李斯特全部作品目录

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》。
: h- t1 Q* b* ?+ U& D李斯特全部作品目录-1

1.1 Opera(歌剧)

$ }' k# I9 g. [# g+ |4 W8 \: `, lS.1, Don Sanche, ou Le chateau de l'amour (1824–25) 歌剧《唐切桑》
, f# C! D* O- x* w1.2 Sacred Choral Works(神圣的合唱作品)

S.2, The Legend of St. Elisabeth (1857–62) 清唱剧《圣伊丽莎白传奇》
) {- S* x+ V2 s; G% L# PS.3, Christus (1855–67) 清唱剧《基督》
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》
S.5, Die heilige Cäcilia (1874)
+ |1 Z$ G' q# K' l4 KS.6, Die Glocken des Strassburger Münsters (Longfellow) (1874)
) Z5 A7 X# n7 p& v! jS.7, Cantantibus organis (1879)
( S9 S0 l+ E, C% {4 {2 OS.8, Missa quattuor vocum ad aequales concinente organo [first/second version] (1848, 1869)
0 ^- a4 E1 G6 E$ j0 L  QS.9, Missa solennis zur Einweihung der Basilika in Gran (Gran Mass) [first/second version] (1855, 1857–58)
S.10, Missa choralis, organo concinente (1865)
: b5 q0 a2 o, [S.11, Hungarian Coronation Mass (1866–67)
S.12, Requiem (1867–68)
S.13, Psalm 13 (Herr, wie lange ?) [first/second/third verion] (1855, 1858, 1862)
S.14, Psalm 18 (Coeli enarrant) (1860)
, ^* `2 ^  q0 s& OS.15, Psalm 23 (Mein Gott, der ist mein Hirt) [first version: chorus, soloist & orchestra] [second version: chorus, soloist & violin, piano, harp, organ] (1859, 1862)
( S9 l5 i  T5 P3 ^# P  xS.15a, Psalm 116 (Laudate Dominum) (1869)
" x5 d" M! ^+ M% mS.16, Psalm 129 (De profundis) (1880–83)
S.17, Psalm 137 (By the Rivers of Babylon) [first/second version] (1859–62)
S.18, Five choruses with French texts [5 choruses] (1840–49)
' _* m6 z% |, [) K7 @" vS.19, Hymne de l'enfant à son réveil (Lamartine) [first/second version] (1847, 1862)
S.20, Ave Maria I [first/second version] (1846, 1852)
S.21, Pater noster II [first/second version] (1846, 1848)
; C0 T# L$ B6 KS.22, Pater noster IV (1850)
S.23, Domine salvum fac regem (1853)
6 B0 ~& k; O  Z* H- D! p' z/ R6 NS.24, Te Deum II (1853?)
S.25, Beati pauperes spiritu (Die Seligkeiten) (1853)
S.26, Festgesang zur Eröffnung der zehnten allgemeinen deutschen Lehrerversammlung (1858)
0 P2 l' ?% e+ e# u! zS.27, Te Deum I (1867)
S.28, An den heiligen Franziskus von Paula (b. 1860)
S.29, Pater noster I (b. 1860)
S.30, Responsorien und Antiphonen [5 sets] (1860)
- B) I2 L6 f! l- y" qS.31, Christus ist geboren I [first/second version] (1863?)
' S% d! t, m) vS.32, Christus ist geboren II [first/second version] (1863?)
S.33, Slavimo Slavno Slaveni! [first/second version] (1863, 1866)
) N% N* q8 B0 o6 _* g7 p* e( XS.34, Ave maris stella [first/second version] (1865–66, 1868)
S.35, Crux! (Guichon de Grandpont) (1865)
S.36, Dall' alma Roma (1866)
S.37, Mihi autem adhaerere (from Psalm 73) (1868)
S.38, Ave Maria II (1869)
S.39, Inno a Maria Vergine (1869)
2 Q0 G( `5 Q6 {) ]1 B! pS.40, O salutaris hostia I (1869?)
S.41, Pater noster III [first/second version] (1869)
S.42, Tantum ergo [first/second version] (1869)
4 z1 M! b: S5 ^4 @$ Z  S9 BS.43, O salutaris hostia II (1870?)
S.44, Ave verum corpus (1871)
' ^  a  ^1 O3 N7 H3 SS.45, Libera me (1871)
4 K/ q3 X8 S2 G3 bS.46, Anima Christi sanctifica me [first/second version] (1874, ca. 1874)
S.47, St Christopher. Legend (1881)
S.48, Der Herr bewahret die Seelen seiner Heiligen (1875)
* O, Y5 ]# n; T4 m% h3 hS.49, Weihnachtslied (O heilige Nacht) (a. 1876)
' k# T0 Y3 j0 v. r$ GS.50, 12 Alte deutsche geistliche Weisen (Chorales) [12 chorals] (ca. 1878-79)
S.51, Gott sei uns gnädig und barmherzig (1878)
S.52, Septem Sacramenta. Responsoria com organo vel harmonio concinente (1878)
S.53, Via Crucis (1878–79)
S.54, O Roma nobilis (1879)
- @: d2 ~* u3 ]! b% M8 {# PS.55, Ossa arida (1879)
' V+ p1 l- S3 i. k* VS.56, Rosario [4 chorals] (1879)
5 J8 `$ F- H" `( o5 ^8 p; oS.57, In domum Domino imibus (1884?)
S.58, O sacrum convivium (1884?)
3 N0 i; l; Y& @5 F! yS.59, Pro Papa (ca. 1880)
S.60, Zur Trauung. Geistliche Vermählungsmusik (Ave Maria III) (1883)
+ @* o  j/ k1 S. F5 zS.61, Nun danket alle Gott (1883)
S.62, Mariengarten (b. 1884)
$ j( Q" k$ N& c( f; _4 M3 ?S.63, Qui seminant in lacrimis (1884)
S.64, Pax vobiscum! (1885)
S.65, Qui Mariam absolvisti (1885)
S.66, Salve Regina (1885)
1 C7 D4 ~0 Z; o, T8 D1 P# v( \1.3 Secular Choral Works(世俗的合唱作品)
S.67, Beethoven Cantata No. 1: Festkantate zur Enthüllung (1845)
. n  k: }0 R( ]6 w) n! t  ]S.68, Beethoven Cantata No. 2: Zur Säkularfeier Beethovens (1869–70)
, W3 Z: D% k/ P! T) JS.69, Chöre zu Herders Entfesseltem Prometheus (1850)
5 p* n4 Y  b0 uS.70, An die Künstler (Schiller) [first/second/third verion] (1853, 1853, 1856)
S.71, Gaudeamus igitur. Humoreske (1869)
S.72, Vierstimmige Männergesänge [4 chorals] (for Mozart-Stiftung) (1841)
S.73, Es war einmal ein König (1845)
S.74, Das deutsche Vaterland (1839)
S.75, über allen Gipfeln ist Ruh (Goethe) [first/second version] (1842, 1849)
8 k: \; h& L4 f$ O' N% _S.76, Das düstre Meer umrauscht mich (1842)
) ^( g. |& K! Z! D3 fS.77, Die lustige Legion (A. Buchheim) (1846)
+ x% f2 B6 `; r. R1 D( t, YS.78, Trinkspruch (1843)
S.79, Titan (Schobert) (1842–47)
S.80, Les quatre éléments (Autran) (1845)
) R6 p+ B2 o5 v1 F9 MS.81, Le forgeron (de Lamennais) (1845)
S.82, Arbeiterchor (de Lamennais?) (1848)
; K. x; a4 J- wS.83, Ungaria-Kantate (Hungaria 1848 Cantata) (1848)
S.84, Licht, mehr Licht (1849)
S.85, Chorus of Angels from Goethe's Faust (1849)
S.86, Festchor zur Enthüllung des Herder-Dankmals in Weimar (A. Schöll) (1850)
* u9 ]" y9 y1 b1 I  H) G) R# _S.87, Weimars Volkslied (Cornelius) [6 versions] (1857)
: e. \# F% e0 C- b& A. \S.88, Morgenlied (Hoffmann von Fallersleben) (1859)
S.89, Mit klingendem Spiel (1859–62 ?)
) N- L5 m0 _# v1 wS.90, Für Männergesang [12 chorals] (1842–60)
S.91, Das Lied der Begeisterung. A lelkesedes dala (1871)
* G" @3 O: [; CS.92, Carl August weilt mit uns. Festgesang zur Enthüllung des Carl-August-Denkmals in Weimar am 3 September 1875 (1875)
S.93, Ungarisches Königslied. Magyar Király-dal (ábrányi) [6 version] (1883)
S.94, Gruss (1885?)
1.4 Orchestral Works(管弦乐作品)

# w4 @& }* ~! q/ F! O5 m1.4.1 Symphonic Poems(交响诗)
& k9 k' l7 L: Q' H- R8 _1 Y
7 S7 Z! n/ }! [2 h3 n/ \5 jS.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
S.96, Poème symphonique No. 2, Tasso, Lamento e Trionfo [first/second/third version] (1849, 1850–51, 1854) 《塔索，哀叹与胜利》
S.97, Poème symphonique No. 3, Les Préludes (1848) 第三交响诗“前奏曲”
7 }! R- N, D7 VS.98, Poème symphonique No. 4, Orpheus (1853–54) 第四交响诗 《奥菲欧》
S.99, Poème symphonique No. 5, Prometheus [first/second version] (1850, 1855) 第五交响诗《普罗米修斯》
6 I" D3 f+ G. K+ C4 fS.100, Poème symphonique No. 6, Mazeppa [first/second version] (1851, b. 1854) 第六交响诗《马捷帕》
S.101, Poème symphonique No. 7, Festklänge [revisions added to 1863 pub] (1853) 第七交响诗《节日之声》
4 P5 R( l- A8 m4 v$ J, a8 GS.102, Poème symphonique No. 8, Héroïde funèbre [first/second version] (1849–50, 1854)  第八交响诗《英雄的葬礼》
S.103, Poème symphonique No. 9, Hungaria (1854) 第九交响诗《匈牙利》
1 O- t. z8 x2 J. s6 {; V" W! qS.104, Poème symphonique No. 10, Hamlet (1858) 第十交响《哈姆雷特》
S.105, Poème symphonique No. 11, Hunnenschlacht (1856–57) 第十一交响诗《匈奴之战》
2 r7 g# ]" r% E% G' i9 K. lS.106, Poème symphonique No. 12, Die Ideale (1857) 第十二交响诗《理想》
( ]$ v5 U' Q7 K5 g$ n' p. A3 SS.107, Poème symphonique No. 13, Von der Wiege bis zum Grabe (From the Cradle to the Grave) (1881–82) 第十三交响诗《从摇篮到坟墓》
% z! q8 Q  w# P1 S% J4 V1 s( G4 K+ e' W1.4.2 Other Orchestral Works(其他管弦乐作品)
) \2 `- X( ]) d; s4 j
2 m; |0 f0 u% h% i2 b& yS.108, Eine Faust-Symphonie [first/second version] (1854, 1861)
S.109, Eine Symphonie zu Dante's Divina Commedia (1855–56)
S.110, Deux épisodes d'apres le Faust de Lenau [2 pieces] (1859–61)
" J1 f3 v6 d) `) t) ^S.111, Zweite Mephisto Waltz (1881)
S.112, Trois Odes Funèbres [3 pieces] (1860–66)
S.113, Salve Polonia (1863)
* Z$ |+ {$ M/ c4 z4 X8 sS.114, Künstlerfestzug zur Schillerfeier (1857)
S.115, Festmarsch zur Goethejubiläumsfeier [first/second version] (1849, 1857)
S.116, Festmarsch nach Motiven von E.H.z.S.-C.-G. (1857)
) G; v0 V8 U! V% u1 vS.117, Rákóczy March (1865)
& q6 B" B- M3 C0 |" m' f  cS.118, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (am 8 Juni 1867) (1870)
) S1 Y7 @9 G5 Z  b" V4 US.119, Ungarischer Sturmmarsch (1875)
* {; x" `- A$ e, k# h/ x1.5 Piano and Orchestra(钢琴与乐队)
/ H8 ], i( D9 A. M' n

S.120, Grande Fantaisie Symphonique on themes from Berlioz Lélio (1834)
8 @: e  i5 b( M3 @; @" w: xS.121, Malédiction (with string orchestra) (1833)  诅咒  钢琴与弦乐队
9 y3 I9 d, u, f6 PS.122, Fantasie über Beethovens Ruinen von Athen [first/second version] (1837?, 1849)
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
6 x: p- D3 Z2 F5 `1 G% 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
% Q0 N& ?1 K: T9 C; u, p% ^S.125, Piano Concerto No. 2 in A major [first/second version] (1839, 1849) A大调第二钢琴协奏曲
S.125a, Piano Concerto No. 3 in E flat (1836–39)
S.126, Totentanz. Paraphrase on Dies Irae [Feruccio Busoni's 'De Profundis'/final version] (1849, 1859) 死之舞 为钢琴与乐队而作
4 e9 t/ S$ Z% mS.126a, Piano Concerto "In the Hungarian Style" [probably by Sophie Menter] (1885)
1.6 Chamber Music(室内乐等)
; M) g, t- z+ O  j. r
S.126b, Zwei Waltzer [2 pieces] (1832)

