The composer Ferruccio Busoni produced a large number of adaptations, transcriptions, and editions of works by other composers. He also wrote a number of cadenzas for compositions by other composers. This article presents a complete catalog of these works.
For a complete list of original compositions see Catalog of original compositions by Ferruccio Busoni. For a more selective list of recorded works, see Ferruccio Busoni discography (as composer).
The letters BV B (Busoni-Verzeichnis Bearbeitung [Busoni Catalog Adaptation]) followed by a number are used for the identification of Busoni's cadenzas and transcriptions.[1] The BV B numbers are based on the first comprehensive catalog of Busoni's works prepared by Kindermann. The letters KiV B are also sometimes used.[2] Although Kindermann himself did not specify any letter(s) to be used for referring to his catalog, he has agreed to the use of the abbreviation BV.[3] The dates of composition are from Kindermann[4] and Roberge.[5] For many transcriptions, the date of composition could not be ascertained, and a date "at the latest" was used. This date was determined by the date of publication or first performance, or by some other means. These dates are marked with an asterisk (＊).
Abbreviations: acc., according to; arr., arrangement; SB, Staatsbibliothek zu Berlin; B&H, Breitkopf & Härtel, Leipzig (unless otherwise indicated); cat., catalog; ded., dedicated to; dur., duration; frag, fragment; fp, first performance; (score) or (♫), link to the score of Busoni's adaptation at the International Music Score Library Project; instr., instrumentation; MS, manuscript; pub., published; rev., revised; transcr., transcription or transcribed; unpub., unpublished.
| Cat. no. | Composer | Title | Date(s) of composition | Details | |
|---|---|---|---|---|---|
| BV B 1 | Beethoven | Two cadenzas for Piano Concerto No. 4 in G major, Op. 58, (1st & 3rd movements) (score) | 1890＊ | pub, ded[6] | |
| BV B 2 | Beethoven | Four cadenzas for Piano Concertos No. 1 in C Major, Op. 15; No. 3 in C minor, Op. 37; and No. 4 in G major, Op. 58 | 1900 | pub | |
| BV B 3 | Beethoven | Three cadenzas for the Violin Concerto in D major, Op. 61 | 1913 | pub, ded | |
| BV B 4 | Beethoven | Cello cadenza for Busoni's transcription of Adelaide Op. 46, song for voice and piano (transcr. for cello and piano) | 4 Jul 1915 | unpub; see BV B 48 | |
| BV B 5 | Brahms | Cadenza for the Violin Concerto, Op. 77 | 16 Sep 1913 | pub, ded | |
| BV B 6 | Mozart | Cadenza for Piano Concerto No. 20 in D minor, K. 466 | Childhood | unpub; lost | |
| BV B 7 | Mozart | Two cadenzas for Piano Concerto No. 20 in D minor, K. 466 | 1907, 1920 | pub, fp, ded | |
| BV B 8 | Mozart | Two cadenzas for Piano Concerto No. 9 in E-flat major, K. 271 | 1915 | pub, fp, ded | |
| BV B 9 | Mozart | Cadenza and coda for Piano Concerto No. 23 in A major, K. 488 (score) | Nov 1918 | pub, fp | |
| BV B 10 | Mozart | Three cadenzas for Piano Concerto No. 24 in C minor, K. 491 (score) | 1918 | pub, fp | |
| BV B 11 | Mozart | Cadenza for the Flute Concerto No. 1 in G major, K. 313 | 1 Aug 1919 | ded | |
| BV B 12 | Mozart | Cadenza for the Flute Concerto No. 2 in D major, K. 314 | 2 Aug 1919 | ded | |
| BV B 13 | Mozart | Two cadenzas for Piano Concerto No. 21 in C major, K. 467 | Oct 1919 | pub, fp, ded | |
| BV B 14 | Mozart | Two cadenzas for Piano Concerto No. 22 in E-flat major, K. 482 | 26, 29 Oct 1919 | pub | |
| BV B 15 | Mozart | Two cadenzas for Piano Concerto No. 19 in F major, K. 459 | 22, 25 Dec 1920 | pub | |
| BV B 16 | Mozart | Two cadenzas for Piano Concerto No. 17 in G major, K. 453 | 29 Aug 1921 | pub, fp, ded | |
| BV B 17 | Mozart | Cadenza for the Sonata for Two Pianos in D major, K. 448 | 16 Nov 1921 | SB335, unpub, fp | |
| BV B 18 | Mozart | Cadenza for Piano Concerto No. 25 in C major, K. 503 | 9 Jun 1922 | ms, pub[7] | |
| BV B 19 | Weber | Two Cadenzas for the Clarinet Concerto No. 1 in F minor, Op. 73 | 18 May 1920 | ms, unpub, ded[8] |
These works are transcribed for piano solo, unless otherwise indicated.
