These treatments included transcriptions for other instruments (predominantly solo piano), arrangements, orchestrations, fantaisies, reminiscences, paraphrases, illustrations, variations, and editions.
Liszt also extensively treated his own works in a similar manner, but these are not tallied here—neither are his treatments of national (or "folk") melodies whose composers are unknown, nor other anonymous works.
| Original work | Liszt work | Forces | Date | S no. | Notes |
|---|
| Cantata Weinen, Klagen, Sorgen, Zagen, BWV 12 | Prelude on the theme of Weinen, Klagen, Sorgen, Zagen | piano | 1859 | S.179 | The Variations, S.180/673 are based on the same theme. |
| Variations on a theme of Bach (aka Variations on Weinen, Klagen, Sorgen, Zagen) | piano | 1862 | S.180 | This set of variations uses the basso continuo of the second movement of the cantata Weinen, Klagen, Sorgen, Zagen, base for the Latin: [[Mass in B minor structure#Crucifixus|Crucifixus]] from the Mass in B minor. It is based on the same theme as the Prelude, S.179. |
| organ | 1863 | S.673 |
| Cantata Ich hatte viel Bekümmernis, BWV 21:
| Einleitung und Fuge aus der Motette 'Ich hatte viel Bekümmernis' und Andante 'Aus tiefer Not' | organ | 1860 | S.660 | |
| Cantata Aus tiefer Not schrei ich zu dir, BWV 38:
|
| Great Fantasia and Fugue in G minor, BWV 542 (organ) | Fantasia and Fugue in G minor | piano | pub. 1863 | S.463 | |
| 6 Preludes and Fugues (organ), BWV 543–548 | 6 Preludes and Fugues | 1842–50 | S.462 | The Preludes and Fugues are:[4] - A minor, BWV 543
- C major, BWV 545
- C minor, BWV 546
- C major, BWV 547
- E minor, BWV 548
- B minor, BWV 544
|
| Chaconne in D minor, BWV 1004 | Transcription | 1880 | – | Liszt planned this transcription but never executed it. |
| Sonata No. 4 in C minor, violin and harpsichord, BWV 1017
| Adagio vom Bach | organ | 1861–63 | S.661 | Liszt arranged only the final 4 bars, the rest being the work of Alexander Wilhelm Gottschalg (1827–1908). |
|
| Original work | Liszt work | Forces | Date | S no. | Notes |
|---|
| Song "Adelaide", Op. 46 (1795) | Transcription | piano | 1839 | S.466 | |
| Septet in E-flat, Op. 20 (1800) | 1841 | S.465 | Dedicated to Grand Duchess Maria Pavlovna of Russia |
| piano 4‑hands | S.634 |
| Piano Concerto No. 3 in C minor, Op. 37 (1800) | Arrangement | 2 pianos | 1878–79 | S.657a/1 | Includes a new cadenza for 1st movement, S.389a. |
| 6 Gellert Lieder, Op. 48 (1802) | Sechs geistliche Lieder | piano | 1840 | S.467 | Liszt's order of the songs (with the original order in brackets) was: 1 (5). "Gottes Macht und Vorsehung"; 2 (1). "Bitten"; 3 (6). "Bußlied"; 4 (3). "Vom Tode"; 5 (2) "Die Liebe des Nächsten"; 6 (6). "Die Ehre Gottes aus der Natur (Die Himmel rühmen)".[5] |
| Piano Concerto No. 4 in G major, Op. 58 (1806) | Arrangement | 2 pianos | 1878–79 | S.657a/2 | |
| Coriolan Overture, Op. 62 (1807) | Transcription | piano | ? | S.739 | Lost[6] |
| 6 Songs, Op. 75 (1809) | "Beethoven's Lieder von Goethe": | 1849 | S.468 | Liszt combined parts of three disparate Beethoven opuses into his transcription, the common thread being that all the words were by Goethe: |
| 3 Songs, Op. 83 (1810) |
| Egmont, incidental music, Op. 84 (1810) |
| Overture | ? | S.740 | Lost |
| Piano Concerto No. 5 in E-flat, "Emperor", Op. 73 (1811) | Arrangement | 2 pianos | 1878–79 | S.657a/3 | |
| The Ruins of Athens, incidental music, Op. 113 (1811) | Capriccio alla turca sur des motifs de Beethoven (Ruines d'Athènes) | piano | 1846 | S.388 | Uses same theme as the Fantasia, S.389 |
