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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》。
" A/ r" Y6 N1 Y; v# l' M李斯特全部作品目录-1
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9 S1 l- K  I1 B$ }4 T7 J1.1 Opera(歌剧)
6 C7 v- c/ x% U+ @; Z0 J* ~; ~" A; w' S/ q" ]
S.1, Don Sanche, ou Le chateau de l'amour (1824–25) 歌剧《唐切桑》
1 e8 y+ k. H  K9 ?6 _* s7 s/ b+ m9 |- u1.2 Sacred Choral Works(神圣的合唱作品)- G1 l6 _% k% s

2 Z2 ~# U$ H/ J: \1 d: m, p$ lS.2, The Legend of St. Elisabeth (1857–62) 清唱剧《圣伊丽莎白传奇》. S3 c' E0 V6 u
S.3, Christus (1855–67) 清唱剧《基督》0 ]! Z: g' a$ O! E' X( q' p; I, C' D
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》5 _2 j: g) C* y# H
S.5, Die heilige Cäcilia (1874)1 M0 C- d9 t+ g
S.6, Die Glocken des Strassburger Münsters (Longfellow) (1874)
9 ~: x1 e/ @* dS.7, Cantantibus organis (1879)! \- V8 Q9 s! ]8 [" }
S.8, Missa quattuor vocum ad aequales concinente organo [first/second version] (1848, 1869)( f$ ]# Q" O+ S6 Q& k
S.9, Missa solennis zur Einweihung der Basilika in Gran (Gran Mass) [first/second version] (1855, 1857–58)
' x8 R( C# p" J' e7 FS.10, Missa choralis, organo concinente (1865)0 {( P/ S# z5 f3 o' B1 @. S
S.11, Hungarian Coronation Mass (1866–67)
& n; ?  _& i. M3 SS.12, Requiem (1867–68)
+ z5 d8 M  u4 y  C7 m8 A: eS.13, Psalm 13 (Herr, wie lange ?) [first/second/third verion] (1855, 1858, 1862)3 P- L. M7 |  G* W
S.14, Psalm 18 (Coeli enarrant) (1860)
1 _. A1 P5 y! B8 }  xS.15, Psalm 23 (Mein Gott, der ist mein Hirt) [first version: chorus, soloist & orchestra] [second version: chorus, soloist & violin, piano, harp, organ] (1859, 1862)
" G) E: b5 {( h5 u3 eS.15a, Psalm 116 (Laudate Dominum) (1869)+ n" z! m$ v* u$ F% ]% Z& j% B* G, J
S.16, Psalm 129 (De profundis) (1880–83)- t6 B1 h8 ~& F& Q1 s6 C
S.17, Psalm 137 (By the Rivers of Babylon) [first/second version] (1859–62)
5 }. b  a  N8 G% o$ X  ]* `S.18, Five choruses with French texts [5 choruses] (1840–49)
  X6 r2 O/ D) ZS.19, Hymne de l'enfant à son réveil (Lamartine) [first/second version] (1847, 1862)
2 K. M! o) n# X5 [" YS.20, Ave Maria I [first/second version] (1846, 1852)
9 U4 O! w1 y4 rS.21, Pater noster II [first/second version] (1846, 1848)
! Q8 `- b/ T( P6 o( Z9 nS.22, Pater noster IV (1850)* e% T5 ^5 z& }" t
S.23, Domine salvum fac regem (1853)1 j3 A) |* N& m/ V; R3 o3 U
S.24, Te Deum II (1853?)
7 \7 f; G/ T  vS.25, Beati pauperes spiritu (Die Seligkeiten) (1853)) ]% S8 L* J  w
S.26, Festgesang zur Eröffnung der zehnten allgemeinen deutschen Lehrerversammlung (1858)
5 ]& l* D+ B# }2 T9 AS.27, Te Deum I (1867)
. h# Z; J* \- i- \4 O* {  T+ [S.28, An den heiligen Franziskus von Paula (b. 1860)5 k6 [! P  q- P. p9 ~9 Z
S.29, Pater noster I (b. 1860)
5 B* D; t+ S0 i3 b2 e; E7 IS.30, Responsorien und Antiphonen [5 sets] (1860)
" l' j7 P; z% n2 K6 |$ I) WS.31, Christus ist geboren I [first/second version] (1863?)
8 C: n: ^6 b8 w# ^& zS.32, Christus ist geboren II [first/second version] (1863?)
, C- x: ?) r5 |6 j" tS.33, Slavimo Slavno Slaveni! [first/second version] (1863, 1866)& ^0 ]2 c4 t0 I. N' ^, }# d
S.34, Ave maris stella [first/second version] (1865–66, 1868)
/ d8 q- _$ v4 z2 A& V- [S.35, Crux! (Guichon de Grandpont) (1865)
% K6 t1 X" S9 D; gS.36, Dall' alma Roma (1866), t2 {  W8 z# k# e" G* F; M" a
S.37, Mihi autem adhaerere (from Psalm 73) (1868)
1 z" C% D. [0 W0 i1 a9 SS.38, Ave Maria II (1869)
$ I& G7 y; I& ^* l+ q0 b7 QS.39, Inno a Maria Vergine (1869)1 ?' V1 `( s2 u6 W
S.40, O salutaris hostia I (1869?)
9 z3 L$ V: o( V$ @% cS.41, Pater noster III [first/second version] (1869). `  F+ ^0 T2 H$ Y6 j: \
S.42, Tantum ergo [first/second version] (1869)) b) u+ x. d3 Z2 E+ O5 G
S.43, O salutaris hostia II (1870?)
2 w3 t+ |* E5 J% z" i; N5 N: r0 }S.44, Ave verum corpus (1871)
$ O& e. _* ^; v- _/ Z/ qS.45, Libera me (1871)1 v( D. f9 w/ ~4 h; v% g
S.46, Anima Christi sanctifica me [first/second version] (1874, ca. 1874), N3 u: J% t* k9 W4 Y  K
S.47, St Christopher. Legend (1881)- B/ ~  \( c/ s9 E
S.48, Der Herr bewahret die Seelen seiner Heiligen (1875)
  H( u# ?. f. s; H" q, lS.49, Weihnachtslied (O heilige Nacht) (a. 1876)7 |" h4 Z7 B8 f' g7 E9 A7 C# |0 x
S.50, 12 Alte deutsche geistliche Weisen (Chorales) [12 chorals] (ca. 1878-79)
  l; P, {  Q  z, BS.51, Gott sei uns gnädig und barmherzig (1878)6 a3 V1 b. ~; m; D* P
S.52, Septem Sacramenta. Responsoria com organo vel harmonio concinente (1878)' C/ U1 o& p4 m" }
S.53, Via Crucis (1878–79)6 Q2 Y( D" {8 X7 @' e: O2 w. B  r
S.54, O Roma nobilis (1879)
: Y3 [' X# o0 [; Y. \S.55, Ossa arida (1879)2 l! x% V# _* N( C# p  |2 K0 Q
S.56, Rosario [4 chorals] (1879)
& B0 G/ _# y* K" Z8 qS.57, In domum Domino imibus (1884?)
7 u+ ~" X4 O& Q4 I8 ^- X% \S.58, O sacrum convivium (1884?)& u9 w; p( D4 e
S.59, Pro Papa (ca. 1880)
3 e3 |, i9 q7 N) R+ ]S.60, Zur Trauung. Geistliche Vermählungsmusik (Ave Maria III) (1883)  N7 {/ V, W4 ^
S.61, Nun danket alle Gott (1883)2 G6 x  b& ]; Z; |" r
S.62, Mariengarten (b. 1884)! \- ]( u% @8 N- L# [. [; B  a
S.63, Qui seminant in lacrimis (1884)
4 O: P, ]. M* p, i/ I0 YS.64, Pax vobiscum! (1885)& s' S4 e5 v( \1 F" p2 D
S.65, Qui Mariam absolvisti (1885)  l% N9 \- Y) n# W2 k
S.66, Salve Regina (1885)
, P3 m+ A, `/ g1.3 Secular Choral Works(世俗的合唱作品)7 o+ f9 @: N. {( d0 u& [
S.67, Beethoven Cantata No. 1: Festkantate zur Enthüllung (1845)) G* _, o* L( T' D/ H& G
S.68, Beethoven Cantata No. 2: Zur Säkularfeier Beethovens (1869–70)  R& G$ O9 Q, T0 ^
S.69, Chöre zu Herders Entfesseltem Prometheus (1850)
- z' L7 x# w8 f* R* z* L; C( HS.70, An die Künstler (Schiller) [first/second/third verion] (1853, 1853, 1856)2 ^# n" L# U* F$ N
S.71, Gaudeamus igitur. Humoreske (1869)
* ]8 H9 b+ j& _" x- X4 ZS.72, Vierstimmige Männergesänge [4 chorals] (for Mozart-Stiftung) (1841)2 D, X: w* e- C7 ~3 G( I0 n) E' m
S.73, Es war einmal ein König (1845)
! m% \, x$ }4 g3 O2 R4 l" WS.74, Das deutsche Vaterland (1839)
6 G8 _, B. E3 d! f. dS.75, über allen Gipfeln ist Ruh (Goethe) [first/second version] (1842, 1849)
/ E9 S1 m0 o) t- v& R. D4 w7 o6 XS.76, Das düstre Meer umrauscht mich (1842)' T3 L( Z) V# D
S.77, Die lustige Legion (A. Buchheim) (1846)
% Y; Q2 v; r- e4 b2 ]- OS.78, Trinkspruch (1843)
9 w. z0 v* ^0 t8 G3 q8 b- nS.79, Titan (Schobert) (1842–47)
5 S* ?. ~8 O; g4 _1 gS.80, Les quatre éléments (Autran) (1845)0 J1 o; _9 n2 |+ d
S.81, Le forgeron (de Lamennais) (1845)) H- F9 P/ ~9 z9 }: C
S.82, Arbeiterchor (de Lamennais?) (1848)
" D% D% Q) F: }8 gS.83, Ungaria-Kantate (Hungaria 1848 Cantata) (1848)2 {; X2 T( U6 @/ e& k
S.84, Licht, mehr Licht (1849)
0 `7 G0 Y% c+ MS.85, Chorus of Angels from Goethe's Faust (1849)) e; t$ L: y- J9 J2 Y
S.86, Festchor zur Enthüllung des Herder-Dankmals in Weimar (A. Schöll) (1850). q/ M8 N. z) }2 K
S.87, Weimars Volkslied (Cornelius) [6 versions] (1857)% d; R' G# f5 F$ H) D
S.88, Morgenlied (Hoffmann von Fallersleben) (1859)
3 c; j( Q: [. T: nS.89, Mit klingendem Spiel (1859–62 ?)% I+ f' |6 E0 ^# z8 H
S.90, Für Männergesang [12 chorals] (1842–60)
5 M6 s. t, W+ d, ^9 z/ F* Z9 aS.91, Das Lied der Begeisterung. A lelkesedes dala (1871): I. i. X% q. U- n. a, J1 L7 f
S.92, Carl August weilt mit uns. Festgesang zur Enthüllung des Carl-August-Denkmals in Weimar am 3 September 1875 (1875)
- L9 V0 f. K/ e) ^S.93, Ungarisches Königslied. Magyar Király-dal (ábrányi) [6 version] (1883)* ~$ l7 F  e: C0 R
S.94, Gruss (1885?)
5 e5 v. X: q7 t% F( h/ M1.4 Orchestral Works(管弦乐作品)
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6 D) o( v. U2 p$ Y& A- w8 N2 q1.4.1 Symphonic Poems(交响诗)
5 k/ ]- a" ~4 h3 H# N6 S; I9 w  B) G3 u
S.95, Poème symphonique No. 1, Ce qu'on entend sur la montagne (Berg Symphonie) [first/second/third version] (1848–49, 1850, 1854) 第一交响诗 山间所闻
4 O% o! ^( Q( {. TS.96, Poème symphonique No. 2, Tasso, Lamento e Trionfo [first/second/third version] (1849, 1850–51, 1854) 《塔索,哀叹与胜利》* T4 x4 o$ g+ v! _4 y; T
S.97, Poème symphonique No. 3, Les Préludes (1848) 第三交响诗“前奏曲”
; f- K; q5 j' r4 v0 \S.98, Poème symphonique No. 4, Orpheus (1853–54) 第四交响诗 《奥菲欧》
) i8 a. n  N) |6 r; r6 W7 X& PS.99, Poème symphonique No. 5, Prometheus [first/second version] (1850, 1855) 第五交响诗《普罗米修斯》% s$ ]4 k% ], X  V: o. j) G
S.100, Poème symphonique No. 6, Mazeppa [first/second version] (1851, b. 1854) 第六交响诗《马捷帕》) A3 F' |/ Y, k+ z9 {2 C! W
S.101, Poème symphonique No. 7, Festklänge [revisions added to 1863 pub] (1853) 第七交响诗《节日之声》6 i1 ^2 ]9 @- l  R( f  |! s
S.102, Poème symphonique No. 8, Héroïde funèbre [first/second version] (1849–50, 1854)  第八交响诗《英雄的葬礼》- b1 _$ Z' ^# p. m0 M
S.103, Poème symphonique No. 9, Hungaria (1854) 第九交响诗《匈牙利》
, Z. k# j4 u: S! MS.104, Poème symphonique No. 10, Hamlet (1858) 第十交响《哈姆雷特》5 \" l* _, y/ h! u. R
S.105, Poème symphonique No. 11, Hunnenschlacht (1856–57) 第十一交响诗《匈奴之战》  i. t2 F1 `- D' e  P6 p* o
S.106, Poème symphonique No. 12, Die Ideale (1857) 第十二交响诗《理想》2 L/ y, F4 L  w; V
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》
0 |! H8 M" v8 n* d* T5 d* S1.4.2 Other Orchestral Works(其他管弦乐作品)
8 |3 A6 }1 d7 a
) n/ k, d+ ]/ a. J& KS.108, Eine Faust-Symphonie [first/second version] (1854, 1861)
# R9 u2 K6 g! Z: T% a- f5 LS.109, Eine Symphonie zu Dante's Divina Commedia (1855–56)
9 i/ i9 p) G" ^9 J5 C  G6 {S.110, Deux épisodes d'apres le Faust de Lenau [2 pieces] (1859–61)
3 d! Z& G  i4 I0 u# VS.111, Zweite Mephisto Waltz (1881)
* V8 l+ C9 \+ J8 B- }, RS.112, Trois Odes Funèbres [3 pieces] (1860–66)7 r8 W* B$ z% G' M7 P  w
S.113, Salve Polonia (1863)4 t5 W/ s6 i' b+ H3 e( L8 N3 W
S.114, Künstlerfestzug zur Schillerfeier (1857)0 n4 C/ |2 v4 z: h
S.115, Festmarsch zur Goethejubiläumsfeier [first/second version] (1849, 1857)
! l( C9 j  I* N5 X/ c( |S.116, Festmarsch nach Motiven von E.H.z.S.-C.-G. (1857)
; T1 O# m' x9 v& j7 ]" fS.117, Rákóczy March (1865)
" y& P# t# H5 a) t0 d) F" p, O6 XS.118, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (am 8 Juni 1867) (1870). j$ N6 L! K. m' V5 {
S.119, Ungarischer Sturmmarsch (1875)9 E, }" \. K8 H  g9 ?- T
1.5 Piano and Orchestra(钢琴与乐队); v0 s$ \$ `% V9 Y

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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); w# v; E. A/ H: o  H
S.121, Malédiction (with string orchestra) (1833)  诅咒  钢琴与弦乐队
% e: o0 e* y! B  n& q2 q" P/ \! yS.122, Fantasie über Beethovens Ruinen von Athen [first/second version] (1837?, 1849)) U* _0 Q% D9 C- E8 Z
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
" j# d, l. |: ^' 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/ F2 a2 R! A! B
S.125, Piano Concerto No. 2 in A major [first/second version] (1839, 1849) A大调第二钢琴协奏曲* Y4 l6 I) i2 @3 {1 g- C
S.125a, Piano Concerto No. 3 in E flat (1836–39)
" K8 B- \! m& \( p) g( pS.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
+ m; f# E0 U& A7 _, _S.126a, Piano Concerto "In the Hungarian Style" [probably by Sophie Menter] (1885)
; I5 t  H0 H% q- @1.6 Chamber Music(室内乐等)5 _$ ^* V; R) s  I0 U

* l3 f( Y* I! V5 N9 {S.126b, Zwei Waltzer [2 pieces] (1832)
! i2 p* Z( f4 G
/ _7 ^$ B2 s% T0 RS.127, Duo (Sonata) - Sur des thèmes polonais (1832-35 ?)
. J/ `9 Z) D0 x, ?9 rS.128, Grand duo concertant sur la romance de M.Lafont Le Marin [first/second version] (ca. 1835-37, 1849)0 ?3 H" J2 \; _' a. I
S.129, Epithalam zu Eduard. Reményis Vermählungsfeier (1872)
7 |% x7 U' \  V4 KS.130, élégie No. 1 [first/second/third version] (1874)
  T7 B: ~3 d6 C* \& z6 x% zS.131, élégie No. 2 (1877)/ A  @! s; B% i* X
S.132, Romance oubliée (1880)
, y8 u- z/ _' @+ \* o3 cS.133, Die Wiege (1881?)
5 G# a* [+ M' J8 [" A" u" AS.134, La lugubre gondola [first/second version] (1883?, 1885?)2 U2 C4 [2 I& N: B' b
S.135, Am Grabe Richard Wagners (1883)
0 w! }, n2 x, @6 T9 p1.7 Piano Solo
( k- N3 l4 f& V) E. o: _* T0 [; A# c7 [- n
1.7.1 Studies(钢琴练习曲). V) @( Z" p8 j, Q. Y' z