| Cat. no. | Composer | Title | Date(s) of adaptation | Details | |
|---|---|---|---|---|---|
| BV B 20 | Bach | Prelude and Fugue in D major for organ, BWV 532 (♫) | 1888 | pub, fp,ded | |
| BV B 21 | Bach | Chorale Prelude Aus tiefer Not schrei ich zu dir for organ, BWV 686 | 1880s | unpub | |
| BV B 22 | Bach | Prelude and Fugue in E-flat major for organ, BWV 552 (♫) | 1890? | pub, fp, ded | |
| BV B 23 | Bach | Inventions and Sinfonias for harpsichord:
| 1891, 1914 | pub, ded | |
| BV B 24 | Bach | Chaconne in D minor from Partita No. 2 for violin, BWV 1004 (♫) | 1893＊ | pub, fp, ded, arr | |
| BV B 25 | Bach | The Well-Tempered Clavier for harpsichord:
| 1894, 1915 | pub | |
| BV B 26 | Bach | Prelude and Fugue in E minor for organ, BWV 533 (♫) | 1894＊ | pub | |
| BV B 27 | Bach | Ten Chorale Preludes for organ (♫):
a. BWV 637 b. Fuga, BWV 705
| 1898＊ | pub, fp, ded | |
| BV B 28 | Bach | Concerto for harpsichord and strings No. 1 in D minor, BWV 1052, transcribed for piano and orchestra | 1899＊ | pub, fp, ded, arr, see BVB 30 | |
| BV B 29 | Bach | Two Toccatas and Fugues for organ: | Jun 1899 | pub, fp, ded | |
| BV B 30 | Bach | Concerto for harpsichord and strings No. 1 in D minor, BWV 1052, transcribed for two pianos (♫) | 1900＊ | pub, fp, ded, arr. of BV B 28 | |
| BV B 31 | Bach | Chromatic Fantasia and Fugue for harpsichord, BWV 903 (♫) | 1902＊ | pub, fp | |
| BV B 32 | Bach |
| May 1914 | pub | |
| BV B 33 | Bach | Four Duets for organ and/or keyboard from Clavier-Übung III, BWV 802-805 (♫) | Jun 1914 | pub | |
| BV B 34 | Bach | Capriccio on the departure of a beloved brother in B-flat major for harpsichord, BWV 992 (♫) | Jul 1914 | pub, fp, ded | |
| BV B 35 | Bach | Goldberg Variations for harpsichord, BWV 988 (♫) | Aug 1914 | pub, fp, ded | |
| BV B 36 | Bach | Prelude, Fugue and Allegro in E-flat major for solo lute, BWV 998 (♫) | 1914＊ | pub, fp, ded | |
| BV B 37 | Bach | Fantasia, Adagio e Fuga (♫), after:
| 1915＊ | pub, fp | |
| BV B 38 | Bach | Chromatic Fantasia and Fugue for harpsichord, BWV 903, transcribed for cello and piano | 1915 | pub, ded | |
| BV B 39 | Bach | Three Toccatas for keyboard or organ: | Aug 1916 | pub, ded | |
| BV B 40 | Bach | Canonic Variations and Fugue, selected from The Musical Offering, BWV 1079 | Sep 1916 | pub, ded | |
| BV B 41 | Bach | Fantasy and Fugue in A minor for harpsichord, BWV 904 | 1917 | pub, ded | |
| BV B 42 | Bach | Fantasie, Fuge, Andante und Scherzo (♫), after following doubtful works for keyboard (all of them in Anh. II in BWV2a):
| 1917 | pub | |
| BV B 43 | Bach | Sarabande con Partite in C major (doubtful) for harpsichord, BWV 990 (♫) | 1921 | pub | |
| BV B 44 | Bach | Aria variata alla maniera italiana in A minor for harpsichord, BWV 989 (♫) | 1921 | pub | |
| BV B 45 | Bach | Chaconne in D minor from Partita No. 2 for violin, BWV 1004, transcribed for orchestra | not known | SB212 (sketches), unpub, instr[9] | |
| BV B 46 | Bach | Two Chorale Preludes for organ | not known | ms (sketches, frag), unpub | |
