User:LisztianEndeavors/liszt to chk
THEME USED, REVISED, BASED ON
[edit]
3
•ch•21/i 46 based on 172a/6, 1st v 21/ii
•ch•25 59 rev as 3/6
•ch•29 60 rev as 3/7, see also 21/ii
•org•261 63-65 arr pf 530, pf4h 625, orch 361, rev for v pf as 766, rev for 2vv (+org) as 36, rev for ch orch as 3/8
•song•766 65? authorship doubtful, based on 261, arr f2vv (+org) 36, ch orch 3/8
•ch•3 66-72 #6 based on 25, #7 based on 29, #8 based on 36,261,766, #4&5 arr pf 498b, #4&5 arr pf4h 579, #8 arr org 664/i
•ch•36 67-68 arr of 766, based on 261, rev as 3/8
•21/ii
•172a/6
•361
•498b
•530
•579
•625
•664/i
4
•orch•109 55-56 themes used in 182a, arr 2pf 648, partially arr org/harm 672b, see also 167f
•2p•648 56-57 arr of 109
•org•672b 60 arr of 109
•167f c60? based on material from 109
•ch•4/i 62 alleluja arr pf 182a, org (+tbn) 677
•182a 62 arr of alleluja from 4/i, uses themes from 109, 1st v 183/1
•183/1 62 2nd v 182a
•chamb•677 62-63 arr of alleluja 4/i
•498c c71 arr of prelude 4/ii
•ch•4/ii 79-82 2nd v of 4/i, arr pf 499, org 760, prelude arr pf 498c, org 665
•org•665 80 arr of prelude 4/ii
•499 81 arr of 4/ii
•org•760 81 arr of 4/ii
6
•ch•6 74-75 prelude arr pf4h 580, pf 500, org (+ch) 666, v org 767
•500 74 arr of prelude from 6
•pduo•580 74 arr of prelude from 6
•vorg•767 74 doubtful, arr of prelude from 6
•org(+ch)•666 74-75 arr of prelude from 6, see also vers for org without ch 268a
•chamb•135 83 using theme from the Prelude of 6
•org•268a 85 vers of 666 without vv
8
•ch•8/i 46-47 1st v of 8/i
•ch•8/ii 69 themes used in 264
•504/i c70 arr of 38
•504/ii c72 2nd v of 504/ii
•org•265 79 rev as mvt III of 264
•org•264 79 based on 8,265,504
12
•org•266 83 based on 12
•12
16
•orch•113/i 63 1st v of 113/ii, arr pf4h 604/i
•pduo•604/i 63 arr of 113/i
•518 63 arr of 113/ii
•ch•688 69-85 unfinished, extracts used in 16/i,113/ii,518,519, fragment arr pf 688a
•519 75 arr of extracts from 688
•688a 80s incomplete sketches, arr of fragment from 688
•ch•16/i 80-81 originally intended for 688 uses themes from 154,172a/8,173/4
•ch•16/ii 83 2nd v of 16/i
•orch•113/ii 84 interlude to 688, arr pf 518, pf4h 604/ii
•pduo•604/ii 84 arr of 113/ii
19
•171c 40 1st v of 172a/7,173/6, theme used in 19/i
•ch•19/i 40-44? based on 171c
•173/6 45-52 3rd v 171c,172a/7
•172a/7 47 2nd v 171c,173/6
•ch•19/ii-iv 60-74 2nd-4th v of 19/i
28
•ch•28 60-74? based on 175/2
•175/2
49
•186/2 66-76 2nd v of 185a/2, arr pf4h 613/2, rev for ten fch org/harm as 49
•ch•49 81 based on 186/2
•185a/2
•613/2
60
•161/1 37–49 2nd v of 157a, rev for vv org/harm as 60
•ch•60 83 based on 161/1, arr for org/harm 671a, v 2pf 700g
•157a
•671a
•700g
67
•507 46 based on the beginning and end of the 1st mvt of 67
•67
69
•ch•69/i 50 #4 arr pf 507a (incomplete), #5 arr pf 692e (unfinished), overture rev as 99
•orch•99 55 based on overture to 69, arr pf4h 593, 2pf 639
•ch•69/ii 55-59 2nd v of 69/i, #4 arr pf 508, #4 arr pf4h 585
•507a
•508
•585
•593
•639
•692e
70
•ch•70/i 53 1st v of 70/iii
•ch•70/ii 53-54 2nd v of 70/iii
•ch•70/iii 56-57 themes used in 114
•orch•106 56-57 520, arr pf4h 596c, 2pf 646
•2p•646 57-58 arr of 106
•orch•114 57-59 uses themes from 70/iii, arr pf 520, pf4h 605
•520 57-60 arr of 114, also uses themes from 106
•pduo•605 59 arr of 114
•520a by60,rev83 2nd v of 520
•pduo•596c 74-77 arr of 106
80
•ch•80b 44-48 arr of 80a, sketches for overture rev as 97
•orch•97 50-55 based on projected overture to 80b, arr pf4h 591, 2pf 637, pf 511a
•80a
•511a
•591
•637
82
•510 by48 based on 82, arr pf4h 587
•82
•587
87
•ch•87ib 57,rev75?
