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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》。7 J2 ^2 n3 J5 x* X1 y& k
李斯特全部作品目录-1
: u1 U( }; `  r8 q( N" b3 L
3 _5 q8 Z- X. w6 a+ P1.1 Opera(歌剧)
" o+ q1 @( B; J8 B8 w! v, }! p7 W& O7 I  B( [/ Z8 n9 g1 o3 k
S.1, Don Sanche, ou Le chateau de l'amour (1824–25) 歌剧《唐切桑》
( ~* O; v3 M2 t; @8 G7 K1.2 Sacred Choral Works(神圣的合唱作品)+ u  z6 H* B" t! b

  \- Z: O1 X5 J0 \# o5 R- ?S.2, The Legend of St. Elisabeth (1857–62) 清唱剧《圣伊丽莎白传奇》
7 S; X) p1 D1 m  E5 SS.3, Christus (1855–67) 清唱剧《基督》
5 q( D" c6 l) m& w" g- f1 _% X5 xS.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》- [  F* S* j" Q1 y; w- F
S.5, Die heilige Cäcilia (1874)% ^- |$ v1 N( |$ x  k5 |2 b  K
S.6, Die Glocken des Strassburger Münsters (Longfellow) (1874)& j7 B7 U+ x( |& x" e  z3 e
S.7, Cantantibus organis (1879)0 ?' N5 G0 b6 S0 C* z
S.8, Missa quattuor vocum ad aequales concinente organo [first/second version] (1848, 1869)  b: @4 L4 C" e' K2 d) t8 u3 R- j
S.9, Missa solennis zur Einweihung der Basilika in Gran (Gran Mass) [first/second version] (1855, 1857–58)! Z1 M9 I; y4 G4 ]
S.10, Missa choralis, organo concinente (1865)$ t: Q) H/ p6 _0 n7 O/ o8 |
S.11, Hungarian Coronation Mass (1866–67)
: Q$ V# M' w+ N$ K) e: J# P* DS.12, Requiem (1867–68)
2 G' B& U) P# v* p4 ?# wS.13, Psalm 13 (Herr, wie lange ?) [first/second/third verion] (1855, 1858, 1862)+ [: _; D0 a, G) T3 w8 S
S.14, Psalm 18 (Coeli enarrant) (1860)! C$ p% c+ v: t. t2 \7 H1 J
S.15, Psalm 23 (Mein Gott, der ist mein Hirt) [first version: chorus, soloist & orchestra] [second version: chorus, soloist & violin, piano, harp, organ] (1859, 1862)
0 f$ ~7 ~/ p% ]  i+ l" K% DS.15a, Psalm 116 (Laudate Dominum) (1869)
4 u7 a% z( s5 h  Y$ r0 o2 YS.16, Psalm 129 (De profundis) (1880–83)
* f) F  ?6 `0 }3 y2 d# fS.17, Psalm 137 (By the Rivers of Babylon) [first/second version] (1859–62): v5 }+ n$ f1 d! h* Z! Z
S.18, Five choruses with French texts [5 choruses] (1840–49)) H+ e( V  p6 I4 n& y1 ^2 Z6 s5 o/ ^
S.19, Hymne de l'enfant à son réveil (Lamartine) [first/second version] (1847, 1862)
, `6 N- e! y! OS.20, Ave Maria I [first/second version] (1846, 1852)
( j+ S( G  d  o# f( ]0 ES.21, Pater noster II [first/second version] (1846, 1848)  d# R" L7 v5 s* B% c" h
S.22, Pater noster IV (1850)
6 f: z6 `( d) qS.23, Domine salvum fac regem (1853)* d; c* g+ {2 ?1 k' z: @
S.24, Te Deum II (1853?), ]9 ?2 \) W* x3 C! {/ Y
S.25, Beati pauperes spiritu (Die Seligkeiten) (1853)
: I2 O. L% U! S% |' C# ~S.26, Festgesang zur Eröffnung der zehnten allgemeinen deutschen Lehrerversammlung (1858)( @1 T$ M; G/ Q+ P4 v; i
S.27, Te Deum I (1867). A; X) K6 l1 e2 F
S.28, An den heiligen Franziskus von Paula (b. 1860)1 ~3 ?1 c) n" t( [7 o% P$ L
S.29, Pater noster I (b. 1860)
: \  F: o% C8 e7 Z. R1 BS.30, Responsorien und Antiphonen [5 sets] (1860)! t0 `2 r' p1 N, n
S.31, Christus ist geboren I [first/second version] (1863?)+ @4 T* g% H9 T+ P
S.32, Christus ist geboren II [first/second version] (1863?)3 r- N- N2 |' ?5 R, b4 G
S.33, Slavimo Slavno Slaveni! [first/second version] (1863, 1866)
! z6 }8 R* d/ KS.34, Ave maris stella [first/second version] (1865–66, 1868)
2 K5 I9 k; B5 R' j1 w" C, RS.35, Crux! (Guichon de Grandpont) (1865); ]& D' u  c  T
S.36, Dall' alma Roma (1866)2 y3 G* p0 j) u  M) D3 Q9 q" W# W
S.37, Mihi autem adhaerere (from Psalm 73) (1868). ^; y- u. t- `1 O& m7 Z4 J, n* P
S.38, Ave Maria II (1869)
: k* B7 q4 ~. t1 M$ L( S7 R8 xS.39, Inno a Maria Vergine (1869)+ U; O/ s4 P0 z2 _. v! I  S
S.40, O salutaris hostia I (1869?)
. y4 W+ E0 J# ]4 u; Y( S$ jS.41, Pater noster III [first/second version] (1869)/ `# x; _# y9 `, V$ G% w
S.42, Tantum ergo [first/second version] (1869)
$ a& G6 |' e% t5 PS.43, O salutaris hostia II (1870?)5 g  `' |, ^& x5 w3 r4 m
S.44, Ave verum corpus (1871): q) F' g& o! k
S.45, Libera me (1871)% b: s9 V) M3 |3 J9 }; M
S.46, Anima Christi sanctifica me [first/second version] (1874, ca. 1874)$ l" _% z  o. M9 q
S.47, St Christopher. Legend (1881)7 ?# H- d8 k  @2 f# Z4 ^
S.48, Der Herr bewahret die Seelen seiner Heiligen (1875)
! X, c6 ^# n8 P$ V& u- T+ XS.49, Weihnachtslied (O heilige Nacht) (a. 1876)2 P' _  [. i. G) C
S.50, 12 Alte deutsche geistliche Weisen (Chorales) [12 chorals] (ca. 1878-79)+ W+ @* o+ F/ s! f
S.51, Gott sei uns gnädig und barmherzig (1878)
: x- R# ?& B# h8 }4 `$ m# \S.52, Septem Sacramenta. Responsoria com organo vel harmonio concinente (1878)
* ?9 D4 ^* T# m$ ^! IS.53, Via Crucis (1878–79)
& m' [+ j! c5 l6 O& [1 X) ?S.54, O Roma nobilis (1879)+ T( B! {7 K: z2 W9 J& u
S.55, Ossa arida (1879)$ h( h5 |+ D! @
S.56, Rosario [4 chorals] (1879)+ U1 V1 a# P- Y0 X2 q' \+ h
S.57, In domum Domino imibus (1884?). K  y5 w  K5 O# {' ^) o! P4 w$ B4 ~
S.58, O sacrum convivium (1884?)1 q! `5 w$ u* e6 Z" m3 m
S.59, Pro Papa (ca. 1880)# E8 W* k( g* U. |, Z3 t
S.60, Zur Trauung. Geistliche Vermählungsmusik (Ave Maria III) (1883)
9 r9 V. z  m; s* W* f3 wS.61, Nun danket alle Gott (1883)/ H% ^6 l/ X& D  n: _
S.62, Mariengarten (b. 1884)4 t; t$ @" w% o6 z
S.63, Qui seminant in lacrimis (1884)
  ~; z- |$ M7 e; y; V4 HS.64, Pax vobiscum! (1885)* i6 n+ \  ?& t' m2 ~8 l9 `
S.65, Qui Mariam absolvisti (1885)
) y, ?. \, K2 c. i" ^. cS.66, Salve Regina (1885)
: l# X  e: V9 T2 M9 T, l1.3 Secular Choral Works(世俗的合唱作品)
8 {- M# U& t! D  \* GS.67, Beethoven Cantata No. 1: Festkantate zur Enthüllung (1845)
( K$ h' m$ n$ t$ ^" k2 E9 DS.68, Beethoven Cantata No. 2: Zur Säkularfeier Beethovens (1869–70)& ~- t9 h* S, R" F9 d2 a
S.69, Chöre zu Herders Entfesseltem Prometheus (1850)
, {- L$ `; U- b, U( R( A' B% X% jS.70, An die Künstler (Schiller) [first/second/third verion] (1853, 1853, 1856): K8 x! j$ c5 H7 W3 _
S.71, Gaudeamus igitur. Humoreske (1869)
+ ^; H1 `' k9 Q9 e6 G% |$ k# ES.72, Vierstimmige Männergesänge [4 chorals] (for Mozart-Stiftung) (1841): q+ g/ ]0 }; {  x
S.73, Es war einmal ein König (1845)
" F  Y8 q+ K: ~1 Z1 \, nS.74, Das deutsche Vaterland (1839)
  N8 A0 t9 ?) l1 w8 Z2 [& [S.75, über allen Gipfeln ist Ruh (Goethe) [first/second version] (1842, 1849)# C3 p" W. z2 X: c6 Z% _
S.76, Das düstre Meer umrauscht mich (1842)
2 q( l1 V) w4 B" dS.77, Die lustige Legion (A. Buchheim) (1846)8 C$ p1 m) J+ |: O$ x
S.78, Trinkspruch (1843)
3 Y$ O, A! X: Y! c: \. G5 R$ S9 vS.79, Titan (Schobert) (1842–47), j  |/ A7 `$ m$ z1 a9 p# V
S.80, Les quatre éléments (Autran) (1845)3 G) \* }* [6 F: {" D
S.81, Le forgeron (de Lamennais) (1845)
: O0 p! c. t! b) N. }S.82, Arbeiterchor (de Lamennais?) (1848); N7 e* `+ \6 a5 o# A
S.83, Ungaria-Kantate (Hungaria 1848 Cantata) (1848)
$ \, d3 @" O& M% F( @S.84, Licht, mehr Licht (1849)
4 Q) h- H2 U9 d! Z3 Z" {S.85, Chorus of Angels from Goethe's Faust (1849)
$ U" a- d+ t& H4 \S.86, Festchor zur Enthüllung des Herder-Dankmals in Weimar (A. Schöll) (1850)' I7 W) H" l! p: y$ R3 T! q
S.87, Weimars Volkslied (Cornelius) [6 versions] (1857)
8 F* B, D. q0 C$ s' t" H6 BS.88, Morgenlied (Hoffmann von Fallersleben) (1859)6 E0 ~+ }% g0 Z8 _
S.89, Mit klingendem Spiel (1859–62 ?)) h: y/ c* {2 w4 P7 ]9 k1 m3 o% Z
S.90, Für Männergesang [12 chorals] (1842–60)
; U3 H4 \; i. E6 v& WS.91, Das Lied der Begeisterung. A lelkesedes dala (1871)
+ B2 l7 }& P( n+ BS.92, Carl August weilt mit uns. Festgesang zur Enthüllung des Carl-August-Denkmals in Weimar am 3 September 1875 (1875)
/ m  z9 Q8 C" A3 ?5 m0 s/ FS.93, Ungarisches Königslied. Magyar Király-dal (ábrányi) [6 version] (1883)
' U: i5 @, G6 SS.94, Gruss (1885?)
1 @% |/ P! I6 r/ K1.4 Orchestral Works(管弦乐作品)
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2 i$ R; n+ L' D1 D. I, Y4 C1.4.1 Symphonic Poems(交响诗)( G- y7 H" }5 w4 O; J0 e

/ C# m- y/ ^7 Z3 e+ bS.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: l% k( }4 P' j% L% C0 ]( d
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》
  y% D( i$ _3 k8 ^  \S.97, Poème symphonique No. 3, Les Préludes (1848) 第三交响诗“前奏曲”, \( p6 u) C! f$ H
S.98, Poème symphonique No. 4, Orpheus (1853–54) 第四交响诗 《奥菲欧》
5 {; O  O0 I8 s# uS.99, Poème symphonique No. 5, Prometheus [first/second version] (1850, 1855) 第五交响诗《普罗米修斯》" V! N1 a  S9 W1 a& `% U4 v0 [/ w
S.100, Poème symphonique No. 6, Mazeppa [first/second version] (1851, b. 1854) 第六交响诗《马捷帕》
4 h. r! J% v, X# dS.101, Poème symphonique No. 7, Festklänge [revisions added to 1863 pub] (1853) 第七交响诗《节日之声》
& k! W4 a# J3 c5 m$ t# R" yS.102, Poème symphonique No. 8, Héroïde funèbre [first/second version] (1849–50, 1854)  第八交响诗《英雄的葬礼》
7 L  K+ D( p( C3 dS.103, Poème symphonique No. 9, Hungaria (1854) 第九交响诗《匈牙利》8 m: E4 Q) M9 \* _$ D9 Q3 ~. E6 c& R
S.104, Poème symphonique No. 10, Hamlet (1858) 第十交响《哈姆雷特》6 u' c: y- k2 b& T
S.105, Poème symphonique No. 11, Hunnenschlacht (1856–57) 第十一交响诗《匈奴之战》
# B6 o4 i" u: C* X, w- a6 uS.106, Poème symphonique No. 12, Die Ideale (1857) 第十二交响诗《理想》2 a) ]7 R( {0 T) x- C% f, f0 h' I; w
S.107, Poème symphonique No. 13, Von der Wiege bis zum Grabe (From the Cradle to the Grave) (1881–82) 第十三交响诗《从摇篮到坟墓》$ b. I- n4 b/ F9 o
1.4.2 Other Orchestral Works(其他管弦乐作品)
. Z% K* @$ A/ m7 _, _: }  ]8 l9 Y8 b6 U) g0 ~! A
S.108, Eine Faust-Symphonie [first/second version] (1854, 1861)
( I0 E# Q5 D: F- SS.109, Eine Symphonie zu Dante's Divina Commedia (1855–56)) o3 e" [! |! u
S.110, Deux épisodes d'apres le Faust de Lenau [2 pieces] (1859–61)
; w  p# v$ c- x+ R& C" I& h9 xS.111, Zweite Mephisto Waltz (1881)4 N" W8 Y  k  i
S.112, Trois Odes Funèbres [3 pieces] (1860–66)1 R& [. K  P1 A6 }
S.113, Salve Polonia (1863)
. q2 I( r3 A4 I; R/ ~6 OS.114, Künstlerfestzug zur Schillerfeier (1857)+ H. K! X: d* }. A
S.115, Festmarsch zur Goethejubiläumsfeier [first/second version] (1849, 1857)
$ F$ @, O9 x3 F$ S+ r9 ^$ TS.116, Festmarsch nach Motiven von E.H.z.S.-C.-G. (1857)# B& g. d2 E# d4 P2 h7 ^  P
S.117, Rákóczy March (1865)
0 w; [, A% M/ S( `  ^S.118, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (am 8 Juni 1867) (1870)( B2 e$ B6 D) _: M5 C5 m
S.119, Ungarischer Sturmmarsch (1875)% e' G/ q0 i  K3 |" |
1.5 Piano and Orchestra(钢琴与乐队)
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 楼主| geci110 发表于 2015-7-22 18:33:55 | 显示全部楼层
S.120, Grande Fantaisie Symphonique on themes from Berlioz Lélio (1834)
/ g, I# y  {6 t3 x9 tS.121, Malédiction (with string orchestra) (1833)  诅咒  钢琴与弦乐队1 {& u9 E: a' p' z$ X& ^/ F9 p# b& }: ^
S.122, Fantasie über Beethovens Ruinen von Athen [first/second version] (1837?, 1849)! v+ `" M" p; y2 B/ D" s
S.123, Fantasie über ungarische Volksmelodien (1852) 匈牙利民歌主题幻想曲 为钢琴与乐队而作5 f3 B8 t* F$ Z+ h  r
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
6 s) V8 D+ G: E1 o/ z) }1 y" w( PS.125, Piano Concerto No. 2 in A major [first/second version] (1839, 1849) A大调第二钢琴协奏曲
9 A2 s/ z# c, U3 p# h# t+ nS.125a, Piano Concerto No. 3 in E flat (1836–39)$ l1 ]$ R* O+ J3 L# v9 r( K
S.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
7 G0 O  w: z& G) |5 J- lS.126a, Piano Concerto "In the Hungarian Style" [probably by Sophie Menter] (1885)
/ Z* R4 F7 e0 g1.6 Chamber Music(室内乐等)4 }- ]9 B/ n0 `2 s: }1 W

