Thursday, November 15
10:33 pm
Original Works
Opera
S.1, Don Sanche, ou le Château de l'Amour (1824-25)
Sacred Choral Works
S.2, The Legend of St. Elisabeth (1857-62)
S.3, Christus (1855-67)
S.4, Cantico del sol di Francesco d'Assisi [first/second version] (1862, 1880-81)
S.5, Die heilige Cäcilia (1874)
S.6, Die Glocken des Strassburger Münsters (Longfellow) (1874)
S.7, Cantantibus organis (1879)
S.8, Missa quattuor vocum ad aequales concinente organo [first/second version] (1848, 1869)
S.9, Missa solennis zur Einweihung der Basilika in Gran (Gran Mass) [first/second version] (1855, 1857-58)
S.10, Missa choralis, organo concinente (1865)
S.11, Hungarian Coronation Mass (1866-67)
S.12, Requiem (1867-68)
S.13, Psalm 13 (Herr, wie lange ?) [first/second/third verion] (1855, 1858, 1862)
S.14, Psalm 18 (Coeli enarrant) (1860)
S.15, Psalm 23 (Mein Gott, der ist mein hirt) [first/second version] (1859, 1862)
S.15a, Psalm 116 (Laudate Dominum) (1869)
S.16, Psalm 129 (De profundis) (1880-83)
S.17, Psalm 137 (By the rivers of Babylon) [first/second version] (1859-62)
S.18, Five choruses with French texts [5 choruses] (1840-49)
S.19, Hymne de l'enfant à son réveil (Lamartine) [first/second version] (1847, 1862)
S.20, Ave Maria I [first/second version] (1846, 1852)
S.21, Pater noster II [first/second version] (1846, 1848)
S.22, Pater noster IV (1850)
S.23, Domine salvum fac regem (1853)
S.24, Te Deum II (1853?)
S.25, Beati pauperes spiritu (Die Seligkeiten) (1853)
S.26, Festgesang zur Eröffnung der zehnten allgemeinen deutschen Lehrerversammlung (1858)
S.27, Te Deum I (1867)
S.28, An den heiligen Franziskus von Paula (b.1860)
S.29, Pater noster I (b.1860)
S.30, Responsorien und Antiphonen [5 sets] (1860)
S.31, Christus ist geboren I [first/second version] (1863?)
S.32, Christus ist geboren II [first/second version] (1863?)
S.33, Slavimo Slavno Slaveni! [first/second version] (1863, 1866)
S.34, Ave maris stella [first/second version] (1865-66, 1868)
S.35, Crux! (Guichon de Grandpont) (1865)
S.36, Dall' alma Roma (1866)
S.37, Mihi autem adhaerere (from Psalm 73) (1868)
S.38, Ave Maria II (1869)
S.39, Inno a Maria Vergine (1869)
S.40, O salutaris hostia I (1869?)
S.41, Pater noster III [first/second version] (1869)
S.42, Tantum ergo [first/second version] (1869)
S.43, O salutaris hostia II (1870?)
S.44, Ave verum corpus (1871)
S.45, Libera me (1871)
S.46, Anima Christi sanctifica me [first/second version] (1874, ca.1874)
S.47, St Christopher. Legend (1881)
S.48, Der Herr bewahret die Seelen seiner Heiligen (1875)
S.49, Weihnachtslied (O heilige Nacht) (a.1876)
S.50, 12 Alte deutsche geistliche Weisen (Chorales) [12 chorals] (ca.1878-79)
S.51, Gott sei uns gnädig und barmherzig (1878)
S.52, Septem Sacramenta. Responsoria com organo vel harmonio concinente (1878)
S.53, Via Crucis (1878-79)
S.54, O Roma nobilis (1879)
S.55, Ossa arida (1879)
S.56, Rosario [4 chorals] (1879)
S.57, In domum Domino imibus (1884?)
S.58, O sacrum convivium (1884?)
S.59, Pro Papa (ca.1880)
S.60, Zur Trauung. Geistliche Vermählungsmusik (Ave Maria III) (1883)
S.61, Nun danket alle Gott (1883)
S.62, Mariengarten (b.1884)
S.63, Qui seminant in lacrimis (1884)
S.64, Pax vobiscum! (1885)
S.65, Qui Mariam absolvisti (1885)
S.66, Salve Regina (1885)
Secular Choral Works
S.67, Beethoven Cantata No.1: Festkantate zur Enthüllung (1845)
S.68, Beethoven Cantata No.2: Zur Säkularfeier Beethovens (1869-70)
S.69, Chöre zu Herders Entfesseltem Prometheus (1850)
S.70, An die Künstler (Schiller) [first/second/third verion] (1853, 1853, 1856)
S.71, Gaudeamus igitur. Humoreske (1869)
S.72, Vierstimmige Männergesänge [4 chorals] (for Mozart-Stiftung) (1841)
S.73, Es war einmal ein König (1845)
S.74, Das deutsche Vaterland (1839)
S.75, Über allen Gipfeln ist Ruh (Goethe) [first/second version] (1842, 1849)
S.76, Das düstre Meer umrauscht mich (1842)
S.77, Die lustige Legion (A. Buchheim) (1846)
S.78, Trinkspruch (1843)
S.79, Titan (Schobert) (1842-47)
S.80, Les Quatre Éléments (Autran) (1845)
S.81, Le Forgeron (de Lamennais) (1845)
S.82, Arbeiterchor (de Lamennais?) (1848)
S.83, Ungaria-Kantate (Hungaria 1848 Cantata) (1848)
S.84, Licht, mehr Licht (1849)
S.85, Chorus of Angels from Goethe's Faust (1849)
S.86, Festchor zur Enthüllung des Herder-Dankmals in Weimar (A. Schöll) (1850)
S.87, Weimars Volkslied (Cornelius) [6 versions] (1857)
S.88, Morgenlied (Hoffmann von Fallersleben) (1859)
S.89, Mit klingendem Spiel (1859-62 ?)