/ r; @' Z  t9 v  T9 @S.136, études en douze exercices dans tous les tons majeurs et mineurs [first version, 12 pieces] (1826) 12首钢琴练习曲
7 R9 r; C3 C# Z7 O/ ~, g; }S.137, Douze grandes études [second version, 12 pieces] (1837) 《12首超技练习曲》2 J9 V# ?1 ^4 _  F# K: X, A
S.138, Mazeppa [intermediate version of S137/4] (1840) 练习曲“玛捷帕”
( U7 ?; ?4 q# \% W: A2 P7 sS.139, Douze études d'exécution transcendante [final version, 12 pieces] (1852) 12首超技练习曲
, P& l5 {5 [- z& u* F! ~S.140, études d'exécution transcendante d'après Paganini [first version, 6 pieces] (1838) 帕格尼尼超技练习曲  m3 C$ }* j3 o+ J+ |: }
S.141, Grandes études de Paganini [second version, 6 pieces] (1851)  6首帕格尼尼大练习曲: A& W# w$ y# Y) f! p7 i
S.142, Morceau de salon, étude de perfectionnement [Ab Irato, first version] (1840) 高级练习曲“沙龙小品”
$ m" v, d0 E' u6 KS.143, Ab Irato, étude de perfectionnement [second version] (1852) 高级练习曲“愤怒”
) Y- B9 ^4 P7 CS.144, Trois études de concert [3 pieces] (1848?)  3首音乐会练习曲) ?4 M3 A) b' ]% \4 J
1.    Il lamento) V! o3 [" f! _
2.    La leggierezza
. T: e1 D1 p+ p; j9 V3.    Un sospiro
8 V: S  ^! h: P9 H! ES.145, Zwei Konzertetüden [2 pieces] (1862–63)  2首音乐会练习曲% p7 ?7 B& _" F" \& F
1.    Waldesrauschen  _- B# U" \4 \: f) M
2.    Gnomenreigen/ i+ Y' Z  O: T3 `' B
S.146, Technische Studien [68 studies] (ca. 1868-80)  钢琴技巧练习
) @* `+ a' w" p; k$ |% m1.7.2 Various Original Works(各种原创作品)! _7 k. w) N, C2 @( m
, E* ~/ F2 c+ e: p7 w; O4 I9 B
S.147, Variation on a Waltz by Diabelli (1822)  狄亚贝利圆舞曲主题变奏曲
# o" [- M% e5 ^$ M3 g' LS.148, Huit variations (1824?) 降A大调原创主题变奏曲
: Z7 X3 }  |) Z5 Q" S8 gS.149, Sept variations brillantes dur un thème de G. Rossini (1824?)$ Y, n5 F3 |4 @, L; ?# ?+ v$ e
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6 R; [% w5 x2 f( w; g7 i. C6 p
S.151, Allegro di bravura (1824) 华丽的快板* j, M4 O" R" r4 |- q; W& a; {- {6 W
S.152, Rondo di bravura (1824) 华丽回旋曲: ^9 N( h5 [$ t) m. j3 H
S.152a, Klavierstück (?)6 P: m/ A3 Q4 T, c6 C! _2 V9 Z1 Z
S.153, Scherzo in G minor (1827) g小调谐谑曲
) ]* @9 K+ y0 L! S6 a. u& SS.153a, Marche funèbre (1827)$ w$ {/ X% Y5 f4 _9 Q6 q
S.153b, Grand solo caractèristique d'apropos une chansonette de Panseron [private collection, score inaccessible] (1830–32) [1]
4 U+ b7 u! Z6 _( `S.154, Harmonies poétiques et religieuses [Pensée des morts, first version] (1833, 1835) 宗教诗情曲3 {. z( |7 Y! Z9 w2 x: `
S.155, Apparitions [3 pieces] (1834) 显现 三首钢琴小品; m2 H$ E- w; _  l- a/ R/ X  S. A
S.156, Album d'un voyageur [3 sets; 7, 9, 3 pieces] (1835–38) 旅行者札记
. {+ N& g' U4 t) S2 S% a( Z2 I+ \S.156a, Trois morceaux suisses [3 pieces] (1835–36)! o( |( H( _. ]5 k4 n
S.157, Fantaisie romantique sur deux mélodies suisses (1836) 浪漫幻想曲
# Y( l  M) ^- h' l8 i0 z* H; ?S.157a, Sposalizio (1838–39)/ ~6 @# Q+ X$ a
S.157b, Il penseroso [first version] (1839)1 h  S  l/ o" k1 s' b: i# u! V1 ]
S.157c, Canzonetta del Salvator Rosa [first version] (1849)
" j: X8 u$ |4 M# w' A" c; RS.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# e9 D' s. G/ _3 v) r8 F
S.158a, Paralipomènes à la Divina Commedia [Dante Sonata original 2 movement version] (1844–45)
9 {8 N  c( i+ C/ S0 F- ]S.158b, Prologomènes à la Divina Commedia [Dante Sonata second version] (1844–45)
2 g/ U0 ]8 z# dS.158c, Adagio in C major (Dante Sonata albumleaf) (1844–45)* y" j7 d' j6 b
S.159, Venezia e Napoli [first version, 4 pieces] (1840?)  威尼斯和拿波里
7 ~; r0 _; F9 Z) |8 z) U2 n$ D5 j) [S.160, Années de pèlerinage. Première année; Suisse [9 pieces] (1848–55)  旅行岁月(第一集)- 瑞士游记' u* I) W' N4 x0 ?6 X+ h
S.161, Années de pèlerinage. Deuxième année; Italie [7 pieces] (1839–49) 旅行岁月(第二集)- 意大利游记0 w  W* g# _% h
S.162, Venezia e Napoli. Supplément aux Années de pèlerinage 2de volume [3 pieces] (1860)  旅行岁月(第二集补遗)- 威尼斯和拿波里4 C5 X3 B. I0 j4 G
S.162a, Den Schutz-Engeln (Angelus! Prière à l'ange gardien) [4 drafts] (1877–82)
  B9 b( ^7 O( R0 _6 bS.162b, Den Cypressen der Villa d'Este - Thrénodie II [first draft] (1882)
2 v$ }* ?* |* q3 q& U% E# K: KS.162c, Sunt lacrymae rerum [first version] (1872)" {6 W3 N3 Z  a( u6 j2 P! T
S.162d, Sunt lacrymae rerum [intermediate version] (1877)
$ k6 [4 G* U  J+ Z) T$ HS.162e, En mémoire de Maximilian I [Marche funèbre first version] (1867)8 X" s7 k- A. U
S.162f, Postludium - Nachspiel - Sursum corda! [first version] (1877)
7 ]8 P. i& j9 J% B, }S.163, Années de pèlerinage. Troisième année [7 pieces] (1867–77)   旅行岁月(第三集)
9 F$ ]; j) l1 O4 @1 J+ V* qS.163a, Album-Leaf: Andantino pour Emile et Charlotte Loudon (1828) [2] 降E大调纪念册的一页
( F/ ~5 C/ z# g6 b. @/ @# v/ qS.163a/1, Album Leaf in F sharp minor (1828)降E大调纪念册的一页/ e1 v7 m! e1 B5 s( Y  }
S.163b, Album-Leaf (Ah vous dirai-je, maman) (1833)
1 Z* Y, @$ m9 V  PS.163c, Album-Leaf in C minor (Pressburg) (1839)# M; s  K' s4 z# S2 Y3 t
S.163d, Album-Leaf in E major (Leipzig) (1840)1 L+ r- K* s. j( v
S.164, Feuille d'album No. 1 (1840) E大调纪念册的一页
% [# i! Q& F7 Y0 F6 }S.164a, Album Leaf in E major (Vienna) (1840)5 m& x4 l/ i$ B7 q  q6 E
S.164b, Album Leaf in E flat (Leipzig) (1840)% y8 d: ~, d' V6 |2 V- u
S.164c, Album-Leaf: Exeter Preludio (1841)) s, l0 l2 U$ j5 B- o, r
S.164d, Album-Leaf in E major (Detmold) (1840)
6 b0 G2 k/ x& ^4 f) l5 T& C0 GS.164e, Album-Leaf: Magyar (1841)
0 z3 L7 e, ^$ E1 {4 OS.164f, Album-Leaf in A minor (Rákóczi-Marsch) (1841)& F2 X# r1 E% }1 f
S.164g, Album-Leaf: Berlin Preludio (1842)- V( D* A/ ?2 Z8 s( T7 w8 J
S.165, Feuille d'album (in A flat) (1841) 降A大调纪念册的一页5 l# H# r- M! J( }9 e9 Q, j) N
S.166, Albumblatt in waltz form (1841) A大调圆舞曲风格纪念册的一页
9 a( c8 y3 _4 v# MS.166a, Album Leaf in E major (1843)
' ], I$ `; c. u" g" j* mS.166b, Album-Leaf in A flat (Portugal) (1844)
, d9 ]0 N. j% h4 q7 {S.166c, Album-Leaf in A flat (1844)6 I" I9 J9 e0 H. E- `: X" P
S.166d, Album-Leaf: Lyon prélude (1844)- C7 v7 [; e& W8 w
S.166e, Album-Leaf: Prélude omnitonique (1844): k8 v3 n8 Y3 g; {
S.166f, Album-Leaf: Braunschweig preludio (1844)$ @5 J( {! C) E
S.166g, Album-Leaf: Serenade (1840–49)
1 }, v; Q, c: v2 U) V0 F/ fS.166h, Album-Leaf: Andante religioso (1846)
( ]/ G/ n( U9 x1 Q8 BS.166k, Album Leaf in A major: Friska (ca. 1846-49)
' v$ i0 k* I/ }: `8 q: VS.166m-n, Albumblätter für Prinzessin Marie von Sayn-Wittgenstein (1847)
& W# c% `' R' X# E' v( o) G4 E' Z! RS.167, Feuille d'album No. 2 [Die Zelle in Nonnenwerth, third version] (1843) a小调纪念册的一页( b  {7 n: v9 h" t1 ?* Y7 H' d3 r
S.167a, Ruhig [catalogue error; see Strauss/Tausig introduction and coda]$ W# [2 h& t6 H2 \
S.167b, Miniatur Lieder [score not accessible at present] (?)' p, U# {3 f) d: b; G
S.167c, Album-Leaf (from the Agnus Dei of the Missa Solennis, S9) (1860–69)
1 [6 d+ S. v- P/ p7 l6 FS.167d, Album-Leaf (from the symphonic poem Orpheus, S98) (1860)
7 o4 j  \# L3 m1 @4 ~S.167e, Album-Leaf (from the symphonic poem Die Ideale, S106) (1861)
6 j9 k7 P; z2 r* P/ kS.167f, Album Leaf in G major (ca. 1860)3 p. G( c& F2 q3 K  ~9 l
S.168, Elégie sur des motifs du Prince Louis Ferdinand de Prusse [first/second version] (1842, 1851) 悲歌
, _' W  }# ~: E/ }- \/ B4 @S.168a, Andante amoroso (1847?)
) }- ?; ?& v3 k1 e0 o. zS.169, Romance (O pourquoi donc) (1848) e小调浪漫曲
2 r7 n9 ^/ i3 o( e- [, PS.170, Ballade No. 1 in D flat (Le chant du croisé) (1845–48) 叙事曲一
1 d% l* I- i8 T0 a5 Q# @S.170a, Ballade No. 2 [first draft] (1853)
8 _; n3 G: W0 @7 e1 k  \+ r" ?S.171, Ballade No. 2 in B minor (1853) 叙事曲二0 A9 S6 _* d. W
S.171a, Madrigal (Consolations) [first series, 6 pieces] (1844)
+ {% l, ]# D+ J+ vS.171b, Album Leaf or Consolation No. 1 (1870–79)' n8 Z6 \" D" r
S.171c, Prière de l'enfant à son reveil [first version] (1840)9 y6 y2 t9 h" K# z5 y
S.171d, Préludes et harmonies poétiques et religie (1845)
& \; ~2 c- ?" x! eS.171e, Litanies de Marie [first version] (1846–47)- K3 B0 h& u: q% @+ M
S.172, Consolations (Six penseés poétiques) (1849–50) 6首安慰曲
4 K# K% t( p: }4 IS.172a, Harmonies poétiques et religieuses [1847 cycle] (1847)5 ~/ v: W5 t8 ~: n
S.172a/3&4, Hymne du matin, Hymne de la nuit [formerly S173a] (1847)
! r8 ?) J6 J/ W2 f! E& `S.173, Harmonies poétiques et religieuses [second version] (1845–52) 诗与宗教的和谐% @' c! y& J5 v& T% q# C8 b6 h2 b1 p
S.174, Berceuse [first/second version] (1854, 1862) 摇篮曲
$ v+ [& B1 C3 ~% l0 J4 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)6 l! J4 V+ Z5 I. B* B, W
2.    St. François de Paule marchant sur les flots (Walking on the Waves)! ?! z9 Y4 ^6 x& ]! n
S.175a, Grand solo de concert [Grosses Konzertsolo, first version] (1850)
: w) V% e6 ?2 FS.176, Grosses Konzertsolo [second version] (1849–50 ?) 独奏大协奏曲3 u' m: U) n! @
S.177, Scherzo and March (1851) 谐谑曲与进行曲
! B5 M- j4 [! J! V- U0 n' k& \S.178, Piano Sonata in B minor (1852–53)  b小调钢琴奏鸣曲7 w1 O" Z' r# i& q( h0 ^6 {
S.179, Prelude after a theme from Weinen, Klagen, Sorgen, Zagen by J. S. Bach (1859)  前奏曲“哭泣、哀悼、忧虑、恐惧”S.179 - 根据巴赫第12康塔塔主题而作
4 c4 t! r, c! E7 f  o+ [2 y5 y9 qS.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
* o7 o7 w, S* L# S6 N1 d  j7 e: rS.181, Sarabande and Chaconne from Handel's opera Almira (1881)2 O5 W. ~  c  F
S.182, Ave Maria - Die Glocken von Rom (1862) 圣母颂“罗马的钟声”
7 o* T4 z; l; J, R3 @9 {S.183, Alleluia et Ave Maria [2 pieces] (1862) 哈利路亚与圣母颂" x3 ?1 c( Q6 _* j0 Y4 ]
S.184, Urbi et orbi. Bénédiction papale (1864)+ w. ^% I+ Y0 M! l& {7 E
S.185, Vexilla regis prodeunt (1864)  q7 ?  Z' G6 e3 N# m
S.185a, Weihnachtsbaum [first version, 12 pieces] (1876)
" d$ c! Z; \% I5 M; e: eS.186, Weihnachtsbaum [second version, 12 pieces] (1875–76) 钢琴曲集《圣诞树》* j& x# D' Y( c& M
S.187, Sancta Dorothea (1877) 圣多萝西娅, W6 q4 d) t" z' z- H5 X
S.187a, Resignazione [first/second version] (1877)
* Q' v/ \; D) }& ~S.188, In festo transfigurationis Domini nostri Jesu Christi (1880) 我主耶稣基督之变形+ ]) _6 w4 p. f9 z
S.189, Klavierstück No. 1 (1866)! t: D  z9 g1 {+ G& R
S.189a, Klavierstück No. 2 (1845)
' L) n4 N; \7 j, R- r" L( dS.189b, Klavierstück (?)
+ p; w$ j( i8 c# hS.190, Un portrait en musique de la Marquise de Blocqueville (1868)
: _. j$ W8 `/ T! VS.191, Impromptu (1872) 升F大调即兴曲“夜曲”+ V+ _6 ]+ J! u$ Y3 p
S.192, Fünf Klavierstücke (for Baroness von Meyendorff) [5 pieces] (1865–79) 5首钢琴小品0 F; X# j+ o: q1 l* B; j
S.193, Klavierstuck (in F sharp major) (a. 1860) 升F大调钢琴小品' ]" |2 d- j7 ]- \' n3 t+ Z
S.194, Mosonyis Grabgeleit (Mosonyi gyázmenete) (1870) 在莫佐尼墓前
; G* k% h% U5 I+ CS.195, Dem andenken Petofis (Petofi Szellemenek) (1877) 纪念裴多菲* y7 L( K0 F% C' ]
S.195a, Schlummerlied im Grabe [Elegie No 1, first version] (1874)
- e6 T/ m) z1 M6 G  fS.196, élégie No. 1 (1874)8 Z, P( C6 ?: t1 S. c4 [4 L
S.196a, Entwurf der Ramann-Elegie [Elegie No 2, first draft] (1877)1 c0 F' c& f+ X5 q! _1 M6 C5 Y
S.197, élégie No. 2 (1877)/ q& B; Y/ K( ?
S.197a, Toccata (1879–81) 托卡塔
4 V. k$ H) Y8 ^* p1 }$ ~S.197b, National Hymne - Kaiser Wilhelm! (1876); R  \0 _$ T6 q  B5 G5 e$ g
S.198, Wiegenlied (Chant du herceau) (1880) 摇篮曲
- o) @$ p# X8 S. i. P7 O$ B, nS.199, Nuages gris (Trübe Wolken) (1881) 灰色的云
- ^1 |4 Z  e. U9 K, }7 O! |' AS.199a, La lugubre gondola I (Der Trauergondol) [Vienna draft] (1882)
; h5 a5 t7 O! D! e% eS.200, La lugubre gondola [2 pieces] (1882, 1885) 葬礼小船4 V7 x; J1 Z( @( K
: O+ L; a9 o9 Y5 y! `) l* _' A. M
李斯特全部作品目录-2
: m: V; X9 ?* v( |( y2 w
6 y5 i' g0 l" ~: P. TS.201, R. W. - Venezia (1883) 告别瓦格纳和威尼斯
# h% Z) s/ G/ A1 i5 HS.202, Am Grabe Richard Wagners (1883) 在瓦格纳墓前
  U+ @! F% }5 KS.203, Schlaflos, Frage und Antwort (Nocturne after a poem by Toni Raab) (1883) 夜曲“沉睡,思考和回答”0 G1 T, P0 q* w, j2 S+ `
S.204, Receuillement (Bellini in Memoriam) (1877) 冥想
: E* A* ]& e! E/ TS.205, Historische ungarische Bildnisse (Magyar arcképek) [original version, 7 pieces] (1885) 匈牙利历史人物肖像
! c; }# B4 d) ^4 v: z8 ]$ xS.205a, Historische ungarische Bildnisse [revised order and conclusion, 7 pieces] (1885)
6 E4 |. j2 `* w% ^7 W0 ~' NS.206, Trauervorspiel und Trauermarsch (1885) 葬礼前奏曲和葬礼进行曲4 E' C0 J  p, e4 f
S.207, En rêve. Nocturne (1885) 夜曲“梦中”  p, ^- \% \8 ~, o6 z
S.207a, Prélude à la polka de Borodine (and Borodin's Polka) (1880)
4 J" Q! R. x. J: i5 H- C' hS.208, Unstern: sinistre, disastro (1880–86) 凶兆、灾难
) H5 ?- m8 K7 d0 q( Y( j, j1.7.3 Works in Dance Form(为舞蹈的作品)+ R/ [/ c* I% m- R1 W

