List of compositions by Franz Liszt (S.1–S.350)

The list of musical works of Franz Liszt performs all compositions by the Austria - Hungarian composer Franz Liszt (1811-1886) on.

• 2.1 Piano Works
• 2.2 Organ Works
• 2.3 Orchestral works
• 2.4 Works for Piano and Orchestra
• 2.5 Vocal Works

Works with opus numbers

Work of the child prodigy

• Op. 1 Huit Variations.
• Op. 2 Sept Variations Brillantes sur un Thème de G. Rossini.
• Op. 3 Impromptu brillant sur ​​of Thèmes de Rossini et Spontini.
• Op. 4 Allegri di Bravura Deux.

( These works were published in 1825, the opus number 5 remained vacant. )

• Op. 6 Étude en huit exercices dans tous quarante - les Tons majeurs et Mineurs. Only the first 12 pieces were completed. First French edition in 1826; in March 1839 reprint of the first edition as Opus 1 by Hofmeister, Leipzig.

Juvenilia

• Op. 1 Grande fantaisie sur une tyrolienne de l'Opéra, La Fiancée de Auber. First version composed in 1829, first concert lecture by Liszt on April 7, 1829 in Paris. Second version composed in the summer of 1835, the first concert lecture by Liszt on October 1, 1835 in Geneva.
• Op. 2 Grande Fantasie sur La Clochette de Bravoure de Paganini. Composed 1832-34, first concert lecture by Liszt on November 5, 1834 in Paris.

( The opus numbers 3 and 4 remained vacant. )

• Op. 5 Trois morceaux de salon. Composed in late summer and autumn of 1835, revised in the spring of 1838 in Vienna. Fantaisie romantique sur deux airs Suisses, first lecture ( a fragment ) by Liszt on May 28, 1836 in Paris.
• Rondeau fantastique sur le thème "Il contrabandista " de Manuel Garcia, the first concert lecture by Liszt on January 28, 1837 in Paris.
• Grande fantaisie sur des motifs de Niobe de Pacini, Divertissement sur ​​la cavatine " I tuoi frequenti palpiti ". First concert lecture by Liszt on 6 April 1836 in Geneva.

• Op. 8.1 La Serenata e l' Orgia first concert lecture by Liszt on May 18, 1836 in Paris.
• Op. 8.2 La Pastorella dell'Alpi e li Marinari.

Works without opus numbers (a selection)

