Transcriptions by Franz Liszt
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This article lists the various treatments given by Franz Liszt to the works of almost 100 other composers.
These treatments included transcriptions for other instruments (predominantly solo piano), arrangements, orchestrations, fantaisies, reminiscences, paraphrases, illustrations, variations, and editions.
Liszt also extensively treated his own works in a similar manner, but these are not tallied here—neither are his treatments of national (or "folk") melodies whose composers are unknown, nor other anonymous works.
In most cases, Liszt arranged only one or two pieces by a composer, but he delved more deeply into the works of Bach, Beethoven, Berlioz, Donizetti, Mendelssohn, Meyerbeer, Mozart, Rossini, Schubert, Verdi, and Wagner.
The earliest-born composer whose works Liszt dealt with was Orlande de Lassus (born c. 1532). Jacques Arcadelt was born earlier (c. 1507), but Liszt's treatment was not of Arcadelt's original work, rather of a setting by Pierre-Louis Dietsch loosely based on Arcadelt. The last composer to die whose works Liszt dealt with was Géza Zichy (1849–1924).
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Tamássy József kedvelt dalai, 16 Hungarian folksongs, voice and piano:
| 5 Ungarische Volkslieder | piano | 1873 | S.245 | |
Virág-dal (Chant des Fleurs), piano, Op. 43 (c. 1875) | Additions and corrections | 1880 | S.383a | ||
Elegáns csárdások (Csárdás nobles), 6 vols. (1884–86):
| Hungarian Rhapsody No. 19 in D minor | 1885 | S.244/19 | ||
piano 4-hands | 1885? | S.623a |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Miserere mei, Deus (1630s) | À la chapelle Sixtine (organ version: Evocation à la Chapelle Sixtine)[2] | piano | 1862 | S.461 |
|
organ | c. 1862 | S.658 | |||
piano 4‑hands | c. 1865 | S.633 | |||
orchestra | ? | S.360 |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Song "The Nightingale" (1825) | Deux Mélodies russes:
| piano | 1842 | S.250/1 | No. 2 was Chanson bohémienne, after a work by Pyotr Bulakhov |
Note: The Mazurka pour piano composée par un amateur de St. Pétersbourg, paraphrasée par F. L. (S.384) was based on a mazurka that has often been misattributed to Alyabyev, but was in fact written by Mikhail Vielgorsky.[1]
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Three-part madrigal Nous voyons que les hommes | Alleluja et Ave Maria d'Arcadelt | piano | 1862 | S.183 | The Alleluja was based on themes from Liszt's own Cantico del sol di San Francesco d'Assisi, S.4.[3] The Ave Maria was based on Pierre-Louis Dietsch's Ave Maria, a setting for unaccompanied voices (1842?) loosely based on Arcadelt's madrigal Nous voyons que les hommes.[1] |
organ | S.659 |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Song "Rule, Britannia!" (1740) | Grande paraphrase de concert sur "God Save the Queen" et "Rule Britannia" | piano and orchestra | 1841 | S.694 | Grove says this was unfinished, and refers to it as "Fantasia on English themes" (piano solo).[4] The Grosse Fantasie was a reworking of the Grande paraphrase de concert.[1] |
Grosse Fantasie über "God Save the Queen" und "Rule Britannia" | piano 4-hands | S.755a |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Opera La muette de Portici (1828) | Tarantelle di bravura d'après la tarantelle de La Muette de Portici | piano | 1846 | S.386 | |
Two pieces on themes from La muette de Portici | S.387 | One of the pieces is on the Berceuse[5] | |||
Opera La fiancée (1829):
| Grande Fantaisie sur la tyrolienne de l'opéra La Fiancée | 1829 | S.385 | Published as Op. 1; dedicated to Frédéric Chopin[5] | |
"Tyrolean Melody" | S.385a |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Cantata Weinen, Klagen, Sorgen, Zagen, BWV 12 | Prelude on the theme of Weinen, Klagen, Sorgen, Zagen | piano | 1859 | S.179 | The Variations, S.180/673 are based on the same theme.[6] |
Variations on a theme of Bach (aka Variations on Weinen, Klagen, Sorgen, Zagen) | piano | 1862 | S.180 | This set of variations uses the basso continuo of the second movement of the cantata Weinen, Klagen, Sorgen, Zagen, base for the Crucifixus from the Mass in B minor. It is based on the same theme as the Prelude, S.179. | |
organ | 1863 | S.673 | |||
Cantata Ich hatte viel Bekümmernis, BWV 21:
| Einleitung und Fuge aus der Motette 'Ich hatte viel Bekümmernis' und Andante 'Aus tiefer Not' | organ | 1860 | S.660 | |
Cantata Aus tiefer Not schrei ich zu dir, BWV 38:
| |||||
Great Fantasia and Fugue in G minor, BWV 542 (organ) | Fantasia and Fugue in G minor | piano | pub. 1863 | S.463 | |
6 Preludes and Fugues (organ), BWV 543–548 | 6 Preludes and Fugues | 1842–50 | S.462 | The Preludes and Fugues are:[7]
| |
Chaconne in D minor, BWV 1004 | Transcription | 1880 | – | Liszt planned this transcription but never executed it.[8] | |
Sonata No. 4 in C minor, violin and harpsichord, BWV 1017
| Adagio vom Bach | organ | 1861–63 | S.661 | Liszt arranged only the final 4 bars, the rest being the work of Alexander Wilhelm Gottschalg (1827–1908).[2] |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Chorus "O Roma nobilis" | Arrangement | mixed chorus and orchestra | c. 1879 | S.54 | [1] |
organ | S.669c | ||||
piano | S.506b |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Song "Adelaide", Op. 46 (1795) | Transcription | piano | 1839 | S.466 | |
Septet in E-flat, Op. 20 (1800) | 1841 | S.465 | Dedicated to Grand Duchess Maria Pavlovna of Russia[9] | ||
piano 4‑hands | S.634 | ||||
Piano Concerto No. 3 in C minor, Op. 37 (1800) | Arrangement | 2 pianos | 1878–79 | S.657a/1 | Includes a new cadenza for 1st movement, S.389a.[1] |
6 Gellert Lieder, Op. 48 (1802) | Sechs geistliche Lieder | piano | 1840 | S.467 | Liszt's order of the songs (with the original order in brackets) was: 1 (5). "Gottes Macht und Vorsehung"; 2 (1). "Bitten"; 3 (6). "Bußlied"; 4 (3). "Vom Tode"; 5 (2) "Die Liebe des Nächsten"; 6 (6). "Die Ehre Gottes aus der Natur (Die Himmel rühmen)".[10] |
Piano Concerto No. 4 in G major, Op. 58 (1806) | Arrangement | 2 pianos | 1878–79 | S.657a/2 | |
Coriolan Overture, Op. 62 (1807) | Transcription | piano | ? | S.739 | Lost[11] |
6 Songs, Op. 75 (1809) | "Beethoven's Lieder von Goethe":
| 1849 | S.468 | Liszt combined parts of three disparate Beethoven opuses into his transcription, the common thread being that all the words were by Goethe:
| |
3 Songs, Op. 83 (1810) | |||||
Egmont, incidental music, Op. 84 (1810) | |||||
Overture | ? | S.740 | Lost[11] | ||
Piano Concerto No. 5 in E-flat, "Emperor", Op. 73 (1811) | Arrangement | 2 pianos | 1878–79 | S.657a/3 | |
The Ruins of Athens, incidental music, Op. 113 (1811) | Capriccio alla turca sur des motifs de Beethoven (Ruines d'Athènes) | piano | 1846 | S.388 | Uses same theme as the Fantasia, S.389 |
Fantasia on (themes from) 'The Ruins of Athens' | piano and orchestra | 1848–52 | S.122 | Uses same theme as the Capriccio, S.388; FP of orch. version Budapest, 1 June 1853, Hans von Bülow (piano), Ferenc Erkel (conductor);[13] same concert as the FP of the Hungarian Fantasy | |
2 pianos | after 1852 | S.649 | |||
piano | pub. 1865 | S.389 | |||
Song cycle An die ferne Geliebte, Op. 98 (1816) | Transcription | 1849 | S.469 | ||
9 Symphonies (1800–24) | Transcription | 1837–64 | S.464 | Symphonies Nos. 5, 6 and 7 were transcribed in 1837; the Marcia funèbre of Symphony No. 3 was written in 1841; then there was a gap of 22 years before the remaining symphonies were written, at which time the existing transcriptions were revised.[9] In the meantime, Liszt completed a transcription of Symphony No. 9 for two pianos in 1851.[2] | |
| Transcription | 2 pianos | 1851 | S.657 | |
String quartets (1800–26) | Projected transcription | piano | 1863 | – | Liszt planned to transcribe the quartets for piano but never executed the plan.[8] |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Opera La sonnambula (1831) | Fantaisie sur des motifs favoris de l'opéra La Sonnambula | piano | 1839 | S.393 | |
piano 4‑hands | c. 1852 | S.627 | |||
Opera Norma (1831) | Reminiscences de Norma | piano | 1841 | S.394 | |
2 pianos | after 1841 | S.655 | |||
Opera I puritani (1835) | Reminiscences des Puritains | piano | 1836 | S.390 | Dedicated to Princess Belgiojoso. The latter section was re-used in the Introduction et Polonaise (S.391).[5] |
