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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》。2 w6 ^6 ?6 f) ?1 J7 @7 L/ i
李斯特全部作品目录-1
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1.1 Opera(歌剧). S/ |) ~0 e1 E) p' g% r/ y

1 Q: [3 O) K- ]2 WS.1, Don Sanche, ou Le chateau de l'amour (1824–25) 歌剧《唐切桑》
: y3 ]; |" ?, R7 R9 L7 G2 D1.2 Sacred Choral Works(神圣的合唱作品)/ z4 R/ M. `. |3 H* i

. S, f/ G4 v5 ^# q$ b# ^- O( M! tS.2, The Legend of St. Elisabeth (1857–62) 清唱剧《圣伊丽莎白传奇》
* h$ m0 z1 m0 a+ v! Z9 fS.3, Christus (1855–67) 清唱剧《基督》4 `5 W% E  i/ v! i) d4 _
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》
/ B8 d4 B, y) G4 ?8 S7 d6 NS.5, Die heilige Cäcilia (1874)2 J# N  Z; |" l! N9 ^7 r2 f* G
S.6, Die Glocken des Strassburger Münsters (Longfellow) (1874)
# M7 ?0 f" F& p/ q( D0 I0 q- IS.7, Cantantibus organis (1879)
- F$ a  I# x$ r7 J, M& C7 \) O+ LS.8, Missa quattuor vocum ad aequales concinente organo [first/second version] (1848, 1869)' `+ B9 ~! `1 d5 I- _- m/ Q9 \
S.9, Missa solennis zur Einweihung der Basilika in Gran (Gran Mass) [first/second version] (1855, 1857–58)
# }4 s3 n- j& `. P' \) j8 CS.10, Missa choralis, organo concinente (1865)
, q! G7 T- ^3 F& e: f) E. i; Y1 rS.11, Hungarian Coronation Mass (1866–67). L1 r+ ^$ G# G- t: j0 K6 o% W
S.12, Requiem (1867–68)
# _" B+ J# V4 A6 J# }7 [/ |$ yS.13, Psalm 13 (Herr, wie lange ?) [first/second/third verion] (1855, 1858, 1862)
6 {7 F) g' X: N* |S.14, Psalm 18 (Coeli enarrant) (1860)6 W  s& A. V: I8 b3 S) f" 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)
; N3 p" r" T" i+ T' A+ @# U' ?S.15a, Psalm 116 (Laudate Dominum) (1869)
4 P. T. Q; W- M4 l' k4 RS.16, Psalm 129 (De profundis) (1880–83)
( j) v: v- e9 K; tS.17, Psalm 137 (By the Rivers of Babylon) [first/second version] (1859–62)
2 p& t* M; n0 G: Z, @S.18, Five choruses with French texts [5 choruses] (1840–49)& m# I, E1 u2 p$ U3 j% q! }
S.19, Hymne de l'enfant à son réveil (Lamartine) [first/second version] (1847, 1862)
$ f% x: W" H. B4 u2 W: A6 FS.20, Ave Maria I [first/second version] (1846, 1852)
) N) Z' }& y2 D9 NS.21, Pater noster II [first/second version] (1846, 1848)4 P+ u- A3 [. I9 j/ C3 `9 r
S.22, Pater noster IV (1850)' e8 L3 y9 _$ u* c8 v- z3 q
S.23, Domine salvum fac regem (1853)
  C$ D, L, e+ N( @4 b  ZS.24, Te Deum II (1853?)  Q) `5 Y- S/ ~% J9 a7 z1 v
S.25, Beati pauperes spiritu (Die Seligkeiten) (1853)
2 ]/ E: _  C$ d' f- r! y2 w. m3 o: wS.26, Festgesang zur Eröffnung der zehnten allgemeinen deutschen Lehrerversammlung (1858)
" P; O" `. f0 m( s! P2 I2 r0 T( GS.27, Te Deum I (1867)
# }( Y% D1 u1 `- }# ^5 U& LS.28, An den heiligen Franziskus von Paula (b. 1860)/ j; A7 a! `* \+ u  `3 i  Z
S.29, Pater noster I (b. 1860)7 P2 `: i. T3 k2 o7 x6 i& y
S.30, Responsorien und Antiphonen [5 sets] (1860)
& x7 M3 C3 G! G; h0 ~( ^S.31, Christus ist geboren I [first/second version] (1863?)
/ ^( N" ^3 d# H* g, M5 h) ]" y3 HS.32, Christus ist geboren II [first/second version] (1863?)
8 ?6 r; T6 A) ]  o3 _1 T6 _. AS.33, Slavimo Slavno Slaveni! [first/second version] (1863, 1866)
6 v2 t. ]+ `9 V6 }! R2 \S.34, Ave maris stella [first/second version] (1865–66, 1868)
' r- p7 B: U) O9 yS.35, Crux! (Guichon de Grandpont) (1865)& t( n3 K- R/ G% \- n( ?
S.36, Dall' alma Roma (1866)1 X0 C2 M0 Y' v. N5 s( H
S.37, Mihi autem adhaerere (from Psalm 73) (1868)
# D( }- ^0 Q5 o3 T4 `S.38, Ave Maria II (1869)
8 i: m8 k3 j# [2 g0 IS.39, Inno a Maria Vergine (1869)( y2 g7 Z4 d! V' A5 v
S.40, O salutaris hostia I (1869?)
/ K2 z$ p/ q# mS.41, Pater noster III [first/second version] (1869)+ {4 D6 R$ W8 @- A% m! Y
S.42, Tantum ergo [first/second version] (1869)
, G9 z/ D; Q& Y9 \  US.43, O salutaris hostia II (1870?)
2 r$ U7 h. Y. g/ ~; uS.44, Ave verum corpus (1871)
# z5 l4 g" H. c) }0 _S.45, Libera me (1871). s: x. v0 b6 x! b# r0 a' j& m6 ^
S.46, Anima Christi sanctifica me [first/second version] (1874, ca. 1874)3 {+ y8 P$ _* C7 o
S.47, St Christopher. Legend (1881)# R1 V% F5 P8 s6 e0 k
S.48, Der Herr bewahret die Seelen seiner Heiligen (1875)  ~4 ]* n* n# s8 H$ L/ |
S.49, Weihnachtslied (O heilige Nacht) (a. 1876)
8 s7 X& z& q2 M7 G% r% h6 j" tS.50, 12 Alte deutsche geistliche Weisen (Chorales) [12 chorals] (ca. 1878-79)
. Y) a! q7 Q  R1 L* l$ F! V9 hS.51, Gott sei uns gnädig und barmherzig (1878)
+ }/ B1 P! s4 @: r' ^S.52, Septem Sacramenta. Responsoria com organo vel harmonio concinente (1878)
+ ~" X- q5 z3 ~5 `( JS.53, Via Crucis (1878–79)" l# Z* l# {: l
S.54, O Roma nobilis (1879)- c* a  C3 Y* ]0 @
S.55, Ossa arida (1879)
- K6 }+ A4 }5 l8 O5 U+ `; k  @S.56, Rosario [4 chorals] (1879)
- I: g; {5 I/ P% @. mS.57, In domum Domino imibus (1884?)
7 x! f" A4 B. X6 e% O1 \S.58, O sacrum convivium (1884?)! F" X; k) A( b+ X7 A
S.59, Pro Papa (ca. 1880)+ q* r: X4 Y& Q4 d! F
S.60, Zur Trauung. Geistliche Vermählungsmusik (Ave Maria III) (1883). R& [- P1 a3 h  T
S.61, Nun danket alle Gott (1883)
9 p9 i1 x) E3 U8 p1 vS.62, Mariengarten (b. 1884)) [: S# _  u/ h1 t% q8 Y( A
S.63, Qui seminant in lacrimis (1884)
  p- |' [6 T! w" I5 eS.64, Pax vobiscum! (1885)
; o  \# |6 ]" r2 N" V: BS.65, Qui Mariam absolvisti (1885)
* g5 L/ `& p' Z7 ^! k8 `. m3 rS.66, Salve Regina (1885)
5 b( y3 C: h4 |/ U  |& \1.3 Secular Choral Works(世俗的合唱作品)
7 l2 B2 @' @$ X$ _# I2 v- f8 CS.67, Beethoven Cantata No. 1: Festkantate zur Enthüllung (1845)
2 |6 t" P. v- C6 R# Y  b# yS.68, Beethoven Cantata No. 2: Zur Säkularfeier Beethovens (1869–70)
* F2 i" G% X. Z; t0 AS.69, Chöre zu Herders Entfesseltem Prometheus (1850)
7 W# I/ M6 \( |0 h* G( R% f6 FS.70, An die Künstler (Schiller) [first/second/third verion] (1853, 1853, 1856)$ C: `" F7 S3 @8 X2 w- ]
S.71, Gaudeamus igitur. Humoreske (1869)
/ X/ m/ K9 v! g+ x" b2 ?S.72, Vierstimmige Männergesänge [4 chorals] (for Mozart-Stiftung) (1841)
# w+ R5 B! q  P- d# z# JS.73, Es war einmal ein König (1845)1 D" h# E8 [  X* P6 A
S.74, Das deutsche Vaterland (1839)2 ]$ m" m3 O- z
S.75, über allen Gipfeln ist Ruh (Goethe) [first/second version] (1842, 1849)% c+ f1 n4 i8 t) |! J: p$ ?# C
S.76, Das düstre Meer umrauscht mich (1842)0 E( v4 l" o4 y% z! n9 i  X7 M
S.77, Die lustige Legion (A. Buchheim) (1846)
' v! X/ \, h+ x- n5 C/ f+ ZS.78, Trinkspruch (1843)) K! q8 N: j, s  ^/ D7 t% n5 g8 ~
S.79, Titan (Schobert) (1842–47)& Y7 w4 k) ]' ]( U/ _
S.80, Les quatre éléments (Autran) (1845), u8 V2 _5 z) b# L' ^. Y( h
S.81, Le forgeron (de Lamennais) (1845)& G' V0 D: q: w- A
S.82, Arbeiterchor (de Lamennais?) (1848)) Y( |7 I% b8 f1 W
S.83, Ungaria-Kantate (Hungaria 1848 Cantata) (1848)
. c+ Q* o9 s4 Z1 h7 H2 S7 {5 j$ pS.84, Licht, mehr Licht (1849)6 C0 C* ^3 d2 ?4 o
S.85, Chorus of Angels from Goethe's Faust (1849)1 \  X6 J1 W# R* L# u2 j  Q
S.86, Festchor zur Enthüllung des Herder-Dankmals in Weimar (A. Schöll) (1850)
" f# R& Q# v8 x3 RS.87, Weimars Volkslied (Cornelius) [6 versions] (1857)7 [0 Y. ]9 A! _& n% a1 e# x" T
S.88, Morgenlied (Hoffmann von Fallersleben) (1859)
( m& w4 Q* r8 J: xS.89, Mit klingendem Spiel (1859–62 ?)5 O; X6 r( f  G2 e' ^! M
S.90, Für Männergesang [12 chorals] (1842–60)& u$ @7 K: L8 w1 p- K
S.91, Das Lied der Begeisterung. A lelkesedes dala (1871)8 s* A9 U. o. T; }
S.92, Carl August weilt mit uns. Festgesang zur Enthüllung des Carl-August-Denkmals in Weimar am 3 September 1875 (1875)
3 w2 o( G7 P) r1 `% J- dS.93, Ungarisches Königslied. Magyar Király-dal (ábrányi) [6 version] (1883)
9 f8 `0 c8 [, W3 k" JS.94, Gruss (1885?)
- N, D+ x2 O7 W0 \/ {1.4 Orchestral Works(管弦乐作品)
+ H7 W7 g1 z# A2 Y! i& r5 `( U
: m9 |; L; [1 `# D# i# p1.4.1 Symphonic Poems(交响诗)
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: e+ X0 W7 N6 b- s5 vS.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. d8 a) e% f+ c0 X2 R
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》
5 t; F2 [. d8 _S.97, Poème symphonique No. 3, Les Préludes (1848) 第三交响诗“前奏曲”
2 ~  V) q; P3 Y1 a; ~- bS.98, Poème symphonique No. 4, Orpheus (1853–54) 第四交响诗 《奥菲欧》1 J4 Y9 q% J$ f3 i" |
S.99, Poème symphonique No. 5, Prometheus [first/second version] (1850, 1855) 第五交响诗《普罗米修斯》
( |. O5 f' A% J8 Q1 w0 RS.100, Poème symphonique No. 6, Mazeppa [first/second version] (1851, b. 1854) 第六交响诗《马捷帕》
0 L) S4 Y# \! _# K3 o$ ^+ TS.101, Poème symphonique No. 7, Festklänge [revisions added to 1863 pub] (1853) 第七交响诗《节日之声》# A" I9 u3 O2 y: F: r
S.102, Poème symphonique No. 8, Héroïde funèbre [first/second version] (1849–50, 1854)  第八交响诗《英雄的葬礼》
7 J* r& W% v! s. g7 p2 m: gS.103, Poème symphonique No. 9, Hungaria (1854) 第九交响诗《匈牙利》
# U! A  V; T- b* Y! N! B' MS.104, Poème symphonique No. 10, Hamlet (1858) 第十交响《哈姆雷特》8 F" i  `5 N! @3 x' E3 z
S.105, Poème symphonique No. 11, Hunnenschlacht (1856–57) 第十一交响诗《匈奴之战》
4 u( u, L, c, ]5 WS.106, Poème symphonique No. 12, Die Ideale (1857) 第十二交响诗《理想》
+ i! ^# A) T; ]1 E5 T  g- BS.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》9 D, s9 I4 e4 Y! [
1.4.2 Other Orchestral Works(其他管弦乐作品)7 `7 A0 s/ z( N& I! R& @: d/ a
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S.108, Eine Faust-Symphonie [first/second version] (1854, 1861)
9 r! \$ S6 f5 x+ S. eS.109, Eine Symphonie zu Dante's Divina Commedia (1855–56)
/ d& U& [0 Y" u' u" |6 HS.110, Deux épisodes d'apres le Faust de Lenau [2 pieces] (1859–61)2 f3 x6 P9 B3 [% _9 X! T
S.111, Zweite Mephisto Waltz (1881)& B  }: Y# `2 M- T0 ]3 ^! K( d
S.112, Trois Odes Funèbres [3 pieces] (1860–66)
7 {0 _9 Q# U, A" y; O4 i  S# uS.113, Salve Polonia (1863)3 ]: @, B8 `2 r- b* b( n# H. E
S.114, Künstlerfestzug zur Schillerfeier (1857)
! F9 M+ @7 |  V+ g$ j: Q& f/ W) ?& wS.115, Festmarsch zur Goethejubiläumsfeier [first/second version] (1849, 1857)3 o4 g3 P" J" F* J" E2 Z9 D
S.116, Festmarsch nach Motiven von E.H.z.S.-C.-G. (1857)
- o. F( M8 N$ z. V: MS.117, Rákóczy March (1865)  i: y& G2 s- L& n' V) p  Y
S.118, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (am 8 Juni 1867) (1870)" ~* R0 k4 ^5 t9 [0 k$ Q
S.119, Ungarischer Sturmmarsch (1875)& `6 ?6 n- ~7 Y; X* ^
1.5 Piano and Orchestra(钢琴与乐队)$ g8 X6 K7 Q( H) F% `/ ~
) S! L7 L+ b0 G. f) a! C

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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)  [: S: S0 r2 S  w7 X7 \6 a' D/ d
S.121, Malédiction (with string orchestra) (1833)  诅咒  钢琴与弦乐队
. C% J6 L4 y4 E( |6 DS.122, Fantasie über Beethovens Ruinen von Athen [first/second version] (1837?, 1849)
" Z! W; t6 ?! C; ~9 yS.123, Fantasie über ungarische Volksmelodien (1852) 匈牙利民歌主题幻想曲 为钢琴与乐队而作
% W1 M2 a7 r5 _) hS.124, Piano Concerto No. 1 in E flat [first/second version] (1849, 1856) 降E大调第一钢琴协奏曲# f6 J3 ~- m7 H/ g7 V1 [  x
S.125, Piano Concerto No. 2 in A major [first/second version] (1839, 1849) A大调第二钢琴协奏曲
) G+ ?4 Q9 u# E: n/ C- t  Q# {S.125a, Piano Concerto No. 3 in E flat (1836–39)
" m  t( {4 K6 ^8 f2 T9 L3 r# YS.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1 [. l9 y2 k% _9 j5 |
S.126a, Piano Concerto "In the Hungarian Style" [probably by Sophie Menter] (1885)
) B7 M- i0 c6 |8 ?1.6 Chamber Music(室内乐等)0 Q& M+ T% m% b8 S