8 a+ w% d. ]0 }- v8 n$ z0 `8 p  ES.208a, Waltz (in A major) (b. 1825) A大调圆舞曲/ c+ ^' V% B" z" P2 e  G
S.209, Grande valse di bravura [first version of S214/1] (1835) 华丽的大圆舞曲, U/ E6 c% `/ f
S.209a, Waltz (in E flat) (1840)0 b- O* E' u/ ~3 e, g7 M, O
S.210, Valse mélancolique [first version of S214/2] (1839) 忧郁圆舞曲
% J: D$ q" l3 B" ?9 U1 uS.210a, Valse mélancolique [intermediate version] (1840)  f' F1 |( ^% t9 ~
S.210b, Valse (in A major) (1830–39)% d. X, T1 B1 x' q* V, b
S.211, Ländler (in A flat major) (1843) 降A大调兰德勒舞曲4 o0 P5 j' R: p# s/ ~; l
S.211a, Ländler (in D major) (1879)
2 @7 R; p2 X$ H8 FS.212, Petite valse favorite [first/second version] (1842, 1843)
; S; p1 p( e1 l( t# A$ I6 z' N1 GS.212b, Mariotte. Valse pour Marie (1840)
  _8 e8 @3 ?! K9 z' ?S.213, Valse-impromptu (1850?) 即兴圆舞曲
$ H0 ]: N. P! S, Q1 p4 U7 iS.213a, Valse-impromptu [with later additions] (1880)
, S! ?* u8 ~6 d+ {3 iS.214, Trois caprice-valses [3 pieces] [second versions of S209, S210, S401] (1850?)
" v8 m; r( [4 L, `: XS.214a, Carousel de Madame Pelet-Narbone (ca. 1875-81)
9 y2 F) F* S/ eS.215, Valses oubliées [4 pieces] (1881–84) 4首被遗忘的圆舞曲
  g8 G8 B+ b3 `1 }5 Z; ~S.215a, Dritter Mephisto-Walzer (Mephisto Waltz No. 3) [first draft] (1883)
3 W7 i+ l" E$ FS.216, Dritter Mephisto-Walzer (Mephisto Waltz No. 3) (1883) 第三梅菲斯特圆舞曲
0 B7 h: V) x- Q% A* `+ KS.216a, Bagatelle sans tonalité (1885); w3 o. @& u4 P# l6 K
S.216b, Vierter Mephisto-Walzer (Mephisto Waltz No. 4) [first version] (1885)  第四梅菲斯特圆舞曲) i& \1 v/ w6 q) Q
S.217, Mephisto Polka [first/second version] (1883) 梅菲斯特波尔卡
0 ^$ M5 ?% i, U* j2 V' ]- g: C3 zS.218, Galop (in A minor) (1841?) a小调加洛普舞曲
; ^/ V; z. X- k5 }3 w) U- {4 L: V" TS.219, Grand galop chromatique [original version] (1838) 华丽的半音阶加洛普舞曲3 l) _) f* c  F" p8 H, _5 y7 ?5 A" \
S.219bis, Grand galop chromatique [simplified version] (1838)
- U, b5 r6 f. c, X  mS.220, Galop de Bal (1840?)
( ~* C5 v6 c% H: x/ FS.221, Mazurka brillante] (1850) 华丽玛祖卡6 R; I2 [6 m' B6 `: u& e6 v
S.221a, Mazurka in F minor [Not by Liszt?] (?), X/ Q) _3 o* z  E
S.222, [catalogue error; same as S212]
, u  A$ K& x8 p* oS.223, Deux Polonaises [2 pieces] (1851) 2首波洛奈兹舞曲
, J9 w1 J! u8 S6 ~4 [# }S.224, Csárdás macabre (1881–82)
: n$ O2 F8 X8 E( K; n% L# oS.225, Two Csárdás [2 pieces] (1884)
6 U( n0 U* E  f! KS.226, Festvorspiel (1856)
3 A0 g: k  p, a6 a8 y! v( q. c; sS.226a, Marche funèbre (1827)7 A2 C( F9 c- W* F% o. l
S.227, Goethe Festmarsch [first version] (1849)
0 E# h  z% F( K+ N) VS.228, Huldigungsmarsch [first/second version] (1853)% ~8 ~: J3 b$ z3 V7 t  o6 e. P1 ]
S.229, Vom Fels zum Meer! - Deutscher Siegesmarsch (1853–56)
* F8 \9 `7 _. ~. b$ p* B3 h+ Y7 VS.230, Bülow-Marsch (1883)
6 e1 n, g2 {  p/ zS.230a, Festpolonaise (1876)
; w' T3 u" ]+ l/ T( \( a& FS.231, Heroischer Marsch in ungarischem Stil (1840)1 h+ y- p" |, F& V* g/ N' f
S.232, Ungarischer Sturmmarsch [earlier version of S524] (1843?)
# W* O# [' A4 M+ K; nS.233, Ungarischer Geschwindmarsch (1870)
0 z1 n1 O0 d( F% T5 l! M# e2 fS.233a, Siegesmarsch. Marche triomphale (Victory March) (?). W9 A4 G0 C( W1 w1 j% A) c% t
S.233b, Marche hongroise (in E flat minor) (1844)
2 F  o: o; S3 t0 B) o1.7.4 Works on National Themes(主题作品)
3 @9 h0 q2 q' \# j. |, ?8 d  R% b3 c1 ]. W  S& S  q; ^3 D
1.7.4.1 Czech4 O' m8 X1 l. f' w
" b' e+ o5 x8 w$ L
S.234, Hussitenlied (Melody by J.Krov) (1840)
1 |3 Q" B4 b* u2 Q! Q% m1.7.4.2 English
0 z- ]% b1 u, p7 o3 V2 L0 {& E% x4 l0 F- D5 [- |- w6 W' Y+ v0 l3 r
S.235, God Save the Queen (1841)
0 u5 ~3 p! E% W5 e- q+ k1.7.4.3 French# t  n  j2 `* q( I( t
9 k; h7 Y  w; ?/ y: U
S.236, Faribolo Pasteur and Chanson du Béarn [2 pieces] (1844)1 D6 v" Q( B8 E* S
S.237, La marseillaise (1872?)# J; Z' @& e3 ~' q/ S5 q0 b
S.238, La cloche sonne (1850?)
/ }# C5 @4 M4 W: C9 VS.239, Vive Henri IV (1870-80 ?)
' ]( ^. ]1 S+ t/ x) j" `1.7.4.4 German5 F* e/ s+ J5 `: \
3 X1 S$ O' N1 K1 e$ V+ \, M
S.240, Gaudeamus igitur. Concert paraphrase [first/second version] (1843, 1853)
5 k1 p5 O# t" N1 M5 w) X1 M1.7.4.5 Hungarian
' G, \7 a2 p/ l0 N8 e- u; i
2 N. }: o6 h9 q# M; k9 y& NS.241, Hungarian Recruiting Songs (Zum Andenken) (By Fáy & Bihari) (1828)
) M& X6 `1 P; k' u; U9 L8 n% sS.241a, Ungarische Romanzero (Hungarian Songbook) [18 pieces] (1853)
8 E6 D( f* m3 rS.241b, Magyar tempo (1840)
& c; l: X  A5 `- WS.242, Magyar Dalok: Magyar Rapszódiák [21 pieces] (1839–47)4 h  d# G1 ]0 z4 l
S.242a, Rákóczi-Marsch [first version] (1839–1840)
- f7 N/ q3 D! k* YS.243, Ungarische National-Melodien [3 pieces] (ca. 1843)
7 V! C7 _  W  h3 F+ @+ iS.243a, Célèbre mélodie hongroise (a. 1866)4 f2 v. @% N  y' s  B8 r
S.244, Hungarian Rhapsodies (Rapsodies hongroises) [19 pieces] (1846–86)  19首匈牙利狂想曲0 f3 J! S7 g* i7 v
S.244a, Rákóczi-Marsch [from orchestral version] (1863)3 v3 V$ \: F% d0 H# ~0 e. n
S.244b, Rákóczi-Marsch [simplified version of S244a] (1871)
3 q. S9 p$ i9 r# cS.244c, Rákóczi-Marsch [popular version] (?)
; Y* w9 s0 X9 M7 {S.245, Fünf ungarische Volkslieder (Abranyi) [5 pieces] (1873)
0 |' w+ k6 q: V( mS.246, Puszta-Wehmut (A Puszta Keserve) (1880–86 ?)
* e* I% ^. U9 t* Y! g1.7.4.6 Italian
5 K: l7 E* F/ f! G9 b
' @7 D+ u6 c1 Q6 ?4 k6 rS.248, Canzone Napolitana [first/second version] (1842)1 l% c! c* n, g' I6 G* P
1.7.4.7 Polish
. w  K' F9 o  L  p
4 b- W3 K& [, ], nS.249, Glanes de Woronince [3 pieces] (1847–48)$ C$ o6 ~" _, [3 i  a2 W" v/ Z4 P) m# ]
S.249a, Mélodie polonaise [short draft] (1871)
( X  x+ c9 X* {( ^' QS.249b, Dumka (1871)
: {( j0 t5 |  U- ~- hS.249c, Air cosaque (1871)3 f# p1 @' o" K$ Y3 F
1.7.4.8 Russian
  i- s4 I+ `" F- U$ n3 D; c0 ?7 F* @+ s0 {8 n7 ~$ h4 m6 L$ p# U
S.250, Deux mélodies russes. Arabesques [2 pieces] (1842)
: e8 |( V; d6 b, W8 ^0 {% z0 WS.250a, Le rossignol (Alyabyev) [first version of S250/1] (1842)
" d. P7 s: q5 _; k; E; r: }! IS.251, Abschied. Russisches Volkslied (1885)5 M! I6 `5 R9 D8 W4 V+ V
1.7.4.9 Spanish% ?9 J8 ^. q) I3 f
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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)% n$ o: x8 |. u& `: ^- Y% O3 G
S.252a, La romanesca [first/second version] (ca. 1832, b. 1852)
" G1 |5 x/ a. L  L2 HS.253, Grosse Konzertfantasie über Spanische Weisen (1853)* L- t- j( P- f% j4 O" h$ I, Q5 ~3 l
S.254, Rhapsodie espagnole (1863?) 西班牙狂想曲
: u. f  V; O6 D; C- S( Z4 zS.254x, Rapsodie espagnole [orchestrated by Feruccio Busoni] (?)
, R! J. M, o/ j: j4 P1.8 Piano Duet(钢琴二重奏)
2 n1 G# F# t7 x5 E9 _% Q
  ~% _: d/ J: c# p# tS.255, Festpolonaise [now S619a] (1876)' @2 E* X$ K- E6 _
S.256, Variation on the Chopstick Theme (1880)
: ?# u' V' V9 E& O+ O: l4 qS.256a, Nottorno [Not by Liszt?] (?)) O; j( Z2 x5 w# {! a6 N0 T5 f5 z/ O
1.9 Two Pianos(双钢琴)
1 g. t: M% y% m. v1 h$ [
  {. e. b9 R' O& t% w" L  MS.257, Grosses Konzertstück über Mendelssohns Lieder ohne Worte (1834)' }* c3 P' m$ u7 R( N4 z  F: ]
S.258, Concerto pathétique (b. 1856)  e小调钢琴协奏曲“悲怆”- V, a7 f/ G" x2 D7 k0 e$ V+ M
1.10 Organ(管风琴)1 S! i7 u0 C+ W- V. F6 e' {" w' t

