Franz Liszt (1811–1886)

Hungary · Romanticism (1815—1890)

2 Concert Studies, S.145 (1862)	S.145
2 Csárdáses for piano, S.225 (1884)	S.225
2 Episoden aus Lenau's Faust for orchestra, S.110 (c. 1856-61)	S.110
2 Episoden aus Lenau's Faust for orchestra. No. 1 “Der nächtliche Zug”, S.110/1 (c. 1856-61)	S.110/1
2 Episoden aus Lenau's Faust for orchestra. No. 2 “Der Tanz in der Dorfschenke” (“Mephisto-Walzer”), S.110/2 (c. 1856-61)	S.110/2
2 Kirchenhymnen for organ, S.669 (1877)	S.669
2 Légendes for piano, S.175 (1863)	S.175
2 Legendes No. 1 “St. Francois d'Assisi: la prédication aux oiseaux”, version orchestrale, S.113a/1 (1863)	S.113a/1
2 Orchestersätze aus dem Oratorium “Christus” for piano, S.498b (1871)	S.498b
2 piano pieces, S.189 (1866)	S.189
2 Polonaises for piano, S.223 (1850-51)	S.223
2 Stuecke aus dem Oratorium “Christus” for piano, S.498c (c. 1880)	S.498c
2 Vortragsstücke for organ, S.268 (1884)	S.268
2 waltzes for violin and piano, S.126b (c. 1823-25)	S.126b
3 Caprices-Valses for piano: No. 1 - Valse de bravoure B flat major, S.214/1 (1850-52)	S.214/1
3 Caprices-Valses for piano: No. 2 - Valse mélancolique, S.214/2 (1850)	S.214/2
3 Caprices-Valses for piano: No. 3 - Valse de concert on themes from “Lucia di Lammermoor” and “Parisina” by G. Donizetti, S.214/3 (1850-52)	S.214/3
3 Études de Concert, S.144 (1845-49)	S.144
3 Morceaux suisses for piano, 2nd version, S.156a (1876-77)	S.156a
3 nocturnes (“Dreams of Love” / “Liebesträume”) for piano : No. 3, S.541, No. 3 (1850)	S.541, No. 3
3 Sonetti di Petrarca for piano, S.158 (1843-46)	S.158
3 Songs from “Wilhelm Tell” Schiller for voice and orchestra, S.372 (1855)	S.372
3 songs from Schiller's “Wilhelm Tell” for voice and piano, S.292 (1845)	S.292
3 songs from Schiller's “Wilhelm Tell” for voice and piano, II version, S.292, No. 2 (c. 1855)	S.292, No. 2
3 Stuecke aus der “Legende von der Heiligen Elisabeth”, version for piano, S.498a (1857-62)	S.498a
3 Ungarische Nationalmelodien, S.243 (1840-43)	S.243
4 Album-Leaves for Princess Marie von Sayn-Wittgenstein, S.166m (1847)	S.166m
4 vierstimmige Männergesänge, S.72 (1841-42)	S.72
5 Ungarische Volkslieder for piano, S.245 (1873)	S.245
8 Variations on an original theme, S.148 (1824)	S.148
12 Choere fuer Maennergesang, S.90 (c. 1841-43)	S.90
12 Etudes, S.136 (1826)	S.136
12 etudes d'execution transcendente, S.139 (1851)	S.139
12 Etudes d'execution transcendente (exerpts), S.139 (1851)	S.139
12 Grandes Études, S.137 (1837)	S.137
A study for piano “Mazeppa”, S.138 (1840)	S.138
Ábrányi: “Virag Dál” (Chant des Fleurs) for piano, S.383a (1880)	S.383a
Abschied - Russisches Volkslied for piano, S.251 (1885)	S.251
Adagio non troppo, S.151a (c. 1824)	S.151a
Air cosaque for piano, S.249c (1879)	S.249c
Alabieff: piano transcription of Romance “Le rossignol”, 1st version, S.249d (1842)	S.249d
Alabieff: piano transcription of Romance “Le rossignol”, 2nd version, S.250/1 (1842)	S.250/1
“Album d’un voyageur”, for piano, S.156 (1837-38)	S.156
Album Leaf, S.167h (c. 1860-69)	S.167h
Album Leaf (“Adagio religioso in C major”), S.164l (1825)	S.164l
Album Leaf (“Agitato in G major”), S.167l (1842-49)	S.167l
Album Leaf (“Agnus Dei”), S.167c (c. 1860)	S.167c
Album Leaf (“Ah! vous dirai-je, Maman”), S.163b (1833)	S.163b
Album Leaf (“Allegretto in A major”), S.167n (1842)	S.167n
Album Leaf (“Andante in E♭ major”), S.167r (1850-59)	S.167r
Album Leaf (“Andante religiosamente in G major”), S.166j (1846)	S.166j
Album Leaf (“Andante religioso in G major”), S.166h (1846)	S.166h
Album Leaf (“Andantino in A♭ major”), S.166p (1847)	S.166p
Album Leaf (“Andantino in E major” - “Valse mélancolique”), S.163d/ii (1840)	S.163d/ii
Album Leaf (“Aus dem 1. Mephisto-Walzer - Episode aus Lenaus Faust: Der Tanz in der Dorfschenke”), S.167m	S.167m
Album Leaf (“Aus dem Purgatorio des Dante Sinfonie”), S.166r/2 (c. 1857)	S.166r/2
Album Leaf (“Berlin Preludio”), S.164g (1842)	S.164g
Album Leaf (“Braunschweig Preludio”), S.166f (1844)	S.166f
Album Leaf (“Dante Symphony progression”) G major, S.167f (c. 1860)	S.167f
Album Leaf (“Detmold”), S.164d (1841)	S.164d
Album Leaf (“Exeter Preludio”), S.164c (1840)	S.164c
Album Leaf (“Freudvoll und leidvoll”), S.166n (1847)	S.166n
Album Leaf (“Friska”), S.166k (c. 1845-49)	S.166k
Album Leaf (“Fugue chromatique - Allegro in G minor”), S.167j (1844)	S.167j
Album Leaf (“Glasgow fragment”), S.701f (c. 1841)	S.701f
Album Leaf (“Introduction to the Grande Étude de Paganini No. 6”), S.141/6a (1851)	S.141/6a
Album Leaf (“Langsam in C♯ minor”), S.166o (1876)	S.166o
Album Leaf (“Larghetto in D♭ major”), S.167p (1883)	S.167p
Album Leaf (“Leipzig”) E major, S.163d/i (1840)	S.163d/i
Album Leaf (“Leipzig”) E♭ major, S.164b (1840)	S.164b
Album Leaf (“Lyon Prélude”), S.166d	S.166d
Album Leaf (“Lyon”) C major, S.167s (1839)	S.167s
Album Leaf (“Magyar”), S.164e/1 (1840-41)	S.164e/1
Album Leaf (“Magyar”), S.164e/3 (1840-41)	S.164e/3
Album Leaf (“Magyar”) B♭ minor, S.164e/2 (1840-41)	S.164e/2
Album Leaf (“Moderato in D♭ major”), S.164k (1842)	S.164k
Album Leaf (“Portugal”) A♭ major, S.166b (1845)	S.166b
Album Leaf (“Prélude omnitonique”), S.166e (1844)	S.166e
Album Leaf (“Preludio”), S.164j (1842)	S.164j
Album Leaf (“Pressburg”) C minor, S.163c (1839)	S.163c
Album Leaf (“Purgatorio”), S.166r/1 (1857)	S.166r/1
Album Leaf (“Quasi mazurek in C major”), S.163e (1843)	S.163e
Album Leaf (“Rákóczi-Marsch”) A minor, S.164f (1841)	S.164f
Album Leaf (“Schlusschor des entfesselten Prometheus – Andante solenne in D♭ major”), S.167q (1883)	S.167q
Album Leaf (“Serenade”) A minor, S.166g (1840-49)	S.166g
Album Leaf (“Tempo di marcia in E♭ major”), S.167o (1845)	S.167o
Album Leaf (“Vienna”) E major, S.164a (1840)	S.164a
Album Leaf (“Vivace ma non troppo in D♭ major”), S.167g (1835)	S.167g
Album Leaf (Adagio in C major), S.158d (1841)	S.158d
Album Leaf (Allegro vivace quasi presto) F♯ minor, S.163a/1 (1828)	S.163a/1
Album Leaf (Consolation No. 1), S.171b (1849-50)	S.171b
Album leaf (Dante Sonata, fragment), S.701e (1837)	S.701e
Album Leaf (Mélodie polonaise), S.249a (1843)	S.249a
Album Leaf (of the symphonic poem “Ideals”), S.167e (1861)	S.167e
Album Leaf (of the symphonic poem Orpheus), S.167d (1860)	S.167d
Album Leaf (Operatic aria – and sketched variation), S.701h/1 (c. 1841)	S.701h/1
Album Leaf A major, S.166s (1870)	S.166s
Album Leaf A♭ major, S.166c (1845)	S.166c
Album Leaf A♭ major, S.166l/1 (1840-49)	S.166l/1
Album leaf based on “Mephisto Waltz No. 1”, for piano, S.167m/2 (1860-69)	S.167m/2
Album Leaf D major, S.164h (c. 1840-45)	S.164h
Album Leaf E major, S.167t (1853)	S.167t
Album Leaf E-Dur, S.166a (1843)	S.166a
Album Leaf E♭ major, S.167k (c. 1840-41)	S.167k
Album Leaf G major, S.166q (1847)	S.166q
Album Leaf G minor, S.166l/2 (1840-49)	S.166l/2
Album Leaf No. 1 A♭ major, S.165 (1844)	S.165
Album Leaf No. 2 A minor, S.534/2bis (1849)	S.534/2bis
Album leaf, “An die Künstler I”, for piano, S.166t/1 (1844)	S.166t/1
Album leaf, “An die Künstler II”, for piano, S.166t/2 (1844)	S.166t/2
Album leaf, “Ave Maria”, for piano, S.164q (1841)	S.164q
Album leaf, “Düsseldorf Preludio”, for piano, S.163f/2 (1840-41)	S.163f/2
Album-Leaf (Valse infernale), S.701h/2 (1841)	S.701h/2
Albumblatt E major, S.164 (1840)	S.164
“Albumblatt in Walzerform” in A major, S.166 (1842)	S.166
Allegro di Bravura, S.151 (1824-25)	S.151
Allegro maestoso for piano, S.692c (c. 1837-38)	S.692c
“Alleluja” from “Cantico del Sol di San Francesco d'Assisi” for piano, S.183/1 (1862)	S.183/1
Am Grabe Richard Wagners, S.267 (1883)	S.267
“Am Grabe Richard Wagners”, for String Quartet and Harp, S.135 (1883)	S.135
“An den heiligen Franziskus von Paula” (Gebet) for soloists, male choir, organ and timpani, S.28	S.28
Andante religioso for organ, S.261a (1861)	S.261a
Andante sensibilissimo for piano, S.701c (1880-86)	S.701c
Andantino (“pour Emile et Charlotte Loudon”) E♭ major, S.163a/2 (1828)	S.163a/2
Anfang einer Jugendsonate, S.692b (1880)	S.692b
“Angelus! Prayer to the Guardian Angels”, Walter Bache’s arrangement for string quintet with corrections by Liszt, S.378ii	S.378ii
“Angelus! Prière aux anges gardiens” for Harmonium (from Anneés III/1), S.672c (1877-82)	S.672c
“Angelus!”, early piano version of 1880, S.162a/3 (1880)	S.162a/3
“Angelus!”, early piano version of 1882, S.162a/4 (1882)	S.162a/4
Anima Christi sanctifica me for male choir and organ, S.46/2 (1874)	S.46/2
“Années de pèlerinage”, Book I: “Switzerland”, for piano, S.160 (1848-55)	S.160
“Années de pèlerinage”, Book I: “Switzerland”, for piano (selected pieces), S.160 (1848-55)	S.160
“Années de pèlerinage”, Book II: “Italy”, for piano, S.161 (1846-49)	S.161
“Années de pèlerinage”, Book II: “Italy”, for piano (selected pieces), S.161 (1846-49)	S.161
“Années de pèlerinage”, Book III, for piano, S.163 (1877-82)	S.163
“Années de pèlerinage”, Book III, for piano (selected pieces), S.163 (1877-82)	S.163
Anthem “Crux!” (Hymn of sailors) for male choir, S.35i (1865)	S.35i
Antiphon “Cantantibus organis” (for the Feast of St. Cecilia) for viola, choir and orchestra, S.7 (1879)	S.7
“Apparitions” for piano, S.155 (1834)	S.155
Aria from the St Matthew Passion by J. S. Bach, S.deest	S.deest
“At the Grave of Richard Wagner” for piano, S.202 (1883)	S.202
“Au bord d'une source” for piano, S.160/4a (1848-55)	S.160/4a
Auber: Grande fantaisie sur la tyrolienne de l'opéra “La fiancée”, 1st version, S.385i (1829)	S.385i