; ?. w& Z7 g- q3 TS.126b, Zwei Waltzer [2 pieces] (1832)
0 @2 F7 u6 I) U- Z; z0 i+ a6 N( a4 ~% S! N  m
S.127, Duo (Sonata) - Sur des thèmes polonais (1832-35 ?)
0 S6 E4 U, U% J) R: `S.128, Grand duo concertant sur la romance de M.Lafont Le Marin [first/second version] (ca. 1835-37, 1849)
( u$ ^) p1 q6 fS.129, Epithalam zu Eduard. Reményis Vermählungsfeier (1872)  D5 X3 Q, }( ^  d& t( a
S.130, élégie No. 1 [first/second/third version] (1874)
* e$ [# _. @+ P& GS.131, élégie No. 2 (1877)0 X  t+ ?) h) d4 j7 ?
S.132, Romance oubliée (1880)
. A1 N; k8 E2 }5 T0 r& T3 p" DS.133, Die Wiege (1881?)8 W! |6 Q3 ~1 M3 k& h) k! {
S.134, La lugubre gondola [first/second version] (1883?, 1885?)
) T$ l8 Q2 D1 |S.135, Am Grabe Richard Wagners (1883)9 h$ ^2 d9 ~& v( j% _7 H
1.7 Piano Solo) @0 s/ P3 S/ H3 M: K# Z
$ V' k4 Z8 w% G, ~; L9 S8 C
1.7.1 Studies(钢琴练习曲)& u2 q4 V% X4 O5 m
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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
; _; t. R" W  C% Q; ~1 sS.137, Douze grandes études [second version, 12 pieces] (1837) 《12首超技练习曲》  o& H3 p. ^. I, V( h
S.138, Mazeppa [intermediate version of S137/4] (1840) 练习曲“玛捷帕”+ \+ Q! T& k" n, ^0 o# z( r
S.139, Douze études d'exécution transcendante [final version, 12 pieces] (1852) 12首超技练习曲
& F) j% [* ?( B8 b9 sS.140, études d'exécution transcendante d'après Paganini [first version, 6 pieces] (1838) 帕格尼尼超技练习曲
) o+ c+ D( Z/ E2 ~7 I* @+ k0 W* mS.141, Grandes études de Paganini [second version, 6 pieces] (1851)  6首帕格尼尼大练习曲
& H2 F5 E2 V7 ~1 l. |S.142, Morceau de salon, étude de perfectionnement [Ab Irato, first version] (1840) 高级练习曲“沙龙小品”7 V# o+ b. o7 @3 H- M  Q
S.143, Ab Irato, étude de perfectionnement [second version] (1852) 高级练习曲“愤怒”3 T  q, I1 J* N
S.144, Trois études de concert [3 pieces] (1848?)  3首音乐会练习曲
7 D* c& T, V! c  O) I( K1.    Il lamento
4 F4 ~4 O' X3 b- t4 N2.    La leggierezza) G5 c6 J# m) P
3.    Un sospiro- H/ x5 i& }6 V+ G; h# g: M" x
S.145, Zwei Konzertetüden [2 pieces] (1862–63)  2首音乐会练习曲2 z! G( B" o$ ^- }- s
1.    Waldesrauschen
% h& h( V. g9 Q+ r! G+ y1 g( `2.    Gnomenreigen- Y6 ]5 Z5 l# T3 d( U9 b
S.146, Technische Studien [68 studies] (ca. 1868-80)  钢琴技巧练习
9 R/ P! M& ]  q2 i$ {1 O0 |1.7.2 Various Original Works(各种原创作品)! o# t& _6 o. F" u1 D' I

& t# `* E4 {7 a# \/ g' S) b" KS.147, Variation on a Waltz by Diabelli (1822)  狄亚贝利圆舞曲主题变奏曲
' U, [# L" \% ^S.148, Huit variations (1824?) 降A大调原创主题变奏曲/ m8 J0 U. O" h3 A" b. G3 k, {
S.149, Sept variations brillantes dur un thème de G. Rossini (1824?)
2 _) ?! \  u0 {6 B; E( ?+ A# N2 ]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
5 [. z5 ^' `7 P0 PS.151, Allegro di bravura (1824) 华丽的快板0 {' G4 q7 y% W3 \* G! u
S.152, Rondo di bravura (1824) 华丽回旋曲
/ w9 s) T4 Y$ W6 R! D2 H& p7 `S.152a, Klavierstück (?), |1 }3 [; i! }4 A; c
S.153, Scherzo in G minor (1827) g小调谐谑曲
, [: K# v' E2 A$ }$ ?5 w, OS.153a, Marche funèbre (1827)0 y6 }3 M: N# Q3 X, \
S.153b, Grand solo caractèristique d'apropos une chansonette de Panseron [private collection, score inaccessible] (1830–32) [1]
! C% F$ x6 w$ o8 ~" S( ?4 vS.154, Harmonies poétiques et religieuses [Pensée des morts, first version] (1833, 1835) 宗教诗情曲
) X! m6 W5 C! R: K# K4 ZS.155, Apparitions [3 pieces] (1834) 显现 三首钢琴小品
9 Y- T( z2 k1 U4 A2 ]) FS.156, Album d'un voyageur [3 sets; 7, 9, 3 pieces] (1835–38) 旅行者札记  C* S- L# M# y/ s9 O. b2 [
S.156a, Trois morceaux suisses [3 pieces] (1835–36)1 c# b) d8 ~. Y' n) `
S.157, Fantaisie romantique sur deux mélodies suisses (1836) 浪漫幻想曲9 g, @( P+ a5 G7 |9 t
S.157a, Sposalizio (1838–39)9 F, M4 J7 S& E7 H+ J0 T
S.157b, Il penseroso [first version] (1839), f, |% K9 l- j0 Y& |  ^: Y
S.157c, Canzonetta del Salvator Rosa [first version] (1849)
/ ^7 U# H+ V9 i7 WS.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/ ^1 y* g9 M, F% M1 `# K
S.158a, Paralipomènes à la Divina Commedia [Dante Sonata original 2 movement version] (1844–45)' Z. T5 a5 H! _
S.158b, Prologomènes à la Divina Commedia [Dante Sonata second version] (1844–45)- X, N# j5 D+ a( w. S
S.158c, Adagio in C major (Dante Sonata albumleaf) (1844–45)
1 M) _0 Q" e% nS.159, Venezia e Napoli [first version, 4 pieces] (1840?)  威尼斯和拿波里
; Z$ p( L# t3 h3 v% g$ nS.160, Années de pèlerinage. Première année; Suisse [9 pieces] (1848–55)  旅行岁月(第一集)- 瑞士游记: j& p- L6 |  [6 W0 ^
S.161, Années de pèlerinage. Deuxième année; Italie [7 pieces] (1839–49) 旅行岁月(第二集)- 意大利游记
/ K9 d$ T0 Y! x# l# g( ?+ 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
. @. v/ E- [: f& t1 H6 S! M- O/ qS.162a, Den Schutz-Engeln (Angelus! Prière à l'ange gardien) [4 drafts] (1877–82)
9 i8 t1 n+ y2 j6 J9 ~- Q" F0 c( [S.162b, Den Cypressen der Villa d'Este - Thrénodie II [first draft] (1882)
: M3 G: ]) T/ ?$ B8 eS.162c, Sunt lacrymae rerum [first version] (1872)
7 N0 F- f) O% a, R% m+ Z- pS.162d, Sunt lacrymae rerum [intermediate version] (1877)# V! {. n5 X  w, [8 c: E
S.162e, En mémoire de Maximilian I [Marche funèbre first version] (1867)
' Q  k0 C( l* M! YS.162f, Postludium - Nachspiel - Sursum corda! [first version] (1877)
: K. N& P+ f) uS.163, Années de pèlerinage. Troisième année [7 pieces] (1867–77)   旅行岁月(第三集)
  j8 g  U! k* r- Q+ S9 f5 _S.163a, Album-Leaf: Andantino pour Emile et Charlotte Loudon (1828) [2] 降E大调纪念册的一页. C, q/ q' W. a! z
S.163a/1, Album Leaf in F sharp minor (1828)降E大调纪念册的一页
. r( A0 P- ~! E* C" a! |S.163b, Album-Leaf (Ah vous dirai-je, maman) (1833)
5 o( R" j3 D7 t# s# j. `S.163c, Album-Leaf in C minor (Pressburg) (1839)
% K9 ?+ t, e5 b( S# d3 a! }S.163d, Album-Leaf in E major (Leipzig) (1840)2 F3 x* e/ F, r+ I& M4 t8 I
S.164, Feuille d'album No. 1 (1840) E大调纪念册的一页& b1 O2 q- \  [# E$ _6 s. ?
S.164a, Album Leaf in E major (Vienna) (1840)
, t, n" `2 Z% i; aS.164b, Album Leaf in E flat (Leipzig) (1840)3 l% W' x' T/ B3 x. `
S.164c, Album-Leaf: Exeter Preludio (1841)
/ K- o2 `$ _$ S5 u) W# t2 G" w) xS.164d, Album-Leaf in E major (Detmold) (1840)
  y; E6 y7 R4 dS.164e, Album-Leaf: Magyar (1841)
* ]/ ^& e! H+ bS.164f, Album-Leaf in A minor (Rákóczi-Marsch) (1841)3 c/ y2 T3 X0 x( T) j6 I% }0 b. d
S.164g, Album-Leaf: Berlin Preludio (1842): |' Z! q) E' I$ |
S.165, Feuille d'album (in A flat) (1841) 降A大调纪念册的一页
' k7 G8 i) @) p6 ^) X. [" a6 Q" OS.166, Albumblatt in waltz form (1841) A大调圆舞曲风格纪念册的一页" g" H8 y4 W1 r- J6 o
S.166a, Album Leaf in E major (1843)0 d, J1 X2 ]) n8 [- P
S.166b, Album-Leaf in A flat (Portugal) (1844)( ]' w4 }8 v) B. b+ }) M* Q
S.166c, Album-Leaf in A flat (1844)1 o5 N& q8 P  d
S.166d, Album-Leaf: Lyon prélude (1844)# o+ a' v9 P; U1 [9 g2 ]
S.166e, Album-Leaf: Prélude omnitonique (1844)4 r$ R' \' I- g* ~9 e. I
S.166f, Album-Leaf: Braunschweig preludio (1844)
. K& U) i  W9 OS.166g, Album-Leaf: Serenade (1840–49)
: I" d. a7 P, h$ \, CS.166h, Album-Leaf: Andante religioso (1846)
) |( p& `+ f- xS.166k, Album Leaf in A major: Friska (ca. 1846-49)
9 A+ P+ M. p; VS.166m-n, Albumblätter für Prinzessin Marie von Sayn-Wittgenstein (1847)4 E$ S  h2 G: E8 U# \5 l+ W: i9 h
S.167, Feuille d'album No. 2 [Die Zelle in Nonnenwerth, third version] (1843) a小调纪念册的一页
+ I$ q  {7 p. a% U$ \( ES.167a, Ruhig [catalogue error; see Strauss/Tausig introduction and coda]9 w% ~$ U7 c1 v7 ?4 U
S.167b, Miniatur Lieder [score not accessible at present] (?)
! N6 A6 `# I; O. q' JS.167c, Album-Leaf (from the Agnus Dei of the Missa Solennis, S9) (1860–69)$ M3 P+ @& Z: d: L0 _$ |
S.167d, Album-Leaf (from the symphonic poem Orpheus, S98) (1860)6 K: o, J* B5 q0 e
S.167e, Album-Leaf (from the symphonic poem Die Ideale, S106) (1861)
) J5 {" a! X5 N8 R# q" K- kS.167f, Album Leaf in G major (ca. 1860)
( w5 b/ s/ A' n2 |% zS.168, Elégie sur des motifs du Prince Louis Ferdinand de Prusse [first/second version] (1842, 1851) 悲歌+ Z/ q3 y' x1 x& Z8 e8 T4 L9 m- v( d5 Z
S.168a, Andante amoroso (1847?)
( i8 q5 D+ M; y% OS.169, Romance (O pourquoi donc) (1848) e小调浪漫曲+ v7 ~8 d5 {8 T
S.170, Ballade No. 1 in D flat (Le chant du croisé) (1845–48) 叙事曲一; y+ Z4 t) c; T6 H
S.170a, Ballade No. 2 [first draft] (1853)9 u+ K, B4 X- A( {! i% T
S.171, Ballade No. 2 in B minor (1853) 叙事曲二
. n8 E, T8 j5 f" `5 r4 ]S.171a, Madrigal (Consolations) [first series, 6 pieces] (1844)- D" I$ [5 [% A' d! P# f4 m6 t/ b4 Y
S.171b, Album Leaf or Consolation No. 1 (1870–79)
2 b6 F; I# r1 r! mS.171c, Prière de l'enfant à son reveil [first version] (1840)
/ N' W: ]+ k4 D4 `. z. S7 DS.171d, Préludes et harmonies poétiques et religie (1845)
- G; K. ]6 D( r# v5 I- [* T$ G- JS.171e, Litanies de Marie [first version] (1846–47)5 c" ]5 ]# C8 I* i9 V: W5 p1 x
S.172, Consolations (Six penseés poétiques) (1849–50) 6首安慰曲
- p: Q& ^. \- ?& |- _( i  dS.172a, Harmonies poétiques et religieuses [1847 cycle] (1847)
) M! V- Z8 [1 ZS.172a/3&4, Hymne du matin, Hymne de la nuit [formerly S173a] (1847)1 ~. |) O! b# X% d3 L+ x
S.173, Harmonies poétiques et religieuses [second version] (1845–52) 诗与宗教的和谐0 d7 O' y6 C+ P& S$ B8 k7 n
S.174, Berceuse [first/second version] (1854, 1862) 摇篮曲
0 \, i$ U4 P* M2 {  r$ z) XS.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)
  p* K4 L0 Q) L& K2 X- k2.    St. François de Paule marchant sur les flots (Walking on the Waves)
) L) I) _2 Q: r3 T1 VS.175a, Grand solo de concert [Grosses Konzertsolo, first version] (1850)9 S" D6 g  x6 ^# `1 j! C3 ]
S.176, Grosses Konzertsolo [second version] (1849–50 ?) 独奏大协奏曲4 D% ?; v2 U) J( y
S.177, Scherzo and March (1851) 谐谑曲与进行曲
- e$ L+ R  K0 }6 z5 u+ X$ o% }S.178, Piano Sonata in B minor (1852–53)  b小调钢琴奏鸣曲
$ E9 H7 n5 s8 T/ BS.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1 W/ L+ ]& n, c+ g6 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
4 U  |/ F: O: X* |4 I* lS.181, Sarabande and Chaconne from Handel's opera Almira (1881)
+ M* E4 O  e  b" H7 V$ US.182, Ave Maria - Die Glocken von Rom (1862) 圣母颂“罗马的钟声”
; M6 c9 {+ \6 A5 W/ xS.183, Alleluia et Ave Maria [2 pieces] (1862) 哈利路亚与圣母颂6 i4 b" T' @. H8 T) p- B: w5 p
S.184, Urbi et orbi. Bénédiction papale (1864)  E; d: \& {' K
S.185, Vexilla regis prodeunt (1864)
* Y' s0 |2 u; y. H0 q/ @" y' K, F; fS.185a, Weihnachtsbaum [first version, 12 pieces] (1876)
6 T+ I6 m2 y& R) D1 {, D( BS.186, Weihnachtsbaum [second version, 12 pieces] (1875–76) 钢琴曲集《圣诞树》& F) S& V! i! n! Q% U8 k
S.187, Sancta Dorothea (1877) 圣多萝西娅! x3 A  w0 ]- S1 y. q# Y) Q
S.187a, Resignazione [first/second version] (1877)
7 a! r1 f4 Z8 E# bS.188, In festo transfigurationis Domini nostri Jesu Christi (1880) 我主耶稣基督之变形, B7 A( u) t0 o! Q
S.189, Klavierstück No. 1 (1866)
5 z( X8 Y2 l4 _0 A# K; F8 MS.189a, Klavierstück No. 2 (1845)
! `0 Z! ]$ X3 }* b* a! f6 `" nS.189b, Klavierstück (?): \( _! X$ i' P
S.190, Un portrait en musique de la Marquise de Blocqueville (1868)+ e/ K: F2 f7 ^5 f* e4 X, v4 a
S.191, Impromptu (1872) 升F大调即兴曲“夜曲”  p2 ^# x( Z+ n* ^) f& n5 y2 e
S.192, Fünf Klavierstücke (for Baroness von Meyendorff) [5 pieces] (1865–79) 5首钢琴小品; K9 t6 v* P* W6 o
S.193, Klavierstuck (in F sharp major) (a. 1860) 升F大调钢琴小品4 a. w( E" H5 a1 v0 ]
S.194, Mosonyis Grabgeleit (Mosonyi gyázmenete) (1870) 在莫佐尼墓前' D4 b. ]; q& i0 ~; r, z
S.195, Dem andenken Petofis (Petofi Szellemenek) (1877) 纪念裴多菲3 G. c3 z9 w' o3 h, H
S.195a, Schlummerlied im Grabe [Elegie No 1, first version] (1874)& ~/ b1 j  N- J0 ]+ M! M
S.196, élégie No. 1 (1874)
3 W6 ^4 A) u. pS.196a, Entwurf der Ramann-Elegie [Elegie No 2, first draft] (1877)/ }# e9 o# W8 H) G# ^
S.197, élégie No. 2 (1877)
4 T$ E/ Z8 i7 x, |6 AS.197a, Toccata (1879–81) 托卡塔
8 s3 k- m7 J0 r$ \" C% xS.197b, National Hymne - Kaiser Wilhelm! (1876)9 N0 L# K! V! ^2 j6 x+ P
S.198, Wiegenlied (Chant du herceau) (1880) 摇篮曲
5 [' h5 Y4 C2 K, u: q' wS.199, Nuages gris (Trübe Wolken) (1881) 灰色的云
" Y  D; j  x! b+ F2 Y8 I  D+ A" hS.199a, La lugubre gondola I (Der Trauergondol) [Vienna draft] (1882)
& E: v7 |* h1 \+ y9 r" CS.200, La lugubre gondola [2 pieces] (1882, 1885) 葬礼小船7 `1 ]  o$ Q3 p& [) D0 y
# m" Y/ ~  G, T; C- F/ O. |- X) E
李斯特全部作品目录-21 e# \. W6 b3 k; l, P+ h