Piano Works

• Piano score of the Symphonie fantastique by Berlioz ( Reveries - Passions, Un Bal, Scène aux Champs, Marche du Supplice, Songe d' une nuit de Sabbat ). Created in 1833-34, the first concert performances of the sets Un bal and Marche du supplice by Liszt on 28 December 1834 in Paris.
• Hexameron, Variations sur une marche de bravoure de Bellini. Introduction and interludes by Liszt, first variation of Thalberg, Liszt 2nd variation 3rd variation of heart, 4 variation of Pixis, 5, variation by Czerny, 6 Variation of Chopin, Liszt finals. Composed in 1837, the first concert lecture by Liszt on 10 December 1837 in Milan. Liszt has omitted in his concerts with great regularity the variations Czerny and Chopin.
• Fantaisie sur des motifs favoris de l' opéra de Sonnambula Bellini. Composed in November 1839 or early December 1839, the first concert lecture by Liszt on December 5, 1839 in Vienna. In connection with a charity concert of Liszt on March 4, 1874 in Budapest was created with a tendency to increased full grip a modified new version, known as " La Sonnambula ( de Bellini. ) Big Concert Fantasy" appeared. In an early edition of the first version (1842 ) of the title of the opera is given as " Sonnambula ".
• Reminiscences de Robert le diable. Composed in October 1840, the first concert lecture by Liszt on November 6, 1840 in Hamburg.
• Reminiscences de Don Juan. Composed 1840-41, first concert lecture by Liszt on 25 September 1841 in Frankfurt
• Réminscences de la Norma. Composed 1841-43, first concert lecture by Liszt on February 2, 1842 in Berlin.
• Fantasy on themes from Figaro and Don Juan. Composed in 1842, published in 1911 by Busoni, but in which the imagination is not "added after the almost complete manuscript ", but almost slashed by half.
• Consolations. First version composed at the end 1843/Anfang 1844, second version composed in 1849. The first version was not published by Liszt.
• Trois Études de Concert. Composed probably in 1848, the French edition contains title Il lamento, La leggierezza and Un sospiro. The Etude Il lamento is a melody from Schubert whose song " Warrior know " basis. The related words are: " Soon I shall rest well and sleep deeply beloved - good night! "
• 1 Ballad in D flat major. Composed in 1848, Liszt used material for an album sheet Dernière illusion, ecrit pour Marie, which was created in December 1845. The French edition contains the title " Le chant du croisé " ( " The song of the Crusader ").
• 2nd Ballade in B minor. Composed in 1853, the circuit was redesigned in 1854, after the work had already been stung.
• Grandes Etudes de Paganini. Created in 1851, new version of the earlier Etudes d' exécution transcendante d'après Paganini. The first etude of the earlier version composed in early September 1838 in Milan, Etudes 2-6 composed in the spring of 1839 in Rome. The earlier version was published in February 1841 without the dedication of Schonberger, Paris. In the autumn of 1841 appeared an edition Haslinger, Vienna, with a dedication to Clara Schumann. In both editions is added as Ossia to the first Etude machining Schumann.
• 12 Etudes d' exécution transcendante. Originated in 1851 as a new version of composed in September and October 1837 Grandes Etudes. The fourth piece was in the spring of 1841 an added introduction and the title of " Mazeppa ". In the version of 1851, the pieces have titles: Prelude, Molto Vivace, Paysage, Mazeppa, Feux follets, vision, Eroica, Wild Hunt, Ricordanza, Allegro molto agitato, Harmonies du soir and Chasse neige.
• Valse -Impromptu. Originated in 1852 as a new version in 1842 composed and 1843 extended Petite valse favorite.
• Harmonies poétiques et religieuses
• Années de pèlerinage ( 1848-53 )
• Trois Valses Caprices. Composed in 1850. Valse de bravoure. New version of the Grande Valse di bravura op.6.
• Valse mélancolique. New version of the Valse mélancolique of 1840.
• Valse de concert sur ​​deux motifs de Lucia et Parisina de Gaetano Donizetti. New version of " Valse a capriccio sur deux motifs de Lucia et Parisina de Gaetano Donizetti " in the summer of 1841. Concertmaster lecture the previous version by Liszt on October 11, 1841 in Liège ( Liège).

• Alexander Petőfi.
• Michael Mosonyi.

• Première Valse oubliée. Composed on 23 July 1881.
• Deuxième Valse oubliée. Composed on 23 July 1883.
• Troisième Valse oubliée. Composed in 1883.
• Fourth forgotten waltz ( Valse Quatrième oubliée ). Composed in 1883 or 1884.

• Stephan Szechenyi.
• Joseph Eötvös.
• Michael Vörösmarty.
• Ladislaus Teleki.
• Franz Deak.

Numerous other transcriptions, paraphrases and fantasies of instrumental works, songs and operatic melodies by composers such as JS Bach, Beethoven, Schubert, Mendelssohn, Schumann, Berlioz, Meyerbeer, Wagner, and many others.

Organ Works

• Fantasy and Fugue on the Chorale "Ad nos, ad salutarem undam " ( 1850)
• Fantasy and Fugue on the theme B-A -C -H. Composed 1855/56 as Prelude and Fugue on the motive Bach, 1870 revised the final version. Both versions exist Liszt's piano arrangements. First performance of the first version on May 13, 1856 by Alexander Winter Berger on the organ of Merseburg Cathedral.
• Variations on a theme ( ground bass ) from the Cantata "Weeping, Lamenting, Fearing, Hesitating" and " Crucifixus " of the B-minor Mass by JS Bach. Composed in November 1862 as a piano work, in February 1863, the organ version was completed.