* r# q. f1 ]7 i) E* ?S.127, Duo (Sonata) - Sur des thèmes polonais (1832-35 ?)
S.128, Grand duo concertant sur la romance de M.Lafont Le Marin [first/second version] (ca. 1835-37, 1849)
S.129, Epithalam zu Eduard. Reményis Vermählungsfeier (1872)
5 T9 D3 r$ u  W8 o2 l( f' E9 JS.130, élégie No. 1 [first/second/third version] (1874)
S.131, élégie No. 2 (1877)
S.132, Romance oubliée (1880)
S.133, Die Wiege (1881?)
S.134, La lugubre gondola [first/second version] (1883?, 1885?)
S.135, Am Grabe Richard Wagners (1883)
1.7 Piano Solo
3 z9 O9 p# o6 ~8 `+ \
8 z1 `- z& ^$ Y1.7.1 Studies(钢琴练习曲)
2 J' m6 s0 W) O( O7 R" F+ m6 J
' p0 J8 W# J5 `* a7 eS.136, études en douze exercices dans tous les tons majeurs et mineurs [first version, 12 pieces] (1826) 12首钢琴练习曲
S.137, Douze grandes études [second version, 12 pieces] (1837) 《12首超技练习曲》
! K% I0 ~3 N7 R& k0 W* ?0 i/ G) ES.138, Mazeppa [intermediate version of S137/4] (1840) 练习曲“玛捷帕”
S.139, Douze études d'exécution transcendante [final version, 12 pieces] (1852) 12首超技练习曲
S.140, études d'exécution transcendante d'après Paganini [first version, 6 pieces] (1838) 帕格尼尼超技练习曲
S.141, Grandes études de Paganini [second version, 6 pieces] (1851)  6首帕格尼尼大练习曲
S.142, Morceau de salon, étude de perfectionnement [Ab Irato, first version] (1840) 高级练习曲“沙龙小品”
* X5 Y5 J2 l0 `, p, R0 h7 ~9 }1 WS.143, Ab Irato, étude de perfectionnement [second version] (1852) 高级练习曲“愤怒”
S.144, Trois études de concert [3 pieces] (1848?)  3首音乐会练习曲
* q4 ?7 _+ u$ @' k* `; o1.    Il lamento
2.    La leggierezza
3.    Un sospiro
S.145, Zwei Konzertetüden [2 pieces] (1862–63)  2首音乐会练习曲
" k" p9 V* `8 I1 A% l" Q/ q1.    Waldesrauschen
2.    Gnomenreigen
S.146, Technische Studien [68 studies] (ca. 1868-80)  钢琴技巧练习
1.7.2 Various Original Works(各种原创作品)

S.147, Variation on a Waltz by Diabelli (1822)  狄亚贝利圆舞曲主题变奏曲
S.148, Huit variations (1824?) 降A大调原创主题变奏曲
S.149, Sept variations brillantes dur un thème de G. Rossini (1824?)
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
S.151, Allegro di bravura (1824) 华丽的快板
& w# N7 ~( O5 q+ ^5 s0 rS.152, Rondo di bravura (1824) 华丽回旋曲
6 E2 M& G& |8 Q# |. \+ B7 |/ W! YS.152a, Klavierstück (?)
S.153, Scherzo in G minor (1827) g小调谐谑曲
- j0 n3 L* \# D) _S.153a, Marche funèbre (1827)
9 H5 u% `8 c: g" t9 ~" dS.153b, Grand solo caractèristique d'apropos une chansonette de Panseron [private collection, score inaccessible] (1830–32) [1]
S.154, Harmonies poétiques et religieuses [Pensée des morts, first version] (1833, 1835) 宗教诗情曲
S.155, Apparitions [3 pieces] (1834) 显现 三首钢琴小品
S.156, Album d'un voyageur [3 sets; 7, 9, 3 pieces] (1835–38) 旅行者札记
+ P9 h) L2 v6 JS.156a, Trois morceaux suisses [3 pieces] (1835–36)
) \- K! C: J' I. KS.157, Fantaisie romantique sur deux mélodies suisses (1836) 浪漫幻想曲
S.157a, Sposalizio (1838–39)
S.157b, Il penseroso [first version] (1839)
, c6 P9 _# s, i9 P8 TS.157c, Canzonetta del Salvator Rosa [first version] (1849)
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
, l+ u! h6 W' d4 m  RS.158a, Paralipomènes à la Divina Commedia [Dante Sonata original 2 movement version] (1844–45)
S.158b, Prologomènes à la Divina Commedia [Dante Sonata second version] (1844–45)
- I0 T( M; p; g( C- j4 H% ~S.158c, Adagio in C major (Dante Sonata albumleaf) (1844–45)
& H; d( J$ ?& W* i! AS.159, Venezia e Napoli [first version, 4 pieces] (1840?)  威尼斯和拿波里
( A5 p- X0 ^( @3 [S.160, Années de pèlerinage. Première année; Suisse [9 pieces] (1848–55)  旅行岁月（第一集）- 瑞士游记
( d& }# Q' f5 ?7 n. JS.161, Années de pèlerinage. Deuxième année; Italie [7 pieces] (1839–49) 旅行岁月（第二集）- 意大利游记
+ m6 t1 w6 z3 c! f9 E& GS.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
2 x( E2 A5 s- bS.162a, Den Schutz-Engeln (Angelus! Prière à l'ange gardien) [4 drafts] (1877–82)
# @' u8 z! c: `! J* Z" jS.162b, Den Cypressen der Villa d'Este - Thrénodie II [first draft] (1882)
S.162c, Sunt lacrymae rerum [first version] (1872)
& N/ J7 @" C; `  oS.162d, Sunt lacrymae rerum [intermediate version] (1877)
/ n" Q, H/ H5 O5 G* q7 H3 t$ _! YS.162e, En mémoire de Maximilian I [Marche funèbre first version] (1867)
0 m) @: P* B' N: G6 p1 {, \( Q/ T7 QS.162f, Postludium - Nachspiel - Sursum corda! [first version] (1877)
S.163, Années de pèlerinage. Troisième année [7 pieces] (1867–77)   旅行岁月（第三集）
5 M9 V+ q  h5 l4 y3 aS.163a, Album-Leaf: Andantino pour Emile et Charlotte Loudon (1828) [2] 降E大调纪念册的一页
. c( c# B) _) G# QS.163a/1, Album Leaf in F sharp minor (1828)降E大调纪念册的一页
S.163b, Album-Leaf (Ah vous dirai-je, maman) (1833)
: R2 O+ c9 T# NS.163c, Album-Leaf in C minor (Pressburg) (1839)
S.163d, Album-Leaf in E major (Leipzig) (1840)
S.164, Feuille d'album No. 1 (1840) E大调纪念册的一页
S.164a, Album Leaf in E major (Vienna) (1840)
. \1 n) {  k7 e7 |! M! ~S.164b, Album Leaf in E flat (Leipzig) (1840)
S.164c, Album-Leaf: Exeter Preludio (1841)
# u: R/ }* R% D+ Z% u, |S.164d, Album-Leaf in E major (Detmold) (1840)
1 l0 [9 g) C& @1 G& _9 M1 qS.164e, Album-Leaf: Magyar (1841)
S.164f, Album-Leaf in A minor (Rákóczi-Marsch) (1841)
S.164g, Album-Leaf: Berlin Preludio (1842)
$ G- g2 `5 t' QS.165, Feuille d'album (in A flat) (1841) 降A大调纪念册的一页
S.166, Albumblatt in waltz form (1841) A大调圆舞曲风格纪念册的一页
3 B9 Y. ]/ [; R0 u! xS.166a, Album Leaf in E major (1843)
; O  ~  A0 {; G! b: z8 TS.166b, Album-Leaf in A flat (Portugal) (1844)
S.166c, Album-Leaf in A flat (1844)
S.166d, Album-Leaf: Lyon prélude (1844)
S.166e, Album-Leaf: Prélude omnitonique (1844)
/ ^& N0 ?, i  I/ d6 W4 ~S.166f, Album-Leaf: Braunschweig preludio (1844)
S.166g, Album-Leaf: Serenade (1840–49)
S.166h, Album-Leaf: Andante religioso (1846)
4 u2 |- f! Y* q4 US.166k, Album Leaf in A major: Friska (ca. 1846-49)
8 w/ u$ V5 ~$ u) m* I- TS.166m-n, Albumblätter für Prinzessin Marie von Sayn-Wittgenstein (1847)
S.167, Feuille d'album No. 2 [Die Zelle in Nonnenwerth, third version] (1843) a小调纪念册的一页
- d& N- I5 k) P9 v$ TS.167a, Ruhig [catalogue error; see Strauss/Tausig introduction and coda]
S.167b, Miniatur Lieder [score not accessible at present] (?)
8 V: Z) j! \# ?! {2 hS.167c, Album-Leaf (from the Agnus Dei of the Missa Solennis, S9) (1860–69)
S.167d, Album-Leaf (from the symphonic poem Orpheus, S98) (1860)
S.167e, Album-Leaf (from the symphonic poem Die Ideale, S106) (1861)
- I- j0 C. |9 a7 x3 w6 `0 `S.167f, Album Leaf in G major (ca. 1860)
S.168, Elégie sur des motifs du Prince Louis Ferdinand de Prusse [first/second version] (1842, 1851) 悲歌
8 s6 j: n" T7 z$ F% r4 v2 Z/ t6 GS.168a, Andante amoroso (1847?)
7 S. f6 O0 k, e7 j/ W8 V* e" }% ZS.169, Romance (O pourquoi donc) (1848) e小调浪漫曲
S.170, Ballade No. 1 in D flat (Le chant du croisé) (1845–48) 叙事曲一
S.170a, Ballade No. 2 [first draft] (1853)
2 h% m$ y1 m" iS.171, Ballade No. 2 in B minor (1853) 叙事曲二
S.171a, Madrigal (Consolations) [first series, 6 pieces] (1844)
; e( A/ I+ F& j' |6 D0 H. j( mS.171b, Album Leaf or Consolation No. 1 (1870–79)
$ H) {8 Q8 M& i1 o( }( vS.171c, Prière de l'enfant à son reveil [first version] (1840)
7 N( {1 l* y' F; i3 D1 sS.171d, Préludes et harmonies poétiques et religie (1845)
5 a- }) Y0 }7 U: B6 CS.171e, Litanies de Marie [first version] (1846–47)
S.172, Consolations (Six penseés poétiques) (1849–50) 6首安慰曲
S.172a, Harmonies poétiques et religieuses [1847 cycle] (1847)
S.172a/3&4, Hymne du matin, Hymne de la nuit [formerly S173a] (1847)
4 }5 r, M6 ^3 ]3 _. Y& mS.173, Harmonies poétiques et religieuses [second version] (1845–52) 诗与宗教的和谐
: y$ e  e5 ~. z8 [, d* cS.174, Berceuse [first/second version] (1854, 1862) 摇篮曲
$ D3 [/ w3 G, Z6 Q1 h3 MS.175, Deux légendes [2 pieces] (1862–63) 2首传奇

1.    St. François d'Assise. La prédication aux oiseaux (Preaching to the Birds)
% X) W: l8 v0 @/ ^; K  d2.    St. François de Paule marchant sur les flots (Walking on the Waves)
S.175a, Grand solo de concert [Grosses Konzertsolo, first version] (1850)
S.176, Grosses Konzertsolo [second version] (1849–50 ?) 独奏大协奏曲
S.177, Scherzo and March (1851) 谐谑曲与进行曲
S.178, Piano Sonata in B minor (1852–53)  b小调钢琴奏鸣曲
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
5 X9 J7 @2 F- f% W. NS.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
S.181, Sarabande and Chaconne from Handel's opera Almira (1881)
S.182, Ave Maria - Die Glocken von Rom (1862) 圣母颂“罗马的钟声”
S.183, Alleluia et Ave Maria [2 pieces] (1862) 哈利路亚与圣母颂
S.184, Urbi et orbi. Bénédiction papale (1864)
S.185, Vexilla regis prodeunt (1864)
S.185a, Weihnachtsbaum [first version, 12 pieces] (1876)
S.186, Weihnachtsbaum [second version, 12 pieces] (1875–76) 钢琴曲集《圣诞树》
S.187, Sancta Dorothea (1877) 圣多萝西娅
S.187a, Resignazione [first/second version] (1877)
S.188, In festo transfigurationis Domini nostri Jesu Christi (1880) 我主耶稣基督之变形
S.189, Klavierstück No. 1 (1866)
- N9 f' _; S% t3 D* D% V! sS.189a, Klavierstück No. 2 (1845)
; h; Y  K. B9 c1 m9 g( V7 _. T" F, FS.189b, Klavierstück (?)
  c! G# j) z* s# }' ~" KS.190, Un portrait en musique de la Marquise de Blocqueville (1868)
: `/ L$ S; b" C- ]7 ~+ r# kS.191, Impromptu (1872) 升F大调即兴曲“夜曲”
. z: |: A: g8 i! A3 jS.192, Fünf Klavierstücke (for Baroness von Meyendorff) [5 pieces] (1865–79) 5首钢琴小品
" z. {9 T$ O2 [; m9 h$ V' c- US.193, Klavierstuck (in F sharp major) (a. 1860) 升F大调钢琴小品
S.194, Mosonyis Grabgeleit (Mosonyi gyázmenete) (1870) 在莫佐尼墓前
$ \: `) P  r& D! f6 F/ FS.195, Dem andenken Petofis (Petofi Szellemenek) (1877) 纪念裴多菲
S.195a, Schlummerlied im Grabe [Elegie No 1, first version] (1874)
S.196, élégie No. 1 (1874)
S.196a, Entwurf der Ramann-Elegie [Elegie No 2, first draft] (1877)
S.197, élégie No. 2 (1877)
4 k  x& y( C4 F. K! G5 bS.197a, Toccata (1879–81) 托卡塔
S.197b, National Hymne - Kaiser Wilhelm! (1876)
S.198, Wiegenlied (Chant du herceau) (1880) 摇篮曲
: S# e% @' E9 t7 x* N4 NS.199, Nuages gris (Trübe Wolken) (1881) 灰色的云
  k+ a0 v! E+ n: X5 fS.199a, La lugubre gondola I (Der Trauergondol) [Vienna draft] (1882)
: y6 ^" w* U( y( D% o0 D' {S.200, La lugubre gondola [2 pieces] (1882, 1885) 葬礼小船
( }- }$ s: Q0 d' D9 z5 p2 I& W  u
% B& g/ g/ r1 S5 c" Z( P: w1 g+ a李斯特全部作品目录-2