Auber: Tarantelle di bravura d'après la tarantelle de La muette de Portici, 2nd version, S.386ii (1869)	S.386ii
Auber: Tarantelle di bravura dàprès la Tarantelle de “La Muette de Portici”, 1st version, S.386i (1846)	S.386i
Auber: Tyrolean Melody for piano, S.233c	S.233c
Aubert: 3 Klavierstücke aus der Oper “La muette de Portici”, S.387/1 (1847-48)	S.387/1
Aubert: Klavierstück über ein fremdes Thema, S.387/2 (1847-48)	S.387/2
Aubert: Souvenir de “La fiancée” - Grande fantaisie sur la tyrolienne, 3rd version, S.385iii (1842)	S.385iii
Aus der Ungarischen Kroenungsmesse, S.501 (1867)	S.501
Aux anges gardiens (Den Schutz Engeln), S.162a/iii (1880)	S.162a/iii
Ave Maria (d'Arcadelt) for organ, S.659 (1862-63)	S.659
Ave Maria d'Arcadelt for piano F major, S.183/2 (1862)	S.183/2
Ave Maria for the piano school of Lebert and Stark (The Bells of Rome), E major, S.182 (1862)	S.182
Ave Maria I (“Gebet”) for organ, S.667b/1 (c. 1842)	S.667b/1
Ave Maria I for chorus and organ, 2nd version, S.20/2 (1852)	S.20/2
Ave Maria II for choir and organ, S.38 (1869)	S.38
Ave Maria II for piano D flat major. 2nd version, S.504/2 (1872)	S.504/2
Ave Maria II for piano D major. 1st version, S.504/1 (1869-70)	S.504/1
Ave Maria II for voice and organ, S.681 (1869)	S.681
Ave Maria II, for organ, S.667c (1869)	S.667c
Ave Maria III / Sposalizio (“Betrothal”) for alto, female choir and organ, S.60 (1883)	S.60
Ave Maria IV for piano, S.545 (1881)	S.545
Ave Maria IV for voice and organ, S.341 (1881)	S.341
Ave maris stella for chorus and organ. 1st version, S.34/1 (1865-66)	S.34/1
Ave maris stella for piano, S.506 (1868)	S.506
Ave maris stella in D major for voice and organ, S.680 (1868)	S.680
Ave verum corpus for choir and organ, S.44 (1871)	S.44
Bach: Andante from Cantata “Aus tiefer Not schrei ich zu Dir” BWV 38 for organ, S.660/2 (c. 1856-60)	S.660/2
Bach: Einleitung und Fuge from the cantata “Ich hatte viel Bekümmernis” BWV 21 for organ, S.660/1 (1860-66)	S.660/1
Bach: piano transcription of Orgel Fantasie und Fuge BWV 542 , 2nd version, S.463ii (1868)	S.463ii
Bach: piano transcription of Orgel Fantasie und Fuge G minor BWV 542, 1st version, S.463i (c. 1861)	S.463i
Bach: Prelude on a theme from Cantata “Weinen, Klagen, Sorgen, Zagen” BWV12 for piano, S.179 (1859)	S.179
Bach: Six Preludes and Fugues S462, S.462 (1842-50)	S.462
Bach: Variationen über ein Motiv aus der Kantate “Weinen, Klagen, Sorgen, Zagen” for organ, S.673 (1862-63)	S.673
Bach: Variations on a theme from Bach's cantata “Weinen, Klagen, Sorgen, Zagen” for piano, S.180 (1862)	S.180
Bagatelle without tonality for piano, S.216a (1885)	S.216a
Ballade No. 1 in D-flat major “Le chant du croisé”, S.170 (1848-49)	S.170
Ballade No. 2 in B minor (1 version), S.170a (1853)	S.170a
Ballade No. 2 in B minor, 2nd version, S.171 (1853)	S.171
Beethoven: Cadenza to the first movement of Piano Concerto No. 3, S.389a (1878-79)	S.389a
Beethoven: Capriccio on the Turkish-style of the theme of Beethoven (The Ruins of Athens), S.388 (1846)	S.388
Beethoven: Fantasia on themes of “The Ruins of Athens” for piano and orchestra, S.122ii (1852)	S.122ii
Beethoven: Fantasie über Themen aus “Ruinen von Athen” for piano, S.389 (1852)	S.389
Beethoven: Fantasie über Themen aus “Ruinen von Athen” for piano, S.388b (1839)	S.388b
Beethoven: Marche turque des “Ruines d'Athènes” for piano, S.388a (1846)	S.388a
Beethoven: Pastorale - Schnitterchor aus dem “Entfesselten Prometheus” , for piano, 1st version, S.507a (1850)	S.507a
Beethoven: Pastorale - Schnitterchor aus dem “Entfesselten Prometheus” , for piano, 2nd version, S.508 (1861)	S.508
Beethoven: piano Arrangement of Grand Septet, Op. 20, S.465 (1840)	S.465
Beethoven: piano transcription of “6 geistliche Lieder”, op. 48, S.467 (1840)	S.467
Beethoven: piano transcription of 5th movement from Symphonie No. 6, S.463c (1837)	S.463c
Beethoven: piano transcription of Symphony No. 1, S.464/1 (1863-64)	S.464/1
Beethoven: piano transcription of Symphony No. 2, S.464/2 (1863-64)	S.464/2
Beethoven: piano transcription of Symphony No. 3, S.464/3 (1863-64)	S.464/3
Beethoven: piano transcription of Symphony No. 4, S.464/4 (1863-64)	S.464/4
Beethoven: piano transcription of Symphony No. 5, 1st version, S.463a (1837)	S.463a
Beethoven: piano transcription of Symphony No. 5, 2nd version, S.464/5 (1863-64)	S.464/5
Beethoven: piano transcription of Symphony No. 6, 1st version, S.463b (1837)	S.463b
Beethoven: piano transcription of Symphony No. 6, 3rd version, S.464/6 (1863-64)	S.464/6
Beethoven: piano transcription of Symphony No. 7, 1st version, S.463d (1837)	S.463d
Beethoven: piano transcription of Symphony No. 7, 2nd version, S.464/7 (1863-64)	S.464/7
Beethoven: piano transcription of Symphony No. 8, S.464/8 (1863-64)	S.464/8
Beethoven: piano transcription of Symphony No. 9, S.464/9 (1863-64)	S.464/9
Beethoven: piano transcription of the Funeral March from Symphony No. 3, S.463e (1837)	S.463e
Beethoven: piano transcription of the song “Adelaide”, 1st version, S.466a (1839)	S.466a
Beethoven: piano transcription of the song “Adelaide”, 2nd version, S.466b (1841)	S.466b
Beethoven: piano transcription of the song “Adelaide”, 3rd version, S.466 (1847)	S.466
Beethoven: piano transcription of the song cycle “An die ferne Geliebte”, S.469 (1849)	S.469
Beethoven: piano transcriptions of the songs on the words of Goethe, S.468 (1849)	S.468
Beethoven: Transcription of Symphony No. 9 for Two pianos, S.657 (1851)	S.657
Bellini: “Hexaméron” - Grandes variations de bravoure sur la marche des “Puritains” for piano, S.392 (1837-38)	S.392
Bellini: “Hexaméron” - Grandes variations de bravoure sur la marche des “Puritains” for piano and orchestra, S.365b (1837-39)	S.365b
Bellini: Fantasia on favorite motifs from the opera “La Sonnambula”, 1st version, S.393i (1841)	S.393i
Bellini: Fantasia on favorite motifs from the opera “La Sonnambula”, 2nd version, S.393ii (1852)	S.393ii
Bellini: Fantasia on favorite motifs from the opera “La Sonnambula”, 3rd version, S.393iii (1874)	S.393iii
Bellini: Introduction and Polonaise from “I Puritani” for piano, S.391 (1840-41)	S.391
Bellini: Réminiscences de “Norma” for piano, S.394 (1841)	S.394
Bellini: Réminiscences des “Puritains” for piano, 1st version, S.390i (1836)	S.390i
Bellini: Réminiscences des “Puritains” for piano, 2nd version, S.390ii (1837)	S.390ii
Bells of Strasbourg Cathedral, ballad for soloists, choir, organ and orchestra, S.6 (1874-75)	S.6
Berceuse for piano, S.174 (1854)	S.174
Berlioz: “Bénédiction et serment” (Deux motifs de “Benvenuto Cellini” for piano), S.396 (1852-53)	S.396
Berlioz: “Dance of the Sylphs” from “La damnation de Faust”, early piano transcription by Liszt, S.474a	S.474a
Berlioz: “King Lear”, overture, piano transcription by Liszt, S.474 (1836-37)	S.474
Berlioz: “L'idée fixe” (Andante amoroso) for piano, 1st version, S.395 (1833)	S.395
Berlioz: “L'idée fixe” (Andante amoroso) for piano, 2nd version, S.470a/1 (1833)	S.470a/1
Berlioz: “Marche au supplice” de la “Symphonie fantastique”, for piano, S.470a/2 (1865)	S.470a/2
Berlioz: Grand Symphonic Fantasia on themes from “Lélio” for piano and orchestra, S.120 (1834)	S.120
Berlioz: Marche des pèlerins de la symphonie “Harold en Italie”, 1st version, S.473i (1836-37)	S.473i
Berlioz: Marsh of Pilgrims from the symphony “Harold in Italy”, 2nd version, S.473ii (1862)	S.473ii
Berlioz: piano transcription of “Danse des Silphes” from “La Damnation de Faust”, S.475 (1860)	S.475
Berlioz: piano transcription of Fantastique Symphonie, S.470 (1833)	S.470
Berlioz: piano transcription of the overture “Secret Judges”, S.471 (1833)	S.471
Berlioz: piano transcription of the Symphony “Harold in Italy”, S.472 (1836)	S.472
Borodine: Prélude á la Polka for piano, S.207a (1880)	S.207a
Boulakhov: Russischer Galop, 1st version, S.478i (1843)	S.478i
Boulakhov: Russischer Galop, 2nd version, S.478ii (1843)	S.478ii
Boulakhov: Transcription of Chanson bohémienne, S.250/2 (1842)	S.250/2
“Bouquet to the Virgin in May”, 2 songs: No. 1 “Das Veilchen” (Violet), S.316/1 (1857)	S.316/1
“Buch der Lieder I”, S.531 (1843)	S.531
“Buch der Lieder II”: No. 1 “Comment, disaient-ils”, S.535 (1847)	S.535
“Buch der Lieder II”: No. 2 “Oh, quand je dors”, S.536 (1847)	S.536
“Buch der Lieder II”: No. 3 “Enfant, si j'étais roi”, S.537 (1847)	S.537
“Buch der Lieder II”: No. 4 “S'il est un charmant gazon”, S.538 (1847)	S.538
“Buch der Lieder II”: No. 5 “La tombe et la rose”, S.539 (1847)	S.539
“Buch der Lieder II”: No. 6 “Gastibelza”, S.540 (1847)	S.540
Bülow-Marsch, S.230 (1883)	S.230
“Bülow-Marsch”, initial draft for piano, S.229b (1883)	S.229b
Bülow: piano transcription of Dante's Sonett “Tanto gentile e tanto onesta”, S.479 (1874)	S.479
Cadenza for “Mephisto-Walzer” No. 1, S.695f (c. 1883-85)	S.695f
Cantata “Hungary 1848” (Ungaria-Kantate) for soloists, chorus and orchestra, S.83a (c. 1842-48)	S.83a
Cantico del Sol di Francesco d'Assisi for baritone and organ (first version), S.4/i (1862)	S.4/i
“Cantico del Sol di Francesco d'Assisi” for baritone, male chorus, organ and orchestra, S.4/ii (1879-82)	S.4/ii
Cantico del Sol di San Francesco for piano, S.499 (1881-82)	S.499
Canzone Napolitana (Notturno) for piano, 1st version, S.248i (1842)	S.248i
Canzone Napolitana (Notturno) for piano, 2nd version, S.248ii (1842)	S.248ii
“Canzonetta del Salvator Rosa”, S.157c (1838-39)	S.157c
“Carrousel de Madame Pelet-Narbonne”, for piano, S.214a (c. 1879)	S.214a