| Fantasia on (themes from) 'The Ruins of Athens' | piano and orchestra | 1848–52 | S.122 | |
| 2 pianos | after 1852 | S.649 |
| piano | pub. 1865 | S.389 |
| Song cycle An die ferne Geliebte, Op. 98 (1816) | Transcription | 1849 | S.469 | |
| 9 Symphonies (1800–24) | Transcription | 1837–64 | S.464 | Symphonies Nos. 5, 6 and 7 were transcribed in 1837; the Marcia funèbre of Symphony No. 3 was written in 1841; then there was a gap of 22 years before the remaining symphonies were written, at which time the existing transcriptions were revised. In the meantime, Liszt completed a transcription of Symphony No. 9 for two pianos in 1851. |
|
| Transcription | 2 pianos | 1851 | S.657 |
| String quartets (1800–26) | Projected transcription | piano | 1863 | – | Liszt planned to transcribe the quartets for piano but never executed the plan. |
|
| Original work | Liszt work | Forces | Date | S no. | Notes |
|---|
| Overture Les francs-juges, Op. 3 (1826) | Ouverture des Francs-Juges | piano | 1833 | S.471 | |
| Overture Le carnaval romain, Op. 9 (1843) | Transcription | ? | S.741 | This was part of Liszt's performing repertoire, but is now lost |
| Symphonie fantastique, Op. 14 (1830) | Episode de la vie d'un artiste. Grande Symphonie fantastique. Partition de Piano | c. 1833 | S.470 | In c. 1864–65 Liszt made a new transcription of the 4th movement, "March au supplice". |
| L'idée fixe. Andante amoroso | S.395 | Based on the theme of the Symphonie |
| Lélio, Op. 14b (1831) | Grande Fantaisie Symphonique on themes from Berlioz’ Lélio | piano and orchestra | 1834 | S.120 | The themes are "Chant du pêcheur" and "Chant des brigands"; according to Leslie Howard: "the original manuscript of this work, long undiscovered, recently surfaced at auction in France (although sadly not in its entirety), and it revealed immediately that Liszt carried out his own orchestration";[8] FP Paris, 24 November 1834, Liszt (piano), Berlioz (conductor)[9] |
| Overture Le roi Lear, Op. 4 (1831) | Ouverture du Roi Lear | piano | 1836 | S.474 | |
| Harold en Italie, Op. 16 (1834) | Transcription | viola and piano | S.472 | |
| Marche des Pèlerins | piano | S.473 |
| Opera Benvenuto Cellini, Op. 23 (1838) | Bénédiction et serment, deux motifs de Benvenuto Cellini | 1852 | S.396 | |
| piano 4‑hands | 1853 | S.628 |
| La damnation de Faust, Op. 24 (1846) | Danse des Sylphes | piano | c. 1846 | S.475 | |
|
| Original work | Liszt work | Forces | Date | S no. | Notes |
|---|
| Mazurka in C-sharp minor, Op. 6/2 (piano; 1830)[11] | Duo (Sonata) sur des thèmes polonais | violin and piano | 1832–35 | S.127 | |
24 Preludes, Op. 28 (piano; pub. 1839):- No. 4 in E minor
- No. 9 in E major
| Transcription | organ | 1862–63 | S.662 | |
| Piano Sonata No. 2 in B-flat minor, Op. 35:
| Transcription | organ, cello and piano | ? | S.761 | Lost |
| Fantaisie in F minor, piano, Op. 49 | Transcription | piano and orchestra | – | – | This was planned but never executed.[12] |
17 Polish songs, Op.posth. 74 (1827–47):- No. 1, "Życzenie" ("The Maiden's Wish"
| Glanes de Woronince II. "Mélodies polonaises"
| piano | 1847–48 | S.249/2 | The order of the songs in S.480 is: 1. "Mädchens Wünsch" (= No. 1, "Życzenie"); 2. "Frühling" (= No. 2, "Wiosna"); 3. "Das Ringlein" (= No. 14, "Pierścień"); 4. "Bacchanal" (= No. 4, "Hulanka"); 5. "Meine Freuden" (= No. 12, "Moja pieszczotka"); 6. "Heimkehr" (= No. 15, "Narzeczony")"Das Ringlein" leads without a break into "Bacchanal", and towards the end of the latter song, immediately before the coda, Liszt includes a short 6-bar reprise of the earlier song. |