- }5 K9 h9 K! T/ kS.201, R. W. - Venezia (1883) 告别瓦格纳和威尼斯: s  l0 S7 F  w& I* [& e9 O
S.202, Am Grabe Richard Wagners (1883) 在瓦格纳墓前
  C0 F2 ~2 z+ }$ i: HS.203, Schlaflos, Frage und Antwort (Nocturne after a poem by Toni Raab) (1883) 夜曲“沉睡,思考和回答”) `, b# z1 ]- a; S
S.204, Receuillement (Bellini in Memoriam) (1877) 冥想/ n3 ?7 \) f$ v7 h6 [
S.205, Historische ungarische Bildnisse (Magyar arcképek) [original version, 7 pieces] (1885) 匈牙利历史人物肖像/ z  t: J0 K  o
S.205a, Historische ungarische Bildnisse [revised order and conclusion, 7 pieces] (1885)& y2 i, S( {! E  e, j; }. v: S4 U
S.206, Trauervorspiel und Trauermarsch (1885) 葬礼前奏曲和葬礼进行曲2 q8 X* O2 V- J
S.207, En rêve. Nocturne (1885) 夜曲“梦中”, G$ s6 O8 P( J- w* l/ q
S.207a, Prélude à la polka de Borodine (and Borodin's Polka) (1880)
) z. i4 K# R) P0 N% PS.208, Unstern: sinistre, disastro (1880–86) 凶兆、灾难0 @% i# D( C& [
1.7.3 Works in Dance Form(为舞蹈的作品)- g5 H& T  ^6 F0 D: [6 O
  D3 Z  Y1 \( H8 M* R  q, @3 i
S.208a, Waltz (in A major) (b. 1825) A大调圆舞曲
1 X1 ]5 L( z! N! o( `5 T$ q! oS.209, Grande valse di bravura [first version of S214/1] (1835) 华丽的大圆舞曲2 l! p  i4 ?) n/ B# Y- m& a4 _) [
S.209a, Waltz (in E flat) (1840): e9 L7 s. u. q2 U
S.210, Valse mélancolique [first version of S214/2] (1839) 忧郁圆舞曲% w  p& r+ ?% X5 t8 E" ^& _( ?
S.210a, Valse mélancolique [intermediate version] (1840)
+ i/ j. o- V0 Z0 jS.210b, Valse (in A major) (1830–39)% Z+ H% _& _9 B+ A5 e+ C
S.211, Ländler (in A flat major) (1843) 降A大调兰德勒舞曲
- [" j  G5 B1 AS.211a, Ländler (in D major) (1879)
* R% Q& P. f& e8 s" d0 l' u' BS.212, Petite valse favorite [first/second version] (1842, 1843)$ s' ?5 S3 f1 x/ V5 u8 P/ C% k; x' l
S.212b, Mariotte. Valse pour Marie (1840). i; A$ P1 \7 \& O! o9 X
S.213, Valse-impromptu (1850?) 即兴圆舞曲" b& o+ ~1 Y4 g9 `
S.213a, Valse-impromptu [with later additions] (1880)
7 w2 O9 n: V2 v8 ~5 a. J; fS.214, Trois caprice-valses [3 pieces] [second versions of S209, S210, S401] (1850?)8 C- C# U1 Y# n. {; ~# E3 c. w
S.214a, Carousel de Madame Pelet-Narbone (ca. 1875-81). z6 V2 W9 }' F& G
S.215, Valses oubliées [4 pieces] (1881–84) 4首被遗忘的圆舞曲
3 ]- J8 @! s2 n  Y% TS.215a, Dritter Mephisto-Walzer (Mephisto Waltz No. 3) [first draft] (1883), {+ |( |" F4 P5 R, s
S.216, Dritter Mephisto-Walzer (Mephisto Waltz No. 3) (1883) 第三梅菲斯特圆舞曲+ k3 N1 o; w2 X
S.216a, Bagatelle sans tonalité (1885)' n! ~+ |0 E1 {- k* i
S.216b, Vierter Mephisto-Walzer (Mephisto Waltz No. 4) [first version] (1885)  第四梅菲斯特圆舞曲
0 M$ ~" N7 J5 US.217, Mephisto Polka [first/second version] (1883) 梅菲斯特波尔卡5 q4 i+ F7 {9 T/ n( u. O* J
S.218, Galop (in A minor) (1841?) a小调加洛普舞曲9 W! x; t' S) \8 ?( _* P8 y
S.219, Grand galop chromatique [original version] (1838) 华丽的半音阶加洛普舞曲
$ K, r5 P; e) iS.219bis, Grand galop chromatique [simplified version] (1838)
9 n, r! m7 e4 \$ NS.220, Galop de Bal (1840?)* Z6 G7 [* K) k
S.221, Mazurka brillante] (1850) 华丽玛祖卡
: y/ ?% i% V0 i& }9 b; [+ m8 m( u5 U% zS.221a, Mazurka in F minor [Not by Liszt?] (?)
( A8 z1 H( J2 s4 uS.222, [catalogue error; same as S212]$ v5 `  l7 v& ~5 r! v! P8 G% C
S.223, Deux Polonaises [2 pieces] (1851) 2首波洛奈兹舞曲0 h; F+ H$ D) \+ ?0 h
S.224, Csárdás macabre (1881–82)
1 g/ p* m8 ~% c% l- s- z1 o  ^$ AS.225, Two Csárdás [2 pieces] (1884)
& ~! j# }8 r$ k' l6 `3 M+ fS.226, Festvorspiel (1856)
3 }$ Y, M- x' F, C2 |! W4 ES.226a, Marche funèbre (1827)
; [& Q# p2 W3 t/ ~; l, }; nS.227, Goethe Festmarsch [first version] (1849)
& H, F* G1 f& P9 ]  B' PS.228, Huldigungsmarsch [first/second version] (1853)
0 w& p- z7 E0 t0 `3 r5 M$ f( sS.229, Vom Fels zum Meer! - Deutscher Siegesmarsch (1853–56)
" z- U6 O/ P, n9 ^- s" eS.230, Bülow-Marsch (1883)
8 N: t4 E" J0 K9 s. C( i, WS.230a, Festpolonaise (1876)% S8 I: j. C6 f" J
S.231, Heroischer Marsch in ungarischem Stil (1840)# U) \: D5 F0 ~
S.232, Ungarischer Sturmmarsch [earlier version of S524] (1843?)' c# E! s) q4 L
S.233, Ungarischer Geschwindmarsch (1870)
/ z' {! W6 S1 d% K, z4 vS.233a, Siegesmarsch. Marche triomphale (Victory March) (?)+ D7 p/ x' Y7 d7 R; ^" D- `0 g# n& `
S.233b, Marche hongroise (in E flat minor) (1844); \' q6 U. s1 B' i5 k
1.7.4 Works on National Themes(主题作品)
$ n; F0 P  X- g: d# z  D' F0 V5 ?0 y  }! P0 ^- S" x
1.7.4.1 Czech
, K2 S2 l2 ]! U, _# Y2 \1 a
1 L7 b, F( P. ^! n3 |4 ^$ x& p' f  D* dS.234, Hussitenlied (Melody by J.Krov) (1840)
$ ]+ g- k* r- u- E4 x1.7.4.2 English9 |5 C$ Y5 m3 Y- v2 y) R

: q. ~+ c9 S) Z9 s% P' G; R7 ?S.235, God Save the Queen (1841)
0 U! `3 K6 b; X+ O( t7 \1.7.4.3 French
) f' I: @+ O9 E) c  I6 C) N+ I/ h% I8 _
S.236, Faribolo Pasteur and Chanson du Béarn [2 pieces] (1844)
8 V; t. W! c" [: ~" k! _8 U! XS.237, La marseillaise (1872?)6 u% m3 E3 S9 y
S.238, La cloche sonne (1850?)2 f3 b! ~$ S1 M& f  ]& b6 i8 n& w0 y
S.239, Vive Henri IV (1870-80 ?)
' G* t. _3 E- Z. k" I1.7.4.4 German
# U% o+ p" g" {, j
( F8 @4 q% B/ rS.240, Gaudeamus igitur. Concert paraphrase [first/second version] (1843, 1853)
" w" |4 N, _3 p, I5 F1.7.4.5 Hungarian
$ b  q+ z# v; |1 R" S; z' ~
4 }: u4 s4 M! ^# \3 {, DS.241, Hungarian Recruiting Songs (Zum Andenken) (By Fáy & Bihari) (1828)' d. N' J' h4 P/ Q" X9 h) ?
S.241a, Ungarische Romanzero (Hungarian Songbook) [18 pieces] (1853)
; v4 X% k$ Q$ W# j, w2 cS.241b, Magyar tempo (1840)
$ q7 @6 j' K, [4 h1 sS.242, Magyar Dalok: Magyar Rapszódiák [21 pieces] (1839–47)
* }3 V3 F' Q. `/ f3 k) {S.242a, Rákóczi-Marsch [first version] (1839–1840)
% x8 f1 \0 B+ J) vS.243, Ungarische National-Melodien [3 pieces] (ca. 1843)' A/ X' e7 d  m+ ~/ c+ D( P) [) T
S.243a, Célèbre mélodie hongroise (a. 1866)0 a. n2 F2 r* q  c
S.244, Hungarian Rhapsodies (Rapsodies hongroises) [19 pieces] (1846–86)  19首匈牙利狂想曲
# d. |# m  \$ ?& S5 o! a/ x* W0 `% @( {" PS.244a, Rákóczi-Marsch [from orchestral version] (1863)
* h) q2 ]3 X3 n. b2 RS.244b, Rákóczi-Marsch [simplified version of S244a] (1871)
1 `: A; {* f1 a0 t# q" rS.244c, Rákóczi-Marsch [popular version] (?)
0 Y5 R& A% R  mS.245, Fünf ungarische Volkslieder (Abranyi) [5 pieces] (1873)
& D# D0 S7 Z; ^S.246, Puszta-Wehmut (A Puszta Keserve) (1880–86 ?)4 Q& C% C9 X2 g' I3 K
1.7.4.6 Italian3 E7 N7 @# ^! Z

2 `9 J9 S: T1 Q) S/ tS.248, Canzone Napolitana [first/second version] (1842)! I7 x/ A& h5 M6 k8 ?, U# M3 y; q; f% m
1.7.4.7 Polish2 E+ `5 O2 _) {  m

