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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》。& i2 B& w6 B% f7 g- i# `
李斯特全部作品目录-1
! O6 L" B- {8 n( h% Z
! A, w) ~5 {& R6 q- [1.1 Opera(歌剧)& B. w9 d0 }" A% n

# u4 A" o& a9 G6 B5 D2 o" WS.1, Don Sanche, ou Le chateau de l'amour (1824–25) 歌剧《唐切桑》
/ L7 E' m1 O9 k/ z6 ^; C1.2 Sacred Choral Works(神圣的合唱作品). B  U( a, n: Q; h
0 a( n' R2 M! T  i; j- L
S.2, The Legend of St. Elisabeth (1857–62) 清唱剧《圣伊丽莎白传奇》
9 W+ g) Y. ^" F0 iS.3, Christus (1855–67) 清唱剧《基督》
$ {3 U& Y/ p$ \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》! G+ {5 O$ f5 Q7 S- M, N
S.5, Die heilige Cäcilia (1874)
0 V0 n( Y6 z( NS.6, Die Glocken des Strassburger Münsters (Longfellow) (1874)3 y# W( E3 s  J7 |5 p
S.7, Cantantibus organis (1879)5 |! w& d' k1 t( b+ m3 Y0 d) Q
S.8, Missa quattuor vocum ad aequales concinente organo [first/second version] (1848, 1869)
' D! l3 G/ c, y) w4 xS.9, Missa solennis zur Einweihung der Basilika in Gran (Gran Mass) [first/second version] (1855, 1857–58); i' @+ j8 G4 ^+ z5 Z+ T- {" f; K
S.10, Missa choralis, organo concinente (1865)
1 d! o- ^+ ?1 P4 D& J# @S.11, Hungarian Coronation Mass (1866–67)- J& B: C% v0 @8 ^5 y  h& G$ m
S.12, Requiem (1867–68)
" s  n9 j2 r+ G; R" Y9 L6 SS.13, Psalm 13 (Herr, wie lange ?) [first/second/third verion] (1855, 1858, 1862)
- X# O# {8 k! Z, Q5 I) GS.14, Psalm 18 (Coeli enarrant) (1860)$ @% _' i! [% y5 K
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)
" U; \0 V1 C  h1 j2 _7 s+ IS.15a, Psalm 116 (Laudate Dominum) (1869)$ }* s8 u( l8 J+ {. m" ?& }% F8 n
S.16, Psalm 129 (De profundis) (1880–83): |  \' q3 q: Z
S.17, Psalm 137 (By the Rivers of Babylon) [first/second version] (1859–62)7 R5 @& A" ?# y# l1 C0 m. q
S.18, Five choruses with French texts [5 choruses] (1840–49). o: l) ~2 r; ?$ b8 j
S.19, Hymne de l'enfant à son réveil (Lamartine) [first/second version] (1847, 1862)
; K% R) x7 K& {: Y1 M1 ~* [* qS.20, Ave Maria I [first/second version] (1846, 1852)9 ^& t1 L5 `9 y/ p5 z* O! z" ^
S.21, Pater noster II [first/second version] (1846, 1848)
: V2 N) d8 \: P) WS.22, Pater noster IV (1850)% L; [- {! G) G% J
S.23, Domine salvum fac regem (1853)6 P0 v! `6 ?8 V2 H$ L9 ~8 p: w, X
S.24, Te Deum II (1853?)& ^0 g8 k  U- R
S.25, Beati pauperes spiritu (Die Seligkeiten) (1853)
8 i4 E$ T! |/ g' S* [! pS.26, Festgesang zur Eröffnung der zehnten allgemeinen deutschen Lehrerversammlung (1858)+ r, T, H$ ]- J5 l* |1 y
S.27, Te Deum I (1867)  Y( F+ o: a) ]! c6 z/ U+ x
S.28, An den heiligen Franziskus von Paula (b. 1860)
( F/ e& b+ T4 u% E# q" h$ fS.29, Pater noster I (b. 1860)
8 i% D/ P* b: ~* ES.30, Responsorien und Antiphonen [5 sets] (1860)( V, J5 S( W6 Z5 p+ Q$ ]/ I
S.31, Christus ist geboren I [first/second version] (1863?)1 w8 T  h  M* W/ R3 [
S.32, Christus ist geboren II [first/second version] (1863?)
; Y: M; \8 n& u! j  k8 x. GS.33, Slavimo Slavno Slaveni! [first/second version] (1863, 1866)
) s1 T0 ^% y3 L9 MS.34, Ave maris stella [first/second version] (1865–66, 1868)
6 f. C( S2 q$ d5 v0 L) T& BS.35, Crux! (Guichon de Grandpont) (1865)
. b1 Y1 o7 a* o- a$ ~) fS.36, Dall' alma Roma (1866)
' y4 Z3 R) ?! Q% j5 g4 aS.37, Mihi autem adhaerere (from Psalm 73) (1868)- W* ~! R, Y' [5 A$ u
S.38, Ave Maria II (1869)7 `3 l1 }" R8 B4 P* f) d
S.39, Inno a Maria Vergine (1869)9 G" e3 t1 N. D6 B% h
S.40, O salutaris hostia I (1869?)
9 J) r0 K% I: r! G* T/ a% f( e5 TS.41, Pater noster III [first/second version] (1869)
8 K  y' a1 }) H* n$ V7 K* }5 ]S.42, Tantum ergo [first/second version] (1869)" T$ u! |7 f  U5 A4 d
S.43, O salutaris hostia II (1870?)
& x7 `& q  ?1 |1 q4 M6 k2 K$ |1 b# ES.44, Ave verum corpus (1871)
* `$ k8 K. V9 r7 B" rS.45, Libera me (1871)
' c9 D8 d5 S1 j5 d6 J  sS.46, Anima Christi sanctifica me [first/second version] (1874, ca. 1874)9 v- K0 F! v0 t" C/ |4 J
S.47, St Christopher. Legend (1881)  M# U+ k; q' `7 \& M, c$ l. b& @
S.48, Der Herr bewahret die Seelen seiner Heiligen (1875)
" N9 c% y+ R9 f7 [9 H: MS.49, Weihnachtslied (O heilige Nacht) (a. 1876)
/ E( m8 N! p" D2 iS.50, 12 Alte deutsche geistliche Weisen (Chorales) [12 chorals] (ca. 1878-79)9 f' i; o: D, [, M, f4 h9 u# C
S.51, Gott sei uns gnädig und barmherzig (1878)
) a% B; o: {4 VS.52, Septem Sacramenta. Responsoria com organo vel harmonio concinente (1878)
' B' ~, G3 Y0 o( AS.53, Via Crucis (1878–79)8 L# t. l9 d1 `. ]) `; G
S.54, O Roma nobilis (1879)
7 x: v; D0 D( u& OS.55, Ossa arida (1879)* d  I1 h2 |; Z- a
S.56, Rosario [4 chorals] (1879)
% n; \5 ]8 e, \+ T1 ^S.57, In domum Domino imibus (1884?)* w- B" I5 a2 o( Z. Y# A1 z2 v
S.58, O sacrum convivium (1884?)
. L. @; L, S2 P8 LS.59, Pro Papa (ca. 1880)* {6 I5 z; M' w% r  W6 z0 a. J
S.60, Zur Trauung. Geistliche Vermählungsmusik (Ave Maria III) (1883), K. O  O& n5 A# C- r
S.61, Nun danket alle Gott (1883)" g' \& d; M2 l! d
S.62, Mariengarten (b. 1884): G* z3 B) ?6 j8 q5 t6 I+ w
S.63, Qui seminant in lacrimis (1884). N$ [7 h* f" a
S.64, Pax vobiscum! (1885)
" Q" t9 q8 @: X- q, XS.65, Qui Mariam absolvisti (1885)) K" k# Y) q; w% ^: [
S.66, Salve Regina (1885)6 @- \; d4 i/ K5 F5 \. C
1.3 Secular Choral Works(世俗的合唱作品): r- n/ t* }* w! m0 W+ h- y
S.67, Beethoven Cantata No. 1: Festkantate zur Enthüllung (1845)) d+ U0 @0 v1 p- I+ _
S.68, Beethoven Cantata No. 2: Zur Säkularfeier Beethovens (1869–70)( _9 d; Q# }- t9 C% v3 \0 ~0 n( Q% m
S.69, Chöre zu Herders Entfesseltem Prometheus (1850)9 y, |( m! m- u0 k1 Z! ^
S.70, An die Künstler (Schiller) [first/second/third verion] (1853, 1853, 1856)
8 \3 |' S1 B/ I" @5 ]  X( fS.71, Gaudeamus igitur. Humoreske (1869)6 I! r7 R# L* J: g4 h: a4 W1 H
S.72, Vierstimmige Männergesänge [4 chorals] (for Mozart-Stiftung) (1841)
) l3 c" e( f  X2 e* \/ US.73, Es war einmal ein König (1845)
3 k* z. Y* `7 @, @! oS.74, Das deutsche Vaterland (1839)
3 y& O8 Y2 O+ oS.75, über allen Gipfeln ist Ruh (Goethe) [first/second version] (1842, 1849)) c& c' @# r8 C) Z( w
S.76, Das düstre Meer umrauscht mich (1842)( |: y; B' W0 J6 K- @) F
S.77, Die lustige Legion (A. Buchheim) (1846)
3 i% E) v; o- _  S% bS.78, Trinkspruch (1843)+ M' W* Q' `4 S4 M3 {/ G4 W
S.79, Titan (Schobert) (1842–47)
  j/ \1 }7 r4 w3 A( v. a( |! o; d/ US.80, Les quatre éléments (Autran) (1845)3 R2 N9 `# ?0 r5 R0 I
S.81, Le forgeron (de Lamennais) (1845)
$ `2 b! d7 I0 iS.82, Arbeiterchor (de Lamennais?) (1848)3 x* {, \9 @9 P; y" B! ~4 j
S.83, Ungaria-Kantate (Hungaria 1848 Cantata) (1848)
  k7 o3 [/ @0 J/ K* M& sS.84, Licht, mehr Licht (1849)
# c6 B2 t. _. Z. }- o! p- ES.85, Chorus of Angels from Goethe's Faust (1849)0 v& Q5 n) f/ o# J$ J7 s) }
S.86, Festchor zur Enthüllung des Herder-Dankmals in Weimar (A. Schöll) (1850)0 i& q( a" e3 l
S.87, Weimars Volkslied (Cornelius) [6 versions] (1857). O7 U- j6 v8 c0 n1 Q
S.88, Morgenlied (Hoffmann von Fallersleben) (1859)
3 |/ E! K$ Q- j$ R7 J1 E$ vS.89, Mit klingendem Spiel (1859–62 ?)* t: F! d# c8 E$ ^% J! V. u9 |
S.90, Für Männergesang [12 chorals] (1842–60): q$ i4 h1 \# @) P$ b. V* h
S.91, Das Lied der Begeisterung. A lelkesedes dala (1871)
7 k! I% [+ f5 r: e4 X9 J! L5 FS.92, Carl August weilt mit uns. Festgesang zur Enthüllung des Carl-August-Denkmals in Weimar am 3 September 1875 (1875)" z+ V! s1 c- o, F5 X" u
S.93, Ungarisches Königslied. Magyar Király-dal (ábrányi) [6 version] (1883), L* i0 S( @( ]3 L' O, `. f- r/ g
S.94, Gruss (1885?)
) M3 Y) D3 J. `- T- n+ ~1 ^3 [1.4 Orchestral Works(管弦乐作品)
. F: O. ~6 X: r" D/ m/ N
: D8 X% H) K6 ?6 y; x# q1.4.1 Symphonic Poems(交响诗)$ L7 ?' |1 e4 z4 z. q, D

8 a' `( ^( M1 Z( Z6 B9 RS.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2 ~5 j% A+ N6 D4 k, f2 C
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》
/ z/ t$ N' M% O/ [( `+ c4 H* lS.97, Poème symphonique No. 3, Les Préludes (1848) 第三交响诗“前奏曲”
! }4 i  H4 W+ _6 P& \S.98, Poème symphonique No. 4, Orpheus (1853–54) 第四交响诗 《奥菲欧》
! [8 d, H) q& {1 I, zS.99, Poème symphonique No. 5, Prometheus [first/second version] (1850, 1855) 第五交响诗《普罗米修斯》1 q- G2 L" F+ x. M0 f/ {
S.100, Poème symphonique No. 6, Mazeppa [first/second version] (1851, b. 1854) 第六交响诗《马捷帕》# l- J1 S9 X& r: F1 O9 [
S.101, Poème symphonique No. 7, Festklänge [revisions added to 1863 pub] (1853) 第七交响诗《节日之声》
' P6 B! G" f# }% g: V5 d* b) RS.102, Poème symphonique No. 8, Héroïde funèbre [first/second version] (1849–50, 1854)  第八交响诗《英雄的葬礼》
1 t  Q& @/ e6 p' L$ OS.103, Poème symphonique No. 9, Hungaria (1854) 第九交响诗《匈牙利》( x( n, d5 \$ Q1 \9 b6 {
S.104, Poème symphonique No. 10, Hamlet (1858) 第十交响《哈姆雷特》
1 q* x8 P2 \$ S2 iS.105, Poème symphonique No. 11, Hunnenschlacht (1856–57) 第十一交响诗《匈奴之战》
" B- t1 P+ s/ cS.106, Poème symphonique No. 12, Die Ideale (1857) 第十二交响诗《理想》& a: ^) J: c5 H9 L" P
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》
: O$ i  Z& E  V5 B5 [! @4 {. H1.4.2 Other Orchestral Works(其他管弦乐作品)
4 v; H/ r2 r$ b1 x# ]& t
. b9 e- d% V7 T* }4 f/ q1 D6 `. zS.108, Eine Faust-Symphonie [first/second version] (1854, 1861)8 t& A) Z3 b, C
S.109, Eine Symphonie zu Dante's Divina Commedia (1855–56)( Q' f$ Z' b( g3 j4 {. y  k8 r
S.110, Deux épisodes d'apres le Faust de Lenau [2 pieces] (1859–61); l: \* V. O, ^1 P  z
S.111, Zweite Mephisto Waltz (1881)  x- K: E6 `& d% a# v2 v
S.112, Trois Odes Funèbres [3 pieces] (1860–66)
1 g1 t" p; j6 k% o1 mS.113, Salve Polonia (1863)
( j+ Z2 C; Y9 [! G- ?" v& ?. lS.114, Künstlerfestzug zur Schillerfeier (1857)
9 u' _( B  M5 O. |% zS.115, Festmarsch zur Goethejubiläumsfeier [first/second version] (1849, 1857)" E; k4 K; V9 i( p
S.116, Festmarsch nach Motiven von E.H.z.S.-C.-G. (1857)
6 D$ |& T) r0 pS.117, Rákóczy March (1865)6 W) @5 O; s5 [7 ~9 e* n* g
S.118, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (am 8 Juni 1867) (1870)
8 t3 G+ t3 R4 wS.119, Ungarischer Sturmmarsch (1875)
9 i% D, ?4 S$ D7 Y* S+ a. d8 {* J7 D! x1.5 Piano and Orchestra(钢琴与乐队)2 S* r! g( X, G- P5 o
( q! m. Y" X8 o$ Z6 ^* R

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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)* `  k) N  H1 l6 d" }- ]
S.121, Malédiction (with string orchestra) (1833)  诅咒  钢琴与弦乐队
  M+ N" g0 N6 }9 q6 MS.122, Fantasie über Beethovens Ruinen von Athen [first/second version] (1837?, 1849)
$ a: n) B; W8 A9 k& B' z" kS.123, Fantasie über ungarische Volksmelodien (1852) 匈牙利民歌主题幻想曲 为钢琴与乐队而作
1 s5 @. t  `& H; VS.124, Piano Concerto No. 1 in E flat [first/second version] (1849, 1856) 降E大调第一钢琴协奏曲; k) f0 s$ v9 A. @$ c
S.125, Piano Concerto No. 2 in A major [first/second version] (1839, 1849) A大调第二钢琴协奏曲8 i, C" {: r1 c) r: n4 y
S.125a, Piano Concerto No. 3 in E flat (1836–39)
- n" O7 }; F+ U; GS.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
, ]2 f  U( K3 m( O; D/ k' |S.126a, Piano Concerto "In the Hungarian Style" [probably by Sophie Menter] (1885)0 O4 g1 [) N( }" a! x
1.6 Chamber Music(室内乐等)
$ D) ]& U4 v6 m3 z( D+ s2 M, d- Q( T: s  ], ?
S.126b, Zwei Waltzer [2 pieces] (1832)9 q' Z. B1 S; S; a7 D
% p# f" j, a# v3 j
S.127, Duo (Sonata) - Sur des thèmes polonais (1832-35 ?)% u& a5 Q0 h* ]! X) T. B2 Z$ _
S.128, Grand duo concertant sur la romance de M.Lafont Le Marin [first/second version] (ca. 1835-37, 1849)
% q8 l. ^  x/ QS.129, Epithalam zu Eduard. Reményis Vermählungsfeier (1872)" t5 Q  ~2 z- d- ?
S.130, élégie No. 1 [first/second/third version] (1874)
8 P! g$ ^/ `: b4 @0 LS.131, élégie No. 2 (1877)
, ]* w# C/ `8 ~; j- aS.132, Romance oubliée (1880)
" r( b# x7 D( g: h) P/ r7 \S.133, Die Wiege (1881?)7 a8 i* o+ u/ R, {/ e
S.134, La lugubre gondola [first/second version] (1883?, 1885?)2 L8 T. s# ?2 G
S.135, Am Grabe Richard Wagners (1883)! A0 S$ {& I' B
1.7 Piano Solo: G1 x$ Y) `0 Y! X$ Z
- C2 @# l# q1 I4 Y# b  \# o; e0 J
1.7.1 Studies(钢琴练习曲)6 z: ?: Q* N8 d  v