In " Searle folder" (directory by Humphrey Searle, 1966), the following works are:

• Searle 664: Do it Peter ( 1867)
• Searle 665 San Francesco. Preludio per il Canticle de Sol di San Francesco ( 1880)
• Searle 666: Excelsior! Preludio to the bells of the Strasbourg Cathedral ( after 1874 )
• Searle 668: Slavimo Slavno Slaveni! (1863 )
• Searle 669: Two church hymns ( after 1868 )
• Searle 670: Rosario ( 1879)
• Searle 671: The house of the Lord we draw, Prelude to 57 (1884 )
• Searle 672: Weimar Folk Song (1865 )
• Searle 673: weeping, wailing Variations (1863 ) edited for organ version of ( Searle 179) "Weeping, Lamenting, Fearing, Hesitating, after JS Bach Prelude for Piano "
• Searle 674: Hungary's God

Orchestral works

• Ce qu'on sur la montagne entend ( by V. Hugo. ) ( "Mountain Symphony" ). Liszt played and sang the Princess Wittgenstein in 1847 "vague " sketches before. Performance of a first version of the end of February 1850 in Weimar; Performance by a second version in 1853 in Weimar. After a further intermediate stages show the version published on January 7, 1857 in Weimar. Published in 1857 as " Symphonic Poem No. 1".
• Tasso, Lamento e Trionfo. First version, a custom built by August Conradi orchestral version of an earlier piano piece, the first piece of an early version of Venezia e Napoli, created in August 1849 and on 28 August 1849 as the overture to Goethe's " Tasso " was performed in Weimar; Performance of an improved version of Liszt on February 19, 1850 in Weimar. Other intermediate versions in collaboration with Joachim Raff performance as published, a version of Liszt, on April 19, 1854 in Weimar. Published in 1856 as " Symphonic Poem No. 2".
• Les Préludes (after Lamartine. ). First versions emerged in 1848 as overture to the 1844/45 and 1848 composed by August Conradi instrumented choirs " Les quatres Elemens " after texts by Joseph Autran, where the themes of the overture are removed. After many intermediate versions first performance on February 23, 1854 in Weimar. Published in 1856 as " Symphonic Poem No. 3". With the addition " by Lamartine " to the title " Les Préludes " reference is made to an ode of Lamartine with the same title. The preface to the composition, there are at least four different versions of the was, however, not written by Lamartine, but in the first version of the Princess Wittgenstein, and also in the later versions of other authors.
• Orpheus. First version composed at the end 1853 or early 1854 in connection with a performance of Gluck's " Orpheus and Euridice" on February 16, 1854 in Weimar; a backdrop to the presentation Liszt composed an introduction and a conclusion music. From the introduction, the symphonic poem Orpheus emerged; first performance as a symphonic poem on November 10, 1854 in Weimar. Published in 1856 as " Symphonic Poem No. 4".
• Prometheus. First version created in 1850 as an overture to Liszt's choirs to Herder's " Prometheus Unbound "; 1855 revised by Liszt. First performance as an overture on 28 August 1850 in Weimar; first performance as a symphonic poem on October 18, 1855 in Braunschweig. Published in 1856 as " Symphonic Poem No. 5".
• Mazeppa ( by Victor Hugo ). Composed in 1851 as an extended orchestral version of the Piano Etude " Mazeppa "; first performance on 16 April 1854 in Weimar. Published in 1856 as " Symphonic Poem No. 6".
• Festklänge. First draft developed in August 1853; first performance on November 9, 1854 in Weimar as an introduction to Schiller's " Homage to the Arts ". Published in 1856 as " Symphonic Poem No. 7".
• Héroïde funebre ( " heroic action "). First version created in 1850 as editor of the first set of 1830 composed " Revolution Symphony". After intermediate versions first performance on 10 November 1857 in Breslau. Published in 1857 as " Symphonic Poem No. 8".
• Hungaria. First version created in 1854 as an extended orchestral version of " heroic march in Hungarian style " of 1840; later added a Presto part. First performed on September 8, 1856 in Budapest. Published in 1857 as " Symphonic Poem No. 9".
• Hamlet. Composed in the spring of 1858 as a prelude to Shakespeare's drama; the suggestive of Ophelia middle movement was added later. First performance on July 2, 1872 in Sondershausen. Published in 1861 as " Symphonic Poem No. 10".
• Battle of the Huns (after Kaulbach ). Composed in 1857 after a painting by Wilhelm von Kaulbach. Rehearsal on 12 October 1857 in Weimar; first performance on 29 December 1857 in Weimar. Published in 1861 as " Symphonic Poem No. 11 ".
• The ideals (after Schiller). Composed in 1857; first performance on 5 September 1857 in Weimar. Published in 1858 as " Symphonic Poem No. 12". The verses of Schiller's poem of the same have been switched from Liszt to allow an optimistic finale.
• Score of the variants. Variants, corrections and reduction proposals for the symphonic poems Ce qu'on sur la montagne entend, Les Préludes, Orpheus, Festklänge, Hungaria and Ideals. Published in 1861.
• A Faust Symphony in three character pictures (after Goethe ), 1 Faust, Gretchen 2, 3 Mephistopheles and Final Chorus " All things transitory is but a parable ." Early sketches of the 1840s, in which some topics, including the " twelve-tone theme " of the first movement, are already represented. From 2 August to October 19, 1854 composition of a first version in three sets without final chorus. Final chorus probably in 1855 designed and completed by the spring of 1857. Until then, the earlier instrumental movements, partly in piano reductions, further developed. On September 5, 1857 on the occasion of the foundation stone of the Weimar Carl -August- monument, Performance of an intermediate version. It was followed by further revisions and modifications until 1861. On August 6, 1861 in Weimar first performance of the version published in the same year. After some minor modifications in the second set " Gretchen ". 1874 second publication of the symphony. In December 1880 supplement of an additional 10 cycles at the end of the second set.
• A Symphony to Dante's Divina Commedia with women's choir ( Dante Symphony ) ( 1855-1856 )
• From the cradle to the grave, Symphonic Poem after a painting by Michael Zichy, composed in 1881 as a piano work, then until 1882 as an orchestral version.