| BV B 47 | Beethoven | Écossaises for piano, WoO 83 (score) | 1888 | pub, fp, ded | |
| BV B 48 | Beethoven | Adelaide, Op. 47. Song for voice and piano (transcr. for cello and piano) | 1915 | ms (lost), unpub, ded, arr, see BV B 4 | |
| BV B 49 | Beethoven | "Benedictus" from the Missa Solemnis (transcr. for violin and orchestra), Op. 123 | 1916 | pub, arr | |
| BV B 50 | Brahms | Six Chorale Preludes for organ, Op. 122 | 1902 | pub, fp | |
| BV B 51 | Chopin | Polonaise in A-flat major for piano, Op. 53 | 1909 | pub, ded | |
| BV B 52 | Cornelius | Fantasie über Motive aus "Der Barbier von Bagdad" (opera) | Dec 1886 | MS, pub[10] | |
| BV B 53 | Cramer | Eight Etudes for piano | 1897＊ | pub, ded | |
| BV B 54 | Gade | Novelette for piano, violin, and cello, Op. 29 (transcr. for 2 pianos) | 1889＊ | ||
| BV B 55 | Goldmark | Concert Fantasy on Motives from "Merlin" for piano (score) | May 1887 | pub | |
| BV B 56 | Goldmark | Merlin: Opera in Three Acts | 1888＊ | pub | |
| BV B 57 | Liszt | Coeli enarrant: Psalm 18 (S.14) for male chorus and orchestra (transcr. for two pianos four hands) | 1880s | SB203 (frag), unpub. | |
| BV B 58 | Liszt | Rhapsodie espagnole (Folies d'Espagne et Jota aragonese) (S.254) for piano (transcr. for piano and orchestra) | 1894＊ | pub, instr, fp, ded, arr | |
| BV B 59 | Liszt | Fantasy and Fugue on the Chorale "Ad nos, ad salutarem undam" (S.259) for organ (score) | 1897＊ | pub, fp, ded | |
| BV B 60 | Liszt | Hungarian Rhapsody No. 20 (S.242, no. 20) for piano | ca. 1900 | MS, unpub.[11] | |
| BV B 61 | Liszt | Mephisto Waltz from Deux Épisodes d'apres le Faust de Lenau (S.110 no. 2) for orchestra (score) | Mar 1904 | pub, fp, ded | |
| BV B 62 | Liszt | Heroic March in Hungarian Style (S.231) for piano | 1905＊ | pub, ded | |
| BV B 63 | Liszt | Sonetto 104 di Petrarca: "Pace non trovo" (S.270, no. 1) for tenor and piano (transcr. for tenor and orchestra) | Dec 1907 | pub, instr, fp, ded[12] | |
| BV B 64 | Liszt | Polonaise No. 2 in E major (S.223) for piano | 1909＊ | pub, ded[13] | |
| BV B 65 | Liszt | Saint François d'Assise: La Prédication aux oiseaux (S.175, no. 1) for piano (score) | ca. 1910 | MS (lost)[14] | |
| BV B 66 | Liszt | Fantasy on Two Motives from W. A. Mozart's "Le Nozze di Figaro" (S.697) for piano (score) | 11 Jul 1912 | pub, fp, ded[15] | |
| BV B 67 | Liszt | Etude No. 6 (in A minor) after Paganini (S.141, no. 6) for piano (score) | 1 Aug 1913 | ms, pub, ded[16] | |
| BV B 68 | Liszt | Etude No. 3 "La Campanella" (in G-sharp minor) after Paganini (S.141, no. 3) for piano (score) | 1915 | pub, ded[17] | |
| BV B 69 | Liszt | Valse oubliée No. 1 (S.215) for piano (transcr. for cello and piano) | 1915 | pub: B&H, 1917 | |
| BV B 70 | Liszt | Etude No. 2 (in E-flat major) after Paganini (S.141, no. 2) for piano (score) | 22 Sep 1916 | pub[18] | |
| BV B 71 | Liszt | Réminiscences de Don Juan (S.420) for piano (score) | 9 Jun 1917 | pub, ded[19] | |