| 6 Chants polonais | 1847–60 | S.480 |
- No. 2, "Wiosna" ("Spring")
- No. 4, "Hulanka" ("Merrymaking")
- No. 12, "Moja pieszczotka" ("My Joys")
- No. 14, "Pierścień" ("The Ring")
- No. 15, "Narzeczony" ("The Bridegroom")
|
|
| Original work | Liszt work | Forces | Date | S no. | Notes |
|---|
| Opera Lucrezia Borgia (1833) | Reminiscences de Lucrezia Borgia | piano | 1840 | S.400 | The sections are: (1) Trio du second acte and (2) Fantaisie sur des motifs favoris de l'opéra: Chanson à boire (Orgie), Duo and Finale. |
| Opera Lucia di Lammermoor (1835) | Reminiscences de Lucia di Lammermoor | 1835–36 | S.397 | Based on the Sextet |
| Marche et cavatine de Lucie de Lammermoor | S.398 | Intended as part of the Reminiscences (S.397) but separated by the publisher[17] |
| Lucia di Lammermoor | Valse à capriccio sur deux motifs de Lucia et Parisina | 1842 | S.401 | Combines motifs from Lucia di Lammermoor and Parisina. The Valse à capriccio, S.401 was revised as No. 3 of 3 Caprices-Valses, S.214 (1850–52). |
| Opera Parisina (1833) |
Nuits d'été à Pausilippe, 12 ariettas and nocturnes (voices and chamber ensemble; 1836):- No. 1, "Barcajuolo"
- No. 9, "L'Alito di Bice"
- No. 4, "La Torre di Biasone"
| Nuits d'été à Pausilippe | 1838 | S.399 | [18] |
| Opera La favorite (1840):
| Spirto gentil | 1847 | S.400a | Possibly same as S.742. |
| Opera Dom Sébastien (1843):
| Marche funèbre de Dom Sébastien | 1844 | S.402 | |
|
| Paraphrase | ? | S.744 | Lost; this was based on Theodor Kullak's transcription (paraphrase), Op. 31,[19] which was itself dedicated to Liszt.[20] |
| "Duettino" | Transcription | ? | S.742 | Lost. Possibly same as S.400a. |
|
| Original work | Liszt work | Forces | Date | S no. | Notes |
|---|
Songs Without Words- Book I, Op. 19b: Nos. 1–3[29]
| Grosses Konzertstück über Mendelssohns Lieder ohne Worte | 2 pianos | 1834 | S.257 | Liszt and a student, Mlle. Vial, started to perform it in Paris on 9 April 1835[30] but Liszt became ill. Ferruccio Busoni, who considered Mendelssohn a composer of genius, died before fulfilling his plan to play it with Egon Petri in London. It was first performed in full by Richard and John Contiguglia at the 1984 Holland Liszt Festival in Utrecht.[31] |
| 6 Songs, Op. 19a (1830–34):
| Mendelssohn Lieder:- "Auf Flügeln des Gesanges", Op. 34/2
- "Sonntagslied", Op. 34/5
- "Reiselied", Op. 34/6
- "Neue Liebe", Op. 19a/4
- "Frühlingslied", Op. 47/3
- "Winterlied", Op. 19a/3
- "Suleika", Op. 34/4
| piano | 1840 | S.547 | |
| 6 Songs, Op. 34 (1834–37):
|
| 6 Songs, Op. 47 (1839):
|
| 6 Songs for male chorus, Op. 50 (1837–40):
| - "Wasserfahrt", Op. 50/4
- "Der Jäger Abschied", Op. 50/2
| 1848 | S.548 | |
| A Midsummer Night's Dream, incidental music, Op. 61 (1842) | Wedding March and Dance of the Elves | 1849–50 | S.410 | |
|
| Original work | Liszt work | Forces | Date | S no. | Notes |
|---|
| Opera Robert le diable (1831) | Reminiscences de Robert le Diable. Valse infernale | piano | 1841 | S.413 | |
| piano 4-hands | 1841–43 | S.630 |
| Opera Les Huguenots (1836) | Grande Fantaisie sur des thèmes de l'opéra Les Huguenots | piano | 1836 | S.412 | Dedicated to Marie d'Agoult[36] |
| Song "Le Moine" ("Die Mönch") (1841) | "Le Moine" | 1841 | S.416 | Incorporates two other themes by Meyerbeer. |
