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词条 Franz Liszt's treatments of the works of other composers
释义

  1. Kornél Ábrányi

  2. Gregorio Allegri

  3. Alexander Alyabyev

  4. Jacques Arcadelt

  5. Thomas Arne

  6. Daniel Auber

  7. Johann Sebastian Bach

  8. Giuseppe Baini

  9. Ludwig van Beethoven

  10. Vincenzo Bellini

  11. Hector Berlioz

  12. Louise Bertin

  13. János Bihari

  14. Giovanni Bononcini

  15. Alexander Borodin

  16. René de Galard de Béarn, Marquis de Brassac

  17. Pyotr Bulakhov

  18. Hans von Bülow

  19. Frédéric Chopin

  20. August Conradi

  21. Peter Cornelius

  22. Guillaume Louis Cottrau

  23. César Cui

  24. Alexander Dargomyzhsky

  25. Ferdinand David

  26. Léo Delibes

  27. Josef Dessauer

  28. Anton Diabelli

  29. Pierre-Louis Dietsch

  30. Gaetano Donizetti

  31. Giuseppe Donizetti

  32. Felix Draeseke

  33. Béni Egressy and Ferenc Erkel

  34. Ferenc Erkel

  35. Ernest II, Duke of Saxe-Coburg and Gotha

  36. László Fáy

  37. Leó Festetics

  38. John Field

  39. Robert Franz

  40. Wenzel Robert von Gallenberg

  41. Manuel García

  42. Ludmilla Gizycka-Zámoyská

  43. Mikhail Glinka

  44. Adalbert von Goldschmidt

  45. Charles Gounod

  46. Fromental Halévy

  47. George Frideric Handel

  48. Johann von Herbeck

  49. {{Interlanguage link multi|Ferdinand Huber|de}}

  50. Johann Nepomuk Hummel

  51. Ernest Knop

  52. Francis Korbay

  53. Josef Krov

  54. Charles Philippe Lafont

  55. Eduard Lassen

  56. Orlande de Lassus

  57. {{Interlanguage link multi|Otto Lessmann|de|3=Otto Leßmann}}

  58. Prince Louis Ferdinand of Prussia

  59. Sir Alexander Mackenzie

  60. Grand Duchess Maria Pavlovna of Russia

  61. Jules Massenet

  62. Felix Mendelssohn

  63. Saverio Mercadante

  64. Giacomo Meyerbeer

  65. Mihály Mosonyi

  66. Wolfgang Amadeus Mozart

  67. Otto Nicolai

  68. Giovanni Pacini

  69. Niccolò Paganini

  70. Luigi Pantaleoni

  71. Giovanni Battista Perucchini

  72. F. Pezzini

  73. Joachim Raff

  74. Alexander Ritter

  75. Salvator Rosa (attrib.)

  76. Gioachino Rossini

  77. Claude Joseph Rouget de Lisle

  78. Jean-Jacques Rousseau

  79. Anton Rubinstein

  80. Camille Saint-Saëns

  81. Franz Schubert

  82. Clara Schumann

  83. Robert Schumann

  84. Bedřich Smetana

  85. {{Interlanguage link multi|Mariano Soriano|it}}

  86. Louis Spohr

  87. Gaspare Spontini

  88. Imre Széchényi

  89. Carl Tausig

  90. Pyotr Ilyich Tchaikovsky

  91. Pier Adolfo Tirindelli

  92. {{Interlanguage link multi|János Végh|ca|3=Johann Végh von Veréb}}

  93. Giuseppe Verdi

  94. Mikhail Vielgorsky

  95. Richard Wagner

  96. Carl Maria von Weber

  97. {{Interlanguage link multi|August Heinrich von Weyrauch|ca}}

  98. Juliusz Zarębski

  99. Géza Zichy

  100. Index of S. numbers

  101. References

  102. Sources

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, Wagner, and Weber.

The earliest-born composer whose works Liszt dealt with was Orlande de Lassus (born {{Circa|1532}}). Jacques Arcadelt was born earlier ({{Circa|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).

Kornél Ábrányi

Original work Liszt work Forces Date S no. Notes
Tamássy József kedvelt dalai, 16 Hungarian folksongs, voice and piano:
  • Five songs
 5 Ungarische Volksliederpiano1873 S.245
Virág-dal (Chant des Fleurs), piano, Op. 43 (c. 1875) Additions and corrections1880 S.383a
Elegáns csárdások (Csárdás nobles), 6 vols. (1884–86):
  • "Kertem alatt" (Vol. II, No. 1)
  • "Sarkantyú csárdás" (Vol. III, No. 6)[1]
Hungarian Rhapsody No. 19 in D minor1885 S.244/19
piano 4-hands1885? S.623a

Gregorio Allegri

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]piano1862 S.461
  • This piece combines Allegri's Miserere with Mozart's Ave verum corpus, K.618 (1791). (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, however, the Pope later congratulated Mozart 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.
organc. 1862 S.658
piano 4‑handsc. 1865 S.633
orchestra? S.360

Alexander Alyabyev

Original work Liszt work Forces Date S no. Notes
Song "The Nightingale" (1825) Deux Mélodies russes:
  • No. 1, "Le Rossignol, air russe d'Alabieff"
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]

Jacques Arcadelt

Original work Liszt work Forces Date S no. Notes
Three-part madrigal Nous voyons que les hommesAlleluja et Ave Maria d'Arcadeltpiano1862 S.183The Alleluja was based on themes from Liszt's own Cantico del sol di San Francesco d'Assisi, S.4.[1] 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

Thomas Arne

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 orchestra1841 S.694Grove says this was unfinished, and refers to it as "Fantasia on English themes" (piano solo).[2] 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

Daniel Auber

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 Porticipiano 1846 S.386
Two pieces on themes from La muette de Portici S.387 One of the pieces is on the Berceuse[8]
Opera La fiancée (1829):
  • Aria "Montagnard ou berger"
 Grande Fantaisie sur la tyrolienne de l'opéra La Fiancée1829 S.385 Published as Op. 1; dedicated to Frédéric Chopin[3]
"Tyrolean Melody" S.385a

Johann Sebastian Bach

Original work Liszt work Forces Date S no. Notes
Cantata Weinen, Klagen, Sorgen, Zagen, BWV 12 Prelude on the theme of Weinen, Klagen, Sorgen, Zagenpiano1859 S.179 The Variations, S.180/673 are based on the same theme.[10]
Variations on a theme of Bach (aka Variations on Weinen, Klagen, Sorgen, Zagen)piano1862 S.180This set of variations uses the basso continuo of the second movement of the cantata Weinen, Klagen, Sorgen, Zagen, base for the {{lang|la|Crucifixus}} from the Mass in B minor. It is based on the same theme as the Prelude, S.179.
organ1863 S.673
Cantata Ich hatte viel Bekümmernis, BWV 21:
  • Introduction and Fugue
Einleitung und Fuge aus der Motette 'Ich hatte viel Bekümmernis' und Andante 'Aus tiefer Not'organ1860S.660
Cantata Aus tiefer Not schrei ich zu dir, BWV 38:
  • Andante
Great Fantasia and Fugue in G minor, BWV 542 (organ) Fantasia and Fugue in G minorpianopub. 1863 S.463
6 Preludes and Fugues (organ), BWV 543–548 6 Preludes and Fugues1842–50 S.462 The Preludes and Fugues are: 1. A minor, BWV 543; 2. C major, BWV 545; 3. C minor, BWV 546; 4. C major, BWV 547; 5. E minor, BWV 548; and 6. B minor, BWV 544.[4]
Chaconne in D minor, BWV 1004 Transcription1880– Liszt planned this transcription but never executed it.[12]
Sonata No. 4 in C minor, violin and harpsichord, BWV 1017
  • III. Adagio
 Adagio vom Bachorgan1861–63 S.661 Liszt arranged only the final 4 bars, the rest being the work of Alexander Wilhelm Gottschalg (1827–1908).[2]