. E- e  D; L' u6 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
" U# E4 K4 U- \S.137, Douze grandes études [second version, 12 pieces] (1837) 《12首超技练习曲》" B( G7 [( f! W1 k4 L9 t* {7 Q4 c; ]
S.138, Mazeppa [intermediate version of S137/4] (1840) 练习曲“玛捷帕”) X, J# t% a/ g8 S, w
S.139, Douze études d'exécution transcendante [final version, 12 pieces] (1852) 12首超技练习曲
5 z8 u1 |1 h* R( ~( @+ I0 BS.140, études d'exécution transcendante d'après Paganini [first version, 6 pieces] (1838) 帕格尼尼超技练习曲9 p: T( R- o- q9 v; |# d
S.141, Grandes études de Paganini [second version, 6 pieces] (1851)  6首帕格尼尼大练习曲
8 E# i: Y1 O% G( k. RS.142, Morceau de salon, étude de perfectionnement [Ab Irato, first version] (1840) 高级练习曲“沙龙小品”
( @. k0 P% |( T+ A/ P5 N# jS.143, Ab Irato, étude de perfectionnement [second version] (1852) 高级练习曲“愤怒”
0 @" j/ }- f3 {- O7 a2 eS.144, Trois études de concert [3 pieces] (1848?)  3首音乐会练习曲
& L4 L& Y4 P5 x+ |8 s+ b, f1.    Il lamento
+ d: `& e  d; D$ A2.    La leggierezza3 S- u5 E3 i- h+ I4 [/ K* X8 U
3.    Un sospiro: L" a) R4 ?0 V
S.145, Zwei Konzertetüden [2 pieces] (1862–63)  2首音乐会练习曲
1 b3 C, f& L# p# j6 T6 R7 S. p7 {1.    Waldesrauschen
* m& ^$ V* m# }* y% \+ a2.    Gnomenreigen
$ B/ ~- u8 F% Q, v' {S.146, Technische Studien [68 studies] (ca. 1868-80)  钢琴技巧练习0 H/ g( W4 |: P3 t
1.7.2 Various Original Works(各种原创作品)
9 I* d8 i5 T. y
0 e/ K9 c) z( pS.147, Variation on a Waltz by Diabelli (1822)  狄亚贝利圆舞曲主题变奏曲
, D+ E7 P6 f% W  T" \3 w5 X* u* LS.148, Huit variations (1824?) 降A大调原创主题变奏曲" l: O- U- z  H% b8 o6 R6 X- ~- e
S.149, Sept variations brillantes dur un thème de G. Rossini (1824?)& Z! D& G) |3 @( l
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& B$ l* n  h, J1 N1 S+ `
S.151, Allegro di bravura (1824) 华丽的快板0 T# z+ I- C6 q# V( z
S.152, Rondo di bravura (1824) 华丽回旋曲
: Y3 _2 p% T8 q0 m( `9 AS.152a, Klavierstück (?)# S0 K1 t9 S% B1 M$ N9 m
S.153, Scherzo in G minor (1827) g小调谐谑曲
! b- y4 a/ r- S  |S.153a, Marche funèbre (1827)! N$ L3 M9 A; T$ J: w' y% g+ b
S.153b, Grand solo caractèristique d'apropos une chansonette de Panseron [private collection, score inaccessible] (1830–32) [1]
) y/ u+ [9 I: u! K4 BS.154, Harmonies poétiques et religieuses [Pensée des morts, first version] (1833, 1835) 宗教诗情曲
( H4 E; O( j/ BS.155, Apparitions [3 pieces] (1834) 显现 三首钢琴小品6 `! V' ~" q8 B8 x
S.156, Album d'un voyageur [3 sets; 7, 9, 3 pieces] (1835–38) 旅行者札记
! j7 W/ w" h( q3 l3 AS.156a, Trois morceaux suisses [3 pieces] (1835–36)# \) e& t/ h, W  q
S.157, Fantaisie romantique sur deux mélodies suisses (1836) 浪漫幻想曲4 U) w: w1 i( D- e
S.157a, Sposalizio (1838–39)1 h; e& g6 [3 A0 p
S.157b, Il penseroso [first version] (1839)9 c% o" {; d5 ]* }) l7 }; b
S.157c, Canzonetta del Salvator Rosa [first version] (1849): Z! U+ {$ t" {6 t2 @
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8 q, L) K: g- Y$ F( ~! m4 ~* c
S.158a, Paralipomènes à la Divina Commedia [Dante Sonata original 2 movement version] (1844–45)/ D+ e+ M- }4 I, h/ c
S.158b, Prologomènes à la Divina Commedia [Dante Sonata second version] (1844–45)
. Q5 I& X4 T. Z2 \% @S.158c, Adagio in C major (Dante Sonata albumleaf) (1844–45)
; y; j5 k% S: V3 q6 JS.159, Venezia e Napoli [first version, 4 pieces] (1840?)  威尼斯和拿波里, v) ]" Z  d1 Y% \
S.160, Années de pèlerinage. Première année; Suisse [9 pieces] (1848–55)  旅行岁月(第一集)- 瑞士游记. D# c5 d% l- D, `7 a7 T  d+ }( L( ]* f
S.161, Années de pèlerinage. Deuxième année; Italie [7 pieces] (1839–49) 旅行岁月(第二集)- 意大利游记
1 B* i& O! a' iS.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
% C; }2 g+ l! kS.162a, Den Schutz-Engeln (Angelus! Prière à l'ange gardien) [4 drafts] (1877–82)  n& ~1 z1 S; v5 t5 u* E+ v
S.162b, Den Cypressen der Villa d'Este - Thrénodie II [first draft] (1882)
$ I1 Q! I  W* I) C  RS.162c, Sunt lacrymae rerum [first version] (1872)
* Z( [) ?8 S  U/ I' j9 M) Q; IS.162d, Sunt lacrymae rerum [intermediate version] (1877), ?; J/ s& n4 m. j+ N4 {
S.162e, En mémoire de Maximilian I [Marche funèbre first version] (1867)9 e! l  _4 g# L# ^  \0 M3 M
S.162f, Postludium - Nachspiel - Sursum corda! [first version] (1877)4 N. _8 j) v4 f
S.163, Années de pèlerinage. Troisième année [7 pieces] (1867–77)   旅行岁月(第三集)
' Q: S, U: z% k1 |7 i3 `! `* [1 [6 V; dS.163a, Album-Leaf: Andantino pour Emile et Charlotte Loudon (1828) [2] 降E大调纪念册的一页, m( L1 @0 a# {) d6 W$ \6 C* [4 e' a1 f
S.163a/1, Album Leaf in F sharp minor (1828)降E大调纪念册的一页) ]  u# R$ d" M
S.163b, Album-Leaf (Ah vous dirai-je, maman) (1833)
5 J. n( b& [3 ^* v, P+ `S.163c, Album-Leaf in C minor (Pressburg) (1839)6 D$ J" o4 J- u' p( W5 P
S.163d, Album-Leaf in E major (Leipzig) (1840)
  y2 k9 x! ]7 x9 n: P( pS.164, Feuille d'album No. 1 (1840) E大调纪念册的一页
& U& h( N- v0 a/ FS.164a, Album Leaf in E major (Vienna) (1840)& @! q/ }0 L1 |" Q% G% u
S.164b, Album Leaf in E flat (Leipzig) (1840)( R6 N9 o0 z0 _/ d* `3 M0 x
S.164c, Album-Leaf: Exeter Preludio (1841)( l# a2 H) f$ _# D2 Y8 ?$ c
S.164d, Album-Leaf in E major (Detmold) (1840)3 u- n( Z* m3 C- b6 m) B5 l
S.164e, Album-Leaf: Magyar (1841)  ~" e9 S# ^! q, ^5 B! C. n) l4 V
S.164f, Album-Leaf in A minor (Rákóczi-Marsch) (1841)
! s) \4 W( ^# d7 K. E. M5 bS.164g, Album-Leaf: Berlin Preludio (1842)
9 e1 s) V- G* PS.165, Feuille d'album (in A flat) (1841) 降A大调纪念册的一页
+ ?8 W8 N" ^. ^: _2 w: P& E* a' zS.166, Albumblatt in waltz form (1841) A大调圆舞曲风格纪念册的一页1 M: z) \3 n$ m5 X* y9 B" ]
S.166a, Album Leaf in E major (1843)
0 o" |# {( q! u$ ~. K7 \$ T1 aS.166b, Album-Leaf in A flat (Portugal) (1844)
6 s, e8 `% r  a' ^S.166c, Album-Leaf in A flat (1844)2 [8 o# k% r6 p! V% s
S.166d, Album-Leaf: Lyon prélude (1844)
6 }& {. {+ A- Z8 Y6 I7 mS.166e, Album-Leaf: Prélude omnitonique (1844)
* F8 V0 }. j/ K1 L: U6 d0 MS.166f, Album-Leaf: Braunschweig preludio (1844)
+ \9 a+ v( T1 s; ]8 \7 G- XS.166g, Album-Leaf: Serenade (1840–49)5 O2 V5 I2 k* \, l- L5 R; S, M
S.166h, Album-Leaf: Andante religioso (1846)
- H- i- k$ W8 r5 @. D' nS.166k, Album Leaf in A major: Friska (ca. 1846-49)
+ @6 _  z, Y* `$ ^$ uS.166m-n, Albumblätter für Prinzessin Marie von Sayn-Wittgenstein (1847)
) k0 P' s- t5 A  \1 C0 @5 d3 GS.167, Feuille d'album No. 2 [Die Zelle in Nonnenwerth, third version] (1843) a小调纪念册的一页
0 f$ R% {  M8 h( r3 k" ?7 XS.167a, Ruhig [catalogue error; see Strauss/Tausig introduction and coda]3 e' o7 I0 O  x6 Z6 v. _! c1 r+ a
S.167b, Miniatur Lieder [score not accessible at present] (?)
0 A. ]8 M2 w7 i/ ^- c6 fS.167c, Album-Leaf (from the Agnus Dei of the Missa Solennis, S9) (1860–69)
+ {% ?9 d. T" z( y# NS.167d, Album-Leaf (from the symphonic poem Orpheus, S98) (1860)- l" M' M8 k/ i
S.167e, Album-Leaf (from the symphonic poem Die Ideale, S106) (1861)  q# Z3 r: `7 h( I( z0 Q
S.167f, Album Leaf in G major (ca. 1860)
! k3 A/ z2 N1 g3 h9 OS.168, Elégie sur des motifs du Prince Louis Ferdinand de Prusse [first/second version] (1842, 1851) 悲歌
# Z$ k4 i, X, Z3 C! |  [S.168a, Andante amoroso (1847?)1 i  D1 A# c5 k0 L( _# ?5 X0 ~
S.169, Romance (O pourquoi donc) (1848) e小调浪漫曲
) `0 p* p% ~: }: W2 ~  XS.170, Ballade No. 1 in D flat (Le chant du croisé) (1845–48) 叙事曲一3 h6 h0 v; _/ m
S.170a, Ballade No. 2 [first draft] (1853)7 s6 q% U7 O8 d2 F! ?
S.171, Ballade No. 2 in B minor (1853) 叙事曲二
- a" J6 F6 ^  Q6 ^# |; CS.171a, Madrigal (Consolations) [first series, 6 pieces] (1844)- w$ n1 K6 F8 U0 V1 i3 e$ a
S.171b, Album Leaf or Consolation No. 1 (1870–79)
" N" b5 ?6 z, t* X5 ^' d3 d  l: F- [S.171c, Prière de l'enfant à son reveil [first version] (1840)
6 P  ^) U) t% W% T: K. fS.171d, Préludes et harmonies poétiques et religie (1845)
% M9 j' L0 H9 r+ Y- \  o' rS.171e, Litanies de Marie [first version] (1846–47)2 R* w* F1 ?* c! z
S.172, Consolations (Six penseés poétiques) (1849–50) 6首安慰曲
6 V3 a" R4 @+ ~/ G9 N: b# `S.172a, Harmonies poétiques et religieuses [1847 cycle] (1847)
) V6 v+ }* d* V" F1 R0 p% q+ ^$ ~S.172a/3&4, Hymne du matin, Hymne de la nuit [formerly S173a] (1847)
. Z: `$ ?6 P& K$ {+ IS.173, Harmonies poétiques et religieuses [second version] (1845–52) 诗与宗教的和谐
) D1 F1 J% a7 {S.174, Berceuse [first/second version] (1854, 1862) 摇篮曲
4 [' f' G) Q) L' fS.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)
' }% E" q8 N5 ?2 j6 y7 E2.    St. François de Paule marchant sur les flots (Walking on the Waves)
! t8 B% v1 f( u; v' @S.175a, Grand solo de concert [Grosses Konzertsolo, first version] (1850)$ O/ G. d8 {+ ~5 ^
S.176, Grosses Konzertsolo [second version] (1849–50 ?) 独奏大协奏曲- k, I. H: h0 z3 r* F
S.177, Scherzo and March (1851) 谐谑曲与进行曲
7 w* M8 P4 q( JS.178, Piano Sonata in B minor (1852–53)  b小调钢琴奏鸣曲- v, _9 d/ S1 ]* w
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
2 @8 L/ i2 ]& @+ oS.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* o% H+ q$ _) u5 J
S.181, Sarabande and Chaconne from Handel's opera Almira (1881)
7 ^% d( Q- v4 o+ ?9 R# e) WS.182, Ave Maria - Die Glocken von Rom (1862) 圣母颂“罗马的钟声”4 K7 v# l: z5 ~
S.183, Alleluia et Ave Maria [2 pieces] (1862) 哈利路亚与圣母颂
- Z: a/ I& N+ e" PS.184, Urbi et orbi. Bénédiction papale (1864)( `0 @$ z1 {# A7 U
S.185, Vexilla regis prodeunt (1864)* d' o9 N& C. z  H) a
S.185a, Weihnachtsbaum [first version, 12 pieces] (1876)
4 M3 w5 c9 Z# A; r, m( R; mS.186, Weihnachtsbaum [second version, 12 pieces] (1875–76) 钢琴曲集《圣诞树》
4 n' [/ z( {3 E* Y" `S.187, Sancta Dorothea (1877) 圣多萝西娅
) h; R7 |6 p8 N; HS.187a, Resignazione [first/second version] (1877)
- f% Q, `8 p5 Q& E! IS.188, In festo transfigurationis Domini nostri Jesu Christi (1880) 我主耶稣基督之变形& Y+ B- g# G% P! i6 [9 A
S.189, Klavierstück No. 1 (1866)
6 u9 `, e, T7 x1 g+ [+ K( gS.189a, Klavierstück No. 2 (1845)
. U6 j9 c% b+ k. C2 W  ^1 wS.189b, Klavierstück (?)
4 z/ @9 S6 F, O, b1 X# w; @& ]6 L( DS.190, Un portrait en musique de la Marquise de Blocqueville (1868)% x) n5 z7 Z2 @
S.191, Impromptu (1872) 升F大调即兴曲“夜曲”/ x: Q3 O6 {1 H# g, E
S.192, Fünf Klavierstücke (for Baroness von Meyendorff) [5 pieces] (1865–79) 5首钢琴小品4 O; K5 L4 t' A! }# a& V$ r- d
S.193, Klavierstuck (in F sharp major) (a. 1860) 升F大调钢琴小品
- ?: o! p; G2 l+ E4 \2 ?1 @6 sS.194, Mosonyis Grabgeleit (Mosonyi gyázmenete) (1870) 在莫佐尼墓前- o2 }$ C/ y* N+ ^( _! ^
S.195, Dem andenken Petofis (Petofi Szellemenek) (1877) 纪念裴多菲
% @+ g# Y9 t, l2 ?S.195a, Schlummerlied im Grabe [Elegie No 1, first version] (1874)7 H2 ~2 ~! G5 [" q
S.196, élégie No. 1 (1874)
$ Y6 A" N, R9 Y& K' x* VS.196a, Entwurf der Ramann-Elegie [Elegie No 2, first draft] (1877)
' A  D3 j! ~$ C6 v, k  _1 ZS.197, élégie No. 2 (1877)
3 g6 ], D0 `! _8 C8 O8 B# s( }- QS.197a, Toccata (1879–81) 托卡塔. C# `( j0 j6 g1 f5 G2 O! y
S.197b, National Hymne - Kaiser Wilhelm! (1876)6 Q2 l* _, K$ L/ h
S.198, Wiegenlied (Chant du herceau) (1880) 摇篮曲' i7 @2 d# G: O6 n6 g
S.199, Nuages gris (Trübe Wolken) (1881) 灰色的云2 l9 F8 R! Y: t7 u2 b
S.199a, La lugubre gondola I (Der Trauergondol) [Vienna draft] (1882)
/ y2 y' B) h( `3 GS.200, La lugubre gondola [2 pieces] (1882, 1885) 葬礼小船3 v3 [# H& b. M. k, O  _" Q) j