- H/ b( u* d' bS.259, Fantasy and Fugue on the chorale Ad nos, ad salutarem undam (1850)" R, n% [  k4 z/ F* A0 Q+ c) M
S.260, Präludium und Fuge über das Thema BACH [first/second version] (1855, 1870)5 o, }/ f/ r8 x/ \: O* _) ]* Z
S.261, Pio IX. Der Papsthymnus (1863?)8 c  Z5 Z6 ]  v  b9 P
S.261a, Andante religioso (1861?)- s0 f/ C' Q3 n
S.262, Ora pro nobis. Litanei (1864)0 U4 t0 `4 J" ~- w. R( B
S.263, Resignazione (1877)7 |9 S8 a, \5 w) c& |0 g
S.264, Missa pro organo lectarum celebrationi missarum adjumento inserviens (1879)
; i7 ?8 C. M' A" C+ W4 qS.265, Gebet (1879)& O4 ?; }1 M9 K: x0 n4 p( s
S.266, Requiem für die Orgel (1883)
# \. W) m' O7 |+ y7 [S.267, Am Grabe Richard Wagners (1883)
; G8 A4 @% p* R' O2 U3 e9 `) IS.268, Zwei Vortragsstücke [2 pieces] (1884)7 N* ?( P* X# I1 X! Q! b; b6 A9 X
1.11 Songs(歌曲), P6 u3 b7 M! o( S* t% d! j! M# ?
+ N: C% S1 X  D; [
S.269, Angiolin dal biondo crin (Marchese C. Bocella) [first/second version] (1839, ?)
) x6 s, M' w6 c7 J6 aS.270, Three Petrarch Sonnets [3 songs, first/second version] (1844–45, 1854]7 L3 O  r" L. }+ E) u
S.271, Il m'aimait tant (Delphine Gay) (1840?)8 q  f. l- X7 n8 W
S.272, Am Rhein im schönen Strome (Heine) [first/second version] (1840?, 1854)4 g5 |/ A5 f4 Y8 l! u7 A3 b, T
S.273, Die Lorelie (Heine) [first/second version] (1841, ?)
" X$ g4 {- l$ z( l6 CS.274, Die Zelle in Nonnenwerth [first/second version revised 1862] (b. 1841, 1857)
% @$ u2 x# V: W  [, \6 dS.275, Mignons Lied (Kennst du das Land) (Goethe) [first/second/third version] (1842, 1854, 1860)
5 X" e8 i. F% [( Y, j6 A5 xS.276, Comment, disaient-ils (Hugo) [first/second version] (1842, ?); T+ }) {7 H4 o' G' j  g- p
S.277, Bist du (Prince E. Metschersky) [first/revised version] (1843, ca. 1878-79)7 C7 I2 m8 T0 z, n, h0 ?* Q
S.278, Es war ein König in Thule (Goethe) [first/second version] (1842, ?)3 M! s' l4 ~# O4 e- z
S.279, Der du von dem Himmel bist (Goethe) [first/second/third version] (1842, ?, 1860)
) S8 C' N' Y) l- ]% e! oS.280, Freudvoll und leidvoll (Goethe) [first/second/third version] (1844, 1848?, ?)
6 l/ _: {, }3 h. H# G+ P" SS.281, Die Vätergruft (1844)
& B2 D. [4 c. P9 HS.282, O quand je dors (Hugo) [first/second version] (1842, ?)
4 [9 {2 G* k+ b. F8 {9 t+ g6 mS.283, Enfant, si j'etais roi (Hugo) [first/revised version] (1844?, ?)
% G" K, F: r7 C' X% {2 o4 Q' B' ZS.284, S'il est un charmant gazon (Hugo) [first/revised version] (1844?, ?)
6 M7 N. Z+ }6 A# A3 Y$ YS.285, La tombe et la rose (Hugo) (1844?)& y0 o* s4 a5 i8 n" H5 ^% t1 ^
S.286, Gastibelza, Bolero (Hugo) (1844?)/ t+ z/ ~2 D) {, E" r% Q
S.287, Du bist wie eine Blume (Heine) (1843?)) h' k" ?+ Y1 f3 B3 Q" E
S.288, Was Liebe sei (C. von Hagn) [first/second/third version] (1843?, ca. 1855, 1878–79)
# P% i5 A, Y5 B: L' nS.289, Vergiftet sind meine Lieder (Heine) [first/revised version] (1842, ?)4 d# B1 }$ H5 n& C2 R7 ?, {
S.290, Morgens steh ich auf und frage (Heine) [first/revised version] (1843?, ca. 1855)
9 m9 x6 a( M: [3 jS.291, Die todte Nachtigall (Kaufmann) [first/revised version] (1843?, 1878)
; X- w7 O( Z# I3 X8 SS.292, Songs from Schiller's Wilhelm Tell [3 songs, first/revised version] (1845?, ?)
0 z2 {9 A& I+ u. t$ p9 GS.293, Jeanne d'Arc au bûcher (Dumas) [first/revised version] (1845, 1874)1 x5 ~$ K. d9 t" z9 I; p
S.294, Es rauschen die Winde [first/second version] (ca. 1845, b. 1856)+ I* u' t  f7 Z$ |
S.295, Wo weilt er? (Rellstab) (1844)9 t# W, Q( K! R: G) I% z$ U3 I+ k
S.296, Ich möchte hingehn (Herwegh) [revised later] (1845). `, q( M, e5 s" ]7 v
S.297, Wer nie sein Brot mit Tränen ass (Goethe) [first/revised version] (ca. 1845)& a0 E9 b2 p! a7 G) J, i+ Z
S.298, O lieb so lang du lieben kannst (Freiligrath) (1845?)
, R6 ?. I( Y8 a2 f+ G! t9 AS.299, Isten veled (Farewell) (Horvath) [first/revised version] (1846–47)
, G- G2 B3 k/ m0 Q% A* ?/ ~S.300, Le juif errant (Béranger) (1847)
5 a. g1 t& ~( H: J9 c: yS.301, Kling leise, mein Lied [first/revised version] (1848)
: G; u: w7 Y! {) BS.301a, Oh pourquoi donc (Mme Pavloff) (1843)
9 c4 z. w7 ]' `' cS.301b, En ces lieux. élégie (E. Monnier) (1844)
8 Y& C' m; t$ h6 N6 ^7 I) k+ BS.302, Die Macht der Musik (Duchess Helen of Orleans) (1848–49)  L3 D) `; ^2 }
S.303, Weimars Toten. Dithyrambe (Schober) (b. 1848)
' D6 ?9 K3 z! WS.304, Le vieux vagabond (Béranger) (b. 1848)
3 N" ?8 s3 A+ ?2 L+ U- m9 vS.305, Schwebe, schwebe, blaues Auge [first/revised version] (1845, ?)
# s- n( R5 H! S! J) H: |5 M: d. uS.306, über allen Gipfeln ist Ruh [first/revised version] (1847?, ?)4 b% E, Q% M8 _! b
S.306a, Quand tu chantes bercée (Hugo) (1843); D4 I6 i) C; x  F  `
S.307, Hohe Liebe (Uhland) (1850?)
5 p. X8 W8 u! X; WS.308, Gestorben war ich (Seliger tod) (Uhland) (1850?)  [- t! l# N# ?  d! e
S.309, Ein Fichtenbaum steht einsam (Heine) [first/revised version] (ca. 1845, 1854)4 P1 ~0 f9 u- J8 T$ W1 w
S.310, Nimm einen Strahl der Sonne (1849)/ m) j+ t( }" n* I8 T! [
S.311, Anfangs wollt' ich fast verzagen (Heine) (1849)
+ J5 Z- T2 T& P$ n, S& w) {+ hS.312, Wie singt die Lerche schön (Hoffmann von Fallersleben) (1856?)
. a9 {' A7 V) g' h1 y! ES.313, Weimars Volkslied (Cornelius) (1857)4 j; t; T- q, p+ T0 H/ F
S.314, Es muss ein wunderbares sein (Redwitz) (1852)# f0 `  v# c" s7 t
S.315, Ich liebe dich (Rückert) (1857)
: v+ M" c; V; b9 A: k" t" `5 ?S.316, Muttergottes - Sträusslein zum Mai-Monate (Müller) [2 songs] (1857)- m: W4 e& `, `1 k" o1 Z
S.317, Lasst mich ruhen (Hoffmann von Fallersleben) (1858?)
6 r  W0 P0 f! G. B, `, V2 AS.318, In Liebeslust (Hoffmann von Fallersleben) (1858?)% w0 k( g" q! K) y3 C- d4 j+ t
S.319, Ich scheide (Hoffmann von Fallersleben) (1860)# f" ^$ B1 }/ D! l/ C9 p
S.320, Die drei Zigeuner (Lenau) (1860)
# |1 I7 {0 E* m! K' `* q2 oS.321, Die stille Wasserrose (Geibel) (1860?)" T/ S" q: f2 x
S.322, Wieder möcht ich dir begegnen (Cornelius) (1860)6 z# u  J$ E/ b
S.323, Jugendglück (Pohl) (1860?)9 m% e2 e9 m7 a" s$ R
S.324, Blume und Duft (Hebbel) (1854)& |  O# A+ ]/ _+ C/ w
S.325, Die Fischertochter (Count C. Coronini) (1871)" E" v) A5 V$ R! U
S.326, La perla (Princess Therese von Hohenlohe) (1872)
% j. q5 n$ |0 E3 ]7 D6 d6 IS.327, J'ai perdu ma force est ma vie. 'Tristesse' (de Musset) (1872)
: M& v7 R0 h" X4 L8 v! }$ \S.328, Ihr Glocken von Marling (Emil Kuh) (1874)
1 f3 q' U+ Y% T* XS.329, Und sprich (Biegeleben) [revised 1878] (1874)
  }: q! Z* P: NS.330, Sei Still (Henriette von Schorn) (1877)
$ a$ X) K- {& p  W8 gS.331, Gebet (Bodenstedt) (1878?)
" S5 u3 A' Z+ u# W; JS.332, Einst (Bodenstedt) (1878?)
. o! c& |( `  P  {6 T4 P6 `5 ]S.333, An Edlitam (Bodenstedt) (1878?)
  B. Q  k2 v0 c; J$ S; q! ~S.334, Der Glückliche (Bodenstedt) (1878?)* S; ~; @+ I9 H0 H( j. Y" ?" o  {1 n
S.335, Go not, happy day (Tennyson) (1879)6 b) N) b0 F3 h2 z4 u" g
S.336, Verlassen (G.Michell) (1880)' c  n% r, Y4 H3 c* w" ~/ b
S.337, Des tages laute stimmen schweigen (F. von Saar) (1880)
: G, V2 v6 q" `S.338, Und wir dachten der Toten (Freiligrath) (1880?)3 X# q9 o$ n7 t3 V" e
S.339, Ungarns Gott. A magyarok Istene (Petófi) (1881)- h7 v4 ]5 ]- G3 T! ~& k
S.340, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)
# z/ x, _  g+ n( }! Q0 dS.340a, Ne brani menya, moy drug. (Tolstoy) (1886)% O+ ~* ^4 P. s! o* \1 w1 Y0 F
1.12 Other Choral Works(其他合唱作品): Q7 C- ~/ T: H$ F
S.341, Ave Maria IV (1881)
, s3 n' R) |  j' [5 _* DS.342, Le crucifix (Hugo) (1884)
5 i) {* l/ l9 ?* E/ S1 hS.343, Sancta Caecilia (1884)
7 S4 ~8 l) Q5 b+ |4 b0 t/ lS.344, O Meer im Abendstrahl (Meissner) (1880)
3 n# O% ~* E+ {5 X/ wS.345, Wartburg-Lieder from Der Braut Willkomm auf Wartburg (Scheffel) [7 chorals] (1872)( F, L  d: V/ J2 y  Z4 \" O
1.13 Recitations(叙事歌谣颂诗)
& P8 U8 v, s+ u, {) Q$ K9 iS.346, Lenore (Bürger) (1858)
, {2 c$ T9 [/ D1 M% B. a7 h5 xS.347, Vor hundert Jahren (F. Halm) (1859): K% p# w9 R" h6 B
S.348, Der traurige Mönch (Lenau) (1860)" h1 i- Q& W3 ^. T3 \4 R
S.349, Des toten Dichters Liebe (Jókai) (1874)
( R0 f) b9 @6 O4 ~S.350, Der blinde Sänger (Alexei Tolstoy) (1875); C# U; p. W" u6 u, Q6 m
2. Arrangements, Transcriptions, Fantasies, etc.
( O0 C; O! C# Z9 D5 L% M5 }5 N4 G7 i( C7 t
2.1 Orchestral Works(管弦乐作品)
, u4 G4 \) ]/ z/ b5 b7 A8 c5 K5 i& y5 N
2.1.1 Bülow! |7 j- I: J- V1 J) @$ f

/ b- O/ N. _, |. {; _% i' {% R) ]& oS.351, Mazurka Fantasie, Op. 13 (1865)
: x, f: k* P& K# P& Y7 y& E2.1.2 Cornelius
: h# p) _5 ~& s6 y% W) z. z5 U, S, L( K9 O/ ~4 `) F6 B, T$ H; j
S.352, Second Overture to The Barber of Baghdad [completed from Cornelius's sketches] (1877)0 U: i6 U+ b: w+ L- F
2.1.3 Egressy and Erkel+ Y& W! G* Q9 n3 D5 s3 G) E" q

: G# l$ x+ l0 V  z6 g& o) CS.353, Szózat und Hymnus (1873)
; ~& y2 s) K, q# s2.1.4 Liszt
& o( ?1 }% i. R7 g+ t
) T! ]2 Y$ o. M2 ?. v+ T6 JS.354, Deux légendes (1863)  X4 ~+ n: k1 `( F
S.355, Vexilla regis prodeunt (1864)" _; E1 E" r+ H2 y! F* D. h3 N
S.356, Festvorspiel (1857)5 a8 a0 ^% }2 R  Q7 c5 u# D
S.357, Huldigungsmarsch [first/second version] (1853, 1857): }7 d. f! i1 [1 f/ j/ O( E$ I6 h
S.358, Vom Fels zum Meer. Deutscher Siegesmarsch (1860)) _2 b3 R6 T$ f" D: H
S.359, 6 Rapsodies hongroises (Hungarian Rhapsodies) (?)# W: s- A5 z% f9 z
S.360, A la chapelle Sixtine (Liszt, Allegri & Mozart) [orchestral arrangement of S461, based on Mozart's Ave verum corpus and Allegri's Misere] (1862)
" E9 T$ E( t( ]# ~5 V3 ^' [S.361, Pio IX. Der Papsthymnus (ca. 1863)
. Z/ U, E+ ?6 Q0 j! ~2 r- @S.362, Benedictus and Offertorium from the Hungarian Coronation Mass [from S11] (1875)
& i1 v2 k7 ~$ C2 [/ e! \2.1.5 Schubert* _- F" H5 C. G( Y
6 o+ U* c/ T6 L
S.363, 4 Marches [from Opp. 40, 54, 121] (1859-60)
  x, k4 c. Z/ q% n2.1.6 Zarembski6 C6 b" F% J$ t' N" _* u) s, E5 X
1 P1 D$ r7 O! ?8 y
S.364, Danses galiciennes (1881). H/ u6 S. B+ A$ f* M; {" N
2.2 Pianoforte and Orchestra(钢琴与乐队)4 ]5 U' P; g2 j: n( ^
6 H$ B" X& w4 k2 k9 m& L
2.2.1 Liszt& E1 ?* X* c8 c  X. q/ ^4 Z

6 \. i- D( Z; z" z+ mS.365, Grand solo de concert [prepared by Leslie Howard] (1850)
5 ?- i  l+ m- VS.365a, Concerto pathétique (No. 4) in E minor [Liszt, Reuss version] (1885-86)
8 \4 j/ N4 J9 C2 H7 t, jS.365b, Hexaméron, Morceau de concert [orchestration completed by Leslie Howard] (ca. 1839)% _. C. h( Y) o/ W' X: R
2.2.2 Schubert
+ [  y% Y, i) J4 U, s7 W6 k5 @9 O6 |/ H, X* y
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
; }- J$ Q/ z2 ~0 S0 O3 G2.2.3 Weber' w' {/ }- m% [) g
: \9 e; i7 g2 q5 J( v
S.367, Polonaise brillante, Op. 72 (1849) 华丽波洛涅兹 为钢琴与乐队而作; Z/ G; e# i9 g6 k/ ?
2.3 Songs with Orchestra(声乐与乐队)7 p) l+ |) W6 S9 A- r) M5 S% E+ k) v
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2.3.1 Korbay  j, n& F! B% l
3 T- L8 x9 \, p! Y; @9 y
S.368, 2 Songs (Le Matin by Bizet and Gebet by Geibel) (1883)/ n3 D9 f0 ]7 E, ]
2.3.2 Liszt7 b" r1 `# u$ @
- m" p- I2 e8 o) q$ d! p
S.369, Die Lorelei (Heine) (1860)
8 N( u4 g% p+ t9 `7 @0 l$ zS.370, Mignons Lied (Kennst du dass Land) (Goethe) (1860)+ `' H- k* Q  b
S.371, Die Vätergruft (Uhland) (1886)
( G$ A7 C  ?% e+ ^& hS.372, Songs from Schillers Wilhelm Tell (ca. 1855)/ s3 P) m' R3 r" L; Y7 z& X
S.373, Jeanne d'Arc au bûcher (Dumas) [first/second version] (1858, 1874)9 V8 {1 {1 t' {* l
S.374, Die drei Zigeuner (Lenau) (1860): q  s" j' \. t/ `! z  r
2.3.3 Schubert
/ o4 C5 k6 P: Q, m. b
6 C' a) N  c; i+ }$ |0 \S.375, 6 Songs (1860)+ v% B* t' e! }4 \% h
S.376, Die Allmacht (1871)
4 n) b: h* v2 B3 A' z. j2.3.4 Zichy+ e* Y' v& l  g- G% y+ p! H* U$ L" V  K! }

7 r6 y, U- h9 m; K( G. Z2 P/ MS.377, Der Zaubersee. Ballad (Zichy) (1884)
4 x& K, C: m& x) U# `- I& r8 s2.4 Chamber Music(室内乐等)
9 a* i  i4 a+ n, M) L2.4.1 Liszt/ X! w3 r0 A7 ]1 m

2 L( ~, b& Q! xS.377a, La notte (Odes funèbre No. 2) (1864-66)
2 s- u* @# g8 h: k; WS.378, Angelus! - Priere aux anges gardiens [first/second version] (1877, 1880)* l; y( W$ B' b( h2 r
S.379, Rapsodie hongroise No. 9 (Pester Karneval) (?)
" p7 u* o! Q0 c+ w4 t( V9 VS.379a, Rapsodie hongroise No. 12 (1850-59)
9 X3 S/ e8 n' C' j0 V, V$ Z1 \S.379b, Puszta-Wehmut (A Puszta Keserve) (ca. 1871)0 P. i- w6 t. G4 j5 z
S.380, O du mein holder Abendstern from Tannhäuser (Wagner) (1852)2 g/ f' \: H% J* ~* a$ T
S.381, Benedictus and Offertorium from the Hungarian Coronation Mass [from S11] (1862)
/ M$ y1 s+ u1 x0 |& NS.381a, Ungarns Gott. A magyarok Istene (Petófi) (1882)( n0 q4 I' d. T3 g; I. U9 k9 [
S.382, Die Zelle im Nonnenwerth (ca. 1880-86)0 Q3 ~5 _# m9 `3 v
S.383, Die drei Zigeuner (Lenau) (1864)- \; z* L+ V0 i$ t/ ?! G4 P
2.5 Pianoforte Solo
. Q$ U8 `. O( [; g) K  P; @- k7 ?/ g0 |2 k& M0 Y' f
2.5.1 Paraphrases, Operatic Transcriptions, etc.(歌剧改编独奏)
4 R% @" v4 f0 h2 r
0 |* O; [0 t, g* A5 |% O, T3 Q2.5.1.1 ábrányi! X1 A1 Y, b: E( l' ?