Giuseppe Baini

Original work Liszt work Forces Date S no. Notes
Chorus "O Roma nobilis"Arrangementmixed chorus and orchestrac. 1879 S.54[1]
organ S.669c
piano S.506b

Ludwig van Beethoven

  • Symphony No. 9 "Choral", Op. 125 (1824)
Original work Liszt work Forces Date S no. Notes
Song "Adelaide", Op. 46 (1795)Transcriptionpiano1839 S.466
Septet in E-flat, Op. 20 (1800)1841 S.465Dedicated to Grand Duchess Maria Pavlovna of Russia[15]
piano 4‑hands S.634
Piano Concerto No. 3 in C minor, Op. 37 (1800) Arrangement2 pianos1878–79 S.657a/1 Includes a new cadenza for 1st movement, S.389a.[1]
6 Gellert Lieder, Op. 48 (1802) Sechs geistliche Liederpiano1840 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)".[5]
Piano Concerto No. 4 in G major, Op. 58 (1806) Arrangement2 pianos1878–79 S.657a/2
Coriolan Overture, Op. 62 (1807) Transcriptionpiano? S.739 Lost[6]
6 Songs, Op. 75 (1809)"Beethoven's Lieder von Goethe":
  1. "Mignon", Kennst du das Land, Op. 75/1
  2. "Mit einem gemalten Band", Op. 83/3
  3. "Freudvoll und leidvoll", Op. 84/4
  4. "Mephistos Flohlied", Es war einmal ein König, Op. 75/3
  5. "Wonne der Wehmut", Op. 83/1
  6. "Die Trommel gerühret", Op. 84/1
1849S.468Liszt combined parts of three disparate Beethoven opuses into his transcription, the common thread being that all the words were by Goethe:
  • from 6 Songs, Op. 75: No. 1 ("Mignon") was S.468/1; No. 3 ("Mephistos Flohlied") was S.468/4
  • from 3 Songs, Op. 83: No. 1 ("Wonne der Wehmut") became S.468/5; No. 3 ("Mit einem gemalten Band") was S.468/2
  • from the Egmont incidental music, Op. 84: No. 1 (Lied "Die Trommel gerühret") was S.468/6; and No. 4 (Lied "Freudvoll und leidvoll") became S.468/3.[7]
3 Songs, Op. 83 (1810)
Egmont, incidental music, Op. 84 (1810)
Overture? S.740 Lost[6]
Piano Concerto No. 5 in E-flat, "Emperor", Op. 73 (1811) Arrangement2 pianos1878–79 S.657a/3
The Ruins of Athens, incidental music, Op. 113 (1811) Capriccio alla turca sur des motifs de Beethoven (Ruines d'Athènes)piano1846 S.388 Uses same theme as the Fantasia, S.389
Fantasia on (themes from) 'The Ruins of Athens' piano and orchestra1848–52 S.122Uses same theme as the Capriccio, S.388; FP of orch. version Budapest, 1 June 1853, Hans von Bülow (piano), Ferenc Erkel (conductor);[21] same concert as the FP of the Hungarian Fantasy
2 pianosafter 1852 S.649
pianopub. 1865 S.389
Song cycle An die ferne Geliebte, Op. 98 (1816) Transcription1849 S.469
9 Symphonies (1800–24) Transcription1837–64 S.464Symphonies 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.[15] In the meantime, Liszt completed a transcription of Symphony No. 9 for two pianos in 1851.[2]
Transcription2 pianos1851 S.657
String quartets (1800–26) Projected transcriptionpiano1863– Liszt planned to transcribe the quartets for piano but never executed the plan.[12]

Vincenzo Bellini

Original work Liszt work Forces Date S no. Notes
Opera La sonnambula (1831)Fantaisie sur des motifs favoris de l'opéra La Sonnambulapiano1839 S.393
piano 4‑handsc. 1852 S.627
Opera Norma (1831)Reminiscences de Normapiano1841 S.394
2 pianosafter 1841 S.655
Opera I puritani (1835) Reminiscences des Puritainspiano1836 S.390 Dedicated to Princess Belgiojoso. The latter section was re-used in the Introduction et Polonaise (S.391).[3]
I Puritani: Introduction et Polonaise1840 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 Puritainspiano1837 S.392Includes 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.[8]
2 pianosafter 1837 S.654

Hector Berlioz

Original work Liszt work Forces Date S no. Notes
Overture Les francs-juges, Op. 3 (1826) Ouverture des Francs-Jugespiano1833 S.471
Overture Le carnaval romain, Op. 9 (1843) Transcription? S.741 This was part of Liszt's performing repertoire, but is now lost[6]
Symphonie fantastique, Op. 14 (1830) Episode de la vie d'un artiste. Grande Symphonie fantastique. Partition de Pianoc. 1833 S.470 In c. 1864–65 Liszt made a new transcription of the 4th movement, "March au supplice".[5]
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’ Léliopiano and orchestra1834 S.120 The themes are "Chant du pêcheur" and "Chant des brigands"; orchestration probably not by Liszt; FP Paris, 24 November 1834, Liszt (piano), Berlioz (conductor)[9]
Overture Le roi Lear, Op. 4 (1831) Ouverture du Roi Learpiano1836 S.474
Harold en Italie, Op. 16 (1834) Transcriptionviola and piano S.472
Marche des Pèlerinspiano S.473
Opera Benvenuto Cellini, Op. 23 (1838)Bénédiction et serment, deux motifs de Benvenuto Cellini1852 S.396
piano 4‑hands1853 S.628
La damnation de Faust, Op. 24 (1846) Danse des Sylphespianoc. 1846 S.475

Louise Bertin

  • No. 10, "D'ici vous pourrez voir, sans être vu"
  • No. 11, "Quoi! lui"
  • No. 13, Quasimodo's aria "Mon Dieu! j'aime"
  • No. 13, Quasimodo's aria "Mon Dieu! j'aime"
Original work Liszt work Forces Date S no. Notes
Opera La Esmeralda (1836) Transcription of orchestral scorepiano1837 S.476
3 morceaux detachés d‘EsmeraldaS.477a
Air chanté par Massol S.477 Massol was the baritone Jean-Étienne-Auguste Massol, who created the role of Quasimodo.

