Various other Liszt compositions

Various other Liszt compositions, drafts, unfinished pieces and other works for Piano Solo

This list is meant to complete our page List of Franz Liszt's Works for Piano – A Guide to His Masterpieces.

Variationen über Romanze aus Joseph von Méhul, S.147a

Approximate Duration: 8–10 minutes
Description: Though attributed to Liszt, this set of variations is actually by Franz Xaver Wolfgang Mozart. Based on a romance from Méhul’s opera Joseph, it features elegant melodic ornamentation and classical refinement.

Feuille d'album No.2, S.167

Approximate Duration: 2–4 minutes
Description: A delicate and introspective miniature, this piece captures Liszt’s lyrical side with flowing melodic lines and an intimate character. Thematically linked to Album-Leaf (S.534/2a), it is a brief yet expressive musical memento.

Einleitung und Schlußtakte zu Tausigs dritter Valse-Caprice, S.167a

Approximate Duration: 3–5 minutes
Description: Liszt composed the introduction and conclusion for Carl Tausig’s Third Valse-Caprice, adding his signature harmonic richness and flair. The piece enhances Tausig’s virtuosic waltz with expressive embellishments and sweeping runs.

Mazurka in F Minor, S.221a

Approximate Duration: 2–3 minutes
Description: Once attributed to Liszt, this mazurka is now believed to be spurious. It features the characteristic rhythmic lilt and charm of the Polish dance but lacks definitive Lisztian stylistic traits.

Petite Valse Favorite, S.222

Approximate Duration: 2–3 minutes
Description: A light and graceful waltz that captures Liszt’s flair for elegant dance forms. Later renumbered as S.212a, it features charming melodies and delicate passagework.

Tyrolean Melody, S.233c

Approximate Duration: 2–3 minutes
Description: A charming piano piece inspired by Tyrolean folk music, characterized by its lilting rhythm and pastoral simplicity. Later deleted and referenced in S.385a, it reflects Liszt’s fascination with national melodies.

La Romanesca, S.247

Approximate Duration: 3–4 minutes
Description: A lyrical piano piece inspired by traditional melodies, featuring flowing arpeggios and a song-like character. Later deleted and incorporated into S.252a, it exemplifies Liszt’s exploration of national themes.

Festpolonaise, S.255

Approximate Duration: 6–8 minutes
Description: A grand and festive polonaise for piano four hands, full of triumphant energy and dance-like rhythms. Later renumbered as S.619a, it showcases Liszt’s flair for celebratory, virtuosic writing.

Variation über das Thema von Borodin, S.256

Approximate Duration: 4–6 minutes
Description: A variation piece for piano four hands based on a theme by Alexander Borodin, blending Russian lyricism with Lisztian harmonic ingenuity. Later renumbered as S.207a, it highlights Liszt’s admiration for Russian musical traditions.

Nocturne, S.256a

Approximate Duration: 5–7 minutes
Description: A lyrical nocturne in E minor, originally attributed to Liszt but later considered spurious. Based on S.161/5, it carries a delicate, melancholic atmosphere with flowing accompaniment.

Angelus! Prière aux anges gardiens, S.353a

Approximate Duration: 4–6 minutes
Description: An orchestral arrangement of Liszt’s devotional piece, evoking a prayerful and serene mood. Later renumbered as S.362a, it retains the mystical and contemplative essence of the original.

Festpolonaise, S.528

Approximate Duration: 6–8 minutes
Description: A solo piano transcription of Liszt’s grand Festpolonaise, filled with triumphant flourishes and noble dance rhythms. Later renumbered as S.230a, this piece preserves the festive and virtuosic character of the original.

Drei Ungarische Rhapsodien symphonisch bearbeitet No.2, S.690f/2

Approximate Duration: Unknown (unfinished)
Description: An unfinished piano work connected to Liszt’s Zigeuner-Epos (S.695b), incorporating themes from S.242/6 and S.242/12. Originally intended as part of a symphonic arrangement, this rhapsody blends Hungarian folk idioms with Liszt’s signature virtuosity.

Variation on a Waltz by Diabelli, S.147

Approximate Duration: 2–3 minutes
Description: Liszt’s youthful contribution to Vaterländischer Künstlerverein, this variation on Diabelli’s waltz showcases early signs of his virtuosic flair. While less complex than Beethoven’s famed set, it features dramatic contrasts and inventive figuration.

Waltz, S.208a

Approximate Duration: 2–3 minutes
Description: A light and elegant dance piece, this waltz is an arrangement of S.126b/2. It reflects Liszt’s early fascination with Viennese dance forms, featuring graceful melodies and charming rhythmic sway.

Variations (8), S.148 (Op.1)

Approximate Duration: 4–6 minutes
Description: Liszt’s earliest published composition, these variations in A-flat major showcase his youthful brilliance and inventive approach to thematic transformation. The piece blends classical elegance with hints of the virtuosity that would later define his mature works.

Variations Brillantes sur un Thème de Rossini, S.149 (Op.2)

Approximate Duration: 5–7 minutes
Description: A dazzling set of variations on Ah, come nascondere la fiamma from Rossini’s Ermione, this work demonstrates Liszt’s early affinity for operatic themes. It features brilliant passagework and lively embellishments characteristic of his virtuosic style.

Impromptu Brillant sur des Thèmes de Rossini et Spontini, S.150 (Op.3)

Approximate Duration: 6–8 minutes
Description: A showpiece that weaves themes from operas by Rossini and Spontini into a seamless display of virtuosity. This youthful composition foreshadows Liszt’s later mastery of operatic paraphrases with its dramatic contrasts and technical flair.

Rondo, S.724/1

Approximate Duration: Unknown (lost work)
Description: Possibly related to S.152, this lost rondo would have likely reflected Liszt’s early command of form and bravura technique.

Fantasia, S.724/2

Approximate Duration: Unknown (lost work)
Description: Another lost composition from Liszt’s formative years, this Fantasia might have explored free-form improvisatory elements that later became hallmarks of his style.

Allegro di Bravura, S.151 (Op.4/1)

Approximate Duration: 7–9 minutes
Description: A technically demanding early work showcasing Liszt’s youthful virtuosity. Filled with rapid runs, powerful chordal passages, and dramatic contrasts, it foreshadows his later bravura style.

Rondo di Bravura, S.152 (Op.4/2)

Approximate Duration: 6–8 minutes
Description: A lively and intricate rondo that reflects Liszt’s early fascination with dazzling virtuosity. The piece combines lyrical passages with brilliant figuration, embodying the spirit of 19th-century salon bravura.

Klavierstück, S.152a

Approximate Duration: 3–5 minutes
Description: A charming, lesser-known piano work likely composed as an etude or character piece. It exhibits melodic grace and expressive lyricism, characteristic of Liszt’s early compositions.

Album Leaf ("Adagio — religioso in C major"), S.164l

Approximate Duration: 2–4 minutes
Description: A brief yet deeply expressive meditation, this Album Leaf exudes a religious and introspective character. Its serene harmonies and gentle phrasing evoke a sense of devotion and tranquility.

Piano Sonata in F minor, S.725/1

Approximate Duration: Unknown (lost work)
Description: Composed during Liszt’s early years, this sonata is presumed to have been a youthful exploration of form and drama. Only a few bars were later recalled and copied down from memory.

Piano Sonata in C minor, S.725/2

Approximate Duration: Unknown (lost work)
Description: Another lost early sonata, of which only three bars survive in a letter Liszt wrote to his mother. It likely contained elements of Classical influence merged with Liszt’s emerging Romantic style.

Piano Sonata, S.725/3

Approximate Duration: Unknown (lost work)
Description: The third of Liszt’s lost sonatas from 1825, of which no surviving fragments exist. Its existence is noted in historical records, but its style and structure remain a mystery.

Allegro maestoso (Étude No. 13), S.692c

Approximate Duration: Unknown (unfinished)
Description: An incomplete sketch in F♯ major, likely intended as an étude, showcasing Liszt’s early exploration of grand textures and brilliant passagework.

Scherzo (Allegro molto quasi presto), S.153

Approximate Duration: 3–5 minutes
Description: A fleet and energetic piece filled with playful contrasts and virtuosic runs, blending humor with technical brilliance in true scherzo style.

Marche funèbre, S.226a

Approximate Duration: 4–6 minutes
Description: A solemn and dignified funeral march in G minor, exuding deep pathos and noble lyricism, later renumbered from S.745.

Marche funèbre, S.745

Approximate Duration: 4–6 minutes
Description: A stately and mournful funeral march, later renumbered as S.226a, evoking solemnity through its measured pace and deep harmonies.

Album Leaf (Allegro vivace quasi presto), S.163a/1

Approximate Duration: 1–2 minutes
Description: A fleeting and lively miniature in F♯ minor, filled with light textures and rapid figuration, capturing a moment of Liszt’s improvisatory genius.

Andantino ("pour Emile et Charlotte Loudon"), S.163a/2

Approximate Duration: 2–3 minutes
Description: A delicate and lyrical piece in E♭ major, dedicated to Emile and Charlotte Loudon, featuring tender melodic lines and an intimate character.

Zum Andenken (Ungarische Werbungstänze), S.241

Approximate Duration: 5–7 minutes (both dances)
Description: A pair of Hungarian recruiting songs showcasing folk-inspired rhythms and melodies; "Kinizsi notája" is based on a dance by László Fáy, while "Lassú magyar" draws from a dance by János Bihari.

Kinizsi notája, S.241/1

Approximate Duration: 3–4 minutes
Description: A spirited Hungarian dance based on a melody by László Fáy, featuring lively rhythms and folk-inspired ornamentation.

Lassú magyar, S.241/2

Approximate Duration: 2–4 minutes
Description: A melancholic Hungarian folk dance based on a theme by János Bihari, marked by expressive rubato and lyrical phrasing.

Grande fantaisie sur la tyrolienne de l'opéra La fiancée de Auber, S.385i

Approximate Duration: 8–10 minutes
Description: A brilliant fantasy based on a theme from Auber’s opera La fiancée, filled with sparkling virtuosity and cascading runs, reflecting Liszt’s early flair for operatic paraphrases.

Tyrolean Melody, S.385a

Approximate Duration: 3–5 minutes
Description: A charming and dance-like arrangement of a Tyrolean folk melody, previously cataloged as S.233c, showcasing Liszt’s gift for reinterpreting national themes with elegance and technical brilliance.

Introduction et Variations sur une marche du Siège de Corinthe, S.421a

Approximate Duration: 3–5 minutes (surviving fragment)
Description: Based on themes from Rossini’s opera Le Siège de Corinthe, this work was intended as a set of variations, but only the Introduction survives. The discovered fragment showcases Liszt’s dramatic flair and grandiose orchestral textures transcribed for piano.

Scherzo, S.701o

Approximate Duration: Unknown (incomplete)
Description: An unfinished piano work from Liszt’s early years, likely showcasing his youthful virtuosity and dramatic contrasts. The surviving fragments hint at a lively and energetic character.

Grand solo caractéristique d’après une chansonette de Panseron, S.153a

Approximate Duration: 6–8 minutes
Description: Inspired by a chansonette by François Panseron, this unpublished solo piece blends lyrical charm with Liszt’s characteristic brilliance. It remains privately held, adding an air of mystery to its stylistic nuances.

Introduction et variations sur une marche du Siège de Corinthe, S.750

Approximate Duration: Unknown (renumbered as S.421a)
Description: This now-renumbered work was inspired by Rossini’s opera Le siège de Corinthe, with only the Introduction surviving. The missing variations add intrigue to what was likely a grand and dramatic display of Liszt’s early pianistic style.

La romanesca, S.252a

Approximate Duration: 3–5 minutes
Description: A delicate reimagining of a 16th-century melody, blending early music influences with Liszt’s lyrical expression. This first version later evolved into La romanesca, S.252b, further refining its Renaissance-inspired charm.

Grande fantaisie de bravoure sur La clochette, S.420

Approximate Duration: 12–15 minutes
Description: A dazzling paraphrase based on Paganini’s La campanella theme, showcasing Liszt’s signature virtuosity. Combining sparkling high-register passages and fiendish leaps, this fantasy laid the groundwork for later adaptations, including the celebrated Grandes études de Paganini.

L'idée fixe, S.470a/1

Approximate Duration: 4–6 minutes
Description: A transcription of the recurring theme from Berlioz’s Symphonie fantastique, this lyrical arrangement highlights Liszt’s sensitivity to orchestral color on the piano. The andante amoroso setting captures the theme’s yearning and dreamlike character.

Episode de la vie d'un artiste, S.470

Approximate Duration: 20–25 minutes
Description: A virtuosic piano transcription of Berlioz’s Symphonie fantastique, Liszt captures the grandeur and drama of the original orchestration. The fourth movement, Marche au supplice, was later revised separately as S.470a/2.

Ouverture des Francs-juges, S.471

Approximate Duration: 10–12 minutes
Description: A piano transcription of Berlioz’s early overture Les francs-juges, this work conveys the dramatic intensity and rhythmic energy of the original orchestral score. Liszt’s adaptation retains the bold contrasts and sweeping themes of Berlioz’s style.

Die Rose, S.556/1

Approximate Duration: 3–4 minutes
Description: A delicate and lyrical transcription of Schubert’s song Die Rose, this piece reflects Liszt’s affinity for vocal melodies. It was later revised in two subsequent versions (S.556/2, S.556/3).

Harmonies poétiques et religieuses, S.154

Approximate Duration: 20–25 minutes
Description: This early version of Harmonies poétiques et religieuses explores themes of spirituality and contemplation, foreshadowing Liszt’s later, more expansive cycles. It serves as the foundation for his later works S.172a/8 and S.173/4, blending meditative serenity with dramatic intensity.

Album Leaf ("Vivace ma non troppo in D♭ major"), S.167g

Approximate Duration: 1–2 minutes
Description: A charming and fleeting miniature, this Album Leaf captures Liszt’s lyrical spontaneity, with fluid arpeggios and delicate harmonic shifts creating a moment of elegant musical reflection.

Réminiscences de La juive, S.409a

Approximate Duration: 12–14 minutes
Description: A dazzling paraphrase on themes from Halévy’s La Juive, this work showcases Liszt’s flair for operatic transcription, blending dramatic intensity with virtuosic brilliance.

Valse in E major, S.726a (Lost)

Approximate Duration: Unknown
Description: This lost waltz, likely an early experiment in Liszt’s dance-inspired works, remains an intriguing but inaccessible piece within his output.

Airs Suisses, S.155a (3 Pieces)

Approximate Duration: 10–12 minutes
Description: A set of three Swiss-themed character pieces, blending folk-inspired melodies with Liszt’s signature harmonic richness and expressive pianism. These works later evolved into refined versions in Album d’un voyageur.

Improvisata sur le Ranz des vaches (Départ pour les Alpes), S.155a/1

Approximate Duration: 3–5 minutes
Description: Inspired by the famous Ranz des vaches, this piece evokes the call of Swiss herdsmen with evocative pastoral harmonies and free-flowing improvisatory passages.

Nocturne sur le Chant Montagnard, S.155a/2

Approximate Duration: 4–6 minutes
Description: A gentle nocturne that transforms a Swiss mountain song into a dreamy and lyrical meditation, rich in Liszt’s expressive harmonies.

Rondeau sur le Ranz des chèvres, S.155a/3

Approximate Duration: 3–5 minutes
Description: A lively and playful piece based on a Swiss shepherd’s tune, featuring sparkling runs and intricate rhythms that capture the Alpine spirit.

Réminiscences de Lucia di Lammermoor, S.397

Approximate Duration: 12–15 minutes
Description: A virtuosic paraphrase on Donizetti’s Lucia di Lammermoor, capturing the opera’s dramatic intensity and bel canto lyricism. Liszt weaves together iconic themes with dazzling bravura passages and expressive cadenzas.

Marche et Cavatine de Lucia di Lammermoor, S.398

Approximate Duration: 8–10 minutes
Description: A focused transcription of two key moments from Donizetti’s opera, combining the noble grandeur of the march with the expressive elegance of the cavatina. This work showcases Liszt’s gift for translating operatic drama into pianistic brilliance.

Grande fantaisie sur des motifs de Niobe, S.419

Approximate Duration: 10–12 minutes
Description: A rare operatic fantasy based on Pacini’s Niobe, featuring elaborate embellishments and sweeping arpeggios. Liszt transforms the cavatina I tuoi frequenti palpiti into a powerful and deeply expressive showpiece.

Grande fantaisie sur des motifs de La serenata e L’orgia, S.422/1

Approximate Duration: 9–11 minutes
Description: A brilliant and theatrical fantasy on Rossini’s Les soirées musicales, blending the lyrical grace of La serenata with the vibrant energy of L’orgia. This early version foreshadows Liszt’s later refinements in S.422/2.

Fantaisie sur des motifs de La pastorella dell'Alpi e Li marinari, S.423

Approximate Duration: 9–12 minutes
Description: A charming and virtuosic fantasy on two melodies from Rossini’s Les soirées musicales, blending the pastoral sweetness of La pastorella dell'Alpi with the lively, rhythmic energy of Li marinari. Liszt’s arrangement enhances the vocal lines with brilliant pianistic flourishes and rich harmonic textures.

Waltz, S.210b

Approximate Duration: 3–5 minutes
Description: A charming waltz in A major, featuring lighthearted, flowing melodies and elegant dance-like gestures. The piece captures the grace and exuberance of Liszt’s early salon-style compositions.

Grande valse di bravura (Le bal de Berne), S.209

Approximate Duration: 7–9 minutes
Description: A dazzling and virtuosic waltz filled with sparkling passagework and sweeping phrases. This early bravura piece, later reworked in different versions, showcases Liszt’s signature blend of technical brilliance and lyrical charm.

Rondeau fantastique sur un thème espagnol (El contrabandista), S.252

Approximate Duration: 8–10 minutes
Description: Based on an aria from Manuel Garcia's opera El poeta calculista, this piece is infused with Spanish flair and rhythmic vitality. Liszt transforms the theme into a dazzling display of virtuosity, blending dramatic flourishes with Iberian dance rhythms.

Réminiscences des Puritains de Bellini, S.390/1

Approximate Duration: 10–12 minutes
Description: A paraphrase on themes from Bellini’s opera I puritani, filled with sweeping arpeggios and dramatic contrasts. This work captures both the operatic grandeur and the expressive bel canto style that Liszt admired in Bellini’s music.

Réminiscences des Huguenots (Grande fantaisie dramatique), S.412/1

Approximate Duration: 14–16 minutes
Description: A powerful and theatrical fantasy on themes from Meyerbeer’s Les Huguenots, featuring dramatic shifts, virtuosic runs, and orchestral textures at the piano. Liszt elevates the opera’s themes into a tour de force of pianistic grandeur.