I Puritani: Introduction et Polonaise | 1840 | S.391 | The Polonaise is the latter section of the Reminiscences, S.390 | ||
Hexameron, morceau de concert. Grandes Variations de Bravoure sur le marche des Puritains | piano | 1837 | S.392 | Includes variations by Frédéric Chopin, Carl Czerny, Henri Herz, Johann Peter Pixis and Sigismond Thalberg. Dedicated to Princess Belgiojoso. The 2-piano version is much shortened. An extant version for piano and orchestra is by an unknown hand – possibly that of Charles-Valentin Alkan.[14] | |
2 pianos | after 1837 | S.654 |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Overture Les francs-juges, Op. 3 (1826) | Ouverture des Francs-Juges | piano | 1833 | S.471 | |
Overture Le carnaval romain, Op. 9 (1843) | Transcription | ? | S.741 | This was part of Liszt's performing repertoire, but is now lost[11] | |
Symphonie fantastique, Op. 14 (1830) | Episode de la vie d'un artiste. Grande Symphonie fantastique. Partition de Piano | c. 1833 | S.470 | In c. 1864–65 Liszt made a new transcription of the 4th movement, "March au supplice".[10] | |
L'idée fixe. Andante amoroso | S.395 | Based on the theme of the Symphonie | |||
Lélio, Op. 14b (1831) | Grande Fantaisie Symphonique on themes from Berlioz’ Lélio | piano and orchestra | 1834 | S.120 | The themes are "Chant du pêcheur" and "Chant des brigands"; according to Leslie Howard: "the original manuscript of this work, long undiscovered, recently surfaced at auction in France (although sadly not in its entirety), and it revealed immediately that Liszt carried out his own orchestration";[15] FP Paris, 24 November 1834, Liszt (piano), Berlioz (conductor)[13] |
Overture Le roi Lear, Op. 4 (1831) | Ouverture du Roi Lear | piano | 1836 | S.474 | |
Harold en Italie, Op. 16 (1834) | Transcription | viola and piano | S.472 | ||
Marche des Pèlerins | piano | S.473 | |||
Opera Benvenuto Cellini, Op. 23 (1838) | Bénédiction et serment, deux motifs de Benvenuto Cellini | 1852 | S.396 | ||
piano 4‑hands | 1853 | S.628 | |||
La damnation de Faust, Op. 24 (1846) | Danse des Sylphes | piano | c. 1846 | S.475 |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Opera La Esmeralda (1836) | Transcription of orchestral score | piano | 1837 | S.476 | |
| 3 morceaux detachés d‘Esmeralda | S.477a | |||
| |||||
| |||||
| Air chanté par Massol | S.477 | Massol was the baritone Jean-Étienne-Auguste Massol, who created the role of Quasimodo. |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Lassú magyar, Hungarian slow dance (c.1820) | "Zum Andenken", 2 movements of Hungarian character | piano | 1828 | S.241/2 | Bihari's dance was used in the second movement; the first was based on music by László Fáy.[1] |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Canzonetta "Vado ben spesso cangiando loco" | Années de pèlerinage, Deuxième année: Italie: No. 3 "Canzonetta del Salvator Rosa" | piano | 1849 | S.161/3 | This song, among many others, was long attributed to Salvator Rosa.[16] |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Paraphrases (piano; 1879):
| Prélude à la Polka d'Alexandre Porfiryevitch Borodine | piano | 1880 | S.207a | This was previously catalogued as Variation über das Thema von Borodin, S.256[1] (which was also referred to as Variations on the "Chopsticks" theme).[17] |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
"Pastorale" | Chanson du Béarn | piano | 1844 | S.236/2 | Brassac's piece is not otherwise identified. Liszt's arrangement was published as No. 2 of "Faribolo Pastour and Chanson du Béarn".[1] |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
"Bohemian Song" | Deux Mélodies Russes:
| piano | 1842–43 | S.250/2 | No. 1 was "Le Rossignol, air russe d'Alabieff", after "The Nightingale" by Alexander Alyabyev. |
Song "You Will Not Believe" | Russischer Galop | 1843 | S.478 |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Mazurka-Fantasie, Op. 13 (piano; 1860) | Orchestration | orchestra | 1865 | S.351 | |
Wenn sie euch grüsst mit freundlicher Gebärde ("Dante's Sonett"), Op. 22 (1865) | Transcription, as Tanto gentile e tanto onesta | piano | 1874 | S.479 |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Mazurka in C-sharp minor, Op. 6/2 (piano; 1830)[18] | Duo (Sonata) sur des thèmes polonais | violin and piano | 1832–35 | S.127 | |
24 Preludes, Op. 28 (piano; pub. 1839):
| Transcription | organ | 1862–63 | S.662 | |
Piano Sonata No. 2 in B-flat minor, Op. 35:
| Transcription | organ, cello and piano | ? | S.761 | Lost[11] |
Fantaisie in F minor, piano, Op. 49 | Transcription | piano and orchestra | – | – | This was planned but never executed.[8] |
17 Polish songs, Op.posth. 74 (1827–47):
| Glanes de Woronince: II. "Mélodies polonaises" | piano | 1847–48 | S.249/2 | The order of the songs in S.480 is: 1. "Mädchens Wünsch" (= No. 1, "Życzenie"); 2. "Frühling" (= No. 2, "Wiosna"); 3. "Das Ringlein" (= No. 14, "Pierścień"); 4. "Bacchanal" (= No. 4, "Hulanka"); 5. "Meine Freuden" (= No. 12, "Moja pieszczotka"); 6. "Heimkehr" (= No. 15, "Narzeczony") "Das Ringlein" leads without a break into "Bacchanal", and towards the end of the latter song, immediately before the coda, Liszt includes a short 6-bar reprise of the earlier song. |
6 Chants polonais | 1847–60 | S.480 | |||
|
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
2 Zigenuerpolkas, Op. 5 (orchestra; 1843)
| Le Célèbre Zigeunerpolka | piano | 1848 | S.481 | Conradi was Liszt's copyist at Weimar for a number of years, and a minor composer in his own right. |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
2nd overture to opera Der Barbier von Bagdad, | Completion | orchestra | 1877 | S.352 | Completed by Liszt from Cornelius's sketches |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Tarantella | Venezia e Napoli (1st version)
| piano | 1840 | S.159 | The Tarantella is not otherwise identified. S.162 is a revision of S.159.[1] |
Années de pèlerinage, Deuxième Année: Italie. Supplement: Venezia e Napoli
| 1859 | S.162 |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Tarantelle, Op. 12 (orchestra; 1858) | Transcription | piano | 1885 | S.482 |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Tarantella slave (piano 4-hands, 1864–65)[1] | Tarantelle, transcrite et amplifiée pour le piano à deux mains | piano | 1879 | S.483 |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Bunte Reihe, 24 pieces in all the major and minor keys,[19] Op. 30, violin and piano (c.1840; pub 1851)[20] | Transcription | piano | 1850 | S.484 | |
| Fantasy[19] | ? | S.484/19bis | ||
| Souvenir de Russie | 1842 | S.483bis | This publication contained no attribution to Ferdinand David as the source of the material.[21] |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Opera Jean de Nivelle (1880):
| La mandragore | piano | 1881 | S.698 |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
3 Lieder: "Lockung", "Zwei Wege", "Spanisches Lied" (by 1845) | Lieder | piano | 1847 | S.485 |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Waltz | Variation on a Waltz by Diabelli | piano | 1822 | S.147 | One of 50 variations on the same waltz written by 50 different composers for Vaterländischer Künstlerverein. Liszt's variation was No. 24. |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Ave Maria | Alleluja et Ave Maria d'Arcadelt | piano | 1862 | S.183 | The Alleluja was based on themes from Liszt's own Cantico del sol di San Francesco d'Assisi, S.4.[3] The Ave Maria was based on Dietsch's Ave Maria, a setting for unaccompanied voices (1842?) loosely based on Jacques Arcadelt's three-part madrigal Nous voyons que les hommes.[1] |
organ | S.659 |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Opera Lucrezia Borgia (1833) | Reminiscences de Lucrezia Borgia | piano | 1840 | S.400 | The sections are: (1) Trio du second acte and (2) Fantaisie sur des motifs favoris de l'opéra: Chanson à boire (Orgie), Duo and Finale.[14] |
Opera Lucia di Lammermoor (1835) | Reminiscences de Lucia di Lammermoor | 1835–36 | S.397 | Based on the Sextet | |
Marche et cavatine de Lucie de Lammermoor | S.398 | Intended as part of the Reminiscences (S.397) but separated by the publisher[14] | |||
Lucia di Lammermoor | Valse à capriccio sur deux motifs de Lucia et Parisina | 1842 | S.401 | Combines motifs from Lucia di Lammermoor and Parisina. The Valse à capriccio, S.401 was revised as No. 3 of 3 Caprices-Valses, S.214 (1850–52).[1] | |
Opera Parisina (1833) | |||||