6 S# t3 Y' F* S! g. b李斯特全部作品目录-2
4 O* q2 F/ y, b) y% l0 n) w8 F, A& Z, w4 j0 o' @# ?" w
S.201, R. W. - Venezia (1883) 告别瓦格纳和威尼斯
% x/ j9 T8 z& W, {9 G, }: IS.202, Am Grabe Richard Wagners (1883) 在瓦格纳墓前
; v( p8 o5 N- M! P# u  ^4 zS.203, Schlaflos, Frage und Antwort (Nocturne after a poem by Toni Raab) (1883) 夜曲“沉睡,思考和回答”
% U! ]# P- l% C! ?- X9 {4 E: \S.204, Receuillement (Bellini in Memoriam) (1877) 冥想
  ^+ ~; _& @* s8 t' k  GS.205, Historische ungarische Bildnisse (Magyar arcképek) [original version, 7 pieces] (1885) 匈牙利历史人物肖像1 ?! }2 {4 D' @
S.205a, Historische ungarische Bildnisse [revised order and conclusion, 7 pieces] (1885)
2 |% f4 ^& k1 X* B$ t& W% ~S.206, Trauervorspiel und Trauermarsch (1885) 葬礼前奏曲和葬礼进行曲4 m& X/ t3 T& l; O! j9 b# z+ N
S.207, En rêve. Nocturne (1885) 夜曲“梦中”
" C- r& r4 h: H( _9 i( ]; g2 y; FS.207a, Prélude à la polka de Borodine (and Borodin's Polka) (1880)
6 M! J+ H  w8 n" ZS.208, Unstern: sinistre, disastro (1880–86) 凶兆、灾难
3 w+ j8 P; B6 z4 E/ N, T- V/ y" R1.7.3 Works in Dance Form(为舞蹈的作品)
; r! P; s5 r5 V4 z  N2 d" A$ S; P% A4 O, o7 t5 j
S.208a, Waltz (in A major) (b. 1825) A大调圆舞曲
1 s0 z: F, i' ?% ZS.209, Grande valse di bravura [first version of S214/1] (1835) 华丽的大圆舞曲
: q1 |# Q7 h1 f* d' }" vS.209a, Waltz (in E flat) (1840)( i8 x9 S3 `# v# _( P9 b
S.210, Valse mélancolique [first version of S214/2] (1839) 忧郁圆舞曲) v) ^2 O( V3 e/ f6 G& V" i
S.210a, Valse mélancolique [intermediate version] (1840)
5 h1 g" K, {4 m1 Z' k, S9 }  ]8 e6 fS.210b, Valse (in A major) (1830–39)
4 ]0 j5 z' Q5 M$ k1 b, c( aS.211, Ländler (in A flat major) (1843) 降A大调兰德勒舞曲! |; m. c+ T6 G% \/ r3 y
S.211a, Ländler (in D major) (1879)
( M3 ~1 d2 t1 Y3 s$ [( ~S.212, Petite valse favorite [first/second version] (1842, 1843)6 E& w6 W7 Q# x  U7 W# v! r
S.212b, Mariotte. Valse pour Marie (1840)
0 d$ n+ z' k2 q4 j) b3 QS.213, Valse-impromptu (1850?) 即兴圆舞曲7 l7 p) v: f( b" {9 O
S.213a, Valse-impromptu [with later additions] (1880)
9 r4 n: F" x5 w( D  qS.214, Trois caprice-valses [3 pieces] [second versions of S209, S210, S401] (1850?)
4 d6 A( x4 ^& ^, NS.214a, Carousel de Madame Pelet-Narbone (ca. 1875-81)
/ U4 y2 a2 d! W+ w- X3 V* ^S.215, Valses oubliées [4 pieces] (1881–84) 4首被遗忘的圆舞曲
0 Q4 i7 e2 X7 |S.215a, Dritter Mephisto-Walzer (Mephisto Waltz No. 3) [first draft] (1883)  x* N7 v, d1 Q$ Z% [
S.216, Dritter Mephisto-Walzer (Mephisto Waltz No. 3) (1883) 第三梅菲斯特圆舞曲
7 M0 c' B7 W$ T. p1 {/ z. QS.216a, Bagatelle sans tonalité (1885)
  q3 W2 o: \/ [1 Z& y& F: N( p: _% ]+ oS.216b, Vierter Mephisto-Walzer (Mephisto Waltz No. 4) [first version] (1885)  第四梅菲斯特圆舞曲
. _; V# C4 I9 x. d# i- KS.217, Mephisto Polka [first/second version] (1883) 梅菲斯特波尔卡0 y; U$ B2 X$ W, J7 R9 R% L
S.218, Galop (in A minor) (1841?) a小调加洛普舞曲
* a+ T9 }+ P" E0 p0 v8 \: uS.219, Grand galop chromatique [original version] (1838) 华丽的半音阶加洛普舞曲
8 I! f- l7 F( s& e: ^' rS.219bis, Grand galop chromatique [simplified version] (1838)
7 W/ I" {3 Q' E) m' QS.220, Galop de Bal (1840?)/ t4 b& ?7 D* e6 l( H- V
S.221, Mazurka brillante] (1850) 华丽玛祖卡+ l/ h# z) c) T8 U1 S
S.221a, Mazurka in F minor [Not by Liszt?] (?)3 Z; Q" E7 Q( R+ E1 {
S.222, [catalogue error; same as S212]: `( |9 S8 j* d! _2 k
S.223, Deux Polonaises [2 pieces] (1851) 2首波洛奈兹舞曲
9 a8 a9 k9 ~9 O  nS.224, Csárdás macabre (1881–82)
. `: [  x: \# o9 [S.225, Two Csárdás [2 pieces] (1884)- O2 a" I2 Q" D! R
S.226, Festvorspiel (1856)+ e6 ^1 I2 H7 N) |. E0 v9 C
S.226a, Marche funèbre (1827)  t  s- S- I# w" @7 f! t
S.227, Goethe Festmarsch [first version] (1849)
7 C4 x* B8 C, S) @: b6 \8 wS.228, Huldigungsmarsch [first/second version] (1853)
" }- x( R6 a6 R: bS.229, Vom Fels zum Meer! - Deutscher Siegesmarsch (1853–56)! n3 y7 ]) e6 E. v+ i9 r, r
S.230, Bülow-Marsch (1883)' o3 S  [* J% V
S.230a, Festpolonaise (1876)
! t! Y, t( \+ P; \3 q7 HS.231, Heroischer Marsch in ungarischem Stil (1840)
# Q8 O/ W/ O* {* d, AS.232, Ungarischer Sturmmarsch [earlier version of S524] (1843?)1 S- w! o) v/ R, u. M7 y: G$ `
S.233, Ungarischer Geschwindmarsch (1870)4 [: j/ ~5 r& f- a* W
S.233a, Siegesmarsch. Marche triomphale (Victory March) (?). L- U8 K* M( G! {5 z: I+ R
S.233b, Marche hongroise (in E flat minor) (1844)
8 A! o) N7 _2 {$ r1.7.4 Works on National Themes(主题作品)
8 O! b5 v* ?; |: u
! n; r/ |1 W* o( Y2 l; P1.7.4.1 Czech
# H6 O$ E7 c! f# h2 C4 |' b) ?
. i, F  T! a! `4 \+ _! PS.234, Hussitenlied (Melody by J.Krov) (1840)
! g/ x- F2 y3 A9 s1.7.4.2 English
9 O' H6 n# q2 y( z& g
% v8 i1 m2 O% y+ O9 J; O# \S.235, God Save the Queen (1841)
- d$ W& F. u' c1.7.4.3 French
' ~. O# D! X) P9 ^8 E/ S
& k! y4 w# S9 N( xS.236, Faribolo Pasteur and Chanson du Béarn [2 pieces] (1844)
; n9 U6 i6 q& P! ^: a0 kS.237, La marseillaise (1872?)3 r! i6 \" V. z$ f
S.238, La cloche sonne (1850?)0 h2 W$ ]6 T: ~8 H; h) U
S.239, Vive Henri IV (1870-80 ?)
6 B6 f- z3 K" c% C% P1.7.4.4 German
2 ~7 \" U% G* p/ {4 |. t% h( J, l/ V+ a" y9 B
S.240, Gaudeamus igitur. Concert paraphrase [first/second version] (1843, 1853)
6 f* N! x/ J! i# `1.7.4.5 Hungarian
' z" ~% M4 G$ `  M0 J1 z7 l# V, E
' Q6 m9 g. Z3 L, b3 v9 V, BS.241, Hungarian Recruiting Songs (Zum Andenken) (By Fáy & Bihari) (1828)
! M% w3 W' v3 s! s' }! AS.241a, Ungarische Romanzero (Hungarian Songbook) [18 pieces] (1853)) \8 o5 p9 V0 k6 h" D1 z9 N" W
S.241b, Magyar tempo (1840)9 P9 Y6 e2 S/ U- @9 Y$ o0 S
S.242, Magyar Dalok: Magyar Rapszódiák [21 pieces] (1839–47), C; Q4 K& i+ @, V
S.242a, Rákóczi-Marsch [first version] (1839–1840)
+ Y7 O& l7 B0 c! z! h* C; xS.243, Ungarische National-Melodien [3 pieces] (ca. 1843)8 H+ A8 C) @. w7 Y
S.243a, Célèbre mélodie hongroise (a. 1866)
& ~3 g( }8 X  t: uS.244, Hungarian Rhapsodies (Rapsodies hongroises) [19 pieces] (1846–86)  19首匈牙利狂想曲
6 C% k. J, U# y4 dS.244a, Rákóczi-Marsch [from orchestral version] (1863)
4 T& @: O( p% e: aS.244b, Rákóczi-Marsch [simplified version of S244a] (1871)
& B- W& U! q$ J- i# o0 X0 w9 q2 B8 cS.244c, Rákóczi-Marsch [popular version] (?)5 v3 p0 q1 c1 g
S.245, Fünf ungarische Volkslieder (Abranyi) [5 pieces] (1873)3 W* ^( W0 D. Y; B6 \, |1 Y
S.246, Puszta-Wehmut (A Puszta Keserve) (1880–86 ?)
" S3 P, V; q4 G8 c0 X$ B, |# ?  F: |1.7.4.6 Italian8 q1 d/ Y/ _/ P( k1 z

5 L, T3 x3 t% W6 U0 j. tS.248, Canzone Napolitana [first/second version] (1842)
' W, k) {4 C0 C. e" K$ m5 X9 M8 h1.7.4.7 Polish5 ~2 [. E' W7 s2 H5 ?- d- H: ^

2 J6 u# K+ k  _2 I9 L- Z. O  lS.249, Glanes de Woronince [3 pieces] (1847–48)
3 x1 R7 a- ^5 Y+ d8 i2 ]* US.249a, Mélodie polonaise [short draft] (1871)$ I4 [3 J! A# y' U9 v% q
S.249b, Dumka (1871); H: z- x. R& U2 _. ~" O5 C$ F
S.249c, Air cosaque (1871)
' ?& G" `9 _5 ?4 {1.7.4.8 Russian  n# O! G0 t3 k/ W( x$ t