S.90, Für Männergesang [12 chorals] (1842-60)
S.91, Das Lied der Begeisterung. A lelkesedes dala (1871)
S.92, Carl August weilt mit uns. Festgesang zur Enthüllung des Carl-August-Denkmals in Weimar am 3 September 1875 (1875)
S.93, Ungarisches Königslied. Magyar Király-dal (Ábrányi) [6 version] (1883)
S.94, Gruss (1885?)
Orchestral Works
Symphonic Poems
S.95, Poème symphonique no.1, Ce qu'on entend sur la montagne [first/second/third version] (1848-49, 1850, 1854)
S.96, Poème symphonique no.2, Tasso, Lamento e Trionfo [first/second/third version] (1849, 1850-51, 1854)
S.97, Poème symphonique no.3, Les Préludes (1848)
S.98, Poème symphonique no.4, Orpheus (1853-54)
S.99, Poème symphonique no.5, Prometheus [first/second version] (1850, 1855)
S.100, Poème symphonique no.6, Mazeppa [first/second version] (1851, b.1854)
S.101, Poème symphonique no.7, Festklänge [revisions added to 1863 pub] (1853)
S.102, Poème symphonique no.8, Héroïde funèbre [first/second version] (1849-50, 1854)
S.103, Poème symphonique no.9, Hungaria (1854)
S.104, Poème symphonique no.10, Hamlet (1858)
S.105, Poème symphonique no.11, Hunnenschlacht (1856-57)
S.106, Poème symphonique no.12, Die Ideale (1857)
S.107, Poème symphonique no.13, Von der Wiege bis zum Grabe (From the Cradle to the Grave) (1881-82)
Other Orchestral Works
S.108, Eine Faust-Symphonie [first/second version] (1854, 1861)
S.109, Eine Symphonie zu Dante's Divina Commedia (1855-56)
S.110, Deux Épisodes d'apres le Faust de Lenau [2 pieces] (1859-61)
S.111, Zweite Mephisto Waltz (1881)
S.112, Trois Odes Funèbres [3 pieces] (1860-66)
S.113, Salve Polonia (1863)
S.114, Künstlerfestzug zur Schillerfeier (1857)
S.115, Festmarsch zur Goethejubiläumsfeier [first/second version] (1849, 1857)
S.116, Festmarsch nach Motiven von E.H.z.S.-C.-G. (1857)
S.117, Rákóczy March (1865)
S.118, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (am 8 Juni 1867) (1870)
S.119, Ungarischer Sturmmarsch (1875)
Pianoforte and Orchestra
S.120, Grande Fantaisie Symphonique on themes from Berlioz Lélio (1834)
S.121, Malediction (with string orchestra) (1833)
S.122, Fantasie über Beethovens Ruinen von Athen [first/second version] (1837?, 1849)
S.123, Fantasie über ungarische Volksmelodien (1852)
S.124, Piano Concerto No.1 in E flat [first/second version] (1849, 1856)
S.125, Piano Concerto No.2 in A major [first/second version] (1839, 1849)
S.125a, Piano Concerto (No.3) in E flat (1836-39)
S.126, Totentanz. Paraphrase on Dies Irae [Feruccio Busoni's 'De Profundis'/final version] (1849, 1859)
S.126a, Piano Concerto "In the Hungarian Style" [probably by Sophie Menter] (1885)
Pianoforte Solo
Studies
S.136, Études en douze exercices dans tous les tons majeurs et mineurs [first version, 12 pieces] (1826)
S.137, Douze Grandes Études [second version, 12 pieces] (1837)
S.138, Mazeppa [intermediate version of S137/4] (1840)
S.139, Douze Études d'exécution transcendante [final version, 12 pieces] (1851)
S.140, Études d'exécution transcendante d'après Paganini [first version, 6 pieces] (1838-39)
S.141, Grandes Études de Paganini [second version, 6 pieces] (1851)
S.142, Morceau de Salon, Étude de perfectionnement [Ab Irato, first version] (1840)
S.143, Ab Irato, Étude de perfectionnement [second version] (1852)
S.144, Trois Études de concert [3 pieces] (1848?)
S.145, Zwei Konzertetüden [2 pieces] (1862-63)
S.146, Technische Studien [68 studies] (ca.1868-80)
S.146/62, Sprünge mit der Tremolo-Begleitung [No 62 from Technische Studien] (ca.1868)
Various Original Works
S.147, Variation sur une valse de Diabelli (1822)
S.148, Huit Variations (1824?)
S.149, Sept Variations brillantes dur un thème de G. Rossini (1824?)
S.150, Impromptu brillant sur des thèmes de Rossini et Spontini (1824)
S.151, Allegro di bravura (1824)
S.152, Rondo di bravura (1824)
S.152a, Klavierstück (?)