7 \" i# a" S% G+ N, d1 IS.126b, Zwei Waltzer [2 pieces] (1832)
2 o2 J0 t) W- m; y8 @  l2 _& Z4 U* n" t
S.127, Duo (Sonata) - Sur des thèmes polonais (1832-35 ?)! w& r! |5 Y$ T0 y
S.128, Grand duo concertant sur la romance de M.Lafont Le Marin [first/second version] (ca. 1835-37, 1849)7 b6 R" F5 S& \) W7 g
S.129, Epithalam zu Eduard. Reményis Vermählungsfeier (1872): q" t3 ^) `4 z, K
S.130, élégie No. 1 [first/second/third version] (1874)
7 u1 U( F- H, a2 l. oS.131, élégie No. 2 (1877)( g! _  @6 K5 m/ I9 U
S.132, Romance oubliée (1880)" K( P" u* x. d  Z( d
S.133, Die Wiege (1881?)
  X7 |$ O) f5 E: O- [! KS.134, La lugubre gondola [first/second version] (1883?, 1885?)
3 ?$ y! p/ S* G. P. v9 JS.135, Am Grabe Richard Wagners (1883): u6 D& R3 D" P7 p- W
1.7 Piano Solo3 m! k; Q2 x2 {7 u$ ~3 x7 X) a
. H; s' a2 _4 M6 l: p
1.7.1 Studies(钢琴练习曲)9 R/ i, i4 x! m1 `/ o/ ^

, f& U! `" t" b' s0 M! XS.136, études en douze exercices dans tous les tons majeurs et mineurs [first version, 12 pieces] (1826) 12首钢琴练习曲
% z( _0 i+ |2 H% I" [* V& l1 DS.137, Douze grandes études [second version, 12 pieces] (1837) 《12首超技练习曲》  j5 W' v/ K' H! z- k* j8 W: \- o
S.138, Mazeppa [intermediate version of S137/4] (1840) 练习曲“玛捷帕”
- }$ _$ v7 h: Y( e: N7 ]  y7 sS.139, Douze études d'exécution transcendante [final version, 12 pieces] (1852) 12首超技练习曲
: ^, F8 T" [! HS.140, études d'exécution transcendante d'après Paganini [first version, 6 pieces] (1838) 帕格尼尼超技练习曲! T' U  v5 Z6 n& c% _6 I" R
S.141, Grandes études de Paganini [second version, 6 pieces] (1851)  6首帕格尼尼大练习曲7 {. k  p. b3 s( ^9 @. ^; o
S.142, Morceau de salon, étude de perfectionnement [Ab Irato, first version] (1840) 高级练习曲“沙龙小品”
. k) w7 W1 f1 a5 S1 z2 ^S.143, Ab Irato, étude de perfectionnement [second version] (1852) 高级练习曲“愤怒”
7 D# W* h; c/ G4 [" Q- tS.144, Trois études de concert [3 pieces] (1848?)  3首音乐会练习曲
2 [6 z' ]0 P- h* h2 |( \0 `( L# x1.    Il lamento
* J% u6 x* b2 _2.    La leggierezza2 A; F) B% k8 V0 h
3.    Un sospiro
9 A4 s$ P4 p" ?# }+ bS.145, Zwei Konzertetüden [2 pieces] (1862–63)  2首音乐会练习曲  V; K/ G- N  g# W3 v7 D/ t
1.    Waldesrauschen! I# ^) \( w% w
2.    Gnomenreigen
' o8 s- ]1 h; f$ j2 l8 e  D: X  \S.146, Technische Studien [68 studies] (ca. 1868-80)  钢琴技巧练习
9 h  H0 x. K' H1.7.2 Various Original Works(各种原创作品)
& ]: k/ v6 u+ Q9 L$ V7 Z
+ C! X) e5 ?  D* m+ @0 B) E& `S.147, Variation on a Waltz by Diabelli (1822)  狄亚贝利圆舞曲主题变奏曲
0 I3 Z3 @  G/ b  m7 M7 ]8 VS.148, Huit variations (1824?) 降A大调原创主题变奏曲
. o/ L3 _0 G  uS.149, Sept variations brillantes dur un thème de G. Rossini (1824?)9 U" }% E. W) f4 }( E, A
S.150, Impromptu brilliant sur des thèmes de Rossini et Spontini (1824) 罗西尼与斯蓬蒂尼主题即兴曲
) i) L" P3 J4 ]- l- t/ C6 @; J* E' YS.151, Allegro di bravura (1824) 华丽的快板4 r* }$ l# l  W# ?# Z
S.152, Rondo di bravura (1824) 华丽回旋曲
  r8 N; l  S9 G3 s* sS.152a, Klavierstück (?)
. M/ a3 J9 n  i  w, qS.153, Scherzo in G minor (1827) g小调谐谑曲
: n& z# V  l. r5 E; r+ @S.153a, Marche funèbre (1827)$ p0 K, I* C% w1 c: w" u: e
S.153b, Grand solo caractèristique d'apropos une chansonette de Panseron [private collection, score inaccessible] (1830–32) [1]
8 N6 ]3 y# F1 ~1 tS.154, Harmonies poétiques et religieuses [Pensée des morts, first version] (1833, 1835) 宗教诗情曲
) Z# \) A7 t' b% G4 X0 ?S.155, Apparitions [3 pieces] (1834) 显现 三首钢琴小品
7 A$ {4 e2 G! N' B+ XS.156, Album d'un voyageur [3 sets; 7, 9, 3 pieces] (1835–38) 旅行者札记! E: Y5 _9 V; Y/ w, i4 h
S.156a, Trois morceaux suisses [3 pieces] (1835–36)
) u! {0 J% a( L  QS.157, Fantaisie romantique sur deux mélodies suisses (1836) 浪漫幻想曲( ~( o2 s0 n- }& ^! m# [
S.157a, Sposalizio (1838–39)* V) s, Q' Q& ~/ ?8 C: n6 H4 h4 w6 z
S.157b, Il penseroso [first version] (1839)
6 e+ J& B' ~$ ^8 |1 B( XS.157c, Canzonetta del Salvator Rosa [first version] (1849). v) P6 K2 x9 s( s: ~2 I0 z) j
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
7 ^$ t3 ]0 s$ U7 V5 z& c& f2 AS.158a, Paralipomènes à la Divina Commedia [Dante Sonata original 2 movement version] (1844–45)
( p% O9 E+ ~0 T4 O' iS.158b, Prologomènes à la Divina Commedia [Dante Sonata second version] (1844–45)
9 H2 R# z! I4 k# d% H& x3 t  N" vS.158c, Adagio in C major (Dante Sonata albumleaf) (1844–45)
9 `  k, d: q# L5 c, o' wS.159, Venezia e Napoli [first version, 4 pieces] (1840?)  威尼斯和拿波里. q- ?8 Z+ s7 O5 W
S.160, Années de pèlerinage. Première année; Suisse [9 pieces] (1848–55)  旅行岁月(第一集)- 瑞士游记
5 f$ \- z4 \; M& o1 u3 BS.161, Années de pèlerinage. Deuxième année; Italie [7 pieces] (1839–49) 旅行岁月(第二集)- 意大利游记
% K! U: p! D- A& qS.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/ N' i, T+ D" n) y$ ?
S.162a, Den Schutz-Engeln (Angelus! Prière à l'ange gardien) [4 drafts] (1877–82)
) Q& ~  H4 r  {. D6 F: LS.162b, Den Cypressen der Villa d'Este - Thrénodie II [first draft] (1882)
: O- v- H& u- L# f8 i# t( TS.162c, Sunt lacrymae rerum [first version] (1872)
/ p% R* n9 ^3 y: P  t/ `2 Q8 w& ?S.162d, Sunt lacrymae rerum [intermediate version] (1877)
+ N& n0 z6 v7 {3 I# CS.162e, En mémoire de Maximilian I [Marche funèbre first version] (1867)
0 w6 T2 |# U/ B( vS.162f, Postludium - Nachspiel - Sursum corda! [first version] (1877)
+ d( m" y/ m& Q2 `) KS.163, Années de pèlerinage. Troisième année [7 pieces] (1867–77)   旅行岁月(第三集)
5 ?# B+ L0 V0 ~9 a1 PS.163a, Album-Leaf: Andantino pour Emile et Charlotte Loudon (1828) [2] 降E大调纪念册的一页7 D: r9 I* @  [! }, d0 K0 Y" ?5 }
S.163a/1, Album Leaf in F sharp minor (1828)降E大调纪念册的一页
) l" |) d( a* H) q+ R/ k! dS.163b, Album-Leaf (Ah vous dirai-je, maman) (1833)
  s4 J2 p! R% C. e- w' O( LS.163c, Album-Leaf in C minor (Pressburg) (1839)
; m" ^: H! M: C( ~; D- I/ ~; NS.163d, Album-Leaf in E major (Leipzig) (1840)$ \' A# e' t2 a  `! m7 T$ [/ p' x
S.164, Feuille d'album No. 1 (1840) E大调纪念册的一页
8 a6 f3 \' H; q* d* g$ ^S.164a, Album Leaf in E major (Vienna) (1840)
7 H! p* t0 x% J) U+ KS.164b, Album Leaf in E flat (Leipzig) (1840)# S8 K; p9 b3 W0 V& Y0 `
S.164c, Album-Leaf: Exeter Preludio (1841)0 \9 I) j) J; |9 |$ I9 ?6 Z8 r
S.164d, Album-Leaf in E major (Detmold) (1840)$ G: v* N/ ^6 Q* ~9 F& Q- s
S.164e, Album-Leaf: Magyar (1841)
; r4 x( Z. A& t: x# I; y3 X, KS.164f, Album-Leaf in A minor (Rákóczi-Marsch) (1841); \4 M9 ]9 o7 r" Z
S.164g, Album-Leaf: Berlin Preludio (1842)% `0 z" W% j: g  _) n
S.165, Feuille d'album (in A flat) (1841) 降A大调纪念册的一页
* R. o! |& W1 w! f+ ?. j$ G+ B% QS.166, Albumblatt in waltz form (1841) A大调圆舞曲风格纪念册的一页
+ ]' _, f- w% @# d3 l3 i3 tS.166a, Album Leaf in E major (1843)* z% @! |* D( E, m/ m, G
S.166b, Album-Leaf in A flat (Portugal) (1844)
9 ~' k" F1 m( B8 q$ `6 eS.166c, Album-Leaf in A flat (1844). ?+ ^' Q( x2 m" M2 Z) z
S.166d, Album-Leaf: Lyon prélude (1844)3 W; `; b) |6 w
S.166e, Album-Leaf: Prélude omnitonique (1844)! G+ E4 [. ~4 C+ |
S.166f, Album-Leaf: Braunschweig preludio (1844)
' E  c6 n# g& Q, b' NS.166g, Album-Leaf: Serenade (1840–49)
1 O% E5 q1 u" ^+ y1 aS.166h, Album-Leaf: Andante religioso (1846)
2 f5 y% g7 u$ K/ k2 d# |/ CS.166k, Album Leaf in A major: Friska (ca. 1846-49)
, q0 b5 z1 n2 G5 E" rS.166m-n, Albumblätter für Prinzessin Marie von Sayn-Wittgenstein (1847)# y% m9 |: T5 r0 p( Q
S.167, Feuille d'album No. 2 [Die Zelle in Nonnenwerth, third version] (1843) a小调纪念册的一页
8 r* n' z; ?) r; v' ]9 ?% tS.167a, Ruhig [catalogue error; see Strauss/Tausig introduction and coda]; ]' a2 o/ C& E# ]
S.167b, Miniatur Lieder [score not accessible at present] (?). Z2 N1 |2 A: D5 Y/ \8 J: p: a
S.167c, Album-Leaf (from the Agnus Dei of the Missa Solennis, S9) (1860–69)
) ^7 z5 w3 [% S( m( uS.167d, Album-Leaf (from the symphonic poem Orpheus, S98) (1860)
( ?- s3 m5 r# L* m! e; h! fS.167e, Album-Leaf (from the symphonic poem Die Ideale, S106) (1861)( D1 r  j7 ]. `0 q# d2 o1 f
S.167f, Album Leaf in G major (ca. 1860)
& q2 l2 q' `: l9 Q! c% Z8 p2 A6 ]S.168, Elégie sur des motifs du Prince Louis Ferdinand de Prusse [first/second version] (1842, 1851) 悲歌
8 F3 k+ X% o7 S- l5 b* c8 N$ IS.168a, Andante amoroso (1847?)2 c" F* m$ G5 i
S.169, Romance (O pourquoi donc) (1848) e小调浪漫曲
! ?2 A1 v& F6 P  dS.170, Ballade No. 1 in D flat (Le chant du croisé) (1845–48) 叙事曲一% e- H8 ^8 B7 O# Q% }, W  I
S.170a, Ballade No. 2 [first draft] (1853)
2 }) m0 v' y0 ^' d  v' Q( {; C3 g3 rS.171, Ballade No. 2 in B minor (1853) 叙事曲二6 {  p6 {/ _, L* Q, v3 d+ \  P
S.171a, Madrigal (Consolations) [first series, 6 pieces] (1844)
$ n& N+ R6 @" A! a5 B$ ?S.171b, Album Leaf or Consolation No. 1 (1870–79)
, c/ b/ J, O' V/ S7 n$ {S.171c, Prière de l'enfant à son reveil [first version] (1840)
+ ^* j) x0 T% W1 ZS.171d, Préludes et harmonies poétiques et religie (1845)$ @8 O0 @& o2 d4 v
S.171e, Litanies de Marie [first version] (1846–47)9 j7 p6 |8 B8 e, T# y3 Y' j
S.172, Consolations (Six penseés poétiques) (1849–50) 6首安慰曲
) W  `; Z+ u; E" ?, [( t  {6 MS.172a, Harmonies poétiques et religieuses [1847 cycle] (1847)4 L* `* e- f( M$ |( W
S.172a/3&4, Hymne du matin, Hymne de la nuit [formerly S173a] (1847)5 U: y$ Z& q  R9 H. N
S.173, Harmonies poétiques et religieuses [second version] (1845–52) 诗与宗教的和谐( v4 T% p7 N( ]$ x" b$ |
S.174, Berceuse [first/second version] (1854, 1862) 摇篮曲
6 A: a' p5 p" N* h' g. S2 J- L- g' BS.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)# Q7 l  t, ^9 p  C7 k' c* V: _, v
2.    St. François de Paule marchant sur les flots (Walking on the Waves)
) K! e& E5 P+ s/ {% T' E2 sS.175a, Grand solo de concert [Grosses Konzertsolo, first version] (1850)' F! R' I) R6 v6 c  ~
S.176, Grosses Konzertsolo [second version] (1849–50 ?) 独奏大协奏曲8 A/ G* @2 P) d/ z* i$ D
S.177, Scherzo and March (1851) 谐谑曲与进行曲# s# {6 `( I* m4 a, y
S.178, Piano Sonata in B minor (1852–53)  b小调钢琴奏鸣曲
& N% f7 o$ X+ G) _( W: C+ \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6 O8 B1 D; N4 f& |4 H
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+ d$ s" }' O. N1 H* n. E# I
S.181, Sarabande and Chaconne from Handel's opera Almira (1881)
! J8 z; z! _) oS.182, Ave Maria - Die Glocken von Rom (1862) 圣母颂“罗马的钟声”
3 V  @) L; R5 P1 \$ w+ l3 v3 }- }+ hS.183, Alleluia et Ave Maria [2 pieces] (1862) 哈利路亚与圣母颂3 h, b: [& q: l  Q. ^: o5 C' D
S.184, Urbi et orbi. Bénédiction papale (1864)
8 s4 W* P' i1 x. y# Q! z$ TS.185, Vexilla regis prodeunt (1864)* ]5 i6 D- ^* J2 {; d' W
S.185a, Weihnachtsbaum [first version, 12 pieces] (1876)" D- R9 `5 E6 V& j4 O) A1 I
S.186, Weihnachtsbaum [second version, 12 pieces] (1875–76) 钢琴曲集《圣诞树》
0 v# i; X0 N6 O# t/ [$ D" ]S.187, Sancta Dorothea (1877) 圣多萝西娅
+ M. n9 s9 L0 p. v, vS.187a, Resignazione [first/second version] (1877)' I: z% i& P. d" r- T/ b/ r( P
S.188, In festo transfigurationis Domini nostri Jesu Christi (1880) 我主耶稣基督之变形
( o+ Y4 d) D) t/ t. O% h0 qS.189, Klavierstück No. 1 (1866): S! i1 Y$ n3 W" W+ Z5 \0 Z2 n2 i
S.189a, Klavierstück No. 2 (1845)5 Y6 p2 M7 X) v  p/ U2 I$ j" s
S.189b, Klavierstück (?)
5 s5 x+ j  c2 y7 S+ u; _0 GS.190, Un portrait en musique de la Marquise de Blocqueville (1868): m" v% p' [. p, n6 W0 ]3 g
S.191, Impromptu (1872) 升F大调即兴曲“夜曲”' I  T# M( O# v* A2 P  {, j
S.192, Fünf Klavierstücke (for Baroness von Meyendorff) [5 pieces] (1865–79) 5首钢琴小品
- R4 S! h: N5 k9 @S.193, Klavierstuck (in F sharp major) (a. 1860) 升F大调钢琴小品
. W; l* {" W9 [9 ~! }; MS.194, Mosonyis Grabgeleit (Mosonyi gyázmenete) (1870) 在莫佐尼墓前' k; D9 U+ @) t
S.195, Dem andenken Petofis (Petofi Szellemenek) (1877) 纪念裴多菲9 T0 C# v9 T4 m- \& l
S.195a, Schlummerlied im Grabe [Elegie No 1, first version] (1874)
' K( b+ I% d/ }8 i3 d/ R8 H/ nS.196, élégie No. 1 (1874)8 n( A. O8 d6 H8 W5 x7 [
S.196a, Entwurf der Ramann-Elegie [Elegie No 2, first draft] (1877); {: T# ?5 V. e( g3 A$ C  \1 k) K5 {
S.197, élégie No. 2 (1877)# p2 x2 i6 g( G! @. Y
S.197a, Toccata (1879–81) 托卡塔$ \' P+ a6 X0 A& p9 l8 l
S.197b, National Hymne - Kaiser Wilhelm! (1876)
! Y; U" ^' F- H) aS.198, Wiegenlied (Chant du herceau) (1880) 摇篮曲/ r0 `+ t9 Z" X; N  I
S.199, Nuages gris (Trübe Wolken) (1881) 灰色的云
; a, R# ?8 }7 V7 DS.199a, La lugubre gondola I (Der Trauergondol) [Vienna draft] (1882)
: ^; c! ~0 _0 E1 L. ]8 p% wS.200, La lugubre gondola [2 pieces] (1882, 1885) 葬礼小船
8 ^* V$ r% [( }0 m5 \$ W9 k0 I3 T0 T' C$ t4 q: f# ]) Y
李斯特全部作品目录-23 D9 ]( M1 n+ j# G5 {