95
•orch•95 48-49,rev50,rev54 arr pf4h 589, 2p 635, see also 261a
•orch•96 49,rev50-51,rev54 arr pf4h 590, 2p 636, see also 112/3
•orch•101 53,rev61 pf 511d, arr pf4h 595, 2p 641
•112/3
•261a
•511d
•589
•590
•595
•635
•636
•641
100
•136 26 rev as 137
•137 37 based on 136, rev as 139
•137/4 37 based on 136/4, rev as 138, 139/4
•138 40 based on 137/4, rev as 139/4
•139 51 based on 137
•139/4 51 based on 137/4,138
•139/11 51 based on 137/11, themes used in 166o
•orch•100 51-54 partly based on 139/4, arr pf 511c, pf4h 594, 2pf 640
•136/4
•137/11
•166o
•511c
•594
•640
102
•orch•690 30-53 incomplete sketches, 1st mvt rev as 102, 5th mvt rev as 703
•orch•102 54-56 based on 1st mvt of 690, arr pf4h 596a, 2pf 642, possibly the same as 710
•596a
•642
•703
•710
103
•231 40 partly based on 103
•103
115
•167o 45 themes used in 227
•227 49 uses themes from 167o, basis for 115, [1st v of 521]
•521 49,rev57,revc72 arr of 115, [2nd v of 227]
•orch•115 57 based on 227, arr pf 521, pf4h 606
•pduo•606 57 arr of 115
119
•orch•119 75 based on 232, arr pf 524, pf4h 610
•232
•524
•610
120
•porch•716 ? maybe based on 120?
•120
122
•388b c37 based on themes from beethoven, rev as 122, [1st v of 389], themes also used in 388
•388 46 based on themes from beethoven, themes also used in 388b,122
•388a 46 extracted from 388
•porch•122 52 based on 388b using themes from beethoven, arr 2pf 649, pf 389, themes also used in 388
•389 c52 arr of 122
•2p•649 52 arr of 122
123
•242a 39-40 3rd v 242/13 (see also 242/10), 4th v 244/15
•242/10 39-40 themes used in 123,242/13,242a,244/14,244/15
•164f 41 2nd v of 242a (based on)
•242/13 46 3rd v 242a (based on), partly based on 242/10, see also 4th v 244/15, etc.
•242/21 46 themes used in 123
•porch•123 46-52 based on 244/14
•244/14 48-53 themes used in 123
•244/15 48-53 4th v 242a (based on 242/10,242/13), etc.