S.153, Scherzo in G minor (1827)
S.153a, Marche funèbre (1827)
S.153b, Grand Solo caractèristique d'apropos une chansonette de Panseron [private collection, score inaccessible] (?)
S.154, Harmonies poétiques et religieuses [Pensée des morts, first version] (1833, 1835)
S.155, Apparitions [3 pieces] (1834)
S.156, Album d'un Voyageur [3 sets; 7, 9, 3 pieces] (1835-38)
S.156a, Trois morceaux suisses [3 pieces] (1835-36)
S.157, Fantaisie romantique sur deux mélodies suisses (1836)
S.157a, Sposalizio (1838-39)
S.157b, Il penseroso [first version] (1839)
S.157c, Canzonetta del Salvator Rosa [first version] (1849)
S.158, Tre Sonetti del Petrarca [3 pieces, first versions of S161/4-6] (1844-45)
S.158a, Paralipomènes à la Divina Commedia [Dante Sonata original 2 movement version] (1844-45)
S.158b, Prologomènes à la Divina Commedia [Dante Sonata second version] (1844-45)
S.158c, Adagio in C major (Dante Sonata albumleaf) (1844-45)
S.159, Venezia e Napoli [first version, 4 pieces] (1840?)
S.160, Années de Pèlerinage. Première Année; Suisse [9 pieces] (1848-55)
S.161, Années de Pèlerinage. Deuxième Année; Italie [7 pieces] (1839-49)
S.162, Venezia e Napoli. Supplément aux Années de Pèlerinage 2de volume [3 pieces] (1860)
S.162a, Den Schutz-Engeln (Angelus! Prière à l'ange gardien) [4 drafts] (1877-82)
S.162b, Den Cypressen der Villa d'Este - Thrénodie II [first draft] (1882)
S.162c, Sunt lacrymae rerum [first version] (1872)
S.162d, Sunt lacrymae rerum [intermediate version] (1877)
S.162e, En mémoire de Maximilian I [Marche funèbre first version] (1867)
S.162f, Postludium - Nachspiel - Sursum corda! [first version] (1877)
S.163, Années de Pèlerinage. Troisième Année [7 pieces] (1867-77)
S.163a, Album-Leaf: Andantino in E flat (1828)
S.163a/1, Album Leaf in F sharp minor (1828)
S.163b, Album-Leaf (Ah vous dirai-je, maman) (1833)
S.163c, Album-Leaf in C minor (Pressburg) (1839)
S.163d, Album-Leaf in E major (Leipzig) (1840)
S.164, Feuille d'album No.1 (1840)
S.164a, Album Leaf in E major (Vienna) (1840)
S.164b, Album Leaf in E flat (Leipzig) (1840)
S.164c, Album-Leaf: Exeter Preludio (1841)
S.164d, Album-Leaf in E major (Detmold) (1840)
S.164e, Album-Leaf: Magyar (1841)
S.164f, Album-Leaf in A minor (Rákóczi-Marsch) (1841)
S.164g, Album-Leaf: Berlin Preludio (1842)
S.165, Feuille d'album (in A flat) (1841)
S.166, Albumblatt in waltz form (1841)
S.166a, Album Leaf in E major (1843)
S.166b, Album-Leaf in A flat (Portugal) (1844)
S.166c, Album-Leaf in A flat (1844)
S.166d, Album-Leaf: Lyon Prélude (1844)
S.166e, Album-Leaf: Prélude omnitonique (1844)
S.166f, Album-Leaf: Braunschweig Preludio (1844)
S.166g, Album-Leaf: Serenade (1840-49)
S.166h, Album-Leaf: Andante religioso (1846)
S.166k, Album Leaf in A major: Friska (ca.1846-49)
S.166m-n, Albumblätter für Prinzessin Marie von Sayn-Wittgenstein (1847)
S.167, Feuille d'album No.2 [Die Zelle in Nonnenwerth, third version] (1843)
S.167a, Ruhig [catalogue error; see Strauss/Tausig introduction and coda]
S.167b, Miniatur Lieder [score not accessible at present] (?)
S.167c, Album-Leaf (from the Agnus Dei of the Missa Solennis, S9) (1860-69)
S.167d, Album-Leaf (from the symphonic poem Orpheus, S98) (1860)
S.167e, Album-Leaf (from the symphonic poem Die Ideale, S106) (1861)
S.167f, Album Leaf in G major (ca.1860)
S.168, Elégie sur des motifs du Prince Louis Ferdinand de Prusse [first/second version] (1842, 1851)
S.168a, Andante amoroso (1847?)
S.169, Romance (O pourquoi donc) (1848)
S.170, Ballade No.1 in D flat (Le chant du croisé) (1845-48)
S.170a, Ballade No.2 [first draft] (1853)
S.171, Ballade No.2 in B minor (1853)
S.171a, Madrigal (Consolations) [first series, 6 pieces] (1844)
S.171b, Album Leaf or Consolation No.1 (1870-79)
S.171c, Prière de l'enfant à son reveil [first version] (1840)
S.171d, Préludes et Harmonies poétiques et religie (1845)
S.171e, Litanies de Marie [first version] (1846-47)
S.172, Consolations (Six Penseés poétiques) (1849-50)
S.172a, Harmonies poétiques et religieuses [1847 cycle] (1847)
S.172a/3&4, Hymne du matin, Hymne de la nuit [formerly S173a] (1847)
S.173, Harmonies poétiques et religieuses [second version] (1845-52)
S.174, Berceuse [first/second version] (1854, 1862)
S.175, Deux Légendes [2 pieces] (1862-63)
S.175a, Grand solo de concert [Grosses Konzertsolo, first version] (1850)
S.176, Grosses Konzertsolo [second version] (1849-50 ?)