; C0 W$ {9 H2 h6 WS.250, Deux mélodies russes. Arabesques [2 pieces] (1842)
' e* p5 W" g: J$ v; YS.250a, Le rossignol (Alyabyev) [first version of S250/1] (1842)
8 C7 U4 C. F& T+ V+ p5 d2 tS.251, Abschied. Russisches Volkslied (1885)
. M- g* c$ M6 u/ D6 {& \3 G9 q1.7.4.9 Spanish) k3 u, R7 B" t+ w- V5 R
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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)9 v' b( Y) r0 g1 O
S.252a, La romanesca [first/second version] (ca. 1832, b. 1852)
" K- i* t# B4 g; }S.253, Grosse Konzertfantasie über Spanische Weisen (1853)$ o8 y, |$ n# j0 K
S.254, Rhapsodie espagnole (1863?) 西班牙狂想曲
+ i2 i0 [% \: vS.254x, Rapsodie espagnole [orchestrated by Feruccio Busoni] (?)
, n! M# I/ ~6 y$ T1.8 Piano Duet(钢琴二重奏)
6 k1 g- F8 Q2 r. d5 i+ O5 X: }* ?& ?
S.255, Festpolonaise [now S619a] (1876); x/ z5 l% j5 D' ~
S.256, Variation on the Chopstick Theme (1880)! D. v) V0 @. n' C& w. p, N* Z
S.256a, Nottorno [Not by Liszt?] (?)
' h- C* s4 [1 C1.9 Two Pianos(双钢琴)
3 w* J7 l' I+ `* W" h) T
8 r" I9 i" |$ M7 B: n8 BS.257, Grosses Konzertstück über Mendelssohns Lieder ohne Worte (1834)& o. L1 C2 H- B% d9 ?6 X% }
S.258, Concerto pathétique (b. 1856)  e小调钢琴协奏曲“悲怆”
" f' A4 L  F& A' Z; B6 {1.10 Organ(管风琴)& M6 j& G. d% Z( |4 K6 D+ Q
4 A3 B9 M  d. |) H: a0 @
S.259, Fantasy and Fugue on the chorale Ad nos, ad salutarem undam (1850)1 D, O! j. o/ e  s- B
S.260, Präludium und Fuge über das Thema BACH [first/second version] (1855, 1870): v0 a7 }0 a, Z
S.261, Pio IX. Der Papsthymnus (1863?)% @! Z9 R6 [0 [" P" E
S.261a, Andante religioso (1861?)( ^1 s( }# t  c2 M: s) T1 O) s
S.262, Ora pro nobis. Litanei (1864)) J2 ]8 g/ d$ n0 H# J
S.263, Resignazione (1877)
0 \& a) f: Q/ n. B! z! BS.264, Missa pro organo lectarum celebrationi missarum adjumento inserviens (1879)- X8 S: g, o8 i9 C2 b2 P+ A/ ]+ h
S.265, Gebet (1879)$ ?' _! b9 \- i9 E; J  H3 R
S.266, Requiem für die Orgel (1883)
: E. ~' X" z4 DS.267, Am Grabe Richard Wagners (1883)
3 ?3 M: v" a" wS.268, Zwei Vortragsstücke [2 pieces] (1884)
: k8 ^! n) I- d! n0 n. N. W1 P" X1.11 Songs(歌曲)
" M4 f% T' S, S) A
& C3 C- ~7 c' k/ i  v( yS.269, Angiolin dal biondo crin (Marchese C. Bocella) [first/second version] (1839, ?)  }% m! q; p4 l+ j/ @
S.270, Three Petrarch Sonnets [3 songs, first/second version] (1844–45, 1854]
# f  q# o- f- a4 `' cS.271, Il m'aimait tant (Delphine Gay) (1840?)
& ^8 M( a. o: BS.272, Am Rhein im schönen Strome (Heine) [first/second version] (1840?, 1854)
. d( v- h: f2 J! hS.273, Die Lorelie (Heine) [first/second version] (1841, ?)
1 t* c& Z/ `. @% Q( s% J4 |- G* ]0 CS.274, Die Zelle in Nonnenwerth [first/second version revised 1862] (b. 1841, 1857)+ X$ @9 e2 M2 X  _
S.275, Mignons Lied (Kennst du das Land) (Goethe) [first/second/third version] (1842, 1854, 1860)
% q) I+ p$ o; t0 }4 v# QS.276, Comment, disaient-ils (Hugo) [first/second version] (1842, ?)+ V3 L. S8 h- B
S.277, Bist du (Prince E. Metschersky) [first/revised version] (1843, ca. 1878-79)
( R4 D+ m6 R+ a7 v, rS.278, Es war ein König in Thule (Goethe) [first/second version] (1842, ?)
% z1 W& ?, d( R4 ~7 b5 rS.279, Der du von dem Himmel bist (Goethe) [first/second/third version] (1842, ?, 1860); C+ N  m8 _; ?# Y3 h# e
S.280, Freudvoll und leidvoll (Goethe) [first/second/third version] (1844, 1848?, ?)+ P9 K! q% ^7 P
S.281, Die Vätergruft (1844)6 B- F" t3 r3 h6 ?
S.282, O quand je dors (Hugo) [first/second version] (1842, ?)3 W) c  v! l' ?3 w* D. }
S.283, Enfant, si j'etais roi (Hugo) [first/revised version] (1844?, ?)
% B! p/ R; g& J$ o$ H$ ^# c3 k4 vS.284, S'il est un charmant gazon (Hugo) [first/revised version] (1844?, ?)
+ h: s; O! w5 j5 B  sS.285, La tombe et la rose (Hugo) (1844?)
  w8 B& T! q' y! M" ?S.286, Gastibelza, Bolero (Hugo) (1844?)
7 a* Y# P% Q5 q5 bS.287, Du bist wie eine Blume (Heine) (1843?)) x1 v: w& C; k3 O
S.288, Was Liebe sei (C. von Hagn) [first/second/third version] (1843?, ca. 1855, 1878–79)
) K9 F3 g: `  [. ~- }: ^  j* p, GS.289, Vergiftet sind meine Lieder (Heine) [first/revised version] (1842, ?)3 A- O8 D% R$ P
S.290, Morgens steh ich auf und frage (Heine) [first/revised version] (1843?, ca. 1855)7 O. O6 z2 `% h5 |6 `1 N0 n+ z
S.291, Die todte Nachtigall (Kaufmann) [first/revised version] (1843?, 1878)
- @+ g, o# |" N: {4 iS.292, Songs from Schiller's Wilhelm Tell [3 songs, first/revised version] (1845?, ?)# h; t0 {! N$ |8 X
S.293, Jeanne d'Arc au bûcher (Dumas) [first/revised version] (1845, 1874)( D6 C5 o2 X0 A
S.294, Es rauschen die Winde [first/second version] (ca. 1845, b. 1856), o' E" M1 `9 [8 z1 |
S.295, Wo weilt er? (Rellstab) (1844)
2 f/ G6 T% D& M" v4 I1 E- hS.296, Ich möchte hingehn (Herwegh) [revised later] (1845)
; B2 l% s# C- x; HS.297, Wer nie sein Brot mit Tränen ass (Goethe) [first/revised version] (ca. 1845)
* p  P* h% n! Z. n* h" V& D2 cS.298, O lieb so lang du lieben kannst (Freiligrath) (1845?)
1 ~( x* n- l/ ES.299, Isten veled (Farewell) (Horvath) [first/revised version] (1846–47); {$ N1 J$ Z# g3 g6 N( k
S.300, Le juif errant (Béranger) (1847)
, R2 D& v. U" N2 \1 J8 BS.301, Kling leise, mein Lied [first/revised version] (1848)/ v- V0 k' I/ h8 i/ e9 I8 v
S.301a, Oh pourquoi donc (Mme Pavloff) (1843)3 f. _; R; m2 y
S.301b, En ces lieux. élégie (E. Monnier) (1844)4 u/ n7 a- p1 m$ e0 e( W5 l* e
S.302, Die Macht der Musik (Duchess Helen of Orleans) (1848–49)$ {" E; D$ y6 [, G, k  p$ i( f
S.303, Weimars Toten. Dithyrambe (Schober) (b. 1848). S4 Q6 H7 h; F4 y9 j
S.304, Le vieux vagabond (Béranger) (b. 1848)
" D+ X3 d! Z: {2 Q- ~& |+ [S.305, Schwebe, schwebe, blaues Auge [first/revised version] (1845, ?)
" n0 I/ n/ v3 FS.306, über allen Gipfeln ist Ruh [first/revised version] (1847?, ?)
8 q, q* a/ E) u2 S  Y0 b0 G  j9 l! a5 ^9 zS.306a, Quand tu chantes bercée (Hugo) (1843)
/ _* [3 y" `5 PS.307, Hohe Liebe (Uhland) (1850?)
* w! L1 A" @! n/ `4 U/ pS.308, Gestorben war ich (Seliger tod) (Uhland) (1850?)9 }$ K/ r" j# G+ v' J/ I
S.309, Ein Fichtenbaum steht einsam (Heine) [first/revised version] (ca. 1845, 1854)
2 [7 h- N  S( K# F2 z1 mS.310, Nimm einen Strahl der Sonne (1849)
  }* Y/ f8 e5 S' W/ N. NS.311, Anfangs wollt' ich fast verzagen (Heine) (1849)% K6 G8 @* V3 \
S.312, Wie singt die Lerche schön (Hoffmann von Fallersleben) (1856?)+ n6 T7 Z9 A% ?1 d* }6 n- M/ x& A- d
S.313, Weimars Volkslied (Cornelius) (1857)7 V' N$ U$ M( G/ J; K
S.314, Es muss ein wunderbares sein (Redwitz) (1852)6 ]  D! F) B2 ?1 W* T* p
S.315, Ich liebe dich (Rückert) (1857)6 a% Q/ K- N) @) @
S.316, Muttergottes - Sträusslein zum Mai-Monate (Müller) [2 songs] (1857)+ |4 H& z8 Z, a0 {
S.317, Lasst mich ruhen (Hoffmann von Fallersleben) (1858?)
" j$ s- G3 `1 FS.318, In Liebeslust (Hoffmann von Fallersleben) (1858?)
3 l; w. U: t/ c0 a) x' n1 N4 y: W; kS.319, Ich scheide (Hoffmann von Fallersleben) (1860)4 T! M9 g% B; x& ~9 O
S.320, Die drei Zigeuner (Lenau) (1860)# @3 x2 ^' l0 C8 A4 C! n# _$ q4 b
S.321, Die stille Wasserrose (Geibel) (1860?)( I6 J) m& J# L2 K! N
S.322, Wieder möcht ich dir begegnen (Cornelius) (1860)0 }+ y6 m1 Y( ~" S! a4 {! }! q: ^% E
S.323, Jugendglück (Pohl) (1860?)
0 ^, v/ r  [# ?6 q% g6 p- P2 O3 j, kS.324, Blume und Duft (Hebbel) (1854)
  Z- G( k# @4 d7 s, X" n* SS.325, Die Fischertochter (Count C. Coronini) (1871)' z# g" o: P' E. g' Y
S.326, La perla (Princess Therese von Hohenlohe) (1872)+ K' ^0 G; a& E$ ^' F. L4 ?( G( P
S.327, J'ai perdu ma force est ma vie. 'Tristesse' (de Musset) (1872)
3 N0 o0 B1 k0 t/ w4 D; J) u. ]S.328, Ihr Glocken von Marling (Emil Kuh) (1874)
$ e) N/ Y  {8 g3 b, ]& IS.329, Und sprich (Biegeleben) [revised 1878] (1874)3 \2 |9 l* t" X2 L9 e3 Z9 T  b
S.330, Sei Still (Henriette von Schorn) (1877)
% p& o, B; B& SS.331, Gebet (Bodenstedt) (1878?)
* W4 n+ J% a3 v2 D/ b: o( kS.332, Einst (Bodenstedt) (1878?)
1 k: n0 Y6 M: t9 JS.333, An Edlitam (Bodenstedt) (1878?)
! y: [* e3 A& V5 F# Y& i" wS.334, Der Glückliche (Bodenstedt) (1878?)
" W( V3 x% ^8 F: aS.335, Go not, happy day (Tennyson) (1879)2 |2 |7 k! O" l8 j# O0 P
S.336, Verlassen (G.Michell) (1880)1 P9 _* \# f8 g, j  E; w
S.337, Des tages laute stimmen schweigen (F. von Saar) (1880)  G/ o; u4 K7 ~: }2 F+ ]( V
S.338, Und wir dachten der Toten (Freiligrath) (1880?)
5 `1 n3 ?/ R5 e3 w) `# yS.339, Ungarns Gott. A magyarok Istene (Petófi) (1881)* |" o5 o4 w( h9 }1 V
S.340, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)) q$ i( Y$ S; I6 m! `
S.340a, Ne brani menya, moy drug. (Tolstoy) (1886)
- [3 H* V5 `7 M& j0 x1.12 Other Choral Works(其他合唱作品)3 C# p: S! A  l
S.341, Ave Maria IV (1881)) H) h; V* J) c) c" g7 N6 s( z
S.342, Le crucifix (Hugo) (1884): H5 m) k+ _- l- V+ g& a/ s% e
S.343, Sancta Caecilia (1884)
( G. l6 x/ |+ j+ s# A- E; @S.344, O Meer im Abendstrahl (Meissner) (1880)3 `7 z) ^1 G  Z* D) L
S.345, Wartburg-Lieder from Der Braut Willkomm auf Wartburg (Scheffel) [7 chorals] (1872)
% C1 s, Z, g/ i0 e& R7 q" u8 k1.13 Recitations(叙事歌谣颂诗)
& m* }9 X: I7 S/ o% I& E& RS.346, Lenore (Bürger) (1858)
7 W+ P' m' _- r2 CS.347, Vor hundert Jahren (F. Halm) (1859)
; t' m) }9 C4 K6 zS.348, Der traurige Mönch (Lenau) (1860)3 K/ H9 c: k3 M) P, `7 A
S.349, Des toten Dichters Liebe (Jókai) (1874)
6 L' ?  Z3 x, e8 ZS.350, Der blinde Sänger (Alexei Tolstoy) (1875)
8 `1 r' b; P- Z- a0 F; ?2. Arrangements, Transcriptions, Fantasies, etc., m* k# r& V7 d- n  S1 T

; z5 B+ |" h. e' y. a& h2.1 Orchestral Works(管弦乐作品)# n% H3 \" g5 b) c+ j9 t
4 Y5 z$ c7 ~( ], d
2.1.1 Bülow
) x. r. Z. a5 _4 x
/ p5 w2 n3 T6 l, FS.351, Mazurka Fantasie, Op. 13 (1865)1 H8 V5 s3 K1 }. d
2.1.2 Cornelius
( s  W. ~' x, N- a- }$ p- l( ]  p" V* k7 v) L: P: m8 j, Q$ V/ M
S.352, Second Overture to The Barber of Baghdad [completed from Cornelius's sketches] (1877)4 o# J* o& Z- a
2.1.3 Egressy and Erkel
+ j* E) y$ r( g) L
) }5 k- [/ X, p, I  w. y' T6 KS.353, Szózat und Hymnus (1873)% Y" [5 A3 P- m6 w' U
2.1.4 Liszt  u, c' D# J7 u. E) A0 K' a' [/ t

+ J# ^0 d4 u1 U# pS.354, Deux légendes (1863)
( i5 o4 N3 P' F; [; aS.355, Vexilla regis prodeunt (1864)
: ~8 V1 X0 n5 [' J% v. rS.356, Festvorspiel (1857)" |& t" `& z- |, k5 B  E2 _
S.357, Huldigungsmarsch [first/second version] (1853, 1857)
' r" f3 R' i  Q; }- j% g' N- V0 X9 JS.358, Vom Fels zum Meer. Deutscher Siegesmarsch (1860)
/ A+ c' E  `1 j! B' s$ pS.359, 6 Rapsodies hongroises (Hungarian Rhapsodies) (?)
/ V+ L! \& h0 z8 r) R+ h8 VS.360, A la chapelle Sixtine (Liszt, Allegri & Mozart) [orchestral arrangement of S461, based on Mozart's Ave verum corpus and Allegri's Misere] (1862); }3 c0 `6 S* s  C  S
S.361, Pio IX. Der Papsthymnus (ca. 1863)
: q( }/ Z( I0 E2 uS.362, Benedictus and Offertorium from the Hungarian Coronation Mass [from S11] (1875)
8 N% G5 x. G# o1 Y2 F4 |4 h2.1.5 Schubert
( G$ F3 _0 Q0 L9 K' }
/ T: M/ r% w, `+ Q* R; m* X6 ^) kS.363, 4 Marches [from Opp. 40, 54, 121] (1859-60)+ K/ u0 _! ~8 x0 _; y
2.1.6 Zarembski0 }5 y" _$ b& d1 [/ E! V; N

7 z6 _3 _( ~* {8 y( w0 XS.364, Danses galiciennes (1881); j; Z5 t& p5 |+ q7 _
2.2 Pianoforte and Orchestra(钢琴与乐队)
( z4 q8 g! Z! d$ d9 f1 v- I
* U4 U5 g* U4 f* S$ K2.2.1 Liszt5 |& |) S9 k6 ]9 R9 i9 \, {

0 Q4 P% Y7 U) Q; ^* YS.365, Grand solo de concert [prepared by Leslie Howard] (1850)$ [) T: J! Z5 k( t9 S6 b6 O9 ^9 ~: u
S.365a, Concerto pathétique (No. 4) in E minor [Liszt, Reuss version] (1885-86)
6 x$ K) o& |# L- d! C) j" RS.365b, Hexaméron, Morceau de concert [orchestration completed by Leslie Howard] (ca. 1839)
7 n% g% u7 v" o1 N; r2.2.2 Schubert
2 I, ^( U# C" q/ z2 h1 E4 C! e, }  K; Q9 m1 J
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* Q1 K. M; }1 p, U2 {/ Y
2.2.3 Weber
  Z$ `) ]( H  L! c8 J% k; s, a& C7 k* s& S/ x
S.367, Polonaise brillante, Op. 72 (1849) 华丽波洛涅兹 为钢琴与乐队而作
6 l# U2 c; a  F9 }3 e2.3 Songs with Orchestra(声乐与乐队)  c& @) [! M5 Y4 m  q& ]6 D
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2.3.1 Korbay; \) P' P0 r# `# s

  c! J9 z7 }* zS.368, 2 Songs (Le Matin by Bizet and Gebet by Geibel) (1883)0 j  E$ x" u. \3 [$ i* _% R4 S
2.3.2 Liszt
( k  m% b' c, e- y7 A% o* G9 \8 o0 v& n; Z0 E: C6 b0 X
S.369, Die Lorelei (Heine) (1860)+ E$ a$ z7 l. C5 }
S.370, Mignons Lied (Kennst du dass Land) (Goethe) (1860)
5 x& J, Y0 a9 F: M3 U. jS.371, Die Vätergruft (Uhland) (1886)! h8 A" J( R) _4 q
S.372, Songs from Schillers Wilhelm Tell (ca. 1855)6 F, g7 ~6 U% s' n- ~- A: t
S.373, Jeanne d'Arc au bûcher (Dumas) [first/second version] (1858, 1874)
2 E" b: m. [% {$ \  s1 OS.374, Die drei Zigeuner (Lenau) (1860)3 B2 m2 R* P5 u  y
2.3.3 Schubert) Y1 B5 M4 b& z. f3 F
8 t2 a' F7 B8 j2 E" [
S.375, 6 Songs (1860); n: E, m- ?, x  ^' T' i4 V
S.376, Die Allmacht (1871)
/ s! A6 a4 M5 L5 a- V2.3.4 Zichy
. _1 e$ x! o- y9 u
/ ]# ?/ ~9 f  A( U, t/ }3 d3 PS.377, Der Zaubersee. Ballad (Zichy) (1884)
- J& r# g" c, }2 t+ Z+ s, |2.4 Chamber Music(室内乐等)
1 T' w* H- C3 [2.4.1 Liszt
: v9 m- u/ }/ M% S9 B; _. J+ C0 [# b, W+ y9 H9 ~
S.377a, La notte (Odes funèbre No. 2) (1864-66)3 h6 Z6 j/ w# |% x4 v
S.378, Angelus! - Priere aux anges gardiens [first/second version] (1877, 1880)
3 e5 C  q! k% m5 H5 P$ S/ m: V0 eS.379, Rapsodie hongroise No. 9 (Pester Karneval) (?)" a/ D5 P& O8 E" t& j) Q# r4 y
S.379a, Rapsodie hongroise No. 12 (1850-59)3 G1 {- Q$ N, ?5 U; R$ i* b
S.379b, Puszta-Wehmut (A Puszta Keserve) (ca. 1871)* l' |3 \# A" v/ U6 o
S.380, O du mein holder Abendstern from Tannhäuser (Wagner) (1852)
1 {; \/ S! t% H/ |8 ZS.381, Benedictus and Offertorium from the Hungarian Coronation Mass [from S11] (1862); e; Z/ Z1 O$ K/ a" }
S.381a, Ungarns Gott. A magyarok Istene (Petófi) (1882)
4 D: b5 b) F5 D3 M! W' mS.382, Die Zelle im Nonnenwerth (ca. 1880-86)
9 u0 r  |+ v) R9 H* S6 W2 oS.383, Die drei Zigeuner (Lenau) (1864)
& y( y3 L% p" c6 p8 h5 v  B2.5 Pianoforte Solo
$ ]% W' w$ E$ V" {# _6 x+ }1 w) i
* u% u1 e5 ?" o- T! R, H5 d& z2 @2.5.1 Paraphrases, Operatic Transcriptions, etc.(歌剧改编独奏)
- C- |! m- P3 N3 b
7 W) i2 K1 f/ @! W# O, M  h9 m2.5.1.1 ábrányi
, q+ Z+ T6 {) V0 ~* ]8 T; t
: H% D. b( t7 v9 }' k$ |) ES.383a, Elaboration on Virág dal (1881)
. u( c( f9 `! w: m9 V) k$ E2.5.1.2 Alyabyev
* `6 [6 O+ b. `7 y) c5 P
, y+ ?0 T$ _2 _! N" F0 U# FS.384, Mazurka pour piano composée par un amateur de St. Petersbourg (1863)( @" F0 Z8 J; {1 q4 C( C" o. L% d
S.384a, Variations on Tiszántúli szép leány [anonymous, not by Liszt?] (1846)( O1 e. J5 c' R3 h
2.5.1.3 Auber; ^2 w) N4 F- y/ J6 K
( w2 p8 C8 |7 U
S.385, Grande Fantaisie sur la Tyrolienne de l'opera La Fiancée [first/second/third version] (1829, 1835, 1842)+ Z0 B1 I7 b& o, Q! l$ B9 q8 ?
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
# [3 W. o" M( L: ?& R5 e  T0 F. cS.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
! F# ]1 P1 K) P1 `3 ^  g% j7 A% S# TS.387, Three Pieces on themes by Auber [with intro piece] (a. 1846)
+ O/ ?9 t* ]% n; @) r" _; i9 j8 BS.387a, Piece on an unknown theme (1847)
' X( [5 T) [( h5 \2.5.1.4 Beethoven! W2 G; \* d) f7 y+ ]

