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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》。  j2 n7 L/ I, c) ~# l
李斯特全部作品目录-18 x% ?0 _# r" d0 J5 w0 O; x3 Z
$ g8 ~3 A; _+ i" z7 |/ ?
1.1 Opera(歌剧)
- O8 z( R! t) [: f* B: K5 j1 n* ~% d/ `% ?: M$ g1 \" {: c
S.1, Don Sanche, ou Le chateau de l'amour (1824–25) 歌剧《唐切桑》. q: q% Q4 t/ S
1.2 Sacred Choral Works(神圣的合唱作品)
- F6 T$ S) A2 F# q
& u* \4 [6 m! HS.2, The Legend of St. Elisabeth (1857–62) 清唱剧《圣伊丽莎白传奇》2 b% T' S3 Z0 y  U0 K! P/ n
S.3, Christus (1855–67) 清唱剧《基督》+ U2 m% ]6 `; R: @5 v: H8 s- G6 A
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》
1 V3 T' o) Y& L4 u! _S.5, Die heilige Cäcilia (1874)
% l) E' n7 y4 B+ J3 V8 ?: F4 xS.6, Die Glocken des Strassburger Münsters (Longfellow) (1874)
' B% C; F+ W  b9 {( R; K$ _- yS.7, Cantantibus organis (1879)
# M# _: Z, ]5 q7 Y$ y2 US.8, Missa quattuor vocum ad aequales concinente organo [first/second version] (1848, 1869)
2 H9 l* L) P0 j  |S.9, Missa solennis zur Einweihung der Basilika in Gran (Gran Mass) [first/second version] (1855, 1857–58)% |4 b; E: f* V
S.10, Missa choralis, organo concinente (1865)6 w& l3 K: n, ?3 R1 `9 v
S.11, Hungarian Coronation Mass (1866–67)5 V9 Q8 \6 \0 u+ R
S.12, Requiem (1867–68), G! j2 S: H& T) L, d" [: i
S.13, Psalm 13 (Herr, wie lange ?) [first/second/third verion] (1855, 1858, 1862)$ K3 t$ \- G1 i( J6 v- P
S.14, Psalm 18 (Coeli enarrant) (1860)
- O, b+ |/ A- z$ ZS.15, Psalm 23 (Mein Gott, der ist mein Hirt) [first version: chorus, soloist & orchestra] [second version: chorus, soloist & violin, piano, harp, organ] (1859, 1862)! R0 W! }+ S4 e
S.15a, Psalm 116 (Laudate Dominum) (1869)" U& e( Y! a9 G- Q0 a
S.16, Psalm 129 (De profundis) (1880–83)
$ v3 E$ z6 L5 h% b! x/ U& [S.17, Psalm 137 (By the Rivers of Babylon) [first/second version] (1859–62)
+ A9 u4 U2 ?3 Q% q; PS.18, Five choruses with French texts [5 choruses] (1840–49)
' k2 G2 y! B! K& d% _. x. lS.19, Hymne de l'enfant à son réveil (Lamartine) [first/second version] (1847, 1862)
- \  F9 U' N9 V, c$ dS.20, Ave Maria I [first/second version] (1846, 1852)
; e& ?7 Z; G$ `/ ]( Q$ [7 r, g1 IS.21, Pater noster II [first/second version] (1846, 1848)
2 ]( U5 L- v* o! }7 z5 w7 u7 qS.22, Pater noster IV (1850): m: U7 p4 T3 F0 M  ]
S.23, Domine salvum fac regem (1853). z$ a) h7 z" \# \7 V
S.24, Te Deum II (1853?)
5 X, L# A. k$ X. g0 BS.25, Beati pauperes spiritu (Die Seligkeiten) (1853)
; a9 \- t7 t/ A7 ]/ hS.26, Festgesang zur Eröffnung der zehnten allgemeinen deutschen Lehrerversammlung (1858)
) ]6 z* r- [7 ]7 K/ fS.27, Te Deum I (1867)! b: F* p# `/ B& j- x. T% a' `
S.28, An den heiligen Franziskus von Paula (b. 1860)
, v6 L9 f+ I/ G4 [$ D: M. IS.29, Pater noster I (b. 1860)5 @- \0 i4 p- `/ C4 a
S.30, Responsorien und Antiphonen [5 sets] (1860)
% O5 j0 t: A$ j% D& g( ~S.31, Christus ist geboren I [first/second version] (1863?): r. r  K8 p# C6 {1 V$ V0 \
S.32, Christus ist geboren II [first/second version] (1863?)
% Q1 r, T  v. M0 A* ZS.33, Slavimo Slavno Slaveni! [first/second version] (1863, 1866)& K4 s/ M, Z& S$ P
S.34, Ave maris stella [first/second version] (1865–66, 1868)
' [- y  B; z2 `; S, ]8 e0 HS.35, Crux! (Guichon de Grandpont) (1865)4 I( ~  K  ~: g% `0 g
S.36, Dall' alma Roma (1866)  X0 T7 D# Y7 J8 g: L1 T
S.37, Mihi autem adhaerere (from Psalm 73) (1868)
; d2 t4 @" S7 `9 h7 r9 RS.38, Ave Maria II (1869)
; B& y9 c& A3 Q8 H8 I7 `S.39, Inno a Maria Vergine (1869)
4 c- {1 C2 {- ]% I+ ?, [7 ^; h$ LS.40, O salutaris hostia I (1869?)
* h' v3 b$ B, D. g6 X* r7 d! f( US.41, Pater noster III [first/second version] (1869)/ ]9 y5 W4 z9 G6 R0 t- _1 y( b! @
S.42, Tantum ergo [first/second version] (1869)
6 t8 Y1 H1 v( r+ l/ d/ uS.43, O salutaris hostia II (1870?)
, x5 @0 m* i9 M/ j, {2 ]! |S.44, Ave verum corpus (1871)3 f  A9 e& e; y% f# S
S.45, Libera me (1871)' i, o7 W. K- j4 z
S.46, Anima Christi sanctifica me [first/second version] (1874, ca. 1874)0 S' V+ @! y+ f# N( [1 c+ x
S.47, St Christopher. Legend (1881)/ ~# K5 q- q! H7 J% E
S.48, Der Herr bewahret die Seelen seiner Heiligen (1875)! J4 Y! W* B. U% b0 h# k
S.49, Weihnachtslied (O heilige Nacht) (a. 1876)
& f0 ?: n9 g4 KS.50, 12 Alte deutsche geistliche Weisen (Chorales) [12 chorals] (ca. 1878-79)3 v, j, P3 t2 Y8 e7 Q+ a
S.51, Gott sei uns gnädig und barmherzig (1878)
3 K6 g  {6 s2 e6 F! \$ LS.52, Septem Sacramenta. Responsoria com organo vel harmonio concinente (1878)- O+ F& l6 D1 ]/ d/ m
S.53, Via Crucis (1878–79)
# F$ u7 a/ D4 t0 u! H9 |/ HS.54, O Roma nobilis (1879). V0 X8 I' V4 o+ q
S.55, Ossa arida (1879)/ {! h, @2 ~! B6 D6 j( G  a
S.56, Rosario [4 chorals] (1879)
  d& }2 `" m9 C2 F/ `, ]8 GS.57, In domum Domino imibus (1884?)0 V8 v2 R1 t5 w
S.58, O sacrum convivium (1884?). g2 B; Y# H! V$ g# v; O
S.59, Pro Papa (ca. 1880)% E3 W9 S" I) M2 q0 ?6 }) D
S.60, Zur Trauung. Geistliche Vermählungsmusik (Ave Maria III) (1883)! G0 P/ P" k5 a" ]
S.61, Nun danket alle Gott (1883)2 l+ v# H& F6 r0 E
S.62, Mariengarten (b. 1884)
1 N9 {/ Q% j: Y% X" m# k( v- ?3 q& pS.63, Qui seminant in lacrimis (1884)8 l: v" ?5 A! W% p! N' j3 Z
S.64, Pax vobiscum! (1885)! O7 Q6 ]  n7 B7 U2 @% \
S.65, Qui Mariam absolvisti (1885)9 V) N2 _: r4 V+ \
S.66, Salve Regina (1885)2 }" H( x' f  b$ o
1.3 Secular Choral Works(世俗的合唱作品)" J- J# x$ l, n" q, a+ s
S.67, Beethoven Cantata No. 1: Festkantate zur Enthüllung (1845)
4 A# c8 |7 D7 Y" vS.68, Beethoven Cantata No. 2: Zur Säkularfeier Beethovens (1869–70)
% D9 t, W# v( o$ F2 o: @S.69, Chöre zu Herders Entfesseltem Prometheus (1850)
5 L5 C, a0 y5 R/ r7 M+ iS.70, An die Künstler (Schiller) [first/second/third verion] (1853, 1853, 1856)- P  x/ P2 R9 }& q4 @- h
S.71, Gaudeamus igitur. Humoreske (1869)
% F7 Q$ Z. g" u5 T/ HS.72, Vierstimmige Männergesänge [4 chorals] (for Mozart-Stiftung) (1841)
7 n" |6 y$ ~8 \7 M. d. JS.73, Es war einmal ein König (1845)
* H' b8 t* W) iS.74, Das deutsche Vaterland (1839)
, a' n3 x9 o6 z5 N# M. HS.75, über allen Gipfeln ist Ruh (Goethe) [first/second version] (1842, 1849)
) K4 Y1 X  P6 F# L+ WS.76, Das düstre Meer umrauscht mich (1842)9 u, g- W7 w) l+ Y/ F1 B# m& _9 |
S.77, Die lustige Legion (A. Buchheim) (1846)% ^1 j: ?. [2 g( m6 M' p% h8 n
S.78, Trinkspruch (1843), d0 u4 u# d0 {5 a" Z  r! x7 n+ s
S.79, Titan (Schobert) (1842–47)
5 E1 q5 Z  L/ PS.80, Les quatre éléments (Autran) (1845)
* M- k- Q6 v' u+ e6 YS.81, Le forgeron (de Lamennais) (1845)
" y2 B- S5 C( U  VS.82, Arbeiterchor (de Lamennais?) (1848)
: A$ W3 w) L4 ]; w5 vS.83, Ungaria-Kantate (Hungaria 1848 Cantata) (1848)
/ Q$ Y" Q" Q2 D! }+ q! ?9 ^S.84, Licht, mehr Licht (1849)/ E; t4 K5 C, j3 K" E$ i" [
S.85, Chorus of Angels from Goethe's Faust (1849)
% @0 a4 d# e  y3 I; c- d) B5 ^; i% f: |S.86, Festchor zur Enthüllung des Herder-Dankmals in Weimar (A. Schöll) (1850)
7 k" I+ ?. o0 Q. ~S.87, Weimars Volkslied (Cornelius) [6 versions] (1857)6 W- M* n, G8 R8 d9 h
S.88, Morgenlied (Hoffmann von Fallersleben) (1859)
6 _0 [6 _2 ~6 m; o" F& rS.89, Mit klingendem Spiel (1859–62 ?)
) p5 n! S- p, c3 n. L5 n. sS.90, Für Männergesang [12 chorals] (1842–60)
! @: x7 a: j% p8 Y" Z$ YS.91, Das Lied der Begeisterung. A lelkesedes dala (1871)
( Y+ W5 o3 K, oS.92, Carl August weilt mit uns. Festgesang zur Enthüllung des Carl-August-Denkmals in Weimar am 3 September 1875 (1875)
: j8 E: P- L. j+ `6 W. ^S.93, Ungarisches Königslied. Magyar Király-dal (ábrányi) [6 version] (1883)
/ ]+ b, m4 v, L- F7 bS.94, Gruss (1885?)
; S( j4 N* T3 W" |7 e3 C1.4 Orchestral Works(管弦乐作品)
, r' C2 U7 C: N9 W. N4 ?; h7 G" J& ^! e+ w$ g$ A
1.4.1 Symphonic Poems(交响诗)
6 I/ I7 D# k7 S+ @7 D& i  b) W7 U" [: _9 N3 n7 Y# r, V7 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9 y- @9 E1 S& N+ t3 L' Z
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》
2 T( h+ z  F2 k% t: Z/ RS.97, Poème symphonique No. 3, Les Préludes (1848) 第三交响诗“前奏曲”4 ?* ~* w9 G' l( u
S.98, Poème symphonique No. 4, Orpheus (1853–54) 第四交响诗 《奥菲欧》2 V5 V9 S: Y; t8 r5 r8 d9 ^
S.99, Poème symphonique No. 5, Prometheus [first/second version] (1850, 1855) 第五交响诗《普罗米修斯》
% i6 Z9 H$ V! O: G+ LS.100, Poème symphonique No. 6, Mazeppa [first/second version] (1851, b. 1854) 第六交响诗《马捷帕》7 P" \. ]9 ~, {9 ?( ?8 ~
S.101, Poème symphonique No. 7, Festklänge [revisions added to 1863 pub] (1853) 第七交响诗《节日之声》
/ f, U  ^$ m* W) _1 [S.102, Poème symphonique No. 8, Héroïde funèbre [first/second version] (1849–50, 1854)  第八交响诗《英雄的葬礼》
& M3 l' u; h; y: b, A8 ]7 q$ pS.103, Poème symphonique No. 9, Hungaria (1854) 第九交响诗《匈牙利》
* ^7 V2 w! S' U# v% X& i0 jS.104, Poème symphonique No. 10, Hamlet (1858) 第十交响《哈姆雷特》- `: ^0 d7 f! I
S.105, Poème symphonique No. 11, Hunnenschlacht (1856–57) 第十一交响诗《匈奴之战》: X# x" S) M' d+ M9 c3 ^- e
S.106, Poème symphonique No. 12, Die Ideale (1857) 第十二交响诗《理想》
/ B3 i$ W, ?$ l3 O' TS.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》. z; j5 k7 w; _& b  W- \- k. o6 m
1.4.2 Other Orchestral Works(其他管弦乐作品)! l* Q, P4 c. Z" N
, n: m8 |0 e4 o4 |) u
S.108, Eine Faust-Symphonie [first/second version] (1854, 1861)3 u# x# s& Q3 r3 d, s3 }* z
S.109, Eine Symphonie zu Dante's Divina Commedia (1855–56)6 o6 B8 b: b' }, o0 B- j
S.110, Deux épisodes d'apres le Faust de Lenau [2 pieces] (1859–61)
9 B0 m, [8 P' E7 D1 xS.111, Zweite Mephisto Waltz (1881)
: `; D6 l* ~# z, I( b. WS.112, Trois Odes Funèbres [3 pieces] (1860–66)
3 W: e: d# E+ F7 `+ Y* c* ]& |( AS.113, Salve Polonia (1863)4 D& b2 b% e* A: b
S.114, Künstlerfestzug zur Schillerfeier (1857)+ B2 S0 B. N5 Y0 x: C8 {- N
S.115, Festmarsch zur Goethejubiläumsfeier [first/second version] (1849, 1857)
8 [, f1 Y: b3 A0 y' x1 }( ?5 p9 fS.116, Festmarsch nach Motiven von E.H.z.S.-C.-G. (1857)
- z. j) r7 q! I6 d' O5 I( jS.117, Rákóczy March (1865)
6 h/ e% q; O% {S.118, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (am 8 Juni 1867) (1870)
7 h9 X9 y! P7 hS.119, Ungarischer Sturmmarsch (1875), ?0 v/ r0 {$ |+ e$ s
1.5 Piano and Orchestra(钢琴与乐队)& k% u! V0 b. D/ `