S.177, Scherzo and March (1851)
S.178, Piano Sonata in B minor (1852-53)
S.179, Prelude after a theme from Weinen, Klagen, Sorgen, Zagen by J. S. Bach (1859)
S.180, Variations on a theme from Weinen, Klagen, Sorgen, Zagen by J. S. Bach (1862)
S.181, Sarabande and Chaconne from Handel's opera Almira] (1881)
S.182, Ave Maria - Die Glocken von Rom (1862)
S.183, Alleluia et Ave Maria [2 pieces] (1862)
S.184, Urbi et orbi. Bénédiction papale (1864)
S.185, Vexilla regis prodeunt (1864)
S.185a, Weihnachtsbaum [first version, 12 pieces] (1876)
S.186, Weihnachtsbaum [second version, 12 pieces] (1875-76)
S.187, Sancta Dorothea (1877)
S.187a, Resignazione [first/second version] (1877)
S.188, In festo transfigurationis Domini nostri Jesu Christi (1880)
S.189, Klavierstück No.1 (1866)
S.189a, Klavierstück No.2 (1845)
S.189b, Klavierstück (?)
S.190, Un portrait en musique de la Marquise de Blocqueville (1868)
S.191, Impromptu (1872)
S.192, Fünf Klavierstücke (for Baroness von Meyendorff) [5 pieces] (1865-79)
S.193, Klavierstuck (in F sharp major) (a.1860)
S.194, Mosonyis Grabgeleit (Mosonyi gyázmenete) (1870)
S.195, Dem Andenken Petofis (Petofi Szellemenek) (1877)
S.195a, Schlummerlied im Grabe [Elegie No 1, first version] (1874)
S.196, Élégie No.1 (1874)
S.196a, Entwurf der Ramann-Elegie [Elegie No 2, first draft] (1877)
S.197, Élégie No.2 (1877)
S.197a, Toccata (1879-81)
S.197b, National Hymne - Kaiser Wilhelm! (1876)
S.198, Wiegenlied (Chant du herceau) (1880)
S.199, Nuages gris (Trübe Wolken) (1881)
S.199a, La lugubre gondola I (Der Trauergondol) [Vienna draft] (1882)
S.200, La lugubre gondola [2 pieces] (1882, 1885)
S.201, R. W. - Venezia (1883)
S.202, Am Grabe Richard Wagners (1883)
S.203, Schlaflos, Frage und Antwort (Nocturne after a poem by Toni Raab) (1883)
S.204, Receuillement (Bellini in Memoriam) (1877)
S.205, Historische ungarische Bildnisse (Magyar arcképek) [original version, 7 pieces] (1885)
S.205a, Historische ungarische Bildnisse [revised order and conclusion, 7 pieces] (1885)
S.206, Trauervorspiel und Trauermarsch (1885)
S.207, En Rêve. Nocturne (1885)
S.207a, Prélude à la Polka de Borodine (and Borodin's Polka) (1880)
S.208, Unstern: Sinistre, Disastro (1880-86)
Works in Dance Form
S.208a, Waltz (in A major) (b.1825)
S.209, Grande valse di bravura [first version of S214/1] (1835)
S.209a, Waltz (in E flat) (1840)
S.210, Valse mélancolique [first version of S214/2] (1839)
S.210a, Valse mélancolique [intermediate version] (1840)
S.210b, Valse (in A major) (1830-39)
S.211, Ländler (in A flat major) (1843)
S.211a, Ländler (in D major) (1879)
S.212, Petite Valse favorite [first/second version] (1842, 1843)
S.212b, Mariotte. Valse pour Marie (1840)
S.213, Valse-Impromptu (1850?)
S.213a, Valse-Impromptu [with later additions] (1880)
S.214, Trois Caprice-Valses [3 pieces] [second versions of S209, S210, S401] (1850?)
S.214a, Carousel de Madame Pelet-Narbone (ca.1875-81)
S.215, Valses oubliées [4 pieces] (1881-84)
S.215a, Dritter Mephisto-Walzer [first draft] (1883)
S.216, Dritter Mephisto-Walzer (1883)
S.216a, Bagatelle sans tonalité (1885)
S.216b, Vierter Mephisto-Walzer [first version] (1885)
S.217, Mephisto Polka [first/second version] (1883)
S.218, Galop (in A minor) (1841?)
S.219, Grand galop chromatique [original version] (1838)
S.219bis, Grand galop chromatique [simplified version] (1838)
S.220, Galop de Bal (1840?)
S.221, Mazurka brillante] (1850)
S.221a, Mazurka in F minor [Not by Liszt?] (?)
