Liszt Franz, Ferenc, *22 October 1811 Raiding (Doborján) near Sopron, †31 July 1886 Bayreuth, Hungarian composer, pianist, conductor and teacher. German biographers attribute Austrian-Bavarian origins to the Liszt family; the surname belongs to Hungarian noblemen, and Liszt considered himself Hungarian. His father, Adam Liszt, was an official on the estate of Nikolaus I, Prince Miklós Esterházy and a talented amateur musician. He played the piano and cello in a court orchestra led by Haydn. His mother, Anna Laager, was from Austria. Liszt, at the age of six, became interested in his father’s playing and gypsy and religious music. When he was seven, he started learning to play the piano under his father. He performed for the first time as a 9-year-old boy at public concerts in Sopron and Pozsony (currently Bratislava) at Prince Esterházy Palace. A group of Hungarian aristocrats, fascinated with Liszt’s talent, financially supported his further musical education.
In 1821, the family moved to Vienna, where Liszt started his musical studies under C. Czerny (piano) and A. Salieri (composition). He debuted with great success on 1 December 1822 in Vienna. He was accepted at Hungarian and Austrian aristocratic salons. In the autumn of 1823, Liszt went with his family to Paris, giving concerts in Munich, Augsburg, Stuttgart and Strasbourg on the way. In Paris, Cherubini refused Liszt’s application to the conservatory as he was a foreigner. Therefore, Liszt took up composition studies under F. Paer and then A. Reicha. At the same time, he gave recitals in Paris salons, dazzling listeners with his playing and art of improvisation. After a concert on 7 March 1824 at Théâtre Louvais, he received a commission to compose a one-act opera Don Sancho ou Le château d’amour, premiered on 10 October 1825 at the Paris Opera. In 1824–27, he travelled to England with his father three times: on 21 June 1824, he gave a recital at Argyll Rooms in Londo, and on 29 June, he played the newly constructed S. Erard piano at Drury Lane theatre. During his second trip to England in June 1825, he performed at the Windsor Castle for King George IV. At the time, he composed numerous works for piano of a bravura, virtuoso character, including compositions based on themes from operas by Rossini and Spontini and on twelve studies from the planned cycle Etude en 48 exercises. In the winter of 1826/27, he gave concerts in Switzerland. During his third visit to England, he suffered from a severe mental crisis and intended to become a priest. On his way back to Boulogne, he met his father, who fell ill with ‘typhoid fever’ and died suddenly.
Having returned to Paris, Liszt started working as a piano tutor. He fell in love with his student, the count’s daughter Caroline de Saint-Cricq; her father, Minister of Commerce and Manufacturing of King Charles X, demanded they break off the relationship. Deeply hurt Liszt fell ill again – he had suicidal thoughts, turned to religion and considered priesthood but his mother held him back from this idea. He decided to deepen his philosophical and literary knowledge, he read religious treatises by priest Félicité de Lamennais (who soon became his spiritual father) and works by Chateaubriand, Saint-Simon, Byron and others. He made acquaintances with the leading figures of the Romantic movement: V. Hugo, A. de Lamartine, H. Heine, and A. de Musset. In 1830, inspired by the idea of the July Revolution, he sketched the Revolutionary Symphony (not finished). He became friends with Berlioz; he came to the premiere of his Symphonie fantastique (1830), which made a strong impression on him; two years later, he composed its piano transcription. In March 1831, he listened to Paganini for the first time. Fascinated with his violin technique, he composed Grande fantaisie de bravoure sur la Clochette, a piano fantasy on the theme of the famous Campanella. In 1831, he met Mendelssohn and made friends with Chopin. Enchanted by Chopin’s music, he became its brilliant interpreter.
In 1834, he established a closer relationship with George Sand and met Comtesse Marie d’Agoult, who became another love of his life. The Comtesse developed Liszt’s writing interests and edited many of his publications. At the same time, Liszt composed his first piano works in a mature, romantic style: Harmonies poétiques et religieuses and the cycle Apparitions. Liszt’s spiritual bond with priest de Lamennais was growing – the composer visited him in 1834 in La Chênaie (Brittany) and dedicated him two new pieces: De profundis for piano and orchestra (not finished “instrumental psalm”) and Lyon for piano, inspired by the working-class revolt in this city. On 23 November 1834 at Berlioz’s concert, Liszt performed for the first time Grande fantaisie symphonique on Themes from Berlioz’s Leilo for piano and orchestra. In May 1835, Comtesse Marie d’Agoult left her husband and moved to Geneva with Liszt, where their first daughter, Blandine, was born on 18 December 1835. The composer taught at a newly established conservatory and wrote essays for the “Gazette Musicale de Paris,” referring to the theory prevalent in ancient Greece regarding the bond between music and science and philosophy, and promoting the idea of music born of poetic and psychological inspiration. He visited Paris a few times with the Comtesse. On 18 December 1836, he took part in a concert of Berlioz’s compositions; on 31 March 1837 in the house of Princess of Belgiojoso, he confronted his great rival, S. Thalberg; at the same time, he introduced Chopin to G. Sand’s house and visited her multiple times with M. d’Agoult in Nohant. In August 1837, the composer with M. d’Agoult left for Italy. In Milan, Liszt met Rossini and gave a few recitals. On 25 December 1837, in Bellagio on Lake Como, the second daughter of Liszt and Marie was born – Cosima.
In 1838, Liszt gave many concerts in Vienna and Italian cities. Years of travelling resulted in new compositions, among others, piano cycle Album dun voyageur, later revised as the first suite of Years of Pilgrimage: Switzerland, the basic framework of the second suite, Years of Pilgrimage: Italy, transcriptions of Beethoven’s symphonies (no. 5–7) and many works by Schubert, and a sketch of Dance of Death (Totentanz). On 9 May 1839, the only son of Lisz, Daniel, was born in Rome. However, the relationship between the composer and the Comtesse became strained. The Comtesse returned to Paris with the children, and Liszt, who wanted to financially support the project of building a Beethoven Monument in Bonn, began intensive concert activity. In November 1839, he performed in Vienna and later went to Hungary, where he was received with great enthusiasm. He gave concerts in Pozsony, Budapest, Györ and Sopron, and visited his native Raiding. In March 1840, he went through Vienna and Prague to Dresden and Leipzig, where he personally met Schumann, whom he had corresponded with before. In April, he performed in Paris, where he met Wagner for the first time, and also in England (1840–41) and Germany (1841– 42), and in April 1842 in St. Petersburg. In the same year, he was appointed a member of the Preussische Akademie der Künste and received the title of doctor of music from the University of Königsberg. During Liszt’s visit to Weimar in October 1842, he was appointed the “Kapellmeister Extraordinaire,” but it was not until six years later that the composer settled there permanently. In 1843–48, Liszt went on numerous, triumphant concert tours, including to Russia (St. Petersburg), France, Spain, Portugal, Switzerland, Hungary, Romania and Russia again. At the same time, he performed as a conductor in Weimar and other German cities. Polish cities were twice on his travel routes: in March 1843, he gave concerts in Poznań, Silesian cities and Kraków, in April he gave four recitals in Warsaw, and in 1848 – on the way from Ukraine to Weimar – he passed through Lviv, Kraków and Racibórz. In February 1847 in Kyiv, he met Princess Carolyne zu Sayn-Wittgenstein, wife of a Russian officer. This gave rise to another love relationship in Liszt’s life. The Princess invited the composer to her estate in Woronińce in Podolia, persuaded him to abandon his career as a virtuoso and devote himself exclusively to composition, and decided to escape from her husband.
In February 1848, Liszt settled in Weimar, taking up a permanent position as conductor, and soon K. Sayn-Wittgenstein joined him there and began long-lasting, unsuccessful efforts to have her marriage annulled. They both moved into the Altenburg villa, which became a social centre for artists – years of particularly intensive creative activity of Liszt started there. He composed twelve symphonic poems, Faust Symphony, Dante Symphony and final versions of both piano concerts, Dance of Death and two first suites of Years of Pilgrimage, Sonata in B minor, Missa solemnis for consecration of the Esztergom Basilica, as well as organ pieces: Fantasia and Fugue “Ad nos, ad salutarem undam” and Prelude and Fugue B-A-C-H. The then romantic musical avant-garde, known as the New German School, gathered around Liszt in Weimar, including Wagner, H. von Bülow, P. Cornelius, and J. Raff. Liszt conducted performances of Lohengrin (world premiere on 28 August 1850), Tannhäuser and The Flying Dutchman by Wagner, Benvenuto Cellini by Berlioz, Genoveva by Schumann, and Ernani by Verdi. Over the years, however, the atmosphere around Liszt in Weimar began to deteriorate. This was caused by Liszt’s support for Wagner, who was in political exile in Switzerland, and the disapproval expressed by some of the Weimar community towards his flaunting the relationship with Princess Sayn-Wittgenstein. On 15 December 1858, after the failure of the first performance of Der Barbier von Bagdad by Cornelius, Liszt gave up his position as kapellmeister, staying in Weimar for some time. On 13 December 1859, his 20-year-old son, Daniel, died in Berlin. In May 1860, Princess Sayn-Wittgenstein left Weimar for Rome; she made efforts to be accepted by the Pope and granted a divorce. On 14 September 1860, Liszt wrote his will, making the Duchess its executor; on 5–7 August 1861, Liszt attended the founding session of the Allgemeiner Deutscher Musikverein in Weimar, together with Wagner, Bülow and Cornelius. On 18 August 1861, he left Weimar. Via Berlin and Paris, where he gave a concert at the Tuileries in the presence of Napoleon III and Empress Eugenie, he reached Rome; here, the wedding ceremony with Caroline was to take place. At the last moment, the Pope refused the dispensation. Liszt and Princess Caroline decided to remain in Rome, but this time they lived separately.
From then on, Liszt devoted himself primarily to religious music. He finished the oratorios he had begun in Weimar: The Legend of St. Elizabeth and Christus. After the death of his daughter Blandine (1862), Liszt composed a Variation of the theme from the Cantata Weinen Klagen by J.S. Bach. In June 1863, he settled in the monastery Madonna del Rosario in Monte Mario, where he was visited by Pope Pius IX. At the time, he composed 2 Légendesfor piano: St François d’Assise. La Prédication aux oiseaux and St François de Paul marchant sur les flots. In March 1864, the husband of Princess Sayn-Wittgenstein died, but she resigned from marrying the composer; Liszt was bestowed holy orders in 1865. He spent May 1865 at the estate of Cardinal Hohenlohe at Villa d’Este in Tivoli; the musical reflection of his later stays there are three pieces from the third suite of the Years of Pilgrimage: 2 threnodies Aux cypres de la Villa d’Este and Les jeux d’eaux a la Villa d’Este. On 15 August 1865, in Budapest, there was a premiere of the oratorio Legend of St. Elizabeth. In 1866, Liszt composed a Hungarian coronation mass (Ungarische Krönungsmesse) for the coronation of Emperor Franz Joseph. Its premiere took place in Budapest on 8 June 1867, and on 6 July that year, the 1st movement of the oratorio Christus was premiered in Rome. During this period, because of an affair between Liszt’s daughter Cosima von Bülow and Wagner, the friendly composers came into a bitter conflict, and Liszt took the side of his favourite student, von Bülow. On 21 June 1868, Liszt performed for Pope Pius IX at Castel Gandolfo on the 20th anniversary of his papacy. In 1869, he was invited to Weimar to conduct a master piano class. On 29 May 1870 at the Weimar Festival on the 100th anniversary of Beethoven’s birthday, Liszt conducted his Beethoven Cantata No. 2 (Zur Säkularfeier Beethovens) and Symphony No. 9 by Beethoven. In September 1872, Wagner and Cosima visited Liszt in Weimar and came to terms. In October, Liszt made his first pilgrimage to Bayreuth and from then on regularly attended Wagner festivals. On 29 May 1873 in Weimar, there was a premiere of the entire oratorio Christus conducted by the composer. In November 1873 in Budapest, there was a celebration of the 50th anniversary of Liszt’s artistic career, and on 9 November a Hungarian premiere of oratorio Christus took place there. In the following years, Liszt gave many charity concerts. He met with outstanding composers: Albéniz, Borodin, Saint-Saëns, Tchaikovsky, Brahms and Debussy. He worked on the oratorio Legend on St. Stanislaus, “which aimed to glorify the saint bishop and Poland in music” (letter to C. Sayn-Wittgenstein, 22 May 1879). On the composer’s 70th birthday, on 22 October and 6 December 1881 in Rome, there were concerts of Liszt’s compositions: 1st movement of the symphonic poem Von der Wiege bis zum Grabe and Dante Symphony, among others. In 1882, Liszt visited Venice twice and in November met there with Wagner and Cosima; at the time, he wrote two piano pieces, La lugubre gondola. After Wagner died in 1883, Liszt composed piano threnody Am Grabe Richard Wagners. On 22 May 1883 in Weimar, he conducted a concert dedicated to Wagner’s memory, at which fragments of Parsifal were performed. In May 1884 in Weimar, he took part in the Allgemeiner Deutscher Musikverein congress and conducted his last Weimar concert there. In January 1886, he set off to Rome for his last journey; he visited Florence and Venice, gave a few classes in Budapest, went to Vienna, gave concerts in Liège and Paris, stayed in London in April, where his Legend on St. Elizabeth was performed three times and he gained an audience with Queen Victoria. Returning to Paris via Antwerp, he caught a cold. In May, he visited Weimar for the last time, in June – increasingly weaker – he consulted a doctor in Halle, who diagnosed hydrops. In July, he arrived in Bayreuth, where he participated in the wedding of his granddaughter Daniela von Bülow. On 23 July 1886, he watched a performance of Parsifal, and on July 25 – Tristan und Isolde, and died of pneumonia six days later; on 8 March 1887, Princess Caroline of Sayn-Wittgenstein died in Rome.
Liszt was one of the most outstanding figures of musical romanticism. His compositional activity covers the period from the birth of this style to its late stage, illustrating the changes in musical language over the course of more than half a century. In his piano works, he incredibly developed the pianist texture and technique, anticipating both impressionism (Debussy, Ravel) and expressionism (Scriabin), as well as the late romantic, virtuoso piano concerto (Tchaikovsky, Rachmaninoff). In his orchestral works, representing the romantic trend of programmatic music, he crystallised and developed the genre of the symphonic poem, continuing at the same time Berlioz’s idea of the programmatic symphony. As a pianist with a fantastic technique and a hypnotic effect on the audience, Liszt popularised a new style of Romantic virtuosity, familiarising wide circles of the public with the works of the most outstanding composers of the 19th century. As a conductor and director of the music of the Weimar court, he became the spiritual father of the New German School.
Liszt’s piano repertoire included countless transcriptions of, among others, overtures by Beethoven, Berlioz, Rossini and Weber, symphonies by Beethoven and Berlioz, concertos by Bach, Beethoven (no. 1, 3 and 5), Chopin, Mendelssohn, Hummel and Moscheles, Weber’s Konzertstück, numerous sonatas by Beethoven (including all the late ones), Carnival, Fantasy in C major and Sonata in F sharp minor by Schumann, Wanderer-Fantasie by Schubert, 4 sonatas by Weber, Variations sérieuses by Mendelssohn, numerous pieces by Chopin and Czerny, sonatas and fantasias by Hummel, sonatas and studies by Moscheles, fugues from Das wohltemperierte Klavier, transcriptions of organ fugues and Bach’s Goldberg Variations, suites and fugues by Handel, sonatas by Scarlatti.
According to the testimonies of Mendelssohn and Hiller, Liszt read notes incredibly quickly and mastered musical texts with ease. He freely embraced the interval of a tenth with his hand. Unlike earlier virtuosos, he developed a new playing technique using the natural weight of the manual apparatus, with loose arms and a high position of the hands and fingers. He achieved bold, previously unknown orchestral sound effects on the piano, enormous power, dynamism and brilliance of sound. He combined these features with finger precision and poetic interpretation.
The catalogue of Liszt’s works, made by H. Searle, consists of over 700 items. The three most important areas can be distinguished among them: 1. piano music (including original works as well as transcriptions and fantasies), 2. symphonic music, and 3. vocal and vocal-instrumental music (religious, secular, and songs). This division corresponds to the course of Liszt’s life and work, which is arranged in three general periods. The first period – until 1848 – is a time of virtuoso travels; piano works dominate. In the Weimar period (1848–61), Liszt focused on symphonic music. The last period, after the fiasco of his marriage plans and personal tragedies, is mainly a time of great religious works, but also of extremely interesting, late piano works.
The miniature form in Liszt’s early piano works predominates. The first pieces still reveal the influence of Czerny and the early Romantic brillant style; they are purely virtuoso, bravura in nature. These include: Impromptu brillant sur des thèmes de Rossini et Spontini (based on themes from Rossini’s La donna del lago and Armida and Spontini’s Olympia and Fernando Cortez), 7 variations brillantes sur un thème de Rossini (based on a theme from the opera Ermione), Allegro di bravura and Rondo di bravura, Scherzo in G minor, and 12 etudes (Etude en douze exercises) from the planned cycle Etude en 48 exercises dans tous les tons majeurs et mineurs.