5 B, h6 @8 {; p# `S.383a, Elaboration on Virág dal (1881)
: z" a' s5 Q% v! L* W0 y# N2.5.1.2 Alyabyev* f, Z. ]" x( Y) W/ P8 m& g. J
( N$ r! S9 J+ P& O/ t' v8 n# P
S.384, Mazurka pour piano composée par un amateur de St. Petersbourg (1863)% c" ~0 e' R5 J* \4 o5 R! |
S.384a, Variations on Tiszántúli szép leány [anonymous, not by Liszt?] (1846)
' u7 o- r% N' e+ R2.5.1.3 Auber( Q. G; W, ?" c) g2 r3 d4 F
3 P: J2 ^2 v9 t6 F% `
S.385, Grande Fantaisie sur la Tyrolienne de l'opera La Fiancée [first/second/third version] (1829, 1835, 1842)+ m8 i2 P7 e, V/ Z1 H
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5 l" l0 b9 H4 x. s( \
S.386, Tarantelle di bravura dàprès la Tarantelle de La Muette de Portici [original/Sophie Menter version] (1846, 1869) 塔兰泰拉舞曲 S.386 据奥伯歌剧《波尔蒂契的哑女》主题改编
9 R) \3 v. n3 g8 m% n% [$ KS.387, Three Pieces on themes by Auber [with intro piece] (a. 1846)
7 b( T1 T  d* R# |S.387a, Piece on an unknown theme (1847). `5 V+ o9 L  K
2.5.1.4 Beethoven4 s  \" @# V4 U9 H$ p; {

" z: H$ D4 _! z8 P& u% E9 ~4 ]3 `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' R2 j. U0 N* z7 p3 Z+ \2 |/ P7 Q# T
S.388a, Marche turque des Ruines d'Athenes (1846)0 |+ r8 \$ _( ^1 ?' E
S.388b, Fantasie über Beethoven's Ruinen von Athen [first version] (1837)5 k; t5 B: H6 T: X2 `
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
: n: ^+ V# y4 z1 Q7 K8 U" gS.389a, Cadenza to the first movement of Beethoven's Piano Concerto No. 3 (1879)6 ]) k' N" y9 s% O* w# W
2.5.1.5 Bellini- u7 @; D& E9 u0 H7 a5 }# o. i' ^: [
/ [7 J! a! n' F$ D1 Q
S.390, Reminiscences des Puritains [first/second version] (1836, 1837)
" g& d3 `: n- }- @4 hS.391, I Puritani. Introduction and Polonaise (1840), g1 c4 \& [) [0 y- f+ J
S.392, Hexaméron, Morceau de Concert (1837)
+ W! q; p7 o$ N7 ^S.393, Fantaisie sur des motifs favoris de l'opéra La Sonnambula [first/second/third version] (1839, 1840-41, 1874)! Y& j; \/ I) [/ h
S.394, Réminiscences de Norma (1841-43)% E. D  X1 Y0 O7 |# {! C
2.5.1.6 Berlioz
" T3 E7 f% g' P1 W
  k2 r9 c+ [4 r; z; P5 q! C$ GS.395, L'Idée fixe: Andate amoroso [first/second version] (1833 or 1846?, 1865)
) M( ], E+ y  c+ p# XS.396, Benediction et Serment from Benvenuto Cellini (1852)4 Q: S4 W! X% s4 m2 G
2.5.1.7 Donizetti, Gaetano
; I+ G" [9 n; l
4 t$ a9 _: b& S% E) l, ES.397, Réminiscences de Lucia di Lammermoor (1839)
  `0 T7 }$ t8 f4 NS.398, Marche Funebre et Cavatine de Lucie de Lammermoor (1839)4 h1 m4 {: A8 g. \0 x( g, t. E
S.399, Nuit d'été à Pausilippe [3 pieces] (1839)
, h. F! p7 f5 D6 h/ e9 a- f, m3 FS.399a, Lucrezia Borgia - Grande fantaisie [first version of S400ii] (1840)
: ]5 L: ]3 V0 ~' r7 a2 {0 ]7 M. s
4 K2 _# u* y" N! a$ g( f李斯特全部作品目录-3
7 P$ U: n  C, b+ g0 V" d+ U
% j$ b3 ^8 \9 q0 M4 k$ B6 u) G3 `S.400, Réminiscences de Lucrezia Borgia [first/second version] 1840
% E! i% o" H& z; g8 S) rS.401, Valse a capriccio sur deux motifs de Lucrezia et Parisina [first version of S214/3] (1841)
9 l# _  |" U* i8 S2 jS.402, Marche funèbre de Dom Sébastien (1844)& H7 `( Y8 }* ?7 X& z
2.5.1.8 Donizetti, Giuseppe
! T2 h4 C( v. f7 ?5 Y6 ~$ S3 V4 u  J
S.403, Marche pour le Sultan Abdul Medjid-Khan [first/simplified version] (1847, 1848)1 L1 t" v, J" i' Y. w
2.5.1.9 Duke Ernst
! m6 x  b) Z7 Z7 O/ O- {/ o
0 Z9 o$ C$ P) a+ ~+ OS.404, Halloh! Jagdchor und Steyrer from the opera Tony (1849)* e- D0 y8 ~9 Q# b# C1 |& {4 m
2.5.1.10 Erkel, Franz
# C7 X& \- y6 u7 \# u
5 |% r8 t, x/ `' R0 AS.405, Schwanengesang and March from Hunyadi Laszlo (1847)
+ |8 ~; U  ~% Q% N2 E- a3 `) @2.5.1.11 Festetics5 ?; |4 v5 Z: V' S. G+ i& y
$ X  J4 d& `( b' a7 W
S.405a, Pásztor Lakodalmus Variations - Mélodies hongroises [elaboration by Liszt] (1858)% v2 j0 {& ]5 L
2.5.1.12 Glinka6 i0 Y# L' m3 X) q  R

