Catalogues and other mentions of these pieces (including recordings) list them differently, in varying combinations of piece numbers and titles (and even keys!) Titan Symphonie n o 1 en ré majeur Titan Gustav Mahler en 1893 (par Leonhard Berlin-Bieber). Upon subsequent examination of the autograph manuscript dated 3 June 1843 with the correct title (currently in the Liszt Museum, Weimar), it was clearly a later version of S.212 and so reassigned the new number S.212/2 (S.212 becoming S.212/1). This service is set to disconnect automatically after {0} minutes of inactivity. (Gott sei uns gnädig und barmherzig) (Der Kirchensegen), arr for org as S.669b, for pf4h as S.583, for pf as S.504, based on a chorus by Giuseppe Baini; Liszt's authorship of choral parts doubtful; arr for org as S.669c, for pf as S.506b, arr (setting) of S.161/1 to Ave Maria Latin or German text; arr for org/harm as S.671a, for v 2pf as S.700g, Festkantate zur Enthüllung des Beethoven-Denkmals in Bonn (Was versammelt hier die Menge), arr for pf4h as S.584; beginning and end of the 1st mvt arr for pf as S.507, 1st version of S.69ii, S.69iii; Overture 1st version of S.99; 1st perf this version 24 Aug 1850 Weimar cond Liszt; No.4 arr for pf as S.507a; No.5 arr for pf as S.692e, 2nd version of S.69i, S.69iii; No.4 arr for pf as S.508, for pf4h as S.585, 3rd version of S.70i, S.70ii; themes used in S.114, Gaudeamus igitur (Humoreske, Zur Feier des hundertjährigen Jubiläums der Akademischen Konzerte zu Jena 1870), Das deutsche Vaterland I (Was ist das deutsche Vaterland? Older R. numbers for Peter Raabe's catalogue[G], now largely out of date and superseded by the Searle catalogue, though still in common use, are not included in this list. (arr of prelude from S.6? Liszt – la partie du violon par J. Joachim) (Hungarian Rhapsody No.XII). The unpublished manuscript was identified in the Liszt Museum at Weimar in 1894, and was still present as late as 1901, but as of 1993 its whereabouts are unknown. They are given correctly here. Les chapitres du film. Beethovens (6) geistliche Lieder von Gellert: arr of the song from the incidental music to. Vous souhaitez nous suggérer un ajout à notre catalogue . lui" (No.11) from the opera, arr of "D'ici vous pourrez voir, sans être vu" (No.10) from the opera, Galop Russe (Bulhakow's Russischer Galop), Galop par Constantin Bulhakow arrangé par Liszt, Tanto gentile e tanto onesta (Dante's Sonett von Hans von Bülow), Zigeuner-Polka (La célèbre Zigeunerpolka d'August Conradi), Souvenir de Russie (d'après Ferdinand David). Schubert), based on S.561/2; manuscript 1 page consisting of 1st paragraph of the Schubert song in Liszt's transcription; unpublished, published 1844 by Richault (Paris) (with ossia for No.6), 2nd (ossia) version of S.563/6, S.564, with less virtuosic penultimate stanza, 3rd version of S.563/6, S.563/6a; published 1846 by Diabelli (Vienna). Liszt mistakenly thought the original song was by Schubert. 19) from the opera, Tscherkessenmarsch aus Glinkas Oper Rußlan und Ludmilla, 2nd version of S.406i; arr for pf4h as S.629, based on the waltz and duet from Act II of the opera, Les adieux (Rêverie sur un motif de l'opéra, Réminiscences de La juive (Fantaisie brillante sur des motifs de l'opéra de Halévy), Konzertparaphrase über Mendelssohns Hochzeitsmarsch und Elfenreigen aus der Musik zu Shakespeares Sommernachtstraum, based on themes from the incidental music to. Les experts de la partition piano à imprimer en ligne. Andante Finale und Marsch aus der Oper König Alfred: "Introduction" (des Variations sur une marche du Siège de Corinthe), Fantaisie sur des thèmes de Maometto et Mose (Maometto-Fantasie), Grande fantaisie sur des motifs de La serenata e L'orgia des Soirées musicales, Fantaisie sur des