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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》。
+ J8 L) p  \3 P& X; J李斯特全部作品目录-1! E# W: U; ~. |2 |/ \
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1.1 Opera(歌剧)5 a4 M5 M! d0 j, T% F7 @7 q

' D0 `% }  U# q4 u; G: f- }S.1, Don Sanche, ou Le chateau de l'amour (1824–25) 歌剧《唐切桑》
& E0 ]# I* K; o2 ~# H1.2 Sacred Choral Works(神圣的合唱作品)
0 _' n" Q3 [% E6 v: w$ R& q
) A1 a9 x  N. YS.2, The Legend of St. Elisabeth (1857–62) 清唱剧《圣伊丽莎白传奇》
4 o# X$ c# n9 tS.3, Christus (1855–67) 清唱剧《基督》* ~! Y* |4 i" T/ C& \, L" V0 z9 ]4 \
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》
. u/ f& k% G& O! _1 i7 yS.5, Die heilige Cäcilia (1874)
' ?7 o: o5 w- ?S.6, Die Glocken des Strassburger Münsters (Longfellow) (1874)
2 h" ]/ Z# m: O7 N1 e( a  J; @S.7, Cantantibus organis (1879)
6 k2 l% i5 X5 }" ~. \, {+ [( u' CS.8, Missa quattuor vocum ad aequales concinente organo [first/second version] (1848, 1869)
0 f4 S* b/ e/ i, |. YS.9, Missa solennis zur Einweihung der Basilika in Gran (Gran Mass) [first/second version] (1855, 1857–58)( W, V& |  k/ Q2 s9 l
S.10, Missa choralis, organo concinente (1865)
) R! R0 Q. T. K5 l( a. W- qS.11, Hungarian Coronation Mass (1866–67)7 `0 C3 w2 d7 t8 Y
S.12, Requiem (1867–68)* U3 z. @0 C0 y) `7 V0 f
S.13, Psalm 13 (Herr, wie lange ?) [first/second/third verion] (1855, 1858, 1862): O. c/ ?9 A; t8 f& M4 O3 m
S.14, Psalm 18 (Coeli enarrant) (1860)8 o' j8 P& ?/ i. U) 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)
3 e3 E7 T' q) p) F) z4 kS.15a, Psalm 116 (Laudate Dominum) (1869): k  R. ^: z7 ]" j, M
S.16, Psalm 129 (De profundis) (1880–83)
; M% U! \3 B) n4 T9 ZS.17, Psalm 137 (By the Rivers of Babylon) [first/second version] (1859–62)
, W3 l+ f# A$ TS.18, Five choruses with French texts [5 choruses] (1840–49)6 w5 V" z' e- a& [0 J
S.19, Hymne de l'enfant à son réveil (Lamartine) [first/second version] (1847, 1862)& M' `3 S7 H% L
S.20, Ave Maria I [first/second version] (1846, 1852)# J0 x' v! q$ e" Q8 H2 J/ l
S.21, Pater noster II [first/second version] (1846, 1848)3 a0 M! {4 x; y$ I8 V1 C
S.22, Pater noster IV (1850)
. H+ Z( f- p, C5 k* P* Q8 CS.23, Domine salvum fac regem (1853)
& m$ e0 ~% N3 R+ ^& r6 x1 WS.24, Te Deum II (1853?)9 ~# W, I4 J; R' k# d* n5 u# Y
S.25, Beati pauperes spiritu (Die Seligkeiten) (1853)
7 u3 J$ c) z, ?+ _# AS.26, Festgesang zur Eröffnung der zehnten allgemeinen deutschen Lehrerversammlung (1858)  S, r6 D) W  x' i3 e$ J
S.27, Te Deum I (1867)
8 a0 C) o6 t$ R" A6 ?# h9 US.28, An den heiligen Franziskus von Paula (b. 1860)( |- {1 n9 B3 G* j
S.29, Pater noster I (b. 1860)
, f9 p9 ~2 C, c. IS.30, Responsorien und Antiphonen [5 sets] (1860)8 t/ y1 \! h& `* a' Y! e7 n( {
S.31, Christus ist geboren I [first/second version] (1863?)5 I5 u) u% O- D( r
S.32, Christus ist geboren II [first/second version] (1863?), S; E- R0 X9 Y* ]  [
S.33, Slavimo Slavno Slaveni! [first/second version] (1863, 1866)" t9 e% r8 b, j3 ~$ q
S.34, Ave maris stella [first/second version] (1865–66, 1868)
. \; @" _8 R3 f5 H5 Q3 _+ FS.35, Crux! (Guichon de Grandpont) (1865)
5 O% j! d9 ?* Y( f, h0 BS.36, Dall' alma Roma (1866)+ a2 k2 N6 r- Z) I# e
S.37, Mihi autem adhaerere (from Psalm 73) (1868)/ U0 O: k( G- X/ }* z, K( K# W
S.38, Ave Maria II (1869)
' c5 Z  }& j; U5 O3 K8 gS.39, Inno a Maria Vergine (1869). A% K/ u5 ~# |( u' J, \, e
S.40, O salutaris hostia I (1869?)4 j4 o  m5 t0 W% u" h
S.41, Pater noster III [first/second version] (1869)9 d+ _6 {) b8 q  Z: B
S.42, Tantum ergo [first/second version] (1869)
0 H7 a$ Y1 X, |8 X) Q4 L+ NS.43, O salutaris hostia II (1870?)
# W5 n( v+ u) z: w8 c. `+ k' cS.44, Ave verum corpus (1871). @5 e1 n$ r) C7 p9 e
S.45, Libera me (1871)
4 j- A, E6 ^& b" C  d' q$ F. xS.46, Anima Christi sanctifica me [first/second version] (1874, ca. 1874)
- D$ v- D: M- g% I5 B( Q& HS.47, St Christopher. Legend (1881)
8 z# J2 S/ O0 L3 YS.48, Der Herr bewahret die Seelen seiner Heiligen (1875)7 R; r$ |$ W; i! @5 c' X. q
S.49, Weihnachtslied (O heilige Nacht) (a. 1876)
) S$ u% }: |; [: G  `) G. ES.50, 12 Alte deutsche geistliche Weisen (Chorales) [12 chorals] (ca. 1878-79)$ o! p+ j& ^9 E' E
S.51, Gott sei uns gnädig und barmherzig (1878)
) J  P* z% o: z& d$ XS.52, Septem Sacramenta. Responsoria com organo vel harmonio concinente (1878)! t) K, J0 r: n1 a% @7 y
S.53, Via Crucis (1878–79)
* }. F- e$ u2 ]+ |! eS.54, O Roma nobilis (1879)3 t% ~, H/ {9 W1 p+ H3 Q* r! V
S.55, Ossa arida (1879)
. Z; T, f3 d: |S.56, Rosario [4 chorals] (1879)' r$ C6 Q: B) K4 T' _
S.57, In domum Domino imibus (1884?)# L/ v" U4 }8 [5 x$ S' W
S.58, O sacrum convivium (1884?)
+ H* w" [  J5 y+ X' P8 _S.59, Pro Papa (ca. 1880)
) m9 N; e% Q) m' V9 R0 LS.60, Zur Trauung. Geistliche Vermählungsmusik (Ave Maria III) (1883)) P: d2 O, Z& b; E  a% G
S.61, Nun danket alle Gott (1883)
. y- ^" u2 S' sS.62, Mariengarten (b. 1884)+ b/ T7 W0 ?) ]8 q3 p
S.63, Qui seminant in lacrimis (1884)! l; q) E  ~8 z) B' I8 K' B- T  s
S.64, Pax vobiscum! (1885)
( e4 d; ]% l4 m0 n* FS.65, Qui Mariam absolvisti (1885)4 ?& |5 j2 X* x$ k9 {  n! _
S.66, Salve Regina (1885)7 Y/ e1 W0 E0 Q0 b' y/ b
1.3 Secular Choral Works(世俗的合唱作品)
: w- t$ ^5 o  FS.67, Beethoven Cantata No. 1: Festkantate zur Enthüllung (1845)
$ j9 f( m+ B9 y' |5 E1 f' sS.68, Beethoven Cantata No. 2: Zur Säkularfeier Beethovens (1869–70)
! S. C2 e: C/ GS.69, Chöre zu Herders Entfesseltem Prometheus (1850)1 j5 x7 r) `1 H9 S
S.70, An die Künstler (Schiller) [first/second/third verion] (1853, 1853, 1856)
# i4 M+ e' p4 }3 }; qS.71, Gaudeamus igitur. Humoreske (1869)
: W6 h! a) p, X: A! S* `* yS.72, Vierstimmige Männergesänge [4 chorals] (for Mozart-Stiftung) (1841)" a& M' K7 c! h9 M
S.73, Es war einmal ein König (1845)
( ~( l% i+ a" {/ o7 n1 MS.74, Das deutsche Vaterland (1839)6 K5 K2 H" \" H  X5 ?! c
S.75, über allen Gipfeln ist Ruh (Goethe) [first/second version] (1842, 1849)
# `. l1 }2 b2 O+ t( U  X6 a. uS.76, Das düstre Meer umrauscht mich (1842)# _% U: w+ a; b* W( E2 f  x
S.77, Die lustige Legion (A. Buchheim) (1846)
1 r! d0 M; G9 ^* Z. YS.78, Trinkspruch (1843)- b5 I0 t+ b5 f5 ?. A
S.79, Titan (Schobert) (1842–47). Q5 y& a0 n& W. p2 @( j
S.80, Les quatre éléments (Autran) (1845)
! e2 C+ A" j, I' q% @& y: HS.81, Le forgeron (de Lamennais) (1845)4 @- A% J9 R9 [& O1 {$ X
S.82, Arbeiterchor (de Lamennais?) (1848)
  P0 r5 U6 r" J7 ]5 Y% I7 ^4 J/ V1 g9 zS.83, Ungaria-Kantate (Hungaria 1848 Cantata) (1848)
: x* ?; g) ?  ^4 fS.84, Licht, mehr Licht (1849)# ^- n6 y8 V. D& M; z& m  @
S.85, Chorus of Angels from Goethe's Faust (1849)0 b* q1 \% C9 y+ Q! e
S.86, Festchor zur Enthüllung des Herder-Dankmals in Weimar (A. Schöll) (1850)7 J3 Y0 w. h( {4 Y
S.87, Weimars Volkslied (Cornelius) [6 versions] (1857)
/ [0 u8 W. k; M( y, _S.88, Morgenlied (Hoffmann von Fallersleben) (1859)
5 D5 u- [/ M. Z1 d6 t0 SS.89, Mit klingendem Spiel (1859–62 ?)) ]3 Y8 M* f# f. L, S/ i3 a4 \2 [
S.90, Für Männergesang [12 chorals] (1842–60)
7 y" p  d3 ~& H( I* l5 `( h; RS.91, Das Lied der Begeisterung. A lelkesedes dala (1871)3 V6 r4 z: z  P# }1 H% i8 l
S.92, Carl August weilt mit uns. Festgesang zur Enthüllung des Carl-August-Denkmals in Weimar am 3 September 1875 (1875)) Y& P7 k9 I) k$ i+ m: H
S.93, Ungarisches Königslied. Magyar Király-dal (ábrányi) [6 version] (1883)' }$ `/ p7 Z  G  E$ G
S.94, Gruss (1885?)
4 S8 s8 g5 Y, U' F/ [1.4 Orchestral Works(管弦乐作品)
( ~% w" ^! l9 {; l0 Y8 q5 G$ z) s7 K& L; r8 a) f7 e: q  e# |% r, |
1.4.1 Symphonic Poems(交响诗)7 `0 `- o4 T; h$ q9 E

1 n5 r) ~6 S- R7 ~9 }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
, P& U+ Z) B, y' z. jS.96, Poème symphonique No. 2, Tasso, Lamento e Trionfo [first/second/third version] (1849, 1850–51, 1854) 《塔索,哀叹与胜利》* r( I, @" m0 a8 @
S.97, Poème symphonique No. 3, Les Préludes (1848) 第三交响诗“前奏曲”8 N0 @) p: O  \
S.98, Poème symphonique No. 4, Orpheus (1853–54) 第四交响诗 《奥菲欧》, X) X* `& D3 i4 \1 O/ |# s( u
S.99, Poème symphonique No. 5, Prometheus [first/second version] (1850, 1855) 第五交响诗《普罗米修斯》+ c5 y' a2 n6 ^' p) c4 K
S.100, Poème symphonique No. 6, Mazeppa [first/second version] (1851, b. 1854) 第六交响诗《马捷帕》9 e4 I/ D  x. J
S.101, Poème symphonique No. 7, Festklänge [revisions added to 1863 pub] (1853) 第七交响诗《节日之声》
& U+ S6 S" s; }  CS.102, Poème symphonique No. 8, Héroïde funèbre [first/second version] (1849–50, 1854)  第八交响诗《英雄的葬礼》! ^% J9 ~. o% d; \" t: ~
S.103, Poème symphonique No. 9, Hungaria (1854) 第九交响诗《匈牙利》
: U' F- J1 Z+ l. ?! \3 fS.104, Poème symphonique No. 10, Hamlet (1858) 第十交响《哈姆雷特》9 K1 D6 ?. A& K! R( n0 Y
S.105, Poème symphonique No. 11, Hunnenschlacht (1856–57) 第十一交响诗《匈奴之战》* K# U4 ?* P& ^$ o
S.106, Poème symphonique No. 12, Die Ideale (1857) 第十二交响诗《理想》
: n  B7 W; x9 A. M& [- |( c) c' xS.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》
3 Q3 L8 Z& }- F6 o3 ?1.4.2 Other Orchestral Works(其他管弦乐作品)
& I- [3 x4 A& x3 c- m
- k  H' M: s8 V' i5 y3 sS.108, Eine Faust-Symphonie [first/second version] (1854, 1861)9 B8 B. s1 E& i3 a4 s$ o% [
S.109, Eine Symphonie zu Dante's Divina Commedia (1855–56)
2 d0 ^( I: b8 {+ `+ M- vS.110, Deux épisodes d'apres le Faust de Lenau [2 pieces] (1859–61)( B9 B2 x! L, L
S.111, Zweite Mephisto Waltz (1881)2 y+ `: e2 m& n7 x4 ^4 s; C
S.112, Trois Odes Funèbres [3 pieces] (1860–66)
2 r4 S+ ?# `3 z& l# o% mS.113, Salve Polonia (1863)
# z) f% j1 m+ C9 ?# Q: ]8 x3 H# e+ DS.114, Künstlerfestzug zur Schillerfeier (1857): @, i2 O9 w  ^) q. q% }1 L# _
S.115, Festmarsch zur Goethejubiläumsfeier [first/second version] (1849, 1857)
. k; `, m, P# H. K% c/ E3 n8 |- SS.116, Festmarsch nach Motiven von E.H.z.S.-C.-G. (1857)* M6 N- B  V7 h/ x
S.117, Rákóczy March (1865)
' i* ^& ^. I7 o9 F8 ?S.118, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (am 8 Juni 1867) (1870)
& o0 G. S! K$ o: o8 Z; P1 B! H7 j3 mS.119, Ungarischer Sturmmarsch (1875)
; w( `, I, I- i) }. b1.5 Piano and Orchestra(钢琴与乐队)
9 N3 t7 E0 t% k/ g, |$ R! I4 u/ k8 P2 U+ B

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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)# y( b( J0 ]! M/ R" N' B" J
S.121, Malédiction (with string orchestra) (1833)  诅咒  钢琴与弦乐队; z9 K! Y$ |2 z- z6 b' `
S.122, Fantasie über Beethovens Ruinen von Athen [first/second version] (1837?, 1849)
3 b; [2 I, H% Z. j5 t0 w$ N& RS.123, Fantasie über ungarische Volksmelodien (1852) 匈牙利民歌主题幻想曲 为钢琴与乐队而作
# p" g0 P" u+ x* a) ~" P* D6 ^, ]S.124, Piano Concerto No. 1 in E flat [first/second version] (1849, 1856) 降E大调第一钢琴协奏曲
" R- L1 {$ N" M* J& lS.125, Piano Concerto No. 2 in A major [first/second version] (1839, 1849) A大调第二钢琴协奏曲0 ~/ Z+ P  I  l' `$ i
S.125a, Piano Concerto No. 3 in E flat (1836–39)
9 B3 `/ p) k$ O3 D' y( F- IS.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" S1 |$ b1 ~" j# s+ h
S.126a, Piano Concerto "In the Hungarian Style" [probably by Sophie Menter] (1885)9 g7 {6 s& T' e
1.6 Chamber Music(室内乐等)) U9 p( `, \0 f$ _# N) t1 }+ u