Celebre melodie hongroise, S.243a	S.243a
Choir “Die Seligkeiten” (“Beatitudes”) for baritone, mixed voices and organ ad lib., S.25 (1859)	S.25
Choir “L'Eternel est son nom” (“The Lord is His name”) for mixed voices, S.18/2 (c. 1846)	S.18/2
Choir “Licht, mehr Licht” (Light, more Light!) for male voices and horns, S.84 (1849)	S.84
Choir “Slavimo slavno, Slaveni!” (Celebrating, Slavs!) For male voices and organ, S.33i (1863-66)	S.33i
Chopin: piano transcriptions of six polish songs by F. Chopin, S.480 (1857-60)	S.480
Chopin: Prelude Op. 28, No. 4 - transcription for Organ, S.662/1 (c. 1862-63)	S.662/1
Chopin: Prelude Op. 28, No. 9 - transcription for Organ, S.662/2 (c. 1862-63)	S.662/2
Choral “Der Herr bewahret die Seelen” for choir, brass, timpani and organ, S.92/2 (1875)	S.92/2
Choral “Nun danket alle Gott” for choir, brass, timpani and organ, S.61 (1883)	S.61
Choräle - 11 alte deutsche geistliche Weisen for piano, S.504b (1878-79)	S.504b
Christus, oratorio for soloists, mixed chorus, orchestra and organ, S.3 (1862-66)	S.3
Clara Schumann: piano transcriptions of songs, S.569 (1874)	S.569
Concerto for piano and Orchestra No. 1 in E-flat major, S.124 (1849)	S.124
Concerto for piano and Orchestra No. 2 in A major, S.125 (1839)	S.125
Concerto for piano and orchestra No. 3 in E-flat major, S.125a (1835-39)	S.125a
Concerto for piano and strings E-Minor “Malediction”, S.121 (1833)	S.121
Concerto pathetique for 2 pianos, S.258 (1855)	S.258
Concerto sans orchestre in A major, S.524a (c. 1839)	S.524a
Conradi: Zigeuner-Polka, for piano, S.481 (1848)	S.481
Consolations, 2 pieces for cello and piano, S.382a (1870)	S.382a
“Consolations” for organ, S.672d	S.672d
“Consolations” for piano, 1st version, S.171a (1844-48)	S.171a
“Consolations” for piano, 2nd version, S.172 (1849-50)	S.172
“Csárdás macabre” for piano, S.224 (1881-82)	S.224
Cui: Tarentelle, for piano, S.482 (1885)	S.482
Dante-Symphonie arranged for 2 pianos, S.648 (1856-57)	S.648
Dante-Symphony, S.109 (1855-56)	S.109
Dargomyzhsky: Transcription of Tarantella slave, for piano, S.483 (1879)	S.483
Das Lied der Begeisterung, for male choir and baritone, S.91/1 (1871)	S.91/1
David: piano transcriptions of the collection “Bunte Reihe”, S.484 (1850)	S.484
De Profundis (Psaume instrumentale) for piano and orchestra, S.121a (1834-35)	S.121a
Declamation “Der blinde Sänger” for narrator and piano, S.350 (1875-77)	S.350
Declamation “Der traurige Mönch” for narratot and piano, S.348 (1860)	S.348
Declamation “Des toten Dichters Liebe” for narrator and piano, S.349 (1874)	S.349
Declamation “Helges Treue” for narrator and piano, S.686 (1860)	S.686
Declamation “Lenore” (Der Bräutigam) for narrator and piano, S.346 (1857-58)	S.346
Declamation “One Hundred Years Ago” (To the 100th Anniversary of Schiller) for narrator and orchestra, S.347 (1859)	S.347
Delibes: “La mandragore” - piano transcription of Ballade from the opera “Jean de Nivelle”, S.698 (1881)	S.698
Dem Andenken Petőfis, S.195ii (1877)	S.195ii
“Dem Andenken Petöfis” for piano, S.195 (1877)	S.195
Den Cypressen der Villa d'Este - first version, S.162b (1872)	S.162b
Den Schutz-Engeln: “Angelus!” (Pri ère á l'ange gardien), 3rd version, S.162a/iv (1880)	S.162a/iv
Den Schutz-Engeln: “Angelus”, first version, first sketch, S.162a/i (1877)	S.162a/i
“Den Schutz-Engeln”: “Angelus!” (Prière à l'ange gardien), 1st version, S.162a/ii (1880)	S.162a/ii
Den Zypressen der Villa d'Este [I] first version, S.162b/1 (1872)	S.162b/1
“Der Blinde Saenger” for piano, S.546 (1878)	S.546
“Der nächtliche Zug” (Die erste Episode aus Lenaus “Faust”) for piano, S.513a (1859-61)	S.513a
Dessauer: piano transcriptions of 3 songs, S.485 (1846-47)	S.485
Die drei Zigeuner, for Violin and piano, S.383 (1864)	S.383
Die Legende von der Heiligen Elisabeth for soloists, choir, organ and orchestra, S.2 (1857-62)	S.2
“Die Loreley” for piano, S.532 (1861)	S.532
“Die Schlüsselblumen”, No. 2 from “Muttergottes-Sträusslein zum Mai-Monate”, for voice and piano, S.316/2 (1857)	S.316/2
Die Trauer-Gondel (La lugubre gondola) for piano. 1st early version, S.199a/i (1882)	S.199a/i
Donizetti : Grande paraphrase de la Marche pour le Sultan Abdul-Medjid Khan, 1st version, S.403 (1847)	S.403
Donizetti: “Spirto gentil” from “La favorite”, piano transcription by Liszt, S.400a (1840-47)	S.400a
Donizetti: Fantaisie sur des motifs de l'opéra “Lucrezia Borgia” for piano, S.399a (1840)	S.399a
Donizetti: Grande paraphrase de la Marche pour le Sultan Abdul-Medjid Khan, second version, S.403a (1848)	S.403a
Donizetti: piano transcription of Marsh and Cavatina from “Lucia di Lammermoor”, S.398 (1835-36)	S.398
Donizetti: piano transcription of the Funeral March from the opera “Don Sebastian”, S.402 (1844)	S.402
Donizetti: piano transcriptions of 3 songs from “Nuits d'ete a Pausilippe”, S.399 (1838)	S.399
Donizetti: Réminiscences de “Lucia di Lammermoor”, S.397 (1835-36)	S.397
Donizetti: Réminiscences de “Lucrezia Borgia” - Grande fantaisie sur des motifs favoris de l'opéra for piano, S.400 (1848)	S.400
Donizetti: Valse a capriccio sur deux motifs de “Lucia” et “Parisina” for piano, S.401 (1842)	S.401
Dramatic scene “Joan of Arc at the stake” (by Dumas) for voice and orchestra, S.373 (1858)	S.373
Dramatic scene “Joan of Arc at the stake” (by Dumas) for voice and piano, S.293/ii (1874-75)	S.293/ii
Drei Bach-Bearbeitungen for organ, S.660-661 (1860-66)	S.660-661
“Dublin”, album leaf for piano, S.164r (1840)	S.164r
Duet “Dall'alma Roma” for 2 voices and organ, S.36 (1867-68)	S.36
“Dumka” for piano, S.249b (1871)	S.249b
Duo for Violin and piano on Polish themes, S.127 (1835)	S.127
Eine Faust-Symphonie for tenor, men's chorus and orchestra, S.108 (1854)	S.108
Einleitung, Fuge und Magnificat from the “Dante-Symphony” for organ, S.672b (1860)	S.672b
Elegie “Die Zelle im Nonnenwerth” for piano, 1st version, S.534i (1840)	S.534i
Elégie “Die Zelle im Nonnenwerth” for piano, 2nd version, S.534ii (1841)	S.534ii
Elegie “Die Zelle im Nonnenwerth” forpiano, 3rd version, S.534/2bis (1849)	S.534/2bis
Elegie “Die Zelle in Nonnenwerth” for Cello (or Violin) and piano, S.382 (c. 1883)	S.382
Elegie “Die Zelle in Nonnenwerth” for piano, 4th version, S.534iii (1881)	S.534iii
Élégie for Cello and piano No. 1, S.130b (1874)	S.130b
Élégie for Cello and piano No. 2, S.131 (1877-78)	S.131
Élégie for piano No. 2, S.197 (1877)	S.197
Élégie for Violin and piano No. 1, S.130c (1874)	S.130c
Élégie for Violin and piano No. 2, S.131bis (1877-78)	S.131bis
Elegy for piano No. 1, S.196 (1874)	S.196
Elegy on the themes of Prince Louis Ferdinand of Prussia for piano, 1st version, S.168i (1842-43)	S.168i
Elegy on the themes of Prince Louis Ferdinand of Prussia for piano, 2nd version, S.168ii (1851)	S.168ii
Entwurf der “Ramann-Elegie”, S.196a (1877)	S.196a
Epithalam zu Eduard Reményis Vermählungsfeier, for piano, S.526 (1872)	S.526
Epithalam zu Eduard Reményis Vermählungsfeier, for violin and piano, S.129 (1872)	S.129
Erkel: “Schwanengesang” und Marsch aus “Hunyadi Laszo” for piano, S.405 (1847)	S.405
Ernst II: “Halloh!”, hunting chorus and Styrian dance from “Tony, oder die Vergeltung”, for piano, S.404 (1849)	S.404
Ernst II: piano transcription of the song “Die Gräberinsel”, S.485b (1842)	S.485b
Essai sur l'indifference, S.692p/2 (1829)	S.692p/2
Étude de perfectionnement for piano, 1st version (“Morceau de salon”), S.142 (1840)	S.142
Étude de perfectionnement for piano, 2nd version (“Ab irato”), S.143 (1852)	S.143
Évocation à la chapelle Sixtine for organ, S.658 (c. 1862-65)	S.658
Évocation à la Chapelle Sixtine for piano, S.461ii (1862)	S.461ii
Évocation à la Chapelle Sixtine for piano, S.461i (1862)	S.461i
“Évocation à la chapelle Sixtine”, orchestra version, S.360 (1862)	S.360
“Excelsior!” - Preludio zu den “Glocken des Strassburger Münsters” for organ and chorus ad lib., S.666 (1874-75)	S.666
“Excelsior!” - Preludio zu den “Glocken des Strassburger Münsters” for piano, S.500 (1874)	S.500
Excerpts from works by Liszt
Fanfare zur Enthüllung des Carl-Augusts Monuments for piano, S.542b (1875)	S.542b
Fantaisie romantique sur deux mélodies suisses for piano, S.157 (1835-36)	S.157
Fantasia on Hungarian Folk Themes for piano and orchestra, S.123 (1846-52)	S.123
Fantasia quasi Sonata “Aprés une lecture du Dante”, S.161/7 (1849)	S.161/7
Fantasia quasi Sonata “Aprés une lecture du Dante”, S.158c (1839)	S.158c
Fantasie und Fuge über das Thema B-A-C-H for piano, S.529ii (1870)	S.529ii
Fantasy and Fugue on the chorale “Ad nos, ad salutarem undam” for organ, S.259 (1850)	S.259
“Faribolo Pasteur” for piano, S.236/1 (1844)	S.236/1
Faust-Symphonie arranged for 2 pianos, S.647 (1856)	S.647
Fest-Marsch zur Göthe Jubiläum-Feier for piano, 2nd version, S.521 (1859)	S.521
Festetics: “Pásztor Lakodalmus” (Magyar nóták) for piano, S.405a (1858)	S.405a
Festetics: Spanisches Ständchen for piano (Melodie von Graf Leó Festetics), S.487 (1844)	S.487
Festmarsch nach Motiven von E.H. z. S.-C.-G for piano, S.522 (1858-59)	S.522
Festmarsch nach Motiven von E.H. z. S.C.-G for orchestra, S.116 (1858-59)	S.116
Festmarsch zur Goethe Jubilaumsfeier for orchestra, S.115 (1857)	S.115
Festmarsch zur Säcularfeier von Goethes Geburtstag for piano, 1st version, S.227 (1849)	S.227
Festpolonaise for piano, S.230a (1876)	S.230a
Festpolonaise for piano 4 hands, S.619a (1876)	S.619a
Festvorspiel (Preludio pomposo) for piano, S.226 (1856)	S.226