Nuits d'été à Pausilippe, 12 ariettas and nocturnes (voices and chamber ensemble; 1836):
| Nuits d'été à Pausilippe | 1838 | S.399 | [14][22] | |
Opera La favorite (1840):
| Spirto gentil | 1847 | S.400a | Possibly same as S.742. | |
Opera Dom Sébastien (1843):
| Marche funèbre de Dom Sébastien | 1844 | S.402 | ||
| Paraphrase | ? | S.744 | Lost; this was based on Theodor Kullak's transcription (paraphrase), Op. 31,[23] which was itself dedicated to Liszt.[24] | |
"Duettino" | Transcription | ? | S.742 | Lost.[11] Possibly same as S.400a. |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Mecidiye March | Grande Paraphrase de la marche de Donizetti composée pour Sa Majesté le sultan Abdul Medjid-Khan | piano | 1847 | S.403 | Giuseppe was the elder brother of the opera composer Gaetano Donizetti. A simplified version of this paraphrase was also published.[14] |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Song "Helges Treue" | Recitation "Helges Treue" | voice/piano | 1860 | S.686 | |
Cantata Der Schwur im Rütli (1862–63, rev. 1868)[1] | Reduction of Part I | piano | 1870 | S.485a |
Béni Egressy and Ferenc Erkel
[edit]Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Patriotic songs, "Szózat" (Egressy) and "Himnusz" (Erkel) | "Szózat und Ungarischer Hymnus" | orchestra | 1870‑73 | S.353 | "Szózat" (words Mihály Vörösmarty, 1836; music Egressy, 1840) and "Himnusz" (words Ferenc Kölcsey, 1823; music Erkel) are national anthems of Hungary adopted in 1844; FP of orchestral version, Budapest, 19 March 1873, Liszt (conductor).[25] |
piano | S.486 | ||||
piano 4‑hands | S.628a |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Patriotic song "Himnusz" | "Szózat und Ungarischer Hymnus" | see above | Erkel's Himnusz was combined with Béni Egressy's "Szózat" in three versions. | ||
Opera Hunyadi László (1844) | Schwanengesang and March | piano | 1847 | S.405 | Liszt was the godfather of Erkel's son, who was born in the autumn of 1856 but died in 1863.[26] |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Song "Die Gräberinsel" (1842)[1] | Transcription | piano | 1842 | S.485b | Ernst Herzog zu Sachsen-Coburg-Gotha was an amateur composer; he was the brother of Queen Victoria's consort Prince Albert. |
Opera Tony, oder die Vergeltung (1849) | Halloh! Jagdchor und Steyrer | 1849 | S.404 | ||
Opera Diana von Solange (1858) | Festmarsch nach Motiven von E.H.z.S.-C.-G.[13] | orchestra | 1857 | S.116 | |
piano | 1859 | S.522 | |||
piano 4‑hands | S.607 |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Kinizsi notája, Hungarian dance (1822) | "Zum Andenken", 2 movements of Hungarian character | piano | 1828 | S.241/1 | Fáy's dance was used in the first movement; the second was based on music by János Bihari.[1] |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Song "Spanisches Ständchen" (by 1844)[1] | Transcription | piano | 1846 | S.487 | |
Les noces du Pâtre, mélodies hongroises, piano (1858) | Corrections and alterations to manuscript score[1] | 1858 | S.405a |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
12 Nocturnes (piano) | Transcription | piano 4-hands | c. 1866 | S.577a |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Song "Er ist gekommen in Sturm und Regen", Op. 4/7 (1845) | Transcription | piano | 1848 | S.488 | |
12 Lieder from Opp. 2, 3 and 8 | 12 Lieder von Robert Franz (3 books) | 1849 | S.489 |
|
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Die Amazonen, ballet (1823) | 2 Waltzes:
| violin and piano | 1823–25 | S.126b/2 | |
piano | S.208a/2 |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Opera El poeta calculista (1805):
| Rondeau fantastique sur un thème espagnol | piano | 1836 | S.252 |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Song "A Puszta Keserve" (Lenau) | Puszta-Wehmut | piano | 1871 | S.246 | Gizycka-Zámoyská was born in 1829.[1] |
violin and piano | 1880 | S.379b |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Opera Ruslan and Lyudmila (1842):
| Tscherkessenmarsch | piano | 1843–75 | S.406 | |
piano 4-hands | 1875 | S.629 |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Cantata Die sieben Todsünden (1875):
| Transcription | piano | 1880 | S.490 |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Opera Faust (1859):
| Valse de l'opéra Faust | piano | by 1861 | S.407 | |
| Transcription | 1864 | S.743 | Lost[11] | |
Opera La reine de Saba (1862):
| Les Sabéennes. Berceuse de l'opéra La Reine de Saba | pub. 1865 | S.408 | ||
Hymne à Sainte-Cécile (1865 version for violin solo, harps, timpani, wind instruments and double basses)[1] | Transcription | 1866 | S.491 | ||
Opera Roméo et Juliette (1867) | Les Adieux. Reverie sur un motif de l'opéra Roméo et Juliette | pub. 1868 | S.409 |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Opera La Juive (1835) | Reminiscences de La Juive | piano | 1835 | S.409a | |
Opera Le guitarréro (1841) | Fantaisie sur des thèmes de l'opéra Guitarero | 1841 | S.743a | Lost[1] |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Opera Almira, HWV 1 (1705) | "Sarabande and Chaconne from Handel's Almira" | piano | 1879 | S.181 |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Tanz-Momente, Op. 14, orchestra (1868) | Transcription | piano | 1869 | S.492 | A version for piano 4-hands was also published.[28] |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Receuil de Ranz des vaches (1830) | Album d'un voyageur: Book III, Paraphrases:
| piano | 1835–36 | S.156/10 | Ferdinand Fürchtegott Huber (1791–1863). Revised as Ranz de vaches (Montée aux Alpes: Improvisata). |
Ranz des chèvres (? 1830) | Album d'un voyageur: Book III, Paraphrases:
| S.156/12 | Re-issued as Ranz de chèvres de F. Huber (1837–38), and revised as Ranz de chèvres. Rondeau, No. 1 of 3 Morceaux suisses (1876–77).[1] | ||
3 Morceaux suisses:
| 1876–77 | S.156a/1 |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Septet in D minor, Op. 74 (piano, flute, oboe, horn, viola, cello, double bass) | Edition | piano, flute, oboe, horn, viola, 2 cellos | ? | - | Liszt transcribed the work for piano solo, in 2 versions. He also produced his own edition of the original work but provided an alternative scoring in which a second cello replaced the double bass.[29] |
Transcription | piano | 1848; c.1866 | S.493 |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Air suisse varié, guitar (1830) | Album d'un voyageur: Book III, Paraphrases:
| piano | 1835–36 | S.156/11 | Re-issued as Un soir dans la montagne. Mélodie d'Ernest Knop. Nocturne (1837–38); revised as Un soir dans les montagnes (Nocturne pastoral), No. 3 of 3 Morceaux suisses (1876–77).[1] |
3 Morceaux suisses:
| 1876–77 | S.156a/3 |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Song "Le matin" (words by Georges Bizet) | 2 Lieder von Francis Korbay | voice and orchestra | 1883 | S.368/1 | Korbay was a godson of Liszt and a well-known performer of his music. |
Song "Gebet" (words by Emanuel Geibel) | S.368/2 | ||||
"Gebet" | voice and organ | 1883? | S.683a |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Song "Těšme se blahou nadějć" (c. 1824) | Hussitenlied (from the 15th Century) | piano | 1840 | S.234 | This drinking song by Josef Theodor Krov (1797–1859) to words by Václav Hanka was erroneously identified by the publisher as an early Hussite hymn. The tune was extensively quoted in Balfe's The Bohemian Girl as a patriotic song.[30][31] |
piano 4‑hands | 1840–41 | S.620 |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Romance "Le départ du jeune marin" | Grand duo concertant sur la romance de M. Lafont "Le Marin" | violin and piano | 1835–37 | S.700h | [18] |
1849 | S.128 | Revised version |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
6 Lieder von Peter Cornelius, Op. 5:
| Transcription | piano | 1861–72 | S.494 | Liszt wrote 2 versions[1] |
| Transcription | 1872 | S.495 | ||
Incidental music to Hebbel's Die Nibelungen, Op. 47 (1873) | Aus der Musik zu Hebbels Nibelungen und Goethes Faust:
| 1878–79 | S.496 | ||
Incidental music to Goethe's Faust, Op. 57 (1876) | |||||
Incidental music to Calderón's Über allen Zauber Liebe, Op. 73 (1883):
| Symphonisches Zwischenspiel | c. 1882 | S.497 | Calderón's 1635 play is known in Spanish as El mayor encanto, amor, and in English as Love, the Greatest Enchantment. |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Regina coeli laetare, motet for unaccompanied voices (1604) | Transcription | organ | 1865 | S.663 |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