  B, i/ P- X4 ]S.201, R. W. - Venezia (1883) 告别瓦格纳和威尼斯
& X4 l0 F( ^- ^# K3 w0 BS.202, Am Grabe Richard Wagners (1883) 在瓦格纳墓前
' l: y! W6 s! |1 G/ E6 w9 S" E3 \S.203, Schlaflos, Frage und Antwort (Nocturne after a poem by Toni Raab) (1883) 夜曲“沉睡,思考和回答”
" |$ F4 e. B# ~! x& N( W) r! \: _S.204, Receuillement (Bellini in Memoriam) (1877) 冥想
1 k. g/ N  u( l( ~9 R& R2 vS.205, Historische ungarische Bildnisse (Magyar arcképek) [original version, 7 pieces] (1885) 匈牙利历史人物肖像" F; S& w) o* B" Q; [' d
S.205a, Historische ungarische Bildnisse [revised order and conclusion, 7 pieces] (1885)
6 Q9 i3 a7 Y1 }' {" E6 L* ZS.206, Trauervorspiel und Trauermarsch (1885) 葬礼前奏曲和葬礼进行曲) _8 y/ h) l% B/ v8 o, M
S.207, En rêve. Nocturne (1885) 夜曲“梦中”& {7 P$ f0 Y* ^/ e3 I. g) c
S.207a, Prélude à la polka de Borodine (and Borodin's Polka) (1880)
$ f; ]' Z* u6 q% \' ~- wS.208, Unstern: sinistre, disastro (1880–86) 凶兆、灾难$ @! C1 J; g" b# i
1.7.3 Works in Dance Form(为舞蹈的作品)
; z" `& X7 |& x+ @0 H; m6 Z) g6 x  D% V9 M9 o' K; t
S.208a, Waltz (in A major) (b. 1825) A大调圆舞曲6 U7 z; d6 A' e- U1 Q
S.209, Grande valse di bravura [first version of S214/1] (1835) 华丽的大圆舞曲
" N& |4 Y8 J4 P/ ~7 @4 {# o8 MS.209a, Waltz (in E flat) (1840)
, s" j4 Y0 B  W- m8 T) r. ?2 QS.210, Valse mélancolique [first version of S214/2] (1839) 忧郁圆舞曲
% E4 b" Q: Q! ?0 m) d2 wS.210a, Valse mélancolique [intermediate version] (1840)3 c: q* s3 `2 @
S.210b, Valse (in A major) (1830–39)( ]9 M! Z+ Y4 O
S.211, Ländler (in A flat major) (1843) 降A大调兰德勒舞曲
( \- }6 D" G# I  CS.211a, Ländler (in D major) (1879)2 c* O  V& R3 A# k- n
S.212, Petite valse favorite [first/second version] (1842, 1843)5 }+ ^; ^' U( }7 o/ `: c
S.212b, Mariotte. Valse pour Marie (1840)7 U) a0 n3 g( M5 i- Z* D
S.213, Valse-impromptu (1850?) 即兴圆舞曲
* I5 q2 v0 M- QS.213a, Valse-impromptu [with later additions] (1880)
/ f7 I* u: P( |; zS.214, Trois caprice-valses [3 pieces] [second versions of S209, S210, S401] (1850?)
5 Z4 B' M& v. y& tS.214a, Carousel de Madame Pelet-Narbone (ca. 1875-81)( i" ]# S4 z4 ^( H& F/ l& n
S.215, Valses oubliées [4 pieces] (1881–84) 4首被遗忘的圆舞曲
) u/ X" O$ L5 d: x3 LS.215a, Dritter Mephisto-Walzer (Mephisto Waltz No. 3) [first draft] (1883)) X$ |5 m- i& G; A& u" h
S.216, Dritter Mephisto-Walzer (Mephisto Waltz No. 3) (1883) 第三梅菲斯特圆舞曲
: g' n7 {$ ]) o% c0 w3 i( ]* fS.216a, Bagatelle sans tonalité (1885)8 W- n/ z4 J( p: X% P
S.216b, Vierter Mephisto-Walzer (Mephisto Waltz No. 4) [first version] (1885)  第四梅菲斯特圆舞曲
( y8 Q( u! x( ?# @3 ~S.217, Mephisto Polka [first/second version] (1883) 梅菲斯特波尔卡$ M) z: c/ ~& j: f
S.218, Galop (in A minor) (1841?) a小调加洛普舞曲4 N, \. W, A. K# _, v
S.219, Grand galop chromatique [original version] (1838) 华丽的半音阶加洛普舞曲
/ b3 [5 E+ f- s. W9 ~8 @  FS.219bis, Grand galop chromatique [simplified version] (1838)" \. x' G. u. r
S.220, Galop de Bal (1840?). A1 h# ^, d: K3 C" o! X
S.221, Mazurka brillante] (1850) 华丽玛祖卡
# \3 S9 K, b  N( _6 I* O* P& N& gS.221a, Mazurka in F minor [Not by Liszt?] (?)
& w& P6 v& A* q( i$ Z& TS.222, [catalogue error; same as S212]/ {0 v6 ]6 l. O1 ^9 B$ I8 ~
S.223, Deux Polonaises [2 pieces] (1851) 2首波洛奈兹舞曲( B% C8 j- M& _. h5 F7 f# V; j3 z
S.224, Csárdás macabre (1881–82)3 |* x+ f( K. J; d0 ?( ?7 q9 S' A
S.225, Two Csárdás [2 pieces] (1884), A. R: r6 T! [% d9 Q9 X/ ?! d; A
S.226, Festvorspiel (1856)
/ @! g* \$ u! F, gS.226a, Marche funèbre (1827)0 X: k* I1 S- @1 v' `3 K- L
S.227, Goethe Festmarsch [first version] (1849)8 w- e. _6 U. y0 G% h% U
S.228, Huldigungsmarsch [first/second version] (1853)
2 J7 s/ l4 o2 C  Q, w" K3 LS.229, Vom Fels zum Meer! - Deutscher Siegesmarsch (1853–56)7 P( W) d/ Q9 }% t% `+ ^+ H: e. E0 q5 w
S.230, Bülow-Marsch (1883)
4 i% r7 i' u5 w! g, q! gS.230a, Festpolonaise (1876)+ z  S! L2 w3 ^
S.231, Heroischer Marsch in ungarischem Stil (1840)" f& K/ C; R$ l; T7 ^: U
S.232, Ungarischer Sturmmarsch [earlier version of S524] (1843?)
5 Z/ A9 |( \# e, M. |S.233, Ungarischer Geschwindmarsch (1870)
2 d4 ]+ B, H5 w0 @( o3 sS.233a, Siegesmarsch. Marche triomphale (Victory March) (?)
8 I; z( r0 ?9 _S.233b, Marche hongroise (in E flat minor) (1844)
/ N/ C' P  `* G0 _' D1.7.4 Works on National Themes(主题作品), h4 [! s! Y2 ~6 d! m
0 Y; f$ W. f8 v
1.7.4.1 Czech  Q$ g2 h: |6 ^6 G- n% {$ u5 s5 W

% Y" z$ ]6 i: V/ `4 s, GS.234, Hussitenlied (Melody by J.Krov) (1840)
" G5 U: \' G+ h" m3 Z! `/ ~1.7.4.2 English* Z4 a4 L4 c0 ^2 H' k
1 f* o  l& t5 k! I! r
S.235, God Save the Queen (1841)7 l7 U" J7 x% w" M# x0 i5 [9 o. Q
1.7.4.3 French7 c  B* Z1 J! r

/ K5 Q5 m+ ?. S5 d  ~0 RS.236, Faribolo Pasteur and Chanson du Béarn [2 pieces] (1844)& X% C, ]; D/ r$ D
S.237, La marseillaise (1872?)
- U# x0 s3 X, h* H/ U' DS.238, La cloche sonne (1850?)
# y$ A7 Q  C0 q1 y8 ~, j* c4 o# aS.239, Vive Henri IV (1870-80 ?)7 s5 Q5 u/ S$ z( G. @
1.7.4.4 German
& w! u0 |9 o* Y9 s+ L' B/ X1 y; m0 I/ Y
S.240, Gaudeamus igitur. Concert paraphrase [first/second version] (1843, 1853): z) u" ?* v" {1 q; t3 P( V( W
1.7.4.5 Hungarian
4 n6 X3 Y2 m& c. J( I, r' r3 ?1 P( ^# V3 e' C* _
S.241, Hungarian Recruiting Songs (Zum Andenken) (By Fáy & Bihari) (1828)
! m& d9 N3 @& `7 G: CS.241a, Ungarische Romanzero (Hungarian Songbook) [18 pieces] (1853)6 J  V. a" c/ V! `% S5 H
S.241b, Magyar tempo (1840)' D8 T4 d$ }" H$ g' b& l
S.242, Magyar Dalok: Magyar Rapszódiák [21 pieces] (1839–47)) O5 ?9 x5 a% P5 i: H; s
S.242a, Rákóczi-Marsch [first version] (1839–1840)& m0 F# w! x; w) n
S.243, Ungarische National-Melodien [3 pieces] (ca. 1843)
) S. c0 `" G- N0 s5 k7 t. R* vS.243a, Célèbre mélodie hongroise (a. 1866)
1 ^$ w! _1 z9 k' ]" tS.244, Hungarian Rhapsodies (Rapsodies hongroises) [19 pieces] (1846–86)  19首匈牙利狂想曲: {* }6 V0 h" ?) i  S
S.244a, Rákóczi-Marsch [from orchestral version] (1863)
7 v. ~$ _0 r  f/ Y. yS.244b, Rákóczi-Marsch [simplified version of S244a] (1871)
: J5 r7 H3 s0 O( r, yS.244c, Rákóczi-Marsch [popular version] (?)8 U, C+ B2 a9 g0 F( i
S.245, Fünf ungarische Volkslieder (Abranyi) [5 pieces] (1873)( e+ l. }8 H, f* V; k' F
S.246, Puszta-Wehmut (A Puszta Keserve) (1880–86 ?), L* p0 V8 G3 M! {/ w6 C) R
1.7.4.6 Italian: w) _5 R, o9 m: [7 a" z" e

+ Z, u  Z+ ]! h% k& J+ k3 A% wS.248, Canzone Napolitana [first/second version] (1842)
5 K" r/ N* t* l1.7.4.7 Polish
8 l5 {4 Y) t, [6 n8 t) i
8 I2 H) H8 B6 F+ d2 l$ wS.249, Glanes de Woronince [3 pieces] (1847–48)$ C. C! G9 S3 I' E9 j( [
S.249a, Mélodie polonaise [short draft] (1871), m9 j& [9 e/ \* u/ v
S.249b, Dumka (1871)
0 F& l! ]4 ?5 y6 `S.249c, Air cosaque (1871). ~% `0 N; ^( m& a; G
1.7.4.8 Russian
) f2 N9 F2 g5 A* E) g1 u
; X" ^; s, l' x/ `S.250, Deux mélodies russes. Arabesques [2 pieces] (1842)0 \# L4 F9 t* @, F8 P8 G
S.250a, Le rossignol (Alyabyev) [first version of S250/1] (1842)4 F* E, C+ Q( e) s
S.251, Abschied. Russisches Volkslied (1885)  D% }' g/ Q% k, S  k& d9 ^
1.7.4.9 Spanish
4 m3 l4 p( k6 a3 H# ]2 t% I" t# w7 ^
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 楼主| geci110 发表于 2015-7-22 18:34:31 | 显示全部楼层
S.252, Rondeau fantastique sur un thème espagnol, El Contrabandista (Garcia) (1836)
, `/ R/ w$ E$ G$ W: X! e& LS.252a, La romanesca [first/second version] (ca. 1832, b. 1852)! f) e3 T2 c$ s" ~- {7 i
S.253, Grosse Konzertfantasie über Spanische Weisen (1853)
" Y1 s- O2 l$ m  JS.254, Rhapsodie espagnole (1863?) 西班牙狂想曲
2 y; a: m2 h, s* eS.254x, Rapsodie espagnole [orchestrated by Feruccio Busoni] (?)# A, @, A: w8 S  ?1 u
1.8 Piano Duet(钢琴二重奏)
2 d' b- Z% h1 K% F, ]! J& E/ w8 C, @! V) f. L8 c
S.255, Festpolonaise [now S619a] (1876)" W/ ?" i* X- R
S.256, Variation on the Chopstick Theme (1880)5 E( J9 h' @+ i' y6 m
S.256a, Nottorno [Not by Liszt?] (?)
! U& A# M9 M( C8 v7 \6 l1.9 Two Pianos(双钢琴)  m' s+ t3 j4 A* [% `- f
3 F0 P: ]" R% O4 n5 g
S.257, Grosses Konzertstück über Mendelssohns Lieder ohne Worte (1834)
; X8 s+ ^- g' d  _( e$ NS.258, Concerto pathétique (b. 1856)  e小调钢琴协奏曲“悲怆”  P; f* B$ l& s2 F' ^7 b0 L
1.10 Organ(管风琴), g, `  \+ `) |