Five little piano pieces (Album-Leaves for Olga von Meyendorff), S.192	S.192
Flea's song “Once upon a time there was a king” (Es war einmal ein Konig) for bass / baritone, male choir and piano, S.73 (1844-45)	S.73
Fragment from “Die Legende vom heiligen Stanislaus” for piano, S.688a (c. 1868)	S.688a
Fragments from “Die Legende von der Heiligen Elisabeth” for piano, S.693a (1862)	S.693a
Franz Xaver Mozart: Five variations on a romance from Méhul’s “Joseph” (formerly attributed to Liszt), op. 23 (F. X. W. Mozart) (1816)	op. 23 (F. X. W. Mozart)
Franz: piano transcription of “Er ist gekommen in Sturm und Regen”, S.488 (1848)	S.488
Franz: piano transcriptions of 12 songs, S.489 (1848)	S.489
French anthem “Vive Henri IV” for piano, S.239 (1879-80)	S.239
“From the Hungarian Coronational Mass” (Missa coronationalis), 2 movements of the Mass for violin and piano / organ, S.381 (1869)	S.381
Funeral Prelude and March for piano, S.206 (1885)	S.206
Galop de Bal for piano, S.220 (1840)	S.220
Galop for piano A minor, S.218 (1846)	S.218
Gaudeamus igitur (Humoreske), S.509 (1869-70)	S.509
Gaudeamus igitur (Paraphrase de chanson des étudiants), S.240a (1843)	S.240a
“Gebet” for organ, S.265 (1879)	S.265
“Geharnischte Lieder”, S.511 (1860)	S.511
“Gestorben war ich”, for piano, an early version of “Liebesträume” No. 2, S.540a (c. 1850)	S.540a
Glinka: Marche des Tcherkesses de l'opera “Rußlan und Ludmilla”, 1st version, S.406i (1843)	S.406i
Glinka: Tscherkessenmarsch aus der Oper “Rußlan und Ludmilla”, 2nd version, S.406ii (1843)	S.406ii
“God Save the Queen” (Paraphrase de concert), S.235 (1841-49)	S.235
Goldschmidt: piano transcription of love scene and “Wheel of Fortune” from the oratorio “The Seven Deadly Sins” for piano, S.490 (1880)	S.490
Gounod: “Les Adieux” - Fantaisie on a theme from “Romeo and Juliet” for piano, S.409 (1867)	S.409
Gounod: “Les Sabiennes” - piano transcription of Berceuse from “Queen of Sheba”, S.408 (1865)	S.408
Gounod: piano transcription of Hymne a Sainte Cecile, S.491 (1866)	S.491
Gounod: piano transcription of Waltz from “Faust”, S.407 (1861)	S.407
Grand Duo concertant sur la romance de M. Lafont “Le marin” for violin and piano, S.128ii (c. 1849)	S.128ii
Grand Galop chromatique E dur for piano, 2nd version, S.219bis (c. 1840)	S.219bis
Grand Galop chromatique E-flat major for piano, 1st version, S.219 (1838)	S.219
Grand Solo de concert for piano and orchestra, S.365 (1849-50)	S.365
Grand Solo de concert for piano, 1st version, S.175a (1849)	S.175a
Grande Fantaisie sur des thèmes de Paganini for piano, S.700i (1845)	S.700i
Grande paraphrase de concert sur “God Save the Queen” et “Rule Britannia” for piano, S.694 (1841)	S.694
Grande valse di bravura “Le bal de Berne”, S.209 (1836)	S.209
Great Concert Fantasia on the Spanish Themes for piano, S.253 (1845)	S.253
“Gretchen” from “Faust Symphony” for piano, S.513 (1867)	S.513
Grosses Konzertsolo for piano, 2nd version, S.176 (1849-50)	S.176
Grosses Konzertstück über Themen aus Mendelssohns “Lieder ohne Worte” for 2 pianos, S.257 (1834)	S.257
Halevy: Memories of the Opera “Yid ”(“Daughter of Cardinal”) for piano, S.409a (1835)	S.409a
Handel: piano transcription of Sarabande and Chaconne from the opera “Almira”, S.181 (1879)	S.181
Harmonies poétiques et religieuses for piano, S.154i (1833-34)	S.154i
Harmonies poetiques et religieuses for piano, 1st version, S.171d (1845-47)	S.171d
Harmonies poétiques et religieuses for piano, 2nd version, S.172a (1840-47)	S.172a
Harmonies poétiques et religieuses for piano, 3rd version, S.173 (1848-53)	S.173
Herbeck: Tanzmomente, S.492 (1869)	S.492
Historical Hungarian Portraits for piano, S.205 (1885)	S.205
Historische ungarische Bildnisse, for piano, S.205a (1885)	S.205a
“Hosannah” (Alleluja del Cantico del sol) for organ, S.677 (1862-63)	S.677
Huldigungsmarsch for piano, S.228ii (1857)	S.228ii
Huldigungsmarsch for piano, S.228i (1853)	S.228i
Hummel: piano transcription of Septet, S.493 (1848)	S.493
Hungarian Coronation Mass for soloists, choir and orchestra, S.11 (1866-69)	S.11
Hungarian March for piano in B-flat major, S.229a (1859)	S.229a
Hungarian Rhapsody No. 1 in C-sharp minor, S.244/1 (1846)	S.244/1
Hungarian Rhapsody No. 1 in F minor (orchestra version), S.359/1 (1857-60)	S.359/1
Hungarian Rhapsody No. 2 in C-sharp minor, S.244/2 (1847)	S.244/2
Hungarian Rhapsody No. 2 in C-sharp minor, S.244/2bis (1885)	S.244/2bis
Hungarian Rhapsody No. 2 in D minor (orchestra version), S.359/2 (1857-60)	S.359/2
Hungarian Rhapsody No. 3 in B-flat major, S.244/3 (1847)	S.244/3
Hungarian Rhapsody No. 3 in D major (orchestra version), S.359/3 (1857-60)	S.359/3
Hungarian Rhapsody No. 4 in D minor (orchestra version), S.359/4 (1857-60)	S.359/4
Hungarian Rhapsody No. 4 in E-flat major, S.244/4 (1847)	S.244/4
Hungarian Rhapsody No. 5 in E minor, S.244/5 (1847)	S.244/5
Hungarian Rhapsody No. 5 in E Minor (orchestral version), S.359/5 (1857-60)	S.359/5
Hungarian Rhapsody No. 6 D-flat major, S.244/6 (1847)	S.244/6
Hungarian Rhapsody No. 6 n D Major (orchestral version), S.359/6 (1857-60)	S.359/6
Hungarian Rhapsody No. 7 in D minor, S.244/7 (1847)	S.244/7
Hungarian Rhapsody No. 8 in F-sharp minor, S.244/8 (1846)	S.244/8
Hungarian Rhapsody No. 9 in E-flat major “Carnaval de Pesth”, S.244/9 (1847)	S.244/9
Hungarian Rhapsody No. 9 in E-flat major for piano trio, S.379 (1848)	S.379
Hungarian Rhapsody No. 10 in E major, S.244/10 (1847)	S.244/10
Hungarian Rhapsody No. 10 in E major, S.244/10bis (1847)	S.244/10bis
Hungarian Rhapsody No. 11 in A minor, S.244/11 (1847)	S.244/11
Hungarian Rhapsody No. 12 in C-sharp minor, S.244/12 (1847)	S.244/12
Hungarian Rhapsody No. 13 in A minor, S.244/13 (1847)	S.244/13
Hungarian Rhapsody No. 14 in F minor, S.244/14 (1847)	S.244/14
Hungarian Rhapsody No. 15 in A minor, S.244/15 (1847)	S.244/15
Hungarian Rhapsody No. 15 in A minor, S.244/15bis (c. 1847)	S.244/15bis
Hungarian Rhapsody No. 16 in A minor, S.244/16ii (1882)	S.244/16ii
Hungarian Rhapsody No. 16 in A minor, S.244/16i (1882)	S.244/16i
Hungarian Rhapsody No. 17 in D minor, S.244/17 (1883)	S.244/17
Hungarian Rhapsody No. 18 in F-sharp minor, S.244/18iii (1885)	S.244/18iii
Hungarian Rhapsody No. 18 in F-sharp minor, S.244/18i (1885)	S.244/18i
Hungarian Rhapsody No. 18 in F-sharp minor, S.244/18ii (1885)	S.244/18ii
Hungarian Rhapsody No. 19 in D minor, S.244/19 (1885)	S.244/19
Hungarian Rhapsody, “Rêves et fantaisies”, in C-sharp minor for piano, S.242/23 (1839-40)	S.242/23
Hussitenlied (Aus dem 15. Jahrhundert), S.234 (1840)	S.234
“Ich liebe dich” for piano, S.542a (c. 1857-60)	S.542a
“Il m'aimait tant!” for piano, S.533 (1843)	S.533
Il penseroso for piano, S.157b (1839)	S.157b
Impromptu in Fis-dur for piano, S.191 (1872)	S.191
In domum Domini ibimus for choir, brass, timpani and organ, S.57 (1884)	S.57
In domum Domini ibimus for organ, S.671 (1884)	S.671
In domum Domini ibimus for piano, S.505 (1884)	S.505
In festo transfigurationis Domini nostri Jesu Christi for piano, S.188 (1880)	S.188
Inno a Maria Vergine for mixed choir and organ, S.39i (1869)	S.39i
Introduction for Organ from Oratorio “Die Legende von der Heiligen Elisabeth”, S.663a (1872)	S.663a
“Kaiser Wilhelm!” for piano, S.197b (1876)	S.197b
Kavallerie-Geschwindmarsch for piano, S.460 (c. 1883)	S.460
Klavierstück aus der “Bonner Beethoven-Kantate”, S.507 (1846)	S.507
Klavierstück Fis-dur, S.193 (1854)	S.193
Klavierstück in es-Moll, S.692n (c. 1849)	S.692n
Klavierstück in F major, S.695 (1843)	S.695
Korrekturblatt, S.701k (1882)	S.701k
“Künstlerfestzug zur Schillerfeier 1859” for orchestra, S.114 (1857-59)	S.114
“Künstlerfestzug zur Schillerfeier 1859” for piano, S.520ii (1859-60)	S.520ii
“Künstlerfestzug zur Schillerfeier 1859” for piano, S.520i (1859-60)	S.520i
L'hymne du Pape, piano version, S.530 (1864)	S.530
“La cloche sonne” for piano, S.238 (c. 1850)	S.238
La Lugubre Gondola for piano, S.200 (1882-83)	S.200
La lugubre gondola for piano. 2nd early version, S.199a/ii (1882)	S.199a/ii
La lugubre gondole for cello and piano, S.134 (1882-83)	S.134
“La marquise de Blocqueville” (“Un portrait en musique”) for piano, S.190 (1869)	S.190
La Marseillaise for piano, S.237 (1866-72)	S.237
“La Notte”, for Violin and piano, S.377a (c. 1864-66)	S.377a
“La romanesca” (Mélodie du 16ième siècle) for piano, 1st version, S.252a/i (1832-33)	S.252a/i
“La romanesca” (Mélodie du 16ième siècle), for piano, 2nd version, S.252a/ii (1832-33)	S.252a/ii
Ländler for piano A-flat major, S.211 (1843)	S.211
Ländler for piano D major, S.211a (1879)	S.211a
Largo en si mineur, S.692p/1 (1829)	S.692p/1
Lassen: piano transcription of music for “Nibelungs” by Hebbel and “Faust” by Goethe, S.496 (1878-79)	S.496
Lassen: piano transcription of the orchestral intermezzo to “Über allen Zauber Liebe”, S.497 (1883)	S.497
Lassen: piano transcription of the song “Ich weil in tiefer Einsamkeit”, S.495 (1872)	S.495
Lassen: piano transcription of the song “Löse, Himmel, meine Seele”, 1st version, S.494i (1861)	S.494i
Lassen: piano transcription of the song “Löse, Himmel, meine Seele”, 2nd version, S.494ii (1872)	S.494ii
Lasso: Arrangement of the motet “Regina coeli laetare” for organ, S.663 (1865)	S.663
Le forgeron, for male choir and piano R548, S.81 (1845)	S.81
“Le lac de Wallenstadt” for piano, S.156/2а(bis) (1837-38)	S.156/2а(bis)
“Le triomphe funèbre du Tasso”, Epilogue to the symphonic poem No. 2 “Tasso”, S.112/3 (1866)	S.112/3