3 Songs from J. Wolff's Tannhäuser, Op. 27 (1881):
| Transcription | piano | c.1882 | S.498 | Otto Lessmann (1844–1918)[1] |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
? | Élégie sur des motifs du Prince Louis Ferdinand de Prusse | piano | 1842 | S.168 | Prince Louis Ferdinand was an amateur composer whose musical gifts were nevertheless held in high esteem by such as Beethoven, who dedicated his Piano Concerto No. 3 in C minor to the Prince. |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Opera The Troubador, Op. 33 (1886) | Transcription | piano | 1886 | - | This was planned but Liszt never went past the sketching stage.[8] |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Song "Es hat geflammt die ganze Nacht" | Arrangement | voice and piano | 1849–54 | S.685 | |
Theme | 6 Consolations: No. 4, Quasi adagio | piano | 1849–50 | S.172/4 | [6] |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Marche hongroise de Szabady, orchestra, 1879 | Revive Szegedin: Marche hongroise | piano | 1879 | S.572 | Massenet based his work on Marche turque-hongroise by Frank Ignac Szabadi (1825–79); Liszt's transcription was inscribed Revive Szegedin: Marche hongroise transcrite d'après l'orchestration de J. Massenet |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Songs Without Words:
| Grosses Konzertstück über Mendelssohns Lieder ohne Worte | 2 pianos | 1834 | S.257 | Liszt and a student, Mlle. Vial, started to perform it in Paris on 9 April 1835[17] but Liszt became ill. Ferruccio Busoni, who considered Mendelssohn a composer of genius, died before fulfilling his plan to play it with Egon Petri in London. It was first performed in full by Richard and John Contiguglia at the 1984 Holland Liszt Festival in Utrecht.[33] |
6 Songs, Op. 19a (1830–34):
| Mendelssohn Lieder:
| piano | 1840 | S.547 | |
6 Songs, Op. 34 (1834–37):
| |||||
6 Songs, Op. 47 (1839):
| |||||
6 Songs for male chorus, Op. 50 (1837–40):
|
| 1848 | S.548 | ||
A Midsummer Night's Dream, incidental music, Op. 61 (1842) | Wedding March and Dance of the Elves | 1849–50 | S.410 |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Opera Il giuramento (1837) | Réminiscences de La Scala | piano | 1837‑38 | S.458 | This work uses three themes from Il giuramento and a fourth theme that is as yet unidentified.[34] The piece also appeared as Fantasia on Italian Operatic Melodies.[35] It was listed in the Searle catalogue as "Piano piece on Italian operatic melodies", the writers of which were listed as "unknown".[9] |
Soirées italiennes, 8 ariettas and 4 duos:
| Soirées italiennes: Six amusements sur des motifs de Mercadante | 1838 | S.411 | Dedicated to Archduchess Elizabeth of Austria.[36][37] |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Opera Robert le diable (1831) | Reminiscences de Robert le Diable. Valse infernale | piano | 1841 | S.413 | |
piano 4-hands | 1841–43 | S.630 | |||
Opera Les Huguenots (1836) | Grande Fantaisie sur des thèmes de l'opéra Les Huguenots | piano | 1836 | S.412 | Dedicated to Marie d'Agoult[37] |
Song "Le Moine" ("Die Mönch") (1841) | "Le Moine" | 1841 | S.416 | Incorporates two other themes by Meyerbeer.[37] | |
Opera Le prophète (1849) | Illustrations du Prophète | piano | 1849–50 | S.414 | The 3 Illustrations of S.414 are: 1. Prière, hymne triomphale, marche du sacre; 2. Les Patineurs, scherzo; 3. Choeur pastoral, appel aux armes. The Fantasy and Fugue is sometimes listed as No. 4 in the series[37] |
Fantasie und Fuge über den Choral "Ad nos, ad salutarem undam" | organ | S.259 | |||
piano 4‑hands or pedal piano | S.624 | ||||
Festmarsch zu Schillers 100-jähriger Geburtsfeier (1859) | Transcription | piano | 1860 | S.549 | |
Opera L'Africaine (1864):
| Illustrations de l'Africaine | 1865 | S.415 | The two Illustrations are: 1. Prière des matelots; 2. Marche indienne. |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Opera Szép Ilonka (1861) | Fantaisie sur l'opéra hongrois Szép Ilonka | piano | 1867 | S.417 | Dedicated to Mosonyi[37] |
Funeral Music for István Széchenyi, piano (1860) | Historische ungarische Bildnisse:
| 1885 | S.205 | Uses basso ostinato.[1] | |
Trauervorspiel und Trauermarsch:
| 1885 | S.206 | Uses main theme.[1] |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Opera The Marriage of Figaro, K.492 (1786) | Fantasy on Themes from Mozart's Figaro and Don Giovanni | piano | 1842 | S.697 | Performed Berlin 11 January 1843; edited and completed by Ferruccio Busoni[4] |
Opera Don Giovanni, K.527 (1787) | 1842 | S.697 | |||
Reminiscences de Don Juan | 1841 | S.418 | Dedicated to King Christian VIII of Denmark[37] | ||
2 pianos | after 1841 | S.656 | |||
Motet Ave verum corpus, K.618 (1791) | À la chapelle Sixtine (organ version: Evocation à la Chapelle Sixtine)[2] | piano | 1862 | S.461 | This piece combines Allegri's Miserere (1630s) with Mozart's Ave verum corpus. (Mozart was deeply involved in the circumstances that led to the first publication of the Miserere: He heard it in the Sistine Chapel when visiting Rome at the age of 15, and famously wrote it down from memory, although publishing the work or even writing it down was prohibited on pain of excommunication. Rather than imposing this penalty, the Pope later congratulated him on his genius). À la chapelle Sixtine was the basis of the third movement (Preghiera) of Tchaikovsky's "Mozartiana" (Orchestral Suite No. 4), but he used only the Ave verum corpus component. |
organ | c. 1862 | S.658 | |||
piano 4‑hands | c. 1865 | S.633 | |||
orchestra | ? | S.360 | |||
Opera The Magic Flute, K.620 (1791):
| Transcription | piano | ? | S.748 | This was part of Liszt's performing repertoire but is now lost.[11] |
| Adagio von Die Zauberflöte | piano 4-hands | 1875–81 | S.634a | |
Requiem in D minor, K.626 (1791):
| Transcription | piano | pub. 1865 | S.550 |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Ecclesiastical Festival Overture on the chorale "Ein feste Burg ist unser Gott", Op. 31 | Transcription | organ | 1852 | S.675 |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Opera Niobe (1826) | Divertissement sur le cavatine "I tuoi frequenti palpiti" | piano | 1835–36 | S.419 |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
24 Caprices for Solo Violin, Op. 1 (1802–17)[38] | Études d'exécution transcendante d'après Paganini (S.140):
| piano | 1838–51 | S.140, 141 | Paganini's Caprices Nos. 1, 6, 9, 17 and 24 were the basis of Nos. 4, 1, 5, 2 and 6 respectively of Liszt's Études d'exécution transcendante d'après Paganini (S.140). La campanella became Étude No. 3. The set of 6 Études were revised as Grandes études de Paganini (S.141). La campanella had earlier been the basis of a separate work, the Grande Fantaisie de bravoure (S.420).[39] |
Violin Concerto No. 2 in B minor, Op. 7 (1826):
| |||||
Grande Fantaisie de bravoure sur la Clochette | 1831–32 | S.420 | |||
Il carnevale di Venezia, violin and orchestra, Op. 10 (1829) | Variations sur le Carnaval de Venise | 1843 | S.700a | ||
Grande Fantaisie sur des thèmes de Paganini (S.700/1):
| 1845 | S.700 | [1] |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Barcarole vénitienne, song for solo voice (1840?) | Arrangement | voice and piano | 1840 | S.684 | Died 1872. Father of Romilda Pantaleoni. |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Song "La Biondina in Gondoletta" | Venezia e Napoli (1st version)
| piano | 1840 | S.159/3 | S.162 is a revision of S.159.[1] Dates: 1784–1870.[40] |
Années de pèlerinage, Deuxième Année: Italie. Supplement: Venezia e Napoli
| 1859 | S.162/1 |
F. Pezzini
[edit]Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
"Una stella amica" | Transcription | piano | 1874‑75 | S.551 | Pezzini was a local band master at the Villa d'Este, but no further details about him are known. "Una stella amica" is variously described as a waltz[1][41] or a mazurka.[42] |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Opera König Alfred (1851):
| Transcription | piano | 1853 | S.421 | Dedicated to Karl Klindworth[39] |
piano 4-hands | S.631 | ||||
Tanz-Capricen, Op. 54, 3 pieces for piano (1852):
| New introduction and coda | piano | 1854 | S.551a |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
5 Charakterstücke, Op. 3, violin and organ (1873):
| Revised and corrected | violin and organ | 1873? | S.675a |
Salvator Rosa (attrib.)