motifs de La pastorella dell'Alpi e Li marinari des Soirées musicales. Originally thought to be an Album-Leaf ("Ruhig") and catalogued as such as S.167a. S.87iii/a, mixed chorus, optional piano (1875?) Partitions de Vitaa, Téléchargez l'application NoviscoreEn savoir plus. Depuis 2008, les pianistes de Noviscore élaborent avec soin, pour chaque titre proposé, des partitions pour piano solo ou piano chant de … "Corno" is thought to be August Horn (corno being Italian for horn), but this could be misleading. pasted-in by Liszt at the beginning of the album for Princess Marie von Sayn-Wittgenstein, and dedicated to her mother Princess Carolyne von S-W. The manuscript score for the first 11 pieces is in the "N9 Sketchbook" housed in the Goethe/Schiller Archive, Weimar. L’avionneur européen Airbus a vu son chiffre d'affaires 2020 chuter de 29%, à près de 50 milliards d’euros. Monsieur de Sainte Colombe (5’50’’) 3. (Jagdchor und Steirer aus der Oper, Schwanengesang und Marsch aus Hunyadi László, Marcia Circassa tratta dall'opera Russlan e Ludmilla di Glinka (Marche des Tcherkesses de l'opera, based on Chernomor's March (Act IV, No. 1. [M] (3) Lieder zu Tannhäuser (Komponiert von Otto Lessmann): 3 Stücke aus der Legende der heiligen Elisabeth: San Francesco (Preludio per il Cantico del Sol), Cantico del Sol di San Francesco d'Assisi, Excelsior! (10) Lieder von Robert und Clara Schumann: arr of No.5 of 'Lieder und Gesänge aus Wilhelm Meister, Provenzalisches Minnelied (von Robert Schumann), Polka de salon (Einleitung und Coda zu Smetanas Polka), Valse-Caprice No.3 (Einleitung und Schlußtakte zu Tausigs dritter Valse-Caprice), additions and revisions (Introduction and Coda) to, Revive Szegedin! ), cantata to text by Goethe, based on music by an unidentified composer (maybe Brahms? [U] Partitions de Slimane 36-page manuscript score consists of Introduction: Presto a capriccio (C minor) – Chansonette (with variations) – Larghetto religioso – Coda (E major). arr for pf as S.513, for vn va vc hp pf harm by Leopold Alexander Zellner with corrections and additional material by Liszt as S.377b, 3rd version of S.108i, S.108ii; 2nd mvt revised (10 additional bars), arr for 2pf as S.648; extracts arr for org/harm as S.672b; themes used in S.182a; some material basis of S.167f, premiered in London in 1825; possibly same as Overture to S.1, arr for pf as S.513a, for pf4h as S.599/1, arr of S.514; 1st version of S.110/2a, with original, arr for pf as S.516, for pf4h as S.601, for org as S.268/2, uses themes from S.161/2; arr for pf as S.516a, for pf4h as S.602, for vn pf as S.377a, epilogue to S.96iv; arr for pf as S.517, for pf4h as S.602/3, for 2pf as S.757, based on an old Polish song; 1st version of S.113ii; arr for pf4h as S.604i, Salve Polonia (Interludium aus dem Oratorium St. Stanislaus), interlude to S.688; 2nd version of S.113i; arr for pf as S.518, for pf4h as S.604ii, uses themes from S.70iii, Trio section theme from S.106; arr for pf as S.520i, for pf4h as S.605, 3rd version of S.115i, S.115ii; arr for pf4h as S.606, arr of S.244/15; arr for pf as S.244a, for pf4h as S.608, for 2pf as S.652a, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest am 8. [L] 4th version of S.97i, S.97ii, S.97iii; published 1856; arr for pf as S.511a, for pf4h as S.591, for 2pf as S.637, 1st perf as the "Overture" to a performance of, 2nd version of Overture from S.69i; 1st perf this version 18 Oct 1855 Brunswick cond Liszt; arr for pf4h as S.593, for 2pf as S.639, arr of S.138; 1st version of S.100ii; unpublished, 2nd version of S.100i; 1st perf this version 16 April 1854 Weimar cond Liszt, published 1856; arr for pf as S.511c, for pf4h as S.594, for 2pf as S.640, 1st version of S.101ii; 1st perf this version as Introduction to a performance