3 Y8 j7 f2 K/ k! F+ o  aS.406, Tscherkessenmarsch from Ruslan i Lyudmila [first/second version] (1843, 1875)
8 Z: O- g& C+ ~& o2.5.1.13 Gounod) t3 t" M: D) q3 w: l6 n
# O; c6 ]; N  p
S.407, Valse de l'opéra Faust (b. 1861)
+ z# C0 `6 e" t9 P0 D. @S.408, Les Sabéennes. Berceuse de l'opéra La Reine de Saba (1861)
1 w# t* ^" c3 v7 @* ?+ {9 c6 \! P9 oS.409, Les Adieux. Rêverie sur un motif de l'opéra Romeo et Juliette (1867), F/ _7 V. a+ ^1 I3 g6 h
2.5.1.14 Halévy  a. S) v7 Y! h
S.409a, Réminiscences de La Juive (1835)# r9 v. ?( Z0 o; A7 e0 q7 W+ r7 p1 Q
2.5.1.15 Mendelssohn. O* k0 m) q3 I
S.410, Hochzeitsmarsch und Elfenreigen aus dem Sommernachtstraum (1847-50)
1 Q, V% [( c. N' p$ Z2.5.1.16 Mercadante
; V2 W; e% B6 c/ TS.411, Soirée italienne. Six amusements (1838)
+ l* W& k& K+ ~# z2.5.1.17 Meyerbeer
& E4 r, Y: `* F- N& Z6 p+ B+ e' `3 W7 M# sS.412, Réminiscences des Huguenots - Grande fantaisie dramatique [first/second version] (1836, 1842)
; n; c2 `- O7 G1 [S.412a, Réminiscences de Robert le Diable - Cavatine (1846?)6 }/ y& [2 r2 h( \& U* n
S.413, Réminiscences de Robert le Diable - Valse infernale (1840)3 B# X$ s3 Q  Q8 Y4 L7 h8 p
S.414, Illustrations du Prophète [4 pieces, 4th=S624] 1849-50' C$ b6 ]) J1 {' A6 {4 N. l9 \& a
S.415, Illustrations de l'Africaine [2 pieces] 1865+ ^" i% L* q$ \
S.416, Le Moine (1841)
* h$ g& p2 ^" x% ]* G2.5.1.18 Mosonyi, Michael  s4 i. J: h) p" S2 d+ m
S.417, Fantaisie sur l'opéra hongrois Szép Ilonka (1865) 幻想曲 S.417 - 根据莫佐尼歌剧《美丽的海伦》主题改编
0 A+ ^! V. t( m" }, ~2.5.1.19 Mozart
* D9 h5 p2 v5 I8 y' T8 GS.418, Réminiscences de Don Juan (1841)
# z/ ?* `% i; T" C" i) m( c  T9 x8 y+ G2.5.1.20 Pacini
1 d+ y8 P4 R& b3 `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; h1 G+ p# f  z1 T# {
2.5.1.21 Paganini
$ {& \8 X, @" DS.420, Grande Fantaisie de bravoure sur La Clochette (1832-34)  华丽的钟声幻想曲
) ^0 Y# H, K) v2.5.1.22 Raff1 f; i/ `% E% C
S.421, Andante Finale and March from the opera König Alfred [2 pieces] (1853)4 I+ N+ S0 N5 r+ a: q
2.5.1.23 Rossini3 e+ Z0 u7 F( h7 f
S.421a, Introduction et Variations from "Siege of Corinth" [introduction only] (1839?)+ T& G) F  y9 u& B  J" Y& Q
S.422, Première grande fantaisie (Soirées musicales) [first/second version] (1836)
3 Q1 ?9 k+ k/ U& SS.422i, La serenate e l'orgia - Première grande fantaisie (Soirées musicales) [first version] (1836)
% p. [, c4 ^3 ^  \S.423, Deuxième grande fantaisie (Soirées musicales) (1836): s5 i  Q4 E- c, J" t
S.424, Soirées musicales [12 pieces] (1837), w4 m1 x5 ]: L7 j1 J. [' `
2.5.1.24 Schubert
! i+ f( |; ], l; d, v2 JS.425, Mélodies hongroises [3 pieces] (1839–40), x! P9 Q! x" s% ]
S.425a, Mélodies hongroises [revised versions] (1846)5 j* ], w! U( C! D3 M/ p) A1 J
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
! k; i! B( Q2 oS.426a, Marche militaire (ca. 1870)
8 B5 P+ [/ O0 o  i8 `: o; OS.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
: l, N1 b# B5 S# ?( _. q4 T2.5.1.25 Sorriano
0 G! y( k3 p* i0 g6 b+ f9 N( tS.428, Feuille morte. Elégie d'après Sorriano (1844-45)
8 O: W$ p2 m# z3 D! Y" B+ ]2.5.1.26 Tchaikovsky+ v( Y6 M- E9 n. E! A
S.429, Polonaise from Eugene Onegin (1879)
+ s& ^& }0 \: F- k2.5.1.27 Végh, Janos
( \7 A! A) I' s6 [% a. u3 ZS.430, Valse de concert (1882-83)
8 P4 u! u3 T7 {6 V' y- _2.5.1.28 Verdi
% a; K: n& |! k) C3 t5 P: ^S.431, Salve Maria de Jerusalem from I Lombardi [first/second version] (1848, 1882): L. ]" w, {% S$ o* C0 a/ X' _
S.431a, Ernani - Première paraphrase de concert (1847)
# q! Y( G2 Q' X0 i+ m( A' p# tS.432, Ernani - Paraphrase de concert (No. 2) [first/second version] (b. 1849, 1860)2 i  P( x5 W5 J3 K
S.433, Miserere du Trovatore (1860)
' ~* ?8 `% H& g. ?( \S.434, Rigoletto Paraphrase de Concert (1859)0 L3 B& G4 i" K0 Z& y3 w
S.435, Don Carlos Coro e Marcia funebre (1867-68)
# @' Z) i- Q% M+ MS.436, Aida Danza sacra e duetto finale (1877)
" ^+ \2 L0 U: ?3 z# XS.437, Agnus Dei (1877)9 I& J4 n: @3 u, [8 C$ K' Z3 D! l
S.438, Réminiscences de Boccanegra (1882)
* r9 o, {5 M9 L% D3 Z2.5.1.29 Wagner0 U" Z' [6 f' Q
S.439, Phantasiestück über Motive aus Rienzi (1859)
. F7 d' {3 T% O7 f' n- a; t7 H* RS.440, Spinnerlied aus Der fliegende Holländer (1860)! U0 n# F/ U. I  Q5 e
S.441, Ballade aus Der fliegende Holländer (1872)
$ Q% w* R8 o7 ^5 H, E4 p& SS.442, Ouvertüre zu R. Wagners Tannhäuser (1848)
# Q/ \6 v- D& C) b) ?& QS.443, Pilgerchor aus Tannhäuser [first/second version] (1861, 1885)
; Z9 O! v& s8 Z) JS.444, O du mein holder Abendstern aus Tannhäuser (1848); \4 H5 f/ F# N
S.445, Zwei stücke aus Tannhäuser und Lohengrin (1852)
' l4 a) R. i9 `6 I0 zS.446, Aus Lohengrin [3 pieces] (1854)8 f7 \- G, `, m# {4 G0 R
S.447, Isoldens Liebestod aus Tristan und Isolde [first/revised version] (1867, 1875)
& i8 N; u* l1 J+ y5 ~) GS.448, Am stillen Herd aus Die Meistersinger (1871)
8 u+ b! R* G* q: g. H& m% |% {# DS.449, Walhall aus Der Ring des Nibelungen (1875)- H- X  C) F/ ?; R8 G+ L
S.450, Feierlicher Marsch zum heiligen Graal aus Parsifal (1882)
9 S: m, G1 x. t. C/ S# ~' t2.5.1.30 Weber, T2 u# i3 t: G3 `; i9 s8 B
S.451, Freischütz-Fantasie (1840-41)
- @# R* T1 H( h( rS.452, Leyer und Schwert [4 pieces] (1848)- l+ }* N6 b8 m/ q9 E
S.453, Einsam bin ich, nicht alleine, from Preciosa (1848)& T- a- F7 C5 v, H
S.454, Schlummerlied mit Arabesken (1848)
" ^4 D, f  Y: {7 d' x$ w3 ~% BS.455, Polonaise brillante (1851)/ p8 s1 H+ r( i) s1 s
2.5.1.31 Zichy, Count Géza
  h* L# r, a: l9 g8 G7 N5 V5 qS.456, Valse d'Adele (1877)
, U$ R, |+ `+ l# |  i2.5.1.32 Unknown
3 S3 z7 G# s0 |* ?/ P. VS.458, Fantasy on Il Giuramento (Mercadante) (1838?)
/ @+ D/ c8 k) [2 T! U, US.460, Kavallerie-Geschwindmarsch [anonymous] (?)  a2 l8 U3 ^/ h
2.5.2 Partitions de Piano, Transcriptions, etc.1 B' ~# M8 g+ x3 y
2.5.2.1 Allegri and Mozart
6 Y( q# Y) J' a+ `1 a% a7 t& |S.461, A la chapelle Sixtine [first/second version] (1862, ?)9 q" E: O+ U6 c# X0 G
S.461a, Ave verum corpus, Kv618 (1862)6 e( o8 X2 _0 k6 M; C$ t4 \8 o4 O
2.5.2.2 Bach. s8 h! p4 t0 }* V
S.462, Sechs Praeludien und Fugen für Orgel [6 pieces] (1850)) _8 m" T( h" ^
S.463, Organ Fantasy and Fugue in G minor [first/second version] (1860, ?)
+ ^) L) |- ^4 f+ _" U$ d+ T  m. ^7 Y2.5.2.3 Beethoven
7 P8 M5 y; @, W' N# y- b1 F& sS.463a, Symphonie No.5 [first version] (1837)' f" J* v! Z, g# q! w
S.463b, Symphonie No.6 [first version] (1837)
* r# Y; U# a5 g1 IS.463c, Symphonie No.6 [second version. Alternative 5th movement] (1863-64)/ R8 l1 q2 b/ A$ K1 N+ }% Y; R
S.463d, Symphonie No.7 [first version] (1837)
; P  Z2 Z. T9 z: c" bS.463e, Marche funèbre [Beethoven's Eroica Symphony, first version] (1843)
. H2 I4 _6 y: [S.464, 贝多芬交响曲 Symphonies de Beethoven [9 pieces] (1863-64)
0 n+ v, V$ X. C" u2 e7 RS.465, Grand Septuor, Op. 20 (1841)3 \+ L* X+ K2 H/ Z
S.466, Adelaïde [third version] (1847)
8 j/ Q% k8 b+ |9 ^+ P) B3 t8 ?2 nS.466a, Adelaïde [first version] (1839), Q) t& [) `# H& q2 u4 \+ ~' r4 d7 D3 N
S.466b, Adelaïde [second version] (1840)
' V- v7 W) o1 Y) _1 e6 `' CS.467, Sechs Geistlicher Lieder (Gellert) [6 pieces] (1840)1 o  D; I) C- K1 j8 ~! W) K! [
S.468, Sechs Lieder von Goethe [6 pieces] (b. 1849)
0 o- ~& l) ^, X$ TS.469, An die ferne Geliebte - Liederkreis [6 pieces] (1849)
* c' K  c& m) @9 u- j2.5.2.4 Berlioz
3 S  @$ \4 ^/ \1 B, L( |S.470, Symphonie Fantastique (1833)
8 Y% j6 w5 }) R0 H4 X) b% V& nS.471, Overture from Les francs-juges (1833)& p; _) T' N& a2 e, Q
S.472, Harold en Italie (with viola) (1837)
9 X3 C: `5 l+ C; g- Q9 ES.473, Marche des pèlerins from Harold en Italie [first/second version] (1837?, 1862)  j  Q  I6 H7 d( _) }1 P6 W
S.474, Ouverture Le Roi Lear (1837)
- E7 o7 c2 H' w; |S.475, Valse des Sylphes de la Damnation de Faust (1860)
. O: D$ n  P5 M3 S- f2.5.2.5 Bulhakov8 F* T3 r" J. R* s4 b- ?
S.478, Russischer Galopp [first/second version] (1843, 1843)
& y5 T3 Z# P/ H6 _3 W, y  z: x2.5.2.6 von Bülow
  f* ^8 Z4 n' G, ?6 oS.479, Dante's Sonnett - Tanto gentile e tanto onesta (1874)6 o4 R- S3 u4 S' [
2.5.2.7 Chopin
8 K' f/ B9 \7 s7 j: {S.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
, |0 {! F) @% _. B2 Z) xS.481, Zigeunerpolka (1847?); Z' \7 L1 O; Z8 R& L5 O; c
2.5.2.9 Cui
- }: j& ~* A$ g# O8 q' ^/ `S.482, Tarantella (1885)) G8 K: R, ]2 j
2.5.2.10 Dargomyschsky
/ }( i* C% D0 HS.483, Tarantella (1879)
* v  O* m& |) c1 g2.5.2.11 David, Ferdinand
- ]( u3 E: T/ e7 V; |4 H& Y& AS.484, Bunte Reihe, Op. 30 [24 pieces] (1850)3 g( p. \% [. @& ?' J- l0 L
2.5.2.12 Dessauer4 k/ r8 Y, f; }4 S
S.485, Drei Lieder (1846)- i2 k1 z1 z6 f
2.5.2.13 Ernst, Duke6 C6 _; m: @, q3 G9 a' p
S.485b, Die Gräberinsel (1842)
: F; U% X; w. O6 l2.5.2.14 Egressy and Erkel* _' j! ]; R! X+ Y2 M7 N& C
S.486, Szózat und Hymnus (1873): ~2 r- K2 Y. _7 ^6 f7 f0 \
2.5.2.15 Festetics
8 B: G9 v9 o$ W0 Q& IS.487, Spanisches Ständchen 1846
9 l* D1 b- i4 T6 l7 z2.5.2.16 Franz. B( H% M5 i( N1 t- l! m, L! W
S.488, Er ist gekommen in Sturm und Regen 1848
% u5 S- F$ B2 Z6 o2 x1 |& xS.489, Zwölf Lieder [12 pieces] (1848)
  ?: p& K% {! W) f. y/ i6 `+ F+ a2.5.2.17 Goldschmidt1 U! H5 Q! U/ K; }
S.490, Liebesszene und Fortunas Kugel (1880)
1 d! P4 J) J+ f0 b3 ]+ G2.5.2.18 Gounod8 P" p! f7 p5 m
S.491, Hymne à Sainte Cécile (1866)
4 P. J# E8 x+ g! V% c! k2.5.2.19 Herbeck
$ T9 P7 |& n1 ?3 S- MS.492, Tanzmomente [8 pieces] (1869)
( j- E: H: T/ _  ~6 o( G2.5.2.20 Hummel4 j% @& `& {( \
S.493, Grosses Septett, Op. 74 (1848)
1 p8 t% `7 b' k. K  g# O0 x  J& n2.5.2.21 Lassen3 k$ w6 |7 n: x
S.494, Löse, Himmel, meine Seele [first/second version] (1861, 1872)8 e% l  f7 k% ]! _+ a
S.495, Ich weil' in tiefer Einsamkeit (1872), m3 e) j+ t& s+ h# r* q' o- V
S.496, Hebbel's Nibelungen & Goethe's Faust [4 pieces] (1878-79)
* j1 c+ q7 h1 Q( Z8 L. h, h* gS.497, Symphonisches Zwischenspiel ('über allen Zauber Liebe') (ca. 1882-83)! b5 g* B9 Z# g, F* K9 I6 i
2.5.2.22 Lessmann
7 t' g. V4 v/ [9 V( w) q3 N" S/ A* M. YS.498, Drei Lieder ('Tannhäuser') (1882?)
* B: Q3 j# L0 t0 N8 q5 J0 A" j# a- P2.5.2.23 Liszt; n# b6 l+ n0 K- x+ ?( N. J; E
S.498a, Drei Stücke aus der heilige Elisabeth (1857-62)
+ W+ L7 U7 o* r' h# YS.498b, Zwei Orchesterstücke aus Christus (1862-66)
5 U' ~8 A- }7 \6 y. s/ F/ ~S.498c, San Francesco - Preludio (1862-66)) |1 b8 ^: \, ^. ~
S.499, Cantico del Sol di San Francesco d'Assisi (1881)" i9 D  j5 p0 [  }
S.499a, San Francesco - Preludio per il Cantico del Sol (1880)
# y8 b  Z8 D$ A/ c* A5 rS.500, Excelsior! - Preludio (1875)& h2 B4 L! g4 r. l; ?7 v
S.501, Benedictus und Offertorium (Missa Coronationalis) (1867)
" |* O' z( Y; z7 o- n3 }S.502, Weihnachtslied II (1864)
  D6 g( p8 l, Y: H5 `( e; f& h* yS.503, Slavimo Slavno Slaveni! (1863)$ u8 Q( u4 }5 `) F
S.504, Ave Maria II (in D) [first/second version in D flat] (1870, 1873)
$ x1 Q0 H9 u! R( s- d% g0 d4 P& GS.504a, Via Crucis [15 pieces] (1878-79)
; o  V4 D# z& {9 qS.504b, Choräle [11 pieces] (1878-79)
( @" P+ ]) t: H1 a! d- TS.505, Zum Haus des Herrn (In domum Domini ibimus) (1884)
! X& V4 B: P# @7 WS.506, Ave maris stella (1868)0 q5 T7 e2 u9 G: P
S.507, Klavierstück aus der Bonn Beethoven-Cantata (?)# N$ h. M3 q! `9 [' B
S.507a, Schnitterchor (Pastorale - Schnitterchor aus Prometheus) (1850)( @" W7 j: \- J# `
S.508, Pastorale. Schnitterchor aus dem Entfesselten Prometheus (1861)1 i, G3 Z' ~: \3 a. E7 s
S.509, Gaudeamus igitur - Humoreske (1870)
0 V5 o: i$ ~. N- H& M7 G, L7 yS.510, Marche héroïque (?)4 u' G8 f2 a* u, y& q# D
S.511, Geharnischte Lieder [3 pieces] (1861)
9 X$ B* J/ n: }S.511a, Les Préludes (Poème symphonique No. 3) [arranged by Karl Klauser, revised by Liszt] (1863) [1][2]2 V. [* j% F: g6 A4 w
S.511b, Orpheus (Poème symphonique No. 4) [arranged by Fredrich Spiro, revised by Liszt] (1879) [3]
7 m( b3 }( Q+ LS.511c, Mazeppa (Poème symphonique No. 6) [arranged by Theodor Forchhammer, revised by Liszt] (1870-79) [3]" {# I3 t! {9 P5 d  K
S.511d, Festklänge (Poème symphonique No. 7) [arranged by Ludwig Stark, revised by Liszt] (1870-79) [3]
4 r4 z- I5 [* ~9 mS.511e, Hungaria (Poème symphonique No. 9) [arranged by Fredrich Spiro, revised by Liszt] (1872) [3]  K( z4 y- C  y- Z  F: e$ h
S.512, Von der Wiege bis zum Grabe (Poème symphonique No. 13) (1881)9 ~: Y/ H, b4 d& q
S.513, Gretchen aus Faust-Simpfonie (b 1867 )
4 l3 W* I, K' h2 g9 `! g% IS.513a, Der nächtliche Zug (?)5 i6 z2 J! C5 H/ Y( d: n8 X
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
4 T/ Y9 `5 H- k3 O* O5 a( JS.514a, Erster Mephisto-Walzer (Mephisto Waltz No. 1) [with later additions] (1859-62)
0 v/ Y8 C9 p; G4 M* [S.515, Zweiter Mephisto-Walzer (Mephisto Waltz No. 2) (1881) 第二梅菲斯特圆舞曲: Y+ x! H; d. S$ d! ^
S.516, Les Morts (Ode Funèbre No. 1) (1860)
% I. I; R: [6 O& k5 w( }6 ~+ [$ X8 y7 ^S.516a, La notte (Ode Funèbre No. 2) (?)
: T9 T* s6 J0 uS.517, Le Triomphe funèbre du Tasse (Odes Funèbre No. 3) (1866); H, E$ Y+ l" Z* d: J. v7 k, G
S.518, Salve Polonia (a. 1863)
$ N) f. x8 J: g1 R& T+ ^4 |* LS.519, Deux Polonaises de St Stanislaus (1870-79)
8 {( M# x$ C& Y+ FS.520, Künstlerfestzug [first/second version] (1857-60, 1883)- W  Z7 i4 m+ f, e
S.521, Festmarsch zur Goethejubiläumsfeier [first/second version] (1857, 1872)
; z! l/ r/ T7 k$ tS.522, Festmarsch nach motiven von E.H.z.S.-C.-G (1857)
* U& m* W+ p7 g5 ~6 h6 r1 JS.523, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (1870)8 o; t2 I; r; W7 A" F$ G
S.524, Ungarischer Sturmmarsch [first/second version] (?, 1875)
- J9 n: x2 f* b+ F) LS.525, Totentanz. Paraphrase on Dies Irae (1860-65)
4 a0 h( a$ \% t5 C4 ~) i4 A* ~/ |* iS.526, Epithalam zu Eduard Reményis Vermählungsfeier (?), V: N$ G' G  h6 h4 F
S.527, Romance oubliée (?)& K1 p3 }0 J0 o0 N
S.527bis, Romance oubliée [short draft] (1880)
6 D5 U: Y; Q/ a$ US.529, Fantasie und Fuge über das Thema BACH [first/second version] (1856, 1870) 巴赫主题幻想曲与赋格% h, \7 X2 M* o9 M4 @
S.530, L'Hymne du Pape. Inno del Papa. Der Papsthymnus (1864)
; Y. _- e, G+ I4 lS.531, Buch der Lieder I [5 pieces] (?)5 e, m  n0 h1 w6 b2 c: r
S.532, Die Lorelei (Heine) [second version] (1861)3 p/ {2 {" P! b3 T
S.533, Il m'aimait tant (Delphine Gay) (1842)
+ l: ?# R4 q* G* tS.534, Die Zelle in Nonnenwerth (Felix Lichnowski) [first/second/fourth version] (1842, 1860, 1880)
3 x( i# g# K9 z2 S$ vS.535, Comment, disaient-ils [Buch der Lieder II] (1845?)5 _* b& V3 ]8 g, Z
S.536, O quand je dors [Buch der Lieder II] (1847?)
" M) @# j0 c. o7 |S.537, Enfant, si j'étais roi [Buch der Lieder II] (1847?)% l5 D3 o* K) W$ r$ N7 Q
S.538, S'il est un charmant gazon [Buch der Lieder II] (1847?)
# p$ y+ O+ x" a7 o+ i6 L) T' TS.539, La tombe et la rose [Buch der Lieder II] (1847?)
+ h. }+ l$ W# `$ G2 B- }  MS.540, Gastibelza [Buch der Lieder II] (1847?)
# |: s/ r. U- @S.541, Liebesträume. Drei Notturnos (ca. 1850)  3首夜曲“爱之梦”3 ]! W7 ?; `! ^
S.542, Weimars Volkslied [first/second version] (1857, ?)
7 ]' K7 Z3 ]$ }7 y/ V) dS.542a, Ich liebe dich (?)
3 N( i* m% S. z) P* mS.542b, Fanfare zur Enthüllung des Carl-Augusts Monument (?)) w/ g) S0 Z' x1 W4 I* Z" y
S.543, Ungarns Gott. A magyarok Istene (Petófi)]] [original/(S543bis)left-hand version] (1881)4 n2 O' J2 G8 X7 k: ]7 Z8 }
S.544, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)9 {) B" }! v1 a8 e" c
S.545, Ave Maria IV (1881); s7 H% I) B7 x9 x1 i3 f3 N6 Y+ ]
S.546, Der blinde Sänger (Alexei Tolstoy) [solo version] (1878)