/ J9 Y$ n1 T8 E; _7 i. S- b. pS.249, Glanes de Woronince [3 pieces] (1847–48)  k2 x2 S6 A+ h4 ]
S.249a, Mélodie polonaise [short draft] (1871)
0 m$ E7 T( l' h1 [+ {S.249b, Dumka (1871)8 i( S# W! F5 F# F% r7 s
S.249c, Air cosaque (1871)3 u9 r- _2 U, B: ^9 L( {3 a
1.7.4.8 Russian
/ ^/ ^* R# w9 T; m0 {' P9 u% ~
% z1 l; m- S# eS.250, Deux mélodies russes. Arabesques [2 pieces] (1842). K7 ^5 E" o' _/ q1 C+ \
S.250a, Le rossignol (Alyabyev) [first version of S250/1] (1842)
2 f1 i5 j0 E+ ^* ^4 P6 wS.251, Abschied. Russisches Volkslied (1885)
2 L$ {) P; h5 y! a7 M$ @8 E; T1.7.4.9 Spanish5 m5 z) B. K! |. ]) k4 k
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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)/ C  y4 b  ]/ |! P! z
S.252a, La romanesca [first/second version] (ca. 1832, b. 1852)# d/ w' J, K2 Z
S.253, Grosse Konzertfantasie über Spanische Weisen (1853)* s7 k+ x* Z9 i
S.254, Rhapsodie espagnole (1863?) 西班牙狂想曲
% s2 E) X0 x4 [; G2 o) n' fS.254x, Rapsodie espagnole [orchestrated by Feruccio Busoni] (?)- P5 Q4 D9 G; Y2 y# m: N" k
1.8 Piano Duet(钢琴二重奏)
& @. Y2 g2 M$ @2 F8 N1 p( s0 d8 A9 T8 x
S.255, Festpolonaise [now S619a] (1876)' _  F2 W  p+ o8 \$ ^9 S
S.256, Variation on the Chopstick Theme (1880)# V8 _+ |3 ^  m
S.256a, Nottorno [Not by Liszt?] (?)
3 r, {% n4 I' U' @1 L1.9 Two Pianos(双钢琴)
+ J5 h/ A0 l# Q1 c6 z! X" }, Z
: I* @2 n; g8 @4 P' H8 @6 mS.257, Grosses Konzertstück über Mendelssohns Lieder ohne Worte (1834)
, g# ~- M( ~$ Q9 GS.258, Concerto pathétique (b. 1856)  e小调钢琴协奏曲“悲怆”& `3 ~5 N8 K: u# }
1.10 Organ(管风琴)
' f. ]4 C% [( m4 m7 ^! Q& J! M, M# F: G! ^$ ]1 N8 l4 G  K, p
S.259, Fantasy and Fugue on the chorale Ad nos, ad salutarem undam (1850)) F- c- q* D* F  G' E8 l
S.260, Präludium und Fuge über das Thema BACH [first/second version] (1855, 1870)
9 a, e* F+ O! G! h) ZS.261, Pio IX. Der Papsthymnus (1863?)& ]0 s% N. F  \% l' \
S.261a, Andante religioso (1861?)- t  C; q& j; B/ L: _, _. N; Y
S.262, Ora pro nobis. Litanei (1864)
1 [5 A$ \1 l7 i3 j, ]2 D0 TS.263, Resignazione (1877)
% S1 c- j+ T$ \& ]3 ES.264, Missa pro organo lectarum celebrationi missarum adjumento inserviens (1879)
" d, q, b9 R9 D$ \5 O* A5 QS.265, Gebet (1879)
7 a  l. J4 e9 L; N& kS.266, Requiem für die Orgel (1883)8 D+ U- R9 w2 ]  ]1 }' x4 n3 m
S.267, Am Grabe Richard Wagners (1883)
% R" j# i6 }, D) {; ?S.268, Zwei Vortragsstücke [2 pieces] (1884)2 ]) x; c0 r1 P1 R! j  B! ^
1.11 Songs(歌曲)
( T* ?1 G* u% }' `9 f9 a3 a4 L! n! i# x2 K  G4 {
S.269, Angiolin dal biondo crin (Marchese C. Bocella) [first/second version] (1839, ?)- e% Z7 x& T6 U- u' Z+ f6 j* K
S.270, Three Petrarch Sonnets [3 songs, first/second version] (1844–45, 1854]! f' Z& `" C! p- y! g# z! A% n
S.271, Il m'aimait tant (Delphine Gay) (1840?)
5 ~# v: u- s6 p& X  rS.272, Am Rhein im schönen Strome (Heine) [first/second version] (1840?, 1854)* L( K! M- P* y
S.273, Die Lorelie (Heine) [first/second version] (1841, ?)
/ x6 g6 i# Z% i& n( U) RS.274, Die Zelle in Nonnenwerth [first/second version revised 1862] (b. 1841, 1857)* X% o5 l7 n3 w# n* D( h
S.275, Mignons Lied (Kennst du das Land) (Goethe) [first/second/third version] (1842, 1854, 1860). `, l# \9 E2 y" @' a  K4 P% N1 d
S.276, Comment, disaient-ils (Hugo) [first/second version] (1842, ?)
$ w$ B, V; s4 G, R5 p* M; yS.277, Bist du (Prince E. Metschersky) [first/revised version] (1843, ca. 1878-79)! J' c7 R* O$ P/ E
S.278, Es war ein König in Thule (Goethe) [first/second version] (1842, ?)$ ^) I, s3 Z+ I  x1 F# c4 v
S.279, Der du von dem Himmel bist (Goethe) [first/second/third version] (1842, ?, 1860)
" b- \" F1 R" L5 ^# N/ MS.280, Freudvoll und leidvoll (Goethe) [first/second/third version] (1844, 1848?, ?); d  q7 q$ v5 [$ Z7 i
S.281, Die Vätergruft (1844)- b- G4 ?( N* z
S.282, O quand je dors (Hugo) [first/second version] (1842, ?)+ q, _2 K6 J! k$ X
S.283, Enfant, si j'etais roi (Hugo) [first/revised version] (1844?, ?)9 d* R* O' N* w
S.284, S'il est un charmant gazon (Hugo) [first/revised version] (1844?, ?)
' M% t9 I2 W! Y: P* {S.285, La tombe et la rose (Hugo) (1844?)
4 `( E) u, ], w( u2 v. wS.286, Gastibelza, Bolero (Hugo) (1844?)& {9 t& s% p& h0 \$ K
S.287, Du bist wie eine Blume (Heine) (1843?)
8 ?0 k( s) T" G* ~7 Z9 }/ [9 LS.288, Was Liebe sei (C. von Hagn) [first/second/third version] (1843?, ca. 1855, 1878–79)& j# Z7 R7 s1 v. R, @
S.289, Vergiftet sind meine Lieder (Heine) [first/revised version] (1842, ?)
" E. B/ ~, N- D9 ]) E6 P; Q! N/ q& jS.290, Morgens steh ich auf und frage (Heine) [first/revised version] (1843?, ca. 1855)4 H6 r/ Q; |  h& C, O( P7 e
S.291, Die todte Nachtigall (Kaufmann) [first/revised version] (1843?, 1878)( m7 h- y7 g' B0 i" B& ~" ?
S.292, Songs from Schiller's Wilhelm Tell [3 songs, first/revised version] (1845?, ?)! k/ h! _7 W6 E: X8 L+ ~# ~
S.293, Jeanne d'Arc au bûcher (Dumas) [first/revised version] (1845, 1874)2 U; {. M, S& ]( E
S.294, Es rauschen die Winde [first/second version] (ca. 1845, b. 1856)4 ^/ ~, L9 P( f& a9 f+ G! K
S.295, Wo weilt er? (Rellstab) (1844)* H7 H! m; n. W" r( E" B& D
S.296, Ich möchte hingehn (Herwegh) [revised later] (1845)" n( [; F/ \* D. d3 n: p9 M( o
S.297, Wer nie sein Brot mit Tränen ass (Goethe) [first/revised version] (ca. 1845)7 \" ]+ K. E6 ^; L% A+ T+ M$ {
S.298, O lieb so lang du lieben kannst (Freiligrath) (1845?): |. }* [3 j  ~5 ~& S! K' c' p
S.299, Isten veled (Farewell) (Horvath) [first/revised version] (1846–47)
( w+ s+ X$ f* G" \: B2 p$ X/ q) |S.300, Le juif errant (Béranger) (1847)
. O  T& C+ o' Q$ z0 _) bS.301, Kling leise, mein Lied [first/revised version] (1848)9 J8 ^6 ?5 @: x  K) h7 u
S.301a, Oh pourquoi donc (Mme Pavloff) (1843)! z" d4 G- A3 `
S.301b, En ces lieux. élégie (E. Monnier) (1844)
- j  n' L6 b' |! M/ W6 c# O; _S.302, Die Macht der Musik (Duchess Helen of Orleans) (1848–49)* I  {) j! p- e6 J5 j7 W6 O
S.303, Weimars Toten. Dithyrambe (Schober) (b. 1848)
9 h6 E7 D4 W# fS.304, Le vieux vagabond (Béranger) (b. 1848)
0 T; u( R5 B3 v- lS.305, Schwebe, schwebe, blaues Auge [first/revised version] (1845, ?)" {  E. x" v  r- r- E
S.306, über allen Gipfeln ist Ruh [first/revised version] (1847?, ?)8 H/ ]9 U, ?. @* J) X% q) v& z
S.306a, Quand tu chantes bercée (Hugo) (1843)
% [4 \- o. {* [1 M! N. r' DS.307, Hohe Liebe (Uhland) (1850?)
3 i3 ^9 d/ {9 K1 r. R) hS.308, Gestorben war ich (Seliger tod) (Uhland) (1850?)8 r, C# C" g3 R- H1 N. J
S.309, Ein Fichtenbaum steht einsam (Heine) [first/revised version] (ca. 1845, 1854)
' [0 }9 G% ?! k+ }: {S.310, Nimm einen Strahl der Sonne (1849)" `! {* W+ T: s+ u- k. Y
S.311, Anfangs wollt' ich fast verzagen (Heine) (1849)  O, Z' G8 [  Q) n0 j0 `
S.312, Wie singt die Lerche schön (Hoffmann von Fallersleben) (1856?)1 y" Q1 T# W8 V7 p6 Q, l
S.313, Weimars Volkslied (Cornelius) (1857)
! S) ]1 o) B( l- r5 A- K' h; q7 zS.314, Es muss ein wunderbares sein (Redwitz) (1852)
+ W8 u. |6 O* [/ {, h# i  W+ aS.315, Ich liebe dich (Rückert) (1857)) k, _( l. z' G) ?% A: G5 U
S.316, Muttergottes - Sträusslein zum Mai-Monate (Müller) [2 songs] (1857)
: v& A2 y% f/ G' S# N3 dS.317, Lasst mich ruhen (Hoffmann von Fallersleben) (1858?)
4 M. Q  `* s9 z- N3 L/ w1 |- R9 MS.318, In Liebeslust (Hoffmann von Fallersleben) (1858?)7 }( j/ L2 u. e! _2 G! G! P4 k
S.319, Ich scheide (Hoffmann von Fallersleben) (1860)) g8 C1 n2 D" N' [
S.320, Die drei Zigeuner (Lenau) (1860)
2 W/ p- Y$ h3 p8 T* T: tS.321, Die stille Wasserrose (Geibel) (1860?)5 _2 @0 Z; ?" ?8 p
S.322, Wieder möcht ich dir begegnen (Cornelius) (1860)
3 w& X& A1 b, zS.323, Jugendglück (Pohl) (1860?)7 c- B* a* E( b0 `
S.324, Blume und Duft (Hebbel) (1854)
0 A& E3 Y- n8 ?8 p4 G2 o9 SS.325, Die Fischertochter (Count C. Coronini) (1871)* C7 p- J, j9 V' n3 O- E1 C# W
S.326, La perla (Princess Therese von Hohenlohe) (1872); v, T0 f3 }: v
S.327, J'ai perdu ma force est ma vie. 'Tristesse' (de Musset) (1872)
4 }& W/ M* Y& C, \+ ~7 [S.328, Ihr Glocken von Marling (Emil Kuh) (1874)( S% s! ], u1 J/ Q3 ~1 I4 O
S.329, Und sprich (Biegeleben) [revised 1878] (1874)
# h/ d5 U1 \- T" IS.330, Sei Still (Henriette von Schorn) (1877)
+ Y) d% r! G1 T; u& g0 dS.331, Gebet (Bodenstedt) (1878?)
/ }7 E4 t7 E$ f2 O8 P& q( \S.332, Einst (Bodenstedt) (1878?)
8 L3 b$ P/ ~- ~+ k  V2 US.333, An Edlitam (Bodenstedt) (1878?)6 e9 o3 `! t! c9 Y
S.334, Der Glückliche (Bodenstedt) (1878?)
4 Y# L2 l8 _) ~  c& z* XS.335, Go not, happy day (Tennyson) (1879)
' u' N5 x! W7 V! Q  \S.336, Verlassen (G.Michell) (1880)- U! j/ x- K( u! @$ z+ y4 Z0 B
S.337, Des tages laute stimmen schweigen (F. von Saar) (1880)* }0 ]3 k! {9 D/ s& \) v2 A
S.338, Und wir dachten der Toten (Freiligrath) (1880?): v! |4 o- J/ i" g# r- B
S.339, Ungarns Gott. A magyarok Istene (Petófi) (1881)
$ Q& f& G) O6 HS.340, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883); I, x9 ~6 U! d; P5 q0 N
S.340a, Ne brani menya, moy drug. (Tolstoy) (1886)% l6 ^. {  N/ L% G
1.12 Other Choral Works(其他合唱作品)
% ]& J  U+ D/ A  ^3 N1 o$ L5 iS.341, Ave Maria IV (1881)
+ p/ S9 b* t' D4 R( U% BS.342, Le crucifix (Hugo) (1884)
$ o% R- P: o# ?1 U/ FS.343, Sancta Caecilia (1884)3 U0 Q0 f5 ]' H$ @2 a
S.344, O Meer im Abendstrahl (Meissner) (1880)
- A# ^, i8 ]  c9 O3 j2 l) lS.345, Wartburg-Lieder from Der Braut Willkomm auf Wartburg (Scheffel) [7 chorals] (1872)
0 ]( h' o% z9 z4 N" j% x5 C1.13 Recitations(叙事歌谣颂诗)% c  `9 r: y& M
S.346, Lenore (Bürger) (1858)
) _& D) j1 `, ?1 aS.347, Vor hundert Jahren (F. Halm) (1859)
; b- m7 e: W. ^7 n) wS.348, Der traurige Mönch (Lenau) (1860)
, u# ^& |& L" ^7 p- {S.349, Des toten Dichters Liebe (Jókai) (1874): ?/ s$ V7 e" _, V3 P& s
S.350, Der blinde Sänger (Alexei Tolstoy) (1875)& t/ R) o$ A! S. Z
2. Arrangements, Transcriptions, Fantasies, etc.
6 m  d! M& ~3 o0 r
5 U  S, ^9 A+ j. v% f& D2.1 Orchestral Works(管弦乐作品)
* ?6 s9 A  E$ a# @1 i' O, }, \2 C( T" T4 T6 A  g+ F' F
2.1.1 Bülow  [  M1 o5 u5 P* `* l; q
# G( }' F! l. u, n- [
S.351, Mazurka Fantasie, Op. 13 (1865)
( N: q& j: C+ _7 s- ]- ^- e2.1.2 Cornelius  B1 b) b$ w" E, D

% b2 n- l0 R4 p# ?" v9 ?S.352, Second Overture to The Barber of Baghdad [completed from Cornelius's sketches] (1877)& F# J* h2 a1 e' N: ?  O: ?) s7 K2 p
2.1.3 Egressy and Erkel( c0 A! J+ U: M2 J+ ?* J/ N5 b

" W% K% K7 z) }& D* ]4 T2 v/ hS.353, Szózat und Hymnus (1873)  Y( L" g' m3 l* @/ N) v
2.1.4 Liszt; j8 e4 J; L) S8 {

( E# |" q8 B' u8 yS.354, Deux légendes (1863)" S* B9 a8 D8 e: b
S.355, Vexilla regis prodeunt (1864)  [* ^3 X9 f: _
S.356, Festvorspiel (1857)/ V6 r! N' E. E+ J) y& E9 \
S.357, Huldigungsmarsch [first/second version] (1853, 1857)9 f2 n$ f+ D* r! A
S.358, Vom Fels zum Meer. Deutscher Siegesmarsch (1860)
' W+ @" B8 z8 q* a( {S.359, 6 Rapsodies hongroises (Hungarian Rhapsodies) (?)
/ ]: K  l9 r& J8 G8 ?" RS.360, A la chapelle Sixtine (Liszt, Allegri & Mozart) [orchestral arrangement of S461, based on Mozart's Ave verum corpus and Allegri's Misere] (1862)
5 R. p) B+ `2 d, W8 jS.361, Pio IX. Der Papsthymnus (ca. 1863); f/ W: h" p5 G+ [8 W. G0 h
S.362, Benedictus and Offertorium from the Hungarian Coronation Mass [from S11] (1875)' f% P$ q0 `  r7 J, q) ^/ Y
2.1.5 Schubert  z# R9 f, O# H, N: S
' u( L, ^) f9 d' X/ q7 C5 I! D
S.363, 4 Marches [from Opp. 40, 54, 121] (1859-60)  P! w6 y5 t$ |" `
2.1.6 Zarembski
8 }4 L# `' [, u7 N$ v2 F2 H2 I2 S! @; q0 ^; p
S.364, Danses galiciennes (1881)
! p9 Z: l( n7 S% c( m; g% Z2.2 Pianoforte and Orchestra(钢琴与乐队). `  d- X4 L" u) z

+ b3 l+ @7 @' [% K2.2.1 Liszt
7 N) m! I5 t2 |9 U: `- \( ^$ G2 w1 N  h
S.365, Grand solo de concert [prepared by Leslie Howard] (1850)8 I! G  E1 ~, c. R9 x7 G
S.365a, Concerto pathétique (No. 4) in E minor [Liszt, Reuss version] (1885-86)! E' E8 U8 Z: m, F/ |# Y6 i; t/ a
S.365b, Hexaméron, Morceau de concert [orchestration completed by Leslie Howard] (ca. 1839)4 H( A/ |5 @9 [# }
2.2.2 Schubert
7 w0 w& @: V+ O6 ~8 F- {& y! M
* N1 V1 b/ a+ k4 wS.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 ^: E; m$ v3 y' U2 b  I5 m
2.2.3 Weber
) [+ [; J' m* f( e1 m$ n2 u4 l# Z& r' Q+ U
S.367, Polonaise brillante, Op. 72 (1849) 华丽波洛涅兹 为钢琴与乐队而作
5 P  Q2 x& h% J9 [* E" q& x2.3 Songs with Orchestra(声乐与乐队)
" h0 x9 _( Z! Q" \- H
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2.3.1 Korbay! S  m/ D' R, l6 [+ x3 @2 R) a

* M# N4 Y. S8 J* }5 i3 V9 @- vS.368, 2 Songs (Le Matin by Bizet and Gebet by Geibel) (1883)  t$ i! ?$ m7 R9 e
2.3.2 Liszt/ d% q* B* X! o# D% J$ j3 i+ [
( ?) y" v+ `) I4 j
S.369, Die Lorelei (Heine) (1860)
: q  d+ x) b6 E6 H* s4 l! GS.370, Mignons Lied (Kennst du dass Land) (Goethe) (1860)
# d, d( h1 \. `" e. M% \S.371, Die Vätergruft (Uhland) (1886)
+ U. x0 q, r5 S" R2 RS.372, Songs from Schillers Wilhelm Tell (ca. 1855)$ F$ \/ m3 s% t- W0 J! }. q/ F) d  e
S.373, Jeanne d'Arc au bûcher (Dumas) [first/second version] (1858, 1874)
( q+ \3 [: L: K- _, TS.374, Die drei Zigeuner (Lenau) (1860)
, m: `9 a9 [+ i8 @& y4 q$ j: ^2.3.3 Schubert
2 B/ r8 x; ^) h- H3 V$ t7 f: J* S* m# b0 {' Y
S.375, 6 Songs (1860)3 }. g' A, g2 S! Y) F
S.376, Die Allmacht (1871)" ~# V, K! B/ s* k) H
2.3.4 Zichy
) z5 ~  n$ _/ t- }0 u# l" Y9 v
- T# F* d2 A  YS.377, Der Zaubersee. Ballad (Zichy) (1884)) o6 D) L8 |8 ^+ c2 p5 t* Y+ ^8 ]8 B& X$ F
2.4 Chamber Music(室内乐等)0 F0 `4 R4 \" B& E2 H
2.4.1 Liszt
% Q' O0 z. R2 W) I* N# o
5 k, t) y* n+ J: t- ]* c8 DS.377a, La notte (Odes funèbre No. 2) (1864-66)
  Y( R' v  s. n/ E8 c5 j, g3 FS.378, Angelus! - Priere aux anges gardiens [first/second version] (1877, 1880)
" g& I' P4 _7 R5 W  D# `! l- rS.379, Rapsodie hongroise No. 9 (Pester Karneval) (?)
! s2 v1 {" b# T& T* ^S.379a, Rapsodie hongroise No. 12 (1850-59)/ ]' `1 a' R; u; {
S.379b, Puszta-Wehmut (A Puszta Keserve) (ca. 1871)% _4 R1 L1 n% [$ u
S.380, O du mein holder Abendstern from Tannhäuser (Wagner) (1852)
4 s! T2 F! e5 ?- Z4 t' [0 s. QS.381, Benedictus and Offertorium from the Hungarian Coronation Mass [from S11] (1862)
/ Z  t. K5 U9 g' Z! }& T* bS.381a, Ungarns Gott. A magyarok Istene (Petófi) (1882)
7 k& \4 {# e: G. W( rS.382, Die Zelle im Nonnenwerth (ca. 1880-86): U) H% W. f4 {5 F" ~
S.383, Die drei Zigeuner (Lenau) (1864)/ r5 z8 `& e5 ?" m- W5 i0 O
2.5 Pianoforte Solo. Z0 ]  P: ]8 R0 B4 ?. l

; H0 }/ E: X; F3 {3 B- N& Q0 \: J2.5.1 Paraphrases, Operatic Transcriptions, etc.(歌剧改编独奏)3 [# L2 x: ?9 y4 g& Q: |

