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Franz Liszt

Born: October 22, 1811

Died: July 31, 1886 in Bayreuth, Germany. Aged 74. healthy during his but suddenly developed numerous ailments, dropsy, asthma, insomnia, a cataract.

Alternate/ Birth Name: Franz Joseph Liszt,

Birthplace: Raiding (formerly Doborjan), Hungary

  • Mother :Marie Anna Lager (Austrian)
  • Father: Adam Liszt (Hungarian)

Siblings: No Information.

Profession: Hungarian virtuoso pianist, composer and teacher.

Education: Franz's had early education in piano for which the credit goes to his father, Adam, who was good at piano, violin, cello, and guitar and at the age of seven, Adam started teaching his son piano after Franz showed keen interest in his father's piano playing and towards sacred and gypsy music. At age nine he took music piano lessons form Carl Czerny, pupil of Beethoven and Hummel during his youth. Also, took composition lessons from Antonio Salieri.In 1824 Liszt, studied composition with Anton Reicha and Ferdinando Paer.

Childhood: Franz, born in a Hungarian family, Father for a musician who played for the Prince Nikolaus II Esterházy and also knew great musical geniuses, Haydn, Beethoven and Hummel, personally. Franz inherited his musical talent from his father who himself wanted to be successful musician. Exposure to his father's music at an early age left an impression on young Franz mind and he used to listen to his father's piano playing and acquired interest in sacred and gypsy music. This was followed by his father's piano lessons to him at the age of seven. These lessons implanted the seed of genius in Franz and next year, at 8, he began composing in an elementary manner.Soon after that he appeared in concerts at Sopron and Pozsony beginning of fall in 1820 at the age of nine.In September, 20 1823 the family moved to Vienna and soon after that he was recognized as a child prodigy once he delivered concerts Munich, Augsburg, Stuttgart and Strasbourg. He was also compared with boy Mozart for his exceptional talent.Liszt learnt many languages early in his life and achieved fluency at them namely German, French and Italian. Apart form this he also knew Hungarian and Latin but was not fluent at it.He continued his studies and in 1824 took compositions lessons from Anton Reicha and Ferdinando Paer and in the same year with the assistance of Ferdinando Paer Liszt composed an opera Don Sanche, ou Le château de l'amour ("Don Sanche, or The Castle of Love") which did not receive any success. This resulted in inclination towards religion and started disliking music.Forced by his farther to continue with music, he started composing original etudes projected as 48 pieces, but only 12 pieces were realized and published as his Opus 6.In 1827, his father died of typhus. Early demise of his father shook Liszt and he had to move to Paris with his mother and gave lessons to earn money. Liszt childhood was both filled with sucess and temporary setback as he grew he many major accomplishments in life.

First Break: At the age of nine when he appeared in concerts at Sopron and Pozsony beginning of fall in 1820.

Spouse: Franz never married though he was known to have many affairs the closest he got to marriage was with Princess Carolyne who already married, tried to divorce her husband Prince Nikolaus zu Sayn-Wittgenstein-Ludwigsburg by proving her marriage invalid. Though she was temporarily successful and date for marriage was decided to be October 22, 1861 in Rome but Carolyne declined from marrying him that evening because her husband and Czar of Russia were successful in suppress the permission for marriage. Another notable affair of Franz was with Countess Marie d'Agoult with whom he had Three Children but never married her either. Liszt was with Marie for more than 10 years. They both loved passionately each other though letters from Liszt were with mixed emotions.

Children: Three Children.
  • Daughter: Blandine Liszt
  • Daughter: Cosima Liszt (Known for leaving her husband to marry famous musician Richard Wagner. She married him in Como, Italy, in 1837)
  • Son: Daniel Liszt (Died Young at the age of 20 from tuberculosis)


"A theater receives recognition through its initiative, which is indispensable for first-rate performances."
"Music embodies feeling without forcing it to contend and combine with thought, as it is forced in most arts and especially in the art of words."
"t is my fervent wish and my greatest ambition to leave a work with a few useful instructions for the pianists after me."
"Inspiration is enough to give expression to the tone in singing, especially when the song is without words."
"I conclude that the Wagnerian operas which are already in the repertoire, and other masterworks as well, stand in no further need of my services."
"Broad paths are open to every endeavor, and a sympathetic recognition is assured to every one who consecrates his art to the divine services of a conviction of a consciousness."
"The character of instrumental music... lets the emotions radiate and shine in their own character without presuming to display them as real or imaginary representations."
"The principal task of a conductor is not to put himself in evidence but to disappear behind his functions as much as possible. We are pilots, not servants."
"Without any assistance whatever, I founded a school in Weimar in 10 years. Only I could perform certain works with the scanty means that I dared not ask anyone else to work with."

Famous Works:

1822 - Variation on a Theme by Diabelli]] (S/G147, R26)
1826 - Etude in Twelve Exercises, including No. 10 in F Minor
1832 - Grande Fantasie de Bravoure sur La Clochette, variations (S/G420, R321)
1833 - Arrangement of "March to the Scaffold" from Berlioz, Symphonie Fantastique (S/G470, R136)
1833 - Divertissement on the Cavatina "I tuoi frequenti palpiti" from Pacini's La Niobe (S/G419, R230)
1841 - Feuilles d'album ('Album Leaves')
1841 - Réminiscences de Don Juan, (S/G418)
1845-48 - Ballade No. 1 in D flat : Ballade No. 1 in Des-dur
1848 - Three Concert Etudes (French)
1848-53 - Années de Pèlerinage: Première Année—Suisse; Deuxième Année—Italie - Venezia e Napoli; Troisième Année
1848-61 - Twelve Symphonic Poems
1848-49 - Ce qu'on entend sur la montagne (also known as Berg-Symphonie)
1853-4-Orpheus (after George Gordon, Lord Byron
1849-50-Héroïde funèbre
1858 -Hamlet
1857 - Hunnenschlacht
1857 - Die Ideale, after Friedrich Schiller
1849 - Piano Concerto no. 1 in E-flat Major (S/G124)
1849 - Piano Concerto No. 2 in A Major (S/G125)
1849 - Harmonies Poétiques et Religieuses, (S/G173)
1849 - Totentanz ('Dance of death')
1850 - Liebesträume No. 3 ("Dreams of Love")
1851 - Grandes Etudes de Paganini, including No. 3, "La Campanella"; and No. 5, "La Chasse" (Composed 1838, revised 1851)
1851 - Transcendental Etudes (Prelude, Molto Vivace, Paysage, Mazeppa, Feux Follets, Vision, Eroica, Wilde Jagd, Ricordanza, Allegro Agitato Molto, Harmonies du soir, and Chasse-niege. Known well for being technically difficult, notedly Mazeppa and Feux Follets)
1851 - Nineteen Hungarian Rhapsodies (S/G244, R106)
1851 - Polonaise No. 1 in C minor
1852 - Valse-Impromptu, (S/G213)
1853 - Piano Sonata in B minor (S/G178, R21)
1853 - Ballade No. 2 in B minor:Ballade No. 2 in H-Moll
1854 - Faust Symphony
1855 - Prelude and Fugue on B-A-C-H for organ, rev. 1870
1857 - Dante Symphony
1860 - Mephisto Waltz No. 1 (piano solo)
1863 - Slavimo Slavno Slaveni! for organ (S503, R196)
1866 - Christus (S/G3)
1877 - Dem Andenken Petőfis
1881 - Nuages Gris ('Grey clouds')
1885 - Bagatelle sans tonalité (S216a)
1885 - Bagatelle sans tonalité (S216a)

Musical Journey:


S.1, Don Sanche, ou le Château de l'Amour (1824-25)

Sacred Choral Works
S.2, The Legend of St. Elisabeth (1857-62)
S.3, Christus (1855-67)
S.4, Cantico del sol di Francesco d'Assisi [first/second version] (1862, 1880-81)
S.5, Die heilige Cäcilia (1874)
S.6, Die Glocken des Strassburger Münsters (Longfellow) (1874)
S.7, Cantantibus organis (1879)
S.8, Missa quattuor vocum ad aequales concinente organo [first/second version] (1848, 1869)
S.9, Missa solennis zur Einweihung der Basilika in Gran (Gran Mass) [first/second version] (1855, 1857-58)
S.10, Missa choralis, organo concinente (1865)
S.11, Hungarian Coronation Mass (1866-67)
S.12, Requiem (1867-68)
S.13, Psalm 13 (Herr, wie lange ?) [first/second/third verion] (1855, 1858, 1862)
S.14, Psalm 18 (Coeli enarrant) (1860)
S.15, Psalm 23 (Mein Gott, der ist mein hirt) [first version: chorus, soloist & orchestra] [second version: chorus, soloist & violin, piano, harp, organ] (1859, 1862)
S.15a, Psalm 116 (Laudate Dominum) (1869)
S.16, Psalm 129 (De profundis) (1880-83)
S.17, Psalm 137 (By the rivers of Babylon) [first/second version] (1859-62)
S.18, Five choruses with French texts [5 choruses] (1840-49)
S.19, Hymne de l'enfant à son réveil (Lamartine) [first/second version] (1847, 1862)
S.20, Ave Maria I [first/second version] (1846, 1852)
S.21, Pater noster II [first/second version] (1846, 1848)
S.22, Pater noster IV (1850)
S.23, Domine salvum fac regem (1853)
S.24, Te Deum II (1853?)
S.25, Beati pauperes spiritu (Die Seligkeiten) (1853)
S.26, Festgesang zur Eröffnung der zehnten allgemeinen deutschen Lehrerversammlung (1858)
S.27, Te Deum I (1867)
S.28, An den heiligen Franziskus von Paula (b. 1860)
S.29, Pater noster I (b. 1860)
S.30, Responsorien und Antiphonen [5 sets] (1860)
S.31, Christus ist geboren I [first/second version] (1863?)
S.32, Christus ist geboren II [first/second version] (1863?)
S.33, Slavimo Slavno Slaveni! [first/second version] (1863, 1866)
S.34, Ave maris stella [first/second version] (1865-66, 1868)
S.35, Crux! (Guichon de Grandpont) (1865)
S.36, Dall' alma Roma (1866)
S.37, Mihi autem adhaerere (from Psalm 73) (1868)
S.38, Ave Maria II (1869)
S.39, Inno a Maria Vergine (1869)
S.40, O salutaris hostia I (1869?)
S.41, Pater noster III [first/second version] (1869)
S.42, Tantum ergo [first/second version] (1869)
S.43, O salutaris hostia II (1870?)
S.44, Ave verum corpus (1871)
S.45, Libera me (1871)
S.46, Anima Christi sanctifica me [first/second version] (1874, ca. 1874)
S.47, St Christopher. Legend (1881)
S.48, Der Herr bewahret die Seelen seiner Heiligen (1875)
S.49, Weihnachtslied (O heilige Nacht) (a. 1876)
S.50, 12 Alte deutsche geistliche Weisen (Chorales) [12 chorals] (ca. 1878-79)
S.51, Gott sei uns gnädig und barmherzig (1878)
S.52, Septem Sacramenta. Responsoria com organo vel harmonio concinente (1878)
S.53, Via Crucis (1878-79)
S.54, O Roma nobilis (1879)
S.55, Ossa arida (1879)
S.56, Rosario [4 chorals] (1879)
S.57, In domum Domino imibus (1884?)
S.58, O sacrum convivium (1884?)
S.59, Pro Papa (ca. 1880)
S.60, Zur Trauung. Geistliche Vermählungsmusik (Ave Maria III) (1883)
S.61, Nun danket alle Gott (1883)
S.62, Mariengarten (b. 1884)
S.63, Qui seminant in lacrimis (1884)
S.64, Pax vobiscum! (1885)
S.65, Qui Mariam absolvisti (1885)
S.66, Salve Regina (1885)