" U- |% [/ t5 ~. c9 @" G6 xS.201, R. W. - Venezia (1883) 告别瓦格纳和威尼斯
S.202, Am Grabe Richard Wagners (1883) 在瓦格纳墓前
S.203, Schlaflos, Frage und Antwort (Nocturne after a poem by Toni Raab) (1883) 夜曲“沉睡，思考和回答”
S.204, Receuillement (Bellini in Memoriam) (1877) 冥想
S.205, Historische ungarische Bildnisse (Magyar arcképek) [original version, 7 pieces] (1885) 匈牙利历史人物肖像
S.205a, Historische ungarische Bildnisse [revised order and conclusion, 7 pieces] (1885)
! {  v% l6 F2 fS.206, Trauervorspiel und Trauermarsch (1885) 葬礼前奏曲和葬礼进行曲
& w8 Q5 d/ \3 B8 y8 N, a5 d/ Z4 LS.207, En rêve. Nocturne (1885) 夜曲“梦中”
4 `" |( n" b& _' x* }S.207a, Prélude à la polka de Borodine (and Borodin's Polka) (1880)
S.208, Unstern: sinistre, disastro (1880–86) 凶兆、灾难
1.7.3 Works in Dance Form(为舞蹈的作品)
: k* v4 O/ P) _: ?6 Y7 A1 p8 ~# w
S.208a, Waltz (in A major) (b. 1825) A大调圆舞曲
6 _) g( l5 i5 IS.209, Grande valse di bravura [first version of S214/1] (1835) 华丽的大圆舞曲
5 G8 z: o+ e0 Z' @S.209a, Waltz (in E flat) (1840)
S.210, Valse mélancolique [first version of S214/2] (1839) 忧郁圆舞曲
# w+ Y) Q9 x1 T  p8 W" i* z+ xS.210a, Valse mélancolique [intermediate version] (1840)
! E9 R0 N7 L/ Q2 fS.210b, Valse (in A major) (1830–39)
" r3 E  S; R- e; E% aS.211, Ländler (in A flat major) (1843) 降A大调兰德勒舞曲
S.211a, Ländler (in D major) (1879)
! P2 [! a  r+ BS.212, Petite valse favorite [first/second version] (1842, 1843)
, V! i8 e6 h0 O! K( T8 x. |S.212b, Mariotte. Valse pour Marie (1840)
S.213, Valse-impromptu (1850?) 即兴圆舞曲
S.213a, Valse-impromptu [with later additions] (1880)
1 O; ~7 i8 P8 I. vS.214, Trois caprice-valses [3 pieces] [second versions of S209, S210, S401] (1850?)
S.214a, Carousel de Madame Pelet-Narbone (ca. 1875-81)
S.215, Valses oubliées [4 pieces] (1881–84) 4首被遗忘的圆舞曲
S.215a, Dritter Mephisto-Walzer (Mephisto Waltz No. 3) [first draft] (1883)
S.216, Dritter Mephisto-Walzer (Mephisto Waltz No. 3) (1883) 第三梅菲斯特圆舞曲
" r( H0 g8 f% e" I/ }S.216a, Bagatelle sans tonalité (1885)
) G) a4 P4 }1 x. _7 W+ W* a3 j6 iS.216b, Vierter Mephisto-Walzer (Mephisto Waltz No. 4) [first version] (1885)  第四梅菲斯特圆舞曲
5 t4 h# @$ k* PS.217, Mephisto Polka [first/second version] (1883) 梅菲斯特波尔卡
  ]! L9 l1 ^4 NS.218, Galop (in A minor) (1841?) a小调加洛普舞曲
S.219, Grand galop chromatique [original version] (1838) 华丽的半音阶加洛普舞曲
S.219bis, Grand galop chromatique [simplified version] (1838)
S.220, Galop de Bal (1840?)
S.221, Mazurka brillante] (1850) 华丽玛祖卡
S.221a, Mazurka in F minor [Not by Liszt?] (?)
S.222, [catalogue error; same as S212]
S.223, Deux Polonaises [2 pieces] (1851) 2首波洛奈兹舞曲
S.224, Csárdás macabre (1881–82)
S.225, Two Csárdás [2 pieces] (1884)
/ |7 j4 A. ^1 ZS.226, Festvorspiel (1856)
" ?5 P. G  Q6 i3 {8 T/ T2 ]9 MS.226a, Marche funèbre (1827)
S.227, Goethe Festmarsch [first version] (1849)
, d2 F3 `! Q8 [4 K. N2 h3 x- xS.228, Huldigungsmarsch [first/second version] (1853)
, W' n; q4 c5 @6 G0 JS.229, Vom Fels zum Meer! - Deutscher Siegesmarsch (1853–56)
+ ^1 k1 {& L- m2 @$ ES.230, Bülow-Marsch (1883)
* r/ c5 b6 L, p5 Q) H7 i8 WS.230a, Festpolonaise (1876)
S.231, Heroischer Marsch in ungarischem Stil (1840)
) y  D; F( E, o" u3 zS.232, Ungarischer Sturmmarsch [earlier version of S524] (1843?)
S.233, Ungarischer Geschwindmarsch (1870)
2 f, G, ]& {$ r0 C3 cS.233a, Siegesmarsch. Marche triomphale (Victory March) (?)
# P# F6 M3 R5 @: NS.233b, Marche hongroise (in E flat minor) (1844)
1.7.4 Works on National Themes(主题作品)

/ ?9 [6 H; }8 P9 g$ T* h+ @$ r4 q) v0 `1.7.4.1 Czech
+ V' G3 }+ h/ T) [0 z
2 g1 l, r* C. L: J1 \+ i% YS.234, Hussitenlied (Melody by J.Krov) (1840)
1.7.4.2 English
1 |8 X$ \1 }5 P0 j2 Q3 ]% V1 w
S.235, God Save the Queen (1841)
) I9 Q  @4 M. y! e1.7.4.3 French

# D8 x5 w- W* C+ `, t2 N$ h% L( g9 QS.236, Faribolo Pasteur and Chanson du Béarn [2 pieces] (1844)
  a( w) X# T0 E4 y7 D7 ]- [S.237, La marseillaise (1872?)
S.238, La cloche sonne (1850?)
% c( c7 T- p0 o2 u5 V. P2 DS.239, Vive Henri IV (1870-80 ?)
3 k, D# E4 W6 V% e1.7.4.4 German
, ~/ g6 Q/ W: _
S.240, Gaudeamus igitur. Concert paraphrase [first/second version] (1843, 1853)
4 |2 R8 V% B! K0 v1 R7 K3 ]& z1.7.4.5 Hungarian
3 B3 D1 i2 J, T9 q, q
! a- p& z$ q  V, k: t% @S.241, Hungarian Recruiting Songs (Zum Andenken) (By Fáy & Bihari) (1828)
. t0 [" a& g1 g! wS.241a, Ungarische Romanzero (Hungarian Songbook) [18 pieces] (1853)
4 ~, p. u7 \/ Y9 |; hS.241b, Magyar tempo (1840)
S.242, Magyar Dalok: Magyar Rapszódiák [21 pieces] (1839–47)
5 y$ ^- [4 D5 q# LS.242a, Rákóczi-Marsch [first version] (1839–1840)
3 W2 v# ?. m& |. `% {! }S.243, Ungarische National-Melodien [3 pieces] (ca. 1843)
S.243a, Célèbre mélodie hongroise (a. 1866)
S.244, Hungarian Rhapsodies (Rapsodies hongroises) [19 pieces] (1846–86)  19首匈牙利狂想曲
S.244a, Rákóczi-Marsch [from orchestral version] (1863)
6 s1 p* n& }" t+ \3 D& y% u9 xS.244b, Rákóczi-Marsch [simplified version of S244a] (1871)
S.244c, Rákóczi-Marsch [popular version] (?)
- M! c, ~. z/ V" Z/ oS.245, Fünf ungarische Volkslieder (Abranyi) [5 pieces] (1873)
S.246, Puszta-Wehmut (A Puszta Keserve) (1880–86 ?)
1.7.4.6 Italian

S.248, Canzone Napolitana [first/second version] (1842)
1.7.4.7 Polish

% L- ~( }' V3 L# eS.249, Glanes de Woronince [3 pieces] (1847–48)
8 @( c' f* p4 X9 y# N! KS.249a, Mélodie polonaise [short draft] (1871)
5 h$ E2 X6 |7 w/ [* t# D; bS.249b, Dumka (1871)
  Z3 w6 l% }9 pS.249c, Air cosaque (1871)
' G# c, h# m7 b  `& `/ L( Q; F/ C1.7.4.8 Russian

S.250, Deux mélodies russes. Arabesques [2 pieces] (1842)
S.250a, Le rossignol (Alyabyev) [first version of S250/1] (1842)
S.251, Abschied. Russisches Volkslied (1885)
, X5 p" P6 p6 n1.7.4.9 Spanish

S.252, Rondeau fantastique sur un thème espagnol, El Contrabandista (Garcia) (1836)
( r/ I+ n+ U- X; V' Y$ [( eS.252a, La romanesca [first/second version] (ca. 1832, b. 1852)
S.253, Grosse Konzertfantasie über Spanische Weisen (1853)
S.254, Rhapsodie espagnole (1863?) 西班牙狂想曲
* s8 |. }3 I* Y4 |- _; oS.254x, Rapsodie espagnole [orchestrated by Feruccio Busoni] (?)
( K& V1 a! r' A1.8 Piano Duet(钢琴二重奏)
' K. q3 Y) Y' x, c% E
S.255, Festpolonaise [now S619a] (1876)
S.256, Variation on the Chopstick Theme (1880)
S.256a, Nottorno [Not by Liszt?] (?)
1.9 Two Pianos(双钢琴)
% x; S! i! [9 @0 m0 I
1 L: l2 Z* R) Y& F# r  |' qS.257, Grosses Konzertstück über Mendelssohns Lieder ohne Worte (1834)
0 Q6 N* d' \: JS.258, Concerto pathétique (b. 1856)  e小调钢琴协奏曲“悲怆”
: |! m1 ~  J& N# A  Q* i1.10 Organ(管风琴)
+ l. G3 @( N/ g/ B4 I5 P
4 {( j5 p! o( m& q% w+ b; {9 I9 A- OS.259, Fantasy and Fugue on the chorale Ad nos, ad salutarem undam (1850)
S.260, Präludium und Fuge über das Thema BACH [first/second version] (1855, 1870)
# ~$ ^7 n2 B/ b, c6 zS.261, Pio IX. Der Papsthymnus (1863?)
S.261a, Andante religioso (1861?)
% @9 |( `$ r* B5 KS.262, Ora pro nobis. Litanei (1864)
% S5 @+ x2 r. C" z$ O) Z# qS.263, Resignazione (1877)
6 _: \7 H/ I! s1 QS.264, Missa pro organo lectarum celebrationi missarum adjumento inserviens (1879)
S.265, Gebet (1879)
" `' u  n0 C. n. r& ?5 F' XS.266, Requiem für die Orgel (1883)
. A/ l! }/ l5 NS.267, Am Grabe Richard Wagners (1883)
S.268, Zwei Vortragsstücke [2 pieces] (1884)
1.11 Songs(歌曲)