1 P- r; M0 ^% z: T: G9 _* F$ S# Q2.5.1.1 ábrányi+ a7 W  j0 t6 {

" Z, a- U9 s4 D2 c4 E- sS.383a, Elaboration on Virág dal (1881)/ I* U% ~+ x7 R, x' ?1 I( Y4 G
2.5.1.2 Alyabyev
4 M2 i9 V6 M; k" o2 }1 }% _& B6 l- w0 |- S- ^6 k( N6 Y- z
S.384, Mazurka pour piano composée par un amateur de St. Petersbourg (1863)
, F1 [$ B( |, i" dS.384a, Variations on Tiszántúli szép leány [anonymous, not by Liszt?] (1846): S- [% v3 _5 F" r* X8 y) T8 e
2.5.1.3 Auber
  b* }& i" z9 Y1 M* |
8 }1 y4 X) @% e" V# i( k. Q! O0 z* t7 TS.385, Grande Fantaisie sur la Tyrolienne de l'opera La Fiancée [first/second/third version] (1829, 1835, 1842)
7 M" e4 l% i2 @+ lS.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- F' K8 F- h' G  V8 t9 T& r
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
) L0 K$ L7 e) q1 e/ }7 E: OS.387, Three Pieces on themes by Auber [with intro piece] (a. 1846)
1 U- s9 b) Y$ y! E6 Y4 q) WS.387a, Piece on an unknown theme (1847)
/ q2 z9 O8 K( B# x3 _4 y) U, X2.5.1.4 Beethoven
5 |$ j0 B1 |7 c0 L" s4 J2 |; I  J) @% R* p  j9 L! V4 J* C% Q+ n
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
! a0 {# P4 K& d1 }S.388a, Marche turque des Ruines d'Athenes (1846)7 v& \( e5 i) D4 u- a6 ?
S.388b, Fantasie über Beethoven's Ruinen von Athen [first version] (1837)7 c7 C8 I+ R: r. w- e
S.389, Fantasie über Beethoven's Ruinen von Athen [second version] (1852) 幻想曲 S.389 - 根据贝多芬《雅典的废墟》配乐素材改编+ e, ^( G$ S" P: T& f( P
S.389a, Cadenza to the first movement of Beethoven's Piano Concerto No. 3 (1879)
/ n, Y; r+ M* O' c2.5.1.5 Bellini
2 \6 ~' F: v1 a, |9 U
  z" g- p- v$ e" n9 _S.390, Reminiscences des Puritains [first/second version] (1836, 1837)
, o1 h% P$ f; I: t( dS.391, I Puritani. Introduction and Polonaise (1840)1 D, w% \  T/ j) l4 R8 ^
S.392, Hexaméron, Morceau de Concert (1837)1 G& [1 \  U+ A+ E% T- ]& f5 o: l
S.393, Fantaisie sur des motifs favoris de l'opéra La Sonnambula [first/second/third version] (1839, 1840-41, 1874)! i/ H# V: t( g4 P& s$ c
S.394, Réminiscences de Norma (1841-43)6 ]9 s# J6 c# Z( L8 L3 s: `7 f: I. Q0 D
2.5.1.6 Berlioz
  i$ ^8 w, P# t' p) d4 ~
; W9 a9 s: C  X  m5 HS.395, L'Idée fixe: Andate amoroso [first/second version] (1833 or 1846?, 1865)
4 J. L4 f5 X. b2 @  h, BS.396, Benediction et Serment from Benvenuto Cellini (1852)$ B: w* ~/ j. p2 _4 y$ X! P
2.5.1.7 Donizetti, Gaetano2 {5 e. `8 r! Y& n3 N

+ Z3 K  x& K2 l# X) |9 A8 GS.397, Réminiscences de Lucia di Lammermoor (1839)0 k# p6 L/ @/ F
S.398, Marche Funebre et Cavatine de Lucie de Lammermoor (1839)  |$ P7 A5 u- Q1 B4 l( l8 o
S.399, Nuit d'été à Pausilippe [3 pieces] (1839)
* y& }& q1 o, A( L0 N& C: OS.399a, Lucrezia Borgia - Grande fantaisie [first version of S400ii] (1840)/ W4 C* h6 r/ r