János Bihari

Original work Liszt work Forces Date S no. Notes
Lassú magyar, Hungarian slow dance (c.1820) "Zum Andenken", 2 movements of Hungarian characterpiano 1828 S.241/2 Bihari's dance was used in the second movement; the first was based on music by László Fáy.[1]

Giovanni Bononcini

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.[10]

Alexander Borodin

Original work Liszt work Forces Date S no. Notes
Paraphrases (piano; 1879):
  • No. 2, Polka in C major
 Prélude à la Polka d'Alexandre Porfiryevitch Borodinepiano 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").[33]

René de Galard de Béarn, Marquis de Brassac

Original work Liszt work Forces Date S no. Notes
"Pastorale" Chanson du Béarnpiano 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]

Pyotr Bulakhov

Original work Liszt work Forces Date S no. Notes
"Bohemian Song" Deux Mélodies Russes:
  • No. 2, "Chanson bohémienne"
piano1842–43 S.250/2 No. 1 was "Le Rossignol, air russe d'Alabieff", after "The Nightingale" by Alexander Alyabyev.
Song "You Will Not Believe" Russischer Galop1843 S.478

Hans von Bülow

Original work Liszt work Forces Date S no. Notes
Mazurka-Fantasie, Op. 13 (piano; 1860) Orchestrationorchestra 1865 S.351
Wenn sie euch grüsst mit freundlicher Gebärde ("Dante's Sonett"), Op. 22 (1865) Transcription, as Tanto gentile e tanto onestapiano 1874 S.479

Frédéric Chopin

  • No. 2, "Wiosna" ("Spring")
  • No. 4, "Hulanka" ("Merrymaking")
  • No. 12, "Moja pieszczotka" ("My Joys")
  • No. 14, "Pierścień" ("The Ring")
  • No. 15, "Narzeczony" ("The Bridegroom")
Original work Liszt work Forces Date S no. Notes
Mazurka in C-sharp minor, Op. 6/2 (piano; 1830)[11] Duo (Sonata) sur des thèmes polonaisviolin and piano1832–35 S.127
24 Preludes, Op. 28 (piano; pub. 1839):
  • No. 4 in E minor
  • No. 9 in E major
 Transcriptionorgan1862–63 S.662
Piano Sonata No. 2 in B-flat minor, Op. 35:
  • III. Marche funèbre
 Transcriptionorgan, cello and piano? S.761 Lost[6]
Fantaisie in F minor, piano, Op. 49 Transcriptionpiano and orchestra–– This was planned but never executed.[12]
17 Polish songs, Op.posth. 74 (1827–47):
  • No. 1, "Życzenie" ("The Maiden's Wish"
 Glanes de Woronince: II. "Mélodies polonaises"piano1847–48 S.249/2The 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 polonais1847–60S.480

August Conradi

Original work Liszt work Forces Date S no. Notes
2 Zigenuerpolkas, Op. 5 (orchestra; 1843)
  • No. 2 in E minor
 Le Célèbre Zigeunerpolkapiano 1848 S.481 Conradi was Liszt's copyist at Weimar for a number of years, and a minor composer in his own right.

Peter Cornelius

Original work Liszt work Forces Date S no. Notes
2nd overture to opera Der Barbier von Bagdad, Completionorchestra 1877 S.352 Completed by Liszt from Cornelius's sketches

Guillaume Louis Cottrau

Original work Liszt work Forces Date S no. Notes
Tarantella Venezia e Napoli (1st version)
  • No. 4, Tarantelles napolitaines
piano 1840 S.159The Tarantella is not otherwise identified. S.162 is a revision of S.159.[1]
Années de pèlerinage, Deuxième Année: Italie. Supplement: Venezia e Napoli
  • No. 3, Tarantella da Guillaume Louis Cottrau
 1859 S.162

César Cui

Original work Liszt work Forces Date S no. Notes
Tarantelle, Op. 12 (orchestra; 1858) Transcriptionpiano 1885 S.482

Alexander Dargomyzhsky

Original work Liszt work Forces Date S no. Notes
Tarantella slave (piano 4-hands, 1864–65)[13] Tarantelle, transcrite et amplifiée pour le piano à deux mainspiano 1879 S.483

Ferdinand David

  • No. 19 in A major ("Ungarisch")
  • No. 22 in B-flat minor ("In russischer Weise")
Original work Liszt work Forces Date S no. Notes
Bunte Reihe, 24 pieces in all the major and minor keys,[40] Op. 30, violin and piano (c.1840; pub 1851)[14] Transcriptionpiano1850 S.484
Fantasy[15]? S.484/19bis
Souvenir de Russie1842 S.483bis This publication contained no attribution to Ferdinand David as the source of the material.[16]

Léo Delibes

Original work Liszt work Forces Date S no. Notes
Opera Jean de Nivelle (1880):
  • Ballade "Tant que le jour dure"
 La mandragorepiano 1881 S.698

Josef Dessauer

Original work Liszt work Forces Date S no. Notes
3 Lieder: "Lockung", "Zwei Wege", "Spanisches Lied" (by 1845) Liederpiano 1847 S.485

Anton Diabelli

Original work Liszt work Forces Date S no. Notes
Waltz Variation on a Waltz by Diabellipiano 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.

Pierre-Louis Dietsch

Original work Liszt work Forces Date S no. Notes
Ave MariaAlleluja et Ave Maria d'Arcadeltpiano1862 S.183The Alleluja was based on themes from Liszt's own Cantico del sol di San Francesco d'Assisi, S.4.[1] 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.[13]
organ S.659

Gaetano Donizetti

  • Act IV
Original work Liszt work Forces Date S no. Notes
Opera Lucrezia Borgia (1833) Reminiscences de Lucrezia Borgiapiano1840 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.[8]
Opera Lucia di Lammermoor (1835) Reminiscences de Lucia di Lammermoor1835–36 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[17]
Lucia di LammermoorValse à capriccio sur deux motifs de Lucia et Parisina1842S.401Combines 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).[13]
Opera Parisina (1833)
Nuits d'été à Pausilippe, 12 ariettas and nocturnes (voices and chamber ensemble; 1836):
  • No. 1, "Barcajuolo"
  • No. 9, "L'Alito di Bice"
  • No. 4, "La Torre di Biasone"
 Nuits d'été à Pausilippe1838 S.399[8][18]
Opera La favorite (1840):
  • Duettino (Act IV)
 Spirto gentil1847 S.400a Possibly same as S.742.
Opera Dom Sébastien (1843):
  • Funeral march
 Marche funèbre de Dom Sébastien1844 S.402
Paraphrase? S.744 Lost; this was based on Theodor Kullak's transcription (paraphrase), Op. 31,[19] which was itself dedicated to Liszt.[20]
"Duettino" Transcription? S.742 Lost.[6] Possibly same as S.400a.

Giuseppe Donizetti

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-Khanpiano 1847 S.403 Giuseppe was the elder brother of the opera composer Gaetano Donizetti. A simplified version of this paraphrase was also published.[8]

Felix Draeseke

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)[13] Reduction of Part Ipiano 1870 S.485a

Béni Egressy and Ferenc Erkel

Original work Liszt work Forces Date S no. Notes
Patriotic songs, "Szózat" (Egressy) and "Himnusz" (Erkel)"Szózat und Ungarischer Hymnus"orchestra1870‑73 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).[21]
piano S.486
piano 4‑hands S.628a

Ferenc Erkel

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 Marchpiano 1847 S.405 Liszt was the godfather of Erkel's son, who was born in the autumn of 1856 but died in 1863.[22]

Ernest II, Duke of Saxe-Coburg and Gotha

Original work Liszt work Forces Date S no. Notes
Song "Die Gräberinsel" (1842)[13] Transcriptionpiano 1842 S.485bErnst 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.[9]orchestra 1857 S.116
piano1859 S.522
piano 4‑hands S.607

László Fáy

Original work Liszt work Forces Date S no. Notes
Kinizsi notája, Hungarian dance (1822) "Zum Andenken", 2 movements of Hungarian characterpiano 1828 S.241/1 Fáy's dance was used in the first movement; the second was based on music by János Bihari.[13]

Leó Festetics

Original work Liszt work Forces Date S no. Notes
Song "Spanisches Ständchen" (by 1844)[13] Transcriptionpiano 1846 S.487
Les noces du Pâtre, mélodies hongroises, piano (1858) Corrections and alterations to manuscript score[13] 1858 S.405a

John Field

Original work Liszt work Forces Date S no. Notes
12 Nocturnes (piano) Transcriptionpiano 4-hands c. 1866 S.577a