# q* n4 p) J6 }2 wS.259, Fantasy and Fugue on the chorale Ad nos, ad salutarem undam (1850)8 a3 P+ S/ t# n* q. w
S.260, Präludium und Fuge über das Thema BACH [first/second version] (1855, 1870)
6 Q" Z3 r1 b3 k" _8 kS.261, Pio IX. Der Papsthymnus (1863?)& y# M5 Q4 G* z  C$ c- \
S.261a, Andante religioso (1861?)
3 K' W0 g8 E' |' t1 \1 AS.262, Ora pro nobis. Litanei (1864); y* u9 s" z6 e
S.263, Resignazione (1877)
  p2 ^/ `9 }# U8 K4 v/ s3 FS.264, Missa pro organo lectarum celebrationi missarum adjumento inserviens (1879)2 j1 G& ~; s. l. J- q
S.265, Gebet (1879)% L9 L+ L+ o9 P' h, X( p, k: C
S.266, Requiem für die Orgel (1883)/ {) }; l. s) x" X( j2 R
S.267, Am Grabe Richard Wagners (1883)1 D# \  m. w6 a* x1 G7 h
S.268, Zwei Vortragsstücke [2 pieces] (1884)6 ]$ n1 v: D% @
1.11 Songs(歌曲)$ S* b5 h7 v7 ?( k2 U- m! \
9 W, C2 N- }. w5 O7 V/ {+ [
S.269, Angiolin dal biondo crin (Marchese C. Bocella) [first/second version] (1839, ?)4 ^0 f# d$ Z- h5 x
S.270, Three Petrarch Sonnets [3 songs, first/second version] (1844–45, 1854]- o( o! \1 r& f" H) }  p/ K$ J1 p
S.271, Il m'aimait tant (Delphine Gay) (1840?)( Q' n. N' f& r+ f& t# F
S.272, Am Rhein im schönen Strome (Heine) [first/second version] (1840?, 1854): ?8 \( u, Z0 U4 V: f/ a# k6 v9 K
S.273, Die Lorelie (Heine) [first/second version] (1841, ?)
( k8 S8 F1 i; AS.274, Die Zelle in Nonnenwerth [first/second version revised 1862] (b. 1841, 1857)8 s/ h+ ~7 G2 B8 P# R6 a
S.275, Mignons Lied (Kennst du das Land) (Goethe) [first/second/third version] (1842, 1854, 1860)
8 ?  T, D9 T! W0 K5 K0 fS.276, Comment, disaient-ils (Hugo) [first/second version] (1842, ?)
+ ?( w% u, P& O8 wS.277, Bist du (Prince E. Metschersky) [first/revised version] (1843, ca. 1878-79)
! f4 s, ^  i" c! p* {- r8 T# bS.278, Es war ein König in Thule (Goethe) [first/second version] (1842, ?)
, _% X$ {1 D- v) e$ s. R- q8 \; AS.279, Der du von dem Himmel bist (Goethe) [first/second/third version] (1842, ?, 1860)
. T5 }1 t$ H# }/ D! iS.280, Freudvoll und leidvoll (Goethe) [first/second/third version] (1844, 1848?, ?)
3 o  w& G* G' dS.281, Die Vätergruft (1844)
& \: U2 }9 g$ q3 N0 T2 C( Y8 ?  tS.282, O quand je dors (Hugo) [first/second version] (1842, ?)
' S* t6 K* u  {, Z1 ]S.283, Enfant, si j'etais roi (Hugo) [first/revised version] (1844?, ?)
! q' ]6 i; ?5 t8 WS.284, S'il est un charmant gazon (Hugo) [first/revised version] (1844?, ?)  V& s5 G. N) n3 z1 O
S.285, La tombe et la rose (Hugo) (1844?)
& {, p# c( R8 C2 b) ~( y4 b- jS.286, Gastibelza, Bolero (Hugo) (1844?)- R# y4 S$ a. ?) t5 m3 Z/ X
S.287, Du bist wie eine Blume (Heine) (1843?)* f1 d1 x& Q- x  L2 x- ?
S.288, Was Liebe sei (C. von Hagn) [first/second/third version] (1843?, ca. 1855, 1878–79)4 m) r6 B& q# C. c! E( l
S.289, Vergiftet sind meine Lieder (Heine) [first/revised version] (1842, ?)
" J  d+ C0 e. `! O, }" d  t$ f- ]S.290, Morgens steh ich auf und frage (Heine) [first/revised version] (1843?, ca. 1855)7 Z: A% |# r' ^+ o
S.291, Die todte Nachtigall (Kaufmann) [first/revised version] (1843?, 1878)
4 b# g" Z/ F% [7 zS.292, Songs from Schiller's Wilhelm Tell [3 songs, first/revised version] (1845?, ?)& N. {; B0 V: j( A4 `( O0 \  p
S.293, Jeanne d'Arc au bûcher (Dumas) [first/revised version] (1845, 1874)' c# q& i3 m% v$ M
S.294, Es rauschen die Winde [first/second version] (ca. 1845, b. 1856)
8 z$ e0 b* X7 U7 `4 G% XS.295, Wo weilt er? (Rellstab) (1844)6 _  {4 |! i4 L
S.296, Ich möchte hingehn (Herwegh) [revised later] (1845)
" }4 T. d8 V$ N/ US.297, Wer nie sein Brot mit Tränen ass (Goethe) [first/revised version] (ca. 1845)
' h+ B& X4 E2 G2 U7 C& m8 q- sS.298, O lieb so lang du lieben kannst (Freiligrath) (1845?)
+ o7 L! ?+ B$ }/ }+ c+ T# T0 p- FS.299, Isten veled (Farewell) (Horvath) [first/revised version] (1846–47)+ y( l9 C8 n! f2 V+ X6 U
S.300, Le juif errant (Béranger) (1847)
5 P! F) I1 Z2 Q9 l+ e4 d' SS.301, Kling leise, mein Lied [first/revised version] (1848)
9 \/ S& j7 r" `# \- U' fS.301a, Oh pourquoi donc (Mme Pavloff) (1843)
9 M( H& n1 R$ _3 t: |6 V6 _4 GS.301b, En ces lieux. élégie (E. Monnier) (1844)0 c' K, f& s' |3 s/ u/ j
S.302, Die Macht der Musik (Duchess Helen of Orleans) (1848–49)
. M, r; }* e$ @( O" jS.303, Weimars Toten. Dithyrambe (Schober) (b. 1848)1 i, O2 l0 J4 Q; t& l2 C! w  f+ g3 _
S.304, Le vieux vagabond (Béranger) (b. 1848)9 @% O( r6 L0 `* V& M
S.305, Schwebe, schwebe, blaues Auge [first/revised version] (1845, ?)
- r& i6 W' F" }+ \  o) kS.306, über allen Gipfeln ist Ruh [first/revised version] (1847?, ?)
  P( `$ N5 l- L; D5 D1 j0 \! a. LS.306a, Quand tu chantes bercée (Hugo) (1843)" i. u( M4 A2 [! N( S  A
S.307, Hohe Liebe (Uhland) (1850?)- s/ s1 b$ Q3 s& f: O
S.308, Gestorben war ich (Seliger tod) (Uhland) (1850?)$ K$ Y. p& j- |* C
S.309, Ein Fichtenbaum steht einsam (Heine) [first/revised version] (ca. 1845, 1854)
& A8 Y! W6 T6 b' z* F. t( sS.310, Nimm einen Strahl der Sonne (1849)
6 U# r+ q  w4 X& o4 k8 _S.311, Anfangs wollt' ich fast verzagen (Heine) (1849)
6 }* e% V' I) _1 g% K7 IS.312, Wie singt die Lerche schön (Hoffmann von Fallersleben) (1856?)
: a" G% }7 `# KS.313, Weimars Volkslied (Cornelius) (1857)
# Q5 y) B; H% B8 @7 sS.314, Es muss ein wunderbares sein (Redwitz) (1852)
! c  I. c& }/ B0 }9 @S.315, Ich liebe dich (Rückert) (1857)/ e$ t( r/ A. d! u
S.316, Muttergottes - Sträusslein zum Mai-Monate (Müller) [2 songs] (1857)9 Q. q- T- o" t; o* J' `( T: A* R
S.317, Lasst mich ruhen (Hoffmann von Fallersleben) (1858?)+ Z  w4 ]5 Q8 M: L1 K1 u
S.318, In Liebeslust (Hoffmann von Fallersleben) (1858?)
/ f) |4 b( T" z4 V1 [S.319, Ich scheide (Hoffmann von Fallersleben) (1860)/ b  Z. S' `8 q; z, v
S.320, Die drei Zigeuner (Lenau) (1860): \. `8 `6 H4 f( @0 x
S.321, Die stille Wasserrose (Geibel) (1860?)! q& m" u6 b7 A( E3 q# @1 h
S.322, Wieder möcht ich dir begegnen (Cornelius) (1860)" A. ?2 ]. D* l
S.323, Jugendglück (Pohl) (1860?)' u8 ~# D5 v0 V7 M
S.324, Blume und Duft (Hebbel) (1854)
. S- l1 L4 s5 E" G9 U/ ?S.325, Die Fischertochter (Count C. Coronini) (1871)
, c: [4 M" V* L$ {0 i9 US.326, La perla (Princess Therese von Hohenlohe) (1872)7 F# ]0 V( p9 O8 ^) t- e! a2 G2 K
S.327, J'ai perdu ma force est ma vie. 'Tristesse' (de Musset) (1872)
# L# I! T1 H% o) L4 B5 N2 k0 z  _0 G3 KS.328, Ihr Glocken von Marling (Emil Kuh) (1874)
! B- p( x4 S3 {6 p& eS.329, Und sprich (Biegeleben) [revised 1878] (1874)
) P# H& Q! |- [' AS.330, Sei Still (Henriette von Schorn) (1877)
; F2 I9 J& f* v. ?, l. e6 G& yS.331, Gebet (Bodenstedt) (1878?)
  [2 a- H& i1 z  X. k- MS.332, Einst (Bodenstedt) (1878?)( `; T- U- Q- K0 e. I$ o; D
S.333, An Edlitam (Bodenstedt) (1878?)
2 {$ U" M1 C  {* g7 SS.334, Der Glückliche (Bodenstedt) (1878?)
5 _( h$ [0 ?2 o) f0 fS.335, Go not, happy day (Tennyson) (1879)) h% z9 Q9 i* |6 ^5 \
S.336, Verlassen (G.Michell) (1880)
; F  C; W, i, {7 Y2 G+ r/ D/ `S.337, Des tages laute stimmen schweigen (F. von Saar) (1880)7 `. I1 c! d' V9 q, o3 E0 Q, r1 K
S.338, Und wir dachten der Toten (Freiligrath) (1880?)
& x! f7 Z7 ^/ n( C1 i$ `* f' rS.339, Ungarns Gott. A magyarok Istene (Petófi) (1881); q6 D! H8 ^, Z- f
S.340, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)9 X  f( s6 f1 @. v& ~+ g
S.340a, Ne brani menya, moy drug. (Tolstoy) (1886)
. c4 N: S; f" c- \2 \5 @1.12 Other Choral Works(其他合唱作品). \. ^2 q' p" @) p! S9 p
S.341, Ave Maria IV (1881)
( G& h9 E% K, }% p) a4 l7 ^/ Z, BS.342, Le crucifix (Hugo) (1884)
' L/ E$ u8 i6 ]/ Z7 U2 o; a# Z( qS.343, Sancta Caecilia (1884)
; W% E; m: F9 b: z6 MS.344, O Meer im Abendstrahl (Meissner) (1880)
) x' n' {2 [" [7 E& _- |6 M' g9 ^S.345, Wartburg-Lieder from Der Braut Willkomm auf Wartburg (Scheffel) [7 chorals] (1872)0 p- v! y, O) s6 W1 F+ \# b
1.13 Recitations(叙事歌谣颂诗). |- v) t% A8 m
S.346, Lenore (Bürger) (1858)1 z" K6 ~( r" {$ r8 b8 e; M
S.347, Vor hundert Jahren (F. Halm) (1859)/ ]& h4 S; U- ]$ r" K% f3 b7 _& R
S.348, Der traurige Mönch (Lenau) (1860)+ s. I0 _# z. K  i, w' O
S.349, Des toten Dichters Liebe (Jókai) (1874)
/ C! \0 w# p6 s& i6 D( m) YS.350, Der blinde Sänger (Alexei Tolstoy) (1875)
6 k4 w, K/ G* T7 f# E2. Arrangements, Transcriptions, Fantasies, etc.
+ |0 [- K8 E1 n
, @3 I; {0 }! Q) R8 N: ]2.1 Orchestral Works(管弦乐作品)
! s/ G" b: q# I. J  w! n8 _
% I& B* @& f8 Z  x! f2.1.1 Bülow
, f2 p9 Y* l* y" X2 p; `4 H1 y
9 T5 U% a/ W# \$ I: o. b: o: a! s1 L; dS.351, Mazurka Fantasie, Op. 13 (1865)
$ r0 O" D2 p+ o2.1.2 Cornelius
' y  \6 K1 u: @# A4 K- {5 i
, `, F/ x$ h5 a$ y4 N$ }* dS.352, Second Overture to The Barber of Baghdad [completed from Cornelius's sketches] (1877)
: M: F! O1 a; ?: }9 w: m2.1.3 Egressy and Erkel% b: k# y' A# I8 B& ]- Q+ z3 N' {7 c

: Z, f  J8 B( v8 ~& N" D' l2 G% W: HS.353, Szózat und Hymnus (1873)
* c3 j0 z& H+ v" g8 ?1 r2.1.4 Liszt/ x$ m1 S% H9 R6 r' i8 A7 w
/ _+ d- A6 }9 Y5 T
S.354, Deux légendes (1863)0 c# _# j: n6 E6 Z, C
S.355, Vexilla regis prodeunt (1864)
" x( |9 H! c8 E; t( ^S.356, Festvorspiel (1857)
. e# h& k7 ^7 }8 L; SS.357, Huldigungsmarsch [first/second version] (1853, 1857)3 T% g  |! F, j3 @; {- t$ O1 P) M
S.358, Vom Fels zum Meer. Deutscher Siegesmarsch (1860)' C5 W; ^1 [7 p2 v1 L5 h* l
S.359, 6 Rapsodies hongroises (Hungarian Rhapsodies) (?)
  Y8 q7 {7 G/ Q+ D# j7 d, c9 hS.360, A la chapelle Sixtine (Liszt, Allegri & Mozart) [orchestral arrangement of S461, based on Mozart's Ave verum corpus and Allegri's Misere] (1862)
1 w+ P3 S6 q" x* _" }5 G) VS.361, Pio IX. Der Papsthymnus (ca. 1863)' l) i% {$ \1 G* V8 S
S.362, Benedictus and Offertorium from the Hungarian Coronation Mass [from S11] (1875)
/ P: t# S+ q- |$ i/ O$ n$ |/ y2.1.5 Schubert
9 Q' n% L, g% \0 b) q! ?' `' Z: Y( `5 a/ _( W
S.363, 4 Marches [from Opp. 40, 54, 121] (1859-60)" p! c3 k6 z  o* K8 M1 V6 s! m4 N
2.1.6 Zarembski
: \& i7 R2 i4 R) o
) t' Q9 _, n/ I4 o# aS.364, Danses galiciennes (1881)/ {1 [- v6 r8 c
2.2 Pianoforte and Orchestra(钢琴与乐队)
/ t3 n  S* T9 m/ Z2 V& j7 S. `, x3 t. {: V: g& p; ?" D
2.2.1 Liszt
: c; I# C- p5 e4 V3 b
8 {+ z- X( e/ MS.365, Grand solo de concert [prepared by Leslie Howard] (1850)
3 ]8 R% X9 [" w5 v: \# K& kS.365a, Concerto pathétique (No. 4) in E minor [Liszt, Reuss version] (1885-86)0 [, `) q6 [! c
S.365b, Hexaméron, Morceau de concert [orchestration completed by Leslie Howard] (ca. 1839)9 n7 Y' e( T& L  Q
2.2.2 Schubert
0 T1 F: `1 n$ H7 z  ?( w" e: k
+ g9 a- G5 \0 U1 n  N: \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
* e0 T3 C$ p! L6 L- P, H4 x2.2.3 Weber4 T; S. \2 q5 |3 `( H! H
5 r  o! _9 q, @5 L' U) ~
S.367, Polonaise brillante, Op. 72 (1849) 华丽波洛涅兹 为钢琴与乐队而作/ g% w/ A& V1 E3 F
2.3 Songs with Orchestra(声乐与乐队)
6 F% C9 i% q& R$ c3 _1 @0 o
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 楼主| geci110 发表于 2015-7-22 18:34:50 | 显示全部楼层
2.3.1 Korbay
- _+ m* A1 Q1 |6 C6 ^. h6 s
$ T/ b5 n- \% A1 sS.368, 2 Songs (Le Matin by Bizet and Gebet by Geibel) (1883)
6 O3 j- b% C- p" [7 o; D& d- o2.3.2 Liszt
0 u/ S% G  i- M7 p
8 G  F# `# n3 kS.369, Die Lorelei (Heine) (1860)
/ o# Q( K* O1 g9 sS.370, Mignons Lied (Kennst du dass Land) (Goethe) (1860), ]' x# d+ F; s
S.371, Die Vätergruft (Uhland) (1886)* }* d+ K6 i/ H2 \
S.372, Songs from Schillers Wilhelm Tell (ca. 1855)
5 u2 d2 F: ]" Z% U& F6 e) JS.373, Jeanne d'Arc au bûcher (Dumas) [first/second version] (1858, 1874)$ m6 j; |7 M( q* Q- z- s
S.374, Die drei Zigeuner (Lenau) (1860)/ Z' R. P  _0 L% U
2.3.3 Schubert7 `7 _0 l: Z. c/ w

  f- a2 W" A& w6 {* rS.375, 6 Songs (1860)2 [; [& D0 [$ q
S.376, Die Allmacht (1871)
7 J+ a6 T: ]: n$ B9 ~2.3.4 Zichy
6 B, `/ [- S9 b4 ]! h0 \- x1 ^/ I& R4 N3 b
S.377, Der Zaubersee. Ballad (Zichy) (1884); d' O# h2 B0 s
2.4 Chamber Music(室内乐等)
5 s( Q0 Q1 D8 o2.4.1 Liszt* I- o0 S, Q8 e7 t7 b

  `. g" y8 t# K& j$ R6 k6 v; x$ u2 c8 \S.377a, La notte (Odes funèbre No. 2) (1864-66)
7 t9 E5 o8 `* C" s( `. w/ |S.378, Angelus! - Priere aux anges gardiens [first/second version] (1877, 1880)
3 w- m! @4 f4 G; b4 c9 }4 a+ OS.379, Rapsodie hongroise No. 9 (Pester Karneval) (?)8 |; [3 b5 _5 ~6 f2 Y; o9 u& }
S.379a, Rapsodie hongroise No. 12 (1850-59)
* J* `$ i8 j, b7 k( W: wS.379b, Puszta-Wehmut (A Puszta Keserve) (ca. 1871)
3 ?( ]; j3 n3 U5 G  A* aS.380, O du mein holder Abendstern from Tannhäuser (Wagner) (1852)
, o% N# |  \+ [S.381, Benedictus and Offertorium from the Hungarian Coronation Mass [from S11] (1862)
" }# _+ V" u9 j  JS.381a, Ungarns Gott. A magyarok Istene (Petófi) (1882)
# ~( q; X1 C/ N' ?& a6 TS.382, Die Zelle im Nonnenwerth (ca. 1880-86)4 p3 }# w) u2 F3 k
S.383, Die drei Zigeuner (Lenau) (1864)+ A, F3 _7 J# I$ _
2.5 Pianoforte Solo$ h3 p% n5 q, {, W: u# E; G0 X/ M

" v. i( v( b" P+ [3 J2.5.1 Paraphrases, Operatic Transcriptions, etc.(歌剧改编独奏)
  K: c8 J( J6 H2 O7 h$ R9 \1 Z. W$ c' T0 _, v
2.5.1.1 ábrányi
- V( ~3 o7 h5 `
( [# `5 H$ j9 a9 v/ AS.383a, Elaboration on Virág dal (1881)
/ G- j- c# R3 \0 N3 f2.5.1.2 Alyabyev8 h2 n9 m) M  k+ v& j9 {
* f$ p- {/ F2 Q9 U( S: z8 f3 k
S.384, Mazurka pour piano composée par un amateur de St. Petersbourg (1863)
' ]2 E2 A/ V- Z. u! D# X! S, |S.384a, Variations on Tiszántúli szép leány [anonymous, not by Liszt?] (1846)
$ C, L1 e8 }! s% U: W- @, J4 u2.5.1.3 Auber7 l  d  _: T7 Q( L  V7 c* ~" F