Lessmann: Three songs from Julius Wolff’s “Tannhäuser”, piano transcriptions by Liszt, S.498 (1882)	S.498
“Litanies de Marie” for piano, S.171e (1846-47)	S.171e
Magnificat for piano, S.182a (1862)	S.182a
Magyar Tempo, S.241b (1840)	S.241b
March Hongroise for piano E♭ minor, S.233b (1844)	S.233b
Marche de Prozinsky C flat minor, S.701v (1846)	S.701v
Marche de Rákóczy for piano, 5th version, S.244c (1851)	S.244c
Marche funèbre “En mémoire de Maximilian I” for piano, S.162d (1877)	S.162d
Marche funèbre for piano, S.226a (1827)	S.226a
Marche héroïque dans le genre hongrois A minor (Première marche hongroise), S.231 (1840)	S.231
Marche héroïque for piano, S.510 (c. 1847-48)	S.510
Marches dans le genre hongrois, S.693 (c. 1840)	S.693
Marie-Poeme, S.701b (1837)	S.701b
“Mariengarten” (Mary's Garden) for choir and organ, S.62 (c. 1884)	S.62
Massenet: “Marche hongroise de Szabadi” for piano, S.572 (1879)	S.572
Mazurka brillante for piano, S.221 (1850)	S.221
Mazurka for piano F minor, S.221a	S.221a
Melodie in Dorischer Tonart (Prose des Morts), S.701d (1861)	S.701d
Mendelssohn: Aria “Jerusalem, die du toetest den Propheten” for Voice and Organ, S.deest	S.deest
Mendelssohn: Concert paraphrase on “Wedding March” and “Dance of the Fairies” from the music to “A Midsummer Night's Dream”, S.410 (1849-50)	S.410
Mendelssohn: piano transcriptions of songs, S.547 (1840)	S.547
Mendelssohn: piano transcriptions of the songs “Wasserfahrt” und “Der Jager Abschied”, S.548 (1848)	S.548
Mendelssohn: Song without Words in E-flat major, Op. 30, No. 1, arrangement for violin and organ attributed to Liszt, S.deest	S.deest
Mephisto Polka for piano, S.217ii (1883)	S.217ii
Mephisto Polka for piano, S.217i (1883)	S.217i
Mephisto Waltz No. 1 (“Der Tanz in der Dorfschenke” - Die zweite Episode aus Lenaus “Faust”) for piano, S.514 (1859-61)	S.514
Mephisto Waltz No. 2 for orchestra, S.111 (1880-81)	S.111
Mephisto Waltz No. 2 for piano, S.515 (c. 1878-81)	S.515
Mephisto Waltz No. 3 for piano, 1st version, S.215a (1883)	S.215a
Mephisto Waltz No. 3 for piano, 2nd version, S.216 (1883)	S.216
Mephisto Waltz No. 4 for piano, 1st version, S.216b (1885)	S.216b
Mephisto Waltz No. 4 for piano, 2nd version, S.696 (1885)	S.696
Mercadante: “Reminiscences de La Scala” - Fantasie über italienische Opernmelodien for piano, S.458 (1838-39)	S.458
Mercadante: “Soirees italiennes” - Six entertainments for piano on motifs by Mercadante, S.411 (1838-39)	S.411
Meyerbeer: Fantasy and Fugue on the chorale “Ad nos, ad salutarem undam” for piano 4 hands, S.624 (1850)	S.624
Meyerbeer: Festmarsch zu Schillers 100 jahriger Geburtsfeier for piano, S.549 (1860)	S.549
Meyerbeer: Illustrations du “Prophète” for piano, S.414 (1849-50)	S.414
Meyerbeer: Illustrations for the opera “L'Africaine”, for piano, S.415 (1865)	S.415
Meyerbeer: Memories of the opera Les Huguenots - Grande fantaisie dramatique sur des thèmes de l'opéra, 1st version, S.412i (1836)	S.412i
Meyerbeer: Memories of the opera Les Huguenots - Grande fantaisie dramatique sur des thèmes de l'opéra, 2nd version, S.412ii (1838)	S.412ii
Meyerbeer: Memories of the opera Les Huguenots - Grande fantaisie dramatique sur des thèmes de l'opéra, 3rd version, S.412iii (1842)	S.412iii
Meyerbeer: piano transcription of the song “Le Moine”, S.416 (1841)	S.416
Meyerbeer: Réminiscences de “Robert le Diable” - Valse infernale, S.413 (1841)	S.413
Mignon’s song, “Kennst du das Land”, for voice and orchestra, S.370 (1860)	S.370
Mignon’s song: “Kennst du das Land” , I version, S.275, No. 1 (1842)	S.275, No. 1
“Mignon’s song”: “Kennst du das Land” for voice and piano, S.275 (1842)	S.275
Missa choralis, organo concinente, for mixed choir and organ, S.10 (1859-65)	S.10
Missa pro organo lectarum celebrationi missarum adjumento inserviens, S.264 (1879)	S.264
Missa quattuor vocum ad aequales (Szekszárd Mass), S.8ii (1869)	S.8ii
Missa Solennis zur Einweihung der Basilika in Gran (Graner Mass), S.9 (1857-58)	S.9
Mosonyi: Fantasia on themes from the opera “Szép Ilonka” for piano, S.417 (1865-67)	S.417
“Mosonyis Grabgeleit” for pizno, S.194 (1870)	S.194
Mozart: 2 piano transcriptions from “Requiem”, S.550 (1865)	S.550
Mozart: Adagio von “Die Zauberflöte”, transcription for piano 4 hands, S.634a (c. 1875-81)	S.634a
Mozart: Arrangement of motet “Ave verum corpus” for Organ, S.674d (1886)	S.674d
Mozart: Arrangement of motet “Ave verum corpus” for piano, S.461a (1867)	S.461a
Mozart: Fantasie über Themen aus “Figaro” und “Don Giovanni” for piano, S.697 (1842)	S.697
Mozart: Réminiscences de “Don Juan” - Grande fantaisie (version for 2 pianos), S.656 (1876-77)	S.656
Mozart: Reminiscences de “Don Juan” - Grande fantaisie pour piano, S.418 (1841)	S.418
Nicolai: Ecclesiastical Festival Overture on “Ein feste Burg ist unser Gott”, organ transcription by Liszt, S.675 (1852)	S.675
Nocturne “En Reve” for piano, S.207 (1885)	S.207
Nocturne “Pensées” for piano, S.168b (1845)	S.168b
“Nuages gris” for piano, S.199 (1881)	S.199
“Nun danket alle Gott” for organ, S.674c (1884)	S.674c
“O lieb, so lang du lieben kannst!”, an early piano draft, S.540b (1840-49)	S.540b
O Roma nobilis for choir and organ, S.54 (1878-79)	S.54
O Roma nobilis for piano, S.506b (1879)	S.506b
O sacrum convivium for organ, S.674a/i (c. 1881-85)	S.674a/i
O sacrum convivium for organ (ossia), S.674a/ii (c. 1881-85)	S.674a/ii
O salutaris hostia II for choir and organ ad lib., S.43 (1870)	S.43
“O, heilige Nacht” (Weihnachtslied), for tenor, choir and organ, S.49 (1881)	S.49
Ode “To the Artists” (An die Kunstler) for male choir and orchestra, S.70 (1853)	S.70
Offertorium aus der Ungarischen Krönungsmesse, S.667 (c. 1868)	S.667
Offertory “Mihi autem adhaerere” for male choir and organ, S.37 (1868)	S.37
Opera “Don Sancho, or Castle of Love”, S.1 (1824-25)	S.1
Ora pro nobis for organ, S.262 (1864)	S.262
Oratorio “Seven Sacraments” (Septem sacramenta) for soloists, choir and organ, S.52 (1878-84)	S.52
Oratorio “Via Crucis” for mixed chorus, soloists and organ/piano, S.53 (1876-79)	S.53
Ossa arida for choir and organ 4 hands, S.55 (1879)	S.55
Pacini: Grand Fantasia on the motifs of “Niobe”, S.419 (1835-36)	S.419
Paganini: 6 Études d'exécution transcendante d'après Paganini. 1st version, S.140 (1838)	S.140
Paganini: Grand études after Paganini (selected pieces -No. 2 (E-flat major (Andante capriccioso) – after the 17th caprice), S.141/2 (1851)	S.141/2
Paganini: Grande fantaisie de bravoure sur “La clochette” for piano, S.420 (1832-34)	S.420
Paganini: Grandes Études de Paganini (excerpts - No. 3 “La Campanella”), S.141/3 (1851)	S.141/3
Paganini: Grandes Études de Paganini. 2nd version, S.141 (1851)	S.141
“Paralipomènes à la Divina Commedia”, symphonic fantasy for piano, S.158a (1839)	S.158a
Pastorale “Chanson du Béarn”, S.236/2 (1844)	S.236/2
Pater noster II for chorus and organ, S.29 (1860)	S.29
Pater noster III for choir and organ / piano, S.41 (1869)	S.41
Pater noster IV for chorus and organ, S.22 (c. 1850)	S.22
Pathetic Concerto for piano and orchestra in E Minor, S.365a (1885-86)	S.365a
Petite valse - Nachspiel zu den drei vergessenen Walzer, S.695e (c. 1884)	S.695e
Petite valse (“Nachspiel zu den drei vergessenen Walzer”), S.695d (c. 1884)	S.695d
Petite valse favorite (Souvenir de St Pétersbourg), 1st version, S.212i (1842)	S.212i
“Petite valse favorite” (“Souvenir de St Pétersbourg”), S.212ii (1843)	S.212ii
Piano Sonata in B minor, S.178 (1852-53)	S.178
Piano transcriptions of songs by Schubert
Pio IX - version for Organ, S.261 (1863-65)	S.261
“Polnisch” - sketch for piano, S.701g (c. 1876)	S.701g
Polonaises de l'oratorio St. Stanislaus, for piano, S.519 (1875)	S.519
Präludium und Fuge über das Motiv B.A.C.H. fpr piano, S.529i (1855)	S.529i
Prelude and Fugue on B-A-C-H for Organ, S.260 (1855-56)	S.260
Preludio Funebre, S.205b (1885)	S.205b
Preludio per il “Cantico del sol di Francesco d'Assisi” for organ, S.665 (1880)	S.665
“Prière d'un enfant á son réveil” for piano, S.171c (1840)	S.171c
“Prolégomènes à la Divina Commedia”, fantasy-sonata for piano, S.158b (1839)	S.158b
“Prometheus” - cantata for 6 soloists, choir and orchestra, S.69ii (1855-59)	S.69ii
Psalm No. 13 for tenor, chorus and orchestra, S.13ii (1859-63)	S.13ii
Psalm No. 18 for male choir and orchestra, S.14i (1860)	S.14i
Psalm No. 23 for soloist/male chorus, harp and organ, S.15i/a (1859-62)	S.15i/a
Psalm No. 116 for chorus and orchestra, S.11/6 (1866-69)	S.11/6
Psalm No. 125 for choir and organ, S.63 (1883)	S.63
Psalm No. 137 for soprano, female chorus, violin, harp/piano and organ, S.17ii (1859-62)	S.17ii
Psaume No. 129 for alto and piano/organ, S.16ii (1883)	S.16ii
“Puszta-Wehmut” for piano, S.246 (1871)	S.246
Qui Mariam absolvisti (Sequence) for baritone, choir and organ, S.65 (1885)	S.65
R. W.- Venezia. (R. Wagner), S.201 (1883)	S.201
Raff: piano transcriptions of 2 fragments from the opera “King Alfred”, S.421 (1853)	S.421
Raff: Tanz-Caprice No. 1 (Einleitung und Coda zu Raffs Walzer), S.551a (1854)	S.551a
Rákóczi March for 2 pianos, S.652a (1870)	S.652a
“Rákóczi March”, arrangement for two pianos, eight hands, S.652b	S.652b
Rákóczi Marsch for piano, 1st version, S.242a (1839-40)	S.242a
Rákóczi-Marsch, S.244b (1871)	S.244b
Rákóczi-Marsch for orchestra, S.117 (1863-67)	S.117
Rákóczi-Marsch for piano, 6th version, S.244a (1863)	S.244a
Rakoczy-march for piano, S.692d (1839-40)	S.692d
“Recueillement” for piano, S.204 (1877)	S.204