Liszt’s fully original Romantic style is revealed in Harmonies poétiques et religieuses (1834). The title, together with a few words of introduction (“these poems are addressed only to a few…”) is taken from a collection of Lamartine’s poetry. The composition is written in a free improvisational style (largely without key signatures or metre), in a mood of Romantic nostalgia. In a revised form entitled Pensée des morts, Liszt placed it fourth in the later cycle Harmonies poétiques et religieuses (1845–52). The cycle of three pieces Apparitions from 1834 is maintained in a similar early Romantic climate; the third is a fantasy on a Schubert waltz. Lyon, also written in 1834, is – in keeping with its genesis – a kind of heroic march; Leon included it as No. 1 in the Album d’un voyageur cycle. Alongside the trend of romantic lyricism, inspired by scenes from nature or works of other arts, Liszt developed the genre of romantic, virtuoso piano etude in his early work, working on two collections: Transcendental Etudes and Etudes after Paganini. The earliest version of the “transcendental etudes” dates from 1826. Following Bach’s example, Liszt planned to write 48 pieces in all keys (Etude en 48 exercises) but wrote only 12. In a radically expanded and transformed form, he published them in 1839 as 24 Grandes études (in fact only 12), in 1847 Etude No. 4 was published separately under the title Mazeppa. Liszt gave the cycle its final shape in 1851–52 (Etudes d’exécutions transcendantes), giving most of the etudes (except two) literary titles. The etudes are very diverse in character. In them, Liszt gives examples of extremely difficult pianism: the technique of leaps, octave runs at extremely fast tempos, double grips, chord repetitions, arpeggios, trills and tremolos – with the widest use of piano registers. The 6 Transcendental Etudes after Paganini, published in two versions (1838 and 1851), are transcriptions of the caprices Op. 1 and the last movement of the Violin Concerto in B minor, called by Liszt La Campanella.
The subsequent suites of Années de pèlerinage (Years of Pilgrimage) were born from poetic inspiration in the spirit of the romantic idea of wandering and the correspondence of arts. First Year: Switzerland is a cycle of nine pieces evoking pictures of Liszt’s idyllic trip that he took in his youth with M. d’Agoult in the country of Wilhelm Tell. The suite opens with a musical picture of the Swiss national hero (La chapelle de Guillaume Tell), with fanfare and hymn motives. The nocturne Au lac de Wallenstadt, preceded by a motto from Byron, has an intimate and reflective character, with the illusion of water rippling in the figuration of the accompaniment. Au bord d’une source, with its symbolism of water shimmering, is an example of special sonic and textural refinement, a pioneering study of impressionism. Illustrativeness also comes to the fore in Orage, a sound image of an Alpine storm conveyed by an explosion of octave progressions, and in Les cloches de Genève, which closes the entire cycle. The quintessence of romantic moods of sadness, nostalgia, and melancholy is Le mal du pays. The longest and, at the same time, the central piece of the cycle, Vallée d’Obermann, drawn from a single theme, is like a piano study on the concept of a symphonic poem, a musical expression of the experiences of the protagonist of E. de Sénancour’s novel.
Unlike the first suite of the Years of Pilgrimage, the second, Italy, was inspired more by art than nature – the works of Raphael (Sposalizio), Michelangelo (Il penseroso), Petrarch (3 sonnets), Dante (Après une lecture du Dante). Reflective lyricism and a mood of melancholy dominate the entire cycle, with only the image of hell inspired by Dante’s Divine Comedy having a different character. The cycle is completed by a small collection entitled Venice and Naples, existing in two versions (1840 and 1859).
In the 1830s, Liszt wrote many other lighter works, such as Grande valse di bravura, Valse mélancolique, Rondeau fantastique sur un thème espagnol, El contrabandista (inspired by G. Sand’s novel Le Contrabandier), Grand galop chromatique. A curiosity among them is Hexaméron (1837), a cycle of variations on the march from Act II of Bellini’s opera I Puritani, written by six composers (Liszt, Thalberg, J.P. Pixis, H. Hertz, Czerny and Chopin) for a charity concert by Father Belgiojoso. Liszt often performed the piece in a version with an orchestra. In the 1840s, Liszt’s interest in gypsy and Hungarian music awakened. Heroischer Marsch in ungarischem Stil, published in 1840, became the rudiment of the later symphonic poem Hungaria, just as the works on Hungarian national themes written in the years 1839–47 were the preliminary approaches to the later Hungarian Rhapsodies.
Having settled in Weimar, Liszt reworked and assembled earlier works into collections. Among other things, a new piano cycle was created, with a title taken from Lamartine, identical to that in the youthful miniature: Harmonies poétiques et religieuses. Apart from the poetry of the French romantic, its basic spiritual source was the music of Palestrina, previously developed by Liszt in choral works (Ave Maria, Pater Noster, Miserere). Working with a new performing apparatus (the orchestra) greatly expanded the range of Liszt’s musical experience and prompted him to attempt to deal with large form, both in piano and symphonic music. Liszt’s guiding idea became the synthesis of sonata form and sonata cycle in a monumental, one-movement piece. In the field of solo piano music, this idea is represented by two basic works, thematically related to the Faust Symphony: Grosses Konzertsolo (also arranged for piano and orchestra and for 2 pianos as Concerto pathétique) and Sonata in B minor. The latter, a masterpiece of 19th-century piano literature, has remained a staple of the repertoire of the greatest virtuosos to this day. It is a work with a complex formal structure and great technical difficulties, as well as a huge charge of expression. The form of the sonata is based on five musical ideas connected by motivic kinship. The theme of the 7-bar introduction (repetition and a scale descending in octaves) appears in all fragments connecting the main links of the form. Theme I (main), related to the main theme of the Faust Symphony, is constructed from two antithetical motifs: the motif of the leap of the diminished seventh downwards with a dotted rhythm and the motif of the repetition. The following themes are derived from them: Theme II (Grandioso) and Theme III (Cantando espressivo) with a lyrical-nocturne expression, constituting an augmented form of the 2nd motif of the main theme; Theme IV is an independent, although related to the main ideas of the work, cantilena-like leading idea of the slow movement of the sonata, presented in the large form of ABA Andante sostenuto.
The form of the entire sonata consists of three parts: exposition, development (corresponding to the slow movement of the cycle) and reprise, the beginning of which is presented in the form of a fugue in the nature of a scherzo. Each part begins with a presentation of the main theme. The whole sonata ends with a reflective epilogue, a reminiscence of the main ideas of the work. The range of expression in the work ranges from agitation, pathos, anxiety and horror, through subtle love lyrics, contemplation and detached memories, to an ethereal dissolution into infinity with the final cadence of the work, juxtaposing two chords in the ratio of a tritone (a suspended cadence, suggesting the functional relationship of the Neapolitan subdominant and the dominant).
In the last period of Liszt’s work, he focused on religious themes. The influx of faith was accompanied by an obsession with death in its mournful, tragic or macabre dimension. In the field of piano music, the 1860s saw the creation of, among others: Variations on Bach’s Cantata No. 12 Weinen, Klagen, Sorgen, Zagen, 2 legends: St François d Assise. La prédication aux oiseaux and St François de Paule marchant sur les flots; in the 1860s and 1870s, the third suite of Années de pèlerinage with such significant works as the prophetic vision of impressionism Les jeux d’eau à la Villa d’Este or the boundlessly melancholic two threnodies Aux cyprès de la Villa d’Este and Sunt lacrymae rerum. In the 1870s and 1880s, alongside the cycle Weihnachtsbaum-Arbre de Noël, many individual piano pieces were created, permeated with a sense of the twilight of life and finality: threnodies, Mephistophelian waltzes and czardas in the poetics of the “dance of death,” funeral marches and commemorative pieces, such as Nuages gris, Am Grabe Richard Wagners, Mosonyis Grabgeleit, Schlaflos Frage und Antwort, Unsiren: sinistre, disastro, Quatre valses oubliées, Csardás macabre, Csardás obstiné, Mephisto Waltz No. 3. These years saw a significant evolution of the musical language and narrative in Liszt’s works. The harmony bordered on the boundaries of tonality; the composer consistently avoids clear cadences, juxtaposes distant chords, dissonantly clashes the melodic plan and the accompaniment plan, uses, for example, a whole-tone scale or augmented and diminished chords on large sections. In shaping the sound course, symmetry or continuity of line give way to a strongly expressive, torn, refracting narrative. A frequent procedure is to juxtapose the main musical ideas on the model of a dramatic question and a consolatory, religious answer. One can see in these phenomena a foreshadowing of expressionism.
A separate part of Liszt’s piano output consists of arrangements of works by other composers, about 300 items by several dozen artists in total. They can generally be divided into two types: 1. piano extracts from scores, which are transcriptions in the strict sense, 2. paraphrases and fantasies, in which Liszt reveals his individual compositional and pianistic style to a very strong degree. The former include, among others, the transcription of Berlioz’s Symphonie fantastique and Harold in Italy, Beethoven’s symphonies, Bach’s organ preludes and fugues, but also, for example, Wagner’s Overture to the opera Tannhaüser and The Death of Isolde from Tristan und Isolde, as well as many songs by Beethoven, Schubert, Mendelssohn, Chopin, and Schumann. The second one group includes fantasies on themes from operas by Auber (La Fiancée), Bellini (I Puritani, La Sonnambula, Norma), Donizetti (Lucia di Lammermoor), Meyerbeer (The Huguenots), Mozart (Don Juan), Verdi (Ernani, Rigoletto), Wagner (Rienzi), and Weber (The Freischütz).
In Liszt’s piano music, the sound of the instrument and its colour take on dominant importance. For this purpose, the composer uses the entire range of the keyboard, enriches the texture, and uses multi-layered structures notated in three systems. Characteristic effects and technical means include, for example, chord tremolo used to obtain sound vibrations, fast and expansive octave progressions associated with the expression of agitation, struggle or strong passions, the technique of jumping and crossing the hands, the alternating technique, and rich pedalling. The melody is often shifted from the soprano to the middle register, taking on a cello-like tinge. The colouristic refinement, serving, among other things, to illustrate natural phenomena, is accompanied by a tendency to give the piano sound a saturated, monumental, orchestral character.
Liszt’s orchestral output, almost entirely connected with the Weimar period, consists mainly of symphonic poems, programmatic symphonies and piano concertos. Liszt first used the term symphonic poem (sinfonische Dichtung) in connection with the performance of Tasso in 1854 and then extended it to overtures composed earlier. The essence of the new musical genre was to be “the renewal of music by linking it more closely with poetry” (from a letter to A. Street-Klindworth from 16 December 1860). Liszt’s symphonic poems were usually written in connection with specific occasions, anniversaries and celebrations. However, this occasional nature was usually combined with literary inspiration of high calibre, in the form of poetic and dramatic works by Hugo, Byron, Lamartine, Herder, Shakespeare and Schiller. This inspiration is not always unequivocal. Tasso. Lamento e trionfo was written as an overture to Goethe’s drama Torquato Tasso on the 100th anniversary of the poet’s birth; however, Liszt admitted in the preface to the score that it was directly inspired by Byron’s poem. The preludes were originally intended to be an overture to the choral work Les quatre éléments after a text by J. Autran; the association with the poem from Lamartine’s Poetic Meditations came later. Two poems do not have a specific verbal programme; with the first of them – Festklänge – Liszt wanted to celebrate his near-marriage to Fr. Sayn-Wittgenstein, the second – Hungaria – erected a beautiful musical monument to the Hungarian nation in connection with the uprising of 1848. Orpheus was created as a prologue to the Weimar performance of Gluck’s Orpheus and Eurydice, but the starting point for Liszt was the mythical image of the “first musical poet” on an Etruscan vase in the Louvre and the idea of the beneficial power of art associated with it. Finally, two of Liszt’s symphonic poems – Hunnenschlacht and Von der Wiege bis zum Grabe – were inspired by paintings: the first by a painting by W. von Kaulbach, presenting a battle of Christian peoples led by Theodoric with the hordes of Huns led by Attila, the second by a cycle of drawings by M. Zichy, depicting successive stages of human life.
For Liszt, a work from another field of art was merely an impulse to stimulate his own poetic and musical imagination. Only two poems, both inspired by Hugo’s poetry – Ce qu’on entend sur la montagne and Mazeppa – seem to be more closely connected with the poet’s train of thought and the structure of the literary work, but even here Liszt does not give up his own interpretation of the theme. His intention is to convey the leading poetic-philosophical idea of the literary or pictorial work that inspired the work by musical means. He includes it in a programmatic commentary, mediating between the work of the poet (painter) and the symphonic poem inspired by it, in the form of a preface to the score. Liszt often entrusted the editing of these prefaces to Princess Sayn-Wittgenstein, H. von Bülow and others, but they are a reflection of the composer’s own ideas, faithfully corresponding to the character and mood of the composition.
Liszt’s literary fascinations focus on certain guiding thoughts, themes and philosophical ideas. He devoted five symphonic poems to great mythical, legendary and literary figures. They personify the noblest aspirations and impulses of the human spirit: the magical, purifying and civilizing power of art, the greatness of genius always condemned to suffering and achieving posthumous triumph, heroic courage, tenacity and endurance, anxiety and tragic dilemma. The same circle of topics, in a more general philosophical perspective, are taken up by four poems, the content of which is human fate, the essence and course of human existence, its tense reference to nature, eternity, the ideal world: Preludes, Die Ideale, Von der Wiege bis zum Grabe, Ce qu’on entend sur la montagne. But also, in the musical historical “frescoes,” the poems Hunnenschlacht and Hungaria, Liszt’s idea is not only to depict the confusion of battle but above all to apotheose Christianity or freedom.
The dominance of literary content determines the obvious advantage of the lyrical-expressive aspect over the epic-descriptive one: illustrative effects are rare in Liszt’s symphonic poems. An exceptional poem here is Mazeppa, where the composer used imitative effects: the strike of a whip, the rush of a horse, the start of flight, the struggle of the rider in bonds, and the circling of birds above the lonely hero. These effects also fulfill an expressive-symbolic function, conveying the struggle, despair or the loneliness of the hero full of terror.
The fundamental role in the musical realization of Liszt’s programmatic concepts is played by musical themes, symbolising the personalities and experiences of the characters or philosophical ideas, areas of reality, spheres of human experience. The themes of Hamlet or Prometheus have much in common in the bold drawing and persistence of repetitive figures with the themes of Beethoven’s programmatic overtures. Another shade of heroism is expressed by the theme of Mazeppa, typical for Liszt, with a lofty, majestic melodic line led by trombones with a tuba and cellos with double basses. In Tasso and Orpheus, a sphere of emotions of a much milder nature comes to the fore: sadness, melancholy, longing for love. The main role here is played by the melody; the main theme of Tasso is a quote from the song of the Venetian gondoliers, to the tune of which the initial lines of Jerusalem Liberated were sung. Orpheus is a symphonic “song without words.” The musical themes of poems with philosophical content also fulfil a symbolic function. In Ce qu’on entend sur la montagne, there are two groups of themes: the first represents nature, its harmony, idyll and majesty, the second – the voice of humanity, its anxiety, horror and agitation. The themes of nature are based on chordal structures, the themes of humanity – on the intervals of a minor second and a tritone. In the poems Prelude and Die Ideale, which celebrate the rise and fall of man, the unity of thematic material, combined with the diversity of its variational and evolutionary versions, becomes a significant feature. An expressive-symbolic function is also fulfilled by quotations (in Tasso the aforementioned song of the Venetian gondoliers, in Hunnenschlacht the melody of the chorale Crux fidelis, representing the Christian world, in Héroïde funèbre the fanfare motif of La Marseillaise) and certain characteristic genres, such as the funeral march (Héroïde funèbre), the minuet (images of Tasso’s entertainments in Ferrara), the chorale (Andante religioso in Ce qu’on entend sur la montagne). Depending on the type of literary inspiration, Liszt uses the principle of monothematism, thematic dualism or polythematism in symphonic poems. Monothematism combined with broadly understood variation characterises poems of a lyrical-philosophical nature (Orpheus, Preludes, Die Ideale, and largely Tasso). The principle of contrast is manifested in the dualism of themes or thematic groups in poems inspired by dramatic action (Hamlet, Hunnenschlacht), although – due to the content of the literary program – we also find it in the lyrical poem par excellence Ce qu’on entendsur la montagne. Liszt realised the principle of polythematism most fully in Hungaria, a kind of symphonic rhapsody, constructed from contrasting episodes of different expressive character: lyrical, marching-heroic, elegiac, or gloomy-melancholic. They are also separated by improvisational violin cadenzas in the gypsy style. In the middle part of Allegro eroico, the musical progression takes on a dramatic, coherent character, symbolising the uprising and its tragic ending.