•244c 51 5th v 242a (based on 242/13)
125
•524a c39 unfinished, rev as 125
•porch•125 49-61 based on 524a, arr 2pf 651
•651
130
•195a 74 rev as 196, [1st v of 196]
•196 74 based on 195a, arr pf4h 612, hp vc pf harm 130a, vc pf 130b, vn pf (+harm) 130c
•130a
•130b
•130c
•612
164
•164 40 based on 210
•210
167k
•219 38 1st v of 219a, arr pf4h 616
•pduo•616 38 arr of 219
•219a c40 2nd v of 219, theme used in 220
•167k 40 based on 219 and 219a
167l
•167l 49 based on 576b, 577/i, 577/ia, 577/ii
•576b
•577/i
•577/ia
•577/ii
167t
•167t 53 based on 173/10
•173/10
169
•song•301a 44? rev for pf as 169
•169 48 based on 301a, rev as 526a
•526a c80 1st v (short draft) of 527, based on 169
•527
171
•171a/3 c45 theme used in 242/23
•242/23 by47 opening based on 171a/3, 1st v 244/1
•244/1 47-53 2nd v of 242/23
175
•175a 49–50 rev as 176, [1st v of 176]
•176 49-50 based on 175a, rev for 2pf as 258/i, sketches for pf orch as 365
•porch•365 49-50 sketches only, based on 176
•2p•258/i 55 based on 176
195
•recit•349 74 rev for pf as 195
•195 77 based on 349; re-used as 205/6,205a/6, arr pf4h 614
•205/6
•205a/6
•614
214
•401 42 based on donizetti, 1st v of 214/3
•214/3 42,revc50 2nd v of 401, using themes from donizetti
235
•235 41 based on bna, rev as 694
•694 41-42 fragment only survives, partly based on 235 using the themes of bna and rb
242/6
•242/6 39-40 themes used in 242/12
•242/12 46 partly based on 242/6, themes used in 244/5
•244/5 48-53 uses themes from 242/12
242/7
•242/7 39-40 1st v of 244/4
•244/4 48-53 uses themes from 242/7
390
•390/i 36 based on bellini, 1st v of 390/ii
•390/ii c37 ending used in 391
•391 40 based on the conclusion of 390/ii
RENUMBERED
[edit]504b>506a
| S | LW | Title | Instr | Key | Date | Category | Notes |
|---|---|---|---|---|---|---|---|
| 15/3 (*15bis) |
S53 | Psalm 23 (Mein Gott, der ist mein Hirt) | ch orch | 1862 | Choral, sacred | 5th version of S.15/1a, S.15/1b, S.15/2a, S.15/2b; lost | |
| 87/1c (*87/1bis) |
L10a | Weimars Volkslied (Von der Wartburg) | mch ww br perc | E major | 1875? | Choral, secular | 2nd version of S.87/1a |
| 113/1 (*709) |
G28/1 | Boze coś Polskę | orch | 1863 | Orchestral | based on an old Polish song; 1st version of S.113/2; arr. for pf4h as S.604/1 | |
| 113/2 | G28/2 | Salve Polonia (Interludium aus dem Oratorium St. Stanislaus) | orch | 1884 | Orchestral | interlude to S.688; 2nd version of S.113/1; arr. for pf as S.518, for pf4h as S.604/2 | |
| 113a (*354) |
G27 | Légendes (2): | orch | 1863 | Orchestral | arr. of S.175 | |
| 113a/1 (*354/1) |
G27/1 |
|
orch | 1863 | Orchestral | arr. of S.175/1 | |
| 113a/2 (*354/2) |
G27/2 |
|
orch | 1863 | Orchestral | arr. of S.175/2 | |
| 121a (*691) |
H3 | De Profundis (Psaume instrumentale) | pf orch | 1834–35 | Orchestral, piano | unfinished | |
| *126a | W14 | Concerto in the Hungarian Style | pf orch | Orchestral, piano | not by Liszt (see Ungarische Zigeunerweisen by Sophie Menter) | ||
| 131 | D14 | Elegy No.2 | vc pf | 1877–78 | Chamber | arr. of S.197; see also S.131a | |
| 131a (*131bis) |
D14 | Elegy No.2 | vn pf | 1877–78 | Chamber | arr. of S.197; see also S.131 | |
| 134 | D19/2 | La lugubre gondola (Die Trauer-Gondel) | vc pf | 1882–83 | Chamber | arr. of S.200/1 | |
| 134a (*134bis) |
D19/1 | La lugubre gondola (Die Trauer-Gondel) | vn pf | 1885 | Chamber | arr. of S.200/2 | |