| Opera Le prophète (1849) | Illustrations du Prophète | piano | 1849–50 | S.414 | The 3 Illustrations of S.414 are: 1. Prière, hymne triomphale, marche du sacre; 2. Les Patineurs, scherzo; 3. Choeur pastoral, appel aux armes. The Fantasy and Fugue is sometimes listed as No. 4 in the series |
| Fantasie und Fuge über den Choral "Ad nos, ad salutarem undam" | organ | S.259 |
piano 4‑hands
or pedal piano | S.624 |
| Festmarsch zu Schillers 100-jähriger Geburtsfeier (1859) | Transcription | piano | 1860 | S.549 | |
Opera L'Africaine (1864):- Sailors' Prayer "O grand Saint Dominique" (Act III)
- Indian March (Act IV)
| Illustrations de l'Africaine | 1865 | S.415 | The two Illustrations are: 1. Prière des matelots; 2. Marche indienne. |
|
| Original work | Liszt work | Forces | Date | S no. | Notes |
|---|
| Opera The Marriage of Figaro, K.492 (1786) | Fantasy on Themes from Mozart's Figaro and Don Giovanni | piano | 1842 | S.697 | Performed Berlin 11 January 1843; edited and completed by Ferruccio Busoni |
| Opera Don Giovanni, K.527 (1787) | 1842 | S.697 |
| Reminiscences de Don Juan | 1841 | S.418 | Dedicated to King Christian VIII of Denmark |
| 2 pianos | after 1841 | S.656 |
| Motet Ave verum corpus, K.618 (1791) | À la chapelle Sixtine
(organ version: Evocation à la Chapelle Sixtine)[37] | piano | 1862 | S.461 | This piece combines Allegri's Miserere (1630s) with Mozart's Ave verum corpus. (Mozart was deeply involved in the circumstances that led to the first publication of the Miserere: He heard it in the Sistine Chapel when visiting Rome at the age of 15, and famously wrote it down from memory, although publishing the work or even writing it down was prohibited on pain of excommunication. Rather than imposing this penalty, the Pope later congratulated him on his genius). À la chapelle Sixtine was the basis of the third movement (Preghiera) of Tchaikovsky's "Mozartiana" (Orchestral Suite No. 4), but he used only the Ave verum corpus component. |
| organ | c. 1862 | S.658 |
| piano 4‑hands | c. 1865 | S.633 |
| orchestra | ? | S.360 |
| Opera The Magic Flute, K.620 (1791):
| Transcription | piano | ? | S.748 | This was part of Liszt's performing repertoire but is now lost. |
- "Der, welcher wandelt diese Straße voll Beschwerden" (Act II)
| Adagio von Die Zauberflöte | piano 4-hands | 1875–81 | S.634a | |
Requiem in D minor, K.626 (1791):- "Confutatis" and "Lacrymosa"
| Transcription | piano | pub. 1865 | S.550 | |
|
| Original work | Liszt work | Forces | Date | S no. | Notes |
|---|
Opera Otello (1816):- Gondolier's song "Nessun maggior dolore" (Act III)
| Années de pèlerinage, Deuxième Année: Italie. Supplement: Venezia e Napoli
| piano | 1859 | S.162/2 |
| Operas Armida (1817) and La donna del lago (1819) | Impromptu brilliant sur des thèmes de Rossini et Spontini | 1824 | S.150 | Also includes themes from operas by Gaspare Spontini |
| Opera Ermione | Sept variations brillantes sur un thème de G. Rossini | S.149 | |
| Opera Mosè in Egitto (1818) | Fantaisie sur des thèmes de 'Maometto' et 'Mose | ? | S.751 | Lost |
| Opera Le siège de Corinthe (1826) | Introduction des variations sur une marche du Siège de Corinthe | 1830 | S.750; renumbered as 421a | Lost Only the Introduction survives; there is no trace of the Variations on a March from Le Siège de Corinthe |
| Opera William Tell (1829)
| Transcription | 1838 | S.552 |
| Les Soirées musicales, 8 ariettas and 4 duets (1835) | La Serenata e l'Orgia. Grande Fantaisie sur des motifs des Soirées musicales | 1835‑36 | S.422 | Nos. 10 and 11; also includes a theme from La promessa (No. 1) |