3 D; F0 L& q" `/ U7 h% \# n) ~/ AS.126b, Zwei Waltzer [2 pieces] (1832)2 _# u7 ?" A9 M5 k3 Y' T- Y% n# A

! Q, C$ l5 f7 M% g  w" QS.127, Duo (Sonata) - Sur des thèmes polonais (1832-35 ?)
% h& x( q0 H' n6 @+ `S.128, Grand duo concertant sur la romance de M.Lafont Le Marin [first/second version] (ca. 1835-37, 1849)
% A5 k% i; O6 g; y7 V9 G' hS.129, Epithalam zu Eduard. Reményis Vermählungsfeier (1872)
1 T" V. t8 ]3 r& L3 B: gS.130, élégie No. 1 [first/second/third version] (1874)/ S2 |/ y; K& ~% K) J: g
S.131, élégie No. 2 (1877)
$ ^1 t0 R5 b/ R# I8 m2 {; n! L4 b  iS.132, Romance oubliée (1880). F' v. M2 ~+ f) D
S.133, Die Wiege (1881?)$ Q0 M5 [1 j$ U# J
S.134, La lugubre gondola [first/second version] (1883?, 1885?)
% L  f4 |1 ?. A1 F3 u0 h9 KS.135, Am Grabe Richard Wagners (1883)
* S& j" o: c- H1.7 Piano Solo
& N, t: _; o) R' e# W) u) j6 U4 C5 V2 T& M" h4 r
1.7.1 Studies(钢琴练习曲), l# y' o& B, W  f- k% [7 M
: b0 l* K! {' l- N; \
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
8 d5 z6 }1 D$ U: M0 v3 |8 r' }S.137, Douze grandes études [second version, 12 pieces] (1837) 《12首超技练习曲》
* {! x0 k# f% F9 ~) RS.138, Mazeppa [intermediate version of S137/4] (1840) 练习曲“玛捷帕”
+ t9 M: [1 s% B4 \5 OS.139, Douze études d'exécution transcendante [final version, 12 pieces] (1852) 12首超技练习曲) H( B- P* _! p9 b' a
S.140, études d'exécution transcendante d'après Paganini [first version, 6 pieces] (1838) 帕格尼尼超技练习曲
/ K0 B& x( m9 j: u$ XS.141, Grandes études de Paganini [second version, 6 pieces] (1851)  6首帕格尼尼大练习曲
0 J' k0 S; ~: y3 N- @S.142, Morceau de salon, étude de perfectionnement [Ab Irato, first version] (1840) 高级练习曲“沙龙小品”
1 v% K  u2 d  @. I2 fS.143, Ab Irato, étude de perfectionnement [second version] (1852) 高级练习曲“愤怒”
% d. L+ a9 A' n% c7 r5 d# t% r# P- MS.144, Trois études de concert [3 pieces] (1848?)  3首音乐会练习曲" x, W7 E, _% o
1.    Il lamento; ?6 i0 {9 x# y2 o, o+ r
2.    La leggierezza
/ V0 [, ~5 o8 T  `5 X+ p, A3.    Un sospiro
6 c( C& v& T3 z$ e) w9 ]S.145, Zwei Konzertetüden [2 pieces] (1862–63)  2首音乐会练习曲. S' p/ D8 f9 t! }  Z) D3 D
1.    Waldesrauschen9 p3 h7 p" o" }: Y+ w) z
2.    Gnomenreigen
1 ?% H' Y- j  ~. o, `: V) ES.146, Technische Studien [68 studies] (ca. 1868-80)  钢琴技巧练习
+ ~  w$ }2 y- k1.7.2 Various Original Works(各种原创作品)
- S8 A7 {8 d/ A$ [( X' \4 m( p$ G8 P( D4 f( O" F5 H( b1 C. n
S.147, Variation on a Waltz by Diabelli (1822)  狄亚贝利圆舞曲主题变奏曲
0 x! ^  n. p1 y. ?8 l& q3 uS.148, Huit variations (1824?) 降A大调原创主题变奏曲
" ^  O# u! P8 E4 G! a9 m$ V7 m# tS.149, Sept variations brillantes dur un thème de G. Rossini (1824?)7 C& K: d5 K* u* U
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
- |4 Q. l% h9 K$ }/ ]/ U; M/ NS.151, Allegro di bravura (1824) 华丽的快板
) ~( G) i" L* y; hS.152, Rondo di bravura (1824) 华丽回旋曲- E5 e) G; g9 o
S.152a, Klavierstück (?); p/ O7 e. [9 T: _6 c( a$ [
S.153, Scherzo in G minor (1827) g小调谐谑曲, n1 @& t, a0 o
S.153a, Marche funèbre (1827)% u" M# g# k+ t/ i" D
S.153b, Grand solo caractèristique d'apropos une chansonette de Panseron [private collection, score inaccessible] (1830–32) [1]
, |' @# g" ^+ D; s# [% }  s4 w+ MS.154, Harmonies poétiques et religieuses [Pensée des morts, first version] (1833, 1835) 宗教诗情曲
8 q% w" m( g# X! e5 Z4 v/ U0 pS.155, Apparitions [3 pieces] (1834) 显现 三首钢琴小品2 {* p" i1 u% O
S.156, Album d'un voyageur [3 sets; 7, 9, 3 pieces] (1835–38) 旅行者札记4 `' I, `: L9 o, r. L2 T+ H, L
S.156a, Trois morceaux suisses [3 pieces] (1835–36)
) u# K6 p# Q- k) s  f, i. N7 ?S.157, Fantaisie romantique sur deux mélodies suisses (1836) 浪漫幻想曲
& H% U3 P4 M! O' c% ~, \# r/ FS.157a, Sposalizio (1838–39)
4 s$ K/ _% u  qS.157b, Il penseroso [first version] (1839)9 b: O( t, B+ g/ W
S.157c, Canzonetta del Salvator Rosa [first version] (1849): A5 ^0 H" j  R
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
  j" [0 p) q( hS.158a, Paralipomènes à la Divina Commedia [Dante Sonata original 2 movement version] (1844–45)
  K; C+ B' P. [; rS.158b, Prologomènes à la Divina Commedia [Dante Sonata second version] (1844–45): M7 `: q0 c2 w: J! b( Q
S.158c, Adagio in C major (Dante Sonata albumleaf) (1844–45)
. L! F' K8 Q$ ^4 i) E5 pS.159, Venezia e Napoli [first version, 4 pieces] (1840?)  威尼斯和拿波里
( P: U! y  B7 ?: B; J, w, k7 gS.160, Années de pèlerinage. Première année; Suisse [9 pieces] (1848–55)  旅行岁月(第一集)- 瑞士游记$ V- z6 X; s0 e) m5 a0 q/ {
S.161, Années de pèlerinage. Deuxième année; Italie [7 pieces] (1839–49) 旅行岁月(第二集)- 意大利游记( a2 f& V' R, g0 `/ |' ?3 |
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7 V! V& F5 q1 l7 \1 v( [
S.162a, Den Schutz-Engeln (Angelus! Prière à l'ange gardien) [4 drafts] (1877–82)
; }- K, l, t5 g8 N" IS.162b, Den Cypressen der Villa d'Este - Thrénodie II [first draft] (1882)0 g; i  U5 ^* a5 f4 U5 z5 }, e
S.162c, Sunt lacrymae rerum [first version] (1872): N- Z6 X  w: c# X- @( F
S.162d, Sunt lacrymae rerum [intermediate version] (1877)2 i% D3 P2 D  y0 b' ]
S.162e, En mémoire de Maximilian I [Marche funèbre first version] (1867). Y% k# o1 @( j* b. H. G
S.162f, Postludium - Nachspiel - Sursum corda! [first version] (1877)! r: }8 I) K' s. G- ]! U! e3 F( g
S.163, Années de pèlerinage. Troisième année [7 pieces] (1867–77)   旅行岁月(第三集)
6 ^, c% h8 S* b, o4 \S.163a, Album-Leaf: Andantino pour Emile et Charlotte Loudon (1828) [2] 降E大调纪念册的一页8 i$ e5 c1 w% U8 M3 S
S.163a/1, Album Leaf in F sharp minor (1828)降E大调纪念册的一页' r- M# n1 b* I- y# @3 Y
S.163b, Album-Leaf (Ah vous dirai-je, maman) (1833)
' j7 l1 F$ @, z; {6 s# O0 g# u& H3 sS.163c, Album-Leaf in C minor (Pressburg) (1839)
" k( ~# x: w+ a. L! ~+ s$ O& ~S.163d, Album-Leaf in E major (Leipzig) (1840)
6 @0 B0 d6 |; V5 QS.164, Feuille d'album No. 1 (1840) E大调纪念册的一页
1 D; f' [2 z7 w( z8 MS.164a, Album Leaf in E major (Vienna) (1840)
3 H$ l8 b& f/ ^& hS.164b, Album Leaf in E flat (Leipzig) (1840)
5 O$ h" g6 i4 ?7 o( r, x1 KS.164c, Album-Leaf: Exeter Preludio (1841)
  m3 P$ d" \  d( `) ~. zS.164d, Album-Leaf in E major (Detmold) (1840)* U, P7 G' a, A) W+ u3 Y
S.164e, Album-Leaf: Magyar (1841)
7 A% e) y5 M# c* f& |1 [9 v% PS.164f, Album-Leaf in A minor (Rákóczi-Marsch) (1841)0 x8 b! s6 C8 f
S.164g, Album-Leaf: Berlin Preludio (1842)
) |$ u$ V3 D8 q* X- M5 aS.165, Feuille d'album (in A flat) (1841) 降A大调纪念册的一页. w4 c( N* w5 l7 d2 x$ x
S.166, Albumblatt in waltz form (1841) A大调圆舞曲风格纪念册的一页
+ u" j- ?# ~( t- A. `1 Y: NS.166a, Album Leaf in E major (1843)9 _2 {# l' A2 p" W8 c  U8 r# ~# [
S.166b, Album-Leaf in A flat (Portugal) (1844)
) b% }& l% j, ]% G+ L) lS.166c, Album-Leaf in A flat (1844)3 k: d; v% x# q- Y, |! a5 n
S.166d, Album-Leaf: Lyon prélude (1844)
+ V; n9 }1 Z" u2 c4 S% JS.166e, Album-Leaf: Prélude omnitonique (1844)/ o4 n" \' A- s0 ^6 }1 H
S.166f, Album-Leaf: Braunschweig preludio (1844)% T- U. n! f1 Y9 S& {
S.166g, Album-Leaf: Serenade (1840–49)
) e$ C6 y! R; c3 ^- v6 h/ `S.166h, Album-Leaf: Andante religioso (1846)3 \0 [: [+ b7 C9 R/ F0 l0 |
S.166k, Album Leaf in A major: Friska (ca. 1846-49)
, E* {+ w% {0 e* C& w7 o' rS.166m-n, Albumblätter für Prinzessin Marie von Sayn-Wittgenstein (1847)8 ^  m: x7 v- V) |8 J
S.167, Feuille d'album No. 2 [Die Zelle in Nonnenwerth, third version] (1843) a小调纪念册的一页
5 w! M+ h2 i; B# S- `6 pS.167a, Ruhig [catalogue error; see Strauss/Tausig introduction and coda]
' M9 n) s+ p3 H% S- RS.167b, Miniatur Lieder [score not accessible at present] (?)
' G$ }2 A) o2 \7 {  Q( \S.167c, Album-Leaf (from the Agnus Dei of the Missa Solennis, S9) (1860–69)
) W& X) F# I9 i3 F+ V# S1 p7 b  bS.167d, Album-Leaf (from the symphonic poem Orpheus, S98) (1860)8 ]0 ~  [1 T1 z0 Q' B: b
S.167e, Album-Leaf (from the symphonic poem Die Ideale, S106) (1861)
( b+ q( p7 {" d  y; OS.167f, Album Leaf in G major (ca. 1860)0 b) S! v! c4 h
S.168, Elégie sur des motifs du Prince Louis Ferdinand de Prusse [first/second version] (1842, 1851) 悲歌/ b" G0 R3 c" C  t5 R2 n
S.168a, Andante amoroso (1847?): D: _  Y" N- g9 b) q: b
S.169, Romance (O pourquoi donc) (1848) e小调浪漫曲
: Y) [, R& d% VS.170, Ballade No. 1 in D flat (Le chant du croisé) (1845–48) 叙事曲一$ G, l* X8 G0 V' A& Q2 H
S.170a, Ballade No. 2 [first draft] (1853)7 U  G, G2 n3 [+ s" {; R- I
S.171, Ballade No. 2 in B minor (1853) 叙事曲二  q( @+ D* R7 Q: X: J, |% A
S.171a, Madrigal (Consolations) [first series, 6 pieces] (1844)4 K. r1 x% F* E- X
S.171b, Album Leaf or Consolation No. 1 (1870–79)! z, `% f# i8 N0 I2 ]2 q
S.171c, Prière de l'enfant à son reveil [first version] (1840)% z, L4 a; J- i4 }" J& y2 X
S.171d, Préludes et harmonies poétiques et religie (1845)' L$ _( @, k* l( ?* C" y( @) C
S.171e, Litanies de Marie [first version] (1846–47): X: t& p3 W/ t) W& L8 U5 l
S.172, Consolations (Six penseés poétiques) (1849–50) 6首安慰曲
2 p" M& H! r- W# CS.172a, Harmonies poétiques et religieuses [1847 cycle] (1847)4 l$ ]) x6 R, X7 U1 x: Y+ G8 H
S.172a/3&4, Hymne du matin, Hymne de la nuit [formerly S173a] (1847)8 o+ P9 p9 W* J, ?5 {8 ?
S.173, Harmonies poétiques et religieuses [second version] (1845–52) 诗与宗教的和谐
- I7 c; E: A; Q2 |& SS.174, Berceuse [first/second version] (1854, 1862) 摇篮曲1 \5 a; f* l" J2 w& q% z
S.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)
" F9 r, L7 q7 j8 ]. y2.    St. François de Paule marchant sur les flots (Walking on the Waves)$ Y% y8 V4 a- e0 Y4 z
S.175a, Grand solo de concert [Grosses Konzertsolo, first version] (1850)1 j1 l# x6 t9 T6 V- v. C( T% ^2 ~
S.176, Grosses Konzertsolo [second version] (1849–50 ?) 独奏大协奏曲
5 W* Q& A" v  |2 N4 r: zS.177, Scherzo and March (1851) 谐谑曲与进行曲6 R$ `7 j7 D' K
S.178, Piano Sonata in B minor (1852–53)  b小调钢琴奏鸣曲" f2 a6 @7 J3 T2 h
S.179, Prelude after a theme from Weinen, Klagen, Sorgen, Zagen by J. S. Bach (1859)  前奏曲“哭泣、哀悼、忧虑、恐惧”S.179 - 根据巴赫第12康塔塔主题而作6 O! J) T! Z+ V8 M2 b
S.180, Variations on a theme from Weinen, Klagen, Sorgen, Zagen by J. S. Bach (1862) 巴赫康塔塔主题变奏曲. {( K& {0 w2 q1 c
S.181, Sarabande and Chaconne from Handel's opera Almira (1881)0 G3 w9 a+ t  P2 P3 g6 `1 a
S.182, Ave Maria - Die Glocken von Rom (1862) 圣母颂“罗马的钟声”
* g3 a) h1 R& DS.183, Alleluia et Ave Maria [2 pieces] (1862) 哈利路亚与圣母颂' N3 A" G8 [  K: l
S.184, Urbi et orbi. Bénédiction papale (1864)
- o9 F" S4 v) {+ J" RS.185, Vexilla regis prodeunt (1864)1 F8 R) o" j1 G# ~
S.185a, Weihnachtsbaum [first version, 12 pieces] (1876)
4 V- y) V' o. S3 u+ T& g& P" s' PS.186, Weihnachtsbaum [second version, 12 pieces] (1875–76) 钢琴曲集《圣诞树》
  J7 }' g0 R' MS.187, Sancta Dorothea (1877) 圣多萝西娅
& _6 o/ a) a* \S.187a, Resignazione [first/second version] (1877)
$ `) r3 }  Q7 ]5 n" M& SS.188, In festo transfigurationis Domini nostri Jesu Christi (1880) 我主耶稣基督之变形
4 o5 |+ r& y2 h3 x% B8 D# gS.189, Klavierstück No. 1 (1866)2 e; R5 v8 i) n* L* S4 P: O
S.189a, Klavierstück No. 2 (1845)% a$ A$ m# e4 k; h4 D2 x, E
S.189b, Klavierstück (?)' j/ ~: S1 L& s5 G% `+ u# e
S.190, Un portrait en musique de la Marquise de Blocqueville (1868)
2 F$ R' M# T# t/ C4 _% @S.191, Impromptu (1872) 升F大调即兴曲“夜曲”
  J6 Z2 E) Y% I7 G+ b1 u$ s% ES.192, Fünf Klavierstücke (for Baroness von Meyendorff) [5 pieces] (1865–79) 5首钢琴小品
6 Y- A; X7 F; E9 x- i6 s, q" Q1 uS.193, Klavierstuck (in F sharp major) (a. 1860) 升F大调钢琴小品
& [* a3 A+ z  vS.194, Mosonyis Grabgeleit (Mosonyi gyázmenete) (1870) 在莫佐尼墓前8 x5 h7 ]  \, E. t' d
S.195, Dem andenken Petofis (Petofi Szellemenek) (1877) 纪念裴多菲
2 Y9 _: p, S3 Z9 ]; \& a7 D  S6 qS.195a, Schlummerlied im Grabe [Elegie No 1, first version] (1874)
/ x; b0 o1 s% M. x5 c1 S5 @S.196, élégie No. 1 (1874)
1 D& t, D7 g0 L4 Z; ~" W* z2 R5 OS.196a, Entwurf der Ramann-Elegie [Elegie No 2, first draft] (1877)6 l+ s9 A  O; X- F# J$ n
S.197, élégie No. 2 (1877)
& C1 M0 Q- f* ]! GS.197a, Toccata (1879–81) 托卡塔
+ E  t) t5 P8 A8 A8 K% @S.197b, National Hymne - Kaiser Wilhelm! (1876)
7 x. f" G- Q. J3 y+ I9 SS.198, Wiegenlied (Chant du herceau) (1880) 摇篮曲% O) O2 P8 ?3 a; A; H6 T# y" J
S.199, Nuages gris (Trübe Wolken) (1881) 灰色的云
" u# ]4 G2 ?3 F1 N7 _/ _7 h6 h  CS.199a, La lugubre gondola I (Der Trauergondol) [Vienna draft] (1882)
1 @% \) U3 B( H2 B( O1 WS.200, La lugubre gondola [2 pieces] (1882, 1885) 葬礼小船
* C5 \6 @6 H0 T- |2 @" @; J6 v' ~0 f7 z* `) o$ u6 n
李斯特全部作品目录-2; F/ ?6 C# n* k3 y+ `