| BV B 72 | Liszt | Totentanz (S.126) for piano and orchestra | 21 Nov 1918 | pub, ded[20] | |
| BV B 73 | Liszt | Hungarian Rhapsody No. 19 for piano | 1920＊ | pub | |
| BV B 74 | Liszt | Etude No. 4 (in E major) after Paganini (S.141, no. 4) for piano (score) | 1921＊ | pub | |
| BV B 75 | Liszt | Etude No. 1 (in G minor) after Paganini (S.141, no. 1) for piano (score) | 1923＊ | ||
| BV B 76 | Liszt | Etude No. 5 (in E major) after Paganini (S.141, no. 5) "La Chasse" for piano (score) | 20 May 1923 | ms, pub | |
| BV B 77 | Mendelssohn | Symphony No. 1 in C minor, Op. 11 (transcr. for two pianos eight hands) (score) | 1890＊ | pub | |
| BV B 78 | Mozart | Symphony No. 30 in D major, K. 202 | 1888＊ | pub | |
| BV B 79 | Mozart | Symphony No. 32 in G major, K. 318 | 1888＊ | pub | |
| BV B 80 | Mozart | Symphony No. 37 in G major, K. 444 | 1888＊ | pub | |
| BV B 81 | Mozart | Overture to "Die Entführung aus dem Serail," K. 384 (transc. for orchestra; concert ending) | 1904＊ | pub, ded, fp | |
| BV B 82 | Mozart | Overture to "Don Giovanni," K. 527 (transc. for orchestra; concert ending) | 1904＊ | pub, fp | |
| BV B 83 | Mozart | Overture to "Die Zauberflöte," K. 620 (transc. for pianola) | ca. 1908 | ms (lost) | |
| BV B 84 | Mozart | Andantino from the Piano Concerto No. 9 in E-flat major, K. 271 (score) | 1913＊ | pub, ded, fp | |
| BV B 85 | Mozart | Concert Suite from "Idomeneo," K. 366 (transcr. for orchestra) | 1918 | pub, ded, instr | |
| BV B 86 | Mozart | Piano Concerto No. 22 in E-flat major, K. 482 | 1919 | SB310 (lost) | |
| BV B 87 | Mozart | Rondo concertante after the Finale of the Piano Concerto No. 22 in E-flat major, K. 482 (transcr. for piano and orchestra) | Dec 1919 | SB312, pub | |
| BV B 88 | Mozart | Duettino concertante after the Finale of the Piano Concerto No. 19 in F major, K. 459 (transcr. for two pianos four hands) (score) | Dec 1919 | SB313, pub, fp | |
| BV B 89 | Mozart | Sonata in D major, K. 448 and Fugue in C minor, K. 426 for two pianos four hands | 1921 | ms (lost)? | |
| BV B 90 | Mozart | Adagio from the Concerto for Clarinet and Orchestra in A major, K. 622 (transcr. for clarinet and orchestra) | 1920＊ | pub, ded, fp | |
| BV B 91 | Mozart | Fantasy in F minor for a Mechanical Clock, K. 608 (transc. for two pianos four hands) | 23 Jan 1922 | pub, ded, fp | |
| BV B 92 | Mozart | Piano Concerto No. 17 in G major, K. 453 (transcr. for piano and orchestra) | 1922 | SB341, unpub | |
| BV B 93 | Mozart | Overture to "Die Zauberflöte," K. 620 (transcr. for two pianos four hands) | 3 Jun 1923 | pub | |
| BV B 94 | Mozart | Fugue from the String Quartet in C minor, K. 546 | ca. 1888 | SB259 (frag) | |
| BV B 95 | Nováček, O. | Scherzo from the String Quartet No. 1 in E minor | 1892＊ | pub, ded | |
| BV B 96 | Nováček, R. | Waltz Suite | ca. 1905 | ms (lost) | |
| BV B 97 | Schoenberg | Piano Piece, Op. 11, no. 2 | 26 Jul 1909 | pub | |
| BV B 98 | Schubert | Overture to "Der Teufel als Hydraulicus," D. 4 | 1888＊ | B&H, 1888 | |