$ L" l. b+ N1 `' I, z- ]7 @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
3 a' B) S( S6 r2 r" {8 |S.388a, Marche turque des Ruines d'Athenes (1846)
1 @  l9 H8 m, s; K$ y. a0 KS.388b, Fantasie über Beethoven's Ruinen von Athen [first version] (1837): b9 y" y$ ?- e" j' w" ]" P
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
& k5 R! J* c8 B! F5 u; {& m+ XS.389a, Cadenza to the first movement of Beethoven's Piano Concerto No. 3 (1879)4 c% T5 w1 E- b! ?
2.5.1.5 Bellini
  \$ O9 x( a9 {. ^  i  W, t& f& M% c, u7 b9 f1 Y% O, o
S.390, Reminiscences des Puritains [first/second version] (1836, 1837)
1 C0 P0 q9 _) J) e: e9 n* uS.391, I Puritani. Introduction and Polonaise (1840)
" d" c2 }2 H) Y! M9 w% ?S.392, Hexaméron, Morceau de Concert (1837)
3 D7 K" H% L, p+ J# bS.393, Fantaisie sur des motifs favoris de l'opéra La Sonnambula [first/second/third version] (1839, 1840-41, 1874)
" z. K) c% e2 Y  V9 i, P6 ?6 hS.394, Réminiscences de Norma (1841-43)
& ]9 I' Z1 j! |3 _1 B  L2.5.1.6 Berlioz
. i# |- U* I( {0 A7 W) E
! f& f% g8 q9 @' o4 zS.395, L'Idée fixe: Andate amoroso [first/second version] (1833 or 1846?, 1865)
5 _. b3 D. s3 \: cS.396, Benediction et Serment from Benvenuto Cellini (1852)
, ?0 p  I% ?* i6 t5 q2.5.1.7 Donizetti, Gaetano
. p; S1 D, ?% ^3 K, t& G& \
- q2 R1 r! U3 I! P4 a. wS.397, Réminiscences de Lucia di Lammermoor (1839)4 }) K3 d$ M! w+ `( ?
S.398, Marche Funebre et Cavatine de Lucie de Lammermoor (1839)  _: l0 X) _% e5 Z! P0 F
S.399, Nuit d'été à Pausilippe [3 pieces] (1839)
, ]4 M( G  }/ R+ ?$ MS.399a, Lucrezia Borgia - Grande fantaisie [first version of S400ii] (1840); W2 M" ^+ E! t1 [  N7 s

+ A' m* L) n8 U2 {" x$ F$ w+ O$ K李斯特全部作品目录-30 n4 X+ f3 g  s0 s$ e9 L9 r5 b

2 S- r& b# d! n, j% t$ m0 xS.400, Réminiscences de Lucrezia Borgia [first/second version] 1840. i0 U; B' N1 V1 y( Q
S.401, Valse a capriccio sur deux motifs de Lucrezia et Parisina [first version of S214/3] (1841)& A$ Y2 f+ d! r! C6 y
S.402, Marche funèbre de Dom Sébastien (1844)
0 F) B0 n+ r0 Q2.5.1.8 Donizetti, Giuseppe+ C) X& N- J* _; H- O/ p

$ N/ Z% b- d3 p: ]; HS.403, Marche pour le Sultan Abdul Medjid-Khan [first/simplified version] (1847, 1848)0 z! m1 x1 r+ k# X
2.5.1.9 Duke Ernst
' K2 N& `, k7 y! O! ~+ o4 S
( }& L% q+ ^! h+ x: BS.404, Halloh! Jagdchor und Steyrer from the opera Tony (1849)) S  c  i* p6 o, V8 h) g
2.5.1.10 Erkel, Franz# j- ~2 {4 Y* S4 j; v

