List of the musical works of Franz Liszt

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The list of musical works by Franz Liszt includes compositions by the Austro-Hungarian composer Franz Liszt (1811–1886).

Portrait of Franz Liszt

Works with opus numbers

Works of the child prodigy

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

(These works were published in 1825; Opus number 5 remained vacant.)

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

Youth works

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

(Opus numbers 3 and 4 remained unoccupied.)

  • Op. 5 Trois morceaux de salon . Composed in late summer and autumn 1835, revised in Vienna in spring 1838.
    • Fantaisie romantique sur deux airs suisses , first lecture (of a fragment) by Liszt on May 28, 1836 in Paris.
    • Rondeau fantastique sur le thème "Il contrabandista" by Manuel Garcia , first concert lecture by Liszt on January 28, 1837 in Paris.
    • Grande fantaisie sur des motifs de Niobe de Pacini, Divertissement sur la cavatine "I tuoi frequenti palpiti" . Liszt gave his first concert on April 6, 1836 in Geneva.
  • Op. 6 Grande Valse di bravura . Composed in autumn 1835, Liszt gave his first concert on May 28, 1836 in Paris.
  • Op. 7 Réminscences des Puritains . Composed at the end of 1835 / beginning of 1836, English edition expanded by Ossias in 1840 (?), First concert performance by Liszt on May 5, 1836 in Lyon.
  • Op. 8 Deux fantaisies sur les motifs des Soirées musicales de Rossini . Composed in 1836, revised in spring 1840.
    • Op. 8.1 La Serenata e l'Orgia , first concert performance by Liszt on May 18, 1836 in Paris.
    • Op. 8.2 La Pastorella dell'Alpi e li Marinari .
  • Op. 9 Reminiscences de la Juive de Halévy . Composed in the late summer and autumn of 1835, first concert performance by Liszt on May 18, 1836 in Paris.
  • Op. 10 Trois airs suisses . Composed in late 1835 / early 1836.
  • Op. 11 Reminiscences des Huguenots . Composed in summer and autumn 1836, revised for “2. changed, only legitimate edition ”at the end of 1842, first concert lecture by Liszt on April 9, 1837 in Paris.
  • Op. 12 Grand galop chromatique . Composed in autumn 1837, first lecture by Liszt on April 6, 1838 in a soiree of Baroness Wetzlar, Thalberg's mother, in Venice, lecture of a four-hand version by Liszt and Clara Wieck in a Soiree of Haslinger on April 19, 1838 in Vienna, first Liszt gave a concert on May 2, 1838 in Vienna.
  • Op. 13 Reminiscences de Lucia di Lammermoor . Composed in autumn 1839, publication of the first part, the “Andante finale”, at the beginning of 1840, publication of the second part (without opus number), “Marsch und Cavatine”, 1841, first concert performance of the first part by Liszt on November 5th 1839 in Trieste, first concert performance of the second part by Liszt on December 2, 1839 in Vienna.

Works without opus numbers (a selection)