9 R+ [. o& @& D- e/ l- i# AS.269, Angiolin dal biondo crin (Marchese C. Bocella) [first/second version] (1839, ?)
; B7 e$ [) s; ]# s( l, t2 ZS.270, Three Petrarch Sonnets [3 songs, first/second version] (1844–45, 1854]
/ }8 ?* ]3 G# M. R( \S.271, Il m'aimait tant (Delphine Gay) (1840?)
' W1 b- C" u' f+ T* i" U9 k4 MS.272, Am Rhein im schönen Strome (Heine) [first/second version] (1840?, 1854)
. [* ~2 k; e3 j8 Z6 S1 f7 P- H; `* i1 [S.273, Die Lorelie (Heine) [first/second version] (1841, ?)
S.274, Die Zelle in Nonnenwerth [first/second version revised 1862] (b. 1841, 1857)
S.275, Mignons Lied (Kennst du das Land) (Goethe) [first/second/third version] (1842, 1854, 1860)
S.276, Comment, disaient-ils (Hugo) [first/second version] (1842, ?)
9 l& u/ u& t) u# eS.277, Bist du (Prince E. Metschersky) [first/revised version] (1843, ca. 1878-79)
$ ^& F( ]  H& m! K8 DS.278, Es war ein König in Thule (Goethe) [first/second version] (1842, ?)
S.279, Der du von dem Himmel bist (Goethe) [first/second/third version] (1842, ?, 1860)
S.280, Freudvoll und leidvoll (Goethe) [first/second/third version] (1844, 1848?, ?)
; @1 V! Q/ n: C# _S.281, Die Vätergruft (1844)
+ h! \$ U6 s- cS.282, O quand je dors (Hugo) [first/second version] (1842, ?)
$ [& P1 v" p: i9 N7 ]* o6 \S.283, Enfant, si j'etais roi (Hugo) [first/revised version] (1844?, ?)
2 ~0 e6 X, U  O, Q/ d! RS.284, S'il est un charmant gazon (Hugo) [first/revised version] (1844?, ?)
S.285, La tombe et la rose (Hugo) (1844?)
4 ]7 L8 c# d/ Q! t- C/ Q4 QS.286, Gastibelza, Bolero (Hugo) (1844?)
3 m+ |2 b) _; p# Y3 y: ?S.287, Du bist wie eine Blume (Heine) (1843?)
S.288, Was Liebe sei (C. von Hagn) [first/second/third version] (1843?, ca. 1855, 1878–79)
$ e+ T2 O; f6 V; p9 N& R& i8 f3 B' nS.289, Vergiftet sind meine Lieder (Heine) [first/revised version] (1842, ?)
. e/ ?) {% e/ P; a# b' NS.290, Morgens steh ich auf und frage (Heine) [first/revised version] (1843?, ca. 1855)
" W9 f& w. m4 P0 g5 {4 S) US.291, Die todte Nachtigall (Kaufmann) [first/revised version] (1843?, 1878)
S.292, Songs from Schiller's Wilhelm Tell [3 songs, first/revised version] (1845?, ?)
S.293, Jeanne d'Arc au bûcher (Dumas) [first/revised version] (1845, 1874)
S.294, Es rauschen die Winde [first/second version] (ca. 1845, b. 1856)
/ ?# Y1 D9 B3 H8 G) }" v  qS.295, Wo weilt er? (Rellstab) (1844)
S.296, Ich möchte hingehn (Herwegh) [revised later] (1845)
) ~7 t( g* U! C: [4 I2 T# O( Z2 o7 IS.297, Wer nie sein Brot mit Tränen ass (Goethe) [first/revised version] (ca. 1845)
+ C; C! ^& ?& J3 E' T& xS.298, O lieb so lang du lieben kannst (Freiligrath) (1845?)
- R: |/ q* F3 I* o: ~, o. x0 RS.299, Isten veled (Farewell) (Horvath) [first/revised version] (1846–47)
S.300, Le juif errant (Béranger) (1847)
S.301, Kling leise, mein Lied [first/revised version] (1848)
S.301a, Oh pourquoi donc (Mme Pavloff) (1843)
S.301b, En ces lieux. élégie (E. Monnier) (1844)
6 t$ o$ O0 H8 M/ Q  s0 P. aS.302, Die Macht der Musik (Duchess Helen of Orleans) (1848–49)
S.303, Weimars Toten. Dithyrambe (Schober) (b. 1848)
7 Q$ R- c; E6 f; v$ p8 hS.304, Le vieux vagabond (Béranger) (b. 1848)
( e* p. r; q, l* K2 _  t# F: YS.305, Schwebe, schwebe, blaues Auge [first/revised version] (1845, ?)
S.306, über allen Gipfeln ist Ruh [first/revised version] (1847?, ?)
$ f3 Y( j, e( C! ~7 W9 c$ Y9 J6 lS.306a, Quand tu chantes bercée (Hugo) (1843)
S.307, Hohe Liebe (Uhland) (1850?)
S.308, Gestorben war ich (Seliger tod) (Uhland) (1850?)
S.309, Ein Fichtenbaum steht einsam (Heine) [first/revised version] (ca. 1845, 1854)
S.310, Nimm einen Strahl der Sonne (1849)
) P+ O( M# X% Y& z2 kS.311, Anfangs wollt' ich fast verzagen (Heine) (1849)
: A* a! O3 C, b4 iS.312, Wie singt die Lerche schön (Hoffmann von Fallersleben) (1856?)
S.313, Weimars Volkslied (Cornelius) (1857)
S.314, Es muss ein wunderbares sein (Redwitz) (1852)
S.315, Ich liebe dich (Rückert) (1857)
S.316, Muttergottes - Sträusslein zum Mai-Monate (Müller) [2 songs] (1857)
' |1 B  Y$ f8 _  l! qS.317, Lasst mich ruhen (Hoffmann von Fallersleben) (1858?)
( o' W0 \  ^2 o- W! V& x+ @S.318, In Liebeslust (Hoffmann von Fallersleben) (1858?)
* T. x' @. l, P& r" |: yS.319, Ich scheide (Hoffmann von Fallersleben) (1860)
' f6 `3 @( n1 Q6 n" Y- ^S.320, Die drei Zigeuner (Lenau) (1860)
S.321, Die stille Wasserrose (Geibel) (1860?)
S.322, Wieder möcht ich dir begegnen (Cornelius) (1860)
- a5 i1 j, T! o5 F. u: `( h7 CS.323, Jugendglück (Pohl) (1860?)
- [5 X: l5 I; V& U0 US.324, Blume und Duft (Hebbel) (1854)
# J1 I4 z9 Q* w8 h/ ]# v- oS.325, Die Fischertochter (Count C. Coronini) (1871)
S.326, La perla (Princess Therese von Hohenlohe) (1872)
S.327, J'ai perdu ma force est ma vie. 'Tristesse' (de Musset) (1872)
S.328, Ihr Glocken von Marling (Emil Kuh) (1874)
" K# S! J' K# w: B+ U* d' W2 xS.329, Und sprich (Biegeleben) [revised 1878] (1874)
! N! n% k# W& W* CS.330, Sei Still (Henriette von Schorn) (1877)
! N, v. T7 f5 U$ {* \& u0 B1 C* ~S.331, Gebet (Bodenstedt) (1878?)
S.332, Einst (Bodenstedt) (1878?)
S.333, An Edlitam (Bodenstedt) (1878?)
# ^5 H$ F- Z; ]S.334, Der Glückliche (Bodenstedt) (1878?)
S.335, Go not, happy day (Tennyson) (1879)
S.336, Verlassen (G.Michell) (1880)
; `6 D% v" K  f$ RS.337, Des tages laute stimmen schweigen (F. von Saar) (1880)
S.338, Und wir dachten der Toten (Freiligrath) (1880?)
8 }- J! r# H6 m4 h- x. C, t7 v6 gS.339, Ungarns Gott. A magyarok Istene (Petófi) (1881)
S.340, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)
2 w, R- m7 u4 [9 \& K1 XS.340a, Ne brani menya, moy drug. (Tolstoy) (1886)
1.12 Other Choral Works(其他合唱作品)
1 q$ l% g* ^% [6 {/ Z; QS.341, Ave Maria IV (1881)
S.342, Le crucifix (Hugo) (1884)
S.343, Sancta Caecilia (1884)
7 Z. G1 l( f5 K% `6 g1 oS.344, O Meer im Abendstrahl (Meissner) (1880)
S.345, Wartburg-Lieder from Der Braut Willkomm auf Wartburg (Scheffel) [7 chorals] (1872)
5 U/ q# F: ?  m  v5 A1.13 Recitations(叙事歌谣颂诗)
S.346, Lenore (Bürger) (1858)
, D" N6 ^% B1 m9 ]6 GS.347, Vor hundert Jahren (F. Halm) (1859)
S.348, Der traurige Mönch (Lenau) (1860)
) W2 \5 ^% z& R2 V, a4 CS.349, Des toten Dichters Liebe (Jókai) (1874)
# [& M8 K  B& o& b" m: z# \S.350, Der blinde Sänger (Alexei Tolstoy) (1875)
2. Arrangements, Transcriptions, Fantasies, etc.

2.1 Orchestral Works(管弦乐作品)

2.1.1 Bülow

, r3 b# Y  e5 V0 G. u/ CS.351, Mazurka Fantasie, Op. 13 (1865)
/ J6 t- k0 D  ]+ p0 J2.1.2 Cornelius
0 o# W0 u! o1 c/ |( q' [/ m
7 r+ S& x- p7 y/ o7 n4 F4 ~S.352, Second Overture to The Barber of Baghdad [completed from Cornelius's sketches] (1877)
% x% [( i( l* a  Y2.1.3 Egressy and Erkel
: V+ c! c$ }# U' p- K
( t' C8 X5 f5 ^0 p# w4 ?S.353, Szózat und Hymnus (1873)
, I- n  t: Z  l% d2.1.4 Liszt
. p# b# \* n% h+ V% }5 j. H
% g% M# R6 x( [: J1 W5 G  `; @S.354, Deux légendes (1863)
S.355, Vexilla regis prodeunt (1864)
, f, z* }1 G% J6 ]" L- TS.356, Festvorspiel (1857)
S.357, Huldigungsmarsch [first/second version] (1853, 1857)
7 D$ ?  ]+ t: Q0 e( ?. DS.358, Vom Fels zum Meer. Deutscher Siegesmarsch (1860)
S.359, 6 Rapsodies hongroises (Hungarian Rhapsodies) (?)
& [5 L6 Q0 i# l: E: wS.360, A la chapelle Sixtine (Liszt, Allegri & Mozart) [orchestral arrangement of S461, based on Mozart's Ave verum corpus and Allegri's Misere] (1862)
+ s. \7 B! K+ g2 j# `0 ?S.361, Pio IX. Der Papsthymnus (ca. 1863)
S.362, Benedictus and Offertorium from the Hungarian Coronation Mass [from S11] (1875)
1 i- p: t+ q" D: h/ R7 m! A2.1.5 Schubert

S.363, 4 Marches [from Opp. 40, 54, 121] (1859-60)
+ x# R6 A2 N! }; n+ `/ H/ s0 ]% n2.1.6 Zarembski
9 F( n4 m, I  a, ]
' m& `5 E. d3 h- W9 W3 N; ^S.364, Danses galiciennes (1881)
9 i8 n% s/ L0 L$ z( Z% M  S. r2.2 Pianoforte and Orchestra(钢琴与乐队)

2.2.1 Liszt
. [, U" F$ M/ N8 c8 c, H* d0 x
9 c5 j' X6 U* {3 tS.365, Grand solo de concert [prepared by Leslie Howard] (1850)
S.365a, Concerto pathétique (No. 4) in E minor [Liszt, Reuss version] (1885-86)
* v" ~  `+ a# O8 y- hS.365b, Hexaméron, Morceau de concert [orchestration completed by Leslie Howard] (ca. 1839)
0 R! H# \9 Z1 [5 F8 z( a! n" N2 b2.2.2 Schubert

* K8 w5 F- Z6 Y( x( ^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
2.2.3 Weber
' n  G; b& J5 v) [# q
: i( @& A& G- qS.367, Polonaise brillante, Op. 72 (1849) 华丽波洛涅兹 为钢琴与乐队而作
2.3 Songs with Orchestra(声乐与乐队)

2.3.1 Korbay

S.368, 2 Songs (Le Matin by Bizet and Gebet by Geibel) (1883)
2.3.2 Liszt
) x  n5 d* ^' U; h+ C
8 t2 C3 D5 l2 b8 d7 y0 rS.369, Die Lorelei (Heine) (1860)
$ V" G  F; T7 HS.370, Mignons Lied (Kennst du dass Land) (Goethe) (1860)
. s! U% v  f( _% r2 \8 h4 XS.371, Die Vätergruft (Uhland) (1886)
S.372, Songs from Schillers Wilhelm Tell (ca. 1855)
S.373, Jeanne d'Arc au bûcher (Dumas) [first/second version] (1858, 1874)
9 |( J0 x6 Z: Y- DS.374, Die drei Zigeuner (Lenau) (1860)
2.3.3 Schubert
* o- |$ x0 |( {  c3 a
S.375, 6 Songs (1860)
S.376, Die Allmacht (1871)
2.3.4 Zichy

S.377, Der Zaubersee. Ballad (Zichy) (1884)
2.4 Chamber Music(室内乐等)
$ E2 r; e/ B/ \% T" c2.4.1 Liszt
# m* D: j' O# u; z- X) d: S
$ r) V7 `' j5 X+ Z) j  S  oS.377a, La notte (Odes funèbre No. 2) (1864-66)
S.378, Angelus! - Priere aux anges gardiens [first/second version] (1877, 1880)
/ b8 Z" c5 |* NS.379, Rapsodie hongroise No. 9 (Pester Karneval) (?)
6 e8 |( P. D9 V, B" X: CS.379a, Rapsodie hongroise No. 12 (1850-59)
8 x* z# n: N6 W% y; m! C& K+ qS.379b, Puszta-Wehmut (A Puszta Keserve) (ca. 1871)
1 s" m( g/ X6 R& L: g# ~/ SS.380, O du mein holder Abendstern from Tannhäuser (Wagner) (1852)
% E1 Y# b" \7 aS.381, Benedictus and Offertorium from the Hungarian Coronation Mass [from S11] (1862)
S.381a, Ungarns Gott. A magyarok Istene (Petófi) (1882)
5 h4 b% f7 ]7 {8 ?S.382, Die Zelle im Nonnenwerth (ca. 1880-86)
5 _/ S3 @) V' n& o$ I# I. l: [' KS.383, Die drei Zigeuner (Lenau) (1864)
. F2 u+ R, y) Y+ Z& Y" y* x2.5 Pianoforte Solo
% a. T6 Z# b/ `
2.5.1 Paraphrases, Operatic Transcriptions, etc.(歌剧改编独奏)
  \. B/ _, Q! A; v/ Y- o3 `
1 J: a+ q3 F3 }; L# t5 P2.5.1.1 ábrányi
# M, \( K6 h  d$ C6 Y5 I
  }9 x9 _8 L8 P* Z( h2 }1 ZS.383a, Elaboration on Virág dal (1881)
9 b' X' w4 |) V* r3 R6 C$ `2.5.1.2 Alyabyev
* P$ k) Y3 A; ]
3 X6 O6 P7 q/ j! e* q* M6 US.384, Mazurka pour piano composée par un amateur de St. Petersbourg (1863)
S.384a, Variations on Tiszántúli szép leány [anonymous, not by Liszt?] (1846)
2.5.1.3 Auber