5 ~9 _: D$ Z3 j6 y5 g& B' VS.201, R. W. - Venezia (1883) 告别瓦格纳和威尼斯) c/ j7 {9 g6 ^; w* B
S.202, Am Grabe Richard Wagners (1883) 在瓦格纳墓前. V/ R5 K6 g  g5 P
S.203, Schlaflos, Frage und Antwort (Nocturne after a poem by Toni Raab) (1883) 夜曲“沉睡,思考和回答”6 }# S  Q2 X( i! K7 M
S.204, Receuillement (Bellini in Memoriam) (1877) 冥想
$ {* d! g; ?! V  Z8 v( \; hS.205, Historische ungarische Bildnisse (Magyar arcképek) [original version, 7 pieces] (1885) 匈牙利历史人物肖像6 M2 S0 K, j' T, H& |3 p% y
S.205a, Historische ungarische Bildnisse [revised order and conclusion, 7 pieces] (1885). ^5 s+ Z7 Y- C, L" m% w; A- N
S.206, Trauervorspiel und Trauermarsch (1885) 葬礼前奏曲和葬礼进行曲9 V0 H7 ~. |- ]
S.207, En rêve. Nocturne (1885) 夜曲“梦中”* D  o8 y9 W: ~0 {
S.207a, Prélude à la polka de Borodine (and Borodin's Polka) (1880)
( m. i  Y# l' t9 ]6 M6 ~$ b- fS.208, Unstern: sinistre, disastro (1880–86) 凶兆、灾难
! [2 e, O% F2 P7 l- k6 y1.7.3 Works in Dance Form(为舞蹈的作品)
4 g. V- O8 n  B/ ^* V. s/ w
4 _- a2 Q5 n! C1 \6 ]/ g3 I7 _S.208a, Waltz (in A major) (b. 1825) A大调圆舞曲1 R+ i  i3 q7 g" h) j7 W
S.209, Grande valse di bravura [first version of S214/1] (1835) 华丽的大圆舞曲
3 e8 B) t. [9 S" US.209a, Waltz (in E flat) (1840)- V& c; @4 j* U
S.210, Valse mélancolique [first version of S214/2] (1839) 忧郁圆舞曲4 P* H9 O- N2 q6 F. u% U
S.210a, Valse mélancolique [intermediate version] (1840). J0 k/ ]1 |& T* e$ v# l) N
S.210b, Valse (in A major) (1830–39)& U  T$ S3 E5 V
S.211, Ländler (in A flat major) (1843) 降A大调兰德勒舞曲/ |; l1 k2 E6 o8 L# T, b' I
S.211a, Ländler (in D major) (1879)5 M5 Q& h0 C5 v* G9 j+ ~
S.212, Petite valse favorite [first/second version] (1842, 1843)
0 q, v) R) s3 @, w5 ?/ S5 i; aS.212b, Mariotte. Valse pour Marie (1840). \3 z* U5 q7 {- R" D% V
S.213, Valse-impromptu (1850?) 即兴圆舞曲0 v: F- G! P, O. e
S.213a, Valse-impromptu [with later additions] (1880)" V" E2 l0 H6 u8 y6 v
S.214, Trois caprice-valses [3 pieces] [second versions of S209, S210, S401] (1850?)
% ^+ f! o$ U9 g, IS.214a, Carousel de Madame Pelet-Narbone (ca. 1875-81)/ r; Q  I1 J  W# `0 V5 b7 d
S.215, Valses oubliées [4 pieces] (1881–84) 4首被遗忘的圆舞曲; M7 T+ M5 U# K& z, n& O
S.215a, Dritter Mephisto-Walzer (Mephisto Waltz No. 3) [first draft] (1883)1 o7 f% t6 [8 j
S.216, Dritter Mephisto-Walzer (Mephisto Waltz No. 3) (1883) 第三梅菲斯特圆舞曲- D6 o9 M3 ~( j) S( t  b- V
S.216a, Bagatelle sans tonalité (1885)
, A& r& f% j% T9 O3 X4 x) p2 [& nS.216b, Vierter Mephisto-Walzer (Mephisto Waltz No. 4) [first version] (1885)  第四梅菲斯特圆舞曲1 l9 U# ?& i( U, p: v" P
S.217, Mephisto Polka [first/second version] (1883) 梅菲斯特波尔卡1 B3 J" f3 ]7 Y+ H3 N& K/ n9 ?- x: N
S.218, Galop (in A minor) (1841?) a小调加洛普舞曲' J5 P1 V# ?8 l6 x7 `- R) g& t
S.219, Grand galop chromatique [original version] (1838) 华丽的半音阶加洛普舞曲0 y( }- E- B# G) N/ r8 T" p  V
S.219bis, Grand galop chromatique [simplified version] (1838)
' _+ B0 _3 l8 c2 K% z1 `S.220, Galop de Bal (1840?)
6 u& t2 U1 I% @' i/ TS.221, Mazurka brillante] (1850) 华丽玛祖卡
% u; a* N2 R3 p6 O, Q0 aS.221a, Mazurka in F minor [Not by Liszt?] (?)8 |7 N& C$ g6 d" e$ o: \- P8 T# L
S.222, [catalogue error; same as S212]* u7 _6 {' @9 k2 K3 t% o
S.223, Deux Polonaises [2 pieces] (1851) 2首波洛奈兹舞曲
% d& q; e; ]# U/ d+ ^0 b6 U7 CS.224, Csárdás macabre (1881–82)
" S. `" G% V9 ]S.225, Two Csárdás [2 pieces] (1884)
  e1 v7 G; x0 B+ M! K# A3 FS.226, Festvorspiel (1856)& z# u5 r. v# r  Q
S.226a, Marche funèbre (1827)0 O. U% @/ {" @5 C; U: h4 |
S.227, Goethe Festmarsch [first version] (1849)
" K  D3 L6 C) s+ G6 A& DS.228, Huldigungsmarsch [first/second version] (1853)8 z2 I$ B7 [3 M
S.229, Vom Fels zum Meer! - Deutscher Siegesmarsch (1853–56)
2 R5 X( _4 Y/ o# M0 n5 l2 f/ A& V. wS.230, Bülow-Marsch (1883). p0 l8 I/ W+ [) G* f% c- V
S.230a, Festpolonaise (1876)9 |8 {7 W# |7 d& D
S.231, Heroischer Marsch in ungarischem Stil (1840)
1 D$ q9 {% z7 Q3 S+ h9 I5 ]4 FS.232, Ungarischer Sturmmarsch [earlier version of S524] (1843?)3 j. U9 a- g" j2 q5 T& m
S.233, Ungarischer Geschwindmarsch (1870)
! k% R8 Z/ h' C. n9 [* cS.233a, Siegesmarsch. Marche triomphale (Victory March) (?): ?+ _7 F5 t$ b
S.233b, Marche hongroise (in E flat minor) (1844), k+ k6 d) m) |! i
1.7.4 Works on National Themes(主题作品)' @) M5 `) O9 v0 Q

  q6 W9 B- f# \8 R  ^. u# {% Y1.7.4.1 Czech
$ d* H9 s. G6 ~$ t
, w# l. {, `% P: j5 _  y) {) TS.234, Hussitenlied (Melody by J.Krov) (1840)
2 \' l& u! E- J2 u0 Y* k1.7.4.2 English
2 H% }! u8 W6 m/ h6 ~( X& S9 {: V  b! ~
S.235, God Save the Queen (1841)5 d- v6 y! F3 E
1.7.4.3 French
% z+ [8 ^* p. C
4 Y+ m9 k/ {) f# \3 B( ?% [3 s  YS.236, Faribolo Pasteur and Chanson du Béarn [2 pieces] (1844)
! g( I$ T# b4 {1 d4 t' {9 e8 @S.237, La marseillaise (1872?): p& d% D8 Z7 s; o" g* [
S.238, La cloche sonne (1850?); _) F7 |/ b6 I: \8 t8 m' s8 P* _
S.239, Vive Henri IV (1870-80 ?)
6 [  m) m: C6 ^9 I/ h  T& S6 S1.7.4.4 German- M3 ~* N. L- A
3 G  h8 `/ A6 \( M% y% Q4 ?
S.240, Gaudeamus igitur. Concert paraphrase [first/second version] (1843, 1853)
* j6 `. {' j* Z6 v7 Q1.7.4.5 Hungarian8 o+ M& X) t) c' ]8 V+ m
* y" R. O- \  Q/ c. J
S.241, Hungarian Recruiting Songs (Zum Andenken) (By Fáy & Bihari) (1828)
( b: Q" E, ^* Z' h1 h: d' JS.241a, Ungarische Romanzero (Hungarian Songbook) [18 pieces] (1853)
* Y0 K4 V; H4 bS.241b, Magyar tempo (1840)
' ?; B2 N* T5 \) b- n: y& IS.242, Magyar Dalok: Magyar Rapszódiák [21 pieces] (1839–47)
1 l& U: ^2 r5 z8 _9 S, [S.242a, Rákóczi-Marsch [first version] (1839–1840)
0 i. }/ k- b4 q; P* L  BS.243, Ungarische National-Melodien [3 pieces] (ca. 1843)! g3 L) e0 |* K7 T8 }3 J5 a5 @' G
S.243a, Célèbre mélodie hongroise (a. 1866)
; y+ `- v0 C# ]: D, w1 jS.244, Hungarian Rhapsodies (Rapsodies hongroises) [19 pieces] (1846–86)  19首匈牙利狂想曲
, @1 b( L0 H5 |" b  T+ e- vS.244a, Rákóczi-Marsch [from orchestral version] (1863)
4 u/ q0 Y% z/ A$ f% F. F) o1 f- z, KS.244b, Rákóczi-Marsch [simplified version of S244a] (1871)  }- ]3 K$ b, h: G
S.244c, Rákóczi-Marsch [popular version] (?)' |- U+ G4 w2 N6 `# D
S.245, Fünf ungarische Volkslieder (Abranyi) [5 pieces] (1873); B6 h0 U- g2 e0 l! n5 m5 _9 w, X
S.246, Puszta-Wehmut (A Puszta Keserve) (1880–86 ?)0 i: D9 M; y0 q- W2 o
1.7.4.6 Italian
6 b& |) O  X8 G. `( j
/ r$ K; F5 J# j! u$ r$ FS.248, Canzone Napolitana [first/second version] (1842)
+ @: \& t1 Z$ x" h% ^$ H, I  A3 Z7 Y3 t1.7.4.7 Polish
1 t( }; b& U* K$ M
3 q: b: x3 N, J5 HS.249, Glanes de Woronince [3 pieces] (1847–48)* ]! N6 H. e1 i; g+ M
S.249a, Mélodie polonaise [short draft] (1871)
( J+ ?8 Y1 Q6 ?* U  i# A3 yS.249b, Dumka (1871)  F, c% z1 t4 j
S.249c, Air cosaque (1871)8 t5 X; e, F$ [/ ^8 W. U
1.7.4.8 Russian
& e* @' g6 g3 m/ J6 U4 ]" x/ w) W- t" Q9 c( ?) i6 g# R( Y
S.250, Deux mélodies russes. Arabesques [2 pieces] (1842)
, F& Y" C) ?1 u) y% o" I  nS.250a, Le rossignol (Alyabyev) [first version of S250/1] (1842)
) b, v5 Z3 [7 U8 w) vS.251, Abschied. Russisches Volkslied (1885)) B/ a+ P7 l, T) H
1.7.4.9 Spanish% F9 ~/ C' s, O5 l2 `( p# y
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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)+ {) J  j3 O4 Z/ Y1 p
S.252a, La romanesca [first/second version] (ca. 1832, b. 1852)
, ?: G) }1 E0 z) M  o- KS.253, Grosse Konzertfantasie über Spanische Weisen (1853)
/ q' `9 E* m: N' n! U8 dS.254, Rhapsodie espagnole (1863?) 西班牙狂想曲9 f. v! r) j+ a' J/ _) \
S.254x, Rapsodie espagnole [orchestrated by Feruccio Busoni] (?)
: O4 j( g* k+ G1 Z1.8 Piano Duet(钢琴二重奏)
- [# f( z" Y4 Y$ }8 i5 \% f" u7 w3 F) ^+ E0 Q: R( \
S.255, Festpolonaise [now S619a] (1876)3 v, v# d& `3 ]" j$ k
S.256, Variation on the Chopstick Theme (1880)
' H' p4 G; F; X: ?( z$ TS.256a, Nottorno [Not by Liszt?] (?)
. [3 _* i+ L! _# k4 o8 n( g1.9 Two Pianos(双钢琴)+ e- B$ `/ M1 h