Piano works

  • Piano score of the Symphonie fantastique by Berlioz ( Rèveries - Passions , Un Bal , Scène aux Champs , Marche du Supplice , Songe d'une nuit de Sabbat ). Composed 1833–34, Liszt gave the first concert performance of the movements Un bal and Marche du supplice on December 28, 1834 in Paris.
  • Hexameron, Variations de bravoure sur une marche de Bellini . Introduction and interludes by Liszt, 1st variation by Thalberg, 2nd variation by Liszt, 3rd variation by Herz, 4th variation by Pixis, 5, variation by Czerny, 6th variation by Chopin, final by Liszt. Composed in 1837, first concert performance by Liszt on December 10, 1837 in Milan. Liszt frequently left out the variations of Czerny and Chopin in his concerts.
  • Fantaisie sur des motifs favoris de l'opéra Sonnambula de Bellini . Composed in November 1839 or at the beginning of December 1839, first concert performance by Liszt on December 5, 1839 in Vienna. In connection with a charity concert by Liszt on March 4, 1874 in Budapest, with the tendency towards increased full grip, a modified new version was created, which appeared as the "Sonnambula (de Bellini.) Grosse Concert-Fantasie". In an early edition of the first version (1842) the title of the opera is given as "Somnambula".
  • Reminiscences de Robert le diable . Composed in October 1840, first concert performance by Liszt on November 6, 1840 in Hamburg.
  • Reminiscences of Don Juan . Composed 1840–41, first concert performance by Liszt on September 25, 1841 in Frankfurt a. M.
  • Reminscences de la Norma . Composed 1841–43, first concert performance by Liszt on February 2, 1842 in Berlin.
  • Fantasy on themes from Figaro and Don Juan . Composed in 1842, published in 1911 by Busoni , who, however, did not “add to the fantasy based on the almost complete manuscript”, but shortened it by almost half.
  • Consolations . First version composed in late 1843 / early 1844, second version composed in 1849. Liszt did not publish the first version.
  • Trois Études de Concert . Probably composed in 1848, the French edition contains the titles Il lamento , La leggierezza and Un sospiro . The étude Il lamento is based on a melody from Schubert's song “Warrior's Awareness”. The accompanying words are: "Soon I will rest and sleep soundly, dearest one - good night!"
  • 1. Ballad in D flat major . Composed in 1848, Liszt used material from an album sheet Dernière illusion, ecrit pour Marie , which was written in December 1845. The French edition is entitled “Le chant du croisé” (“The Song of the Crusader”).
  • 2. Ballad in B minor . Composed in 1853, the ending was redesigned in early 1854 after the work had already been engraved.
  • Grandes Etudes de Paganini . Made in 1851, new version of the earlier Etudes d'exécution transcendante d'après Paganini . The first etude of the earlier version was composed at the beginning of September 1838 in Milan, Etudes 2–6 composed in the spring of 1839 in Rome. The earlier version was published in February 1841 without dedication by Schonenberger, Paris. In the autumn of 1841 an edition from Haslinger, Vienna, was published with a dedication to Clara Schumann. In both editions, an arrangement by Schumann as an Ossia is added to the first etude .
  • 12 Études d'exécution transcendante . Written in 1851 as a new version of the Grandes Etudes composed in September and October 1837 . The fourth piece received an introduction in the spring of 1841 and the title "Mazeppa". In the version from 1851 the pieces have titles: Prelude , Molto Vivace , Paysage , Mazeppa , Feux Follets , Vision , Eroica , Wilde Jagd , Ricordanza , Allegro agitato molto , Harmonies du soir and Chasse neige .