9 M( R4 F; A3 h6 ?  ]% r; pS.385, Grande Fantaisie sur la Tyrolienne de l'opera La Fiancée [first/second/third version] (1829, 1835, 1842)
' m) W$ W; ~% B; B- _$ jS.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
- p* ?6 s5 p' o4 S9 t9 }' OS.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
S.387, Three Pieces on themes by Auber [with intro piece] (a. 1846)
, Y, q- |0 c% Q: Q! l; aS.387a, Piece on an unknown theme (1847)
+ a  k$ |; Q8 M) X- @/ U& O% h* B2.5.1.4 Beethoven

5 o! U/ n$ I: N2 r4 JS.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
S.388a, Marche turque des Ruines d'Athenes (1846)
S.388b, Fantasie über Beethoven's Ruinen von Athen [first version] (1837)
  R8 m( ~' W' z% P( a. a# s* A* }! dS.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.389a, Cadenza to the first movement of Beethoven's Piano Concerto No. 3 (1879)
) z* M8 A( [+ M, Q) w4 ]( [2.5.1.5 Bellini

2 \, m2 ^) X7 L$ HS.390, Reminiscences des Puritains [first/second version] (1836, 1837)
S.391, I Puritani. Introduction and Polonaise (1840)
S.392, Hexaméron, Morceau de Concert (1837)
. w. f% z, Y- e+ Y6 ~S.393, Fantaisie sur des motifs favoris de l'opéra La Sonnambula [first/second/third version] (1839, 1840-41, 1874)
S.394, Réminiscences de Norma (1841-43)
, @* v; j6 J# c* t* v' |2.5.1.6 Berlioz
! m, p7 u0 H( U& e5 A
8 R" Q% V& n3 U6 Y0 O- aS.395, L'Idée fixe: Andate amoroso [first/second version] (1833 or 1846?, 1865)
S.396, Benediction et Serment from Benvenuto Cellini (1852)
2.5.1.7 Donizetti, Gaetano
9 G; y2 o3 C  q% ]2 X7 l# I
S.397, Réminiscences de Lucia di Lammermoor (1839)
" ]% _8 x+ e5 [: v. u2 wS.398, Marche Funebre et Cavatine de Lucie de Lammermoor (1839)
S.399, Nuit d'été à Pausilippe [3 pieces] (1839)
S.399a, Lucrezia Borgia - Grande fantaisie [first version of S400ii] (1840)
2 c' m& \0 ~% \
" L- t: m8 Y3 v' M' I8 B李斯特全部作品目录-3

S.400, Réminiscences de Lucrezia Borgia [first/second version] 1840
S.401, Valse a capriccio sur deux motifs de Lucrezia et Parisina [first version of S214/3] (1841)
6 P+ t6 y4 b# U8 B9 x0 gS.402, Marche funèbre de Dom Sébastien (1844)
+ _1 \, l$ L+ t5 d. ^1 g# O, C2.5.1.8 Donizetti, Giuseppe

S.403, Marche pour le Sultan Abdul Medjid-Khan [first/simplified version] (1847, 1848)
% g2 J& Z: W8 g: C2.5.1.9 Duke Ernst
0 P. I! }$ ?3 z4 _+ b
+ R- d6 h' t. c6 HS.404, Halloh! Jagdchor und Steyrer from the opera Tony (1849)
2.5.1.10 Erkel, Franz
: E4 w5 G# C- P& X  d/ e$ ~! B7 R4 C
S.405, Schwanengesang and March from Hunyadi Laszlo (1847)
2.5.1.11 Festetics

S.405a, Pásztor Lakodalmus Variations - Mélodies hongroises [elaboration by Liszt] (1858)
* P$ E* W' O; |6 ~2 m. u* R; j6 K2.5.1.12 Glinka
. i% d3 ^% k& f6 B' P% x. I, x0 {
- o7 M) A% O5 q2 w0 \+ aS.406, Tscherkessenmarsch from Ruslan i Lyudmila [first/second version] (1843, 1875)
2.5.1.13 Gounod
0 ^" |5 G, S& n- c( H) f
! ~: B9 W* g% sS.407, Valse de l'opéra Faust (b. 1861)
: X2 O6 L8 q7 K0 jS.408, Les Sabéennes. Berceuse de l'opéra La Reine de Saba (1861)
S.409, Les Adieux. Rêverie sur un motif de l'opéra Romeo et Juliette (1867)
1 a1 u( v+ w* A2.5.1.14 Halévy
* R) e  [2 |5 z" g7 T" YS.409a, Réminiscences de La Juive (1835)
, P0 Q/ n7 ~8 N3 F" U9 h2.5.1.15 Mendelssohn
9 Y. ~! c% h2 \8 H% W# ?S.410, Hochzeitsmarsch und Elfenreigen aus dem Sommernachtstraum (1847-50)
2.5.1.16 Mercadante
- X# y: {4 Q7 [  s  ^' f% }7 d7 V0 {S.411, Soirée italienne. Six amusements (1838)
2.5.1.17 Meyerbeer
7 U* q  R3 q6 S5 x) jS.412, Réminiscences des Huguenots - Grande fantaisie dramatique [first/second version] (1836, 1842)
S.412a, Réminiscences de Robert le Diable - Cavatine (1846?)
S.413, Réminiscences de Robert le Diable - Valse infernale (1840)
  d2 R- G* Z# L/ t9 n- }" VS.414, Illustrations du Prophète [4 pieces, 4th=S624] 1849-50
0 h3 }- g9 r& o6 L3 R7 CS.415, Illustrations de l'Africaine [2 pieces] 1865
9 H1 N$ ^8 k/ Q1 K: y- g# j7 gS.416, Le Moine (1841)
- C5 }# d' z' B2 U: L  [6 h2.5.1.18 Mosonyi, Michael
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
2.5.1.19 Mozart
S.418, Réminiscences de Don Juan (1841)
1 M% y! B  k+ |, K2.5.1.20 Pacini
" |) H  v5 G+ u2 p+ n  m& p5 VS.419, Divertissement sur la cavatine "I tuoi frequenti palpiti" (1835) 嬉游曲 S.419 - 根据帕奇尼歌剧《奈奥比》主题改编
2.5.1.21 Paganini
S.420, Grande Fantaisie de bravoure sur La Clochette (1832-34)  华丽的钟声幻想曲
2.5.1.22 Raff
S.421, Andante Finale and March from the opera König Alfred [2 pieces] (1853)
2.5.1.23 Rossini
7 u! B7 M* V! c' A" `! sS.421a, Introduction et Variations from "Siege of Corinth" [introduction only] (1839?)
S.422, Première grande fantaisie (Soirées musicales) [first/second version] (1836)
S.422i, La serenate e l'orgia - Première grande fantaisie (Soirées musicales) [first version] (1836)
8 T2 V3 M/ e( }- yS.423, Deuxième grande fantaisie (Soirées musicales) (1836)
S.424, Soirées musicales [12 pieces] (1837)
" b; F; r# s* N2 y, l3 M2.5.1.24 Schubert
% c! o  v" ]+ a' wS.425, Mélodies hongroises [3 pieces] (1839–40)
S.425a, Mélodies hongroises [revised versions] (1846)
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
S.426a, Marche militaire (ca. 1870)
0 r' f' t& q) m$ I' o$ SS.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
2.5.1.25 Sorriano
9 E/ p) p4 j6 I8 TS.428, Feuille morte. Elégie d'après Sorriano (1844-45)
8 O; q& Z, [! @" I( d9 d" Z6 O2.5.1.26 Tchaikovsky
/ O) ~, Y3 T' R, ^S.429, Polonaise from Eugene Onegin (1879)
2.5.1.27 Végh, Janos
S.430, Valse de concert (1882-83)
/ C$ m4 Q9 U/ J+ \: ^5 O% G2.5.1.28 Verdi
S.431, Salve Maria de Jerusalem from I Lombardi [first/second version] (1848, 1882)
( L) z7 i1 b2 E9 X5 T1 f9 K% pS.431a, Ernani - Première paraphrase de concert (1847)
5 B5 }0 L, b. u  W( x/ a; aS.432, Ernani - Paraphrase de concert (No. 2) [first/second version] (b. 1849, 1860)
# ]4 l9 a7 F. h, y/ T% ZS.433, Miserere du Trovatore (1860)
) r* X6 x6 ~2 F% Y" ]' ~; Y1 i' US.434, Rigoletto Paraphrase de Concert (1859)
9 z% @4 h2 e3 E6 u: Y* vS.435, Don Carlos Coro e Marcia funebre (1867-68)
. x: H2 e" a& r3 w+ ]. `S.436, Aida Danza sacra e duetto finale (1877)
& L. b/ B! Y4 R4 @7 W6 H$ t  q0 ]S.437, Agnus Dei (1877)
S.438, Réminiscences de Boccanegra (1882)
5 M5 o: d2 r& f- j2.5.1.29 Wagner
: P4 q& S4 g* z- Z, NS.439, Phantasiestück über Motive aus Rienzi (1859)
+ A8 b! C% _$ V  R. d, w: sS.440, Spinnerlied aus Der fliegende Holländer (1860)
$ p- s9 u. R' X% [2 C/ KS.441, Ballade aus Der fliegende Holländer (1872)
* S6 U8 J1 x* g% f$ V* D% _S.442, Ouvertüre zu R. Wagners Tannhäuser (1848)
S.443, Pilgerchor aus Tannhäuser [first/second version] (1861, 1885)
- i9 Q" V, r: O+ D# VS.444, O du mein holder Abendstern aus Tannhäuser (1848)
S.445, Zwei stücke aus Tannhäuser und Lohengrin (1852)
S.446, Aus Lohengrin [3 pieces] (1854)
S.447, Isoldens Liebestod aus Tristan und Isolde [first/revised version] (1867, 1875)
S.448, Am stillen Herd aus Die Meistersinger (1871)
3 n" ]& g/ U, ]# r" E- k/ }  X6 V+ vS.449, Walhall aus Der Ring des Nibelungen (1875)
S.450, Feierlicher Marsch zum heiligen Graal aus Parsifal (1882)
5 X- @" o7 Q+ ?$ _6 B2 a# j) C2.5.1.30 Weber
: r5 h" b' H5 k  x  m' C$ hS.451, Freischütz-Fantasie (1840-41)
S.452, Leyer und Schwert [4 pieces] (1848)
S.453, Einsam bin ich, nicht alleine, from Preciosa (1848)
S.454, Schlummerlied mit Arabesken (1848)
" L6 a' x) ~) D# l( w& \S.455, Polonaise brillante (1851)
2.5.1.31 Zichy, Count Géza
S.456, Valse d'Adele (1877)
7 z" }% {% b! x  s2.5.1.32 Unknown
2 @* _- P6 w) Q% eS.458, Fantasy on Il Giuramento (Mercadante) (1838?)
% Z3 x2 ?+ l7 A. \7 cS.460, Kavallerie-Geschwindmarsch [anonymous] (?)
/ r7 i! z" e& S& f! J$ f2.5.2 Partitions de Piano, Transcriptions, etc.
2.5.2.1 Allegri and Mozart
& }+ u+ [. U5 B1 A, QS.461, A la chapelle Sixtine [first/second version] (1862, ?)
% Q9 z  i2 o9 s2 dS.461a, Ave verum corpus, Kv618 (1862)
2.5.2.2 Bach
5 i' }3 F  |/ z3 S' H' G/ k$ US.462, Sechs Praeludien und Fugen für Orgel [6 pieces] (1850)
6 K0 W7 ~& C, lS.463, Organ Fantasy and Fugue in G minor [first/second version] (1860, ?)
2.5.2.3 Beethoven
9 k# T. J% e9 h% o( v  GS.463a, Symphonie No.5 [first version] (1837)
  H# f0 j4 @6 j9 OS.463b, Symphonie No.6 [first version] (1837)
; [: {2 [( p1 Y2 hS.463c, Symphonie No.6 [second version. Alternative 5th movement] (1863-64)
2 h9 q* @' y8 G9 a! I/ M: J: U: aS.463d, Symphonie No.7 [first version] (1837)
S.463e, Marche funèbre [Beethoven's Eroica Symphony, first version] (1843)
S.464, 贝多芬交响曲 Symphonies de Beethoven [9 pieces] (1863-64)
' N1 p: D" x7 a- E/ Q1 n" `S.465, Grand Septuor, Op. 20 (1841)
S.466, Adelaïde [third version] (1847)
, E; T; G4 v$ k& XS.466a, Adelaïde [first version] (1839)
8 Z$ K. X% O' FS.466b, Adelaïde [second version] (1840)
" P% @3 D  w5 v4 gS.467, Sechs Geistlicher Lieder (Gellert) [6 pieces] (1840)
  N: k& \# y$ kS.468, Sechs Lieder von Goethe [6 pieces] (b. 1849)
S.469, An die ferne Geliebte - Liederkreis [6 pieces] (1849)
7 I2 m/ i  I0 k2.5.2.4 Berlioz
8 I5 R" W% N2 C6 J( P0 gS.470, Symphonie Fantastique (1833)
5 N1 Q' T. W4 F2 IS.471, Overture from Les francs-juges (1833)
S.472, Harold en Italie (with viola) (1837)
; r* k' N  K1 O& H6 ^S.473, Marche des pèlerins from Harold en Italie [first/second version] (1837?, 1862)
2 h6 ^: Q, k' D) cS.474, Ouverture Le Roi Lear (1837)
. r6 `* e! k5 w4 M7 J' oS.475, Valse des Sylphes de la Damnation de Faust (1860)
: L+ m* v. Y% O! D1 a- }& M2.5.2.5 Bulhakov
& o* E! Y/ n1 S- z5 YS.478, Russischer Galopp [first/second version] (1843, 1843)
9 X; e  L2 j3 n8 o2.5.2.6 von Bülow
S.479, Dante's Sonnett - Tanto gentile e tanto onesta (1874)
- v+ J/ |! }) S, M  D4 h& \/ v7 d2.5.2.7 Chopin
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