S.222, [catalogue error; same as S212]
S.223, Deux Polonaises [2 pieces] (1851)
S.224, Csárdás macabre (1881-82)
S.225, Two Csárdás [2 pieces] (1884)
S.226, Festvorspiel (1856)
S.226a, Marche funèbre (1827)
S.227, Goethe Festmarsch [first version] (1849)
S.228, Huldigungsmarsch [first/second version] (1853)
S.229, Vom Fels zum Meer! - Deutscher Siegesmarsch (1853-56)
S.230, Bülow-Marsch (1883)
S.230a, Festpolonaise (1876)
S.231, Heroischer Marsch in ungarischem Stil (1840)
S.232, Ungarischer Sturmmarsch [first version of S524] (1843?)
S.233, Ungarischer Geschwindmarsch (1870)
S.233a, Siegesmarsch. Marche triomphale (Victory March) (?)
S.233b, Marche hongroise (in E flat minor) (1844)
Works on National Themes
Czech
S.234, Hussitenlied (Melody by J.Krov) (1840)
English
S.235, God Save the Queen (1841)
French
S.236, Faribolo Pasteur and Chanson du Béarn [2 pieces] (1844)
S.237, La Marseillaise (1872?)
S.238, La cloche sonne (1850?)
S.239, Vive Henri IV (1870-80 ?)
German
S.240, Gaudeamus igitur. Concert paraphrase [first/second version] (1843, 1853)
Hungarian
S.241, Hungarian Recruiting Songs (Zum Andenken) (By Fáy & Bihari) (1828)
S.241a, Ungarische Romanzero (Hungarian Songbook) [18 pieces] (1853)
S.241b, Magyar tempo (1840)
S.242, Magyar Dalok: Magyar Rapszódiák [21 pieces] (1839-47)
S.242a, Rákóczi-Marsch [first version] (1839-1840)
S.243, Ungarische National-Melodien [3 pieces] (ca.1843)
S.243a, Célèbre mélodie hongroise (a.1866)
S.244, Hungarian Rhapsodies (Rapsodies hongroises) [19 pieces] (1846-86)
S.244a, Rákóczi-Marsch [from orchestral version] (1863)
S.244b, Rákóczi-Marsch [simplified version of S244a] (1871)
S.244c, Rákóczi-Marsch [popular version] (?)
S.245, Fünf ungarische Volkslieder (Abranyi) [5 pieces] (1873)
S.246, Puszta-Wehmut (A Puszta Keserve) (1880-86 ?)
Italian
S.248, Canzone Napolitana [first/second version] (1842)
Polish
S.249, Glanes de Woronince [3 pieces] (1847-48)
S.249a, Mélodie polonaise [short draft] (1871)
S.249b, Dumka (1871)
S.249c, Air cosaque (1871)
Russian
S.250, Deux Mélodies russes. Arabesques [2 pieces] (1842)
S.250a, Le rossignol (Alyabyev) [first version of S250/1] (1842)
S.251, Abschied. Russisches Volkslied (1885)
Spanish
S.252, Rondeau fantastique sur un thème espagnol, El Contrabandista (Garcia) (1836)
S.252a, La Romanesca [first/second version] (ca.1832, b.1852)
S.253, Grosse Konzertfantasie über Spanische Weisen (1853)
S.254, Rhapsodie espagnole (1863?)
S.254x, Rapsodie espagnole [orchestrated by Feruccio Busoni] (?)
Pianoforte Duet
S.256, Variation on the Chopstick theme (1880)
S.256a, Nottorno [Not by Liszt?] (?)
Two Pianofortes
S.257, Grosses Konzertstück über Mendelssohns Lieder ohne Worte (1834)
S.258, Concerto pathétique (b.1856)
Organ
S.259, Fantasy and Fugue on the chorale Ad nos, ad salutarem undam (1850)
S.260, Präludium und Fuge über das Thema BACH [first/second version] (1855, 1870)
S.261, Pio IX. Der Papsthymnus (1863?)
S.261a, Andante religioso (1861?)
S.262, Ora pro nobis. Litanei (1864)
S.263, Resignazione (1877)
S.264, Missa pro organo lectarum celebrationi missarum adjumento inserviens (1879)
S.265, Gebet (1879)
S.266, Requiem für die Orgel (1883)
S.267, Am Grabe Richard Wagners (1883)
S.268, Zwei Vortragsstücke [2 pieces] (1884)
Songs
S.269, Angiolin dal biondo crin (Marchese C. Bocella) [first/second version] (1839, ?)
S.270, Three Petrarch Sonnets [3 songs, first/second version] (1844-45, 1854]
S.271, Il m'aimait tant (Delphine Gay) (1840?)
S.272, Im Rhein, im schönen Strome (Heine) [first/second version] (1840?, 1854)
S.273, Die Lorelie (Heine) [first/second version] (1841, ?)
S.274, Die Zelle im Nonnenwerth [first/second version revised 1862] (b.1841, 1857)
S.275, Mignons Lied (Kennst du das Land) (Goethe) [first/second/third version] (1842, 1854, 1860)
S.276, Comment, disaient-ils (Hugo) [first/second version] (1842, ?)
S.277, Bist du (Prince E. Metschersky) [first/revised version] (1843, ca.1878-79)
S.278, Es war ein König in Thule (Goethe) [first/second version] (1842, ?)
S.279, Der du von dem Himmel bist (Goethe) [first/second/third version] (1842, ?, 1860)
S.280, Freudvoll und liedvoll (Goethe) [first/second/third version] (1844, 1848?, ?)
S.281, Die Vätergruft (1844)
S.282, O quand je dors (Hugo) [first/second version] (1842, ?)