Liszt’s symphonic poems are characterised by a considerable variety of forms in terms of their overall architectural structure. In addition to simple and compact forms, such as the tripartite ABA form (Orpheus) or the sonata form (Prometheus, Hamlet), there are complex, extended forms consisting of several contrasting, although connected attacca, links (Preludes, Tasso, Die Ideale, Von der Wiege bis zum Grabe). In the latter case, Liszt’s research goes in two directions. The first consists of expanding the sonata form by increasing the number of themes, combining them into opposing groups, developing the reprise into a second development (Ce qu’on entendsur la montagne, Festklange). The second comes down to transferring the contrasts characteristic of the cyclical form to the ground of a single-movement form while maintaining the continuity of the musical progression. However, the cyclical expansion of the form is usually combined with monothematism or a far-reaching thematic unity of the work (Preludes, Die Ideale, Tasso). The complex form can also combine the principle of attacca cyclicity with the contrasts between variation versions of the theme and with the reprise symmetry proper to the sonata form: a hybrid structure is then created, integrating sonata form and the sonata cycle, analogously to the piano Sonata in H minor (Tasso, Preludes, Die Ideale).
The instrumentation of Liszt’s orchestral works is quite conventional. In the symphonic poems, a double cast of woodwind instruments predominates, sometimes enriched by a piccolo, English horn or bass clarinet. The brass group (4–6 horns, sometimes 4 trumpets, 3 trombones with tuba) gains greater importance. This is connected with Liszt’s typical tendency to crown poems with pompous finales. The programmatic inspiration comes from the use of the harp as an instrument supporting (similar to the ancient lyre or the medieval lute) the melodious theme (Orpheus and Tasso) and the organ as an instrument symbolising the triumph of the Christian spirit in the poem Hunnenschlacht. In Mazeppa, Hungaria and Héroïde funèbre, Liszt significantly expands the group of percussion instruments (kettles, big drum, snare drum, cymbals, tam-tam, triangle, bells); they play a special role in episodes of an illustrative, figurative, battle nature.
In terms of orchestral texture, homophony clearly prevails over polyphonic multi-layering in symphonic poems, textural ideas are more conventional, consisting primarily of figurative colouring of a transparent harmonic structure. The melodic-harmonic structure is a priority in the organisation of the form, although an important formal and expressive function is often fulfilled by the sound aspect: specific instrumental colours and sonoristic qualities. However, there is a dominant tendency to homogenise the sound by operating with the entire mass of individual instrumental groups, using numerous doublings. A particularly characteristic feature is the preference for a majestic, homophonic orchestral tutti, in which the brass choir stands out in the foreground.
Liszt’s programmatic symphonies are in their essence cycles of symphonic poems, inspired by great literary works. The genesis of the Faust Symphony dates back to the early 1830s, when Berlioz drew Liszt’s attention to Goethe’s drama in the French translation by G. de Nerval. Another impetus for taking up the subject was Berlioz’s dramatic legend La Damnation de Faust (1846), dedicated to Liszt. The character of Faust initially raised doubts in the composer: “Faust’s personality disperses and dissipates, he does not take any action, he allows himself to be led, he hesitates, experiments, wanders, ponders, bargains and is interested only in his own little happiness,” wrote Liszt to Princess Sayn-Wittgenstein. Ultimately, he saw his own self-portrait in the hero. The first version of the work was created in a record time of three months – from August to October 1854. Later, however, Liszt enriched and modified it many times, increasing both the cast of instruments and adding new fragments. Three movements of the symphony are devoted to three main characters of the drama: Faust, Margarita and Mephistopheles. The first movement is maintained in a free, multi-thematic sonata form. It is connected by the kinship of the main theme, which here takes on the most diverse forms, with the piano Sonata in B minor. This theme is undoubtedly the image of the hero and at the same time the self-portrait of the composer. The second movement, in the ABA form, is an example of musical love lyricism of the most delicate, intimate nature. Alongside the two themes characterising Margaret (the outer parts), the Faust theme returns here (the middle part). The finale, the image of Mephistopheles, is based on grotesquely parodied Faust themes. Liszt intended to end the work purely orchestrally at first but eventually added a chorus, a coda based on the final text of Part II of Faust (Chorus mysticus).
The first sketches of Dante Symphony date back to the late 1840s, with the main work on the piece taking place in 1855–56. Liszt initially intended to write a symphony in three movements, based on three books of the Divine Comedy. However, yielding to the persuasions of Wagner, to whom he dedicated the symphony, he gave up on the attempt to musically depict life in paradise and closed the work in 2 movements: Inferno and Purgatorio, to which he added the choral Magnificat. The main themes of the symphony are inspired by stanzas of Dante’s work, including the famous inscription on the gates of Hell: “Lasciate ogni speranza voi ch’entrate.” The middle episode of the first movement is a portrait of the unhappy couple Paolo and Francesca da Rimini; one of the thematic ideas is also based on a quote from Dante: “Nessum maggior dolore/ Che ricordarsi del tempo felice/ Nella miseria.” The second movement begins with an introduction depicting Dante, who arrives from hell in the glow of stars and watches the dawn. Then follows the main part (presenting the souls of purgatory preparing for paradise) with a central section in the form of a fugue.
The last important symphonic work from the Weimar period is Two Episodes from Lenau’s Faust: 1. Der nächtliche Zug, 2. Der Tanz in der Dorfschenke. The second episode is better known as the Mephisto Waltz – arranged in an orchestral and piano version. The piano version seems more interesting due to its bravura, pianistic virtuosity and original synthesis of demonism, grotesque and subtle lyricism. It is one of the showpieces of great pianists.
The Weimar years saw the creation of Liszt’s most important works for piano and orchestra – both piano concertos and the Dance of Death (Totentanz). In his piano concertos, Liszt creatively synthesises the concerto of the brilliant type and the symphonic concerto of the Beethoven type. At the same time, he develops an incredible range of piano techniques and virtuoso effects in the solo part, anticipating the achievements of Tchaikovsky and Rachmaninoff. In order to obtain an equivalent of the orchestra’s sound in the piano part, he uses, for example, massive chords directly clashing with the orchestra’s tutti chords and octave doublings in the part of both hands (the main theme of the E-flat major Concerto). On the other hand, he contrasts the piano part in terms of colour through the most diverse, refined figurative textures, juxtaposing it with various instruments of the orchestra (solos of the clarinet, violin, cello, oboe or even a triangle with a string pizzicato). Like in the Sonata in B minor and many symphonic poems, he combines the formal ideas of a sonata and a sonata cycle in a single-movement concerto. Concerto in E-flat major is built from four links attacca, Concerto in A major consists of six links. Both concertos have distinct movements: lyrical, scherzando and march. Both are also characterised by the kinship of thematic ideas, in accordance with Liszt’s principle of monothematism.
Totentanz, a cycle of variations on the theme of the Gregorian sequence Dies irae, was inspired (according to L. Ramann) by the frescoes in Campo Santo in Pisa “II Trionfo della Morte,” formerly attributed to A. Orcagni, and currently to F. Fraini. However, it is likely that the cycle of Holbein’s woodcuts played a greater role in the genesis of the composition. The style of the piece, integrally linked to the trend of programmatic music and the genre of the symphonic poem (here with the participation of a solo instrument), is characterised by the sharpness and demonic rapacity that almost foreshadows the vitalism of the 20th century. The motoric rhythm is combined with contrapuntal complications in the form of the canon (variation IV) or fugato (variation VI).
Liszt’s vocal-instrumental music includes, among others, the genres of oratorio, mass, cantata, motet, and song. His youthful experience with stage music in the form of the opera Don Sancho remained isolated. One of the main ideas of Liszt’s work, which particularly interested the composer in his last period of creativity, was to create new religious music, free in form and narrative, expressing the spirit of romantic religiosity – and therefore full of emotion and exaltation. In connection with this, Liszt encountered accusations that he was trying to smuggle the “spirit of Venus” into church music. In addition to the two oratorios – Legend of St. Elizabeth and Christus – the most significant works of this trend include Missa solemnis, Ungarische Krönungsmesse, Cantico del sol di San Francesco d’Assisi, Missa choralis, and Requiem (for male voices, organ and brass instruments).
The idea of both of Liszt’s oratorios originates from the Weimar period, but the composer completed them in the 1860s in Rome. The inspiration for the Legend of St. Elizabeth was the frescoes by M. von Schwind in Wartburg Castle, presenting events from the life of the legendary Hungarian princess from the Árpád dynasty. The libretto of the oratorio has the character of loose scenes, the binding thread of which is the chronology of the saint’s life. There is no testo part in it. The work is half-narrative, half-dramatic in nature – some fragments, e.g. the dialogue between Landgravine Sophie and Elizabeth in the scene of the expulsion from Wartburg Castle, lean towards opera or musical drama, others are more static in character. The musical matter of the work is based on recurring themes-leitmotifs, among which the most important is the theme of St. Elizabeth, Gregorian in its character and origin, which begins the entire oratorio (dialogue of flutes in a high register). It later undergoes various metamorphoses and transformations. In addition, Liszt quotes the melody of the Hungarian hymn to St. Elizabeth, a popular national melody symbolising Hungary, and a medieval pilgrims’ hymn, probably dating back to the Crusades. An important role in the oratorio is played by a three-note motif (major second + minor third) symbolising the cross (an analogous motif appears, for example, in the Dante Symphony and the symphonic poem Hunnenschlacht). The most beautiful scenes of the oratorio include scene 2 Rosenmirakel (‘miracle with roses’), especially the final duet of Elizabeth and Louis against the background of an elaborate boys’ choir, and scene 5 – a moving prayer of Elizabeth, who returns in her dreams to the country of her childhood.
The text of the oratorio Christus is based on fragments from the Bible, the Catholic liturgy and several Latin hymns. The work is divided into 3 parts: Part One: Weihnachtsoratorium – an oratorio for Christmas, Part Two: Nach Epiphania – presents events from the life of Christ, Part Three: Passion und Auferstehung – is devoted to the passion and resurrection. Individual numbers are intended for orchestra, orchestra with choir and solo voices and choir with organ. They create a loose sequence of forms and genres, programmatic musical images and various episodes from the life of Christ – without a clear, organic-dramatic connection. The work also has a heterogeneous stylistic character: alongside the older musical language and traditional functional tonality, we find here complicated modulatory harmony, alongside single-voice Gregorian chant, quotations from folklore, modal and pentatonic scales, alongside the triumphant, radiant orchestral tutti (cymbals with percussion), fragments with impressionistic instrumental and harmonic colouring. The Gregorian melody Rorate coeli serves as the motto and leading motif of the composition, returning at the beginning of the second movement and in the finale. The Gregorian themes Angelus, Beati pauperes, and Benedictus also play an important role. The first movement of the Weihnachtsoratorium is maintained in a pastoral and chamber character and is crowned by a triumphant, Hungarian-style march (Die heiligen drei Könige). The second one opens with a previously composed piece entitled Die Seligpreisungen, in the form of a dialogue between the baritone and the choir accompanied by the organ, with a very uniform expression and modal-pentatonic tonal colouring (Nietzsche associated this music with the state of nirvana). It is followed by the Gregorian, modal-polyphonic Pater Noster, and then the next part entitled Gründung der Kirche, contrasting the single-voice unison singing with the powerful papal hymn. In turn, there is a dramatic, tense scene of leading the disciples across the stormy sea, in the character of programmatic symphonic music with short choral interludes; at its culmination, there is the famous dialogue between the disciples and Christ (Domine, salva nos, perimus – Quid timidi estis, modicae fidei). The second part of the oratorio is crowned by the description of the entry into Jerusalem, with a triumphant final Hosanna. The third part begins with Tristis est anima mea for baritone and orchestra, the most personal and moving fragment of the work; characteristically for Liszt, suffering, care and pain are expressed here in Hungarian and gypsy tones. This is followed by a long, choral Stabat Mater dolorosa in the form of a variational arrangement of 20 tercets of Jacopone da Todi’s sequence, arranged in overarching groups and a general reprise form. After a short, delicate and ascetic Easter hymn O filii et filiae, maintained in the Aeolian mode (3-voice female choir and organ), comes the final Resurrexit for 4 voices, mixed choir and orchestra, including two fugue expositions.
In Liszt’s late religious music, as in his piano works from this period, there is a tendency towards advanced, experimental harmony, full of chromatism, sequences of seventh chords or, for example, whole-tone scales (e.g. Via crucis from 1878–79). Of relatively lesser, occasional importance is Liszt’s secular cantata works, among which the most important works include: two Beethoven cantatas (Festkantate zur Enthüllung des Beethoven-Denkmals in Bonn to text by O.L.B. Wolff and Zur Säkularfeier Beethovens to text by A. Stern and F. Gregorovius), the cantata Hungaria to a poem by Schober, An die Künstler to a poem by Schiller, and Chöre zu Herders Entfesseltem Prometheus. Among over 70 songs for voice and piano, there are songs to works by poets from Germany (Goethe, Schiller, Heine), France (Hugo, Dumas, Musset), Italy (Petrarch), Hungary (Petőfi, Abrányi), and even England (Tennyson). Their genre ranges from love poetry and reflective-philosophical poetry, through patriotic song, to ballad and dramatic scene. Several songs of a larger format have been arranged in orchestral versions. These are: Loreley to Heine’s text, Mignons Lied to Goethe’s text, Three Songs from Wilhelm Tell by Schiller, Drei Zigeuner to Lenau’s text, and Vatergruft to Uhland’s text. The first of them takes on the peculiar character of a vocal poem with a free, thoroughly recomposed musical form – in analogy to a piano or symphonic poem. Liszt’s song work also reveals a clear evolution – from the symmetrical, more musical than literary, or songlike, or giving the piano part predominance over the vocal and more dramatic earlier songs, to the fully recomposed, more literary than musical, following the text in detail later songs. In the reflective lyrics Liszt achieves a remarkable economy of piano means, supporting an ascetic, close to declamation melodic line. Motifs of sighs and groans, mystical chorale structures in the religioso style, sometimes developing recitation into a more melodic line on the basis of progressive and modulatory chord structures in the texture of harp arpeggio – all this co-creates a specific, metaphysical mood. Some of the late songs in this style, e.g. Verlassen to words by Michell, Und wir dachten der Toten to words by Freiligrath or Tristesse to words by Alfred de Musset, already lead into the world of expressionism: they announce the dissolution of the major-minor system and the emergence of Sprechgesang.
A characteristic feature of Liszt’s creative process is a multiplicity of versions: an immeasurable variety of different forms, transcriptions, adaptations, and versions of individual works. This feature is an expression of the inseparable connection between Liszt’s compositional work and his work as a performer: both as a pianist and a conductor. It proves the specific, already romantically understood primacy of live music-making (including improvisational practice) and direct expression over a structurally closed and perfect work.
Liszt’s work is invariably intriguing with its diversity and multifaceted nature. It is also the subject of lively disputes concerning its value. Critics of Liszt’s music often accuse it of superficiality, a tendency to use easy and flat effects, pomposity and pretentiousness, and a lack of precise formal construction. Apologists point to the originality of the composer’s thoroughly poetic imagination, his enormous lyrical inventiveness and boldness of harmonic ideas, his pioneering of new stylistic tendencies (impressionism, expressionism, even vitalism). There is no question about Liszt’s enormous contribution to the development of modern piano music – up to our times. He created the figure of a great, universal performer with unlimited technical and repertoire possibilities. It seems, however, that our times are discovering in Liszt’s style and poetics ever new, important values: spontaneity and sincerity of feeling, richness of emotions, depth of reflection on the world and human transience, fervent religiosity, carved out by internal anxiety. The categories of triviality or grotesqueness, still present in Liszt’s music, take on a completely new meaning in the face of the discovery of Mahler’s music. From a perspective of time, Liszt’s figure and work appear as one of the most outstanding phenomena of European Romanticism.
Literature:
Documentation: F. Liszt Thematisches Verzeichnis der Werke von Franz Liszt, Leipzig 1855 and Thematisches Verzeichnis der Werke, Bearbeitungen und Transkriptionen von Franz Liszt, Leipzig 1877; M. Eckhardt New Documents on Liszt as Author, “The New Hungarian Quarterly” XXV, 1984; M. Eckhardt Memorial Museum Liszt Franz, Academy of Music in Budapest, catalogue, Budapest 1986.