Secular Choral Works
S.67, Beethoven Cantata No. 1: Festkantate zur Enthüllung (1845)
S.68, Beethoven Cantata No. 2: Zur Säkularfeier Beethovens (1869-70)
S.69, Chöre zu Herders Entfesseltem Prometheus (1850)
S.70, An die Künstler (Schiller) [first/second/third verion] (1853, 1853, 1856)
S.71, Gaudeamus igitur. Humoreske (1869)
S.72, Vierstimmige Männergesänge [4 chorals] (for Mozart-Stiftung) (1841)
S.73, Es war einmal ein König (1845)
S.74, Das deutsche Vaterland (1839)
S.75, Über allen Gipfeln ist Ruh (Goethe) [first/second version] (1842, 1849)
S.76, Das düstre Meer umrauscht mich (1842)
S.77, Die lustige Legion (A. Buchheim) (1846)
S.78, Trinkspruch (1843)
S.79, Titan (Schobert) (1842-47)
S.80, Les Quatre Éléments (Autran) (1845)
S.81, Le Forgeron (de Lamennais) (1845)
S.82, Arbeiterchor (de Lamennais?) (1848)
S.83, Ungaria-Kantate (Hungaria 1848 Cantata) (1848)
S.84, Licht, mehr Licht (1849)
S.85, Chorus of Angels from Goethe's Faust (1849)
S.86, Festchor zur Enthüllung des Herder-Dankmals in Weimar (A. Schöll) (1850)
S.87, Weimars Volkslied (Cornelius) [6 versions] (1857)
S.88, Morgenlied (Hoffmann von Fallersleben) (1859)
S.89, Mit klingendem Spiel (1859-62 ?)
S.90, Für Männergesang [12 chorals] (1842-60)
S.91, Das Lied der Begeisterung. A lelkesedes dala (1871)
S.92, Carl August weilt mit uns. Festgesang zur Enthüllung des Carl-August-Denkmals in Weimar am 3 September 1875 (1875)
S.93, Ungarisches Königslied. Magyar Király-dal (Ábrányi) [6 version] (1883)
S.94, Gruss (1885)

Orchestral Works
  • Symphonic Poems
S.95, Poème symphonique No. 1, Ce qu'on entend sur la montagne (Berg Symphonie) [first/second/third version] (1848-49, 1850, 1854)
S.96, Poème symphonique No. 2, Tasso, Lamento e Trionfo [first/second/third version] (1849, 1850-51, 1854)
S.97, Poème symphonique No. 3, Les Préludes (1848)
S.98, Poème symphonique No. 4, Orpheus (1853-54)
S.99, Poème symphonique No. 5, Prometheus [first/second version] (1850, 1855)
S.100, Poème symphonique No. 6, Mazeppa [first/second version] (1851, b. 1854)
S.101, Poème symphonique No. 7, Festklänge [revisions added to 1863 pub] (1853)
S.102, Poème symphonique No. 8, Héroïde funèbre [first/second version] (1849-50, 1854)
S.103, Poème symphonique No. 9, Hungaria (1854)
S.104, Poème symphonique No. 10, Hamlet (1858)
S.105, Poème symphonique No. 11, Hunnenschlacht (1856-57)
S.106, Poème symphonique No. 12, Die Ideale (1857)
S.107, Poème symphonique No. 13, Von der Wiege bis zum Grabe (From the Cradle to the Grave) (1881-82)

Other Orchestral Works
S.108, Eine Faust-Symphonie [first/second version] (1854, 1861)
S.109, Eine Symphonie zu Dante's Divina Commedia (1855-56)
S.110, Deux Épisodes d'apres le Faust de Lenau [2 pieces] (1859-61)
S.111, Zweite Mephisto Waltz (1881)
S.112, Trois Odes Funèbres [3 pieces] (1860-66)
S.113, Salve Polonia (1863)
S.114, Künstlerfestzug zur Schillerfeier (1857)
S.115, Festmarsch zur Goethejubiläumsfeier [first/second version] (1849, 1857)
S.116, Festmarsch nach Motiven von E.H.z.S.-C.-G. (1857)
S.117, Rákóczy March (1865)
S.118, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (am 8 Juni 1867) (1870)
S.119, Ungarischer Sturmmarsch (1875)

Piano and Orchestra
S.120, Grande Fantaisie Symphonique on themes from Berlioz Lélio (1834)
S.121, Malédiction (with string orchestra) (1833)
S.122, Fantasie über Beethovens Ruinen von Athen [first/second version] (1837?, 1849)
S.123, Fantasie über ungarische Volksmelodien (1852)
S.124, Piano Concerto No. 1 in E flat [first/second version] (1849, 1856)
S.125, Piano Concerto No. 2 in A major [first/second version] (1839, 1849)
S.125a, Piano Concerto (No. 3) in E flat (1836-39)
S.126, Totentanz. Paraphrase on Dies Irae [Feruccio Busoni's 'De Profundis'/final version] (1849, 1859)
S.126a, Piano Concerto "In the Hungarian Style" [probably by Sophie Menter] (1885)

Chamber Music
S.126b, Zwei Waltzer [2 pieces] (1832)
S.127, Duo (Sonata) - Sur des thèmes polonais (1832-35 ?)
S.128, Grand duo concertant sur la Romance de M.Lafont Le Marin [first/second version] (ca. 1835-37, 1849)
S.129, Epithalam zu Eduard. Reményis Vermählungsfeier (1872)
S.130, Élégie No. 1 [first/second/third version] (1874)
S.131, Élégie No. 2 (1877)
S.132, Romance oubliée (1880)
S.133, Die Wiege (1881?)
S.134, La lugubre gondola [first/second version] (1883?, 1885?)
S.135, Am Grabe Richard Wagners (1883)

Piano Solo
  • Studies
S.136, Études en douze exercices dans tous les tons majeurs et mineurs [first version, 12 pieces] (1826)
S.137, Douze Grandes Études [second version, 12 pieces] (1837)
S.138, Mazeppa [intermediate version of S137/4] (1840)
S.139, Douze Études d'exécution transcendante [final version, 12 pieces] (1852)
S.140, Études d'exécution transcendante d'après Paganini [first version, 6 pieces] (1838)
S.141, Grandes Études de Paganini [second version, 6 pieces] (1851)
S.142, Morceau de Salon, Étude de perfectionnement [Ab Irato, first version] (1840)
S.143, Ab Irato, Étude de perfectionnement [second version] (1852)
S.144, Trois Études de concert [3 pieces] (1848?)
    1. Il Lamento
    2. La Leggierezza
    3. Un Sospiro
S.145, Zwei Konzertetüden [2 pieces] (1862-63)
    1. Waldesrauschen
    2. Gnomenreigen
S.146, Technische Studien [68 studies] (ca. 1868-80)

Various Original Works
S.147, Variation on a Waltz by Diabelli (1822; Liszt's Op. 1; it was one of 50 variations on the waltz, one each from 50 different composers, published as Part II of Vaterländischer Künstlerverein, an anthology commissioned by Anton Diabelli; Part I was devoted to the 33 variations supplied byBeethoven, which gained an independent identity as the Diabelli Variations, Op. 120)
S.148, Huit Variations (1824?)
S.149, Sept Variations brillantes dur un thème de G. Rossini (1824?)
S.150, Impromptu brillant sur des thèmes de Rossini et Spontini (1824)
S.151, Allegro di bravura (1824)
S.152, Rondo di bravura (1824)
S.152a, Klavierstück (?)
S.153, Scherzo in G minor (1827)
S.153a, Marche funèbre (1827)
S.153b, Grand Solo caractèristique d'apropos une chansonette de Panseron [private collection, score inaccessible] (1830-32) [1]
S.154, Harmonies poétiques et religieuses [Pensée des morts, first version] (1833, 1835)
S.155, Apparitions [3 pieces] (1834)
S.156, Album d'un Voyageur [3 sets; 7, 9, 3 pieces] (1835-38)
S.156a, Trois morceaux suisses [3 pieces] (1835-36)
S.157, Fantaisie romantique sur deux mélodies suisses (1836)
S.157a, Sposalizio (1838-39)
S.157b, Il penseroso [first version] (1839)
S.157c, Canzonetta del Salvator Rosa [first version] (1849)
S.158, Tre Sonetti del Petrarca [3 pieces, first versions of S161/4-6] (1844-45)
S.158a, Paralipomènes à la Divina Commedia [Dante Sonata original 2 movement version] (1844-45)
S.158b, Prologomènes à la Divina Commedia [Dante Sonata second version] (1844-45)
S.158c, Adagio in C major (Dante Sonata albumleaf) (1844-45)
S.159, Venezia e Napoli [first version, 4 pieces] (1840?)
S.160, Années de Pèlerinage. Première Année; Suisse [9 pieces] (1848-55)
S.161, Années de Pèlerinage. Deuxième Année; Italie [7 pieces] (1839-49)
S.162, Venezia e Napoli. Supplément aux Années de Pèlerinage 2de volume [3 pieces] (1860)
S.162a, Den Schutz-Engeln (Angelus! Prière à l'ange gardien) [4 drafts] (1877-82)
S.162b, Den Cypressen der Villa d'Este - Thrénodie II [first draft] (1882)
S.162c, Sunt lacrymae rerum [first version] (1872)
S.162d, Sunt lacrymae rerum [intermediate version] (1877)
S.162e, En mémoire de Maximilian I [Marche funèbre first version] (1867)
S.162f, Postludium - Nachspiel - Sursum corda! [first version] (1877)
S.163, Années de Pèlerinage. Troisième Année [7 pieces] (1867-77)
S.163a, Album-Leaf: Andantino Pour Emile et Charlotte Loudon (1828) [2]
S.163a/1, Album Leaf in F sharp minor (1828)
S.163b, Album-Leaf (Ah vous dirai-je, maman) (1833)
S.163c, Album-Leaf in C minor (Pressburg) (1839)
S.163d, Album-Leaf in E major (Leipzig) (1840)
S.164, Feuille d'album No. 1 (1840)
S.164a, Album Leaf in E major (Vienna) (1840)
S.164b, Album Leaf in E flat (Leipzig) (1840)
S.164c, Album-Leaf: Exeter Preludio (1841)
S.164d, Album-Leaf in E major (Detmold) (1840)
S.164e, Album-Leaf: Magyar (1841)
S.164f, Album-Leaf in A minor (Rákóczi-Marsch) (1841)
S.164g, Album-Leaf: Berlin Preludio (1842)
S.165, Feuille d'album (in A flat) (1841)
S.166, Albumblatt in waltz form (1841)
S.166a, Album Leaf in E major (1843)
S.166b, Album-Leaf in A flat (Portugal) (1844)
S.166c, Album-Leaf in A flat (1844)
S.166d, Album-Leaf: Lyon Prélude (1844)
S.166e, Album-Leaf: Prélude omnitonique (1844)
S.166f, Album-Leaf: Braunschweig Preludio (1844)
S.166g, Album-Leaf: Serenade (1840-49)
S.166h, Album-Leaf: Andante religioso (1846)
S.166k, Album Leaf in A major: Friska (ca. 1846-49)
S.166m-n, Albumblätter für Prinzessin Marie von Sayn-Wittgenstein (1847)
S.167, Feuille d'album No. 2 [Die Zelle in Nonnenwerth, third version] (1843)
S.167a, Ruhig [catalogue error; see Strauss/Tausig introduction and coda]
S.167b, Miniatur Lieder [score not accessible at present]
S.167c, Album-Leaf (from the Agnus Dei of the Missa Solennis, S9) (1860-69)
S.167d, Album-Leaf (from the symphonic poem Orpheus, S98) (1860)
S.167e, Album-Leaf (from the symphonic poem Die Ideale, S106) (1861)
S.167f, Album Leaf in G major (ca. 1860)
S.168, Elégie sur des motifs du Prince Louis Ferdinand de Prusse [first/second version] (1842, 1851)
S.168a, Andante amoroso (1847)
S.169, Romance (O pourquoi donc) (1848)
S.170, Ballade No. 1 in D flat (Le chant du croisé) (1845-48)
S.170a, Ballade No. 2 [first draft] (1853)
S.171, Ballade No. 2 in B minor (1853)
S.171a, Madrigal (Consolations) [first series, 6 pieces] (1844)
S.171b, Album Leaf or Consolation No. 1 (1870-79)
S.171c, Prière de l'enfant à son reveil [first version] (1840)
S.171d, Préludes et Harmonies poétiques et religie (1845)
S.171e, Litanies de Marie [first version] (1846-47)
S.172, Consolations (Six Penseés poétiques) (1849-50)
S.172a, Harmonies poétiques et religieuses [1847 cycle] (1847)
S.172a/3&4, Hymne du matin, Hymne de la nuit [formerly S173a] (1847)
S.173, Harmonies poétiques et religieuses [second version] (1845-52)
S.174, Berceuse [first/second version] (1854, 1862)
S.175, Deux Légendes [2 pieces] (1862-63)
    1. St. François d'Assise. La Prédication aux oiseaux (Preaching to the Birds)
    2. St. François de Paule marchant sur les flots (Walking on the Waves)
S.175a, Grand solo de concert [Grosses Konzertsolo, first version] (1850)
S.176, Grosses Konzertsolo [second version] (1849-50)
S.177, Scherzo and March (1851)
S.178, Piano Sonata in B minor (1852-53)
S.179, Prelude after a theme from Weinen, Klagen, Sorgen, Zagen by J. S. Bach (1859)
S.180, Variations on a theme from Weinen, Klagen, Sorgen, Zagen by J. S. Bach (1862)
S.181, Sarabande and Chaconne from Handel's opera Almira (1881)
S.182, Ave Maria - Die Glocken von Rom (1862)
S.183, Alleluia et Ave Maria [2 pieces] (1862)
S.184, Urbi et orbi. Bénédiction papale (1864)
S.185, Vexilla regis prodeunt (1864)
S.185a, Weihnachtsbaum [first version, 12 pieces] (1876)
S.186, Weihnachtsbaum [second version, 12 pieces] (1875-76)
S.187, Sancta Dorothea (1877)
S.187a, Resignazione [first/second version] (1877)
S.188, In festo transfigurationis Domini nostri Jesu Christi (1880)
S.189, Klavierstück No. 1 (1866)
S.189a, Klavierstück No. 2 (1845)
S.189b, Klavierstück (?)
S.190, Un portrait en musique de la Marquise de Blocqueville (1868)
S.191, Impromptu (1872)
S.192, Fünf Klavierstücke (for Baroness von Meyendorff) [5 pieces] (1865-79)
S.193, Klavierstuck (in F sharp major) (a. 1860)
S.194, Mosonyis Grabgeleit (Mosonyi gyázmenete) (1870)
S.195, Dem Andenken Petofis (Petofi Szellemenek) (1877)
S.195a, Schlummerlied im Grabe [Elegie No 1, first version] (1874)
S.196, Élégie No. 1 (1874)
S.196a, Entwurf der Ramann-Elegie [Elegie No 2, first draft] (1877)
S.197, Élégie No. 2 (1877)
S.197a, Toccata (1879-81)
S.197b, National Hymne - Kaiser Wilhelm! (1876)
S.198, Wiegenlied (Chant du herceau) (1880)
S.199, Nuages gris (Trübe Wolken) (1881)
S.199a, La lugubre gondola I (Der Trauergondol) [Vienna draft] (1882)
S.200, La lugubre gondola [2 pieces] (1882, 1885)
S.201, R. W. - Venezia (1883)
S.202, Am Grabe Richard Wagners (1883)
S.203, Schlaflos, Frage und Antwort (Nocturne after a poem by Toni Raab) (1883)
S.204, Receuillement (Bellini in Memoriam) (1877)
S.205, Historische ungarische Bildnisse (Magyar arcképek) [original version, 7 pieces] (1885)
S.205a, Historische ungarische Bildnisse [revised order and conclusion, 7 pieces] (1885)
S.206, Trauervorspiel und Trauermarsch (1885)
S.207, En Rêve. Nocturne (1885)
S.207a, Prélude à la Polka de Borodine (and Borodin's Polka) (1880)
S.208, Unstern: Sinistre, Disastro (1880-86)