Harold en Italie (Symphonie de Berlioz), S.472

Approximate Duration: 30–35 minutes
Description: A transcription of Berlioz’s symphony Harold en Italie, originally written for viola and orchestra. Liszt’s version preserves the work’s evocative storytelling while reimagining its orchestral colors for the piano.

Marche des pèlerins chantant la prière du soir, S.473i

Approximate Duration: 5–7 minutes
Description: A piano transcription of the solemn March of the Pilgrims from Berlioz’s Harold en Italie. This version preserves the meditative and hymn-like character of the original, with its steady pacing and evocative harmonic progressions.

Ouverture du Roi Lear, S.474

Approximate Duration: 10–12 minutes
Description: Liszt’s virtuosic transcription of Berlioz’s overture Le Roi Lear, capturing the drama and intensity of the orchestral work. The piece features bold contrasts, stormy arpeggios, and intricate textures that translate Berlioz’s orchestral grandeur to the piano.

Grandes études, S.137 (Complete Set)

Approximate Duration: Each étude varies (approx. 3–7 minutes)
Description: A bold, virtuosic expansion of Liszt’s early Étude en douze exercices (S.136), these studies exhibit extreme technical demands and expressive depth. They were later refined into the Études d'exécution transcendante (S.139), a milestone in piano literature.

Grandes études No.1 in C Major, S.137/1 ("Presto")

- Approximate Duration: 3–4 minutes
- Description: A rapid, energetic étude demanding dexterity and clarity in fleet-fingered passages, later revised as Étude d'exécution transcendante No.1.

Grandes études No.2 in A Minor, S.137/2 ("Molto vivace")

- Approximate Duration: 4–5 minutes
- Description: A fiery and rhythmically unpredictable study, this piece focuses on rapid chordal jumps and dynamic contrasts, later transformed into Étude d'exécution transcendante No.2.

Grandes études No.3 in F Major, S.137/3 ("Poco adagio")

- Approximate Duration: 5–6 minutes
- Description: A lyrical and expressive étude, rich in chromaticism and harmonic exploration, it foreshadows the poetic quality of Liszt’s later lyrical works.

Grandes études No.4 in D Minor, S.137/4 ("Allegro patetico")

- Approximate Duration: 5–7 minutes
- Description: A highly dramatic and technically demanding étude featuring rapid octave leaps and passionate phrasing, later developed into Mazeppa (S.138, S.139/4).

Grandes études No.5 in B♭ Major, S.137/5 ("Egualmente")

- Approximate Duration: 4–5 minutes
- Description: A gracefully flowing étude that tests evenness of touch and balance between hands, later revised into Étude d'exécution transcendante No.5.

Grandes études No.6 in G Minor, S.137/6 ("Largo patetico")

- Approximate Duration: 6–8 minutes
- Description: A brooding, deeply expressive piece, full of dramatic harmonic shifts and stormy climaxes, later revised as Vision (S.139/6).

Grandes études No.7 in E♭ Major, S.137/7 ("Allegro deciso")

- Approximate Duration: 4–6 minutes
- Description: This bold and commanding étude requires powerful execution and stamina, serving as a bridge to the Études d'exécution transcendante No.7.

Grandes études No.8 in C Minor, S.137/8 ("Presto strepitoso")

- Approximate Duration: 5–6 minutes
- Description: A thunderous study of rapid arpeggios and massive chordal shifts, revised into Wilde Jagd (S.139/8), one of the most dramatic études in the cycle.

Grandes études No.9 in A♭ Major, S.137/9 ("Andantino")

- Approximate Duration: 4–5 minutes
- Description: A gentle and flowing étude with shimmering arpeggios and delicate phrasing, highlighting Liszt’s ability to combine technical brilliance with poetic charm.

Grandes études No.10 in F Minor, S.137/10 ("Presto molto agitato")

- Approximate Duration: 5–6 minutes
- Description: A stormy and relentless étude, packed with rapid chromatic passages and expressive intensity, later reworked into Étude d'exécution transcendante No.10.

Grandes études No.11 in D♭ Major, S.137/11 ("Lento assai")

- Approximate Duration: 5–7 minutes
- Description: This solemn, almost improvisatory study evokes a meditative atmosphere, showcasing Liszt’s mastery of lyrical and introspective writing.

Grandes études No.12 in B♭ Minor, S.137/12 ("Andantino")

- Approximate Duration: 4–6 minutes
- Description: A dark, melancholic étude filled with intricate harmonic progressions and rapid fingerwork, foreshadowing Liszt’s later impressionistic tendencies.

Réminiscences des Puritains de Bellini, S.390/2

Approximate Duration: 10–12 minutes
Description: A virtuosic operatic fantasy on Bellini’s I Puritani, this second version refines thematic development and drama, culminating in a dazzling finale that later influenced S.391.

Soirées musicales de Rossini, S.424

Approximate Duration: 30–35 minutes (complete set)
Description: A vibrant and elegant set of piano transcriptions based on Rossini’s Les soirées musicales, showcasing Liszt’s flair for operatic expression and dazzling virtuosity.

Individual Pieces from Soirées musicales de Rossini:

La promessa (Canzonetta), S.424/1
- Approximate Duration: 3–4 minutes
- Description: A tender and lyrical transcription, capturing the expressive beauty of Rossini’s original melody.
La regata veneziana (Notturno), S.424/2
- Approximate Duration: 4–5 minutes
- Description: Evokes the rhythmic sway of a Venetian gondola ride, with fluid arpeggios and graceful melodic lines.
L’invito (Bolero), S.424/3
- Approximate Duration: 3–4 minutes
- Description: A lively and rhythmic bolero, full of charm and Spanish-inspired dance figures.
La gita in gondola (Barcarola), S.424/4
- Approximate Duration: 4–5 minutes
- Description: A flowing barcarolle that captures the shimmering waters and dreamy atmosphere of Venice.
Il rimprovero (Canzonetta), S.424/5
- Approximate Duration: 2–3 minutes
- Description: A playful and spirited transcription, with charming melodic interplay.
La pastorella dell'Alpi (Tirolese), S.424/6
- Approximate Duration: 4–5 minutes
- Description: A folk-inspired work evoking Alpine landscapes with its lilting rhythms and echoing phrases.
La partenza (Canzonetta), S.424/7
- Approximate Duration: 3–4 minutes
- Description: A sentimental and expressive song transcription, rich in nostalgic beauty.
La pesca (Notturno), S.424/8
- Approximate Duration: 4–5 minutes
- Description: A delicate and atmospheric nocturne, characterized by its flowing arpeggios and elegant phrasing.
La danza (Tarantella Napoletana), S.424/9
- Approximate Duration: 4–6 minutes
- Description: A fiery Neapolitan tarantella, bursting with rapid figuration and exhilarating rhythmic drive.
La serenata (Notturno), S.424/10
- Approximate Duration: 4–5 minutes
- Description: A graceful serenade with delicate ornamentation and lyrical lines.
L’orgia (Arietta), S.424/11
- Approximate Duration: 3–4 minutes
- Description: A spirited and energetic transcription, brimming with playful runs and rhythmic vitality.
Li marinari (Duetto), S.424/12
- Approximate Duration: 4–5 minutes
- Description: A lively duet transcription capturing the operatic charm and light-hearted spirit of Rossini.

Beethoven Symphony Transcriptions:

Symphonie No. 5 de Beethoven, S.463a
- Approximate Duration: 30–35 minutes
- Description: A bold and dramatic transcription of Beethoven’s Fifth Symphony, preserving its rhythmic drive and powerful orchestral textures.
Symphonie No. 6 de Beethoven, S.463b (1st Version) & S.463c (2nd Version)
- Approximate Duration: 35–40 minutes
- Description: Liszt’s transcription of Beethoven’s Pastoral Symphony retains its bucolic serenity and flowing thematic transformations.
Symphonie No. 7 de Beethoven, S.463d
- Approximate Duration: 35–40 minutes
- Description: A triumphant adaptation of Beethoven’s Seventh Symphony, emphasizing its rhythmic energy and dance-like momentum.
Marche funèbre de la Symphonie héroïque de Beethoven, S.463e
- Approximate Duration: 7–10 minutes
- Description: A solemn yet majestic funeral march transcribed from the third movement of Beethoven’s Eroica Symphony.

Air chanté par Massol de Esmeralda de L. Bertin, S.477

Approximate Duration: 5–7 minutes
Description: A lyrical and expressive transcription of Quasimodo's aria Mon Dieu! j'aime from Bertin’s opera La Esmeralda, retaining its heartfelt vocal line and dramatic depth.

Morceaux détachés d'Esmeralda de L. Bertin, S.477a

Approximate Duration: 10–12 minutes (complete set)
Description: A collection of three transcriptions from Bertin’s opera La Esmeralda, showcasing Liszt’s skill in translating operatic drama into pianistic brilliance.

Individual Pieces from Morceaux détachés d'Esmeralda:

Entracte, Récitatif et Romance, S.477a/1
- Approximate Duration: 3–4 minutes
- Description: A delicate and expressive arrangement of Quoi! lui (No.11), preserving its operatic pathos.
Air, S.477a/2
- Approximate Duration: 3–4 minutes
- Description: A flowing and lyrical piano transcription, extracted from La Esmeralda.
Scène et Trio, S.477a/3
- Approximate Duration: 4–5 minutes
- Description: A dramatic and dynamically rich adaptation of D’ici vous pourrez voir, sans être vu (No.10).

Die Rose (Lied von Franz Schubert), S.556/3

Approximate Duration: 3–4 minutes
Description: A poetic and refined third version of Liszt’s transcription of Schubert’s Die Rose, preserving its delicate phrasing and harmonic elegance.

Erlkönig (Lied von Franz Schubert), S.557a

Approximate Duration: 4–5 minutes
Description: A gripping and technically demanding transcription of Schubert’s Erlkönig, vividly portraying the galloping horse and dramatic vocal shifts.

Meeresstille (Lied von Franz Schubert), S.557b

Approximate Duration: 3–4 minutes
Description: A serene and atmospheric arrangement of Schubert’s Meeres Stille, capturing its stillness and depth with flowing arpeggios.

Frühlingsglaube (Lied von Franz Schubert), S.557c

Approximate Duration: 3–4 minutes
Description: A graceful and expressive transcription of Schubert’s Frühlingsglaube, with its tender melody and gentle accompaniment.

Ave Maria (Lied von Franz Schubert), S.557d

Approximate Duration: 5–6 minutes
Description: A reverent and harmonically rich piano arrangement of Schubert’s Ave Maria, showcasing Liszt’s ability to enhance sacred music’s depth.

La Sérénade de Franz Schubert, S.559a

Approximate Duration: 3–4 minutes
Description: A refined transcription of Ständchen from Schubert’s Schwanengesang, maintaining the original’s elegance and expressive warmth.

Marie-Poème, S.701b

Approximate Duration: Incomplete
Description: A fragmentary sketch of a poetic and lyrical work, hinting at Liszt’s expressive and introspective style.

Album Leaf ("Dante fragment"), S.701e

Approximate Duration: Incomplete
Description: A mysterious and unfinished sketch, possibly an early idea related to Après une lecture de Dante.

Album d'un voyageur, S.156 (I. Impressions et Poésies)

Approximate Duration: 40–45 minutes
Description: A collection of picturesque piano pieces inspired by Liszt’s travels, later serving as the foundation for Années de pèlerinage.

Selected Pieces from Album d'un voyageur (I. Impressions et Poésies)

Lyon, S.156/1
- Approximate Duration: 7–9 minutes
- Description: A bold and virtuosic piece depicting the restless energy of the city of Lyon.
Le lac de Wallenstadt, S.156/2a
- Approximate Duration: 4–6 minutes
- Description: A tranquil and flowing musical depiction of the rippling waters of Lake Wallenstadt.
Au bord d’une source, S.156/3
- Approximate Duration: 4–5 minutes
- Description: A delicate and shimmering piece evoking the gentle murmur of a spring.
Les cloches de Genève, S.156/4
- Approximate Duration: 5–6 minutes
- Description: A lyrical and nostalgic tribute to the bells of Geneva.
Vallée d’Obermann, S.156/5
- Approximate Duration: 10–12 minutes
- Description: A deeply introspective and dramatic work, capturing the sublime solitude of the Swiss Alps.
La chapelle de Guillaume Tell, S.156/6
- Approximate Duration: 5–7 minutes
- Description: A majestic and solemn tribute to Swiss hero William Tell.

Album d’un voyageur, S.156 (II. Fleurs mélodiques des Alpes)

Approximate Duration: 20–25 minutes
Description: A set of poetic musical sketches inspired by Alpine landscapes and melodies.

Selected Pieces from Album d’un voyageur (II. Fleurs mélodiques des Alpes)

(Allegro), S.156/8
- Approximate Duration: 3–4 minutes
- Description: A lively and exuberant miniature capturing the spirit of the mountains.
(Lento – Allegro vivace), S.156/9
- Approximate Duration: 4–5 minutes
- Description: A contrast between meditative calm and bright, rustic energy.
(Allegro pastorale), S.156/10
- Approximate Duration: 4–5 minutes
- Description: A charming and lighthearted evocation of Alpine pastures.

Hexaméron, S.392

Approximate Duration: 20–25 minutes
Description: A virtuosic set of variations on Bellini’s I puritani, featuring contributions from six composers, including Liszt, Chopin, and Thalberg.

Lieder von Franz Schubert (12), S.558

Approximate Duration: 40–50 minutes
Description: A masterful collection of Liszt’s piano transcriptions of Schubert’s most famous songs.

Selected Pieces from Lieder von Franz Schubert

Sei mir gegrüßt, S.558/1
- Approximate Duration: 4–5 minutes
- Description: A beautifully ornamented rendition of Schubert’s love song.
Auf dem Wasser zu singen, S.558/2
- Approximate Duration: 4–5 minutes
- Description: A fluid and rippling arrangement evoking the undulating motion of water.
Erlkönig, S.558/4
- Approximate Duration: 4–5 minutes
- Description: A thrilling and technically demanding setting of Schubert’s supernatural ballad.

Grand galop chromatique, S.219

Approximate Duration: 3–4 minutes
Description: A dazzling and high-speed showpiece filled with rapid chromatic runs and bravura passages.

Études d'exécution transcendante d'après Paganini, S.140

Approximate Duration: 25–30 minutes
Description: Liszt’s first version of his famous Paganini études, transforming violin virtuosity into pianistic brilliance.

Selected Pieces from Études d'exécution transcendante d'après Paganini

Tremolo, S.140/1
- Approximate Duration: 4–5 minutes
- Description: A dramatic étude featuring rapid, repeated notes and stormy intensity.
Campanella, S.140/3
- Approximate Duration: 4–5 minutes
- Description: A sparkling and playful depiction of bell-like sounds, based on Paganini’s La Campanella.

Nuits d'été à Pausilippe, S.399

Approximate Duration: 10–12 minutes
Description: A set of three transcriptions on themes from Donizetti’s Nuits d’été à Pausilippe, blending operatic lyricism with pianistic brilliance.

Selected Pieces from Nuits d’été à Pausilippe

Barcarola (Il barcajuolo), S.399/1
- Approximate Duration: 3–4 minutes
- Description: A gentle and flowing piece evoking a Venetian gondolier’s song.
Notturno (L’alito di Bice), S.399/2
- Approximate Duration: 4–5 minutes
- Description: A delicate and expressive nocturne filled with longing and tenderness.

Réminiscences des Huguenots, S.412/2

Approximate Duration: 15–18 minutes
Description: A virtuosic paraphrase on themes from Meyerbeer’s Les Huguenots, blending dramatic contrasts with dazzling pianistic effects.

Ouverture de Guillaume Tell, S.552

Approximate Duration: 10–12 minutes
Description: A grand and powerful transcription of Rossini’s William Tell Overture, capturing the opera’s heroic spirit and orchestral grandeur.

Die Rose, S.556/2

Approximate Duration: 3–4 minutes
Description: A lyrical and expressive transcription of Schubert’s song Die Rose, enhancing its melodic beauty with Liszt’s signature embellishments.

Lob der Tränen, S.557

Approximate Duration: 4–5 minutes
Description: A poetic and flowing transcription of Schubert’s Lob der Tränen, rich in emotional nuance and subtle pianistic colors.

Gondelfahrer, S.559

Approximate Duration: 3–4 minutes
Description: A serene and evocative arrangement of Schubert’s Gondelfahrer, evoking the calm waters and gentle rocking of a gondola.

Aufenthalt, S.560/3

Approximate Duration: 4–5 minutes
Description: A powerful and stormy transcription of Schubert’s Aufenthalt, conveying deep melancholy and turbulent emotion.

Ständchen, S.560/7

Approximate Duration: 4–5 minutes
Description: A tender and expressive transcription of Schubert’s famous Serenade, capturing the warmth and longing of the original.

Marie-Poème, S.701b

Approximate Duration: Incomplete
Description: A poetic fragment, hinting at Liszt’s lyrical and deeply expressive musical language.

Album Leaf ("Dante Fragment"), S.701e

Approximate Duration: Incomplete
Description: A mysterious and unfinished sketch, possibly an early idea related to Après une lecture de Dante.

Études d'exécution transcendante d'après Paganini, S.140

Approximate Duration: 25–30 minutes
Description: An earlier version of Liszt’s Paganini Études, incorporating themes from Paganini’s caprices and violin concertos.

Selected Pieces from Études d'exécution transcendante d'après Paganini

Tremolo, S.140/1
- Approximate Duration: 4–5 minutes
- Description: A dramatic étude featuring rapid, repeated notes and stormy intensity.
Campanella, S.140/3
- Approximate Duration: 4–5 minutes
- Description: A playful, bell-like étude, later refined into Liszt’s famous La Campanella.
Arpeggio, S.140/4a
- Approximate Duration: 4–5 minutes
- Description: A dazzling display of broken arpeggios, emphasizing fluidity and technical brilliance.
La chasse, S.140/5
- Approximate Duration: 4–5 minutes
- Description: A vibrant, hunting-inspired étude featuring rapid staccato leaps and lively energy.

Grand galop chromatique, S.219

Approximate Duration: 3–4 minutes
Description: A dazzling showpiece filled with rapid chromatic scales and bravura flourishes.

Nuits d’été à Pausilippe, S.399

Approximate Duration: 10–12 minutes
Description: A set of three operatic transcriptions based on Donizetti’s Nuits d’été à Pausilippe, blending lyricism with virtuosic flourishes.

Selected Pieces from Nuits d’été à Pausilippe

Barcarola (Il barcajuolo), S.399/1
- Approximate Duration: 3–4 minutes
- Description: A gentle and rippling piece evoking the movement of water.
Notturno (L’alito di Bice), S.399/2
- Approximate Duration: 4–5 minutes
- Description: A tender and expressive nocturne, filled with poetic longing.