| 141/6a (*141/6bis) |
— | Album-Leaf ("Introduction to the Grande Étude de Paganini No 6") | pf | 1884 | Piano, etude | ||
| 144/3a (*144/3bis) |
A118/3 |
|
pf | D♭ major | 1848? | Piano, etude | |
| *147a | — | Variationen über Romanze aus Joseph von Méhul | pf | Piano, original | spurious (by Franz Xaver Wolfgang Mozart) | ||
| 153b (*754a) |
Q3 | Grand solo caractèristique d'apropos une chansonette de Panseron | pf | 1830–32 | Piano, original | unpublished (in private collection) | |
| 160/4a (*160/4bis) |
A159/4 |
|
pf | A♭ major? | 1863 | Piano, original | 3rd version of S.156/3, S.160/4 |
| 162a/1a (*162a/1bis) |
A283/1 | Aux anges gardiens (Den Schutz Engeln) | pf | 1877 | Piano, original | 2nd version of S.162a/1, S.162a/2, S.162a/3, S.162a/4, S.163/1 | |
| 163d | — | Album-Leaf ("Leipzig") | pf | E major | 1840 | Piano, original | 1st version of S.163e |
| 163e | — | Album-Leaf ("Leipzig") | pf | E major | 1840 | Piano, original | 2nd version of S.163d |
| 163f (*163e) |
— | Album-Leaf ("Quasti Mazurek in C major") | pf | C major | 1843 | Piano, original | |
| 166e (*727) |
— | Album-Leaf ("Prélude Omnitonique") | pf | 1844 | Piano, original | ||
| 166t (*166/2a) |
— | Album-Leaf ("B.A.C.H Fragment") | pf | Piano, transcr. | arr. of opening bars of S.260/1 or S.260/2; sketch for S.529/1 or S.529/2 | ||
| *167 (534/2a) |
— | Feuille d'album No.2 | |||||
| *167a (571a) |
— | Einleitung und Schlußtakte zu Tausigs dritter Valse-Caprice | |||||
| 171e (*695a) |
A61/4 | Litanies de Marie | pf | E major | 1846–47 | Piano, original | 1st version of S.172a/4 |
| 172b (*579/3) |
A142 | Stabat Mater | pf | 1847 | Piano, original | ||
| 175/2a (*175/2bis) |
A219/2 |
|
pf | E major? | 1863 | Piano, original | simplified version of S.175/2 |
| 187a (*263) |
E28 | Resignazione | pf/org | E major | 1877 | Piano, original | 1st version of S.187b |
| 192/5 (*728) |
A233/5 |
|
pf | 1879 | Piano, original | ||
| 195 (*730) |
A279 | Dem Andenken Petöfis | pf | 1877 | Piano, original | based on S.349; reused as S.205/6; arr. for pf4h as S.614 | |
| 207a (*256) |
A296 | Prélude à la Polka d'Alexandre Porfiryevitch Borodine (Variation sur le thème favori et obligé) | pf | 1880 | Piano, original | based on the "Chopsticks" polka by Alexander Borodin from the album Paraphrases | |
| 210 (*731) |
A57a | Valse mélancolique | pf | E major | 1839 | Piano, dance form | 2nd version of S.210a, S.214/2 |
| 210a | A57a | Valse mélancolique | pf | E major | 1840? | Piano, dance form | 1st version of S.210, S.214/2 |
| 211a (*734) |
A289/1 | Ländler | pf | D major | 1879 | Piano, dance form | |
| 212 | A84 | Petite valse favorite (Souvenir de St Pétersbourg) | pf | 1842 | Piano, dance form | 1st version of S.212a, S.213, S.213a | |
| 212a (*222) |
A84a | Petite valse favorite (Souvenir de St Pétersbourg) | pf | 1843 | Piano, dance form | 2nd version of S.212, S.213, S.213a | |
| 212b | A82 | Valse de Marie (Mariotte) | pf | 1842 | Piano, dance form | ||
| 213 | A84c | Valse-Impromptu | pf | 1850–52 | Piano, dance form | 3rd version of S.212, S.212a, S.213a | |
| 213a (*213a) |
A84c | Valse-Impromptu | pf | 1870s? | Piano, dance form | 4th version (edition facilitée) of S.212, S.212a, S.213 | |
| 215/4 (*732) |
A311/4 |
|
pf | 1884 | Piano, dance form | ||
| 219a (*219bis) |