of, 2nd version of S.101i; published 1861; arr for pf as S.511d, for pf4h as S.595, 2nd version of 1st mvt of S.690; arr for pf4h as S.596a, for 2pf as S.642, based on S.358a; 1st perf 8 Sept 1856 Pest cond Liszt; arr for pf as S.511e, for pf4h as S.596, for 2pf as S.643, 1st version of S.104ii; 1st perf as an introduction to a private performance of, 2nd version of S.104i; 1st perf this version 2 July 1876 Sondershausen cond, 1st perf 29 Dec 1857 Weimar cond Liszt; arr for pf4h as S.596b, for 2pf as S.645, 1st perf 5 Sept 1857 Weimar cond Liszt; arr for pf4h as S.596c, for 2pf as S.646; extract arr for pf as S.167e; 2nd theme used in S.114, Von der Wiege bis zum Grabe (Du berceau jusqu'à la tombe), 1st version of S.108ii, S.108iii; sketched late 1830s to 1840s, 1st complete draft 1854, complete score finished 1857, 1st perf this version 5 Sept 1857 Weimar cond. For the new final chorus, a 10 bar segue replaces the last 13 bars of the original ending. Ein Sommernachtstraum (Le Songe d’une nuit d’été en français) est une ouverture (op. Bienvenue sur la page Boursorama, portail d'informations économiques et financières. He composed … [Q] (5) Ungarische Volkslieder (Magyar népdal): based on a song by Lyudmilla Gizycka-Zámoyská; arr for vn pf as S.379b, based on an unidentified Polish melody (also used in S.127, S.249/2); short draft, Соловей [Solovei] "Le rossignol" (Air russe d'Alexander Alabieff), based on the aria "Yo que soy contrabandista" from the opera, Grosse Konzertfantasie über spanische Weisen, 2nd version of S.252c; one theme used in S.254; sketches as S.695c, Grosses Konzertstück über Themen aus Mendelssohns Lieder ohne Worte, 2nd version of S.258i; arr for pf orch by. (Preludio zu dem Glocken des Strassburger Münsters). Nos.1 & 2 were published by Eck (Köln) in 1844. Grand Duo concertant (sur la romance de M. collaborative composition with an unknown musician; unpublished, arr of S.196; alternate version for vc pf as S.130ii, for vn pf (+harm) as S.130iii; arr for small-orch as S.710a, arr of S.196; alternate version for vc hp pf harm as S.130i, for vn pf (+harm) as S.130iii, arr of S.196; alternate version for vc hp pf harm as S.130i, for vc pf as S.130ii, arr of S.197; alternate version of S.131ii, arr of S.197; alternate version of S.131i, arr of S.527; alternate version of S.132ii, S.132iii, arr of S.527; alternate version of S.132i, S.132iii, arr of S.527; alternate version of S.132i, S.132ii, arr of extract from S.107/1; 1st perf 22 Oct 1881 Rome for str qt; unpublished (in private collection); Schnapp.84, arr of S.200ii; alternate version of S.134ii, arr of S.200ii; alternate version of S.134i; 1st version of S.134a, using theme from the Prelude of S.6; arr for pf as S.202, for org as S.267, published as Op.6; originally intended as 1st series of 48 exercises; 1st version of S.137, S.139, intended for 2nd series of 48 exercises (with S.136 as the 1st series), introduction uses intro from S.150; 1st version of S.139/7, 3rd version of S.136/4, S.137/4, S.139/4; arr for orch as S.100i, 3rd version of S.136/7, S.137/11; themes used in S.166o, preludio based on No.5 (transposed from A minor) and the etude based on No.6 of, 2nd version of S.140/1, S.141/1, incorporating No.2 of, 2nd (difficult) version of S.140/4a, S.141/4; the original published edition included both S.140/4a and 4b versions, 2nd version of S.140/3, based on Paganini's 2nd Violin Concerto only and not the 1st and 2nd together as in S.140/3, Album-Leaf ("Introduction to the Grande Étude de Paganini No.6"), the original Theme of these Variations was used in S.125a; published as Op.1, (7) Variations brillantes sur un thème de Rossini, published as Op.2; the Theme of these Variations is 'Ah, come nascondere la fiamma' from the