Requiem for soloists, male chorus and organ (+ brass instruments and percussion), S.12 (1867-71)	S.12
Requiem für die Orgel, S.266 (1883)	S.266
Resignazione (Ergebung), for Organ (or piano), S.263/187a (1877-81)	S.263/187a
“Resignazione” for organ or piano, 1st version, S.187a/i (1877)	S.187a/i
“Resignazione” for organ or piano, 2nd version, S.187a/ii (1877)	S.187a/ii
Responsorien und Antiphonen, S.30 (1860)	S.30
Rhapsody espagnole for piano, S.254 (1858)	S.254
Romance “O pourquoi donc” E minor for piano, S.169 (1848)	S.169
“Romance oubliée” for Cello and piano, S.132c (1880)	S.132c
“Romance oubliee” for piano, 1st version, S.526a (1880)	S.526a
“Romance oubliée” for piano, 2nd version, S.527 (1880)	S.527
“Romance oubliée” for viola and piano, S.132a (1880)	S.132a
“Romance oubliée” for violine and piano, S.132b (1880)	S.132b
Romancero espagnol, S.695c (1845)	S.695c
Rondeau fantastique sur un thème espagnol “El Contrabandista” for piano, S.252 (1836)	S.252
Rondo di Bravura for piano, S.152 (1824-25)	S.152
Rosario, S.56 (1879)	S.56
“Rosario” for organ, S.670 (1879)	S.670
Rossini: “Caritas” for piano, 1st version, S.552a (1847)	S.552a
Rossini: “La caritá” for piano, 3rd version, S.552b (1847)	S.552b
Rossini: “La Charite” for piano, S.701j (1847)	S.701j
Rossini: 2 piano transcriptions after Rossini, S.553 (1847)	S.553
Rossini: Fantaisie sur des motifs des “Soirées musicales”, for piano, S.423 (1835-36)	S.423
Rossini: Fantasy on themes from “Maometto II”, for piano (unfinished), S.421b (1839)	S.421b
Rossini: Grande fantaisie sur des motifs des “Soirées musicales”, 1st version, S.422i (1835-36)	S.422i
Rossini: Grande fantaisie sur des motifs des “Soirées musicales”, 2nd version, S.422ii (1840)	S.422ii
Rossini: Impromptu brilliant on themes By Rossini & Spontini, S.150 (1824)	S.150
Rossini: Introduction et variations sur une marche du “Siège de Corinthe”, S.421a (1830)	S.421a
Rossini: piano transcription of Overture to “William Tell”, S.552 (1838)	S.552
Rossini: piano transcription of songs from “Soirees musicales”, S.424 (1837)	S.424
Rossini: piano transcription of the Air from “Stabat Mater”, S.552c (1847)	S.552c
Roumanian Rhapsody for piano, S.242/20 (1846-47)	S.242/20
Rubinstein: Einleitung und Coda zu “Étude sur des notes fausses”, S.554a (c. 1880)	S.554a
Rubinstein: piano transcription of song “Asra”, S.554/2 (1880)	S.554/2
Rubinstein: piano transcription of song “Oh, if ever it was”, S.554/1 (1881)	S.554/1
Saint-Saëns: piano transcription of “Danse macabre”, S.555 (1876)	S.555
“Salve Polonia” (Interludium aus dem Oratorium “St. Stanislaus”) for piano, S.518 (1863)	S.518
“Salve Regina” for chorus, S.66 (1885)	S.66
“San Francesco”, prelude to the “Cantico del sol”, for piano, S.498d	S.498d
Sancta Dorothea, S.187 (1877)	S.187
“Sankt Christoph” - Legend for bass, choir and piano, S.47/2 (1881)	S.47/2
“Sardanapalo”, Act I of the unfinished opera, orchestrated by David Trippett, S.687 (2017-18)	S.687
Scherzo and March for piano, S.177 (1851)	S.177
Scherzo in G minor for piano, S.153 (1827)	S.153
“Schlaflos: Frage und Antwort” for piano S.203, S.203 (1883)	S.203
“Schlummerlied im Grabe” for piano, S.195a (1874)	S.195a
“Schlummerlied” for piano, S.186/7a (1882)	S.186/7a
Schubert: “Die schoene Mullerin”. No. 1 “Das Wandern”, S.565/1 (1846)	S.565/1
Schubert: “Die schoene Mullerin”. No. 2 “Der Mueller und der Bach”, S.565/2 (1846)	S.565/2
Schubert: “Die schoene Mullerin”. No. 3 “Der Jaeger”, S.565/3 (1846)	S.565/3
Schubert: “Die schoene Mullerin”. No. 4 “Die boese Farbe”, S.565/4 (1846)	S.565/4
Schubert: “Die schoene Mullerin”. No. 5 “Wohin?”, S.565/5 (1846)	S.565/5
Schubert: “Die schoene Mullerin”. No. 6 “Ungeduld”, S.565/6 (1846)	S.565/6
Schubert: “Die schoene Mullerin”. piano transcriptions of 6 Lieder., S.565 (1846)	S.565
Schubert: “Schwanengesang”: No. 1 “Die Stadt ”, S.560/ 1 (1838-39)	S.560/ 1
Schubert: “Schwanengesang”: No. 2 “Das Fischermaedchen”, S.560/ 2 (1838-39)	S.560/ 2
Schubert: “Schwanengesang”: No. 3 “Aufenthalt”, S.560/ 3 (1838-39)	S.560/ 3
Schubert: “Schwanengesang”: No. 4 “Am Meer ”, S.560/ 4 (1838-39)	S.560/ 4
Schubert: “Schwanengesang”: No. 5 “Abschied”, S.560/ 5 (1838-39)	S.560/ 5
Schubert: “Schwanengesang”: No. 6 “In der Ferne”, S.560/ 6 (1838-39)	S.560/ 6
Schubert: “Schwanengesang”: No. 7 “Staendchen”, S.560/ 7 (1838-39)	S.560/ 7
Schubert: “Schwanengesang”: No. 8 “Ihr Bild”, S.560/ 8 (1838-39)	S.560/ 8
Schubert: “Schwanengesang”: No. 9 “Fruehlingssehnsucht”, S.560/ 9 (1838-39)	S.560/ 9
Schubert: “Schwanengesang”: No. 10 “Liebesbotschaft”, S.560/10 (1838-39)	S.560/10
Schubert: “Schwanengesang”: No. 11 “Der Atlas”, S.560/11 (1838-39)	S.560/11
Schubert: “Schwanengesang”: No. 12 “Der Doppelgaenger”, S.560/12 (1838-39)	S.560/12
Schubert: “Schwanengesang”: No. 13 “Die Taubenpost”, S.560/13 (1838-39)	S.560/13
Schubert: “Schwanengesang”: No. 14 “Kriegers Ahnung”, S.560/14 (1838-39)	S.560/14
Schubert: “Schwanengesang”. piano transcriptions of 14 Lieder, S.560 (1838-39)	S.560
Schubert: “Soirees de Vienne”. Valses caprices d'apras Schubert, S.427 (1846-52)	S.427
Schubert: “Ständchen” from the song cycle “Schwanengesang”. 1st version., S.559a/1 (1837)	S.559a/1
Schubert: “Winterreise”. piano transcriptions of 12 Lieder, S.561 (1839)	S.561
Schubert: 2 Impromptus, S.565b (1868)	S.565b
Schubert: 12 Lieder. piano transcriptions, S.558 (1837-38)	S.558
Schubert: 12 Lieder. piano transcriptions. No. 1 “Sey mir gegrüsst”, S.558/1 (1837-38)	S.558/1
Schubert: 12 Lieder. piano transcriptions. No. 2 “Auf dem Wasser zu singen”, S.558/2 (1837-38)	S.558/2
Schubert: 12 Lieder. piano transcriptions. No. 3 “Du bist die Ruh'”, S.558/3 (1837-38)	S.558/3
Schubert: 12 Lieder. piano transcriptions. No. 4 “Erlkoenig”, S.558/4 (1837-38)	S.558/4
Schubert: 12 Lieder. piano transcriptions. No. 5 “Meeresstille”, S.558/5 (1837-38)	S.558/5
Schubert: 12 Lieder. piano transcriptions. No. 6 “Die junge Nonne”, S.558/6 (1837-38)	S.558/6
Schubert: 12 Lieder. piano transcriptions. No. 7 “Fruehlingsglaube”, S.558/7 (1837-38)	S.558/7
Schubert: 12 Lieder. piano transcriptions. No. 8 “Gretchen am Spinnrade”, S.558/8 (1837-38)	S.558/8
Schubert: 12 Lieder. piano transcriptions. No. 9 “Ständchen von Shakespeare”, S.558/9 (1837-38)	S.558/9
Schubert: 12 Lieder. piano transcriptions. No. 10 “Rastlose Liebe”, S.558/10 (1837-38)	S.558/10
Schubert: 12 Lieder. piano transcriptions. No. 11 “Der Wanderer”, S.558/11 (1837-38)	S.558/11
Schubert: 12 Lieder. piano transcriptions. No. 12 “Ave Maria” (Ellens dritter Gesang), S.558/12 (1837-38)	S.558/12
Schubert: Drei Märsche, S.426 (1846)	S.426
Schubert: Fantasia C-Dur “Wanderer”. Transcription for piano and orchestra, S.366 (1851)	S.366
Schubert: Fantasie C-Dur “Wanderer”. piano transcription, S.565a (1868)	S.565a
Schubert: Four melodies. piano transcriptions, S.562 (1840)	S.562
Schubert: Hungarian Melodies. 1st version, S.425 (1838-39)	S.425
Schubert: Marche militaire (Grande Paraphrase de Concert), S.426a (c. 1870)	S.426a
Schubert: Six tunes. No. 6 “Die Forelle”, S.563/6 (1844)	S.563/6
Schubert: Six tunes. piano transcriptions of songs, S.563/1-5 (1844)	S.563/1-5
Schubert: Song “Ave Maria”. piano transcription. 1st version., S.557d (1837)	S.557d
Schubert: Song “Die Forelle”. piano transcription. 3rd version., S.564 (1846)	S.564
Schubert: Song “Die Rose”. piano transcription, S.556 (1833)	S.556
Schubert: Song “Erlkönig”. piano transcription. 1st version, S.557a (1837)	S.557a
Schubert: Song “Frühlingsglaube”. piano transcription. 1st version, S.557c (1837)	S.557c
Schubert: Song “Gondelfahrer”. piano transcription., S.559 (1838)	S.559
Schubert: Song “Meeresstille”, 1st version, S.557/b/1 (1838)	S.557/b/1
Schumann: “Widmung” (Short draft), S.566a (c. 1850-59)	S.566a
Schumann: piano transcription of “Fruhlingsnacht”, S.568 (1872)	S.568
Schumann: piano transcription of “Provencal song”, S.570 (1881)	S.570
Schumann: piano transcription of “Widmung”, S.566 (1848)	S.566
Schumann: piano transcriptions of 2 songs, S.567 (1861)	S.567
Sept Variations brillantes sur un thème de G. Rossini for piano, S.149 (1824)	S.149
Siegesmarsch (Marche triomphale) for piano, S.233a (1884)	S.233a
“Slavimo slavno, Slaveni!” for organ, S.668 (1863)	S.668
“Slavimo slavno, Slaveni!” for piano, S.503 (1863)	S.503
Smetana: Polka de salon F sharp major for piano, S.570a (1885)	S.570a
Song “Anfangs wollt ich fast verzagen” for voice and piano, S.311 (1849)	S.311
Song “Angiolin dal biondo crin” for voice and piano, S.269 (1839)	S.269
Song “Bist du!” for voice and piano, S.277 (1844)	S.277
Song “Blume und Duft” for voice and piano, S.324 (1854)	S.324
Song “Comment, disaient-ils” for voice and piano, S.276 (1842)	S.276
Song “Comment, disaient-ils”, II version, S.276, No. 2 (1849-59)	S.276, No. 2
Song “Dem Felsengipfel Stieg ich Einst Hinan” (“One Day I Climbed to the Top of a Cliff”) for Voice and piano, S.701 (c. 1843)	S.701
Song “Der du von dem Himmel bist” for voice and piano, S.279 (1842)	S.279
Song “Der Glückliche” for voice and piano, S.334 (1878)	S.334
Song “Des Tages laute Stimmen schweigen” for voice and piano, S.337 (1880)	S.337
Song “Die drei Zigeuner” (“ Three Gypsies”) for voice and orchestra, S.374 (1871)	S.374
Song “Die drei Zigeuner” for voice and piano, S.320 (1860)	S.320
Song “Die Fischertochter”, S.325 (1871)	S.325
Song “Die Loreley” , I version, S.273, No. 1 (1841)	S.273, No. 1
Song “Die Loreley” (“ Lorelei”) for voice and orchestra, S.369 (1860)	S.369