A43 | Grand galop chromatique | pf | E major | 1840? | Piano, dance form | 2nd (simplified) version of S.219 (sometimes wrongly attributed to Johann Strauss II); theme used in S.220 |
| *221a | A221 | Mazurka | pf | F minor | Piano, dance form | now believed to be spurious | |
| *222 (212a) |
— | Petite valse favorite | |||||
| 226a (*745) |
A10 | Marche funèbre | pf | G minor | 1827 | Piano, dance form | |
| 230a (*528) |
A274 | Festpolonaise | pf | 1876 | Piano, dance form | arr. for pf4h as S.619a | |
| 233b (*733) |
A105 | Marche hongroise | pf | E♭ minor | 1844 | Piano, dance form | |
| 242/13a (*242/13bis) |
A60b |
|
pf | A minor | 1846? | Piano, national theme | simplified version of S.242/13 |
| 243/1a (*243bis/1) |
A60d/1 |
|
pf | D major | 1846 | Piano, national theme | 3rd (lighter) version of S.242/5, S.243/1 |
| 243/2a (*243bis/2) |
A60d/2 |
|
pf | C major | 1846 | Piano, national theme | 3rd (lighter) version of S.242/4, S.243/2 |
| 243/3a (*243bis/3) |
A60d/3 |
|
pf | B♭ major | 1846 | Piano, national theme | 3rd (lighter) version of S.242/11, S.243/3 |
| 244/2a (*244/2bis) |
A132/2 |
|
pf | C♯ minor | 1885 | Piano, national theme | Cadenzas for S.244/2 |
| 244/10a (*244/10bis) |
A132/10 |
|
pf | E major | 1847 | Piano, national theme | 2nd (easier) version of S.244/10; uses themes from S.242/16 |
| 244/15a (*244/15bis) |
A132/15 |
|
pf | A minor | 1847 | Piano, national theme | simplified (easier) version of S.244/15 |
| *247 (252a) |
— | La romanesca | |||||
| 249c (*735) |
A289/2 | Air cosaque | pf | 1879 | Piano, national theme | ||
| 252a (*247) |
A14/1 | La romanesca (Mélodie du 16ième siècle) | pf | 1832–33 | Piano, national theme | 1st version of S.252b | |
| 252b | A14/2 | La romanesca (Mélodie du 16ième siècle) | pf | 1852? | Piano, national theme | 2nd version of S.252a | |
| 252c (*738) |
A114 | Grosse Konzertfantasie über spanische Weisen | pf | 1844 | Piano | 1st version of S.253 | |
| *255 (619a) |
— | Festpolonaise | |||||
| *256 (207a) |
— | Variation über das Thema von Borodin | pf4h | ||||
| *256a | — | Nocturne | pf4h | E minor | Piano, 4 hands | arr. of S.161/5; spurious (not by Liszt) | |
| *263 (187a) |
— | Resignazione | org | 1877–81 | |||
| 280a (*280bis) |
N23/3 | Freudvoll und leidvoll II | v pf | 1848? | Vocal, song | 2nd setting, for 1st setting see S.280 | |
| 309a (*309bis) |
N36/2 | Ein Fichtenbaum steht einsam II | v pf | 1860 | Vocal, song | 2nd setting of S.309 | |
| *353a (362a) |
— | Angelus! Prière aux anges gardiens | |||||
| *354 (113a) |
— | Légendes (2) | |||||
| 362a (*353a) |
D15 | Angelus! Priere aux anges gardiens | str/(2vn va vc) | 1882 | Orchestral, arr. | arr. of S.162/1 | |
| 377a (*722) |
D9 | La notte | vn pf | 1864–66? | Chamber, arr. | arr. of S.112/2 | |
| 378c (*723) |
D18/3 | Tristia (Vallée d'Obermann) | vn vc pf | 1880 | Chamber, arr. | 3rd version of S.378a, S.378b | |
| *395 (470a/1) |
— | L'idée fixe | |||||
| 400 | A71b | Réminiscences de Lucrezia Borgia (Grande fantaisie sur des motifs de l'opéra de Gaetano Donizetti) | pf | 1848 | Piano, arr. | based on themes from the opera Lucrezia Borgia by Gaetano Donizetti | |
| 400aa (*400bis) |
— | Réminiscences de Lucrezia Borgia de Donizetti – Grande fantaisie en deux parties – "Reduced, with the author's approval, to a single concert piece by G. Buonamici" | pf | 1880 | Piano, arr. | based on themes from the opera Lucrezia Borgia by Gaetano Donizetti; Giuseppe Buonamici's version is considerably cut from the original, but approved by Liszt, with added passages by Liszt linking the two pieces together | |