opera, Impromptu brillant sur des thèmes de Rossini et Spontini, theme used in S.125a; published as Op.4/1; arr for orch as S.700a, theme used in S.125a; published as Op.4/2, Grand solo caractéristique d'apropos une chansonette de Panséron, 1st version of S.154ii, S.172a/8, S.173/4, 2nd version of S.154i, S.172a/8, S.173/4; later intended to be No.1 for S.171d, published 1841 by Richault (Paris) as "Album d'un voyageur: Prèmiere année (Suisse)", main theme from S.153b; 1st version of S.160/1, based on folk melodies and popular art songs; published 1840 by Latte (Paris) as "Album d'un voyageur: 2me année (Suisse)", 1st part of S.156/7b, S.156/7c (the three parts are one piece), based on various unidentified folk/popular melodies; 2nd part of S.156/7a, S.156/7c (the three parts are one piece); themes used in S.160/8, 1st version of S.160/3; 3rd part of S.156/7a, S.156/7b (the three parts are one piece), based on a folk horn call and an unidentified Hungarian march; 1st part of S.156/8b, S.156/8c (the three parts are one piece), based on a melody by Ferdinand Huber; 2nd part of S.156/8a, S.156/8c (the three parts are one piece), based on various unidentified folk songs including a (Polish) polonaise; 3rd part of S.156/8a, S.156/8b (the three parts are one piece), 1st part of S.156/9b, S.156/9c (the three parts are one piece), based on a melody by Ferdinand Huber and on a folk horn call; 2nd part of S.156/9a, S.156/9c (the three parts are one piece), based on an unidentified Hungarian folk/popular theme; 3rd part of S.156/9a, S.156/9b (the three parts are one piece), 1st version of S.156a; originally published 1836 by Knop (Basle) as "Schweizerische Alpenklänge", Op.10, based on a Swiss art song by Ferdinand Huber; 1st version of S.156a/1; published Knop 1836 as "Improvisata sur le ranz de vaches: Départ pour les Alpes (Aufzug auf die Alp) de Ferd Huber", based on a Swiss art song by Ernest Knop; 1st version of S.156a/2; published Knop 1836 as "Nocturne sur le, based on a Swiss art song by Ferdinand Huber; 1st version of S.156a/3; published Knop 1836 as "Rondeau sur le, Fantaisie romantique sur deux mélodies suisses, second theme used in S.160/8; published as Op.5 No.2, arr of S.270i/2; 1st version of S.161/4; later intended to be No.11 for S.171d, opening from S.701e; 1st version of S.158b, S.158c, S.161/7, fragment (2nd subject) from S.158c; published 1988, 2nd version of S.156/4; arr for vn vc pf by, 2nd version of S.157a; arr alt fch org/harm as S.60, 2nd version of S.157b; themes used in S.112/2, 1st version (1st sketch) of S.162a/ii, S.162a/iii, S.162a/iv, S.162a/v, S.162a/vi, S.163/1, S.672c, 2nd version (1st draft) of S.162a/i, S.162a/iii, S.162a/iv, S.162a/v, S.162a/vi, S.163/1, S.672c, 3rd version (2nd draft) of S.162a/i, S.162a/ii, S.162a/iv, S.162a/v, S.162a/vi, S.163/1, S.672c, 4th version (3rd draft) of S.162a/i, S.162a/ii, S.162a/iii, S.162a/v, S.162a/vi, S.163/1, S.672c, 5th version (4th draft) of S.162a/i, S.162a/ii, S.162a/iii, S.162a/iv, S.162a/vi, S.163/1, S.672c, 6th version (5th draft) of S.162a/i, S.162a/ii, S.162a/iii, S.162a/iv, S.162a/v, S.163/1, S.672c, Sunt lacrymae rerum (in ungarischer Weise), 8th (final) version of S.162a/i, S.162a/ii, S.162a/iii, S.162a/iv, S.162a/v, S.162a/vi, S.672c; arr for 2vn va vc as S.378i, for 2vn va vc db as S.378ii, Album-Leaf ("Andantino in E major") ("Valse mélancolique"), themes used in S.242/11, S.244/3; written for, Album-Leaf ("Adagio — religioso in C major"), Album-Leaf ("Andante religioso in G major"), Album-Leaf ("Andante religiosamente in G major"). ), 1st version of S.75ii, S.75iii; arr v pf as S.306i, Titan (Auf des Athos blauen Felsenspitzen), 4th version of S.79i, S.79ii, S.700j; arr for bar mch orch by Liszt and, Le forgeron (Le fer est