8 g- u+ v2 W* b- s; oS.385, Grande Fantaisie sur la Tyrolienne de l'opera La Fiancée [first/second/third version] (1829, 1835, 1842)
7 Y  U! M( Q1 L. x5 }S.385a, Tyrolean Melody (b. 1856) 提洛尔旋律 S.385a 根据奥伯歌剧《未婚妻》主题改编
+ G% p. v" X& x4 xS.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# o3 F, E  w5 p
S.387, Three Pieces on themes by Auber [with intro piece] (a. 1846)6 {$ E! E" |% X
S.387a, Piece on an unknown theme (1847), J" j/ U$ L$ ^: A) {
2.5.1.4 Beethoven: g0 a" C2 y+ ~) r4 C
. {0 T1 L# T; s
S.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
& M! r. U5 H$ z- kS.388a, Marche turque des Ruines d'Athenes (1846)3 {  s0 C/ d) G
S.388b, Fantasie über Beethoven's Ruinen von Athen [first version] (1837), S% E# u6 n3 v; V# k
S.389, Fantasie über Beethoven's Ruinen von Athen [second version] (1852) 幻想曲 S.389 - 根据贝多芬《雅典的废墟》配乐素材改编8 o8 F, G- l  N9 K; O+ t7 d3 g+ g
S.389a, Cadenza to the first movement of Beethoven's Piano Concerto No. 3 (1879)/ I, C+ P+ A4 t3 O) `& Z
2.5.1.5 Bellini' d' g$ @) @# L$ x: I# c8 t& [8 o
6 ?7 {2 Y- C  w2 d
S.390, Reminiscences des Puritains [first/second version] (1836, 1837); p" X3 ?- d6 c7 j: ~  ?
S.391, I Puritani. Introduction and Polonaise (1840)
, i2 `+ Q+ |6 C8 r4 Q/ w( `. OS.392, Hexaméron, Morceau de Concert (1837)
, i, Q8 V6 g1 Q; l( x8 [S.393, Fantaisie sur des motifs favoris de l'opéra La Sonnambula [first/second/third version] (1839, 1840-41, 1874)6 B6 d; k$ W" v( V' j7 h
S.394, Réminiscences de Norma (1841-43)$ y- U# o3 M8 T  B8 z+ V( N  q$ h
2.5.1.6 Berlioz; p  t2 t$ C" E! r, p7 U. ]
1 @9 ]% s. ]) Q7 y: [) I4 T
S.395, L'Idée fixe: Andate amoroso [first/second version] (1833 or 1846?, 1865)
" W( v* }$ G; H* c5 T# _8 R6 KS.396, Benediction et Serment from Benvenuto Cellini (1852)
) _+ G( s  @0 Z7 r) o3 Q& ]. j2.5.1.7 Donizetti, Gaetano
3 t. [1 ]  x+ X  e3 L
$ ?& B7 }( V: qS.397, Réminiscences de Lucia di Lammermoor (1839)
( G) ^8 \7 E& vS.398, Marche Funebre et Cavatine de Lucie de Lammermoor (1839)
" a; ~% ^+ M6 KS.399, Nuit d'été à Pausilippe [3 pieces] (1839), e1 f  v' [, b8 k- E" f
S.399a, Lucrezia Borgia - Grande fantaisie [first version of S400ii] (1840)3 x, F6 K1 k9 D: V

$ H$ v- o  \" S# T$ E& x, X李斯特全部作品目录-3) H+ ?# e& R- i; j( n; g. \

: U& L5 r3 M2 U0 v) y9 j/ CS.400, Réminiscences de Lucrezia Borgia [first/second version] 1840" S0 J5 n1 Q- T
S.401, Valse a capriccio sur deux motifs de Lucrezia et Parisina [first version of S214/3] (1841)
, k" O3 b, F; C8 bS.402, Marche funèbre de Dom Sébastien (1844)
1 m4 I0 F. w, s+ M# |; @2.5.1.8 Donizetti, Giuseppe
: ?! H. x# l' E7 P7 [
% I7 z* S# D0 N) S3 ]9 ^S.403, Marche pour le Sultan Abdul Medjid-Khan [first/simplified version] (1847, 1848)+ i' g$ N8 h& [/ }( J
2.5.1.9 Duke Ernst. r: Z' N. M5 O8 I

; _' E: s4 x' N0 ]& TS.404, Halloh! Jagdchor und Steyrer from the opera Tony (1849)
' @4 L6 u. r# Z0 k& k- d( s* _2.5.1.10 Erkel, Franz
; M1 t; @1 m; T  j9 }$ m1 q. o( s" U9 ^& z6 ~0 c6 Q1 m
S.405, Schwanengesang and March from Hunyadi Laszlo (1847)
" |, M' [& l0 A2 a* X: D+ D2.5.1.11 Festetics0 a# w% ]" L5 v8 w5 l( y

3 W/ @3 [8 e7 b8 y; o! \6 f" a7 bS.405a, Pásztor Lakodalmus Variations - Mélodies hongroises [elaboration by Liszt] (1858)
9 t$ x. k" B( E) O, u) H2.5.1.12 Glinka
) |* Y, U1 j% @& }8 U5 V
4 n- U* @  R. i* IS.406, Tscherkessenmarsch from Ruslan i Lyudmila [first/second version] (1843, 1875)
8 e( o5 \7 X! i  N2 v- [2.5.1.13 Gounod0 `8 |- K+ P+ l; e# @