| La pastorella dell'Alpi e Li marinari. 2me Fantaisie sur des motifs des Soirées musicales | S.423 | Nos. 6 and 12; also includes a theme from La regata veneziana (No. 2) |
| Soirées musicales | 1837 | S.424 | The 12 numbers are: 1. La promessa; 2. La regata veneziana; 3. L'invito; 4. La gita in gondola; 5. Il rimprovero; 6. La pastorella dell'Alpi; 7. La partenza; 8. La pesca; 9. La danza; 10. La serenata; 11. L'orgia; 12. Li marinari |
| Stabat Mater (1841):
| Transcription | organ/trombone | 1860s | S.679 | Also used in S.553 |
| tenor/organ | pub. 1874 | S.682 |
Deux Transcriptions d'après Rossini:- No. 1, "Cujus animam"
- No. 2, "La Charité"
| piano | 1847 | S.553 |
| 3 Choeurs religieux, female chorus and piano (1844):
| |
|
| Original work | D no. | Op. | Liszt work | Forces | Date | S no. | Notes |
|---|
| "Gretchen am Spinnrade" (1814) | D.118 | Op. 2 | 6 Songs | voice and orchestra | 1860 | S.375/2 | |
| 12 Lieder von Franz Schubert | piano | 1838, rev. 1876 | S.558/8 |
| "Rastlose Liebe" (1815) | D.138 | Op. 5/1 | 12 Lieder von Franz Schubert | 1838 | S.558/10 | |
| Walzer, Ländler und Ecossaisen, piano | D.145 | | Soirées de Vienne: 9 Valses caprices d'après Schubert | 1852 | S.427/2, 3 | Used in Nos. 2 and 3 |
| "Des Mädchens Klage" (2nd version; 1815) | D.191 | Op. 58/3 | No. 2 of Sechs Melodien von Franz Schubert | 1844 | S.563/2 | |
| "Meeres Stille" (1815) | D.216 | Op. 3/2 | Transcription | 1837 | S.557b | 1st version |
| 12 Lieder von Franz Schubert | 1838 | S.558/5 | |
| "Erlkönig" (1815–21) | D.328 | Op. 1 | 6 Songs | voice and orchestra | 1860 | S.375/4 | |
| Transcription | piano | 1837 | S.557b | |
| 12 Lieder von Franz Schubert | 1838, rev. 1876 | S.558/4 | |
| "Litanei (Auf das Fest Aller Seelen)" (1816) | D.343 | | Transcription: Franz Schuberts geistliche Lieder | 1840 | S.562/1 | |
| Originaltänze, piano | D.365 | Op. 9 | Apparitions: III. Fantaisie sur une valse de François Schubert (Molto agitato ed appassionato)[43] | 1834 | S.155/3 | Waltz No. 33 in F major;[44] the same waltz appeared in Soirées de Vienne, S.427 |
| Soirées de Vienne: 9 Valses caprices d'après Schubert | 1852 | S.427 | Used in Nos. 1–5 and 9[45] |
| "Die gestirne" (1816) | D.444 | | Transcription: Franz Schuberts geistliche Lieder | 1840 | S.562/3 | |
| "Der Wanderer" (1816) | D.493 | Op. 4/1 | 12 Lieder von Franz Schubert | 1838, rev. 1876 | S.558/11 | |
| "Die Forelle" (1817) | D.550 | | No. 6 of Sechs Melodien von Franz Schubert | 1844 | S.563/6 | |
| Transcription (2nd version) | 1846 | S.564 | |
| "Himmelsfunken" (1819) | D.651 | | Transcription: Franz Schuberts geistliche Lieder | 1840 | S.562/2 | |
| "Frühlingsglaube" | D.686 | Op. 20/2 | Transcription | 1837 | S.557c | 1st version |
| 12 Lieder von Franz Schubert | 1838, rev. 1876 | S.558/7 | |
| "Lob der Tränen" | D.711 | Op. 13/2 | Transcription | 1838 | S.557 | |
| Opera Alfonso und Estrella (1822):
| D.732 | | Transcription | ? | S.753 | Liszt conducted the world premiere performance in Weimar, 24 June 1854; he had published an essay on the opera in advance of the first performance, and also had made cuts to the score for the production. The score of the transcription is lost. |
| Wiener Damen-Ländler, piano | D.734 | | Soirées de Vienne: 9 Valses caprices d'après Schubert | 1852 | S.427/1 | Used in No. 1 |
| "Sei mir gegrüsst!" (1822) | D.741 | Op. 20/1 | 12 Lieder von Franz Schubert | 1838 | S.558/1 | |