Works in Dance Form
S.208a, Waltz (in A major) (b. 1825)
S.209, Grande valse di bravura [first version of S214/1] (1835)
S.209a, Waltz (in E flat) (1840)
S.210, Valse mélancolique [first version of S214/2] (1839)
S.210a, Valse mélancolique [intermediate version] (1840)
S.210b, Valse (in A major) (1830-39)
S.211, Ländler (in A flat major) (1843)
S.211a, Ländler (in D major) (1879)
S.212, Petite Valse favorite [first/second version] (1842, 1843)
S.212b, Mariotte. Valse pour Marie (1840)
S.213, Valse-Impromptu (1850?)
S.213a, Valse-Impromptu [with later additions] (1880)
S.214, Trois Caprice-Valses [3 pieces] [second versions of S209, S210, S401] (1850)
S.214a, Carousel de Madame Pelet-Narbone (ca. 1875-81)
S.215, Valses oubliées [4 pieces] (1881-84)
S.215a, Dritter Mephisto-Walzer (Mephisto Waltz No. 3) [first draft] (1883)
S.216, Dritter Mephisto-Walzer (Mephisto Waltz No. 3) (1883)
S.216a, Bagatelle sans tonalité (1885)
S.216b, Vierter Mephisto-Walzer (Mephisto Waltz No. 4) [first version] (1885)
S.217, Mephisto Polka [first/second version] (1883)
S.218, Galop (in A minor) (1841?)
S.219, Grand galop chromatique [original version] (1838)
S.219bis, Grand galop chromatique [simplified version] (1838)
S.220, Galop de Bal (1840?)
S.221, Mazurka brillante] (1850)
S.221a, Mazurka in F minor
S.222, [catalogue error; same as S212]
S.223, Deux Polonaises [2 pieces] (1851)
S.224, Csárdás macabre (1881-82)
S.225, Two Csárdás [2 pieces] (1884)
S.226, Festvorspiel (1856)
S.226a, Marche funèbre (1827)
S.227, Goethe Festmarsch [first version] (1849)
S.228, Huldigungsmarsch [first/second version] (1853)
S.229, Vom Fels zum Meer! - Deutscher Siegesmarsch (1853-56)
S.230, Bülow-Marsch (1883)
S.230a, Festpolonaise (1876)
S.231, Heroischer Marsch in ungarischem Stil (1840)
S.232, Ungarischer Sturmmarsch [earlier version of S524] (1843?)
S.233, Ungarischer Geschwindmarsch (1870)
S.233a, Siegesmarsch. Marche triomphale (Victory March)
S.233b, Marche hongroise (in E flat minor) (1844)

Works on National Themes
  • Czech
S.234, Hussitenlied (Melody by J.Krov) (1840)
  • English
S.235, God Save the Queen (1841)
  • French
S.236, Faribolo Pasteur and Chanson du Béarn [2 pieces] (1844)
S.237, La Marseillaise (1872?)
S.238, La cloche sonne (1850?)
S.239, Vive Henri IV (1870-80 ?)
  • German
S.240, Gaudeamus igitur. Concert paraphrase [first/second version] (1843, 1853)
  • Hungarian
S.241, Hungarian Recruiting Songs (Zum Andenken) (By Fáy & Bihari) (1828)
S.241a, Ungarische Romanzero (Hungarian Songbook) [18 pieces] (1853)
S.241b, Magyar tempo (1840)
S.242, Magyar Dalok: Magyar Rapszódiák [21 pieces] (1839-47)
S.242a, Rákóczi-Marsch [first version] (1839-1840)
S.243, Ungarische National-Melodien [3 pieces] (ca. 1843)
S.243a, Célèbre mélodie hongroise (a. 1866)
S.244, Hungarian Rhapsodies (Rapsodies hongroises) [19 pieces] (1846-86)
S.244a, Rákóczi-Marsch [from orchestral version] (1863)
S.244b, Rákóczi-Marsch [simplified version of S244a] (1871)
S.244c, Rákóczi-Marsch [popular version] (?)
S.245, Fünf ungarische Volkslieder (Abranyi) [5 pieces] (1873)
S.246, Puszta-Wehmut (A Puszta Keserve) (1880-86 ?)
  • Italian
S.248, Canzone Napolitana [first/second version] (1842)
  • Polish
S.249, Glanes de Woronince [3 pieces] (1847-48)
S.249a, Mélodie polonaise [short draft] (1871)
S.249b, Dumka (1871)
S.249c, Air cosaque (1871)
  • Russian
S.250, Deux Mélodies russes. Arabesques [2 pieces] (1842)
S.250a, Le rossignol (Alyabyev) [first version of S250/1] (1842)
S.251, Abschied. Russisches Volkslied (1885)
  • Spanish
S.252, Rondeau fantastique sur un thème espagnol, El Contrabandista (Garcia) (1836)
S.252a, La Romanesca [first/second version] (ca. 1832, b. 1852)
S.253, Grosse Konzertfantasie über Spanische Weisen (1853)
S.254, Rhapsodie espagnole (1863?)
S.254x, Rapsodie espagnole [orchestrated by Feruccio Busoni]

Piano Duet
S.255, Festpolonaise [now S619a] (1876)
S.256, Variation on the Chopstick theme (1880)
S.256a, Nottorno [Not by Liszt?]

Two Pianos
S.257, Grosses Konzertstück über Mendelssohns Lieder ohne Worte (1834)
S.258, Concerto pathétique (b. 1856)

S.259, Fantasy and Fugue on the chorale Ad nos, ad salutarem undam (1850)
S.260, Präludium und Fuge über das Thema BACH [first/second version] (1855, 1870)
S.261, Pio IX. Der Papsthymnus (1863?)
S.261a, Andante religioso (1861?)
S.262, Ora pro nobis. Litanei (1864)
S.263, Resignazione (1877)
S.264, Missa pro organo lectarum celebrationi missarum adjumento inserviens (1879)
S.265, Gebet (1879)
S.266, Requiem für die Orgel (1883)
S.267, Am Grabe Richard Wagners (1883)
S.268, Zwei Vortragsstücke [2 pieces] (1884)