& P7 Q+ m4 u& D, A2 V) x$ q6 M; K/ e% t. G" e
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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)/ c' }: [" f! l9 ?7 k
S.121, Malédiction (with string orchestra) (1833)  诅咒  钢琴与弦乐队" h/ ?0 V) i# Y5 v3 O1 W; d
S.122, Fantasie über Beethovens Ruinen von Athen [first/second version] (1837?, 1849)
; @" {5 j% v4 N9 x0 fS.123, Fantasie über ungarische Volksmelodien (1852) 匈牙利民歌主题幻想曲 为钢琴与乐队而作9 k% N  Q- }, e: ]
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
1 w& n" g, l& T3 J  H8 K3 N1 ~S.125, Piano Concerto No. 2 in A major [first/second version] (1839, 1849) A大调第二钢琴协奏曲
5 j+ D" f# w# uS.125a, Piano Concerto No. 3 in E flat (1836–39)
' j+ e2 q4 `0 h) Z5 US.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1 J; y- v& _- v& j8 i
S.126a, Piano Concerto "In the Hungarian Style" [probably by Sophie Menter] (1885)
6 F. N# i# Q8 T) X0 R* b( b1.6 Chamber Music(室内乐等); o; U- a) a, n- o

1 o5 f4 ]# B/ lS.126b, Zwei Waltzer [2 pieces] (1832)
) o# h- z, P9 i" l0 z& b& K
/ V. d7 ~* u6 A* ~; c) SS.127, Duo (Sonata) - Sur des thèmes polonais (1832-35 ?)5 p# Q+ R& x" b" A" }
S.128, Grand duo concertant sur la romance de M.Lafont Le Marin [first/second version] (ca. 1835-37, 1849)
' J6 K1 |* ]! [  M5 p5 o( X5 i: GS.129, Epithalam zu Eduard. Reményis Vermählungsfeier (1872)0 w. D8 L' d0 Q
S.130, élégie No. 1 [first/second/third version] (1874)3 g+ x8 w" j7 x1 A: V2 g$ s3 y
S.131, élégie No. 2 (1877)8 K1 H8 n$ d* a1 `
S.132, Romance oubliée (1880)
- N) e: F9 O5 a3 oS.133, Die Wiege (1881?)
' R! P9 ?  y0 a# `S.134, La lugubre gondola [first/second version] (1883?, 1885?)
+ H. u) p& z5 x$ eS.135, Am Grabe Richard Wagners (1883)3 e3 u5 m; Q: L6 G
1.7 Piano Solo* P; i* X, ]* u
) G) f" X4 ]8 q. W8 E
1.7.1 Studies(钢琴练习曲)
% w5 L" c6 h( j( \+ ?0 o. b
7 q. V+ ~$ @" q9 L: qS.136, études en douze exercices dans tous les tons majeurs et mineurs [first version, 12 pieces] (1826) 12首钢琴练习曲
/ x+ n( I$ ^8 s( |4 ]( U- QS.137, Douze grandes études [second version, 12 pieces] (1837) 《12首超技练习曲》$ b3 y, W0 v/ Y3 W& Y; Y2 U9 u8 J
S.138, Mazeppa [intermediate version of S137/4] (1840) 练习曲“玛捷帕”( Y7 F+ s& p* s' e5 H5 v9 V& `
S.139, Douze études d'exécution transcendante [final version, 12 pieces] (1852) 12首超技练习曲
; B; X* s9 F- @- l: P8 fS.140, études d'exécution transcendante d'après Paganini [first version, 6 pieces] (1838) 帕格尼尼超技练习曲
+ J( L, ~1 w! [: e1 a- K) hS.141, Grandes études de Paganini [second version, 6 pieces] (1851)  6首帕格尼尼大练习曲
8 ~7 q' N5 }$ I' J# T1 @& E4 zS.142, Morceau de salon, étude de perfectionnement [Ab Irato, first version] (1840) 高级练习曲“沙龙小品”2 `7 s. m- C4 A# m0 V) S! M) a/ G
S.143, Ab Irato, étude de perfectionnement [second version] (1852) 高级练习曲“愤怒”: P, _5 x- G" _+ T( j  n, M
S.144, Trois études de concert [3 pieces] (1848?)  3首音乐会练习曲
+ Q4 g* R8 Z  N  \% n( |1.    Il lamento( w& D6 P1 V7 O( I2 H9 z
2.    La leggierezza( S! F  ^; u+ v5 L4 i
3.    Un sospiro- g8 |: g; U, c' ]$ l, T, r$ I
S.145, Zwei Konzertetüden [2 pieces] (1862–63)  2首音乐会练习曲9 Q7 _, E/ z6 Q# F
1.    Waldesrauschen
% X/ I; S* S0 S/ o2.    Gnomenreigen& ~8 m$ c% I  H- e. ^  v9 h4 X
S.146, Technische Studien [68 studies] (ca. 1868-80)  钢琴技巧练习3 X6 H# J  G' I1 @+ v+ W
1.7.2 Various Original Works(各种原创作品)
0 `4 @' l. E! Z; o& |6 N" h1 D6 P' r! }5 n* I4 i. `4 r
S.147, Variation on a Waltz by Diabelli (1822)  狄亚贝利圆舞曲主题变奏曲
& ~' G! q6 K  U6 g) @- X" Z2 sS.148, Huit variations (1824?) 降A大调原创主题变奏曲
: w/ V5 i/ I1 p9 c9 HS.149, Sept variations brillantes dur un thème de G. Rossini (1824?)
. Z( L! @4 ~+ N$ Y6 lS.150, Impromptu brilliant sur des thèmes de Rossini et Spontini (1824) 罗西尼与斯蓬蒂尼主题即兴曲' x5 R5 `3 s2 h1 {
S.151, Allegro di bravura (1824) 华丽的快板
' G  ^3 P# I- a% x/ q1 I2 J0 h, oS.152, Rondo di bravura (1824) 华丽回旋曲
: [& Y: }5 W- ~# i; KS.152a, Klavierstück (?)
3 U! E* h/ C4 z4 U3 ~S.153, Scherzo in G minor (1827) g小调谐谑曲. y* E3 ^" Z: q7 `$ r' x3 i4 e
S.153a, Marche funèbre (1827)
& S8 ?9 Y' O6 ES.153b, Grand solo caractèristique d'apropos une chansonette de Panseron [private collection, score inaccessible] (1830–32) [1]8 K0 G5 D+ `& r5 t( K9 q  v, d, b
S.154, Harmonies poétiques et religieuses [Pensée des morts, first version] (1833, 1835) 宗教诗情曲" e5 ], ^- I. B* F  t0 @
S.155, Apparitions [3 pieces] (1834) 显现 三首钢琴小品
4 U3 J$ a0 I' A$ u6 U7 J. qS.156, Album d'un voyageur [3 sets; 7, 9, 3 pieces] (1835–38) 旅行者札记" n# S! e/ p: S# {9 W
S.156a, Trois morceaux suisses [3 pieces] (1835–36)& r0 f8 f$ m0 H$ R2 o4 d
S.157, Fantaisie romantique sur deux mélodies suisses (1836) 浪漫幻想曲, g8 o9 v$ r/ p2 h, Y
S.157a, Sposalizio (1838–39)
3 O3 \  K' L' Y9 L1 ]' D) iS.157b, Il penseroso [first version] (1839)
5 M) X4 x$ C, h0 l* q0 RS.157c, Canzonetta del Salvator Rosa [first version] (1849)
* [- y4 G  a2 I. o/ ]S.158, Tre sonetti del Petrarca [3 pieces, first versions of S161/4-6] (1844–45)  3首彼特拉克十四行诗
/ c$ ^: J  K6 L: t( A1 AS.158a, Paralipomènes à la Divina Commedia [Dante Sonata original 2 movement version] (1844–45)
2 p8 m3 x6 R+ S0 S1 c$ [, T1 gS.158b, Prologomènes à la Divina Commedia [Dante Sonata second version] (1844–45)
0 \8 R2 e$ p) X5 p2 k% O& I5 AS.158c, Adagio in C major (Dante Sonata albumleaf) (1844–45)
# j0 Y5 k% b  {3 L6 U, f: E8 U/ H$ C. dS.159, Venezia e Napoli [first version, 4 pieces] (1840?)  威尼斯和拿波里
( d* O! d8 e( I2 _. US.160, Années de pèlerinage. Première année; Suisse [9 pieces] (1848–55)  旅行岁月(第一集)- 瑞士游记
% s/ H8 w$ r9 o" V8 pS.161, Années de pèlerinage. Deuxième année; Italie [7 pieces] (1839–49) 旅行岁月(第二集)- 意大利游记* ^4 D* [. y; ~' e; l" H( k+ ~
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
" T1 H3 Z9 c5 u5 W' m  D# }S.162a, Den Schutz-Engeln (Angelus! Prière à l'ange gardien) [4 drafts] (1877–82)2 e  h. h' ^$ g& ?6 R/ N! U
S.162b, Den Cypressen der Villa d'Este - Thrénodie II [first draft] (1882)
; L, |- h( V1 }- lS.162c, Sunt lacrymae rerum [first version] (1872)+ w9 a( N( w( Y, g
S.162d, Sunt lacrymae rerum [intermediate version] (1877)
: s2 v, a  G( |1 n7 y# k, @" _' C! v% _S.162e, En mémoire de Maximilian I [Marche funèbre first version] (1867)
$ {: F0 Q! N& ]5 {4 YS.162f, Postludium - Nachspiel - Sursum corda! [first version] (1877)/ u# y( d" C* m/ \7 S
S.163, Années de pèlerinage. Troisième année [7 pieces] (1867–77)   旅行岁月(第三集)9 A0 @4 N9 Q+ w+ o7 O# r/ L; O
S.163a, Album-Leaf: Andantino pour Emile et Charlotte Loudon (1828) [2] 降E大调纪念册的一页/ Q9 b/ b+ _* v7 C( P
S.163a/1, Album Leaf in F sharp minor (1828)降E大调纪念册的一页
3 @+ X0 d4 A1 x2 W' a: ES.163b, Album-Leaf (Ah vous dirai-je, maman) (1833)1 ~( Y* W% S! |9 K3 k5 V
S.163c, Album-Leaf in C minor (Pressburg) (1839)
7 P. p8 r$ g% A/ E+ X6 lS.163d, Album-Leaf in E major (Leipzig) (1840)* L  F# r, c( v6 M: B$ l( i
S.164, Feuille d'album No. 1 (1840) E大调纪念册的一页4 U! i' U3 @6 e, u
S.164a, Album Leaf in E major (Vienna) (1840)7 G5 D5 p/ w! F, x2 R
S.164b, Album Leaf in E flat (Leipzig) (1840)
! k, f  c- R, w" l( n$ E* iS.164c, Album-Leaf: Exeter Preludio (1841)
/ e; j& t" e. T" G9 M3 b' o; U7 D! G+ z3 \S.164d, Album-Leaf in E major (Detmold) (1840)
! ?& \0 t! R9 b, BS.164e, Album-Leaf: Magyar (1841). g. |6 N/ \* P0 d  ~# d9 J( v4 ~
S.164f, Album-Leaf in A minor (Rákóczi-Marsch) (1841)
6 V% ]: Z/ C! t# ?$ L4 `S.164g, Album-Leaf: Berlin Preludio (1842)
; ]; v  v* q% J6 v* cS.165, Feuille d'album (in A flat) (1841) 降A大调纪念册的一页
7 ^6 K% c4 s/ ]! I. b1 S: }' aS.166, Albumblatt in waltz form (1841) A大调圆舞曲风格纪念册的一页
+ H( D9 c' R$ p1 O7 C# h# |S.166a, Album Leaf in E major (1843)
% ?# H- ^: V5 X9 a* K: G4 S% lS.166b, Album-Leaf in A flat (Portugal) (1844)
/ d7 ]9 h9 L0 n- A4 L% gS.166c, Album-Leaf in A flat (1844)
0 {' A$ w- F1 ?! fS.166d, Album-Leaf: Lyon prélude (1844)+ s3 S4 b- @1 s- ]
S.166e, Album-Leaf: Prélude omnitonique (1844)
) A$ F7 f4 y! F9 e. p0 i# M3 B) ]S.166f, Album-Leaf: Braunschweig preludio (1844)- l8 {) M( ~6 u
S.166g, Album-Leaf: Serenade (1840–49)
6 A8 n- Y/ h9 H: z$ W' gS.166h, Album-Leaf: Andante religioso (1846)7 z  C% {+ G; @0 [
S.166k, Album Leaf in A major: Friska (ca. 1846-49)1 Y5 a* M- q9 q: G: l& x
S.166m-n, Albumblätter für Prinzessin Marie von Sayn-Wittgenstein (1847)
4 A3 }& O$ E7 e! |6 y6 R, [1 eS.167, Feuille d'album No. 2 [Die Zelle in Nonnenwerth, third version] (1843) a小调纪念册的一页+ |* w  \/ a( @" |# [7 \; {9 F0 [* t
S.167a, Ruhig [catalogue error; see Strauss/Tausig introduction and coda]
6 ~/ H- K) c& j8 }% @4 zS.167b, Miniatur Lieder [score not accessible at present] (?)- B/ Q, {. q' z: k
S.167c, Album-Leaf (from the Agnus Dei of the Missa Solennis, S9) (1860–69)0 e9 i% J. T( n, y
S.167d, Album-Leaf (from the symphonic poem Orpheus, S98) (1860)
/ R3 n  K; b& r, [! V! ^S.167e, Album-Leaf (from the symphonic poem Die Ideale, S106) (1861)8 ?$ |, V& x) p. r* h( o& ^
S.167f, Album Leaf in G major (ca. 1860)
; M: _( O- q+ hS.168, Elégie sur des motifs du Prince Louis Ferdinand de Prusse [first/second version] (1842, 1851) 悲歌
# Q/ {! z9 e' w  p9 M4 s# GS.168a, Andante amoroso (1847?)6 D2 f  z- k" s9 p; R& M
S.169, Romance (O pourquoi donc) (1848) e小调浪漫曲; u% s% z( `; u5 Z  \" R3 R5 S5 m
S.170, Ballade No. 1 in D flat (Le chant du croisé) (1845–48) 叙事曲一5 u: m6 X2 `  j1 R$ A
S.170a, Ballade No. 2 [first draft] (1853)4 V# T" g" z0 p- [! c
S.171, Ballade No. 2 in B minor (1853) 叙事曲二
. M/ o0 C4 L: A, p9 e2 q- M7 \5 sS.171a, Madrigal (Consolations) [first series, 6 pieces] (1844)5 ?; x) b- M- V9 j# h. M
S.171b, Album Leaf or Consolation No. 1 (1870–79)+ X0 s/ C6 I$ \7 ]; z- `
S.171c, Prière de l'enfant à son reveil [first version] (1840)
9 @' U4 ]3 |5 ?$ ?$ W) X1 lS.171d, Préludes et harmonies poétiques et religie (1845)  m" y1 {2 S2 }0 F' E- t
S.171e, Litanies de Marie [first version] (1846–47)& E# L# u9 ^" \+ J% ~
S.172, Consolations (Six penseés poétiques) (1849–50) 6首安慰曲
4 J+ a, g4 p6 W& V( T- LS.172a, Harmonies poétiques et religieuses [1847 cycle] (1847)/ y8 g. G6 ], E% }
S.172a/3&4, Hymne du matin, Hymne de la nuit [formerly S173a] (1847)6 l- O" c) _! u. k& t/ q) Y' {
S.173, Harmonies poétiques et religieuses [second version] (1845–52) 诗与宗教的和谐8 f( o, p' O' Z9 `3 X1 u
S.174, Berceuse [first/second version] (1854, 1862) 摇篮曲
- y! g' ~2 L! J( Q3 m2 Y8 A7 VS.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)
2 M) w% F9 {( \2 c/ k2.    St. François de Paule marchant sur les flots (Walking on the Waves)
5 b7 r/ O, ^3 Q( L' Z! D" LS.175a, Grand solo de concert [Grosses Konzertsolo, first version] (1850)
+ E8 o& _8 ~6 E/ o- HS.176, Grosses Konzertsolo [second version] (1849–50 ?) 独奏大协奏曲
# t8 O7 r* S2 L: @; VS.177, Scherzo and March (1851) 谐谑曲与进行曲7 J- s, O% L3 W. g
S.178, Piano Sonata in B minor (1852–53)  b小调钢琴奏鸣曲
1 }- z) |7 y8 |S.179, Prelude after a theme from Weinen, Klagen, Sorgen, Zagen by J. S. Bach (1859)  前奏曲“哭泣、哀悼、忧虑、恐惧”S.179 - 根据巴赫第12康塔塔主题而作4 L4 v# w* n( E, L* s" Q; p  E" j
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
3 a: Y* Q! c; L0 V! Y9 pS.181, Sarabande and Chaconne from Handel's opera Almira (1881)
* z' Z2 a1 a4 P' U- v" W+ xS.182, Ave Maria - Die Glocken von Rom (1862) 圣母颂“罗马的钟声”
8 w0 W( T  {5 K5 j# KS.183, Alleluia et Ave Maria [2 pieces] (1862) 哈利路亚与圣母颂
+ C( p! G$ T) T/ yS.184, Urbi et orbi. Bénédiction papale (1864)0 A0 n" R. Y# a( Q: W6 C& Z' @. K
S.185, Vexilla regis prodeunt (1864)1 T4 D$ p2 x/ [. O. B
S.185a, Weihnachtsbaum [first version, 12 pieces] (1876)
! R6 F! ~! W. zS.186, Weihnachtsbaum [second version, 12 pieces] (1875–76) 钢琴曲集《圣诞树》; o9 M+ s) ^' e- H$ n" x% g
S.187, Sancta Dorothea (1877) 圣多萝西娅
! M; {& u2 m( K1 n. ?& c, x) t7 E7 }S.187a, Resignazione [first/second version] (1877)5 K6 \) ^7 ]. ]) }
S.188, In festo transfigurationis Domini nostri Jesu Christi (1880) 我主耶稣基督之变形
: C) V. L6 t  L0 ~9 `S.189, Klavierstück No. 1 (1866)/ Y4 U% ]  t* h, C" R
S.189a, Klavierstück No. 2 (1845)' _4 s5 D$ `" b' F5 q+ X6 h
S.189b, Klavierstück (?)3 T6 l1 g" U% X! d1 G! P
S.190, Un portrait en musique de la Marquise de Blocqueville (1868)7 d5 h) e: ]8 M% i
S.191, Impromptu (1872) 升F大调即兴曲“夜曲”
% ^# k. L" U: r+ k. A  wS.192, Fünf Klavierstücke (for Baroness von Meyendorff) [5 pieces] (1865–79) 5首钢琴小品
, b& C) P" ]) N' g/ a9 N4 H4 j8 Z7 `2 ^" zS.193, Klavierstuck (in F sharp major) (a. 1860) 升F大调钢琴小品
* B( y3 P! _. ~. QS.194, Mosonyis Grabgeleit (Mosonyi gyázmenete) (1870) 在莫佐尼墓前/ ^$ n# Y5 x& G3 }6 W6 B  e3 l
S.195, Dem andenken Petofis (Petofi Szellemenek) (1877) 纪念裴多菲
  D' g9 R4 Q; I# ^, W9 dS.195a, Schlummerlied im Grabe [Elegie No 1, first version] (1874)5 b8 Y5 Z, \: P/ Y1 H+ m* ]! B
S.196, élégie No. 1 (1874)! C: Q/ F0 r6 _" j( H& G) }0 B3 T
S.196a, Entwurf der Ramann-Elegie [Elegie No 2, first draft] (1877)( u- W0 X- A1 ]* b8 U4 y# R
S.197, élégie No. 2 (1877)
, V3 v, n- @* v+ W- d- f! J- @S.197a, Toccata (1879–81) 托卡塔/ H* }% U# C# i, V
S.197b, National Hymne - Kaiser Wilhelm! (1876)
* S$ C$ J: S+ ^% `3 N  ^S.198, Wiegenlied (Chant du herceau) (1880) 摇篮曲
; W6 B. C% z* D4 c( h" q1 E$ S, pS.199, Nuages gris (Trübe Wolken) (1881) 灰色的云
8 v7 R- W' c0 v" Z- y+ yS.199a, La lugubre gondola I (Der Trauergondol) [Vienna draft] (1882)
+ O5 p) \( i: vS.200, La lugubre gondola [2 pieces] (1882, 1885) 葬礼小船2 K) ^# z  t8 q0 c8 k5 u4 t
4 J# o% L6 y2 T. M
李斯特全部作品目录-24 u* ], g7 H0 V* d8 V
# Q% \: n4 Z. R$ Z$ L8 \+ l' H
S.201, R. W. - Venezia (1883) 告别瓦格纳和威尼斯
0 T) s! M1 g8 B+ j: M1 ~3 p! ]S.202, Am Grabe Richard Wagners (1883) 在瓦格纳墓前
/ J- j, Z" z* \4 K1 j. PS.203, Schlaflos, Frage und Antwort (Nocturne after a poem by Toni Raab) (1883) 夜曲“沉睡,思考和回答”1 G' ?8 A5 w" S0 T9 A9 y1 `' U% v
S.204, Receuillement (Bellini in Memoriam) (1877) 冥想7 n) |  }, S7 Y; P  q& K- e
S.205, Historische ungarische Bildnisse (Magyar arcképek) [original version, 7 pieces] (1885) 匈牙利历史人物肖像. F) R% L, [# [# f1 D
S.205a, Historische ungarische Bildnisse [revised order and conclusion, 7 pieces] (1885)
0 H$ Q3 ^: h  }: K) c( J2 ]S.206, Trauervorspiel und Trauermarsch (1885) 葬礼前奏曲和葬礼进行曲! T  h  A4 z- n" w! k/ _1 S9 S
S.207, En rêve. Nocturne (1885) 夜曲“梦中”0 ~( u! S. D# h9 W6 U% e) `9 M; v
S.207a, Prélude à la polka de Borodine (and Borodin's Polka) (1880)
) b2 W+ N5 v9 G6 w1 A/ v' \6 BS.208, Unstern: sinistre, disastro (1880–86) 凶兆、灾难& j/ z# M4 j; Y1 v  U
1.7.3 Works in Dance Form(为舞蹈的作品)4 Y; \# }( n* Y4 n% N5 i
  _" \" m: _! u2 s. ], N8 ]
S.208a, Waltz (in A major) (b. 1825) A大调圆舞曲% g+ A. L  f( v" [2 `( M+ r
S.209, Grande valse di bravura [first version of S214/1] (1835) 华丽的大圆舞曲% i7 q" T  u: K. }% y) m' f
S.209a, Waltz (in E flat) (1840), s) r1 _! `9 X/ l" O, Q3 H  N
S.210, Valse mélancolique [first version of S214/2] (1839) 忧郁圆舞曲
4 r5 Q+ y# @8 j% v0 K( rS.210a, Valse mélancolique [intermediate version] (1840)9 b. [1 O* j6 ~
S.210b, Valse (in A major) (1830–39)
- _0 J$ O# @$ I6 u7 l: V/ m* YS.211, Ländler (in A flat major) (1843) 降A大调兰德勒舞曲$ I- M$ `0 z9 M5 V
S.211a, Ländler (in D major) (1879)' w# x! h  C2 z4 R# k
S.212, Petite valse favorite [first/second version] (1842, 1843)0 q& M  R, k7 T
S.212b, Mariotte. Valse pour Marie (1840)9 E  C2 s2 j% `2 s" w
S.213, Valse-impromptu (1850?) 即兴圆舞曲* ?/ c5 ?$ d% r; y/ U1 ]$ |! F
S.213a, Valse-impromptu [with later additions] (1880)5 V3 M( \0 s( u+ ^0 i' }: f
S.214, Trois caprice-valses [3 pieces] [second versions of S209, S210, S401] (1850?)# [; V3 G1 s8 f
S.214a, Carousel de Madame Pelet-Narbone (ca. 1875-81)* `% m7 V! n% K1 h* ^1 k+ S5 M! P4 W; a
S.215, Valses oubliées [4 pieces] (1881–84) 4首被遗忘的圆舞曲) ~, w* F& C4 v7 W- V
S.215a, Dritter Mephisto-Walzer (Mephisto Waltz No. 3) [first draft] (1883)3 c- P' a0 g2 B6 {* x( o2 y# U
S.216, Dritter Mephisto-Walzer (Mephisto Waltz No. 3) (1883) 第三梅菲斯特圆舞曲3 w( l& R* s1 x3 w# C# K& _0 a
S.216a, Bagatelle sans tonalité (1885)# k4 W. |& e" O2 A8 ~3 l& Y
S.216b, Vierter Mephisto-Walzer (Mephisto Waltz No. 4) [first version] (1885)  第四梅菲斯特圆舞曲2 u1 Q% j, ]2 l6 `3 ]! S9 [  _
S.217, Mephisto Polka [first/second version] (1883) 梅菲斯特波尔卡$ ]6 I. R- h5 _$ [" z2 g. N& ?9 x
S.218, Galop (in A minor) (1841?) a小调加洛普舞曲3 ]; ^$ J, G! |. x$ b
S.219, Grand galop chromatique [original version] (1838) 华丽的半音阶加洛普舞曲1 l. m; v/ n5 U. ]5 C1 C% L7 O% a
S.219bis, Grand galop chromatique [simplified version] (1838): G7 |8 I2 }. T
S.220, Galop de Bal (1840?)
! |2 Z1 k3 p: |9 l/ RS.221, Mazurka brillante] (1850) 华丽玛祖卡
$ b- c" k- ~' V! L2 Q" d: j: XS.221a, Mazurka in F minor [Not by Liszt?] (?)
2 N/ Y) Y* V1 C$ b. J/ H0 TS.222, [catalogue error; same as S212]
/ u$ ~8 c1 P$ [$ X9 m1 T' OS.223, Deux Polonaises [2 pieces] (1851) 2首波洛奈兹舞曲
- B7 Y7 ^8 M3 c/ Q/ z* u  Y& R. DS.224, Csárdás macabre (1881–82)
7 o& d4 q1 ]" v2 XS.225, Two Csárdás [2 pieces] (1884)! [; i/ S* z' w6 W5 |
S.226, Festvorspiel (1856)
$ Y4 Q8 X. q/ l  _! zS.226a, Marche funèbre (1827)) r! z- v  B, ]. }# m. y8 y: ?  g1 z
S.227, Goethe Festmarsch [first version] (1849)! j4 g8 a9 b% [) b3 G) E
S.228, Huldigungsmarsch [first/second version] (1853)
! N! S! X$ I, l* k* l0 O0 _S.229, Vom Fels zum Meer! - Deutscher Siegesmarsch (1853–56)
; ?8 I7 K" ?. FS.230, Bülow-Marsch (1883)+ [) S0 w8 X6 r) m' u$ O, J. b
S.230a, Festpolonaise (1876)) L2 r2 R, {" {: ]1 `" ^. h
S.231, Heroischer Marsch in ungarischem Stil (1840)
) U: T5 B3 W. Q1 a# x, lS.232, Ungarischer Sturmmarsch [earlier version of S524] (1843?)9 H9 ?; a6 R% T7 b+ H1 B
S.233, Ungarischer Geschwindmarsch (1870)* w0 \% d7 }# Z: X( m$ A
S.233a, Siegesmarsch. Marche triomphale (Victory March) (?)
$ ~$ g0 a: ^/ k, `; mS.233b, Marche hongroise (in E flat minor) (1844)/ ~; W, l, h& y
1.7.4 Works on National Themes(主题作品)# }% E! a1 W& {& k! d* ?& `: d' |2 R
5 A! L' f* ]* {9 u1 V6 f
1.7.4.1 Czech
$ F2 y) z/ [  c& S* d& Y# e* ]  K0 P# H  o7 N% E- r7 {. t  G
S.234, Hussitenlied (Melody by J.Krov) (1840)& o. j8 _/ O0 I" h% u' |
1.7.4.2 English
: H! E- I# a& F6 x5 h& U& `3 A  h4 K, H! ]& p
S.235, God Save the Queen (1841)
' O8 g( M+ [; I( L$ u8 ]8 M3 e1.7.4.3 French
/ A$ G) s: h( s1 W: ~
+ g7 b: O* D" O& NS.236, Faribolo Pasteur and Chanson du Béarn [2 pieces] (1844)6 ~. t3 c% F6 ~& K' l, ]
S.237, La marseillaise (1872?)4 m9 e* u% p5 T$ r
S.238, La cloche sonne (1850?); U8 v: g4 r* \1 K  H
S.239, Vive Henri IV (1870-80 ?)8 ^. w3 t; H0 k4 g% ^
1.7.4.4 German
: m* r- N* x# t$ y& _/ y( n) y5 L3 n% b
S.240, Gaudeamus igitur. Concert paraphrase [first/second version] (1843, 1853)
1 t" f. }; }2 v7 p: R, Y* v' B* `& k  Q/ H1.7.4.5 Hungarian
! J) U5 i- Z( I% G2 B& |! b3 K' {( |
S.241, Hungarian Recruiting Songs (Zum Andenken) (By Fáy & Bihari) (1828)
9 a' n# a% P  m$ k+ E- ZS.241a, Ungarische Romanzero (Hungarian Songbook) [18 pieces] (1853)
# q( j4 D6 m- o6 u" {3 ^2 {S.241b, Magyar tempo (1840)
* G4 d: a3 K- Y: W  k  Q3 ~( b, OS.242, Magyar Dalok: Magyar Rapszódiák [21 pieces] (1839–47)
* i' @# }1 \/ d0 z8 F' e: @S.242a, Rákóczi-Marsch [first version] (1839–1840)
$ u' o. \- b" U8 r. F$ v& kS.243, Ungarische National-Melodien [3 pieces] (ca. 1843)' C* _5 M" U' L
S.243a, Célèbre mélodie hongroise (a. 1866)
! z) M: M" }& ]" g$ Q( G, MS.244, Hungarian Rhapsodies (Rapsodies hongroises) [19 pieces] (1846–86)  19首匈牙利狂想曲
* p+ [+ h: i: S' _% RS.244a, Rákóczi-Marsch [from orchestral version] (1863)
7 ^# {0 I: u. A3 f- WS.244b, Rákóczi-Marsch [simplified version of S244a] (1871)/ [$ e6 f* c. F" h
S.244c, Rákóczi-Marsch [popular version] (?)" C1 A# x& B, B% Y
S.245, Fünf ungarische Volkslieder (Abranyi) [5 pieces] (1873)
* z5 c% V4 n* E/ u0 p, HS.246, Puszta-Wehmut (A Puszta Keserve) (1880–86 ?)
5 c6 E$ ?4 b7 T& K4 I7 A3 L1 S1.7.4.6 Italian
$ U# _+ q6 R  G8 p, `
) ~7 B0 U/ D' k5 A+ }& IS.248, Canzone Napolitana [first/second version] (1842)
6 Y. O6 R1 ^2 w( \% ]1.7.4.7 Polish
* `( i% q/ F# K8 F5 Z( R- f6 Y# R
' z/ z3 d% Q' n5 q7 bS.249, Glanes de Woronince [3 pieces] (1847–48)4 t9 J- `/ H4 b, t3 _
S.249a, Mélodie polonaise [short draft] (1871)
8 _8 j( \5 t/ v4 t! cS.249b, Dumka (1871)9 j: e* {! y( h0 o
S.249c, Air cosaque (1871)8 A% Z& r4 {5 D
1.7.4.8 Russian6 c' b4 x9 |0 G# u4 A2 q( _4 I
! R! M! s- i$ M, F9 y3 u
S.250, Deux mélodies russes. Arabesques [2 pieces] (1842)
) [, B* d: E+ j: [8 y7 Y7 z8 VS.250a, Le rossignol (Alyabyev) [first version of S250/1] (1842)# [! f. v/ N* t
S.251, Abschied. Russisches Volkslied (1885)
) a( S) s% i  `  g5 H1 ^1.7.4.9 Spanish( W! L  h3 f0 J7 G
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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)
" f+ w$ i& @& h* j) d% f6 ]
/ @' 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
! ]! c+ d/ |0 N, J& |8 C" x3 R4 |
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)
3 ~0 W6 y$ N3 g4 \3 D8 L
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2.3.1 Korbay) [+ x% b- g+ _' j' }" r
7 J, x5 i' C, m! J4 [; O
S.368, 2 Songs (Le Matin by Bizet and Gebet by Geibel) (1883)5 X# t# T& y  r, D
2.3.2 Liszt3 `: L, i$ g8 t