Robert Franz

Original work Liszt work Forces Date S no. Notes
Song "Er ist gekommen in Sturm und Regen", Op. 4/7 (1845) Transcriptionpiano 1848 S.488
12 Lieder from Opp. 2, 3 and 8 12 Lieder von Robert Franz (3 books) 1849 S.489
  • Book I (1–5) is the 5 Schilflieder, Op. 2: "Auf geheimen Waldespfaden", "Drüben geht die Sonne scheiden", "Trübe wird's", "Sonnenuntergang", "Auf dem Teich".
  • Book II (6–8) contains: "Der Schalk", Op. 3/1, "Der Bote", Op. 8/1, and "Meerestille", Op. 8/2.
  • Book III (9–12) contains: "Treibt der Sommer seinen Rosen", Op. 8/5, "Gewitternacht", Op. 8/6, "Das ist ein Brausen und Heulen", Op. 8/4, and "Frühling und Liebe", Op. 3/3.[13][23]

Wenzel Robert von Gallenberg

Original work Liszt work Forces Date S no. Notes
Die Amazonen, ballet (1823)2 Waltzes:
  • No. 2, Waltz aus dem Ballet Die Amazonen
violin and piano1823–25 S.126b/2Count Wenzel Robert von Gallenberg (1783–1839)[13]
piano S.208a/2

Manuel García

Original work Liszt work Forces Date S no. Notes
Opera El poeta calculista (1805):
  • Aria "Yo que soy contrabandista"[13]
 Rondeau fantastique sur un thème espagnolpiano 1836 S.252

Ludmilla Gizycka-Zámoyská

Original work Liszt work Forces Date S no. Notes
Song "A Puszta Keserve" (Lenau)Puszta-Wehmutpiano 1871 S.246Gizycka-Zámoyská was born in 1829.[13]
violin and piano 1880 S.379b

Mikhail Glinka

Original work Liszt work Forces Date S no. Notes
Opera Ruslan and Lyudmila (1842):
  • "Chernomor's March" (Act IV, No. 19)
Tscherkessenmarschpiano1843–75 S.406
piano 4-hands1875 S.629

Adalbert von Goldschmidt

Original work Liszt work Forces Date S no. Notes
Cantata Die sieben Todsünden (1875):
  • Liebesszene und Fortunas Kugel
 Transcriptionpiano 1880 S.490

Charles Gounod

  • Soldiers' Chorus, "Gloire immortelle de nos aieux" (Act IV)
Original work Liszt work Forces Date S no. Notes
Opera Faust (1859):
  • Waltz and duet "O nuit d'amour" (Act II)
 Valse de l'opéra Faustpianoby 1861 S.407
Transcription1864 S.743 Lost[6]
Opera La reine de Saba (1862):
  • Berceuse
 Les Sabéennes. Berceuse de l'opéra La Reine de Sabapub. 1865 S.408
Hymne à Sainte-Cécile (1865 version for violin solo, harps,
timpani, wind instruments and double basses)[13]		 Transcription1866 S.491
Opera Roméo et Juliette (1867) Les Adieux. Reverie sur un motif de l'opéra Roméo et Juliettepub. 1868 S.409

Fromental Halévy

Original work Liszt work Forces Date S no. Notes
Opera La Juive (1835) Reminiscences de La Juivepiano 1835 S.409a
Opera Le guitarréro (1841) Fantaisie sur des thèmes de l'opéra Guitarero 1841 S.743a Lost[13]

George Frideric Handel

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

Johann von Herbeck

Original work Liszt work Forces Date S no. Notes
Tanz-Momente, Op. 14, orchestra (1868) Transcriptionpiano 1869 S.492 A version for piano 4-hands was also published.[24]

{{Interlanguage link multi|Ferdinand Huber|de}}

Original work Liszt work Forces Date S no. Notes
Receuil de Ranz des vaches (1830) Album d'un voyageur: Book III, Paraphrases:
  • No. 10, Improvisata sur le Ranz des vaches (Départ pour les Alpes; Aufzug auf die Alp)
piano1835–36 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:
  • No. 12, Rondeau sur le Ranz des chèvres
 S.156/12Re-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).[13]
3 Morceaux suisses:
  • No. 1, Ranz de chèvres. Rondeau
 1876–77 S.156a/1

Johann Nepomuk Hummel

Original work Liszt work Forces Date S no. Notes
Septet in D minor, Op. 74 (piano, flute, oboe, horn, viola, cello, double bass) Editionpiano, 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.[25]
Transcriptionpiano1848; c.1866 S.493

Ernest Knop

Original work Liszt work Forces Date S no. Notes
Air suisse varié, guitar (1830) Album d'un voyageur: Book III, Paraphrases:
  • No. 11, Nocturne sur le Chant Montagnard
piano 1835–36 S.156/11Re-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).[13]
3 Morceaux suisses:
  • No. 3, Un soir dans les montagnes (Nocturne pastoral)
 1876–77 S.156a/3

Francis Korbay

Original work Liszt work Forces Date S no. Notes
Song "Le matin" (words by Georges Bizet)2 Lieder von Francis Korbayvoice and orchestra1883 S.368/1Korbay 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 organ1883? S.683a

Josef Krov

Original work Liszt work Forces Date S no. Notes
Song "Těšme se blahou nadějć" (c. 1824)Hussitenlied (from the 15th Century)piano1840 S.234This 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.[26][27]
piano 4‑hands1840–41 S.620

Charles Philippe Lafont

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 piano1835–37 S.700h[11]
1849 S.128 Revised version

Eduard Lassen

  • No. 4, "Ich weil' in tiefer Einsamkeit"
Original work Liszt work Forces Date S no. Notes
6 Lieder von Peter Cornelius, Op. 5:
  • No. 3, "Löse, Himmel, meine Seele"
 Transcriptionpiano1861–72 S.494 Liszt wrote 2 versions[13]
Transcription1872 S.495
Incidental music to Hebbel's Die Nibelungen, Op. 47 (1873)Aus der Musik zu Hebbels Nibelungen und Goethes Faust:
  • I. Nibelungen: 1. "Hagen und Kriemhild"; 2. "Bechlarn"
  • II. Faust: 1. "Osterhymne"; 2. "Hoffestlische Marsch und Polonaise"
1878–79S.496
Incidental music to Goethe's Faust, Op. 57 (1876)
Incidental music to Calderón's Über allen Zauber Liebe, Op. 73 (1883):
  • Intermezzo
 Symphonisches Zwischenspielc. 1882 S.497 Calderón's 1635 play is known in Spanish as El mayor encanto, amor, and in English as Love, the Greatest Enchantment.

Orlande de Lassus

Original work Liszt work Forces Date S no. Notes
Regina coeli laetare, motet for unaccompanied voices (1604) Transcriptionorgan 1865 S.663

{{Interlanguage link multi|Otto Lessmann|de|3=Otto Leßmann}}

Original work Liszt work Forces Date S no. Notes
3 Songs from J. Wolff's Tannhäuser, Op. 27 (1881):
  • "Der Lenz ist gekommen"
  • "Trinklied"
  • "Du schaust mich an"
 Transcriptionpiano c.1882 S.498 Otto Lessmann (1844–1918)[13]

Prince Louis Ferdinand of Prussia

Original work Liszt work Forces Date S no. Notes
? Élégie sur des motifs du Prince Louis Ferdinand de Prussepiano 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.