| "Die Rose" (? 1820) | D.745 | Op. 73 | Transcription | 1835 | S.556 | |
| Wanderer Fantasy in C, piano (1822) | D.760 | Op. 15 | | piano and orchestra | by 1851 | S.366 | FP of orch. version Vienna, 14 December 1851, J. Egghard (piano), Hellmesberger (conductor)[46] |
| 2 pianos | S.653 |
| "Auf dem Wasser zu singen" (1823) | D.774 | Op. 72 | 12 Lieder von Franz Schubert | piano | 1838 | S.558/2 | |
| "Du bist die Ruh" (1823) | D.776 | Op. 59/3 | 12 Lieder von Franz Schubert | 1838, rev. 1876 | S.558/3 | |
| Valses sentimentales, piano | D.779 | | Soirées de Vienne: 9 Valses caprices d'après Schubert | 1852 | S.427/6 | Used in No. 6 |
| 18 Deutsche und Ecossaisen, piano | D.783 | | Soirées de Vienne: 9 Valses caprices d'après Schubert | 1852 | S.427 | Used in Nos. 1, 3, 7 and 8 |
| Song cycle Die schöne Müllerin (1823): | D.795 | Op. 25 | | | | |
|
| No. 1 of Müllerlieder | 1846 | S.565/1 | |
|
| No. 5 of Müllerlieder | S.565/5 | |
|
| No. 5 of Sechs Melodien von Franz Schubert | S.563/5 | |
| No. 6 of Müllerlieder | S.565/6 | |
|
| No. 3 of Müllerlieder | S.565/3 | |
|
| No. 4 of Müllerlieder | S.565/4 | |
|
| No. 4 of Sechs Melodien von Franz Schubert | S.563/4 | |
- No. 19, "Der Müller und der Bach"
| No. 2 of Müllerlieder | S.565/2 | |
| Rosamunde incidental music (1823) | D.797 | | Transcription: Franz Schuberts geistliche Lieder | 1840 | S.562/4 | Liszt transcribed part of No. 4 Geisterchor as "Hymne" |
| "Die Gondelfahrer", male chorus and piano (1824) | D.809 | Op. 28 | Transcription | 1838 | S.559 | |
| Divertissement à la hongroise, piano duet (1824) | D.818 | Op. 54 | Mélodies hongroises (d'après Schubert) | 1838–39 | S.425 | 1. Andante; 2. Marcia; 3. Allegretto |
| II. Ungarischer Marsch in C minor used in 4 Marches | orchestra | 1859–60 | S.363/4 |
| piano 4-hands | after 1860 | S.632/4 |
| Six Grand Marches and Trios, piano duet (1824) | D.819 | Op. 40 | Schubert's Märsche für das Pianoforte Solo | piano | 1846 | S.426/1–2 | March in B minor D.819/3 was S.426/2; Trauermarsch in E-flat minor, D.819/5 was S.426/1[47] |
| Two marches used in 4 Marches | orchestra | 1859–60 | S.363/1–2 | March in B minor D.819/3 was S.363/1; Trauermarsch in E-flat minor, D.819/5 was S.363/2 |
| piano 4-hands | after 1860 | S.632/1–2 |
| "Die Junge Nonne" (1825) | D.828 | Op. 43/1 | 6 Songs | voice and orchestra | 1860 | S.375/1 | |
| 12 Lieder von Franz Schubert | piano | 1838 | S.558/6 | |
| "Ave Maria" (1825) | D.839 | | Transcription | 1837 | S.557d | 1st version |
| 12 Lieder von Franz Schubert | 1838 | S.558/12 | |
| "Die Allmacht" (1825) | D.852 | Op. 79/2 | "Die Allmacht" | T or S solo, male chorus & orchestra | 1871 | S.376 | |
| "Das Zügenglöcklein" (aka "Das Sterbeglöcklein"; 1826) | D.871 | | No. 3 of Sechs Melodien von Franz Schubert | piano | 1844 | S.563/3 | |
| "Lied der Mignon" (1826) | D.877/2 | Op. 62/2 | 6 Songs | voice and orchestra | 1860 | S.375/3 | |
| "Ständchen (Horch! Horch | die Lerch!)" (1826) | D.889 | | 12 Lieder von Franz Schubert | piano | 1838, rev. 1876 | S.558/9 | |
|---|
| Winterreise, song cycle (1827) | D.911 | Op. 89 | Transcription of 12 songs | 1840 | S.561 | Liszt chose 12 of the 24 songs, and rearranged their order: 1. "Gute Nacht" (S.561/1); 4. "Erstarrung" (S.561/5); 5. "Der Lindenbaum" (S.561/7); 6. "Wasserflut" (S.561/6); 13. "Die Post" (S.561/4); 17. "Im Dorfe" (S.561/12); 18. "Der stürmische Morgen" (S.561/11); 19. "Täuschung" (S.561/9); 21. "Das Wirtshaus" (S.561/10); 22. "Mut!" (S.561/3); 23. "Die Nebensonnen" (S.561/2); and 24. "Der Leiermann" (S.561/8). |