. O; Y3 E' W8 n! WS.257, Grosses Konzertstück über Mendelssohns Lieder ohne Worte (1834)
+ ]/ m1 K: j, F. VS.258, Concerto pathétique (b. 1856)  e小调钢琴协奏曲“悲怆”) B8 N% c8 j" C2 f7 }2 c# R
1.10 Organ(管风琴)
! v; Z8 u% U( g2 O: ?9 D# p  `% m4 K9 L1 K5 c& X
S.259, Fantasy and Fugue on the chorale Ad nos, ad salutarem undam (1850). y1 S  f6 s6 v* h# s
S.260, Präludium und Fuge über das Thema BACH [first/second version] (1855, 1870)/ `# H% e# g+ b. H$ c8 v5 T" ^
S.261, Pio IX. Der Papsthymnus (1863?)5 p1 S. }9 H. m2 }7 N
S.261a, Andante religioso (1861?)
; C% P0 P5 t- q6 B/ oS.262, Ora pro nobis. Litanei (1864)
8 u5 c% }0 n$ h$ XS.263, Resignazione (1877)5 E5 u1 ?+ o/ V: `8 ]# q. h
S.264, Missa pro organo lectarum celebrationi missarum adjumento inserviens (1879)# r7 `4 T) I% B2 O- m1 F
S.265, Gebet (1879)  S3 C5 `2 }4 e, o
S.266, Requiem für die Orgel (1883)
5 r3 N% B6 ]! ~/ u* S' ^! US.267, Am Grabe Richard Wagners (1883)  A9 p5 n- }3 @; N& R+ e! I
S.268, Zwei Vortragsstücke [2 pieces] (1884)
: a+ R; A. |5 r) B( T1.11 Songs(歌曲)
) k: v  J2 e5 l
; I" A" r0 ?2 B! u, zS.269, Angiolin dal biondo crin (Marchese C. Bocella) [first/second version] (1839, ?)( B. y; h; z0 x% I! Q0 k4 n
S.270, Three Petrarch Sonnets [3 songs, first/second version] (1844–45, 1854]
  a' W1 k+ M( F* v* V; F3 vS.271, Il m'aimait tant (Delphine Gay) (1840?)
4 _4 D3 h/ m+ }S.272, Am Rhein im schönen Strome (Heine) [first/second version] (1840?, 1854)8 Y0 M  c4 Q$ K
S.273, Die Lorelie (Heine) [first/second version] (1841, ?)* ~* a; U) X# _
S.274, Die Zelle in Nonnenwerth [first/second version revised 1862] (b. 1841, 1857)
% @. \4 k% Z- k1 pS.275, Mignons Lied (Kennst du das Land) (Goethe) [first/second/third version] (1842, 1854, 1860)2 d7 |& x  V& N3 z  {
S.276, Comment, disaient-ils (Hugo) [first/second version] (1842, ?)2 \9 w& e+ L& C7 ~+ D) Y
S.277, Bist du (Prince E. Metschersky) [first/revised version] (1843, ca. 1878-79)
* o. i* V! B" e  w; F. ]5 qS.278, Es war ein König in Thule (Goethe) [first/second version] (1842, ?)/ P) L0 O7 X" }" N; E" y  L
S.279, Der du von dem Himmel bist (Goethe) [first/second/third version] (1842, ?, 1860)6 h. F1 D  |/ n) j! f
S.280, Freudvoll und leidvoll (Goethe) [first/second/third version] (1844, 1848?, ?)
; W+ G8 G- z4 @" zS.281, Die Vätergruft (1844)% ~$ ^( w3 {: Z8 g
S.282, O quand je dors (Hugo) [first/second version] (1842, ?)
; v2 @1 U5 v) X+ q$ C1 bS.283, Enfant, si j'etais roi (Hugo) [first/revised version] (1844?, ?)& i# o, D& i3 Z. X
S.284, S'il est un charmant gazon (Hugo) [first/revised version] (1844?, ?)
9 e0 ?$ e* u1 ~" \3 k/ ]5 ?S.285, La tombe et la rose (Hugo) (1844?)) @( ^& R! C8 N" ^6 K  n/ j/ z
S.286, Gastibelza, Bolero (Hugo) (1844?)2 t' v2 i, [1 b" t! n% m( @
S.287, Du bist wie eine Blume (Heine) (1843?)
( e" i8 @* C3 V+ DS.288, Was Liebe sei (C. von Hagn) [first/second/third version] (1843?, ca. 1855, 1878–79)
$ l: r+ c  b/ M9 W$ F$ x" C( g+ cS.289, Vergiftet sind meine Lieder (Heine) [first/revised version] (1842, ?)6 B' N( c2 m0 z" w7 v
S.290, Morgens steh ich auf und frage (Heine) [first/revised version] (1843?, ca. 1855)6 g5 M; O9 H' t- A
S.291, Die todte Nachtigall (Kaufmann) [first/revised version] (1843?, 1878)
; N$ P+ H  O/ S& uS.292, Songs from Schiller's Wilhelm Tell [3 songs, first/revised version] (1845?, ?)
( a# t0 I( X/ i8 q9 G0 CS.293, Jeanne d'Arc au bûcher (Dumas) [first/revised version] (1845, 1874)
/ j  B; s, q* j* a% T6 q( vS.294, Es rauschen die Winde [first/second version] (ca. 1845, b. 1856)0 ^3 Y/ T) x0 y6 h% k) u0 @! h& A
S.295, Wo weilt er? (Rellstab) (1844)
$ c4 W! i5 P7 C, I0 \S.296, Ich möchte hingehn (Herwegh) [revised later] (1845)) m$ Z5 l/ p5 r. _1 @5 L
S.297, Wer nie sein Brot mit Tränen ass (Goethe) [first/revised version] (ca. 1845)) K, H' C9 o4 b0 j( g
S.298, O lieb so lang du lieben kannst (Freiligrath) (1845?)
: d# h4 S- O9 \( QS.299, Isten veled (Farewell) (Horvath) [first/revised version] (1846–47)
8 O  @% O- h  ?4 k0 XS.300, Le juif errant (Béranger) (1847)5 x0 R0 g& r- {; C
S.301, Kling leise, mein Lied [first/revised version] (1848)1 I+ K2 \% h/ Z0 N
S.301a, Oh pourquoi donc (Mme Pavloff) (1843)
+ ?2 ~, p6 p8 Y' W$ s+ CS.301b, En ces lieux. élégie (E. Monnier) (1844)
% ]1 z8 J! u: a. U  M0 _! mS.302, Die Macht der Musik (Duchess Helen of Orleans) (1848–49)- b% s+ v3 u+ y& t& `' y. S
S.303, Weimars Toten. Dithyrambe (Schober) (b. 1848)9 g4 o# y6 z. t) k& Q6 c% j
S.304, Le vieux vagabond (Béranger) (b. 1848)+ B+ C* _- ^8 \3 y9 I
S.305, Schwebe, schwebe, blaues Auge [first/revised version] (1845, ?)
3 Z" M( H5 c& N8 W( d# n7 ~S.306, über allen Gipfeln ist Ruh [first/revised version] (1847?, ?)
  Y, o6 e( x# `# ?, oS.306a, Quand tu chantes bercée (Hugo) (1843): `; W: m( @* ?/ X
S.307, Hohe Liebe (Uhland) (1850?), f+ `- R0 _1 `8 l8 \0 y0 c- J
S.308, Gestorben war ich (Seliger tod) (Uhland) (1850?)- m( H4 x3 G4 H: _2 V; t0 a
S.309, Ein Fichtenbaum steht einsam (Heine) [first/revised version] (ca. 1845, 1854)
! A8 Y/ y3 z1 t- ^S.310, Nimm einen Strahl der Sonne (1849)8 g, ]: Y; e! _' y1 V5 k( f" I& \
S.311, Anfangs wollt' ich fast verzagen (Heine) (1849)
) l4 |4 D* e* ?* {9 r3 A2 h6 t' P: dS.312, Wie singt die Lerche schön (Hoffmann von Fallersleben) (1856?)
. s! u* o" _8 b2 q, _S.313, Weimars Volkslied (Cornelius) (1857)% ~1 i7 n/ N2 {
S.314, Es muss ein wunderbares sein (Redwitz) (1852)
+ \! I% T, }. oS.315, Ich liebe dich (Rückert) (1857)
! N. J, q8 R+ a! o0 Z1 I$ PS.316, Muttergottes - Sträusslein zum Mai-Monate (Müller) [2 songs] (1857)& k  }5 `0 H( n# p% C
S.317, Lasst mich ruhen (Hoffmann von Fallersleben) (1858?)
" L6 Z0 B7 h9 T2 {S.318, In Liebeslust (Hoffmann von Fallersleben) (1858?)
. I3 {9 R7 O0 D5 J. u, }& zS.319, Ich scheide (Hoffmann von Fallersleben) (1860)
/ T5 M* W: b/ `9 e5 N4 i- G- vS.320, Die drei Zigeuner (Lenau) (1860)6 N% H- a4 h2 i" P! P
S.321, Die stille Wasserrose (Geibel) (1860?): [9 D( R" y3 o! x& F# r# I/ T
S.322, Wieder möcht ich dir begegnen (Cornelius) (1860)# B, L+ d$ O; u* F, \0 y" v
S.323, Jugendglück (Pohl) (1860?)
1 x1 J4 ?& U5 o2 ^. q1 WS.324, Blume und Duft (Hebbel) (1854)# B, o3 S/ G8 e8 N& G- n
S.325, Die Fischertochter (Count C. Coronini) (1871)8 f2 E# o+ J" H6 a
S.326, La perla (Princess Therese von Hohenlohe) (1872)+ [' ~: f7 f' K. g
S.327, J'ai perdu ma force est ma vie. 'Tristesse' (de Musset) (1872)7 [3 d* g2 O# e7 c% D
S.328, Ihr Glocken von Marling (Emil Kuh) (1874)( G/ O1 U. R4 w
S.329, Und sprich (Biegeleben) [revised 1878] (1874)$ F- i) \" ]8 \' ^# D7 ]% L" k! H/ t
S.330, Sei Still (Henriette von Schorn) (1877)+ p* t6 [3 `1 v; g
S.331, Gebet (Bodenstedt) (1878?)
2 q* e3 `  D6 E! T* ~" WS.332, Einst (Bodenstedt) (1878?)+ O& S; K  P4 Z: ?& R- G
S.333, An Edlitam (Bodenstedt) (1878?)% q0 J' P' c/ Z3 a
S.334, Der Glückliche (Bodenstedt) (1878?)
0 n& W% C# L" |6 C/ M- q& s: VS.335, Go not, happy day (Tennyson) (1879)
" |) Q9 {" |" m* {( F' Q/ |S.336, Verlassen (G.Michell) (1880)) C, K4 t% `$ ?1 W
S.337, Des tages laute stimmen schweigen (F. von Saar) (1880)
- D( t! Y# E# t# J* m2 tS.338, Und wir dachten der Toten (Freiligrath) (1880?)
) R# r* Q% Z9 ZS.339, Ungarns Gott. A magyarok Istene (Petófi) (1881)
+ S4 k& u$ D$ pS.340, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)
: \$ z$ r, J7 {: ^( L- E& DS.340a, Ne brani menya, moy drug. (Tolstoy) (1886). [6 T' W& o+ y2 l- y6 ~
1.12 Other Choral Works(其他合唱作品)
: b0 |5 r  w% dS.341, Ave Maria IV (1881)4 X/ L6 M; b8 W5 d0 A0 U: T
S.342, Le crucifix (Hugo) (1884)
  \4 u9 r" B. I, i% w! D$ t5 RS.343, Sancta Caecilia (1884)2 D" n8 n+ _* q# Q' x/ ^
S.344, O Meer im Abendstrahl (Meissner) (1880), q) M4 b, b/ F$ j5 L" q! t
S.345, Wartburg-Lieder from Der Braut Willkomm auf Wartburg (Scheffel) [7 chorals] (1872)$ `" Y( q2 H& Y! K7 S! X
1.13 Recitations(叙事歌谣颂诗)
* _. B0 [/ R: I. }S.346, Lenore (Bürger) (1858)+ Q4 O9 q2 A/ B+ B9 r7 j
S.347, Vor hundert Jahren (F. Halm) (1859)* q! v$ ]. j, f1 R' R% {3 u
S.348, Der traurige Mönch (Lenau) (1860)7 |3 D/ Z5 `- F" c6 ?
S.349, Des toten Dichters Liebe (Jókai) (1874), Q9 g' }! f  K  M0 z8 R
S.350, Der blinde Sänger (Alexei Tolstoy) (1875)! E. F. \- Z$ ]" U! q: c
2. Arrangements, Transcriptions, Fantasies, etc." x  T5 l% t  H! m( |# P' J; P
  {1 {& h* k, {6 _
2.1 Orchestral Works(管弦乐作品)
. v( R. H  e- Y8 z# g% s! J! \% p" |' r, p- T- s9 c; x* q
2.1.1 Bülow: I* Q# q6 \: C% d

0 W- F  N2 ^' L3 A" n1 j' H1 C5 fS.351, Mazurka Fantasie, Op. 13 (1865)
' E' M& I# b5 V; B* \2.1.2 Cornelius
% x: R# p7 [7 y# s& j0 P2 }
' X$ z6 h( A, P$ U1 U$ V* D0 ]S.352, Second Overture to The Barber of Baghdad [completed from Cornelius's sketches] (1877): p. k2 }" _$ T; a
2.1.3 Egressy and Erkel
0 k" C  T& \6 g, k: y1 {+ `' k* `7 L& R  U4 b  S( H
S.353, Szózat und Hymnus (1873)5 l) O2 O* q4 m$ K
2.1.4 Liszt% Z" P. {% |8 B

3 i6 V. g$ H) e; C' u7 ^" ZS.354, Deux légendes (1863)$ z9 K0 \6 P+ \) _/ B
S.355, Vexilla regis prodeunt (1864)7 d9 o4 ]+ S% @/ }; A7 g7 i0 ?/ q- Y
S.356, Festvorspiel (1857)
' R% q  Q. e. ~. V4 q' G% R) Y+ eS.357, Huldigungsmarsch [first/second version] (1853, 1857)
  @: f" g* x' ~S.358, Vom Fels zum Meer. Deutscher Siegesmarsch (1860), m4 M  K" x9 {% K1 h( p1 H
S.359, 6 Rapsodies hongroises (Hungarian Rhapsodies) (?)- q% Y! j2 i# \; c
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)$ b! }& D$ p1 N0 y
S.361, Pio IX. Der Papsthymnus (ca. 1863)
' o/ ?$ Q9 F1 D2 mS.362, Benedictus and Offertorium from the Hungarian Coronation Mass [from S11] (1875)
+ C, W  ?6 o% |+ V9 g6 r2.1.5 Schubert
5 u6 `! i1 m* }, d
/ N1 J, C. x8 d6 h5 `S.363, 4 Marches [from Opp. 40, 54, 121] (1859-60)
" c' V5 v: e- K1 |- p! {2.1.6 Zarembski9 a* H+ g8 K+ L

4 B0 _) U* S3 R, w/ kS.364, Danses galiciennes (1881)/ G# q2 [2 K) l# A. V
2.2 Pianoforte and Orchestra(钢琴与乐队)
. G, L9 U, t- H6 w# n
; X, l" w- J; G" i7 \2.2.1 Liszt
* q) j7 \5 H0 H8 ?- \5 w
8 l' u" c  k" L. Z4 NS.365, Grand solo de concert [prepared by Leslie Howard] (1850)) {6 [6 q9 w7 B% T2 `( }* E, M
S.365a, Concerto pathétique (No. 4) in E minor [Liszt, Reuss version] (1885-86)# E" v- I+ Q: v  G
S.365b, Hexaméron, Morceau de concert [orchestration completed by Leslie Howard] (ca. 1839)
1 d/ ?( u- b' d( P' D2 O0 U2.2.2 Schubert0 _% T3 A! ]3 h( o6 K

5 s& R5 q3 C) y9 V$ c8 oS.366, Wanderer-Fantasie (Fantasia in C major, Op. 15) (1851)  流浪者幻想曲 - 为钢琴与乐队而作
9 \+ {! @* Y' j2 P* J6 E2.2.3 Weber5 R4 R4 \1 t5 `% B2 {
; V" P+ @+ d4 q6 ]/ \" K
S.367, Polonaise brillante, Op. 72 (1849) 华丽波洛涅兹 为钢琴与乐队而作
- v* c+ g3 G+ k% u( X4 d: V( O: H2.3 Songs with Orchestra(声乐与乐队)
0 d) T+ S- i) a) K( I. H
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2.3.1 Korbay
5 Q. A* M( }6 Z( U
$ ]/ i$ a6 N2 ?( R1 j: bS.368, 2 Songs (Le Matin by Bizet and Gebet by Geibel) (1883)! R+ ]5 l. n$ H1 U
2.3.2 Liszt
# V# P" q+ S. [3 V' T# Z" ^% n5 s
+ r2 w" s0 y* E7 o3 w/ y, fS.369, Die Lorelei (Heine) (1860)! o# J7 X4 E' V$ d) r) M' S4 u
S.370, Mignons Lied (Kennst du dass Land) (Goethe) (1860)
9 v1 V& B* R6 i: A2 RS.371, Die Vätergruft (Uhland) (1886)
3 T* P) X! }0 @0 D8 s3 lS.372, Songs from Schillers Wilhelm Tell (ca. 1855)/ {4 i/ z# i6 ]# j; w
S.373, Jeanne d'Arc au bûcher (Dumas) [first/second version] (1858, 1874)$ j- V) C) u- x& E" N6 {
S.374, Die drei Zigeuner (Lenau) (1860)
$ f# I: V, ^* C( y7 E2.3.3 Schubert4 k$ ~, N6 k8 z

. ?0 i: F0 q% M9 y% _) c$ MS.375, 6 Songs (1860)) z/ B# [  F' H" }& ^: A; m6 f$ U4 j
S.376, Die Allmacht (1871)
. ?- S  m) ^! ]. d$ K4 X2 @' j2.3.4 Zichy% \- G7 o, x% g: W0 ]7 {/ M/ G
4 {7 u* P1 \+ z$ [7 [$ J. q
S.377, Der Zaubersee. Ballad (Zichy) (1884)
. l# B! Q4 v3 i! s' E& a2.4 Chamber Music(室内乐等)
! J' e; l4 ]; y6 f  V  o; U# Q; y- m2.4.1 Liszt
0 [5 @" j" f& K1 p4 K2 ?
% p: P8 ?; o1 a" Q0 k! c5 ^; D5 `S.377a, La notte (Odes funèbre No. 2) (1864-66)/ B( p0 N' W. _" {4 z6 X/ j
S.378, Angelus! - Priere aux anges gardiens [first/second version] (1877, 1880)
0 N. N+ E0 H% i" b( B. a3 q) PS.379, Rapsodie hongroise No. 9 (Pester Karneval) (?)
/ K$ r; R8 Q  rS.379a, Rapsodie hongroise No. 12 (1850-59)
" B( v0 ^& r1 H% n; U* S& dS.379b, Puszta-Wehmut (A Puszta Keserve) (ca. 1871)) {) W; R+ p/ x
S.380, O du mein holder Abendstern from Tannhäuser (Wagner) (1852)
( j5 i' s1 P+ [8 ]: OS.381, Benedictus and Offertorium from the Hungarian Coronation Mass [from S11] (1862)
4 r% c0 e9 E9 C) ~3 bS.381a, Ungarns Gott. A magyarok Istene (Petófi) (1882)
  L8 Z; o+ t7 }9 TS.382, Die Zelle im Nonnenwerth (ca. 1880-86)
. Q5 P0 Z. s9 XS.383, Die drei Zigeuner (Lenau) (1864)
$ k* s+ E5 X5 w6 O2.5 Pianoforte Solo8 z% O; N$ K% ]7 e4 H
, [8 w# F- Z$ U* S: ]! `" b6 Q
2.5.1 Paraphrases, Operatic Transcriptions, etc.(歌剧改编独奏)! R* ?+ N, C1 z  K) E  W# b7 q
: X! Z3 ~$ k: V! Q& j8 o
2.5.1.1 ábrányi/ j4 r. X# m+ ?5 u
( v3 ~0 u9 e) ?5 t) Z  @
S.383a, Elaboration on Virág dal (1881)
; f+ q( M- P7 ?, j& ]2.5.1.2 Alyabyev* r$ r% c3 }2 i, Y

) v1 B  {8 S- x/ D6 J8 V  G& [S.384, Mazurka pour piano composée par un amateur de St. Petersbourg (1863)
- T: Y" \9 T! X% jS.384a, Variations on Tiszántúli szép leány [anonymous, not by Liszt?] (1846)) Y5 Z0 w9 ~) p0 |7 U% n. x( ~
2.5.1.3 Auber9 F) S. b5 ]: F) H. y; I

