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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)
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' 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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