dur, frappons, frappons), Arbeiterchor (Herbei, herbei, den Spath' und Schaufel ziert), Hungaria 1848 (Aus Osten aus der Sonne Tor) (Ungaria-Kantate), Chor der Engel aus Goethe's Faust (pt 2) (Rosen, ihr blendenden), 3rd version of S.85i, S.85ii; arr for ch orch by Liszt and, Festchor zur Enthüllung des Herder-Denkmals in Weimar, Weimars Volkslied (Von der Wartburg) (Zur Enthüllung des Carl August Denkmals in Weimar am 3. Extensive Larghetto religioso section is an early version of. La leçon de Marin Marais. Leslie Howard has the titles and other details of the two versions mixed up on the liner indexes and back covers of albums vol.35 (1995) & vol.40 (1996), while the liner notes correctly describe the version being played, and the versions are also swapped in his 2011 Searle catalog in the booklet for the complete set. This is a list of compositions by Franz Liszt, based on the working catalogue by Michael Short and Leslie Howard,[A] and other references. All pieces were worked on from October 1847 to early January 1848. Marche funèbre 1827 153b (*754a) Grand solo caractéristique d'apropos une chansonette de Panséron pf C minor / E major 1830–32 based on a popular song by Auguste Mathieu Panseron; one section used as main theme for S.156/5; unpublished : 154i Harmonies poétiques et religieuses: pf 1833 1st version of S.154ii, S.172a/8, … Bach Variations Goldberg - Aria; Robert Schumann Scènes d'enfants — Gens et pays étrangers; Frédéric Chopin Prélude n°6; Erik Satie … S'il a perdu des lecteurs, Zola a gagné le droit d'être salué comme un "moment de la conscience humaine" (éloge funèbre prononcé par Anatole France). [R] Modern piece in F minor: MP3: PDF: 0.00: 198: Dies Irae: Courte piece moderne en Ré mineur. Mélodies hongroises d'après Franz Schubert (Schuberts ungarische Melodien): 2nd version ("Richault edition") of S.425/2a, S.425/2c, S.425/2d, S.425/2e, S.425a/2, 3rd version ("Lucca edition") of S.425/2a, S.425/2b, S.425/2d, S.425/2e, S.425a/2; arr for orch as S.363/4, 5th version ("Menter transcription") of S.425/2a, S.425/2b, S.425/2c, S.425/2e, S.425a/2, 6th version ("3rd edition") of S.425/2a, S.425/2b, S.425/2c, S.425/2d, S.425a/2, 4th (simplified) version ("2nd Diabelli edition") of S.425/2a, S.425/2b, S.425/2c, S.425/2d, S.425/2e. Marche nuptiale des ostréiculteurs: Wedding, trumpet + organ: MP3: PDF: BOOK: 3.00: 199: Noctes Irae: Pièce moderne en Fa mineur. Many of the renumbered works are previously lost compositions that have been discovered. Marche funèbre 1827 153b (*754a) Grand solo caractéristique d'apropos une chansonette de Panséron pf C minor / E major 1830–32 based on a popular song by Auguste Mathieu Panseron; one section used as main theme for S.156/5; unpublished : 154i Harmonies poétiques et religieuses: pf 1833 1st version of S.154ii, S.172a/8, … 1st version of S.260ii; arr for pf as S.529i, 2nd version of S.260i; arr for pf as S.529ii, arr for pf as S.530, for pf4h as S.625, for orch as S.361; rev for v pf as S.766; rev for 2vv (+org) as S.36; rev for ch orch as S.3/8, arr of mvt IV of S.95iv by Alexander Wilhelm Gottschalg, with revisions by Liszt, Missa pro organo lectarum celebrationi missarum adjumento inserviens, Angiolin dal biondo crin (Englein hold im Lockengold), 1st version of S.269ii, S.269iii, S.269iv, S.269v; arr for pf as S.531/6, 2nd version of S.269i, S.269iii, S.269iv, S.269v, 3rd version of S.269i, S.269ii, S.269iv, S.269v, 4th (transposed) version of S.269i, S.269ii, S.269iii, S.269v, 5th version of S.269i, S.269ii, S.269iii, S.269iv, 1st version of S.270ii/2 (for tenor voice); arr for pf as S.158/1, 1st version of S.270ii/1 (for tenor voice); arr for pf as S.158/2, 1st version of S.270ii/3 (for tenor voice); arr for pf as S.158/3, 1st version of S.272ii; arr for pf