3 t8 Z' W. c. Z# K4 T+ B# B李斯特全部作品目录-3
3 x/ R; l/ ~4 s3 U# H! y3 g0 b9 {8 i2 b8 N: m! a1 A, t, j
S.400, Réminiscences de Lucrezia Borgia [first/second version] 1840
. @9 D; e2 S9 ~& F  d: A# x; QS.401, Valse a capriccio sur deux motifs de Lucrezia et Parisina [first version of S214/3] (1841)
, X. {- x+ h, C2 X* _% M: V* d6 g) HS.402, Marche funèbre de Dom Sébastien (1844)' {( n( _' V# s, i8 M6 S, {
2.5.1.8 Donizetti, Giuseppe
2 Q& Q: f+ Q9 s, u+ P$ z8 w# q
5 c+ }8 Q  p# k- R6 |* eS.403, Marche pour le Sultan Abdul Medjid-Khan [first/simplified version] (1847, 1848)
0 e" a6 S5 h% x  g: F. \: s7 s2.5.1.9 Duke Ernst
/ x1 P( U* W$ `: {" U$ T4 [2 X6 F' `. C$ r# s! Y7 U( z& ^
S.404, Halloh! Jagdchor und Steyrer from the opera Tony (1849)6 z' x8 j; p4 M7 D
2.5.1.10 Erkel, Franz
) {% L7 r. Z7 {$ g# W9 p2 t3 l  M
- h/ N8 T! X' E8 ~1 a: dS.405, Schwanengesang and March from Hunyadi Laszlo (1847), L8 E0 s9 A) W- _5 I% W0 t
2.5.1.11 Festetics# m/ w* P0 {1 K6 N+ _3 U; h
9 O% H9 V; o3 C7 C+ {# n, W% n3 }
S.405a, Pásztor Lakodalmus Variations - Mélodies hongroises [elaboration by Liszt] (1858)
7 I/ R5 C/ J% h/ C, z8 n2.5.1.12 Glinka3 [: M2 m6 ~1 N4 Q& d. S. p0 @! J
  u" ?/ s1 z( d% R1 `# ^4 w: r' L
S.406, Tscherkessenmarsch from Ruslan i Lyudmila [first/second version] (1843, 1875)
0 I. P# a5 l9 G/ \2.5.1.13 Gounod. J& E' Q# }1 H2 j8 N
/ a4 M. r" X& d) M+ t
S.407, Valse de l'opéra Faust (b. 1861)
" Y2 m+ a$ P" V7 G1 \S.408, Les Sabéennes. Berceuse de l'opéra La Reine de Saba (1861)
0 I) G7 W2 o: @/ g' V. ES.409, Les Adieux. Rêverie sur un motif de l'opéra Romeo et Juliette (1867), {! t/ B/ `/ |/ G4 h; x* l6 d, C
2.5.1.14 Halévy
" _0 K. g& F# r6 z) l7 v' gS.409a, Réminiscences de La Juive (1835)9 a" R# ?' @* w. g; ~3 W
2.5.1.15 Mendelssohn
, ]8 x. q( |! \& o8 W. zS.410, Hochzeitsmarsch und Elfenreigen aus dem Sommernachtstraum (1847-50)
" u; O- Z8 S* J  A1 u2.5.1.16 Mercadante
4 l7 @1 @) d# y# N# z2 |- {3 aS.411, Soirée italienne. Six amusements (1838)* ^0 Y0 T/ v8 u! ^$ T
2.5.1.17 Meyerbeer
7 g' h5 E6 X) R1 j& HS.412, Réminiscences des Huguenots - Grande fantaisie dramatique [first/second version] (1836, 1842)
, o/ g  S4 J. e5 l  z0 u4 xS.412a, Réminiscences de Robert le Diable - Cavatine (1846?)9 h  c# M# x6 h" S& d
S.413, Réminiscences de Robert le Diable - Valse infernale (1840)
& n# D  G4 Z" D& FS.414, Illustrations du Prophète [4 pieces, 4th=S624] 1849-50: t9 U; b" p5 o, P
S.415, Illustrations de l'Africaine [2 pieces] 1865! j: A) n% ?4 u, l7 T
S.416, Le Moine (1841)
4 ^# P7 Z6 @* T: j# P9 f6 O9 {2.5.1.18 Mosonyi, Michael- m  J, X; K: j" Z; Z  v8 u
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; @  k; I" j4 G0 A/ p+ l
2.5.1.19 Mozart0 d( I; W. z; L+ U$ n
S.418, Réminiscences de Don Juan (1841)$ @+ I. U2 v8 [+ x' m& O* a/ v
2.5.1.20 Pacini4 T; O8 q8 d8 D; U5 S1 r& l0 x
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
  ~& p0 G! n% d: U( b, v- V2.5.1.21 Paganini' I: I, T$ E8 i% _7 Y6 d
S.420, Grande Fantaisie de bravoure sur La Clochette (1832-34)  华丽的钟声幻想曲
" B7 e8 q) k- R4 l" k( G0 D2.5.1.22 Raff$ y5 r9 a+ R8 Y7 A2 d
S.421, Andante Finale and March from the opera König Alfred [2 pieces] (1853)8 d; ^+ k( Y7 @3 ?5 t" {" ~8 N! Q3 O
2.5.1.23 Rossini
6 ^; n5 f( s. W2 k6 D, tS.421a, Introduction et Variations from "Siege of Corinth" [introduction only] (1839?)
) n1 U. h2 K0 ES.422, Première grande fantaisie (Soirées musicales) [first/second version] (1836)6 ?* m' C) G! R) Y
S.422i, La serenate e l'orgia - Première grande fantaisie (Soirées musicales) [first version] (1836)4 K6 C+ X" c- a1 \
S.423, Deuxième grande fantaisie (Soirées musicales) (1836)8 M$ @( d; ^# F+ A
S.424, Soirées musicales [12 pieces] (1837)
0 o! ], E# d. }* c, L' y, e* T/ _2.5.1.24 Schubert
( k) b5 q, i# o% E) L# YS.425, Mélodies hongroises [3 pieces] (1839–40)
/ I1 Z9 K' D/ k, L" a5 E3 _S.425a, Mélodies hongroises [revised versions] (1846)
% X" N9 Q$ J0 Z) Q6 p: qS.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
( t, C7 }7 B/ y+ s( L  GS.426a, Marche militaire (ca. 1870)- `( L1 O6 [. `6 i! w2 h
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
" G. [& Z& i! M2.5.1.25 Sorriano  s2 M0 W) e; F! ~2 u% i# E) d( Q
S.428, Feuille morte. Elégie d'après Sorriano (1844-45)( J8 e7 x  c2 v1 L- A$ O1 U) |
2.5.1.26 Tchaikovsky
6 i- f5 S0 d4 S+ vS.429, Polonaise from Eugene Onegin (1879)6 W! S; B* H4 R# k8 S8 L; |- j
2.5.1.27 Végh, Janos6 S% g4 D8 h( A% R4 |+ C
S.430, Valse de concert (1882-83)9 W9 @7 @! b5 N9 M6 I; _' g' ^/ g
2.5.1.28 Verdi
! ~/ S# ?& W, C6 ES.431, Salve Maria de Jerusalem from I Lombardi [first/second version] (1848, 1882)
' Z) f+ B! l1 T/ ^4 |5 ES.431a, Ernani - Première paraphrase de concert (1847)* y8 e: Q' d9 P4 W% Q( T
S.432, Ernani - Paraphrase de concert (No. 2) [first/second version] (b. 1849, 1860)
, [- _, c6 L1 |) u& n' HS.433, Miserere du Trovatore (1860)- V; ^6 e7 W7 x0 n3 y/ ^7 B; C
S.434, Rigoletto Paraphrase de Concert (1859)
% }- j! I& i( ^' [# jS.435, Don Carlos Coro e Marcia funebre (1867-68)  @% X2 o& T0 S
S.436, Aida Danza sacra e duetto finale (1877)6 o9 S& \( f$ X+ X( s8 P. Q
S.437, Agnus Dei (1877)7 H" S2 @7 j6 W- Z# H/ Y
S.438, Réminiscences de Boccanegra (1882)3 j7 @5 I0 v/ q0 c: I
2.5.1.29 Wagner
- \7 p0 \7 Q+ _5 s/ d& e& tS.439, Phantasiestück über Motive aus Rienzi (1859)% }9 L5 R# R! p! p$ n  Z
S.440, Spinnerlied aus Der fliegende Holländer (1860)
0 @6 I. o. K3 R( WS.441, Ballade aus Der fliegende Holländer (1872)' L6 _, b2 `) j
S.442, Ouvertüre zu R. Wagners Tannhäuser (1848). F. F: n1 m: K. c" f" r: G8 G, m
S.443, Pilgerchor aus Tannhäuser [first/second version] (1861, 1885), T/ d$ j7 Y* ]3 r4 Z1 k0 e
S.444, O du mein holder Abendstern aus Tannhäuser (1848)# T- U  s" D) g/ w% B0 k
S.445, Zwei stücke aus Tannhäuser und Lohengrin (1852)1 s6 s; H0 S# t  B( k1 W* @
S.446, Aus Lohengrin [3 pieces] (1854)* E) J& b: m* N* R8 B3 t
S.447, Isoldens Liebestod aus Tristan und Isolde [first/revised version] (1867, 1875)
1 t: `: a3 _0 ~& j% A( U; xS.448, Am stillen Herd aus Die Meistersinger (1871)* m8 w1 g& C' m+ V9 ?5 l$ f; T
S.449, Walhall aus Der Ring des Nibelungen (1875)
0 S4 ^6 ]7 L; P5 WS.450, Feierlicher Marsch zum heiligen Graal aus Parsifal (1882)
3 L* N' w; K1 m. c% a2.5.1.30 Weber
! Y+ M% D+ L2 y2 IS.451, Freischütz-Fantasie (1840-41)
- Q% t  ^6 e% w* o% F! vS.452, Leyer und Schwert [4 pieces] (1848)
- H. W1 t+ N% u1 r' E3 ZS.453, Einsam bin ich, nicht alleine, from Preciosa (1848)
2 ^+ q' p" F$ t0 D* G4 wS.454, Schlummerlied mit Arabesken (1848)" g- J6 ?, y/ Y1 ~7 a# P
S.455, Polonaise brillante (1851)3 ~/ s" F& s* Q& n' v
2.5.1.31 Zichy, Count Géza9 Q# _) n# |( X/ [; x  U8 H
S.456, Valse d'Adele (1877)  z  s6 s/ Q* ?7 t1 k& |
2.5.1.32 Unknown
- i3 O3 a9 ^$ r4 @S.458, Fantasy on Il Giuramento (Mercadante) (1838?)% O" x+ C" ]5 C& v; A6 P2 s
S.460, Kavallerie-Geschwindmarsch [anonymous] (?)
# K+ V8 n+ f" w% A3 ?9 @2.5.2 Partitions de Piano, Transcriptions, etc.
: |# w6 G1 ?7 t& p: K- f  H  Q2.5.2.1 Allegri and Mozart
$ u0 C. Z7 [/ G9 J- F2 m" D8 US.461, A la chapelle Sixtine [first/second version] (1862, ?)
* W8 [# v* s# D6 CS.461a, Ave verum corpus, Kv618 (1862)
) X' t$ F7 P2 u( M1 A/ J# M3 K2.5.2.2 Bach
/ p2 `8 U( B  J$ l* b+ x4 tS.462, Sechs Praeludien und Fugen für Orgel [6 pieces] (1850)
  f: W) }) G: F0 E$ V7 iS.463, Organ Fantasy and Fugue in G minor [first/second version] (1860, ?)
; ^- \& `- |1 |2.5.2.3 Beethoven# e+ y$ N* y9 {; X5 W( H
S.463a, Symphonie No.5 [first version] (1837)) @3 P6 H! J: g
S.463b, Symphonie No.6 [first version] (1837)
1 b! Q0 n3 \+ {; D; c! d+ X  [S.463c, Symphonie No.6 [second version. Alternative 5th movement] (1863-64)
- a* f3 h, i+ p0 b- P; `S.463d, Symphonie No.7 [first version] (1837)
5 z) @/ x* x7 E1 sS.463e, Marche funèbre [Beethoven's Eroica Symphony, first version] (1843)
; a' i# X- F2 c8 Y  @  wS.464, 贝多芬交响曲 Symphonies de Beethoven [9 pieces] (1863-64), I! b+ P# p4 F4 t3 u6 ~- r% |* p
S.465, Grand Septuor, Op. 20 (1841)
9 ]0 \4 E+ n6 [4 Y& O: f1 Z. |S.466, Adelaïde [third version] (1847). b4 O0 v$ O  t6 g. V
S.466a, Adelaïde [first version] (1839)
6 A" z; s- k  |! E0 I& i, G0 oS.466b, Adelaïde [second version] (1840)# D% b( s) L8 I, _+ u, O
S.467, Sechs Geistlicher Lieder (Gellert) [6 pieces] (1840)
# b4 ]% F4 B; E7 x2 bS.468, Sechs Lieder von Goethe [6 pieces] (b. 1849)0 }  ^+ e( P* O
S.469, An die ferne Geliebte - Liederkreis [6 pieces] (1849)+ v8 b% a9 i4 T; S6 _9 K: t6 W
2.5.2.4 Berlioz
7 L) U8 \; D; n; d5 |( j$ US.470, Symphonie Fantastique (1833)! ~+ y  o- V3 `" m1 P" G
S.471, Overture from Les francs-juges (1833)
6 W8 C" J" z* {9 ~* }  LS.472, Harold en Italie (with viola) (1837)
7 w7 W0 U! o( g$ e9 B- z0 x% rS.473, Marche des pèlerins from Harold en Italie [first/second version] (1837?, 1862)
% c" O# r" }4 A7 o" M, @& YS.474, Ouverture Le Roi Lear (1837)& |0 F6 O; G, a7 E0 U) j# ]
S.475, Valse des Sylphes de la Damnation de Faust (1860)- F7 q9 a" h5 ~) ?4 ?, E
2.5.2.5 Bulhakov
; C3 r7 G; [( VS.478, Russischer Galopp [first/second version] (1843, 1843)
' f% ~1 N0 W' Q" @2.5.2.6 von Bülow2 x) D# g" l6 l( X/ x6 L; K
S.479, Dante's Sonnett - Tanto gentile e tanto onesta (1874)
" e3 E0 p; K. j2.5.2.7 Chopin
; c8 ^6 q7 B; PS.480, Six Chants polonais, Op. 74 [6 pieces] (1847-60) 6首波兰歌曲 S.480 - 根据肖邦《17首波兰歌曲》Op.74 改编
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 楼主| geci110 发表于 2015-7-22 18:35:21 | 显示全部楼层
2.5.2.8 Conradi' W1 ?" b% r/ }0 L; R$ m# G+ a
S.481, Zigeunerpolka (1847?)
# o5 U& b0 c3 b4 q2.5.2.9 Cui2 o4 I; \) _8 ~8 C' h# U0 i5 G
S.482, Tarantella (1885)4 O( [+ J" @, k, i) }$ U$ P
2.5.2.10 Dargomyschsky
3 _/ _' Y7 O: a1 y$ zS.483, Tarantella (1879)
2 j! F* z: H2 k8 ?( D# S: A2.5.2.11 David, Ferdinand' E2 I; P5 p# A' B
S.484, Bunte Reihe, Op. 30 [24 pieces] (1850)
, ~+ O) o6 N. h& _3 i2.5.2.12 Dessauer. k, m' T, {5 e( }, Z6 ]" D
S.485, Drei Lieder (1846)
3 v% A* ?" ~5 Z% p2.5.2.13 Ernst, Duke
* d& c2 H0 D* R* DS.485b, Die Gräberinsel (1842)6 ]1 c1 E' W& q; J* `4 A5 w
2.5.2.14 Egressy and Erkel, P% k0 q& D  j  l0 o8 A
S.486, Szózat und Hymnus (1873)% n) u+ z/ q( N  l
2.5.2.15 Festetics& ], v( g4 G0 \8 W
S.487, Spanisches Ständchen 1846
6 n' e5 d  X$ P: O2.5.2.16 Franz
9 s0 o5 B6 b! Q$ r, ]5 j6 L9 ]S.488, Er ist gekommen in Sturm und Regen 1848' }: L0 ]% `6 ^' l  j
S.489, Zwölf Lieder [12 pieces] (1848)
+ r3 O8 d8 U5 ~4 @6 J& L2.5.2.17 Goldschmidt
* Y, w, t/ ?# a" yS.490, Liebesszene und Fortunas Kugel (1880)% r( [/ {' L! v& _. a5 ]
2.5.2.18 Gounod
% W' l6 r- A1 s# U/ U( h* mS.491, Hymne à Sainte Cécile (1866), w" t. l# F$ L. F9 |
2.5.2.19 Herbeck
( G, c, m% t& P, V5 aS.492, Tanzmomente [8 pieces] (1869)
6 u6 a9 ~# a5 m# ^' J8 X2.5.2.20 Hummel
& a5 B% ?: h+ F/ M1 R" dS.493, Grosses Septett, Op. 74 (1848)
  d9 j& }/ t- i0 g1 c2.5.2.21 Lassen; N4 q, ^2 \# y( v1 t
S.494, Löse, Himmel, meine Seele [first/second version] (1861, 1872)" A' }8 U# @( s: n/ _6 ~9 X7 O
S.495, Ich weil' in tiefer Einsamkeit (1872)# I5 K; g0 s, n% N0 z: ~
S.496, Hebbel's Nibelungen & Goethe's Faust [4 pieces] (1878-79)
0 _4 o  c. P7 p3 j# Y% aS.497, Symphonisches Zwischenspiel ('über allen Zauber Liebe') (ca. 1882-83)
! k% a" I/ G: H3 o) |/ K4 x2.5.2.22 Lessmann
1 N, S0 X* g. j( y* ~. yS.498, Drei Lieder ('Tannhäuser') (1882?)/ [- J) s# B6 r9 {" V- v
2.5.2.23 Liszt( W4 q2 S: w+ Q# V
S.498a, Drei Stücke aus der heilige Elisabeth (1857-62): r" Y5 y+ J0 I
S.498b, Zwei Orchesterstücke aus Christus (1862-66)
$ Y& c/ \* j, [2 ^: [: l8 |S.498c, San Francesco - Preludio (1862-66)
9 x, n) i, q9 A: i, |' zS.499, Cantico del Sol di San Francesco d'Assisi (1881)
5 ?0 Q3 G6 R1 |S.499a, San Francesco - Preludio per il Cantico del Sol (1880)
0 e+ f+ X2 k1 @+ M, `S.500, Excelsior! - Preludio (1875)7 k( q' A3 ?+ f9 M0 I
S.501, Benedictus und Offertorium (Missa Coronationalis) (1867)
9 F8 u6 ]" ]( d: F: x% US.502, Weihnachtslied II (1864)
* ~6 B3 b2 v$ G& j/ ES.503, Slavimo Slavno Slaveni! (1863)& r3 {' g; f% P+ M. W- S1 C
S.504, Ave Maria II (in D) [first/second version in D flat] (1870, 1873), h9 Y" e/ z3 R( B1 g' K, l; c! ?
S.504a, Via Crucis [15 pieces] (1878-79)
4 o1 p. \3 w/ p) uS.504b, Choräle [11 pieces] (1878-79)8 ^% S5 W2 I+ W* |% j2 ?$ J0 a
S.505, Zum Haus des Herrn (In domum Domini ibimus) (1884)5 t# \% m2 I2 q8 S" s) E
S.506, Ave maris stella (1868)
% I7 F6 v' i6 WS.507, Klavierstück aus der Bonn Beethoven-Cantata (?)0 m" `& t1 N1 `* Z3 G: y
S.507a, Schnitterchor (Pastorale - Schnitterchor aus Prometheus) (1850)( P* q7 Z7 S8 j) s- t
S.508, Pastorale. Schnitterchor aus dem Entfesselten Prometheus (1861)
4 f% {( L5 Y/ \9 I8 ^* F" ^  JS.509, Gaudeamus igitur - Humoreske (1870)# k! v. P  ^/ B% ?' R% N
S.510, Marche héroïque (?)! d& e4 K) Y" L
S.511, Geharnischte Lieder [3 pieces] (1861)
. C" H, a: d' Q9 H- ~; s$ v" L; mS.511a, Les Préludes (Poème symphonique No. 3) [arranged by Karl Klauser, revised by Liszt] (1863) [1][2]
, [8 [, h3 O/ B# u" J+ j; JS.511b, Orpheus (Poème symphonique No. 4) [arranged by Fredrich Spiro, revised by Liszt] (1879) [3]
9 W$ i: u, ]! o! ?S.511c, Mazeppa (Poème symphonique No. 6) [arranged by Theodor Forchhammer, revised by Liszt] (1870-79) [3], U- L' n) J$ f. l7 o; O
S.511d, Festklänge (Poème symphonique No. 7) [arranged by Ludwig Stark, revised by Liszt] (1870-79) [3]
& l. z% {3 f' |- F- r/ ]S.511e, Hungaria (Poème symphonique No. 9) [arranged by Fredrich Spiro, revised by Liszt] (1872) [3]
- R# A4 a: a" W/ SS.512, Von der Wiege bis zum Grabe (Poème symphonique No. 13) (1881)
5 ^6 R1 u) A* p! s$ pS.513, Gretchen aus Faust-Simpfonie (b 1867 )8 c: u: @& i3 E5 y, u
S.513a, Der nächtliche Zug (?)
' e* V. ?7 c! D2 ~. D9 XS.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, o1 ]5 b) n# _2 T6 `& P+ }0 _
S.514a, Erster Mephisto-Walzer (Mephisto Waltz No. 1) [with later additions] (1859-62)
& t& y3 b7 o$ U! k) sS.515, Zweiter Mephisto-Walzer (Mephisto Waltz No. 2) (1881) 第二梅菲斯特圆舞曲
. W1 F* [$ O# e; j8 |& AS.516, Les Morts (Ode Funèbre No. 1) (1860)) ^& ?4 u& X, }8 b2 B/ i1 l
S.516a, La notte (Ode Funèbre No. 2) (?)
6 [0 W2 r3 Z! A4 v. M8 @; D! [, XS.517, Le Triomphe funèbre du Tasse (Odes Funèbre No. 3) (1866)4 i7 K) w' C1 L/ M/ n$ ?
S.518, Salve Polonia (a. 1863)
8 ?! U* z. M7 l/ n# i2 tS.519, Deux Polonaises de St Stanislaus (1870-79)( [* ]" m# j+ A# B6 \' l
S.520, Künstlerfestzug [first/second version] (1857-60, 1883)
' ?. ]. p7 h# {1 ~S.521, Festmarsch zur Goethejubiläumsfeier [first/second version] (1857, 1872)
# p: Z. S2 @# fS.522, Festmarsch nach motiven von E.H.z.S.-C.-G (1857)
; _) [$ S3 q4 m. r: ^$ s1 ]: B$ a3 s8 aS.523, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (1870)
5 S  @6 }/ o! pS.524, Ungarischer Sturmmarsch [first/second version] (?, 1875)3 S7 O2 Z1 S3 d' I
S.525, Totentanz. Paraphrase on Dies Irae (1860-65)4 w8 Q) u+ y- o) w
S.526, Epithalam zu Eduard Reményis Vermählungsfeier (?)1 ?: G; C6 c- {, J4 V2 y8 \
S.527, Romance oubliée (?)
) y: i- p, x- u4 YS.527bis, Romance oubliée [short draft] (1880)
/ v8 m+ T4 j) j* Z/ H2 q; }8 DS.529, Fantasie und Fuge über das Thema BACH [first/second version] (1856, 1870) 巴赫主题幻想曲与赋格4 I0 I' y  ~+ _7 g1 B% y
S.530, L'Hymne du Pape. Inno del Papa. Der Papsthymnus (1864)
# I+ a" L) n3 ~6 SS.531, Buch der Lieder I [5 pieces] (?)
  p: X5 P5 A& F& x# V, oS.532, Die Lorelei (Heine) [second version] (1861)7 ^& Y* D4 a& I0 |0 d7 x
S.533, Il m'aimait tant (Delphine Gay) (1842)3 m4 ?+ e* r: V/ t$ t
S.534, Die Zelle in Nonnenwerth (Felix Lichnowski) [first/second/fourth version] (1842, 1860, 1880)# P4 c. W- A: F. L' s- h% I* v
S.535, Comment, disaient-ils [Buch der Lieder II] (1845?)
& O3 W5 E, R3 H8 ES.536, O quand je dors [Buch der Lieder II] (1847?)
; b. Q4 X+ w- ^' B$ gS.537, Enfant, si j'étais roi [Buch der Lieder II] (1847?)9 b  f$ B& `" L, c4 |' }
S.538, S'il est un charmant gazon [Buch der Lieder II] (1847?)( y5 m- f6 U1 M4 I" m. z
S.539, La tombe et la rose [Buch der Lieder II] (1847?)8 t3 o8 C# H; _
S.540, Gastibelza [Buch der Lieder II] (1847?)1 F# K/ U  p' ?