Sir Alexander Mackenzie

Original work Liszt work Forces Date S no. Notes
Opera The Troubador, Op. 33 (1886) Transcriptionpiano 1886- This was planned but Liszt never went past the sketching stage.[12]

Grand Duchess Maria Pavlovna of Russia

Original work Liszt work Forces Date S no. Notes
Song "Es hat geflammt die ganze Nacht" Arrangementvoice and piano 1849–54 S.685
Theme 6 Consolations: No. 4, Quasi adagiopiano 1849–50 S.172/4[28]

Jules Massenet

Original work Liszt work Forces Date S no. Notes
Marche hongroise de Szabady, orchestra, 1879 Revive Szegedin: Marche hongroisepiano 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

Felix Mendelssohn

Original work Liszt work Forces Date S no. Notes
Songs Without Words:
  • Book I, Op. 19b: Nos. 1–3[29]
 Grosses Konzertstück über Mendelssohns Lieder ohne Worte2 pianos1834 S.257 Liszt and a student, Mlle. Vial, started to perform it in Paris on 9 April 1835[30] 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.[31]
6 Songs, Op. 19a (1830–34):
  • 2 songs
Mendelssohn Lieder:
  • "Auf Flügeln des Gesanges", Op. 34/2
  • "Sonntagslied", Op. 34/5
  • "Reiselied", Op. 34/6
  • "Neue Liebe", Op. 19a/4
  • "Frühlingslied", Op. 47/3
  • "Winterlied", Op. 19a/3
  • "Suleika", Op. 34/4
piano1840S.547
6 Songs, Op. 34 (1834–37):
  • 4 songs
6 Songs, Op. 47 (1839):
  • 1 song
6 Songs for male chorus, Op. 50 (1837–40):
  • 2 songs
  • "Wasserfahrt", Op. 50/4
  • "Der Jäger Abschied", Op. 50/2
1848 S.548
A Midsummer Night's Dream, incidental music, Op. 61 (1842) Wedding March and Dance of the Elves1849–50 S.410

Saverio Mercadante

Original work Liszt work Forces Date S no. Notes
Opera Il giuramento (1837) Réminiscences de La Scalapiano 1837‑38 S.458 This work uses three themes from Il giuramento and a fourth theme that is as yet unidentified.[32] The piece also appeared as Fantasia on Italian Operatic Melodies.[33] It was listed in the Searle catalogue as "Piano piece on Italian operatic melodies", the writers of which were listed as "unknown".[34]
Soirées italiennes, 8 ariettas and 4 duos:
  • No. 2, "La primavera: Canzonetta"
  • No. 10, "Il galop"
  • No. 4, "Il pastore svizzero: Tirolese"
  • No. 5, "La serenata del marinaro"
  • No. 11, "Il Brindisi: Rondoletto"
  • No. 8, "La zingarella spagnola: Bolero"
 Soirées italiennes: Six amusements sur des motifs de Mercadante1838 S.411 Dedicated to Archduchess Elizabeth of Austria.[35][89]

Giacomo Meyerbeer

Original work Liszt work Forces Date S no. Notes
Opera Robert le diable (1831)Reminiscences de Robert le Diable. Valse infernalepiano1841 S.413
piano 4-hands1841–43 S.630
Opera Les Huguenots (1836) Grande Fantaisie sur des thèmes de l'opéra Les Huguenotspiano1836 S.412 Dedicated to Marie d'Agoult[36]
Song "Le Moine" ("Die Mönch") (1841) "Le Moine"1841 S.416 Incorporates two other themes by Meyerbeer.[36]
Opera Le prophète (1849) Illustrations du Prophètepiano1849–50 S.414The 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[36]
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) Transcriptionpiano1860 S.549
Opera L'Africaine (1864):
  • Sailors' Prayer "O grand Saint Dominique" (Act III)
  • Indian March (Act IV)
 Illustrations de l'Africaine1865 S.415 The two Illustrations are: 1. Prière des matelots; 2. Marche indienne.

Mihály Mosonyi

Original work Liszt work Forces Date S no. Notes
Opera Szép Ilonka (1861) Fantaisie sur l'opéra hongrois Szép Ilonkapiano 1867 S.417 Dedicated to Mosonyi[36]
Funeral Music for István Széchenyi, piano (1860) Historische ungarische Bildnisse:
  • No. 4, "Ladislaus Teleki / Teleki László"
 1885 S.205 Uses basso ostinato.[13]
Trauervorspiel und Trauermarsch:
  • No. 2, Marcia funebre
 1885 S.206 Uses main theme.[13]

Wolfgang Amadeus Mozart

  • "Der, welcher wandelt diese Straße voll Beschwerden" (Act II)
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 Giovannipiano1842 S.697Performed Berlin 11 January 1843; edited and completed by Ferruccio Busoni[2]
Opera Don Giovanni, K.527 (1787)1842 S.697
Reminiscences de Don Juan1841 S.418Dedicated to King Christian VIII of Denmark[36]
2 pianos after 1841 S.656
Motet Ave verum corpus, K.618 (1791) À la chapelle Sixtine

(organ version: Evocation à la Chapelle Sixtine)[37]		piano1862 S.461This 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.
organc. 1862 S.658
piano 4‑handsc. 1865 S.633
orchestra? S.360
Opera The Magic Flute, K.620 (1791):
  • Overture
 Transcriptionpiano? S.748 This was part of Liszt's performing repertoire but is now lost.[6]
Adagio von Die Zauberflötepiano 4-hands1875–81 S.634a
Requiem in D minor, K.626 (1791):
  • "Confutatis" and "Lacrymosa"
 Transcriptionpianopub. 1865 S.550

Otto Nicolai

Original work Liszt work Forces Date S no. Notes
Ecclesiastical Festival Overture on the
chorale "Ein feste Burg ist unser Gott", Op. 31		 Transcriptionorgan 1852 S.675

Giovanni Pacini

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

Niccolò Paganini

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):
  • revised as Grandes études de Paganini (S.141)
piano1838–51S.140, 141Paganini'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).[101]
Violin Concerto No. 2 in B minor, Op. 7 (1826):
  • III. La campanella[38]
Grande Fantaisie de bravoure sur la Clochette1831–32 S.420
Il carnevale di Venezia, violin and orchestra, Op. 10 (1829) Variations sur le Carnaval de Venise1843 S.700a
Grande Fantaisie sur des thèmes de Paganini (S.700/1):
  • revised as Variations de bravoure sur des thèmes de Paganini (S.700/2)
1845 S.700[13]

Luigi Pantaleoni

Original work Liszt work Forces Date S no. Notes
Barcarole vénitienne, song for solo voice (1840?) Arrangementvoice and piano 1840 S.684 Died 1872. Father of Romilda Pantaleoni.

Giovanni Battista Perucchini

Original work Liszt work Forces Date S no. Notes
Song "La Biondina in Gondoletta" Venezia e Napoli (1st version)
  • No. 3, Andante placido
piano 1840 S.159/3S.162 is a revision of S.159.[13] Dates: 1784–1870.[39]
Années de pèlerinage, Deuxième Année: Italie. Supplement: Venezia e Napoli
  • No. 1, Gondoliera
 1859 S.162/1

F. Pezzini

Original work Liszt work Forces Date S no. Notes
"Una stella amica" Transcriptionpiano 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[13][40] or a mazurka.[41]

Joachim Raff

Original work Liszt work Forces Date S no. Notes
Opera König Alfred (1851):
  • Andante finale and March
Transcriptionpiano1853 S.421Dedicated to Karl Klindworth[42]
piano 4-hands S.631
Tanz-Capricen, Op. 54, 3 pieces for piano (1852):
  • No. 1, Waltz in D{{flat}} major
 New introduction and codapiano 1854 S.551a

Alexander Ritter

Original work Liszt work Forces Date S no. Notes
5 Charakterstücke, Op. 3, violin and organ (1873):
  • No. 1, In der Christmette
 Revised and correctedviolin and organ 1873? S.675a

Salvator Rosa (attrib.)