3 U0 e% F4 _) a  D( G* Y; u' {S.369, Die Lorelei (Heine) (1860); O4 a4 I' H& c& O- s" s
S.370, Mignons Lied (Kennst du dass Land) (Goethe) (1860)3 y# e. _/ t0 i) {" U: Y
S.371, Die Vätergruft (Uhland) (1886). T' K, o: J) j& U
S.372, Songs from Schillers Wilhelm Tell (ca. 1855)
8 ?. t) F7 a$ h  c2 t/ WS.373, Jeanne d'Arc au bûcher (Dumas) [first/second version] (1858, 1874)4 x" b! z. J/ V  L' b" g
S.374, Die drei Zigeuner (Lenau) (1860)
9 D; f$ w; U: Y- U2.3.3 Schubert+ I, @' |8 J. w7 u5 t& z% s6 {

& M& _) L" `$ I! Q! VS.375, 6 Songs (1860)& R/ \2 B3 o& d
S.376, Die Allmacht (1871)4 C+ ~* M+ X; E  i7 ~. c3 P
2.3.4 Zichy+ s, ~% p6 M# _; j

, \; j" F) E4 Z7 W8 aS.377, Der Zaubersee. Ballad (Zichy) (1884)
* Z2 N" S! J# X' }' f" Y" J0 A2.4 Chamber Music(室内乐等)" Y$ ?, }1 ]* ]# u
2.4.1 Liszt1 Y* [' I2 W7 a

0 n$ Z6 l* e3 x$ H5 _S.377a, La notte (Odes funèbre No. 2) (1864-66)6 y% U7 p) b* ?) H
S.378, Angelus! - Priere aux anges gardiens [first/second version] (1877, 1880)) D4 Q( m2 j: m, h# g& d
S.379, Rapsodie hongroise No. 9 (Pester Karneval) (?)+ J' y) X1 f1 w5 V, A8 x8 d+ {- x- M
S.379a, Rapsodie hongroise No. 12 (1850-59)
. U8 H, O( h* z* z  r" R" AS.379b, Puszta-Wehmut (A Puszta Keserve) (ca. 1871)1 a" x% e6 f  d4 y. b
S.380, O du mein holder Abendstern from Tannhäuser (Wagner) (1852)9 d2 ]3 X. P2 @& s, F
S.381, Benedictus and Offertorium from the Hungarian Coronation Mass [from S11] (1862)& s" U8 S- r. [
S.381a, Ungarns Gott. A magyarok Istene (Petófi) (1882)
% Q0 d9 x. |: |$ v+ j) m8 D& @S.382, Die Zelle im Nonnenwerth (ca. 1880-86)1 V" z4 @+ F. g( f
S.383, Die drei Zigeuner (Lenau) (1864)
7 M8 T  [+ x( k& E' S" E) p2.5 Pianoforte Solo
4 u# N# y7 O' B; s( a# b# A0 y* n. Y0 P( T- b7 Z
2.5.1 Paraphrases, Operatic Transcriptions, etc.(歌剧改编独奏)) ~+ H" u: B6 N' I6 _

) u* }- t8 U3 Y9 m2.5.1.1 ábrányi
+ _7 Q% t5 F6 e5 m6 p8 h. p
$ a6 \$ L  Y) Q! H4 |& y, y9 Z/ IS.383a, Elaboration on Virág dal (1881)
/ l3 i, I6 i- a7 c2.5.1.2 Alyabyev
8 }9 l, W: u7 @( Y& J; n; b+ w- l9 w3 O
S.384, Mazurka pour piano composée par un amateur de St. Petersbourg (1863)
1 q- l( w1 \8 l7 E5 V% d0 D5 A/ O- ~* }S.384a, Variations on Tiszántúli szép leány [anonymous, not by Liszt?] (1846)
$ h  y1 B( s6 ?5 s+ L# H8 P) q2.5.1.3 Auber0 q( X' W- ^, ^! F' L; P
& [* T" w! L3 Z. V) e3 n, L
S.385, Grande Fantaisie sur la Tyrolienne de l'opera La Fiancée [first/second/third version] (1829, 1835, 1842)
  K* e7 B: z9 |# FS.385a, Tyrolean Melody (b. 1856) 提洛尔旋律 S.385a 根据奥伯歌剧《未婚妻》主题改编
* T6 B0 T* z0 M" U* X7 I- {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7 R. w& T! G# |  h
S.387, Three Pieces on themes by Auber [with intro piece] (a. 1846)) g" `4 y4 }  o$ _* D7 E1 K# W  m* v
S.387a, Piece on an unknown theme (1847)
4 L4 v8 r( W0 S; u0 t6 C: N2.5.1.4 Beethoven! d" X0 Z  l6 ^2 ?/ w. h

. S# R# Y: |6 k9 hS.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
/ z3 q+ m( @' B, z+ d. ES.388a, Marche turque des Ruines d'Athenes (1846)
' L5 Q+ |( H6 ?! a4 |1 z( QS.388b, Fantasie über Beethoven's Ruinen von Athen [first version] (1837)
; ]: ]6 K8 U- H& H! L5 TS.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0 z" H1 i1 ~8 n
S.389a, Cadenza to the first movement of Beethoven's Piano Concerto No. 3 (1879)
- o& F- C! q9 u5 G( Z8 v$ \2.5.1.5 Bellini" z( n& w( [8 I  x3 d; ]" I( e' u
. i4 j* ?  l$ @' V9 K; `
S.390, Reminiscences des Puritains [first/second version] (1836, 1837)
; W. u3 f* |$ }6 v9 g! BS.391, I Puritani. Introduction and Polonaise (1840)
8 i$ z2 b8 ^; ^6 gS.392, Hexaméron, Morceau de Concert (1837)# t- Y) u$ |9 g+ q% M
S.393, Fantaisie sur des motifs favoris de l'opéra La Sonnambula [first/second/third version] (1839, 1840-41, 1874)! |; }. I) j) P  b9 K
S.394, Réminiscences de Norma (1841-43)1 v9 |2 Z9 D6 L4 |
2.5.1.6 Berlioz4 s5 w7 `% U. I" s4 ]

9 u9 v, E' c- M' P5 dS.395, L'Idée fixe: Andate amoroso [first/second version] (1833 or 1846?, 1865)
# W' Z6 g  V6 ZS.396, Benediction et Serment from Benvenuto Cellini (1852)
; ?' G4 S$ K  R( H9 B  `4 g2.5.1.7 Donizetti, Gaetano0 E# i: r5 V$ D/ c' ~; D/ k0 L4 o
; o/ Q2 t/ f/ s7 p
S.397, Réminiscences de Lucia di Lammermoor (1839)& K' @/ y. f0 [0 l3 X
S.398, Marche Funebre et Cavatine de Lucie de Lammermoor (1839)- \9 }# |/ @' H
S.399, Nuit d'été à Pausilippe [3 pieces] (1839)
# q$ ]8 u) E% W  |! L; ]9 l9 nS.399a, Lucrezia Borgia - Grande fantaisie [first version of S400ii] (1840)
4 I. D" @3 x/ D9 }
0 p& h' h# G# l1 b+ b李斯特全部作品目录-3* h' A9 a5 b" e4 h1 Y3 r9 S/ x