Works for Piano and Orchestra

• Concerto for Piano and Orchestra No. 1 in E flat major (1832 - 1855)
• Concerto for Piano and Orchestra No. 2 in A major (1839 - 1861)
• Fantasy on themes from Beethoven's " Ruins of Athens " (1837, 1848-52, 1855)
• Totentanz - Paraphrase on Dies irae (1852 - 1859)
• Grande Fantaisie symphonique on Themes from Berlioz's " Lelio " (1834 )
• Concerto for Piano and String Orchestra " Malédiction " ( 1833)
• Grand Solo de Concert ( 1850)
• Hexameron Morceau de concert de Grandes Variations sur la marche des bravoure Puritains de Bellini par MM Liszt, Thalberg, Pixis, Henri Herz, Czerny et Chopin ( 1839)
• C. M. brilliant of Weber's Polonaise ( 1848-52 )
• De Profundis Psaume instrumental pour orchester et piano principlal (1834 /35)
• " Great Fantasy ' Wanderer ' (Arrangement for piano and orchestra by Liszt) (1822 )
• Concerto Pathetique in E minor (1885 /86)
• CM von Weber Concert Piece in F minor, Op 79 ( editing of the piano part ) ( 1821)
• Danse macabre fantasy for piano and orchestra, " De Profundis " version (1849 )
• Fantasy on Hungarian Folk Melodies (1852 /55)
• Hungarian Gypsy Airs - written by Sophie Menter (1846 - 1918) among likely employees of Liszt; Orchestrated in 1892 by Peter Tchaikovsky.

Vocal works

• Opera " Don Sanche ou le château d' amour" (1825 )
• "Christ" ( 1855-66 )
• Oratorio " The Legend of St. Elizabeth " ( 1857-62 )
• Mass " Missa Solemnis " (31 August 1856) Inauguration of the Esztergom Basilica
• Fair for 4- part male choir and organ (1848, 2nd version, 1869)
• Missa Choralis for 4 -part mixed choir and organ ( 1865)
• Hungarian Coronation Mass for four solo voices, mixed choir and orchestra (1867 )
• Requiem for 4 soloists, 4 - part male choir, organ and brass (1868 )
• 13, 18, 23, 129, 137 Psalms in various occupations for solo voices, chorus, instruments and Harmonium ( 1855-81 )
• Canticle del Sol di San Francesco d' Assisi (1861 for baritone and organ or harmonium in 1865 for baritone, large orchestra, organ, male choir, revised 1881/83 )
• Legend of St. Cecilia for mezzo - soprano, acc. Choir and Orchestra ( 1874)
• Choruses to Herder's " Prometheus unleashed " (1850, second version 1855) for 6 solo voices, mixed choir and orchestra
• To the artist, for solo voices, male chorus and orchestra (1853 )
• Songs to texts by Goethe, Heine, Hugo and others.
• Via Crucis - Stations of the Cross, for solo voices, mixed choir and organ