| Symphony No. 9 in C major (1826) | D.944 | | Projected transcription | – | – | This was planned but never executed. |
| Schwanengesang, 14 lieder (1828) | D.957 | | Transcription | 1838–39 | S.560 | Liszt rearranged the order of the songs: 1. Liebesbotschaft (S.560/10); 2. "Kriegers Ahnung" (S.560/14); 3. "Frühlingssehnsucht" (S.560/9); 4. "Ständchen" (S.560/7); 5. "Aufenthalt" (S.560/3); 6. "In der Ferne" (S.560/6); 7. "Abschied" (S.560/5); 8. "Der Atlas" (S.560/11); 9. "Ihr Bild" (S.560/8); 10. "Das Fischermädchen" (S.560/2); 11. "Die Stadt" (S.560/1); 12. "Am Meer" (S.560/4); 13. "Der Doppelgänger" (S.560/12); and 14. "Die Taubenpost" (S.560/13).[48] |
|
| 6 Songs | voice and orchestra | 1860 | S.375/6 | |
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| 6 Songs | 1860 | S.375/5 | |
| Reitermarsch, No. 1 of 2 Marches caractéristiques, piano duet (? 1826) | D.968b | Op. 121 | Schubert's Märsche für das Pianoforte Solo | piano | 1846 | S.426/4 | D.968b was formerly D.886 |
| Used in 4 Marches | orchestra | 1859–60 | S.363/3 | |
| piano 4-hands | after 1860 | S.632/3 |
| 12 Valses nobles | D.969 | | Soirées de Vienne: 9 Valses caprices d'après Schubert | piano | 1852 | S.427 | Used in Nos. 5, 6 and 8 |
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| Original work | Liszt work | Forces | Date | S no. | Notes |
|---|
| Myrthen, Op. 25 (1840):
| "Liebeslied" | piano | 1848 | S.566 | |
Lieder und Gesänge, Vol. I, Op. 27 (1840):- No. 2, "Dem roten Röslein gleicht mein Lieb"
| "Rotes Röslein", No. 2 of 2 Lieder von Robert Schumann | 1861 | S.567/2 | |
6 Gedichte, Op. 36 (1840):- No. 4, "An den Sonnenschein"
| No. 1 of 2 Lieder von Robert Schumann | 1861 | S.567/1 | |
| Liederkreis, Op. 39 (1840):
| Transcription | 1872 | S.568 | |
Liederalbum für die Jugend, 28 songs, Op. 79 (1849):- No. 16, "Weihnachtslied"
- No. 17, "Die wandelnde Glocke"
- No. 19, "Frühlings Ankunft"
- No. 22, "Des Sennen Abschied"
- No. 23, "Er ist's"
| Lieder von Robert und Clara Schumann: Book A (Robert) | 1874 | S.569/1–7 | Nos. 1–5 were from Op. 79, and Nos. 6–7 were from Op. 98a. The set of 10 transcriptions also includes 3 songs by Clara Schumann. |
Lieder und Gesänge aus 'Wilhelm Meister, 9 songs, Op. 98a (1849):- No. 3, "Nur wer die Sehnsucht kennt"
- No. 5, "An die Türen will ich schleichen"
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Des Sängers Fluch, 14 songs, Op. 139 (1852):- No. 4, "Provenzalisches Minnelied"
| Transcription | 1881 | S.570 | |
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| Original work | Liszt work | Forces | Date | S no. | Notes |
|---|
| Opera Rienzi (1840) | Phantasiestück über Motive aus Rienzi ("Santo spirito cavaliere") | piano | 1859 | S.439 | The Roman War Song "Santo spirito cavaliere" is from the finale of Act III. The work also quotes the Gebet (Prayer) from Act V and the Aufruf zum Kampf (Call to Arms) "Doch horet ihr der Trompete Ruf" from Act I. |
| Opera The Flying Dutchman (1843) | Spinning Chorus | 1860 | S.440 | |
| Ballad | pub. 1873 | S.441 | |
| Opera Tannhäuser (1845) | Overtüre zu Tannhäuser: Konzertparaphrase | 1848 | S.442 | |
| "O du mein holder Abendstern" | 1849 | S.444 | |
| cello and piano | 1852 | S.380 |
| Entry of the Guests | piano | 1852 | S.445/1 | Liszt published the Entry of the Guests along with Elsa's Bridal Procession from Lohengrin, as "Two Pieces from Tannhäuser and Lohengrin". |