/ r2 v% ^8 B% d( z8 J% }S.400, Réminiscences de Lucrezia Borgia [first/second version] 1840: U& u* h+ d8 q" F: ?
S.401, Valse a capriccio sur deux motifs de Lucrezia et Parisina [first version of S214/3] (1841)
# {2 f1 i  }0 {4 wS.402, Marche funèbre de Dom Sébastien (1844)
- ?# t* e+ K4 }9 @9 n7 g2.5.1.8 Donizetti, Giuseppe- `. r* C/ X7 N) m- ~
/ @$ e6 Q+ ?0 x. H8 @
S.403, Marche pour le Sultan Abdul Medjid-Khan [first/simplified version] (1847, 1848)
! o1 v& e$ U2 h' ~- z9 R2.5.1.9 Duke Ernst( P6 Q' ^/ Y! U- m- h/ q: L
3 B. z) C. Y; I4 S4 i/ M. [
S.404, Halloh! Jagdchor und Steyrer from the opera Tony (1849)
" B) E/ L+ V" @2.5.1.10 Erkel, Franz7 E9 }& v! k. L, Z' |6 C2 g* W8 I
8 \% w* Y0 b) D& ]2 s
S.405, Schwanengesang and March from Hunyadi Laszlo (1847); j% Y& x/ {' X6 h* h. \  u
2.5.1.11 Festetics
0 w8 b- B7 e3 L: y% E: o  U
; \- f1 `& v0 O+ D: G' U9 IS.405a, Pásztor Lakodalmus Variations - Mélodies hongroises [elaboration by Liszt] (1858)
# o7 G% Z" c4 K- ]" q- f0 W7 Y+ L2.5.1.12 Glinka
6 I- H1 o  c* W! p% I+ ]* h2 U! U; J. f8 _8 @! J4 K) R/ ^3 |
S.406, Tscherkessenmarsch from Ruslan i Lyudmila [first/second version] (1843, 1875)  i- x' w( n' r% q& K
2.5.1.13 Gounod
7 a$ t+ V- C1 W- c  A
* h( ?3 ^9 V; r/ aS.407, Valse de l'opéra Faust (b. 1861)
- @+ t$ y: A" h; KS.408, Les Sabéennes. Berceuse de l'opéra La Reine de Saba (1861), v0 F( r/ K7 ^0 z9 T
S.409, Les Adieux. Rêverie sur un motif de l'opéra Romeo et Juliette (1867)
; L/ c* e0 ~) a: ~  M9 u0 [: m9 z- J2.5.1.14 Halévy7 a0 D/ W9 q' r
S.409a, Réminiscences de La Juive (1835)
9 j' N5 u. S: U/ U9 z9 \$ [2.5.1.15 Mendelssohn
7 a/ k5 k5 x. ~9 w5 W  G+ j$ t- m. eS.410, Hochzeitsmarsch und Elfenreigen aus dem Sommernachtstraum (1847-50)
2 D5 s* H" d/ T$ b2.5.1.16 Mercadante" _* {% n/ [: v3 P) |5 S0 v
S.411, Soirée italienne. Six amusements (1838)
: @' w* w/ i* N4 R% E2.5.1.17 Meyerbeer
& \: ^" ~* H) i- N# r. \S.412, Réminiscences des Huguenots - Grande fantaisie dramatique [first/second version] (1836, 1842)
0 v; Z) T9 b: e) FS.412a, Réminiscences de Robert le Diable - Cavatine (1846?)
8 M2 A# H2 C! B( ~& u: u0 D3 I/ eS.413, Réminiscences de Robert le Diable - Valse infernale (1840)3 F. y( O5 I4 V4 m2 g7 J
S.414, Illustrations du Prophète [4 pieces, 4th=S624] 1849-50; ?6 u1 R2 N% {' G; g
S.415, Illustrations de l'Africaine [2 pieces] 1865
3 a7 c% F' v" J2 q6 |9 vS.416, Le Moine (1841)
8 G4 |, E# t) ~7 Z2.5.1.18 Mosonyi, Michael6 g& @' D3 v4 s0 ^+ \3 M
S.417, Fantaisie sur l'opéra hongrois Szép Ilonka (1865) 幻想曲 S.417 - 根据莫佐尼歌剧《美丽的海伦》主题改编8 u; Q, [$ }4 S3 C3 q
2.5.1.19 Mozart
; g- U5 v) R  \) R% p0 {S.418, Réminiscences de Don Juan (1841)  f1 G7 Q( B6 l' L0 E, a& e) T% D
2.5.1.20 Pacini
6 X: @$ K8 S4 B7 N; VS.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; P/ R; b2 P3 Y& B
2.5.1.21 Paganini
! {6 B* m' F+ W  XS.420, Grande Fantaisie de bravoure sur La Clochette (1832-34)  华丽的钟声幻想曲0 A& I2 M' H: l1 [
2.5.1.22 Raff3 D% M5 @6 q0 ?+ a/ D/ `! k
S.421, Andante Finale and March from the opera König Alfred [2 pieces] (1853)1 C6 h8 z& B3 W5 R
2.5.1.23 Rossini
# \) E( P( ]2 Z, kS.421a, Introduction et Variations from "Siege of Corinth" [introduction only] (1839?)5 l% [9 D7 i: V4 ^, @% f" K
S.422, Première grande fantaisie (Soirées musicales) [first/second version] (1836): M! |# K% Y# g. X, n
S.422i, La serenate e l'orgia - Première grande fantaisie (Soirées musicales) [first version] (1836)
! A+ u# Z) Z0 E. g: R3 a7 [S.423, Deuxième grande fantaisie (Soirées musicales) (1836)
% Q7 O) q6 Z# `7 \4 v2 \$ n3 ]S.424, Soirées musicales [12 pieces] (1837)4 g8 U1 i8 r% s
2.5.1.24 Schubert
0 q) j1 x3 H( n# \# e6 d+ BS.425, Mélodies hongroises [3 pieces] (1839–40)- Z  K+ @, b+ L4 |
S.425a, Mélodies hongroises [revised versions] (1846)4 a" {5 i( J2 z% z; v9 I+ e: p9 J8 T
S.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7 o) {6 `9 W% P' |. s+ ~
S.426a, Marche militaire (ca. 1870)" P# W' I2 e2 ^$ g' Q
S.427, Soirées de Vienne [9 pieces] (1852) 维也纳之夜 S.427 根据舒伯特《随想圆舞曲》改编' C2 P! t1 B0 Y2 P) X. g6 S' T, {6 T
2.5.1.25 Sorriano5 |& k; O6 V5 V
S.428, Feuille morte. Elégie d'après Sorriano (1844-45)6 S- d/ @7 e9 p$ m$ x' M
2.5.1.26 Tchaikovsky' ]4 Y( ?$ t' X
S.429, Polonaise from Eugene Onegin (1879)
; h# ]6 G7 n# |. N* d2.5.1.27 Végh, Janos+ p/ e* I" S" h+ Y0 [5 j. A
S.430, Valse de concert (1882-83)
7 T% a3 }* M6 B7 q+ v2.5.1.28 Verdi) D0 h, W, T: k* l( g/ h
S.431, Salve Maria de Jerusalem from I Lombardi [first/second version] (1848, 1882)+ B& n- T$ u4 I$ w, o$ x/ p- \' |
S.431a, Ernani - Première paraphrase de concert (1847)
$ c/ F( [. x2 f6 W# b7 RS.432, Ernani - Paraphrase de concert (No. 2) [first/second version] (b. 1849, 1860)9 A) P) @7 z! G- P: s' j
S.433, Miserere du Trovatore (1860): Q1 w' G# ?& D! l9 p8 q; w
S.434, Rigoletto Paraphrase de Concert (1859)
) g" ~4 V0 s! G4 pS.435, Don Carlos Coro e Marcia funebre (1867-68)# d% ~! Z: T1 |+ z) C; u
S.436, Aida Danza sacra e duetto finale (1877)+ s9 q5 r- v' b% f% ~
S.437, Agnus Dei (1877)/ Y6 K  I+ j, B+ ^) |$ S- u
S.438, Réminiscences de Boccanegra (1882); }( R8 F+ a. M
2.5.1.29 Wagner6 ]( w; B# }* b
S.439, Phantasiestück über Motive aus Rienzi (1859)6 D6 L) q$ Q: P- p/ ]# a' i& E
S.440, Spinnerlied aus Der fliegende Holländer (1860)
- \# N; a7 J% y6 _- FS.441, Ballade aus Der fliegende Holländer (1872)
4 {3 J; o/ M0 JS.442, Ouvertüre zu R. Wagners Tannhäuser (1848)
3 C; {' M8 ]6 j! }( ]: I$ ?/ aS.443, Pilgerchor aus Tannhäuser [first/second version] (1861, 1885); z! m3 r  B3 i/ w
S.444, O du mein holder Abendstern aus Tannhäuser (1848)
- d  \% n0 a2 Y& cS.445, Zwei stücke aus Tannhäuser und Lohengrin (1852)9 {$ K4 g" W. q" `' J2 E: O+ l
S.446, Aus Lohengrin [3 pieces] (1854)& L/ P' l7 h& k: k. Z5 `! d
S.447, Isoldens Liebestod aus Tristan und Isolde [first/revised version] (1867, 1875)
: w9 w8 \. L& i& F6 c( c3 Y) fS.448, Am stillen Herd aus Die Meistersinger (1871)
+ v! u9 C* }/ O4 Y- _S.449, Walhall aus Der Ring des Nibelungen (1875)
; Z$ }- |3 ?3 g: U8 [S.450, Feierlicher Marsch zum heiligen Graal aus Parsifal (1882)* D1 F/ m7 }' n  k# j8 Z
2.5.1.30 Weber8 a8 J" H0 A% y, ]0 a: p; l# @
S.451, Freischütz-Fantasie (1840-41)0 r0 D! t1 C7 ~" P0 R( Z
S.452, Leyer und Schwert [4 pieces] (1848)8 T4 U' h4 `$ T1 M+ h& H  F* T' k
S.453, Einsam bin ich, nicht alleine, from Preciosa (1848)
7 m& B, E! n  y& s1 l- g, SS.454, Schlummerlied mit Arabesken (1848)) ^6 r- B8 P2 Q( e' h+ @5 I
S.455, Polonaise brillante (1851)
, @  c$ Z+ T* c2 G/ U# \4 y/ m2.5.1.31 Zichy, Count Géza9 X) r8 M6 q' M6 `  ?$ T
S.456, Valse d'Adele (1877)) |& X* }5 n" x$ t1 l# A; @/ I
2.5.1.32 Unknown- V* L7 p7 G& v$ z) H9 G
S.458, Fantasy on Il Giuramento (Mercadante) (1838?)
& [* X9 {  k* b3 D' f) y" S4 \. lS.460, Kavallerie-Geschwindmarsch [anonymous] (?)
6 l$ f5 ]/ U; v6 ^2.5.2 Partitions de Piano, Transcriptions, etc.
1 G2 u+ @- I# A8 u2.5.2.1 Allegri and Mozart/ Z; g6 e+ I3 C) Q) e, d: v
S.461, A la chapelle Sixtine [first/second version] (1862, ?)
# U. z9 ^% Q* V# [( FS.461a, Ave verum corpus, Kv618 (1862)6 K4 h! u1 g  {$ }
2.5.2.2 Bach
9 v' o/ W0 W2 {# w; _2 mS.462, Sechs Praeludien und Fugen für Orgel [6 pieces] (1850)
7 L, Q( z4 ^& U$ d$ W* K* e# aS.463, Organ Fantasy and Fugue in G minor [first/second version] (1860, ?)
+ Q/ d$ i5 ^0 C- r8 G2.5.2.3 Beethoven/ Q0 x4 h7 e+ u
S.463a, Symphonie No.5 [first version] (1837)
( F( U& s! U7 dS.463b, Symphonie No.6 [first version] (1837)2 x' Y, G) U$ q9 a6 \" h7 z
S.463c, Symphonie No.6 [second version. Alternative 5th movement] (1863-64)! X$ K5 `: l$ B2 l4 O
S.463d, Symphonie No.7 [first version] (1837)
! G* G  m& {- {9 Z+ _6 sS.463e, Marche funèbre [Beethoven's Eroica Symphony, first version] (1843)9 S. z" Y, X; H  K( P
S.464, 贝多芬交响曲 Symphonies de Beethoven [9 pieces] (1863-64)" G/ s7 h$ Q/ f# ?* J4 n) [
S.465, Grand Septuor, Op. 20 (1841)
  Z: z+ o) k, l7 F9 CS.466, Adelaïde [third version] (1847)* t3 B+ m9 V8 m% J4 |
S.466a, Adelaïde [first version] (1839)
  P4 m2 \' a! a- V$ s% _" q& b/ |S.466b, Adelaïde [second version] (1840)' {7 j  [" K- I% V
S.467, Sechs Geistlicher Lieder (Gellert) [6 pieces] (1840)0 B2 z; }2 ~$ Y$ a
S.468, Sechs Lieder von Goethe [6 pieces] (b. 1849)
: J! j' P1 d# S' q+ e) p7 \S.469, An die ferne Geliebte - Liederkreis [6 pieces] (1849)
4 n$ I3 P# Y( {$ k9 m  l2.5.2.4 Berlioz: @6 L" R7 p1 C
S.470, Symphonie Fantastique (1833)
5 I! x! Z# B. ^  c- ]  hS.471, Overture from Les francs-juges (1833)  C; t2 n9 [$ S) ^) ]* R3 q7 @
S.472, Harold en Italie (with viola) (1837): i: x3 H# y6 C: q5 L
S.473, Marche des pèlerins from Harold en Italie [first/second version] (1837?, 1862)
% N9 q5 k( C! R7 {9 o& {5 vS.474, Ouverture Le Roi Lear (1837)0 [4 k1 e/ S7 H9 ]8 |: C# h
S.475, Valse des Sylphes de la Damnation de Faust (1860)
8 s, w$ R% K% r( k- y/ ^2.5.2.5 Bulhakov
/ v( ^* Z4 A( U) _S.478, Russischer Galopp [first/second version] (1843, 1843)3 G# G" F# l" z' m6 c1 k% G
2.5.2.6 von Bülow
: Q% X3 U5 J0 e% V8 tS.479, Dante's Sonnett - Tanto gentile e tanto onesta (1874)( c, D, O* Q6 [2 e9 W
2.5.2.7 Chopin
0 W! C: W" Q* LS.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) f3 \" C- f4 j( Z4 D# g
S.481, Zigeunerpolka (1847?)
) b5 L+ P% t3 f: c: b. Q; r! O2.5.2.9 Cui- F  i+ \+ }$ ^/ S' |( A: s
S.482, Tarantella (1885)
. ]+ d+ d7 c# a2.5.2.10 Dargomyschsky9 ^1 D( \7 P( ]. E  ^. ]. ^  i
S.483, Tarantella (1879)6 r3 e  r7 K& L8 e) ]4 M
2.5.2.11 David, Ferdinand
" C0 V9 `5 a4 F+ \- B+ {6 vS.484, Bunte Reihe, Op. 30 [24 pieces] (1850)( W. v6 V& ^$ X: L% r- z
2.5.2.12 Dessauer4 p; k7 F9 X( F
S.485, Drei Lieder (1846)
5 i: Z9 A' h$ y2.5.2.13 Ernst, Duke
" u0 U3 ~2 H6 B7 |S.485b, Die Gräberinsel (1842)
2 r9 |, p7 c, O' f2.5.2.14 Egressy and Erkel
9 N1 y7 D' n8 |# u$ W/ G; {S.486, Szózat und Hymnus (1873)- G7 {+ }; k* r: S# N$ {! x' c; Y
2.5.2.15 Festetics
/ |$ Z- q8 u9 r0 C1 r- G: D2 ]5 ]7 Q! M" ?S.487, Spanisches Ständchen 1846
1 S% a$ h$ N' [. P2.5.2.16 Franz
: X+ M- ^7 D! L1 l' Z" g- K8 t0 s0 kS.488, Er ist gekommen in Sturm und Regen 1848
: n2 F0 l  P8 e; SS.489, Zwölf Lieder [12 pieces] (1848)) T% F- _: L1 [6 r! A
2.5.2.17 Goldschmidt
2 J+ k# O% F, i& U5 \* \. yS.490, Liebesszene und Fortunas Kugel (1880)
- k4 u4 k  ?, T' O5 n2 `* e2.5.2.18 Gounod7 ]* x* d- _$ j+ z" A3 A
S.491, Hymne à Sainte Cécile (1866)5 ?" B' X( Z& N& J% f+ \
2.5.2.19 Herbeck
0 N. W; G( q5 G; m# [. N' eS.492, Tanzmomente [8 pieces] (1869)" ^0 q; ?0 E9 ]/ C, O- k+ K
2.5.2.20 Hummel
+ [0 a- P1 ?/ A$ A' j9 g" sS.493, Grosses Septett, Op. 74 (1848)
  G- p+ P) }/ \- g' j' q" c$ A$ h) Q1 [2.5.2.21 Lassen
6 [8 u& q; H" I7 t: a/ `8 m- YS.494, Löse, Himmel, meine Seele [first/second version] (1861, 1872)% [) A6 ?, c0 ?, Y' d! K
S.495, Ich weil' in tiefer Einsamkeit (1872)" N5 n. f% u2 q1 d3 {8 F, W
S.496, Hebbel's Nibelungen & Goethe's Faust [4 pieces] (1878-79)2 F* R5 m! o  k, g3 ?
S.497, Symphonisches Zwischenspiel ('über allen Zauber Liebe') (ca. 1882-83)
4 X; [: k, Q6 B# i2.5.2.22 Lessmann
! O9 K3 A' g* I1 F+ }2 s. iS.498, Drei Lieder ('Tannhäuser') (1882?). w$ K8 U4 e% T4 P/ @! N8 x
2.5.2.23 Liszt6 I. o. O  {' m
S.498a, Drei Stücke aus der heilige Elisabeth (1857-62)* p" _* @) y- p( u
S.498b, Zwei Orchesterstücke aus Christus (1862-66)
! j. s( B1 H9 RS.498c, San Francesco - Preludio (1862-66)
! ], {. _6 Q: f8 oS.499, Cantico del Sol di San Francesco d'Assisi (1881)
" `: ~6 z& C3 J- ]: \S.499a, San Francesco - Preludio per il Cantico del Sol (1880)& c1 E& o; n6 e& M9 o  h2 d
S.500, Excelsior! - Preludio (1875)
, i' S9 d. R0 M, |$ _S.501, Benedictus und Offertorium (Missa Coronationalis) (1867)
* _6 g) _' n" o0 sS.502, Weihnachtslied II (1864)+ ?4 F8 E/ V/ k, o6 Q- e0 B9 A
S.503, Slavimo Slavno Slaveni! (1863): q" k' R/ E* X) ]4 S
S.504, Ave Maria II (in D) [first/second version in D flat] (1870, 1873)3 y, ]/ m8 s# |" Y0 C2 J2 t7 w8 p( Z
S.504a, Via Crucis [15 pieces] (1878-79)' G% [6 U1 I  n2 d, L
S.504b, Choräle [11 pieces] (1878-79)8 a5 m+ L2 h# L
S.505, Zum Haus des Herrn (In domum Domini ibimus) (1884); t, ^: z9 \: m
S.506, Ave maris stella (1868)( E9 u; D" J, U, K
S.507, Klavierstück aus der Bonn Beethoven-Cantata (?)
" z  a4 ?# H$ N2 p* c: ~# zS.507a, Schnitterchor (Pastorale - Schnitterchor aus Prometheus) (1850)
+ s3 Q# {* m/ z- U6 ]# dS.508, Pastorale. Schnitterchor aus dem Entfesselten Prometheus (1861)* H. t' @" \# U; U5 W# l( q5 K
S.509, Gaudeamus igitur - Humoreske (1870)4 ?/ R: Q7 S$ C9 e0 ^5 j  \
S.510, Marche héroïque (?)  r: C# U# u9 t; l' L) B' F
S.511, Geharnischte Lieder [3 pieces] (1861)$ g4 M! i$ R; K( X0 s
S.511a, Les Préludes (Poème symphonique No. 3) [arranged by Karl Klauser, revised by Liszt] (1863) [1][2]# q; Y- ^6 M/ }4 q
S.511b, Orpheus (Poème symphonique No. 4) [arranged by Fredrich Spiro, revised by Liszt] (1879) [3]
3 j8 |' v1 U7 g# @S.511c, Mazeppa (Poème symphonique No. 6) [arranged by Theodor Forchhammer, revised by Liszt] (1870-79) [3]. Y" X" {  `* B) c, @  m
S.511d, Festklänge (Poème symphonique No. 7) [arranged by Ludwig Stark, revised by Liszt] (1870-79) [3]
) o9 w* V7 w) iS.511e, Hungaria (Poème symphonique No. 9) [arranged by Fredrich Spiro, revised by Liszt] (1872) [3]& w( m0 u. A( @6 N3 i- E/ w/ z
S.512, Von der Wiege bis zum Grabe (Poème symphonique No. 13) (1881)( w- _  S; r( m4 v
S.513, Gretchen aus Faust-Simpfonie (b 1867 )
+ d8 t: G" g5 vS.513a, Der nächtliche Zug (?)
# t$ F' \$ s2 ?  p1 H+ C7 ?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9 `3 c7 Z/ q* V! C& x
S.514a, Erster Mephisto-Walzer (Mephisto Waltz No. 1) [with later additions] (1859-62)$ U: w5 ^: k9 p! l
S.515, Zweiter Mephisto-Walzer (Mephisto Waltz No. 2) (1881) 第二梅菲斯特圆舞曲" [$ y3 L  q8 d6 W/ Y, [* E
S.516, Les Morts (Ode Funèbre No. 1) (1860)
9 Q+ k3 _) P; G2 t2 n+ s$ S. ^S.516a, La notte (Ode Funèbre No. 2) (?)
; K0 |6 d4 s- x' Z1 _S.517, Le Triomphe funèbre du Tasse (Odes Funèbre No. 3) (1866)
: S& O! P' I5 y" R% K: ^9 u6 mS.518, Salve Polonia (a. 1863)
) @3 X% l/ e( V) o" XS.519, Deux Polonaises de St Stanislaus (1870-79)8 [5 ?+ V4 u0 w
S.520, Künstlerfestzug [first/second version] (1857-60, 1883)" I# r! k( K( E; k% @
S.521, Festmarsch zur Goethejubiläumsfeier [first/second version] (1857, 1872)
! W( a% W; P( Z/ ^S.522, Festmarsch nach motiven von E.H.z.S.-C.-G (1857)
0 T: J1 V% a! y7 l7 ES.523, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (1870)
) R& |2 h1 F7 nS.524, Ungarischer Sturmmarsch [first/second version] (?, 1875)
/ z% l. A- s: [3 }& uS.525, Totentanz. Paraphrase on Dies Irae (1860-65)3 @" _" u1 M5 F  a/ I- k2 f* W
S.526, Epithalam zu Eduard Reményis Vermählungsfeier (?): J" M! u! |; g* `! X
S.527, Romance oubliée (?)
3 r0 Q7 H, K) _& o5 zS.527bis, Romance oubliée [short draft] (1880)9 W: A! R9 d& E7 r% `0 g: e9 t1 Q
S.529, Fantasie und Fuge über das Thema BACH [first/second version] (1856, 1870) 巴赫主题幻想曲与赋格# O7 `3 z6 k$ H/ y- G* C! }6 M. c. n
S.530, L'Hymne du Pape. Inno del Papa. Der Papsthymnus (1864)
8 i2 }8 L$ H* iS.531, Buch der Lieder I [5 pieces] (?)
6 d2 M3 }2 r: M; h, D& @S.532, Die Lorelei (Heine) [second version] (1861)
8 G) m% F. z4 R1 o- o! BS.533, Il m'aimait tant (Delphine Gay) (1842)
; d' ~( Z& D, z% _3 dS.534, Die Zelle in Nonnenwerth (Felix Lichnowski) [first/second/fourth version] (1842, 1860, 1880)