* w8 d0 e0 d  F7 |, Y& D$ r) pS.385, Grande Fantaisie sur la Tyrolienne de l'opera La Fiancée [first/second/third version] (1829, 1835, 1842)
4 y: [- U. L& {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: d9 t- @6 h: D' P0 |) Q7 O
S.386, Tarantelle di bravura dàprès la Tarantelle de La Muette de Portici [original/Sophie Menter version] (1846, 1869) 塔兰泰拉舞曲 S.386 据奥伯歌剧《波尔蒂契的哑女》主题改编7 X( m! m3 I3 e3 b% F
S.387, Three Pieces on themes by Auber [with intro piece] (a. 1846)2 o- D5 ]: x# A9 [: e" b6 e1 P
S.387a, Piece on an unknown theme (1847)
. u$ |8 S  L7 J; R0 X: M2.5.1.4 Beethoven
' N( _* W% N1 I( h: s% e( g2 @4 E4 s; z
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
. h, z$ B% t- n( iS.388a, Marche turque des Ruines d'Athenes (1846)  G6 A8 X& d5 j9 r) O" G
S.388b, Fantasie über Beethoven's Ruinen von Athen [first version] (1837)
. x, g  [  y& [3 [' k8 sS.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
- s. t$ ~) ^* T, t2 j6 j3 sS.389a, Cadenza to the first movement of Beethoven's Piano Concerto No. 3 (1879)
, x- [& A  m7 I2.5.1.5 Bellini
  z( A" k" s% e7 f" \
2 g1 x4 w& j/ q0 T! D, KS.390, Reminiscences des Puritains [first/second version] (1836, 1837)' R4 [# V- }$ c+ T: _- C: p  s
S.391, I Puritani. Introduction and Polonaise (1840)
# K( G' e7 O) @: i& ^9 z) u7 Y/ RS.392, Hexaméron, Morceau de Concert (1837)
% [( M# A6 v& kS.393, Fantaisie sur des motifs favoris de l'opéra La Sonnambula [first/second/third version] (1839, 1840-41, 1874)
# D7 ?; I7 R5 O  f9 S8 C7 wS.394, Réminiscences de Norma (1841-43)/ {) p* O" n/ e+ {- ^7 R
2.5.1.6 Berlioz# ~6 y8 @8 ?$ x9 ]8 a( u
$ \: K; v, z( H. E' B6 Z5 A6 T
S.395, L'Idée fixe: Andate amoroso [first/second version] (1833 or 1846?, 1865)
, n; |: Z% A$ g. U  k7 H! E  US.396, Benediction et Serment from Benvenuto Cellini (1852)
& x- Q* S: m* i2.5.1.7 Donizetti, Gaetano' x  t4 s/ z$ r0 H) e

$ n# T! \. m1 k; w+ Z8 h, KS.397, Réminiscences de Lucia di Lammermoor (1839)3 Y2 ^5 N/ A: ~9 ~; X* K
S.398, Marche Funebre et Cavatine de Lucie de Lammermoor (1839)
: v; `( C4 G  z: V2 f; _. pS.399, Nuit d'été à Pausilippe [3 pieces] (1839)' c! Q! y4 s. G
S.399a, Lucrezia Borgia - Grande fantaisie [first version of S400ii] (1840)
- o+ z5 c8 \# b: H' Y  g/ j$ ?
李斯特全部作品目录-31 @. K# B9 r2 I; P

- S+ y) J/ @$ y% _. H% FS.400, Réminiscences de Lucrezia Borgia [first/second version] 1840
0 D2 y! p9 C* W2 R+ g* f' N. yS.401, Valse a capriccio sur deux motifs de Lucrezia et Parisina [first version of S214/3] (1841). h8 v7 o: w1 F+ u) E
S.402, Marche funèbre de Dom Sébastien (1844)
4 o) J8 D2 D1 ~( `8 @% G1 Y$ J( g2.5.1.8 Donizetti, Giuseppe# ]; d8 K: t5 K8 ?' g) {

! `3 W' u! W( D5 p5 k4 X) nS.403, Marche pour le Sultan Abdul Medjid-Khan [first/simplified version] (1847, 1848)& @3 d) k2 F- D
2.5.1.9 Duke Ernst" y/ X2 Z4 {: F* E! {
4 `# o8 L7 j3 \+ n
S.404, Halloh! Jagdchor und Steyrer from the opera Tony (1849)
9 l8 l' ?: T6 H( Z3 l9 _; J' e. \2.5.1.10 Erkel, Franz
1 D2 N2 n, w+ ?. L; K4 f4 Q# Z
+ T, ?+ @& f( S5 A2 u% @3 K" bS.405, Schwanengesang and March from Hunyadi Laszlo (1847)" z9 x# S8 T' C+ E5 K
2.5.1.11 Festetics
/ [1 |/ h- e  B: E* h# R* r  q$ Z: k1 \- K$ p
S.405a, Pásztor Lakodalmus Variations - Mélodies hongroises [elaboration by Liszt] (1858)$ O6 p. u* v1 Y/ |" m4 P7 D
2.5.1.12 Glinka9 ], l! W- v0 `1 |2 C