  • Valse-Impromptu . Written in 1852 as a new version of a Petite valse favorite composed in 1842 and expanded in 1843.
  • Harmonies poétiques et religieuses
  • Années de pèlerinage (1848–53)
  • Trois Caprices-Valses . Composed in 1850.
    • Valse de bravoure . New version of the Grande Valse di bravura op.6 .
    • Valse mélancolique . New version of the Valse mélancolique from 1840.
    • Valse de concert sur deux motifs de Lucia et Parisina de Gaetano Donizetti . New version of the “Valse a capriccio sur deux motifs de Lucia et Parisina de Gaetano Donizetti” from the summer of 1841. Liszt gave the first concert performance of the earlier version on October 11, 1841 in Liège.
  • Love dreams . Composed in 1850
  • 1. Polonaise in C minor ( Polonaise mélancholique ). Composed in December 1850.
  • 2. Polonaise in E major. Composed in 1851.
  • Soirées de Vienne, 9 Valses-Caprices d'après Fr. Schubert . Composed in 1853.
  • Piano sonata in B minor . Composed 1851–53.
  • Hungarian rhapsodies (from 1851)
  • Trois paraphrases de concert . Composed in 1859.
    1. Miserere du Trovatore de Verdi .
    2. Ernani de Verdi . Not to be confused with a fantasy about melodies from "Ernani", which originated in 1847.
    3. Quartetto du troisième acte de Rigoletto de Verdi .
  • Valse de l'opéra Faust de Charles Gounod . Composed in late 1859 or early 1860.
  • 1st Mephisto Waltz (1860)
  • Two concert studies ( gnome dance , forest noise ). Composed in 1862 or 1863.
  • Two legends (p 175) . Composed around 1865
  • Piano scores from Ludwig van Beethoven's symphonies . The arrangements of the 5th, 6th and 7th symphonies were made in the spring and summer of 1837. In November 1841 Liszt arranged the funeral march from the 3rd symphony. The remaining parts, with the exception of the choral finale of the 9th symphony, were written in 1863. At the urging of the publishers Breitkopf & Härtel, Liszt also made an arrangement of the choral finale of the 9th symphony in autumn 1864.
  • Finale de Don Carlos de Verdi ( Coro di Festa, et Marcia funebre ). Composed in April 1868.
  • Historical Hungarian portraits . Composed in 1870.
    • Alexander Petőfi .
    • Michael Mosonyi .
  • Isolden's Liebestod, final scene from Richard Wagner's Tristan und Isolde . Probably originated in 1868, revised in October 1874.
  • Aida de G. Verdi ( Danza sacra e Duetto finale ). Composed in December 1878.
  • Polonaise from Tchaikovsky's opera “Jewgeny Onegin” . Composed in November 1879.
  • Nuages ​​gris , 1881.
  • Solemn march to the holy grail from the stage dedication festival "Parsifal" by Richard Wagner . Composed in summer 1882.
  • Réminiscences de Boccanegra de Verdi . Composed in Venice in December 1882.
  • Valses oubliées
    • Première Valse oubliée . Composed on July 23, 1881.
    • Deuxième Valse oubliée . Composed on July 23, 1883.
    • Troisième Valse oubliée . Composed in 1883.
    • Fourth forgotten waltz , ( Quatrième Valse oubliée ). Composed in 1883 or 1884.
  • 2. Mephisto waltz . Composed in spring 1881 as a piano arrangement of an orchestral work composed in 1880/81.
  • 3. Mephisto Waltz . Composed in June 1883.
  • 4. Mephisto Waltz . Composed in March 1885; After the composition had already been completed, Liszt cut 184 bars. An Andantino part that was supposed to be inserted instead has been left unfinished.
  • Historical Hungarian portraits . Composed in 1885.
    • Stephan Széchenyi .
    • Joseph Eötvös .
    • Michael Vörösmarty .
    • Ladislaus Teleki .
    • Franz Deák .
  • Bagatelle without key ( Bagatelle, sans tonalité ). Composed in 1885 (?). An early title deleted by Liszt was: "Fourth Mephisto Waltz (without key)".
  • Bad star! Sinistre, disastro , 1886 (?).