Grand galop chromatique, S.616

Approximate Duration: 3–4 minutes
Description: A thrilling four-hand arrangement of Liszt’s Grand galop chromatique, amplifying the dazzling virtuosity and rapid-fire chromatic runs of the original.

Sposalizio, S.157a

Approximate Duration: 5–7 minutes
Description: Inspired by Raphael’s painting The Marriage of the Virgin, this piece features luminous textures and delicate arpeggios, evoking a sense of divine serenity.

Canzonetta del Salvator Rosa, S.157c

Approximate Duration: 3–5 minutes
Description: A lively and folk-like setting, this piece reflects Liszt’s admiration for Italian song, incorporating dance-like rhythms and lighthearted charm.

Soirées italiennes, S.411

Approximate Duration: 15–18 minutes (total)
Description: A set of six paraphrases based on Saverio Mercadante’s Soirées italiennes, blending operatic lyricism with Liszt’s signature pianistic flourishes.

La primavera (Canzonetta), S.411/1

Approximate Duration: 2–4 minutes
Description: A bright and elegant paraphrase, evoking the fresh and lighthearted character of Mercadante’s original canzonetta.

Il galop, S.411/2

Approximate Duration: 3–5 minutes
Description: A vivacious piece that captures the spirit of an energetic gallop, infused with dazzling piano textures.

Il pastore svizzero (Tirolese), S.411/3

Approximate Duration: 3–5 minutes
Description: A charming and pastoral work that evokes the idyllic Swiss Alps, with folk-like melodies and delicate ornamentation.

La serenata del marinaro, S.411/4

Approximate Duration: 3–5 minutes
Description: A gentle and lyrical paraphrase, reminiscent of an Italian serenade floating over calm waters.

Il Brindisi (Rondoletto), S.411/5

Approximate Duration: 4–6 minutes
Description: A festive and exuberant piece, filled with toasting melodies and joyous bravura.

La zingarella spagnuola (Bolero), S.411/6

Approximate Duration: 4–6 minutes
Description: A fiery bolero with Spanish rhythmic flair, showcasing Liszt’s affinity for exotic dance rhythms.

Mélodies hongroises d’après Franz Schubert, S.425

Approximate Duration: 8–12 minutes
Description: A Hungarian-inspired reworking of Schubert’s Divertissement à la hongroise, D.818, featuring bold rhythms and expressive ornamentation.

Andante, S.425/1

Approximate Duration: 3–5 minutes
Description: A lyrical and expressive adaptation of Schubert’s theme, imbued with Liszt’s harmonic sensitivity.

Marche hongroise, S.425/2a

Approximate Duration: 4–6 minutes
Description: A spirited and march-like piece that reflects the grandeur and nobility of Hungarian folk traditions.

Allegretto, S.425/3

Approximate Duration: 3–5 minutes
Description: A delicate and playful piece, showcasing Schubertian elegance through Liszt’s virtuosic lens.

Reminiscences de La Scala, S.458

Approximate Duration: 7–10 minutes
Description: A dramatic and operatic fantasia, drawing on themes from Saverio Mercadante’s Il giuramento with dazzling bravura passages.

Schwanengesang (Lieder von Franz Schubert), S.560

Approximate Duration: 18–22 minutes
Description: A deeply expressive transcription set of Schubert’s posthumous song cycle, preserving the vocal lines while enriching the textures.

Die Stadt, S.560/1

- Approximate Duration: 3–5 minutes
- Description: A hauntingly evocative transcription that captures the dark and restless atmosphere of Schubert’s original song.

Das Fischermädchen, S.560/2

- Approximate Duration: 2–4 minutes
- Description: A light and tender setting, mirroring the flowing grace of Schubert’s lyrical melody.

Am Meer, S.560/4

- Approximate Duration: 3–5 minutes
- Description: A melancholic transcription that retains the song’s wistful and introspective mood.

Abschied, S.560/5

- Approximate Duration: 2–4 minutes
- Description: A wistful yet charming farewell, enriched with Liszt’s expressive embellishments.

In der Ferne, S.560/6

- Approximate Duration: 3–5 minutes
- Description: A deeply melancholic transcription, preserving the song’s sense of longing and distance with Liszt’s expressive pianism.

Ihr Bild, S.560/8

- Approximate Duration: 3–5 minutes
- Description: A hauntingly introspective setting, capturing the sorrowful essence of Schubert’s original song.

Frühlingssehnsucht, S.560/9

- Approximate Duration: 3–5 minutes
- Description: A bright and hopeful transcription, infused with rippling arpeggios and uplifting harmonies.

Liebesbotschaft, S.560/10

- Approximate Duration: 2–4 minutes
- Description: A delicate and flowing piece, conveying the tender charm of Schubert’s love message.

Der Atlas, S.560/11

- Approximate Duration: 3–5 minutes
- Description: A dramatic and forceful adaptation, emphasizing the weight of fate and struggle in Schubert’s song.

Der Doppelgänger, S.560/12

- Approximate Duration: 4–6 minutes
- Description: A chilling and darkly atmospheric transcription, filled with ominous harmonies and brooding intensity.

Die Taubenpost, S.560/13

- Approximate Duration: 3–5 minutes
- Description: A charming and lyrical setting, reflecting the warmth and nostalgia of Schubert’s final song.

Kriegers Ahnung, S.560/14

- Approximate Duration: 3–5 minutes
- Description: A solemn and heroic transcription, capturing the song’s martial undertones and deep emotion.

Il penseroso, S.157b

Approximate Duration: 5–7 minutes
Description: A brooding and philosophical piece, infused with deep introspection and rich harmonic complexity.

Paralipomènes à la Divina Commedia (Fantaisie symphonique), S.158a

Approximate Duration: 8–12 minutes
Description: A dramatic early version of Après une lecture du Dante, filled with bold gestures and Dantean imagery.

Prolégomènes à la Divina Commedia (Fantaisie symphonique), S.158b

Approximate Duration: 8–12 minutes
Description: A second revision of Liszt’s Dante-inspired work, with expanded harmonic development and thematic complexity.

Après une lecture du Dante (Fantasia quasi Sonata), S.158c

Approximate Duration: 15–17 minutes
Description: A powerful and visionary work, depicting the journey through The Divine Comedy with fiery octaves and profound harmonic depth.

Album Leaf ("Pressburg"), S.163c

Approximate Duration: 2–4 minutes
Description: A brief and intimate piano sketch, offering a glimpse into Liszt’s improvisatory lyricism.

Album Leaf ("Lyon"), S.167s

Approximate Duration: 2–4 minutes
Description: A short and evocative character piece, reflecting Liszt’s memories of Lyon in a poetic miniature.

Valse mélancolique, S.210

Approximate Duration: 5–7 minutes
Description: A wistful waltz with a bittersweet melodic charm, blending graceful dance rhythms with moments of melancholic introspection.

Sposalizio (1st version), S.157a

Approximate Duration: 5–7 minutes
Description: A delicate and radiant meditation on Raphael’s painting, featuring ethereal arpeggios and a serene atmosphere.

Canzonetta del Salvator Rosa (1st version), S.157c

Approximate Duration: 3–5 minutes
Description: A lively and folk-like setting, full of rhythmic charm and playful ornamentation.

Hexaméron (Morceaux de concert), S.392

Approximate Duration: 15–18 minutes
Description: A brilliant collaborative set of variations on Bellini’s I Puritani march, featuring contributions from Chopin, Thalberg, and other composers.

Études d'exécution transcendante d'après Paganini, S.140

Approximate Duration: 25–30 minutes (total)
Description: A collection of six virtuosic études based on Paganini’s violin works, pushing pianistic technique to its limits.

Tremolo, S.140/1

- Approximate Duration: 4–6 minutes
- Description: A dazzling study in rapid repeated notes, inspired by Paganini’s violin technique, demanding precision and stamina.

Octave, S.140/2

- Approximate Duration: 3–5 minutes
- Description: A fiery and intense etude, testing the pianist’s ability to execute relentless octaves at high speed.

La Campanella, S.140/3

- Approximate Duration: 4–6 minutes
- Description: Based on Paganini’s famous La Campanella, this etude sparkles with bell-like high notes and playful virtuosity.

Arpeggio, S.140/4a & 4b

- Approximate Duration: 4–6 minutes
- Description: A fluid and sweeping etude, demanding flawless execution of rapid arpeggios across the keyboard.

La Chasse, S.140/5

- Approximate Duration: 3–5 minutes
- Description: A lively hunting-themed study, featuring rapid hand crossings and brilliant staccato effects.

Tema con Variazioni, S.140/6

- Approximate Duration: 5–7 minutes
- Description: A set of inventive variations on a theme from Paganini, exploring a range of pianistic textures and colors.

Grand Galop Chromatique, S.219

Approximate Duration: 3–5 minutes
Description: A breathtaking showpiece, featuring rapid chromatic scales and electrifying momentum.

Nuits d’été à Pausilippe (Barcarola), S.399/1

Approximate Duration: 4–6 minutes
Description: A delicate and flowing transcription, evoking the gentle rocking motion of a Venetian gondola.

Nuits d’été à Pausilippe (Notturno), S.399/2

Approximate Duration: 3–5 minutes
Description: A lyrical and dreamy nocturne, capturing Donizetti’s bel canto elegance.

Nuits d’été à Pausilippe (Canzone Napoletana), S.399/3

Approximate Duration: 3–5 minutes
Description: A spirited and dance-like setting, rich in Italian folk character and charm.

Réminiscences des Huguenots (2nd version), S.412/2

Approximate Duration: 12–15 minutes
Description: A dramatic and virtuosic fantasy on themes from Meyerbeer’s Les Huguenots, blending operatic grandeur with pianistic brilliance.

Ouverture de Guillaume Tell, S.552

Approximate Duration: 8–10 minutes
Description: A thrilling piano transcription of Rossini’s famous overture, brimming with orchestral colors and energy.

Die Rose (2nd version), S.556/2

Approximate Duration: 3–5 minutes
Description: A tender and lyrical transcription of Schubert’s song, enhanced with Liszt’s expressive embellishments.

Lob der Tränen, S.557

Approximate Duration: 3–5 minutes
Description: A poignant and delicate piano adaptation of Schubert’s song, full of wistful lyricism.

Gondelfahrer, S.559

Approximate Duration: 3–5 minutes
Description: A mysterious and atmospheric transcription, evoking the quiet stillness of a Venetian canal.

Aufenthalt, S.560/3

Approximate Duration: 3–5 minutes
Description: A dark and turbulent transcription, mirroring the restless longing of Schubert’s original song.

Ständchen, S.560/7

Approximate Duration: 3–5 minutes
Description: A graceful and intimate serenade, capturing the warmth and charm of Schubert’s melody.

Sposalizio (1st version), S.157a

Approximate Duration: 5–7 minutes
Description: A radiant and lyrical work inspired by Raphael’s Marriage of the Virgin, featuring delicate arpeggios and glowing harmonies.

Il penseroso (1st version), S.157b

Approximate Duration: 4–6 minutes
Description: A contemplative and introspective piece, with somber harmonies and a deeply poetic atmosphere.

Canzonetta del Salvator Rosa (1st version), S.157c

Approximate Duration: 3–5 minutes
Description: A charming and light-hearted adaptation of a Neapolitan song, filled with playful ornamentation.

Paralipomènes à la Divina Commedia (1st version), S.158a

Approximate Duration: 9–12 minutes
Description: An early vision of Liszt’s Dante Sonata, exploring dark harmonies and dramatic contrasts.

Prolégomènes à la Divina Commedia (2nd version), S.158b

Approximate Duration: 9–12 minutes
Description: A revised version, further refining Liszt’s dramatic depiction of Dante’s infernal journey.

Après une lecture du Dante (3rd version), S.158c

Approximate Duration: 15–18 minutes
Description: The final form of the Dante Sonata, a powerful musical interpretation of The Divine Comedy, filled with fiery virtuosity and haunting lyricism.

Album Leaf ("Pressburg"), S.163c

Approximate Duration: 1–2 minutes
Description: A brief yet expressive musical memento, capturing a fleeting lyrical idea.

Album Leaf ("Lyon"), S.167s

Approximate Duration: 1–2 minutes
Description: A delicate and spontaneous sketch, evoking a moment of inspiration.

Valse mélancolique (2nd version), S.210

Approximate Duration: 4–6 minutes
Description: A wistful and graceful waltz, blending elegance with gentle melancholy.

Soirées italiennes (6 pieces), S.411

Approximate Duration: 12–15 minutes
Description: A set of piano transcriptions based on Mercadante’s Soirées italiennes, featuring light and charming salon-style pieces.

La primavera (Canzonetta), S.411/1

- Approximate Duration: 2–3 minutes
- Description: A joyful and flowing melody, full of spring-like freshness.

Il galop, S.411/2

- Approximate Duration: 3–4 minutes
- Description: A lively and rhythmic piece, reminiscent of a spirited dance.

Il pastore svizzero (Tirolese), S.411/3

- Approximate Duration: 3–5 minutes
- Description: A pastoral and rustic theme, evoking the Alpine landscapes.

La serenata del marinaro, S.411/4

- Approximate Duration: 3–5 minutes
- Description: A gentle serenade with a swaying, songlike quality.

Il Brindisi (Rondoletto), S.411/5

- Approximate Duration: 3–5 minutes
- Description: A sparkling and virtuosic toast in musical form.

La zingarella spagnuola (Bolero), S.411/6

- Approximate Duration: 3–5 minutes
- Description: A fiery and rhythmically engaging bolero, inspired by Spanish dance.

Mélodies hongroises d'après Franz Schubert, S.425

Approximate Duration: 10–12 minutes
Description: A Hungarian-tinged adaptation of Schubert’s Divertissement à la hongroise, full of folk-inflected charm.

Andante (1st version), S.425/1

- Approximate Duration: 4–6 minutes
- Description: A warm and singing transcription, emphasizing Schubert’s lyrical beauty.

Marche hongroise (1st version), S.425/2a

- Approximate Duration: 3–5 minutes
- Description: A bold and rhythmic march, incorporating Hungarian folk elements.

Allegretto (1st version), S.425/3

- Approximate Duration: 3–5 minutes
- Description: A playful and elegant dance, infused with lightness and charm.

Réminiscences de La Scala, S.458

Approximate Duration: 10–12 minutes
Description: A virtuosic fantasy incorporating themes from Il giuramento by Mercadante, blending operatic drama with pianistic brilliance.

Schwanengesang (Lieder von Franz Schubert), S.560

Approximate Duration: 25–30 minutes
Description: A masterful transcription of Schubert’s posthumous song cycle Schwanengesang, showcasing Liszt’s ability to enhance vocal lyricism with pianistic depth.

Die Stadt, S.560/1

- Approximate Duration: 3–5 minutes
- Description: A haunting and atmospheric piece, evoking a sense of longing and mystery.

Das Fischermädchen, S.560/2

- Approximate Duration: 2–4 minutes
- Description: A gentle and flowing melody, embodying the simplicity of Schubert’s original.

Am Meer, S.560/4

- Approximate Duration: 3–5 minutes
- Description: A melancholic and evocative setting, capturing the sorrow of the original lied.

Abschied, S.560/5

Approximate Duration: 3–5 minutes
Description: A bittersweet farewell, blending Schubert’s vocal writing with Liszt’s harmonic textures.

In der Ferne, S.560/6

Approximate Duration: 3–5 minutes
Description: A deeply expressive and introspective transcription, exploring themes of solitude.

Ihr Bild, S.560/8

Approximate Duration: 3–5 minutes
Description: A delicate and sorrowful adaptation, conveying loss and remembrance.

Frühlingssehnsucht, S.560/9

Approximate Duration: 3–5 minutes
Description: A lively and hopeful transcription, capturing the spirit of spring longing.

Liebesbotschaft, S.560/10

Approximate Duration: 3–5 minutes
Description: A flowing and tender piece, enhancing the original song’s warmth.

Der Atlas, S.560/11

Approximate Duration: 3–5 minutes
Description: A dramatic and forceful transcription, filled with weighty harmonies.

Der Doppelgänger, S.560/12

Approximate Duration: 3–5 minutes
Description: A chilling and ghostly rendition, reflecting themes of despair and identity.

Die Taubenpost, S.560/13

Approximate Duration: 3–5 minutes
Description: A lighthearted and lyrical adaptation of Schubert’s final song.

Kriegers Ahnung, S.560/14

Approximate Duration: 3–5 minutes
Description: A somber and contemplative transcription, evoking a soldier’s foreboding thoughts.

Sposalizio (1st version), S.157a

Approximate Duration: 5–7 minutes
Description: An early version of Sposalizio, inspired by Raphael’s painting, featuring delicate and ethereal textures.

Il penseroso (1st version), S.157b

Approximate Duration: 4–6 minutes
Description: A contemplative work with a meditative and philosophical character.

Paralipomènes à la Divina Commedia (Fantaisie symphonique) (1st version), S.158a

Approximate Duration: 9–12 minutes
Description: An early exploration of Dante’s themes, full of Liszt’s signature chromaticism and drama.

Prolégomènes à la Divina Commedia (2nd version), S.158b

Approximate Duration: 9–12 minutes
Description: A revision of Liszt’s initial Dante-inspired work, with enhanced structural clarity.

Après une lecture du Dante (Fantasia quasi Sonata) (3rd version), S.158c

Approximate Duration: 15–18 minutes
Description: The final and most elaborate version of Liszt’s Dante Sonata, rich in virtuosic passages and infernal imagery.

Album Leaf ("Pressburg"), S.163c

Approximate Duration: 1–2 minutes
Description: A fleeting yet expressive sketch, capturing a spontaneous moment of inspiration.

Album Leaf ("Lyon"), S.167s

Approximate Duration: 1–2 minutes
Description: A brief but evocative vignette, reflecting Liszt’s lyrical side.

Valse mélancolique, S.210

Approximate Duration: 4–6 minutes
Description: A wistful and elegant waltz with a flowing, melancholic charm, showcasing Liszt’s gift for expressive rubato.

Fantasie über Themen aus Beethovens Ruinen von Athen, S.388b

Approximate Duration: 10–12 minutes
Description: A dramatic and virtuosic paraphrase based on Beethoven’s Die Ruinen von Athen, blending orchestral grandeur with pianistic brilliance.

Adelaide von Beethoven, S.466a

Approximate Duration: 4–6 minutes
Description: A lyrical transcription of Beethoven’s famous song Adelaide, preserving its vocal expressivity and delicate phrasing.

Winterreise (12 Lieder von Franz Schubert), S.561

Approximate Duration: 30–35 minutes
Description: A set of twelve masterful transcriptions from Schubert’s Winterreise, maintaining the melancholic and deeply expressive character of the original song cycle.