, r. r4 L& P* T" x- G# WS.405, Schwanengesang and March from Hunyadi Laszlo (1847)
  F' Y& l$ I( o2 F6 r7 A! b2.5.1.11 Festetics  T! u6 X5 C8 H
5 W( @( Q) m) m, l5 _3 {
S.405a, Pásztor Lakodalmus Variations - Mélodies hongroises [elaboration by Liszt] (1858)6 y. Y4 T7 M! F
2.5.1.12 Glinka  U8 t0 B% T4 q! A9 b  W% x) F9 ]& l6 g0 ~
  f& p9 k8 c: |$ H( a* A" m
S.406, Tscherkessenmarsch from Ruslan i Lyudmila [first/second version] (1843, 1875)0 |1 l+ f. f( C! g
2.5.1.13 Gounod0 c) ~) \4 {, m& S" a; \" a# W) T
( Q3 v( ^/ s8 P! }( s# `1 M8 N" a
S.407, Valse de l'opéra Faust (b. 1861)( [5 t) ]) n' k' H: C( j5 t. s
S.408, Les Sabéennes. Berceuse de l'opéra La Reine de Saba (1861)# s* K; `/ i/ x8 o* j$ B) z+ u* P
S.409, Les Adieux. Rêverie sur un motif de l'opéra Romeo et Juliette (1867)7 |) L7 B% c" \1 N( j- `
2.5.1.14 Halévy
# `4 _8 S4 D7 a+ X7 i) K" lS.409a, Réminiscences de La Juive (1835)
) j; S; q  {7 u: {2.5.1.15 Mendelssohn' {. I: ?* ^) N" {. z4 W' N8 M) h
S.410, Hochzeitsmarsch und Elfenreigen aus dem Sommernachtstraum (1847-50)* Y( s: m6 n' q" c
2.5.1.16 Mercadante) ^9 M1 S3 ]  i& T9 f, K: I- O( C
S.411, Soirée italienne. Six amusements (1838)+ g4 E6 E" w& O9 a) @' n
2.5.1.17 Meyerbeer
/ v7 t: C' n$ {" Z/ d7 IS.412, Réminiscences des Huguenots - Grande fantaisie dramatique [first/second version] (1836, 1842)4 N# N: w4 P4 F; l$ G. A
S.412a, Réminiscences de Robert le Diable - Cavatine (1846?)2 g' `; F0 q1 \
S.413, Réminiscences de Robert le Diable - Valse infernale (1840)8 Y" K: y8 o# ?" A7 V9 g
S.414, Illustrations du Prophète [4 pieces, 4th=S624] 1849-50% l, p3 P, b7 i2 @) I
S.415, Illustrations de l'Africaine [2 pieces] 1865: e# W- k1 O+ L7 ?: H8 a
S.416, Le Moine (1841)
1 o1 c' e3 f6 [; [% [9 \4 Y2.5.1.18 Mosonyi, Michael
( o1 A1 ?. B6 P) c. JS.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
; ~. N0 Z( Y1 `% ]5 p2.5.1.19 Mozart/ K" a  Y' r' h2 k* n: p9 K
S.418, Réminiscences de Don Juan (1841)% @4 K5 ?  F% O6 T4 D: q
2.5.1.20 Pacini) Y, d; ^6 M$ z3 i& y# v
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
( i4 E/ J2 f: _* J  k" M2 H2.5.1.21 Paganini
( ]7 k0 j4 `) H; DS.420, Grande Fantaisie de bravoure sur La Clochette (1832-34)  华丽的钟声幻想曲1 ^8 L4 F$ h0 }$ a, ]
2.5.1.22 Raff, [6 @  c+ H% Q/ ?
S.421, Andante Finale and March from the opera König Alfred [2 pieces] (1853)
* K, o- d! r$ u6 S( U# ^* o2.5.1.23 Rossini
4 @; t, c$ M8 E* Q0 iS.421a, Introduction et Variations from "Siege of Corinth" [introduction only] (1839?)
+ M$ `) z  U$ t! v% p+ a3 FS.422, Première grande fantaisie (Soirées musicales) [first/second version] (1836)/ `  s+ D6 H, x4 K) b
S.422i, La serenate e l'orgia - Première grande fantaisie (Soirées musicales) [first version] (1836)
/ G9 n1 q% G" d' HS.423, Deuxième grande fantaisie (Soirées musicales) (1836)- a0 c' s/ |% P" k+ j7 l& Y+ W2 w, t
S.424, Soirées musicales [12 pieces] (1837)
4 ^: b2 I( y5 R( D: \2.5.1.24 Schubert' T0 T/ e+ s: p: _# g8 J
S.425, Mélodies hongroises [3 pieces] (1839–40)( `2 ]! ~" E$ r2 b
S.425a, Mélodies hongroises [revised versions] (1846)* b! `2 Q# f/ V1 P  }
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2 U0 E, z) p; x' w7 m  R/ H: `
S.426a, Marche militaire (ca. 1870)
6 G1 i' j1 o& ]7 P; N, hS.427, Soirées de Vienne [9 pieces] (1852) 维也纳之夜 S.427 根据舒伯特《随想圆舞曲》改编
( f: A" X3 o; m# q3 h! h; e) m2.5.1.25 Sorriano* ~3 E5 I+ @% r( S/ n5 s! v
S.428, Feuille morte. Elégie d'après Sorriano (1844-45)9 C) v! _5 n6 a% |  ^) y# L  ~
2.5.1.26 Tchaikovsky
  B- C) w7 f" \  jS.429, Polonaise from Eugene Onegin (1879)# Y1 Y# y$ w# T3 f2 ^+ X8 k% j3 o
2.5.1.27 Végh, Janos
& w' L/ x7 i9 ]/ m' US.430, Valse de concert (1882-83)
: Q' }7 U0 v7 E; m4 R8 ]. s2.5.1.28 Verdi
" e6 v8 n7 e% `: }! T% O# v' ~& ]S.431, Salve Maria de Jerusalem from I Lombardi [first/second version] (1848, 1882)
" V8 S( l. j: k* F* vS.431a, Ernani - Première paraphrase de concert (1847)
1 d0 G' U! q* M7 b6 i0 L- y% tS.432, Ernani - Paraphrase de concert (No. 2) [first/second version] (b. 1849, 1860)3 M% e6 ]3 J( v, P
S.433, Miserere du Trovatore (1860)- T) u+ i8 N. R' M. W1 {
S.434, Rigoletto Paraphrase de Concert (1859)- @1 V0 j/ D) Y* G3 I) o) D' I
S.435, Don Carlos Coro e Marcia funebre (1867-68)/ T, _) s. Q# R& v7 W) }
S.436, Aida Danza sacra e duetto finale (1877)
  w% P! m" G. g/ `% CS.437, Agnus Dei (1877)
5 |* O' e. x* c" cS.438, Réminiscences de Boccanegra (1882)
0 a% b3 p; N0 X% w8 J2 K. @2.5.1.29 Wagner8 v  o1 m8 r$ A2 W
S.439, Phantasiestück über Motive aus Rienzi (1859)
1 U  r( a# S$ ?  m5 WS.440, Spinnerlied aus Der fliegende Holländer (1860)
+ X2 M( o) k& qS.441, Ballade aus Der fliegende Holländer (1872)$ H$ H: q1 b" W
S.442, Ouvertüre zu R. Wagners Tannhäuser (1848)1 s- m- N0 j, `+ F! w9 |- g
S.443, Pilgerchor aus Tannhäuser [first/second version] (1861, 1885); _5 @7 ]  P# X6 X% @; \" [' {
S.444, O du mein holder Abendstern aus Tannhäuser (1848)2 {* K' O0 `0 Q* \3 E
S.445, Zwei stücke aus Tannhäuser und Lohengrin (1852)
. m, r; L5 i! u& U! uS.446, Aus Lohengrin [3 pieces] (1854)
5 J) O/ M/ ?! B0 @* CS.447, Isoldens Liebestod aus Tristan und Isolde [first/revised version] (1867, 1875)
2 a7 U0 N" _3 f% J8 hS.448, Am stillen Herd aus Die Meistersinger (1871)
) l1 f; @' V% uS.449, Walhall aus Der Ring des Nibelungen (1875)! B9 p8 A. k3 `4 h9 k: @$ [( M
S.450, Feierlicher Marsch zum heiligen Graal aus Parsifal (1882)
7 k# v) o  H& W, j: d* w1 Z% e2.5.1.30 Weber
# O0 @5 C! Y: x; H) A, W! NS.451, Freischütz-Fantasie (1840-41)$ w9 Y8 G' C5 p' `
S.452, Leyer und Schwert [4 pieces] (1848)$ q* w+ @" e( P  \/ j! G; x" N" @+ s% N
S.453, Einsam bin ich, nicht alleine, from Preciosa (1848)9 w% d- H! `6 u- _' o7 N
S.454, Schlummerlied mit Arabesken (1848)% s) \8 [6 s" @6 k: [7 n& e% e5 Q
S.455, Polonaise brillante (1851)
, ^1 h, R$ Z' U. z" p# p; l2.5.1.31 Zichy, Count Géza1 a6 B; g; g9 k4 i6 Y: k
S.456, Valse d'Adele (1877)6 q/ P( w9 N# H* z
2.5.1.32 Unknown$ O: e0 K+ R& z( X! Z8 |$ e6 J3 V
S.458, Fantasy on Il Giuramento (Mercadante) (1838?); n5 _. D7 O% s& i
S.460, Kavallerie-Geschwindmarsch [anonymous] (?)
. \& \. G+ b3 N- J( K2.5.2 Partitions de Piano, Transcriptions, etc.
3 H1 @6 D2 I* ^; w+ j2.5.2.1 Allegri and Mozart
6 e7 X! e% c: c# ?: [7 r* GS.461, A la chapelle Sixtine [first/second version] (1862, ?)
2 r) |3 B% Y6 @S.461a, Ave verum corpus, Kv618 (1862)
' ]0 z0 ]0 X" G6 |1 x/ D' e4 }2.5.2.2 Bach
8 Q& V  o7 J3 ^) _8 b5 L: r, v1 VS.462, Sechs Praeludien und Fugen für Orgel [6 pieces] (1850)
3 T( u9 P3 a' b  Z# E7 k$ GS.463, Organ Fantasy and Fugue in G minor [first/second version] (1860, ?)
2 e" z& z3 l' f2.5.2.3 Beethoven2 `$ f% P# V5 `
S.463a, Symphonie No.5 [first version] (1837)0 y6 n# W$ p0 q( |6 d
S.463b, Symphonie No.6 [first version] (1837)& ~# l* l# p- R; h7 t2 T2 ]  b: m
S.463c, Symphonie No.6 [second version. Alternative 5th movement] (1863-64)1 A, b- h  a3 Z5 c
S.463d, Symphonie No.7 [first version] (1837)
, b0 W" r. B3 MS.463e, Marche funèbre [Beethoven's Eroica Symphony, first version] (1843). Y: Z! z8 Y5 K$ E$ j$ T
S.464, 贝多芬交响曲 Symphonies de Beethoven [9 pieces] (1863-64)3 Z0 K  u; g/ P9 Y
S.465, Grand Septuor, Op. 20 (1841)
+ r  F$ z  n9 R6 z# _* p% P( OS.466, Adelaïde [third version] (1847), J& Y' h$ ~6 ^5 d
S.466a, Adelaïde [first version] (1839)
; Q( Q& ?! ~. i1 C0 ?  zS.466b, Adelaïde [second version] (1840)+ G2 R+ u; \6 T
S.467, Sechs Geistlicher Lieder (Gellert) [6 pieces] (1840)  i4 _" o( P0 t8 Y' W
S.468, Sechs Lieder von Goethe [6 pieces] (b. 1849)8 u. ^, b9 U" I" R
S.469, An die ferne Geliebte - Liederkreis [6 pieces] (1849): `' E0 u& C2 }; F& f9 a
2.5.2.4 Berlioz, ^& M. A, L% a; E5 j
S.470, Symphonie Fantastique (1833)& A4 u0 j2 ~/ Z$ }# o, _
S.471, Overture from Les francs-juges (1833). N' w$ _, p% g, T7 k! s$ T, E: Y6 r9 ~
S.472, Harold en Italie (with viola) (1837)
2 x" [7 w; s% H1 y- S* w0 TS.473, Marche des pèlerins from Harold en Italie [first/second version] (1837?, 1862)+ [8 W4 \/ L) e8 l1 A
S.474, Ouverture Le Roi Lear (1837)
$ C, h9 R9 b, d2 a; f4 {S.475, Valse des Sylphes de la Damnation de Faust (1860)9 y0 e, O8 |1 A" b1 l
2.5.2.5 Bulhakov
! b" O2 O! M6 O' e9 T8 oS.478, Russischer Galopp [first/second version] (1843, 1843)" i: P  s/ b$ |; e9 ^+ o0 x1 @
2.5.2.6 von Bülow- v% t3 s) e/ F- }( @
S.479, Dante's Sonnett - Tanto gentile e tanto onesta (1874)! N9 v* |% C1 l4 L
2.5.2.7 Chopin
. ?2 m1 K( v; N+ H3 D! ~! IS.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
& W9 L, d6 H5 c) Q1 [S.481, Zigeunerpolka (1847?); l) Y) ~) }  G  X7 J, A  n
2.5.2.9 Cui
/ y& n% _! b6 x0 ?4 V9 u) gS.482, Tarantella (1885)
- T, C- L. h; d& A2.5.2.10 Dargomyschsky
8 G; z, D: @2 x7 s3 A3 `S.483, Tarantella (1879)
, U' d: e2 }- t0 q1 Q5 B2.5.2.11 David, Ferdinand
3 ?; ]; Y' o4 d: oS.484, Bunte Reihe, Op. 30 [24 pieces] (1850)
' ~( Z# x- G' D$ V* [2.5.2.12 Dessauer/ k5 j# Q  I: Z7 o/ b; O
S.485, Drei Lieder (1846)  R0 Z+ m7 o/ ^8 A
2.5.2.13 Ernst, Duke, w7 P. E. [: O4 m
S.485b, Die Gräberinsel (1842)1 R  M! l/ u+ P# ?
2.5.2.14 Egressy and Erkel, h1 ?" b) S: q- |$ _2 ]" K
S.486, Szózat und Hymnus (1873)
7 B5 N( K  X- X0 x2.5.2.15 Festetics# T, g2 P: [2 W
S.487, Spanisches Ständchen 1846
9 Z' X  c. f% c0 L( T: v% i2.5.2.16 Franz# z/ R; p( Q( C8 u1 o' b* J8 y1 B4 E
S.488, Er ist gekommen in Sturm und Regen 1848  K; S; w) v  h, _$ A. R+ Z
S.489, Zwölf Lieder [12 pieces] (1848)
' Z' l! Z2 Q( o9 q; z; i' A2.5.2.17 Goldschmidt% T# F) N3 X( H& m
S.490, Liebesszene und Fortunas Kugel (1880)
, c( ^  `6 N( |; ]7 s' w2.5.2.18 Gounod
! n0 y" a+ A  [# B1 X; |7 s1 SS.491, Hymne à Sainte Cécile (1866), M& q1 q) }- N' A. \
2.5.2.19 Herbeck' P. t7 C' N  D) S& t
S.492, Tanzmomente [8 pieces] (1869)
# T6 g# U& L+ X4 A" ~# M+ ~2.5.2.20 Hummel2 s9 X8 t- V: I% j$ k8 o
S.493, Grosses Septett, Op. 74 (1848)) v4 P+ x/ Y7 D, d8 |7 T
2.5.2.21 Lassen, j; L) x- E1 _# i. Q; G: V
S.494, Löse, Himmel, meine Seele [first/second version] (1861, 1872)" O8 O) a$ ^: U- m
S.495, Ich weil' in tiefer Einsamkeit (1872)
5 ^- U+ |% o* P, jS.496, Hebbel's Nibelungen & Goethe's Faust [4 pieces] (1878-79)2 z7 @3 q" [& j& g, `) C) q
S.497, Symphonisches Zwischenspiel ('über allen Zauber Liebe') (ca. 1882-83)
. E0 e2 [8 a% R; s$ R0 K. ~, U% }2.5.2.22 Lessmann
/ u. O0 W8 y9 t+ V' R" ~: e- xS.498, Drei Lieder ('Tannhäuser') (1882?)! @- \4 j8 Y5 y' z' {8 u
2.5.2.23 Liszt
& p) b9 K9 ]" V. r: fS.498a, Drei Stücke aus der heilige Elisabeth (1857-62)  n; F$ Z* L' V
S.498b, Zwei Orchesterstücke aus Christus (1862-66)
5 j% g" C& L: _* KS.498c, San Francesco - Preludio (1862-66); e/ N* |, O  M. d. |$ E
S.499, Cantico del Sol di San Francesco d'Assisi (1881)
6 v7 N- `, W) W1 PS.499a, San Francesco - Preludio per il Cantico del Sol (1880)0 ~9 w% ?: P, t( q$ L3 s
S.500, Excelsior! - Preludio (1875)
+ k3 \0 a8 ^' ?2 z' J* fS.501, Benedictus und Offertorium (Missa Coronationalis) (1867)
4 K& Q9 b( v" T. r- W/ d, BS.502, Weihnachtslied II (1864)
7 L7 W* {. L  G$ O0 a( HS.503, Slavimo Slavno Slaveni! (1863)
: U# |6 A0 A) P7 j9 k" x+ [S.504, Ave Maria II (in D) [first/second version in D flat] (1870, 1873)$ V8 i. I5 h8 _8 O- R. ^' A' q
S.504a, Via Crucis [15 pieces] (1878-79)
7 m, B2 W0 f. i) T+ uS.504b, Choräle [11 pieces] (1878-79)- ]7 ?: @. W5 d: a% R' ~( `
S.505, Zum Haus des Herrn (In domum Domini ibimus) (1884); O8 S  B7 n5 z/ c/ T+ h  I
S.506, Ave maris stella (1868)
/ k  \3 S( Z4 s9 f4 b) QS.507, Klavierstück aus der Bonn Beethoven-Cantata (?)7 S* o9 n% }8 Q6 i; ?- Q6 P) ?& g
S.507a, Schnitterchor (Pastorale - Schnitterchor aus Prometheus) (1850)
3 |! g: L& i9 vS.508, Pastorale. Schnitterchor aus dem Entfesselten Prometheus (1861)/ P2 \" U+ F, l9 d8 H8 E2 C
S.509, Gaudeamus igitur - Humoreske (1870)
2 t) C  X) z2 o3 O' n( N& W. c* D3 y2 xS.510, Marche héroïque (?)
0 F4 c' Z' p3 H: i- BS.511, Geharnischte Lieder [3 pieces] (1861)
; n0 }5 Q3 |* _2 A3 g& B- NS.511a, Les Préludes (Poème symphonique No. 3) [arranged by Karl Klauser, revised by Liszt] (1863) [1][2]
9 v0 k% B2 B2 ~/ E, q6 e' X5 t  \S.511b, Orpheus (Poème symphonique No. 4) [arranged by Fredrich Spiro, revised by Liszt] (1879) [3], T* a7 i. \) F4 X5 c
S.511c, Mazeppa (Poème symphonique No. 6) [arranged by Theodor Forchhammer, revised by Liszt] (1870-79) [3]
6 N  ~6 J/ y7 f5 dS.511d, Festklänge (Poème symphonique No. 7) [arranged by Ludwig Stark, revised by Liszt] (1870-79) [3]
% P" R+ a8 F# ]( rS.511e, Hungaria (Poème symphonique No. 9) [arranged by Fredrich Spiro, revised by Liszt] (1872) [3]
+ ^% c1 Z( @. h" ]" d: [! LS.512, Von der Wiege bis zum Grabe (Poème symphonique No. 13) (1881)
7 m; j5 J2 }# S2 sS.513, Gretchen aus Faust-Simpfonie (b 1867 )% P' X* ]. o* }$ `6 g0 M
S.513a, Der nächtliche Zug (?)
$ M4 h: C8 v- T9 r) T2 ?; P* gS.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  N- n& K# C5 _1 b
S.514a, Erster Mephisto-Walzer (Mephisto Waltz No. 1) [with later additions] (1859-62)
( @& o5 I5 A& p9 YS.515, Zweiter Mephisto-Walzer (Mephisto Waltz No. 2) (1881) 第二梅菲斯特圆舞曲
9 q6 Q- Y: `2 b0 r0 BS.516, Les Morts (Ode Funèbre No. 1) (1860)
% z6 N* u7 ?/ N- u  K/ }S.516a, La notte (Ode Funèbre No. 2) (?)5 w+ X9 I( F+ e3 n1 q
S.517, Le Triomphe funèbre du Tasse (Odes Funèbre No. 3) (1866)
, a# U. {* H" ^+ ~- f- W/ cS.518, Salve Polonia (a. 1863)& V9 n. A9 L8 j
S.519, Deux Polonaises de St Stanislaus (1870-79)/ C0 N( R5 \7 y6 Y
S.520, Künstlerfestzug [first/second version] (1857-60, 1883)& S) l2 A+ W, S& f1 @2 u
S.521, Festmarsch zur Goethejubiläumsfeier [first/second version] (1857, 1872). p  t) l9 l$ |% |0 C, A) g
S.522, Festmarsch nach motiven von E.H.z.S.-C.-G (1857)+ O2 |2 }! @& k/ y0 R
S.523, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (1870)% R9 s+ \+ j  a9 N
S.524, Ungarischer Sturmmarsch [first/second version] (?, 1875); s3 o4 k2 `. q/ D- p
S.525, Totentanz. Paraphrase on Dies Irae (1860-65)5 M6 B8 C7 ?* b5 X4 p0 B$ n
S.526, Epithalam zu Eduard Reményis Vermählungsfeier (?)6 }+ y* Q( Y9 t( I' S
S.527, Romance oubliée (?)% i3 i/ p$ j( Z! h. o
S.527bis, Romance oubliée [short draft] (1880)
% p( |- K1 }8 a$ D* G8 CS.529, Fantasie und Fuge über das Thema BACH [first/second version] (1856, 1870) 巴赫主题幻想曲与赋格
$ n; Z) R- u% a9 K5 u7 s' [S.530, L'Hymne du Pape. Inno del Papa. Der Papsthymnus (1864)
8 @5 [$ [! j# q; H) D; W: F5 W5 AS.531, Buch der Lieder I [5 pieces] (?)
# m' }% E3 ~2 e8 c9 s% s- \* @S.532, Die Lorelei (Heine) [second version] (1861)4 g8 r9 w( D$ c
S.533, Il m'aimait tant (Delphine Gay) (1842)
' G  m: s" ~3 eS.534, Die Zelle in Nonnenwerth (Felix Lichnowski) [first/second/fourth version] (1842, 1860, 1880)% r" m2 b! R. [( q" k  c% @& |
S.535, Comment, disaient-ils [Buch der Lieder II] (1845?)$ B  m) w5 O) N( X; L* c
S.536, O quand je dors [Buch der Lieder II] (1847?)8 R9 \; t9 `6 J8 P8 |
S.537, Enfant, si j'étais roi [Buch der Lieder II] (1847?)7 N+ P! b0 m% ]0 w6 c
S.538, S'il est un charmant gazon [Buch der Lieder II] (1847?)! O$ n+ `+ ^( U" J4 s* X/ Q- [6 V. S
S.539, La tombe et la rose [Buch der Lieder II] (1847?)/ f3 E3 O, m1 y8 u. _
S.540, Gastibelza [Buch der Lieder II] (1847?)/ m. |. u! i' ?# F9 U* X
S.541, Liebesträume. Drei Notturnos (ca. 1850)  3首夜曲“爱之梦”% j! N0 ^9 S9 L
S.542, Weimars Volkslied [first/second version] (1857, ?)3 ^  N) f, a8 `& ?% A1 w
S.542a, Ich liebe dich (?)
+ _# v9 y4 Q) A& J/ dS.542b, Fanfare zur Enthüllung des Carl-Augusts Monument (?)
" m% a9 ]$ g. r! I3 U; hS.543, Ungarns Gott. A magyarok Istene (Petófi)]] [original/(S543bis)left-hand version] (1881); @* R" j' s( v
S.544, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)
9 \- ?7 {0 |- e# C6 lS.545, Ave Maria IV (1881)7 ]: c! q, v) V) A  k' S
S.546, Der blinde Sänger (Alexei Tolstoy) [solo version] (1878)5 U5 I% g! }* Y; \6 {" E* ?
S.546a, O Roma nobilis (1879)5 U9 d) B  M1 }' h9 y3 W0 V
2.5.2.24 Mendelssohn
, z& D  N7 Q( x+ F; kS.547, Sieben Lieder (from Opp. 19, 34, 47) [7 pieces] (1840)  d; D  S( \# s# j" D, v+ ^: r5 ^
S.548, Wasserfahrt and Der Jäger Abschied (from Op. 50) [2 pieces] (1848)) ^0 d- e' H1 T" s
2.5.2.25 Meyerbeer
$ [! _7 z: n! d, q6 a" QS.549, Festmarsch zu Schillers 100-Jähriger Geburtsfeier (?)
. I: P# P1 L" |5 o- y2.5.2.26 Mozart
) @2 s, I- u: w( zS.550, Zwei Transcriptionen über Themen aus Mozart's Requiem, K626 [2 pieces] (1862): f% g  z+ C+ o4 e% {/ f3 Z5 G
2.5.2.27 Pezzini# C9 L, S  ~$ q1 @
S.551, Una stella amica. Mazurka (?)
: P& h7 L) j; A- l$ j1 R6 L/ k2.5.2.28 Raff# ?! T3 U$ `& S
S.551a, Einleitung und Coda zu Raffs Walzer in Des-dur (opus 54/1) (1880)- e  o. \" ^, v6 i
2.5.2.29 Rossini, [8 s# d: K2 `  @
S.552, Ouverture de l'opéra Guillaume Tell (1838)- B! }6 r& A# @& ~$ L$ e) B
S.552a, Caritas [La charité, first version] (1847)6 b8 c% C4 ^& A5 r# U4 h
S.552b, La caritá [La charité, simplified version] (1847)$ l; e* Y$ P. X
S.553, Deux Transcriptions [2 pieces] (1847), d$ H/ [2 F" ?% i! d
2.5.2.30 Rubinstein
2 k0 H  o. n$ V8 jS.554, Zwei Lieder [2 pieces] (1880)
) G5 r4 P! S  K' w1 W* vS.554a, Einleitung und Coda sur des notes fausses (1880)$ \% U" b+ e1 y! \( q
2.5.2.31 Saint-Saëns* W6 u; v/ a2 Q% u5 B
S.555, Danse macabre, Op. 40 (1876)
; B% k$ t1 i! y7 ?0 o# v2.5.2.32 Schubert
" B1 \$ i: l/ E3 p  w" o8 mS.556, Die Rose [first/intermediate/second version] (1832, ca. 1837, 1838)
$ Y5 y# l: w+ JS.557, Lob der Tränen (1837)
  \5 O6 m" ?8 ]- W) zS.557a, Erlkönig [first version] (?)% [7 E5 W% Z2 u6 R4 j
S.557b, Meeresstille [first version] (?)$ Y4 G2 Q3 f. [
S.557b/bis, Meeresstille [first version, ossia] (?)9 a% E! u  S9 p
S.557c, Frühlingsglaube [first version] (?)
2 S" G, i% `; t+ b9 w7 aS.557d, Ave Maria (Ellens dritter Gesang) [first version] (?)
, g0 H; b; [2 C4 sS.558, 12 Lieder (1837-38): e5 E4 h( R6 N) G
S.558bis, 12 Lieder [revised versions of Nos. 3, 4, 7, 8, 9, 11] (ca. 1839)
, N5 l% c7 L5 W% H4 A2 K' b, D" rS.559, Der Gondelfahrer, Op. 28 (1838)3 {8 Y, g: B% b+ i
S.559a, Sérénade [Ständchen, first version] (1837)
2 k( ?- X9 n7 p# ~$ E! I) {S.560, Schwanengesang [14 pieces] (1838-39)4 D' w; ^6 F3 `
S.560bis, Schwanengesang [14 pieces, alternative versions] (ca. 1839)
3 |  J+ \) d9 a6 aS.561, Winterreise [12 pieces] (1839)3 R- W5 X; w6 F8 b
S.561, Winterreise [alternative versions of Nos. 2, 3, 7, 10,] (ca. 1839)
$ S1 ], S, r6 ~, b: S3 @1 cS.562, Geistliche Lieder [4 pieces] (1841)
: _9 ~8 U& g, O3 U& MS.563, Six mélodies célèbres [6 pieces, 1st by Weyrauch] (1844)0 J: O* V) ~, t- s/ g
S.564, Die Forelle [second version] (1846)
8 [( S9 S) k) J" IS.565, Six Mélodies favorites de La belle meunière [6 pieces] (1846)
( J$ w" n8 I# ?( a7 l( e3 h$ g2 VS.565bis, Müllerlieder [6 pieces, revised versions] (ca. 1879)
; c" ~/ L! {* V* R* R, x3 e9 b  r* ZS.565a, Wandererfantasie (Grosse Fantasie in C-dur) (ca. 1868)( _+ F, }! O0 U& B9 b4 K
S.565b, Schubert's Impromptus [2 pieces, Op. 90/2-3] (ca. 1868)
3 s( a0 K5 X) l" Y. M2.5.2.33 Schumann
5 \( l9 S- k- p, y" D8 E9 C) gS.566, Widmung, Liebeslied (1848)2 w8 r: Z9 m+ b* T
S.566a, Widmung, Liebeslied [sketch of a more literal transcription] (1848)6 X. H1 j% {  G8 V3 Y. c
S.567, An den Sonnenschein, Rotes Röslein (1861)
) w4 @$ }1 u% I. BS.568, Frühlingsnacht (überm Garten durch die Lüfte) (1872)
7 X) t3 e% t3 A6 u9 ~1 [7 fS.569, Zehn Lieder von Robert und Clara Schumann [10 pieces] (1872)
2 v% n  X% R; p8 Z" g; U( |S.570, Provençalisches Minnelied (1881), q$ B( j) f0 W4 P% S3 m
2.5.2.34 Smetana
7 J2 S2 O( j: A; ^, i8 dS.570a, Einleitung und Coda zu Smetanas Polka (de salon, opus 7/1) (1880)# F# p( K5 D9 A  x+ Y
2.5.2.35 Spohr
% ?  D% g$ P: W# E5 ?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 Tausig1 j2 E1 {9 b$ ?3 Z
S.571a, Einleitung und Schlußtakte zu Tausigs dritter Valse-Caprice (1880)& h+ U* N, ]& ^# Q0 X5 W9 }& j
2.5.2.37 Szabady and Massenet
7 [+ S6 ^  M: ]) QS.572, Revive Szegedin (1879)
' W$ ?* _* }1 q2.5.2.38 Széchényi, Count Imre
$ Y6 ~& m3 q  e. ?/ m9 nS.573, Bevezetés és magyar indulò (1872)' T1 p- \% L, g" M* K8 Q( L$ F
2.5.2.39 Tirindelli- n' V8 F6 j# r' V( ?2 I  v
S.573a, Seconda mazurka variata (1880)- o2 i: w2 {, i2 ?7 i3 E7 z
2.5.2.40 Weber4 h* ~* f8 R  L( `5 @! M
S.574, Ouverture Oberon (1846?); @( |5 y- c4 U: e1 B  y/ \2 p
S.575, Ouverture Der Freischütz (1840-41); X4 P( x+ o! v' P9 Q) B7 K3 [: X
S.576, Jubelouverture (1846)* V, \8 ~1 m: Q& q' Q
S.576a, Konzertstück, Op. 79 (ca. 1868)  C' n3 k! m+ B% m$ Q; R
2.5.2.41 Wielhorsky, Count Michael  ]) y7 e  o0 g
S.577, Lyubila ya [first/second version] (1843, ?)7 t% V) o7 G$ u0 m8 B. R, n% Y
2.6 Pianoforte Duet(钢琴二重奏)
* h- m7 m* Y, C2.6.1 Field& o' u: u9 V$ a7 E: x' @
S.577a, 11 Nocturnes (Nos. 1-9, 14, 18 and Nocturne Pastorale in E) (?)
; c6 B( L# J2 H8 W$ o4 l2.6.2 Liszt! n+ k- x/ ^5 o( i7 m6 K
S.578, 4 Pieces from St. Elisabeth (1862)1 E; n4 |  `# t/ N
S.579, Christus Oratorio 4th and 5th section (?). X% S8 v  D2 U, e+ i* @( J
S.580, Excelsior! - Preludio (?)
' d5 l7 j$ S- c' [7 a& Y4 dS.581, Benedictus and Offertorium from the Hungarian Coronation Mass (1869)
( C+ `) N+ f% L: e4 l1 zS.582, O Lamm Gottes, unschuldig (1878-79)7 I1 {: S, t9 Y6 ]4 H- |3 c
S.583, Via Crucis (?)
) y; Q3 Q7 t& ?3 cS.584, Festkantate zur Enthüllung des Beethoven-Denkmals in Bonn (1845)
+ D# e' ^9 C2 z# B8 I* K/ eS.585, Pastorale. Schnitterchor aus dem Entfesselten Prometheus (1861)
2 r0 f& N8 _; F/ d- O1 DS.586, Gaudeamus igitur. Humoreske (1870)# O+ ~7 H( V2 C2 X8 @! r
S.587, Marche héroique (?)$ l. c. J5 _4 e- l! i
S.588, Weimars Volkslied (Cornelius) (1857)
% W8 s+ L8 P  t8 h6 OS.589, Ce qu'on entend sur la montagne (Poème symphonique No. 1) (1874)
, ]' j# A! F2 ?+ O) K* f) @S.590, Tasso, Lamento e Trionfo (Poème symphonique No. 2) (1858)
2 W; x* Y- b, Y6 ^S.591, Les Préludes (Poème symphonique No. 3) (ca. 1858)
' H" s% K9 J2 CS.592, Orpheus (Poème symphonique No. 4) (ca. 1858)0 F. M% m+ x" W- W  |5 F
S.593, Prometheus (Poème symphonique No. 5) (1858)
6 l5 L! c: g: i- N& B8 lS.594, Mazeppa (Poème symphonique No. 6) (1874)
" m3 t) K) h& I8 k( eS.595, Festklänge (Poème symphonique No. 7) (1854-61)
: h9 ^6 B9 u  A# e5 m% eS.596, Hungaria (Poème symphonique No. 9) (1874?)" }6 G$ Y. h/ R! y; L3 \
S.569a, Héroïde funèbre (Poème symphonique No. 8) (ca. 1877)
& {  @3 f$ s9 V( ^: u) S5 ?; ZS.596b, Hunnenschlacht (Poème symphonique No. 11) (ca. 1877)
5 [: y: z) i4 B- t: l9 T" G. E4 l1 f/ eS.596c, Die Ideale (Poème symphonique No. 12) (ca. 1874-77)
# I2 Y2 ^& t  t5 Q  HS.597, Hamlet (Poème symphonique No. 10) (1874)
/ G) F9 i4 o0 q! a' uS.598, Von der Wiege bis zum Grabe (Poème symphonique No. 13) (From the Cradle to the Grave) (1881)* [$ U3 q0 R. k' [
S.599, Two episodes from Lenau's Faust (1861-62)6 j" \, U6 e/ d& w$ @# C9 F
李斯特全部作品目录-4
4 B3 _- O6 C: W8 o' \& ?5 z& V$ h  @1 i' d6 z1 q1 t3 z
S.600, Mephisto Waltz No. 2 (1881)0 r2 C8 V5 L  f8 O0 N3 a* y) }1 h" g
S.601, Les Morts (Ode Funébre No. 1) (1866)" U* Z5 Y# a1 ~7 q% C
S.602, La Notte (Ode Funébre No. 2) (1866); C' h! K1 L, I* g/ f2 b
S.603, Le Triomphe Funèbre du Tasse (Ode Funébre No. 3) (1866?)9 X8 a  {0 n( i9 r" B
S.604, Salve Polonia (1863)
- N: j. B' R. @5 qS.605, Künstlerfestzug zur Schillerfeier (1859)
( N9 Q  K; }- N9 c+ B( @S.606, Festmarsch zur Goethejubiläumsfeier (ca. 1858)
- z( J1 M8 b$ H; X/ nS.607, Festmarsch nach Motiven von E.H. zu S.-C.-G. (ca. 1859)  m  W' K% V% ]1 W
S.608, Rákóczy March (1870)
3 J% e3 {: R- J: e: _/ @S.609, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (1870)
3 \9 b/ k$ @* t# Z7 H9 vS.610, Ungarischer Sturmmarsch (1875)0 j* s4 [% S# b4 Y
S.611, Epithalam (1872)
5 Z' p0 C! d6 J" O& ES.612, Elégie (1874)
; Z* h' U+ T, R% w/ h( lS.613, Weihnachtsbaum (1876)7 o7 `1 F3 \+ @! z* j$ ]2 S
S.614, Dem Andenken Petöfis (Petófi Szellemének) (1877)/ Q5 |1 L4 V0 B. H0 }# z, V
S.615, Grande Valse di Bravura (1836)
2 [. B) L$ O! O+ Y2 ^1 a! aS.616, Grand Galop Chromatique (1838)
6 C+ U7 B- y# pS.617, Csárdás macabre (1882)) M) h( }1 Z4 I9 S3 P& ^4 K. ?
S.618, Csárdás obstiné (ca. 1884)) G& u* p) _6 n# C7 w1 \% Y
S.618a, Vom Fels zum Meer. Deutscher Siegesmarsch (?)" l- M! [1 Z# \8 _, Y, P& y
S.619, Bülow-Marsch (ca. 1883)0 D, ~! O7 F- K* x  f% M% f
S.619a, Festpolonaise (1876) [4]
: e4 k. y  T2 ]7 r! b5 p2 zS.620, Hussitenlied (Melody by J.Krov) (1840)
" j: M* {* ?/ C& e9 jS.621, 6 Hungarian Rhapsodies [from the orchestral version, S359] (1874)2 i# R3 ~8 Z+ b$ i4 |7 ?
S.622, Rapsodie hongroise No. 16 (1882)
+ X+ _! j) v; `7 [, r# F  gS.623, Rapsodie hongroise No. 18 (1885)
. @$ U8 F1 N0 C+ g7 tS.623a, Rapsodie hongroise No. 19 (ca. 1885)' A: V0 h$ P/ [) `
S.624, Fantasy and Fugue on the chorale Ad nos, ad salutarem undam (1850)
/ ?* S# m9 y! T+ V/ z7 B3 wS.625, L'Hymne du Pape (Der Papsthymnus) (1865)& j# D* o/ Q- M0 q
S.626, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)
6 ?! x- D7 w; A& B( e6 v& v% M. `, KS.627, Fantaisie sur des motifs de l'opéra La Sonnambula (Bellini) (1852)
' k( y: N$ a& w& _8 LS.628, Bénédiction et serment (Berlioz's 'Benvenuto Cellini') (1852)
* s+ x' j' }" @: N: W( mS.628a, Marche et cavatine (Donizetti's Lucia) (?)9 x# g7 h5 v) t8 K: o6 E  X
S.628b, Szózat und Hymnus (Egressy and Erkel) (1873)6 D: @& Y& b5 `3 `/ L7 \: b
S.629, Tscherkessenmarsch (Glinka's Ruslan i Lyudmila) (1843)
% B" w/ I6 [! |5 \9 ~S.630, Réminiscences de Robert le Diable - Valse infernale (Meyerbeer) (1841-43)% L8 c2 Y1 c  n1 l( B
S.631, Andante finale und Marsch (Raff's 'König Alfred') (1853)& Q5 W8 H- ]6 F" \
S.632, 4 Marches (Schubert) (1879)" z8 D, \0 N, Q* a7 x1 Q* v) v
S.633, A la chapelle Sixtine (Allegri Mozart) (1865)- H' x1 U; _* F. r4 T& ~* {3 K
S.634, Grand Septuor Op. 20 (Beethoven) (1841)* d& G7 b" ~8 c% y  _
2.6.3 Mozart6 \1 q! z  K% V' r: p4 x" m' m
S.634a, Adagio from Mozart's Die Zauberflöte (1875-81?)
2 o8 ]$ G) x5 `. w6 D* H0 l# w) }2.7 Two Pianofortes(双钢琴)1 k0 Q& v  \( f% j
2.7.1 Liszt
' o1 W+ n  e! V/ E! x* S7 QS.635, Ce qu'on entend sur la montagne (Poème symphonique No. 1) (ca. 1854-57)# `) @4 u  B* V, n/ K% ~
S.636, Tasso, Lamento e Trionfo (Poème symphonique No. 2) (ca. 1857)
0 e  h0 t6 B  k" YS.637, Les Préludes (Poème symphonique No. 3) (ca. 1854-56)( }& ^* w. Z; }( \+ k: D
S.638, Orpheus (Poème symphonique No. 4) (ca. 1854-56)& v1 D9 h# S1 z, t
S.639, Prometheus (Poème symphonique No. 5) (1855-56)8 D2 D! h' z" I8 w/ t6 e# `
S.640, Mazeppa (Poème symphonique No. 6) (1855)+ U" N+ g) }6 @# Q) B" N& I
S.641, Festklänge (Poème symphonique No. 7) (ca. 1853-56)
' l* E0 ^! ]$ U! R" w0 KS.642, Héroide Funèbre (Poème symphonique No. 8) (ca. 1854-56)
5 Z' M! _8 y2 }7 u  i* s/ {S.643, Hungaria (Poème symphonique No. 9) (ca. 1854-61): E% m% `5 C9 ^# r( f( m4 d9 L
S.644, Hamlet (Poème symphonique No. 10) (ca. 1858-61)" x. b3 ^' T& ^# c7 ^1 P3 F
S.645, Hunnenschlacht (Poème symphonique No. 11) (1857)
- P# |8 Y+ S8 W3 J+ ~S.646, Die Ideale (Poème symphonique No. 12) (1857-58)
" u; L9 }+ t: s$ XS.647, A Faust Symphony, in three character pictures (1856)1 @- l- v# l# w4 n, W
S.648, A Symphony to Dante's Devina Commedia (ca. 1856-59)4 O1 H4 O! Y! B) q! C, C
S.649, Fantasie über Beethovens Ruinen von Athen (1865)4 d2 C" }3 r4 X+ b4 Y/ a- ^
S.650, Piano Concerto No. 1 in E flat major (1853)
4 T7 ?1 ~) Z$ \3 rS.651, Piano Concerto No. 2 in A major (1859)# b6 b, a7 `8 d: O; Y# i9 @; w
S.652, Totentanz. Paraphrase on Dies Irae (1859)
' s0 n+ s" }7 A8 eS.653, Wandererfantasie (Schubert) (a. 1859)
, @, X+ }- ?3 GS.654, Hexaméron, Morceau de Concert (1837)
  T# X! D9 E5 w' a0 ?# CS.655, Réminiscences de Norma (Bellini) (1841)
) _5 }/ ]: R- l$ ^$ o! nS.656, Réminiscences de Don Juan (Mozart) (1841)
: y/ i- Q' n" e8 s/ [3 YS.657, Symphony No. 9 (Beethoven) (1851)
' d% d: {+ p+ Y* r3 ?: j5 MS.657a/1, Piano Concerto No. 3 (Beethoven) (1878)
& |* R! ^+ J6 r& v4 M6 I) pS.657a/2, Piano Concerto No. 4 (Beethoven) (1878)$ t- _7 }+ u( l: K# V. O; ^
S.657a/3, Piano Concerto No. 5 (Beethoven) (1878)+ f  ]( c$ w; D' @* P5 M8 L
S.657b, Bülow-Marsch [2-pianos, 8-hands] (1884)7 B/ X, l2 w1 u9 L8 L
2.8 Organ(管风琴)' P$ |7 @7 }. m* s" _
2.8.1 Allegri und Mozart
' A7 d! L" s4 t; z* \& Y8 z; `S.658, évocation à la Chapelle Sixtine (1862)7 j9 S5 d9 ?2 X' Y2 G% I3 \
2.8.2 Arcadelt
+ `; L7 }: _) w; N5 GS.659, Ave Maria (1862)$ Y# I. P. R/ _, G2 i6 I9 o6 ]
2.8.3 Bach
- V# r: b) \, Y9 Q8 E& k
$ p/ h! I. N5 K2 j. F  t% kS.660, Einleitung und Fuge aus der Motette Ich hatte viel Bekümmernis und Andante Aus tiefer Not [2 pieces] (1860)
8 d% Y: n& l/ @) V9 US.661, Adagio from Bach Violin Sonata No. 4 (BWV1017) (1864)
5 b- l* w2 k4 G# i8 O1 |2.8.4 Chopin
+ @! E+ r' s! d8 L+ a$ r
( L* a3 W6 ~8 e* KS.662, 2 Préludes from Op. 28 (Nos. 4, 9) (1863)) H9 k" @+ W3 t
2.8.5 Lassus2 y9 |3 N1 j$ `0 _# b2 G& O* Y