S.269, Angiolin dal biondo crin (Marchese C. Bocella) [first/second version] (1839)
S.270, Three Petrarch Sonnets [3 songs, first/second version] (1844-45, 1854]
S.271, Il m'aimait tant (Delphine Gay) (1840?)
S.272, Am Rhein im schönen Strome (Heine) [first/second version] (1840?, 1854)
S.273, Die Lorelie (Heine) [first/second version] (1841)
S.274, Die Zelle in Nonnenwerth [first/second version revised 1862] (b. 1841, 1857)
S.275, Mignons Lied (Kennst du das Land) (Goethe) [first/second/third version] (1842, 1854, 1860)
S.276, Comment, disaient-ils (Hugo) [first/second version] (1842)
S.277, Bist du (Prince E. Metschersky) [first/revised version] (1843, ca. 1878-79)
S.278, Es war ein König in Thule (Goethe) [first/second version] (1842)
S.279, Der du von dem Himmel bist (Goethe) [first/second/third version] (1842, 1860)
S.280, Freudvoll und leidvoll (Goethe) [first/second/third version] (1844, 1848)
S.281, Die Vätergruft (1844)
S.282, O quand je dors (Hugo) [first/second version] (1842)
S.283, Enfant, si j'etais roi (Hugo) [first/revised version] (1844)
S.284, S'il est un charmant gazon (Hugo) [first/revised version] (1844)
S.285, La tombe et la Rose (Hugo) (1844)
S.286, Gastibelza, Bolero (Hugo) (1844)
S.287, Du bist wie eine Blume (Heine) (1843)
S.288, Was Liebe sei (C. von Hagn) [first/second/third version] (1843, ca. 1855, 1878-79)
S.289, Vergiftet sind meine Lieder (Heine) [first/revised version] (1842)
S.290, Morgens steh ich auf und frage (Heine) [first/revised version] (1843, ca. 1855)
S.291, Die todte Nachtigall (Kaufmann) [first/revised version] (1843, 1878)
S.292, Songs from Schiller's Wilhelm Tell [3 songs, first/revised version] (1845)
S.293, Jeanne d'Arc au bûcher (Dumas) [first/revised version] (1845, 1874)
S.294, Es rauschen die Winde [first/second version] (ca. 1845, b. 1856)
S.295, Wo weilt er? (Rellstab) (1844)
S.296, Ich möchte hingehn (Herwegh) [revised later] (1845)
S.297, Wer nie sein Brot mit Tränen ass (Goethe) [first/revised version] (ca. 1845)
S.298, O lieb so lang du lieben kannst (Freiligrath) (1845?)
S.299, Isten veled (Farewell) (Horvath) [first/revised version] (1846-47)
S.300, Le juif errant (Béranger) (1847)
S.301, Kling leise, mein Lied [first/revised version] (1848)
S.301a, Oh pourquoi donc (Mme Pavloff) (1843)
S.301b, En ces lieux. Élégie (E. Monnier) (1844)
S.302, Die Macht der Musik (Duchess Helen of Orleans) (1848-49)
S.303, Weimars Toten. Dithyrambe (Schober) (b. 1848)
S.304, Le vieux vagabond (Béranger) (b. 1848)
S.305, Schwebe, schwebe, blaues Auge [first/revised version] (1845)
S.306, Über allen Gipfeln ist Ruh [first/revised version] (1847)
S.306a, Quand tu chantes bercée (Hugo) (1843)
S.307, Hohe Liebe (Uhland) (1850)
S.308, Gestorben war ich (Seliger tod) (Uhland) (1850)
S.309, Ein Fichtenbaum steht einsam (Heine) [first/revised version] (ca. 1845, 1854)
S.310, Nimm einen Strahl der Sonne (1849)
S.311, Anfangs wollt' ich fast verzagen (Heine) (1849)
S.312, Wie singt die Lerche schön (Hoffmann von Fallersleben) (1856)
S.313, Weimars Volkslied (Cornelius) (1857)
S.314, Es muss ein wunderbares sein (Redwitz) (1852)
S.315, Ich liebe dich (Rückert) (1857)
S.316, Muttergottes - Sträusslein zum Mai-Monate (Müller) [2 songs] (1857)
S.317, Lasst mich ruhen (Hoffmann von Fallersleben) (1858)
S.318, In Liebeslust (Hoffmann von Fallersleben) (1858)
S.319, Ich scheide (Hoffmann von Fallersleben) (1860)
S.320, Die drei Zigeuner (Lenau) (1860)
S.321, Die stille Wasserrose (Geibel) (1860)
S.322, Wieder möcht ich dir begegnen (Cornelius) (1860)
S.323, Jugendglück (Pohl) (1860)
S.324, Blume und Duft (Hebbel) (1854)
S.325, Die Fischertochter (Count C. Coronini) (1871)
S.326, La Perla (Princess Therese von Hohenlohe) (1872)
S.327, J'ai perdu ma force est ma vie. 'Tristesse' (de Musset) (1872)
S.328, Ihr Glocken von Marling (Emil Kuh) (1874)
S.329, Und sprich (Biegeleben) [revised 1878] (1874)
S.330, Sei Still (Henriette von Schorn) (1877)
S.331, Gebet (Bodenstedt) (1878?)
S.332, Einst (Bodenstedt) (1878?)
S.333, An Edlitam (Bodenstedt) (1878?)
S.334, Der Glückliche (Bodenstedt) (1878?)
S.335, Go not, happy day (Tennyson) (1879)
S.336, Verlassen (G.Michell) (1880)
S.337, Des tages laute stimmen schweigen (F. von Saar) (1880)
S.338, Und wir dachten der Toten (Freiligrath) (1880?)
S.339, Ungarns Gott. A magyarok Istene (Petófi) (1881)
S.340, Ungarisches Königslied. Magyar Király-dal (Ábrányi) (1883)
S.340a, Ne brani menya, moy drug. (Tolstoy) (1886)

Other Choral Works
S.341, Ave Maria IV (1881)
S.342, Le crucifix (Hugo) (1884)
S.343, Sancta Caecilia (1884)
S.344, O Meer im Abendstrahl (Meissner) (1880)
S.345, Wartburg-Lieder from Der Braut Willkomm auf Wartburg (Scheffel) [7 chorals] (1872)

S.346, Lenore (Bürger) (1858)
S.347, Vor hundert Jahren (F. Halm) (1859)
S.348, Der traurige Mönch (Lenau) (1860)
S.349, Des toten Dichters Liebe (Jókai) (1874)
S.350, Der blinde Sänger (Alexei Tolstoy) (1875)

S.351, Mazurka Fantasie, Op. 13 (1865)

S.352, Second Overture to The Barber of Baghdad [completed from Cornelius's sketches] (1877)

Egressy and Erkel
S.353, Szózat und Hymnus (1873)

S.354, Deux Légendes (1863)
S.355, Vexilla regis prodeunt (1864)
S.356, Festvorspiel (1857)
S.357, Huldigungsmarsch [first/second version] (1853, 1857)
S.358, Vom Fels zum Meer. Deutscher Siegesmarsch (1860)
S.359, 6 Rapsodies hongroises (Hungarian Rhapsodies)
S.360, A la chapelle Sixtine (Allegri & Mozart) [based on Mozart's Ave verum corpus and Allegri's Misere] (1862)
S.361, Pio IX. Der Papsthymnus (ca. 1863)
S.362, Benedictus and Offertorium from the Hungarian Coronation Mass [from S11] (1875)

S.363, 4 Marches [from Opp. 40, 54, 121] (1859-60)

S.364, Danses galiciennes (1881)

Pianoforte and Orchestra
  • Liszt
S.365, Grand solo de concert [prepared by Leslie Howard] (1850)
S.365a, Concerto pathétique (No. 4) in E minor [Liszt, Reuss version] (1885-86)
S.365b, Hexaméron, Morceau de concert [orchestration completed by Leslie Howard] (ca. 1839)
  • Schubert
S.366, Wanderer-Fantasie (Fantasia in C major, Op. 15) (1851)
  • Weber
S.367, Polonaise brillante, Op. 72 (1849)

Songs with Orchestra
  • Korbay
S.368, 2 Songs (Le Matin by Bizet and Gebet by Geibel) (1883)
  • Liszt
S.369, Die Lorelei (Heine) (1860)
S.370, Mignons Lied (Kennst du dass Land) (Goethe) (1860)
S.371, Die Vätergruft (Uhland) (1886)
S.372, Songs from Schillers Wilhelm Tell (ca. 1855)
S.373, Jeanne d'Arc au bûcher (Dumas) [first/second version] (1858, 1874)
S.374, Die drei Zigeuner (Lenau) (1860)
  • Schubert
S.375, 6 Songs (1860)
S.376, Die Allmacht (1871)
  • Zichy
S.377, Der Zaubersee. Ballad (Zichy) (1884)

Chamber Music
  • Liszt
S.377a, La Notte (Odes Funèbre No. 2) (1864-66)
S.378, Angelus! - Priere aux anges gardiens [first/second version] (1877, 1880)
S.379, Rapsodie hongroise No. 9 (Pester Karneval)
S.379a, Rapsodie hongroise No. 12 (1850-59)
S.379b, Puszta-Wehmut (A Puszta Keserve) (ca. 1871)
S.380, O du mein holder Abendstern from Tannhäuser (Wagner) (1852)
S.381, Benedictus and Offertorium from the Hungarian Coronation Mass [from S11] (1862)
S.381a, Ungarns Gott. A magyarok Istene (Petófi) (1882)
S.382, Die Zelle im Nonnenwerth (ca. 1880-86)
S.383, Die drei Zigeuner (Lenau) (1864)

Pianoforte Solo
Paraphrases, Operatic Transcriptions, etc.

S.383a, Elaboration on Virág dal (1881)

S.384, Mazurka pour piano composée par un amateur de St. Petersbourg (1863)
S.384a, Variations on Tiszántúli szép leány [anonymous, not by Liszt?] (1846)

S.385, Grande Fantaisie sur la Tyrolienne de l'opera La Fiancée [first/second/third version] (1829, 1835, 1842)
S.385a, Tyrolean Melody (b. 1856)
S.386, Tarantelle di bravura dàprès la Tarantelle de La Muette de Portici [original/Sophie Menter version] (1846, 1869)
S.387, Three Pieces on themes by Auber [with intro piece] (a. 1846)
S.387a, Piece on an unknown theme (1847)

S.388, Capriccio alla turca sur des motifs de Beethoven (Ruines d'Athènes) (1846)
S.388a, Marche turque des Ruines d'Athenes (1846)
S.388b, Fantasie über Beethoven's Ruinen von Athen [first version] (1837)
S.389, Fantasie über Beethoven's Ruinen von Athen [second version] (1852)
S.389a, Cadenza to the first movement of Beethoven's Piano Concerto No. 3 (1879)

S.390, Reminiscences des Puritains [first/second version] (1836, 1837)
S.391, I Puritani. Introduction and Polonaise (1840)
S.392, Hexaméron, Morceau de Concert (1837)
S.393, Fantaisie sur des motifs favoris de l'opéra La Sonnambula [first/second/third version] (1839, 1840-41, 1874)
S.394, Réminiscences de Norma (1841-43)

S.395, L'Idée fixe: Andate amoroso [first/second version] (1833 or 1846?, 1865)
S.396, Benediction et Serment from Benvenuto Cellini (1852)

Donizetti, Gaetano
S.397, Réminiscences de Lucia di Lammermoor (1839)
S.398, Marche Funebre et Cavatine de Lucie de Lammermoor (1839)
S.399, Nuit d'Été à Pausilippe [3 pieces] (1839)
S.399a, Lucrezia Borgia - Grande fantaisie [first version of S400ii] (1840)
S.400, Réminiscences de Lucrezia Borgia [first/second version] 1840
S.401, Valse a capriccio sur deux motifs de Lucrezia et Parisina [first version of S214/3] (1841)
S.402, Marche funèbre de Dom Sébastien (1844)

Donizetti, Giuseppe
S.403, Marche pour le Sultan Abdul Medjid-Khan [first/simplified version] (1847, 1848)

Duke Ernst
S.404, Halloh! Jagdchor und Steyrer from the opera Tony (1849)

Erkel, Franz
S.405, Schwanengesang and March from Hunyadi Laszlo (1847)

S.405a, Pásztor Lakodalmus Variations - Mélodies hongroises [elaboration by Liszt] (1858)

S.406, Tscherkessenmarsch from Ruslan i Lyudmila [first/second version] (1843, 1875)

S.407, Valse de l'opéra Faust (b. 1861)
S.408, Les Sabéennes. Berceuse de l'opéra La Reine de Saba (1861)
S.409, Les Adieux. Rêverie sur un motif de l'opéra Romeo et Juliette (1867)


S.409a, Réminiscences de La Juive (1835)

S.410, Hochzeitsmarsch und Elfenreigen aus dem Sommernachtstraum (1847-50)

S.411, Soirée italienne. Six amusements (1838)

S.412, Réminiscences des Huguenots - Grande fantaisie dramatique [first/second version] (1836, 1842)
S.412a, Réminiscences de Robert le Diable - Cavatine (1846?)
S.413, Réminiscences de Robert le Diable - Valse infernale (1840)
S.414, Illustrations du Prophète [4 pieces, 4th=S624] 1849-50
S.415, Illustrations de l'Africaine [2 pieces] 1865
S.416, Le Moine (1841)

Mosonyi, Michael
S.417, Fantaisie sur l'opéra hongrois Szép Ilonka (1865)

S.418, Réminiscences de Don Juan (1841)

S.419, Divertissement sur la cavatine "I tuoi frequenti palpiti" (1835)

S.420, Grande Fantaisie de bravoure sur La Clochette (1832-34)

S.421, Andante Finale and March from the opera König Alfred [2 pieces] (1853)

S.421a, Introduction et Variations from "Siege of Corinth" [introduction only] (1839?)
S.422, Première grande fantaisie (Soirées musicales) [first/second version] (1836)
S.422i, La serenate e l'orgia - Première grande fantaisie (Soirées musicales) [first version] (1836)
S.423, Deuxième grande fantaisie (Soirées musicales) (1836)
S.424, Soirées musicales [12 pieces] (1837)

S.425, Mélodies hongroises [3 pieces] (1839-40)
S.425a, Mélodies hongroises [revised versions] (1846)
S.426, Schubert's Marches [3 pieces] (1846)
S.426a, Marche militaire (ca. 1870)
S.427, Soirées de Vienne [9 pieces] (1852)

S.428, Feuille morte. Elégie d'après Sorriano (1844-45)

S.429, Polonaise from Eugene Onegin (1879)

Végh, Janos
S.430, Valse de concert (1882-83)

S.431, Salve Maria de Jerusalem from I Lombardi [first/second version] (1848, 1882)
S.431a, Ernani - Première paraphrase de concert (1847)
S.432, Ernani - Paraphrase de concert (No. 2) [first/second version] (b. 1849, 1860)
S.433, Miserere du Trovatore (1860)
S.434, Rigoletto Paraphrase de Concert (1859)
S.435, Don Carlos Coro e Marcia funebre (1867-68)
S.436, Aida Danza sacra e duetto finale (1877)
S.437, Agnus Dei (1877)
S.438, Réminiscences de Boccanegra (1882)

S.439, Phantasiestück über Motive aus Rienzi (1859)
S.440, Spinnerlied aus Der fliegende Holländer (1860)
S.441, Ballade aus Der fliegende Holländer (1872)
S.442, Ouvertüre zu R. Wagners Tannhäuser (1848)
S.443, Pilgerchor aus Tannhäuser [first/second version] (1861, 1885)
S.444, O du mein holder Abendstern aus Tannhäuser (1848)
S.445, Zwei stücke aus Tannhäuser und Lohengrin (1852)
S.446, Aus Lohengrin [3 pieces] (1854)
S.447, Isoldens Liebestod aus Tristan und Isolde [first/revised version] (1867, 1875)
S.448, Am stillen Herd aus Die Meistersinger (1871)
S.449, Walhall aus Der Ring des Nibelungen (1875)
S.450, Feierlicher Marsch zum heiligen Graal aus Parsifal (1882)

S.451, Freischütz-Fantasie (1840-41)
S.452, Leyer und Schwert [4 pieces] (1848)
S.453, Einsam bin ich, nicht alleine, from Preciosa (1848)
S.454, Schlummerlied mit Arabesken (1848)
S.455, Polonaise brillante (1851)

Zichy, Count Géza
S.456, Valse d'Adele (1877)

S.458, Fantasy on Il Giuramento (Mercadante) (1838?)
S.460, Kavallerie-Geschwindmarsch [anonymous]

Partitions de Piano, Transcriptions, etc.