S.283, Enfant, si j'etais roi (Hugo) [first/revised version] (1844?, ?)
S.284, S'il est un charmant gazon (Hugo) [first/revised version] (1844?, ?)
S.285, La tombe et la Rose (Hugo) (1844?)
S.286, Gastibelza, Bolero (Hugo) (1844?)
S.287, Du bist wie eine blume (Heine) (1843?)
S.288, Was liebe sei (C. von Hagn) [first/second/third version] (1843?, ca.1855, 1878-79)
S.289, Vergiftet sind meine lieder (Heine) [first/revised version] (1842, ?)
S.290, Morgens steh ich auf und frage (Heine) [first/revised version] (1843?, ca.1855)
S.291, Die tote Nachtigall (Kaufmann) [first/revised version] (1843?, 1878)
S.292, Songs from Schiller's Wilhelm Tell [3 songs, first/revised version] (1845?, ?)
S.293, Jeanne d'Arc au bûcher (Dumas) [first/revised version] (1845, 1874)
S.294, Es rauschen die Winde [first/second version] (ca.1845, b.1856)
S.295, Wo weilt er? (Rellstab) (1844)
S.296, Ich möchte hingehn (Herwegh) [revised later] (1845)
S.297, Wer nie sein Brot mit Tränen ass (Goethe) [first/revised version] (ca.1845)
S.298, O lieb so lang du lieben kannst (Freiligrath) (1845?)
S.299, Isten veled (Farewell) (Horvath) [first/revised version] (1846-47)
S.300, Le juif errant (Béranger) (1847)
S.301, Kling leise, mein Lied [first/revised version] (1848)
S.301a, Oh pourquoi donc (Mme Pavloff) (1843)
S.301b, En ces lieux. Élégie (E. Monnier) (1844)
S.302, Die Macht der Musik (Duchess Helen of Orleans) (1848-49)
S.303, Weimars Toten. Dithyrambe (Schober) (b.1848)
S.304, Le vieux vagabong (Béranger) (b.1848)
S.305, Schwebe, schwebe, blaues Auge [first/revised version] (1845, ?)
S.306, Über allen Gipfeln ist Ruh [first/revised version] (1847?, ?)
S.306a, Quand tu chantes bercée (Hugo) (1843)
S.307, Hohe Liebe (Uhland) (1850?)
S.308, Gestorben war ich (Seliger tod) (Uhland) (1850?)
S.309, Ein Fichtenbaum steht einsam (Heine) [first/revised version] (ca.1845, 1854)
S.310, Nimm einen Strahl der Sonne (1849)
S.311, Anfangs wollt' ich fast verzagen (Heine) (1849)
S.312, Wie singt die Lerche schön (Hoffmann von Fallersleben) (1856?)
S.313, Weimars Volkslied (Cornelius) (1857)
S.314, Es muss ein wunderbares sein (Redwitz) (1852)
S.315, Ich liebe dich (Rückert) (1857)
S.316, Muttergottes - Sträusslein zum Mai-monate (Müller) [2 songs] (1857)
S.317, Lasst mich ruhen (Hoffmann von Fallersleben) (1858?)
S.318, In liebeslust (Hoffmann von Fallersleben) (1858?)
S.319, Ich Scheide (Hoffmann von Fallersleben) (1860)
S.320, Die drei Zigeuner (Lenau) (1860)
S.321, Die stille Wasserrose (Geibel) (1860?)
S.322, Wieder möcht ich dir begegnen (Cornelius) (1860)
S.323, Jugendglück (Pohl) (1860?)
S.324, Blume und Duft (Hebbel) (1854)
S.325, Die Fischertochter (Count C. Coronini) (1871)
S.326, La Perla (Princess Therese von Hohenlohe) (1872)
S.327, J'ai perdu ma force est ma vie. 'Tristesse' (de Musset) (1872)
S.328, Ihr Glocken von Marling (Emil Kuh) (1874)
S.329, Und sprich (Biegeleben) [revised 1878] (1874)
S.330, Sei Still (Henriette von Schorn) (1877)
S.331, Gebet (Bodenstedt) (1878?)
S.332, Einst (Bodenstedt) (1878?)
S.333, An Edlitam (Bodenstedt) (1878?)
S.334, Der Glückliche (Bodenstedt) (1878?)
S.335, Go not, happy day (Tennyson) (1879)
S.336, Verlassen (G.Michell) (1880)
S.337, Des tages laute stimmen schweigen (F. von Saar) (1880)
S.338, Und wir dachten der Toten (Freiligrath) (1880?)
S.339, Ungarns Gott. A magyarok Istene (Petófi) (1881)
S.340, Ungarisches Königslied. Magyar Király-dal (Ábrányi) (1883)
S.340a, Ne brani menya, moy drug. (Tolstoy) (1886)
Other Choral Works
S.341, Ave Maria IV (1881)
S.342, Le crucifix (Hugo) (1884)
S.343, Sancta Caecilia (1884)
S.344, O meer im Abendstrahl (Meissner) (1880)
S.345, Wartburg-Lieder from Der Braut Willkomm auf Wartburg (Scheffel) [7 chorals] (1872)
Recitations
S.346, Lenore (Bürger) (1858)
S.347, Vor hunder Jahren (F. Halm) (1859)
S.348, Der traurige Mönch (Lenau) (1860)
S.349, Des toten Dichters Liebe (Jókai) (1874)
S.350, Der blinde Sänger (Alexei Tolstoy) (1875)
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10:02 pm
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Franz Liszt (Composer, Arranger)
Born: October 22, 1811 - village of Doborján, near Sopron, Hungary
Died: July 31, 1886 - Bayreuth, Germany
Franz Liszt [Hungarian: Liszt Ferenc] was a Hungarian virtuoso pianist and composer. He studied and played at Vienna and Paris and for most of his early adulthood toured throughout Europe giving concerts. His virtuosity earned him approbations by composers and performers alike throughout Europe. His great generosity with both time and money benefited the lives of many people: victims of disasters, orphans and the many students he taught for free. He also contributed to the Beethoven memorial fund.