) N9 X: b, _) {6 PS.406, Tscherkessenmarsch from Ruslan i Lyudmila [first/second version] (1843, 1875)) S8 s  S7 e3 @" V
2.5.1.13 Gounod0 }5 E0 S5 k/ F8 ?- I9 t
! C5 D1 c" T! U
S.407, Valse de l'opéra Faust (b. 1861)& T) ^( K9 [, L' V
S.408, Les Sabéennes. Berceuse de l'opéra La Reine de Saba (1861)& O  q/ c% A7 p) T+ Y" z/ n6 y7 i
S.409, Les Adieux. Rêverie sur un motif de l'opéra Romeo et Juliette (1867), r& N0 X1 J# s; E( E. E2 S
2.5.1.14 Halévy
+ Y/ y9 U2 i! v, W6 BS.409a, Réminiscences de La Juive (1835)
: T8 _& w5 W, A/ h0 X2.5.1.15 Mendelssohn. w) f- E6 l! J0 Q/ M" l
S.410, Hochzeitsmarsch und Elfenreigen aus dem Sommernachtstraum (1847-50)
1 w" R" a, H* ~! N5 D) p( I2.5.1.16 Mercadante
/ i2 y: C6 Z6 }: sS.411, Soirée italienne. Six amusements (1838). u, o3 u0 x  r3 @! l& j. F
2.5.1.17 Meyerbeer
0 D: O3 r) Y: S- t7 E: hS.412, Réminiscences des Huguenots - Grande fantaisie dramatique [first/second version] (1836, 1842)0 h' G  \% Y$ S/ O9 c
S.412a, Réminiscences de Robert le Diable - Cavatine (1846?)7 }1 B  D2 E( a$ K
S.413, Réminiscences de Robert le Diable - Valse infernale (1840)1 f5 x- R3 y" \7 ?  r" d# e
S.414, Illustrations du Prophète [4 pieces, 4th=S624] 1849-50
7 [, n9 r* C; b; A, qS.415, Illustrations de l'Africaine [2 pieces] 1865. T4 P4 T: d0 H9 B$ z$ O9 z
S.416, Le Moine (1841)5 m( l/ q6 n; p5 \
2.5.1.18 Mosonyi, Michael
4 |1 m( G  ^( j* J) K3 Z% KS.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+ x: V! C) @: Y4 c5 F
2.5.1.19 Mozart8 H' N$ m3 L6 Z5 G1 u
S.418, Réminiscences de Don Juan (1841); R" ?* B- D# X: A- @
2.5.1.20 Pacini  O3 |5 v- d/ [+ }. ~
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2 G# ]* I( f9 ~4 Q; A5 R. e1 @
2.5.1.21 Paganini) g5 p4 Q# o/ t( Y
S.420, Grande Fantaisie de bravoure sur La Clochette (1832-34)  华丽的钟声幻想曲; X( x3 H: `& j  k2 M
2.5.1.22 Raff
1 C& a, Y" I6 L" R' ]( f. @S.421, Andante Finale and March from the opera König Alfred [2 pieces] (1853)
$ t/ P! M( a: _, n# Y$ ?# _* q% O2.5.1.23 Rossini
. ^( J8 c6 d) ?, \) d4 [, BS.421a, Introduction et Variations from "Siege of Corinth" [introduction only] (1839?)
8 V4 L% u! w. F# ]9 P6 U) V4 tS.422, Première grande fantaisie (Soirées musicales) [first/second version] (1836)3 Z+ V: J  S7 l4 r, m& ?1 V
S.422i, La serenate e l'orgia - Première grande fantaisie (Soirées musicales) [first version] (1836)
/ {8 L6 B4 B% HS.423, Deuxième grande fantaisie (Soirées musicales) (1836)5 b6 g5 K9 C) H, |5 L# X" e% x
S.424, Soirées musicales [12 pieces] (1837)
2 ~  O0 h( r: e$ b8 N+ d% }2.5.1.24 Schubert
7 k, p4 H& [" Z! fS.425, Mélodies hongroises [3 pieces] (1839–40)7 t2 B$ J; P( w5 e+ Y
S.425a, Mélodies hongroises [revised versions] (1846). P( L+ N6 {+ @9 b7 V! W
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& }( ^; {3 P0 O# S& R) Y! L
S.426a, Marche militaire (ca. 1870)0 w4 I, z5 X" T9 t6 Q# ?5 S6 e
S.427, Soirées de Vienne [9 pieces] (1852) 维也纳之夜 S.427 根据舒伯特《随想圆舞曲》改编
4 k/ [5 m/ N7 D7 c. _5 L2.5.1.25 Sorriano% [2 }3 T% w' S+ q: [) F, P
S.428, Feuille morte. Elégie d'après Sorriano (1844-45)
9 F2 k9 G2 U3 Q0 s  J2.5.1.26 Tchaikovsky
( H! I7 R2 B2 ^S.429, Polonaise from Eugene Onegin (1879)
( K- V1 G0 k/ ?# s, x+ A' o) ]2.5.1.27 Végh, Janos
" U' h$ L7 U. Y0 `3 VS.430, Valse de concert (1882-83)- i  B3 `; `- u
2.5.1.28 Verdi1 c3 y, Z2 T- p+ k- W( d3 G
S.431, Salve Maria de Jerusalem from I Lombardi [first/second version] (1848, 1882)+ a5 |. d+ V! s5 c9 ]
S.431a, Ernani - Première paraphrase de concert (1847)
" h8 ^7 B" J* C7 nS.432, Ernani - Paraphrase de concert (No. 2) [first/second version] (b. 1849, 1860)' H5 o* b3 Q% K1 k6 a/ r. ]) K
S.433, Miserere du Trovatore (1860)# _5 t) O* _# J1 J7 a" g, }# z
S.434, Rigoletto Paraphrase de Concert (1859)
" \5 j! X( D* |4 S  F8 v- q4 H+ f. W( mS.435, Don Carlos Coro e Marcia funebre (1867-68)
0 \; [9 |: a/ {1 a! Y3 ES.436, Aida Danza sacra e duetto finale (1877)! y4 f. t: d0 A  C( j6 [
S.437, Agnus Dei (1877); A  }8 f4 H" f/ [: `2 s0 ^
S.438, Réminiscences de Boccanegra (1882)
; k2 o" n( M; `4 e, x# D2.5.1.29 Wagner, _0 N$ [2 M0 w; M" D
S.439, Phantasiestück über Motive aus Rienzi (1859)4 g: C1 c: `, I3 _' _5 G
S.440, Spinnerlied aus Der fliegende Holländer (1860); A/ v. @+ \8 W5 o1 I: j
S.441, Ballade aus Der fliegende Holländer (1872)
/ m0 W# l; S  q% B: v/ |' \' `+ BS.442, Ouvertüre zu R. Wagners Tannhäuser (1848)6 j4 Y- U$ H5 L. F& W0 u
S.443, Pilgerchor aus Tannhäuser [first/second version] (1861, 1885)
! p  C& w. ~- a, V# U) Q2 P" \" K. [S.444, O du mein holder Abendstern aus Tannhäuser (1848)
. Q' @6 Y- A! u; H3 |S.445, Zwei stücke aus Tannhäuser und Lohengrin (1852)
2 n1 y5 @$ \7 _2 F) gS.446, Aus Lohengrin [3 pieces] (1854)
' c: K8 l& v2 a( C0 ZS.447, Isoldens Liebestod aus Tristan und Isolde [first/revised version] (1867, 1875)
; ~* l% Z$ t- x: @6 ^: W" `+ uS.448, Am stillen Herd aus Die Meistersinger (1871): G/ C2 _3 A. I- O
S.449, Walhall aus Der Ring des Nibelungen (1875)
* p8 o$ X6 X, k+ PS.450, Feierlicher Marsch zum heiligen Graal aus Parsifal (1882)
( Q4 {# d! d6 A- H2.5.1.30 Weber
# _) T2 ^. @: W2 F1 u, j+ v5 rS.451, Freischütz-Fantasie (1840-41)
- ?% I5 m) d- |* Z4 [S.452, Leyer und Schwert [4 pieces] (1848)
, s' [" D' u3 wS.453, Einsam bin ich, nicht alleine, from Preciosa (1848)
5 ~) n  {7 ~9 Q* X  l# x8 `. US.454, Schlummerlied mit Arabesken (1848)- Y; K: Q# q& T' O
S.455, Polonaise brillante (1851)
; @0 a  A4 Q4 k  {9 Q; o7 {2.5.1.31 Zichy, Count Géza$ \/ I) }# j' D( ^1 Q& h! A
S.456, Valse d'Adele (1877)
2 D% c# T( l! y5 [' F+ p2.5.1.32 Unknown) i% r# k* O% P1 L
S.458, Fantasy on Il Giuramento (Mercadante) (1838?)
. n) h- X) z+ M* {. zS.460, Kavallerie-Geschwindmarsch [anonymous] (?)& ?" l$ u. B, h9 Q9 C6 k
2.5.2 Partitions de Piano, Transcriptions, etc.$ d* x' Q0 ~9 q- B: K
2.5.2.1 Allegri and Mozart0 o! o' _2 t$ _
S.461, A la chapelle Sixtine [first/second version] (1862, ?)
' G' |* ]' N5 Z5 a+ |# NS.461a, Ave verum corpus, Kv618 (1862)7 P' [5 P' y# Q# `" e, Q1 M. ]
2.5.2.2 Bach
; e# ^) }  O8 {, i) d; a% jS.462, Sechs Praeludien und Fugen für Orgel [6 pieces] (1850)
9 p3 t- y  O' K! p; G, Z( A" RS.463, Organ Fantasy and Fugue in G minor [first/second version] (1860, ?)/ Z, K) C( z5 d1 ?! o! X
2.5.2.3 Beethoven- x2 Y- ^+ u! r( \9 M6 Y" N: A  p; b4 t  [
S.463a, Symphonie No.5 [first version] (1837)
. f2 }5 I3 a5 C$ J" i7 ~S.463b, Symphonie No.6 [first version] (1837)
0 k& F8 c0 p& j0 g' AS.463c, Symphonie No.6 [second version. Alternative 5th movement] (1863-64)" u% V$ i  F; }
S.463d, Symphonie No.7 [first version] (1837)
, F; ^' a" B- QS.463e, Marche funèbre [Beethoven's Eroica Symphony, first version] (1843)5 Z" n' R2 v2 r# ^3 }; @+ @
S.464, 贝多芬交响曲 Symphonies de Beethoven [9 pieces] (1863-64), e8 [+ }1 Q) O5 ^
S.465, Grand Septuor, Op. 20 (1841)
, d9 J+ O: g; [8 W1 l  dS.466, Adelaïde [third version] (1847)) n0 V4 N( S* r3 y% N
S.466a, Adelaïde [first version] (1839)# k+ [2 }( `; Y( K- F! b; N
S.466b, Adelaïde [second version] (1840)% l* a: E1 q" ^6 s& ~* X0 V
S.467, Sechs Geistlicher Lieder (Gellert) [6 pieces] (1840)
/ q! y8 F( F8 {S.468, Sechs Lieder von Goethe [6 pieces] (b. 1849)
, s/ E5 l1 ^6 gS.469, An die ferne Geliebte - Liederkreis [6 pieces] (1849)
7 z0 w2 E" ^1 Y$ T6 a2.5.2.4 Berlioz! L. c" |' }+ Z9 y) @# R" a
S.470, Symphonie Fantastique (1833)
2 o' O6 {! I3 F* N/ |S.471, Overture from Les francs-juges (1833)! Y( s0 h4 ~4 l
S.472, Harold en Italie (with viola) (1837)
. O6 ~. z3 B$ x- ?8 [7 }( xS.473, Marche des pèlerins from Harold en Italie [first/second version] (1837?, 1862). [- U- q$ r/ P5 s0 c
S.474, Ouverture Le Roi Lear (1837)
' J6 \& D$ ?  d0 n  G' J+ NS.475, Valse des Sylphes de la Damnation de Faust (1860)
* a8 l. m4 r; \' b) B2.5.2.5 Bulhakov
) q$ r& h3 M# q; R5 G0 AS.478, Russischer Galopp [first/second version] (1843, 1843)
, {+ R8 V! U3 @5 x' l6 x2.5.2.6 von Bülow+ E2 C9 {) j3 K8 B. c  W- G
S.479, Dante's Sonnett - Tanto gentile e tanto onesta (1874)
& l) ?8 i" o8 D; y2.5.2.7 Chopin0 D4 _# F; n9 h; l* a/ c9 A4 T7 b% W, ~" }
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 Conradi2 [; e) A  H' z* ^7 S9 p$ q
S.481, Zigeunerpolka (1847?)' y6 ?! k$ h% e
2.5.2.9 Cui
5 ?1 ]5 Q$ H& }7 S- cS.482, Tarantella (1885)  g$ I6 W1 P) D, p
2.5.2.10 Dargomyschsky
# [0 M/ a1 ^: c: CS.483, Tarantella (1879)
; R; F  n& Z' W2.5.2.11 David, Ferdinand
( }) N6 u2 L9 K6 p2 g6 ~# A. \S.484, Bunte Reihe, Op. 30 [24 pieces] (1850)0 e7 {8 X' ]. i0 S. C+ b! V5 z) c: h
2.5.2.12 Dessauer% t4 f. y  I1 G% G, }
S.485, Drei Lieder (1846)) z$ I2 g. ]6 b! B( k/ N4 D3 H
2.5.2.13 Ernst, Duke
# \4 q& i- ^; Q, s1 Q. DS.485b, Die Gräberinsel (1842)4 n* [* q, r" f7 \6 ?
2.5.2.14 Egressy and Erkel
! \/ i% f9 x# c2 e- P5 [. ?S.486, Szózat und Hymnus (1873)
9 F+ ?$ M1 R. {1 t, B2.5.2.15 Festetics, {$ V5 @3 P! O3 d7 k5 e  x& X
S.487, Spanisches Ständchen 1846: K) A5 f# n! h
2.5.2.16 Franz) p/ R: h- R: c% l  U
S.488, Er ist gekommen in Sturm und Regen 18482 d5 j+ v+ @+ s( o
S.489, Zwölf Lieder [12 pieces] (1848)* G3 P8 Y( b% u+ r; y  f
2.5.2.17 Goldschmidt
2 U& u. w( n! C& q: k. F6 @) JS.490, Liebesszene und Fortunas Kugel (1880)
' n4 P# q$ O4 N; ]4 M" ^2.5.2.18 Gounod
7 W) L2 o- b1 A" I. TS.491, Hymne à Sainte Cécile (1866)
, l1 a$ t. e  w0 [/ k2 e' \/ U2.5.2.19 Herbeck# {6 g  g1 Y) U- |
S.492, Tanzmomente [8 pieces] (1869); Q* W2 w* _" L# |# `/ N4 j
2.5.2.20 Hummel' m: A" N! J* f' j" m# ~
S.493, Grosses Septett, Op. 74 (1848)
8 n" F$ m- K/ ?2 x6 q. q2.5.2.21 Lassen
, ^6 V$ q9 w4 T+ y& CS.494, Löse, Himmel, meine Seele [first/second version] (1861, 1872)# O, w- T' T: `% `
S.495, Ich weil' in tiefer Einsamkeit (1872)* [/ a& H4 }! q" A
S.496, Hebbel's Nibelungen & Goethe's Faust [4 pieces] (1878-79)
7 }& z, \3 `% g* Y, B6 X# T& d  h' nS.497, Symphonisches Zwischenspiel ('über allen Zauber Liebe') (ca. 1882-83)' N" V+ p" k# U2 O3 b
2.5.2.22 Lessmann+ ?8 I: w2 O. T2 w  ?
S.498, Drei Lieder ('Tannhäuser') (1882?)
9 m4 g6 G" r$ F2.5.2.23 Liszt. _( j' f, I$ g/ |
S.498a, Drei Stücke aus der heilige Elisabeth (1857-62)
+ M8 J; D% i# \" eS.498b, Zwei Orchesterstücke aus Christus (1862-66)
" N: J) i2 i6 F5 a9 f. uS.498c, San Francesco - Preludio (1862-66)/ a4 ~2 Y5 S3 j' W7 x
S.499, Cantico del Sol di San Francesco d'Assisi (1881)
4 D2 W. ?# h/ v1 }& c  {% r0 h* s2 x; US.499a, San Francesco - Preludio per il Cantico del Sol (1880)3 O+ q2 f. }* L. \
S.500, Excelsior! - Preludio (1875)0 o- g8 f9 v8 ^2 x* g. L
S.501, Benedictus und Offertorium (Missa Coronationalis) (1867)% u6 _' @: @5 X, |# J7 r
S.502, Weihnachtslied II (1864)
# M1 A6 N# d9 Q2 d2 uS.503, Slavimo Slavno Slaveni! (1863)
& j' o+ E* b; @& A0 H* h  jS.504, Ave Maria II (in D) [first/second version in D flat] (1870, 1873)
6 A1 r8 ?, x" c- I" b/ W$ ]0 l' JS.504a, Via Crucis [15 pieces] (1878-79)% Q( q5 y+ Z( E9 \/ R8 Q
S.504b, Choräle [11 pieces] (1878-79)
# A' P- Q. [# a  F$ ?/ V7 oS.505, Zum Haus des Herrn (In domum Domini ibimus) (1884)
! Y  \6 N4 w# a: W# \8 T+ FS.506, Ave maris stella (1868)- n& T* F  N! F
S.507, Klavierstück aus der Bonn Beethoven-Cantata (?)" f: O) D6 ?+ _0 V
S.507a, Schnitterchor (Pastorale - Schnitterchor aus Prometheus) (1850)
* G. D  h3 h$ lS.508, Pastorale. Schnitterchor aus dem Entfesselten Prometheus (1861), Z, X4 X0 i7 S# y8 J% G6 Z: `. Q
S.509, Gaudeamus igitur - Humoreske (1870)
; e: \, Z- m- cS.510, Marche héroïque (?)4 l% d8 z0 ^/ A: @& F. j* j
S.511, Geharnischte Lieder [3 pieces] (1861)
! Q0 i3 L% `! JS.511a, Les Préludes (Poème symphonique No. 3) [arranged by Karl Klauser, revised by Liszt] (1863) [1][2]  o% z: G7 X) z( H
S.511b, Orpheus (Poème symphonique No. 4) [arranged by Fredrich Spiro, revised by Liszt] (1879) [3]) U% b' K7 j! Y
S.511c, Mazeppa (Poème symphonique No. 6) [arranged by Theodor Forchhammer, revised by Liszt] (1870-79) [3]
+ q: ^9 Y$ R( ~  |7 `S.511d, Festklänge (Poème symphonique No. 7) [arranged by Ludwig Stark, revised by Liszt] (1870-79) [3]$ U- p4 S* y5 f3 Z; P( P, K; c
S.511e, Hungaria (Poème symphonique No. 9) [arranged by Fredrich Spiro, revised by Liszt] (1872) [3]
- c6 f1 r5 E  bS.512, Von der Wiege bis zum Grabe (Poème symphonique No. 13) (1881)1 R% S" w2 A7 }2 X: g
S.513, Gretchen aus Faust-Simpfonie (b 1867 )
/ O! j8 w1 x, @! U& f1 tS.513a, Der nächtliche Zug (?)5 m4 `* P/ _/ Q& J1 O  `
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' t) [  \/ g8 ^9 J: E. @6 @
S.514a, Erster Mephisto-Walzer (Mephisto Waltz No. 1) [with later additions] (1859-62)
( m! A) c/ Y* }2 p* HS.515, Zweiter Mephisto-Walzer (Mephisto Waltz No. 2) (1881) 第二梅菲斯特圆舞曲
+ `( b+ ?1 C9 ?; O( W, IS.516, Les Morts (Ode Funèbre No. 1) (1860)7 H- W/ n6 {3 c& X
S.516a, La notte (Ode Funèbre No. 2) (?)& V3 a' x& e% b
S.517, Le Triomphe funèbre du Tasse (Odes Funèbre No. 3) (1866)
2 S5 ~0 N+ O- u6 X0 m" MS.518, Salve Polonia (a. 1863)* E1 U. L" L- H6 B9 x5 {
S.519, Deux Polonaises de St Stanislaus (1870-79): S5 Y# @' r2 v$ z( l
S.520, Künstlerfestzug [first/second version] (1857-60, 1883)
6 E: c1 i3 x  p4 oS.521, Festmarsch zur Goethejubiläumsfeier [first/second version] (1857, 1872)
, c6 u, @4 U$ s, v6 k7 IS.522, Festmarsch nach motiven von E.H.z.S.-C.-G (1857): z# L5 P2 _( [  i1 K) d
S.523, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (1870)
8 ^1 p# [6 p/ xS.524, Ungarischer Sturmmarsch [first/second version] (?, 1875)
+ d) a- y' \5 QS.525, Totentanz. Paraphrase on Dies Irae (1860-65)# q+ l9 Q! ^9 q' j$ N
S.526, Epithalam zu Eduard Reményis Vermählungsfeier (?)
; c; @7 b' ~' T; m5 e* B0 A! AS.527, Romance oubliée (?)+ R+ ?3 ~3 \9 v
S.527bis, Romance oubliée [short draft] (1880)
$ C( j) v' B( \! O$ A; E( M8 o0 u" @S.529, Fantasie und Fuge über das Thema BACH [first/second version] (1856, 1870) 巴赫主题幻想曲与赋格
1 P% w' u, g- Z) S& l* NS.530, L'Hymne du Pape. Inno del Papa. Der Papsthymnus (1864)
! x. i  D1 `3 a* iS.531, Buch der Lieder I [5 pieces] (?)
2 e9 @; W( A+ m0 T# H7 `' hS.532, Die Lorelei (Heine) [second version] (1861)
: J; ~* A$ {/ Z! sS.533, Il m'aimait tant (Delphine Gay) (1842)! G+ L* E9 _! t' P- i+ I6 J
S.534, Die Zelle in Nonnenwerth (Felix Lichnowski) [first/second/fourth version] (1842, 1860, 1880)
& C2 N6 x: u: ]2 bS.535, Comment, disaient-ils [Buch der Lieder II] (1845?), t1 }) y5 U7 L3 g
S.536, O quand je dors [Buch der Lieder II] (1847?)' ?! b3 C9 L- W! L# ~
S.537, Enfant, si j'étais roi [Buch der Lieder II] (1847?)
/ w2 f; t2 V- s. q) xS.538, S'il est un charmant gazon [Buch der Lieder II] (1847?)
5 B7 R, q: d2 z( j* c& mS.539, La tombe et la rose [Buch der Lieder II] (1847?)
' N7 {% J* q! y% i4 |- LS.540, Gastibelza [Buch der Lieder II] (1847?)
& i) g( P9 O. pS.541, Liebesträume. Drei Notturnos (ca. 1850)  3首夜曲“爱之梦”  L* e  z" t" L8 U8 j# c' G
S.542, Weimars Volkslied [first/second version] (1857, ?)! t0 v# n! m/ K: v, `  |! Y9 y% o
S.542a, Ich liebe dich (?)
2 m9 i% @5 |0 Y1 i- |S.542b, Fanfare zur Enthüllung des Carl-Augusts Monument (?)
& e) X, m& K6 j. w2 z" uS.543, Ungarns Gott. A magyarok Istene (Petófi)]] [original/(S543bis)left-hand version] (1881)4 C8 A2 P3 o6 B( k, D
S.544, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)
: P9 B/ y! U9 T: j+ ~9 d& @S.545, Ave Maria IV (1881)
, A3 Q4 c( t6 m# Z/ m6 b' W. L- iS.546, Der blinde Sänger (Alexei Tolstoy) [solo version] (1878), E3 r) n7 u) A- q! E; B
S.546a, O Roma nobilis (1879)
- l3 L% `* j8 T5 ]4 Y2.5.2.24 Mendelssohn8 v# c! }, |9 q2 m
S.547, Sieben Lieder (from Opp. 19, 34, 47) [7 pieces] (1840)9 c* k3 R# b# a1 j
S.548, Wasserfahrt and Der Jäger Abschied (from Op. 50) [2 pieces] (1848)0 J) ^0 F2 g- q/ d
2.5.2.25 Meyerbeer, E1 H: p# b2 b$ j1 M) ~/ S; ^
S.549, Festmarsch zu Schillers 100-Jähriger Geburtsfeier (?)
. W9 Z* X& p6 U3 ~/ A  M2.5.2.26 Mozart
3 ~  j6 X- Z4 N. e4 t* @! E. }: WS.550, Zwei Transcriptionen über Themen aus Mozart's Requiem, K626 [2 pieces] (1862)
+ R- z# g. Y- @" W) x& R2.5.2.27 Pezzini
* U/ z) A! t1 f# v6 z4 bS.551, Una stella amica. Mazurka (?); V: w8 K: e, z9 e8 s$ O
2.5.2.28 Raff
# z+ F+ z, q( a1 |S.551a, Einleitung und Coda zu Raffs Walzer in Des-dur (opus 54/1) (1880)9 N! m5 C; l4 }! e4 R/ x1 x
2.5.2.29 Rossini, U- u0 T2 J9 d- p: ?
S.552, Ouverture de l'opéra Guillaume Tell (1838)
  n9 @2 a# Z3 ]' T3 [, xS.552a, Caritas [La charité, first version] (1847)
) ]; g# a9 V. ^' `: Z, O7 s8 {S.552b, La caritá [La charité, simplified version] (1847)
  a6 f1 y* v) N* q5 ]; KS.553, Deux Transcriptions [2 pieces] (1847)
/ _( m: e" B4 y+ c8 d9 ]" p+ W0 Z2.5.2.30 Rubinstein
! u6 D5 m6 Z" \$ f; oS.554, Zwei Lieder [2 pieces] (1880)
4 \+ h: C. K% A9 ?( f7 OS.554a, Einleitung und Coda sur des notes fausses (1880): p: U+ e) e1 F1 ]3 `" E1 Q
2.5.2.31 Saint-Saëns
* S, R( S% a- q" s3 aS.555, Danse macabre, Op. 40 (1876). M7 a* z5 ]! H& o$ p. g8 _
2.5.2.32 Schubert
/ o1 R) j' ], }9 q2 b7 `, WS.556, Die Rose [first/intermediate/second version] (1832, ca. 1837, 1838)" f; i4 v& q/ W4 q( D% X9 F
S.557, Lob der Tränen (1837)
$ q, {' }$ w- @2 t9 zS.557a, Erlkönig [first version] (?)1 f7 X/ g' Z, ^; A% Z, t
S.557b, Meeresstille [first version] (?)
& w- W5 I2 j" A/ n2 `/ dS.557b/bis, Meeresstille [first version, ossia] (?)" Z* q- e1 Y3 f0 \9 T" T  S- i
S.557c, Frühlingsglaube [first version] (?)
. \' i% A1 p. gS.557d, Ave Maria (Ellens dritter Gesang) [first version] (?)* o* r+ }. c/ p# [9 r
S.558, 12 Lieder (1837-38)7 e9 S2 D) t2 b# X$ ^
S.558bis, 12 Lieder [revised versions of Nos. 3, 4, 7, 8, 9, 11] (ca. 1839)3 o' S; |+ R+ @- e2 T
S.559, Der Gondelfahrer, Op. 28 (1838)
- k$ M4 R* y- D5 _S.559a, Sérénade [Ständchen, first version] (1837)
7 W+ h; {5 q( t/ K6 x, W6 xS.560, Schwanengesang [14 pieces] (1838-39)0 _' S$ m0 J8 I3 D. r& o
S.560bis, Schwanengesang [14 pieces, alternative versions] (ca. 1839)/ a7 t6 P1 ?) c; ^6 T* U
S.561, Winterreise [12 pieces] (1839)
* }! S$ U3 T1 u% ^, A( y7 Y) ^S.561, Winterreise [alternative versions of Nos. 2, 3, 7, 10,] (ca. 1839)
8 n0 m: N' p% M& @S.562, Geistliche Lieder [4 pieces] (1841)9 J% e5 t6 w  D! W4 g
S.563, Six mélodies célèbres [6 pieces, 1st by Weyrauch] (1844); w* U' o0 u( O8 X& l6 ?
S.564, Die Forelle [second version] (1846)& G* {$ A! s% g# K7 `  R0 d( X
S.565, Six Mélodies favorites de La belle meunière [6 pieces] (1846)
& ?8 \1 l& l  f. W# Q+ v0 ~S.565bis, Müllerlieder [6 pieces, revised versions] (ca. 1879)9 A# v8 y! T, D: a- ?8 k
S.565a, Wandererfantasie (Grosse Fantasie in C-dur) (ca. 1868)
8 {  M6 u0 j% d' mS.565b, Schubert's Impromptus [2 pieces, Op. 90/2-3] (ca. 1868), ~- j- [4 b* R: C4 }/ H- p
2.5.2.33 Schumann
+ N( l$ {5 h/ n1 iS.566, Widmung, Liebeslied (1848)# d$ p2 Y$ G/ B$ r* S$ I
S.566a, Widmung, Liebeslied [sketch of a more literal transcription] (1848)" W% Z0 |" N, x: n- g4 X
S.567, An den Sonnenschein, Rotes Röslein (1861)
& _! a4 Q% `! X  }; y( W4 D2 {S.568, Frühlingsnacht (überm Garten durch die Lüfte) (1872)6 |; h+ o& O% w6 B' r1 v
S.569, Zehn Lieder von Robert und Clara Schumann [10 pieces] (1872); }$ x6 R3 Q( `, O4 R6 z2 w- T
S.570, Provençalisches Minnelied (1881)0 s# Y. i, z7 t
2.5.2.34 Smetana
! O* _( B8 \+ Z. }& J3 O  DS.570a, Einleitung und Coda zu Smetanas Polka (de salon, opus 7/1) (1880)
! [9 C6 U* q: B' [2.5.2.35 Spohr* w) W* z, E: ?
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/ U" Z3 @; [8 ~0 G6 U
S.571a, Einleitung und Schlußtakte zu Tausigs dritter Valse-Caprice (1880)
' L1 ^& ?' Z- ^1 d1 b3 w2.5.2.37 Szabady and Massenet
! m. N" H/ J! v6 _2 ]S.572, Revive Szegedin (1879)# z2 Y) A$ y0 z  H2 W. ^- B5 m0 k
2.5.2.38 Széchényi, Count Imre3 j: T& V5 v+ V4 V& r$ P! A' v" t
S.573, Bevezetés és magyar indulò (1872)
* d+ s  v1 E7 O3 }. f2.5.2.39 Tirindelli9 e& c! m1 s( y: X
S.573a, Seconda mazurka variata (1880)
( i6 R7 D" j5 |  T/ H2.5.2.40 Weber
; [( U4 B9 }& h" Y7 {& C2 L: TS.574, Ouverture Oberon (1846?)
/ m3 {: l" Q1 T5 s& U$ E- F& [S.575, Ouverture Der Freischütz (1840-41)& V) p7 J) [$ n8 E
S.576, Jubelouverture (1846)
3 s" c/ c$ X3 ?4 jS.576a, Konzertstück, Op. 79 (ca. 1868)
( [" t1 a9 _5 W$ b( W" u2.5.2.41 Wielhorsky, Count Michael
' }( y+ D$ a$ L& u# yS.577, Lyubila ya [first/second version] (1843, ?)
( _5 i( r. g. @0 b2.6 Pianoforte Duet(钢琴二重奏)7 d0 H) H8 D8 ~! x& p* d
2.6.1 Field" v- n% |# ~+ ^3 d
S.577a, 11 Nocturnes (Nos. 1-9, 14, 18 and Nocturne Pastorale in E) (?)" `1 \- O( Z  \. H  j* [% s# A6 \
2.6.2 Liszt# u+ L1 A1 \) c6 I/ a8 {
S.578, 4 Pieces from St. Elisabeth (1862)
  {, |: P( c7 h2 c6 g' D& jS.579, Christus Oratorio 4th and 5th section (?)
) V- J4 M! x) c# W4 SS.580, Excelsior! - Preludio (?)
  y' [1 z' a) @4 w1 N0 v: AS.581, Benedictus and Offertorium from the Hungarian Coronation Mass (1869)+ a; S+ U; q0 @- e9 W
S.582, O Lamm Gottes, unschuldig (1878-79)
% ^! g% T# y' h' c4 A. l) FS.583, Via Crucis (?)2 ~9 N5 u, L  O, k8 m7 _& [: ^
S.584, Festkantate zur Enthüllung des Beethoven-Denkmals in Bonn (1845)
) I# F: G+ l  FS.585, Pastorale. Schnitterchor aus dem Entfesselten Prometheus (1861)
. L9 K/ g- G- \, z* z; ~S.586, Gaudeamus igitur. Humoreske (1870)0 B4 K1 ~) Z6 F) z( h
S.587, Marche héroique (?)) ]6 n$ Q! G1 K5 y
S.588, Weimars Volkslied (Cornelius) (1857); r9 Q- t$ {/ \# v/ S- R/ g1 w
S.589, Ce qu'on entend sur la montagne (Poème symphonique No. 1) (1874)% V9 C% U" R# J+ z6 N
S.590, Tasso, Lamento e Trionfo (Poème symphonique No. 2) (1858)
2 j$ k$ ^4 F4 ?" k0 U) yS.591, Les Préludes (Poème symphonique No. 3) (ca. 1858)
. c% X4 n6 C& p- VS.592, Orpheus (Poème symphonique No. 4) (ca. 1858)& s% j; Z- r1 Y; ?% n+ M' K
S.593, Prometheus (Poème symphonique No. 5) (1858)
" L0 C$ F* ~6 O/ O, [; M0 q6 US.594, Mazeppa (Poème symphonique No. 6) (1874)
/ E: I5 k# Y- F4 e0 A" v- z! Z% @S.595, Festklänge (Poème symphonique No. 7) (1854-61)% J1 e  {* V8 Y& P; h
S.596, Hungaria (Poème symphonique No. 9) (1874?)
# G3 }/ a2 B: D- N, qS.569a, Héroïde funèbre (Poème symphonique No. 8) (ca. 1877)
- d  e. a% d% zS.596b, Hunnenschlacht (Poème symphonique No. 11) (ca. 1877)
7 x* `7 i9 v6 FS.596c, Die Ideale (Poème symphonique No. 12) (ca. 1874-77). ~5 M1 P2 k* p  w  F( b
S.597, Hamlet (Poème symphonique No. 10) (1874)2 Q# k) J( x9 I/ d! ]1 e' d, d7 }
S.598, Von der Wiege bis zum Grabe (Poème symphonique No. 13) (From the Cradle to the Grave) (1881)( ]# p& Z) G- i' j: {
S.599, Two episodes from Lenau's Faust (1861-62)! W2 M3 ~* x8 k# I; F* d) v+ @
李斯特全部作品目录-4* |- w* w8 ?, q. |9 E