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

Organ works

  • Fantasy and fugue on the chorale "Ad nos, ad salutarem undam" (1850)
  • Fantasy and fugue on the subject of BACH . Composed in 1855/56 as a prelude and fugue on the theme of Bach , revised in 1870 for the final version. There are piano arrangements of both versions by Liszt. First performance of the first version on May 13, 1856 by Alexander Winterberger on the organ of the Merseburg Cathedral.
  • Variations on a motif (Basso ostinato) from the cantata “Weeping, Lamenting, Worrying, Zagen” and the “Crucifixus” of the B minor Mass by JS Bach . Composed in November 1862 as a piano work, the organ version was completed in February 1863.

The “Searle Directory” (directory based on Humphrey Searle , 1966) contains the following works:

  • Searle 664: Do it Peter (1867)
  • Searle 665: San Francesco. Preludio per il Cantico de Sol di San Francesco (1880)
  • Searle 666: Excelsior! Preludio to the bells of the Strasbourg Cathedral (after 1874)
  • Searle 667: Offertorium from the Hungarian Coronation Mass (after 1867)
  • Searle 668: Slavimo Slavno Slaveni! (1863)
  • Searle 669: Two church hymns (after 1868)
  • Searle 670: Rosario (1879)
  • Searle 671: We Are Moving to the House of the Lord, Prelude to 57 (1884)
  • Searle 672: Weimar's folk song (1865)
  • Searle 673: Weeping, Lamenting Variations (1863)
    version of (Searle 179) “Weeping, Lamenting, Worrying, Feeling; Prelude after JS Bach for piano "
  • Searle 674: Hungary's God

Orchestral works

  • Ce qu'on entend sur la montagne (after V. Hugo) ("Mountain Symphony"). Liszt played and sang “vague” sketches for Princess Wittgenstein as early as 1847. Performance of a first version at the end of February 1850 in Weimar; Performance of a second version in Weimar in 1853. After further intermediate stages, the published version was performed on January 7, 1857 in Weimar. Published in 1857 as "Symphonic Poem No. 1".
  • Tasso, Lamento e Trionfo . First version, an orchestral version of an earlier piano piece by August Conradi, the first piece of an early version by Venezia e Napoli , written in August 1849 and performed on August 28, 1849 as an overture to Goethe's "Tasso" in Weimar; Performance of a version improved by Liszt on February 19, 1850 in Weimar. Further intermediate versions with the collaboration of Joachim Raff. Performance of the published version, a version by Liszt, on April 19, 1854 in Weimar. Published in 1856 as "Symphonic Poem No. 2".
  • Les Preludes (after Lamartine) . The first versions were created in 1848 as an overture to the choirs "Les quatres Elémens" composed in 1844/45 and orchestrated by August Conradi in 1848, based on texts by Joseph Autran, from which the themes of the overture were taken. After many intermediate versions, first performance on February 23, 1854 in Weimar. Published in 1856 as "Symphonic Poem No. 3". With the addition “after Lamartine” to the title “Les Préludes”, reference is made to an Ode Lamartine with the same title. The foreword to the composition, of which at least four different versions exist, was not written by Lamartine, but in the first version by Princess Wittgenstein and also in the later versions by other authors.
  • Orpheus . First version composed at the end of 1853 or beginning of 1854 in connection with a performance of Gluck's “Orpheus und Euridice” on February 16, 1854 in Weimar; To frame the performance, Liszt composed an introduction and a final piece of music. The symphonic poem Orpheus emergedfrom the introduction; first performance as a symphonic poem on November 10, 1854 in Weimar. Published in 1856 as "Symphonic Poem No. 4".
  • Prometheus . The first version was created in 1850 as an overture to Liszt's choirs to Herder's “The Unleashed Prometheus”; Modified by Liszt in 1855. First performance as an overture on August 28, 1850 in Weimar; first performance as a symphonic poem on October 18, 1855 in Braunschweig. Published in 1856 as "Symphonic Poem No. 5".
  • Mazeppa (after V. Hugo) . Composed in 1851 as an extended orchestral version of the piano etude “Mazeppa”; first performance on April 16, 1854 in Weimar. Published in 1856 as "Symphonic Poem No. 6".
  • Festive sounds . The first draft was made in August 1853; first performance on November 9, 1854 in Weimar as an introduction to Schiller's “Homage to the Arts”. Published in 1856 as "Symphonic Poem No. 7".
  • Héroïde funèbre (German: heroic lament ). The first version was created in 1850 as an arrangement of the first movement of a "Revolutionary Symphony" composed in 1830. After intermediate versions, first performance on November 10, 1857 in Breslau. Published in 1857 as "Symphonic Poem No. 8".
  • Hungaria . The first version was created in 1854 as an expanded orchestral version of a “Heroic March in Hungarian Style” from 1840; later added a presto part. First performance on September 8, 1856 in Budapest. Published in 1857 as "Symphonic Poem No. 9".
  • Hamlet . Composed in spring 1858 as a prelude to Shakespeare's drama; the middle movement indicating Ophelia was added later. First performance on July 2, 1872 in Sondershausen. Published in 1861 as “Symphonic Poetry No. 10”.
  • Hunnenschlacht (after Kaulbach) . Composed in 1857 after a painting by Wilhelm von Kaulbach. Trial performance on October 12, 1857 in Weimar; first performance on December 29, 1857 in Weimar. Published in 1861 as "Symphonic Poem No. 11".
  • The ideals (after Schiller) . Composed in 1857; first performance on September 5, 1857 in Weimar. Published in 1858 as "Symphonic Poem No. 12". The stanzas of Schiller's poem of the same name were rearranged by Liszt to enable an optimistic finale.
  • Score of the variants . Variants, corrections and reduction proposals for the symphonic poems Ce qu'on entend sur la montagne , Les Preludes , Orpheus , Festklänge , Hungaria and the ideals . Published 1861.
  • Two episodes from Lenau's Faust , 1. “The nocturnal procession”, 2. “The dance in the village tavern” ( first Mephisto waltz ), composed 1857–61, dedicated to Carl Tausig , published in 1866.
  • A Faust symphony in three character images (based on Goethe) , 1st Faust , 2nd Gretchen , 3rd Mephistopheles and the final chorus "Everything transient is just a parable". Early sketches from the 1840s in which some themes, including the “twelve-tone theme” of the first movement, are already pre-arranged. From August 2 to October 19, 1854, composition of a first version in three movements without a final chorus. Final choir probably designed in 1855 and completed by spring 1857. Until then, the earlier instrumental movements, partly in piano reductions, were further developed. On September 5, 1857, on the occasion of the laying of the foundation stone for the Weimar Carl August monument, an interim version was performed. Further revisions and modifications followed until 1861. On August 6, 1861, the version published in the same year was first performed in Weimar. Then some minor changes in the second movement “Gretchen”. 1874 second publication of the symphony. In December 1880 another 10 bars were added at the end of the second movement.
  • A symphony to Dante's Divina Commedia with women's choir (Dante Symphony) (1855-1856)
  • From the cradle to the grave , symphonic poem after a painting by Michael Zichy, composed in 1881 as a piano work, then until 1882 as an orchestral version.