Allegri and Mozart
S.461, A la chapelle Sixtine [first/second version] (1862, ?)
S.461a, Ave verum corpus, Kv618 (1862)

S.462, Sechs Praeludien und Fugen für Orgel [6 pieces] (1850)
S.463, Organ Fantasy and Fugue in G minor [first/second version] (1860, ?)

S.463a, Symphonie No.5 [first version] (1837)
S.463b, Symphonie No.6 [first version] (1837)
S.463c, Symphonie No.6 [second version. Alternative 5th movement] (1863-64)
S.463d, Symphonie No.7 [first version] (1837)
S.463e, Marche funèbre [Beethoven's Eroica Symphony, first version] (1843)
S.464, Symphonies de Beethoven [9 pieces] (1863-64)
S.465, Grand Septuor, Op. 20 (1841)
S.466, Adelaïde [third version] (1847)
S.466a, Adelaïde [first version] (1839)
S.466b, Adelaïde [second version] (1840)
S.467, Sechs Geistlicher Lieder (Gellert) [6 pieces] (1840)
S.468, Sechs Lieder von Goethe [6 pieces] (b. 1849)
S.469, An die ferne Geliebte - Liederkreis [6 pieces] (1849)

S.470, Symphonie Fantastique (1833)
S.471, Ouverture des Francs-Juges (1833)
S.472, Harold en Italie (with viola) (1837)
S.473, Marche des Pèlerins de la sinfonie Harold en Italie [first/second version] (1837?, 1862)
S.474, Ouverture Le Roi Lear (1837)
S.475, Valse des Sylphes de la Damnation de Faust (1860)

S.478, Russischer Galopp [first/second version] (1843, 1843)

von Bülow
S.479, Dante's Sonnett - Tanto gentile e tanto onesta (1874)

S.480, Six Chants polonais, Op. 74 [6 pieces] (1847-60)

S.481, Zigeunerpolka (1847?)

S.482, Tarantella (1885)

S.483, Tarantella (1879)

David, Ferdinand
S.484, Bunte Reihe, Op. 30 [24 pieces] (1850)

S.485, Drei Lieder (1846)

Ernst, Duke
S.485b, Die Gräberinsel (1842)

Egressy and Erkel
S.486, Szózat und Hymnus (1873)

S.487, Spanisches Ständchen 1846

S.488, Er ist gekommen in Sturm und Regen 1848
S.489, Zwölf Lieder [12 pieces] (1848)

S.490, Liebesszene und Fortunas Kugel (1880)

S.491, Hymne à Sainte Cécile (1866)

S.492, Tanzmomente [8 pieces] (1869)

S.493, Grosses Septett, Op. 74 (1848)

S.494, Löse, Himmel, meine Seele [first/second version] (1861, 1872)
S.495, Ich weil' in tiefer Einsamkeit (1872)
S.496, Hebbel's Nibelungen & Goethe's Faust [4 pieces] (1878-79)
S.497, Symphonisches Zwischenspiel ('Über allen Zauber Liebe') (ca. 1882-83)

S.498, Drei Lieder ('Tannhäuser') (1882?)

S.498a, Drei Stücke aus der heilige Elisabeth (1857-62)
S.498b, Zwei Orchesterstücke aus Christus (1862-66)
S.498c, San Francesco - Preludio (1862-66)
S.499, Cantico del Sol di San Francesco d'Assisi (1881)
S.499a, San Francesco - Preludio per il Cantico del Sol (1880)
S.500, Excelsior! - Preludio (1875)
S.501, Benedictus und Offertorium (Missa Coronationalis) (1867)
S.502, Weihnachtslied II (1864)
S.503, Slavimo Slavno Slaveni! (1863)
S.504, Ave Maria II (in D) [first/second version in D flat] (1870, 1873)
S.504a, Via Crucis [15 pieces] (1878-79)
S.504b, Choräle [11 pieces] (1878-79)
S.505, Zum Haus des Herrn (In domum Domini ibimus) (1884)
S.506, Ave maris stella (1868)
S.507, Klavierstück aus der Bonn Beethoven-Cantata
S.507a, Schnitterchor (Pastorale - Schnitterchor aus Prometheus) (1850)
S.508, Pastorale. Schnitterchor aus dem Entfesselten Prometheus (1861)
S.509, Gaudeamus igitur - Humoreske (1870)
S.510, Marche héroïque
S.511, Geharnischte Lieder [3 pieces] (1861)
S.511a, Les Préludes (Poème symphonique No. 3) [arranged by Karl Klauser, revised by Liszt] (1863) [1][2]
S.511b, Orpheus (Poème symphonique No. 4) [arranged by Fredrich Spiro, revised by Liszt] (1879) [3]
S.511c, Mazeppa (Poème symphonique No. 6) [arranged by Theodor Forchhammer, revised by Liszt] (1870-79) [3]
S.511d, Festklänge (Poème symphonique No. 7) [arranged by Ludwig Stark, revised by Liszt] (1870-79) [3]
S.511e, Hungaria (Poème symphonique No. 9) [arranged by Fredrich Spiro, revised by Liszt] (1872) [3]
S.512, Von der Wiege bis zum Grabe (Poème symphonique No. 13) (1881)
S.513, Gretchen aus Faust-Simpfonie (b 1867 )
S.513a, Der nächtliche Zug
S.514, Erster Mephisto-Walzer (Mephisto Waltz No. 1, Der Tanz in der Dorfschenke) [original version] (1859-62)
S.514a, Erster Mephisto-Walzer (Mephisto Waltz No. 1) [with later additions] (1859-62)
S.515, Zweiter Mephisto-Walzer (Mephisto Waltz No. 2) (1881)
S.516, Les Morts (Ode Funèbre No. 1) (1860)
S.516a, La notte (Ode Funèbre No. 2)
S.517, Le Triomphe funèbre du Tasse (Odes Funèbre No. 3) (1866)
S.518, Salve Polonia (a. 1863)
S.519, Deux Polonaises de St Stanislaus (1870-79)
S.520, Künstlerfestzug [first/second version] (1857-60, 1883)
S.521, Festmarsch zur Goethejubiläumsfeier [first/second version] (1857, 1872)
S.522, Festmarsch nach motiven von E.H.z.S.-C.-G (1857)
S.523, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (1870)
S.524, Ungarischer Sturmmarsch [first/second version] (?, 1875)
S.525, Totentanz. Paraphrase on Dies Irae (1860-65)
S.526, Epithalam zu Eduard Reményis Vermählungsfeier
S.527, Romance oubliée
S.527bis, Romance oubliée [short draft] (1880)
S.529, Fantasie und Fuge über das Thema BACH [first/second version] (1856, 1870)
S.530, L'Hymne du Pape. Inno del Papa. Der Papsthymnus (1864)
S.531, Buch der Lieder I [5 pieces]
S.532, Die Lorelei (Heine) [second version] (1861)
S.533, Il m'aimait tant (Delphine Gay) (1842)
S.534, Die Zelle in Nonnenwerth (Felix Lichnowski) [first/second/fourth version] (1842, 1860, 1880)
S.535, Comment, disaient-ils [Buch der Lieder II] (1845?)
S.536, O quand je dors [Buch der Lieder II] (1847?)
S.537, Enfant, si j'étais roi [Buch der Lieder II] (1847?)
S.538, S'il est un charmant gazon [Buch der Lieder II] (1847?)
S.539, La tombe et la rose [Buch der Lieder II] (1847?)
S.540, Gastibelza [Buch der Lieder II] (1847?)
S.541, Liebesträume. Drei Notturnos (ca. 1850)
S.542, Weimars Volkslied [first/second version] (1857, ?)
S.542a, Ich liebe dich
S.542b, Fanfare zur Enthüllung des Carl-Augusts Monument
S.543, Ungarns Gott. A magyarok Istene (Petófi)]] [original/(S543bis)left-hand version] (1881)
S.544, Ungarisches Königslied. Magyar Király-dal (Ábrányi) (1883)
S.545, Ave Maria IV (1881)
S.546, Der blinde Sänger (Alexei Tolstoy) [solo version] (1878)
S.546a, O Roma nobilis (1879)

S.547, Sieben Lieder (from Opp. 19, 34, 47) [7 pieces] (1840)
S.548, Wasserfahrt and Der Jäger Abschied (from Op. 50) [2 pieces] (1848)

S.549, Festmarsch zu Schillers 100-Jähriger Geburtsfeier

S.550, Zwei Transcriptionen über Themen aus Mozart's Requiem, K626 [2 pieces] (1862)

S.551, Una stella amica. Mazurka

S.551a, Einleitung und Coda zu Raffs Walzer in Des-dur (opus 54/1) (1880)

S.552, Ouverture de l'opéra Guillaume Tell (1838)
S.552a, Caritas [La charité, first version] (1847)
S.552b, La caritá [La charité, simplified version] (1847)
S.553, Deux Transcriptions [2 pieces] (1847)

S.554, Zwei Lieder [2 pieces] (1880)
S.554a, Einleitung und Coda sur des notes fausses (1880)

S.555, Danse macabre, Op. 40 (1876)

S.556, Die Rose [first/intermediate/second version] (1832, ca. 1837, 1838)
S.557, Lob der Tränen (1837)
S.557a, Erlkönig [first version]
S.557b, Meeresstille [first version]
S.557b/bis, Meeresstille [first version, ossia]
S.557c, Frühlingsglaube [first version]
S.557d, Ave Maria (Ellens dritter Gesang) [first version]
S.558, 12 Lieder (1837-38)
S.558bis, 12 Lieder [revised versions of Nos. 3, 4, 7, 8, 9, 11] (ca. 1839)
S.559, Der Gondelfahrer, Op. 28 (1838)
S.559a, Sérénade [Ständchen, first version] (1837)
S.560, Schwanengesang [14 pieces] (1838-39)
S.560bis, Schwanengesang [14 pieces, alternative versions] (ca. 1839)
S.561, Winterreise [12 pieces] (1839)
S.561, Winterreise [alternative versions of Nos. 2, 3, 7, 10,] (ca. 1839)
S.562, Geistliche Lieder [4 pieces] (1841)
S.563, Six mélodies célèbres [6 pieces, 1st by Weyrauch] (1844)
S.564, Die Forelle [second version] (1846)
S.565, Six Mélodies favorites de La belle meunière [6 pieces] (1846)
S.565bis, Müllerlieder [6 pieces, revised versions] (ca. 1879)
S.565a, Wandererfantasie (Grosse Fantasie in C-dur) (ca. 1868)
S.565b, Schubert's Impromptus [2 pieces, Op. 90/2-3] (ca. 1868)

S.566, Widmung, Liebeslied (1848)
S.566a, Widmung, Liebeslied [sketch of a more literal transcription] (1848)
S.567, An den Sonnenschein, Rotes Röslein (1861)
S.568, Frühlingsnacht (Überm Garten durch die Lüfte) (1872)
S.569, Zehn Lieder von Robert und Clara Schumann [10 pieces] (1872)
S.570, Provençalisches Minnelied (1881)

S.570a, Einleitung und Coda zu Smetanas Polka (de salon, opus 7/1) (1880)

S.571, Die Rose aus Zemire und Azor (1876)

S.571a, Einleitung und Schlußtakte zu Tausigs dritter Valse-Caprice (1880)

Szabady and Massenet
S.572, Revive Szegedin (1879)

Széchényi, Count Imre
S.573, Bevezetés és magyar indulò (1872)

S.573a, Seconda mazurka variata (1880)

S.574, Ouverture Oberon (1846?)
S.575, Ouverture Der Freischütz (1840-41)
S.576, Jubelouverture (1846)
S.576a, Konzertstück, Op. 79 (ca. 1868)

Wielhorsky, Count Michael
S.577, Lyubila ya [first/second version] (1843, ?)