[edit]Original work | Liszt work | Notes |
---|---|---|
Canzonetta "Vado ben spesso cangiando loco" | See Années de pèlerinage, Deuxième année: Italie at Giovanni Battista Bononcini above | This song, among many others, was long attributed to Salvator Rosa, but was in fact written by Bononcini.[16] |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Opera Otello (1816):
| Années de pèlerinage, Deuxième Année: Italie. Supplement: Venezia e Napoli
| piano | 1859 | S.162/2 | |
Operas Armida (1817) and La donna del lago (1819)[38] | Impromptu brilliant sur des thèmes de Rossini et Spontini | 1824 | S.150 | Also includes themes from operas by Gaspare Spontini | |
Opera Ermione[38] | Sept variations brillantes sur un thème de G. Rossini | S.149 | |||
Opera Mosè in Egitto (1818) | Fantaisie sur des thèmes de 'Maometto' et 'Mose' | ? | S.751 | Lost[11] | |
Opera Le siège de Corinthe (1826) | Introduction des variations sur une marche du Siège de Corinthe | 1830 | S.750; renumbered as 421a | Lost[11] Only the Introduction survives; there is no trace of the Variations on a March from Le Siège de Corinthe | |
Opera William Tell (1829) | Transcription | 1838 | S.552 | ||
Les Soirées musicales, 8 ariettas and 4 duets (1835) | La Serenata e l'Orgia. Grande Fantaisie sur des motifs des Soirées musicales | 1835‑36 | S.422 | Nos. 10 and 11; also includes a theme from La promessa (No. 1)[39] | |
La pastorella dell'Alpi e Li marinari. 2me Fantaisie sur des motifs des Soirées musicales | S.423 | Nos. 6 and 12; also includes a theme from La regata veneziana (No. 2)[39] | |||
Soirées musicales | 1837 | S.424 | The 12 numbers are: 1. La promessa; 2. La regata veneziana; 3. L'invito; 4. La gita in gondola; 5. Il rimprovero; 6. La pastorella dell'Alpi; 7. La partenza; 8. La pesca; 9. La danza; 10. La serenata; 11. L'orgia; 12. Li marinari | ||
Stabat Mater (1841):
| Transcription | organ/trombone | 1860s | S.679 | Also used in S.553 |
tenor/organ | pub. 1874 | S.682 | |||
Deux Transcriptions d'après Rossini:
| piano | 1847 | S.553 | ||
3 Choeurs religieux, female chorus and piano (1844):
|
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Song "La Marseillaise" (1792) | "La Marseillaise" | piano | 1872 | S.237 |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Opera Le devin du village (1752) | Transcription | piano | 1883 | - | This was planned but never executed.[8] |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
6 Lieder von Heine, Op. 32 (1856):
| Transcription | piano | 1883? | S.554 | [1] |
12 Lieder des Mirza-Schaffy, Op. 34 (1854):
| 1881 | ||||
Transcription | ? | S.752 | Lost[11] | ||
Étude on False Notes (piano; 1867) | Revised as Étude sur des notes fausses | 1880? | S.554a |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Danse macabre, symphonic poem, Op. 40 (1874) | Transcription | piano | 1876 | S.555 | Dedicated to Sophie Menter.[42] |
Original work | D no. | Op. | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|---|---|
"Gretchen am Spinnrade" (1814) | D.118 | Op. 2 | 6 Songs | voice and orchestra | 1860 | S.375/2 | |
12 Lieder von Franz Schubert | piano | 1838, rev. 1876 | S.558/8 | ||||
"Rastlose Liebe" (1815) | D.138 | Op. 5/1 | 12 Lieder von Franz Schubert | 1838 | S.558/10 | ||
Walzer, Ländler und Ecossaisen, piano | D.145 | Soirées de Vienne: 9 Valses caprices d'après Schubert | 1852 | S.427/2, 3 | Used in Nos. 2 and 3[43] | ||
"Des Mädchens Klage" (2nd version; 1815) | D.191 | Op. 58/3 | No. 2 of Sechs Melodien von Franz Schubert | 1844 | S.563/2 | ||
"Meeres Stille" (1815) | D.216 | Op. 3/2 | Transcription | 1837 | S.557b | 1st version | |
12 Lieder von Franz Schubert | 1838 | S.558/5 | |||||
"Erlkönig" (1815–21) | D.328 | Op. 1 | 6 Songs | voice and orchestra | 1860 | S.375/4 | |
Transcription | piano | 1837 | S.557b | ||||
12 Lieder von Franz Schubert | 1838, rev. 1876 | S.558/4 | |||||
"Litanei (Auf das Fest Aller Seelen)" (1816) | D.343 | Transcription: Franz Schuberts geistliche Lieder | 1840 | S.562/1 | |||
Originaltänze, piano | D.365 | Op. 9 | Apparitions: III. Fantaisie sur une valse de François Schubert (Molto agitato ed appassionato)[44] | 1834 | S.155/3 | Waltz No. 33 in F major;[45] the same waltz appeared in Soirées de Vienne, S.427 | |
Soirées de Vienne: 9 Valses caprices d'après Schubert | 1852 | S.427 | Used in Nos. 1–5 and 9[43] | ||||
"Die gestirne" (1816) | D.444 | Transcription: Franz Schuberts geistliche Lieder | 1840 | S.562/3 | |||
"Der Wanderer" (1816) | D.493 | Op. 4/1 | 12 Lieder von Franz Schubert | 1838, rev. 1876 | S.558/11 | ||
"Die Forelle" (1817) | D.550 | No. 6 of Sechs Melodien von Franz Schubert | 1844 | S.563/6 | |||
Transcription (2nd version) | 1846 | S.564 | |||||
"Himmelsfunken" (1819) | D.651 | Transcription: Franz Schuberts geistliche Lieder | 1840 | S.562/2 | |||
"Frühlingsglaube" | D.686 | Op. 20/2 | Transcription | 1837 | S.557c | 1st version | |
12 Lieder von Franz Schubert | 1838, rev. 1876 | S.558/7 | |||||
"Lob der Tränen" | D.711 | Op. 13/2 | Transcription | 1838 | S.557 | ||
Opera Alfonso und Estrella (1822):
| D.732 | Transcription | ? | S.753 | Liszt conducted the world premiere performance in Weimar, 24 June 1854; he had published an essay on the opera in advance of the first performance, and also had made cuts to the score for the production. The score of the transcription is lost.[11] | ||
Wiener Damen-Ländler, piano | D.734 | Soirées de Vienne: 9 Valses caprices d'après Schubert | 1852 | S.427/1 | Used in No. 1[43] | ||
"Sei mir gegrüsst!" (1822) | D.741 | Op. 20/1 | 12 Lieder von Franz Schubert | 1838 | S.558/1 | ||
"Die Rose" (? 1820) | D.745 | Op. 73 | Transcription | 1835 | S.556 | ||
Wanderer Fantasy in C, piano (1822) | D.760 | Op. 15 | piano and orchestra | by 1851 | S.366 | FP of orch. version Vienna, 14 December 1851, J. Egghard (piano), Hellmesberger (conductor)[46] | |
2 pianos | S.653 | ||||||
"Auf dem Wasser zu singen" (1823) | D.774 | Op. 72 | 12 Lieder von Franz Schubert | piano | 1838 | S.558/2 | |
"Du bist die Ruh" (1823) | D.776 | Op. 59/3 | 12 Lieder von Franz Schubert | 1838, rev. 1876 | S.558/3 | ||
Valses sentimentales, piano | D.779 | Soirées de Vienne: 9 Valses caprices d'après Schubert | 1852 | S.427/6 | Used in No. 6[43] | ||
18 Deutsche und Ecossaisen, piano | D.783 | Soirées de Vienne: 9 Valses caprices d'après Schubert | 1852 | S.427 | Used in Nos. 1, 3, 7 and 8[43] | ||
Song cycle Die schöne Müllerin (1823): | D.795 | Op. 25 | |||||
| No. 1 of Müllerlieder | 1846 | S.565/1 | ||||
| No. 5 of Müllerlieder | S.565/5 | |||||
| No. 5 of Sechs Melodien von Franz Schubert | S.563/5 | |||||
No. 6 of Müllerlieder | S.565/6 | ||||||
| No. 3 of Müllerlieder | S.565/3 | |||||
| No. 4 of Müllerlieder | S.565/4 | |||||
| No. 4 of Sechs Melodien von Franz Schubert | S.563/4 | |||||
| No. 2 of Müllerlieder | S.565/2 | |||||
Rosamunde incidental music (1823) | D.797 | Transcription: Franz Schuberts geistliche Lieder | 1840 | S.562/4 | Liszt transcribed part of No. 4 Geisterchor as "Hymne" | ||
"Die Gondelfahrer", male chorus and piano (1824) | D.809 | Op. 28 | Transcription | 1838 | S.559 | ||
Divertissement à la hongroise, piano duet (1824) | D.818 | Op. 54 | Mélodies hongroises (d'après Schubert) | 1838–39 | S.425 | 1. Andante; 2. Marcia; 3. Allegretto | |