Works for piano and orchestra

Vocal works

  • Opera " Don Sanche ou Le château d'amour " (1825)
  • Oratorio " Christ " (1855–66)
  • Oratorio "The Legend of St. Elizabeth" (1857–62)
  • Mass “ Missa solemnis ” (August 31, 1856) Inauguration of the Gran Basilica
  • Mass for 4-part male choir and organ (1848; 2nd version 1869)
  • Missa Choralis for 4-part mixed choir and organ (1865)
  • Hungarian Coronation Mass for 4 solo voices, mixed choir and orchestra (1867)
  • Requiem for 4 solo voices, 4-part male choir, organ and brass instruments (1868)
  • 13th, 18th, 23rd, 129th, 137th Psalm in various formations for solo voices, choir, instruments and harmonium (1855–81)
  • Cantico del Sol di San Francesco d'Assisi (1861 for baritone and organ or harmonium, 1865 for baritone, large orchestra, organ, male choir, revised 1881/83)
  • Legend of St. Cäcilia for mezzo-soprano, acc. Choir and Orchestra (1874)
  • Choirs to Herder's “Unleashed Prometheus” (1850; 2nd version 1855) for six solo voices, mixed choir and orchestra
  • To the artists, for solo voices, male choir and orchestra (1853)
  • Songs based on texts by Goethe , Heine , Hugo and others.
  • Via Crucis - the Way of the Cross , for solo voices, mixed choir and organ

See also

Works as digital copies

Individual evidence

  1. ↑ Carl Alexander Edition , Project Information ( Memento of the original from August 13, 2011 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. . @1@ 2Template: Webachiv / IABot / daten.digitale-sammlungen.de