7 u2 K' f" @+ ]$ ~S.663, Regina coeli laetare (1865)1 _7 ~) w5 S6 y& n
2.8.6 Liszt
& B' T& A6 T. x9 r" H+ \! y. j1 A7 Z
S.664, Tu es Petrus from Christus (1867)
% K% p2 P7 [) K: ^8 r; qS.665, San Francesco (1880)
  w  K7 l, y0 a' j- m* x1 US.666, Excelsior! - Preludio (?)
9 I" q, x+ [; k1 n: s3 ^S.667, Offertorium from the Hungarian Coronation Mass (1867)7 M8 g$ _' z2 @0 r. l% R
S.668, Slavimo Slavno Slaveni (1863)# C; I7 M8 h7 _- T" z
S.669, Zwei Kirchenhymnen [2 pieces] (1877)
% M5 z2 l+ {  A( b) _S.670, Rosario [3 pieces] (1879). o; j8 n: d8 S  U2 c! h$ s
S.671, Zum Haus des Herrn (In domum Domini ibimus) (1884)/ n- h( v( T9 L3 ?) M/ h
S.672, Weimars Volkslied (Cornelius) (1865), R+ E7 S6 c1 f* ]& s7 M* F; m- S% u
S.673, Weinen, Klagen' Variationen (1863)
7 o! F4 O/ e& y& b6 DS.674, Ungarns Gott. A magyarok Istene (Petófi) (1882)
% G  |* Z  m3 F* C1 O% w6 R  e9 b! JS.674a, O sacrum convivium [2 versions] (?)
6 O' v. h% ^  R2 \, i2.8.7 Nicolai0 f$ }& U5 z3 u5 P! t* E! `! l

5 l$ w# K+ d, I  y4 gS.675, Kirchliche Festoverture (1852)8 F# L5 f; k( _  D( K( c
2.8.8 Wagner. W5 ?  R. c( ]% p, V, L
8 W! h) D3 q8 h
S.676, Pilgerchor from Wagner's Tannhäuser (1860): d1 D% K) n  H' }4 R0 o7 z
2.9 Organ with Other Instruments(管风琴和其他)
6 [7 N' Q4 @6 \! |
" ~  e. M+ w" B2 M3 J( N1 kS.677, Hosannah from Cantico del sol di San Francesco d'Assisi (for organ and bass trombone) (1862)# N6 g* V! N9 T( J. h, I; W0 k
S.678, Offertorium and Benedictus from the Hungarian Coronation Mass (1869)
, p( L$ r9 b% W; cS.679, Aria 'Cujus animam' from Rossini's Stabat Mater (for organ and trombone) (?). M) P2 c2 H& W
Vocal Arrangements声乐
; f" T* F# D' L) J2 [/ k0 w2 N# {) ~4 W. d
S.680, Ave maris stella (1868)
& N. s; [' E/ P681, Ave Maria II (1869) % d' o3 ?' L# P4 @& I8 _
S.682, Air du Stabat Mater (Rossini) (?)   `9 @0 }) i; J! m% ^: P  o' b
S.683, Serbisches Lied (Hohenzollern-Hechtingen, Prince FWC. von) (?)
: y: e4 s$ F8 f- s) E  [S.684, Barcarolle vénitienne (Pantaleoni) (?)+ g, w+ M6 G! V  E- T  F' g
S.685, Es hat geflammt die ganze Nacht (Grand Duchess Pavlovna) (?)
1 W2 P3 R! w+ O; h8 e
. @3 |$ o9 ^3 F5 K' x* d. ^2.10 Recitations
+ Q" T$ z! ]5 p$ iS.686, Helges Treue (Draeseke) (1860)
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 楼主| geci110 发表于 2015-7-22 18:35:55 | 显示全部楼层