2.5.2.8 Conradi
S.481, Zigeunerpolka (1847?)
. G7 k; O( n% k: W; \2.5.2.9 Cui
: z, I; H, w& |. r& M* WS.482, Tarantella (1885)
2.5.2.10 Dargomyschsky
S.483, Tarantella (1879)
2.5.2.11 David, Ferdinand
- l! K9 ^* `2 I# a; ~S.484, Bunte Reihe, Op. 30 [24 pieces] (1850)
2.5.2.12 Dessauer
S.485, Drei Lieder (1846)
1 h; j7 |. B; F( d! v2.5.2.13 Ernst, Duke
; G8 Z5 V: O  h6 `S.485b, Die Gräberinsel (1842)
7 e! P; O( n* Z2.5.2.14 Egressy and Erkel
S.486, Szózat und Hymnus (1873)
3 A* u6 E+ `! P% _2.5.2.15 Festetics
) U+ h+ w( t0 }. e, e' PS.487, Spanisches Ständchen 1846
2.5.2.16 Franz
% C4 Z( ~* F' y$ }S.488, Er ist gekommen in Sturm und Regen 1848
S.489, Zwölf Lieder [12 pieces] (1848)
2.5.2.17 Goldschmidt
$ f( K- V7 H, L6 F( ^0 G& GS.490, Liebesszene und Fortunas Kugel (1880)
2 ?! K  h. Q% ~1 Q3 @# A2.5.2.18 Gounod
S.491, Hymne à Sainte Cécile (1866)
8 `7 N! Q+ x8 z+ Q7 O2.5.2.19 Herbeck
S.492, Tanzmomente [8 pieces] (1869)
; J5 z7 N3 e+ O$ W# w% R2.5.2.20 Hummel
S.493, Grosses Septett, Op. 74 (1848)
2.5.2.21 Lassen
! }" G4 z6 A4 q8 S: hS.494, Löse, Himmel, meine Seele [first/second version] (1861, 1872)
% o& }. _2 L% y5 N7 hS.495, Ich weil' in tiefer Einsamkeit (1872)
" C9 m* Q# M' L8 u7 H. I5 a% a$ DS.496, Hebbel's Nibelungen & Goethe's Faust [4 pieces] (1878-79)
S.497, Symphonisches Zwischenspiel ('über allen Zauber Liebe') (ca. 1882-83)
2.5.2.22 Lessmann
S.498, Drei Lieder ('Tannhäuser') (1882?)
* u$ ^  L; K' g$ R! x& E2.5.2.23 Liszt
1 `( U6 |: d- MS.498a, Drei Stücke aus der heilige Elisabeth (1857-62)
S.498b, Zwei Orchesterstücke aus Christus (1862-66)
S.498c, San Francesco - Preludio (1862-66)
S.499, Cantico del Sol di San Francesco d'Assisi (1881)
S.499a, San Francesco - Preludio per il Cantico del Sol (1880)
S.500, Excelsior! - Preludio (1875)
S.501, Benedictus und Offertorium (Missa Coronationalis) (1867)
S.502, Weihnachtslied II (1864)
& o2 S! S8 o5 m0 @" \. YS.503, Slavimo Slavno Slaveni! (1863)
! b2 E. T. N: B  D* C1 v7 ?( V# m$ nS.504, Ave Maria II (in D) [first/second version in D flat] (1870, 1873)
S.504a, Via Crucis [15 pieces] (1878-79)
S.504b, Choräle [11 pieces] (1878-79)
S.505, Zum Haus des Herrn (In domum Domini ibimus) (1884)
S.506, Ave maris stella (1868)
S.507, Klavierstück aus der Bonn Beethoven-Cantata (?)
, e/ t% c2 D4 JS.507a, Schnitterchor (Pastorale - Schnitterchor aus Prometheus) (1850)
S.508, Pastorale. Schnitterchor aus dem Entfesselten Prometheus (1861)
S.509, Gaudeamus igitur - Humoreske (1870)
S.510, Marche héroïque (?)
, X) c7 o  X2 B) NS.511, Geharnischte Lieder [3 pieces] (1861)
S.511a, Les Préludes (Poème symphonique No. 3) [arranged by Karl Klauser, revised by Liszt] (1863) [1][2]
6 l2 T- ~0 u$ _& N& J0 dS.511b, Orpheus (Poème symphonique No. 4) [arranged by Fredrich Spiro, revised by Liszt] (1879) [3]
S.511c, Mazeppa (Poème symphonique No. 6) [arranged by Theodor Forchhammer, revised by Liszt] (1870-79) [3]
. p( E) I9 ~5 \& c! c; \7 dS.511d, Festklänge (Poème symphonique No. 7) [arranged by Ludwig Stark, revised by Liszt] (1870-79) [3]
S.511e, Hungaria (Poème symphonique No. 9) [arranged by Fredrich Spiro, revised by Liszt] (1872) [3]
S.512, Von der Wiege bis zum Grabe (Poème symphonique No. 13) (1881)
S.513, Gretchen aus Faust-Simpfonie (b 1867 )
S.513a, Der nächtliche Zug (?)
  q# l6 ]0 l* |. \( J4 _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
S.514a, Erster Mephisto-Walzer (Mephisto Waltz No. 1) [with later additions] (1859-62)
" B4 d- P/ X7 R/ R6 IS.515, Zweiter Mephisto-Walzer (Mephisto Waltz No. 2) (1881) 第二梅菲斯特圆舞曲
5 I% n# c" m$ k: Z' ]4 vS.516, Les Morts (Ode Funèbre No. 1) (1860)
3 B0 f  q, \. L5 xS.516a, La notte (Ode Funèbre No. 2) (?)
9 A- C# w+ H/ E0 t) gS.517, Le Triomphe funèbre du Tasse (Odes Funèbre No. 3) (1866)
# V- L- K# z% F! V4 C2 |S.518, Salve Polonia (a. 1863)
S.519, Deux Polonaises de St Stanislaus (1870-79)
( B' T7 Y! _1 V# hS.520, Künstlerfestzug [first/second version] (1857-60, 1883)
: U3 c0 o. ]2 `+ L$ \" J$ u  xS.521, Festmarsch zur Goethejubiläumsfeier [first/second version] (1857, 1872)
- v$ _2 ]3 l! _$ G/ P( xS.522, Festmarsch nach motiven von E.H.z.S.-C.-G (1857)
5 |: }5 g8 R+ A1 H3 n+ k9 b" DS.523, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (1870)
% x+ j. ]9 i+ R- w2 h2 w( JS.524, Ungarischer Sturmmarsch [first/second version] (?, 1875)
# t  L2 t" K% |+ N; [  cS.525, Totentanz. Paraphrase on Dies Irae (1860-65)
S.526, Epithalam zu Eduard Reményis Vermählungsfeier (?)
S.527, Romance oubliée (?)
5 m: I/ {( ?3 {  M/ xS.527bis, Romance oubliée [short draft] (1880)
S.529, Fantasie und Fuge über das Thema BACH [first/second version] (1856, 1870) 巴赫主题幻想曲与赋格
S.530, L'Hymne du Pape. Inno del Papa. Der Papsthymnus (1864)
' z7 {' ^) Q0 F  f" ^* ZS.531, Buch der Lieder I [5 pieces] (?)
3 v2 O1 y- Z% I5 d4 CS.532, Die Lorelei (Heine) [second version] (1861)
S.533, Il m'aimait tant (Delphine Gay) (1842)
S.534, Die Zelle in Nonnenwerth (Felix Lichnowski) [first/second/fourth version] (1842, 1860, 1880)
! Q$ c7 v& k* k1 Y& F$ C* C5 _# jS.535, Comment, disaient-ils [Buch der Lieder II] (1845?)
% e( C: e& d+ t. dS.536, O quand je dors [Buch der Lieder II] (1847?)
S.537, Enfant, si j'étais roi [Buch der Lieder II] (1847?)
S.538, S'il est un charmant gazon [Buch der Lieder II] (1847?)
S.539, La tombe et la rose [Buch der Lieder II] (1847?)
S.540, Gastibelza [Buch der Lieder II] (1847?)
S.541, Liebesträume. Drei Notturnos (ca. 1850)  3首夜曲“爱之梦”
S.542, Weimars Volkslied [first/second version] (1857, ?)
S.542a, Ich liebe dich (?)
S.542b, Fanfare zur Enthüllung des Carl-Augusts Monument (?)
; z+ V6 n3 ]9 H$ p! f9 z4 `  NS.543, Ungarns Gott. A magyarok Istene (Petófi)]] [original/(S543bis)left-hand version] (1881)
S.544, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)
! H6 W6 \" @0 x% A, y& f6 e4 tS.545, Ave Maria IV (1881)
: F5 s. U* @8 ~* L# R7 u2 ^S.546, Der blinde Sänger (Alexei Tolstoy) [solo version] (1878)
S.546a, O Roma nobilis (1879)
; m8 @7 n$ x& ?9 W! N" [' F7 u2.5.2.24 Mendelssohn
+ I9 r3 P; [8 V* i) q% wS.547, Sieben Lieder (from Opp. 19, 34, 47) [7 pieces] (1840)
S.548, Wasserfahrt and Der Jäger Abschied (from Op. 50) [2 pieces] (1848)
2.5.2.25 Meyerbeer
S.549, Festmarsch zu Schillers 100-Jähriger Geburtsfeier (?)
, W, z' e, A: o* k( \2.5.2.26 Mozart
" e, z* v; ]$ S- ~S.550, Zwei Transcriptionen über Themen aus Mozart's Requiem, K626 [2 pieces] (1862)
2.5.2.27 Pezzini
S.551, Una stella amica. Mazurka (?)
2.5.2.28 Raff
S.551a, Einleitung und Coda zu Raffs Walzer in Des-dur (opus 54/1) (1880)
0 w" q. P) N* G2.5.2.29 Rossini
S.552, Ouverture de l'opéra Guillaume Tell (1838)
S.552a, Caritas [La charité, first version] (1847)
: N. n& @) G, Q9 R% c8 mS.552b, La caritá [La charité, simplified version] (1847)
S.553, Deux Transcriptions [2 pieces] (1847)
( x, V/ T$ N, K3 y: k" a. [8 k2.5.2.30 Rubinstein
S.554, Zwei Lieder [2 pieces] (1880)
% w/ i7 {: s* X- WS.554a, Einleitung und Coda sur des notes fausses (1880)
2.5.2.31 Saint-Saëns
6 m2 [! Y1 x, w$ j& j0 oS.555, Danse macabre, Op. 40 (1876)
8 B% D  D# O- ?& u2.5.2.32 Schubert
9 m: E' V4 A* c7 ?S.556, Die Rose [first/intermediate/second version] (1832, ca. 1837, 1838)
; M, y7 h! F) O3 L& v* r- A- SS.557, Lob der Tränen (1837)
S.557a, Erlkönig [first version] (?)
! T" c2 s0 a! ?, F2 M8 Y; SS.557b, Meeresstille [first version] (?)
% @. t5 ?, Y9 Y$ FS.557b/bis, Meeresstille [first version, ossia] (?)
S.557c, Frühlingsglaube [first version] (?)
+ m$ f: q5 c$ k/ E2 yS.557d, Ave Maria (Ellens dritter Gesang) [first version] (?)
* D: @) H( o6 R$ E6 Z7 G$ U, F3 m4 tS.558, 12 Lieder (1837-38)
# t) Q  c. P8 q; i1 Y% jS.558bis, 12 Lieder [revised versions of Nos. 3, 4, 7, 8, 9, 11] (ca. 1839)
S.559, Der Gondelfahrer, Op. 28 (1838)
S.559a, Sérénade [Ständchen, first version] (1837)
3 Y- R; E! y. F  qS.560, Schwanengesang [14 pieces] (1838-39)
S.560bis, Schwanengesang [14 pieces, alternative versions] (ca. 1839)
S.561, Winterreise [12 pieces] (1839)
+ \4 ?( |0 [7 k- V$ D0 M( B3 pS.561, Winterreise [alternative versions of Nos. 2, 3, 7, 10,] (ca. 1839)
3 x* a( ]' M- o8 m! eS.562, Geistliche Lieder [4 pieces] (1841)
S.563, Six mélodies célèbres [6 pieces, 1st by Weyrauch] (1844)
' ?3 ^. I0 `* B1 R7 Y9 q# i5 d$ v: r; gS.564, Die Forelle [second version] (1846)
S.565, Six Mélodies favorites de La belle meunière [6 pieces] (1846)
S.565bis, Müllerlieder [6 pieces, revised versions] (ca. 1879)
S.565a, Wandererfantasie (Grosse Fantasie in C-dur) (ca. 1868)
, ~. u' o2 V# p1 ~# ZS.565b, Schubert's Impromptus [2 pieces, Op. 90/2-3] (ca. 1868)
5 u- G( d6 y2 g7 _' @) w2.5.2.33 Schumann
S.566, Widmung, Liebeslied (1848)
' Z' @1 A3 ~( m$ dS.566a, Widmung, Liebeslied [sketch of a more literal transcription] (1848)
$ B% u6 L: C: K7 m7 B4 N- X, lS.567, An den Sonnenschein, Rotes Röslein (1861)
# a' E8 |; u  K( C" u+ ^  WS.568, Frühlingsnacht (überm Garten durch die Lüfte) (1872)
' T& f- ^7 s, A2 C; V/ fS.569, Zehn Lieder von Robert und Clara Schumann [10 pieces] (1872)
. `  P- F& {, N4 e3 D  X( vS.570, Provençalisches Minnelied (1881)
! t1 J  `# h& q! R& P' Y9 g2.5.2.34 Smetana
S.570a, Einleitung und Coda zu Smetanas Polka (de salon, opus 7/1) (1880)
2.5.2.35 Spohr
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