6 N- ]/ y! k+ P5 I8 pS.546a, O Roma nobilis (1879)
! }& I! o4 _$ y+ }. R: Y2.5.2.24 Mendelssohn
2 E2 N7 A! ?* h7 M" bS.547, Sieben Lieder (from Opp. 19, 34, 47) [7 pieces] (1840)
: D8 z& }/ F' G; \+ ?- vS.548, Wasserfahrt and Der Jäger Abschied (from Op. 50) [2 pieces] (1848)- Z6 B7 y1 {" V0 i" B
2.5.2.25 Meyerbeer, g1 p' p) t1 h/ K: \
S.549, Festmarsch zu Schillers 100-Jähriger Geburtsfeier (?)
% q+ q" E( Z+ f, h$ Z2.5.2.26 Mozart% q2 @: w" g, q) j- P
S.550, Zwei Transcriptionen über Themen aus Mozart's Requiem, K626 [2 pieces] (1862)
6 s, v7 e! s8 ?% N2.5.2.27 Pezzini
( r. {- u' z5 Z8 i+ JS.551, Una stella amica. Mazurka (?)
1 a. e  s* @- l$ p2.5.2.28 Raff
. z5 I8 S9 u2 a1 m# @6 I0 w" qS.551a, Einleitung und Coda zu Raffs Walzer in Des-dur (opus 54/1) (1880)
1 y6 j; \! f) w2.5.2.29 Rossini; }8 w% [* O3 s
S.552, Ouverture de l'opéra Guillaume Tell (1838)+ t( ?. ^& C2 X4 e1 f/ [9 `' D" E
S.552a, Caritas [La charité, first version] (1847)
% ^+ w" g: h3 K- hS.552b, La caritá [La charité, simplified version] (1847)" c9 G1 X( d+ `5 Y
S.553, Deux Transcriptions [2 pieces] (1847)
- k. y! G7 Z) G( v# `3 x6 p7 O& v2.5.2.30 Rubinstein
" m" K* u6 U! f' R6 U& z9 s( nS.554, Zwei Lieder [2 pieces] (1880)8 M8 T& L% `- ]/ |( m. t6 ?" u& M4 Z
S.554a, Einleitung und Coda sur des notes fausses (1880)
& G, I2 S( w& m7 O2.5.2.31 Saint-Saëns
8 }9 `/ o' y, S' C' Q/ L$ t# ~& H3 ES.555, Danse macabre, Op. 40 (1876)
+ D7 c0 }' v/ C' c0 m( e2.5.2.32 Schubert
- Z  T5 {' P/ VS.556, Die Rose [first/intermediate/second version] (1832, ca. 1837, 1838)) o/ Q8 ^) v' u4 O
S.557, Lob der Tränen (1837)
( q( g, g2 ^" @9 q% G4 ?S.557a, Erlkönig [first version] (?)( a+ g, |- l( _) M* t0 \) r9 X
S.557b, Meeresstille [first version] (?)- q. x9 Z4 z. R2 I; X
S.557b/bis, Meeresstille [first version, ossia] (?)
3 N" Y2 }/ p4 ^+ {S.557c, Frühlingsglaube [first version] (?)
1 l+ G1 D6 c4 Y) E1 Q% X# dS.557d, Ave Maria (Ellens dritter Gesang) [first version] (?)
! ~2 H- }6 A( f' yS.558, 12 Lieder (1837-38)6 p. V0 B5 O* Y5 d
S.558bis, 12 Lieder [revised versions of Nos. 3, 4, 7, 8, 9, 11] (ca. 1839)
2 ?# Q) u7 ^; y' yS.559, Der Gondelfahrer, Op. 28 (1838)# {* i3 G" W, Y: r
S.559a, Sérénade [Ständchen, first version] (1837)8 A" G; ?5 R0 B, w( P" C
S.560, Schwanengesang [14 pieces] (1838-39)
4 z( i" C* t& H* y' XS.560bis, Schwanengesang [14 pieces, alternative versions] (ca. 1839)% m9 d( m  l, E+ l
S.561, Winterreise [12 pieces] (1839)
! l, i9 O1 D8 r: }. l# U% T. i2 S4 N  MS.561, Winterreise [alternative versions of Nos. 2, 3, 7, 10,] (ca. 1839)
1 r, W3 @6 b. |" q; m! `9 g2 V- CS.562, Geistliche Lieder [4 pieces] (1841)
" U' A5 t) Q% l( F% u; E5 }S.563, Six mélodies célèbres [6 pieces, 1st by Weyrauch] (1844)) q. h/ d6 c5 Q& A1 x( N) m" ?
S.564, Die Forelle [second version] (1846)3 a* r, t- `" |* D9 T. ]  e
S.565, Six Mélodies favorites de La belle meunière [6 pieces] (1846)! z+ N6 z# [! m5 v2 Q
S.565bis, Müllerlieder [6 pieces, revised versions] (ca. 1879)5 P4 c1 m$ f$ ]7 X5 t
S.565a, Wandererfantasie (Grosse Fantasie in C-dur) (ca. 1868)1 L3 `& c. n+ u2 h( R2 h
S.565b, Schubert's Impromptus [2 pieces, Op. 90/2-3] (ca. 1868)' O. \( |6 h9 g$ Z- b; a$ d
2.5.2.33 Schumann& G3 \  j. m2 r1 h! c- C
S.566, Widmung, Liebeslied (1848)
. _9 O4 \/ \! j$ P. TS.566a, Widmung, Liebeslied [sketch of a more literal transcription] (1848)
+ D5 s, D  L$ |- nS.567, An den Sonnenschein, Rotes Röslein (1861)
0 s+ a0 K( {$ s6 x1 t  ]S.568, Frühlingsnacht (überm Garten durch die Lüfte) (1872)( A7 n. N! c7 t: Z2 x3 D, ?
S.569, Zehn Lieder von Robert und Clara Schumann [10 pieces] (1872)0 X3 Z7 S7 y, m5 g3 N- G, }' B/ j
S.570, Provençalisches Minnelied (1881)
$ }; X" g: _* }. y$ k2.5.2.34 Smetana
% s( F9 Z: f7 W3 t5 O& B1 I" I* E5 X0 bS.570a, Einleitung und Coda zu Smetanas Polka (de salon, opus 7/1) (1880)
, v$ a: s: A7 T; V' E2.5.2.35 Spohr& {* W: _0 |3 [' B2 ]6 B& r
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
5 r0 I& M% W4 e* J$ G% K! V  {S.571a, Einleitung und Schlußtakte zu Tausigs dritter Valse-Caprice (1880)
- K: y/ ?6 s6 J9 {2 w5 S" H2.5.2.37 Szabady and Massenet
  I# y  i0 I+ w' N1 ]S.572, Revive Szegedin (1879)2 g7 t; w( Q/ f. v) g
2.5.2.38 Széchényi, Count Imre
. l/ w" n. }6 J" @5 ?( gS.573, Bevezetés és magyar indulò (1872)& L( @6 P9 `* T4 ~4 c* G- t
2.5.2.39 Tirindelli
% J6 R# m( T. ]8 q4 wS.573a, Seconda mazurka variata (1880)
8 n0 l2 |" `& F* N6 Y+ M2.5.2.40 Weber
- U7 k; L) I- A3 \$ fS.574, Ouverture Oberon (1846?)$ f. B6 D7 s" g" w( g' _* \+ w6 |
S.575, Ouverture Der Freischütz (1840-41)7 g7 Z2 O: k- V9 D8 p5 C
S.576, Jubelouverture (1846)
, R+ N9 v, e" `1 [# u$ NS.576a, Konzertstück, Op. 79 (ca. 1868)4 P9 k/ h# }' v* x# s6 d5 Y
2.5.2.41 Wielhorsky, Count Michael& C; i9 U: v/ i2 h
S.577, Lyubila ya [first/second version] (1843, ?)
& G3 k2 B: R5 w: h2.6 Pianoforte Duet(钢琴二重奏)
& v- b: ]) G4 S! L( p9 j2.6.1 Field
8 v/ Y* d. C8 V5 u, {! dS.577a, 11 Nocturnes (Nos. 1-9, 14, 18 and Nocturne Pastorale in E) (?)
7 F' F* L+ G+ ?% m: I- [$ R2.6.2 Liszt
/ h8 m' R' w" j4 _S.578, 4 Pieces from St. Elisabeth (1862)
# H6 O9 i( h, ]- Q) DS.579, Christus Oratorio 4th and 5th section (?)
4 K+ E- `$ O' J. P5 @% PS.580, Excelsior! - Preludio (?)8 {; O" Z7 N1 B0 V1 q
S.581, Benedictus and Offertorium from the Hungarian Coronation Mass (1869)& x: x2 z: |) @5 ]
S.582, O Lamm Gottes, unschuldig (1878-79)
$ K& o2 \8 \' c" ^/ XS.583, Via Crucis (?)* b- r/ o+ j/ e5 p- Q; D  z
S.584, Festkantate zur Enthüllung des Beethoven-Denkmals in Bonn (1845)
- {- H* ?6 ^, c* n9 V* i) S" bS.585, Pastorale. Schnitterchor aus dem Entfesselten Prometheus (1861)2 Y/ A; ~7 X. n0 m  t% O
S.586, Gaudeamus igitur. Humoreske (1870)( M; o  C, ~, c* r. n
S.587, Marche héroique (?)* k# n0 h! s4 E: M9 U
S.588, Weimars Volkslied (Cornelius) (1857)
+ X# }$ A6 Z, {( n4 V# BS.589, Ce qu'on entend sur la montagne (Poème symphonique No. 1) (1874)0 p! A; y% O0 n7 i
S.590, Tasso, Lamento e Trionfo (Poème symphonique No. 2) (1858)
2 e. ]) l, a! |/ F/ I9 y: A, SS.591, Les Préludes (Poème symphonique No. 3) (ca. 1858)
2 o% J1 P( x9 o) k$ U/ X/ CS.592, Orpheus (Poème symphonique No. 4) (ca. 1858)  c1 r' F2 D5 E$ B5 T( ?: q- Z4 o
S.593, Prometheus (Poème symphonique No. 5) (1858)& `/ {4 K( G% g6 A# I6 b0 b7 {! j
S.594, Mazeppa (Poème symphonique No. 6) (1874)2 ~+ y0 ?. i8 d$ W* c" t0 r) D! a
S.595, Festklänge (Poème symphonique No. 7) (1854-61)
7 T2 B' g9 y. ^) {& v( Q0 D$ R, wS.596, Hungaria (Poème symphonique No. 9) (1874?)
9 w' O) S3 R% V6 wS.569a, Héroïde funèbre (Poème symphonique No. 8) (ca. 1877)' @% J; N! h4 b
S.596b, Hunnenschlacht (Poème symphonique No. 11) (ca. 1877)8 ~7 v: @; [- ^# ]1 A+ l2 e4 W
S.596c, Die Ideale (Poème symphonique No. 12) (ca. 1874-77)# M8 p# O4 V. ^4 d& P
S.597, Hamlet (Poème symphonique No. 10) (1874): @0 k3 c4 y* u! c2 L: h, ?3 a1 Q
S.598, Von der Wiege bis zum Grabe (Poème symphonique No. 13) (From the Cradle to the Grave) (1881)
. A1 q0 f! J( VS.599, Two episodes from Lenau's Faust (1861-62)
/ X' R; g" i( k! h, r6 j李斯特全部作品目录-4
6 X6 r3 K) U5 U- {* y0 G* Y, q4 Q3 [( c/ `6 v" Z+ K! x
S.600, Mephisto Waltz No. 2 (1881)
5 W- n& M% B2 @& }5 aS.601, Les Morts (Ode Funébre No. 1) (1866)
: K8 J" v/ R  VS.602, La Notte (Ode Funébre No. 2) (1866)' F" c3 c* ^+ \; ]& v
S.603, Le Triomphe Funèbre du Tasse (Ode Funébre No. 3) (1866?)/ f; _5 K4 }, I
S.604, Salve Polonia (1863)
  B; s9 j% K! c/ C8 Z/ FS.605, Künstlerfestzug zur Schillerfeier (1859); B; k* x8 t( o* V# Q& |! Z
S.606, Festmarsch zur Goethejubiläumsfeier (ca. 1858)/ F2 U& W; u7 c3 B& }  s
S.607, Festmarsch nach Motiven von E.H. zu S.-C.-G. (ca. 1859). G$ E9 ^# k; ^+ v+ t. t
S.608, Rákóczy March (1870), y9 [8 q2 r( U
S.609, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (1870)& b6 ?  D+ k! r4 i; ^7 o0 ~0 h
S.610, Ungarischer Sturmmarsch (1875)2 J0 ?! N( w5 P7 H$ `1 ?8 ]
S.611, Epithalam (1872)
1 u' R+ A6 I" T' o) s+ `$ N" h8 Y" PS.612, Elégie (1874)4 V: [: J/ r. D1 [7 r! r
S.613, Weihnachtsbaum (1876)$ Q$ U4 q, G, D
S.614, Dem Andenken Petöfis (Petófi Szellemének) (1877)3 u6 v: y5 q- A, l! r, I6 R. k5 E3 X
S.615, Grande Valse di Bravura (1836)
" ?# n, Q! S5 [* g9 b$ lS.616, Grand Galop Chromatique (1838)
. ~6 {4 r( ]6 D. o3 f9 R1 KS.617, Csárdás macabre (1882)& h( I- Q; X3 L4 d
S.618, Csárdás obstiné (ca. 1884)
3 c6 G- C8 s! J! KS.618a, Vom Fels zum Meer. Deutscher Siegesmarsch (?): K8 S. r' p+ t' t- k1 h+ w1 {
S.619, Bülow-Marsch (ca. 1883)" r2 A2 @* r* ^. [; T
S.619a, Festpolonaise (1876) [4]8 A4 |! Y. s5 T' j' y8 E7 v
S.620, Hussitenlied (Melody by J.Krov) (1840)1 C2 k+ ~/ W; I' O1 G! H1 I6 B/ [; q3 i
S.621, 6 Hungarian Rhapsodies [from the orchestral version, S359] (1874)
+ Q" [" L! E( _2 q. J: oS.622, Rapsodie hongroise No. 16 (1882)# M! U2 a0 I# v) d
S.623, Rapsodie hongroise No. 18 (1885)
) r5 \- W0 p# FS.623a, Rapsodie hongroise No. 19 (ca. 1885)" |: {# O: i8 |0 t) P/ G$ P
S.624, Fantasy and Fugue on the chorale Ad nos, ad salutarem undam (1850)
2 c! y4 @0 j  XS.625, L'Hymne du Pape (Der Papsthymnus) (1865)
: Q7 Z8 ~: h6 p. [+ d: G: E+ `S.626, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)5 z1 e7 @+ B6 P
S.627, Fantaisie sur des motifs de l'opéra La Sonnambula (Bellini) (1852)& `" N7 D# B: y* i: k
S.628, Bénédiction et serment (Berlioz's 'Benvenuto Cellini') (1852); D9 h2 B8 ~8 D% R6 Z
S.628a, Marche et cavatine (Donizetti's Lucia) (?)
8 i) q6 N4 R  N9 x# E) _S.628b, Szózat und Hymnus (Egressy and Erkel) (1873)
3 f9 a* S7 \$ y( a$ VS.629, Tscherkessenmarsch (Glinka's Ruslan i Lyudmila) (1843)6 u; z- V4 d6 g* ]3 E/ W. l4 \
S.630, Réminiscences de Robert le Diable - Valse infernale (Meyerbeer) (1841-43)
$ e, [( A5 P0 i8 v* a; RS.631, Andante finale und Marsch (Raff's 'König Alfred') (1853)$ [9 h6 d7 R2 R# |6 a
S.632, 4 Marches (Schubert) (1879)# W8 f, d; M2 F9 w: H& m
S.633, A la chapelle Sixtine (Allegri Mozart) (1865)' f* K% o, _+ f! P& X! S" I. I: X
S.634, Grand Septuor Op. 20 (Beethoven) (1841)
) @1 Z- `' |* ?) l% c( c2.6.3 Mozart& A/ X( Y  A$ P, h) j8 U0 J
S.634a, Adagio from Mozart's Die Zauberflöte (1875-81?)  k" U( m( c. c3 i# {$ ^( v
2.7 Two Pianofortes(双钢琴)
6 n& d6 q( }0 c2 P+ z9 x& |. r2.7.1 Liszt5 o- a2 O1 P: Q% _+ Z. V
S.635, Ce qu'on entend sur la montagne (Poème symphonique No. 1) (ca. 1854-57)
* ^# V5 |/ J6 @- M1 ^# b5 X0 z" {, c% mS.636, Tasso, Lamento e Trionfo (Poème symphonique No. 2) (ca. 1857)4 W! b7 T5 v; z: U* E- }
S.637, Les Préludes (Poème symphonique No. 3) (ca. 1854-56): j% e/ |! t( S8 r/ G
S.638, Orpheus (Poème symphonique No. 4) (ca. 1854-56)
: X0 {. t1 r& r( w0 [S.639, Prometheus (Poème symphonique No. 5) (1855-56)
2 Y2 c- O0 a" V+ ]S.640, Mazeppa (Poème symphonique No. 6) (1855)
& K0 }# M% q4 o- N( [# p: fS.641, Festklänge (Poème symphonique No. 7) (ca. 1853-56)9 d: f8 D* U: K
S.642, Héroide Funèbre (Poème symphonique No. 8) (ca. 1854-56)
  Y( N7 A8 j4 D+ |) _: x- FS.643, Hungaria (Poème symphonique No. 9) (ca. 1854-61)
% W' l+ d: j% K" u' z% U2 dS.644, Hamlet (Poème symphonique No. 10) (ca. 1858-61)9 W0 D0 J+ b. H
S.645, Hunnenschlacht (Poème symphonique No. 11) (1857)3 t1 z3 t  \+ Y* B8 O
S.646, Die Ideale (Poème symphonique No. 12) (1857-58)
* g% x2 B3 p! ~9 f3 HS.647, A Faust Symphony, in three character pictures (1856)
/ ~1 P4 l1 F6 O$ Y* n% z* eS.648, A Symphony to Dante's Devina Commedia (ca. 1856-59)
7 y* T. d: |6 P/ I& PS.649, Fantasie über Beethovens Ruinen von Athen (1865)7 }6 u: I3 ~. r6 v' L
S.650, Piano Concerto No. 1 in E flat major (1853)2 c# r: X1 h5 M  ^" e* i
S.651, Piano Concerto No. 2 in A major (1859)
1 j. k7 I2 @' z! f2 F1 N. f+ f4 NS.652, Totentanz. Paraphrase on Dies Irae (1859)) m0 v& S" }2 M& }1 a
S.653, Wandererfantasie (Schubert) (a. 1859)
2 |0 S# b4 j" vS.654, Hexaméron, Morceau de Concert (1837)' T8 Q  b  Q2 A7 ?5 y: C
S.655, Réminiscences de Norma (Bellini) (1841)3 r+ G5 F5 H& w/ D* h1 J4 z
S.656, Réminiscences de Don Juan (Mozart) (1841): `4 d; W7 ^5 ^0 F0 f  n/ p
S.657, Symphony No. 9 (Beethoven) (1851): Z1 C' O5 R7 v
S.657a/1, Piano Concerto No. 3 (Beethoven) (1878)! ]. t/ C7 u$ h# t6 _* w& S! h
S.657a/2, Piano Concerto No. 4 (Beethoven) (1878), C  H+ G: \  X4 P. D- h
S.657a/3, Piano Concerto No. 5 (Beethoven) (1878)
+ b# `: l7 m' B  FS.657b, Bülow-Marsch [2-pianos, 8-hands] (1884)
  R0 _  ]7 C& ~+ k8 S9 A- i6 Y2.8 Organ(管风琴)
8 E  H5 Z/ X3 Y" w9 J  Z2.8.1 Allegri und Mozart
% Q" _) |, n1 VS.658, évocation à la Chapelle Sixtine (1862)
! S. m1 _0 o# ^. `  D( r  H2.8.2 Arcadelt: q# D& E: R; v% {3 L; G- L
S.659, Ave Maria (1862)
- }8 w- D" M3 U/ ~2 L/ W2.8.3 Bach
+ U! n6 D" Z) V, E& f5 \  [- ^9 m
" G/ I5 Y/ e9 Y( S2 RS.660, Einleitung und Fuge aus der Motette Ich hatte viel Bekümmernis und Andante Aus tiefer Not [2 pieces] (1860)
0 {5 g: d8 O' _- s; g  p( [S.661, Adagio from Bach Violin Sonata No. 4 (BWV1017) (1864)
- h; l. n/ ^, G' {; k3 t2.8.4 Chopin
- f" f; e. D- R2 a% F. y- @
0 G, F6 N) Q. F1 [; X8 rS.662, 2 Préludes from Op. 28 (Nos. 4, 9) (1863)
: l7 F# Y) h; c6 d2 g2.8.5 Lassus
( f% \! t% @, _2 K* h# F& n
0 r- a7 E1 Z0 X. t- c9 IS.663, Regina coeli laetare (1865)( b# n* X$ I0 {5 {
2.8.6 Liszt
0 R" j- z+ U  `. l
) X: v, ?& T/ U1 ^7 |S.664, Tu es Petrus from Christus (1867)
* e% s) g# F) I& C! LS.665, San Francesco (1880)2 I$ `7 S6 v/ M7 o1 s1 S$ _3 X5 i
S.666, Excelsior! - Preludio (?): x9 x4 d  g0 L
S.667, Offertorium from the Hungarian Coronation Mass (1867)
0 d* T8 p' m0 o$ iS.668, Slavimo Slavno Slaveni (1863); P  \; u! c0 h7 u7 q$ n
S.669, Zwei Kirchenhymnen [2 pieces] (1877)# W9 f4 M: h; R7 J' C
S.670, Rosario [3 pieces] (1879)
) G6 m1 S9 s: x4 j& b& XS.671, Zum Haus des Herrn (In domum Domini ibimus) (1884)! `: B2 q# ?% h8 K
S.672, Weimars Volkslied (Cornelius) (1865)4 O7 W* @7 A, @/ d0 U* K
S.673, Weinen, Klagen' Variationen (1863)
1 j% E  L9 {7 X3 US.674, Ungarns Gott. A magyarok Istene (Petófi) (1882)
6 B6 L+ d7 J4 S6 v% Z  Y: mS.674a, O sacrum convivium [2 versions] (?)
" n/ X, s) p" }2 `2.8.7 Nicolai2 d; J1 ~- U9 H1 `! c4 e
% u0 N7 H# Q8 l1 P0 E; s
S.675, Kirchliche Festoverture (1852)
/ U, U3 J) ]* C2 y; t8 z2.8.8 Wagner
2 |" Q+ M# f' O, C, \# T' N8 E8 {/ k& n9 _/ v5 U) i
S.676, Pilgerchor from Wagner's Tannhäuser (1860)# O' s8 S' w/ W( k  V
2.9 Organ with Other Instruments(管风琴和其他)  G: F, ]) X! @% u
. T, D+ Z' q! x" F% u
S.677, Hosannah from Cantico del sol di San Francesco d'Assisi (for organ and bass trombone) (1862): e# z" w2 W8 ^. E" {
S.678, Offertorium and Benedictus from the Hungarian Coronation Mass (1869)
, Y. }8 C4 F3 ?. c- AS.679, Aria 'Cujus animam' from Rossini's Stabat Mater (for organ and trombone) (?)
$ }- i  `! h& T2 N% L' W- @( MVocal Arrangements声乐! T' J5 y! ^- M+ @% c6 C
: |3 ~. U* _: {8 T6 S8 Z" d
S.680, Ave maris stella (1868)
3 r  k# J6 v3 ^% i( J681, Ave Maria II (1869)
& P% i$ m( Q; x, L' S! SS.682, Air du Stabat Mater (Rossini) (?) ' p6 n9 \' Y% M* s
S.683, Serbisches Lied (Hohenzollern-Hechtingen, Prince FWC. von) (?)/ Q4 F' b: O0 E. d; Y! h
S.684, Barcarolle vénitienne (Pantaleoni) (?)1 n( t/ @* |# B. Y" G
S.685, Es hat geflammt die ganze Nacht (Grand Duchess Pavlovna) (?)( R/ I8 `# L  P8 o* c
" @5 Z% _* o, v2 E5 M; W
2.10 Recitations. A. G4 i( F- V' z4 C- V
S.686, Helges Treue (Draeseke) (1860)
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 楼主| geci110 发表于 2015-7-22 18:35:55 | 显示全部楼层