Gute Nacht, S.561/1

Approximate Duration: 4–6 minutes
Description: A sorrowful and reflective transcription of Schubert’s song, capturing the lonely traveler’s sense of resignation.

Die Nebensonnen, S.561/2

Approximate Duration: 3–5 minutes
Description: A haunting adaptation of Schubert’s song, evoking the eerie imagery of ghostly suns in the sky.

Mut!, S.561/3

Approximate Duration: 2–4 minutes
Description: A bold and defiant piece, mirroring the determined spirit of the original song.

Die Post, S.561/4

Approximate Duration: 3–5 minutes
Description: A lively and rhythmic transcription that mimics the galloping of a post carriage, full of anticipation.

Erstarrung, S.561/5

Approximate Duration: 4–6 minutes
Description: A turbulent and intensely emotional transcription that vividly depicts the protagonist’s frozen grief.

Wasserflut, S.561/6

Approximate Duration: 3–5 minutes
Description: A flowing and melancholic setting that evokes the imagery of icy waters carrying away sorrow.

Der Lindenbaum, S.561/7

Approximate Duration: 4–6 minutes
Description: One of Liszt’s most famous Schubert transcriptions, capturing the wistful longing of the original song.

Der Leiermann, S.561/8

Approximate Duration: 4–5 minutes
Description: A bleak and hypnotic transcription that conveys the eerie, desolate atmosphere of Schubert’s original.

Täuschung, S.561/9

Approximate Duration: 2–4 minutes
Description: A bittersweet miniature, highlighting the contrast between fleeting hope and inevitable sorrow.

Das Wirtshaus, S.561/10

Approximate Duration: 4–6 minutes
Description: A solemn and hymn-like adaptation, portraying the song’s theme of resignation to fate.

Der stürmische Morgen, S.561/11

Approximate Duration: 2–3 minutes
Description: A brief yet intense storm of notes, reflecting the tumultuous imagery of the song.

Im Dorfe, S.561/12

Approximate Duration: 3–5 minutes
Description: A mysterious and atmospheric transcription, capturing the restless murmurs of a sleeping village.

Valse élégiaque, S.731

Approximate Duration: 4–6 minutes
Description: A wistful and graceful waltz, blending subtle melancholy with refined elegance.

Magyar dalok (Ungarische Nationalmelodien), S.242

Approximate Duration: 25–30 minutes (set)
Description: A collection of Hungarian national melodies, showcasing Liszt’s deep affinity for folk traditions.

Rákóczi-Marsch, S.242a

Approximate Duration: 4–6 minutes
Description: A fiery and patriotic march based on Hungary’s most famous national tune, later developed into several versions.

Fantaisie sur des thèmes de Maometto et Mose, S.751

Approximate Duration: 9–11 minutes
Description: A dramatic paraphrase on themes from Rossini’s Maometto Secondo and Mosè in Egitto, full of operatic grandeur.

Concerto sans orchestre, S.524a

Approximate Duration: 12–14 minutes
Description: An unfinished work originally conceived as a concerto but for solo piano, filled with bravura passages.

Fantaisie sur des motifs favoris de l'opéra Lucrezia Borgia, S.399a

Approximate Duration: 9–11 minutes
Description: A virtuosic and dramatic paraphrase on themes from Donizetti’s Lucrezia Borgia, highlighting Liszt’s flair for operatic transcription.

Grande fantaisie sur des motifs de La serenata e L'orgia des Soirées musicales, S.422/2

Approximate Duration: 8–10 minutes
Description: A second version of Liszt’s paraphrase on Rossini’s Soirées musicales, rich in Italianate lyricism and dazzling pianistic flourishes.

Marche hongroise, S.425/2b

Approximate Duration: 5–7 minutes
Description: The second version of Liszt’s transcription of Schubert’s Divertissement à la hongroise, intensifying the rhythmic vigor and Hungarian character.

Marche hongroise, S.425/2c

Approximate Duration: 5–7 minutes
Description: A refined third version of the same march, with subtle variations in phrasing and dynamics.

Freischütz Fantasie, S.451

Approximate Duration: 10–12 minutes
Description: A bold and expressive paraphrase on themes from Weber’s Der Freischütz, capturing its supernatural drama and folk-inspired melodies.

Grand septuor de Beethoven, S.465

Approximate Duration: 12–15 minutes
Description: A virtuosic solo piano transcription of Beethoven’s Septet, Op.20, also arranged for piano four hands.

Beethovens geistliche Lieder von Gellert, S.467

Approximate Duration: 15–18 minutes (total cycle)
Description: Transcriptions of Beethoven’s Op.48 songs, emphasizing their lyrical and devotional qualities.

Gottes Macht und Vorsehung, S.467/1

Approximate Duration: 3–4 minutes
Description: A reverent transcription of Beethoven’s setting of Gellert’s poem, preserving its spiritual depth.

Bitten, S.467/2

Approximate Duration: 2–3 minutes
Description: A delicate and introspective arrangement of Beethoven’s prayer-like song.

Bußlied, S.467/3

Approximate Duration: 4–5 minutes
Description: A deeply expressive piece reflecting themes of repentance and redemption.

Vom Tode, S.467/4

Approximate Duration: 3–4 minutes
Description: A solemn and meditative transcription exploring themes of mortality.

Die Liebe des Nächsten, S.467/5

Approximate Duration: 2–3 minutes
Description: A tender and lyrical setting, highlighting Beethoven’s humanistic themes.

Die Ehre Gottes aus der Natur, S.467/6

Approximate Duration: 3–4 minutes
Description: A bright and celebratory transcription, emphasizing Beethoven’s uplifting melodic writing.

Die Zelle im Nonnenwerth, S.534/1

Approximate Duration: 5–7 minutes
Description: A nostalgic and poetic transcription of Liszt’s own song, evoking a sense of longing.

Mendelssohns Lieder, S.547

Approximate Duration: 15–18 minutes (total cycle)
Description: Liszt’s transcriptions of Mendelssohn’s most beloved Lieder, capturing their charm and elegance.

Auf Flügeln des Gesanges, S.547/1

Approximate Duration: 3–4 minutes
Description: A graceful and flowing arrangement of Mendelssohn’s famous song On Wings of Song.

Sonntagslied, S.547/2

Approximate Duration: 2–3 minutes
Description: A delicate and introspective transcription, preserving the song’s simple beauty.

Reiselied, S.547/3

Approximate Duration: 3–4 minutes
Description: A lively and rhythmically engaging adaptation of Mendelssohn’s Song of Travel.

Neue Liebe, S.547/4

Approximate Duration: 3–4 minutes
Description: A bright and effervescent transcription, highlighting Mendelssohn’s lyrical genius.

Frühlingslied, S.547/5

Approximate Duration: 3–4 minutes
Description: A joyful and lighthearted arrangement of Mendelssohn’s Spring Song.

Winterlied (Chant d'hiver), S.547/6

Approximate Duration: 3–4 minutes
Description: A warm yet melancholic transcription of Mendelssohn’s winter-themed song, balancing intimacy and grandeur.

Suleika, S.547/7

Approximate Duration: 3–4 minutes
Description: A tender and expressive setting of Mendelssohn’s Suleika, showcasing Liszt’s sensitivity to song transcriptions.

Franz Schuberts geistliche Lieder, S.562

Approximate Duration: 12–15 minutes (total cycle)
Description: A collection of Liszt’s transcriptions of Schubert’s sacred songs, emphasizing their devotional and lyrical beauty.

Litaney, S.562/1

Approximate Duration: 4–5 minutes
Description: A deeply reverent transcription of Schubert’s Am Tage Aller Seelen, preserving its solemn atmosphere.

Himmelsfunken, S.562/2

Approximate Duration: 3–4 minutes
Description: A bright and flowing adaptation, maintaining the spiritual depth of Schubert’s original.

Die Gestirne, S.562/3

Approximate Duration: 3–4 minutes
Description: A delicate transcription of Schubert’s song about celestial wonders, evoking a sense of serenity.

Hymne, S.562/4

Approximate Duration: 4–5 minutes
Description: A powerful and expressive arrangement of Schubert’s hymn from Rosamunde, with rich harmonic depth.

Barcarole vénitienne de Pantaleoni, S.684

Approximate Duration: 4–6 minutes
Description: A lyrical arrangement of Luigi Pantaleoni’s Venetian barcarolle, this piece captures the gentle rocking motion and serene atmosphere of a gondola ride through Venice. The flowing melody and delicate accompaniment reflect Liszt’s sensitivity to vocal phrasing in his transcriptions.

Three Album Leaves ("Magyar"), S.164e

Approximate Duration: 2–4 minutes each
Description: A set of three short Hungarian-inspired pieces, these album leaves exhibit folk-like melodies and dance rhythms characteristic of Liszt’s early fascination with Magyar themes. They offer brief yet expressive musical sketches rich in national character.

Introduction et Polonaise de l'opéra I puritani, S.391

Approximate Duration: 10–12 minutes
Description: Based on themes from Bellini’s I Puritani, this work features an operatic introduction followed by a dazzling polonaise. Combining bel canto lyricism with Liszt’s virtuosic pianism, it transforms the operatic material into a concert showpiece.

Ungarische Nationalmelodien (3), S.243

Approximate Duration: 8–12 minutes
Description: A collection of three Hungarian-themed piano works that celebrate the rich folk traditions of Hungary. These pieces incorporate lively rhythms, ornamental flourishes, and improvisatory elements that reflect Liszt’s deep connection to Hungarian musical heritage.

Harmonies poétiques et religieuses, S.172a

Approximate Duration: 50–60 minutes (full set)
Description: An early version of Liszt’s deeply spiritual cycle, blending poetic introspection with religious devotion. This set explores themes of faith, mortality, and transcendence, later refined into the S.173 version.

Elevez-vous voix, S.172a/1

Approximate Duration: 3–5 minutes
Description: A solemn and uplifting prayer-like work in E major, evoking a call for spiritual elevation. This piece evolved into Invocation in later versions.

Hymne de la nuit, S.172a/2

Approximate Duration: 4–6 minutes
Description: A meditative nocturnal hymn filled with serenity and celestial calm. It serves as the first version of Hymne de l’enfant à son réveil.

Hymne du matin, S.172a/3

Approximate Duration: 5–7 minutes
Description: A radiant morning hymn in B major, symbolizing renewal and spiritual awakening. Its flowing melody and luminous harmonies foreshadow later revisions.

Litanies de Marie, S.172a/4

Approximate Duration: 4–6 minutes
Description: A reverent piece filled with chant-like invocations and gentle harmonies. It later evolved into Liszt’s settings of Ave Maria and Litanies de Marie.

Miserere, S.172a/5

Approximate Duration: 6–8 minutes
Description: A deeply sorrowful yet noble lament in E minor, featuring chant-like phrases and dramatic climaxes. This piece anticipates the Miserere from Harmonies poétiques et religieuses (S.173).

Pater Noster, S.172a/6

Approximate Duration: 3–5 minutes
Description: A solemn and reverent setting of the Our Father, reflecting Liszt’s liturgical influences. It was later arranged for mixed choir.

Hymne de l’enfant à son réveil, S.172a/7

Approximate Duration: 3–4 minutes
Description: A delicate and serene morning prayer, capturing childlike innocence and spiritual tranquility. This is the second version of an earlier sketch.

Prose des morts (De profundis), S.172a/8

Approximate Duration: 7–9 minutes
Description: A somber and dramatic setting of De profundis, contemplating mortality and redemption. This is an early attempt at a theme later refined in Funérailles.

La lampe du temple, S.172a/9

Approximate Duration: 4–6 minutes
Description: A meditative, temple-inspired piece that evokes an atmosphere of sacred solitude. The harmonies suggest flickering candlelight and quiet devotion.

[Hymn], S.172a/10

Approximate Duration: Unknown (lost)
Description: A missing work from Harmonies poétiques et religieuses, its thematic material remains unidentified.

Benediction (Prelude), S.172a/11

Approximate Duration: 6–8 minutes
Description: A lyrical and serene prelude that foreshadows Bénédiction de Dieu dans la solitude. This piece embodies tranquility and divine inspiration.

Ave Maria, S.172a/12

Approximate Duration: Unknown (lost)
Description: An early version of Liszt’s Ave Maria, which later took multiple forms in his sacred works.

Miniatur Lieder, S.167b

Approximate Duration: Unknown
Description: A collection of short, lyrical piano pieces likely intended as character sketches. The manuscript remains in a private collection.

Valse mélancolique, S.210a

Approximate Duration: 5–7 minutes
Description: A wistful and elegant waltz in E major, blending refined dance rhythms with a sense of melancholy.

Grand galop chromatique, S.219a

Approximate Duration: 4–6 minutes
Description: A simplified version of Liszt’s dazzling Grand Galop Chromatique, retaining its bravura and flair but making it more accessible to pianists.

Marches dans le genre hongrois, S.693

Approximate Duration: Unknown (unfinished)
Description: Two incomplete sketches of Hungarian-style marches, possibly experiments in rhythm and folk influences.

Album Leaf, S.166l/1

Approximate Duration: 1–2 minutes
Description: A delicate and introspective piano sketch in A♭ major, likely a musical thought captured spontaneously.

Album Leaf, S.166l/2

Approximate Duration: 1–2 minutes
Description: A brief but expressive piece in G minor, embodying Liszt’s improvisatory style and harmonic richness.

Adagio, S.158d

Approximate Duration: Unknown (fragment)
Description: A serene and lyrical fragment in C major, possibly related to Après une lecture du Dante (S.158c). Its origins remain uncertain, and it may have been previously cataloged as S.998.

Album Leaf ("Detmold"), S.164d

Approximate Duration: 1–2 minutes
Description: A brief and elegant musical sketch in E major, likely composed during Liszt’s stay in Detmold. It exhibits his characteristic lyrical touch.

Album Leaf ("Magyar"), S.164e/3

Approximate Duration: 1–2 minutes
Description: A short, folk-inspired piece in D♭ major, reflecting Liszt’s fascination with Hungarian themes. It serves as an additional variation on his Magyar-inspired sketches.

Album Leaf ("Rákóczi-Marsch"), S.164f

Approximate Duration: 2–3 minutes
Description: A second version of Rákóczi-Marsch (S.242a), this miniature captures the Hungarian march’s bold spirit in a more compact, intimate form.

Fantaisie sur des motifs favoris de l'opéra La sonnambula, S.393/1

Approximate Duration: 12–14 minutes
Description: A virtuosic paraphrase on themes from Bellini’s La sonnambula, this first version of Liszt’s later S.393/2 and S.393/3 captures the opera’s dreamlike lyricism and dramatic fervor.

Réminiscences de Norma, S.394

Approximate Duration: 15–17 minutes
Description: A brilliant and expansive fantasia on themes from Bellini’s Norma, showcasing Liszt’s ability to transform operatic material into dazzling piano fireworks. Also arranged for two pianos as S.655.

Réminiscences de Robert le diable, S.413

Approximate Duration: 14–16 minutes
Description: A dramatic and infernal paraphrase based on the Valse infernale and Air de ballet from Meyerbeer’s Robert le diable, highlighting Liszt’s theatrical flair. Later arranged for piano four hands as S.630.

Le moine (Meyerbeer), S.416

Approximate Duration: 5–7 minutes
Description: A solemn and contemplative piano transcription of a song by Meyerbeer, emphasizing dark harmonies and an introspective mood.

Réminiscences de Don Juan (Grande fantaisie), S.418

Approximate Duration: 17–20 minutes
Description: A grand operatic fantasy on themes from Mozart’s Don Giovanni, featuring the Champagne Aria, Là ci darem la mano, and the dramatic Commendatore scene. Also arranged for two pianos as S.656.

Adelaide (Beethoven), S.466b

Approximate Duration: 4–6 minutes
Description: A refined second version of Liszt’s transcription of Beethoven’s Adelaide, Op.46, preserving the song’s intimate and expressive character.

Élégie (Die Zelle im Nonnenwerth), S.534/2

Approximate Duration: 4–5 minutes
Description: A tender and melancholic transcription of Die Zelle im Nonnenwerth (S.301b/1), evoking a deep sense of nostalgia and poetic reflection.

Fantaisie sur des thèmes de l'opéra Guitarrero, S.743a

Approximate Duration: Unknown (lost work)
Description: A paraphrase based on themes from Fromental Halévy’s opera Guitarrero. The work is now lost, but it likely followed Liszt’s tradition of virtuosic operatic fantasies.

Cavatine de Robert le diable, S.412a

Approximate Duration: 4–6 minutes
Description: A lyrical paraphrase based on Isabella’s cavatina from Meyerbeer’s opera Robert le diable. This arrangement captures the operatic elegance and expressiveness of the original aria while incorporating Liszt’s pianistic brilliance.

God Save the Queen (Paraphrase de concert), S.235

Approximate Duration: 4–5 minutes
Description: A virtuosic paraphrase on the British national anthem, featuring bold harmonic progressions and dazzling variations. This earlier version was later revised as S.694, showcasing Liszt’s ability to transform simple melodies into grand concert pieces.

Album Leaf ("Glasgow fragment"), S.701f

Approximate Duration: Unknown (unfinished)
Description: A brief, incomplete sketch that provides insight into Liszt’s compositional process. The piece remains an enigmatic fragment, possibly conceived during his travels.

Valse infernale (from Robert le diable), S.701h/1

Approximate Duration: Unknown (unfinished)
Description: An unfinished paraphrase on the famous Valse infernale from Meyerbeer’s opera Robert le diable. While incomplete, it hints at Liszt’s intention to create a dramatic and technically challenging transcription.

Album Leaf ("Berlin Preludio"), S.164g

Approximate Duration: 1–2 minutes
Description: A brief, introspective piano piece showcasing Liszt’s delicate phrasing and harmonic subtlety. Likely composed as an impromptu musical idea during his time in Berlin.

Album Leaf ("Preludio"), S.164j

Approximate Duration: 1–2 minutes
Description: A short prelude with lyrical and improvisatory qualities. Reflects Liszt’s fondness for spontaneous musical sketches.

Album Leaf ("Moderato in D♭ major"), S.164k

Approximate Duration: 1–2 minutes
Description: A serene and expressive miniature featuring Liszt’s signature harmonic color. A contemplative work, possibly intended as a prelude or étude fragment.

Albumblatt in Walzerform, S.166

Approximate Duration: 2–3 minutes
Description: A charming waltz-like album leaf in A major, blending elegance and fluidity. Displays a light, dance-like character typical of Liszt’s salon music.

Album Leaf ("Allegretto in A major"), S.167n

Approximate Duration: 1–2 minutes
Description: A delicate and graceful piece in A major, capturing a spontaneous and intimate musical thought. Its gentle motion suggests a lyrical character piece.