2.5.2.36 Tausig
, ^# C, o4 h$ Y% n8 ?! ]6 VS.571a, Einleitung und Schlußtakte zu Tausigs dritter Valse-Caprice (1880)
9 M  ~; ~6 b' [5 ^" _: E' _& k2.5.2.37 Szabady and Massenet
S.572, Revive Szegedin (1879)
2 S% i! R6 ?9 ^2.5.2.38 Széchényi, Count Imre
S.573, Bevezetés és magyar indulò (1872)
2.5.2.39 Tirindelli
7 _, L9 p# Z7 P- q; E1 w$ `S.573a, Seconda mazurka variata (1880)
2.5.2.40 Weber
& r5 T% T. \) p7 }& u8 BS.574, Ouverture Oberon (1846?)
S.575, Ouverture Der Freischütz (1840-41)
. M2 l6 c7 o' ]9 bS.576, Jubelouverture (1846)
S.576a, Konzertstück, Op. 79 (ca. 1868)
2.5.2.41 Wielhorsky, Count Michael
S.577, Lyubila ya [first/second version] (1843, ?)
2.6 Pianoforte Duet(钢琴二重奏)
# z3 u* o) e, I) I4 i2.6.1 Field
9 W! [& q8 @: g! D$ ]! fS.577a, 11 Nocturnes (Nos. 1-9, 14, 18 and Nocturne Pastorale in E) (?)
! M4 @9 f. n9 ?/ W! p$ R: B2.6.2 Liszt
S.578, 4 Pieces from St. Elisabeth (1862)
S.579, Christus Oratorio 4th and 5th section (?)
S.580, Excelsior! - Preludio (?)
S.581, Benedictus and Offertorium from the Hungarian Coronation Mass (1869)
, x5 K3 V# V; x8 f* ^% @* zS.582, O Lamm Gottes, unschuldig (1878-79)
S.583, Via Crucis (?)
S.584, Festkantate zur Enthüllung des Beethoven-Denkmals in Bonn (1845)
S.585, Pastorale. Schnitterchor aus dem Entfesselten Prometheus (1861)
S.586, Gaudeamus igitur. Humoreske (1870)
S.587, Marche héroique (?)
3 t( C. _6 m: j2 T' HS.588, Weimars Volkslied (Cornelius) (1857)
S.589, Ce qu'on entend sur la montagne (Poème symphonique No. 1) (1874)
( q0 l% t4 I: k: p5 Q& HS.590, Tasso, Lamento e Trionfo (Poème symphonique No. 2) (1858)
S.591, Les Préludes (Poème symphonique No. 3) (ca. 1858)
S.592, Orpheus (Poème symphonique No. 4) (ca. 1858)
S.593, Prometheus (Poème symphonique No. 5) (1858)
$ \: T+ I2 V/ W; k: O1 F1 dS.594, Mazeppa (Poème symphonique No. 6) (1874)
% D2 u) j- i- F5 @$ uS.595, Festklänge (Poème symphonique No. 7) (1854-61)
S.596, Hungaria (Poème symphonique No. 9) (1874?)
- a& c& T) j( @: _( b+ xS.569a, Héroïde funèbre (Poème symphonique No. 8) (ca. 1877)
0 k) _0 S2 t) ^4 gS.596b, Hunnenschlacht (Poème symphonique No. 11) (ca. 1877)
$ w0 B) @. q, D8 c3 N; \7 ^2 KS.596c, Die Ideale (Poème symphonique No. 12) (ca. 1874-77)
+ [7 i) S# K0 RS.597, Hamlet (Poème symphonique No. 10) (1874)
S.598, Von der Wiege bis zum Grabe (Poème symphonique No. 13) (From the Cradle to the Grave) (1881)
S.599, Two episodes from Lenau's Faust (1861-62)
. G4 t5 T  t2 `1 W李斯特全部作品目录-4

S.600, Mephisto Waltz No. 2 (1881)
S.601, Les Morts (Ode Funébre No. 1) (1866)
4 u" i/ T0 J/ G# JS.602, La Notte (Ode Funébre No. 2) (1866)
S.603, Le Triomphe Funèbre du Tasse (Ode Funébre No. 3) (1866?)
S.604, Salve Polonia (1863)
S.605, Künstlerfestzug zur Schillerfeier (1859)
0 Q' x- C' Y. u- M; p1 PS.606, Festmarsch zur Goethejubiläumsfeier (ca. 1858)
S.607, Festmarsch nach Motiven von E.H. zu S.-C.-G. (ca. 1859)
6 H* G) q1 y+ |S.608, Rákóczy March (1870)
S.609, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (1870)
# W4 m5 @6 D: eS.610, Ungarischer Sturmmarsch (1875)
( o& R+ n2 W# J2 L; V3 _0 XS.611, Epithalam (1872)
S.612, Elégie (1874)
6 x  D) T) X; n1 j: BS.613, Weihnachtsbaum (1876)
S.614, Dem Andenken Petöfis (Petófi Szellemének) (1877)
! x; R) Q  C4 s* x9 @$ ~) g6 }- {S.615, Grande Valse di Bravura (1836)
/ H' M2 p7 u; M, o& U" {' vS.616, Grand Galop Chromatique (1838)
( [: I! V' V9 q% m$ s( F4 u) `S.617, Csárdás macabre (1882)
S.618, Csárdás obstiné (ca. 1884)
1 ]+ E$ k3 f7 Q  Y* O# w. [3 Z' k" rS.618a, Vom Fels zum Meer. Deutscher Siegesmarsch (?)
S.619, Bülow-Marsch (ca. 1883)
S.619a, Festpolonaise (1876) [4]
S.620, Hussitenlied (Melody by J.Krov) (1840)
S.621, 6 Hungarian Rhapsodies [from the orchestral version, S359] (1874)
# L. o- D# R! k/ x5 ?- ^- jS.622, Rapsodie hongroise No. 16 (1882)
7 M2 ~# K3 k: W4 ~2 @7 ^) u) j  M# KS.623, Rapsodie hongroise No. 18 (1885)
S.623a, Rapsodie hongroise No. 19 (ca. 1885)
- j. k/ t6 y9 }! j8 X- RS.624, Fantasy and Fugue on the chorale Ad nos, ad salutarem undam (1850)
9 J! |, m$ U& _. vS.625, L'Hymne du Pape (Der Papsthymnus) (1865)
0 ~& ^6 o  {2 o7 L" ES.626, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)
S.627, Fantaisie sur des motifs de l'opéra La Sonnambula (Bellini) (1852)
9 t: n" e4 h6 a' D" h: C& LS.628, Bénédiction et serment (Berlioz's 'Benvenuto Cellini') (1852)
* E: `2 Q0 p3 P% ?1 hS.628a, Marche et cavatine (Donizetti's Lucia) (?)
- I4 h4 e9 l( U4 Z0 H" f& sS.628b, Szózat und Hymnus (Egressy and Erkel) (1873)
S.629, Tscherkessenmarsch (Glinka's Ruslan i Lyudmila) (1843)
# I: Y, ]" \0 M1 R/ r& @0 \6 p4 aS.630, Réminiscences de Robert le Diable - Valse infernale (Meyerbeer) (1841-43)
7 F. W7 X0 w* h' E- v5 V7 CS.631, Andante finale und Marsch (Raff's 'König Alfred') (1853)
6 x) ]" [/ {. oS.632, 4 Marches (Schubert) (1879)
S.633, A la chapelle Sixtine (Allegri Mozart) (1865)
S.634, Grand Septuor Op. 20 (Beethoven) (1841)
  Z# P! U5 N6 S- J1 G) q4 o2.6.3 Mozart
6 N/ g7 X- T* L8 A4 n7 H/ e" JS.634a, Adagio from Mozart's Die Zauberflöte (1875-81?)
2.7 Two Pianofortes(双钢琴)
" e9 ]# Z, o* N2.7.1 Liszt
S.635, Ce qu'on entend sur la montagne (Poème symphonique No. 1) (ca. 1854-57)
S.636, Tasso, Lamento e Trionfo (Poème symphonique No. 2) (ca. 1857)
S.637, Les Préludes (Poème symphonique No. 3) (ca. 1854-56)
# P6 K0 e4 z. FS.638, Orpheus (Poème symphonique No. 4) (ca. 1854-56)
S.639, Prometheus (Poème symphonique No. 5) (1855-56)
S.640, Mazeppa (Poème symphonique No. 6) (1855)
S.641, Festklänge (Poème symphonique No. 7) (ca. 1853-56)
% Y2 U) ?: ^2 E2 r; `" e& c, nS.642, Héroide Funèbre (Poème symphonique No. 8) (ca. 1854-56)
S.643, Hungaria (Poème symphonique No. 9) (ca. 1854-61)
* H2 T3 S- p' jS.644, Hamlet (Poème symphonique No. 10) (ca. 1858-61)
S.645, Hunnenschlacht (Poème symphonique No. 11) (1857)
S.646, Die Ideale (Poème symphonique No. 12) (1857-58)
S.647, A Faust Symphony, in three character pictures (1856)
& n8 N8 U( b3 u& K6 R0 F% qS.648, A Symphony to Dante's Devina Commedia (ca. 1856-59)
S.649, Fantasie über Beethovens Ruinen von Athen (1865)
S.650, Piano Concerto No. 1 in E flat major (1853)
S.651, Piano Concerto No. 2 in A major (1859)
& k" @, L8 J! X' {% kS.652, Totentanz. Paraphrase on Dies Irae (1859)
0 A2 f3 J& B, u# S" s& E8 \' HS.653, Wandererfantasie (Schubert) (a. 1859)
8 }! e3 _$ `" |: x+ z8 ?2 eS.654, Hexaméron, Morceau de Concert (1837)
S.655, Réminiscences de Norma (Bellini) (1841)
% Z4 Z2 i* i( J& X; ~- u& @- oS.656, Réminiscences de Don Juan (Mozart) (1841)
4 i) ^$ u1 e$ z! \  F4 p; _S.657, Symphony No. 9 (Beethoven) (1851)
5 ?" h: z5 a- _  A  ]7 aS.657a/1, Piano Concerto No. 3 (Beethoven) (1878)
4 n' G7 W% h) D6 z. B. A+ hS.657a/2, Piano Concerto No. 4 (Beethoven) (1878)
+ ]! ]7 z) ?) I# I0 b4 yS.657a/3, Piano Concerto No. 5 (Beethoven) (1878)
S.657b, Bülow-Marsch [2-pianos, 8-hands] (1884)
4 i0 C: N7 g! j! u7 _1 V2.8 Organ(管风琴)
2.8.1 Allegri und Mozart
+ w- |  z3 a; J0 r; v( U( W, iS.658, évocation à la Chapelle Sixtine (1862)
2.8.2 Arcadelt
S.659, Ave Maria (1862)
. g$ I/ ]$ W0 y2.8.3 Bach

S.660, Einleitung und Fuge aus der Motette Ich hatte viel Bekümmernis und Andante Aus tiefer Not [2 pieces] (1860)
S.661, Adagio from Bach Violin Sonata No. 4 (BWV1017) (1864)
( l8 O+ h% d1 u" c( y2.8.4 Chopin

: o: C- v1 d/ {' m4 nS.662, 2 Préludes from Op. 28 (Nos. 4, 9) (1863)
8 V3 y2 o9 Y7 I; E2.8.5 Lassus
8 L" G& W0 \1 n% ^- d) r$ Z
; i. H2 o+ I+ n  f" I; wS.663, Regina coeli laetare (1865)
2.8.6 Liszt

, ~$ H5 r! ]- P) U  K* X% YS.664, Tu es Petrus from Christus (1867)
S.665, San Francesco (1880)
0 ~3 B: b' [) u* a: {- o$ }& LS.666, Excelsior! - Preludio (?)
S.667, Offertorium from the Hungarian Coronation Mass (1867)
S.668, Slavimo Slavno Slaveni (1863)
) }8 |7 R$ c% b/ r! F8 T! BS.669, Zwei Kirchenhymnen [2 pieces] (1877)
S.670, Rosario [3 pieces] (1879)
S.671, Zum Haus des Herrn (In domum Domini ibimus) (1884)
4 U6 @+ r: a0 H% Q6 z7 G, a6 ~S.672, Weimars Volkslied (Cornelius) (1865)
S.673, Weinen, Klagen' Variationen (1863)
S.674, Ungarns Gott. A magyarok Istene (Petófi) (1882)
& [3 d9 G" v  s: g" DS.674a, O sacrum convivium [2 versions] (?)
% Y& W& A, v4 K6 ]: L2.8.7 Nicolai
, h3 D: x5 k! h/ U# j
S.675, Kirchliche Festoverture (1852)
2 ~# z$ r4 ~# ?7 L- S2.8.8 Wagner

S.676, Pilgerchor from Wagner's Tannhäuser (1860)
* x& Y" {6 n! r, A$ A* |- ?2.9 Organ with Other Instruments(管风琴和其他)
, ?! F2 Q2 P# n# r9 v
$ `3 C# M4 F. M( i- r: mS.677, Hosannah from Cantico del sol di San Francesco d'Assisi (for organ and bass trombone) (1862)
2 P5 w7 ^0 M& g7 g& E7 W5 wS.678, Offertorium and Benedictus from the Hungarian Coronation Mass (1869)
9 t2 m& u8 G( s5 A& }S.679, Aria 'Cujus animam' from Rossini's Stabat Mater (for organ and trombone) (?)
! T$ A" A, T4 LVocal Arrangements声乐
! c! _# q) n5 C4 y/ a) G
3 q( Q5 H0 m' K1 iS.680, Ave maris stella (1868)
681, Ave Maria II (1869)
7 O3 A8 _* q4 H/ JS.682, Air du Stabat Mater (Rossini) (?)
  {0 \( v# k8 gS.683, Serbisches Lied (Hohenzollern-Hechtingen, Prince FWC. von) (?)
S.684, Barcarolle vénitienne (Pantaleoni) (?)
4 ~! m* U1 H8 ~1 nS.685, Es hat geflammt die ganze Nacht (Grand Duchess Pavlovna) (?)