Briefwechsel zwischen Wagner und Liszt, ed. F. Hueffer, Leipzig 1877, 4th ed. 1919, English transl. 1888; Franz Liszts Briefe, 8 volumes, ed. La Mara (M. Lipsius), Leipzig 1893–1905; Briefe hervorragender Zeitgenossen an Franz Liszt, 3 volumes, ed. La Mara, Leipzig 1895–1904; Briefwechsel zwischen Franz Liszt und Hans von Bülow, ed. La Mara, Leipzig 1898; H. Raff Franz Liszt und Joachim Raff im Spiegel ihrer Briefe, “Die Musik” I, 1901/02; Es Briefe an Carl Gille, ed. A. Stern, Leipzig 1903; Briefwechsel zwischen Franz Liszt und Carl Alexander, Grossherzog von Sachsen, ed. La Mara, Leipzig 1909; A. W. Gottschalg Franz Liszt in Weimar…, Berlin 1910 (includes 48 letters by Liszt); Liszt Franz levelei báró Augusz Antalhoz (‘Liszt’s letters to baron A. August’), ed. V. Csapó, Budapest 1911; Franz Liszt. Briefe an seine Mutter, ed. La Mara, Leipzig 1918; Correspondance de Liszt et de la comtesse d’Agoult 1833–1840, 2 volumes, ed. D. Ollivier, Paris 1933–34; Correspondance de Liszt et de sa fille Mme E. Ollivier, ed. D. Ollivier, Paris 1936; The Letters of Franz Liszt to Marie Sayn-Wittgenstein, ed. H.E. Hugo, Cambridge (Massachusetts) 1953; Franz Liszt. Briefe aus ungarischen Sammlungen 1835–1886, ed. M. Prahács, Budapest 1966; The Letters of Franz Liszt to Olga von Meyendorff, ed. W.R. Taylor, E.N. Waters, Dumbarton Oaks 1979; E. Sayn-Wittgenstein Ollivier, C. de Sayn-Wittgenstein. Correspondance 1858–1887, ed. A. Troisier de Diaz, Paris 1984
E.K. Horvath Franz Liszt: Eine Studie auf der Grundlage der bekannten Quellen, Biographien und zeitgenössischen Darstellungen, vol.1: Kind-heit (1811–1827), vol. 2: Jugend, vol. 3: Franz Liszt in Italien: Aufent-halt mit Marie Gräfin d’Agoult von 1837 bis 1839, vol. 4: Virtuosenjahre 1837 bis 1840, Eisenstadt 1978–1995; E.H. Auman, R.A. White, G.L. Freunsch, R.J. Palian The music manuscripts, first editions, and correspondence of Franz Liszt (1811– 1886) in the collections of the Music Division, Library of Congress, Washington1991; E. Helm Franz Liszt: mit Selbstzeugnissen und Bilddokumenten, Hamburg 1972, 13th ed. 1998; M. Prahács, M. Eckhardt Liszt Ferenc hagyatéka a budapesti Zeneművészeti Főiskolán. 1 (‘the legacy of Ferenc Liszt at the Academy of Music in Budapest part 1’), Hungarian and English version, «Acta Academiae Artis Musicae de Francisco Liszt Nominatae», Budapest 1986; Liszt Ferenc hagyatéka a budapesti Zeneművészeti Főiskolán. 2, Zeneművek, (‘the legacy of Ferenc Liszt at the Academy of Music in Budapest part 2, musical pieces), ed. M. Eckhardt, Z. Domokos, G. Éger, Z. Koffán, K. Neumayer, Hungarian, German and English versions, «Acta Academiae Artis Musicae de Francisco Liszt Nominatae», Budapest 1993; Correspondence of Franz Liszt and the Comtesse Marie d’Agoult, ed. M. Short Paris 2001; D. Altenburg (ed.) Franz Liszt. Sämtliche Schriften, vol. 1: Frühe Schriften (ed. R. Kleinertz), vol. 3: Die Goethe-Stiftung / De la fondation Goethe (ed. D. Altenburg), vol. 4: “Lohengrin” und “Tannhäuser” von Richard Wagner (ed. D. Altenburg), vol. 5: Dramaturgische Blätter (ed. D. Redepenning, B. Schilling), Wiesbaden 1989–2000; M. Short, L. Howard Ferenc Liszt. List of Works, «Quaderni dell’Istituto Liszt», Milan 2004, W. Seibold Robert und Clara Schumann in ihren Beziehungen zu Franz Liszt: Im Spiegel ihrer Korrespondenz und Schriften, vol. 1, vol. 2, «Karlsruher Beiträge zur Musikwissenschaft», Frankfurt 2005; L. Le Diagon-Jacquin La musique de Liszt et les arts visuels, Paris 2010, M. Eckhardt (ed.) Génie oblige!: a budapesti Liszt Ferenc Emlékmúzeum kincsei, Budapest 2011; J.R. Hall-Swadley The Collected Writings of Franz Liszt. Volume 1, F. Chopin, Lanham 2011; F. Fix, L. Le Diagon-Jacquin, G. Zaragoza Franz Liszt: lectures et écritures, Paris 2013; The Liszt-d’Agoult correspondence: English translations and commentaries, ed. S. Gut, J. Bellas, transl. M. Short, «Franz Liszt Studies», Hillsdale (New York) 2013; The Alan Walker Collection: a Summary List of Archival Letters and Documents 1956–2007, Hamilton 2015; Liszt Ferenc Emlékmúzeum és Kutatóközpont (‘Franz Liszt Memorial Museum and Research Centre’), ed. M. Eckhardt, Budapest 2016.
Contemporary memories: G. Sand Histoire de ma vie, Paris 1856, Polish ed. Dzieje mego życia, transl. M. Dramińska-Joczowa, Warsaw 1968; D. Stern (M. d’Agoult) Mes souvenirs (1806–33), Paris 1877; A. Fay Music Study in Germany, Chicago 1881, 4th ed. 1893, reprint. 1965; J. Vianna da Motta Einige Beobachtungen über Franz Liszt, Munich 1898; W. Weissheimer Erlebnisse mit Richard Wagner, Stuttgart 1898; E. Sauer Meine Welt, Stuttgart 1901; A. von Schorn Zwei Menschenalter. Erinnerungen und Briefe, Berlin 1901; La Mara Aus der Glanzzeit der Weimarer Altenburg, Leipzig 1906; C. Wagner Franz Liszt ein Gedenkblatt von seiner Tochter, Munich 1911; R. Wagner Mein Leben, Munich 1911; K. von Schlözer Römische Briefe, Berlin, Leipzig 1913, Stuttgart 161926; V. Boissier Liszt pédagogue. Leçons de piano données par Liszt a Mlle Valérie Boissier en 1832, Paris 1927, reprint 1976; D. Stern (M. d’Agoult) Mémoires. 1833–1854, ed. D. Ollivier, Paris 1927; D. Ollivier Liszt et ses enfants, Paris 1936; A. Borodin Wospominanija o F. Liszte, Moscow 1953; M. Inglot Moniuszko, Liszt i Glinka w nieznanych opiniach współczesnych, “Ruch Muzyczny” I, 1957; Franz Liszts Klavierunterricht von 1884–1886 dargestellt an den Tagebuchaufzeichnungen von August Göllerich, ed. W. Jerger, Regensburg 1975; C. Wagner Die Tagebücher, I. 1869–1877, II. 1878–1883, ed. M. Greger, D. and D. Mack, Munich, Zurich 1976; A. Williams Portrait of Liszt: By Himself and His Contemporaries, Oxford 1990; C. Lachmund Living With Liszt: From the Diary of Carl Lachmund, an American Pupil of Liszt 1882–1884, «Franz Liszt Studies», Stuyvesant (New York) 1995, 2nd ed. Stuyvesant 2010; W. von Lenz Les grands virtuoses du piano: Liszt, Chopin, Tausig, Henselt: souvenirs personnels, Paris 1995.
Monographies, biographies: J.W Christem Franz Liszt, nach seinem Leben und Werke, aus authentischen Berichten dargestellt, Hamburg 1841; L. Rellstab Franz Liszt. Beurteilungen — Bericht — Lebensskizze, Berlin 1842, 2nd ed. 1861; G. Schilling Franz Liszt. Sein Leben und Wirken aus nächster Bechauung, Stuttgart 1844; R.L. de Beaufort Franz Liszt. The Story of His Life, Boston 1866, 2nd ed. 1910, (includes N. Helbig Franz Liszt in Rome). J. Schuberth Franz Liszts Biographie, Leipzig 1871; L. Ramann Franz Liszt als Künstler und Mensch, 3 volumes, Leipzig 1880–94; O. Lessmann Franz Liszt eine Charakterstudie, Berlin 1881; L. Nohl Franz Liszt, Leipzig 1882–88; B. Vogel Franz Liszt. Abriss seines Lebens und Würdigung seiner Werke, Leipzig 1888; La Mara Classisches und Romantisches aus der Tonwelt, Leipzig 1892; O. Lüning Franz Liszt, ein Apostel der Ideale, Zurich 1896; E. Reuss Franz Liszt, Leipzig 1898; R. Louis Franz Liszt. Vorkämpfer des Jahrhunderts, 2 volumes, Berlin 1900; M.D. Calvocoressi Franz Liszt. Biographie critique, Paris 1905; A. Göllerich Franz Liszt, Berlin 1908; J. Kapp Franz Liszt, Berlin 1909, 20th ed. 1924, Liszt-Brevier, Leipzig 1910 and Richard Wagner und Franz Liszt – eine Freundschaft, Berlin 1910; J.G. Prod’homme Franz Liszt, Paris 1910; J. Chantavoine Liszt, Paris 1911, 6th ed. 1950; A. Hervey Franz Liszt and His Music, London 1911; J.G. Huneker Franz Liszt, New York 1911; A. Sallès Le centenaire de Liszt: Liszt à Lyon, Paris 1911; H. Thode Franz Liszt, Heidelberg 1911; A. von Schorn Das nachklassische Weimar, Weimar 1911–12; P. Bekker Franz Liszt, Bielefeld 1912; G. Hollitzer Liszt Franz és a weimari irodalmi élet, «Német philológiai dolgozatok» VI, Budapest 1913; B. Schrade Franz Liszt, Berlin 1914; P. Raabe Grossherzog Alexander und Liszt, Leipzig 1918; La Mara Liszt und die Frauen, Leipzig 1911, 2nd ed. 1919; L. Bourgues, A. Dénéréaz La musique et vie intérieure. Essai d’une histoire psychologique de l’art universel, Paris 1921; R. Bory Une retraite romantique en Suisse. Liszt et la Comtesse d’Agoult, Geneva 1923, 2nd ed. 1930; K. Grunsky Franz Liszt, Leipzig 1924; G. de Pourtalès La vie de Franz Liszt, Paris 1925, 2nd ed. 1950, English transl. 1926; W. Wallace Liszt, Wagner and the Princess, London 1927; C. van Wessem Franz Liszt, the Hague 1927; E. Mesa Liszt. Su vida y sus obras, Paris 1929; G. de Pourtalès Liszt et Chopin, Paris 1929; P. Raabe Franz Liszt, Stuttgart 1931 (includes a list of compositions by Liszt), 2nd ed. revised 1968; E. Newman The Man Liszt, London 1934, 2nd ed. 1970; S. Sitwell Liszt, London 1934, 3rd ed. revised New York 1967, French ed. Paris 1961; H. Engel Franz Liszt, Potsdam 1936; A. Hevesy Liszt ou le roi Lear de la musique, Paris 1936; L. Nowak Franz Liszt, Innsbruck 1936; B. Ollivier Liszt, le musicien passionné, Paris 1936; M. Tibaldi Chiesa Vita romantica di Liszt, Milan 1937, 2nd ed. 1941; P. Raabe Wege zu Liszt, Regensburg 1944; H. Searle The Music of Liszt, London 1954 (includes a list of compositions by Liszt), 2nd ed. revised 1966; J. Vier La Comtesse d’Agoult et son temps, Paris 1955–63; B. Voelcker Franz Liszt, der grosse Mensch, Weimar 1955; W. Beckett Liszt, London 1956, 2nd ed. 1963; J. Milstein Franz Liszt, 2 volumes, Moscow 1956, 2nd ed. revised 1971, revised Hungarian ed. J. Subrik, Budapest 1965; B. Szabolcsi Liszt Franz estéje [The twilight of Ferenc Liszt], Budapest 1956, English transl. 1959; G.Z. Törnbom Liszt, Stockholm 1956; C. Rostand Liszt, Paris 1960, English transl. 1972; K. Hamburger Liszt Franz, Budapest 1966, 2nd ed. revised 1980 (includes a list of compositions by Liszt), German transl., 1973, 2nd ed. 1986; E. Haraszti Franz Liszt, Paris 1967; S. Szenic Franz Liszt, Warsaw 1968; Franz Liszt. The Man and His Music, ed. A. Walker, London 1969, 2nd ed. 1976; A. Walker Liszt, London 1971; A. Walker Franz Liszt, vol. 1: The Virtuoso Years 1811–1847, vol. 2: The Weimar Years 1848–1861, New York 1983; B. Morrison Liszt, London 1989, Polish transl. Kraków 1999; C. Rueger Franz Liszt: eine Biographie, Frankfurt 1990; D. Watson Liszt, London 1990; M. Saffle Liszt in Germany. 1840–45 and K.T. Johns The Symphonic Poems of Franz Liszt, «American Liszt Society Studies» II and III, Stuyvesant (New York) 1992; A. Walker Franz Liszt, vol. 3: The final years, 1861–1886, New York 1996; I. and P. Załuski Young Liszt, London 1997; D. Gooley The Virtuoso Liszt, Cambridge 2004; A. Mayer Franz Liszt: Musikgenie und Frauenschwarm, Vienna 2010; S. Gut Franz Liszt, «Musik und Musikanschauung im 19. Jahrhundert», Sinzig 2011; Á. Watzatka Liszt Ferenc a Vigadó színpadán (‘Ferenc Liszt on the stage Vigadó’), Budapest 2014; B. Meier Franz Liszt, Hamburg 2015; S. Dybowski Franciszek Liszt: przyjaciel Polski i Polaków, Warsaw 2018.
Studies, articles, dissertations: R. Wagner Ein Brief über Liszts symphonische Dichtungen, Leipzig 1857, also in: Gesammelte Schriften, vol. 5, Leipzig 1883; F. Draeseke Liszts symphonische Dichtungen, “Anregungen fur Kunst und Wissenschaft” II, III, 1857, 1858; F. Draeseke Liszts Dante-Symphonie, “Neue Zeitschrift für Musik” XXVII, 1860; F. Busoni Die Ausgaben der Lisztschen Klavierwerke, “Allgemeine Musikzeitung” XXVII, 1900, reprint in: F. Busoni Von der Einheit der Musik, Berlin 1922; E. Reuss Liszts Lieder, “Bayreuther Blätter” 1906 no. 7–12; La Mara Franz Liszt und sein unvollendetes “Stanislaus-Oratorium,” “Österreichische Rundschau” from 15 October 1911; A. Heuss Eine motivisch-thematische Studie über Liszts sinfonische Dichtung “Ce qu’on entend sur la montagne,” “Zeitschrif der Internationalen Musikgesselschaft” XIII, 1911/12; E. Segnitz Franz Liszts Kirchenmusik, Langensalza 1911 ; P. Roberts Etudes sur Boieldieu, Chopin et Liszt, Rouen 1913; P Raabe Die Entstehungsgeschichte der ersten Orchesterwerke Franz Liszts, dissertation form the University of Jena 1916; G. Galston Studienbuch Franz Liszt, Munich 1926; A. Schering Über Liszts Persönlichkeit und Kunst, “Jahrbuch der Musikbibliothek Peters” XXXI, 1926; H. Engel Die Entwicklung des deutschen Klavierkonzerts von Mozart bis Liszt, Leipzig 1927; W. Danckert Liszt als Vorläufer des musikalischen Impressionismus, “Die Musik” XXI, 1928–29; E. Haraszti La question tzigane-hongroise, in: congress book of the International Musicological Society, Liège 1930.
Compositions
The list of compositions by Liszt was prepared based on the list by H. Searl in NGD, taking into account the corrections and additions made by K. Hamburger (Franz Liszt, German ed., Budapest 2nd ed. 1986). Lost works or those of doubtful authorship were omitted, and compositions were selected from piano works based on national themes and for 4 hands, secular and religious compositions for voice, choir, instrument and orchestra, and arrangements and transcriptions. The list retains the numbering introduced in the two basic lists of Liszt’s output: P. Raabe Franz Liszt, Stuttgart 1931 (column R) and H. Searle The Music of Franz Liszt, London 1954 (column S). First editions are given according to F. Busoni, P. Raabe et al. Franz Liszt. Musikalische Werke (Leipzig 1907–36), if only the year is given, it refers to the publisher Breitkopf & Härtel, Leipzig.