S.541, Liebesträume. Drei Notturnos (ca. 1850)  3首夜曲“爱之梦”' N, l0 f# b* d4 G. k9 Z. ?& n
S.542, Weimars Volkslied [first/second version] (1857, ?). z' ^, r" w5 B9 {& R
S.542a, Ich liebe dich (?)! m8 Q! a! y" p: z: u4 _$ J9 o
S.542b, Fanfare zur Enthüllung des Carl-Augusts Monument (?)' w* \$ v' y  S! c; w6 H" b. n6 ?
S.543, Ungarns Gott. A magyarok Istene (Petófi)]] [original/(S543bis)left-hand version] (1881)
7 s% {1 b8 U( g  q8 B7 Q5 X# eS.544, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)& @; C: E* V0 D& h
S.545, Ave Maria IV (1881)
* z# k! g, j: y* O, wS.546, Der blinde Sänger (Alexei Tolstoy) [solo version] (1878)
  ^8 V3 n; Y" v' s' j- U) H. vS.546a, O Roma nobilis (1879); O; A+ }: g, m  @3 k0 @
2.5.2.24 Mendelssohn
7 X- h2 n0 m( b1 n  _S.547, Sieben Lieder (from Opp. 19, 34, 47) [7 pieces] (1840)
! I: M) _9 P5 [4 MS.548, Wasserfahrt and Der Jäger Abschied (from Op. 50) [2 pieces] (1848)
1 L% S3 f( W- B5 L+ H& g3 W+ N2.5.2.25 Meyerbeer; F: H$ N* o: {9 U4 {# A  K3 n8 g
S.549, Festmarsch zu Schillers 100-Jähriger Geburtsfeier (?)7 k3 o6 m! F$ r% D/ _: B: p
2.5.2.26 Mozart) I" f* b9 Q& a( J
S.550, Zwei Transcriptionen über Themen aus Mozart's Requiem, K626 [2 pieces] (1862)
1 l  m7 R( A; r5 n* B1 E2.5.2.27 Pezzini
: \# e$ {# _) S9 [) a# mS.551, Una stella amica. Mazurka (?)9 x# @- V" l( f% x9 I! z9 i7 ~4 T" |
2.5.2.28 Raff" G; T+ N8 ]6 C! t$ P+ k3 Q  m
S.551a, Einleitung und Coda zu Raffs Walzer in Des-dur (opus 54/1) (1880); G$ q. w( r+ `2 b) Z& p
2.5.2.29 Rossini1 {/ d* r! e* [; H" f* j
S.552, Ouverture de l'opéra Guillaume Tell (1838)% _2 s) ?4 a6 _$ |- c' c9 n! q
S.552a, Caritas [La charité, first version] (1847)* X. M: _! e% L3 ?9 n
S.552b, La caritá [La charité, simplified version] (1847)5 ?: W/ e/ |- H+ ], g6 b
S.553, Deux Transcriptions [2 pieces] (1847)
! |# I' \3 _& n- m, b  h2.5.2.30 Rubinstein
1 o0 e& O" c2 o4 ~$ U0 DS.554, Zwei Lieder [2 pieces] (1880)% M, d- z7 S/ s: I! Z; ~, k) W* z
S.554a, Einleitung und Coda sur des notes fausses (1880)# s0 L7 V* W" \. J
2.5.2.31 Saint-Saëns6 f' o# G) s7 O( o3 F
S.555, Danse macabre, Op. 40 (1876)
3 z/ ^, v. W* ]3 w/ r2.5.2.32 Schubert
6 h/ ?0 s4 x* F& l9 Y& YS.556, Die Rose [first/intermediate/second version] (1832, ca. 1837, 1838)
, t$ ?9 G7 U. n" C+ B# aS.557, Lob der Tränen (1837)
) o2 W; |8 {' M" |& l, QS.557a, Erlkönig [first version] (?)
! O: v) g5 T0 JS.557b, Meeresstille [first version] (?)
% K! M# ]3 ?* M/ LS.557b/bis, Meeresstille [first version, ossia] (?)
4 @" v6 z- y+ L* @S.557c, Frühlingsglaube [first version] (?)
) m. J2 {0 D9 YS.557d, Ave Maria (Ellens dritter Gesang) [first version] (?)
9 s$ W+ e) F8 K6 aS.558, 12 Lieder (1837-38)
7 n- c% s3 y9 D# f7 @4 {  O3 QS.558bis, 12 Lieder [revised versions of Nos. 3, 4, 7, 8, 9, 11] (ca. 1839)
  }# p' E6 c( V/ k, E" K2 c- YS.559, Der Gondelfahrer, Op. 28 (1838), z& j  S6 z& }9 |$ H0 }! g+ e
S.559a, Sérénade [Ständchen, first version] (1837)
: c3 w2 m7 K" E7 z: {% |; O* dS.560, Schwanengesang [14 pieces] (1838-39)4 W! Q! V" a+ ]
S.560bis, Schwanengesang [14 pieces, alternative versions] (ca. 1839)
  \/ t9 Z& C5 c6 cS.561, Winterreise [12 pieces] (1839)+ |. t4 [/ z( X. r! q( O* h
S.561, Winterreise [alternative versions of Nos. 2, 3, 7, 10,] (ca. 1839)
/ M* p" c% g+ v% r" J; ES.562, Geistliche Lieder [4 pieces] (1841)
6 s, n" R# H( G6 Y2 w5 [S.563, Six mélodies célèbres [6 pieces, 1st by Weyrauch] (1844)
, o9 _6 N. w$ D  F  `S.564, Die Forelle [second version] (1846)
  s$ `' s9 s/ L* e& kS.565, Six Mélodies favorites de La belle meunière [6 pieces] (1846)) F4 J% I3 x2 ^6 ~% R' E
S.565bis, Müllerlieder [6 pieces, revised versions] (ca. 1879)+ K+ u' Q$ ~* h$ N
S.565a, Wandererfantasie (Grosse Fantasie in C-dur) (ca. 1868)
# E  ~) b' W: B# Z) ]3 Y# iS.565b, Schubert's Impromptus [2 pieces, Op. 90/2-3] (ca. 1868), p# u3 t/ Z4 T7 y( f. S' ?
2.5.2.33 Schumann
# D4 V# K; m: _) y! N. }# BS.566, Widmung, Liebeslied (1848). M& f% K. ^9 X3 Y3 _% }5 |- J
S.566a, Widmung, Liebeslied [sketch of a more literal transcription] (1848)) G% B  |. R4 ?( @. f4 T4 E
S.567, An den Sonnenschein, Rotes Röslein (1861)5 `' K7 ^" @! ~- `/ f- R# U6 q
S.568, Frühlingsnacht (überm Garten durch die Lüfte) (1872)
% z8 f  i# w6 tS.569, Zehn Lieder von Robert und Clara Schumann [10 pieces] (1872), C5 E) Q# Z1 n) A2 a; y$ H( f
S.570, Provençalisches Minnelied (1881)
$ o) e" I$ [7 {6 d2.5.2.34 Smetana6 v' A3 Y( O% s( M9 q
S.570a, Einleitung und Coda zu Smetanas Polka (de salon, opus 7/1) (1880)
$ i! K% k6 v, }: A2.5.2.35 Spohr! X; {8 B. P' T* j. c& k
S.571, Die Rose aus Zemire und Azor (1876) 玫瑰浪漫曲 S.571 - 根据施波尔歌剧《美女与野兽》浪漫曲改编
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2.5.2.36 Tausig6 B# M" @, W. Y( V
S.571a, Einleitung und Schlußtakte zu Tausigs dritter Valse-Caprice (1880)2 o0 k! r, f0 x9 q# E4 ?1 O
2.5.2.37 Szabady and Massenet' I3 V* O2 H6 ~
S.572, Revive Szegedin (1879)( P" d* v) [" A* W/ [& e
2.5.2.38 Széchényi, Count Imre. |" q) n/ j0 B& s
S.573, Bevezetés és magyar indulò (1872)
3 M' q4 C3 C& p+ z3 U2 v2.5.2.39 Tirindelli
9 D0 v9 B9 s* PS.573a, Seconda mazurka variata (1880)& E- O1 B2 G9 F9 L0 c, y
2.5.2.40 Weber$ _7 A( m! c0 ?% f
S.574, Ouverture Oberon (1846?)
1 X6 }# }; r" @" B$ G) dS.575, Ouverture Der Freischütz (1840-41)/ e  k! z, i2 b, Q+ ~1 _5 n% s
S.576, Jubelouverture (1846)
1 E7 M* l0 Q! x' G, F, pS.576a, Konzertstück, Op. 79 (ca. 1868)/ d9 S" K6 U3 P# X, U* h, T2 `+ B
2.5.2.41 Wielhorsky, Count Michael8 n& ]" r  i2 @/ }6 n# v4 Y) u
S.577, Lyubila ya [first/second version] (1843, ?)8 y8 W7 @7 E8 m% D, V
2.6 Pianoforte Duet(钢琴二重奏); d' w2 w2 D3 n( r* {' E
2.6.1 Field
, ~$ r$ O* j" b/ ^/ b6 |S.577a, 11 Nocturnes (Nos. 1-9, 14, 18 and Nocturne Pastorale in E) (?)
! C0 {3 j; B) E. Q# d# I2.6.2 Liszt
" `' b/ H( D# }S.578, 4 Pieces from St. Elisabeth (1862)( z; P4 p; w" i; @. I( k6 {
S.579, Christus Oratorio 4th and 5th section (?)
  C; U$ ~5 n- p' d' J0 e9 XS.580, Excelsior! - Preludio (?)* S4 h& [$ D5 h& w) [- ]* U
S.581, Benedictus and Offertorium from the Hungarian Coronation Mass (1869)1 |1 l# r+ S% M, f. W+ @
S.582, O Lamm Gottes, unschuldig (1878-79)6 D1 _! K7 b/ s/ e& ^
S.583, Via Crucis (?)( ~, Z8 D. g: L* P
S.584, Festkantate zur Enthüllung des Beethoven-Denkmals in Bonn (1845)1 H$ u9 U+ L1 D- |. Y: L
S.585, Pastorale. Schnitterchor aus dem Entfesselten Prometheus (1861)
* P' D% C  A' w( ~8 h2 {7 d4 FS.586, Gaudeamus igitur. Humoreske (1870)
- b( N0 a7 V5 E, |S.587, Marche héroique (?)
' q; H  q  E7 M( fS.588, Weimars Volkslied (Cornelius) (1857)
$ L, z& j+ a5 l) P; T2 N. ?; vS.589, Ce qu'on entend sur la montagne (Poème symphonique No. 1) (1874)# C& t# h4 t' t1 B( Y" Z
S.590, Tasso, Lamento e Trionfo (Poème symphonique No. 2) (1858): F5 I) [( \* K4 Q2 G- T
S.591, Les Préludes (Poème symphonique No. 3) (ca. 1858)
$ |3 A' P  v! `% J6 Z. ^S.592, Orpheus (Poème symphonique No. 4) (ca. 1858)
' A+ j. f( O8 rS.593, Prometheus (Poème symphonique No. 5) (1858)0 y9 y7 b6 F4 ^# r- k: D- u
S.594, Mazeppa (Poème symphonique No. 6) (1874)
, b5 }) K) j9 o5 I' y5 oS.595, Festklänge (Poème symphonique No. 7) (1854-61)
3 ^* F; G8 |5 W3 S/ CS.596, Hungaria (Poème symphonique No. 9) (1874?)
* W. E( q, `  o7 Q2 b: @S.569a, Héroïde funèbre (Poème symphonique No. 8) (ca. 1877)8 S3 J3 F, U7 \' K( ~2 \. {
S.596b, Hunnenschlacht (Poème symphonique No. 11) (ca. 1877)' Q  e" ~& Z0 P
S.596c, Die Ideale (Poème symphonique No. 12) (ca. 1874-77)# I3 b1 g; T5 }, z# ?* B: G+ S
S.597, Hamlet (Poème symphonique No. 10) (1874)
6 s9 n( G" A! I/ B! I2 mS.598, Von der Wiege bis zum Grabe (Poème symphonique No. 13) (From the Cradle to the Grave) (1881)
9 C6 z' A4 D- D1 s# F( h$ hS.599, Two episodes from Lenau's Faust (1861-62)4 S" P2 I" Y  @* k
李斯特全部作品目录-4
. S4 O4 Q2 U, T2 S  c- y) Q# i4 B- B8 t
S.600, Mephisto Waltz No. 2 (1881)
4 Z2 e' B5 G  g% e& vS.601, Les Morts (Ode Funébre No. 1) (1866)7 ]7 J9 z! f) p) c9 J( H
S.602, La Notte (Ode Funébre No. 2) (1866)
9 f% ?# ~, ~$ y- uS.603, Le Triomphe Funèbre du Tasse (Ode Funébre No. 3) (1866?)
9 {) d/ F  l2 ?( Q, f8 I7 qS.604, Salve Polonia (1863)
& R9 _) j8 x# yS.605, Künstlerfestzug zur Schillerfeier (1859)+ n3 V5 W$ r2 ~$ @+ B5 Y5 h
S.606, Festmarsch zur Goethejubiläumsfeier (ca. 1858)" F7 L; U6 f9 y
S.607, Festmarsch nach Motiven von E.H. zu S.-C.-G. (ca. 1859)1 u; j  c' r7 \3 F
S.608, Rákóczy March (1870)( }. K8 ~/ ?( D( U  ~$ b1 M6 `+ w" @
S.609, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (1870)
2 V9 f. |* w7 |( b* k' \9 R; v" ZS.610, Ungarischer Sturmmarsch (1875)
% k* e7 X8 d5 r- j, jS.611, Epithalam (1872)% }5 N8 w) ]- U0 {% n& J+ M
S.612, Elégie (1874): _2 z% p& d+ m0 {' R% r
S.613, Weihnachtsbaum (1876)
- H! c, h6 [+ g$ ?S.614, Dem Andenken Petöfis (Petófi Szellemének) (1877)" ^1 F" f; J. Z
S.615, Grande Valse di Bravura (1836)# o$ s! k. }- M: m" l
S.616, Grand Galop Chromatique (1838)4 c1 Y2 }* t/ O) u
S.617, Csárdás macabre (1882)
+ s. Q7 y% ^5 A6 Y: T6 uS.618, Csárdás obstiné (ca. 1884)" u" O8 R# U3 |, |" U  }
S.618a, Vom Fels zum Meer. Deutscher Siegesmarsch (?)
( _* ~$ o* @- S- d) lS.619, Bülow-Marsch (ca. 1883)$ A; N  E: X( C8 t9 T* p! Z4 f- d
S.619a, Festpolonaise (1876) [4]# v+ _' c0 C$ y
S.620, Hussitenlied (Melody by J.Krov) (1840), l4 Y+ V! S9 U
S.621, 6 Hungarian Rhapsodies [from the orchestral version, S359] (1874)
, F( w+ A( k/ p# hS.622, Rapsodie hongroise No. 16 (1882)/ ?0 {7 U0 j! T: ^% w
S.623, Rapsodie hongroise No. 18 (1885)% [* B; \0 g+ @7 ~9 x
S.623a, Rapsodie hongroise No. 19 (ca. 1885)* U$ V/ H3 l- x9 c
S.624, Fantasy and Fugue on the chorale Ad nos, ad salutarem undam (1850)# S2 L' Y1 T3 l3 t2 t# ^
S.625, L'Hymne du Pape (Der Papsthymnus) (1865)/ [4 Z  U; |& X) c
S.626, Ungarisches Königslied. Magyar Király-dal (ábrányi) (1883)
' h2 b7 @9 g# Q* w/ oS.627, Fantaisie sur des motifs de l'opéra La Sonnambula (Bellini) (1852)
) v9 J6 \+ E0 s! p, u( j) PS.628, Bénédiction et serment (Berlioz's 'Benvenuto Cellini') (1852)
3 ]$ u, L6 w; m3 bS.628a, Marche et cavatine (Donizetti's Lucia) (?)
( k- w4 N  m$ Q% I1 n" O* d3 wS.628b, Szózat und Hymnus (Egressy and Erkel) (1873)
! k* v% S; l$ e/ M! W, lS.629, Tscherkessenmarsch (Glinka's Ruslan i Lyudmila) (1843)4 }+ h# ^0 D; Z8 K% N& [  y2 B% o
S.630, Réminiscences de Robert le Diable - Valse infernale (Meyerbeer) (1841-43)5 t( T- T& j# m8 x0 ^1 B: l$ W, {8 ~
S.631, Andante finale und Marsch (Raff's 'König Alfred') (1853)
2 t+ ?# M% [& j  E7 qS.632, 4 Marches (Schubert) (1879)
! P% C$ j/ }' r% F8 o6 qS.633, A la chapelle Sixtine (Allegri Mozart) (1865)
4 l5 g/ W  x: o' SS.634, Grand Septuor Op. 20 (Beethoven) (1841)
0 q$ _) @2 F2 i# d! N! w9 G- h2.6.3 Mozart% q# A1 o1 s) O$ S+ ~8 `
S.634a, Adagio from Mozart's Die Zauberflöte (1875-81?)7 B$ L1 G9 p1 z
2.7 Two Pianofortes(双钢琴)
/ V+ f- n" ^* H" P2.7.1 Liszt
, ^% |" @2 ^- |4 V/ u/ I! F3 jS.635, Ce qu'on entend sur la montagne (Poème symphonique No. 1) (ca. 1854-57)
) a, V! N$ F" ]: A( B# i3 FS.636, Tasso, Lamento e Trionfo (Poème symphonique No. 2) (ca. 1857)" l8 |) @3 e  C# ?7 @/ p
S.637, Les Préludes (Poème symphonique No. 3) (ca. 1854-56)6 }  k  ?9 D$ @5 |0 I  Z7 A2 j; H9 g! K
S.638, Orpheus (Poème symphonique No. 4) (ca. 1854-56)* v) u0 ^( R. }) N) c$ D
S.639, Prometheus (Poème symphonique No. 5) (1855-56)
& r- I# s8 y: x2 D9 SS.640, Mazeppa (Poème symphonique No. 6) (1855)
8 Q7 [4 ~6 ~, D$ q6 AS.641, Festklänge (Poème symphonique No. 7) (ca. 1853-56)
) U% d$ [# ]: w" f- PS.642, Héroide Funèbre (Poème symphonique No. 8) (ca. 1854-56)
3 P: g! \' R$ F$ q5 y* `; a; S3 I, ZS.643, Hungaria (Poème symphonique No. 9) (ca. 1854-61)
$ }7 |* u8 d  AS.644, Hamlet (Poème symphonique No. 10) (ca. 1858-61)
' j+ k! `! _4 c/ l5 D% t& L) mS.645, Hunnenschlacht (Poème symphonique No. 11) (1857)
' v; O* x$ K5 y' mS.646, Die Ideale (Poème symphonique No. 12) (1857-58)5 M! S3 q4 E6 Y# H' h; r
S.647, A Faust Symphony, in three character pictures (1856)6 c2 R- j5 i+ @" l
S.648, A Symphony to Dante's Devina Commedia (ca. 1856-59)
+ U$ v# G0 _" t$ U2 v6 `$ z- {S.649, Fantasie über Beethovens Ruinen von Athen (1865)" ]& \  `" ~. i( n
S.650, Piano Concerto No. 1 in E flat major (1853)
5 {* V! B5 s  s  T0 e; FS.651, Piano Concerto No. 2 in A major (1859); Z2 m. q( c0 `6 R
S.652, Totentanz. Paraphrase on Dies Irae (1859)
! J# B. B, T  u) j+ CS.653, Wandererfantasie (Schubert) (a. 1859)9 ~2 i7 p4 p( P
S.654, Hexaméron, Morceau de Concert (1837)) S* {- I0 Q8 a& o' T
S.655, Réminiscences de Norma (Bellini) (1841)
& K! T0 c, v* R$ [6 f/ l3 x+ B  XS.656, Réminiscences de Don Juan (Mozart) (1841). K$ d4 X6 I, m8 s% i+ j  M2 ]' c$ M% y( U
S.657, Symphony No. 9 (Beethoven) (1851)5 P+ i; z* |1 T" K. }  T8 F
S.657a/1, Piano Concerto No. 3 (Beethoven) (1878)5 w$ J* R( q2 P8 H( ?, u
S.657a/2, Piano Concerto No. 4 (Beethoven) (1878)
0 h  m8 `+ i9 {( \0 A+ eS.657a/3, Piano Concerto No. 5 (Beethoven) (1878)
2 }# B) \2 S# ?' i( wS.657b, Bülow-Marsch [2-pianos, 8-hands] (1884)! D; l) T. @+ x% r
2.8 Organ(管风琴)
8 B/ s- s! l" i8 O# n& w3 p2.8.1 Allegri und Mozart' C1 R8 A1 s  m# r6 P
S.658, évocation à la Chapelle Sixtine (1862), R) s9 i7 l0 C* C8 ~
2.8.2 Arcadelt$ [2 R' H8 `1 v; G- n" P% h/ q- z# U
S.659, Ave Maria (1862)1 }/ O% Z, O+ j- l$ i7 M+ X3 U
2.8.3 Bach
/ F8 |& A4 R/ h5 x$ Y; E/ t$ G$ [4 v" w; Z( U, }" [
S.660, Einleitung und Fuge aus der Motette Ich hatte viel Bekümmernis und Andante Aus tiefer Not [2 pieces] (1860)0 V! o, `9 s7 b6 f# J
S.661, Adagio from Bach Violin Sonata No. 4 (BWV1017) (1864)0 b; P. T) R. d. J2 Y
2.8.4 Chopin9 b6 f! _, L$ Y4 J
3 r" o* E- {) f
S.662, 2 Préludes from Op. 28 (Nos. 4, 9) (1863). A& J. K0 W$ l0 m0 U( F
2.8.5 Lassus
: \& a: A2 P3 u" I( X& X1 F$ x7 }7 }) Y' L
S.663, Regina coeli laetare (1865)9 t; x/ ^, t; O# \
2.8.6 Liszt3 v! X6 z; B& o8 U
; U+ H! ^& R# ~" V; J
S.664, Tu es Petrus from Christus (1867)" R* S0 h5 M7 w# U" j; o6 `2 S
S.665, San Francesco (1880)& X9 r4 C2 D) P. u, u3 w
S.666, Excelsior! - Preludio (?)
8 i5 {, x3 `; uS.667, Offertorium from the Hungarian Coronation Mass (1867)6 W+ q6 c% O0 N
S.668, Slavimo Slavno Slaveni (1863)
) H: z! ?$ f8 T2 `! P0 @: KS.669, Zwei Kirchenhymnen [2 pieces] (1877)
0 ~. d& K. l' l9 a: I, O, f: [8 VS.670, Rosario [3 pieces] (1879)
7 ~6 B' e9 X6 kS.671, Zum Haus des Herrn (In domum Domini ibimus) (1884)
9 z! R! Q# I2 f0 m8 U2 X& ]( oS.672, Weimars Volkslied (Cornelius) (1865)( |9 y6 Y& [8 d4 N
S.673, Weinen, Klagen' Variationen (1863)' S2 U! M' N! |
S.674, Ungarns Gott. A magyarok Istene (Petófi) (1882)
! d* `$ Y* O" O# q$ nS.674a, O sacrum convivium [2 versions] (?)
3 m* q( `+ o; O' Y. g2.8.7 Nicolai& q% \/ t1 g# r, q7 q
( E9 m+ Z3 |+ i3 u
S.675, Kirchliche Festoverture (1852)% ^8 i( |& }: R# k1 ~+ E$ [. F
2.8.8 Wagner) a8 G" \9 Q" @5 F4 L0 l& p9 c: N
  O: n8 ]8 {" H4 ?! o$ n
S.676, Pilgerchor from Wagner's Tannhäuser (1860)
( e7 g" W, P8 l) k0 e! c5 m2.9 Organ with Other Instruments(管风琴和其他)
  I3 Z; `; `4 K  S" X
/ r; _. u! y$ `$ C6 KS.677, Hosannah from Cantico del sol di San Francesco d'Assisi (for organ and bass trombone) (1862)
* l% {7 G) _5 M) L# k6 ~S.678, Offertorium and Benedictus from the Hungarian Coronation Mass (1869)8 H& ^7 n( e+ @8 [! q& ?& L
S.679, Aria 'Cujus animam' from Rossini's Stabat Mater (for organ and trombone) (?)0 p& I8 {$ S- B3 z8 ^
Vocal Arrangements声乐
9 g8 v/ s) e" p9 B' B, r; F3 s& F; L
S.680, Ave maris stella (1868)+ Q; ?& ^9 y) P3 ^( \# [  i! ~
681, Ave Maria II (1869) & U" r9 ~  T# k) ^, c0 o% r9 c$ b+ l
S.682, Air du Stabat Mater (Rossini) (?)
7 E# |: t3 E+ w0 p7 yS.683, Serbisches Lied (Hohenzollern-Hechtingen, Prince FWC. von) (?)  T* |% [# `+ r7 m8 Z; V
S.684, Barcarolle vénitienne (Pantaleoni) (?). R% P$ y+ L- C; U5 x: B
S.685, Es hat geflammt die ganze Nacht (Grand Duchess Pavlovna) (?)
4 [4 P, u, \% J+ ?3 t+ _ ' I" g1 h0 e5 g* B# R7 X) S
2.10 Recitations
8 A/ M1 e9 F3 w8 F/ SS.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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3. Appendix1 ?/ I2 ~6 q$ H