Pianoforte Duet


S.577a, 11 Nocturnes (Nos. 1-9, 14, 18 and Nocturne Pastorale in E)

S.578, 4 Pieces from St. Elisabeth (1862)
S.579, Christus Oratorio 4th and 5th section
S.580, Excelsior! - Preludio
S.581, Benedictus and Offertorium from the Hungarian Coronation Mass (1869)
S.582, O Lamm Gottes, unschuldig (1878-79)
S.583, Via Crucis
S.584, Festkantate zur Enthüllung des Beethoven-Denkmals in Bonn (1845)
S.585, Pastorale. Schnitterchor aus dem Entfesselten Prometheus (1861)
S.586, Gaudeamus igitur. Humoreske (1870)
S.587, Marche héroique
S.588, Weimars Volkslied (Cornelius) (1857)
S.589, Ce qu'on entend sur la montagne (Poème symphonique No. 1) (1874)
S.590, Tasso, Lamento e Trionfo (Poème symphonique No. 2) (1858)
S.591, Les Préludes (Poème symphonique No. 3) (ca. 1858)
S.592, Orpheus (Poème symphonique No. 4) (ca. 1858)
S.593, Prometheus (Poème symphonique No. 5) (1858)
S.594, Mazeppa (Poème symphonique No. 6) (1874)
S.595, Festklänge (Poème symphonique No. 7) (1854-61)
S.596, Hungaria (Poème symphonique No. 9) (1874?)
S.569a, Héroïde funèbre (Poème symphonique No. 8) (ca. 1877)
S.596b, Hunnenschlacht (Poème symphonique No. 11) (ca. 1877)
S.596c, Die Ideale (Poème symphonique No. 12) (ca. 1874-77)
S.597, Hamlet (Poème symphonique No. 10) (1874)
S.598, Von der Wiege bis zum Grabe (Poème symphonique No. 13) (From the Cradle to the Grave) (1881)
S.599, Two episodes from Lenau's Faust (1861-62)
S.600, Mephisto Waltz No. 2 (1881)
S.601, Les Morts (Ode Funébre No. 1) (1866)
S.602, La Notte (Ode Funébre No. 2) (1866)
S.603, Le Triomphe Funèbre du Tasse (Ode Funébre No. 3) (1866?)
S.604, Salve Polonia (1863)
S.605, Künstlerfestzug zur Schillerfeier (1859)
S.606, Festmarsch zur Goethejubiläumsfeier (ca. 1858)
S.607, Festmarsch nach Motiven von E.H. zu S.-C.-G. (ca. 1859)
S.608, Rákóczy March (1870)
S.609, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (1870)
S.610, Ungarischer Sturmmarsch (1875)
S.611, Epithalam (1872)
S.612, Elégie (1874)
S.613, Weihnachtsbaum (1876)
S.614, Dem Andenken Petöfis (Petófi Szellemének) (1877)
S.615, Grande Valse di Bravura (1836)
S.616, Grand Galop Chromatique (1838)
S.617, Csárdás macabre (1882)
S.618, Csárdás obstiné (ca. 1884)
S.618a, Vom Fels zum Meer. Deutscher Siegesmarsch
S.619, Bülow-Marsch (ca. 1883)
S.619a, Festpolonaise (1876) [4]
S.620, Hussitenlied (Melody by J.Krov) (1840)
S.621, 6 Hungarian Rhapsodies [from the orchestral version, S359] (1874)
S.622, Rapsodie hongroise No. 16 (1882)
S.623, Rapsodie hongroise No. 18 (1885)
S.623a, Rapsodie hongroise No. 19 (ca. 1885)
S.624, Fantasy and Fugue on the chorale Ad nos, ad salutarem undam (1850)
S.625, L'Hymne du Pape (Der Papsthymnus) (1865)
S.626, Ungarisches Königslied. Magyar Király-dal (Ábrányi) (1883)
S.627, Fantaisie sur des motifs de l'opéra La Sonnambula (Bellini) (1852)
S.628, Bénédiction et serment (Berlioz's 'Benvenuto Cellini') (1852)
S.628a, Marche et cavatine (Donizetti's Lucia)
S.628b, Szózat und Hymnus (Egressy and Erkel) (1873)
S.629, Tscherkessenmarsch (Glinka's Ruslan i Lyudmila) (1843)
S.630, Réminiscences de Robert le Diable - Valse infernale (Meyerbeer) (1841-43)
S.631, Andante finale und Marsch (Raff's 'König Alfred') (1853)
S.632, 4 Marches (Schubert) (1879)
S.633, A la chapelle Sixtine (Allegri Mozart) (1865)
S.634, Grand Septuor Op. 20 (Beethoven) (1841)

S.634a, Adagio from Mozart's Die Zauberflöte (1875-81?)

Two Pianofortes

S.635, Ce qu'on entend sur la montagne (Poème symphonique No. 1) (ca. 1854-57)
S.636, Tasso, Lamento e Trionfo (Poème symphonique No. 2) (ca. 1857)
S.637, Les Préludes (Poème symphonique No. 3) (ca. 1854-56)
S.638, Orpheus (Poème symphonique No. 4) (ca. 1854-56)
S.639, Prometheus (Poème symphonique No. 5) (1855-56)
S.640, Mazeppa (Poème symphonique No. 6) (1855)
S.641, Festklänge (Poème symphonique No. 7) (ca. 1853-56)
S.642, Héroide Funèbre (Poème symphonique No. 8) (ca. 1854-56)
S.643, Hungaria (Poème symphonique No. 9) (ca. 1854-61)
S.644, Hamlet (Poème symphonique No. 10) (ca. 1858-61)
S.645, Hunnenschlacht (Poème symphonique No. 11) (1857)
S.646, Die Ideale (Poème symphonique No. 12) (1857-58)
S.647, A Faust Symphony, in three character pictures (1856)
S.648, A Symphony to Dante's Devina Commedia (ca. 1856-59)
S.649, Fantasie über Beethovens Ruinen von Athen (1865)
S.650, Piano Concerto No. 1 in E flat major (1853)
S.651, Piano Concerto No. 2 in A major (1859)
S.652, Totentanz. Paraphrase on Dies Irae (1859)
S.653, Wandererfantasie (Schubert) (a. 1859)
S.654, Hexaméron, Morceau de Concert (1837)
S.655, Réminiscences de Norma (Bellini) (1841)
S.656, Réminiscences de Don Juan (Mozart) (1841)
S.657, Symphony No. 9 (Beethoven) (1851)
S.657a/1, Piano Concerto No. 3 (Beethoven) (1878)
S.657a/2, Piano Concerto No. 4 (Beethoven) (1878)
S.657a/3, Piano Concerto No. 5 (Beethoven) (1878)
S.657b, Bülow-Marsch [2-pianos, 8-hands] (1884)


Allegri und Mozart
S.658, Évocation à la Chapelle Sixtine (1862)

S.659, Ave Maria (1862)

S.660, Einleitung und Fuge aus der Motette Ich hatte viel Bekümmernis und Andante Aus tiefer Not [2 pieces] (1860)
S.661, Adagio from Bach Violin Sonata No. 4 (BWV1017) (1864)

S.662, 2 Préludes from Op. 28 (Nos. 4, 9) (1863)

S.663, Regina coeli laetare (1865)

S.664, Tu es Petrus from Christus (1867)
S.665, San Francesco (1880)
S.666, Excelsior! - Preludio
S.667, Offertorium from the Hungarian Coronation Mass (1867)
S.668, Slavimo Slavno Slaveni (1863)
S.669, Zwei Kirchenhymnen [2 pieces] (1877)
S.670, Rosario [3 pieces] (1879)
S.671, Zum Haus des Herrn (In domum Domini ibimus) (1884)
S.672, Weimars Volkslied (Cornelius) (1865)
S.673, Weinen, Klagen' Variationen (1863)
S.674, Ungarns Gott. A magyarok Istene (Petófi) (1882)
S.674a, O sacrum convivium [2 versions]

S.675, Kirchliche Festoverture (1852)

S.676, Pilgerchor from Wagner's Tannhäuser (1860)

Organ with Other Instruments
S.677, Hosannah from Cantico del sol di San Francesco d'Assisi (for organ and bass trombone) (1862)
S.678, Offertorium and Benedictus from the Hungarian Coronation Mass (1869)
S.679, Aria 'Cujus animam' from Rossini's Stabat Mater (for organ and trombone)


S.686, Helges Treue (Draeseke) (1860)


Unfinished Works
S.687, Sardanapale (Byron) [opera, partly sketched, 111 pages]
S.688, Oratorio - Die Legende vom heiligen Stanislaus [sacred choral] (1873-85)
S.688a, St Stanislaus fragment [solo piano, Library of Congress] (1880-86)
S.689, Singe, wem Gesang gegeben [secular choral] (1847)
S.690, Revolutionary Symphony [unfinished, revised 1848] (1830)
S.691, De Profundis [piano and orchestra, De Profundis - Psaume instrumental] (1834?)
S.692, Violin Concerto [only sketched] (1860)
S.692a, The Four Seasons String quartet (Vivaldi) (1880?)
S.692b, Anfang einer jugendsonate [solo piano] (1825)
S.692c, Allegro maestoso [solo piano] (1826)
S.692d, Rákóczi-Marsch [solo piano, first version, simplified, unfinished] (1839)
S.692e, Winzerchor (Prometheus) [solo piano] (1850)
S.693, Deux marches dans le genre hongrois [solo piano, 2 pieces] (1840?)
S.693a, Zwei Stücke aus der heilige Elisabeth [solo piano] (1862)
S.694, Fantasie über englische Themen [solo piano] (1840?)
S.695, Morceau en fa majeur [solo piano] (1843?)
S.695a, Litanie de Marie [solo piano] (1847)
S.695b, Zigeuner-Epos [solo piano, 11 pieces] (ca. 1848)
S.696, Mephisto Waltz No.4 (1884)
S.697, Fantasie über Themen aus Figaro und Don Giovanni (Mozart) [solo piano arrangement] (1842)
S.698, La Mandragore - Ballade de l'opéra Jean de Nivelle de L. Delibes [solo piano arrangement] (a. 1880)
S.699, La Notte (Odes Funèbre no. 2) [solo piano arrangement] (1864-66)
S.700, Grand Fantaisie (Variations) sur des thèmes de Paganini [first/second version; completed by Mezö] (1845)
S.700a, Variations sur Le Carnaval de Venise (Paganini) [solo piano arrangement]
S.701, Den Felsengipfel stieg ich einst hinan [song]
S.701a, Allegro di bravura [orchestra, arrangement] (ca. 1830)
S.701b, Marie-Poème [solo piano] (1837)
S.701c, Andante sensibilissimo [solo piano] (1880-86)
S.701d, Melodie in Dorische Tonart [solo piano] (1860)
S.701e, Dante fragment [solo piano] (1839)
S.701f, Glasgow fragment [solo piano]
S.701g, Polnisch - sketch [solo piano] (1870-79)
S.701h/1, Operatic aria - and sketched variation [solo piano]
S.701h/2, Valse infernale (Meyerbeer) - theme [solo piano arrangement]
S.701j, Harmonie nach Rossini's Carità (La charité) [solo piano arrangement] (1847)
S.701k, Korrekturblatt (to an earlier version of La lugubre gondola) [solo piano] (1882)