Ave Maria, S.173/2

Approximate Duration: 3–4 minutes
Description: A deeply expressive setting of Ave Maria in B♭ major, characterized by reverent lyricism. This is the second version, evolving from its earlier form (S.172a/12).

Petite valse favorite (Souvenir de St Pétersbourg), S.212i

Approximate Duration: 3–4 minutes
Description: A lighthearted and elegant waltz, capturing the charm of St. Petersburg. This early version later evolved into S.212ii.

Valse pour Marie (Mariotte), S.212a

Approximate Duration: 3–4 minutes
Description: A sentimental and graceful waltz, possibly dedicated to a personal acquaintance. Combines delicate ornamentation with a flowing melody.

Seconde marche hongroise (Ungarischer Sturmmarsch), S.232

Approximate Duration: 4–5 minutes
Description: A bold and rhythmic Hungarian march, full of fiery energy. The first version of what would later become S.119.

Canzone Napolitana (Notturno), S.248i

Approximate Duration: 3–4 minutes
Description: A nocturne infused with Neapolitan song influences, rich in expressive lyricism. This version precedes the refined S.248ii.

Le rossignol (Air russe d'Alexander Alabieff), S.249d

Approximate Duration: 4–5 minutes
Description: A virtuosic arrangement of Alexander Alyabyev’s The Nightingale, emphasizing Liszt’s delicate filigree and flowing embellishments. This first version later became S.250/1.

Mélodies russes (Arabesques), S.250

Approximate Duration: 6–7 minutes (total)
Description: A pair of piano pieces based on Russian folk melodies, highlighting Liszt’s fascination with national themes.

Le rossignol (Romance de Alexandr Alexandrovitch Alabieff), S.250/1

Approximate Duration: 4–5 minutes
Description: The second version of Liszt’s arrangement of Alyabyev’s The Nightingale, refined from S.249d. A highly ornamental and lyrical showcase.

Chanson bohémienne (de Piotr Petrovitch Boulakhov), S.250/2

Approximate Duration: 3–4 minutes
Description: A vibrant and folk-inspired piece based on a song by Pyotr Bulakhov. Features dance-like rhythms and colorful harmonies.

Souvenir de La Fiancée (Grande fantaisie sur la tyrolienne de l'opéra La Fiancée d'Auber) S.385iii

Year: 1842
Description: The third version of Liszt’s fantasy on a tyrolean theme from Daniel Auber’s opera La Fiancée, reworking material previously found in S.385/1 and S.385/2. Features virtuosic embellishments and dramatic contrasts.

Valse a capriccio (sur deux motifs de Lucia et Parisina) S.401

Year: 1842
Description: A playful and brilliant waltz-based paraphrase incorporating themes from Gaetano Donizetti’s operas Parisina and Lucia di Lammermoor. This early version later evolved into S.214/3.

Grande fantaisie dramatique sur des thèmes de l'opéra Les Huguenots S.412/3

Year: 1842
Description: The third version of Liszt’s highly dramatic and virtuosic fantasy based on Giacomo Meyerbeer’s opera Les Huguenots. A grand-scale work showcasing Liszt’s command of operatic themes for the piano.

Die Gräberinsel (Lied von Ernst, Herzog zu Sachsen-Coburg-Gotha) S.485b

Year: 1842
Description: A transcription of Die Gräberinsel, a song by Ernst II, Duke of Saxe-Coburg-Gotha. This arrangement maintains the melancholic and lyrical character of the original while adding Lisztian embellishments.

I Love (Romanze von Wielhorski) S.577/1

Year: 1842
Description: A second version of Liszt’s transcription of I Love, a romance by Michał Wielhorski. Also related to later versions (S.577/2, S.577bis, and S.577ter). Features a delicate and expressive melodic line.

Fantasie über Themen aus Mozarts Figaro und Don Giovanni S.697

Year: 1842
Description: An ambitious but incomplete fantasy incorporating themes from Mozart’s operas Le nozze di Figaro and Don Giovanni. The piece was later completed by Ferruccio Busoni and Leslie Howard.

Élégie sur des motifs du Prince Louis Ferdinand de Prusse S.168/1

Key: A♭ major
Year: 1842–43
Description: The first version of Liszt’s elegy inspired by motifs attributed to Prince Louis Ferdinand of Prussia. This piece embodies a deeply expressive and lyrical character, later revised as S.168/2.

Preludes and Fugues by J. S. Bach S.462 (6 Transcriptions)

Year: 1842–50
Description: Liszt's transcription of six Preludes and Fugues by Johann Sebastian Bach, showcasing his deep admiration for the Baroque master and his efforts to bring organ repertoire into the piano realm.

S.462/1 - Präludium und Fuge in A minor (BWV 543)
S.462/2 - Präludium und Fuge in C major (BWV 545)
S.462/3 - Präludium und Fuge in C minor (BWV 546)
S.462/4 - Präludium und Fuge in C major (BWV 547)
S.462/5 - Präludium und Fuge in E minor (BWV 548)
S.462/6 - Präludium und Fuge in B minor (BWV 544)

Autrefois (Romance du Comte Mikaïl Yourievitch Wielhorsky) S.577bis

Year: 1842?
Description: The first version of Liszt’s arrangement of Autrefois, a romance by Count Michał Wielhorski. This work was later revised as S.577ter, S.577/1, and S.577/2, reflecting Liszt’s continuous refinement of his transcriptions.

Quasi Mazurka, S.157d

Approximate Duration: Not specified
Description: A characterful piece in the style of a mazurka, composed for solo piano in 1843.

Album Leaf ("Quasi mazurek in C major"), S.163e

Approximate Duration: Not specified
Description: A short, lyrical piano work in C major, reflecting Liszt’s intimate and improvisatory style.

Album Leaf, S.166a

Approximate Duration: Not specified
Description: A delicate piece in E major for solo piano, composed in 1843. Possibly a cataloguing mistake or an earlier version of another work.

Ländler, S.211

Approximate Duration: Not specified
Description: A lively and elegant dance piece in A♭ major, showcasing Liszt’s interpretation of the traditional Ländler form.

Petite valse favorite (Souvenir de St Pétersbourg), S.212ii

Approximate Duration: Not specified
Description: A refined and charming waltz composed in 1843, this is the second version of S.212i.

Gaudeamus igitur (Chanson des étudiants), S.240

Approximate Duration: Not specified
Description: A piano setting based on the famous student song "Gaudeamus igitur," composed in 1843. Exists in two versions.

Tempo giusto, S.243/1

Approximate Duration: Not specified
Description: A piano piece in D major, composed in 1843. This is the second version of S.242/5 and S.243/1a.

Animato, S.243/2

Approximate Duration: Not specified
Description: A piano work in C♯ major, composed in 1843. This is the second version of S.242/4 and S.243/2a.

Prélude (Allegretto), S.243/3

Approximate Duration: Not specified
Description: A prelude in B♭ major for solo piano, written in 1843. This is the second version of S.242/11 and S.243/3a.

Mélodie polonaise, S.249a

Approximate Duration: Not specified
Description: A piece inspired by Polish melodies, composed in 1843 for solo piano.

Marcia Circassa tratta dall'opera Russlan e Ludmilla di Glinka, S.406/1

Approximate Duration: Not specified
Description: A piano arrangement from 1843 of Chernomor's March (Act IV, No. 19) from Mikhail Glinka's opera Ruslan and Lyudmila. This is the first version of S.406/2.

Russischer Galop, S.478

Approximate Duration: Not specified
Description: A piano transcription from 1843 of the song "You Will Not Believe" by Pyotr Bulakhov.

Buch der Lieder I (6), S.531

Approximate Duration: Not specified
Description: A collection of six piano transcriptions from 1843, based on various solo songs.
- Die Loreley, S.531/1
- - Approximate Duration: Not specified
  - Description: A piano transcription of S.273/1.
- Am Rhein in schönen Strome, S.531/2
- - Approximate Duration: Not specified
  - Description: A piano transcription of S.272/1.
- Kennst du das Land, S.531/3
- - Approximate Duration: Not specified
  - Description: A piano transcription of S.275/1.
- Es war ein König in Thule, S.531/4
- - Approximate Duration: Not specified
  - Description: A piano transcription of S.278/1.
- Der du von dem Himmel bist, S.531/5
- - Approximate Duration: Not specified
  - Description: A piano transcription of S.279/1.
- Angiolin, S.531/6
- - Approximate Duration: Not specified
  - Description: A piano transcription of S.269/1.

Il m'aimait tant!, S.533

Approximate Duration: Not specified
Description: A piano transcription from 1843 of S.271.

Autrefois (Romance du Comte Mikaïl Yourievitch Wielhorsky), S.577/2

Approximate Duration: Not specified
Description: A piano transcription from 1843, this is the fourth version of S.577/1, S.577bis, and S.577ter.

Klavierstück, S.695

Approximate Duration: Not specified
Description: An unfinished piano piece in F major from 1843.

Variations sur le Carnaval de Venise, S.700

Approximate Duration: Not specified
Description: An unfinished piano work from 1843, based on Il carnevale di Venezia, Op.10 by Niccolò Paganini.

Dom Sebastien (Paraphrase de concert), S.744

Approximate Duration: Not specified
Description: A piano arrangement from 1843–44? based on themes from Act IV of the opera Dom Sebastien by Theodor Kullak; this work is considered lost.

Sonetti di Petrarca (3), S.158

Approximate Duration: Approximately 19 minutes in total
Description: A set of three piano pieces composed between 1843 and 1846, inspired by the sonnets of Petrarch. These are arrangements of S.270a.
- Sonetto XLVII ("Benedetto sia il giorno"), S.158/1
- - Approximate Duration: Approximately 6 minutes
  - Description: A piano piece in D♭ major, composed between 1843 and 1846. This is an arrangement of S.270a/2 and the first version of S.161/4.
- Sonetto CIV ("Pace non trovo"), S.158/2
- - Approximate Duration: Approximately 6 minutes and 30 seconds
  - Description: A piano piece in E major, composed between 1843 and 1846. This is an arrangement of S.270a/1 and the first version of S.161/5.
- Sonetto CXXIII ("I' vidi in terra"), S.158/3
- - Approximate Duration: Approximately 6 minutes and 30 seconds
  - Description: A piano piece in A♭ major, composed between 1843 and 1846. This is an arrangement of S.270a/3 and the first version of S.161/6.

Tscherkessenmarsch aus Glinkas Oper Rußlan und Ludmilla, S.406/2

Approximate Duration: Not specified
Description: A piano arrangement by Franz Liszt, based on the "Tscherkessenmarsch" from Mikhail Glinka's opera Ruslan and Ludmila. This is the second version of S.406/1, composed in 1843 and revised in 1875. Additionally, Liszt arranged this piece for piano four hands as S.629.

Grande fantaisie sur la tyrolienne de l'opéra La fiancée de Auber, S.385ii

Approximate Duration: Approximately 12 to 15 minutes
Description: A piano arrangement in A major, composed around 1843. This is the second version of S.385/1 and S.385/3, based on themes from Daniel-François-Esprit Auber's opera La fiancée.

O lieb, so lang du lieben kannst!, S.540a

Approximate Duration: Approximately 4 to 5 minutes
Description: A piano transcription from around 1843 of Liszt's earlier song S.298/1, reconstructed by Leslie Howard. This piece later inspired the third of Liszt's Liebesträume.

Autrefois (Romance du Comte Mikaïl Yourievitch Wielhorsky), S.577ter

Approximate Duration: Not specified
Description: A piano transcription from around 1843 of a romance by Count Mikhail Yuryevich Vielgorsky. This is the third version, following S.577bis and S.577/1, and preceding S.577/2.

Die Zauberflöte (Overture), S.748

Approximate Duration: Not specified
Description: A piano arrangement of the overture to Wolfgang Amadeus Mozart's opera Die Zauberflöte (The Magic Flute), composed around 1843. This work is considered lost.

Feuilles d'album, S.165

Approximate Duration: Approximately 2 minutes and 30 seconds
Description: A solo piano piece in A♭ major, composed in 1841 and published in 1844. Dedicated to Liszt's friend, Gustave Du Bousquet, this brief composition showcases lyrical melodies and expressive harmonies characteristic of Liszt's romantic style.en.wikipedia.org

Album Leaf ("Lyon Prélude"), S.166d

Approximate Duration: Not specified
Description: A short piano piece composed in 1844, known as the "Lyon Prélude." This work exemplifies Liszt's penchant for creating intimate musical sketches, often intended as personal mementos or dedications.

Album Leaf ("Prélude omnitonique"), S.166e

Approximate Duration: Approximately 1 minute
Description: Composed in 1844, the "Prélude omnitonique" is a brief piano piece that explores innovative harmonic progressions, reflecting Liszt's experimental approach during this period.

Album Leaf ("Braunschweig Preludio"), S.166f

Approximate Duration: Not specified
Description: A short piano piece, possibly in F♯ major, composed in 1844. The "Braunschweig Preludio" is among Liszt's numerous album leaves, offering insight into his improvisational style and compositional process.

Album Leaf ("Fugue chromatique – Allegro in G minor"), S.167j

Approximate Duration: Not specified
Description: This 1844 composition is a brief piano piece in G minor, featuring a chromatic fugue. It highlights Liszt's interest in contrapuntal techniques and his ability to infuse them with romantic expressiveness.

Marche hongroise, S.233b

Approximate Duration: Not specified
Description: A piano piece in E♭ minor, composed in 1844. The "Marche hongroise" reflects Liszt's fascination with Hungarian musical themes, incorporating characteristic rhythms and melodies that pay homage to his heritage.

Faribolo Pasteur (Chanson tirée du poème de Françonetto de Jacques Jasmin), S.236/1

Approximate Duration: Not specified
Description: Composed in 1844, this piano piece is based on a song from the poem "Françonetto" by Jacques Jasmin. It showcases Liszt's ability to adapt vocal melodies into expressive piano arrangements, capturing the essence of the original work.

Chanson du Béarn (Pastorale), S.236/2

Approximate Duration: Not specified
Description: This 1844 piano piece is based on a song by René de Galard de Béarn, Marquis de Brassac. The "Chanson du Béarn" exemplifies Liszt's interest in regional folk melodies, transforming them into elegant piano compositions that retain their pastoral charm.

Marche funèbre de Dom Sébastien de Donizetti, S.402

Approximate Duration: Approximately 8 to 12 minutes
Description: A piano arrangement composed in 1844, based on the funeral march from Gaetano Donizetti's opera Dom Sébastien.

Spanisches Ständchen (Melodie von Graf Leó Festetics), S.487

Approximate Duration: Approximately 4 minutes
Description: A piano transcription from 1844 of a song by Count Leó Festetics, reflecting Liszt's interest in incorporating diverse musical themes into his repertoire.

Melodien von Franz Schubert (6), S.563

Approximate Duration: Approximately 25 to 30 minutes in total
Description: A collection of six piano transcriptions from 1844, based on songs by Franz Schubert.
- Lebe wohl!, S.563/1
- - Approximate Duration: Approximately 4 minutes
  - Description: A piano transcription of Schubert's song "Lebe wohl!", capturing the poignant farewell expressed in the original lied.
- Mädchens Klage, S.563/2
- - Approximate Duration: Approximately 3 minutes
  - Description: A piano transcription of Schubert's "Des Mädchens Klage", D.191, conveying the lament of a young girl.
- Das Sterbeglöcklein, S.563/3
- - Approximate Duration: Approximately 4 minutes
  - Description: A piano transcription of Schubert's "Das Zügenglöcklein", D.871, also known as "Das Sterbeglöcklein", reflecting on the tolling of a small death bell.
- Trockne Blumen, S.563/4
- - Approximate Duration: Approximately 5 minutes
  - Description: A piano transcription of "Trockne Blumen", No.18 from Schubert's song cycle Die schöne Müllerin, D.795, symbolizing withered flowers and lost love.
- Ungeduld, S.563/5
- - Approximate Duration: Approximately 3 minutes
  - Description: A piano transcription of "Ungeduld", No.7 from Schubert's Die schöne Müllerin, D.795, expressing the impatience of a lover. This is the first version of S.565/6 and S.565/6a.
- Die Forelle, S.563/6
- - Approximate Duration: Approximately 2 minutes and 30 seconds
  - Description: A piano transcription of Schubert's "Die Forelle", D.550, depicting the lively movement of a trout in a brook. This is the first version of S.564.

Prélude omnitonique, S.727

Approximate Duration: Approximately 1 minute
Description: A short piano piece composed in 1844, exploring innovative harmonic progressions. This work was later renumbered as S.166e.

Marche hongroise, S.733

Approximate Duration: Approximately 3 minutes
Description: A piano piece in E♭ minor, composed in 1844, reflecting Liszt's fascination with Hungarian musical themes. This work was later renumbered as S.233b.

Grosse Konzertfantasie über spanische Weisen, S.738

Approximate Duration: Approximately 15 minutes
Description: A grand concert fantasy on Spanish themes, composed in 1844. This work was later renamed and renumbered as S.695c.

Consolations, S.171a

Approximate Duration: Approximately 15 to 20 minutes in total
Description: A set of six solo piano pieces composed between 1844 and 1849, representing Liszt's first version of the Consolations. These pieces exhibit a nocturne-like quality, characterized by serene and contemplative melodies. The manuscripts are housed at the Goethe and Schiller Archives in Weimar.
- Andante con moto, S.171a/1
- - Approximate Duration: Approximately 3 minutes
  - Description: A gentle piece in E major, setting a tranquil and reflective mood.
- Un poco più mosso, S.171a/2
- - Approximate Duration: Approximately 2 minutes and 30 seconds
  - Description: A slightly more animated piece in E major, maintaining a serene atmosphere with subtle movement.
- Lento, quasi recitativo, S.171a/3
- - Approximate Duration: Approximately 3 minutes
  - Description: A contemplative piece in E major, featuring a recitative-like style that emphasizes expressive phrasing.
- Quasi Adagio; cantabile con devozione, S.171a/4
- - Approximate Duration: Approximately 3 minutes
  - Description: A devotional and singing piece in D♭ major, based on a theme by Maria Pavlovna, the Grand Duchess of Weimar.
- Andantino, S.171a/5
- - Approximate Duration: Approximately 3 minutes and 30 seconds
  - Description: An "Andantino" in E major, this piece also exists in a slightly earlier version called "Madrigal," with only minor differences.
- Allegretto, S.171a/6
- - Approximate Duration: Approximately 2 minutes
  - Description: A light and cheerful piece in E major, concluding the set with an uplifting tone.

Le carnaval romain, S.741

Approximate Duration: Not specified
Description: A piano arrangement of Hector Berlioz's overture Le carnaval romain, H.95, composed between 1844 and 1849. This transcription was part of Liszt's performing repertoire but is now considered lost.