! z) G2 I) ]- T( ?- J; D% k) g3 G6 M4 B0 Z
0 \& x( U! H. o: u8 o1 t, u
3 g3 s3 @; ?) K# K4 h6 C
- w; Y& t0 m6 F
# L) j9 j6 Z) m' n4 ~

* \+ i2 E5 w& x' W! [5 O
7 [+ S3 t$ H$ `* w3. Appendix$ f, K4 ?% g' ~- V5 ?8 h; P

1 U9 B6 r: R( p( b( ]8 Y3.1 Unfinished Works
2 Y, }6 H6 |9 y$ \2 f. b: ~* w' S& S# ]
S.687, Sardanapale (Byron) [opera, partly sketched, 111 pages] (?)
/ a- c& r  t- F  c4 z" @! x: zS.688, Oratorio - Die Legende vom heiligen Stanislaus [sacred choral] (1873-85)
; l/ J. q/ Z$ [/ r) P4 ~$ {- A  ZS.688a, St Stanislaus fragment [solo piano, Library of Congress] (1880-86)% x; F" s8 l! M. @; v' U6 b
S.689, Singe, wem Gesang gegeben [secular choral] (1847)/ ]$ u, H8 p& N: B" |! |# X0 S; R
S.690, Revolutionary Symphony [unfinished, revised 1848] (1830)
+ L! u4 |/ K2 e; hS.691, De Profundis [piano and orchestra, De Profundis - Psaume instrumental] (1834?)
3 F1 x% c4 W% w2 tS.692, Violin Concerto [only sketched] (1860)
" P$ F- p" D: ^S.692a, The Four Seasons String quartet (Vivaldi) (1880?)
. m9 \* O" R' b3 H6 k2 N; mS.692b, Anfang einer jugendsonate [solo piano] (1825)
- ]9 A6 `. m* |; ]) S6 x2 }: XS.692c, Allegro maestoso [solo piano] (1826)
) z6 Q& E: n; `$ Z% uS.692d, Rákóczi-Marsch [solo piano, first version, simplified, unfinished] (1839)& n& \# i; A( r* c* L5 H
S.692e, Winzerchor (Prometheus) [solo piano] (1850)1 Q: _7 B/ E4 ~' j+ O2 M* O
S.693, Deux marches dans le genre hongrois [solo piano, 2 pieces] (1840?)# g& n9 y  L2 p
S.693a, Zwei Stücke aus der heilige Elisabeth [solo piano] (1862)
4 Z% _/ x& Y$ X  v8 @% {: mS.694, Fantasie über englische Themen [solo piano] (1840?)
- A3 L: u! a  s7 O( oS.695, Morceau en fa majeur [solo piano] (1843?)
+ z  J/ t; R; }3 NS.695a, Litanie de Marie [solo piano] (1847)
. j3 ^% i& J$ ]/ ~# TS.695b, Zigeuner-Epos [solo piano, 11 pieces] (ca. 1848)
2 R( O; f& |, g: x. r* @2 y# ZS.696, Mephisto Waltz No.4 (1884) 第四梅菲斯特圆舞曲
% P% w* `  X3 W: u6 \" s( MS.697, Fantasie über Themen aus Figaro und Don Giovanni (Mozart) [solo piano arrangement] (1842)
( G; W- f+ [9 Z% b/ `S.698, La Mandragore - Ballade de l'opéra Jean de Nivelle de L. Delibes [solo piano arrangement] (a. 1880)  P' D0 R7 {' ?
S.699, La Notte (Odes Funèbre no. 2) [solo piano arrangement] (1864-66)4 A; G  q* U7 d+ L! x; h& K9 u- U4 D
S.700, Grand Fantaisie (Variations) sur des thèmes de Paganini [first/second version; completed by Mezö] (1845)
! t- a6 n' o& X. H% }9 O0 CS.700a, Variations sur Le Carnaval de Venise (Paganini) [solo piano arrangement] (?)0 m- _. S& k1 h- E' f! Q0 K0 k: D
S.701, Den Felsengipfel stieg ich einst hinan [song] (?); S( `9 g+ r, z0 O! f. d5 ^
S.701a, Allegro di bravura [orchestra, arrangement] (ca. 1830)* E% Z1 S. V) b! y  M5 j$ o+ L
S.701b, Marie-Poème [solo piano] (1837)
. \- T/ B7 u' y  xS.701c, Andante sensibilissimo [solo piano] (1880-86)
/ z5 ?' t/ R4 F/ [9 C" }S.701d, Melodie in Dorische Tonart [solo piano] (1860)
/ B3 O7 N) A) _' ~$ PS.701e, Dante fragment [solo piano] (1839)
4 b! ]7 `6 x" }+ V4 ?S.701f, Glasgow fragment [solo piano] (?)
- R' i  u+ B9 q, m( K! K6 J5 z* xS.701g, Polnisch - sketch [solo piano] (1870-79)" M- [3 U- ]) Z7 E/ `2 p0 ?
S.701h/1, Operatic aria - and sketched variation [solo piano] (?)
- V' l$ M6 H: @1 I& _+ n& WS.701h/2, Valse infernale (Meyerbeer) - theme [solo piano arrangement] (?)/ @  y8 v0 W8 {5 s. u
S.701j, Harmonie nach Rossini's Carità (La charité) [solo piano arrangement] (1847)
0 k' G+ e! X. k$ E$ O% U, X% fS.701k, Korrekturblatt (to an earlier version of La lugubre gondola) [solo piano] (1882)' X( i' x3 _# n3 `+ c  V, g( F/ e( I
3.2 Doubtful or Lost
. t% o/ d7 z0 i! u0 z4 P
5 S/ r( J, d4 o9 S; z! x3 ~* G3 X3.2.1 Sacred Choral Works- n  l! ~# ~: _8 o7 H6 G5 }
2 t9 l0 x, L6 f  w( c. f, T
S.702, Tantum Ergo (1822)
* |) ^4 s! a4 r& D. V3 e* mS.703, Psalm 2 (1851)
6 ~  \9 e& E% s5 VS.704, Requiem on the death of Emperor Maximilian of Mexico (?)8 X6 u( n* H4 r( G9 E
S.705, The Creation (?)
, ?+ [8 [1 o: X8 _S.706, Benedictus [doubtful] (?)1 ]" ?! U; m8 L' n) a- v
S.707, Excelsior [arrangement, doubtful] (?)) F8 _0 ]4 S- \4 ]0 ^
3.2.2 Secular Choral Works
( Y6 Z; ~6 h; W9 h1 o! B. p
+ Z. w6 {1 I: g# r) U- Z, I/ zS.708, Rinaldo [doubtful] (ca. 1848): z7 z/ S- c0 E
3.2.3 Orchestral Works
  |4 J. ?) O5 N& W8 h: X  M) t& B  ?9 F9 u% [0 u
S.709, Salve Polonia [rediscovered, renumbered as S113] (1863)
7 U+ p6 @8 w& Z1 _% [  |$ x8 yS.710, Funeral March (?)4 P4 }0 w/ f2 t+ A
S.711, Csárdás macabre [arrangement] (?)8 Y0 ^" W" u3 G$ @
S.712, Romance oubliée [arrangement] (?)" m4 s+ t/ d* [3 C7 q
3.2.4 Piano and Orchestra7 A5 k. B) ?1 C' k3 \
0 |% v% w9 _: P# Q
S.713/1, Piano Concerto in A minor (1825?)' }4 a) S! I& N9 v$ U4 b8 a6 o
S.713/2, Piano Concerto (1825?)2 V2 g4 G9 |7 P6 o, c% s: W
S.714, Piano Concerto in the Hungarian style [by Sophie Menter, renumbered as S126a] (1885)
0 T( J" h$ A; b( P' }9 q5 B4 ?S.715, Piano Concerto in the Italian style (?)& x& @3 g, k% R" O
S.716, Grande fantaisie symphonique [orchestral] (?)
/ f: p1 Y! G7 `( ^: O7 E3.2.5 Chamber Music
+ N* `0 h5 a5 ~  {
0 p* L" Z4 a1 Z7 {$ g7 jS.717, Trio (1825): d9 C& Z* s: z! q7 K5 y: K+ J
S.718, Quintet (1825)
- t- N% A9 t  |S.719, The Four Seasons String Quartet (Vivaldi) [rediscovered, renumbered as S692a]
$ j. p  Z: P3 x% _8 |S.720, Allegro moderato (?)3 p1 u9 j" S2 O& P3 ]5 k( i
S.721, Prelude (?)
( `( T/ C/ Y( c. A0 G2 a) b4 bS.722, La notte (Odes funèbre no.2) [rediscovered, renumbered as S377a] (1864-66)
1 _! C  @7 u5 U. c$ G+ Y+ PS.723, Tristia [arrangement, from Vallée d'Obermann S160/6] (1880-86 ?)$ M" J* d3 o9 U; r) Q( q" a
S.723a, Postlude on theme from Orpheus [arrangement] (?)
2 z5 |2 f! l: C2 c+ L3.2.6 Pianoforte Solo
% m, A; j3 {8 W& K7 O, {- l5 Q: \4 [7 z7 [9 ]
S.724, Rondo and Fantasy (1824)
. Q; z+ ?  |% W/ r. `& cS.725, 3 Sonatas (1825)
) [. T1 R) v+ K  MS.726, Study (?)4 g8 Q* Q) B# @2 X
S.726a, Valse (?)
2 x( C4 X' }; j/ l$ }7 n李斯特全部作品目录-5  n6 U' m3 R; {8 w6 }/ H& f

2 r( E& D2 }5 ?1 nS.727, Prélude omnitonique (?), g3 Y( t# ?% ^
S.728, Sospiri (Fünf Klavierstücke) [rediscovered, renumbered as S192/5] (1879)
8 K* p. M- ~. ~S.729, [rediscovered, renumbered as 42(?)]1 k5 ]) ^" l, ~4 r
S.730, Dem Andenken Petöfis (Petófi Szellemének) [rediscovered, renumbered as S195] (1877)1 a3 V1 y6 J5 G0 ]8 r5 Q' N
S.731, Valse élégiaque (?)
8 o6 }* z) G3 w3 L/ G* G: N% |' c9 mS.732, Valse Oubliée No.4 [rediscovered, renumbered as S215/4] (1883-84)% _7 _" `* s# _! E) \" ?  E
S.733, Marche hongroise (in E flat minor) [rediscovered, renumbered as S233b] (1844)
. k+ V' U0 E) k4 F# aS.734, Ländler (?)& f! ?: Q, j; E
S.735, Air cosaque (?). v" D! P0 G& M9 y
S.736, Kerepsi csárdás (?)( y3 |$ K$ u& x; E- b% w  j3 w
S.737, 3 morceaux en style de danse ancien hongrois (?)5 R' g  v* l4 w  @/ \, Z6 x
S.738, Spanish folksong arrangement (?)
- n7 w% i, h5 L3.2.6.1 Arrangements
3 h$ k' j. V+ Q' S) J& p. t: P
2 y" H3 f$ Q2 O; i$ fS.739, Corolian Overture (Beethoven) (?)5 K' [1 \* E+ F; A" L
S.740, Egmont Overture (Beethoven) (?)) [3 c3 G1 i9 Y1 a
S.741, Le carnaval romain - Overture (Berlioz) (?)
  c" M# b$ }5 R* ^4 z0 Z/ |6 mS.742, Duettino (Donizetti) (?)3 k! Y9 N. s8 y
S.743, Soldiers Chorus from Guonod's Faust (?)2 c% b  k9 x& M$ g4 x2 V
S.743a, Fantasia on themes from Halévy's Guitarero (b. 1841)
9 E- P0 s3 F2 A* ]2 R- M- BS.744, Paraphrase on Act 4 of Kullak's Dom Sebastien (?)
; U3 p9 l& h! E5 {S.745, Funeral March (?)# I) b. u3 v8 T1 X( D- J3 x
S.746, Andante Maestoso (?)8 c8 ?8 [5 B/ j$ U, H
S.747, Poco adagio (from Missa Solemnis) (?)1 ~* c/ V7 H% z" N3 }$ ?( t: j0 n1 ~
S.748, Overture to Mozarts "Die Zauberflöte" (?); [' _6 g4 Z/ A
S.749, Preussischer Armeemarsch (Radovsky) (?)
# V! T( h; L" H, _S.750, Siege de Corynthe, Introduction (?)9 ]& j+ P/ d) n$ c5 I& @
S.751, Nonetto e Mose, Fantasia on themes by Rossini (?): j3 d- o4 L" N, e# c' E
S.752, Gelb rollt (Rubinstein) (?)1 D$ M/ @) I  f
S.753, Alfonso und Estrella, Act 1 (Schubert) (?)
+ H' ^9 M: u8 R: HS.754, Seconda mazurka variata (Tirindelli) [rediscovered, renumbered as S573a] (1880)  J& d# n$ E) n
3.2.7 Pianoforte Duet
1 I# N# j3 Y. u) p* Q  n+ P  M& H
! f8 `2 W; x# z2 J: {S.755, Sonata (?); @, f3 E& v  A: X0 |" [( `- W8 f
3.2.8 Two Pianofortes9 S* ?- T  k: {% r+ s+ _

* y2 V0 x& `5 b7 Y% ^; X3 r. dS.756, Mosonyis Grabgeleit (?)' d- M, N3 o5 p# @
S.757, La triomphe funébre du Tasse (?)
; r" Q4 l. O+ \" P, `' A, y3.2.9 Organ
: i( y7 `' N% q7 s; S* @7 y
) k' A' M+ t5 }9 {: U8 n7 FS.758, The Organ (Herder) (?)/ i" V  B6 V& P( f* b0 B+ B
S.759, Consolation [arrangement] (?)
3 V0 q* Y# I9 }; ~  D- xS.760, Cantico del sol di St. Francesco [arrangement] (?)
$ {! G2 f) t) r3 q0 R5 LS.761, Marche funèbre (Chopin) [arrangement] (?)
, @" {* W" S6 G; j' _3.2.10 Songs
5 @6 Y0 I: O& u5 g8 B0 B
* X8 Z* T' s  v) I% x! n/ V. K& bS.762, Air de Chateaubriand (?)7 f' K' V0 }  ]5 c. L2 t7 T
S.763, Strophes de Herlossohn (?)
) z* \! x1 b$ v: A! n# w5 SS.764, Kränze pour chant (?)+ X$ W% H( k+ }# f; B
S.765, Glöcken (Müller) (?)
% ~- m1 O/ s( i7 Q5 _/ ?S.765a, L'aube naît (Hugo) (1842?)
; o' l% o& f- ]2 N' ]" PS.766, Der Papsthymnus (?)
" K7 B& @' E) X/ M# ~. s4 CS.767, Excelsior (?)" R6 N8 i# j; U2 T8 E4 h& O
3.2.11 Recitations
3 |) f5 m1 b* u& u  r" @6 _) U1 k5 h2 c/ n( G$ d, G/ E
S.768, Der ewige jude (Schubart) (?)3 D7 h: ]2 s" I
3.3 Supplement
: Y5 @/ R1 C! Z% {# o$ S$ [/ T, X
S.990, Fantasy and Fugue on the chorale "Ad nos, ad salutarem undam" (played by Liszt to Walter Bache) [solo piano, arrangement] (b. 1862)& b% n' u$ ?) K6 U' E
S.991, Waltz in A major [chamber, arrangement] (?)
8 e) |/ f, r* X/ K- ?* P9 aS.993, Wartburg Lieder (Scheffel) [orchestral, arrangement] (?)
# V' c, x3 r/ A; Z) F8 r1 W& cS.994, Grand solo caractéristique à propos d'une chansonette de Panseron [solo piano, arrangement] (1830-32)! G. U' A$ `4 s
S.995, Variations de bravoure sur des thémes de Paganini [unfinished] (1845)' r0 R2 Q* p2 N" x7 B; [+ e
S.996, Stabat Mater [solo piano] (1870-79 ?)
. N0 n1 l; x$ ^: i" a1 @S.997, 5 Variationen über Romanze aus 'Joseph' (Méhul) (by Franz Xaver Mozart, attributed to Liszt) (ca. 1834)' R8 E) u" N1 t, \% v1 k; P
S.998, Adagio in C [solo piano] (1841): o7 K, Q, a. Q* f
S.999, Andante Maestoso [organ] (?)( w" B2 \+ @2 [1 t, z
降E大调钢琴协奏曲(遗作)Piano Concerto in E flat Major Op.posth
" E! K4 ]& g0 |2 u! I2首悲歌 2 Elegies
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