| BV B 99 | Schubert | Overture in D major for orchestra, D. 26 | 1888＊ | B&H, 1888 | |
| BV B 100 | Schubert | Overture in B-flat major for orchestra, D. 470 | 1888＊ | B&H, 1888 | |
| BV B 101 | Schubert | Five Minuets with Six Trios and Minuet for Two Violins, Viola, and Cello, D. 89 | 1888＊ | B&H, 1888 | |
| BV B 102 | Schubert | Five German Dances with Coda and Seven Trios for Two Violins, Viola, and Cello, D. 90 | 1888＊ | B&H, 1888 | |
| BV B 103 | Schubert | Overture in D major for Orchestra, D. 556 | 1889＊ | B&H, 1889 | |
| BV B 104 | Schubert | Overture in E minor for Orchestra, D. 648 | 1889＊ | B&H, 1889 | |
| BV B 105 | Schubert | Overture in the Italian Style in D major, D. 590 | 1889＊ | B&H, 1889 | |
| BV B 106 | Schubert | Overture in the Italian Style in D major, D. 591 | 1889＊ | B&H, 1889 | |
| BV B 107 | Schumann | Abendlied, Op. 85 No. 12, for piano four hands (transcr. for clarinet and string quartet)[21] | 1878-81 | SB169, pub. | |
| BV B 108 | Schumann | Three Romances for oboe, Op. 94 (transcr. for clarinet) | 1879-81 | SB170, unpub. | |
| BV B 109 | Schumann | Concert Allegro in D minor for piano and orchestra, Op. 134 (transcr. for two pianos four hands) | 1888＊ | B&H, 1888 | |
| BV B 110 | Spohr, Ernst | Introduction (Spohr) and Elegy (Ernst) (transcr. for clarinet and string quartet) | 1879-81 | SB168, unpub. | |
| BV B 111 | Wagner | "Siegfried's Funeral March" from "Götterdämmerung" | 1883 | pub, fp | |
| BV B 112 | Weill | "Ach wär' mein Lieb ein Brünnlein" from "Frauentanz: Sieben Gedichte des Mittelalters" for soprano, with flute, viola, clarinet, horn, and bassoon, Op. 10 (transcr. for soprano and piano) | 1923 or 1924 | pub, ded | |
| BV B 113 | (Unidentified) | Fugue (in A minor) for organ (ascribed to Bach by Busoni) | 1888 | SB214, unpub. | |
| BV B 114 | Liszt | Scherzo in G minor for piano (ed. by Busoni) | 5 Apr 1909 | ms, pub | |
| BV B 115 | Liszt | Tarantelle di bravura after the Tarantelle from Auber's "La Muette de Portici," S. 386 (inscribed with Busoni's interpretative markings) | (date unknown) | SB N. Mus. Nachl. 4, 88 |
See main article: Klavierübung (Busoni). The Klavierübung is a compilation of exercises, transcriptions, and original compositions by Busoni, with which he hoped to pass on his accumulated knowledge of keyboard technique. It was issued in five parts between 1918 and 1922, and a second edition was published posthumously in 1925.
See main article: Bach-Busoni Editions. Busoni's Bach editions are a series of publications containing primarily transcriptions of keyboard music by Johann Sebastian Bach. They also include performance suggestions, practice exercises, musical analysis, an essay on the art of transcribing Bach's organ music for piano, an analysis of the fugue from Beethoven's 'Hammerklavier' sonata, and other related material. The later editions also include free adaptations and original compositions by Busoni which are based on the music of Bach.