Marche et Cavatine de Lucia di Lammermoor, S.628b

Approximate Duration: Approximately 10 to 11 minutes
Description: A piano duet (piano four hands) arrangement by Franz Liszt, based on his solo piano transcription (S.398) of themes from Gaetano Donizetti's opera Lucia di Lammermoor. Composed around 1844, this piece showcases Liszt's ability to adapt operatic material into engaging piano works for two players.

Album Leaf ("Portugal"), S.166b

Approximate Duration: Approximately 1 minute
Description: A brief piano piece in A♭ major, composed in 1845. This "Album Leaf" reflects Liszt's practice of composing short, expressive works, often serving as personal mementos or dedications.

Album Leaf, S.166c

Approximate Duration: Not specified
Description: A short piano composition in A♭ major from 1845. As with many of Liszt's album leaves, this piece likely captures an intimate musical thought or serves as a dedication.

Album Leaf ("Tempo di marcia in E♭ major"), S.167o

Approximate Duration: Not specified
Description: Composed in 1845, this album leaf in E♭ major carries a march-like tempo. Themes from this piece were later utilized in Liszt's Grandes études de Paganini, S.141.

Pensées (Nocturne), S.168b

Approximate Duration: Not specified
Description: A nocturne in A major, composed in 1845. This piece exemplifies Liszt's lyrical style, characterized by expressive melodies and rich harmonies.

Klavierstück No.2, S.189a

Approximate Duration: Not specified
Description: A piano piece in A♭ major from 1845, representing the first version of S.189b. This work showcases Liszt's exploration of thematic development and pianistic textures.

Grosse Konzertfantasie über spanische Weisen, S.253

Approximate Duration: Approximately 18 to 27 minutes
Description: A grand concert fantasy on Spanish themes, composed in 1845. This virtuosic piano piece incorporates elements of traditional Spanish music, including a fandango, jota aragonesa, and cachucha. It was later revised into the Rhapsodie espagnole, S.254.

Feuille morte (Élégie d'après Soriano), S.428

Approximate Duration: Approximately 9 minutes and 39 seconds
Description: A piano elegy composed in 1845 by Franz Liszt, based on an unidentified composition by Mariano Soriano Fuertes. This piece reflects Liszt's interest in adapting works by other composers, transforming them through his own expressive style.

Romancero espagnol, S.695c

Approximate Duration: Approximately 20 minutes and 24 seconds
Description: Composed in 1845, Romancero espagnol is an unfinished piano piece by Franz Liszt. Intended for publication in 1847 with a dedication to Queen Isabella II of Spain, it remained unpublished during Liszt's lifetime and was first published in the Liszt Society Journal in 2009. The work reflects Liszt's fascination with Spanish musical themes and showcases his ability to integrate folk elements into his compositions.

Grande Fantaisie sur des thèmes de Paganini, S.700a/i

Approximate Duration: Approximately 15 minutes
Description: This unfinished piano composition from 1845 demonstrates Liszt's engagement with Niccolò Paganini's themes, incorporating motifs from Paganini's Violin Concerto No. 2, Op. 7, the 9th Caprice from 24 Caprices, and Il carnevale di Venezia, Op. 10. The piece was later completed by Imre Mező and served as the first version of Liszt's Variations de bravoure sur des thèmes de Paganini, S.700a/ii.

Variations de bravoure sur des thèmes de Paganini, S.700a/ii

Approximate Duration: Approximately 15 minutes
Description: Composed in 1845, this work is the second version of Liszt's engagement with Paganini's themes, following the unfinished Grande Fantaisie sur des thèmes de Paganini, S.700a/i. It showcases Liszt's virtuosic piano style and his admiration for Paganini's compositions.

Klavierstück No.2, S.189b

Approximate Duration: Approximately 3 minutes
Description: This piano piece in D♭ major, composed in 1845 or later, is the second version of S.189a. Themes from this work were later re-used in Liszt's compositions S.170 and S.171d/4.

Préludes et Harmonies poétiques et religieuses, S.171d

Approximate Duration: Not specified
Description: A collection of eight piano pieces composed between 1845 and 1847 by Franz Liszt. This set represents an earlier version of what would later evolve into Harmonies poétiques et religieuses, S.173. The pieces reflect Liszt's exploration of poetic and religious themes, showcasing his expressive and contemplative compositional style.
- [Untitled], S.171d/1
- - Key: E♭ major
  - Description: The first version of S.172a/11, later revised as S.173/3.
- Languer, S.171d/2
- - Key: C minor
  - Description: A piece reflecting a sense of languor or melancholy.
- [Untitled], S.171d/3
- - Key: E major
  - Description: An untitled composition exploring themes of serenity and introspection.
- Dernière illusion, S.171d/4
- - Key: D♭ major
  - Description: An incomplete piece titled "Last Illusion," serving as the first version of S.170.
- [Untitled], S.171d/5
- - Key: G♭ major
  - Description: An untitled work characterized by its tranquil and reflective mood.
- Attente, S.171d/6
- - Key: A major
  - Description: An incomplete piece titled "Waiting," capturing a sense of anticipation.
- Alternative, S.171d/7
- - Key: E major
  - Description: A composition offering contrasting musical ideas, reflecting the notion of alternatives.
- M.K., S.171d/8
- - Key: D♭ major
  - Description: An incomplete piece with the initials "M.K.," possibly referring to a personal dedication or inspiration.

3 Études de concert, S.144

Approximate Duration: Approximately 20 minutes in total
Description: A set of three piano études composed by Franz Liszt between 1845 and 1849. These études, intended for both technical development and concert performance, were published under the title "Trois caprices poétiques," each bearing an individual subtitle reflecting its character.
- Il lamento, S.144/1
- - Key: A♭ major
  - Approximate Duration: Approximately 9 minutes and 30 seconds
  - Description: The first étude, "Il lamento" ("The Lament"), features a lyrical melody that unfolds throughout the piece, characterized by expressive chromaticism and shifting tonalities.
- La leggierezza, S.144/2
- - Key: F minor
  - Approximate Duration: Approximately 5 minutes
  - Description: The second étude, "La leggierezza" ("Lightness"), is a monothematic piece that demands delicate touch and agility, featuring rapid chromatic runs and passages in sixths and thirds.
- Un sospiro, S.144/3
- - Key: D♭ major
  - Approximate Duration: Approximately 5 minutes and 30 seconds
  - Description: The third étude, "Un sospiro" ("A Sigh"), is renowned for its beautiful melody and intricate hand-crossing technique, creating a flowing, sigh-like effect.

Album Leaf ("Friska"), S.166k

Approximate Duration: Approximately 3 minutes
Description: Composed between 1845 and 1849, this brief piano piece in A major is titled "Friska," a term often associated with the lively section of Hungarian dances. The composition showcases Liszt's ability to infuse folk dance elements into his works, resulting in a vibrant and spirited character.

Canzonetta del Salvator Rosa, S.161/3

Approximate Duration: Approximately 3 minutes
Description: This piece is the second version of S.157c and is part of Liszt's Années de pèlerinage II: Italie. Despite its title, it is based on the song "Vado ben spesso cangiando loco" by Giovanni Battista Bononcini, not Salvator Rosa.

Sonetto 47 del Petrarca, S.161/4

Approximate Duration: Approximately 6 minutes
Description: This is the second version of S.158/2 and is part of Liszt's Années de pèlerinage II: Italie. It is based on Petrarch's Sonnet 47, which has been renumbered as Sonnet 61 in modern scholarship.

Sonetto 104 del Petrarca, S.161/5

Approximate Duration: Approximately 6 minutes
Description: This piece is the second version of S.158/1 and is part of Liszt's Années de pèlerinage II: Italie. It is based on Petrarch's Sonnet 104, "Pace non trovo," which translates to "I find no peace."

Sonetto 123 del Petrarca, S.161/6

Approximate Duration: Approximately 6 minutes and 30 seconds
Description: This is the second version of S.158/3 and is part of Liszt's Années de pèlerinage II: Italie. It reflects Liszt's deep engagement with Petrarch's poetry, translating the sonnet's emotional depth into a rich musical experience.

Album Leaf ("Andante religioso in G major"), S.166h

Approximate Duration: Not specified
Description: Composed in 1846, this is the first version of S.166j. It is a short piano piece characterized by its serene and devotional mood.

Album Leaf ("Andante religiosamente in G major"), S.166j

Approximate Duration: Not specified
Description: This piece, composed in 1846, is the second version of S.166h. It maintains the contemplative and religious character of the original, with slight revisions enhancing its expressive qualities.

Galop, S.218

Approximate Duration: Not specified
Description: Composed in 1846, this lively piano piece in A minor exemplifies the galop dance form, characterized by its brisk tempo and spirited rhythm.

(Tempo giusto) (Im leichten Stile bearbeitet), S.243/1a

Approximate Duration: Not specified
Description: This is the third, lighter version of S.242/5 and S.243/1, renumbered from S.243bis/1. It reflects Liszt's adaptation of national themes in a more accessible style.

(Animato) (Im leichten Stile bearbeitet), S.243/2a

Approximate Duration: Not specified
Description: This piece is the third, lighter version of S.242/4 and S.243/2, renumbered from S.243bis/2. It showcases Liszt's ability to infuse national themes with animated and lively character.

Prélude (Allegretto) (Im leichten Stile bearbeitet), S.243/3a

Approximate Duration: Not specified
Description: This is the third, lighter version of S.242/11 and S.243/3, renumbered from S.243bis/3. It exemplifies Liszt's approach to reimagining national themes with a graceful and light touch.

Hungarian Rhapsody No. 1 (Lento quasi recitativo), S.244/1

Approximate Duration: Not specified
Description: Composed in 1846, this is the second version of S.243b. It is the first in Liszt's series of Hungarian Rhapsodies, capturing the spirit and musical idioms of Hungarian folk music through its improvisational style and expressive melodies.

Hungarian Rhapsody No. 8 (Lento a capriccio), S.244/8

Approximate Duration: Not specified
Description: This piece, composed in 1846, utilizes themes from S.242/19. It is the eighth in Liszt's Hungarian Rhapsodies series, blending traditional Hungarian musical elements with virtuosic piano techniques.

Variations on "Tiszántuli szép leány", S.384a

Approximate Duration: Approximately 2 minutes and 30 seconds
Description: Composed in 1846, this piece is a set of variations on the Hungarian folk song "Tiszántuli szép leány" ("Beautiful Girl from Beyond the Tisza"). It showcases Liszt's ability to transform simple folk melodies into virtuosic piano compositions.

Tarantelle di bravura d'après la tarantelle de 'La muette de Portici', S.386i

Approximate Duration: Approximately 7 to 8 minutes
Description: This piece, composed in 1846, is based on the tarantella from Act III of Daniel Auber's opera "La muette de Portici". It is the first version of Liszt's tarantella adaptations, showcasing his virtuosic piano style.

Tarantelle di bravura d'après la tarantelle de 'La muette de Portici', S.386ii

Approximate Duration: Approximately 7 to 8 minutes
Description: This is the second version of Liszt's tarantella, also based on Auber's opera. Composed in 1846, it presents a refined approach to the original material.

Capriccio alla turca sur des motifs de Beethoven, S.388

Approximate Duration: Approximately 6 to 7 minutes
Description: Composed in 1846, this piece is based on themes from Beethoven's "Die Ruinen von Athen", Op.113. It reflects Liszt's admiration for Beethoven, blending Turkish musical elements with Beethoven's motifs.

Marche des Ruines d'Athènes de Beethoven, S.388a

Approximate Duration: Approximately 4 to 5 minutes
Description: Extracted from S.388, this 1846 composition focuses on the march theme from Beethoven's "Die Ruinen von Athen", showcasing Liszt's skill in thematic transformation.

Mélodies hongroises d'après Franz Schubert (Schuberts ungarische Melodien), S.425a

Approximate Duration: Approximately 10 to 12 minutes
Description: This 1846 composition is a simplified version of S.425, where Liszt arranges Hungarian melodies by Franz Schubert, blending Schubert's lyrical style with Hungarian folk elements.

Märsche von Franz Schubert (3), S.426

Approximate Duration: Approximately 15 to 18 minutes
Description: In this 1846 composition, Liszt arranges three marches by Franz Schubert for solo piano, highlighting Schubert's melodic inventiveness and Liszt's pianistic flair.

Klavierstück aus der Bonner Beethoven-Kantate, S.507

Approximate Duration: Approximately 5 to 6 minutes
Description: Based on themes from the first movement of Liszt's own Beethoven Cantata, this 1846 piano piece reflects Liszt's deep reverence for Beethoven.

Die Forelle (Lied von Franz Schubert), S.564

Approximate Duration: Approximately 4 minutes
Description: This 1846 transcription of Schubert's song "Die Forelle" ("The Trout") showcases Liszt's ability to adapt vocal music for the piano while maintaining the original's charm.

Müllerlieder von Franz Schubert, S.565

Approximate Duration: Approximately 20 to 25 minutes
Description: In this 1846 composition, Liszt transcribes six songs from Schubert's "Die schöne Müllerin" song cycle, capturing the essence of the original vocal works in a pianistic form.

Ouvertüre zur Webers Oper Oberon, S.574

Approximate Duration: Approximately 10 minutes
Description: This 1846 transcription of the overture to Weber's opera "Oberon" demonstrates Liszt's skill in adapting orchestral works for solo piano.

Ouvertüre aus Webers Oper Der Freischütz, S.575

Approximate Duration: Approximately 9 minutes
Description: In this 1846 transcription, Liszt brings Weber's overture to "Der Freischütz" to the piano, capturing the drama and excitement of the original orchestral work.

Webers Jubelovertüre, S.576

Approximate Duration: Approximately 8 minutes
Description: This 1846 transcription of Weber's "Jubel-Ouvertüre" showcases Liszt's ability to translate orchestral textures into a solo piano setting.

Marche de Prozinsky, S.701v

Approximate Duration: Not specified (unfinished)
Description: This incomplete sketch from 1846 indicates Liszt's intention to compose a march in C-sharp minor, though the work remains unfinished.

Mesto ["Héroïde élégiaque"], S.242/12

Duration: Approximately 10 minutes
Description: Composed between 1846 and 1847, this piece in E minor is part of Liszt’s Magyar rapszódiák. It is partly based on S.242/6, and its themes were later re-used in Hungarian Rhapsody No. 5, S.244/5. The title “Héroïde élégiaque” suggests a mournful and heroic character, reflecting Liszt’s fascination with Hungarian musical traditions.

(Tempo di Marcia) ["Rákóczi-Marsch"], S.242/13

Duration: Approximately 6 minutes
Description: A grand march in A minor, this is the third version of S.242a and one of Liszt’s most famous settings of the Rákóczi March, a Hungarian patriotic tune. It was later simplified as S.242/13a and further revised in S.244/15 and S.244c, emphasizing Liszt’s ongoing refinement of Hungarian folk elements into his compositions.

(Lento a capriccio), S.242/14

Duration: Approximately 8 minutes
Description: This A minor rhapsody, composed between 1846 and 1847, is marked by its free, improvisatory structure. The themes were later incorporated into Hungarian Rhapsody No. 11, S.244/11. Its capricious, expressive style exemplifies Liszt’s deep engagement with Hungarian musical idioms.

(Lento. Tempo e stilo zingarese), S.242/15

Duration: Approximately 9 minutes
Description: Written in D minor, this piece is influenced by the Hungarian verbunkos style, with its alternating slow and fast sections mirroring the tradition of recruiting dances. Themes from this work were later used in Hungarian Rhapsody No. 7, S.244/7.

(Preludio. Andante deciso), S.242/16

Duration: Approximately 5 minutes
Description: A bold and decisive prelude in E major, composed between 1846 and 1847, with themes that were later adapted into Hungarian Rhapsody No. 10, S.244/10, and its variant S.244/10a. It serves as an introduction to the rhapsodic idiom Liszt perfected in later works.

(Andante sostenuto), S.242/17

Duration: Approximately 7 minutes
Description: A reflective and sustained piece in A minor, this work is notable for its lyrical elegance. It was later developed into Hungarian Rhapsody No. 13, S.244/13, further highlighting Liszt’s thematic continuity across his Hungarian compositions.

(Adagio), S.242/18

Duration: Approximately 6 minutes
Description: A deeply expressive Adagio in C♯ minor, composed between 1846 and 1847. The melancholic themes were later reworked into Hungarian Rhapsody No. 12, S.244/12, reinforcing Liszt’s approach of evolving and refining his musical ideas.

(Lento patetico), S.242/19

Duration: Approximately 8 minutes
Description: A dramatic, slow-paced composition in F♯ minor, marked by its pathos and emotional intensity. The themes were later expanded in Hungarian Rhapsody No. 8, S.244/8, demonstrating Liszt’s ability to develop small musical ideas into larger, more elaborate works.

(Allegro vivace. Andante) ["Romanian Rhapsody"], S.242/20

Duration: Approximately 10 minutes
Description: This energetic and highly virtuosic G minor rhapsody incorporates Romanian folk elements, blending them seamlessly with Hungarian motifs. It was later transformed into Hungarian Rhapsody No. 6, S.244/6, and Hungarian Rhapsody No. 12, S.244/12, exemplifying Liszt’s cross-cultural influences.

(Lento, tempo di marcia funèbre), S.242/21

Duration: Approximately 9 minutes
Description: A funeral march in E minor, written between 1846 and 1847, with somber, stately themes that were later incorporated into Hungarian Rhapsody No. 14, S.244/14. Its dark, processional character reflects Liszt’s fascination with tragic and heroic themes in music.

Lockung, S.485/1

Duration: Approximately 4 minutes
Description: Liszt’s piano transcription of Josef Dessauer’s song Lockung, composed between 1846 and 1847. This piece retains the original’s lyrical charm while adding Liszt’s signature pianistic flourishes.

Zwei Wege, S.485/2

Duration: Approximately 3 minutes
Description: A refined piano arrangement of Dessauer’s Zwei Wege, preserving its vocal expressiveness. The piece showcases Liszt’s sensitivity to song transcriptions, transforming vocal lines into intricate piano textures.

Spanisches Lied (Bolero), S.485/3

Duration: Approximately 5 minutes
Description: A vibrant transcription of a Spanish-themed song by Josef Dessauer, composed between 1846 and 1847. Liszt’s version accentuates the bolero rhythm, infusing it with virtuosic passages and expressive flourishes.

Litanies de Marie, S.695a

Duration: Not specified
Description: An unfinished piano work from 1846–47, later renumbered as S.171e. The piece suggests a sacred and meditative character, though its incomplete nature leaves much to speculation.

Corolian Overture, S.739

Duration: Not specified
Description: A lost piano transcription of Beethoven’s Coriolan Overture, Op. 62, composed between 1846 and 1847. This adaptation would have reflected Liszt’s deep admiration for Beethoven’s dramatic orchestral writing.