1 Q2 \- L# ~4 T% g6 R1 KS.535, Comment, disaient-ils [Buch der Lieder II] (1845?)
/ K4 _2 {, a% e- Z$ t+ GS.536, O quand je dors [Buch der Lieder II] (1847?)7 t( o0 Y7 z$ H: K- h
S.537, Enfant, si j'étais roi [Buch der Lieder II] (1847?)
& k5 B/ Y4 G: p  iS.538, S'il est un charmant gazon [Buch der Lieder II] (1847?)8 k- c5 |. @- r3 ~4 |) |
S.539, La tombe et la rose [Buch der Lieder II] (1847?)
3 {) ]7 {6 }2 pS.540, Gastibelza [Buch der Lieder II] (1847?)
& L8 J. g8 o( L1 _' Q2 kS.541, Liebesträume. Drei Notturnos (ca. 1850)  3首夜曲“爱之梦”* c+ j9 u3 H8 G2 h( B: E5 P3 \; o
S.542, Weimars Volkslied [first/second version] (1857, ?)
; u0 m1 X9 Q# c9 F9 ^  RS.542a, Ich liebe dich (?)
, [) e- w2 m+ cS.542b, Fanfare zur Enthüllung des Carl-Augusts Monument (?)
( E3 o4 d- @& S2 i( d: bS.543, Ungarns Gott. A magyarok Istene (Petófi)]] [original/(S543bis)left-hand version] (1881)
& t9 e+ h0 v" X, US.544, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)
- X0 k' F3 ~* |7 cS.545, Ave Maria IV (1881)6 [9 S, m' z5 n+ @# L3 B
S.546, Der blinde Sänger (Alexei Tolstoy) [solo version] (1878)4 m. ~8 ?& @# ~& a* _& v* d& ?: Q! F
S.546a, O Roma nobilis (1879)
6 B9 F& _. ~6 }- M3 {2.5.2.24 Mendelssohn* ]. `2 t: z# H6 ]9 O
S.547, Sieben Lieder (from Opp. 19, 34, 47) [7 pieces] (1840): |; g7 H& \! [! C+ m( D; V' G( J
S.548, Wasserfahrt and Der Jäger Abschied (from Op. 50) [2 pieces] (1848), b# m; ~; X; P: k
2.5.2.25 Meyerbeer
$ X- U9 q& }2 S  `6 s5 N( JS.549, Festmarsch zu Schillers 100-Jähriger Geburtsfeier (?)" U8 r; M" F6 r& Y# }4 P1 W, S& m
2.5.2.26 Mozart
: Z  d" m% n. S0 n& Y3 XS.550, Zwei Transcriptionen über Themen aus Mozart's Requiem, K626 [2 pieces] (1862)8 M8 [+ }# Z3 ^! O' g- |
2.5.2.27 Pezzini
5 m9 C+ S6 p" U8 r/ n$ FS.551, Una stella amica. Mazurka (?)9 E1 Q1 V& ]$ v$ F+ G5 w7 L7 e
2.5.2.28 Raff
; X$ [) |; p$ ]/ QS.551a, Einleitung und Coda zu Raffs Walzer in Des-dur (opus 54/1) (1880)1 Y! `0 |: K' O, a# ~8 \! C4 w" P
2.5.2.29 Rossini2 V2 d, N! \! v5 M* ]8 p8 B
S.552, Ouverture de l'opéra Guillaume Tell (1838)8 d* C8 m: Z1 \1 Z7 }
S.552a, Caritas [La charité, first version] (1847)3 r' c5 ^. O4 Q) ]! Z
S.552b, La caritá [La charité, simplified version] (1847)
( T# {! s1 F- K; V3 I6 N5 \4 IS.553, Deux Transcriptions [2 pieces] (1847)$ b0 z5 [$ T! T- w7 G3 U
2.5.2.30 Rubinstein
# V& P& d1 }9 P1 ]S.554, Zwei Lieder [2 pieces] (1880)$ T+ j! N& H" |; q( Q! |, f
S.554a, Einleitung und Coda sur des notes fausses (1880)
$ q% b; K3 A$ l& o; D7 d2.5.2.31 Saint-Saëns7 f% g- r: z* c1 X- H
S.555, Danse macabre, Op. 40 (1876)
0 E+ B' q9 z7 }9 f7 f2.5.2.32 Schubert
! j7 w! M, w. V0 [; j; CS.556, Die Rose [first/intermediate/second version] (1832, ca. 1837, 1838)
8 F) O' y- O& H3 H5 wS.557, Lob der Tränen (1837)/ I& Y# B. `$ T$ R7 _8 p+ r0 P
S.557a, Erlkönig [first version] (?)! X0 ?* g* T! Y( H# o& l
S.557b, Meeresstille [first version] (?)
! v4 |$ S& x. Y% s. Z% ~S.557b/bis, Meeresstille [first version, ossia] (?)
7 i+ d$ f" _, XS.557c, Frühlingsglaube [first version] (?)3 W3 S9 a& l9 ~
S.557d, Ave Maria (Ellens dritter Gesang) [first version] (?)
) d0 E+ L8 Q* b  B5 Q& d  TS.558, 12 Lieder (1837-38)2 v% p8 J" W& ^& H
S.558bis, 12 Lieder [revised versions of Nos. 3, 4, 7, 8, 9, 11] (ca. 1839)
- q1 s* Y$ {/ e0 s; e" \S.559, Der Gondelfahrer, Op. 28 (1838)5 y, o, @( x& M( o6 \6 C2 |
S.559a, Sérénade [Ständchen, first version] (1837)
; [. g& O* n6 u% m9 ZS.560, Schwanengesang [14 pieces] (1838-39)
: J. b- D: A5 M) Y! q; v8 Z" yS.560bis, Schwanengesang [14 pieces, alternative versions] (ca. 1839)
" K) Q$ L( V, o5 m5 V5 l$ R- sS.561, Winterreise [12 pieces] (1839), B5 w; r; Z6 K) k! U' E
S.561, Winterreise [alternative versions of Nos. 2, 3, 7, 10,] (ca. 1839)
* ^( o0 b! m' dS.562, Geistliche Lieder [4 pieces] (1841)
" c; t4 ]8 j8 {! {1 ]4 Z; p5 \/ nS.563, Six mélodies célèbres [6 pieces, 1st by Weyrauch] (1844)1 c- ?$ @( s) u. T) I
S.564, Die Forelle [second version] (1846)8 l( p  L* `5 G; g9 a: P
S.565, Six Mélodies favorites de La belle meunière [6 pieces] (1846)
0 y  D+ w) X) m! j4 ZS.565bis, Müllerlieder [6 pieces, revised versions] (ca. 1879)( ]) m: y' Z1 e6 d8 l) L
S.565a, Wandererfantasie (Grosse Fantasie in C-dur) (ca. 1868)' i+ k+ S) _* t0 A
S.565b, Schubert's Impromptus [2 pieces, Op. 90/2-3] (ca. 1868)
9 X3 I9 @9 m- M* d9 @& C% G+ ?2.5.2.33 Schumann' Y. ]- P& j  C6 H2 b
S.566, Widmung, Liebeslied (1848)
; @. U, w. D2 `# r( T+ vS.566a, Widmung, Liebeslied [sketch of a more literal transcription] (1848)
: B4 T% i1 K+ S$ `; f1 I0 iS.567, An den Sonnenschein, Rotes Röslein (1861)
% C, e( E6 u+ ]% @3 W' W4 G' mS.568, Frühlingsnacht (überm Garten durch die Lüfte) (1872)
1 p  L$ K+ i6 }S.569, Zehn Lieder von Robert und Clara Schumann [10 pieces] (1872)5 o5 v* E2 o8 v! r/ M6 S4 u
S.570, Provençalisches Minnelied (1881)
; h: j1 i3 R9 ]1 [. U6 v3 b2.5.2.34 Smetana
6 `- o3 d' G% M8 dS.570a, Einleitung und Coda zu Smetanas Polka (de salon, opus 7/1) (1880)/ [( h* g1 T: _+ X4 M
2.5.2.35 Spohr
) _: D" i5 V9 \9 d! c9 L. {: \! XS.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( l& K" A8 s! K) u, I
S.571a, Einleitung und Schlußtakte zu Tausigs dritter Valse-Caprice (1880)! B/ X. ^2 |& c8 K; M
2.5.2.37 Szabady and Massenet, L' u" ~9 p2 U5 N
S.572, Revive Szegedin (1879)% M/ u9 R# V$ Z' N' v8 M% [6 l
2.5.2.38 Széchényi, Count Imre* q* k7 s8 i; A: _) ?1 ]: s' ^
S.573, Bevezetés és magyar indulò (1872)
: F! }  j5 R3 G! f1 ]2.5.2.39 Tirindelli
/ a+ i1 x- W, w' }3 U$ kS.573a, Seconda mazurka variata (1880)
5 @3 A. o5 b) |6 o  Q1 A2 Q1 a2.5.2.40 Weber
$ X- F, V" V$ y4 gS.574, Ouverture Oberon (1846?)
2 C( c8 W6 L2 v8 u1 y, I& bS.575, Ouverture Der Freischütz (1840-41)
0 K; [. R7 _; f: `S.576, Jubelouverture (1846)+ Z8 N0 B# m; i" m
S.576a, Konzertstück, Op. 79 (ca. 1868)
- z: @1 N3 X* _% G% t4 Z2.5.2.41 Wielhorsky, Count Michael
; J' j: M& j( t2 {S.577, Lyubila ya [first/second version] (1843, ?)5 `, M! p1 ?) R" U" T: n
2.6 Pianoforte Duet(钢琴二重奏)* z5 d2 W  N3 q+ a
2.6.1 Field
% Z: }2 K" l0 QS.577a, 11 Nocturnes (Nos. 1-9, 14, 18 and Nocturne Pastorale in E) (?)
! F, Y. K6 k) u( m2.6.2 Liszt  \$ T3 Q6 ^, W0 X" F! S! e. t
S.578, 4 Pieces from St. Elisabeth (1862)
: E5 x/ l* ?1 _S.579, Christus Oratorio 4th and 5th section (?)
. {  l3 @3 |+ c, `, L2 p4 fS.580, Excelsior! - Preludio (?)
# z! W+ E2 q1 u  cS.581, Benedictus and Offertorium from the Hungarian Coronation Mass (1869)( {, P9 W6 b1 l6 `" D/ [% x, r
S.582, O Lamm Gottes, unschuldig (1878-79)& H) {; ~) z5 y& ~: X+ L7 X
S.583, Via Crucis (?)
6 Q/ {+ j2 m& n( I: r5 d9 j/ ]S.584, Festkantate zur Enthüllung des Beethoven-Denkmals in Bonn (1845)
" s" q' g5 {# I) BS.585, Pastorale. Schnitterchor aus dem Entfesselten Prometheus (1861)
, t0 R* s" Q! l" tS.586, Gaudeamus igitur. Humoreske (1870), T/ `" c* N" D. o) K+ o0 @& |
S.587, Marche héroique (?)2 t. D7 ^; v! E7 I
S.588, Weimars Volkslied (Cornelius) (1857)5 v7 e# U8 L" F) K. Z0 A
S.589, Ce qu'on entend sur la montagne (Poème symphonique No. 1) (1874)0 W, u# |+ K9 R! ]  h; s3 }' G
S.590, Tasso, Lamento e Trionfo (Poème symphonique No. 2) (1858)# I" Y* V+ D, x0 f6 t1 |5 [
S.591, Les Préludes (Poème symphonique No. 3) (ca. 1858)
9 [+ K2 {, Q5 V! y* M6 i7 vS.592, Orpheus (Poème symphonique No. 4) (ca. 1858)
4 x& y& Q  s3 ^* s8 HS.593, Prometheus (Poème symphonique No. 5) (1858)  k2 d1 K! G* u8 Y0 q; o6 }+ U5 s" N$ ]$ q
S.594, Mazeppa (Poème symphonique No. 6) (1874)0 ?3 X' g' W' n8 H! g# I; N! b
S.595, Festklänge (Poème symphonique No. 7) (1854-61)3 T9 V5 j( ~* ^0 [# s1 Y( Y
S.596, Hungaria (Poème symphonique No. 9) (1874?)
/ v! Y. [$ ?( FS.569a, Héroïde funèbre (Poème symphonique No. 8) (ca. 1877)
; ?# w; t$ _; \; _+ ?& sS.596b, Hunnenschlacht (Poème symphonique No. 11) (ca. 1877)
0 n9 k) }0 o/ a6 m! V4 xS.596c, Die Ideale (Poème symphonique No. 12) (ca. 1874-77). t! @2 v( l/ {* v
S.597, Hamlet (Poème symphonique No. 10) (1874)
/ K+ ~; h7 a0 M0 I( e' E1 e9 VS.598, Von der Wiege bis zum Grabe (Poème symphonique No. 13) (From the Cradle to the Grave) (1881)  ~0 ^, R. ?% A
S.599, Two episodes from Lenau's Faust (1861-62)
- v4 G3 N7 A: A, g李斯特全部作品目录-4+ H5 _6 ]; N) E; c6 Q3 C1 l/ j% N
7 l1 N- X) M* o' r/ H4 A6 _
S.600, Mephisto Waltz No. 2 (1881)% T* c4 @. T& n& T! w5 B& s6 K
S.601, Les Morts (Ode Funébre No. 1) (1866)
1 d' e% ^) P+ S3 v/ fS.602, La Notte (Ode Funébre No. 2) (1866)
& R( {( x) @+ K; z9 o; d! z+ gS.603, Le Triomphe Funèbre du Tasse (Ode Funébre No. 3) (1866?)! D$ L  N% ?1 q  o
S.604, Salve Polonia (1863)) }  T/ R# L/ ]+ [% y
S.605, Künstlerfestzug zur Schillerfeier (1859)
- H* d" M5 t8 p9 d" n0 YS.606, Festmarsch zur Goethejubiläumsfeier (ca. 1858)
. R7 m5 K, e# y0 U) NS.607, Festmarsch nach Motiven von E.H. zu S.-C.-G. (ca. 1859)
* @1 C8 D0 H( i8 v% [- RS.608, Rákóczy March (1870)6 C1 v- U( g% \' A: j3 l5 c) n2 A! x8 W
S.609, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (1870)
: ^+ c$ i% V3 D2 nS.610, Ungarischer Sturmmarsch (1875)! u2 L, G! S6 H% n
S.611, Epithalam (1872)
$ X! o( P' x. m. b! IS.612, Elégie (1874)( i. S6 N  h/ |8 v8 f
S.613, Weihnachtsbaum (1876): b  z0 P# f. T) V# o
S.614, Dem Andenken Petöfis (Petófi Szellemének) (1877)2 z( c, e6 @1 T: L) |+ d
S.615, Grande Valse di Bravura (1836)$ x. u9 F. y; z& i0 Z* W
S.616, Grand Galop Chromatique (1838)! V$ k8 {4 p- y1 M# ?/ w( W* H
S.617, Csárdás macabre (1882)7 v  l4 o: r% ]* ?
S.618, Csárdás obstiné (ca. 1884)
9 R7 R5 _3 ~% K1 q3 z. _5 m6 jS.618a, Vom Fels zum Meer. Deutscher Siegesmarsch (?)8 d9 @! O7 ?! [9 C, I2 [. A
S.619, Bülow-Marsch (ca. 1883)5 q/ ?! q: f+ @% j; [2 Q
S.619a, Festpolonaise (1876) [4]; x$ q# E2 z) W! o8 Y0 O. }- V
S.620, Hussitenlied (Melody by J.Krov) (1840)- a' a: ?* T6 D1 a/ y8 ~" q1 Z
S.621, 6 Hungarian Rhapsodies [from the orchestral version, S359] (1874): `# M) ]4 e4 H2 {( ~* q5 A7 @
S.622, Rapsodie hongroise No. 16 (1882)
2 O6 |  W# b8 hS.623, Rapsodie hongroise No. 18 (1885)
1 I1 g( k, ~3 i% Q% h- cS.623a, Rapsodie hongroise No. 19 (ca. 1885)( `" L- J8 o% c& ^
S.624, Fantasy and Fugue on the chorale Ad nos, ad salutarem undam (1850)4 Q- z% W, c' j$ U; O
S.625, L'Hymne du Pape (Der Papsthymnus) (1865)
2 o* x' m* _2 s7 D! SS.626, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)
7 k1 h+ a9 H& M4 MS.627, Fantaisie sur des motifs de l'opéra La Sonnambula (Bellini) (1852)% Z: J8 L4 e. L/ N0 n0 w. e* Z* L' ~
S.628, Bénédiction et serment (Berlioz's 'Benvenuto Cellini') (1852). Y4 O* z. s( g" S, ^
S.628a, Marche et cavatine (Donizetti's Lucia) (?); i. g4 X  \* @5 g* U* v
S.628b, Szózat und Hymnus (Egressy and Erkel) (1873)! C2 p4 o. d! Y$ K/ z9 Z' c9 O
S.629, Tscherkessenmarsch (Glinka's Ruslan i Lyudmila) (1843)
: M0 }3 e8 g' q' aS.630, Réminiscences de Robert le Diable - Valse infernale (Meyerbeer) (1841-43)
% W3 k  A+ x# j/ g- yS.631, Andante finale und Marsch (Raff's 'König Alfred') (1853)2 U$ v: P; P- A! U
S.632, 4 Marches (Schubert) (1879)" A! ]6 j% d" ?  [' e& E
S.633, A la chapelle Sixtine (Allegri Mozart) (1865)* F& j1 ], }( n( l2 X7 h0 _. R( x$ s
S.634, Grand Septuor Op. 20 (Beethoven) (1841)% z" G$ n9 }! l/ E+ E6 f
2.6.3 Mozart2 N( v' a- Z. e2 V% _, t
S.634a, Adagio from Mozart's Die Zauberflöte (1875-81?)8 t  y; a! b- u; i
2.7 Two Pianofortes(双钢琴)& d' b4 G- D' y/ c
2.7.1 Liszt
7 C6 X; ]$ k2 b) XS.635, Ce qu'on entend sur la montagne (Poème symphonique No. 1) (ca. 1854-57), E5 J% g2 q7 k2 Q* ?2 }. {+ _
S.636, Tasso, Lamento e Trionfo (Poème symphonique No. 2) (ca. 1857)
, l* n, t- R( w. ]  f- x' M2 }S.637, Les Préludes (Poème symphonique No. 3) (ca. 1854-56)! n" j& p2 {, Q( z
S.638, Orpheus (Poème symphonique No. 4) (ca. 1854-56)# M! \% r  n+ m7 A
S.639, Prometheus (Poème symphonique No. 5) (1855-56)
$ E# I% Z# L$ b% N1 W2 }) I7 ZS.640, Mazeppa (Poème symphonique No. 6) (1855)
" m* ^. _$ h& `7 ^; T& \S.641, Festklänge (Poème symphonique No. 7) (ca. 1853-56)
4 o8 Z1 r9 e4 N) A# }% cS.642, Héroide Funèbre (Poème symphonique No. 8) (ca. 1854-56)
) ~8 A- _/ i  h: f/ wS.643, Hungaria (Poème symphonique No. 9) (ca. 1854-61)9 y  c& H* x5 L0 P/ a2 L
S.644, Hamlet (Poème symphonique No. 10) (ca. 1858-61)" U8 Q) R( _# S7 \" l) U) r& I
S.645, Hunnenschlacht (Poème symphonique No. 11) (1857)+ w6 ^9 M. h% M8 a% c8 h; o
S.646, Die Ideale (Poème symphonique No. 12) (1857-58)$ r7 R$ q% T: f1 Y( Q( p
S.647, A Faust Symphony, in three character pictures (1856)
$ n5 q  b! r6 b  u1 L2 R* [S.648, A Symphony to Dante's Devina Commedia (ca. 1856-59)6 c% m7 R; y" c: l; O  X
S.649, Fantasie über Beethovens Ruinen von Athen (1865)9 Z5 ~' i2 t. ^1 G4 E
S.650, Piano Concerto No. 1 in E flat major (1853)
+ Y7 m# M- I$ _# F- N( C  c; dS.651, Piano Concerto No. 2 in A major (1859)/ \8 ]+ m; O3 L" y2 i
S.652, Totentanz. Paraphrase on Dies Irae (1859)
# x" @6 K4 D; z; F/ S! ?S.653, Wandererfantasie (Schubert) (a. 1859)
% ?  d0 i# j! L! s3 {' L! sS.654, Hexaméron, Morceau de Concert (1837)
) L* \: w' n, \, J! J# M* kS.655, Réminiscences de Norma (Bellini) (1841)
& P$ n& p: c) `, l' i1 b7 Q* ?- |S.656, Réminiscences de Don Juan (Mozart) (1841)
2 A( C, i% y! l- K" I  zS.657, Symphony No. 9 (Beethoven) (1851)% U# {+ U; a0 c
S.657a/1, Piano Concerto No. 3 (Beethoven) (1878)
& W; @5 a  A# B, h: VS.657a/2, Piano Concerto No. 4 (Beethoven) (1878)
# h. a" H) i) c) oS.657a/3, Piano Concerto No. 5 (Beethoven) (1878)/ |- C# j$ B" _" p6 X2 _! Y, P7 G
S.657b, Bülow-Marsch [2-pianos, 8-hands] (1884)- J7 R: }4 |1 A& d# h) s$ Z
2.8 Organ(管风琴)! v  M' a. @' r2 }% h; v/ a
2.8.1 Allegri und Mozart1 G% Z9 a' j4 @! O# r% W& i/ @
S.658, évocation à la Chapelle Sixtine (1862)
' p& Q$ \; ~- W2.8.2 Arcadelt6 ?6 a+ b1 Q7 r. g$ g5 ?9 q
S.659, Ave Maria (1862)  ~) G( }3 r. t2 B% z/ p
2.8.3 Bach
. R& ]0 a' t- B0 J/ C5 Z5 A4 f* k7 ~
S.660, Einleitung und Fuge aus der Motette Ich hatte viel Bekümmernis und Andante Aus tiefer Not [2 pieces] (1860)
) M, M+ Z. L  C, @! ?7 |: QS.661, Adagio from Bach Violin Sonata No. 4 (BWV1017) (1864)2 O, u0 A7 U  w0 k9 o6 v- j
2.8.4 Chopin* G: W$ w1 D% ?# k! m7 c
% r, k/ i( _& F3 J$ |3 X
S.662, 2 Préludes from Op. 28 (Nos. 4, 9) (1863)) C+ Z8 L7 Q/ ?  D
2.8.5 Lassus
9 a: W2 ?$ B, Z; ]' O1 n+ t4 \* Y1 m8 F; i9 Z4 R
S.663, Regina coeli laetare (1865)5 ]7 u0 l) @3 Z2 i8 ]
2.8.6 Liszt
* g9 C: s' l% O6 n  u0 ?+ r2 S9 v  |3 @/ ]4 Z  F2 |
S.664, Tu es Petrus from Christus (1867)
/ J8 ]+ Y: D# h# OS.665, San Francesco (1880)& W9 X- C) H( v( n: Q
S.666, Excelsior! - Preludio (?)
9 W8 _8 U' B- c; r$ a4 hS.667, Offertorium from the Hungarian Coronation Mass (1867)5 O/ C( j5 K0 F; x
S.668, Slavimo Slavno Slaveni (1863)
* G9 [% z" m$ gS.669, Zwei Kirchenhymnen [2 pieces] (1877)
8 y7 U. T7 l9 _0 ]0 dS.670, Rosario [3 pieces] (1879)7 d, D( ~' O7 q& f! i5 D
S.671, Zum Haus des Herrn (In domum Domini ibimus) (1884)
/ E6 k6 C. l: T2 a) \) kS.672, Weimars Volkslied (Cornelius) (1865)
6 X( C; s# u! x" [& W( W. \5 w" l  K, DS.673, Weinen, Klagen' Variationen (1863)9 Q) ^: m5 s3 _
S.674, Ungarns Gott. A magyarok Istene (Petófi) (1882)9 y; S8 p& B  o+ ~7 r; S" ^4 m
S.674a, O sacrum convivium [2 versions] (?)
7 u" o. C( \) _9 a$ o: S2.8.7 Nicolai
1 M9 v3 ]& {3 M) w9 I& l0 @  k: _/ h& T
S.675, Kirchliche Festoverture (1852)
. i2 o3 ?, t$ K2.8.8 Wagner7 _9 t+ t% \7 g- R