) i% R# d9 V! JS.407, Valse de l'opéra Faust (b. 1861)
; _, a( i* n6 E0 }" V+ N/ j( {S.408, Les Sabéennes. Berceuse de l'opéra La Reine de Saba (1861)
  e/ c& b, e# V# bS.409, Les Adieux. Rêverie sur un motif de l'opéra Romeo et Juliette (1867)
$ s( U; l2 M& ]4 J: S( u0 D4 T2.5.1.14 Halévy4 E5 ~5 d6 {8 Z8 \% _4 V6 g
S.409a, Réminiscences de La Juive (1835)
% h7 Q4 r6 _+ O& G* B2.5.1.15 Mendelssohn
$ S5 |! t# M# X+ aS.410, Hochzeitsmarsch und Elfenreigen aus dem Sommernachtstraum (1847-50)
1 L: g5 s* I% r2.5.1.16 Mercadante
1 O4 a6 R3 S  e0 WS.411, Soirée italienne. Six amusements (1838)
: x. h( e) p' z" ]- M  E$ z, ]2 d2.5.1.17 Meyerbeer5 K5 ?4 |5 q/ f9 _, H6 x: I
S.412, Réminiscences des Huguenots - Grande fantaisie dramatique [first/second version] (1836, 1842)
& g: Z- g) Y' n" O% U+ gS.412a, Réminiscences de Robert le Diable - Cavatine (1846?), L8 ?- A# |) c. }% p1 b
S.413, Réminiscences de Robert le Diable - Valse infernale (1840)
+ B5 `; p1 ]6 e8 [& _S.414, Illustrations du Prophète [4 pieces, 4th=S624] 1849-50
8 r+ D- r( Z/ S4 W- pS.415, Illustrations de l'Africaine [2 pieces] 1865) S7 Q* ^. u  ~& b) Y
S.416, Le Moine (1841)& V- K8 h6 c8 \8 E7 \
2.5.1.18 Mosonyi, Michael$ h( f2 n9 @4 g  |* X
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0 b7 E/ a" ]1 m( z
2.5.1.19 Mozart+ ]8 T* i: O  j& j( W, ~; y
S.418, Réminiscences de Don Juan (1841)
& s  V4 }1 w1 H2 U+ U% p) a2.5.1.20 Pacini$ y% s( e. h- M& v& R2 L# e
S.419, Divertissement sur la cavatine "I tuoi frequenti palpiti" (1835) 嬉游曲 S.419 - 根据帕奇尼歌剧《奈奥比》主题改编
$ r( g8 |3 D' q1 J' d* ~% r2.5.1.21 Paganini* \! q9 A2 @$ [4 Y
S.420, Grande Fantaisie de bravoure sur La Clochette (1832-34)  华丽的钟声幻想曲' E8 Q. K! l9 r9 O  @) o
2.5.1.22 Raff
4 v" W/ J! F$ b- d) {9 g9 p) y7 ]S.421, Andante Finale and March from the opera König Alfred [2 pieces] (1853)
& O! T, ]8 l5 x+ J! B8 o) \2.5.1.23 Rossini
2 r5 c/ D6 Z6 v  z7 m$ |S.421a, Introduction et Variations from "Siege of Corinth" [introduction only] (1839?)- K% D6 h7 z: m, U
S.422, Première grande fantaisie (Soirées musicales) [first/second version] (1836)
, ~) \8 L% h% u6 qS.422i, La serenate e l'orgia - Première grande fantaisie (Soirées musicales) [first version] (1836)8 K& v& G, K7 |- R8 B
S.423, Deuxième grande fantaisie (Soirées musicales) (1836)
) B* y2 @$ b2 C& K9 Y: nS.424, Soirées musicales [12 pieces] (1837)
( d3 ~/ M% n) a& z$ U+ z2.5.1.24 Schubert
& B% s; z/ y% s$ N/ v+ O. x# e3 NS.425, Mélodies hongroises [3 pieces] (1839–40)) z! ?/ W* s% k  Z4 v8 ^6 x
S.425a, Mélodies hongroises [revised versions] (1846)4 H' I! ?) k$ n; h! Q1 a
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
- e2 r( ?# [4 L1 q$ g7 n# IS.426a, Marche militaire (ca. 1870). t# b4 X. G* Z2 f5 T, X1 x1 W
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) W' P3 O% O; e1 M; M9 c0 \
2.5.1.25 Sorriano
& S, n$ _# U  N1 @) x0 o* Q# lS.428, Feuille morte. Elégie d'après Sorriano (1844-45)( E* }* L7 G3 e4 t
2.5.1.26 Tchaikovsky
3 i. |" c( a5 m5 e: E7 }! T7 _, M+ AS.429, Polonaise from Eugene Onegin (1879)4 Q0 p% o7 T! x) d, X
2.5.1.27 Végh, Janos
' X# X9 u9 H2 P2 BS.430, Valse de concert (1882-83)0 V: `. B. m( q" |; B4 L* ^7 L
2.5.1.28 Verdi* c6 W" A3 F4 Y  u1 N
S.431, Salve Maria de Jerusalem from I Lombardi [first/second version] (1848, 1882)
( T) I7 |1 ^* t7 k; ]S.431a, Ernani - Première paraphrase de concert (1847)
7 F* Y+ x0 t7 c5 a6 MS.432, Ernani - Paraphrase de concert (No. 2) [first/second version] (b. 1849, 1860)* N9 _, C" M4 U. u! W3 }
S.433, Miserere du Trovatore (1860)
9 W' u. \/ o/ FS.434, Rigoletto Paraphrase de Concert (1859)( b7 E! }% R% ~3 K: T5 i
S.435, Don Carlos Coro e Marcia funebre (1867-68)
) e2 @7 O" o5 ?3 a3 T" t! z4 Y: XS.436, Aida Danza sacra e duetto finale (1877)
# u4 x0 `6 M+ \) B& RS.437, Agnus Dei (1877)' c. q/ a9 F6 R1 I+ u+ R! l4 S
S.438, Réminiscences de Boccanegra (1882)' o+ t2 C5 j" R9 U9 n5 O
2.5.1.29 Wagner, }2 Z8 C  E3 G0 M0 c' f% a
S.439, Phantasiestück über Motive aus Rienzi (1859)5 k. B1 C' d# ]$ o- A- G
S.440, Spinnerlied aus Der fliegende Holländer (1860)1 I% h4 k; S7 e+ |% D1 q
S.441, Ballade aus Der fliegende Holländer (1872)2 M+ p% V; L3 V# [
S.442, Ouvertüre zu R. Wagners Tannhäuser (1848)
8 R/ ]3 z0 S% @S.443, Pilgerchor aus Tannhäuser [first/second version] (1861, 1885)
3 `; l' m4 a: l+ @/ _S.444, O du mein holder Abendstern aus Tannhäuser (1848)
% z2 F0 [7 Y+ r8 x5 X. R) mS.445, Zwei stücke aus Tannhäuser und Lohengrin (1852). [8 B4 R. r9 U
S.446, Aus Lohengrin [3 pieces] (1854)4 u/ C4 w* n+ j( b4 V  x
S.447, Isoldens Liebestod aus Tristan und Isolde [first/revised version] (1867, 1875)' l2 K- ]  m. K8 k* }
S.448, Am stillen Herd aus Die Meistersinger (1871). S. T! b) h' [, t
S.449, Walhall aus Der Ring des Nibelungen (1875)2 R) w6 i: H2 q8 H  s9 i, j8 d' {
S.450, Feierlicher Marsch zum heiligen Graal aus Parsifal (1882)/ ?: y- J$ j$ w# v  P
2.5.1.30 Weber: p. j( l' I+ h0 \7 O2 L- o
S.451, Freischütz-Fantasie (1840-41)
1 ?! F& F( P! E! R2 n( O6 fS.452, Leyer und Schwert [4 pieces] (1848)6 ?. o2 w1 L" \% |
S.453, Einsam bin ich, nicht alleine, from Preciosa (1848): t& _" J$ V7 n5 @) C9 c( G
S.454, Schlummerlied mit Arabesken (1848)
& v) z' A& M1 \1 ]( DS.455, Polonaise brillante (1851)
* i" U2 Y' Y0 [5 y2.5.1.31 Zichy, Count Géza
. `4 C, [: Y( f/ A0 i  k1 O! d2 R- W  oS.456, Valse d'Adele (1877)) z; F, m" v$ g4 a( N$ N
2.5.1.32 Unknown; ^2 |6 {" k0 c
S.458, Fantasy on Il Giuramento (Mercadante) (1838?)
  ?8 M: b0 c0 J6 O+ ^) WS.460, Kavallerie-Geschwindmarsch [anonymous] (?)
* z6 L$ d$ t8 K1 R2.5.2 Partitions de Piano, Transcriptions, etc.% u% K% G& w/ }8 @: ~
2.5.2.1 Allegri and Mozart& }# C( q5 y$ k3 I8 p) {
S.461, A la chapelle Sixtine [first/second version] (1862, ?)
& u/ F3 s1 {* o3 tS.461a, Ave verum corpus, Kv618 (1862)
/ h  [; T! w& h2.5.2.2 Bach) G- h  ?' i2 k. T$ U
S.462, Sechs Praeludien und Fugen für Orgel [6 pieces] (1850)
& B6 _# @* [% Z7 uS.463, Organ Fantasy and Fugue in G minor [first/second version] (1860, ?), U0 m0 z- E& t' r5 m
2.5.2.3 Beethoven* K0 ~3 ^: a# @' d0 q
S.463a, Symphonie No.5 [first version] (1837)
( M) Y- t3 ]! D! E+ @0 DS.463b, Symphonie No.6 [first version] (1837)
3 C. U% }6 Y$ v/ u+ h. u9 E4 {6 w* CS.463c, Symphonie No.6 [second version. Alternative 5th movement] (1863-64)# K3 ~+ l! B* I) t/ z0 b+ q8 d  Y
S.463d, Symphonie No.7 [first version] (1837)
2 M( t9 O; v2 r; z  \* GS.463e, Marche funèbre [Beethoven's Eroica Symphony, first version] (1843)
2 L' @4 J: r8 A0 g4 OS.464, 贝多芬交响曲 Symphonies de Beethoven [9 pieces] (1863-64)( |) J, V$ N) X4 V- q
S.465, Grand Septuor, Op. 20 (1841)
/ y& f' E4 e: ]# Q1 b. ^3 W2 U5 HS.466, Adelaïde [third version] (1847)
) _$ U6 g8 [2 N+ ?/ u2 E7 x8 a( |+ \' \S.466a, Adelaïde [first version] (1839)
: X. B( S: x! J- ?4 }- C; M/ p1 gS.466b, Adelaïde [second version] (1840)$ J3 A/ o) o$ l3 m( |$ w- P, K
S.467, Sechs Geistlicher Lieder (Gellert) [6 pieces] (1840)
2 N6 A" I, X$ ?" U: D  R, ]1 lS.468, Sechs Lieder von Goethe [6 pieces] (b. 1849)
' O, L4 r5 ~: M' i; NS.469, An die ferne Geliebte - Liederkreis [6 pieces] (1849)" P, a) [; |  _( t4 k" Q$ }
2.5.2.4 Berlioz
6 Q+ V6 @2 A/ N8 FS.470, Symphonie Fantastique (1833)
" `: Q& U" G! v( ~  p$ j9 i: ?4 KS.471, Overture from Les francs-juges (1833)  w# E! l$ n  i; N: p
S.472, Harold en Italie (with viola) (1837)
& a; m9 \' s+ H$ Y6 M- hS.473, Marche des pèlerins from Harold en Italie [first/second version] (1837?, 1862)( ^' L# f  l+ g  u: R; x5 G
S.474, Ouverture Le Roi Lear (1837): G- u& C, _* i9 N7 w
S.475, Valse des Sylphes de la Damnation de Faust (1860)# L6 G3 R- g$ k" D
2.5.2.5 Bulhakov
  e' `" t8 q/ w9 W0 sS.478, Russischer Galopp [first/second version] (1843, 1843)
: s7 t- j) z$ r9 F/ ]2.5.2.6 von Bülow
, M: A4 k7 t1 L0 y4 M2 n$ VS.479, Dante's Sonnett - Tanto gentile e tanto onesta (1874)$ E& d2 m& r" P* A
2.5.2.7 Chopin
" Y: ~( t+ Y9 B+ u( kS.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% J' e/ I' p7 N0 |. R
S.481, Zigeunerpolka (1847?)% {4 R& ?  Q7 y) t
2.5.2.9 Cui
& K4 g; t  K* B; sS.482, Tarantella (1885)* D6 z, }2 k0 T, N1 G+ U' b: x
2.5.2.10 Dargomyschsky
) l0 y# a4 W8 a3 f) S$ b7 B) WS.483, Tarantella (1879)
. f  C3 m. `( Z+ f) }6 N. }& R# w7 @2.5.2.11 David, Ferdinand. I( e1 f$ E7 W2 U2 I
S.484, Bunte Reihe, Op. 30 [24 pieces] (1850)
; v' v" w% ]+ l0 F' q" N3 T2.5.2.12 Dessauer
' T8 m/ t3 ~# H0 t$ q/ d# {0 M; yS.485, Drei Lieder (1846)# u% r  o1 c( h8 J
2.5.2.13 Ernst, Duke
' v# G1 A) f3 k" L8 k& fS.485b, Die Gräberinsel (1842)
- w5 h0 u6 q% g2 C! x! _& c  G1 V2.5.2.14 Egressy and Erkel0 e0 @/ U" t5 \
S.486, Szózat und Hymnus (1873): [9 L$ B# i1 L) U0 M; m( G8 }
2.5.2.15 Festetics
$ `0 i$ c3 ^  @! V% iS.487, Spanisches Ständchen 1846
1 J# G, D, q3 X% H) f) O0 [2.5.2.16 Franz
8 u6 I# `7 P7 [- B" I+ g  l& lS.488, Er ist gekommen in Sturm und Regen 1848
  M) W; T$ l/ m7 J/ H) RS.489, Zwölf Lieder [12 pieces] (1848)6 S* v0 m) N  Q0 G& a
2.5.2.17 Goldschmidt9 R6 q4 s) m8 n7 i& n5 w9 n+ G( _
S.490, Liebesszene und Fortunas Kugel (1880)
% J' @9 q0 E/ P6 A2.5.2.18 Gounod
5 x- {- n5 p- \7 ]' o7 AS.491, Hymne à Sainte Cécile (1866)
$ q5 q( t3 f; I, t* H/ k0 S2.5.2.19 Herbeck2 x2 N* h0 t4 ]$ q
S.492, Tanzmomente [8 pieces] (1869)0 ~+ ?7 d  e* S" \
2.5.2.20 Hummel
7 X; I% l9 M  k- v" B0 w  XS.493, Grosses Septett, Op. 74 (1848)
' o5 L7 l; Q- G6 m# _2.5.2.21 Lassen5 y. u0 r: N; P: s
S.494, Löse, Himmel, meine Seele [first/second version] (1861, 1872)7 a! g% A9 y& M8 u5 Y/ {
S.495, Ich weil' in tiefer Einsamkeit (1872)
0 B( u' R8 s, g& `! D2 k- S+ d9 NS.496, Hebbel's Nibelungen & Goethe's Faust [4 pieces] (1878-79)9 P  k+ h; J( ~
S.497, Symphonisches Zwischenspiel ('über allen Zauber Liebe') (ca. 1882-83)% s- W' u  k2 I7 H: t# h4 t
2.5.2.22 Lessmann
0 I  h8 s0 F4 |1 PS.498, Drei Lieder ('Tannhäuser') (1882?)
7 B5 W# b9 p! d0 y2.5.2.23 Liszt" i( G, [  V+ Q  @! b( @; e
S.498a, Drei Stücke aus der heilige Elisabeth (1857-62)
4 t4 r+ G# R. R$ YS.498b, Zwei Orchesterstücke aus Christus (1862-66)
0 v$ o3 T9 g# `; oS.498c, San Francesco - Preludio (1862-66)4 T: m7 r) L6 }8 n3 e$ N/ V" e
S.499, Cantico del Sol di San Francesco d'Assisi (1881)
# A8 a# J/ p5 [  n* R5 H6 uS.499a, San Francesco - Preludio per il Cantico del Sol (1880)
  _! x' p. b0 W- k% hS.500, Excelsior! - Preludio (1875)4 M/ j$ K# u, m0 }
S.501, Benedictus und Offertorium (Missa Coronationalis) (1867)0 n" C/ D9 w; H4 N; M) g
S.502, Weihnachtslied II (1864)
2 {, n) s3 P0 W# NS.503, Slavimo Slavno Slaveni! (1863)3 m" V) K- ]/ |; H
S.504, Ave Maria II (in D) [first/second version in D flat] (1870, 1873)
2 A, f" h  H0 d- E( BS.504a, Via Crucis [15 pieces] (1878-79)
. }3 l2 W2 a2 x) `1 v. o/ nS.504b, Choräle [11 pieces] (1878-79)' _* g1 A. }) ]1 m% G
S.505, Zum Haus des Herrn (In domum Domini ibimus) (1884)
- `0 J5 B9 H* g! ]* L! ZS.506, Ave maris stella (1868)
2 z: E0 }, Z8 p- ?, U3 qS.507, Klavierstück aus der Bonn Beethoven-Cantata (?)
* W/ n/ K4 {- {. c+ v* Z1 x- pS.507a, Schnitterchor (Pastorale - Schnitterchor aus Prometheus) (1850)% S1 U5 h0 y# T
S.508, Pastorale. Schnitterchor aus dem Entfesselten Prometheus (1861)
2 G( `  M. N% V' L  Q! TS.509, Gaudeamus igitur - Humoreske (1870)
& \8 S, Y% ]* {& R0 X) C" L5 @S.510, Marche héroïque (?)
, a" Z/ D' z" X3 o. Q1 hS.511, Geharnischte Lieder [3 pieces] (1861)
! A& R8 t6 @) {- Q! HS.511a, Les Préludes (Poème symphonique No. 3) [arranged by Karl Klauser, revised by Liszt] (1863) [1][2]
% x& z6 v( F6 A5 mS.511b, Orpheus (Poème symphonique No. 4) [arranged by Fredrich Spiro, revised by Liszt] (1879) [3]8 }6 Q% V( q8 V. ?$ y
S.511c, Mazeppa (Poème symphonique No. 6) [arranged by Theodor Forchhammer, revised by Liszt] (1870-79) [3]
% [" N1 P7 O5 Y3 VS.511d, Festklänge (Poème symphonique No. 7) [arranged by Ludwig Stark, revised by Liszt] (1870-79) [3]( }! G$ \2 |5 }9 z2 n0 `; `
S.511e, Hungaria (Poème symphonique No. 9) [arranged by Fredrich Spiro, revised by Liszt] (1872) [3]
" E. ^5 ?# Z2 B# a3 ]S.512, Von der Wiege bis zum Grabe (Poème symphonique No. 13) (1881)
# `7 ]! t: I; e& WS.513, Gretchen aus Faust-Simpfonie (b 1867 ); V! D5 J9 \3 ?  B
S.513a, Der nächtliche Zug (?)5 E/ j2 X/ W; M; Z: \
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
3 I4 g* p" G1 TS.514a, Erster Mephisto-Walzer (Mephisto Waltz No. 1) [with later additions] (1859-62)6 {  p& F5 {9 `- i$ z
S.515, Zweiter Mephisto-Walzer (Mephisto Waltz No. 2) (1881) 第二梅菲斯特圆舞曲
4 A+ C  ~5 g. O  t7 }" _# Y9 ?* US.516, Les Morts (Ode Funèbre No. 1) (1860)
: L8 q7 Y4 |" M+ m# ?0 s, d0 KS.516a, La notte (Ode Funèbre No. 2) (?)/ v9 u8 R* T) ?
S.517, Le Triomphe funèbre du Tasse (Odes Funèbre No. 3) (1866)6 n; `" U! R/ J  R5 ^( \; A
S.518, Salve Polonia (a. 1863)+ P4 c4 R4 Y5 l/ l
S.519, Deux Polonaises de St Stanislaus (1870-79)
6 n& \$ q! v3 \) U! AS.520, Künstlerfestzug [first/second version] (1857-60, 1883)6 b, a# @, a7 f/ o
S.521, Festmarsch zur Goethejubiläumsfeier [first/second version] (1857, 1872)# n. l+ Z6 l' D6 e, _) W
S.522, Festmarsch nach motiven von E.H.z.S.-C.-G (1857)8 g; ]) x2 ?1 ]$ v
S.523, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (1870)
# ^9 V( U# z0 G2 Z5 eS.524, Ungarischer Sturmmarsch [first/second version] (?, 1875)
  m. y4 g. A5 S4 A4 xS.525, Totentanz. Paraphrase on Dies Irae (1860-65)
) E; [) R. j) `* i4 a8 m  hS.526, Epithalam zu Eduard Reményis Vermählungsfeier (?)5 M6 i$ f& x7 \6 P2 R4 J
S.527, Romance oubliée (?)& M' H; a& ^, q4 @2 B
S.527bis, Romance oubliée [short draft] (1880)8 i+ j: I# V# t/ |  k; ~  P
S.529, Fantasie und Fuge über das Thema BACH [first/second version] (1856, 1870) 巴赫主题幻想曲与赋格
: c& Q* h  I, {; g+ m, @S.530, L'Hymne du Pape. Inno del Papa. Der Papsthymnus (1864)& @  S! B% A: t$ M4 @! |, H
S.531, Buch der Lieder I [5 pieces] (?)
7 t( Y* L0 y+ q$ @S.532, Die Lorelei (Heine) [second version] (1861)
7 ^$ }3 Y/ ~$ Q' W' QS.533, Il m'aimait tant (Delphine Gay) (1842)7 p, s. P- w% ?6 ~( j7 U8 _8 ?- |7 r5 L. p
S.534, Die Zelle in Nonnenwerth (Felix Lichnowski) [first/second/fourth version] (1842, 1860, 1880)+ D7 }# c- U* J, a0 j# j
S.535, Comment, disaient-ils [Buch der Lieder II] (1845?)- u  u, ~( m! I; s% l" |8 D
S.536, O quand je dors [Buch der Lieder II] (1847?)
6 z' Z7 P! g7 x  O) w% nS.537, Enfant, si j'étais roi [Buch der Lieder II] (1847?)
# s7 L1 b* c5 ?7 W4 H- lS.538, S'il est un charmant gazon [Buch der Lieder II] (1847?)- w* G9 W; y' f9 L
S.539, La tombe et la rose [Buch der Lieder II] (1847?)
% Y% Z) ~- y( S- p! }% |" CS.540, Gastibelza [Buch der Lieder II] (1847?)2 O( {7 O+ ~3 Q7 I* z2 V
S.541, Liebesträume. Drei Notturnos (ca. 1850)  3首夜曲“爱之梦”/ g; M8 g: R0 L4 Z" w, l
S.542, Weimars Volkslied [first/second version] (1857, ?)
& {' B( Q2 i: L( DS.542a, Ich liebe dich (?)
( J' v7 ^' O3 A7 B  `9 n+ ~& JS.542b, Fanfare zur Enthüllung des Carl-Augusts Monument (?)
; M4 M1 ?8 t6 f, s% y9 [% j8 AS.543, Ungarns Gott. A magyarok Istene (Petófi)]] [original/(S543bis)left-hand version] (1881)
5 p/ b+ _: t' e) MS.544, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)+ f5 ^6 k( L; V* ^' g
S.545, Ave Maria IV (1881)$ R  M! m, M" i  T
S.546, Der blinde Sänger (Alexei Tolstoy) [solo version] (1878)1 Z( `9 Z) h5 D  K1 b$ G( D
S.546a, O Roma nobilis (1879)1 G) C3 [5 {2 P+ c
2.5.2.24 Mendelssohn7 P' K' ^* p' v: K1 S- I
S.547, Sieben Lieder (from Opp. 19, 34, 47) [7 pieces] (1840)/ V0 H( }  x( o1 q  D; Y: F
S.548, Wasserfahrt and Der Jäger Abschied (from Op. 50) [2 pieces] (1848)
' p7 t9 t1 ?# }5 j: C$ W2.5.2.25 Meyerbeer  f( t& d. N; F% |! \& a% B
S.549, Festmarsch zu Schillers 100-Jähriger Geburtsfeier (?)
" D$ \/ l7 g! }% X2.5.2.26 Mozart# H+ O+ C3 E& V" V$ l" i9 z+ K+ R
S.550, Zwei Transcriptionen über Themen aus Mozart's Requiem, K626 [2 pieces] (1862)
: {- w1 S( j) A. V+ T& b2.5.2.27 Pezzini1 ]5 a8 R& ~' ~. [
S.551, Una stella amica. Mazurka (?)5 Y7 O* x! ?' u+ ~8 c
2.5.2.28 Raff& y9 r& V+ [2 E* v) H& D% T( C) a* H
S.551a, Einleitung und Coda zu Raffs Walzer in Des-dur (opus 54/1) (1880)& j4 k  _7 G4 N4 {6 Z2 H
2.5.2.29 Rossini- ?* h0 M7 D1 f3 s3 q: ~
S.552, Ouverture de l'opéra Guillaume Tell (1838)/ {6 C5 K  z3 v# b7 p, R" F
S.552a, Caritas [La charité, first version] (1847)
; H6 r1 N& G) GS.552b, La caritá [La charité, simplified version] (1847)4 d  i& S0 K. c3 A4 {& b  p
S.553, Deux Transcriptions [2 pieces] (1847)- L" [  w  a# t& E* v% J
2.5.2.30 Rubinstein
9 B3 o) q% O- u: aS.554, Zwei Lieder [2 pieces] (1880)# _8 c  l5 h& |+ E
S.554a, Einleitung und Coda sur des notes fausses (1880)
* g$ G! O# ]& E) _  E& R2.5.2.31 Saint-Saëns
  g, U1 D4 g1 K3 B( tS.555, Danse macabre, Op. 40 (1876)
& x4 G& G8 X2 k1 U- A2.5.2.32 Schubert
( n  E8 v4 |  V$ T$ a- z; jS.556, Die Rose [first/intermediate/second version] (1832, ca. 1837, 1838)8 ^9 l4 H  @' Q; l, ]# p
S.557, Lob der Tränen (1837)  e9 u* E* j: M) q, |
S.557a, Erlkönig [first version] (?)6 d2 ~6 W+ v$ b; ]6 u4 s
S.557b, Meeresstille [first version] (?)
1 r/ ?0 n8 D7 H. bS.557b/bis, Meeresstille [first version, ossia] (?)
' J- R  I8 s* c8 H0 ?4 u% XS.557c, Frühlingsglaube [first version] (?)
0 b. G2 c/ c5 Y0 DS.557d, Ave Maria (Ellens dritter Gesang) [first version] (?)
6 \; z6 P% ]$ T& Q# dS.558, 12 Lieder (1837-38)
$ D7 d' V7 M( \* Y3 IS.558bis, 12 Lieder [revised versions of Nos. 3, 4, 7, 8, 9, 11] (ca. 1839)2 W" ], E8 E  z* ]4 U7 c' A* i! Y
S.559, Der Gondelfahrer, Op. 28 (1838)
5 \* |6 E4 n7 `" p, WS.559a, Sérénade [Ständchen, first version] (1837)
9 F) F9 V$ O' b7 ?5 ^6 bS.560, Schwanengesang [14 pieces] (1838-39)
) N6 c+ N0 L" @3 s' j( A* sS.560bis, Schwanengesang [14 pieces, alternative versions] (ca. 1839)
* Q; f. C' R8 G1 `! e( U5 JS.561, Winterreise [12 pieces] (1839)6 R0 q: h. `& f; U- k+ I$ y/ z7 m8 E4 H3 G
S.561, Winterreise [alternative versions of Nos. 2, 3, 7, 10,] (ca. 1839), g( x7 D& l/ o- [
S.562, Geistliche Lieder [4 pieces] (1841)
1 n2 V) U& Z7 Q1 z( b+ sS.563, Six mélodies célèbres [6 pieces, 1st by Weyrauch] (1844)& T. m2 s6 X- g7 F" u9 s' T
S.564, Die Forelle [second version] (1846), L+ n  ^: Z" S/ ^6 o& C
S.565, Six Mélodies favorites de La belle meunière [6 pieces] (1846)
4 m- a& @* g; m$ U" a! p2 ]S.565bis, Müllerlieder [6 pieces, revised versions] (ca. 1879)4 y8 \' r4 C- E4 O# {
S.565a, Wandererfantasie (Grosse Fantasie in C-dur) (ca. 1868): n, x6 ?' w5 u7 Z1 F* r* M/ z+ I- ?
S.565b, Schubert's Impromptus [2 pieces, Op. 90/2-3] (ca. 1868). |) `$ V0 y" B5 p: @
2.5.2.33 Schumann! x1 d+ ]8 \& _- d3 O  H& d4 Y
S.566, Widmung, Liebeslied (1848)
/ C9 o; U  O  T5 f+ }- JS.566a, Widmung, Liebeslied [sketch of a more literal transcription] (1848)5 C& {) ^" n& F; t7 A! ?
S.567, An den Sonnenschein, Rotes Röslein (1861)* C' g& b4 Z: O! L/ p2 S: w0 ]) M
S.568, Frühlingsnacht (überm Garten durch die Lüfte) (1872)
# j. X- [4 R$ Z& l6 W3 p5 P0 mS.569, Zehn Lieder von Robert und Clara Schumann [10 pieces] (1872)6 `5 W9 t! W3 `# ^  W& i: c
S.570, Provençalisches Minnelied (1881); S; a8 o0 |" _1 p% y. v; Q
2.5.2.34 Smetana
; U: }, k! p9 D- z: ZS.570a, Einleitung und Coda zu Smetanas Polka (de salon, opus 7/1) (1880)9 ]5 j- ?) o$ G+ N! t  I
2.5.2.35 Spohr: l4 j2 e; D8 P. G$ D0 k
S.571, Die Rose aus Zemire und Azor (1876) 玫瑰浪漫曲 S.571 - 根据施波尔歌剧《美女与野兽》浪漫曲改编
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 楼主| geci110 发表于 2015-7-22 18:35:37 | 显示全部楼层
2.5.2.36 Tausig
0 q1 b" y: c2 z6 C. RS.571a, Einleitung und Schlußtakte zu Tausigs dritter Valse-Caprice (1880)7 {2 S8 S( s% {( i' n8 @7 t
2.5.2.37 Szabady and Massenet
" v; l, u+ `+ }- z# N' oS.572, Revive Szegedin (1879)0 i  }# _+ O% W7 U9 E7 F
2.5.2.38 Széchényi, Count Imre8 f0 e  A( i# _% w0 I( C) q
S.573, Bevezetés és magyar indulò (1872)  P4 Y5 ^4 f: z0 }
2.5.2.39 Tirindelli
  I9 v$ X2 {+ W  e. qS.573a, Seconda mazurka variata (1880)
- Z: |7 s2 l+ D9 \3 p2.5.2.40 Weber
  p& q1 n6 X" Y0 L  zS.574, Ouverture Oberon (1846?)
. p, ?. c9 d3 @5 b: z7 rS.575, Ouverture Der Freischütz (1840-41). A. a. X6 K; v2 |, A- H5 o! w9 G% V0 T
S.576, Jubelouverture (1846)
0 c9 e- [( H; T& {% US.576a, Konzertstück, Op. 79 (ca. 1868)
) ~6 l3 E# |# S( s: V* B8 ]2.5.2.41 Wielhorsky, Count Michael6 g& W  I/ D6 b1 Y% B, J
S.577, Lyubila ya [first/second version] (1843, ?)* \+ V5 ^! i% M& k) g
2.6 Pianoforte Duet(钢琴二重奏)
+ B3 Y6 g3 _) v5 w0 C. x$ Q2.6.1 Field- w6 D3 |( d' Q" U* V0 W1 r
S.577a, 11 Nocturnes (Nos. 1-9, 14, 18 and Nocturne Pastorale in E) (?)
9 W) l5 {% J6 C* {2.6.2 Liszt3 o" ]% U9 s) L' n/ ^8 Z
S.578, 4 Pieces from St. Elisabeth (1862)
6 n: z7 y$ f/ p8 Z+ S  n# HS.579, Christus Oratorio 4th and 5th section (?)
! ~* u0 Z% Q/ ^2 Q' ?# yS.580, Excelsior! - Preludio (?)
/ I+ h& t8 v1 |: T4 k: ?S.581, Benedictus and Offertorium from the Hungarian Coronation Mass (1869)
+ }: @  ?% U8 b3 w7 E; @; CS.582, O Lamm Gottes, unschuldig (1878-79)
, f: I4 s. n2 b" zS.583, Via Crucis (?)
8 A! K) F6 o% f8 Y, T& Z: i0 TS.584, Festkantate zur Enthüllung des Beethoven-Denkmals in Bonn (1845)! h1 i0 s- N+ ~
S.585, Pastorale. Schnitterchor aus dem Entfesselten Prometheus (1861)# t# e5 m( q9 ^; U# n
S.586, Gaudeamus igitur. Humoreske (1870)& @! G: _# J5 P+ f
S.587, Marche héroique (?)0 \/ ~2 r+ x0 O; y; r8 U4 m" _
S.588, Weimars Volkslied (Cornelius) (1857): l# S1 |+ d- H& h" E( m
S.589, Ce qu'on entend sur la montagne (Poème symphonique No. 1) (1874)
0 o% g4 y3 `4 Q% L- QS.590, Tasso, Lamento e Trionfo (Poème symphonique No. 2) (1858)
/ n. n4 Z6 H4 SS.591, Les Préludes (Poème symphonique No. 3) (ca. 1858)! O& h$ G2 w7 @. t
S.592, Orpheus (Poème symphonique No. 4) (ca. 1858)
* Y; x0 K3 J( k  AS.593, Prometheus (Poème symphonique No. 5) (1858)# F7 K6 y  B: y
S.594, Mazeppa (Poème symphonique No. 6) (1874)
' x2 B4 O% t$ Y8 z: y0 U0 TS.595, Festklänge (Poème symphonique No. 7) (1854-61)- K/ I/ H  b! Q* N4 q! X; K) ^
S.596, Hungaria (Poème symphonique No. 9) (1874?)
7 b* }! S# `8 z3 Q& u, sS.569a, Héroïde funèbre (Poème symphonique No. 8) (ca. 1877)
; A. g( k% f) }4 z% u# m7 u$ i: ?S.596b, Hunnenschlacht (Poème symphonique No. 11) (ca. 1877)% a4 M0 r3 E9 \- b0 ^1 \. f; v
S.596c, Die Ideale (Poème symphonique No. 12) (ca. 1874-77)
! ^5 |9 f4 v) V# v$ XS.597, Hamlet (Poème symphonique No. 10) (1874)# D1 k: k3 t2 u+ W& l' v2 C6 w- D
S.598, Von der Wiege bis zum Grabe (Poème symphonique No. 13) (From the Cradle to the Grave) (1881)
% b& K+ W& r, v; O% GS.599, Two episodes from Lenau's Faust (1861-62)5 Y# M& A8 O. x! h
李斯特全部作品目录-4& R7 H2 T& z9 Y
0 U/ m/ _  h9 Q$ R
S.600, Mephisto Waltz No. 2 (1881); R& L) i) ~% j
S.601, Les Morts (Ode Funébre No. 1) (1866)
2 j! a8 H9 s1 C: CS.602, La Notte (Ode Funébre No. 2) (1866)
8 d' D5 }5 \% k3 OS.603, Le Triomphe Funèbre du Tasse (Ode Funébre No. 3) (1866?)' x/ ~5 {! J* I+ E3 a6 P& W
S.604, Salve Polonia (1863)
3 N3 r3 D; S3 j( B) @. jS.605, Künstlerfestzug zur Schillerfeier (1859)1 d! x, \9 E8 j* }% h1 h( w! x3 w
S.606, Festmarsch zur Goethejubiläumsfeier (ca. 1858)+ R$ m' f8 g. S5 a% Q* G4 Q
S.607, Festmarsch nach Motiven von E.H. zu S.-C.-G. (ca. 1859)
3 \+ T# u4 A$ I; b# J$ L. `* ES.608, Rákóczy March (1870)
: k  K- f+ Q( A) xS.609, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (1870)
8 u1 e, ]4 m1 n- {& y9 ?' NS.610, Ungarischer Sturmmarsch (1875)" q4 R2 c6 ~) x7 W& O/ d
S.611, Epithalam (1872)
: |& c: Y8 e$ LS.612, Elégie (1874)
: r: l/ R9 n& hS.613, Weihnachtsbaum (1876)
1 D0 b+ x% I: Y; D3 y& Y7 Q. U* nS.614, Dem Andenken Petöfis (Petófi Szellemének) (1877)
5 u* o% S3 m0 d( t: v7 S" eS.615, Grande Valse di Bravura (1836)
# x1 Q) Q' A: ~1 ]; E; m, wS.616, Grand Galop Chromatique (1838)4 s, n  j& L: L6 Y# ]( v, ?
S.617, Csárdás macabre (1882)
4 V  f- r3 g+ L) B7 G' h6 hS.618, Csárdás obstiné (ca. 1884)
7 m. Z) ~2 S( O+ t* z, _S.618a, Vom Fels zum Meer. Deutscher Siegesmarsch (?)9 }! M: L) U5 @
S.619, Bülow-Marsch (ca. 1883)
- G/ z! s3 `. V1 t" K9 rS.619a, Festpolonaise (1876) [4]- A5 f: r# E' |$ A0 j# b' ?! q& P
S.620, Hussitenlied (Melody by J.Krov) (1840)* S+ W8 o' |$ L: n5 R4 }
S.621, 6 Hungarian Rhapsodies [from the orchestral version, S359] (1874)
  ^# V1 f  g, w9 L* H2 w0 }S.622, Rapsodie hongroise No. 16 (1882)
- C2 W! \; R' H( PS.623, Rapsodie hongroise No. 18 (1885)
  Y0 k! a7 K; \S.623a, Rapsodie hongroise No. 19 (ca. 1885)2 C. O  n6 P, a
S.624, Fantasy and Fugue on the chorale Ad nos, ad salutarem undam (1850)  |; f; A2 Q7 w
S.625, L'Hymne du Pape (Der Papsthymnus) (1865)
4 @- H6 e7 D6 X; d, jS.626, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)
& ]2 o" [2 ]" d5 ^- E+ `S.627, Fantaisie sur des motifs de l'opéra La Sonnambula (Bellini) (1852)
7 f0 O  n1 a3 m2 l1 {$ FS.628, Bénédiction et serment (Berlioz's 'Benvenuto Cellini') (1852)+ b! A- l* Z; g  q) A6 ]7 Y
S.628a, Marche et cavatine (Donizetti's Lucia) (?)  a" t5 \( ]) S2 E) @& @5 M
S.628b, Szózat und Hymnus (Egressy and Erkel) (1873); t* G  e4 j* l  I# F
S.629, Tscherkessenmarsch (Glinka's Ruslan i Lyudmila) (1843)" T9 w" F4 u6 [0 J: \. R3 J" C# S
S.630, Réminiscences de Robert le Diable - Valse infernale (Meyerbeer) (1841-43), r3 {% ^1 z) [1 a% [
S.631, Andante finale und Marsch (Raff's 'König Alfred') (1853)
5 L8 }4 J$ Y3 @3 PS.632, 4 Marches (Schubert) (1879)
1 w  Z- J$ @+ y, ES.633, A la chapelle Sixtine (Allegri Mozart) (1865)
3 d; @9 ~4 e! p1 Y! bS.634, Grand Septuor Op. 20 (Beethoven) (1841)
& Y1 M( z4 Y% q5 w8 S2.6.3 Mozart
) Z* D) e9 Y7 [5 V) T+ Z1 qS.634a, Adagio from Mozart's Die Zauberflöte (1875-81?)& p5 [7 u9 ~) w: Y5 r
2.7 Two Pianofortes(双钢琴)) o; e* t% L2 N' f$ I* f8 s3 v5 \
2.7.1 Liszt% y* G4 Q- v& P1 B; C3 E# q9 e% E7 U% E
S.635, Ce qu'on entend sur la montagne (Poème symphonique No. 1) (ca. 1854-57)
2 T0 ~+ X0 [0 u* h* eS.636, Tasso, Lamento e Trionfo (Poème symphonique No. 2) (ca. 1857)
# w, T9 D; M# m" G' d5 VS.637, Les Préludes (Poème symphonique No. 3) (ca. 1854-56)
3 H  T+ o8 ~7 z& q5 ^S.638, Orpheus (Poème symphonique No. 4) (ca. 1854-56)
) S' O3 M: d( B0 P5 y  RS.639, Prometheus (Poème symphonique No. 5) (1855-56)9 K/ |9 E* u: n) o) N* M/ t1 ?
S.640, Mazeppa (Poème symphonique No. 6) (1855)
* d8 }. o6 `7 O/ DS.641, Festklänge (Poème symphonique No. 7) (ca. 1853-56)3 D* g5 m" l1 v, d1 o
S.642, Héroide Funèbre (Poème symphonique No. 8) (ca. 1854-56)4 y) y6 K$ `6 l9 ]$ b
S.643, Hungaria (Poème symphonique No. 9) (ca. 1854-61)
% q# y! S# d5 V  A; Z0 m& m# VS.644, Hamlet (Poème symphonique No. 10) (ca. 1858-61)
0 E+ c) g* y# C# N  |S.645, Hunnenschlacht (Poème symphonique No. 11) (1857). r% o3 m  J5 U2 S: d
S.646, Die Ideale (Poème symphonique No. 12) (1857-58)% D# U& e0 q( y+ u2 f0 R
S.647, A Faust Symphony, in three character pictures (1856)
  ^6 a% x" D+ }# v/ w1 i! MS.648, A Symphony to Dante's Devina Commedia (ca. 1856-59)* N+ a0 Y5 _' K8 C/ |3 u  G
S.649, Fantasie über Beethovens Ruinen von Athen (1865), U. ~: z! J/ v# D* ?
S.650, Piano Concerto No. 1 in E flat major (1853)+ W. |  _: O8 n" u* ?  ?
S.651, Piano Concerto No. 2 in A major (1859)1 y% L7 [# U, e) l. }
S.652, Totentanz. Paraphrase on Dies Irae (1859)
6 {( Z. A, L" W; o! KS.653, Wandererfantasie (Schubert) (a. 1859)# U9 K' d( T, h1 J" ?2 z0 N
S.654, Hexaméron, Morceau de Concert (1837)9 V8 G% A& W; T6 m8 o. j
S.655, Réminiscences de Norma (Bellini) (1841)" I4 z8 p' A+ H+ z
S.656, Réminiscences de Don Juan (Mozart) (1841)! m0 |6 _, q' G# h) J; _* e8 }  k( a
S.657, Symphony No. 9 (Beethoven) (1851)
3 J) O( P& S4 q! ?  y: p. b& {: xS.657a/1, Piano Concerto No. 3 (Beethoven) (1878)5 ]/ V! o7 M+ l* x! N
S.657a/2, Piano Concerto No. 4 (Beethoven) (1878)7 t6 s& B- p! d( o/ l
S.657a/3, Piano Concerto No. 5 (Beethoven) (1878)
  |& C7 O6 \3 ~0 o$ ~7 VS.657b, Bülow-Marsch [2-pianos, 8-hands] (1884)
1 t2 _3 a5 v# U2.8 Organ(管风琴)0 v4 n5 ]. Z# D# k$ w  J
2.8.1 Allegri und Mozart* T+ u- Q# k" ?+ S4 n" Z, ]' `0 f
S.658, évocation à la Chapelle Sixtine (1862). M9 ]: t' O- ?& F) c! h& a( `
2.8.2 Arcadelt
7 l. P  d4 T  u8 KS.659, Ave Maria (1862)" A2 {2 H7 [) B1 e. \& F0 Y4 C0 e
2.8.3 Bach
1 i* y# t2 z, H; v, B$ \- t6 e( b: N# {) _! c; P) R( l
S.660, Einleitung und Fuge aus der Motette Ich hatte viel Bekümmernis und Andante Aus tiefer Not [2 pieces] (1860)
, R/ K* ]7 p1 t' b& R2 XS.661, Adagio from Bach Violin Sonata No. 4 (BWV1017) (1864)# N" Z, N- j5 {" x
2.8.4 Chopin, D8 i2 C2 u# `