His piano compositions include works such as his Piano Sonata in B minor, and two piano concertos, which have entered the standard repertoire. He also made many exuberant piano transcriptions of operas, famous symphonies, Paganini Caprices, and Schubert Lieder. As would be expected from a pianist-composer of Liszt's virtuosity, many of his piano compositions are amongst the most technically challenging in the repertoire.
Biography
Liszt was born in the village of Doborján, near Sopron, Hungary, in what was then the Austrian Empire (Doborján is now Raiding in Austria after the Treaty of Trianon of 1920). His baptism record is in Latin and lists his first name as Franciscus. The Hungarian variant Ferenc is often used, though Liszt never used this himself. His father, Ádám Liszt, was Hungarian and his mother was Austrian-born Anna Liszt, née Lagen.
Liszt displayed incredible talent at a young age, easily sight-reading multiple staves at once. His father, who worked at the court of Count Esterházy, gave him his first music lessons when he was six years old. Local aristocrats noticed his talent and enabled him to travel to Vienna and later to Paris with his family. As a result, Liszt never fully learned Hungarian; his later letters and diaries show that he came to regret this deeply. One letter to his mother begins in faltering Hungarian, and after an apology continues in French (his preferred language).
In Vienna he was educated in piano technique by Carl Czerny. His father had wanted him to be taught by Johann Nepomuk Hummel, but Hummel's fees were too high. Antonio Salieri taught him the technique of composition and fostered the young Liszt's musical taste.
He formed an early friendship with Frédéric Chopin, but later fierce competition turned the men into rivals. He was a lifelong friend of Camille Saint-Saëns, and the latter dedicated his Symphony #3 in C Minor to Liszt.
On April 13, 1823, Liszt gave a concert, and it is often said that the 53-year-old Ludwig van Beethoven gave him a kiss for his marvelous playing. An account of the episode can be found in the separate article Liszt and Beethoven.
Road to Pilgrimage
Liszt left Vienna in 1823 to travel. In Paris, he attended a concert by the virtuoso violinist Paganini and became motivated to become the greatest pianist of his day. He often took to seclusion in his room, and was heard practicing for over 10 hours a day. In 1832 he wrote the Grande Fantaisie de Bravoure sur La Clochette de Paganini ("Great Bravura Fantasy on Paganini's La Campanella"). A shorter piece using the same thematic content was included in the 1838 Etudes d\'Execution Transcendante d'apres Paganini (Etudes for Transcendental Technique after Paganini). Also composed in this period were the 12 Grandes Etudes (Liszt later rewrote these into the 12 Transcendental Etudes in 1851).
He fraternized with such noted composers of his time as Frédéric Chopin, Hector Berlioz, Robert Schumann, and Richard Wagner, the last of whom his daughter later married. He was very widely read in philosophy, art and literature and was on friendly terms with the painter Ingres and the authors Heine, Lamennais, H.C. Andersen, and Baudelaire, who addressed his prose poem "Le thyrse" to Liszt.
From 1835 to 1839 Franz Liszt lived with Marie Catherine Sophie de Flavigny, ex-wife of the Comte d'Agoult. She is better known by her pen name, "Daniel Stern." They had two daughters, Blandina (1835-1862) and Cosima (1837-1930), and one son, Daniel (1839-1859).
In 1840-1841 Liszt took part in two tours of the British Isles arranged by the young musician and conductor Lewis Henry Lavenu, accompanied by Lavenu's half brother Frank Mori, two female singers and John Orlando Parry, an all round musician, singer and entertainer (who vividly recorded the tour in his diary). Between August 17 and September 26, they gave 50 concerts around England which were generally unsuccessful, having an average attendance of 140. The second tour which encompassed Liverpool, Ireland and Scotland from November 1840- January 1841 was mildly more successful, with audiences of more than 1200 in Dublin. The tour was however a financial failure, and Liszt waived his promised 500 guineas a month fee.
In 1847 Liszt met Princess Carolyne zu Sayn-Wittgenstein. The Princess was an author, whose one work was published in 16 volumes, each containing over 1600 pages. Her longwinded writing style had some effect on Liszt himself. His biography of Chopin and his chronology and analysis of Gypsy music (which later inspired Béla Bartók) were both written in the Princess' loquacious style. The couple had intended to marry in 1860, but since the Princess had been previously married and her husband was still alive, the Roman Catholic authorities would not approve the wedding. Liszt and Princess Carolyne remained friends, although Liszt never recovered from being unable to marry her.