& O) z+ `2 j7 c( d+ @8 F1 qS.600, Mephisto Waltz No. 2 (1881)
2 g1 A" |. b5 C4 W0 j$ IS.601, Les Morts (Ode Funébre No. 1) (1866)
6 ]+ ^: S3 ?, \" K, j0 t: QS.602, La Notte (Ode Funébre No. 2) (1866)
6 D. q* [: V. xS.603, Le Triomphe Funèbre du Tasse (Ode Funébre No. 3) (1866?)
4 I7 x  o" X# Z7 eS.604, Salve Polonia (1863)
: i$ b9 {/ F( v7 uS.605, Künstlerfestzug zur Schillerfeier (1859)
7 z2 c8 G; ^" yS.606, Festmarsch zur Goethejubiläumsfeier (ca. 1858)
+ l3 \4 X2 l) A6 u2 W. i5 u7 hS.607, Festmarsch nach Motiven von E.H. zu S.-C.-G. (ca. 1859)
9 h2 L0 U" }$ u8 ]+ kS.608, Rákóczy March (1870)
5 T: t6 N( b6 A, G5 C8 l( yS.609, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (1870)
0 l$ A; }) z% P$ N0 L2 N& F3 ?S.610, Ungarischer Sturmmarsch (1875)/ `8 E( N3 F; _: O2 Q0 B! j1 n
S.611, Epithalam (1872), g: U) z; W9 ^7 [3 a4 n- n; I
S.612, Elégie (1874)  E5 X- e4 Q& K" p7 u
S.613, Weihnachtsbaum (1876)' {+ H# D. G. H! c9 w
S.614, Dem Andenken Petöfis (Petófi Szellemének) (1877)
/ H1 c5 S! T8 nS.615, Grande Valse di Bravura (1836). Q' H: g$ N$ h- B, D0 o
S.616, Grand Galop Chromatique (1838)
. K& d( P( W* r- xS.617, Csárdás macabre (1882); Z. p7 X7 C, r6 w) ^* K
S.618, Csárdás obstiné (ca. 1884)
. J( i4 u: B% f0 b$ W; [S.618a, Vom Fels zum Meer. Deutscher Siegesmarsch (?)
& v, O- R4 z5 X) \S.619, Bülow-Marsch (ca. 1883)
% O% }# T: I; C) J0 L7 `) gS.619a, Festpolonaise (1876) [4]
( [+ |& X' c, lS.620, Hussitenlied (Melody by J.Krov) (1840)
0 s" H' Q# I* Q( MS.621, 6 Hungarian Rhapsodies [from the orchestral version, S359] (1874)$ n8 d; }" s7 z
S.622, Rapsodie hongroise No. 16 (1882)
/ ?1 }9 Y; l* w; f; YS.623, Rapsodie hongroise No. 18 (1885)# d- r/ F0 p* p( n! I
S.623a, Rapsodie hongroise No. 19 (ca. 1885)  q7 G# C) v7 c3 g
S.624, Fantasy and Fugue on the chorale Ad nos, ad salutarem undam (1850)( D$ S+ F/ [2 z* D% B$ B" d1 L6 w
S.625, L'Hymne du Pape (Der Papsthymnus) (1865), x+ z, C' E9 M  F! n
S.626, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)# e) x0 A( ?: p$ S2 C) ^
S.627, Fantaisie sur des motifs de l'opéra La Sonnambula (Bellini) (1852)
- S7 E- l& G" v7 oS.628, Bénédiction et serment (Berlioz's 'Benvenuto Cellini') (1852)
/ {% O7 g% ~% z# \S.628a, Marche et cavatine (Donizetti's Lucia) (?). K9 v9 b$ G: [, `3 A' e0 s$ _* B
S.628b, Szózat und Hymnus (Egressy and Erkel) (1873)
/ m8 F7 f# Q5 u, P; OS.629, Tscherkessenmarsch (Glinka's Ruslan i Lyudmila) (1843)9 o% _9 j+ u+ T1 b7 }
S.630, Réminiscences de Robert le Diable - Valse infernale (Meyerbeer) (1841-43)
6 x0 s* }+ e1 p5 a: V* N9 N5 KS.631, Andante finale und Marsch (Raff's 'König Alfred') (1853)
$ O* s, P/ ^! l& ]S.632, 4 Marches (Schubert) (1879)
) `7 S/ g; `! r3 n) ]S.633, A la chapelle Sixtine (Allegri Mozart) (1865)) c4 P* G2 l8 L' Q0 E* ]
S.634, Grand Septuor Op. 20 (Beethoven) (1841)3 {4 p5 P. m, |. }
2.6.3 Mozart
- b& i4 S" e/ \/ t3 B" u+ sS.634a, Adagio from Mozart's Die Zauberflöte (1875-81?)
: _' t1 M8 Z! U1 j2.7 Two Pianofortes(双钢琴)
0 Y. c) a& p5 k, d) ~% b: @2.7.1 Liszt
" p  J0 t% t4 {+ a* PS.635, Ce qu'on entend sur la montagne (Poème symphonique No. 1) (ca. 1854-57)
  ]" x9 ~6 x. ~5 jS.636, Tasso, Lamento e Trionfo (Poème symphonique No. 2) (ca. 1857)2 e: P# \) n' ]. G
S.637, Les Préludes (Poème symphonique No. 3) (ca. 1854-56)% P0 ]5 S8 ~  A1 k  g0 S
S.638, Orpheus (Poème symphonique No. 4) (ca. 1854-56)
8 w+ g$ M0 }6 iS.639, Prometheus (Poème symphonique No. 5) (1855-56)
/ P- T! r" I2 n, D: E# IS.640, Mazeppa (Poème symphonique No. 6) (1855)( k& s& z' I9 z- l* m: @* I. Q
S.641, Festklänge (Poème symphonique No. 7) (ca. 1853-56)) ?; b  e; c2 m) C6 Z" l4 m% V! R/ s
S.642, Héroide Funèbre (Poème symphonique No. 8) (ca. 1854-56)
4 k# q  M! H" \; H7 m  g2 _# mS.643, Hungaria (Poème symphonique No. 9) (ca. 1854-61)
; a0 U. |1 H6 }( W: kS.644, Hamlet (Poème symphonique No. 10) (ca. 1858-61)
/ t# _5 Z  c) M5 {S.645, Hunnenschlacht (Poème symphonique No. 11) (1857)0 S" i; d4 E6 g! {/ z8 E5 r
S.646, Die Ideale (Poème symphonique No. 12) (1857-58)& t+ v: s( J9 k, M
S.647, A Faust Symphony, in three character pictures (1856)/ P% x; Y* x& z
S.648, A Symphony to Dante's Devina Commedia (ca. 1856-59)0 l3 o( w9 D7 V2 y$ Y1 O
S.649, Fantasie über Beethovens Ruinen von Athen (1865)
, O% M$ y; N4 c0 m& AS.650, Piano Concerto No. 1 in E flat major (1853); Q" A+ f! H7 G" X' W2 k
S.651, Piano Concerto No. 2 in A major (1859)
/ z9 @' M2 U5 F' cS.652, Totentanz. Paraphrase on Dies Irae (1859)9 Y6 C, u) K; V0 W: ]
S.653, Wandererfantasie (Schubert) (a. 1859)
3 D. ~7 V' W* c% n( PS.654, Hexaméron, Morceau de Concert (1837)/ F& S% e! S% D% u) h
S.655, Réminiscences de Norma (Bellini) (1841)
* I; m8 G) t' u/ SS.656, Réminiscences de Don Juan (Mozart) (1841)
. ]& L7 p$ {: v( v) r4 qS.657, Symphony No. 9 (Beethoven) (1851)
7 Y* k* J* W2 B* T% r. \S.657a/1, Piano Concerto No. 3 (Beethoven) (1878)7 `7 ?0 Z/ z* ?, ^) u; {; O
S.657a/2, Piano Concerto No. 4 (Beethoven) (1878)7 E/ |9 w/ g/ l- V
S.657a/3, Piano Concerto No. 5 (Beethoven) (1878): ?9 p! q: F; l9 F
S.657b, Bülow-Marsch [2-pianos, 8-hands] (1884): V, F$ h9 R, z; i  a* j
2.8 Organ(管风琴)
' I. j  j1 m! a; H( F+ G4 T. R2.8.1 Allegri und Mozart0 ]& |3 P2 k# ~7 g& m+ q0 X
S.658, évocation à la Chapelle Sixtine (1862)
. ~$ `6 K8 z( V2 E2.8.2 Arcadelt
1 ~: ?6 A* L7 V3 y, G' }* mS.659, Ave Maria (1862)
6 c( q0 Q$ t+ a- E9 n  n2.8.3 Bach
* Z# E  o# x4 [2 Y/ `, A* Q5 h
4 {: {4 d& ?3 L; SS.660, Einleitung und Fuge aus der Motette Ich hatte viel Bekümmernis und Andante Aus tiefer Not [2 pieces] (1860)
; u3 _/ k( W  _9 L7 c% _+ E8 ?. tS.661, Adagio from Bach Violin Sonata No. 4 (BWV1017) (1864)$ c& o% d$ A$ |' |  p1 g
2.8.4 Chopin& i8 Q3 p2 j$ [; Y+ [4 _" ]$ |

  e$ c8 A: E9 S, ]- p% \S.662, 2 Préludes from Op. 28 (Nos. 4, 9) (1863)! h: i) ~. \8 t2 a
2.8.5 Lassus
+ Q- d: `8 M" D; f  L# o4 [7 e9 T3 M
S.663, Regina coeli laetare (1865)# K9 }) L* o7 @8 b  I
2.8.6 Liszt
5 L6 t+ t$ l( D9 m( B1 N& c- \$ x
- p2 ~7 n6 I9 Q& v! dS.664, Tu es Petrus from Christus (1867)* i: K- p, V1 s1 ~
S.665, San Francesco (1880)
, }( l' O# F! u) J+ F" pS.666, Excelsior! - Preludio (?), V5 }$ z4 {8 z3 J0 p, \
S.667, Offertorium from the Hungarian Coronation Mass (1867)% N3 E8 v, `2 A; |; R1 n
S.668, Slavimo Slavno Slaveni (1863)1 J2 }! x* d; u$ v4 @" z
S.669, Zwei Kirchenhymnen [2 pieces] (1877)
$ T5 r2 Y1 {9 F: x" k* z# ]S.670, Rosario [3 pieces] (1879)1 X6 t" i  Z! g* e/ ^
S.671, Zum Haus des Herrn (In domum Domini ibimus) (1884)
7 ~3 K& c( ~8 F6 i* lS.672, Weimars Volkslied (Cornelius) (1865)
4 h- h! y: E, h- w* NS.673, Weinen, Klagen' Variationen (1863)
' m' P4 z4 A* A) kS.674, Ungarns Gott. A magyarok Istene (Petófi) (1882)/ j( Y2 K+ `9 L. r
S.674a, O sacrum convivium [2 versions] (?)
1 z) h2 N: t. B$ k. [9 ?2.8.7 Nicolai# ]4 M6 g' d( b9 _
5 j# S5 w7 k, T3 ]3 T) Z
S.675, Kirchliche Festoverture (1852)) X& {) O; O% X, J, w4 t
2.8.8 Wagner
" d! Q: {0 Y8 l3 ]( _4 \! S+ n5 C( o' x4 h4 [9 [* Z! E- x
S.676, Pilgerchor from Wagner's Tannhäuser (1860)/ O  e! D  p9 {  b  ?8 M
2.9 Organ with Other Instruments(管风琴和其他)
+ ]  l* ~3 E1 c( v4 U0 x5 T( q* _  j. Q) \2 i# }1 l! V
S.677, Hosannah from Cantico del sol di San Francesco d'Assisi (for organ and bass trombone) (1862)
6 F0 W1 e' q& I1 N  \S.678, Offertorium and Benedictus from the Hungarian Coronation Mass (1869): x' b4 G0 Z/ ]+ ~
S.679, Aria 'Cujus animam' from Rossini's Stabat Mater (for organ and trombone) (?)" n' B. j- o  }
Vocal Arrangements声乐( g' M  e/ Q: w) R