( j  l! `, C( X- I
5 p1 ~0 n0 W9 C# d1 F0 ~0 X( E# N: e% V- u( s: n8 G: d* O+ q& k
" z0 x  }5 F0 P- H- K1 p

8 F1 a+ a$ p% e/ }) f1 Y; M/ q& \+ L) H6 z8 S* s+ E6 i* ~

  }- y0 H& |6 w1 N0 D* x, ?
; \7 z: y) E& `; l3 [3. Appendix
5 t& X- b# Q( a6 k
5 l+ r  p5 n3 x3.1 Unfinished Works, H, J5 J; \( o

" q+ _( Z2 o" jS.687, Sardanapale (Byron) [opera, partly sketched, 111 pages] (?)9 R" W8 `  v/ D5 y& G* Y7 c# G3 h9 w4 A
S.688, Oratorio - Die Legende vom heiligen Stanislaus [sacred choral] (1873-85)+ R1 F% ~' @- k7 k1 w* P( B
S.688a, St Stanislaus fragment [solo piano, Library of Congress] (1880-86)
( l5 I, K9 n' {: `S.689, Singe, wem Gesang gegeben [secular choral] (1847)2 I! p; k: o1 o
S.690, Revolutionary Symphony [unfinished, revised 1848] (1830)
+ R+ l! Q! a# }S.691, De Profundis [piano and orchestra, De Profundis - Psaume instrumental] (1834?), Y, Z5 K/ c5 [7 y+ A# p6 e+ c5 m
S.692, Violin Concerto [only sketched] (1860)
1 p$ R+ F8 s' W  ]( i) c+ r  l4 qS.692a, The Four Seasons String quartet (Vivaldi) (1880?)
2 W1 M# K( ?: C/ LS.692b, Anfang einer jugendsonate [solo piano] (1825)
2 N( _3 O  E. G( J$ D& G! NS.692c, Allegro maestoso [solo piano] (1826)" y4 f1 p. h+ d
S.692d, Rákóczi-Marsch [solo piano, first version, simplified, unfinished] (1839)0 h* O% H- e( v8 Z: S
S.692e, Winzerchor (Prometheus) [solo piano] (1850): o2 M1 w+ f: W( Q" z
S.693, Deux marches dans le genre hongrois [solo piano, 2 pieces] (1840?)4 S: J) Y8 a( L) ~* e" v
S.693a, Zwei Stücke aus der heilige Elisabeth [solo piano] (1862); m/ A1 H. I1 O% M2 N! ~8 @: v2 I! s
S.694, Fantasie über englische Themen [solo piano] (1840?)6 H2 O3 y) X& i, \# J$ S
S.695, Morceau en fa majeur [solo piano] (1843?). y4 P: M$ ^" c, I* I
S.695a, Litanie de Marie [solo piano] (1847)
# y) a, Y5 T$ A. V* TS.695b, Zigeuner-Epos [solo piano, 11 pieces] (ca. 1848)8 m( D2 f4 k& a3 N6 X! L
S.696, Mephisto Waltz No.4 (1884) 第四梅菲斯特圆舞曲
, j; g) J& a% E% r1 a8 N+ bS.697, Fantasie über Themen aus Figaro und Don Giovanni (Mozart) [solo piano arrangement] (1842)
3 }  b' I, r2 F: Q( HS.698, La Mandragore - Ballade de l'opéra Jean de Nivelle de L. Delibes [solo piano arrangement] (a. 1880)
% h; L5 b; V2 X- o& QS.699, La Notte (Odes Funèbre no. 2) [solo piano arrangement] (1864-66)
" l& \# G4 e: J, }% NS.700, Grand Fantaisie (Variations) sur des thèmes de Paganini [first/second version; completed by Mezö] (1845)
3 Q) f2 H' |0 b. B1 SS.700a, Variations sur Le Carnaval de Venise (Paganini) [solo piano arrangement] (?)
: P5 G- d) |6 z0 ^: j, ~- c* fS.701, Den Felsengipfel stieg ich einst hinan [song] (?)
1 x/ _0 Z# v/ h) pS.701a, Allegro di bravura [orchestra, arrangement] (ca. 1830), h0 |* A- N0 j% \( M0 N6 `
S.701b, Marie-Poème [solo piano] (1837)% a, {; R9 B4 |! h% k& Z1 Z& N
S.701c, Andante sensibilissimo [solo piano] (1880-86)$ `4 h& N' T6 ]! j. m
S.701d, Melodie in Dorische Tonart [solo piano] (1860)
  P. Q* D; K5 i9 OS.701e, Dante fragment [solo piano] (1839)/ b' c# A; ?& x, M$ N- P& \8 R: {
S.701f, Glasgow fragment [solo piano] (?)' A! N2 F% e! l+ t2 K
S.701g, Polnisch - sketch [solo piano] (1870-79)
0 B4 V2 A+ [8 b- `6 rS.701h/1, Operatic aria - and sketched variation [solo piano] (?)
3 W* X3 ^) a1 z( x9 ~; p* ^S.701h/2, Valse infernale (Meyerbeer) - theme [solo piano arrangement] (?)% P* N2 [( [( U
S.701j, Harmonie nach Rossini's Carità (La charité) [solo piano arrangement] (1847)
% q; c$ D2 c2 ~0 lS.701k, Korrekturblatt (to an earlier version of La lugubre gondola) [solo piano] (1882)
3 b  m0 w3 {2 n& t* m. J' K3.2 Doubtful or Lost+ h& y5 W, }9 J

2 r% ?- S) V6 [! y. m3.2.1 Sacred Choral Works& S6 Q3 }; Q5 G7 x/ l  G
) g( F1 A5 z: n1 j4 g
S.702, Tantum Ergo (1822)- Q) q1 w5 {3 m& |+ _2 u  c
S.703, Psalm 2 (1851)4 N) Q& `) C. l5 W$ V7 s) _$ n
S.704, Requiem on the death of Emperor Maximilian of Mexico (?): Z4 t3 Z& K  Y' q. r! Q
S.705, The Creation (?), e6 g0 F* q' l
S.706, Benedictus [doubtful] (?)6 \1 E' \' _; B0 F
S.707, Excelsior [arrangement, doubtful] (?)/ d! @5 i/ e! Q# Z4 E" i9 I' ]
3.2.2 Secular Choral Works
/ y. y6 m9 @0 U/ i5 K
+ P2 ]9 a- a; L2 }( p/ OS.708, Rinaldo [doubtful] (ca. 1848)/ c( f" o+ u5 R: d6 s; k& j% i
3.2.3 Orchestral Works
/ b7 S2 s) s% ?) H+ A7 y+ G
7 z4 V6 Y. @( F1 ?# A, ]& cS.709, Salve Polonia [rediscovered, renumbered as S113] (1863); k! D- g( L# y5 d
S.710, Funeral March (?)
0 K# D, i* g* Z: P4 L; j" E2 HS.711, Csárdás macabre [arrangement] (?)
  [& Q  o; F' S- \S.712, Romance oubliée [arrangement] (?)
) I+ h4 Q1 j. X7 _0 L3.2.4 Piano and Orchestra9 Q1 c" K3 }0 M. {6 `+ w

6 v- t( Z; J( h# h" v' ]S.713/1, Piano Concerto in A minor (1825?). J; v/ w- {; I. w1 w- t  y7 N
S.713/2, Piano Concerto (1825?)) w5 F: S$ O5 e
S.714, Piano Concerto in the Hungarian style [by Sophie Menter, renumbered as S126a] (1885)
* P8 T1 @. E3 {2 `+ g3 H0 f2 ES.715, Piano Concerto in the Italian style (?)8 K0 L$ W! c7 [+ n# i
S.716, Grande fantaisie symphonique [orchestral] (?)
7 B" F3 {5 c, n1 p3 P3.2.5 Chamber Music
/ T8 A9 p* L" S. S
! i  _! W, O* J2 l! nS.717, Trio (1825), J+ [% V- X+ X) @' ?( f0 z& m
S.718, Quintet (1825)
7 T: H/ E" Y  J6 cS.719, The Four Seasons String Quartet (Vivaldi) [rediscovered, renumbered as S692a]3 J$ s1 g7 }+ e
S.720, Allegro moderato (?)
2 {4 F# W0 y* I# l: PS.721, Prelude (?)
2 ~8 @7 D( y1 I% w1 {S.722, La notte (Odes funèbre no.2) [rediscovered, renumbered as S377a] (1864-66)
6 X' U" O" H8 h) BS.723, Tristia [arrangement, from Vallée d'Obermann S160/6] (1880-86 ?)( x+ J' Q: V+ S; H2 v
S.723a, Postlude on theme from Orpheus [arrangement] (?)
+ s: b3 l4 k# j3.2.6 Pianoforte Solo0 `: z6 a- H, J/ E2 ?/ s7 {* K
7 d5 S5 C" c2 `1 l% o; @- e
S.724, Rondo and Fantasy (1824)4 t9 J, R* r9 Q' C  F
S.725, 3 Sonatas (1825)! Q0 h% c/ _' z) e3 _% S
S.726, Study (?)
2 e$ j4 W3 A+ YS.726a, Valse (?); a  o7 B2 ^' D! V7 i
李斯特全部作品目录-5
2 f/ @/ `" V, A- P' H2 p6 V9 y* Y1 v! L! C+ R
S.727, Prélude omnitonique (?)
! T2 L- E& c  w9 a. ^S.728, Sospiri (Fünf Klavierstücke) [rediscovered, renumbered as S192/5] (1879)
- e2 C. v- z, QS.729, [rediscovered, renumbered as 42(?)]6 U; }9 w2 E1 M) ?4 d
S.730, Dem Andenken Petöfis (Petófi Szellemének) [rediscovered, renumbered as S195] (1877)+ y: {/ }* g1 Z& M4 a5 Y9 v+ ^
S.731, Valse élégiaque (?)
% q" [; O3 c5 W& ?* r4 F( oS.732, Valse Oubliée No.4 [rediscovered, renumbered as S215/4] (1883-84)
7 O! p0 @" {; C# p' rS.733, Marche hongroise (in E flat minor) [rediscovered, renumbered as S233b] (1844)- z! t0 v2 p) |. }. m% \8 v
S.734, Ländler (?)
1 I+ q* Y- T% y( l+ ?% H1 y* V3 Y6 dS.735, Air cosaque (?)' |! x" R6 l4 f/ r' g4 L+ _
S.736, Kerepsi csárdás (?)
, s, z; p  S, t9 |4 {3 w; ~S.737, 3 morceaux en style de danse ancien hongrois (?)
2 a9 R- a9 z& |3 C( XS.738, Spanish folksong arrangement (?)3 n4 j8 {8 ~4 e8 {) ~
3.2.6.1 Arrangements
9 t( y0 B9 a4 e9 v* X" P! C' x
$ b4 Z8 @/ G) f+ PS.739, Corolian Overture (Beethoven) (?). }3 }! A) D. R( Y
S.740, Egmont Overture (Beethoven) (?)
3 a$ ?" t$ j& m& T9 RS.741, Le carnaval romain - Overture (Berlioz) (?)$ o5 Z9 G: c) _& a+ i, Z& ~
S.742, Duettino (Donizetti) (?)5 p, q0 l, F3 }  u
S.743, Soldiers Chorus from Guonod's Faust (?)5 s( S( M& R) F* L3 }8 ?/ ]
S.743a, Fantasia on themes from Halévy's Guitarero (b. 1841)
0 K, _) W- H8 m/ J. N! J4 O$ I' }" |S.744, Paraphrase on Act 4 of Kullak's Dom Sebastien (?)
* H& R: {7 |  A6 oS.745, Funeral March (?)6 C2 p. Z, @) L' g2 R$ |
S.746, Andante Maestoso (?)( s% {$ v7 T" u1 d; _2 f+ l
S.747, Poco adagio (from Missa Solemnis) (?)
" f; F3 c% x9 m5 K8 t9 jS.748, Overture to Mozarts "Die Zauberflöte" (?)1 c& C" c6 p) R6 C/ ?
S.749, Preussischer Armeemarsch (Radovsky) (?)0 R( T+ P; T$ n3 P/ {: f
S.750, Siege de Corynthe, Introduction (?), L1 z6 z1 P+ I. ^% X4 n
S.751, Nonetto e Mose, Fantasia on themes by Rossini (?)
# M# s0 b1 p9 z- v- i5 v5 SS.752, Gelb rollt (Rubinstein) (?)
2 @/ g4 d; A& X) p3 AS.753, Alfonso und Estrella, Act 1 (Schubert) (?)
8 }: Z. v0 p: o, xS.754, Seconda mazurka variata (Tirindelli) [rediscovered, renumbered as S573a] (1880)5 j( _4 U% V5 p# P1 j
3.2.7 Pianoforte Duet2 `0 V/ r' D5 S

: F/ @$ L/ r7 z1 h2 zS.755, Sonata (?)8 y  `8 |7 o; {$ s* w
3.2.8 Two Pianofortes) B: m5 N1 R! Q) F; e" Q

, _9 p5 z+ J7 Y+ y2 C% kS.756, Mosonyis Grabgeleit (?): a' n+ d! D7 \- W" m
S.757, La triomphe funébre du Tasse (?)7 v" k0 F' y% _9 E# O  ]
3.2.9 Organ3 f9 ~: j6 @# T$ d9 Y% J: x# `
. j- e, C& ~9 |0 ]" [" q: H% o; A; y
S.758, The Organ (Herder) (?)( @; `2 o4 \% R1 O3 [) C. B
S.759, Consolation [arrangement] (?)
+ I2 U) u6 e/ ^- ?" F+ M0 uS.760, Cantico del sol di St. Francesco [arrangement] (?)
2 [$ {" x  N0 w7 \S.761, Marche funèbre (Chopin) [arrangement] (?)
5 R) b* Y4 V! o3.2.10 Songs, n% k7 b* m% ]9 y5 S
, E% J" c4 W( H; j& V1 Z! M. [7 Z/ X" ^
S.762, Air de Chateaubriand (?)
0 w- v2 r/ s( p: Y  _  Q* r  A  gS.763, Strophes de Herlossohn (?)" j  t3 v+ A" g: m, m! R5 S8 F" v
S.764, Kränze pour chant (?)
. S9 ?# N+ l- f& T0 ?S.765, Glöcken (Müller) (?)( i4 z8 I4 F* A0 ]) t$ b2 G
S.765a, L'aube naît (Hugo) (1842?)# T" x) u$ L7 |" O! _8 d9 v
S.766, Der Papsthymnus (?)/ O& y1 N) I) o" C3 Y
S.767, Excelsior (?)
1 Z9 J' \: W% Y) [$ K3.2.11 Recitations
( t( N, O8 a3 q' u7 R3 z. H/ A( E3 ?/ R0 R- Q2 D* x, r
S.768, Der ewige jude (Schubart) (?)! Z3 I" U! ?. |& [( k* x/ B# K
3.3 Supplement/ {) [! w7 U# G5 M
/ x* u1 ^, H, r$ ]% x/ `$ L. @
S.990, Fantasy and Fugue on the chorale "Ad nos, ad salutarem undam" (played by Liszt to Walter Bache) [solo piano, arrangement] (b. 1862)+ R! K$ P+ ?4 Y" a' r
S.991, Waltz in A major [chamber, arrangement] (?)
# d, Y" G! V& {8 pS.993, Wartburg Lieder (Scheffel) [orchestral, arrangement] (?)
' F6 ~( ^2 @5 xS.994, Grand solo caractéristique à propos d'une chansonette de Panseron [solo piano, arrangement] (1830-32)8 {$ p0 C! z9 R
S.995, Variations de bravoure sur des thémes de Paganini [unfinished] (1845)
. V% C" i) X2 I. CS.996, Stabat Mater [solo piano] (1870-79 ?)8 M( t6 X& X$ s$ y
S.997, 5 Variationen über Romanze aus 'Joseph' (Méhul) (by Franz Xaver Mozart, attributed to Liszt) (ca. 1834)! G6 n5 H8 X# v/ H0 ~8 `) D
S.998, Adagio in C [solo piano] (1841)
! _: F* d/ r8 Q; ZS.999, Andante Maestoso [organ] (?)
8 E* v2 a- q5 t3 O8 @. ^( [降E大调钢琴协奏曲(遗作)Piano Concerto in E flat Major Op.posth
& I# h& m- C* F2首悲歌 2 Elegies
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