0 N- a# ~+ ^0 o4 _: vS.676, Pilgerchor from Wagner's Tannhäuser (1860)5 J* T2 _, F) Y. b' u
2.9 Organ with Other Instruments(管风琴和其他)6 W" c" H. d0 j1 W; j  n
% C/ V( D; r  w3 ^  ~1 k4 }5 e
S.677, Hosannah from Cantico del sol di San Francesco d'Assisi (for organ and bass trombone) (1862)( @6 l5 {9 O! D4 v, I5 F
S.678, Offertorium and Benedictus from the Hungarian Coronation Mass (1869)
. R" [1 D9 j% Q/ y/ P( P$ v& E" Y1 \9 AS.679, Aria 'Cujus animam' from Rossini's Stabat Mater (for organ and trombone) (?)* q$ M: V9 E9 k7 ?
Vocal Arrangements声乐
! s1 Y2 P$ d; V5 M
( y2 u3 g1 A4 I8 ES.680, Ave maris stella (1868)
% N# S6 s6 C: a5 t$ h# y2 t681, Ave Maria II (1869)
2 X6 G9 g6 V& Q# Y9 AS.682, Air du Stabat Mater (Rossini) (?) 3 D4 Z* }5 K- E
S.683, Serbisches Lied (Hohenzollern-Hechtingen, Prince FWC. von) (?)
' U1 |, K; }9 Q! fS.684, Barcarolle vénitienne (Pantaleoni) (?)
: n0 r: d: H' u+ f& j- t6 \S.685, Es hat geflammt die ganze Nacht (Grand Duchess Pavlovna) (?)
+ v* ^1 t1 c: O5 t4 x " v$ b, ?; `3 q, L$ l! `  x6 ]
2.10 Recitations3 @2 Z+ t' h3 f+ ^, ?+ v
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
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! S* x# o: H7 N. H' v
. o  r8 v+ E+ ?. Q7 J3 t( _# Z3. Appendix
/ x2 I5 f9 b; n4 a 2 Q5 R9 o% T+ b! u* U  N
3.1 Unfinished Works
! o( R+ h2 a' N* X' h) ]* y& i; `! _8 q2 K; {, V' _9 ~5 ^  _% R
S.687, Sardanapale (Byron) [opera, partly sketched, 111 pages] (?)" Q4 q( D# P3 B1 z8 z( h5 J
S.688, Oratorio - Die Legende vom heiligen Stanislaus [sacred choral] (1873-85). A. w( A( |& g: R0 e$ z
S.688a, St Stanislaus fragment [solo piano, Library of Congress] (1880-86)
; U2 Q7 x& l1 u+ E- J* LS.689, Singe, wem Gesang gegeben [secular choral] (1847)
  I' s$ }4 G( AS.690, Revolutionary Symphony [unfinished, revised 1848] (1830)6 \$ S1 ]6 b+ g$ D1 V0 b
S.691, De Profundis [piano and orchestra, De Profundis - Psaume instrumental] (1834?)! e* `% E2 N( \' \
S.692, Violin Concerto [only sketched] (1860)2 f/ f& S# ]+ r3 h7 ]
S.692a, The Four Seasons String quartet (Vivaldi) (1880?)
/ T3 S5 s, {' c  C, ?S.692b, Anfang einer jugendsonate [solo piano] (1825)
$ s, Q& {- p0 {$ H' A: tS.692c, Allegro maestoso [solo piano] (1826)# D. Q9 T; G& z; x8 J) B
S.692d, Rákóczi-Marsch [solo piano, first version, simplified, unfinished] (1839)" l  y) q# d/ T( e6 N8 u8 v& }
S.692e, Winzerchor (Prometheus) [solo piano] (1850)% F2 M# a. c. |, Q/ Q$ o
S.693, Deux marches dans le genre hongrois [solo piano, 2 pieces] (1840?)) |' D7 q1 {& ?9 z# d
S.693a, Zwei Stücke aus der heilige Elisabeth [solo piano] (1862)
) _* x2 y( k; [& G0 D- i, D& o6 tS.694, Fantasie über englische Themen [solo piano] (1840?)* ]2 F4 V; }( L
S.695, Morceau en fa majeur [solo piano] (1843?)0 n) b5 I" e. B4 m! w. _
S.695a, Litanie de Marie [solo piano] (1847)5 K: S" b# C8 F- m- w2 V
S.695b, Zigeuner-Epos [solo piano, 11 pieces] (ca. 1848)
- b* A* f! a: H$ i7 ?. u3 a) QS.696, Mephisto Waltz No.4 (1884) 第四梅菲斯特圆舞曲
4 V% H1 g3 [0 L: |; {S.697, Fantasie über Themen aus Figaro und Don Giovanni (Mozart) [solo piano arrangement] (1842)
7 A4 U/ j: M" l$ tS.698, La Mandragore - Ballade de l'opéra Jean de Nivelle de L. Delibes [solo piano arrangement] (a. 1880)% S! a# I( Z! B) t& V
S.699, La Notte (Odes Funèbre no. 2) [solo piano arrangement] (1864-66), @! q+ W2 m5 k0 W( n
S.700, Grand Fantaisie (Variations) sur des thèmes de Paganini [first/second version; completed by Mezö] (1845)
' M. I6 U+ E  h  BS.700a, Variations sur Le Carnaval de Venise (Paganini) [solo piano arrangement] (?)
/ j9 E( @# F& X) RS.701, Den Felsengipfel stieg ich einst hinan [song] (?)
8 A, ?5 O6 v$ y! L* @- DS.701a, Allegro di bravura [orchestra, arrangement] (ca. 1830)% F+ |9 {6 z6 a" T; ?
S.701b, Marie-Poème [solo piano] (1837)  S& h$ m# ~7 ?: C0 `% R, e+ Q8 V
S.701c, Andante sensibilissimo [solo piano] (1880-86)( [: r' w7 a) p! ^  y
S.701d, Melodie in Dorische Tonart [solo piano] (1860)
8 e, O- O3 v+ V- a  h: vS.701e, Dante fragment [solo piano] (1839)
0 v8 F2 t. P& [/ gS.701f, Glasgow fragment [solo piano] (?)1 k, U0 Z; @# h6 K3 \' k$ O
S.701g, Polnisch - sketch [solo piano] (1870-79)* V2 L( |/ h. N6 h
S.701h/1, Operatic aria - and sketched variation [solo piano] (?)1 c  |, z! ^: h* L& A
S.701h/2, Valse infernale (Meyerbeer) - theme [solo piano arrangement] (?)+ T9 h0 p/ z: ^& X2 J8 W+ a4 L
S.701j, Harmonie nach Rossini's Carità (La charité) [solo piano arrangement] (1847)
4 _- m9 ^; {5 nS.701k, Korrekturblatt (to an earlier version of La lugubre gondola) [solo piano] (1882)
8 ~. p! x6 V8 p3 K, j4 W3.2 Doubtful or Lost/ A3 c9 ~% l9 E- u6 r! r* y* j
( |/ o; v& T# M: y; k) d
3.2.1 Sacred Choral Works
9 i* j% x9 S, Z5 B+ Y0 v  o2 d! v% v2 u  C; M) o
S.702, Tantum Ergo (1822)) S. w8 ?* \# X% P6 `$ |3 I
S.703, Psalm 2 (1851), E0 y; E3 `) f4 Q9 C
S.704, Requiem on the death of Emperor Maximilian of Mexico (?)& q! q) L% M9 Y. s5 T6 L9 f+ w
S.705, The Creation (?)
6 @# U/ E3 e" }1 g" nS.706, Benedictus [doubtful] (?)
: y4 e% {, k2 ]7 C6 T/ M* A2 O4 X8 zS.707, Excelsior [arrangement, doubtful] (?)4 i4 }: {' [  ~
3.2.2 Secular Choral Works, s6 Q" }& ?1 ~/ {; g& X