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.[10]

Gioachino Rossini

Original work Liszt work Forces Date S no. Notes
Opera Otello (1816):
  • Gondolier's song "Nessun maggior dolore" (Act III)
 Années de pèlerinage, Deuxième Année: Italie. Supplement: Venezia e Napoli
  • No. 2, Canzone
piano1859 S.162/2
Operas Armida (1817) and La donna del lago (1819)[38] Impromptu brilliant sur des thèmes de Rossini et Spontini1824 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[6]
Opera Le siège de Corinthe (1826) Introduction des variations sur une marche du Siège de Corinthe1830 S.750; renumbered as 421a Lost[6] Only the Introduction survives; there is no trace of the Variations on a March from Le Siège de Corinthe
Opera William Tell (1829)
  • William Tell Overture
 Transcription1838 S.552
Les Soirées musicales, 8 ariettas and 4 duets (1835) La Serenata e l'Orgia. Grande Fantaisie sur des motifs des Soirées musicales1835‑36 S.422 Nos. 10 and 11; also includes a theme from La promessa (No. 1)[42]
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)[42]
Soirées musicales1837 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):
  • No. 2, "Cujus animam"
Transcriptionorgan/trombone1860s S.679Also used in S.553
tenor/organpub. 1874 S.682
Deux Transcriptions d'après Rossini:
  • No. 1, "Cujus animam"
  • No. 2, "La Charité"
piano1847S.553
3 Choeurs religieux, female chorus and piano (1844):
  • No. 3, "La Charité"

Claude Joseph Rouget de Lisle

Original work Liszt work Forces Date S no. Notes
Song "La Marseillaise" (1792) "La Marseillaise"piano 1872 S.237

Jean-Jacques Rousseau

Original work Liszt work Forces Date S no. Notes
Opera Le devin du village (1752) Transcriptionpiano 1883- This was planned but never executed.[12]

Anton Rubinstein

Original work Liszt work Forces Date S no. Notes
6 Lieder von Heine, Op. 32 (1856):
  • No. 6, "Der Asra"
Transcriptionpiano1883?S.554[13]
12 Lieder des Mirza-Schaffy, Op. 34 (1854):
  • No. 9, "Gelb rollt mir zu Füßen"
1881
Transcription? S.752 Lost[6]
Étude on False Notes (piano; 1867) Revised as Étude sur des notes fausses1880? S.554a

Camille Saint-Saëns

Original work Liszt work Forces Date S no. Notes
Danse macabre, symphonic poem, Op. 40 (1874) Transcriptionpiano 1876 S.555 Dedicated to Sophie Menter.[41]

Franz Schubert

  • No. 1, "Das Wandern"
  • No. 2, "Wohin?"
  • No. 14, "Der Jäger"
  • No. 17, "Die böse Farbe"
  • No. 18, "Trockne Blumen"
  • No. 19, "Der Müller und der Bach"
  • No. 7, "Abschied"
  • No. 13, "Der Doppelgänger"
Original work D no. Op. Liszt work Forces Date S no. Notes
"Gretchen am Spinnrade" (1814)D.118Op. 2 6 Songsvoice and orchestra1860 S.375/2
12 Lieder von Franz Schubertpiano1838, rev. 1876 S.558/8
"Rastlose Liebe" (1815) D.138 Op. 5/1 12 Lieder von Franz Schubert1838 S.558/10
Walzer, Ländler und Ecossaisen, piano D.145 Soirées de Vienne: 9 Valses caprices d'après Schubert1852 S.427/2, 3 Used in Nos. 2 and 3[121]
"Des Mädchens Klage" (2nd version; 1815) D.191 Op. 58/3 No. 2 of Sechs Melodien von Franz Schubert1844 S.563/2
"Meeres Stille" (1815)D.216Op. 3/2 Transcription1837 S.557b 1st version
12 Lieder von Franz Schubert1838 S.558/5
"Der Erlkönig" (1815–21)D.328Op. 1 6 Songsvoice and orchestra1860 S.375/4
Transcriptionpiano1837 S.557b
12 Lieder von Franz Schubert1838, rev. 1876 S.558/4
"Litanei (Auf das Fest Aller Seelen)" (1816) D.343 Transcription: Franz Schuberts geistliche Lieder1840 S.562/1
Originaltänze, pianoD.365Op. 9 Apparitions: III. Fantaisie sur une valse de François Schubert (Molto agitato ed appassionato)[43]1834 S.155/3 Waltz No. 33 in F major;[44] the same waltz appeared in Soirées de Vienne, S.427
Soirées de Vienne: 9 Valses caprices d'après Schubert1852 S.427 Used in Nos. 1–5 and 9[45]
"Die gestirne" (1816) D.444 Transcription: Franz Schuberts geistliche Lieder1840 S.562/3
"Der Wanderer" (1816) D.493 Op. 4/1 12 Lieder von Franz Schubert1838, rev. 1876 S.558/11
"Die Forelle" (1817)D.550 No. 6 of Sechs Melodien von Franz Schubert1844 S.563/6
Transcription (2nd version)1846 S.564
"Himmelsfunken" (1819) D.651 Transcription: Franz Schuberts geistliche Lieder1840 S.562/2
"Frühlingsglaube"D.686Op. 20/2 Transcription1837 S.557c 1st version
12 Lieder von Franz Schubert1838, rev. 1876 S.558/7
"Lob der Tränen" D.711 Op. 13/2 Transcription1838 S.557
Opera Alfonso und Estrella (1822):
  • Act I
 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.[6]
Wiener Damen-Ländler, piano D.734 Soirées de Vienne: 9 Valses caprices d'après Schubert1852 S.427/1 Used in No. 1[45]
"Sei mir gegrüsst!" (1822) D.741 Op. 20/1 12 Lieder von Franz Schubert1838 S.558/1
"Die Rose" (? 1820) D.745 Op. 73 Transcription1835 S.556
Wanderer Fantasy in C, piano (1822)D.760Op. 15piano and orchestraby 1851 S.366FP 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 Schubertpiano1838 S.558/2
"Du bist die Ruh" (1823) D.776 Op. 59/3 12 Lieder von Franz Schubert1838, rev. 1876 S.558/3
Valses sentimentales, piano D.779 Soirées de Vienne: 9 Valses caprices d'après Schubert1852 S.427/6 Used in No. 6[45]
18 Deutsche und Ecossaisen, piano D.783 Soirées de Vienne: 9 Valses caprices d'après Schubert1852 S.427 Used in Nos. 1, 3, 7 and 8[45]
Song cycle Die schöne Müllerin (1823):D.795Op. 25
No. 1 of Müllerlieder1846 S.565/1
No. 5 of Müllerlieder S.565/5
  • No. 7, "Ungeduld"
 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 Lieder1840 S.562/4 Liszt transcribed part of No. 4 Geisterchor as "Hymne"
"Die Gondelfahrer", male chorus and piano (1824) D.809 Op. 28 Transcription1838 S.559
Divertissement à la hongroise, piano duet (1824)D.818Op. 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 Marchesorchestra1859–60 S.363/4
piano 4-handsafter 1860 S.632/4
Six Grand Marches and Trios, piano duet (1824)D.819Op. 40 Schubert's Märsche für das Pianoforte Solopiano1846 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 Marchesorchestra1859–60 S.363/1–2March 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-handsafter 1860 S.632/1–2
"Die Junge Nonne" (1825)D.828Op. 43/1 6 Songsvoice and orchestra1860 S.375/1
12 Lieder von Franz Schubertpiano1838 S.558/6
"Ave Maria" (1825)D.839 Transcription1837 S.557d 1st version
12 Lieder von Franz Schubert1838 S.558/12
"Die Allmacht" (1825) D.852 Op. 79/2 "Die Allmacht"T or S solo, male chorus & orchestra1871 S.376
"Das Zügenglöcklein" (aka "Das Sterbeglöcklein"; 1826) D.871 No. 3 of Sechs Melodien von Franz Schubertpiano1844 S.563/3
"Lied der Mignon" (1826) D.877/2 Op. 62/2 6 Songsvoice and orchestra1860 S.375/3
"Ständchen (Horch! Horch! die Lerch!)" (1826) D.889 12 Lieder von Franz Schubertpiano1838, rev. 1876 S.558/9
Winterreise, song cycle (1827) D.911 Op. 89 Transcription of 12 songs1840 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).[13]
Symphony No. 9 in C major (1826) D.944 Projected transcription–– This was planned but never executed.[12]
Schwanengesang, 14 lieder (1828)D.957 Transcription1838–39 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 Songsvoice and orchestra1860 S.375/6
6 Songs1860 S.375/5
Reitermarsch, No. 1 of 2 Marches caractéristiques, piano duet (? 1826)D.968bOp. 121 Schubert's Märsche für das Pianoforte Solopiano1846 S.426/4[47] D.968b was formerly D.886
Used in 4 Marchesorchestra1859–60 S.363/3[47]
piano 4-handsafter 1860 S.632/3
12 Valses nobles D.969 Soirées de Vienne: 9 Valses caprices d'après Schubertpiano1852 S.427 Used in Nos. 5, 6 and 8[45]