Song “Die Loreley” for voice and piano, S.273 (1841)	S.273
Song “Die Macht der Musik” (Power of Music) for voice and piano, S.302 (1848)	S.302
Song “Die stille Wasserrose” for voice and piano, S.321 (1860)	S.321
Song “Die todte Nachtigall” for voice and piano, S.291 (1843)	S.291
Song “Die Vätergruft” for voice and piano, S.281 (1844)	S.281
Song “Die Zelle in Nonnenwerth”, I version, S.274, No. 1 (1841)	S.274, No. 1
Song “Do Not Reproach Me” for voice and piano, S.340a (1866)	S.340a
Song “Du bist wie eine Blume” for voice and piano, S.287 (1843)	S.287
Song “Ein Fichtenbaum steht einsam” for voice and piano, S.309 (1845)	S.309
Song “Einst” (Happened) for voice and piano, S.332 (1878)	S.332
Song “Enfant, si j'étais roi” for voice and piano, S.283 (1844)	S.283
Song “Enfant, si j'etais roi”, II version, S.283, No. 2 (1849)	S.283, No. 2
Song “Es muss ein Wunderbares sein” for voice and piano, S.314 (1852)	S.314
Song “Es rauschen die Winde” for voice and piano, S.294 (1845)	S.294
Song “Es war ein König in Thule” for voice and piano, S.278 (1842)	S.278
Song “Freudvoll und leidvoll” for voice and piano, S.280 (1844)	S.280
Song “Gastibelza” (Bolero) for voice and piano, S.286 (1844)	S.286
Song “Gebet” (Prayer, words by Lermontov) for voice and piano, S.331 (1878)	S.331
Song “Gestorben war ich” for voice and piano, S.308 (1845-46)	S.308
Song “Go not, happy day” for voice and piano, S.335 (1879)	S.335
Song “Hohe Liebe” for voice and piano, S.307 (1850)	S.307
Song “Ich liebe dich” for voice and piano, S.315 (1857)	S.315
Song “Ich möchte hingehn” for voice and piano, S.296	S.296
Song “Ihr Auge” for voice and piano, S.310 (1843-49)	S.310
Song “Ihr Glocken von Marling” for voice and piano, S.328 (1874)	S.328
Song “Im Rhein, im schönen Strome” for voice and piano, S.272 (1840)	S.272
Song “In Liebeslust” for voice and piano, S.318 (1858)	S.318
Song “Isten veled” (God is with you) for voice and piano, S.299 (1847)	S.299
Song “J'ai perdu ma force et ma vie (Tristesse)” for voice and piano, S.327 (1872)	S.327
Song “Jugendglück” for voice and piano, S.323 (1860)	S.323
Song “Kling leise, mein Lied” for voice and piano, S.301 (1848)	S.301
Song “Kling leise, mein Lied”, II version, S.301, No. 2	S.301, No. 2
Song “La perla” (Pearl) for voice and piano, S.326 (1872)	S.326
Song “La Tombe et la Rose” for voice and piano, S.285 (1844)	S.285
Song “Lasst mich ruhen” for voice and piano, S.317 (1858)	S.317
Song “Le Crucifix” (Cross) for voice and harmonium / organ, S.342 (1879)	S.342
Song “Le Vieux Vagabond” for voice and piano, S.304 (1848)	S.304
Song “Morgens steh' ich auf und frage” for voice and piano by Heinrich Heine, S.290 (1843)	S.290
Song “O lieb, so lang du lieben kannst” for voice and piano, S.298 (1843)	S.298
Song “O Meer im Abendstrahl” (Oh Sea in the evening ray) for 2 voices and harmonium / organ, S.344 (c. 1881)	S.344
Song “Oh! Quand je dors” for voice and piano, S.282 (1842)	S.282
Song “Oh! Quand je dors”, II version, S.282, No. 2 (1849)	S.282, No. 2
Song “Quand tu chantes bercée”, S.306a (1842)	S.306a
Song “S'il est un charmant gazon” for voice and piano, S.284 (1844)	S.284
Song “S'il est un charmant gazon”, II version, S.284, No. 2 (1849-59)	S.284, No. 2
Song “Sancta Caecilia” (Saint Cecilia) for voice and harmonium / organ, S.343 (1880-85)	S.343
Song “Schwebe, schwebe, blaues Auge” for voice and piano, S.305 (1845)	S.305
Song “Schwebe, schwebe, blaues Auge”, 1 version, S.305, No. 1 (1845)	S.305, No. 1
Song “Sei still” for voice and piano, S.330 (c. 1877-79)	S.330
Song “Über allen Gipfeln ist Ruh” for voice and piano, S.306 (1848)	S.306
Song “Und sprich” for voice and piano, S.329 (1875-79)	S.329
Song “Und wir dachten der Toten” (We Thought of the Dead) for voice and piano, S.338 (c. 1871)	S.338
Song “Vergiftet sind meine Lieder” for voice and piano, S.289 (1843)	S.289
Song “Verlassen” (“Mir ist die Welt so freudenleer”) for voice and piano, S.336 (1880)	S.336
Song “Weimars Toten” (Dithyrambe) for bass and piano, S.303 (1848)	S.303
Song “Wer nie sein Brot mit Tränen aß” for voice and piano, S.297 (1845)	S.297
Song “Wie singt die Lerche schön” for voice and piano, S.312 (1855)	S.312
Song “Wieder möcht' ich dir begegnen” for voice and piano, S.322 (1860)	S.322
Song “Wo weilt er?” for voice and piano, S.295 (1844)	S.295
Song (ballad) “Le juif errant” (Eternal Jew) for bass and piano, S.300 (1847)	S.300
Song (romance) “Il m'aimait tant” (He loved me so much) for voice and piano, S.271 (1840-42)	S.271
Soriano: Élégie “Feuille morte” for piano, S.428 (1845)	S.428
Spor: Transcription of Song “Die Rose”, S.571 (1876)	S.571
Sposalizio, S.157a (1838-39)	S.157a
“Sposalizio” (Zur Trauung) for Organ, S.671a (c. 1883)	S.671a
“St. Cecilia” - Legend for mezzo-soprano, choir and orchestra, S.5ii (1874)	S.5ii
Suite “Glanes de Woronince” for piano, S.249 (1847)	S.249
“Sunt lacrymae rerum” (in ungarischer Weise) for piano, S.162c/ii (1877)	S.162c/ii
“Sunt lacrymae rerum” for piano, S.162c/i (1877)	S.162c/i
Sursum Corda! - Nachspiel, S.162e (1867)	S.162e
Symphonic poem No. 1 “Ce qu'on entend sur la montagne”, S.95 (1848-49)	S.95
Symphonic poem No. 1 “Ce qu'on entend sur la montagne”, for 2 pianos, S.635 (1854-56)	S.635
Symphonic poem No. 2 “Tasso: Lamento e Trionfo”, S.96 (1849)	S.96
Symphonic poem No. 2 “Tasso: Lamento e Trionfo”, for 2 pianos, S.636 (1854-56)	S.636
Symphonic poem No. 3 “Les Préludes”, S.97 (1850-55)	S.97
Symphonic Poem No. 3 “Les Préludes” for piano, S.511a (1863)	S.511a
Symphonic poem No. 3 “Les Préludes” for two pianos, S.637 (c. 1855)	S.637
Symphonic poem No. 4 “Orpheus”, S.98 (1853-54)	S.98
Symphonic poem No. 4 “Orpheus” for Organ, S.672a	S.672a
Symphonic poem No. 4 “Orpheus” for piano, S.511b (1879)	S.511b
Symphonic poem No. 4 “Orpheus” for two pianos, S.638 (1855-56)	S.638
Symphonic poem No. 5 “Prometheus”, S.99 (1855)	S.99
Symphonic Poem No. 5 “Prometheus” for 2 pianos, S.639 (1855-56)	S.639
Symphonic poem No. 6 “Mazeppa”, S.100 (1851-54)	S.100
Symphonic poem No. 6 “Mazeppa” for piano, S.511c (c. 1870-79)	S.511c
Symphonic poem No. 6 “Mazeppa” for two pianos, S.640 (1855)	S.640
Symphonic poem No. 7 “Festklänge”, S.101 (1853)	S.101
Symphonic poem No. 7 “Festklänge”, S.511d (c. 1870-79)	S.511d
Symphonic poem No. 7 “Festklänge” for 2 pianos, S.641 (1853)	S.641
Symphonic poem No. 8 “Héroïde funèbre”, S.102 (1854-56)	S.102
Symphonic poem No. 8 “Héroïde funèbre” for 2 pianos, S.642 (1854-56)	S.642
Symphonic poem No. 9 “Hungaria”, S.103 (1854)	S.103
Symphonic poem No. 9 “Hungaria” for 2 pianos, S.643 (1855-56)	S.643
Symphonic poem No. 9 “Hungaria” for piano, S.511e (1872)	S.511e
Symphonic poem No. 10 “Hamlet”, S.104 (1858)	S.104
Symphonic poem No. 10 “Hamlet” for 2 pianos, S.644 (1858-60)	S.644
Symphonic poem No. 11 “Hunnenschlacht”, S.105 (1855-57)	S.105
Symphonic poem No. 11 “Hunnenschlacht” for 2 pianos, S.645 (1857-60)	S.645
Symphonic poem No. 12 “Die Ideale”, S.106 (1856-57)	S.106
Symphonic poem No. 12 “Die Ideale” for two pianos, S.646 (1857-58)	S.646
Symphonic poem No. 13 “From the Cradle to the Grave”, S.107 (1881-82)	S.107
Symphonic poem No. 13 “Von der Wiege bis zum Grabe”, S.512 (1881)	S.512
Széchényi: Einleitung und Ungarischer Marsch, S.573 (1872)	S.573
“Szózat” and the Hungarian National Anthem, for orchestra, S.353 (1872)	S.353
“Szózat” and the Hungarian National Anthem, for piano, S.486 (1872)	S.486
Tantum ergo for female chorus and organ, S.42/1 (1869)	S.42/1
Tausig: Valse-Caprice No. 3, S.571a (1880)	S.571a
Tchaikovsky: piano transcription of Polonaise from “Eugene Onegin”, S.429 (1879)	S.429
Technical Studies (12 books) for piano, S.146 (1868-73)	S.146
“The Four Elements” (Les quatre elemens), 4 male choirs with piano (2 and 4 hands), S.80 (1844-45)	S.80
The song “Wo weilt er?” (“Where is he?”) for voice and piano, S.295 (1844)	S.295
Tirindelli: Seconda Mazurka di Tirindelli, S.573a (1880)	S.573a
“Titan” for baritone, male choir and piano, S.79 (1842-47)	S.79
Toccata for piano C major, S.197a (c. 1879)	S.197a
“Totentanz” - Paraphrase über Dies irae for piano and orchestra, 1st version, S.126i (1847-53)	S.126i
“Totentanz” - Paraphrase über Dies irae for piano and orchestra, 2nd version, S.126ii (c. 1859-64)	S.126ii
“Totentanz” for piano, S.525 (1865)	S.525
Tre Sonetti di Petrarca for Voice and piano, 1st Version, S.270a (1843-46)	S.270a
Tre Sonetti di Petrarca for Voice and piano, 2nd Version, S.270b	S.270b
Tristia, transcription of “La Vallee d'Obermann” for violin, violoncello and piano, S.378c (1880)	S.378c
Trois Chansons for piano, S.510a (c. 1852)	S.510a
Trois Odes funebre. No. 3 “Le Triomphe funebre du Tasso”, for piano, S.517 (1866-69)	S.517
Trois Odes funebres. No. 1 “Les Morts”, for piano, S.516 (c. 1860)	S.516
Trois Odes funebres. No. 2 “La Notte”, for piano, S.516a (1864-66)	S.516a
Tu es Petrus aus dem Oratorio Christus for organ, S.664ii (1867)	S.664ii
“Una stella amica” (Polka mazurka de F. Pezzini) for piano, S.551 (c. 1874-75)	S.551
Ungarische Nationalmelodien. No. 1 (Lento) in C minor, S.242/1 (1839-40)	S.242/1
Ungarische Nationalmelodien. No. 2 (Andantino) in C major, S.242/2 (1839-40)	S.242/2
Ungarische Nationalmelodien. No. 3 (Sehr langsam) in D flat major, S.242/3 (1839-40)	S.242/3
Ungarische Nationalmelodien. No. 4 (Animato) in C sharp major, S.242/4 (1839-40)	S.242/4
Ungarische Nationalmelodien. No. 5 (Tempo giusto) in D flat major, S.242/5 (1839-40)	S.242/5