) a5 m; I8 t" WS.662, 2 Préludes from Op. 28 (Nos. 4, 9) (1863)
& ^4 b7 s) h6 [4 Y4 p( g6 @# E2.8.5 Lassus
+ {5 }4 }! ^& H- E/ G
6 Z2 V& Y# F$ H) R: d( D3 kS.663, Regina coeli laetare (1865)3 E' v0 q0 u; G) f2 K7 T
2.8.6 Liszt: f0 H  b: n! J$ D& a+ J

8 V/ x+ g9 J! x3 x, cS.664, Tu es Petrus from Christus (1867)
( d7 w( g9 Y3 l! k- yS.665, San Francesco (1880)
+ b9 e0 g. g8 z( VS.666, Excelsior! - Preludio (?)
( j2 F. i$ v7 C& ]6 H" \& P$ ~: tS.667, Offertorium from the Hungarian Coronation Mass (1867)( V* w& |& V; |
S.668, Slavimo Slavno Slaveni (1863)2 y- p# Y' i0 g1 a. X
S.669, Zwei Kirchenhymnen [2 pieces] (1877)+ c/ l* m9 i& o1 M
S.670, Rosario [3 pieces] (1879)4 J( c! k, z  [4 g# C
S.671, Zum Haus des Herrn (In domum Domini ibimus) (1884)
- U* P3 h3 U, x0 e# z0 tS.672, Weimars Volkslied (Cornelius) (1865)
" Y4 x! w4 A4 I, r9 J) oS.673, Weinen, Klagen' Variationen (1863)
: U2 T" r- p5 z4 v0 s+ @S.674, Ungarns Gott. A magyarok Istene (Petófi) (1882); [, @: d) F2 r8 ?" L
S.674a, O sacrum convivium [2 versions] (?)+ E7 G7 S4 r) e6 ]; X( S" w' P# J
2.8.7 Nicolai
! x7 R$ }. a( N/ K3 Y( }" H6 q* f" V! u) U
S.675, Kirchliche Festoverture (1852)
6 u3 b7 ?: \) [$ C- q5 U4 [2.8.8 Wagner
/ D8 W' s* J# y9 v6 E8 E$ M, l: O3 w
S.676, Pilgerchor from Wagner's Tannhäuser (1860)
$ P! ^& Z9 n2 W+ }0 v( O; ]3 L# }2.9 Organ with Other Instruments(管风琴和其他)8 V& R! [9 K; U! I9 t1 _# x