Doubtful or Lost

Sacred Choral Works
S.702, Tantum Ergo (1822)
S.703, Psalm 2 (1851)
S.704, Requiem on the death of Emperor Maximilian of Mexico
S.705, The Creation
S.706, Benedictus [doubtful]
S.707, Excelsior [arrangement, doubtful]

Secular Choral Works
S.708, Rinaldo [doubtful] (ca. 1848)

Orchestral Works
S.709, Salve Polonia [rediscovered, renumbered as S113] (1863)
S.710, Funeral March
S.711, Csárdás macabre [arrangement]
S.712, Romance oubliée [arrangement]

Piano and Orchestra
S.713/1, Piano Concerto in A minor (1825?)
S.713/2, Piano Concerto (1825?)
S.714, Piano Concerto in the Hungarian style [by Sophie Menter, renumbered as S126a] (1885)
S.715, Piano Concerto in the Italian style
S.716, Grande fantaisie symphonique [orchestral]

Chamber Music
S.717, Trio (1825)
S.718, Quintet (1825)
S.719, The Four Seasons String quartet (Vivaldi) [rediscovered, renumbered as S692a]
S.720, Allegro moderato
S.721, Prelude
S.722, La Notte (Odes Funèbre no.2) [rediscovered, renumbered as S377a] (1864-66)
S.723, Tristia [arrangement, from Vallée d'Obermann S160/6] (1880-86 ?)
S.723a, Postlude on theme from Orpheus [arrangement]

Pianoforte Solo
S.724, Rondo and Fantasy (1824)
S.725, 3 Sonatas (1825)
S.726, Study
S.726a, Valse
S.727, Prélude omnitonique
S.728, Sospiri (Fünf Klavierstücke) [rediscovered, renumbered as S192/5] (1879)
S.729, [rediscovered, renumbered as 42]
S.730, Dem Andenken Petöfis (Petófi Szellemének) [rediscovered, renumbered as S195] (1877)
S.731, Valse élégiaque
S.732, Valse Oubliée No.4 [rediscovered, renumbered as S215/4] (1883-84)
S.733, Marche hongroise (in E flat minor) [rediscovered, renumbered as S233b] (1844)
S.734, Ländler
S.735, Air cosaque
S.736, Kerepsi csárdás
S.737, 3 morceaux en style de danse ancien hongrois
S.738, Spanish folksong arrangement

S.739, Corolian Overture (Beethoven)
S.740, Egmont Overture (Beethoven)
S.741, Le carnaval romain - Overture (Berlioz)
S.742, Duettino (Donizetti)
S.743, Soldiers Chorus from Guonod's Faust
S.743a, Fantasia on themes from Halévy's Guitarero (b. 1841)
S.744, Paraphrase on Act 4 of Kullak's Dom Sebastien
S.745, Funeral March
S.746, Andante Maestoso
S.747, Poco adagio (from Missa Solemnis)
S.748, Overture to Mozarts "Die Zauberflöte"
S.749, Preussischer Armeemarsch (Radovsky)
S.750, Siege de Corynthe, Introduction
S.751, Nonetto e Mose, Fantasia on themes by Rossini
S.752, Gelb rollt (Rubinstein)
S.753, Alfonso und Estrella, Act 1 (Schubert)
S.754, Seconda mazurka variata (Tirindelli) [rediscovered, renumbered as S573a] (1880)

Pianoforte Duet
S.755, Sonata

Two Pianofortes
S.756, Mosonyis Grabgeleit
S.757, La triomphe funébre du Tasse

S.758, The Organ (Herder)
S.759, Consolation [arrangement]
S.760, Cantico del sol di St. Francesco [arrangement]
S.761, Marche funèbre (Chopin) [arrangement]

S.762, Air de Chateaubriand
S.763, Strophes de Herlossohn
S.764, Kränze pour chant
S.765, Glöcken (Müller)
S.765a, L'aube naît (Hugo) (1842?)
S.766, Der Papsthymnus
S.767, Excelsior

S.768, Der ewige jude (Schubart)

S.990, Fantasy and Fugue on the chorale "Ad nos, ad salutarem undam" (played by Liszt to Walter Bache) [solo piano, arrangement] (b. 1862)
S.991, Waltz in A major [chamber, arrangement]
S.993, Wartburg Lieder (Scheffel) [orchestral, arrangement]
S.994, Grand solo caractéristique à propos d'une chansonette de Panseron [solo piano, arrangement] (1830-32)
S.995, Variations de bravoure sur des thémes de Paganini [unfinished] (1845)
S.996, Stabat Mater [solo piano] (1870-79 ?)
S.997, 5 Variationen über Romanze aus 'Joseph' (Méhul) (by Franz Xaver Mozart, attributed to Liszt) (ca. 1834)
S.998, Adagio in C [solo piano] (1841)
S.999, Andante Maestoso [organ]

Harriet Brower's Account For Franz Liszt

Franz Liszt, in his day the king of pianists, a composer whose compositions still glow and burn with the fire he breathed into them; Liszt the diplomat, courtier, man of the world—always a conqueror! How difficult to tell, in a few pages, the

story of a life so complex and absorbing!

A storm outside: but all was warmth and simple comfort in the large sitting-room of a steward's cottage belonging to the small estate of Raiding, in Hungary.

It was evening and father Liszt, after the labors of the day were over, could call these precious hours his own. He was now at the old piano, for with him music was a passion. He used all his leisure time for study and had some knowledge of most instruments. He had taught himself the piano, indeed under the circumstances had become quite proficient on it. To-night he was playing something of Haydn, for he greatly venerated that master. Adam Liszt made a striking figure as he sat there, his fine head, with its mass of light hair, thrown back, his stern features softened by the music he was making.

At a table near sat his wife, her dark head with its glossy braids bent over her sewing. Hers was a sweet, kindly face, and she endeared herself to every one by her simple, unassuming manners.

Quite near the old piano stood little Franz, not yet six. He was absolutely absorbed in the music. The fair curls fell about his childish face and his deep blue eyes were raised to his father, as though the latter were some sort of magician, creating all this beauty.

When the music paused, little Franz awoke as from a trance.

"Did you like that, Franzerl?" asked his father, looking down at him. The child bent his curly head, hardly able to speak.

"And do you want to be a musician when you grow up?" Franzerl nodded, then, pointing to a picture of Beethoven hanging on the wall, exclaimed with beaming eyes: "I want to be such a musician as he is!"

Adam Liszt had already begun to teach his baby son the elements of music, at the child's earnest and oft-repeated request. He had no real method, being self-taught himself, but in spite of this fact Franz made remarkable progress. He could read the notes and find the keys with as much ease as though he had practised for years. He had a wonderful ear, and his memory was astonishing. The father hoped his boy would become a great musician, and carry out the dream which he had failed to realize in himself.

Little Franz was born in the eventful year of 1811,—the "year of the comet." The night of October 21, the night of his birth, the tail of the meteor seemed to light up the roof of the Liszt home and was regarded as an omen of destiny. His mother used to say he was always cheerful, loving, never naughty but most obedient. The child seemed religious by nature, which feeling was fostered by his good mother. He loved to go to church on Sundays and fast days. The midnight mass on Christmas eve, when Adam Liszt, carrying a lantern, led the way to church along the country road, through the silent night, filled the child's thoughts with mystic awe.

Those early impressions have doubtless influenced the creations of Liszt, especially that part of his "Christus" entitled "Christmas Oratorio."

Before Franz was six, as we have seen, he had already begun his musical studies. If not sitting at the piano, he would scribble notes—for he had learned without instruction how to write them long before he knew the letters of the alphabet, or rudiments of writing. His small hands were a source of trouble to him, and he resorted to all kinds of comical expedients, such as sometimes playing extra notes with the tip of his nose. Indeed his ingenuity knew no bounds, when it came to mastering some musical difficulty.

Franz was an open minded, frank, truth-loving child, always ready to confess his faults, though he seemed to have but few. Strangely enough, though born an Hungarian, he was never taught to speak his native tongue, which indeed was only used by the peasants. German, the polite language of the country, was alone used in the Liszt home.

The pronounced musical talent of his boy was a source of pride to Adam Liszt, who spoke of it to all his friends, so that the little fellow began to be called "the artist." The result was that when a concert was to be given at the neighboring Oldenburg, Adam was requested to allow his wonder child to play.

When Franz, now a handsome boy of nine, heard of the concert, he was overjoyed at the prospect of playing in public. It was a happy day for him when he started out with his father for Oldenburg. He was to play a Concerto by Reis, and a Fantaisie of his own, accompanied by the orchestra. In this his first public attempt Franz proved he possessed two qualities necessary for success—talent and will. All who heard him on this occasion were so delighted, that Adam then and there made arrangements to give a second concert on his own account, which was attended with as great success as the first.

The father had now fully made up his mind Franz was to be a musician. He decided to resign his post of steward at Raiding and take the boy to Vienna for further study.

On the way to Pressburg, the first stop, they halted to call at Eisenstadt, on Prince Esterhazy. The boy played for his delighted host, who gave him every encouragement, even to placing his castle at Pressburg at his disposal for a concert. The Princess, too, was most cordial, and gave the boy costly presents when they left.

At Pressburg Adam Liszt succeeded in arranging a concert which interested all the Hungarian aristocracy of the city. It was given in the spacious drawing-rooms of the Prince's palace, and a notable audience was present. Little Franz achieved a triumph that night, because of the fire and originality of his playing. Elegant women showered caresses upon the child and the men were unanimous that such gifts deserved to be cultivated to the utmost without delay.

When it was learned that father Liszt had not an ample purse, and there would be but little for Franz's further musical education, six Hungarian noblemen agreed to raise a subscription which would provide a yearly income for six years. With this happy prospect in view, which relieved him of further anxiety, the father wrote to Hummel, now in employ of the Court at Weimar, asking him to undertake Franz's musical education. Hummel, though a famous pianist, was of a grasping nature; he wrote back that he was willing to accept the talented boy as a pupil, but would charge a louis d'or per lesson!

As soon as the father and his boy arrived in Vienna, the best teachers were secured for Franz. Carl Czerny was considered head of the piano profession. Czerny had been a pupil of Beethoven, and was so overrun with pupils himself, that he at first declined to accept another. But when he heard Franz play, he was so impressed that he at once promised to teach him. His nature was the opposite of Hummel's, for he was most generous to struggling talent. At the end of twelve lessons, when Adam Liszt wished to pay the debt, Czerny would accept nothing, and for the whole period of instruction—a year and a half—he continued to teach Franz gratuitously.

At first the work with such a strict master of technic as Czerny, was very irksome to the boy, who had been brought up on no method at all, but was allowed free and unrestrained rein. He really had no technical foundation; but since he could read rapidly at sight and could glide over the keys with such astonishing ease, he imagined himself already a great artist. Czerny soon showed him his deficiencies; proving to him that an artist must have clear touch, smoothness of execution and variety of tone. The boy rebelled at first, but finally settled down to hard study, and the result soon astonished his teacher. For Franz began to acquire a richness of feeling and beauty of tone wonderful for such a child. Salieri became his teacher of theory. He was now made to analyze and play scores, also compose little pieces and short hymns. In all these the boy made fine progress.

He now began to realize he needed to know something besides music, and set to work by himself to read, study and write. He also had great opportunity, through his noble Hungarian patrons, to meet the aristocracy of Vienna. His talents, vivacity and grace, his attractive personality, all helped to win the notice of ladies—even in those early days of his career.

After eighteen busy months in Vienna, father Liszt decided to bring his boy out in a public concert. The Town Hall was placed at his disposal and a number of fine artists assisted. With beaming face and sparkling eyes, the boy played with more skill, fire and confidence than he had ever done before. The concert took place December 1, 1822. On January 12, 1823, Franz repeated his success in another concert, again at the Town Hall.

It was after this second concert that Franz's reputation reached the ears of Beethoven, always the object of the boy's warmest admiration. Several times Franz and his father had tried to see the great master, but without success. Schindler was appealed to and promised to do his best. He wrote in Beethoven's diary, as the master was quite deaf:

"Little Liszt has entreated me to beg you to write him a theme for to-morrow's concert. He will not break the seal till the concert begins. Czerny is his teacher—the boy is only eleven years old. Do come to his concert, it will encourage the child. Promise me you will come."

