ass (Goethe) [first/revised version] (ca. 1845)- g, R+ z+ c( @; j( r/ \
S.298, O lieb so lang du lieben kannst (Freiligrath) (1845?)
" {4 V% V+ J% G8 _S.299, Isten veled (Farewell) (Horvath) [first/revised version] (1846–47)
. Q1 m: P' S+ E- Z3 c' G) D3 |% v* pS.300, Le juif errant (Béranger) (1847)0 ^, B* }% T/ Q$ t& Q
S.301, Kling leise, mein Lied [first/revised version] (1848)
% U0 |' H9 w7 D/ H2 ^: g3 FS.301a, Oh pourquoi donc (Mme Pavloff) (1843)2 q' ?+ ?; m) S4 ]
S.301b, En ces lieux. élégie (E. Monnier) (1844)
2 _9 v: ^7 ^, w3 b% X7 ^S.302, Die Macht der Musik (Duchess Helen of Orleans) (1848–49)
0 h/ G; l# B) j6 h# ~S.303, Weimars Toten. Dithyrambe (Schober) (b. 1848)
0 t* D" V+ I3 N7 MS.304, Le vieux vagabond (Béranger) (b. 1848)
$ w+ V! S3 c* i, t C0 qS.305, Schwebe, schwebe, blaues Auge [first/revised version] (1845, ?)+ n; H" [& |. A: K
S.306, über allen Gipfeln ist Ruh [first/revised version] (1847?, ?): {- y+ C* B( w/ K7 t
S.306a, Quand tu chantes bercée (Hugo) (1843)3 e/ J3 U. o+ }
S.307, Hohe Liebe (Uhland) (1850?)
' H- n9 T" r. c/ _S.308, Gestorben war ich (Seliger tod) (Uhland) (1850?)
; C, S2 c3 ~0 i6 l! m4 t7 IS.309, Ein Fichtenbaum steht einsam (Heine) [first/revised version] (ca. 1845, 1854)
/ M! T- u* E2 k$ f% _3 a$ cS.310, Nimm einen Strahl der Sonne (1849)
: @1 q% q Y: Z" h' y. d- XS.311, Anfangs wollt' ich fast verzagen (Heine) (1849)
5 U! m1 M# X* f9 i& L* U0 M# eS.312, Wie singt die Lerche schön (Hoffmann von Fallersleben) (1856?)( V; Z$ j; I3 v
S.313, Weimars Volkslied (Cornelius) (1857)
( l$ ?: a1 I* s I. R+ _3 s; AS.314, Es muss ein wunderbares sein (Redwitz) (1852)5 ?, ^8 U( |! n9 j8 L {5 U
S.315, Ich liebe dich (Rückert) (1857)2 v* i& n6 [3 ?; a) A0 g
S.316, Muttergottes - Sträusslein zum Mai-Monate (Müller) [2 songs] (1857)
, T$ c, M F5 Q- h4 WS.317, Lasst mich ruhen (Hoffmann von Fallersleben) (1858?)
5 |3 s, z% _" c' |S.318, In Liebeslust (Hoffmann von Fallersleben) (1858?)
- k( k+ w8 o9 j: |S.319, Ich scheide (Hoffmann von Fallersleben) (1860)
; e4 u$ M6 R5 {$ q% d6 HS.320, Die drei Zigeuner (Lenau) (1860)
2 q$ R9 }9 y! H0 C$ {; S# F8 W- G+ |; P5 BS.321, Die stille Wasserrose (Geibel) (1860?)
9 t/ J7 j" p1 Y9 F3 ^7 U' R2 CS.322, Wieder möcht ich dir begegnen (Cornelius) (1860)
8 F- ~0 C6 D2 RS.323, Jugendglück (Pohl) (1860?)
! v2 Q, n: F+ C! NS.324, Blume und Duft (Hebbel) (1854)6 a+ \/ X1 L6 x( R6 q0 G; u$ p
S.325, Die Fischertochter (Count C. Coronini) (1871)7 a, \# M8 }- l/ N! |7 y$ g
S.326, La perla (Princess Therese von Hohenlohe) (1872)8 c/ r+ U. n) f& ~% N
S.327, J'ai perdu ma force est ma vie. 'Tristesse' (de Musset) (1872)+ ?9 F6 q0 v3 \5 P9 l& c
S.328, Ihr Glocken von Marling (Emil Kuh) (1874)' g3 M! d H' y. V% I
S.329, Und sprich (Biegeleben) [revised 1878] (1874)
3 e- r6 j/ B- `5 V7 l% y/ F8 Q5 ?S.330, Sei Still (Henriette von Schorn) (1877)
( i; s& H, {5 Z- C* E) zS.331, Gebet (Bodenstedt) (1878?)1 n6 w7 y3 w/ x& {6 q: ~( k
S.332, Einst (Bodenstedt) (1878?)
* h" W1 P/ c" A$ [6 ^S.333, An Edlitam (Bodenstedt) (1878?)
9 }7 f! R, ~2 t) FS.334, Der Glückliche (Bodenstedt) (1878?)1 M+ A1 X2 o' ?, i2 i8 z
S.335, Go not, happy day (Tennyson) (1879)
- [( q* E6 U! r( `5 k6 T- u4 XS.336, Verlassen (G.Michell) (1880)
$ k5 e' O4 y0 Q' M" c. |S.337, Des tages laute stimmen schweigen (F. von Saar) (1880)* t8 Q# J" A6 d$ d# A
S.338, Und wir dachten der Toten (Freiligrath) (1880?)