LSP — Liszt Society Publications (London 1950)
Bus. — F. Busoni, P. Raabe et al. Franz Liszt. Musikalische Werke (Leipzig 1907– 36)
NA — Franz Liszt. Neue Ausgabe sämtlicher Werke (Kassel and Budapest 1970–)
Instrumental:
orchestra:
Les Préludes, symphonic poem after A. Lamartine (composed as an introduction to Les quatre éléments, cf. secular compositions), R 414, S 97, 1848, revised before 1854, dedicated to Princess Caroline Sayn-Wittgenstein, premiere 28 February 1854 Weimar, 1st ed. 1856, Bus. I/2
Ce qu’on entend sur la montagne (Bergsymphonie), symphonic poem after H. Hugo, dedicated to Princess Caroline Sayn-Wittgenstein, premiere February 1850 Weimar, 1st ed. 1857, Bus. I/1; 2nd ed. 1850, 3rd ed. 1854
Tasso, Lamento e Trionfo, symphonic poem after G. Byron, instrumentation Conradi, 4 editions, 2nd ed. revised J. Raff, R 413, S 96, 1849–54, dedicated to Princess Caroline Sayn-Wittgenstein, premiere 28 August 1849 Weimar, 1st ed. 1856, Bus. I/1
Prometheus, symphonic poem (composed as an introduction to Chöre zu Herders Entfesseltem Prometheus – cf. secular compositions), instrumentation J. Raff, R 416, S 99, 1850, revised 1855, dedicated to Princess Caroline Sayn-Wittgenstein, premiere 24 August 1850 Weimar, 1st ed. 1856, Bus. I/3
Orpheus, symphonic poem, R 415, S 98, 1853–54, dedicated to Princess Caroline Sayn-Wittgenstein, premiere 16 February 1854 Weimar, 1st ed. 1856, Bus. I/2
Héroïde funèbre, symphonic poem, instrumentation J. Raff, R 419, S 102, 1849–50, revised ca. 1854, dedicated to Princess Caroline Sayn-Wittgenstein, premiere 10 November 1857 Wrocław, 1st ed. 1857, Bus. I/4
Mazeppa, symphonic poem after W. Hugo, instrumentation with J. Raff, R 417, S 100, 1851, revised before 1854, dedicated to Princess Caroline Sayn-Wittgenstein, premiere 16 April 1854 Weimar, 1st ed. 1856, Bus. I/3
Festklänge, symphonic poem, R 418, S 101, 1853, dedicated to Princess Caroline Sayn-Wittgenstein, premiere 19 November 1854 Weimar, 1st ed. 1856, Bus. I/4
Hungaria, symphonic poem, R 420, S 103, 1854, dedicated to Princess Caroline Sayn-Wittgenstein, premiere 8 September 1856 Budapest, 1st ed. 1857, Bus. I/5
Die Ideale, symphonic poem after F. Schiller, R 423, S 106, 1857, dedicated to Princess Caroline Sayn-Wittgenstein, premiere 5 September 1857 Weimar, 1st ed. 1858, Bus. I/6
Hunnenschlacht, symphonic poem after W. von Kaulbach, R 422, S 105, 1856–57, dedicated to Princess Caroline Sayn-Wittgenstein, premiere 28 December 1857 Weimar, 1st ed. 1861, Bus. I/6
Hamlet, symphonic poem, R 421, S 104, 1858, dedicated to Princess Caroline Sayn-Wittgenstein, premiere 2 July 1876 Sondershausen, 1st ed. 1861, Bus. I/5
Von der Wiege bis zum Grabe, symphonic poem, R 424, S 107, 1881–82, dedicated to Mihály Zichy, 1st ed. Berlin 1883 Bote & Bock, Bus. I/10: 1. Die Wiege (based on Wiegenlied – cf. compositions for piano), 2. Der Kampf um’s Dasein, 3. Zum Grabe: Die Wiege des zukünftigen Lebens
Festmarsch zur Goethe-Jubiläumsfeier, instrumentation Conradi, R 433, S 115, 1849, premiere 28 August 1849 Weimar, Bus. I/11; revised and instrumentalised by J. Raff, 1857, 1st ed. Leipzig 1859 Schuberth; 2nd ed. 1870
Eine Faust-Symphonie in drei Charakterbildern (Faust Symphony) after J.W. Goethe, R 425, S 108, 1854, dedicated to H. Berlioz, premiere 5 September 1857 Weimar, Bus. I/8–9: 1. Faust, 2. Gretchen, 3. Mephistopheles; version with a lower vocal part in the 3rd movement finale, 1857, revised 1861 and 1880, 1st ed. Leipzig 1861 Schuberth
Eine Symphonie zu Dantes Divina Commedia (Dante Symphony), R 426, S 109, 1855–56, dedicated to R. Wagner, premiere 7 November 1857 Dresden, 1st ed. 1859, Bus. I/7: 1. Inferno, 2. Purgatorio and Magnificat for soprano, female choir and orchestra (2 versions of ending)
Künstlerfestzugzur Schiller-Feier 1859, R 432, S 114, 1857, premiere 8 November 1860 Weimar, 1st ed. Leipzig 1860 Kühn, Bus. I/11
Festmarsch nach Motiven von E. H. zu S.C. G. (Ernst Herzog zu Sachsen-Coburg-Gotha), from the opera Diana von Solange, R 436, S 116, before 1860, 1st ed. Leipzig 1860 Schuberth as Coburger Fest-Marsch no. 2
Trois Odes funèbres, R 429, S 112, 1860–66, dedicated to C. von Bülow, premiere 21 May 1912 Weimar, 2nd ed. 1916, I/12: 1. Les morts for orchestra and choir after R. de Lamennais, 2 editions, 2. La notte after Michelangelo, 1863–64, premiere 6 December 1912 Weimar, 1916, I/12, 3. Le triomphe funèbre du Tasse (composed as an epilogue of a symphonic poem Tasso), 1866, dedicated to L. Damrosch, premiere March 1877 New York, 1st ed. 1877, Bus. I/2
Zwei Episoden aus Lenaus Faust, R 427, S 110, before 1861, dedicated to C. Tausig, 1st ed. Leipzig 1865–66 Schuberth, Bus. I/10: 1. Der nächtliche Zug, 2. Der Tanz in der Dorfschenke (Mephisto Waltz No. 1), premiere 8 IMII 1861 Weimar
Salve Polonia, interlude to oratorio Legend on St. Stanislaus, R 430, S 113, 1863, premiere 1884 Weimar, 1st ed. Leipzig 1884 Kahm
Rákóczi-Marsch, R 439, S 117, 1865, premiere 17 August 1865 Budapest, 1st ed. Leipzig 1871 Schuberth
Ungarischer Marsch zur Krönungsfeier in Ofen-Pest am 8. Juni 1867, R 438, S 118, 1870(?), 1st ed. Leipzig 1871 Schuberth, Bus. I/12
Ungarischer Sturmmarsch, R 437, S 119, 1875, dedicated to Sándor Teleky, 1st ed. Berlin 1876 Schlesinger, Bus. I/1
Mephisto Waltz No. 2, R 428, S 111, 1880–81, dedicated to C. Saint-Saëns, premiere 9 March 1881 Budapest, 1st ed. Berlin 1881 Fürstner, Bus. I/1
for piano and orchestra:
Grande fantaisie symphonique (composed based on themes from lyric monodrama Lélio by H. Berlioz), R 453, S 120, 1834, premiere 24 November 1834 Paris
Piano Concerto No. 2 in A major, R 456, S 125, 1839, revised 1849, 1853, 1857, 1861, dedicated to H. von Bronsart, premiere 7 January 1857 Weimar, 1st ed. Mainz 1863 Schott, Bus. I/3
Malédiction for piano and string orchestra, R 452, S 121 ca. 1840(?), premiere 1915, Bus. I/3
Fantasie über Motive aus Beethovens “Ruinen von Athen”, R 454, S 122, 1848–52(?), dedicated to A. Rubinstein, premiere 1 June 1853 Budapest, 1st ed. Leipzig 1855 Siegel
Piano Concerto No. 1 in E-flat major, instrumentation L. and J. Raff, R 455, S 124, 1849, revised 1853–56, dedicated to H. Litolff, premiere 17 February 1855 Weimar, 1st ed. Vienna 1857 Hasslinger 1/3
Totentanz. Paraphrase über “Dies Irae”, R 457, S 126, 1849, dedicated to H. von Bülow, premiere 15 April 1865 the Hague, 1st ed. 1865, Bus. I/3; 2nd ed. revised 1853, 1865, 1st ed. Leipzig 1865 Siege
Ungarische Fantasie, R 458, S 123, 1852(?), dedicated to H. von Bülow, premiere 1 June 1853 Budapest, 1st ed. Leipzig 1864 Heinze
chamber:
Duo (Sonata) for violin and piano (based on Mazurka in C-sharp minor op. 6 no. 2 by Chopin), R 461, S 127, ca. 1832–35, 1st ed. New York 1964 Southern Music
Grand duo concertant sur la romance de M. Lafont “Le Marin” for violin and piano, R 462, S 128, ca. 1835, revised 1849(?), 1st ed. Mainz 1852 Schott
Epithalam zu E. Reményis Vermählungsfeier for violin and piano, R 466, S 129, 1872, 1st ed. Budapest 1873 Täborszky & Parsch
Elegie, R 471, S 130, 1874, dedicated to M. Muchanow (Kalergis), 1st ed. Leipzig 1874 Kahnt, 3 editions: for cello, piano harp and harmonium, for cello and piano, 1874 or for violin and piano, 1876
Zweite Elegie for violin or cello and piano, R 472, S 131, 1877, dedicated to L. Ramann, 1st ed. Leipzig 1878 Kahnt
Romance oubliée for viola or violin or cello and piano, R 467, S 132, 1880, dedicated to H. Ritter, 1st ed. Hanover 1881 Simon
Die Wiege for 4 violins, R 475, S 133, 1881 (?)
La lugubre gondola for violin or cello and piano, R 468, S 134, 1882, 1st ed. Budapest 1974
piano (Liszt’s original titles for the cycles of etudes preserved):
Etude en 48 exercises for piano (only 12 written), R 1, S 136, 1826, dedicated to L. Garella, premiere Paris 1826 Boisselot, Bus. II/1
Etudes d’exécution transcendante d’après Paganini for piano, R 3a, S 140, 1838, dedicated to C. Schumann, 1st ed. Vienna 1840 Haslinger, Bus. II/3: 1. in G minor, 2. in E-flat major, 3. La Campanella, 4. in E major (2 versions), 5. La chasse, 6. Thema und Variationen (based on 24 Caprices op. 1 and on the last movement of Violin Concerto in B minor by N. Paganini)
Mazeppa for piano, R 2c, S 138, ca. 1840, dedicated to W. Hugo, 1st ed. Berlin 1847 Schlesinger, Bus. II/1
Morceau de salon. Etude de perfectionnement for piano, R 4a, S 142, 1840, 1st ed. Berlin 1841 Schlesinger, Bus. II/3
3 études de concert for piano, R 5, S 144, ca. 1848, dedicated to E. Liszt, premiere Leipzig 1849 Kistner, Bus. II/3, NA I/2: in A-flat major (Il lamento), in F minor (La leggierezza), in D-flat major (Un sospiro)
Etudes d’exécution transcendante for piano, R 2b, S 139, 1851, dedicated to C. Czerny, 1852, Bus. II/2, NA I/1: 1. Preludio, 2. in A minor, 3. Paysage, 4. Mazeppa, 5. Feux follets, 6. Vision, 7. Eroica, 8. Wilde Jagd, 9. Ricordanza, 10. in F minor, 11. Harmonies du soir, 12. Chasse-neige
Grandes études de Paganini for piano (based on Etudes (…) d’après by Paganini), R 3b, S 141, 1851, dedicated to C. Schumann, 1851, Bus. II/3, NA I/2
Ab Irato. Etude de perfectionnement de la “Méthode des méthodes” for piano, R 4b, S 143, 1852, 1st ed. Berlin 1852 Schlesinger, Bus. II/3, NA I/2
Zwei Konzertetüden for piano, R 6, S 145, 1862–63(?), dedicated to D. Pruckner, 1st ed. Stuttgart 1863 Cotta, Bus. II/3, NA I/2: 1. Waldesrauschen, 2. Gnomenreigen
Technische Studien for piano (12 books), R 7, S 146, 1868–ca. 1880, 1st ed. Leipzig 1886 Schuberth
Variation über einen Walzer von Diabelli for piano, R 26, S 147, 1822, 1st ed. Vienna 1823 Diabelli, Bus. II/7, NA II/1
8 variations for piano, R 27, S 148, ca. 1824, dedicated to S. Erard, 1st ed. Paris 1824–25 Erard, Bus. II/7, NA I/9
7 variations brillantes sur un thème de Rossini for piano, R 28, S 149, ca. 1824, dedicated to Mme Panckoucke, 1st ed. Paris 1824 Erard, NA II/1
Impromptu brillant sur des thèmes de Rossini et Spontini for piano, R 29, S 150, 1824, dedicated to Eugénie de Noirberne, premiere Paris 1825 Erard, NA II/1
Allegro di bravura for piano, R 30, S 151, 1824, dedicated to Thaddeus Amadé, premiere Paris 1825 Erard, Bus. II/7, NA I/11
Rondo di bravura for piano, R 31, S 152, 1824, dedicated to Amadé, 1st ed. Paris 1825 Erard, Bus. II/7, NA I/11
Scherzo in G minor for piano, R 19, S 153, 1827, 1st ed. “Allgemeine Musikzeitung” 1896, no. 22–23, Bus. II/9, NA I/13
Harmonies poétiques et religieuses for piano, R 13, S 154, 1834, dedicated to A. de Lamartine, 1st ed. “Gazette musicale de Paris” no. 23 from 7 June 1835, Bus. II/5, NA I/9
Apparitions for piano, R 11, S 155, 1834, 1st ed. Berlin 1834 Schlesinger, Bus. II/5, NA I/9: 1. Senza lentezza quasi Allegretto, dedicated to Clara de Rauzan, 2. Vivamente, dedicated to Frédéric de Larochefoucauld, 3. Molto agitato et appassionato, dedicated to marquess de Camaran
Album d’un voyageur for piano, R 8, S 156, 1835–36, 1st ed. Vienna 1842 Haslinger, LSP II (no. 1), Bus. II/4, NA I/6: book I Impressions et poésies, 1st ed. Paris ca. 1840 Richault, LSP V (no. 3–4) (no. 7–9): 1. Lyon, dedicated to F. de Lamennais, 2a. Le lac de Wallenstadt, 2b. Au bord d’une source, dedicated to F. Denis, 3. Les cloches de Genève, dedicated to B. Liszt, 4. Vallée d’Obermann, dedicated to E. Pivert de Senancour, 5. La Chapelle de Guillaume Tell, dedicated to V. Schölcher, 6. Psaume; book II Fleurs mélodiques des Alpes, dedicated to H. Reiset, 1st ed. Paris 1840 Latte: 7a. Allegro, 7b. Lento, 7c. Allegro pastorale, 8a. Andante con sentimento, 8b. Andante molto espressivo, 8c. Allegro moderato, 9a. Allegretto, 9b. Allegretto, 9c. Andantino con molto sentimento; book III Paraphrases, 1st ed. Paris 1836 Latte: 10. Improvvisata sur le Ranz de vaches de Ferdinand Huber, dedicated to A. Pictet, 11. Un soir dans les montagnes, dedicated to Maria Potocka, 12. Rondeau sur le Ranz de chèvres de Ferdinand Huber, dedicated to Theobald Walsh
Fantaisie romantique sur deux mélodies suisses for piano, R 9, S 157, 1835, dedicated to V. Boissier, 1st ed. Paris 1836 Latte, LSP V, Bus. II/5, NA II/2
Tre sonetti del Petrarca for piano, R 10b, S 158, 1839(?)–46. 1st ed. Vienna 1846 Haslinger, Bus. II/5; 1st ed. based on Tre soneti di Petrarca, 2nd ed. cf. Années de pèlerinage. Italie no. 4–6
Venezia e Napoli (1st version) for piano, R 10d, S 159, ca. 1840, 1st ed. Berlin 1840 Schlesinger, Bus. II/5, NA I/7: 1. Lento, 2. Allegro, 3. Andante placido, 4. Tarantelles napolitaines
Années de pèlerinage. Première année. Suisse for piano, R 10a, S 160, 1848–54, 1st ed. Mainz 1855 Schott, Bus. II/6, NA 1/6: 1. La chapelle de Guillaume Tell, 2. Au lac de Wallenstadt, 3. Pastorale, 4. Au bord dune source, 5. Orage, 6. Vallée d’Obermann, 7. Eglogue, 1836, 8. Le mal du pays, 9. Les cloches de Genève (based on Album d’un voyageur, book I)
Années de pèlerinage. Deuxième année. Italie for piano, R 10b, S 161, 1st ed. Mainz 1858 Schott, Bus. II/6, NA 1/7: 1. Sposalizio, 2. Il Pensieroso, 1838–39, 3. Canzonetta del Salvator Rosa, 1849, 4. Sonetto 47 del Petrarca, after 1864, 5. Sonetto 104 del Petrarca, 6. Sonetto 123 del Petrarca, 7. Après une lecture du Dante, Fantasia quasi sonata, sketch 1837, changes 1849
Venezia e Napoli. Supplément aux Années de pèlerinage for piano, R 10c, S 162, 1859, 1st ed. Mainz 1861 Schott, Bus. II/6, NA I/7: 1. Gondoliera, 2. Canzone, 3. Tarantella
Années de pèlerinage. Troisième année for piano, R 10e, S 163, 1st ed. Mainz 1883 Schott, Bus. II/6, NA 1/8: 1. Angélus! Prière aux anges gardiens, 1877, dedicated to D. von Bülow, 2. Aux cyprès de la Villa d’Este, Thrénodie I, 3. Aux cyprès de la Villa d’Este, Thrénodie II, 4. Les jeux d’eaux à la Villa d’Este, 5. Sunt lacrymae rerum, en mode hongrois, 1872, dedicated to H. von Bülow, 6. Marche funèbre, 1867, to the memory of Emperor Maximilian I, 7. Sursum corda, 1877
Albumblatt (in E major) for piano, R 64/1, S 164, ca. 1841, 1st ed. Leipzig 1841 Friesa, NA I/13
Feuilles d’album (in A-flat major) for piano, R 62, S 165, 1841, dedicated to G. Dubousquet, 1st ed. Mainz 1844 Schott, Bus. II/10, NA I/13
Albumblattin Walzerform (in A major) for piano, R 63, S 166, 1842, 1st ed. in: A. Göllerich Franz Liszt, Berlin 1908, Bus. II/10, NA I/13
Elégie sur des motifs du Prince Louis Ferdinand de Prusse for piano, R 75, S 168, 1842, dedicated to Augusta of Prussia, 1st ed. Berlin 1843(?) Schlesinger, NA I/11
Feuille d’album (in A minor) for piano, R 64/2, S 167, ca. 1843, 1st ed. Leipzig 1843 Schuberth, NA I/17
Madrigal for piano, R [12], S 171a, 1845, dedicated to M. Ziegesar
Ballad no. 1, in D-flat major for piano, R 15, S 170, 1845–48, dedicated to Eugen Wittgenstein, 1st ed. Leipzig 1849 Kistner, Bus. II/8, NA 1/9
Ballad no. 2, in B minor for piano, R 16, S 171, 1853, dedicated to Prince Karl von Leiningen, 1st ed. Leipzig 1854 Kistner, Bus. II/8, NA 1/9
Harmonies poétiques et religieuses for piano, R 14, S 173, 1845–52, dedicated to Princess Caroline Sayn-Wittgenstein, 1st ed. Leipzig 1853 Kistner, Bus. II/7, NA 1/9: 1. Invocations, 2. Ave Maria, 3. Bénédiction de Dieu dans la solitude, 4. Pensée des morts, 5. Pater noster, 6. Hymne de l’enfant à son reveil, 7. Funérailles, 8. Miserere, d’après Palestrina, 9. Andante lagrimoso, 10. Cantique d’amour
Andante amoroso for piano, R 64a, S 168a, 1847, 1st ed. Paris 1847 Brandus
Romance for piano, R 66a, S 169, 1848, dedicated to J. Kościelska, 1st ed. Warsaw(?) 1849, LSP VII, NA I/11
Consolations for piano, R 12, S 172, 1849–50, 1850, Bus. II/9, NA I/9: 1. Andante con moto, 2. Un poco mosso, 3. Lento, 4. Quasi Adagio, 5. Andantino, 6. Allegretto cantabile
Grosses Konzertsolo for piano, R 18, S 176, 1849(?), dedicated to A. Henselt, 1851, Bus. II/8, NA I/5, transcription for orchestra 1850(?)