+ _; B- i9 }, W/ jS.680, Ave maris stella (1868): c, |* S+ G; K$ }
681, Ave Maria II (1869)
- y7 m" T5 i0 U* a! c( ZS.682, Air du Stabat Mater (Rossini) (?)
% R$ M% C8 n- X5 f+ e5 BS.683, Serbisches Lied (Hohenzollern-Hechtingen, Prince FWC. von) (?)2 q$ d% x0 w7 Q; U; ?. Z  [1 N
S.684, Barcarolle vénitienne (Pantaleoni) (?)
; K! [8 w6 ]9 f" d; h; V, \S.685, Es hat geflammt die ganze Nacht (Grand Duchess Pavlovna) (?)
$ }8 u, H( a  S" S6 A6 { . i; ?% ^& r" C- e
2.10 Recitations
4 S  _0 Y* W* {3 x; }S.686, Helges Treue (Draeseke) (1860)
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 楼主| geci110 发表于 2015-7-22 18:35:55 | 显示全部楼层
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9 T3 b2 _" x! f: o1 B2 Z$ g8 u
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, e/ i5 L) Y5 u* J- ^0 s
9 y5 V: J4 x: X8 c3 O1 x$ r9 u' O( h' |
3. Appendix0 r4 p1 s$ S- j

" w$ u* n' M: w3.1 Unfinished Works7 I- ]6 v% u8 e2 ~, s

( h' j' ^2 y6 i2 XS.687, Sardanapale (Byron) [opera, partly sketched, 111 pages] (?)
4 p0 ^" o6 Z& ?7 jS.688, Oratorio - Die Legende vom heiligen Stanislaus [sacred choral] (1873-85)( O8 [! D  _) F* _+ r) ^( W( s
S.688a, St Stanislaus fragment [solo piano, Library of Congress] (1880-86)5 r& {; j1 b9 q' ^
S.689, Singe, wem Gesang gegeben [secular choral] (1847)* {( Z' A( {. {' f: l
S.690, Revolutionary Symphony [unfinished, revised 1848] (1830); y+ T! Q2 W/ w8 `. z
S.691, De Profundis [piano and orchestra, De Profundis - Psaume instrumental] (1834?)+ Y' I8 n0 y# M! ]% k' S# W; R4 m
S.692, Violin Concerto [only sketched] (1860)
. m9 Q$ U/ A: Q/ J, q0 [S.692a, The Four Seasons String quartet (Vivaldi) (1880?)
" z( x3 Z" ^0 Q4 QS.692b, Anfang einer jugendsonate [solo piano] (1825)
- M- o( W3 w2 T* [9 f; p# eS.692c, Allegro maestoso [solo piano] (1826)
3 Y7 \, M( ^  u4 A& D$ v0 f+ OS.692d, Rákóczi-Marsch [solo piano, first version, simplified, unfinished] (1839)
* V$ s5 T2 S3 m" QS.692e, Winzerchor (Prometheus) [solo piano] (1850)) k) o0 M; b! }6 b! g1 l
S.693, Deux marches dans le genre hongrois [solo piano, 2 pieces] (1840?)
4 A. F, T3 _; F3 WS.693a, Zwei Stücke aus der heilige Elisabeth [solo piano] (1862)( K2 p! h! w' V
S.694, Fantasie über englische Themen [solo piano] (1840?)
& F0 P0 [9 c+ D5 V2 Z* B5 MS.695, Morceau en fa majeur [solo piano] (1843?)0 ?7 ~7 F( x5 x0 u$ ~
S.695a, Litanie de Marie [solo piano] (1847)
9 d2 v' A6 k. v- C8 X7 R; X3 F8 bS.695b, Zigeuner-Epos [solo piano, 11 pieces] (ca. 1848)
% \; q% |1 r7 j: I9 U& j2 US.696, Mephisto Waltz No.4 (1884) 第四梅菲斯特圆舞曲
4 v0 e# e5 a( P0 w. gS.697, Fantasie über Themen aus Figaro und Don Giovanni (Mozart) [solo piano arrangement] (1842)
; q. _# h$ ?4 o0 K* |8 ]S.698, La Mandragore - Ballade de l'opéra Jean de Nivelle de L. Delibes [solo piano arrangement] (a. 1880)
  M- V5 Q" }  l! vS.699, La Notte (Odes Funèbre no. 2) [solo piano arrangement] (1864-66)6 \1 ?$ S( g. @# A1 c
S.700, Grand Fantaisie (Variations) sur des thèmes de Paganini [first/second version; completed by Mezö] (1845)
& W4 e5 t2 a- h+ Z, J) ]3 D) GS.700a, Variations sur Le Carnaval de Venise (Paganini) [solo piano arrangement] (?)8 y( ?% g7 ]3 D! U, e# i6 r" F
S.701, Den Felsengipfel stieg ich einst hinan [song] (?)
$ P0 Q# Z6 i7 yS.701a, Allegro di bravura [orchestra, arrangement] (ca. 1830)( Q- W- z2 I9 F, }
S.701b, Marie-Poème [solo piano] (1837)4 a: a% `% i; n4 P
S.701c, Andante sensibilissimo [solo piano] (1880-86)
& l( `9 G& M4 p1 GS.701d, Melodie in Dorische Tonart [solo piano] (1860)
! x1 r! L: f2 iS.701e, Dante fragment [solo piano] (1839)& z, U3 `4 z( m" ?" F* y) i. c
S.701f, Glasgow fragment [solo piano] (?)1 F" ]- i* i( g
S.701g, Polnisch - sketch [solo piano] (1870-79)
1 ^3 M7 s; W" oS.701h/1, Operatic aria - and sketched variation [solo piano] (?)$ V3 U: t( {3 b, _- H. j- l
S.701h/2, Valse infernale (Meyerbeer) - theme [solo piano arrangement] (?)
3 m  \) c4 W0 l% M* s2 o1 G. KS.701j, Harmonie nach Rossini's Carità (La charité) [solo piano arrangement] (1847)
- d; H, w) H, ^; e# RS.701k, Korrekturblatt (to an earlier version of La lugubre gondola) [solo piano] (1882)
! P" k, D0 @  I) n3.2 Doubtful or Lost
: |8 ?! ]8 U- R6 |4 D) N+ N8 Z8 T4 j% d0 i8 @
3.2.1 Sacred Choral Works+ {; C, D2 |7 h, E4 W- C

2 z8 ?2 H% \2 Y; l& bS.702, Tantum Ergo (1822)
$ c7 d2 M8 M4 C- A& [S.703, Psalm 2 (1851)
, g) I8 ]/ h! v& Q2 xS.704, Requiem on the death of Emperor Maximilian of Mexico (?)+ p( }, H$ k2 A, G- G/ Z
S.705, The Creation (?)! x/ l$ I1 U; }: f/ E* |2 |; |
S.706, Benedictus [doubtful] (?)
0 H7 w$ c- b3 l/ ~7 p5 zS.707, Excelsior [arrangement, doubtful] (?)
3 Q7 }7 |* [( n/ k1 L5 X3.2.2 Secular Choral Works! C- G0 U& M: L$ L) G

6 v0 @- d  `0 T: t; T, M, g' BS.708, Rinaldo [doubtful] (ca. 1848)# Y3 D9 n& ]( E8 M6 B/ V1 `
3.2.3 Orchestral Works% d- |5 E# y; `- p$ U' p
: b5 x$ o0 I+ r- b
S.709, Salve Polonia [rediscovered, renumbered as S113] (1863)1 d. K3 e2 ^( |' A* ~
S.710, Funeral March (?)+ o- n- L! O, Y
S.711, Csárdás macabre [arrangement] (?)0 x! z; c1 a3 x* b2 P$ G
S.712, Romance oubliée [arrangement] (?)
! U! N' X7 N- ^3 p$ h3.2.4 Piano and Orchestra
; j9 q% c+ T: [; Q+ b  Y; s# X5 b' ~7 t9 Y5 T
S.713/1, Piano Concerto in A minor (1825?)
+ E; {: q% Y+ T5 C5 I0 _% s; b  |S.713/2, Piano Concerto (1825?)
& }% S9 B6 q; c8 D6 ^7 N6 V, aS.714, Piano Concerto in the Hungarian style [by Sophie Menter, renumbered as S126a] (1885)
. R+ ]$ [9 m1 m2 X2 O, {S.715, Piano Concerto in the Italian style (?)4 w& L" ]5 Q# H7 z5 [* Z0 S
S.716, Grande fantaisie symphonique [orchestral] (?)' ?* c& z# k$ G4 }" Z; m7 F2 W; }" q+ P
3.2.5 Chamber Music2 D3 n9 O/ {# c# L

$ h+ h$ X; P$ {S.717, Trio (1825)/ b" `! d" H& i# n; b) b
S.718, Quintet (1825)
7 v' ~% W3 _) g. Q+ Z( f+ M% o* n1 dS.719, The Four Seasons String Quartet (Vivaldi) [rediscovered, renumbered as S692a]
% @% A, i* p1 P2 a" z$ V, \7 ES.720, Allegro moderato (?)# g, A- H# {  H% R# \
S.721, Prelude (?)
0 n. i8 q0 D: v3 t: @4 u5 K' g/ OS.722, La notte (Odes funèbre no.2) [rediscovered, renumbered as S377a] (1864-66)' l9 d& f4 i1 R
S.723, Tristia [arrangement, from Vallée d'Obermann S160/6] (1880-86 ?)
- _& m0 b9 j6 l" V4 p; }S.723a, Postlude on theme from Orpheus [arrangement] (?)0 }, h: @8 C0 J- \7 S
3.2.6 Pianoforte Solo
0 s: x# c" x; ~: X; ^/ h8 m9 I7 m/ l
S.724, Rondo and Fantasy (1824)0 P- L+ g% D% h. ~$ S0 Q
S.725, 3 Sonatas (1825)
& {: E4 W4 p* B. f% _S.726, Study (?)
5 _' r  W/ b* l1 V* b) n9 ?S.726a, Valse (?)# H# ~# j. P8 v  m, z& |- F
李斯特全部作品目录-5
4 r+ z# _6 g* e: z
6 w. c! Y( l8 O) P$ aS.727, Prélude omnitonique (?)8 a3 V$ H) `. W: B; G/ j
S.728, Sospiri (Fünf Klavierstücke) [rediscovered, renumbered as S192/5] (1879)
. N# |, Q7 g; t5 s1 D! c! `: l) CS.729, [rediscovered, renumbered as 42(?)]
7 G' [/ g6 r% D  J: A: V- ]  ES.730, Dem Andenken Petöfis (Petófi Szellemének) [rediscovered, renumbered as S195] (1877)8 E9 k* n; e  t3 p7 \& M; N
S.731, Valse élégiaque (?)3 g8 B( y! M4 k6 X3 J5 y6 F+ w
S.732, Valse Oubliée No.4 [rediscovered, renumbered as S215/4] (1883-84)3 v( k, z, Y9 c" [& E# z
S.733, Marche hongroise (in E flat minor) [rediscovered, renumbered as S233b] (1844)" Z) k9 g2 `( M( A
S.734, Ländler (?)
% m9 V$ k2 p  C5 f9 {4 w0 }$ _7 HS.735, Air cosaque (?)) X, g; D, i9 y; ^/ r
S.736, Kerepsi csárdás (?)2 ^, J- @# C( e' V
S.737, 3 morceaux en style de danse ancien hongrois (?)$ n' b8 v- p/ g4 }  ?
S.738, Spanish folksong arrangement (?)
8 o: M- I. ]( Q: r3.2.6.1 Arrangements
3 ?8 j3 _- ]- K
6 |; ]8 i+ C% T  lS.739, Corolian Overture (Beethoven) (?)( ]/ r$ Z2 @  G  z8 O5 l
S.740, Egmont Overture (Beethoven) (?)* S0 Y+ E( ~9 Z* W
S.741, Le carnaval romain - Overture (Berlioz) (?)
; z% p# q, I: h5 f; cS.742, Duettino (Donizetti) (?)$ X4 W9 S9 O% X( R# A" @
S.743, Soldiers Chorus from Guonod's Faust (?)
, ^- s3 u, h. }S.743a, Fantasia on themes from Halévy's Guitarero (b. 1841)
  j" f( M1 \5 ~9 U- n8 VS.744, Paraphrase on Act 4 of Kullak's Dom Sebastien (?)  L( f0 m6 D. \1 {% `% G( M
S.745, Funeral March (?)5 F- e4 D. V- F- T7 o8 o1 Y
S.746, Andante Maestoso (?)
% b9 u8 }( m/ P% j6 O) H# [S.747, Poco adagio (from Missa Solemnis) (?)
# V; P% s* |, ]4 }& KS.748, Overture to Mozarts "Die Zauberflöte" (?)
- U) r  q" \$ G4 D9 f0 X% s5 l/ _S.749, Preussischer Armeemarsch (Radovsky) (?)
7 e! ~7 H- c6 k. LS.750, Siege de Corynthe, Introduction (?)' c4 l" e9 D3 O0 C) N* Y: F" c
S.751, Nonetto e Mose, Fantasia on themes by Rossini (?)
, {6 \  f" K' O1 G+ N) g+ ES.752, Gelb rollt (Rubinstein) (?)  @- j  f2 G2 K0 a
S.753, Alfonso und Estrella, Act 1 (Schubert) (?)% ~& K' E9 ~& c6 A1 Y! y6 _
S.754, Seconda mazurka variata (Tirindelli) [rediscovered, renumbered as S573a] (1880)
& {( c& k, t& u2 k* [* O  w, I3.2.7 Pianoforte Duet+ J" H: v, ?4 V$ h2 a: ]

$ {% b3 \3 H6 h% }" X$ T9 z5 j& ~S.755, Sonata (?)
" I3 O$ }" v: f9 f3.2.8 Two Pianofortes
! y) b/ K5 A! o! N; w, P0 o7 @
- z: C2 ]1 q3 u/ Y  l1 u7 aS.756, Mosonyis Grabgeleit (?)! P6 j6 `; X2 ~* ~- ^' n
S.757, La triomphe funébre du Tasse (?)
5 [1 j) I7 H, O3 \8 [3.2.9 Organ
+ W, r* Y' G, W# P! |( b
- q. g. R  n  b9 W: bS.758, The Organ (Herder) (?)
# H6 }" }3 E; t. \8 M& [5 OS.759, Consolation [arrangement] (?)
; w/ ?" N5 R5 T& J- {- i9 n* f" @& HS.760, Cantico del sol di St. Francesco [arrangement] (?)
& u. V" N# k' v# E0 Y* Y$ TS.761, Marche funèbre (Chopin) [arrangement] (?)
" L7 N. K& u3 o, O2 z, Z3.2.10 Songs& o. `8 v1 u) S
9 w! h1 l9 T8 X# e, O9 r, y  \/ E
S.762, Air de Chateaubriand (?)/ o1 q" K: s0 R( {, C6 E! l
S.763, Strophes de Herlossohn (?)4 Q2 o* r! V! ?  P! F* E9 |
S.764, Kränze pour chant (?)  ~/ c  f& C! {- q2 [
S.765, Glöcken (Müller) (?); L. o4 d- X/ |5 i5 K( y
S.765a, L'aube naît (Hugo) (1842?)
& x$ w/ k) [9 k  R% F# D; H2 e+ JS.766, Der Papsthymnus (?)
6 X. B. g: O! }  gS.767, Excelsior (?)
1 D  R) G5 ^8 O9 L3.2.11 Recitations  X: k5 g$ Q) Y, t* _' P) O8 f  |2 E

) F  ^) l( B4 B" O9 `S.768, Der ewige jude (Schubart) (?)8 [+ g1 p2 z% a* Y1 s( R
3.3 Supplement  H( u+ W8 z) \* b4 ]
/ \9 j9 _# i3 C, W
S.990, Fantasy and Fugue on the chorale "Ad nos, ad salutarem undam" (played by Liszt to Walter Bache) [solo piano, arrangement] (b. 1862)& N: b9 x: L+ {
S.991, Waltz in A major [chamber, arrangement] (?)
6 [' ?7 [# t" d9 P% rS.993, Wartburg Lieder (Scheffel) [orchestral, arrangement] (?)
6 Y1 m' ^3 l+ @: I6 y/ uS.994, Grand solo caractéristique à propos d'une chansonette de Panseron [solo piano, arrangement] (1830-32)
% k& m" l: ]* d* b9 CS.995, Variations de bravoure sur des thémes de Paganini [unfinished] (1845)5 s+ U% R7 ~$ |0 H2 _* u
S.996, Stabat Mater [solo piano] (1870-79 ?)
5 d4 u8 d; P% z1 R2 b' D6 O  JS.997, 5 Variationen über Romanze aus 'Joseph' (Méhul) (by Franz Xaver Mozart, attributed to Liszt) (ca. 1834)" z% x, a( \" ]8 x/ `/ f5 d
S.998, Adagio in C [solo piano] (1841)
7 c0 x" T" d$ Y0 L+ c- B' L; h/ [S.999, Andante Maestoso [organ] (?)
8 H; Q4 M; N2 b- ^; X1 x1 X降E大调钢琴协奏曲(遗作)Piano Concerto in E flat Major Op.posth
5 j! u) {- w# a9 b& `0 d2首悲歌 2 Elegies
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