| 400a (*742) |
A136 | Spirto gentil (Kavatine aus der Oper La favorite) | pf | 1847 | Piano, arr. | based on a theme from Act IV of La favorite by Gaetano Donizetti | |
| 403a (*403bis) |
A137 | Grande Marche d'Abdul Medjid-Khan | pf | 1848 | Piano, arr. | 2nd version of S.403 ("version facilitée") | |
| 421a (*750) |
A13 | Introduction et Variations sur une marche du Siège de Corinthe | pf | 1830 | Piano, arr. | only the Introduction survives; there is no trace of either the March theme nor the Variations; based on themes from the opera Le siège de Corinthe by Gioachino Rossini | |
| 421b (*751) |
— | Fantaisie sur des thèmes de Maometto et Mose (Maometto-Fantasie) | pf | 1839–41 | Piano, arr. | based on themes from the operas Maometto Secondo and Mosè in Egitto by Gioachino Rossini | |
| *457 (?) |
— | ? | pf | Piano, arr. | |||
| 458 | A51 | Reminiscences de La Scala (Fantasie über italienische Opernmelodien) | pf | 1838–39 | Piano, arr. | using themes from the opera Il giuramento by Saverio Mercadante and another unidentified source | |
| *459 (?) |
— | ? | pf | Piano, arr. | |||
| 460 | A330 | Kavallerie-Geschwindmarsch | pf | 1883? | Piano, arr. | lost; possibly 2nd version of S.233 | |
| 470 | A16a | Episode de la vie d'un artiste (Grande symphonie fantastique par Hector Berlioz) | pf | 1833 | Piano, transcr. | arr. of the Symphonie fantastique, H.48 by Hector Berlioz; 4th movement rev. as S.470a/2 | |
| 470a/1 (*395) |
A16b | L'idée fixe (Andante amoroso d'après une mélodie de Berlioz) | pf | 1833 | Piano, transcr. | based on the main theme from the Symphonie fantastique, H.48 by Hector Berlioz | |
| 470a/2 | A16c | Marche au supplice de la Symphonie fantastique (Episode de la vie d'un artiste de Hector Berlioz) | pf | 1865 | Piano, transcr. | 2nd version of 4th movement from S.470 | |
| 480/5a (*480/5bis) |
A193/5 |
|
pf | 1860 or later | Piano, transcr. | 2nd version of S.480/5 | |
| 483a (*483bis) |
A91 | Souvenir de Russie (d'après Ferdinand David) | pf | B♭ minor | 1842 | Piano, transcr. | arr. of No.22 from Bunte Reihe by Ferdinand David; 1st version of S.484/22 |
| 484/19a (*484/19bis) |
A170/19b |
|
pf | A major | 1850 | Piano, transcr. | 2nd version of S.484/19 |
| 492/4a (*492/4bis) |
A245/4 |
|
pf | A major | 1869 | Piano, transcr. | 2nd version of S.492/4 |
| 506 | A243 | Ave maris stella | pf | 1868 | Piano, transcr. | arr. of 2nd version of S.34 | |
| 506b (*546a) |
A294 | O Roma nobilis | pf | 1879 | Piano, transcr. | arr. of S.54 | |
| 516a (*699) |
A202/2 | La notte | pf | 1864–66 | Piano, transcr. | arr. of S.112/2 | |
| 526a (*527bis) |
— | Romance oubliée | pf | 1880 | Piano, transcr. | 1st version (short draft) of S.527; based on S.169 | |
| *528 (230a) |
— | Festpolonaise | |||||
| 534/2a (*534/2bis) (*167) |
A81c | Feuille d'album No.2 | pf | 1849 | Piano, transcr. | arr. of S.301b/2 (3rd version of Die Zelle/Élégie) | |
| 543a (*543bis) |
A309/2 | A magyarok Istene (Ungarns Gott) | pflh | 1881 | Piano, transcr. | arr. of S.339 | |
| *546a (506b) |
— | O Roma nobilis | |||||
| 554/1 (*752) |