7 W$ \: E7 H* u3 X) s; h, w- rS.708, Rinaldo [doubtful] (ca. 1848)& e. E% c7 }' G8 m
3.2.3 Orchestral Works
/ b6 c9 q1 q+ `1 d% B4 M8 h
! x" D/ ^; w: N! HS.709, Salve Polonia [rediscovered, renumbered as S113] (1863)0 n: k. [1 W) X# c
S.710, Funeral March (?)# ^0 H- r* c7 r( \1 x# ?- U% r. A
S.711, Csárdás macabre [arrangement] (?)7 T' n4 A- h" u
S.712, Romance oubliée [arrangement] (?)4 j- P. J+ |' C9 K' \3 `/ Y/ U' x5 ^
3.2.4 Piano and Orchestra
& l, ?* A4 i: C  Z9 r, }9 z5 y/ y9 Z5 W3 g" I) v% m$ x! {; [8 M
S.713/1, Piano Concerto in A minor (1825?)
2 l& c5 B1 b* U: j8 N) D7 Z) @2 xS.713/2, Piano Concerto (1825?)
2 ]* P6 c$ O/ y! a. I. {S.714, Piano Concerto in the Hungarian style [by Sophie Menter, renumbered as S126a] (1885)
1 z' e3 b& }; G/ a4 _9 P$ n+ g6 \S.715, Piano Concerto in the Italian style (?)
$ O+ P2 Z* Q1 @2 D2 XS.716, Grande fantaisie symphonique [orchestral] (?): L$ O7 f( e2 D" _- R
3.2.5 Chamber Music
6 L0 j/ h; E' h# N# _: J1 K+ x
1 ]( l0 j1 X; d+ v+ W: S3 T( A4 sS.717, Trio (1825)
' b# S' H4 I" M/ V1 S2 W8 ?$ jS.718, Quintet (1825)
8 B9 D( J3 D6 v/ t+ TS.719, The Four Seasons String Quartet (Vivaldi) [rediscovered, renumbered as S692a]
& q& N$ t8 p  pS.720, Allegro moderato (?), I; ?/ F1 U$ D4 k
S.721, Prelude (?)
3 X* O0 M9 f& V) T5 p' OS.722, La notte (Odes funèbre no.2) [rediscovered, renumbered as S377a] (1864-66)) k, C* M: ~& u' U' v7 G3 \
S.723, Tristia [arrangement, from Vallée d'Obermann S160/6] (1880-86 ?): J& n3 _! x) p$ P
S.723a, Postlude on theme from Orpheus [arrangement] (?)3 U+ A9 p8 {; n6 @, V
3.2.6 Pianoforte Solo; i& [7 q6 v/ r+ l1 k* E4 ?
( ?9 X+ y6 G  u
S.724, Rondo and Fantasy (1824)2 j9 C9 J/ n9 G2 \* M6 h. F+ k8 X
S.725, 3 Sonatas (1825)
$ h* v+ n- E# a2 FS.726, Study (?)+ `: Y, O* j6 G- r
S.726a, Valse (?)
$ A, v# m1 e4 r5 W# t; {: b3 o李斯特全部作品目录-5; K. B5 w2 \  ^6 V( e3 j2 e" W