In the 1890s Busoni began to study Liszt's scores more intensively, including them more and more in his concert performances and collecting an extensive library of Liszt editions. By 1900 even Liszt's pupils were beginning to declare Busoni a true disciple. His reputation as a Liszt scholar and advocate grew to such an extent that in 1907 Busoni was invited to join the editorial board appointed to oversee to the publication of Liszt's collected works. Between 1901 and 1936 the Franz Liszt-Stiftung [Franz Liszt Foundation] supervised the publication (by Breitkopf & Härtel) of 34 volumes. Of these, Busoni edited three: II.1, II.2, and II.3. These three consist of the studies S.136–145 and S.420. The goal of the Liszt-Stiftung edition was scholarly, and Busoni adhered faithfully to this policy. Only in Volume II.1 did he even include any ossias, each labelled with "F.B." in small print.[22]
•Note: The English titles listed under contents are from the original edition. The title information in parentheses is not part of the original title and is provided for reference only.
Volume II.1:
Leipzig: Breitkopf & Härtel; n.d. (1910?); cat. no. F.L. 32-34; (10 pages foreword; 157 pages score).
•Note: Busoni wrote the foreword which is dated 1910.
•Contents:
Study in 12 exercises Op. 1 (first version of Transcendental Etudes, S.136)
12 great Studies (second version of Transcendental Etudes, S.137)
Mazeppa (first version, S.138)
Volume II.2:
Leipzig: Breitkopf & Härtel; [1911]; cat. no. F.L. 35-36; (129 pages score; 2 pages of notes by Busoni).
•Contents:
Bravour-Studies (final version of Transcendental Etudes, S.139)
Great Fantasia di Bravura on Paganini's Campanella, Op. 2 (Grande Fantaisie de bravoure sur La Clochette, S.420)
Volume II.3:
Leipzig: Breitkopf & Härtel; n.d. (1911?); cat. no. F.L. 37-43; (4 pages editor's note; 155 pages score).
•Note: The editor's note is dated December 1911.
•Contents:
Bravour-Studies after Paganini's Caprices (first version of Paganini Etudes, S.140)
Grand Etudes after Paganini (final versions, S.141)
Morceau de Salon, Etude of Perfection from the Method of Methods (early version of Ab Irato, S.142)
Ab Irato, Great Etude of Perfection (final version, S.143)
Three Concert Studies (S.144)
Gnome-Dance (No. 2 of S.145)
In the Woods (No. 1 of S.145)
•Ref: Kindermann, p. 467; Sitsky, pp. 215–216; Roberge, p. 63.
Leipzig: Breitkopf & Härtel; [1912]; cat. no. E.B. 484; (43 pages). Also published separately as cat. nos. 2551-56 (9, 8, 11, 4, 7, and 11 pages, respectively).
•Note: This scholarly edition of Liszt's definitive versions (S.141) is reprinted exactly as in Vol. II.3 of the Stiftung edition. These versions should not be confused with Busoni's concert arrangements of the same works in which Liszt's music has sometimes been significantly altered and which have been assigned the catalog numbers BV B 75 (No. 1), BV B 70 (No. 2), BV B 68 (No. 3), BV B 74 (No. 4), BV B 76 (No. 5), and BV B 67 (No. 6).
•Ref: Kindermann, p. 467; Sitsky, p. 216; Roberge, p. 63.
Leipzig: Breitkopf & Härtel; [1917]; cat. nos. E.B. 5011 (9 pages); 5013 (11 pages); 5017 (9 pages); 5019 (11 pages); 5022 (9 pages).
•Contents:
Abendklänge (Harmonies du soir, No. 11 of the final version of Transcendental Etudes, S.139)
La Campanella (Paganini Etude No. 3 in G-sharp minor, S.141)
Gnomenreigen (Gnome-Dance, S.145)
Konzertetüde Nr. 3 in Des-Dur (Concert Etude No.3 in D-flat major, S.144)
Waldesrauschen (Forest Murmurs, No. 1 of Two Concert Studies, S.145)
•Ref: Kindermann, p. 467.
The Searle numbers and other information following the page numbers are not part of the original Dover Contents, and are added here for reference.
New York: Dover Publications, 1988.
•Note: Reprint of Vol. II.1 and the first part of Vol. II.2 (S.139) of the Franz Liszt Stiftung edition.