Ungarische Nationalmelodien. No. 6 (Lento) in G minor, S.242/6 (1839-40)	S.242/6
Ungarische Nationalmelodien. No. 7 (Andante cantabile quasi Adagio) in E flat major, S.242/7 (1839-40)	S.242/7
Ungarische Nationalmelodien. No. 8 (Lento) in F minor, S.242/8 (1839-40)	S.242/8
Ungarische Nationalmelodien. No. 9 in A minor, S.242/9 (1839-40)	S.242/9
Ungarische Nationalmelodien. No. 10 (Adagio sostenuto a capriccio) in D major, S.242/10 (1839-40)	S.242/10
Ungarische Nationalmelodien. No. 11 (Andante sostenuto) in B flat major, S.242/11 (1839-40)	S.242/11
Ungarische Nationalmelodien. No. 13a (“Rakoczi-Marsch”) in A minor, S.242/13a (1839-40)	S.242/13a
Ungarische Rapsodie for piano in Es-Dur “Pester Carneval”, S.242/22 (1846-48)	S.242/22
Ungarische Rhapsodie for piano in A minor, S.242/14 (1846-47)	S.242/14
Ungarische Rhapsodie for piano in A minor, S.242/17 (1846-47)	S.242/17
Ungarische Rhapsodie for piano in A minor “Rákóczy March”, S.242/13 (1846-47)	S.242/13
Ungarische Rhapsodie for piano in C sharp minor, S.242/18 (1846-47)	S.242/18
Ungarische Rhapsodie for piano in D minor, S.242/15 (1846-47)	S.242/15
Ungarische Rhapsodie for piano in E major, S.242/16 (1846-47)	S.242/16
Ungarische Rhapsodie for piano in E minor “Héroïde élégiaque”, S.242/12 (1846-47)	S.242/12
Ungarische Rhapsodie for piano in E minor “Költői csárdás”, S.242/21 (1846-47)	S.242/21
Ungarische Rhapsodie for piano in F sharp minor, S.242/19 (1846-47)	S.242/19
“Ungarische Zigeunerweisen” - Concerto in the Hungarian Style for piano and orchestra, S.714 (c. 1880-85)	S.714
Ungarischer Geschwindmarsch, S.233 (1870-71)	S.233
“Ungarischer Marsch zur Krönungsfeier in Ofen-Pest am 8. Juni 1867”, S.523 (1870)	S.523
Ungarischer Romanzero: No. 1 F minor, S.241a/ 1 (1853)	S.241a/ 1
Ungarischer Romanzero: No. 2 A minor, S.241a/ 2 (1853)	S.241a/ 2
Ungarischer Romanzero: No. 3 A minor, S.241a/ 3 (1853)	S.241a/ 3
Ungarischer Romanzero: No. 4 A minor, S.241a/ 4 (1853)	S.241a/ 4
Ungarischer Romanzero: No. 5 D minor, S.241a/ 5 (1853)	S.241a/ 5
Ungarischer Romanzero: No. 6 A major, S.241a/ 6 (1853)	S.241a/ 6
Ungarischer Romanzero: No. 7 A major, S.241a/ 7 (1853)	S.241a/ 7
Ungarischer Romanzero: No. 8 D minor, S.241a/ 8 (1853)	S.241a/ 8
Ungarischer Romanzero: No. 9 A major, S.241a/ 9 (1853)	S.241a/ 9
Ungarischer Romanzero: No. 10 G minor, S.241a/10 (1853)	S.241a/10
Ungarischer Romanzero: No. 11 F major, S.241a/11 (1853)	S.241a/11
Ungarischer Romanzero: No. 12 A major, S.241a/12 (1853)	S.241a/12
Ungarischer Romanzero: No. 13 F♯ minor, S.241a/13 (1853)	S.241a/13
Ungarischer Romanzero: No. 14 D major, S.241a/14 (1853)	S.241a/14
Ungarischer Romanzero: No. 15 C major, S.241a/16 (1853)	S.241a/16
Ungarischer Romanzero: No. 15 D major, S.241a/15 (1853)	S.241a/15
Ungarischer Romanzero: No. 17 A major, S.241a/17 (1853)	S.241a/17
Ungarischer Romanzero: No. 18 A major, S.241a/18 (1853)	S.241a/18
Ungarischer Sturmmarsch (Hungarian Battle March) for piano, S.524 (1875-76)	S.524
Ungarischer Sturmmarsch for orchestra, S.119 (1875)	S.119
Ungarischer Sturmmarsch for piano (Seconde marche hongroise), S.232 (1842)	S.232
“Ungarisches Konigslied” for piano, S.544 (1883)	S.544
“Ungarns Gott” for Organ, S.674 (1881)	S.674
“Ungarns Gott” for piano, S.543 (1881)	S.543
“Ungarns Gott” for piano (left hand), S.543bis (1881)	S.543bis
Unstern (Sinistre) for piano, S.208 (1881)	S.208
Urbi et orbi (Benediction papale) for piano, S.184 (1864)	S.184
Valse de Marie (Mariotte), S.212a (1842)	S.212a
Valse Impromptu for piano, S.213i (1842-52)	S.213i
Valse Impromptu for piano, S.213ii (1870-79)	S.213ii
Valse mélancolique E major for piano, S.210 (1839)	S.210
Valse mélancolique E major for piano, S.210а (1839)	S.210а
Valse-Impromptu for piano, S.213iii (c. 1880)	S.213iii
“Valses oubliées” for piano, S.215 (1881-84)	S.215
Variations de bravoure sur des thèmes de Paganini for piano, S.700ii (1845)	S.700ii
Variations on “Pretty Girl from Tiszántul”, for piano, S.384a (1846)	S.384a
Variations on a Waltz by Diabelli for piano, S.147 (1822)	S.147
Variations sur le “Carnaval de Venise” de Paganini for piano, S.700a (1843)	S.700a
Végh: Valse de concert for piano, S.430 (1882-83)	S.430
“Venezia e Napoli”, supplement to Book II of “Années de pèlerinage”, for piano, S.162 (1859)	S.162
“Venezia e Napoli”, supplement to Book II of “Années de pèlerinage”, for piano (selected pieces), S.162 (1859)	S.162
“Venice and Naples” for piano, S.159 (1840)	S.159
Verdi: Deuxième Paraphrase de Concert sur “Ernani”, S.432 (1859)	S.432
Verdi: Paraphrase de concert on a Theme from the opera “Rigoletto” for piano, S.434 (c. 1855-59)	S.434
Verdi: Paraphrase de concert on the “Miserere” from the opera “Il Trovatore” for piano, S.433 (1859)	S.433
Verdi: piano transcription of “Salve Maria de Jérusalem” from the opera “Lombardi alla prima crociata”, S.431i (1848)	S.431i
Verdi: piano transcription of Finale de “Don Carlos”, S.435 (1867-68)	S.435
Verdi: piano transcription of the Holy dance and the final duet from the opera “Aida”, S.436 (c. 1876)	S.436
Verdi: Première paraphrase de concert sur “Ernani”, for piano, S.431a (1847)	S.431a
Verdi: Réminiscences de Boccanegra for piano, S.438 (1882)	S.438
Verdi: Transcription of “Agnus Dei” from “Requiem” for organ, S.675с/i (1852)	S.675с/i
Verdi: Transcription of “Agnus Dei” from “Requiem” for piano, S.437i (1877)	S.437i
Vexilla regis prodeunt (Kreuzes-Hymne) for piano, S.185 (1864)	S.185
“Vexilla regis prodeunt” (Hymn to the Cross) for orchestra, S.355 (1864)	S.355
Via Crucis (Les 14 stations de la croix) for piano, S.504a (1878-79)	S.504a
Vielgorsky: Mazurka pour piano, arr. composée par un amateur de St. Pétersbourg, S.384 (c. 1868)	S.384
Vielhorsky: piano transcription of the romance “Lyubila ya” (“I Loved!”), 2nd version, S.577i (1842)	S.577i
“Vom Fels zum Meer!” (Deutscher Siegesmarsch) for piano, S.229 (1853-56)	S.229
Wager: piano transcription of Ballad of the “Flying Dutchman”, S.441 (1872)	S.441
Wagner: “O, du mein holder Abendstern” from “Tannhaeuser” - transcription for Cello & piano, S.380 (1852)	S.380
Wagner: 2 piano transcriptions from “Tannhäuser” and “Lohengrin”, S.445 (1852)	S.445
Wagner: 3 fragments from “Lohengrin” for piano, S.446 (1854)	S.446
Wagner: Chor der jüngeren Pilger from “Tannhaeuser”, for organ, S.676i (1860)	S.676i
Wagner: Fantasy on themes from “Rienzi” for piano, S.439 (1859)	S.439
Wagner: piano transcription of “Isolda's Liebestod” from “Tristan and Isolda”, S.447 (1867)	S.447
Wagner: piano transcription of “O, du mein holder Abendstern” from “Tannhauser”, S.444 (1849)	S.444
Wagner: piano transcription of the “Spinnerlied” from “The Flying Dutchman”, S.440 (1860)	S.440
Wagner: piano transcription of the overture from “Tannhäuser”, S.442 (1848)	S.442
Wagner: piano transcription of the Solemn march to the Holy Grail from “Parsifal”, S.450 (1882)	S.450
Wagner: piano Transcription of the Walter's song from “Die Meistersinger von Nuernberg”, S.448 (1871)	S.448
Wagner: piano transcription of Valhalla. Excerpt from trilogy of Der Ring des Nibelungen by Wagner, S.449 (1875)	S.449
Wagner: Pilgrim's Chorus from the opera “Tannhauser”, for piano, S.443ii (c. 1885)	S.443ii
Waltz A major for piano, S.210b (c. 1835)	S.210b
Waltz in A major for piano, S.208a (c. 1823)	S.208a
Waltz in E-flat major for piano, S.209a (1840)	S.209a
“Wartburg-Lieder” for Soloists, Choir and Orchestra, S.345 (1872-73)	S.345
Weber: “Freischütz-Fantasie” for piano, S.451 (1840)	S.451
Weber: “Leyer und Schwert” - Heroide nach Carl Maria von Weber for piano, S.452 (1848)	S.452
Weber: Konzertstück for piano and orchestra, op. 79. piano transcription (1968-70), S.576а (1846)	S.576а
Weber: Konzertstueck for piano and orchestra in F minor, op. 79, S.367a	S.367a
Weber: piano transcription of “Jubelovertüre”, S.576 (1846)	S.576
Weber: piano transcription of “Schlummerlied mit Arabesken”, S.454 (1848)	S.454
Weber: piano transcription of Preciosa's song from the incidental music to “Preciosa”, S.453 (1848)	S.453
Weber: piano transcription of the overture to the opera “Der Freischutz”, S.575 (1846)	S.575
Weber: piano transcription of the overture to the opera “Oberon”, S.574 (1846)	S.574
Weber: Polonaise brillante, op.72. piano transcription, S.455 (1851)	S.455
Weber: Polonaise Brilliant, Op. 72. Transcription for piano and orchestra, S.367 (1848)	S.367
Weihnachtsbaum. Arbre de Noel 12 piano pieces, S.186 (1874-76)	S.186
Weihnachtsbaum. Arbre de Noel 12 piano pieces, S.185a (1873-74)	S.185a
Weimars Volkslied for bass and piano, S.313 (1857)	S.313
Weimars Volkslied for Organ, S.672i (c. 1857-63)	S.672i
Weimars Volkslied for piano, S.542 (1857)	S.542
Weinachtslied “Christus ist geboren” for piano, S.502 (1864)	S.502
Wiegenlied (Chant de berceau) for piano, S.198 (1881)	S.198
Wielhorsky: “Lyubila ya”, piano transcription by Liszt, first version, S.577i (1842)	S.577i
Wielhorsky: “Lyubila ya”, piano transcription by Liszt, second intermediate version, S.577i/ter (c. 1843)	S.577i/ter
Wilde Jagd - Scherzo, S.176a (1851)	S.176a
Winzerchor aus dem “Entfesselten Prometheus” for piano, S.692e (c. 1850)	S.692e
Workers' choir “Hurry here, grab the shovel!” (“Herbei, herbei, den Spath”) for baritone, chorus and piano, S.82 (c. 1843-48)	S.82
Zichy: “Valse d'Adèle” - Transcription brillante for piano, S.456 (1877)	S.456
Zigeuner-Epos for piano, S.695b (c. 1848)	S.695b
“Zum Andenken” 2 Hungarian Recruiting Dances for piano, S.241 (1828)	S.241