/ ~6 f2 r5 Q) s. P- [+ F9 US.727, Prélude omnitonique (?)
3 z- o$ C: {$ X3 LS.728, Sospiri (Fünf Klavierstücke) [rediscovered, renumbered as S192/5] (1879). ~5 P0 l' h9 A5 a
S.729, [rediscovered, renumbered as 42(?)]
8 T! B( N) A3 l: X% H! o! E' n2 US.730, Dem Andenken Petöfis (Petófi Szellemének) [rediscovered, renumbered as S195] (1877)3 M$ b8 K: Y. {8 b% I
S.731, Valse élégiaque (?)# T" \- e0 V8 q2 i! l
S.732, Valse Oubliée No.4 [rediscovered, renumbered as S215/4] (1883-84)( ?: }* ?2 H. O! d; w
S.733, Marche hongroise (in E flat minor) [rediscovered, renumbered as S233b] (1844)
7 I! y' Q# H8 n1 B4 ^; {+ K9 JS.734, Ländler (?)
/ `% g8 b* D/ P/ j- N' cS.735, Air cosaque (?)" T' _: A3 }$ A% ]* |( q
S.736, Kerepsi csárdás (?)! y1 V! {. v2 q$ i( l
S.737, 3 morceaux en style de danse ancien hongrois (?)
" q/ L( F, f" S$ zS.738, Spanish folksong arrangement (?)
  Z% {5 N) K: t2 g' ^. g& Z3.2.6.1 Arrangements
) k) s3 Q; F) T# {& t# ?; M
  f" C, z) b( \: D* S  @S.739, Corolian Overture (Beethoven) (?)
2 d( A- t, U5 o- \- |1 w- L' V+ nS.740, Egmont Overture (Beethoven) (?)/ w$ F4 U4 G. G# x3 K. O7 s; W
S.741, Le carnaval romain - Overture (Berlioz) (?)2 c8 c: V4 e& J2 p( T/ m
S.742, Duettino (Donizetti) (?)# X8 X- V# q2 y- |1 Q
S.743, Soldiers Chorus from Guonod's Faust (?)! }6 @& H) A3 o9 \6 a( F
S.743a, Fantasia on themes from Halévy's Guitarero (b. 1841)5 x" D% b, n- Q% r2 a
S.744, Paraphrase on Act 4 of Kullak's Dom Sebastien (?)% J. ]5 `! U( i5 ?3 J8 E
S.745, Funeral March (?)
' {/ i; ^, `  z' \6 NS.746, Andante Maestoso (?)
. ?, L  ^0 E* ~# QS.747, Poco adagio (from Missa Solemnis) (?)
8 S( Y; o& I0 `1 a3 d8 WS.748, Overture to Mozarts "Die Zauberflöte" (?)
6 p3 P5 N  u8 H- d9 v5 jS.749, Preussischer Armeemarsch (Radovsky) (?)2 E8 {8 i$ [. Q$ O; b, I
S.750, Siege de Corynthe, Introduction (?)8 F3 Y* e8 z" A5 r
S.751, Nonetto e Mose, Fantasia on themes by Rossini (?)
/ u* j$ o( ?9 \7 bS.752, Gelb rollt (Rubinstein) (?)
( D5 Z! t) e& P8 E' o* SS.753, Alfonso und Estrella, Act 1 (Schubert) (?)
# m, X' D  t0 M( m0 a& \S.754, Seconda mazurka variata (Tirindelli) [rediscovered, renumbered as S573a] (1880)
9 `$ f" y: j5 r: m9 j3.2.7 Pianoforte Duet
4 u8 `. A" I1 S  F% I8 v8 Q
# W/ P" k) b7 `6 p, s$ HS.755, Sonata (?)
1 w7 s2 Q6 A3 Y  @3.2.8 Two Pianofortes4 p3 T1 X& q7 ^8 H+ ^& M

( l) e6 ~6 k5 P3 Z- Y5 J+ f" fS.756, Mosonyis Grabgeleit (?)/ U, d- M9 s% U' c' B5 z2 C
S.757, La triomphe funébre du Tasse (?)
; q5 s$ q& e. n, {* f3.2.9 Organ
0 a" z1 ]  S  P- q& k, B( J, A7 N$ [! t- Q& ^
S.758, The Organ (Herder) (?)
1 x" T  y! m* T" E1 eS.759, Consolation [arrangement] (?)8 F1 G2 R, q2 K$ \7 F$ c
S.760, Cantico del sol di St. Francesco [arrangement] (?)+ U8 z+ H6 a% g! L; V$ W- [1 C% ~
S.761, Marche funèbre (Chopin) [arrangement] (?)
. r" X7 k. X4 M# v& G) U3.2.10 Songs8 a7 f& a) F, l( s' o2 Y% n- _

4 A; n- x! i" [: r2 ]( B- tS.762, Air de Chateaubriand (?)
5 }1 t3 [& u! xS.763, Strophes de Herlossohn (?). F6 e) P  B1 c4 ^( F
S.764, Kränze pour chant (?)# J9 M, L/ M. S: Q+ V' A6 c, K
S.765, Glöcken (Müller) (?)
' S" h& J' i* V4 K' X. ?1 e- m2 JS.765a, L'aube naît (Hugo) (1842?)
* ?7 Q) J, _) x. L( v  L) RS.766, Der Papsthymnus (?)
6 p  d! l  G9 k$ z# T) R' v5 mS.767, Excelsior (?)& H1 r& L- u0 V( p& ^6 U; R
3.2.11 Recitations
6 A5 \# v4 {4 z$ \) T; Y( @2 y- }- i9 G
S.768, Der ewige jude (Schubart) (?)+ m$ s. n6 P2 s
3.3 Supplement
0 ]7 R6 b5 l. \" @
5 }1 _& \$ Z! p5 ?7 Q. f* [* gS.990, Fantasy and Fugue on the chorale "Ad nos, ad salutarem undam" (played by Liszt to Walter Bache) [solo piano, arrangement] (b. 1862)  t) I; C/ s8 x( K
S.991, Waltz in A major [chamber, arrangement] (?)* I; {) Y9 M& d3 o9 Q! }
S.993, Wartburg Lieder (Scheffel) [orchestral, arrangement] (?)9 L  C  A( j& P( z7 r
S.994, Grand solo caractéristique à propos d'une chansonette de Panseron [solo piano, arrangement] (1830-32)0 `! S; z. |* Z3 j8 m( j/ \- b) c
S.995, Variations de bravoure sur des thémes de Paganini [unfinished] (1845)* W6 a" d+ W3 `9 i
S.996, Stabat Mater [solo piano] (1870-79 ?), q2 P- w- \) i1 B- }
S.997, 5 Variationen über Romanze aus 'Joseph' (Méhul) (by Franz Xaver Mozart, attributed to Liszt) (ca. 1834)  q% [! g5 z6 x( z+ [/ r3 ~
S.998, Adagio in C [solo piano] (1841)
/ i0 B# `3 R  i6 DS.999, Andante Maestoso [organ] (?)7 t) |1 Q# K" }
降E大调钢琴协奏曲(遗作)Piano Concerto in E flat Major Op.posth
* I( _, S+ A7 B/ J2 t% O2首悲歌 2 Elegies
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