A304 | O! Wenn es doch immer so bliebe! (Lied von Anton Rubinstein) | pf | 1881 | Piano, transcr. | arr. of No.9 of 12 Lieder des Mirza-Schaffy, Op.34 by Anton Rubinstein | |
| 554/2 | A329 | Der Asra (Lied von Anton Rubinstein) | pf | 1880 | Piano, transcr. | arr. of No.6 of 6 Lieder von Heine, Op.32 by Anton Rubinstein | |
| 555a (*555bis) |
— | Album-Leaf ("Fuga sur Danse Macabre") | pf | G minor | 1846 | Piano, original | sketch for 2nd theme quasi-fugue section of S.555 |
| 558/3a (*558/3bis) |
A42/3 |
|
pf | 1876 | Piano, transcr. | 2nd version of S.558/3 | |
| 558/4a (*558/4bis) |
A42/4 |
|
pf | 1876 | Piano, transcr. | 3rd version of S.557a, S.558/4 | |
| 558/7a (*558/7bis) |
A42/7 |
|
pf | 1876 | Piano, transcr. | 3rd version of S.557c, S.558/7 | |
| 558/8a (*558/8bis) |
A42/8 |
|
pf | 1876 | Piano, transcr. | 2nd version of S.558/8 | |
| 558/9a (*558/9bis) |
A42/9 |
|
pf | 1876 | Piano, transcr. | 2nd version of S.558/9 | |
| 558/11a (*558/11bis) |
A42/11 |
|
pf | 1876 | Piano, transcr. | 2nd version of S.558/11 | |
| 565/1 | A128/1 |
|
pf | 1846 | Piano, transcr. | arr. of No.1 from the song cycle Die schöne Müllerin, D.795 by Franz Schubert; 1st version of S.565/1a | |
| 565/1a (*565bis/1) |
A128/1 |
|
pf | 1879 | Piano, transcr. | arr. of No.1 from the song cycle Die schöne Müllerin, D.795 by Franz Schubert; 2nd (simplified) version of S.565/1 | |
| 565/2 | A128/2 |
|
pf | 1846 | Piano, transcr. | arr. of No.19 from the song cycle Die schöne Müllerin, D.795 by Franz Schubert; 1st version of S.565/2a | |
| 565/2a (*565bis/2) |
A128/2 |
|
pf | 1879 | Piano, transcr. | arr. of No.19 from the song cycle Die schöne Müllerin, D.795 by Franz Schubert; 2nd (simplified) version of S.565/2 | |
| 565/3 | A128/3 |
|
pf | 1846 | Piano, transcr. | arr. of No.14 from the song cycle Die schöne Müllerin, D.795 by Franz Schubert; 1st version of S.565/3a | |
| 565/3a (*565bis/3) |
A128/3 |
|
pf | 1879 | Piano, transcr. | arr. of No.14 from the song cycle Die schöne Müllerin, D.795 by Franz Schubert; 2nd (simplified) version of S.565/3 | |
| 565/4 | A128/4 |
|
pf | 1846 | Piano, transcr. | arr. of No.17 from the song cycle Die schöne Müllerin, D.795 by Franz Schubert; 1st version of S.565/4a | |
| 565/4a (*565bis/4) |
A128/4 |
|
pf | 1879 | Piano, transcr. | arr. of No.17 from the song cycle Die schöne Müllerin, D.795 by Franz Schubert; 2nd (simplified) version of S.565/4 | |
| 565/5 | A128/5 |
|
pf | 1846 | Piano, transcr. | arr. of No.2 from the song cycle Die schöne Müllerin, D.795 by Franz Schubert; 1st version of S.565/5a | |
| 565/5a (*565bis/5) |
A128/5 |
|
pf | 1879 | Piano, transcr. | arr. of No.2 from the song cycle Die schöne Müllerin, D.795 by Franz Schubert; 2nd (simplified) version of S.565/5 | |
| 565/6 | A128/6 |
|
pf | 1846 | Piano, transcr. | arr. of No.7 from the song cycle Die schöne Müllerin, D.795 by Franz Schubert; 2nd version of S.563/5, S.565/6a | |
| 565/6a (*565bis/6) |
A128/6 |
|
pf | 1879 | Piano, transcr. | arr. of No.7 from the song cycle Die schöne Müllerin, D.795 by Franz Schubert; 3rd (simplified) version of S.563/5, S.565/6 | |
| 571a (*167a) |
V15 | Valse-Caprice No.3 (Einleitung und Schlußtakte zu Tausigs dritter Valse-Caprice) | pf | 1880 | Piano, transcr. | additions and revisions to Valse-Caprice No.3 d'après J. Strauss by Carl Tausig | |
| 573a (*754) |