8 x2 E9 O' o: n' n; z. wS.339, Ungarns Gott. A magyarok Istene (Petófi) (1881)
, d- c7 z4 r$ f$ F( ` LS.340, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)' J- m/ G" ^/ `4 t. t
S.340a, Ne brani menya, moy drug. (Tolstoy) (1886)2 W6 H, C/ C' j4 ]) H3 L9 h
1.12 Other Choral Works(其他合唱作品)# G% ]; z. V' i+ ]" D
S.341, Ave Maria IV (1881)0 z# G% |; h4 \5 K
S.342, Le crucifix (Hugo) (1884)- j/ E6 M8 t. f' g2 p$ Q* ]
S.343, Sancta Caecilia (1884)
8 v7 h. G" K5 }9 J" C, z8 i" LS.344, O Meer im Abendstrahl (Meissner) (1880)" d5 E$ W! r. @1 F, K7 j
S.345, Wartburg-Lieder from Der Braut Willkomm auf Wartburg (Scheffel) [7 chorals] (1872)5 p/ F$ k# M P, `9 v
1.13 Recitations(叙事歌谣颂诗); P6 f# e, Z8 n1 X
S.346, Lenore (Bürger) (1858)% e$ I' G9 M7 D; [8 z1 d* D. r2 _
S.347, Vor hundert Jahren (F. Halm) (1859)
`! D) g) q( F; F$ z- vS.348, Der traurige Mönch (Lenau) (1860)+ X; T' d" Z+ T0 h9 O! | K
S.349, Des toten Dichters Liebe (Jókai) (1874)3 k" }) w. K4 B+ W* ?, [$ U
S.350, Der blinde Sänger (Alexei Tolstoy) (1875)
1 I" r) X5 y' Q; d% e; w2. Arrangements, Transcriptions, Fantasies, etc.
6 a5 b/ [8 w& M/ H, J5 [" C* B# z& _, q# S
2.1 Orchestral Works(管弦乐作品)' E y) H# m0 X4 `3 ?3 @6 T. ]
) o8 y3 _) R, h1 ~0 {8 z" B
2.1.1 Bülow
/ d0 \) r' i2 F1 k) _* h0 S [
3 c$ {1 K& m8 a* Y! F# ~; tS.351, Mazurka Fantasie, Op. 13 (1865)
) n0 c( y( U7 d& G, I1 `2.1.2 Cornelius" G2 F! }4 {2 V4 L
: F F) h' c0 [
S.352, Second Overture to The Barber of Baghdad [completed from Cornelius's sketches] (1877)
6 X2 Z. b2 q$ U( {" M" J2.1.3 Egressy and Erkel
- L8 G2 u) e7 Y, g8 w8 m
- l, ?, T q8 w, b% P cS.353, Szózat und Hymnus (1873)5 `( Z5 K7 c4 `" h2 P6 Q, O, `
2.1.4 Liszt
8 @$ }2 g% o8 D9 q& L8 W4 D1 L* s5 x7 u- I3 b
S.354, Deux légendes (1863)
G# h( m: U! kS.355, Vexilla regis prodeunt (1864)
9 o/ o4 y. \9 W( X( o1 ]S.356, Festvorspiel (1857)4 j" i8 w4 J2 x5 ]' o( j6 g3 ^
S.357, Huldigungsmarsch [first/second version] (1853, 1857) d- k3 N# A! \# @2 q
S.358, Vom Fels zum Meer. Deutscher Siegesmarsch (1860)" i! u. \6 w& i, F
S.359, 6 Rapsodies hongroises (Hungarian Rhapsodies) (?)
. d0 e8 a$ o6 {8 RS.360, A la chapelle Sixtine (Liszt, Allegri & Mozart) [orchestral arrangement of S461, based on Mozart's Ave verum corpus and Allegri's Misere] (1862)
, o* h8 a+ j5 v- x7 SS.361, Pio IX. Der Papsthymnus (ca. 1863)3 Y1 J. @5 u/ r, [- f. K! {) l
S.362, Benedictus and Offertorium from the Hungarian Coronation Mass [from S11] (1875)
2 S: w, l( |. O# ~7 z2.1.5 Schubert/ f9 v1 d; _" A. |0 l0 K/ d, v+ V
* l- \* ^6 v. R3 y0 t* wS.363, 4 Marches [from Opp. 40, 54, 121] (1859-60)
' v; t( k6 G, @& i( ?2.1.6 Zarembski
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0 Y; p* L' s$ jS.364, Danses galiciennes (1881)
9 _; }# w9 s' K1 c$ A, i2.2 Pianoforte and Orchestra(钢琴与乐队)
D- U8 w4 j( ]/ }% X4 z l9 r* _3 N* V
2.2.1 Liszt
4 g0 F0 G" U# O: Q+ r
2 V4 z; ?% a* c6 y8 J/ n6 DS.365, Grand solo de concert [prepared by Leslie Howard] (1850)
4 O7 Z' b- R/ P/ W4 @3 g5 dS.365a, Concerto pathétique (No. 4) in E minor [Liszt, Reuss version] (1885-86)
5 {8 O& F, t9 |S.365b, Hexaméron, Morceau de concert [orchestration completed by Leslie Howard] (ca. 1839)! p5 z9 ]: F; x9 R, [
2.2.2 Schubert
. C d6 o5 h! o$ G: J& k' I8 r. _' ~- E7 W
S.366, Wanderer-Fantasie (Fantasia in C major, Op. 15) (1851) 流浪者幻想曲 - 为钢琴与乐队而作
8 Q/ ]) {3 t! v. E* q$ p2.2.3 Weber
d: n/ W$ j1 h1 V, A( |3 P
3 z) p& X$ {6 J$ x! yS.367, Polonaise brillante, Op. 72 (1849) 华丽波洛涅兹 为钢琴与乐队而作
) ]5 Q p* c( {/ n0 A2.3 Songs with Orchestra(声乐与乐队)
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