II. Ungarischer Marsch in C minor used in 4 Marches | orchestra | 1859–60 | S.363/4 | ||||
piano 4-hands | after 1860 | S.632/4 | |||||
Six Grand Marches and Trios, piano duet (1824) | D.819 | Op. 40 | Schubert's Märsche für das Pianoforte Solo | piano | 1846 | S.426/1–2 | March in B minor D.819/3 was S.426/2; Trauermarsch in E-flat minor, D.819/5 was S.426/1[47] |
Two marches used in 4 Marches | orchestra | 1859–60 | S.363/1–2 | March in B minor D.819/3 was S.363/1; Trauermarsch in E-flat minor, D.819/5 was S.363/2[47] | |||
piano 4-hands | after 1860 | S.632/1–2 | |||||
"Die Junge Nonne" (1825) | D.828 | Op. 43/1 | 6 Songs | voice and orchestra | 1860 | S.375/1 | |
12 Lieder von Franz Schubert | piano | 1838 | S.558/6 | ||||
"Ave Maria" (1825) | D.839 | Transcription | 1837 | S.557d | 1st version | ||
12 Lieder von Franz Schubert | 1838 | S.558/12 | |||||
"Die Allmacht" (1825) | D.852 | Op. 79/2 | "Die Allmacht" | T or S solo, male chorus & orchestra | 1871 | S.376 | |
"Das Zügenglöcklein" (aka "Das Sterbeglöcklein"; 1826) | D.871 | No. 3 of Sechs Melodien von Franz Schubert | piano | 1844 | S.563/3 | ||
"Lied der Mignon" (1826) | D.877/2 | Op. 62/2 | 6 Songs | voice and orchestra | 1860 | S.375/3 | |
"Ständchen (Horch! Horch! die Lerch!)" (1826) | D.889 | 12 Lieder von Franz Schubert | piano | 1838, rev. 1876 | S.558/9 | ||
Winterreise, song cycle (1827) | D.911 | Op. 89 | Transcription of 12 songs | 1840 | S.561 | Liszt chose 12 of the 24 songs, and rearranged their order: 1. "Gute Nacht" (S.561/1); 4. "Erstarrung" (S.561/5); 5. "Der Lindenbaum" (S.561/7); 6. "Wasserflut" (S.561/6); 13. "Die Post" (S.561/4); 17. "Im Dorfe" (S.561/12); 18. "Der stürmische Morgen" (S.561/11); 19. "Täuschung" (S.561/9); 21. "Das Wirtshaus" (S.561/10); 22. "Mut!" (S.561/3); 23. "Die Nebensonnen" (S.561/2); and 24. "Der Leiermann" (S.561/8).[1] | |
Symphony No. 9 in C major (1826) | D.944 | Projected transcription | – | – | This was planned but never executed.[8] | ||
Schwanengesang, 14 lieder (1828) | D.957 | Transcription | 1838–39 | S.560 | Liszt rearranged the order of the songs: 1. Liebesbotschaft (S.560/10); 2. "Kriegers Ahnung" (S.560/14); 3. "Frühlingssehnsucht" (S.560/9); 4. "Ständchen" (S.560/7); 5. "Aufenthalt" (S.560/3); 6. "In der Ferne" (S.560/6); 7. "Abschied" (S.560/5); 8. "Der Atlas" (S.560/11); 9. "Ihr Bild" (S.560/8); 10. "Das Fischermädchen" (S.560/2); 11. "Die Stadt" (S.560/1); 12. "Am Meer" (S.560/4); 13. "Der Doppelgänger" (S.560/12); and 14. "Die Taubenpost" (S.560/13).[48] | ||
| 6 Songs | voice and orchestra | 1860 | S.375/6 | |||
| 6 Songs | 1860 | S.375/5 | ||||
Reitermarsch, No. 1 of 2 Marches caractéristiques, piano duet (? 1826) | D.968b | Op. 121 | Schubert's Märsche für das Pianoforte Solo | piano | 1846 | S.426/4 | [47] D.968b was formerly D.886 |
Used in 4 Marches | orchestra | 1859–60 | S.363/3 | [47] | |||
piano 4-hands | after 1860 | S.632/3 | |||||
12 Valses nobles | D.969 | Soirées de Vienne: 9 Valses caprices d'après Schubert | piano | 1852 | S.427 | Used in Nos. 5, 6 and 8[43] |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Gedichte aus Rückerts Liebesfrühling, Op. 12 (1841):
| Lieder von Robert und Clara Schumann: Book B (Clara) | piano | 1874 | S.569/8–10 | The set of 10 transcriptions also includes 7 songs by Robert Schumann. |
6 Lieder, Op. 13 (1842–44):
| |||||
6 Lieder aus Jucunde von Rollet, Op. 23 (1853):
|
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Myrthen, Op. 25 (1840):
| "Liebeslied" | piano | 1848 | S.566 | |
Lieder und Gesänge, Vol. I, Op. 27 (1840):
| "Rotes Röslein", No. 2 of 2 Lieder von Robert Schumann | 1861 | S.567/2 | ||
6 Gedichte, Op. 36 (1840):
| No. 1 of 2 Lieder von Robert Schumann | 1861 | S.567/1 | ||
Liederkreis, Op. 39 (1840):
| Transcription | 1872 | S.568 | ||
Liederalbum für die Jugend, 28 songs, Op. 79 (1849):
| Lieder von Robert und Clara Schumann: Book A (Robert) | 1874 | S.569/1–7 | Nos. 1–5 were from Op. 79, and Nos. 6–7 were from Op. 98a. The set of 10 transcriptions also includes 3 songs by Clara Schumann. | |
Lieder und Gesänge aus 'Wilhelm Meister', 9 songs, Op. 98a (1849):
| |||||
Des Sängers Fluch, 14 songs, Op. 139 (1852):
| Transcription | 1881 | S.570 |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
3 Polkas de salon, Op. 7, piano (1848–54):
| New introduction and coda | piano | 1885 | S.570a |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
? | Feuille morte: Élégie d'après Sorriano [sic] | piano | c. 1845 | S.428 | Mariano Soriano Fuertes y Piqueras (28 March 1817 - 26 March 1880);[49] Soriano's surname was misspelled as "Sorriano" on the title page.[50] There is no information about the source of this piece or how Liszt came to know it, but it is speculated it may have been a melody from a zarzuela, as it is known Liszt was in Córdoba in 1844. The title Feuille morte is probably Liszt's own. |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Opera Zemire et Azor (1819):
| "Die Rose", Romanze | piano | 1876 | S.571 |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Opera Fernand Cortez (1809–32)[38] | Impromptu brilliant sur des thèmes de Rossini et Spontini | piano | 1824 | S.150 | Also includes themes from operas by Gioachino Rossini |
Opera Olimpie (1819–26) |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Ungarischer Marsch (? 1872) | Einleitung und Ungarischer Marsch (Bevezetés és magyar indulò) | piano | 1872 | S.572 | Imre graf von Széchényi 1825–1898[1] |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Valse-Caprice No. 3, piano (1862) | Revised with additions | piano | 1883–85 | S.571a | (S.571a was formerly S.167a.) Tausig's Valse-Caprice No. 3 was based on Johann Strauss II's Wahlstimmen, Op. 250.[1] |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Opera Eugene Onegin, Op. 24 (1879):
| Transcription | piano | 1880 | S.429 | Dedicated to Karl Klindworth[39] |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Mazurka No. 2 | Variations | piano | 1880 | S.754 | Probably not by Liszt.[11] |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Suite en forme de valse (piano 4-hands; 1882) | Valse de concert d'après la "Suite en forme de valse" | piano | pub. 1889 | S.430 | János Végh von Vereb (1845–1918) was a close friend of Liszt. He studied with Károly Thern and Mihály Mosonyi but decided to pursue a judicial career while continuing his involvement in music as an amateur. With Liszt's approval he transcribed for 2 pianos 8‑hands several of Liszt's works, such as the Dante Symphony, and the Grand Galop Chromatique.[51] In 1879 Liszt dedicated to Végh his symphonic poem Hunnenschlacht and his transcription for piano 4-hands of that work as well as Hamlet, Die Ideale, and Zwei Episoden aus Lenaus Faust. In 1881 Végh became vice-president of the Budapest Academy of Music, Liszt being the president.[52][53] |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Opera I Lombardi (1843) | Salve Maria de Jérusalem | piano | 1848 | S.431 | |
Opera Ernani (1844) | Concert paraphrase on Ernani | 1847 | S.431a | These are different works, despite the similarity of the names. S.431a was formerly numbered S.457.[54] | |
Ernani. Paraphrase de concert | by 1849 | S.432 | |||
Opera Rigoletto (1851) | Rigoletto. Paraphrase de concert | 1859 | S.434 | ||