| Pilgrims' Chorus: Paraphrase | organ | 1860 | S.676 | This paraphrase is not based on the Pilgrims' Chorus from Act III, but on a simplified version of the opening section of the Overture, which uses the same melody, but differs from the Chorus in both structure and key.[56] |
| piano | c.1861 | S.443 |
| Opera Lohengrin (1850) | Elsa's Bridal Procession | 1852 | S.445/2 | Liszt published Elsa's Bridal Procession along with the Entry of the Guests from Tannhäuser, as "Two Pieces from Tannhäuser and Lohengrin". |
1. Festival and Bridal Song
2. Elsa's Dream
3. Lohengrin's Rebuke | 1854 | S.446 | |
Opera Tristan und Isolde (1859):- Isolde's final aria, "Mild und leise"
| Isoldens Liebestod | 1867 | S.447 | In his concert version of the Prelude (Overture) and Isolde's Act 3 final aria "Mild und leise", first performed in 1862 (several years before the premiere of the opera in 1865), Wagner called the Prelude the Liebestod (Love-death) while Isolde's final aria "Mild und leise" he called the Verklärung (Transfiguration). Liszt named his transcription of "Mild und leise" Isoldes Liebestod; he prefaced his score with a four-bar motto from the Love Duet from Act II, which in the opera is sung to the words "sehnend verlangter Liebestod". Liszt's transcription became well known throughout Europe well before Wagner's opera reached most places, and the final scene is now always called by the name Liszt gave it, Liebestod. |
| Opera Die Meistersinger von Nürnberg (1867) | "Am stillen Herd" | 1871 | S.448 | |
| Opera Das Rheingold (1869) | "Valhalla" from Der Ring des Nibelungen | c.1876 | S.449 | Liszt based this on "The Entry of the Gods into Valhalla", the closing scene of Das Rheingold, the opening opera of the Ring. However, as it conforms to no single passage in that scene, it is thus a paraphrase, not strictly a transcription. |
| Opera Parsifal (1882) | Feierlicher Marsch zum heiligen Gral | 1882 | S.450 | |
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| Original work | Liszt work | Forces | Date | S no. | Notes |
|---|
Leier und Schwert, six 4-part men's choruses, Op. 42, J.168–173 (1814):- No. 2, Lutzows wilde Jagd, J.168
- No. 3, Gebet vor der Schlacht, J.173
- No. 6, Schwertlied, J.169
| Leier und Schwert – Heroïde | piano | 1846–47 | S.452 | An Introduction was followed by Schwertlied, Gebet vor der Schlacht and Lutzows wilde Jagd.[57] |
| Jubelouvertüre, Op. 59, J.245 (1818) | Transcription | 1846 | S.576 | |
| Polacca brillante in E major "L'hilarité", piano, Op. 72, J.268 (1819) | Polonaise brillante | piano and orchestra | c.1851 | S.367 | Dedicated to Adolf von Henselt. FP of S.367 Weimar, 13 April 1851, Salomon Jadassohn (piano), Liszt (conductor). Liszt also arranged S.367 for piano solo (S.455), which was the solo part with ossias. |
| piano | S.455 |
| Opera Der Freischütz, Op. 77, J.277 (1821) | Overture | 1846 | S.575 | |
| Freischütz Fantasy | 1840‑41 | S.451 | |
| Konzertstück in F minor, piano and orchestra, Op. 79, J.282 (1821) | Transcription | 1868–70 | S.576a | |
| piano and orchestra | S.367a | The piano part appears to be a slightly altered version of S.576a, which is played with Weber's original orchestration.[58] |
Preciosa, incidental music, Op. 78, J.279 (1820):- "Einsam bin ich, nicht alleine"
| Transcription | piano | 1848 | S.453 | |
| Partsong Schlummerlied, 4 male voices, Op. 68/4, J.285 (1822) | "Schlummerlied mit Arabesken" | 1848 | S.454 | |
| Opera Oberon, J.306 (1826) | Overture | 1843 | S.574 | |
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