Scherzo und Marsch for piano, R 20, S 177, 1851, dedicated to T. Kullak, 1st ed. Berlin 1854 Meyer, Bus. II/8, NA I/13
Sonata in B minor for piano, R 21, S 178, 1852–53, dedicated to R. Schumann, 1854, Bus. II/8, NA I/5
Berceuse for piano, R 57a, b, S 174, 1854, dedicated to Maria Czartoryska, 1st ed. Vienna 1854 Haslinger, Bus. II/9; 2nd version 1862, 1st ed. Leipzig 1865 Heinze, I/11
Weinen, Klagen, Sorgen, Zagen, prelude for piano on a theme from the cantata BWV 12 by Bach, R 23, S 179, 1859, dedicated to A. Rubinstein, 1st ed. Berlin 1863 Schlesinger, Bus. II/9, NA II/11
Klavierstück in F-sharp major for piano, R 61, S 193, after 1860, 1st ed. 1928, LSP VII, Bus. II/10, NA I/11
Variationen for piano (on a theme from Weinen, Klagen… and Crucifixus from Mass in B minor by Bach), R 24, S 180, 1862, dedicated to A. Rubinstein, 1st ed. Berlin 1864 Schlesinger, Bus. II/9, NA II/12
Ave Maria (Die Glocken von Rom) for piano, R 67, S 182, 1862, 1st ed. Stuttgart 1863, Bus. II/9, NA I/11
Alleluja et Ave Maria (d’Arcadelt) for piano, R 68, S 183, 1862, 1st ed. Leipzig 1865 Peters, NA I/11
Légendes for piano, R 17, S 175, 1863, dedicated to C. von Bülow, 1st ed. Budapest 1866 Rozsavölgyi, Bus. II/9, NA I/10: 1. St François d’Assise. La prédication aux oiseaux, 2. St François de Paule marchant sur les flots, transcription for orchestra 1863
Urbi et orbi. Bénédiction papale for piano, R 69, S 184, 1864, NA I/12
Vexilla regisprodeunt for piano, R 70, S 185, 1864, NA I/12
Fünf kleine Klavierstücke, R 60, S 192, 1865–79, dedicated to Baroness Olga von Meyendorff, 1928, LSP I (no. 1–4), Bus. II/9, NA I/10
Toccata for piano, R 60, S 197a, 1865–81, 1st ed. 1969 Bärenreiter, NA I/12
Klavierstück in A-flat major, R 44a, S 189, 1866
La marquise de Blocqueville. Portrait en Musique for piano, R 65, S 190, 1868, 1st ed. “Le Figaro” from 14 April 1886, NA I/12
Mosonyis Grabgeleit for piano, R 110, S 194, 1870, 1st ed. Budapest 1871 Täborszky & Parsch, LSP III
Impromptu (Nocturne) for piano, R 59, S 191, 1872, dedicated to Baroness Olga von Meyendorff, 1877, Bus. II/9, NA I/12
Weihnachtsbaum – Arbre de Noël for piano, R 71, S 186, 1874–76, dedicated to D. von Bülow, 1st ed. Berlin 1882 Fürstner, Bus. II/9, NA I/10: 1. Psallite, 2. O Heilige Nacht!, 3. Die Hirten an der Krippe, 4. Adeste fideles, 5. Scherzoso, 6. Carillon, 7. Schlummerlied, 8. Altes Provençalisches Weihnachtslied, 9. Abendglocken, 10. Ehemals! (Jadis), 11. Ungarisch, 12. Polnisch
Elegy No. 1 for piano, R 76, S 196, 1874, to the memory of M. Muchanow (Kalergis), 1875, LSP III, Bus. II/9, NA I/10
Elegy No. 2 for piano, R 77, S 197, 1877, dedicated to L. Ramann, 1st ed. Leipzig 1878 Kahnt, LSP III, Bus. II/9, NA I/10
Sancta Dorothea for piano, R 73, S 187, 1877, 1st ed. 1927, LSP VII, Bus. II/9
Resignazione for piano, R 388, S 187a, 1877, 1st ed. 1908, NA I/12
Petőfi szellemének for piano, R 111, S 195, 1877, 1st ed. Budapest 1877 Täborszky & Parsch, LSP III
Sarabande und Chaconne (on a theme from Almira by Händel), R 25, S 181, 1879, dedicated to W. Bache, 1st ed. Leipzig 1880 Kistner, NA II/14
In festo transfigurationis Domini nostri Jesu Christi for piano, R 74, S 188, 1880, 1st ed. 1927, LSP VII, Bus. II/9, NA I/12
Recueillement (Aus den letzten Jahren) for piano, R 86, S 204, after 1880, 1st ed. Naples 1884, Bus. II/9, NA I/12
Unstern: sinistre, disastro for piano, R 80, S 208, after 1880, 1st ed. 1927, LSP I, Bus. II/9, NA I/12
Nuages gris for piano, R 78, S 199, 1881, 1st ed. 1927, LSP I, Bus. II/9, NA I/12
La lugubre gondola for piano, R 81, S 200/1, 1882, LSP I, Bus. II/9, NA I/12; 2nd version, S 200/2, 1885, 1st ed. Leipzig 1886 Fritzch
R.W. — Venezia for piano, R 82, S 201, 1883, 1st ed. 1927, LSP I, Bus. II/9, NA I/12
Am Grabe Richard Wagners for piano, R 85, S 202, 1883, 1st ed. London 1952 Schott, LSP II, NA I/12
Schlaflos, Frage und Antwort, nocturne for piano after a poem by T. Raabe, R 79, S 203, 1883, 1st ed. 1927, LSP III, Bus. II/9, NA I/12
Historische ungarische Bildnisse (Magyar történelmi arcképek) for piano, R 112, S 205, 1st ed. Milan 1956 Suvini Zerboni, LSP I no. 4, III no. 6–7, NA I/10: 1. István Széchenyi, 2. Ferenc Deák, 1885, 3. László Teleki, 4. József Eötvos, 5. Mihály Vörösmarty, 1873, 6. Sándor Petőfi, 1874, 7. Mihály Mosonyi, 1870
Choräle for piano, S 194a, end of the 1870s, NA I/10: 1. Crux ave benedicta, 2. Jesu Christe, 3. Meine Seel’erhebt den Herrn, 4. Nun danket alle Gott!, 5. Nun ruhen alle Wälder, 6. O Haupt voll Blut und Wunden, 7. O Lamm Gottes!, 8. O Traurigkeit, 9. Vexilla Regis, 10. Was Gott tut, das ist wohlgetan, 11. Wer nur den lieben Gott lässt walten
Trauervorspiel, Trauermarsch for piano, R 83/84, S 206, 1885, LSP I, NA I/12
En rêve, nocturne for piano, R 87, S 207, 1885, dedicated to A. Stradl, 1st ed. Vienna 1888 Wetzler, LSP I, Bus. II/9, NA I/12
Wiegenlied (Chant du berceau) for piano, R 58, S 198, 1881, dedicated to A. Friedheim, 1st ed. London 1958 Curwen, NA I/12
Waltz for piano, S 208a, 1822 or 1823, 1st ed. London 1832 “The Musical Gem”, NA I/13
Waltz in A major for piano, S 208b, ca. 1822–23
Grande valse di bravura (Le bal de Berne) for piano, R 32a, S 209, 1836, dedicated to P. Wolf and C. Ludlow in various editions, 1st ed. 1836 Leipzig, NA II/10
Grand galop chromatique for piano, R 41, S 219, 1838, dedicated to Rudolf Apponyi, 1st ed. Wrocław 1838 Grosser, Bus. II/10, NA I/13
Valse mélancolique for piano, R 33a, S 210, 1839, 1st ed. Vienna 1840 Haslinger, LSP IV, NA II/10
Heroischer Marsch in ungarischem Stil for piano, R 53, S 231, 1840, dedicated to Ferdinand of Portugal, 1st ed. Hamburg 1840 Cranz, NA I/13
Galop de bal for piano, R 42, S 220, ca. 1840, 1st ed. Paris(?) 1840(?), NA I/13
Galop in A minor for piano, R 40, S 218, 1841(?), 1st ed. 1928, LSP IV, Bus. II/10, NA I/13
Petite valse favorite (Souvenir de Pétersbourg) for piano, R 35, S 212, 1842, dedicated to M. Kalergis, 1st ed. Leipzig 1843 Schuberth, Bus. II/10, NA 1/13
Ländler in A-flat major for piano, R 34, S 211, 1843, 1st ed. Stuttgart, “Neue Musikzeitung” XLII, 1921, NA I/13
Seconde marche hongroise. Ungarischer Sturmmarsch for piano, R 54a, S 232, 1843, dedicated to Sándor Teleky, 1st ed. Berlin 1843 Schlesinger, NA I/16
Festmarsch zur Säkularfeier von Goethes Geburtstag for piano, R 48a, S 227, 1849, dedicated William Ernest, Grand Duke of Saxe-Weimar-Eisenach, 1st ed. 1851, Bus. II/10, NA I/14
Valse impromptu for piano, R 36, S 213, ca. 1850, 1st ed. Vienna 1852 Schuberth, Bus. II/10, NA I/13
3 caprices-valses for piano, S 214, ca. 1850, 1st ed. Berlin 1852 Haslinger, Bus. II/10 (no. 1–2): no. 1, R 32b, S 214/1, LSP I/13, no. 2, R 33b, S 214/2, NA I/13, no. 3, R 155, S 214/3
Mazurka brillante for piano, R 43, S 221, 1850, dedicated to A. Koczuchowski, 1st ed. Leipzig 1850 Senff, LSP V, Bus. II/10, NA I/13
2 polonaises: in C minor, in E major for piano, R 44, S 223, 1851, 1st ed. Leipzig 1852 Senff, Bus. II/10, NA I/13
Huldigungsmarsch for piano, R 49, S 228, 1853, dedicated to Carl Alexander, 1st ed. Berlin 1858 Bote & Bock, NA I/15
Vom Fels zum Meer. Deutscher Siegesmarsch for piano, R 50, S 229, 1853–56, dedicated to William I, German Emperor, 1st ed. Berlin 1856 Schlesinger, NA I/15
Festvorspiel-Prélude for piano, R 47, S 226, 1856, 1st ed. Stuttgart 1857 Hallberger, NA I/11
Festpolonaise for piano for 4 hands, R 296, S 255, 1876, dedicated to the wedding of Princess Marie of Saxe-Weimar-Eisenach, 1st ed. in: A. Göllerich Franz Liszt, Berlin 1908
Csárdás macabre for piano, R 46, S 224, 1881–82, 1st ed. London 1951 Schott, LSP I, NA I/14
4 valses oubliées for piano, R 37, S 215, 1881–85(?), dedication no. 2, 3: Baroness Olga von Meyendorff, 1st ed. no. 1: 1881, no. 2–4: 1884 Berlin Bote & Bock, LSP IV (no. 2, 3), Bus. II/10 (no. 1–3), NA I/14
Mephisto-Walzer (Mephisto Waltz No. 3) for piano, R 38, S 216, 1883, dedicated to M. Jaëll, 1st ed. Berlin 1883 Fürstner, LSP I, Bus. II/10, NA I/14
Mephisto Polka for piano, R 39, S 217, 1883, dedicated to L. Schmalhausen, 1st ed. Berlin 1883 Fürstner, LSP V, Bus. II/10, NA I/14
Bülow-Marsch for piano, R 52, S 230, 1883, dedicated to the court orchestra in Meiningen, 1st ed. Berlin 1884 Schlesinger, Bus. II/10, NA I/14
2 Csárdás for piano, R 45, S 225, 1st ed. Budapest 1886 Táborszky & Parsch, LSP III (no. 2), NA I/14: 1. Allegro, 1884, 2. Csárdás obstiné, 1886
[21 pieces on Hungarian themes] for piano: Magyar dalok (‘Hungarian national melodies’), 4 books, S 105a; 11 melodies Magyar rapszódiák (‘Hungarian rhapsodies’), 6 books, S 105b; 6 melodies [4 individual pieces], 105c; dedication: no. 1–6 to Leo Festetics, no. 1 and 13 to Casimir Esterházy, no. 14–15 Baron Fery Orczy, no. 16 B. Egressy; 1st ed. Vienna 1840–47, Vienna 1840–47 Haslinger, 3 rhapsodies: Leipzig 1920 B&H; LSP VII (no. 1–3, 6, 8–10), NA I/18
God Save the Queen for piano, R 98, S 235, 1841, 1st ed. Leipzig 1841 (?) Schuberth, NA II/5
La Marseillaise for piano, R 95, S 237, 1st ed. Leipzig 1872 Schuberth, NA II/13
Gaudeamus igitur, concert paraphrase for piano, R 99, S 240, 1843, 1st ed. Wrocław 1843 Schumann’sche Buchhandlung, NA II/6
Ungarische Rhapsodien (6 for orchestra, arranged with F. Doppler), R 106, S 244: 1. Lento, quasi recitativo, 1846, dedicated to E. Zerdahélyi, 1st ed. Leipzig 1851 Senff, Bus. II/12, NA I/3–4, 2. Lento a capriccio, 1847, dedicated to László Teleky, 1st ed. Leipzig 1851 Senff, 3. Andante, ca. 1853, dedicated to Leo Festetics, 1st ed. Vienna 1853 Haslinger, 4. Quasi Adagio, altieramente, ca. 1853, dedicated to Casimir Esterházy, 1st ed. Vienna 1853 Haslinger, 5. Héroïde-élégiaque Lento con duolo, ca. 1853, dedicated to Sidonie Revicsky, 1st ed. Vienna 1853 Haslinger, 6. Tempo giusto, dedicated to Anton Apponyi, 1st ed. Vienna 1853 Haslinger, 7. Lento, ca. 1853, dedicated to baron Fery Orczy, 1st ed. Vienna 1853 Haslinger, 8. Lento a capriccio, ca. 1853, dedicated to baron Anton Augusz, 1st ed. Mainz 1853 Schott, 9. Pester Karneval. Moderato, 1848, dedicated to H. W. Ernst, 1st ed. Vienna 1848 Haslinger, 2n ed. Mainz 1853 Schott, 10. Preludio, ca. 1853, dedicated to B. Egressy, 1st ed. Mainz 1853 Schott, 11. Lento a capriccio, ca. 1853, dedicated to baron Fery Orczy, 1st ed. Berlin 1853 Schlesinger, 12. Mesto, ca. 1853, dedicated to J. Joachim, 1st ed. Berlin 1853 Schlesinger, 13. Andante sostenuto, ca. 1853, dedicated to Leo Festetics, 1st ed. Berlin 1853 Schlesinger, 14. Lento quasi marcia funebre, ca. 1853, dedicated to H. von Bülow, 1st ed. Berlin 1853 Schlesinger, 15. Rákóczi-Marsch, 1851, 1st ed. Berlin 1851 Schlesinger, 2nd version 1871, 1st ed. Leipzig 1871 Schuberth, 16. Allegro, 1882, dedicated to M. Munkácsy, 1st ed. Budapest 1882 Táborszky & Parsch,17. Lento, 1st ed. Budapest 1882, 18. Adagio, 1885, 1st ed. Budapest 1885 Rózsavölgyi, 19. Lento, 1885, 1st ed. Budapest 1886 Táborszky & Parsch
Fünf ungarische Volkslieder for piano, R 108, S 245, ca. 1873, 1st ed. Budapest 1873 Táborszky & Parsch, LSP III, NA II/13: 1. Lassan, 2. Mérsékelve, 3. Lassan, 4. Kissé élénken, 5. Búsongva
Puszta-Wehmut A Puszta keserve after the poem by N. Lenau for piano, R 113, S 246, after 1880, 1st ed. Budapest after 1884, NA II/13
Rondeau fantastique sur un thème espagnol (“El contrabandista”), R 88, S 252, 1836, dedicated to G. Sand, 1st ed. Vienna 1837, NA II/2
Canzone Napolitana for piano, R 92, S 248, 1842, dedicated to C. de Groeditzberg, 1st ed. Dresden 1843 Meser, NA II/6
Deux mélodies russes. “Arabesques” for piano, R 102, S 250, 1842, 1st ed. Hamburg 1842 Cranz, NA II/6: 1. Le rossignol, air russe d’Alabieff, 2. Chanson bohémienne
Glanes de Woronince for piano, R 101, S 249, 1847–48, dedicated to Marie von Sayn-Wittgenstein, 1st ed. Leipzig 1849 Kistner, NA II/8: 1. Ballade d’Ukraine, dumka, 2. Mélodies polonaises, 3. Complaintes, dumka
for two pianos:
Grosses Konzertstück based on Lieder ohne Worte by Mendelssohn for two pianos, R 355, S 257, 1834
Concerto pathétique for two pianos, R 356, S 258, before 1857, dedicated to I. von Bronsart, 1st ed. 1886
for organ:
Fantasie und Fuge for organ after the chorale Ad nos, ad salutarem undam, based on a theme from Le prophète, R 380, S 259, 1850, dedicated to G. Meyerbeer, 1st ed. Leipzig 1852
Präludium und Fuge über den Namen BACH for organ, R 381, S 260, 1855, dedicated to A. Winterberger, 1st ed. Rotterdam 1855 De Vletter; revised 1870, 1st ed. Leipzig 1870 Schuberth
Pio IX (Der Papsthymnus) for organ, R 391, S 261, 1863(?), 1st ed. Leipzig 1865 Körner
Andante religioso for organ, S 261a, dedicated to K. Gille
Ora pro nobis for organ, R 383, S 262, 1864, dedicated to Cardinale G. Hohenlohe, 1st ed. 1865
Resignazione for organ, R 388, S 263, 1877, 1st ed. in: A. Göllerich Franz Liszt, Berlin 1908
Missa pro organo lectarum celebrationi missarum adjumento inserviens for organ, R 384, S 264, 1879, dedicated to Princess Marie von Sayn-Wittgenstein, 1st ed. Rome 1880 Manganelli
Gebet for organ, R 386, S 265, 1879, 1st ed. Leipzig no year Körner
Requiem for organ, R 385, S 266, 1883, 1st ed. Leipzig 1885 Kahnt
Am Grabe Richard Wagners for organ, R 387, S 267, 1883
Zwei Vortragsstücke for organ, R 390, S 268: 1. Introitus, 1884, Leipzig 1887 Körner, Leipzig 1890, 2. Trauerode, 1860, 1st ed. Leipzig 1890
Vocal-instrumental:
3 sonetti di Petrarca for voice solo and piano, R 578, S 270, 1838–39, 1st ed. Vienna 1846 Haslinger, Bus. VII/1: 1. Pace non trovo, 2. Benedetto sial giorno, 3. Io vidi in terra ange lici costumi; 2nd version 1861, 1st ed. Mainz 1883 Schott, LSP VI, Bus. VII/3
Angiolin dal biondo crin for voice solo and piano, R 593, S 269, lyrics C. Bocella, 1839–42, 1st ed. Berlin 1843 Schlesinger, LSP VI, Bus. VII/2; 2nd version1856, 1st ed. Berlin 1856 Schlesinger
Il m’simait tant for voice solo and piano, R 566, S 271, lyrics D. Gay, ca. 1840, 1st ed. Mainz 1843 Schott, Bus. VII/1
Am Rhein for voice solo and piano, R 567, S 272, lyrics H. Heine, ca. 1840, dedicated to Augusta of Prussia, 1st ed. Berlin 1843 Schlesinger, Bus. VII/1; 2nd version ca. 1856, 1st ed. Berlin 1856 Schlesinger, Bus. VII/2
Die Loreley for voice solo and piano, R 591, S 273, lyrics H. Heine, ca. 1840, dedicated to Marie d’Agoult, 1st ed. Berlin 1843 Schlesinger; 2nd version ca. 1856, 1st ed. Berlin 1856 Schlesinger, Bus. VII/2; transcription for voice and piano 1860
Die Zelle in Nonnenwerth for voice solo and piano, R 618, S 274, lyrics F. Lichnowsky, before 1842, dedicated to Marie d’Agoult, 1st ed. Cologne 1843 Eck; 2nd version 1860, dedicated to E. Genast, 1st ed. Leipzig 1860 Kahnt, Bus. VII/3
Mignons Lied for voice solo and piano, R 592, S 275, lyrics J.W Goethe, 1842, 1st ed. Berlin 1843 Schlesinger; 2nd version ca. 1856, 1st ed. Berlin 1856 Schlesinger, Bus. VII/2; 3rd version 1860, 1st ed. Leipzig 1861 Kahnt, Bus. VII/2
Comment, disaient-ils for voice solo and piano, R 570, S 276, lyrics W. Hugo, 1842, 1st ed. Berlin 1844 Schlesinger, Bus. VII/1; 2nd version ca. 1859, 1st ed. Berlin 1859 Schlesinger, Bus. VII/2
Es war ein König in Thule for voice solo and piano, R 594, S 278, lyrics J.W. Goethe, 1842, 1st ed. Berlin 1844 Schlesinger; 2nd version ca. 1856, 1st ed. Berlin 1856 Schlesinger, Bus. VII/2
Der du von dem Himmel bist for voice solo and piano, R 568, S 279, lyrics J.W. Goethe, 1842, dedicated to Augusta of Prussia Berlin 1843 Schlesinger, Bus. VII/1; 2nd version ca. 1856, 1st ed. Berlin 1856 Schlesinger, Bus. VII/2; 3rd version ca. 1860, 1st ed. Leipzig 1860 Kahnt, Bus. VII/2
Oh! quand je dors for voice solo and piano, R 569, S 282, lyrics W. Hugo, 1842, 1st ed. Berlin 1844 Schlesinger, Bus. VII/1; 2nd version ca. 1859, 1st ed. Berlin 1859 Schlesinger, Bus. VII/2
Bist du for voice solo and piano, R 625, S 277, lyrics E. Metschersky, 1843, 1st ed Cologne 1844 Eck, Bus. VII/3; revised 1877–78, Leipzig 1879 Kahnt
Du bist wie eine Blume for voice solo and piano, R 607, S 287, lyrics H. Heine, ca. 1843, 1st ed Cologne 1844 Eck, Bus. VII/2
Was Liebe sie for voice solo and piano, R 575, S 288, lyrics C. von Hagn, ca. 1843, dedicated to Princess Sophie of the Netherlands, 1st ed Cologne 1844 Eck, Bus. VII/1; 2nd version ca. 1855, 1st ed. 1921, Bus. VII/2; 3rd version ca. 1878, 1st ed. Leipzig 1879 Kahnt, Bus. VII/3
Morgens steh’ ich auf und frage for voice solo and piano, R 576, S 290, lyrics H. Heine, ca. 1843, 1st ed. Cologne 1844 Eck, Bus. VII/1; 2nd version ca. 1855, 1st ed. Berlin 1859 Schlesinger, LSP VI, Bus. VII/2
Die tote Nachtigall for voice solo and piano, R 577, S 291, lyrics P. Kaufmann, ca. 1843, 1st ed. Cologne 1844 Eck, Bus. VII/1; 2nd version 1878, 1st ed. 1879, LSP VI, Bus. VII/3
Die Vätergruft for voice solo and piano, R 601, S 281, lyrics L. Uhland, 1844, 1st ed. Berlin 1860 Schlesinger, Bus. VII/2; transcription for voice and orchestra 1886
Vergiftet sind meine Lieder for voice solo and piano, R 608, S 289, lyrics H. Heine, 1844, 1st ed. Cologne 1844 Eck, LSP VI, Bus. VII/2; 2nd version 1859, 1st ed. Berlin 1859 Schlesinger
Freudvoll und leidvoll for voice solo and piano, R 579, S 280, lyrics J.W. Goethe, ca. 1844, dedicated to A. Scheffer, 1st ed. Vienna 1847 Haslinger, Bus. VII/1; 2nd version ca. 1860, 1st ed. 1860, Bus. VII/1
Enfant, si j’étais roi for voice solo and piano, R 571, S 283, lyrics W. Hugo, ca. 1844, 1st ed. Berlin 1844 Schlesinger, Bus. VII/1; 2nd version ca. 1859, 1st ed. Berlin 1859 Schlesinger, LSP VI, Bus. VII/2
S’il est un charmant gazon for voice solo and piano, R 572, S 284, lyrics W. Hugo, ca. 1844, 1st ed. Cologne 1844 Eck VII/1; 2nd version ca. 1859, 1st ed. Berlin 1859 Schlesinger, Bus. VII/2
La tombe et la rose for voice solo and piano, R 573, S 285, lyrics W. Hugo, ca. 1844, 1st ed. Berlin 1844 Schlesinger, Bus. VII/1
Gastibelza, bolero for voice solo and piano, R 574, S 286, lyrics W. Hugo, ca. 1844, 1st ed. Berlin 1844 Schlesinger, Bus. VII/1
Oh pourquoi donc for voice solo and piano, R 638a, S 301a, lyrics Mme Pavlova, 1844(?), 1st ed. Moscow 1844
En ces lieux, elegy for voice solo and piano, R 638b, S 301b, lyrics E. Monnier, 1st ed. Paris before 1855
Lieder aus “Wilhelm Tell” for voice solo and piano, R 582, S 292, lyrics F. Schiller, ca. 1845, 1st ed. Vienna 1848 Haslinger, Bus. VII/1: 1. Der Fischerknabe, 2. Der Hirt, 3. Der Alpenjäger; 2nd version ca. 1859, 1st ed. 1859, Bus. VII/2; transcription for voice and orchestra ca. 1855
Jeanne d’Arc au bûcher for voice solo and piano, R 586, S 293, lyrics A. Dumas, ca. 1845, 1st ed. Mainz 1846 Schott, Bus. VII/3; 2nd version 1874, 1st ed. Mainz 1876 Schott; transcription for voice and orchestra 1858
Es rauschen die Winde for voice solo and piano, R 596, S 294, lyrics L. Rellstab, ca. 1845, 1st ed. 1921, Bus. VII/2; 2nd version ca. 1860, 1st ed. 1860, Bus. VII/2
Wo weilt er? for voice solo and piano, R 598, S 295, lyrics L. Rellstab, ca. 1845, 1st ed. Leipzig 1860 Kahnt, Bus. VII/2
Ich möchte hingehn for voice solo and piano, R 606, S 296, lyrics G. Herwegh, ca. 1845, 1st ed. Berlin 1859 Schlesinger, LSP VI, Bus. VII/2
Isten veled for voice solo and piano, R 627, S 299, lyrics P. Horvath, 1846–47, 1st ed. Prague 1847 Hoffmann; 2nd version 1879, 1st ed. Leipzig 1879 Kahnt, LSP VI, Bus. VII/3
O lieb, so lang du lieben kannst for voice solo and piano, R 589, S 298, lyrics F. Freiligrath, ca. 1845, 1st ed. Leipzig 1847 Kistner, Bus. VII/2
Le Juif errant for voice solo and piano, R 585, S 300, lyrics P. J. Béranger, 1847
Kling leise, mein Lied for voice solo and piano, R 580, S 301, lyrics J. Nordmann, 1848, 1st ed. 1918, Bus. VII/1
Die Macht der Musik for voice solo and piano, R 583, S 302, lyrics Duchess of Orléans, Helena, 1848–49, dedicated to Grand Duchess Maria Pavlovna of Russia, 1st ed. Leipzig 1849 Kistner, Bus. VII/1
Weimars Toten. Dithyrambe for voice solo and piano, R 584, S 303, lyrics F. von Schober, 1848, 1st ed. Vienna 1848 Schuberth, Bus. VII/1
Schwebe, schwebe, blaues Auge for voice solo and piano, R 581, S 305, lyrics F. von Dingelstedt, 1848, 1st ed. 1918, Bus. VII/1; 2nd version ca. 1860, 1st ed. Leipzig 1860 Kahnt, Bus. VII/2
Über allen Gipfeln ist Ruh for voice solo and piano, R 610, S 306, lyrics J.W. Goethe, ca. 1848, 1st ed. Vienna 1848 Haslinger; 2nd version ca. 1859, 1st ed. Berlin 1859 Schlesinger, Bus. VII/2
Le vieux vagabond for voice solo and piano, R 565, S 304, lyrics P. J. de Béranger, before 1849, 1st ed. 1918, Bus. VII/1
Quand tu chantes bercée for voice solo and piano, S 306a, lyrics W. Hugo, 1849, 1st ed. Budapest 1973
Hohe Liebe for voice solo and piano, R 587, S 307, lyrics L. Uhland, ca. 1849, 1st ed. Leipzig 1850 Kistner, Bus. VII/2
Gestorben war ich for voice solo and piano, R 588, S 308, lyrics L. Uhland, ca. 1849, 1st ed. Leipzig 1850 Kistner, Bus. VII/2
Ein Fichtenbaum steht einsam for voice solo and piano, R 599, S 309, lyrics H. Heine, ca. 1855, 1st ed. 1860, LSP VI, Bus. VII/2; 2nd version ca. 1860, 1st ed. Leipzig 1860 Kahnt, LSP VI, Bus. VII/2
Ihr Auge (Nimm einen Strahl der Sonne) for voice solo and piano, R 600, S 310, lyrics L. Rellstab, ca. 1855, 1st ed. Leipzig 1860 Kahnt, Bus. VII/2
Anfangs wollt’ich fast verzagen for voice solo and piano, R 602, S 311, lyrics H. Heine, 1856, 1st ed. Leipzig 1860 Kahnt, Bus. VII/2
Wie singt die Lerche schön for voice solo and piano, R 595, S 312, lyrics H. von Fallersleben, ca. 1856, 1st ed. “Deutsches-Musen-Almanach” 1856 Würzburg, Bus. VII/2
Weimars Volkslied for voice solo and piano, R 597, S 313, lyrics P. Cornelius, 1857, 1st ed. Leipzig 1857 Kühn, Bus. VII/2
Es muss ein Wunderbares sein for voice solo and piano, R 590, S 314, lyrics O. von Redwitz, 1857, 1st ed. Leipzig 1859 Kahnt, Bus. VII/2
Ich liebe dich for voice solo and piano, R 617, S 315, lyrics F. Rückert, 1857, 1st ed. Leipzig 1860 Kahnt, Bus. VII/3
Muttergottes Sträusslein zum Mai-Monate for voice solo and piano, R 603, S 316, lyrics J. Müller, 1857, 1st ed. Berlin 1859 Schlesinger, Bus. VII/2: 1. Das Veilchen, 2. Die Schlüsselblumen
Lasst mich ruhen for voice solo and piano, R 604, S 317, lyrics H. von Fallersleben, ca. 1858, 1st ed. Berlin 1859 Schlesinger, Bus. VII/2
In Liebeslust for voice solo and piano, R 605, S 318, lyrics H. von Fallersleben, ca. 1858, 1st ed. Berlin 1859 Schlesinger, Bus. VII/2
Wer nie sein Brot mit Tränen ass for voice solo and piano, R 609, S 277, lyrics J.W. Goethe, ca. 1848, 1st ed. Vienna 1848 Haslinger; 2nd version ca. 1860, 1st ed. 1922
Ich scheide for voice solo and piano, R 611, S 319, lyrics H. von Fallersleben, 1860, 1st ed. Berlin 1860 Schlesinger, LSP VI, Bus. VII/2
Die drei Zigeuner for voice solo and piano, R 612, S 320, lyrics N. Lenau, 1860, dedicated to E. Merian-Genast, 1st ed. Leipzig 1860 Kahnt, Bus. VII/3; transcription for voice and orchestra 1860
Die stille Wasserrose for voice solo and piano, R 613, S 321, lyrics E. Geibel, ca. 1860, 1st ed. Leipzig 1860 Kahnt, Bus. VII/3
Wieder möcht ich dir begegnen for voice solo and piano, R 614, S 322, lyrics P. Cornelius, 1860, 1st ed. Leipzig 1860 Kahnt, Bus. VII/3
Jugendglück for voice solo and piano, R 615, S 323, lyrics R. Pohl, ca. 1860, 1st ed. Leipzig 1860 Kahnt, Bus. VII/3
Blume und Duft for voice solo and piano, R 616, S 324, lyrics C.F. Hebbel, ca. 1860, 1st ed. Leipzig 1860 Kahnt, Bus. VII/3
Die Fischerstochter for voice solo and piano, R 619, S 325, lyrics C. Coronini, 1871, 1st ed. Leipzig 1879 Kahnt, Bus. VII/3
La perla for voice solo and piano, R 623, S 326, lyrics Princess Therese von Hohenlohe, 1872, 1st ed. Rome no year Bianchini, Bus. VII/3
J’aiperdu ma force et ma vie (Tristesse) for voice solo and piano, R 621, S 327, lyrics A. de Musset, 1872, 1st ed. Leipzig 1878 Kahnt, LSP VI, Bus. VII/3
Ihr Glocken von Marling for voice solo and piano, R 621, S 328, lyrics E. Kuh, 1874, dedicated to Princess Marie von Hohenlohe, 1st ed. Leipzig 1879 Kahnt, LSP VI, Bus. VII/3