Opera Il trovatore (1853) | Miserere de Trovatore | 1859 | S.433 | ||
Opera Simon Boccanegra (1857) | Réminiscences de Boccanegra | 1882 | S.438 | ||
Opera Don Carlos (1867) | Coro di festa e marcia funebre | 1867–68 | S.435 | ||
Opera Aida (1871) | Danza sacra e duetto finale | 1871–72 | S.436 | Dedicated to Toni Raab[55] | |
Requiem (1874):
| Agnus Dei de la Messe de Requiem | piano | 1877 | S.437 | |
organ or harmonium | 1877–83 | S.675c |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Mazurka | Mazurka pour piano composée par un amateur de St. Pétersbourg, paraphrasée par F. L. | piano | 1842 | S.384 | This mazurka was often misattributed to Alexander Alyabyev.[1] |
Romance "I Love" (Люблю я) | Transcription: 2nd version titled Autrefois | 1843 | S.577 |
Note: Vielgorski is also seen as Count Michael Wielhorski.[1]
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Opera Rienzi (1840) | Phantasiestück über Motive aus Rienzi ("Santo spirito cavaliere") | piano | 1859 | S.439 | The Roman War Song "Santo spirito cavaliere" is from the finale of Act III. The work also quotes the Gebet (Prayer) from Act V and the Aufruf zum Kampf (Call to Arms) "Doch horet ihr der Trompete Ruf" from Act I.[56] |
Opera The Flying Dutchman (1843) | Spinning Chorus | 1860 | S.440 | ||
Ballad | pub. 1873 | S.441 | |||
Opera Tannhäuser (1845) | Overtüre zu Tannhäuser: Konzertparaphrase | 1848 | S.442 | ||
"O du mein holder Abendstern" | 1849 | S.444 | |||
cello and piano | 1852 | S.380 | |||
Entry of the Guests | piano | 1852 | S.445/1 | Liszt published the Entry of the Guests along with Elsa's Bridal Procession from Lohengrin, as "Two Pieces from Tannhäuser and Lohengrin". | |
Pilgrims' Chorus: Paraphrase | organ | 1860 | S.676 | This paraphrase is not based on the Pilgrims' Chorus from Act III, but on a simplified version of the opening section of the Overture, which uses the same melody, but differs from the Chorus in both structure and key.[56] | |
piano | c.1861 | S.443 | |||
Opera Lohengrin (1850) | Elsa's Bridal Procession | 1852 | S.445/2 | Liszt published Elsa's Bridal Procession along with the Entry of the Guests from Tannhäuser, as "Two Pieces from Tannhäuser and Lohengrin". | |
1. Festival and Bridal Song 2. Elsa's Dream 3. Lohengrin's Rebuke | 1854 | S.446 | |||
Opera Tristan und Isolde (1859):
| Isoldens Liebestod | 1867 | S.447 | In his concert version of the Prelude (Overture) and Isolde's Act 3 final aria "Mild und leise", first performed in 1862 (several years before the premiere of the opera in 1865), Wagner called the Prelude the Liebestod (Love-death) while Isolde's final aria "Mild und leise" he called the Verklärung (Transfiguration). Liszt named his transcription of "Mild und leise" Isoldes Liebestod; he prefaced his score with a four-bar motto from the Love Duet from Act II, which in the opera is sung to the words "sehnend verlangter Liebestod". Liszt's transcription became well known throughout Europe well before Wagner's opera reached most places, and the final scene is now always called by the name Liszt gave it, Liebestod.[56] | |
Opera Die Meistersinger von Nürnberg (1867) | "Am stillen Herd" | 1871 | S.448 | ||
Opera Das Rheingold (1869) | "Valhalla" from Der Ring des Nibelungen | c.1876 | S.449 | Liszt based this on "The Entry of the Gods into Valhalla", the closing scene of Das Rheingold, the opening opera of the Ring. However, as it conforms to no single passage in that scene, it is thus a paraphrase, not strictly a transcription.[56] | |
Opera Parsifal (1882) | Feierlicher Marsch zum heiligen Gral | 1882 | S.450 |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Leier und Schwert, six 4-part men's choruses, Op. 42, J.168–173 (1814):
| Leier und Schwert – Heroïde | piano | 1846–47 | S.452 | An Introduction was followed by Schwertlied, Gebet vor der Schlacht and Lutzows wilde Jagd.[57] |
Jubelouvertüre, Op. 59, J.245 (1818) | Transcription | 1846 | S.576 | ||
Polacca brillante in E major "L'hilarité", piano, Op. 72, J.268 (1819) | Polonaise brillante | piano and orchestra | c.1851 | S.367 | Dedicated to Adolf von Henselt. FP of S.367 Weimar, 13 April 1851, Salomon Jadassohn (piano), Liszt (conductor). Liszt also arranged S.367 for piano solo (S.455), which was the solo part with ossias.[46] |
piano | S.455 | ||||
Opera Der Freischütz, Op. 77, J.277 (1821) | Overture | 1846 | S.575 | ||
Freischütz Fantasy | 1840‑41 | S.451 | |||
Konzertstück in F minor, piano and orchestra, Op. 79, J.282 (1821) | Transcription | 1868–70 | S.576a | ||
piano and orchestra | S.367a | The piano part appears to be a slightly altered version of S.576a, which is played with Weber's original orchestration.[58] | |||
Preciosa, incidental music, Op. 78, J.279 (1820):
| Transcription | piano | 1848 | S.453 | |
Partsong Schlummerlied, 4 male voices, Op. 68/4, J.285 (1822) | "Schlummerlied mit Arabesken" | 1848 | S.454 | ||
Opera Oberon, J.306 (1826) | Overture | 1843 | S.574 |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Song "Nach Osten!" (1824) | No. 1 of Sechs Melodien von Franz Schubert | piano | 1846 | S.563/1 | August Heinrich von Weyrauch, also known as Hans von Weyrauch (1788–1851). The song was reissued in 1843 with new words, a new title "Adieu" (which was translated as "Lebe wohl"), and misattributed to Franz Schubert. Liszt included it with 5 genuine Schubert songs in his collection of 6 transcriptions.[59][60] |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Danses galiciennes, piano 4-hands (1880) | Orchestration | orchestra | 1881 | S.364 | Zarębski was a pupil of Liszt. |
Original work | Liszt work | Forces | Date | S no. | Notes |
---|---|---|---|---|---|
Valse d'Adèle, piano left‑hand | Valse d'Adèle: Transcription brillante à deux mains | piano 2-hands | pub. 1877 | S.456 | Count Géza Zichy lost his right arm in a hunting accident at age 15. He later became a pionereering left-hand pianist and composer of works for piano left-hand, including the first known concerto for piano left-hand and orchestra (1902). |
Ballad "Der Zaubersee" | "Der Zaubersee" | voice and orchestra | ? | S.377 |
Index of S. numbers
[edit]- S.54: Giuseppe Baini
- S.116: Ernest II, Duke of Saxe-Coburg and Gotha
- S.120: Hector Berlioz
- S.122: Ludwig van Beethoven
- S.126b/2: Wenzel Robert von Gallenberg
- S.127: Frédéric Chopin
- S.128: Charles Philippe Lafont
- S.140, 141: Niccolò Paganini
- S.147: Anton Diabelli
- S.149: Gioachino Rossini
- S.150: Gioachino Rossini, Gaspare Spontini
- S.155/3: Franz Schubert
- S.156/10: Ferdinand Huber
- S.156/11: Ernest Knop
- S. 156/12, 156a/1: Ferdinand Huber
- S.156a/3: Ernest Knop
- S.159: Guillaume-Louis Cottrau
- S.161/3: Giovanni Bononcini (misattrib. Salvator Rosa)
- S.162: Guillaume-Louis Cottrau
- S.162/2: Gioachino Rossini
- S.168: Prince Louis Ferdinand of Prussia
- S.172/4: Grand Duchess Maria Pavlovna of Russia
- S.179, 180: Johann Sebastian Bach
- S.181: George Frideric Handel
- S.183: Jacques Arcadelt, Pierre-Louis Dietsch
- S.205, 206: Mihály Mosonyi
- S.207a: Alexander Borodin
- S.208a/2: Wenzel Robert von Gallenberg
- S.234: Josef Krov
- S.236/2: René de Galard de Béarn, Marquis de Brassac
- S.237: Claude Joseph Rouget de Lisle
- S.241/1: László Fáy
- S.241/2: János Bihari
- S.244/19: Kornél Ábrányi