Egmont Overture, S.740

Duration: Not specified
Description: A lost piano transcription of Beethoven’s Egmont Overture, Op. 84. Likely composed between 1846 and 1847, this work would have translated the overture’s heroic intensity into a solo piano setting.

Pester Karneval, S.242/22

Duration: Not specified
Description: A lively and festive piece in E♭ major, drawing from themes later used in Hungarian Rhapsody No. 9, S.244/9, and Hungarian Rhapsody No. 14, S.244/14. It reflects Liszt’s engagement with Hungarian dance forms.

Années de pèlerinage II (Deuxième année: Italie), S.161

Duration: Approximately 46 minutes
Description: A collection of pieces composed between 1846 and 1849, inspired by Liszt’s travels in Italy. It includes famous works such as Il Penseroso, Sonetti del Petrarca, and Après une lecture du Dante, reflecting both poetic and artistic influences from the Renaissance.

Il Penseroso, S.161/2

Duration: Approximately 4 to 5 minutes
Description: This C♯ minor piece is the second version of S.157b, named after Michelangelo’s statue Il Penseroso. It features a contemplative, introspective mood, mirroring the statue’s pensive expression.

Soirées de Vienne" (S.427)

Composed between 1846 and 1852, is a collection of nine "Valses-caprices" inspired by the waltzes of Franz Schubert. Rather than straightforward transcriptions, these pieces are imaginative reworkings that blend Schubert's melodic charm with Liszt's virtuosic flair.

Each waltz in the collection draws from various Schubert compositions, including:

36 Originaltänze, D.365
Wiener Damen-Ländler und Ecossaisen, D.734
18 Deutsche und Ecossaisen, D.783
12 Valses nobles, D.969
Valses sentimentales, D.779

Liszt masterfully preserved the Viennese essence of Schubert's melodies, enhancing them with rich textures suitable for the concert stage while maintaining their original intimacy and delicacy.

The collection is structured as follows:

Allegretto malinconico in A♭ major
Poco Allegro in A♭ major
Allegro vivace in E major
Andantino a capriccio in D♭ major
Moderato cantabile con affetto in G♭ major
Allegro con strepito in A minor
Allegro spiritoso in A major
Allegro con brio in D major
Preludio a capriccio in A♭ major

Among these, the sixth waltz, "Allegro con strepito" in A minor, stands out for its dynamic contrasts and technical demands. Liszt revised this particular piece multiple times, with the final version completed in 1869 for his student Sophie Menter. This version was notably part of Liszt's last recital in Luxembourg in July 1886.

The complete "Soirées de Vienne" offers a profound insight into Liszt's admiration for Schubert and showcases his ability to transform simple dance tunes into sophisticated concert pieces that highlight the expressive capabilities of the piano.

Franz Liszt's Hungarian Rhapsodies, S.244, are a collection of 19 piano pieces composed between 1846 and 1853, with additional pieces added in 1882 and 1885. These compositions are inspired by Hungarian folk themes and are renowned for their technical difficulty and expressive depth. Each rhapsody typically features two main sections: the lassan (slow) and the friska (fast), reflecting the traditional Hungarian dance form known as verbunkos.

Below is an overview of each rhapsody:

Hungarian Rhapsody No. 1 in C-sharp minor, S.244/1

Duration: Approximately 11 minutes
Description: This rhapsody opens with a dramatic introduction, leading into a melancholic lassan section. The subsequent friska is lively and showcases virtuosic passages, embodying the spirit of Hungarian dance.

Hungarian Rhapsody No. 2 (Lento a capriccio), S.244/2

Approximate Duration: 9–11 minutes
Description: One of Liszt’s most famous Hungarian Rhapsodies, featuring dramatic contrasts between slow, rhapsodic passages and virtuosic, fiery sections. This piece was later orchestrated by Liszt and Franz Doppler (S.359/4) and arranged for piano four hands (S.621/4).

Hungarian Rhapsody No. 3 (Andante), S.244/3

Approximate Duration: 6–7 minutes
Description: A more lyrical and song-like rhapsody in B♭ major, drawing on themes from S.164e/1 and 2. Some sections are also based on S.242/11.

Hungarian Rhapsody No. 4 (Quasi adagio, altiermamente), S.244/4

Approximate Duration: 7–8 minutes
Description: A stately and elegant Hungarian Rhapsody in E♭ major, utilizing themes from S.242/7. It blends reflective passages with grand, march-like gestures.

Hungarian Rhapsody No. 5 (Héroïde-élégiaque), S.244/5

Approximate Duration: 8–9 minutes
Description: A dramatic and deeply expressive rhapsody in E minor, known for its mournful character. It incorporates themes from S.242/6, S.242/12 and was arranged for orchestra by Liszt and Doppler (S.359/5) and for piano four hands (S.621/5).

Hungarian Rhapsody No. 6 (Tempo giusto), S.244/6

Approximate Duration: 6–7 minutes
Description: A lively and rhythmic rhapsody in D♭ major, incorporating themes from S.164e/3, S.242/4, S.242/5, S.242/11, S.242/20. It was orchestrated by Liszt and Doppler (S.359/3) and arranged for piano four hands (S.621/3).

Hungarian Rhapsody No. 7 (Lento), S.244/7

Approximate Duration: 6–7 minutes
Description: A melancholic and reflective rhapsody in D minor, featuring themes from S.242/15. It contrasts somber melodic lines with more dramatic sections.

Hungarian Rhapsody No. 9 ("Pesther Carneval"), S.244/9

Approximate Duration: 8–9 minutes
Description: A spirited and festive rhapsody in E♭ major, incorporating themes from S.242/22. It was later arranged for orchestra (S.359/6), piano four hands (S.621/6), and a trio for violin, cello, and piano (S.379).

Hungarian Rhapsody No. 10 (Preludio), S.244/10

Approximate Duration: 5–6 minutes
Description: A bright and energetic rhapsody in E major, based on themes from S.242/16. This is the first version of S.244/10a.

Hungarian Rhapsody No. 10 (Preludio), S.244/10a

Approximate Duration: 5–6 minutes
Description: A simplified second version of S.244/10, still retaining its lively and nationalistic character. It was renumbered from S.244/10bis.

Hungarian Rhapsody No. 11 (Lento a capriccio), S.244/11

Approximate Duration: 7–8 minutes
Description: A rhapsodic and expressive piece in A minor, drawing themes from S.242/14. It transitions from a lyrical opening to more animated sections.

Hungarian Rhapsody No. 12 (Introduzione. Mesto), S.244/12

Approximate Duration: 7–8 minutes
Description: A deeply expressive rhapsody in C♯ minor, incorporating themes from S.242/18, S.242/20. It was orchestrated by Liszt and Doppler (S.359/2) and adapted for piano four hands (S.621/2) and violin-piano duo (S.379a).

Hungarian Rhapsody No. 13 (Andante sostenuto), S.244/13

Approximate Duration: 6–7 minutes
Description: A reflective and lyrical rhapsody in A minor, using themes from S.242/17. It contrasts delicate melodic lines with more dramatic flourishes.

Hungarian Rhapsody No. 14 (Lento, quasi marcia funebre), S.244/14

Approximate Duration: 8–9 minutes
Description: A solemn and dramatic rhapsody in F minor, incorporating themes from S.242/21, S.242/22. It was later orchestrated by Liszt and Doppler (S.359/1), with themes appearing in S.123.

Hungarian Rhapsody No. 15 (Rákóczi-Marsch), S.244/15

Approximate Duration: 7–8 minutes
Description: A powerful and nationalistic rhapsody in A minor, marking the fourth version of S.242a and based on S.242/13. A simplified version was later published as S.244/15a, and it was arranged for orchestra as S.117.

Hungarian Rhapsody No. 15 (Rákóczi-Marsch) - Simplified, S.244/15a

Approximate Duration: 6–7 minutes
Description: A more accessible version of S.244/15, preserving the grandeur of the original while simplifying its technical demands. It was renumbered from S.244/15bis.

Hungarian Rhapsody No. 16 in A minor, "Budapest Munkácsy-Festlichkeiten," S.244/16

Duration: Approximately 5 minutes
Description: Composed and published in 1882, this rhapsody is dedicated to Hungarian painter Mihály Munkácsy. Unlike many of Liszt's other Hungarian Rhapsodies, which draw upon traditional folk melodies, this piece is based entirely on Liszt's original themes. It begins in A minor with an ambiguous tonality, leading to a cadenza. A new theme marked "Lassan Langsam" follows, ending with another cadenza. The third section repeats the second theme in B-flat minor. The fourth section revisits the initial theme, transitioning into the "Friska" marked "Allegro con Brio," shifting to A major and featuring lively variations. The piece concludes with ascending octaves and four final A major chords.

Ungarische National-Melodie ["Rákóczi-Marsch"], S.242/13a

Approximate Duration: 3–4 minutes
Description: A spirited and patriotic setting of the Rákóczi March in A minor, showcasing Liszt’s adaptation of Hungarian national themes. This version is a simplified arrangement of S.242/13, later renumbered from S.242/13bis, making it more accessible while retaining its characteristic energy and grandeur.

Albumblätter für Prinzessin Marie von Sayn-Wittgenstein, S.166m

Approximate Duration: Varies
Description: A collection of short piano pieces dedicated to Princess Marie von Sayn-Wittgenstein, reflecting Liszt’s lyrical and expressive style. Each miniature showcases delicate musical ideas with personal and poetic character.

Lilie (Andantino), S.166m/1

Approximate Duration: 2–3 minutes
Description: A gentle and lyrical piece in C major, capturing a tender, song-like quality. It features flowing melodies and elegant phrasing characteristic of Liszt’s more intimate works.

Hryc, S.166m/2

Approximate Duration: 2–3 minutes
Description: A simple but evocative piece from the Albumblätter collection, written in 1847. The title suggests a connection to Eastern European folk influences.

Mazurek: Gdy w czystem polu (Mazurka: When on the Clean Earth), S.166m/3

Approximate Duration: 2–3 minutes
Description: A Mazurka in A major, inspired by Polish folk traditions. It exhibits a lively rhythmic bounce and charming melodic figures reminiscent of Chopin’s style.

Krakowiak, S.166m/4

Approximate Duration: 2–3 minutes
Description: A vibrant and energetic Krakowiak in F major, drawing from traditional Polish dance rhythms. It features playful syncopations and a light-hearted spirit.

Album Leaf ("Freudvoll und leidvoll"), S.166n

Approximate Duration: 1–2 minutes
Description: A brief yet expressive Album Leaf, partially based on S.280, featuring the well-known Goethe text "Freudvoll und leidvoll". It explores dramatic contrasts within a short time frame.

Album Leaf ("Andantino in A♭ major"), S.166p

Approximate Duration: 1–2 minutes
Description: A charming and introspective Andantino in A♭ major, characteristic of Liszt’s lyrical sketches. It serves as a brief musical reflection with elegant phrasing.

Album Leaf, S.166q

Approximate Duration: 1–2 minutes
Description: A short and delicate Album Leaf in G major, highlighting Liszt’s ability to craft miniature gems filled with expressive nuance.

Stabat Mater, S.172b

Approximate Duration: 3–5 minutes
Description: A piano setting of Stabat Mater, formerly cataloged as S.579/3. It carries a solemn and devotional character, displaying Liszt’s sacred musical influences.

Invocation, S.172c

Approximate Duration: 4–5 minutes
Description: A powerful and uplifting Invocation in E major, this is the second version of S.172a/1, S.173/1. It conveys a grand, hymn-like quality with rich harmonies.

Pater noster, S.173/5

Approximate Duration: 3–4 minutes
Description: A serene and meditative Pater noster in C major, part of Liszt’s sacred works. This is the second version of S.172a/6, featuring simple yet deeply expressive harmonies.

Hymne de l'enfant à son réveil, S.173/6

Approximate Duration: 3–4 minutes
Description: A warm and lyrical hymn in A♭ major, originally part of S.171c, S.172a/7. It captures an innocent and tender atmosphere.

Cantique d'amour, S.173/10

Approximate Duration: 4–5 minutes
Description: A deeply expressive Cantique d’amour in E major, rich in lyricism and harmonic color. It stands as one of Liszt’s more heartfelt romantic pieces.

2 Hymnes, S.173a

Approximate Duration: Varies
Description: A set of two sacred hymns for piano, reflecting Liszt’s spiritual and contemplative style. Each piece embodies a distinct atmosphere of devotion and serenity.

Hymne de la nuit, S.173a/1

Approximate Duration: 3–4 minutes
Description: A solemn and reverent Hymn of the Night in E major, the second version of S.172a/2. It carries an introspective and ethereal quality.

Hymne du matin, S.173a/2

Approximate Duration: 3–4 minutes
Description: A radiant and uplifting Hymn of the Morning in B major, revised from S.172a/3. It captures a sense of awakening and hope.

Glanes de Woronince, S.249

Approximate Duration: Varies
Description: A set of three piano pieces inspired by Ukrainian folk music, showcasing Liszt’s adaptation of Slavic themes with poetic refinement.

Ballade d'Ukraïne (Dumka), S.249/1

Approximate Duration: 5–6 minutes
Description: A melancholic and expressive Dumka, exploring Slavic melodic traditions. It features shifting moods between sorrowful introspection and passionate outbursts.

Mélodies polonaises, S.249/2

Approximate Duration: 4–5 minutes
Description: A set of Polish melodies, based on No.1 of Chopin’s 19 Polish Songs, Op.74. Liszt reimagines these folk-inspired themes with his signature pianistic language.

Complainte (Dumka), S.249/3

Approximate Duration: 5–6 minutes
Description: A deeply expressive Dumka, rich in emotional contrasts. It evokes themes of longing and nostalgia, characteristic of Slavic folk music.

Spirto gentil (Kavatine aus der Oper La favorite), S.400a

Approximate Duration: 4–5 minutes
Description: A delicate and lyrical piano transcription based on Act IV of Donizetti’s opera La favorite. Liszt preserves the expressive vocal line, transforming it into a highly ornamented piano solo.

Grande paraphrase de la Marche de Donizetti pour le Sultan Abdul-Medjid Khan, S.403

Approximate Duration: 6–7 minutes
Description: A grand and virtuosic paraphrase based on Donizetti’s Grande marche militaire. This is the first version of S.403a, dedicated to Sultan Abdul-Medjid Khan.

Schwanengesang und Marsch aus Hunyadi László, S.405

Approximate Duration: 5–6 minutes
Description: A dramatic paraphrase based on themes from Ferenc Erkel’s opera Hunyadi László. The work captures the opera’s nationalistic spirit and bold orchestral textures.

Paraphrase de concert sur Ernani I, S.431a

Approximate Duration: 6–7 minutes
Description: A concert paraphrase on Verdi’s Ernani, using different thematic material than S.432. It blends operatic drama with Liszt’s dazzling pianistic style.

Adelaide von Beethoven, S.466

Approximate Duration: 4–5 minutes
Description: A sensitive transcription of Beethoven’s song Adelaide, Op.46. This is the third version, following S.466a and S.466b, maintaining the song’s lyrical beauty.

Buch der Lieder II, S.535–540

Approximate Duration: Varies
Description: A collection of transcriptions based on Liszt’s own lieder, transforming vocal melodies into expressive piano pieces. Each piece captures the poetic essence of the original songs.

Comment, disaient-ils, S.535

Approximate Duration: 2–3 minutes
Description: A piano transcription of Liszt’s S.276/1, preserving the song’s light and fluid vocal phrasing.

Oh, quand je dors, S.536

Approximate Duration: 3–4 minutes
Description: A dreamy and tender transcription of S.282/1, reflecting the poetic and intimate nature of Liszt’s original lied.

Enfant, si j'étais roi, S.537

Approximate Duration: 2–3 minutes
Description: A lyrical adaptation of S.283/1, preserving the expressive charm of the song.

S'il est un charmant gazon, S.538

Approximate Duration: 2–3 minutes
Description: A delicate transcription of S.284/1, evoking the gentle pastoral quality of the original song.

La tombe et la rose, S.539

Approximate Duration: 3–4 minutes
Description: A solemn and expressive transcription of S.285, retaining its poetic depth.

Gastibelza, S.540

Approximate Duration: 3–4 minutes
Description: A dramatic transcription of S.286, capturing the song’s dark and passionate character.

Caritas (nach Rossini), S.552a

Approximate Duration: 3–4 minutes
Description: An unfinished piano transcription of No.3 from Rossini’s 3 Chœurs religieux. This is the first version of S.552b and S.553/2, originally linked to S.172a.

La caritá (d'après Rossini), S.552b

Approximate Duration: 3–4 minutes
Description: A simplified second version of S.552a, refining the adaptation of Rossini’s 3 Chœurs religieux.

Transcriptions d'après Rossini (2), S.553

Approximate Duration: Varies
Description: A set of transcriptions based on Rossini’s sacred music, reinterpreted for solo piano.

Air du Stabat Mater, S.553/1

Approximate Duration: 4–5 minutes
Description: A piano transcription of “Cujus animam” from Rossini’s Stabat Mater. This piece was also arranged for bassoon and organ (S.679) and tenor and organ (S.682).

La charité, S.553/2

Approximate Duration: 3–4 minutes
Description: A piano transcription of No.3 from 3 Chœurs religieux, making it the third version of S.552a and S.552b.

La Charité, S.701j

Approximate Duration: N/A (Unfinished)
Description: An incomplete sketch for S.552a, initially intended for S.172a.

Duettino de La favorite, S.742#

Approximate Duration: 4–5 minutes
Description: A piano arrangement of a duet from Donizetti’s La favorite, later renumbered as S.400a.

Stücke aus der Oper La muette de Portici von Auber (3), S.387

Approximate Duration: Varies
Description: A set of paraphrases based on themes from Auber’s opera La muette de Portici, blending dramatic and lyrical elements.

Introduction e Cavatine (from La muette de Portici), S.387/1

Approximate Duration: 5–6 minutes
Description: A piano paraphrase based on themes from Auber’s opera La muette de Portici. Liszt captures the grandeur of the opera’s introduction and the expressiveness of the cavatina.

Klavierstück über ein fremdes Thema, S.387/2

Approximate Duration: 3–4 minutes
Description: A short piano piece based on an unidentified theme, featuring Liszt’s characteristic style of lyrical development and harmonic color.

Marche héroïque, S.510

Approximate Duration: 6–7 minutes
Description: A heroic and stately march, based on S.82. This piece was later arranged for piano four hands (S.587), emphasizing its ceremonial grandeur.

Andante amoroso, S.168a

Approximate Duration: 3–4 minutes
Description: A tender and expressive Andante, possibly derived from S.395. This piece showcases Liszt’s lyrical writing, with flowing melodies and a delicate romantic character.