Clara Schumann

Original work Liszt work Forces Date S no. Notes
Gedichte aus Rückerts Liebesfrühling, Op. 12 (1841):
  • No. 3, "Warum willst du and're fragen"
Lieder von Robert und Clara Schumann: Book B (Clara)piano1874S.569/8–10The set of 10 transcriptions also includes 7 songs by Robert Schumann.
6 Lieder, Op. 13 (1842–44):
  • No. 5, "Ich hab' in deinem Auge"
6 Lieder aus Jucunde von Rollet, Op. 23 (1853):
  • No. 10, "Geheimes Flüstern"

Robert Schumann

Original work Liszt work Forces Date S no. Notes
Myrthen, Op. 25 (1840):
  • No. 1, "Widmung"
 "Liebeslied"piano 1848 S.566
Lieder und Gesänge, Vol. I, Op. 27 (1840):
  • No. 2, "Dem roten Röslein gleicht mein Lieb"
 "Rotes Röslein", No. 2 of 2 Lieder von Robert Schumann 1861 S.567/2
6 Gedichte, Op. 36 (1840):
  • No. 4, "An den Sonnenschein"
 No. 1 of 2 Lieder von Robert Schumann 1861 S.567/1
Liederkreis, Op. 39 (1840):
  • No. 12, "Frühlingsnacht"
 Transcription 1872 S.568
Liederalbum für die Jugend, 28 songs, Op. 79 (1849):
  • No. 16, "Weihnachtslied"
  • No. 17, "Die wandelnde Glocke"
  • No. 19, "Frühlings Ankunft"
  • No. 22, "Des Sennen Abschied"
  • No. 23, "Er ist's"
Lieder von Robert und Clara Schumann: Book A (Robert)1874S.569/1–7Nos. 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):
  • No. 3, "Nur wer die Sehnsucht kennt"
  • No. 5, "An die Türen will ich schleichen"
Des Sängers Fluch, 14 songs, Op. 139 (1852):
  • No. 4, "Provenzalisches Minnelied"
 Transcription 1881 S.570

Bedřich Smetana

Original work Liszt work Forces Date S no. Notes
3 Polkas de salon, Op. 7, piano (1848–54):
  • No. 1 in F
 New introduction and codapiano 1885 S.570a

{{Interlanguage link multi|Mariano Soriano|it}}

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.

Louis Spohr

Original work Liszt work Forces Date S no. Notes
Opera Zemire et Azor (1819):
  • Zemire's romance "Rose wie bist du reizend und mild!" (Act I, No. 8)
 "Die Rose", Romanzepiano 1876 S.571

Gaspare Spontini

Original work Liszt work Forces Date S no. Notes
Opera Fernand Cortez (La conquête de Mexique) (1809–32)[38]Impromptu brilliant sur des thèmes de Rossini et Spontinipiano1824S.150Also includes themes from operas by Gioachino Rossini
Opera Olimpie (1819–26)

Imre Széchényi

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[13]

Carl Tausig

Original work Liszt work Forces Date S no. Notes
Valse-Caprice No. 3, piano (1862) Revised with additionspiano 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.[13]

Pyotr Ilyich Tchaikovsky

Original work Liszt work Forces Date S no. Notes
Opera Eugene Onegin, Op. 24 (1879):
  • Polonaise from Act III
 Transcriptionpiano 1880 S.429 Dedicated to Karl Klindworth[42]

Pier Adolfo Tirindelli

Original work Liszt work Forces Date S no. Notes
Mazurka No. 2 Variationspiano 1880 S.754 Probably not by Liszt.[6]

{{Interlanguage link multi|János Végh|ca|3=Johann Végh von Veréb}}

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]

Giuseppe Verdi

Original work Liszt work Forces Date S no. Notes
Opera I Lombardi (1843) Salve Maria de Jérusalempiano1848 S.431
Opera Ernani (1844) Concert paraphrase on Ernani1847 S.431aThese are different works, despite the similarity of the names. S.431a was formerly numbered S.457.[54]
Ernani. Paraphrase de concertby 1849 S.432
Opera Rigoletto (1851) Rigoletto. Paraphrase de concert1859 S.434
Opera Il trovatore (1853) Miserere de Trovatore1859 S.433
Opera Simon Boccanegra (1857) Réminiscences de Boccanegra1882 S.438
Opera Don Carlos (1867) Coro di festa e marcia funebre1867–68 S.435
Opera Aida (1871) Danza sacra e duetto final1871–72 S.436 Dedicated to Toni Raab[55]
Requiem (1874):
  • Agnus Dei
Agnus Dei de la Messe de Requiempiano1877 S.437
organ or harmonium1877–83 S.675c

Mikhail Vielgorsky

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.[13]
Romance "I Love" (Люблю я) Transcription: 2nd version titled Autrefois 1843 S.577

Note: Vielgorski is also seen as Count Michael Wielhorski.[13]

Richard Wagner

Original work Liszt work Forces Date S no. Notes
Opera Rienzi (1840) Phantasiestück über Motive aus Rienzi ("Santo spirito cavaliere")piano1859 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.[152]
Opera The Flying Dutchman (1843) Spinning Chorus1860 S.440
Balladpub. 1873 S.441
Opera Tannhäuser (1845) Overtüre zu Tannhäuser: Konzertparaphrase1848 S.442
"O du mein holder Abendstern"1849 S.444
cello and piano1852 S.380
Entry of the Guestspiano1852 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: Paraphraseorgan1860 S.676This 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]
pianoc.1861 S.443
Opera Lohengrin (1850) Elsa's Bridal Procession1852 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):
  • Isolde's final aria, "Mild und leise"
 Isoldens Liebestod1867 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 Nibelungenc.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 Gral1882 S.450