- S.245: Kornél Ábrányi
- S.246: Ludmilla Gizycka-Zámoyská
- S.249/2: Frédéric Chopin
- S.250/1: Alexander Alyabyev
- S.250/2: Pyotr Bulakhov
- S.252: Manuel García
- S.256: Alexander Borodin
- S.257: Felix Mendelssohn
- S.259: Giacomo Meyerbeer
- S.351: Hans von Bülow
- S.352: Peter Cornelius
- S.353: Béni Egressy, Ferenc Erkel
- S.360: Gregorio Allegri, Wolfgang Amadeus Mozart
- S.363: Franz Schubert
- S.364: Juliusz Zarębski
- S.367, 367a: Carl Maria von Weber
- S.368: Francis Korbay
- S.375, 376: Franz Schubert
- S.377: Géza Zichy
- S.379b: Ludmilla Gizycka-Zámoyská
- S.380: Richard Wagner
- S.383a: Kornél Ábrányi
- S.384: Alexander Alyabyev (misattrib.), Mikhail Vielgorsky
- S.385, 385a, 386, 387: Daniel Auber
- S.388, 389: Ludwig van Beethoven
- S.390–394: Vincenzo Bellini
- S.395, 396: Hector Berlioz
- S.397–400, 400a, 401, 402: Gaetano Donizetti
- S.403: Giuseppe Donizetti
- S.404: Ernest II, Duke of Saxe-Coburg and Gotha
- S.405: Ferenc Erkel
- S.405a: Leó Festetics
- S.406: Mikhail Glinka
- S.407, 408, 409: Charles Gounod
- S.409a: Fromental Halévy
- S.410: Felix Mendelssohn
- S.411: Saverio Mercadante
- S.412–416: Giacomo Meyerbeer
- S.417: Mihály Mosonyi
- S.418: Wolfgang Amadeus Mozart
- S.419: Giovanni Pacini
- S.420: Niccolò Paganini
- S.421: Joachim Raff
- S.422–424: Gioachino Rossini
- S.425–427: Franz Schubert
- S.428: Mariano Soriano
- S.429: Pyotr Ilyich Tchaikovsky
- S.430: János Végh
- S.431, 431a, 432–438: Giuseppe Verdi
- S.439–450: Richard Wagner
- S.451–455: Carl Maria von Weber
- S.456: Géza Zichy
- S.458: Saverio Mercadante
- S.461: Gregorio Allegri, Wolfgang Amadeus Mozart
- S.462, 463: Johann Sebastian Bach
- S.464–469: Ludwig van Beethoven
- S.470–475: Hector Berlioz
- S.476, 477, 477a: Louise Bertin
- S.478: Pyotr Bulakhov
- S.479: Hans von Bülow
- S.480: Frédéric Chopin
- S.481: August Conradi
- S.482: César Cui
- S.483: Alexander Dargomyzhsky
- S.483bis: Ferdinand David
- S.484, 484/19bis: Ferdinand David
- S.485: Josef Dessauer
- S.485a: Felix Draeseke
- S.485b: Ernest II, Duke of Saxe-Coburg and Gotha
- S.486: Béni Egressy, Ferenc Erkel
- S.487: Leó Festetics
- S.488, 489: Robert Franz
- S.490: Adalbert von Goldschmidt
- S.491: Charles Gounod
- S.492: Johann von Herbeck
- S.493: Johann Nepomuk Hummel
- S.494–497: Eduard Lassen
- S.498: Otto Lessmann
- S.506b: Giuseppe Baini
- S.522: Ernest II, Duke of Saxe-Coburg and Gotha
- S.547, 548: Felix Mendelssohn
- S.549: Giacomo Meyerbeer
- S.550: Wolfgang Amadeus Mozart
- S.551: F. Pezzini
- S.551a: Joachim Raff
- S,552, 553: Gioachino Rossini
- S.554, 554a: Anton Rubinstein
- S.555: Camille Saint-Saëns
- S.557–562: Franz Schubert
- S.563: Franz Schubert, August Heinrich von Weyrauch
- S.564, 565: Franz Schubert
- S.566–568, 569/1–7: Robert Schumann
- S.569/8–10: Clara Schumann
- S.570: Robert Schumann
- S.570a: Bedřich Smetana
- S.571: Louis Spohr
- S.571a: Johann Strauss II, Karl Tausig
- S.572: Jules Massenet, Imre Széchényi
- S.574–576, 576a: Carl Maria von Weber
- S.577: Mikhail Vielgorsky
- S.577a: John Field
- S.607: Ernest II, Duke of Saxe-Coburg and Gotha
- S.620: Josef Krov
- S.623a: Kornél Ábrányi
- S.624: Giacomo Meyerbeer
- S.627: Vincenzo Bellini
- S.628: Hector Berlioz
- S.628a: Béni Egressy, Ferenc Erkel
- S.629: Mikhail Glinka
- S.630: Giacomo Meyerbeer
- S.631: Joachim Raff
- S.632: Franz Schubert
- S.633: Gregorio Allegri, Wolfgang Amadeus Mozart
- S.634: Ludwig van Beethoven
- S.634a: Wolfgang Amadeus Mozart
- S.649: Ludwig van Beethoven
- S.654, 655: Vincenzo Bellini
- S.656: Wolfgang Amadeus Mozart
- S.657a: Ludwig van Beethoven
- S.658: Gregorio Allegri, Wolfgang Amadeus Mozart
- S.659: Jacques Arcadelt, Pierre-Louis Dietsch
- S.660, 661: Johann Sebastian Bach
- S.662: Frédéric Chopin
- S.663: Orlande de Lassus
- S.669c: Giuseppe Baini
- S.673: Johann Sebastian Bach
- S.675: Otto Nicolai
- S.675a: Alexander Ritter
- S.675c: Giuseppe Verdi
- S.676: Richard Wagner
- S.679: Gioachino Rossini
- S.682: Gioachino Rossini
- S.683a: Francis Korbay
- S.684: Luigi Pantaleoni
- S.685: Grand Duchess Maria Pavlovna of Russia
- S.686: Felix Draeseke
- S.694: Thomas Arne
- S.697: Wolfgang Amadeus Mozart
- S.698: Léo Delibes
- S.700, 700a: Niccolò Paganini
- S.700h: Charles Philippe Lafont
- S.739, 740: Ludwig van Beethoven
- S.741: Hector Berlioz
- S.742: Gaetano Donizetti
- S.743: Charles Gounod
- S.743a: Fromental Halévy
- S.744: Gaetano Donizetti
- S.748: Wolfgang Amadeus Mozart
- S.750, 751: Gioachino Rossini
- S.752: Anton Rubinstein
- S.753: Franz Schubert
- S.754: Pier Adolfo Tirindelli
- S.755a: Thomas Arne
- S.761: Frédéric Chopin
References
[edit]- ^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag ah ai aj ak al IMSLP: Versions of Works by Others (Liszt, Franz)
- ^ a b c d Grove, p. 309
- ^ a b Grove, p. 281
- ^ a b Grove, p. 311
- ^ a b c Grove, p. 294
- ^ a b Grove, p. 280
- ^ IMSLP: Preludes and Fugues by J.S. Bach, S.462 (Liszt, Franz)
- ^ a b c d e f Grove, p. 315
- ^ a b c Grove, p. 299
- ^ a b Grove, p. 300
- ^ a b c d e f g h i j k l Grove, p. 314
- ^ Hyperion Records: Beethovens Lieder (Sechs Lieder von Goethe), S468
- ^ a b c Grove, p. 275
- ^ a b c d e Grove, p. 295
- ^ "Grande fantaisie symphonique, S120 (Liszt/Berlioz) - from CDA67401/2 - Hyperion Records - MP3 and Lossless downloads".
- ^ a b Naxos Direct Archived September 28, 2013, at the Wayback Machine
- ^ a b Grove, p. 286
- ^ a b Grove, p. 276
- ^ a b Hyperion Records: Franz Liszt, The complete music for solo piano, Vol. 16 – Bunte Reihe
- ^ IMSLP: Bunte Reihe, Op.30 (David, Ferdinand)
- ^ Grove, p. 301
- ^ The LiederNet Archive: Donizetti, song cycle Nuits d'Été à Pausilippe
- ^ Michael Saffle, Liszt in Germany, 1840–1845
- ^ World Cat
- ^ Grove, p. 292
- ^ Mária P. Eckhardt, Franz Liszt's Music Manuscripts in the National Széchényi Library, Budapest, p. 196
- ^ Grove, pp. 301–02
- ^ Grove, p. 302
- ^ Septet No.1, Op.74 (Hummel, Johann Nepomuk)
- ^ Grove, p. 283, footnote
- ^ Grove, Vol. IV, pp. 858–59, KROV, Josef Theodor
- ^ Liszt Society Newsletter No. 70, June 1999[permanent dead link]
- ^ Richard and John Contiguglia, Duo-Pianists
- ^ Hyperion Records
- ^ Cantorion
- ^ Hyperion Records: Soirées italiennes – Six amusements sur des motifs de Mercadante, S411
- ^ a b c d e f Grove, p. 296
- ^ a b c d e Grove, p. 277
- ^ a b c d e Grove, p. 297
- ^ "The MusicSack". Retrieved 13 November 2016.
- ^ Hyperion Records
- ^ a b Grove, p. 304
- ^ a b c d e f IMSLP: Soirées de Vienne, S.427 (Liszt, Franz)
- ^ Grove, p. 278
- ^ IMSLP: Apparitions, S. 155 (Liszt, Franz)
- ^ a b Grove, p. 293
- ^ a b c d Mária P. Eckhardt, Franz Liszt's Music Manuscripts in the National Széchényi Library, Budapest, p. 146
- ^ Grove, p. 305
- ^ Hyperion Records
- ^ Hyperion Records
- ^ Music Web International
- ^ Maria P. Eckardt, Franz Liszt's Music Manuscripts in the National Széchényi Library, Budapest, p. 194
- ^ Hyperion Records
- ^ Grove, p. 299, footnote
- ^ Grove, p. 298
- ^ a b c d Charles Suttoni, Introduction, Franz Liszt: Complete Piano Transcriptions from Wagner's Operas, Dover Publications
- ^ Hyperion Records
- ^ Hyperion Records
- ^ Hyperion Records
- ^ The LiederNet Archive
Sources
[edit]- Grove's Dictionary of Music and Musicians, 5th ed, 1954, Vol. V, pp. 264–316, Franz Liszt: Catalogue of Works