It was the thirteenth of April, 1823. A very large audience filled the Redouten Saal. When Franz stepped upon the platform, he perceived the great Beethoven seated near. A great joy filled him. Now he was to play for the great man, whom all his young life he had worshiped from afar. He put forth every effort to be worthy of such an honor. Never had he played with such fire; his whole being seemed thrilled—never had he achieved such success. In the admiration which followed, Beethoven rose, came upon the platform, clasped the boy in his arms and kissed him repeatedly, to the frantic cheers of the audience.

The boy Franz Liszt had now demonstrated that already at eleven years old, he was one of the leading virtuosi of the time; indeed his great reputation as a pianist dates from this third Vienna concert. The press praised him highly, and many compared him to the wonderful genius, Mozart. Adam Liszt wished him now to see more of the world, and make known his great talents, also to study further. He decided to take the boy to Paris, for there lived the celebrated composer, Cherubini, at that time Director of the Paris Conservatoire.

On the way to Paris, concerts were given in various cities. In Munich he was acclaimed "a second Mozart." In Strassburg and Stuttgart he had great success.

Arrived in Paris, father and son visited the Conservatoire at once, for it would have been a fine thing for the boy to study there for a time, as it was the best known school for counterpoint and composition. Cherubini, however, refused to even read the letters of recommendation, saying no foreigner, however talented, could be admitted to the French National School of Music. Franz was deeply hurt by this refusal, and begged with tears to be allowed to come, but Cherubini was immovable.

However they soon made the acquaintance of Ferdinand Paër, who offered to give the child lessons in composition.

Franz made wonderful progress, both in this new line of study, and in becoming known as a piano virtuoso. Having played in a few of the great houses, he soon found himself the fashion; everybody was anxious for "le petit Litz" as he was called, to attend and play at their soirées. Franz thus met the most distinguished musicians of the day. When he played in public the press indulged in extravagant praise, calling him "the eighth wonder of the world," "another Mozart," and the like. Of course the father was overjoyed that his fondest hopes were being realized. Franz stood at the head of the virtuosi, and in composition he was making rapid strides. He even attempted an operetta, "Don Sancho," which later had several performances.

The eminent piano maker, Erard, who had a branch business in London and was about to start for that city, invited Liszt to accompany him and bring Franz. They accepted this plan, but in order to save expense, it was decided that mother Liszt, who had joined them in Paris, should return to Austria and stay with a sister till the projected tours were over.

Franz was saddened by this decision, but his entreaties were useless; his father was stern. The separation was a cruel one for the boy. For a long time thereafter the mere mention of his mother's name would bring tears.

In May, 1824, father and son, with Erard, started for England, and on June 21 Franz gave his first public concert in London. He had already played for the aristocracy in private homes, and had appeared at Court by command of King George IV. The concert won him great success, though the English were more reserved in their demonstrations, and not like the impulsive, open-hearted French people. He was happy to return to Paris, after the London season, and to resume his playing in the French salons.

The next spring, accompanied by his father, he made a tour of the French provinces, and then set out for a second trip to England. He was now fourteen; a mere boy in years, but called the greatest pianist of the day. He had developed so quickly and was so precocious that already he disliked being called "le petit Litz," for he felt himself full grown. He wished to be free to act as he wished. Adam, however, kept a strict watch on all his movements, and this became irksome to the boy, who felt he was already a man.

But father Liszt's health became somewhat precarious; constant traveling had undermined it. They remained in Paris quietly, till the year 1826, when they started on a second tour of French cities till Marseilles was reached, where the young pianist's success was overwhelming.

Returning to Paris, Franz devoted much of his time to ardent study of counterpoint, under Anton Reicha. In six months' study he had mastered the difficulties of this intricate art.

Adam Liszt and Franz spent the winter of 1826-7 in Switzerland, the boy playing in all important cities. They returned to Paris in the spring, and in May, set out again for England on a third visit. Franz gave his first concert in London on June ninth and proved how much he had gained in power and brilliancy. Moscheles, who was present, wrote: "Franz Liszt's playing surpasses in power and the overcoming of difficulties anything that has yet been heard."

The strain of constant travel and concert playing was seriously telling on the boy's sensitive, excitable nature. He lost his sunny gaiety, grew quiet, sometimes almost morose. He went much to church, and wanted to take orders, but his father prevented this step. Indeed the father became alarmed at the boy's pale face and changed condition, and took him to the French watering place of Boulogne-sur-Mer. Here both father and son were benefited by the sea baths and absolute rest. Franz recovered his genial spirits and constantly gained in health and strength.

But with Adam Liszt the gain was only temporary. He was attacked with a fever, succumbed in a few days and was buried at Boulogne. The loss of his father was a great blow to Franz. He was prostrated for days, but youth at last conquered. Aroused to his responsibilities, he began to think for the future. He at once wrote his mother, telling her what had happened, saying he would give up his concert tours and make a home for her in Paris, by giving piano lessons.

Looking closer into his finances, of which he had no care before, Franz found the expenses of his father's illness and death had exhausted their little savings, and he was really in debt. He decided to sell his grand piano, so that he should be in debt to no one. This was done, every one was paid off and on his arrival in Paris his old friend Erard invited him to his own home till the mother came.

It was a sweet and happy meeting of mother and son, after such a long separation. The two soon found a modest apartment in the Rue Montholon.

As soon as his intention to give lessons became known, many aristocratic pupils came and found him a remarkable teacher. Among his new pupils was Caroline Saint Cricq, youngest daughter of Count Saint Cricq, then Minister of the Interior, and Madame his wife.

Caroline, scarcely seventeen, the same age as her young teacher, was a beautiful girl, as pure and refined as she was talented. Under the eyes of the Countess, the lessons went on from month to month, and the mother did not fail to see the growing attachment between the young people. But love's young dream was of short duration. The Countess fell ill and the lessons had to be discontinued. Caroline did not see her devoted teacher till all was over.

There was now another bond between them, the sympathy over the loss of their dear ones. The Count had requested that the lessons should be resumed. But when the young teacher remained too long in converse with his pupil after the lessons, he was dismissed by the Count, and all their sweet intercourse came to an abrupt end.

Mme. Liszt did all she could to soothe the grief and despair of her son. For days and weeks he remained at home, neglecting his piano and his work. He again thought of the church with renewed ardor and told his mother he now had decided to become a monk. His spirits sank very low; he became ill, unable to leave the house and it was reported everywhere he had passed away.

Again he rallied and his strong constitution conquered. As strength slowly returned, so also did his activity and love of life.

During his long convalescence he was seized with a great desire for knowledge, and read everything he could lay hands on. He would often sit at the piano, busying his fingers with technic while reading a book on the desk before him. He had formerly given all his time to music and languages; now he must know literature, politics, history and exact sciences. A word casually dropped in conversation, would start him on a new line of reading. Then came the revolution of 1830. Everybody talked politics, and Franz, with his excitable spirits, would have rushed into the conflict if his mother had not restrained him.

With all this awakening he sought to broaden his art, to make his instrument speak of higher things. Indeed the spirit must speak through the form. This he realized the more as he listened to the thrilling performances of that wizard of the violin, Paganini, who appeared in Paris in 1831. This style of playing made a deep impression on Liszt. He now tried to do on the piano what Paganini accomplished on the violin, in the matter of tone quality and intensity. He procured the newly published Caprices for violin and tried to learn their tonal secrets, also transcribing the pieces for piano.

Liszt became fast friends with the young composer, Hector Berlioz, and much influenced by his compositions, which were along new harmonic lines. Chopin, the young Polish artist, now appeared in Paris, playing his E minor Concerto, his Mazurkas and Nocturnes, revealing new phases of art. Chopin's calm composure tranquilized Liszt's excitable nature. From Chopin, Liszt learned to "express in music the poetry of the aristocratic salon." Liszt ever remained a true and admiring friend of the Pole, and wrote the poetic study sketch of him in 1849.

Liszt was now twenty-three. Broadened and chastened by all he had passed through, he resumed his playing in aristocratic homes. He also appeared in public and was found to be quite a different artist from what the Parisians had previously known. His bold new harmonies in his own compositions, the rich effects, showed a deep knowledge of his art. He had transcribed a number of Berlioz's most striking compositions to the piano and performed them with great effect.

The handsome and gifted young artist was everywhere the object of admiration. He also met George Sand, and was soon numbered among that wonderful and dangerous woman's best friends. Later he met the young and beautiful Countess Laprunarède, and a mutual attraction ensued. The elderly Count, her husband, pleased with the dashing young musician, invited him to spend the winter at his chateau, in Switzerland, where the witty Countess virtually kept him prisoner.

The following winter, 1833-34, when the salons opened again, Liszt frequented them as before. He was in the bloom of youth and fame, when he met the woman who was to be linked with his destiny for the next ten years.

We have sketched the childhood and youth of this wonderful artist up to this point. We will pass lightly over this decade of his career, merely stating briefly that the lady—the beautiful Countess d'Agoult, captivated by the brilliant talents of the Hungarian virtuoso, left her husband and child, and became for ten years the faithful companion of his travels and tours over Europe. Many writers agree that Liszt endeavored to dissuade her from this attraction, and behaved as honorably as he could under the circumstances. A part of the time they lived in Switzerland, and it was there that many of Liszt's compositions were written.

Of their three children, the boy died very young. Of the girls, Blandine became the wife of Émile Ollivier, a French literary man and statesman. Her sister, Cosima, married first Hans von Bülow and later Richard Wagner.

In 1843 Liszt intended to take Madame with him to Russia, but instead, left her and her children in Paris, with his mother, as the Countess was in failing health. His first concert, in St. Petersburg, realized the enormous sum of fifty thousand francs—ten thousand dollars. Instead of giving one concert in Moscow, he gave six. Later he played in Bavaria, Saxony and other parts of Germany. He then settled in Weimar for a time, being made Grand Ducal Capellmeister. Then, in 1844-45, longing for more success, he toured Spain and Portugal.

A generous act was his labor in behalf of the Beethoven monument, to be erected in the master's birthplace, Bonn. The monument was to be given by subscriptions from the various Princes of Germany. Liszt helped make up the deficit and came to Bonn to organize a Festival in honor of the event. He also composed a Cantata for the opening day of the Festival, and in his enthusiasm nearly ruined himself by paying the heavy expenses of the Festival out of his own pocket.

The political events of 1848 brought him back to Weimar, and he resumed his post of Court Music Director. He now directed his energies toward making Weimar the first musical city of Germany. Greatly admiring Wagner's genius, he undertook to perform his works in Weimar, and to spread his name and fame. Indeed it is not too much to say that without Liszt's devoted efforts, Wagner would never have attained his vogue and fame. Wagner himself testified to this.

While living in Weimar, Liszt made frequent journeys to Rome and to Paris. In 1861 there was a rumor that the object of his visits to Rome was to gain Papal consent to his marriage with the Princess Sayn-Wittgenstein. During a visit to Rome in 1864, the musician was unable to resist longer the mysticism of the church. He decided to take orders and was made an Abbé.

Since that time, Abbé Franz Liszt did much composing. He also continued to teach the piano to great numbers of pupils, who flocked to him from all parts of the world. Many of the greatest artists now before the public were numbered among his students, and owe much of their success to his artistic guidance.

In 1871, the Hungarian Cabinet created him a noble, with a yearly pension of three thousand dollars. In 1875, he was made Director of the Academy at Budapest. In addition, Liszt was a member of nearly all the European Orders of Chivalry.

Franz Liszt passed away August 1, 1886, in the house of his friend, Herr Frohlich, near Wagner's Villa Wahnfried, Bayreuth, at the age of seventy-five. As was his custom every summer, Liszt was in Bayreuth, assisting in the production of Wagner's masterpieces, when he succumbed to pneumonia. Thus passed a great composer, a world famous piano virtuoso, and a noble and kindly spirit.

For the piano, his chosen instrument, Liszt wrote much that was beautiful and inspiring. He created a new epoch for the virtuoso. His fifteen Hungarian Rhapsodies, B minor Sonata, Concert Études and many transcriptions, appear on all modern programs, and there are many pieces yet to be made known. He is the originator of the Symphonic Poem, for orchestra; while his sacred music, such as the Oratorio "Christus," and the beautiful "Saint Elizabeth," a sacred opera, are monuments to his great genius.