8 z- B9 v' Q3 U+ C3.1 Unfinished Works$ n# s! s; B* Q* g  b

) {1 e7 h/ ]2 ]S.687, Sardanapale (Byron) [opera, partly sketched, 111 pages] (?)( [, W3 Z. [/ A5 ]9 c( r& J( `
S.688, Oratorio - Die Legende vom heiligen Stanislaus [sacred choral] (1873-85)& F, P# E* e' e
S.688a, St Stanislaus fragment [solo piano, Library of Congress] (1880-86)
* K0 k! j9 p1 P* C4 _: _+ ?S.689, Singe, wem Gesang gegeben [secular choral] (1847)
0 u1 o1 h' ~* U9 bS.690, Revolutionary Symphony [unfinished, revised 1848] (1830)" @* U7 N4 E0 e+ r3 h8 ?1 \+ l
S.691, De Profundis [piano and orchestra, De Profundis - Psaume instrumental] (1834?)/ F9 S* g$ F) k0 E" v
S.692, Violin Concerto [only sketched] (1860)1 V8 C" h( i$ B
S.692a, The Four Seasons String quartet (Vivaldi) (1880?)
- n3 ?3 h' ^5 P, |2 }3 ]S.692b, Anfang einer jugendsonate [solo piano] (1825)
' ^- w8 l9 j# b& dS.692c, Allegro maestoso [solo piano] (1826)
1 o& k5 m2 K7 V1 wS.692d, Rákóczi-Marsch [solo piano, first version, simplified, unfinished] (1839)
' R: ~* q) B, V( H. S* l2 Q) mS.692e, Winzerchor (Prometheus) [solo piano] (1850)/ I, d; a4 U0 |5 m  M; x
S.693, Deux marches dans le genre hongrois [solo piano, 2 pieces] (1840?)  u! b( `; X) Y* W- F5 M4 B1 Z8 o
S.693a, Zwei Stücke aus der heilige Elisabeth [solo piano] (1862)" v, X! z& d% v8 Q0 F
S.694, Fantasie über englische Themen [solo piano] (1840?)' o; p3 H1 ]. P9 s) S2 W8 [
S.695, Morceau en fa majeur [solo piano] (1843?)) Y% r' K3 z2 V; L* N) C: g/ |& D
S.695a, Litanie de Marie [solo piano] (1847). n) B) u5 w( n% x
S.695b, Zigeuner-Epos [solo piano, 11 pieces] (ca. 1848)
" u: t: }2 u/ z- q  o' RS.696, Mephisto Waltz No.4 (1884) 第四梅菲斯特圆舞曲. Q! Q5 U! U6 c5 P+ W
S.697, Fantasie über Themen aus Figaro und Don Giovanni (Mozart) [solo piano arrangement] (1842)+ M3 c+ O+ f; x( d" {! N2 |
S.698, La Mandragore - Ballade de l'opéra Jean de Nivelle de L. Delibes [solo piano arrangement] (a. 1880). w5 H8 {) @# D$ `. M2 ^/ X
S.699, La Notte (Odes Funèbre no. 2) [solo piano arrangement] (1864-66)
0 B, Y! M; _8 ^* }7 I& B8 zS.700, Grand Fantaisie (Variations) sur des thèmes de Paganini [first/second version; completed by Mezö] (1845)
$ S! P* r! X9 p3 s. c( m; ~S.700a, Variations sur Le Carnaval de Venise (Paganini) [solo piano arrangement] (?)" {# o8 h7 V/ u' O1 d9 g
S.701, Den Felsengipfel stieg ich einst hinan [song] (?)
4 w+ ?1 T( C4 G1 y7 D  lS.701a, Allegro di bravura [orchestra, arrangement] (ca. 1830)
0 b8 v$ [% |4 TS.701b, Marie-Poème [solo piano] (1837)& d; m  c8 n. ^) N0 ?7 k" D8 c
S.701c, Andante sensibilissimo [solo piano] (1880-86)
8 [' x$ N% v7 R- fS.701d, Melodie in Dorische Tonart [solo piano] (1860)  }2 C  s" Z8 N  o& {
S.701e, Dante fragment [solo piano] (1839)5 D6 L. O1 `4 `. ]' M$ t, I2 K" W* ?
S.701f, Glasgow fragment [solo piano] (?)
: w" m4 }, u' T3 u0 @$ YS.701g, Polnisch - sketch [solo piano] (1870-79)0 K0 |1 t& j1 z0 H8 G- _: V( M8 G7 [
S.701h/1, Operatic aria - and sketched variation [solo piano] (?)
2 M$ F( W! @# B! PS.701h/2, Valse infernale (Meyerbeer) - theme [solo piano arrangement] (?)+ I5 b6 G) \+ |% R
S.701j, Harmonie nach Rossini's Carità (La charité) [solo piano arrangement] (1847)
8 s7 C, A: l9 S# |: `6 ~8 MS.701k, Korrekturblatt (to an earlier version of La lugubre gondola) [solo piano] (1882); o3 T) J( C. F% ~: E4 x# m
3.2 Doubtful or Lost
3 L: Y  w( t0 t) }0 S& i
3 [& t2 Z" \  ^$ L3.2.1 Sacred Choral Works
; M1 n7 _- j9 Q# W" G& `0 I0 V8 H5 {* Y9 v5 O4 W
S.702, Tantum Ergo (1822)4 ~& q/ `) b- S' y" v  C
S.703, Psalm 2 (1851)2 h8 h7 {3 N7 k& P8 h
S.704, Requiem on the death of Emperor Maximilian of Mexico (?)- @; D  d3 p: Z
S.705, The Creation (?)
. q! w% A" h+ Q7 [6 x' c& X* m* hS.706, Benedictus [doubtful] (?)
/ j5 {% A; H! l  Z3 wS.707, Excelsior [arrangement, doubtful] (?)
* V. u0 m7 W' Y8 t7 p( A% R6 L8 l3.2.2 Secular Choral Works
4 K6 r" B& O& p' p
1 c+ U* E: O5 \0 E  dS.708, Rinaldo [doubtful] (ca. 1848)
0 x9 o" z7 K( T2 @/ C3.2.3 Orchestral Works/ r& |; M" H% g1 C
" P  J+ Q: u& b2 W& g5 J7 l/ Y
S.709, Salve Polonia [rediscovered, renumbered as S113] (1863)
5 D$ J" N* V% s2 f( s2 \$ zS.710, Funeral March (?)& {  B! n/ Q3 z$ p+ M' w0 n4 x! ^2 w# ^
S.711, Csárdás macabre [arrangement] (?)
3 k4 h' H1 m% [$ l8 `1 q! `S.712, Romance oubliée [arrangement] (?)/ M* X& @8 v3 @7 j( K
3.2.4 Piano and Orchestra
& z3 W/ f7 Q1 u1 \  ~. F/ s  `) s8 m7 m' @
S.713/1, Piano Concerto in A minor (1825?)6 j* t7 R; }# [8 M, G" Y
S.713/2, Piano Concerto (1825?)) w/ |. Z, ?& B/ M% N
S.714, Piano Concerto in the Hungarian style [by Sophie Menter, renumbered as S126a] (1885)
# j' \2 T  e5 j2 BS.715, Piano Concerto in the Italian style (?)
' D% Q: ?* [! {! f4 g4 j% V0 NS.716, Grande fantaisie symphonique [orchestral] (?)
) l( f+ f8 B; s# ]4 c- r3.2.5 Chamber Music
* R. m. i# H$ B! k8 R. C* M7 ]3 n% ^4 I) }& S, L" d! m
S.717, Trio (1825)
7 j( y3 J  b' H6 SS.718, Quintet (1825)
# `0 h# M+ |8 G  }$ V4 k6 QS.719, The Four Seasons String Quartet (Vivaldi) [rediscovered, renumbered as S692a]' B  a' C: M0 h+ T$ T/ |: Y3 p
S.720, Allegro moderato (?)
0 z% Q& I$ i7 w. DS.721, Prelude (?)
: o, t, Q8 P% h3 S2 h9 O$ uS.722, La notte (Odes funèbre no.2) [rediscovered, renumbered as S377a] (1864-66)
$ ?( Y3 F6 D' p; t& }0 {. RS.723, Tristia [arrangement, from Vallée d'Obermann S160/6] (1880-86 ?)! E/ e9 I' Q) k) p
S.723a, Postlude on theme from Orpheus [arrangement] (?)
1 c# \  g4 M$ v& M3.2.6 Pianoforte Solo: B$ A1 a) l9 K: V# M  T
% X& {2 T1 L; z) M
S.724, Rondo and Fantasy (1824)% L" u  n( q! H- `3 G
S.725, 3 Sonatas (1825)
3 y+ ]6 @' N- z  ]1 \! Q% XS.726, Study (?)) K( ?( l+ G, ^4 o1 g9 j! @0 y
S.726a, Valse (?). ^, R5 t1 U! D2 i/ {
李斯特全部作品目录-54 V9 [' e5 B  |3 y" M" @3 _, c

7 L8 }% F. e$ iS.727, Prélude omnitonique (?): B; K. }) [" z9 Q7 s- B
S.728, Sospiri (Fünf Klavierstücke) [rediscovered, renumbered as S192/5] (1879)
, I$ `" @' o( L5 dS.729, [rediscovered, renumbered as 42(?)]4 A& b% @. d, z( z; f. p7 X2 v
S.730, Dem Andenken Petöfis (Petófi Szellemének) [rediscovered, renumbered as S195] (1877)7 ?- l& U- q( R. J
S.731, Valse élégiaque (?)9 V8 ~& ^9 W, ]$ p  z
S.732, Valse Oubliée No.4 [rediscovered, renumbered as S215/4] (1883-84)& [' e# n' I' e, |3 C5 H
S.733, Marche hongroise (in E flat minor) [rediscovered, renumbered as S233b] (1844)
& g; `: T7 R7 FS.734, Ländler (?)
9 g( }# t0 G4 l! tS.735, Air cosaque (?)
1 O  y  Z# [7 F9 }S.736, Kerepsi csárdás (?)
) g4 A/ g- q$ i; D* Y2 }6 hS.737, 3 morceaux en style de danse ancien hongrois (?)
1 Z/ H) ]- o( p* A9 J$ L% ?S.738, Spanish folksong arrangement (?)
! v/ d: w- x  u3.2.6.1 Arrangements
7 j% ?  v! ?& T$ C. L$ {# a
) e+ b$ `8 @$ B/ C. c; mS.739, Corolian Overture (Beethoven) (?): j" z* k3 V! u2 A
S.740, Egmont Overture (Beethoven) (?)
8 |; J$ R7 L: r6 ?* lS.741, Le carnaval romain - Overture (Berlioz) (?). Q/ {7 J2 o; w1 {( Q+ h: f
S.742, Duettino (Donizetti) (?)
( N1 q* H- l2 r5 p1 o, E# dS.743, Soldiers Chorus from Guonod's Faust (?)
/ g) Z0 K, }- G' D0 J3 OS.743a, Fantasia on themes from Halévy's Guitarero (b. 1841)' u3 u. g5 h4 R9 k* b
S.744, Paraphrase on Act 4 of Kullak's Dom Sebastien (?)1 F7 M( ?' F0 s: W( B
S.745, Funeral March (?)
/ U. _* Z, y) I3 _7 n: R, [S.746, Andante Maestoso (?)
+ f( o/ M1 j2 gS.747, Poco adagio (from Missa Solemnis) (?)
0 B1 s3 O5 X% S' c! t/ \$ |" CS.748, Overture to Mozarts "Die Zauberflöte" (?)
& Y! h8 c4 o) f/ }7 Y6 ZS.749, Preussischer Armeemarsch (Radovsky) (?)+ v; }3 A+ Y0 X9 T
S.750, Siege de Corynthe, Introduction (?); w. O7 ~) L; D7 _% B
S.751, Nonetto e Mose, Fantasia on themes by Rossini (?)# ]; z. s% }# i7 Z: J7 u, X& h
S.752, Gelb rollt (Rubinstein) (?): r% E" C6 ]6 z/ E0 w
S.753, Alfonso und Estrella, Act 1 (Schubert) (?)# L; U$ R" K+ C0 _2 Y
S.754, Seconda mazurka variata (Tirindelli) [rediscovered, renumbered as S573a] (1880)' V5 h; y/ b8 D; E# P! ]# d6 ?
3.2.7 Pianoforte Duet
+ q( k, h9 t) f7 P0 @
1 H; _3 T# S/ B, R7 |* ^/ Z; OS.755, Sonata (?)  f/ B' j& k" V& k9 V
3.2.8 Two Pianofortes
5 x4 O7 ^+ U  Z/ c- k4 S7 A0 v7 i0 y, y
S.756, Mosonyis Grabgeleit (?)
! J' P3 x3 o* X3 \0 xS.757, La triomphe funébre du Tasse (?)$ M. h2 Z2 m! |& P/ v; ~
3.2.9 Organ
) o  Y) C8 w0 M; t7 G) M- ~9 @3 h2 M/ ~+ z( \* U
S.758, The Organ (Herder) (?)# L8 i' H  T( T% u4 l" x2 p
S.759, Consolation [arrangement] (?)
7 h2 c& X  W) K- b3 w, D5 j, yS.760, Cantico del sol di St. Francesco [arrangement] (?)0 [. h3 I5 m$ z  @
S.761, Marche funèbre (Chopin) [arrangement] (?)) U, G# ?6 X1 T3 W
3.2.10 Songs
$ D- o! g  D0 r6 V  k9 X  j$ s& a1 i, |% A
S.762, Air de Chateaubriand (?)) w5 }7 G  q& a; N9 o
S.763, Strophes de Herlossohn (?)
; ~8 ?+ J+ t$ {S.764, Kränze pour chant (?)( u! r: N2 }9 W5 ~! F
S.765, Glöcken (Müller) (?)
  n) \6 n! y0 `S.765a, L'aube naît (Hugo) (1842?)
4 d4 o4 r. |$ r" V- G8 aS.766, Der Papsthymnus (?)
( G0 _: T8 I3 b2 M5 \! _& R6 aS.767, Excelsior (?)6 ^2 j+ N0 ]0 o; w! o+ Q- L/ H4 l
3.2.11 Recitations
7 \' @( A* y, d4 v! u5 m- C/ O, O6 R; |0 J  h- X
S.768, Der ewige jude (Schubart) (?)  o8 @! s# p! ~- z
3.3 Supplement
  n; N! Q9 s2 w7 V0 H/ H# Q
, S% l- [- I; ^S.990, Fantasy and Fugue on the chorale "Ad nos, ad salutarem undam" (played by Liszt to Walter Bache) [solo piano, arrangement] (b. 1862)! [4 C! a) B9 b" q' i
S.991, Waltz in A major [chamber, arrangement] (?)3 y8 j! Y2 D- j/ ]
S.993, Wartburg Lieder (Scheffel) [orchestral, arrangement] (?)" n$ C9 ~* U6 N
S.994, Grand solo caractéristique à propos d'une chansonette de Panseron [solo piano, arrangement] (1830-32)
/ x6 ]4 a! D* h; T5 q: N5 a8 v3 ES.995, Variations de bravoure sur des thémes de Paganini [unfinished] (1845)
- [+ a" F" n, Y: _$ E; r# H* {! jS.996, Stabat Mater [solo piano] (1870-79 ?)
7 }: `+ |0 _: b+ L. C. e! wS.997, 5 Variationen über Romanze aus 'Joseph' (Méhul) (by Franz Xaver Mozart, attributed to Liszt) (ca. 1834)
2 Y% M4 G2 v0 k! p( GS.998, Adagio in C [solo piano] (1841). N6 f2 N  n3 D" Z
S.999, Andante Maestoso [organ] (?)' r" ]: A8 g. [0 i0 o* o
降E大调钢琴协奏曲(遗作)Piano Concerto in E flat Major Op.posth9 V/ V) e! \, d# _/ A5 j
2首悲歌 2 Elegies
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