as S.531/2, 1st version of S.273ii; arr for pf as S.531/1, 2nd version of S.273i; arr for pf as S.532, for v orch as S.369, 1st version of S.274ii, S.301b/i, S.301b/ii; arr for pf as S.534i, 4th version of S.274i, S.301b/i, S.301b/ii; arr for pf as S.534iii, for vc pf as S.382i, for vn pf as S.382ii, 1st version of S.275ii, S.275iii; arr for pf as S.531/3, 3rd version of S.275i, S.275ii; arr for v orch as S.370, 1st version of S.276ii; arr for pf as S.534, 1st version of S.278ii; arr for pf as S.531/4, 1st version of S.279ii, S.279iii, S.279iv; arr for pf as S.531/5, 1st version of S.280ii; arr for pf as S.167a; 1st setting, for 2nd setting see S.280a, 2nd version of S.280i; 1st setting, for 2nd setting see S.280a, 1st version of S.282ii; arr for pf as S.536, 1st version of S.283ii; arr for pf as S.537, 1st version of S.284ii; arr for pf as S.538, "gastibelza" is a Basque word meaning "gossip"; arr for pf as S.540, 1st version of S.287ii, S.287iii, S.287iv, S.287v, S.287vi, 2nd version of S.287i, S.287iii, S.287iv, S.287v, S.287vi, 3rd version of S.287i, S.287ii, S.287iv, S.287v, S.287vi, 4th version of S.287i, S.287ii, S.287iii, S.287v, S.287vi, 5th version of S.287i, S.287ii, S.287iii, S.287iv, S.287vi, 6th version of S.287i, S.287ii, S.287iii, S.287iv, S.287v, 1st setting, for 2nd and 3rd settings see S.288ii, S.288iii, 2nd setting, for 1st and 3rd setting see S.288i, S.288iii, 3rd setting, for 1st and 2nd setting see S.288i, S.288ii, 2nd version of S.292i; arr for v orch as S.372, 2nd version of S.292i/1; arr for v orch as S.372/1, 2nd version of S.292i/2; arr for v orch as S.372/2, 2nd version of S.292i/3; arr for v orch as S.372/3, 1st version of S.293ii; arr for v orch as S.373i, 2nd version of S.293i; arr for v org as S.681a; for v orch as S.373ii, 1st version of S.298ii; arr for pf as S.540b, 2nd version of S.298i; arr for pf as S.541/3, En ces lieux tout me parle d'elle (Élégie), 2nd version of S.274i, S.274ii, S.301b/ii; arr for pf as S.534ii, 3rd version of S.274i, S.274ii, S.301b/i; arr for pf as S.534ii/a, 1st version of S.311ii, S.311iii, S.311iv, S.311v, 2nd version of S.311i, S.311iii, S.311iv, S.311v, 3rd version of S.311i, S.311ii, S.311iv, S.311v, 4th version of S.311i, S.311ii, S.311iii, S.311v, 5th version of S.311i, S.311ii, S.311iii, S.311iv, arr for various choral configurations under S.87, for orch by Liszt and, arr for vn pf as S.383, for v orch as S.374, J'ai perdu ma force et ma vie (Ich verlor die Kraft und das Leben), Go Not, Happy Day (Weil noch, Sonnenstrahl), Verlassen (Mir ist die Welt so freudenleer), arr for pf as S.543, for pflh as S.543a, for org/harm as S.674, for pf4h as S.755a, for bar mch ww br perc as S.345a, for vn pf as S.381a, arr for various choral configurations under S.93, Do Not Reproach Me, My Friend (Не брани меня, мой друг), Der traurige Mönch (In Schweden steht ein grauer Turm), Des toten Dichters Liebe (A holt költó szerelme), Слѣпой [Slyepoi] (The Blind Man) "Der blinde Sänger", Zweite Ouvertüre zum Barbier von Bagdad (P. Cornelius), Szózat und Hymnus (2 vaterländische Dichtungen von Vörösmarty and Kölcsey), arr of the Hungarian patriotic songs (now the Hungarian national anthems), Heroischer Marsch in ungarischem Styl [Première marche hongroise], arr of S.231; basis for S.103; unpublished; written for the King of Portugal, Benedictus aus der Ungarischen Krönungsmesse, arr of S.425/2c, S.426; arr for pf4h as S.632, arr of S.176; sketches only; score prepared from manuscript sources by, arr of S.392; score prepared from manuscript sources and orchestration completed by, arr of the song by Francis Korbay; arr for v org as S.683a, Die Allmacht von Franz Schubert (Gross ist Jehova, der Herr), arr of 2nd mvt of S.108ii by Leopold Alexander Zellner with corrections and additional material by Liszt; published 2013; arr for small-orch as S.711a, Rapsodie hongroise (pour violon et piano par Franç. The revisions of the 1849 piano version (S.227) and orchestra version (S.115i), were made in 1857 (piano S.521i, orchestra S.115iii) for the unveiling of the Goethe and Schiller memorial on 3 September 1857 in Weimar. [S] (b1875?) La sentence est confirmée le 18 juillet 1898. These 3 choruses were also published as a set by ? 