Und sprich for voice solo and piano, R 622, S 329, lyrics J. Biegeleben, 1874, dedicated to Princess Marie Sayn-Wittgenstein, 1st ed. Leipzig 1878 Kahnt, Bus. VII/3
Sei still for voice solo and piano, R 624, S 330, lyrics N. Nordheim (pseud. H. von Schorn), 1877, 1st ed. Leipzig 1879 Kahnt, LSP VI, Bus. VII/3
Gebet for voice solo and piano, R 628, S 331, lyrics F. Bodenstedt, ca. 1878, 1st ed. Leipzig 1879 Kahnt, LSP VI, Bus. VII/3
Einst for voice solo and piano, R 629, S 332, lyrics F. Bodenstedt, ca. 1878, 1st ed. Leipzig 1879 Kahnt, LSP VI, Bus. VII/3
An Edlitam for voice solo and piano, R 630, S 333, lyrics F. Bodenstedt, ca. 1878, 1st ed. Leipzig 1879 Kahnt, Bus. VII/3
Der Glückliche for voice solo and piano, R 631, S 334, lyrics A. Wilbrandt, ca. 1878, 1st ed. Leipzig 1879 Kahnt, Bus. VII/3
Go not, happy day for voice solo and piano, R 626, S 335, lyrics R. Tennyson, 1879, 1st ed. London 1880 Lucas, LSP VI, Bus. VII/3
Verlassen for voice solo and piano, R 632, S 336, lyrics G. Micheli, 1880, 1st ed. Leipzig 1880 Kahnt, Bus. VII/3
Des Tages laute Stimmen schweigen for voice solo and piano, R 655, S 337, lyrics F. von Saar, 1880, dedicated to Princess Marie von Hohenlohe, 1st ed. 1922, LSP VI, Bus. VII/3
Und wir dachten der Toten for voice solo and piano, R 634, S 338, lyrics F. Freiligrath, ca. 1880(?), 1st ed. 1922, LSP VI, Bus. VII/3
A magyarok Istene. Ungarns Gott for voice solo and piano, R 655, S 559, lyrics A. Petofi, 1881, 1st ed. Budapest 1881 Táborszky & Parsch, Bus. VII/3
Magyar királydal/ Ungarisches Königslied for voice solo and piano, R 656, S 340, dedicated to K. Abrányi, 1883, 1st ed. Budapest 1884 Táborszky & Parsch, Bus. VII/3
religious:
Hymne de l’enfant à son réveil for female choir, harmonium or piano and harp ad libitum, R 508, S 19, lyrics Lamartine, ca. 1845, revised 1862 and 1874, dedicated to Liszt Society, premiere 17 June 1875 Weimar, 1st ed. Budapest 1875 Táborszky & Parsch, Bus. V/5
Ave Maria for choir and organ, R 496, S 20, 1846, dedicated to father Albach, 1st ed. Vienna 1851 Haslinger, Bus. V/6; 2nd version for choir and organ “Quattuor vocum concinente organo”, ca. 1852, 1st ed. 1852
Pater noster II for male choir, R 518, S 21, 1846, revised 1852, dedicated to father Albach, 1st ed. Vienna 1851 Haslinger, Bus. V/6; 2nd version for mixed choir and organ, ca. 1848, 1st ed. 1852, Bus. V/6
5 choir to French texts, R 506, S 18, after 1840: 1. Qui m’a donné for 3-voice choir, 2. L’Eternel est son nom for mixed choir, lyrics J.B. Racine, 3. Chantons, chantons l’auteur, for mixed choir, 4. (no lyrics) for mixed choir, 5. Combien j’ai douce souvenance for mixed choir, lyrics F. R. de Chateaubriand
Missa solemnis zur Einweihung der Basilika in Gran for soprano, alto, tenor, bass, choir and orchestra, R484, S 9, 1855, revised 1857–58, premiere 31 August 1856 Gran [Esztergom], 1st ed. Vienna 1859 Stamperia Imperiale
Die Legende von der heiligen Elisabeth, oratorio for soprano, alto, 3 baritones, bass, choir, organ and orchestra (published in a version for piano in NA I/16), R 477, S 2, lyrics D. Roquette, 1857–62, dedicated to Ludwig II of Bavaria, premiere 15 August 1865 Budapest, 1st ed. of vocal parts 1867, 1st ed. scores Leipzig 1869 Kahnt
Cantico del sol di S. Francesco d’Assisi for baritone, male choir and piano, R 479, S 4, 1862, dedicated to A. Freiherr Senfft von Pilsach, premiere 1862 Rome, 1st ed. Leipzig 1872 Schuberth, Bus. V/5; version for baritone, male choir and orchestra, 1880–81, 1st ed. Leipzig 1884 Kahnt
Christus, oratorio for soprano, alto, tenor, baritone, bass, choir, organ and orchestra (piano version published in NA 1/16), R 478, S 3, lyrics Bible and Catholic liturgy, 1862–67, premiere 29 May 1873 Weimar, 1st ed. Leipzig 1872 Schuberth
Missa choralis for choir and organ, R 486, S 10, 1865, premiere 1869 Lviv, 1st ed. Leipzig 1869 Kahnt, Bus. V/3
Ungarische Krönungsmesse for soprano, alto, tenor, bass, choir and orchestra, R 487, S 11, 1867, premiere 8 June 1867 Budapest, 1st ed. Leipzig 1869 Schuberth; transcription for violin and orchestra Benedictus, 1875
Requiem for 2 tenors, 2 basses (male choir), organ, brass instruments ad libitum, R 488, S 12, 1867–78, premiere 1869 Lviv, 1st ed. Paris 1869 Repos, Bus. V/3
Die heilige Cäcillia, legend for mezzo-soprano, choir ad libitum and orchestra or piano, R 480, S 5, lyrics E. de Girardin, 1874, dedicated to L. Haynald, archbishop of Kálocsa, premiere 17 June 1875 Weimar, 1st ed. Leipzig 1876 Kahnt
Via crucis, les 14 stations de la croix for soprano, alto, tenor, bass, choir and organ or piano, R 534, S 53, 1878–79, premiere Good Friday 1929, 1st ed. 1936, Bus. V/7
Quiseminant in lacrimis for mixed choir and organ, R 525, S 63, 1884, 1st ed. 1936, Bus. V/6
secular:
Über allen Gipfeln ist Ruh for male choir, R 544, S 75, lyrics J.W Goethe, 1842, dedicated to EW. Constantin von Hohenzollern-Hechingen, 1st ed. Cologne 1844 Eck; version for male choir and 2 horns 1849, 1st ed. Hamburg 1849
Les quatre éléments for male voices and piano or orchestra, instrumentation Conradi, R 547, S 80, lyrics J. Autran, 1844–45: 1. La terre, 2. Les aquilons, premiere August 1844 Marseille, 3. Les flots, 4. Les astres
Festkantate zur Enthüllung des Beethoven-Denkmals in Bonn for 2 sopranos, 2 tenors, 2 basses, choir and orchestra, R 537, S 67, lyrics O.L.B. Wolff, 1845, premiere 13 August 1845 Bonn
Arbeiterchor for bass solo, 4 male voices, choir and piano, R 552, S 82, before 1849, 1st ed. Budapest 1954 Taneműkiadó Vállalat
Hungaria, cantata for baritone, male choir and piano or orchestra, instrumentation Conradi, R 553, S 83, lyrics F. von Schober, 1848, premiere 21 May 1912 Weimar (version for orchestra), 1st ed. of a vocal part: Budapest 1961 I. Szelényi
Chor der Engel for mixed voices and harp or piano, R 555, S 85, lyrics J.W. Goethe, 1849, 1st ed. Leipzig 1849 Schuberth
Chöre zu Herders Entfesseltem Prometheus for soprano, alto, 2 tenors, 2 basses, choir and orchestra, instrumentation Raff, R 539, S 69, lyrics J.G. Herder, 1850, premiere 24 August 1850 Weimar, 1st ed. Weimar 1855 Walter, revised 1855 and 1859, 1st ed. Leipzig 1876 Kahnt
Festchor zur Enthüllung des Herder-Denkmals in Weimar for male choir, piano or orchestra, instrumentation Raff, R 556, S 86, lyrics A. Schöll, 1850, premiere 25 August 1850 Weimar, 1st ed. of a vocal part in: “Leipziger Weimar illustrierte Zeitung” from 2 November 1850
An die Künstler for 2 tenors, 2 basses, male choir and orchestra, R 540, S 70, lyrics by F. Schiller, 1853, premiere June 1853 Karlsruhe; revised 1853 and 1856, 1st ed. Berlin 1854 Schlesinger; instrumentation Raff, 1st ed. Leipzig 1856 Kühn
Gaudeamus igitur, humoresque for voice solo ad libitum, male or mixed choir and orchestra, R 541, S 71, lyrics C. Gille, 1869, premiere 1870 Jena, 1st ed. Leipzig 1871 Schuberth
Zur Säkularfeier Beethovens (2. Beethoven-Kantate) for soprano, alto, tenor, bass, choir and orchestra, R 538, S 68 A. Stern, F. Gregorovius 1869–70, dedicated to Princess Sophie of the Netherlands, premiere 29 May 1870 Weimar, 1st ed. Leipzig 1870 Kahnt
Ungarisches Königslied/Magyar király-dal (various versions: for male or boys’ or mixed choir with piano or orchestra), R 563, S 93, lyrics K. Abrányi, 1883, premiere 1884 Bratislava, 1st ed. Budapest 1884 Táborszky & Parsch
Es war einmal ein König for baritone, male choir and piano, R 543, S 73, lyrics J.W. Goethe
Scenic:
Don Sanche, ou Le château d’amour, opera in one act, R 471, S 1, libretto M.M. Théaulon de Rance after Claris de Florian, 1824–25, premiere 17 October 1825 Paris, libretto published in Paris 1825 Roullet, fragment of music in “Die Musik” no. 16 vol. 3.
Arrangements of works by other composers:
instrumentation:
Polonaise brillante op. 72 by C.M. von Weber, arranged for piano and orchestra, ca. 1851
6 songs by F. Schubert, arranged for voice and orchestra: Die junge Nonne, Gretchen am Spinnrade, Lieder der Mignon, Erlkönig, Der Doppelgänger, Abschied, 1860
Mazurka-Fantaisie op. 13 by H. von Bülow, arranged for orchestra, 1865
Die Allmacht by F. Schubert, arranged for tenor or soprano, male choir and orchestra, 1871
2nd overture to Der Barbier von Bagdad by P. Cornelius, arranged for orchestra, 1877
Danses galiciennes by J. Zarębski, arranged for orchestra, 1881
Wanderer-fantasie op. 15 by F. Schubert, arranged for piano and orchestra
transcriptions:
Grande fantaisie sur la tyrolienne from La Fiancée by F. Auber, transcribed for piano, 1829
Grande fantaisie de bravoure sur la Clochette by N. Paganini, transcribed for piano, 1831–32
Réminiscences from La Juive by F. Halévy, transcribed for piano, 1835
Réminiscences from Lucia di Lammermoor by G. Donizetti, transcribed for piano, 1835–36
Grande fantaisie on themes from Les Huguenots by J. Meyerbeer, transcribed for piano, 1836
Hungarian Melodies: Andante, Marcia, Allegretto by F. Schubert, transcribed for piano, 1838–39
Fantasie from Freischütz by C.M. von Weber, transcribed for piano, 1840
Réminiscences from Don Juan by WA. Mozart, transcribed for piano, 1841
Réminiscences from Norma by N. Bellini, transcribed for piano, 1841
Marcia Circassa from Ruslan and Lyudmila by M. Glinka, transcribed for piano, 1843
overture to Tannhäuser by R. Wagner, transcribed for piano, 1848
Hochzeitsmarsch und Elfenreigen from music to Midsummer Night’s Dream by F. Mendelssohn, transcribed for piano, 1849–50
concert paraphrase from Rigoletto by G. Verdi, transcribed for piano, 1859
Fantasie from The Ruins of Athens by L. van Beethoven, transcribed for piano, 1965
Waltz from Faust by C. Gounod, transcribed for piano, 1861
Polonaise from Eugene Onegin by Tchaikovsky, transcribed for piano, 1880
Piano reductions:
Episode de la vie dun artiste from Symphonie fantastique by H. Berlioz, piano reduction, 1833
symphonies by L. van Beethoven: No. 2, No. 3, No. 5–7 piano reduction, 1837
Marcia funebre from Symphony No. 3 by L. van Beethoven, piano reduction, 184
other symphonies of L. van Beethoven and new versions of previous ones, piano reductions, 1863–64
overture to Wilhelm Tell by G. Rossini, piano reduction, 1838
Schwanengesang by F. Schubert, no 1–14, piano reduction, 1838–39
6 songs from op. 74 by F. Chopin, piano reduction, 1847–60
Widmung from Liebeslied by R. Schumann, piano reduction, 1848
A la Chapelle Sixtine. Miserere d’Allegri and Ave verum corpus by W.A. Mozart, piano reduction, 1862
Fantasia and Fugue in G minor for organ by J.S. Bach (BWV 542), piano reduction, 1863
Editions:
Gesammelte Schriften, 6 volumes, ed. L. Ramann, Leipzig 1880–83, vol. 1: Frédéric Chopin, 1852; vol. 2 part 1: Zur Stellung des Künstlers, 1835; Über die zukünftige Kirchenmusik, 1834; Über Volksausgaben bedeutender Werke, 1836; Über Meyerbeers Hugenotten, 1837; Thalbergs Grande fantaisie und Caprices, 1837; Robert Schumanns Klavier-Kompositionen, 1837; Paganini: ein Nekrolog, 1840; vol. 2 part 2: Reisebriefe eines Baccalaureus der Tonkust, 1855–40 (letters to G. Sand, A. Pictet, L. de Ronchaud, M. Schlesinger, M. d’Orteque); vol. 3, part 1 and 2: Dramaturgische Blätter, 1849–56 (e.g. articles on operas from the 19th c.), vol. 4: Aus den Annalen des Fortschrittes, 1855–59 (essays on Berlioz, R. and K. Schumann, R. Franz, E. Sobolewski and J. Field); vol. 5: Streifzüge: kritische, polemische und zeithistorische Essays, 1850–58; vol. 6: Die Zigeuner und ihre Musik in Ungarn, 1859
Works:
De la fondation Goethe à Weimar, Leipzig 1851
Lohengrin et Tannhäuser de Richard Wagner, Leipzig 1851
Frédéric Chopin, Paris 1852, Polish transl. F. Faleński, Warsaw 1873
Des bohémiens et de leur musique en Hongrie, Paris 1859
Über John Fields Nocturnen, Leipzig 1859
Robert Schumanns musikalische Haus- und Lebensregeln, Leipzig 1860
R. Franz, 1872
c.f. also edition Gesammelte Schriften