During the years in which he performed regularly in public, he was almost universally acknowledged (even by musical conservatives who disliked his compositions) as the foremost pianistic executant and interpereter. His main rival in public esteem as a virtuoso was Sigismond Thalberg, who specialized in salon music, especially operatic fantasies. Thalberg's reputation has faded, and in current opinion, only Chopin is comparably significant among romantic pianists.
Liszt in Germany
In 1848, Liszt gave up public performances on the piano and went to Weimar, remaining there until 1861. During this period he acted as conductor at court concerts and on special occasions at the theatre, gave lessons to a number of pianists, including the great virtuoso Hans von Bülow, who married Liszt's daughter Cosima in 1857. He also wrote articles championing Berlioz and Wagner, and produced those orchestral and choral pieces upon which his reputation as a composer mainly rests. His efforts on behalf of Wagner, who was then an exile in Switzerland, culminated in the first performance of Lohengrin in 1850.
The compositions belonging to the period of his residence at Weimar comprise two piano concertos, in E flat and in A, the Totentanz, the Concerto pathetique for two pianos, the Piano Sonata in B minor, sundry Etudes, fifteen Rhapsodies Hongroises, twelve orchestral Poemes symphoniques, Eine Faust Symphonie, and Eine Symphonie zu Dantes Divina Commedia, the 13th Psalm for tenor solo, chorus and orchestra, the choruses to Herder's dramatic scenes Prometheus, and the Graner Fest Messe.
In 1851 he published a revised version of the 1838 Etudes d'Execution Transcendante d'apres Paganini, now titled Grandes Etudes de Paganini (Grand etudes after Paganini), the most famous of which is La Campanella, a study in octaves, shakes (trills) and leaps.
In retirement
Liszt retired to Rome in 1861. He joined the Franciscan order in 1865, receiving the tonsure and four Minor Orders of the Catholic Church (namely, Porter, Lector, Exorcist and Acolyte). From 1869 onwards, Abbé Liszt divided his time between Rome, Weimar and Budapest where during the summer months he continued to receive pupils gratis, including Alexander Siloti. During this time, his relationship with Wagner grew more strained. left Bülow, who abused her, for Wagner in 1869. The intensely devout Catholic Liszt was personally repulsed by his new son-in-law, but continued to champion his music, and regularly attended the Bayreuth Festival.
From 1876 until his death he also taught for several months every year at the Hungarian Conservatoire of Budapest. He died in Bayreuth on July 31, 1886 as a result of pneumonia which he contracted during the Bayreuth Festival hosted by his daughter, Cosima. At first he was surrounded by some of his more adoring pupils, including Arthur Friedheim, Alexander Siloti and Bernhard Stavenhagen, but they were denied access to his room by Cosima shortly before his death at 11:30pm. He is buried in the Bayreuth Friedhof.
Musical style and influence
The majority of Liszt's piano compositions reflect his advanced virtuosity; however he was a prolific composer, and wrote works at several levels of difficulty, some being accessible to intermediate- (and even beginner-) level pianists. Abschied (Farewell) and Nuages Gris are examples of this less virtuosic style, as are at least some of the six Consolations.
In his most popular and advanced works, he is the archetypal Romantic composer. Liszt pioneered the technique of thematic transformation, a method of development which was related to both the existing variation technique and to the new use of the leitmotif by Richard Wagner. He also largely invented the symphonic poem, or tone poem, in a series of single-movement orchestral works composed in the 1840s and 1850s. His poems all came from classical literature, including "Ce qu'on entend sur la montagne," based on a Victor Hugo poem of the same title, and "Les preludes" from Lamartine. Liszt's "First Mephisto Waltz" was based on Lenau's Faust, and he composed a second waltz from the poem in 1881. Other pieces are based on works by Lord Byron, Goethe and Dante. Liszt's symphonic poems, although successes, were criticised because they were not Absolute music. His transcriptions met with less criticism. As a transcriber of even the most unlikely and complicated orchestral works, he created piano arrangements which stood on their own merits; many other pianist-composers followed his example.
While his Hungarian nationalist works are widely recognized, his understanding of form, expression and use of virtuosity for musical effect are more apparent elsewhere.
Later works of the composer such as Bagatelle sans tonalité ("Bagatelle without Tonality") foreshadow composers who would further explore the modern concept of atonality. His thoroughly revised masterwork, Années de Pélerinage ("Years of Pilgrimage"), arguably includes his most provocative and stirring pieces. This set of three suites ranges from the pure virtuosity of the Suisse Orage (Storm) to the subtle and imaginative visualizations of artworks by Michaelangelo and Raphael in the second set. Années contains some pieces which are loose transcriptions of Liszt's own earlier compositions; the first "year" recreates his early pieces of Album d'un voyageur, while the second book includes a resetting of his own song transcriptions once separately published as Tre sonetti del Petrarca ("Three sonnets of Petrarch"). The relative obscurity of the vast majority of his works may be explained by the immense number of pieces he composed.
To Franz Liszt's honor, he helped found the Liszt School of Music in Weimar, which bears his name. - Besides, Liszt Ferenc Academy of Music in Budapest (a music school and a concert hall) is also named after him.
His piano works have always been well represented in concert programs and recordings by pianists throughout the world. Many of his works have been recorded a multitude of times. However the only pianist who has recorded his entire pianistic oeuvre is the Australian Leslie Howard. This massive undertaking included a number of premiere recordings.
Source: Wikipedia Website
Franz Liszt Site
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