7 e0 W  K: |9 U+ e' y+ I, }/ Q* L2.10 Recitations
S.686, Helges Treue (Draeseke) (1860)

6 p: m9 }& ?0 S: ^% G/ g


$ u& G, B# ~7 A$ D3 [) H' h7 o8 [


( g7 d+ e" M0 p2 i4 S3. Appendix

3.1 Unfinished Works

S.687, Sardanapale (Byron) [opera, partly sketched, 111 pages] (?)
S.688, Oratorio - Die Legende vom heiligen Stanislaus [sacred choral] (1873-85)
S.688a, St Stanislaus fragment [solo piano, Library of Congress] (1880-86)
S.689, Singe, wem Gesang gegeben [secular choral] (1847)
S.690, Revolutionary Symphony [unfinished, revised 1848] (1830)
S.691, De Profundis [piano and orchestra, De Profundis - Psaume instrumental] (1834?)
3 `3 ]5 a& [/ X: J. BS.692, Violin Concerto [only sketched] (1860)
+ K0 B6 \. K; D4 C! B9 AS.692a, The Four Seasons String quartet (Vivaldi) (1880?)
S.692b, Anfang einer jugendsonate [solo piano] (1825)
3 X9 N- |$ G3 M( Y8 S2 c  w# u; oS.692c, Allegro maestoso [solo piano] (1826)
- d  [# N" _% O% c$ g$ }S.692d, Rákóczi-Marsch [solo piano, first version, simplified, unfinished] (1839)
8 d0 Y5 {7 b6 [S.692e, Winzerchor (Prometheus) [solo piano] (1850)
2 M' {9 w  T1 f6 H& fS.693, Deux marches dans le genre hongrois [solo piano, 2 pieces] (1840?)
+ Q: j6 J. |  nS.693a, Zwei Stücke aus der heilige Elisabeth [solo piano] (1862)
S.694, Fantasie über englische Themen [solo piano] (1840?)
* k  f' T: K8 s" U1 m5 w' S' ~S.695, Morceau en fa majeur [solo piano] (1843?)
S.695a, Litanie de Marie [solo piano] (1847)
S.695b, Zigeuner-Epos [solo piano, 11 pieces] (ca. 1848)
S.696, Mephisto Waltz No.4 (1884) 第四梅菲斯特圆舞曲
S.697, Fantasie über Themen aus Figaro und Don Giovanni (Mozart) [solo piano arrangement] (1842)
) N3 w* x4 {6 w( @9 qS.698, La Mandragore - Ballade de l'opéra Jean de Nivelle de L. Delibes [solo piano arrangement] (a. 1880)
S.699, La Notte (Odes Funèbre no. 2) [solo piano arrangement] (1864-66)
S.700, Grand Fantaisie (Variations) sur des thèmes de Paganini [first/second version; completed by Mezö] (1845)
% }& M5 d( r; M$ A6 x' o. @S.700a, Variations sur Le Carnaval de Venise (Paganini) [solo piano arrangement] (?)
S.701, Den Felsengipfel stieg ich einst hinan [song] (?)
0 r$ o; F  d4 T) x" B1 M1 @& NS.701a, Allegro di bravura [orchestra, arrangement] (ca. 1830)
8 V5 _2 E4 H8 S5 t$ ]0 cS.701b, Marie-Poème [solo piano] (1837)
" Y' [8 }, B, G1 _4 u6 ^S.701c, Andante sensibilissimo [solo piano] (1880-86)
S.701d, Melodie in Dorische Tonart [solo piano] (1860)
S.701e, Dante fragment [solo piano] (1839)
S.701f, Glasgow fragment [solo piano] (?)
S.701g, Polnisch - sketch [solo piano] (1870-79)
' n" {8 D- @7 n! G, F1 sS.701h/1, Operatic aria - and sketched variation [solo piano] (?)
9 X$ z' y9 |+ K* |/ |' iS.701h/2, Valse infernale (Meyerbeer) - theme [solo piano arrangement] (?)
3 F9 q  U9 \+ o5 `2 }, b/ ^S.701j, Harmonie nach Rossini's Carità (La charité) [solo piano arrangement] (1847)
S.701k, Korrekturblatt (to an earlier version of La lugubre gondola) [solo piano] (1882)
' W1 o* h1 s( w! j+ ]2 h3.2 Doubtful or Lost
; E9 C2 d; I% K7 h7 l* s+ }' c
8 ]) g' }+ u0 j; J2 g' I3.2.1 Sacred Choral Works
" M& F, a, P  Z) M! f
& k0 v' u6 r+ H: j& p$ c% Q$ d: wS.702, Tantum Ergo (1822)
S.703, Psalm 2 (1851)
, |- ?" M, j2 `/ c9 A( l3 |S.704, Requiem on the death of Emperor Maximilian of Mexico (?)
& T$ \1 u; Z2 _- ]) a* tS.705, The Creation (?)
S.706, Benedictus [doubtful] (?)
S.707, Excelsior [arrangement, doubtful] (?)
" `; `! O+ i; l' Q3.2.2 Secular Choral Works
# c' u4 |, ^' R( ?
# {4 u+ @1 D9 Z, T+ |. H$ ES.708, Rinaldo [doubtful] (ca. 1848)
) s+ Q# |% b1 d3 \% C4 r' K. m3.2.3 Orchestral Works

S.709, Salve Polonia [rediscovered, renumbered as S113] (1863)
S.710, Funeral March (?)
; ]$ D+ F, Y6 v/ RS.711, Csárdás macabre [arrangement] (?)
7 e) u" v& M7 w4 A9 \S.712, Romance oubliée [arrangement] (?)
3.2.4 Piano and Orchestra

S.713/1, Piano Concerto in A minor (1825?)
7 z* l, N  M+ e! e$ _7 NS.713/2, Piano Concerto (1825?)
3 K# {  ^6 E7 v; L2 @) O# PS.714, Piano Concerto in the Hungarian style [by Sophie Menter, renumbered as S126a] (1885)
S.715, Piano Concerto in the Italian style (?)
S.716, Grande fantaisie symphonique [orchestral] (?)
% E: `- F$ ]) z5 g2 B3.2.5 Chamber Music
/ ^! ]% d! r/ Q( z( z- f
S.717, Trio (1825)
S.718, Quintet (1825)
. ~" \9 X2 \' H  \) j+ OS.719, The Four Seasons String Quartet (Vivaldi) [rediscovered, renumbered as S692a]
S.720, Allegro moderato (?)
" M$ q% h0 ^: v, M" z% Y  c- uS.721, Prelude (?)
% E7 H1 J" j- c/ xS.722, La notte (Odes funèbre no.2) [rediscovered, renumbered as S377a] (1864-66)
S.723, Tristia [arrangement, from Vallée d'Obermann S160/6] (1880-86 ?)
S.723a, Postlude on theme from Orpheus [arrangement] (?)
3.2.6 Pianoforte Solo

S.724, Rondo and Fantasy (1824)
' Q2 B( Q: _6 k8 |* b( V" _S.725, 3 Sonatas (1825)
. O) J% C5 d3 _5 @- }. \7 uS.726, Study (?)
- r, O' `9 u3 eS.726a, Valse (?)
李斯特全部作品目录-5

S.727, Prélude omnitonique (?)
S.728, Sospiri (Fünf Klavierstücke) [rediscovered, renumbered as S192/5] (1879)
; U" W% }! _$ h8 _- q+ x4 GS.729, [rediscovered, renumbered as 42(?)]
S.730, Dem Andenken Petöfis (Petófi Szellemének) [rediscovered, renumbered as S195] (1877)
S.731, Valse élégiaque (?)
S.732, Valse Oubliée No.4 [rediscovered, renumbered as S215/4] (1883-84)
S.733, Marche hongroise (in E flat minor) [rediscovered, renumbered as S233b] (1844)
$ C- z  z8 w( `% u  s0 d" w  U* yS.734, Ländler (?)
: M/ s0 H' h% MS.735, Air cosaque (?)
) Z. Y9 ?/ [: {! DS.736, Kerepsi csárdás (?)
S.737, 3 morceaux en style de danse ancien hongrois (?)
, Q7 [1 j' O! ~& SS.738, Spanish folksong arrangement (?)
3.2.6.1 Arrangements
% X% P' j9 w# k1 k- e
# `7 v2 A& e. B0 g/ o& `S.739, Corolian Overture (Beethoven) (?)
S.740, Egmont Overture (Beethoven) (?)
S.741, Le carnaval romain - Overture (Berlioz) (?)
S.742, Duettino (Donizetti) (?)
S.743, Soldiers Chorus from Guonod's Faust (?)
S.743a, Fantasia on themes from Halévy's Guitarero (b. 1841)
S.744, Paraphrase on Act 4 of Kullak's Dom Sebastien (?)
S.745, Funeral March (?)
S.746, Andante Maestoso (?)
S.747, Poco adagio (from Missa Solemnis) (?)
S.748, Overture to Mozarts "Die Zauberflöte" (?)
S.749, Preussischer Armeemarsch (Radovsky) (?)
: l9 V- f6 x3 x$ g4 tS.750, Siege de Corynthe, Introduction (?)
: Q; V' j9 i4 F! tS.751, Nonetto e Mose, Fantasia on themes by Rossini (?)
S.752, Gelb rollt (Rubinstein) (?)
$ D- h% D5 F6 T) Q" y* y3 M( W- eS.753, Alfonso und Estrella, Act 1 (Schubert) (?)
S.754, Seconda mazurka variata (Tirindelli) [rediscovered, renumbered as S573a] (1880)
3.2.7 Pianoforte Duet
% Z5 ?! I2 [3 w
S.755, Sonata (?)
3.2.8 Two Pianofortes
' j0 M' x0 ?. P) Y' l0 n6 h
S.756, Mosonyis Grabgeleit (?)
S.757, La triomphe funébre du Tasse (?)
3 g; V. W" B! f! |3 V# _" N3.2.9 Organ

S.758, The Organ (Herder) (?)
: b7 T7 `( g1 Y0 _S.759, Consolation [arrangement] (?)
S.760, Cantico del sol di St. Francesco [arrangement] (?)
S.761, Marche funèbre (Chopin) [arrangement] (?)
6 {# f; i+ K! m2 L) }5 y. R3.2.10 Songs

S.762, Air de Chateaubriand (?)
% ^" L+ }+ `) s- QS.763, Strophes de Herlossohn (?)
# |) o! B  P  j3 zS.764, Kränze pour chant (?)
S.765, Glöcken (Müller) (?)
; J, ?1 `9 ?# ?5 P- _6 |4 P( eS.765a, L'aube naît (Hugo) (1842?)
S.766, Der Papsthymnus (?)
; _9 U* g% I* w" b5 K/ I( ]7 v8 V' ]S.767, Excelsior (?)
3.2.11 Recitations
) W5 _2 r( T6 A& I1 Z# a
S.768, Der ewige jude (Schubart) (?)
+ u- A" _2 n' S+ f" D3.3 Supplement
+ W2 L+ D. J. J, k
S.990, Fantasy and Fugue on the chorale "Ad nos, ad salutarem undam" (played by Liszt to Walter Bache) [solo piano, arrangement] (b. 1862)
% a1 R/ P4 D4 LS.991, Waltz in A major [chamber, arrangement] (?)
( P2 O7 y0 L4 \" i* t  ~S.993, Wartburg Lieder (Scheffel) [orchestral, arrangement] (?)
& `; o% a: ~* E; N( g$ o) _S.994, Grand solo caractéristique à propos d'une chansonette de Panseron [solo piano, arrangement] (1830-32)
S.995, Variations de bravoure sur des thémes de Paganini [unfinished] (1845)
S.996, Stabat Mater [solo piano] (1870-79 ?)
S.997, 5 Variationen über Romanze aus 'Joseph' (Méhul) (by Franz Xaver Mozart, attributed to Liszt) (ca. 1834)
7 i! @9 |7 ?. \# J5 XS.998, Adagio in C [solo piano] (1841)
S.999, Andante Maestoso [organ] (?)
( g3 s0 {0 x' r) G降E大调钢琴协奏曲（遗作）Piano Concerto in E flat Major Op.posth
" s. [$ ]8 w$ C+ ?0 S2 n2首悲歌 2 Elegies