597 talking about this. (Hymne des marins avec Antienne approbative de Notre Tout Saint Père Pie IX), arr of S.766; based on S.261; rev as S.3/8, Mihi autem adhaerere (Offertoire de la messe du patriarche séraphique San François), arr for pf as S.504i, for harm as S.667c, for v org/harm as S.681, uses material from S.702; 1st version of S.42ii, S.42iii, 2nd version of S.42i, S.42iii; arr for pf as S.729, Der Herr bewahret die Seelen seiner Heiligen, probably misattributed to Liszt, who arr the pieces as S.504b and S.669a, arr for pf as S.504b/3a, for ch org as S.669a/1, arr for pf as S.504b/3, for v ch/org as S.669a/2, for ch org as S.51, arr for pf as S.504b/5, for v org as S.669a/3, arr for pf as S.504b/6, for v org as S.669a/4, arr for pf as S.504b/7, for v pf/org as S.669a/5, arr for pf as S.504b/10, for v org as S.669a/6, arr for pf as S.504b/11, for v org as S.669a/7, Meine Seel' erhebt den Herrn! Performed by Liszt in 1862 and referred to by him (in letters and other writings) as. (5) Klavierstücke (Album-Leaves for Olga von Meyendorff): based on S.349; re-used as S.205/6, S.205a/6; arr for pf4h as S.614, 2nd version of S.195a; arr for pf4h as S.612, for vc hp pf harm as S.130i, for vc pf as S.130ii, for vn pf (+harm) as S.130iii, 1st (draft) version of S.197; fragments of sketches (reconstructed by Liszt's pupil, 2nd version of S.196a; arr for vc pf as S.131i, for vn pf as S.131ii, in 4/4, written Dec.1882, published 2002; 1st version of S.199a/ii, S.200i, S.200ii; incomplete sketch as S.701k, in 4/4, written Jan.1883, published 2002; 2nd version of S.199a/i, S.200i, S.200ii; incomplete sketch as S.701k, in 6/8, published 1927 as "La lugubre gondola I"; 4th version of S.199a/i, S.199a/ii, S.200ii, in 4/4, written Jan.1883, published 1885, published 1927 as "La lugubre gondola II"; 3rd version of S.199a/i, S.199a/ii, S.200i; arr for vc pf as S.134i, for vn pf as S.134ii, re-used from S.194; 1st version of S.205a/7, Prélude à la Polka d'Alexandre Porfiryevitch Borodine (Variation sur le thème favori et obligé), Waltz (Waltz aus dem Ballet Die Amazonen), Piano arrangement of S.126b/2 (Theme from the ballet Die Amazonen by Robert von Gallenberg), 1st version of S.214/1; themes used in S.209a; arr for pf4h S.615, 1st version of S.212ii, S.213i, S.213ii, S.213iii, 2nd (expanded) version of S.212i, S.213i, S.213ii, S.213iii, Valse de Marie (Mariotte) (Album-leaf for, 3rd version of S.212i, S.212ii, S.213ii, S.213iii, 4th (édition facilitée) version of S.212i, S.212ii, S.213i, S.213iii, 5th version of S.212i, S.212ii, S.213i, S.213ii, with additions for Liszt's pupils, 2nd version of S.215a; arr for pf4h as S.615a, manuscript entitled "4th Mephisto Waltz", but no relation to S.216b or S.696, 1st version of S.219a; arr for pf4h as S.616, 2nd (simplified) version of S.219; theme used in S.220, uses themes from S.167o; 1st version of S.521i, S.521ii; arr for orch by Liszt and, 1st version of S.228ii; arr for orch by Liszt and, 2nd version of S.228i; Trio section uses theme of S.313, Vom Fels zum Meer! 61, MWV M 13) de Felix Mendelssohn.Figurant parmi ses œuvres les plus célèbres, elles ont été composées pour la comédie de William Shakespeare, A Midsummer Night’s Dream.. … The exact dates for some of the pieces are as given in Liszt's hand on the manuscript.