•Contents:
Foreword, pp. v–xi. (by Ferruccio Busoni, Berlin, 1910; translated into English by Rosamond Ley)
Editorial Notes, pp. xiii–xv. (by Ferruccio Busoni; translated into English by Rosamond Ley)
Etude en 12 Exercises [Etude in 12 Exercises], Op. 1 (1826), pp. 1–33. (S.136) (score)
No. 1 in C Major, 1. No. 2 in A Minor, 3. No. 3 in F Major, 5. No. 4 in D Minor, 8. No. 5 in B-flat Major, 10. No. 6 in G Minor, 14. No. 7 in E-flat Major, 16. No. 8 in C Minor, 18. No.9 in A-flat Major, 21. No. 10 in F Minor, 24. No. 11 in D-flat Major, 27. No. 12 in B-flat Minor, 31.
12 Grandes Etudes [12 Large Etudes] (1837) (dedicated to Carl Czerny), pp. 34–149. (S.137) (score)
No. 1 in C Major, 34. No. 2 in A minor, 36. No. 3 in F Major, 41. No. 4 in D Minor, 46. No. 5 in B-flat Major, 58. No. 6 in G Minor, 68. No. 7 in E-flat Major, 78. No. 8 in C Minor, 88. No. 9 in A-flat Major, 105. No. 10 in F Minor, 116. No. 11 in D-flat Major, 128. No. 12 in B-flat Minor, 139.
Mazeppa (1840) (dedicated to Victor Hugo, pp. 150–147. (S.138) (score)
Etudes d'Exécution Transcendante [Etudes for Transcendental Technique, or Transcendental Etudes] (1851) (dedicated to Carl Czerny, pp. 158–255. (S.139) (score)
1: Preludio (C major), 158. 2: (A minor), 160. 3: Paysage [Landscape] (F Major), 165. 4: Mazeppa (D minor), 168. 5: Feux Follets [Will-o'-the-Wisp] (B-flat major), 181. 6: Vision (G minor), 190. 7: Eroica (E-flat major), 200. 8: Wilde Jagd [Wild Hunt] (C minor), 206. 9: Ricordanza [Remembrance] (A-flat major), 217. 10: (F minor), 228. 11: Harmonies du Soir [Evening Harmonies] (D-flat major), 238. 12: Chasse-Neige [Snow-Drifting Wind] (B-flat minor), 246.
New York: Dover Publications, 1988.
•Note: Reprint of the second part of Vol. II.2 (S.420) and Vol. II.3 of the Franz Liszt Stiftung edition.
•Contents:
Editorial Notes, pp. v–vii. (by Ferruccio Busoni; translated into English by Rosamond Ley)
"Grande Fantaisie de Bravoure sur La Clochette de Paganini [Large Bravura Fantasy on Paganini's ''La Campanella''], Op. 2 (1832)", pp. 1–30. (S.420) (score)
Etudes d'Exécution Transcendante d'après Paganini [Etudes for Transcendental Technique after Paganini] (1838) (dedicated to Clara Schumann), pp. 31–90. (S.140) (score)
Preludio, 31. 1 (G minor), 32. 2 (E-flat major), 43. 3: La Campanella (A-flat minor/major), 51. 4 (E major) Version I, 59; Version II, 65. 5: La Chasse [The Hunt] (E major), 72. 6: Theme and Variations (A minor), 81.
Grandes Etudes de Paganini [Paganini Etudes] (dedicated to Clara Schumann), pp. 91–132. (S.141) (score)
1 (G minor), 91. 2 (E-flat major), 99. 3: La Campanella (G-sharp minor), 106. 4 (E major), 115. 5: La Chasse (E major), 118. 6 (A minor), 123.
Morceau de Salon: Etude de Perfectionnement [Salon Piece: Finishing Etude] (1840), pp. 133–136. (S.142) (score)
Ab Irato: Grande Etude de Perfectionnement [Ab Irato: Large Finishing Etude] (1852), pp. 137–143. (S.143) (score)
Trois Etudes de Concert [Three Concert Etudes] (c. 1848) (dedicated to Eduard Liszt), pp. 143–168. (S.144) (score)
No. 1 in A-flat Major, 143. No. 2 in F Minor, 152. No. 3 in D-flat major, 160.
Two Concert Etudes (c. 1862–63) (dedicated to Dionys Pruckner), pp. 169–184. (S.145) (score)
Gnomenreigen [Dance of the Gnomes], 169. Waldesrauschen [Forest Rustling], 177.
* The date of composition could not be ascertained, and a date "at the latest" is used (Roberge, p. xix).