Carl Maria von Weber

Original work Liszt work Forces Date S no. Notes
Leier und Schwert, six 4-part men's choruses, Op. 42, J.168–173 (1814):
  • No. 2, Lutzows wilde Jagd, J.168
  • No. 3, Gebet vor der Schlacht, J.173
  • No. 6, Schwertlied, J.169
 Leier und Schwert – Heroïdepiano1846–47 S.452 An Introduction was followed by Schwertlied, Gebet vor der Schlacht and Lutzows wilde Jagd.[57]
Jubelouvertüre, Op. 59, J.245 (1818) Transcription1846 S.576
Polacca brillante in E major "L'hilarité", piano, Op. 72, J.268 (1819)Polonaise brillantepiano and orchestrac.1851 S.367Dedicated 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) Overture1846 S.575
Freischütz Fantasy1840‑41 S.451
Konzertstück in F minor, piano and orchestra, Op. 79, J.282 (1821)Transcription1868–70 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):
  • "Einsam bin ich, nicht alleine"
 Transcriptionpiano1848 S.453
Partsong Schlummerlied, 4 male voices, Op. 68/4, J.285 (1822) "Schlummerlied mit Arabesken"1848 S.454
Opera Oberon, J.306 (1826) Overture1843 S.574

{{Interlanguage link multi|August Heinrich von Weyrauch|ca}}

Original work Liszt work Forces Date S no. Notes
Song "Nach Osten!" (1824) No. 1 of Sechs Melodien von Franz Schubertpiano 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]

Juliusz Zarębski

Original work Liszt work Forces Date S no. Notes
Danses galiciennes, piano 4-hands (1880) Orchestrationorchestra 1881 S.364 Zarębski was a pupil of Liszt.

Géza Zichy

Original work Liszt work Forces Date S no. Notes
Valse d'Adèle, piano left‑hand Valse d'Adèle: Transcription brillante à deux mainspiano 2-handspub. 1877 S.456Count 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

{{main|List of compositions by Franz Liszt}}{{div col|colwidth=22em}}
  • 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: 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 Battista Bononcini, Salvator Rosa (misattrib.)
  • 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: 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, Carl 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
{{div col end}}

References

1. ^1 Grove, p. 281
2. ^1 Grove, p. 311
3. ^1 2 Grove, p. 294
4. ^IMSLP: Preludes and Fugues by J.S. Bach, S.462 (Liszt, Franz)
5. ^1 Grove, p. 300
6. ^1 2 3 4 5 6 7 8 9 10 11 Grove, p. 314
7. ^Hyperion Records: Beethovens Lieder (Sechs Lieder von Goethe), S468
8. ^1 2 3 Grove, p. 295
9. ^1 2 Grove, p. 275
10. ^1 Naxos Direct {{webarchive |url=https://web.archive.org/web/20130928153711/http://www.naxosdirect.com/title/8.550549 |date=September 28, 2013 }}
11. ^1 Grove, p. 276
12. ^1 2 3 4 5 Grove, p. 315
13. ^1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 IMSLP: Versions of Works by Others (Liszt, Franz)
14. ^IMSLP: Bunte Reihe, Op.30 (David, Ferdinand)
15. ^1 Hyperion Records: Franz Liszt, The complete music for solo piano, Vol. 16 – Bunte Reihe
16. ^Grove, p. 301
17. ^Grove, p. 295
18. ^The LiederNet Archive: Donizetti, song cycle Nuits d'Été à Pausilippe
19. ^[https://books.google.com/books?id=5eaYF1v2S5cC&pg=PA70&lpg=PA70&dq=kullak+dom+sebastien&source=bl&ots=9orf8fQ6yU&sig=yE3bGFNf3lX2vqmpc3u3z6M7yu8&hl=en&sa=X&ei=EdQNUMyCBoqpiAfqzICoAw&ved=0CEcQ6AEwAg#v=onepage&q=kullak%20dom%20sebastien&f=false Michael Saffle, Liszt in Germany, 1840–1845]
20. ^World Cat
21. ^Grove, p. 292
22. ^[https://books.google.com/books?id=oYMfJw2kyscC&pg=PA194&lpg=PA194&dq=janos+vegh+liszt&source=bl&ots=elZyEDHILi&sig=dovWA_DW1MMdD7F21GDywLdVN5g&hl=en&sa=X&ei=P68EUIOWHrG6iAfv1O3UCA&sqi=2&ved=0CEUQ6AEwAA#v=onepage&q=janos%20vegh%20liszt&f=false Mária P. Eckhardt, Franz Liszt's Music Manuscripts in the National Széchényi Library, Budapest, p. 196]
23. ^Grove, pp. 301–02
24. ^Grove, p. 302
25. ^Septet No.1, Op.74 (Hummel, Johann Nepomuk)
26. ^Grove, p. 283, footnote
27. ^Grove, Vol. IV, pp. 858–59, KROV, Josef Theodor
28. ^1 Grove, p. 280
29. ^Liszt Society Newsletter No. 70, June 1999{{dead link|date=January 2017 |bot=InternetArchiveBot |fix-attempted=yes }}
30. ^1 Grove, p. 286
31. ^Richard and John Contiguglia, Duo-Pianists
32. ^Hyperion Records
33. ^Cantorion
34. ^1 2 Grove, p. 299
35. ^Hyperion Records: Soirées italiennes – Six amusements sur des motifs de Mercadante, S411
36. ^1 2 3 4 5 Grove, p. 296
37. ^1 2 3 Grove, p. 309
38. ^1 2 3 4 Grove, p. 277
39. ^{{cite web|url=http://musicsack.com/PersonFMTDetail.cfm?PersonPK=100038401|title=The MusicSack|accessdate=13 November 2016}}
40. ^Hyperion Records
41. ^1 Grove, p. 304
42. ^1 2 3 4 Grove, p. 297
43. ^Grove, p. 278
44. ^IMSLP: Apparitions, S. 155 (Liszt, Franz)
45. ^1 2 3 4 5 IMSLP: Soirées de Vienne, S.427 (Liszt, Franz)
46. ^1 Grove, p. 293
47. ^1 2 3 [https://books.google.com/books?id=oYMfJw2kyscC&pg=PA194&lpg=PA194&dq=janos+vegh+liszt&source=bl&ots=elZyEDHILi&sig=dovWA_DW1MMdD7F21GDywLdVN5g&hl=en&sa=X&ei=P68EUIOWHrG6iAfv1O3UCA&sqi=2&ved=0CEUQ6AEwAA#v=onepage&q=janos%20vegh%20liszt&f=false Mária P. Eckhardt, Franz Liszt's Music Manuscripts in the National Széchényi Library, Budapest, p. 146]
48. ^Grove, p. 305
49. ^Hyperion Records
50. ^Hyperion Records
51. ^Music Web International
52. ^[https://books.google.com/books?id=oYMfJw2kyscC&pg=PA194&lpg=PA194&dq=janos+vegh+liszt&source=bl&ots=elZyEDHILi&sig=dovWA_DW1MMdD7F21GDywLdVN5g&hl=en&sa=X&ei=P68EUIOWHrG6iAfv1O3UCA&sqi=2&ved=0CEUQ6AEwAA#v=onepage&q=janos%20vegh%20liszt&f=false Maria P. Eckardt, Franz Liszt's Music Manuscripts in the National Széchényi Library, Budapest, p. 194]
53. ^Hyperion Records
54. ^Grove, p. 299, footnote
55. ^Grove, p. 298
56. ^1 2 3 Charles Suttoni, Introduction, Franz Liszt: Complete Piano Transcriptions from Wagner's Operas, Dover Publications
57. ^Hyperion Records
58. ^Hyperion Records
59. ^Hyperion Records
60. ^The LiederNet Archive

Sources

  • Grove's Dictionary of Music and Musicians, 5th ed, 1954, Vol. V, pp. 264–316, Franz Liszt: Catalogue of Works
{{Franz Liszt}}

4 : Compositions by Franz Liszt|Lists of compositions by composer|Franz Liszt|Arrangements of classical compositions
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