1 J3 q0 O$ H- F- d& F1 Z, E+ x$ WS.677, Hosannah from Cantico del sol di San Francesco d'Assisi (for organ and bass trombone) (1862)
( y' W& L' p- s3 x- o& u6 X: {S.678, Offertorium and Benedictus from the Hungarian Coronation Mass (1869)
8 F* ^7 D; {- i4 oS.679, Aria 'Cujus animam' from Rossini's Stabat Mater (for organ and trombone) (?)" A$ x3 f( Y) D; ^1 @3 d
Vocal Arrangements声乐
+ e4 _0 ]( F3 l5 y$ j, i( {  k; n  u9 ~1 b, q
S.680, Ave maris stella (1868)$ x" T1 g' U0 z1 s1 x. U
681, Ave Maria II (1869)
) L" M: Z% Z6 k2 W* h2 [S.682, Air du Stabat Mater (Rossini) (?) - x" d9 y: s9 _) q5 f
S.683, Serbisches Lied (Hohenzollern-Hechtingen, Prince FWC. von) (?)
# |3 {4 z* |+ E3 u2 n) Z* U1 G$ lS.684, Barcarolle vénitienne (Pantaleoni) (?)6 g$ U* Q4 S# m( j/ R+ ~' J' H
S.685, Es hat geflammt die ganze Nacht (Grand Duchess Pavlovna) (?)( f6 b* x0 ^5 ]. ~1 Y. t
7 d& L% b8 J, A- F1 v
2.10 Recitations4 Z8 X6 N7 g: F) @: g' B
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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* r* V  K6 [3 o9 s. ^4 T; T5 c

/ l4 Z( h& i  o& e
9 x! e" z- [' R) F; D+ Z( o$ [( e: A# K; E7 ?- s
* B* A9 v) F5 ~' Q- R: W; \

: i% M. E5 |; A; Q% D4 R) @; _% m# g% h1 D/ y' |, z* F
3. Appendix7 V8 z4 S1 D* ^/ O% n
' x. c/ @0 P3 e% h7 S: J1 o
3.1 Unfinished Works3 j4 S4 ?5 w/ i7 Q' _" ]( Z

5 ?: G5 v8 b+ v. E/ ~% [- J' }S.687, Sardanapale (Byron) [opera, partly sketched, 111 pages] (?)
4 s* f1 v7 y1 l- Q) m4 f0 ~+ Q+ ?8 dS.688, Oratorio - Die Legende vom heiligen Stanislaus [sacred choral] (1873-85)' t* r  N4 y/ P( ^0 H! X
S.688a, St Stanislaus fragment [solo piano, Library of Congress] (1880-86), C4 \$ o2 g% }/ w) P4 M' @: y* P
S.689, Singe, wem Gesang gegeben [secular choral] (1847)  X3 |5 T( c0 Z6 d% `$ _  X
S.690, Revolutionary Symphony [unfinished, revised 1848] (1830)
9 p/ F) f, F3 j" e; gS.691, De Profundis [piano and orchestra, De Profundis - Psaume instrumental] (1834?)6 W  |" e) W8 L" S. [1 s/ ?& A/ j
S.692, Violin Concerto [only sketched] (1860)0 B& ^. L3 ]+ o) ~3 I
S.692a, The Four Seasons String quartet (Vivaldi) (1880?)
3 D! F" C, l/ b( S; e! L, xS.692b, Anfang einer jugendsonate [solo piano] (1825)
6 l# R7 f- k0 x/ y& [6 A, ^S.692c, Allegro maestoso [solo piano] (1826)9 z4 F8 D1 m5 ~+ U- z
S.692d, Rákóczi-Marsch [solo piano, first version, simplified, unfinished] (1839)# O# U  h+ \5 r/ Z
S.692e, Winzerchor (Prometheus) [solo piano] (1850)
/ h9 W, X9 |  S( q/ ?S.693, Deux marches dans le genre hongrois [solo piano, 2 pieces] (1840?)
% O( Y. {  B( d9 L4 hS.693a, Zwei Stücke aus der heilige Elisabeth [solo piano] (1862)5 Z8 ^. q0 [: V- Q. p: I
S.694, Fantasie über englische Themen [solo piano] (1840?)/ m5 c, [) L$ n+ C* f5 M. v
S.695, Morceau en fa majeur [solo piano] (1843?)6 A! T/ m$ J/ t  `
S.695a, Litanie de Marie [solo piano] (1847)
* G( {9 K6 |$ ~2 r8 SS.695b, Zigeuner-Epos [solo piano, 11 pieces] (ca. 1848). ^: i4 U0 f8 u* ~
S.696, Mephisto Waltz No.4 (1884) 第四梅菲斯特圆舞曲- u% ?0 p& X5 l! s' h' j+ k
S.697, Fantasie über Themen aus Figaro und Don Giovanni (Mozart) [solo piano arrangement] (1842)3 c6 N1 h& U6 g7 ?( S  _
S.698, La Mandragore - Ballade de l'opéra Jean de Nivelle de L. Delibes [solo piano arrangement] (a. 1880)0 a# r0 E) l% U: E, P$ x1 o) s4 {! B
S.699, La Notte (Odes Funèbre no. 2) [solo piano arrangement] (1864-66)
' C, f9 s- T/ v5 jS.700, Grand Fantaisie (Variations) sur des thèmes de Paganini [first/second version; completed by Mezö] (1845)
% t/ e5 h5 ?1 G, ~. d+ A. A8 BS.700a, Variations sur Le Carnaval de Venise (Paganini) [solo piano arrangement] (?)
# y9 ]/ ^* _1 U: `S.701, Den Felsengipfel stieg ich einst hinan [song] (?)
7 e$ Y9 o, C. s9 R$ m+ XS.701a, Allegro di bravura [orchestra, arrangement] (ca. 1830)
3 ~' }/ X# P$ j! M, p7 W+ KS.701b, Marie-Poème [solo piano] (1837)
9 Q: E  D2 V! x& h9 |3 VS.701c, Andante sensibilissimo [solo piano] (1880-86)
* n' W5 \: p5 f9 a* s9 VS.701d, Melodie in Dorische Tonart [solo piano] (1860)8 q& n" Y2 r2 p2 ^
S.701e, Dante fragment [solo piano] (1839)  Z0 Y5 E8 R% H& U
S.701f, Glasgow fragment [solo piano] (?)  i) z4 o# q1 ?. |
S.701g, Polnisch - sketch [solo piano] (1870-79)
% i. p+ g* G3 CS.701h/1, Operatic aria - and sketched variation [solo piano] (?)9 Y( C: D0 v! N3 z
S.701h/2, Valse infernale (Meyerbeer) - theme [solo piano arrangement] (?)$ _# a" f# g7 F/ R+ _4 }/ O! C
S.701j, Harmonie nach Rossini's Carità (La charité) [solo piano arrangement] (1847)
- G" y) ^! F0 ?! c. T! V6 U! JS.701k, Korrekturblatt (to an earlier version of La lugubre gondola) [solo piano] (1882)
$ e+ s: q/ A9 Q. `' @( \  |3.2 Doubtful or Lost  N6 X, @5 ~9 {! `9 a" A

) @0 L9 |" L2 x. Q4 @3.2.1 Sacred Choral Works
& e2 x% g/ J/ t, W# ]* T0 c6 T2 T* p( E  a8 _  [8 o5 }* r
S.702, Tantum Ergo (1822)
, k+ I) C: X0 M2 N0 @) vS.703, Psalm 2 (1851)
- }/ g9 J( V- D/ ^$ zS.704, Requiem on the death of Emperor Maximilian of Mexico (?)& }6 y1 _2 |6 x, U( s- v& B+ W
S.705, The Creation (?)
9 }* K9 r( y; x) G3 YS.706, Benedictus [doubtful] (?)) Z) K! h8 M7 w4 Z  X. X* A- z
S.707, Excelsior [arrangement, doubtful] (?)( k% C& A0 ]8 C/ i1 l, @
3.2.2 Secular Choral Works
2 D. j  Y+ H& k; q
/ i9 X& D6 ?7 ?) M- Q8 `/ ]4 [# TS.708, Rinaldo [doubtful] (ca. 1848)* O1 X$ l% i$ y- m! D
3.2.3 Orchestral Works7 n4 p6 N- g4 E5 n- i9 R

( n. @# D7 g( p  fS.709, Salve Polonia [rediscovered, renumbered as S113] (1863)
9 t% p6 L$ V, h  L* S; v* IS.710, Funeral March (?). q, l8 F" Q  \. N
S.711, Csárdás macabre [arrangement] (?)
& c2 A$ U4 {9 V5 g0 e  YS.712, Romance oubliée [arrangement] (?)/ w' m  {8 T" u/ S9 Q! s" x
3.2.4 Piano and Orchestra7 T" @; u( Y( i. j$ O2 z

3 F  m& p8 ~) T" j% e! ZS.713/1, Piano Concerto in A minor (1825?)- L+ f' ]* t* W; B' a: t
S.713/2, Piano Concerto (1825?)
0 X. w; [+ D( O8 CS.714, Piano Concerto in the Hungarian style [by Sophie Menter, renumbered as S126a] (1885)
( M9 ~* W. m/ ~+ G* IS.715, Piano Concerto in the Italian style (?)( w, M; V8 J! M
S.716, Grande fantaisie symphonique [orchestral] (?)4 U- R$ M- v1 j7 y0 Y! ]3 J
3.2.5 Chamber Music
& Z8 \' K, |7 |$ c2 M2 d
0 I( c3 g7 @% i( C$ eS.717, Trio (1825)- a% ?" R& z% r3 a& c5 P
S.718, Quintet (1825)
1 b; n: g' S5 c. pS.719, The Four Seasons String Quartet (Vivaldi) [rediscovered, renumbered as S692a]
4 \% S* n) k/ h2 i! B, r! eS.720, Allegro moderato (?)
( U! D/ Q  s3 sS.721, Prelude (?)' n6 [- {8 |/ w8 D% N
S.722, La notte (Odes funèbre no.2) [rediscovered, renumbered as S377a] (1864-66)
+ ]8 f( }& [# c7 V5 ]S.723, Tristia [arrangement, from Vallée d'Obermann S160/6] (1880-86 ?)
9 p! }% k  w1 g) wS.723a, Postlude on theme from Orpheus [arrangement] (?)
; K! ?% y& {/ o9 p1 W3.2.6 Pianoforte Solo
+ M  U0 Q& [/ y9 N" C7 s" O5 S" @" D6 S4 ^
S.724, Rondo and Fantasy (1824)
/ H* M" v/ l) ~0 v  M! Y! \: l0 o  `S.725, 3 Sonatas (1825), l; }! e& a; L9 D! `* M
S.726, Study (?), D2 |+ k! i4 g: z* t% i, D/ f0 t
S.726a, Valse (?)
. R4 J5 g- s) @5 U: |, ]* A李斯特全部作品目录-51 R9 E3 J: k, t

7 d. e0 U, q/ a$ |S.727, Prélude omnitonique (?)* ]1 k9 q- i' Y9 L
S.728, Sospiri (Fünf Klavierstücke) [rediscovered, renumbered as S192/5] (1879)
' a. _- q+ `8 K; V7 }% DS.729, [rediscovered, renumbered as 42(?)]2 h. B2 P$ Y# k
S.730, Dem Andenken Petöfis (Petófi Szellemének) [rediscovered, renumbered as S195] (1877)& _  N/ D$ A% n& ^. B
S.731, Valse élégiaque (?)3 _, [" e9 }0 F5 ?4 L. S
S.732, Valse Oubliée No.4 [rediscovered, renumbered as S215/4] (1883-84)  U' c, y) @" @, b4 c
S.733, Marche hongroise (in E flat minor) [rediscovered, renumbered as S233b] (1844)$ g3 I+ c9 c; n) w& d) E1 g
S.734, Ländler (?)
/ S# `* ?6 F) V+ a; D* uS.735, Air cosaque (?)  [( _$ V  P) M( M
S.736, Kerepsi csárdás (?)$ [! E. H7 b; r/ S
S.737, 3 morceaux en style de danse ancien hongrois (?)
# y; D/ X% C& ^  L& b: d% I  zS.738, Spanish folksong arrangement (?)
/ S3 v7 e; h" \' {/ r3.2.6.1 Arrangements) K" e  F# A8 E. B% z2 F  [
. o6 v; T. I( P# b
S.739, Corolian Overture (Beethoven) (?)
  ^, J( L" v4 ], eS.740, Egmont Overture (Beethoven) (?)
+ W' s7 `2 d/ p! b3 ]1 k9 y" ^. h, TS.741, Le carnaval romain - Overture (Berlioz) (?)
" d$ f3 k* U9 |S.742, Duettino (Donizetti) (?)& y7 S' N' i, h& X  V- k0 i
S.743, Soldiers Chorus from Guonod's Faust (?)* w! \* A$ u/ d. }( Q5 V
S.743a, Fantasia on themes from Halévy's Guitarero (b. 1841)0 ?- N, S1 z) T9 l6 ?
S.744, Paraphrase on Act 4 of Kullak's Dom Sebastien (?)9 J, E1 U, L) I* F) L" C7 `
S.745, Funeral March (?)
) j7 A! G7 d$ I1 i3 VS.746, Andante Maestoso (?)7 r; ]. R! v, ?
S.747, Poco adagio (from Missa Solemnis) (?)
1 l  z7 k1 _4 V( `' ^  j8 k) I/ IS.748, Overture to Mozarts "Die Zauberflöte" (?)  C+ p9 o  o% T: {6 Y1 r, x- g/ q
S.749, Preussischer Armeemarsch (Radovsky) (?)" K/ c9 J0 O/ G
S.750, Siege de Corynthe, Introduction (?)" T9 H# C* t5 ?8 t- D& I
S.751, Nonetto e Mose, Fantasia on themes by Rossini (?)" u: s8 i5 ]. _
S.752, Gelb rollt (Rubinstein) (?)! ]9 t4 p5 n, [2 x* t9 D* s
S.753, Alfonso und Estrella, Act 1 (Schubert) (?)
/ C$ G2 H5 O3 h2 e! t8 jS.754, Seconda mazurka variata (Tirindelli) [rediscovered, renumbered as S573a] (1880)& H" l& V. ~2 ]. c" y: S6 K
3.2.7 Pianoforte Duet
4 L# x- ~+ [# G- E! o: b. F9 @7 `
- S  v5 }: G7 Z) A3 u) Y! `S.755, Sonata (?)
5 e) k( A) X5 m4 N5 p3.2.8 Two Pianofortes6 {% q2 u" O/ f" ]* O

2 M. W- T# _% f  Z* S/ LS.756, Mosonyis Grabgeleit (?)
, P3 I9 \, d8 ?' j7 rS.757, La triomphe funébre du Tasse (?)
4 H6 o% J( U: `8 U' j- |5 a% R3.2.9 Organ2 v8 s7 R% G* t" b* l& {
; s8 t4 E! @. A# j. I
S.758, The Organ (Herder) (?)1 ~+ R0 H7 h6 {" c# \
S.759, Consolation [arrangement] (?)
9 [: h' z9 S4 I9 f0 y4 rS.760, Cantico del sol di St. Francesco [arrangement] (?), K. E& C. y, ?
S.761, Marche funèbre (Chopin) [arrangement] (?)4 `) b( O. k1 e( W
3.2.10 Songs5 w$ L* x8 J! ?, g; |7 f5 H
- |% o% \1 T# F3 O& [8 N' u& P5 R
S.762, Air de Chateaubriand (?)
0 L# B; P. A& QS.763, Strophes de Herlossohn (?)1 j6 ?; T" I( \
S.764, Kränze pour chant (?)5 I. T* k1 j3 r9 o# F# m7 @0 v
S.765, Glöcken (Müller) (?)
0 j1 ]4 @( f  i  US.765a, L'aube naît (Hugo) (1842?)
- \. I$ [$ z: I+ MS.766, Der Papsthymnus (?)
0 P0 S2 |# D4 `0 WS.767, Excelsior (?)
4 U. s9 w: S( R0 a5 D! z3.2.11 Recitations
$ H. w% V' |! x# i0 `# K/ d- f( T' v$ z$ P  t! \+ a- ?1 O' @5 ]6 Z
S.768, Der ewige jude (Schubart) (?)) O5 F# S! X" q! W
3.3 Supplement$ l% @( K* F' I9 }' f2 [4 W( G

( m/ m/ J1 F8 T' zS.990, Fantasy and Fugue on the chorale "Ad nos, ad salutarem undam" (played by Liszt to Walter Bache) [solo piano, arrangement] (b. 1862)
0 ~3 X5 K1 M) b+ x# y# `S.991, Waltz in A major [chamber, arrangement] (?)
9 U  q, w8 o: ?1 v/ T: b- T6 R7 xS.993, Wartburg Lieder (Scheffel) [orchestral, arrangement] (?); S' r; e! L8 t8 l: x
S.994, Grand solo caractéristique à propos d'une chansonette de Panseron [solo piano, arrangement] (1830-32)6 F2 B" }, }* G2 A& n5 u  v) u! B
S.995, Variations de bravoure sur des thémes de Paganini [unfinished] (1845)0 O$ |) @+ l3 O: q* h- R
S.996, Stabat Mater [solo piano] (1870-79 ?)
5 A, T: _' A# u0 }. {S.997, 5 Variationen über Romanze aus 'Joseph' (Méhul) (by Franz Xaver Mozart, attributed to Liszt) (ca. 1834)5 B( Y5 d- A4 L; _) R. M
S.998, Adagio in C [solo piano] (1841)
  W$ h; @& T" z8 v- qS.999, Andante Maestoso [organ] (?)
4 F! y7 p2 s. Z& u; u: b) p降E大调钢琴协奏曲(遗作)Piano Concerto in E flat Major Op.posth( J  M# @# w) x, P
2首悲歌 2 Elegies
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