A297 | Seconda Mazurka di Tirindelli | pf | 1880 | Piano, transcr. | additions and revisions to Mazurka No.2 by Pier Adolfo Tirindelli | |
| 576b (*577bis) |
— | Любила я! [Lyubila ya] (I Loved!) "Romance" | pf | 1842? | Piano, transcr. | arr. of the romance I Loved! by Mikhail Vielgorsky; 1st version of S.577/1, S.577/1a, S.577/2; see also S.167l | |
| 577/1 | A87 | I Loved (Romanze von Wielhorski) | pf | 1842 | Piano, transcr. | 2nd version of S.576b, S.577/1a, S.577/2; see also S.167l | |
| 577/1a (*577ter) |
— | Любила я! [Lyubila ya] (I Loved!) "Romance" | pf | 1843? | Piano, transcr. | 3rd version of S.576b, S.577/1, S.577/2; see also S.167l | |
| 577/2 | A87 | Autrefois (Romance du Comte Mikaïl Yourievitch Wielhorsky) | pf | 1843 | Piano, transcr. | 4th version of S.576b, S.577/1, S.577/1a; see also S.167l | |
| 619a (*255) |
B48 | Festpolonaise | pf4h | 1876 | Piano, 4 hands, arr. | arr. of S.230a | |
| 628a | — | Réminiscences de Lucia di Lammermoor | pf4h | 1836–40 | Piano, 4 hands, arr. | arr. of S.397; Liszt performed this arrangement with Frank Mori during his 1840–41 tour of the British Isles | |
| 628b (*628a) |
B5 | Marche et Cavatine de Lucia di Lammermoor | pf4h | 1844? | Piano, 4 hands, arr. | arr. of S.398 | |
| 628c (*628b) |
— | Szózat und Hymnus (2 vaterländische Dichtungen von Vörösmarty and Kölcsey) | pf4h | 1873 | Piano, 4 hands, arr. | arr. of S.353; Liszt's authorship doubtful | |
| 672d | E22 | Consolations (4): | org/harm | 1866–79 | Organ, arr. | arr. from S.172 | |
| 672d/1 | E22/1 |
|
org/harm | A major | 1879? | Organ, arr. | arr. of S.172/3 |
| 672d/2 (*759) |
E22/2 |
|
org/harm | D♭ major | 1866–67? | Organ, arr. | arr. of S.172/4 by Liszt and Gottschalg |
| 672d/3 | E22/3 |
|
org/harm | E major | 1872–73? | Organ, arr. | arr. of S.172/5 by Liszt and Gottschalg |
| 672d/4 | E22/4 |
|
org/harm | E major | 1879? | Organ, arr. | arr. of S.172/6 |
| *691 (121a) |
— | De Profundis | 1834 | unfinished | |||
| 692a (*719) |
Q18 | Die vier Jahreszeiten | 2vn va vc | 1880? | Chamber, unfinished | arr. of Le Quattro Stagioni by Antonio Vivaldi; incomplete sketches | |
| *695a (171e) |
— | Litanies de Marie | unfinished | ||||
| *699 (516a) |
— | La notte | unfinished | ||||
| *709 (113/1) |
— | Salve Polonia | |||||
| *719 (692a) |
— | Die vier Jahreszeiten | |||||
| *722 (377a) |
— | La notte | 1864–66 | ||||
| *723 (378c) |
— | Tristia | 1880? | ||||
| *723a | W6 | Postlude (on a theme from Orpheus) | ? | 1871 | Chamber | based on S.98; now attributed to Leopold Alexander Zellner | |
| *727 (166e) |
— | Prélude omnitonique | |||||
| *728 (192/5) |
— | Sospiri! | |||||
| *730 (195) |
— | Dem Andenken Petöfis | |||||
| *731 (210) |
— | Valse élégiaque | |||||
| *732 (215/4) |
— | Valse oubliée No.4 | |||||
| *733 (233b) |
— | Marche hongroise | |||||
| *734 (211a) |
— | Ländler | |||||
| *735 (249c) |
— | Air cosaque | |||||
| *738 (252c) |
A114 | Grosse Konzertfantasie über spanische Weisen | |||||
| *742 (400a) |
— | Duettino de La favorite | |||||
| *745 (226a) |
— | Marche funèbre | Piano, arr. | ||||
| *750 (421a) |
— | Introduction et variations sur une marche du Siège de Corinthe | 1830? | ||||
| *751 (421b) |
— | Fantaisie sur des thèmes de Maometto et Mose (Maometto-Fantasie) | |||||
| *752 (554/1) |
S43 | Gelb rollt | |||||
| *754 (573a) |
— | Seconda mazurka variata | |||||
| *759 (672d/2) |
E22/2 | Adagio |