Poco adagio, S.747

Approximate Duration: Unknown (Lost Work)
Description: An arrangement of S.9, though its authorship is uncertain. The piece is considered lost, making it one of Liszt’s enigmatic compositions with little surviving documentation.

Romance "O pourquoi donc", S.169

Approximate Duration: 3–4 minutes
Description: A delicate and melancholic Romance in E minor, based on S.301a and later revised as S.527. This piece features Liszt’s signature lyricism, with a flowing melodic line and expressive harmonic progressions.

Réminiscences de Lucrezia Borgia (Grande fantaisie sur des motifs de l'opéra de Gaetano Donizetti), S.400

Approximate Duration: 12–14 minutes
Description: A dramatic and virtuosic paraphrase on themes from Donizetti’s opera Lucrezia Borgia. Liszt reworks key moments from the opera into a dazzling concert fantasy, showcasing both lyrical and bravura passages.

Trio du seconde Acte (from Lucrezia Borgia), S.400/1

Approximate Duration: 4–5 minutes
Description: A piano adaptation of the Act II trio from Donizetti’s opera Lucrezia Borgia. Liszt transforms the vocal interplay into a rich and expressive keyboard setting.

Chanson à boire (Orgie). Duo. Finale (from Lucrezia Borgia), S.400/2

Approximate Duration: 5–6 minutes
Description: A lively and energetic paraphrase of the drinking song and final duo from Lucrezia Borgia. This is the second version of S.399a, emphasizing the opera’s dramatic conclusion.

Grande paraphrase de la Marche de Donizetti pour le Sultan Abdul-Medjid Khan, S.403a

Approximate Duration: 6–7 minutes
Description: A simplified (facilitée) second version of S.403, based on Donizetti’s Grande marche militaire. It was renumbered from S.403bis.

Salve Maria de Jérusalem, S.431/1

Approximate Duration: 4–5 minutes
Description: A reverent and lyrical arrangement of Giselda’s prayer from Verdi’s opera I Lombardi alla prima crociata. This is the first version of S.431/2, preserving the original’s sacred character.

Ouvertüre zu Tannhäuser, S.442

Approximate Duration: 15–16 minutes
Description: A grand and powerful transcription of the overture to Wagner’s Tannhäuser (WWV 70). Liszt translates the orchestral drama into an expansive and technically demanding solo piano work.

Leyer und Schwerdt (Heroide nach Carl Maria von Weber), S.452

Approximate Duration: 6–7 minutes
Description: A heroic and expressive piano arrangement based on themes from Weber’s Leyer und Schwerdt, incorporating material from Nos.6, 3, and 2 of the original choral collection.

Einsam bin ich, nicht allein (Volkslied aus dem Schauspiel Preziosa), S.453

Approximate Duration: 4–5 minutes
Description: A delicate and lyrical paraphrase of Preciosa’s song (Act II, No.7) from Weber’s incidental music to Preziosa, Op.78. It highlights the folk-like simplicity and melodic charm of the original.

Schlummerlied mit Arabesken, S.454

Approximate Duration: 4–5 minutes
Description: A tender and ornamental arrangement of Weber’s Schlummerlied, Op.68 No.4. Liszt enhances the lullaby-like qualities with decorative arabesques.

Zigeuner-Polka (La célèbre Zigeunerpolka d'August Conradi), S.481

Approximate Duration: 5–6 minutes
Description: A lively and spirited arrangement of No.2 from August Conradi’s 2 Zigeuner-Polkas, Op.5. The piece captures the gypsy-inspired rhythmic drive and exuberance.

Er ist gekommen in Sturm und Regen (Lied von Robert Franz), S.488

Approximate Duration: 3–4 minutes
Description: A sensitive and expressive transcription of No.7 from Robert Franz’s 12 Gesänge, Op.4. Liszt preserves the dramatic intensity of the original song.

Lieder von Robert Franz (12), Heft I: Schilflieder, S.489

Approximate Duration: Varies
Description: A collection of six piano transcriptions of Robert Franz’s Schilflieder, Op.2. Each piece retains the poetic and melancholic essence of Franz’s songs.

Auf geheimen Waldespfade, S.489/1

Approximate Duration: 3–4 minutes
Description: A haunting and atmospheric transcription of No.1 from Schilflieder, Op.2, evoking the mystery of the forest.

Drüben geht die Sonne scheiden, S.489/2

Approximate Duration: 3–4 minutes
Description: A delicate and reflective piano setting of No.2 from Schilflieder, Op.2, with expressive harmonic color.

Trübe wird's, S.489/3

Approximate Duration: 3–4 minutes
Description: A somber and introspective transcription of No.3 from Schilflieder, Op.2, capturing the shifting moods of nature.

Sonnenuntergang, S.489/4

Approximate Duration: 3–4 minutes
Description: A meditative and poetic sunset-themed piece, based on No.4 from Schilflieder, Op.2.

Auf dem Teich, S.489/5

Approximate Duration: 3–4 minutes
Description: A fluid and impressionistic transcription of No.5 from Schilflieder, Op.2, depicting the movement of water.

Lieder von Robert Franz (12), Heft II: Drei Lieder, S.489

Approximate Duration: Varies
Description: A second collection of three piano transcriptions based on Robert Franz’s Gesänge. These pieces showcase Liszt’s ability to retain vocal qualities in piano writing.

Der Schalk, S.489/6

Approximate Duration: 3–4 minutes
Description: A playful and mischievous transcription of No.1 from 6 Gesänge, Op.3 by Robert Franz.

Der Bote, S.489/7

Approximate Duration: 3–4 minutes
Description: A delicate and expressive piano transcription of No.1 from 6 Gesänge, Op.8 by Robert Franz. It captures the song’s flowing melodic lines and gentle lyricism.

Meeresstille, S.489/8

Approximate Duration: 3–4 minutes
Description: A serene and atmospheric transcription of No.2 from 6 Gesänge, Op.8 by Robert Franz. The piece evokes a sense of stillness and calm, reflecting the title’s meaning (Sea Calm).

Lieder von Robert Franz (12), Heft III: Vier Lieder, S.489

Approximate Duration: Varies
Description: A third set of four piano transcriptions from Robert Franz’s Gesänge, further showcasing Liszt’s ability to retain the expressive depth of the original songs.

Treibt der Sommer seinen Rosen, S.489/9

Approximate Duration: 3–4 minutes
Description: A warm and poetic transcription of No.5 from 6 Gesänge, Op.8 by Robert Franz, evoking summer’s fleeting beauty.

Gewitternacht, S.489/10

Approximate Duration: 3–4 minutes
Description: A dramatic and stormy transcription of No.6 from 6 Gesänge, Op.8 by Robert Franz. The piece conveys the tension and intensity of an impending storm.

Das ist ein Brausen und Heulen, S.489/11

Approximate Duration: 3–4 minutes
Description: A bold and expressive adaptation of No.4 from 6 Gesänge, Op.8 by Robert Franz, featuring stormy harmonies and dynamic contrasts.

Frühling und Liebe, S.489/12

Approximate Duration: 3–4 minutes
Description: A lively and romantic transcription of No.3 from 6 Gesänge, Op.3 by Robert Franz, celebrating themes of spring and love.

Großes Septett von Johann Nepomuk Hummel, S.493

Approximate Duration: 15–16 minutes
Description: A grand transcription of Hummel’s Septet No.1, Op.74 in D minor, transforming the chamber work into an expansive piano solo. This is the first version of S.493/2.

Mendelssohns Wasserfahrt und Jäger-Abschied, S.548

Approximate Duration: Varies
Description: A set of two piano transcriptions based on Felix Mendelssohn’s songs, emphasizing Liszt’s refined lyrical touch.

Wasserfahrt, S.548/1

Approximate Duration: 3–4 minutes
Description: A gentle and flowing transcription of No.4 from 6 Lieder, Op.50 by Mendelssohn, capturing the essence of a journey on water.

Der Jäger Abschied, S.548/2

Approximate Duration: 3–4 minutes
Description: A hunting-themed transcription of No.2 from 6 Lieder, Op.50 by Mendelssohn, featuring march-like rhythms and energetic phrasing.

Liebeslied (Widmung von Robert Schumann), S.566

Approximate Duration: 3–4 minutes
Description: A heartfelt and expressive transcription of Schumann’s Widmung (No.1 from Myrthen, Op.25). Liszt enriches the original with radiant harmonies and sweeping arpeggios, making it one of his most famous song transcriptions.

Ballade No.1 (Le chant du croisé), S.170

Approximate Duration: 6–7 minutes
Description: A noble and expressive Ballade in D♭ major, subtitled Le chant du croisé (The Crusader's Song). This is the second version of S.171d/4, featuring heroic themes and lyrical storytelling, reflecting Liszt’s fascination with medieval chivalry and historical narratives.

Invocation, S.173/1

Approximate Duration: 4–5 minutes
Description: A majestic and contemplative piano solo in E major, this is the third version of S.172a/1 and S.172c. Part of Harmonies poétiques et religieuses, it evokes a deeply spiritual and meditative atmosphere with grand, hymn-like chords and flowing arpeggios.

Harmonies poétiques et religieuses (10 pieces), S.173

Approximate Duration: Varies
Description: A ten-piece cycle of deeply reflective and spiritual piano works, inspired by the poetry of Alphonse de Lamartine. This is the second version of S.172a, revised between 1848 and 1853, incorporating some of Liszt’s most profound and introspective music.

Le mal du pays (Heimweh), S.160/8

Approximate Duration: 5–6 minutes
Description: A melancholic piece in E minor from Années de pèlerinage I (Suisse), expressing homesickness and nostalgia. Its wistful melodies and yearning harmonies capture the emotional weight of longing for one’s homeland.

Années de pèlerinage I (Première année: Suisse), S.160

Approximate Duration: Varies
Description: A nine-piece cycle composed between 1848 and 1855, inspired by Liszt’s travels through Switzerland. This set portrays landscapes, natural phenomena, and personal reflections, making it a cornerstone of Romantic piano literature.

Chapelle de Guillaume Tell, S.160/1

Approximate Duration: 5–6 minutes
Description: A solemn and heroic piece in C major, dedicated to William Tell. This is the second version of S.156/5, evoking the grandeur of the Swiss Alps and the spirit of national pride.

Au lac de Wallenstadt, S.160/2

Approximate Duration: 3–4 minutes
Description: A gentle barcarolle in A♭ major, inspired by Lake Walensee in Switzerland. This second version of S.156/2 captures the rhythmic flow of water and the peaceful beauty of the lake.

Pastorale, S.160/3

Approximate Duration: 3–4 minutes
Description: A delicate and bucolic piece in E major, depicting the tranquil Swiss countryside. This is the second version of S.156/10, featuring simple melodies and light, flowing textures.

Au bord d'une source, S.160/4

Approximate Duration: 4–5 minutes
Description: A sparkling water study in A♭ major, this second version of S.156/3 and S.160/4a represents the shimmering flow of a spring. Its rapid arpeggios and delicate phrasing create a sense of fluidity and movement.

Orage, S.160/5

Approximate Duration: 4–5 minutes
Description: A dramatic and powerful storm scene in C minor, depicting the thunderous intensity of a Swiss storm. It contrasts violent, rumbling passages with moments of eerie calm.

Vallée d'Obermann, S.160/6

Approximate Duration: 12–15 minutes
Description: One of Liszt’s most profound and searching works, this piece in E minor reflects on Senancour’s novel Obermann. This is the second version of S.156/5, later arranged for violin, cello, and piano as S.378a, S.378b, and S.378c.

Eglogue, S.160/7

Approximate Duration: 3–4 minutes
Description: A pastoral scene in A♭ major, evoking idyllic Swiss landscapes with its simple and song-like melody.

Les cloches de Genève, S.160/9

Approximate Duration: 5–6 minutes
Description: A poetic and tender farewell in B major, depicting the bells of Geneva. This second version of S.156/4 features rich harmonies and bell-like sonorities, closing Années de pèlerinage I with a sense of calm and nostalgia.

Two additional cadenzas to Un Sospiro, S.144/3a

Approximate Duration: 1–2 minutes
Description: Two alternative cadenzas for Un Sospiro, one of Liszt’s famous concert etudes. These additions provide new virtuosic flourishes, further enhancing the piece’s ethereal character.

Canzone Napolitana (Notturno), S.248ii

Approximate Duration: 4–5 minutes
Description: A lyrical Neapolitan-style nocturne, serving as the second version of S.248i. This piece captures the serene, song-like quality of traditional Italian melodies, with warm harmonies and flowing ornamentation.

Zigeuner-Epos (11 pieces, unfinished sketches), S.695b

Approximate Duration: N/A (Unfinished)
Description: A set of 11 incomplete sketches exploring Hungarian and Romani-inspired musical themes. The pieces, left unfinished, suggest a larger-scale work that might have fused folk elements with Liszt’s signature virtuosity and expressive depth. The fragments vary in mood and tempo, ranging from lyrical passages to animated dance-like sections.

Zigeuner-Epos – (Lento), S.695b/1

Approximate Duration: N/A (Unfinished)
Description: A somber and reflective sketch in C minor, likely intended as an introductory movement, setting a melancholic tone.

Zigeuner-Epos – (Andantino), S.695b/2

Approximate Duration: N/A (Unfinished)
Description: A light and flowing piece in C major, possibly inspired by Romani folk melodies, featuring a gentle, song-like character.

Zigeuner-Epos – (Sehr langsam), S.695b/3

Approximate Duration: N/A (Unfinished)
Description: A deeply expressive sketch in D♭ major, marked Sehr langsam (very slow), suggesting a contemplative or improvisatory style.

Zigeuner-Epos – (Animato), S.695b/4

Approximate Duration: N/A (Unfinished)
Description: A lively and energetic section in C♯ major, possibly conceived as a spirited dance.

Zigeuner-Epos – (Tempo giusto), S.695b/5

Approximate Duration: N/A (Unfinished)
Description: A rhythmically steady sketch in D♭ major, suggesting a measured dance or march.

Zigeuner-Epos – (Lento), S.695b/6

Approximate Duration: N/A (Unfinished)
Description: A melancholic piece in G minor, possibly a lament or introspective passage.

Zigeuner-Epos – Tempo di marca, S.695b/7

Approximate Duration: N/A (Unfinished)
Description: A march-like piece in A minor, featuring a strong rhythmic pulse, potentially meant as a processional or dramatic interlude.

Zigeuner-Epos – (Adagio sostenuto a capriccio), S.695b/8

Approximate Duration: N/A (Unfinished)
Description: A highly expressive Adagio in D major, marked a capriccio, indicating a free and improvisatory character.

Zigeuner-Epos – (Andante cantabile quasi adagio), S.695b/9

Approximate Duration: N/A (Unfinished)
Description: A lyrical and song-like movement in E♭ major, with a warm and expressive cantabile melody.

Zigeuner-Epos – (Lento), S.695b/10

Approximate Duration: N/A (Unfinished)
Description: A slow and somber sketch in F minor, possibly another lament-like section.

Zigeuner-Epos – (Lento), S.695b/11

Approximate Duration: N/A (Unfinished)
Description: The final incomplete sketch in A minor, maintaining a slow and introspective atmosphere.

Sposalizio, S.161/1

Approximate Duration: 6–7 minutes
Description: A luminous and serene piano piece in E major, inspired by Raphael’s painting The Marriage of the Virgin. This is the second version of S.157a, later revised for voice and organ/harmonium as S.60. It features ethereal arpeggios and delicate melodic lines, evoking an air of celestial beauty.

Après une lecture du Dante (Fantasia quasi Sonata), S.161/7

Approximate Duration: 16–18 minutes
Description: A towering and dramatic piano sonata-like work, depicting Dante’s Divine Comedy through music. This is the fourth version of S.158a, S.158b, and S.158c, revised to enhance its thematic transformation and virtuosic demands. The piece contrasts infernal intensity with moments of transcendent beauty, making it one of Liszt’s greatest masterpieces.

Album Leaf ("Agitato in G major"), S.167l

Approximate Duration: 2–3 minutes
Description: A short, energetic piece in G major, marked Agitato. Based on S.576b, S.577/1, S.577/1a, and S.577/2, this Album Leaf displays Liszt’s characteristic harmonic inventiveness and flowing phrasing.

Funérailles, S.173/7

Approximate Duration: 10–11 minutes
Description: A profound and mournful funeral march in F minor, often associated with the Hungarian victims of the 1848 Revolution. This is the second version of S.226a, featuring solemn tolling bells, powerful left-hand octaves, and a deeply lyrical central section, culminating in a heroic climax.

Grand Solo de concert, S.175a

Approximate Duration: 9–10 minutes
Description: A large-scale virtuoso solo in E minor?, left unpublished and later revised as S.176. It features dramatic contrasts, sweeping arpeggios, and intense thematic development, in line with Liszt’s most technically demanding concert works.

Festmarsch zur Säcularfeier von Goethes Geburtstag, S.227

Approximate Duration: 6–7 minutes
Description: A festive march in E♭ major, composed for the centenary celebration of Goethe’s birth. This is the first version of S.227, S.115, S.606, and S.521, incorporating themes from S.167o. The piece exudes grandeur and ceremonial spirit, reflecting the literary and cultural significance of Goethe’s legacy.

Halloh! (Jagdchor und Steirer aus der Oper Tony), S.404

Approximate Duration: 4–5 minutes
Description: A lively hunting chorus and dance from Ernest II, Duke of Saxe-Coburg and Gotha’s opera Tony, oder die Vergeltung. Liszt’s piano arrangement captures the energy of the original, featuring rhythmic vitality and dramatic contrasts.

O du mein holder Abendstern (Rezitativ und Romanze aus der Oper Tannhäuser), S.444

Approximate Duration: 4–5 minutes
Description: A tender and deeply expressive piano transcription of Wolfram’s aria from Act III of Wagner’s Tannhäuser. Liszt enhances the song’s lyrical qualities while maintaining the solemn beauty of the original. Also arranged for cello and piano with Bernhard Cossmann as S.380.

Beethovens Lieder von Goethe (6 songs), S.468

Approximate Duration: Varies
Description: A collection of six Beethoven song transcriptions, based on texts by Goethe. Each piece preserves the emotional depth of the original, enhanced by Liszt’s pianistic textures.

Mignon, S.468/1

Approximate Duration: 3–4 minutes
Description: A sensitive piano transcription of No.1 from Beethoven’s 6 Songs, Op.75, maintaining the song’s poetic delicacy.

Mit einem gemalten Bande, S.468/2

Approximate Duration: 2–3 minutes
Description: A charming and light-hearted transcription of No.3 from 3 Songs, Op.83 by Beethoven, featuring elegant phrasing and subtle harmonic shifts.

Freudvoll und leidvoll, S.468/3

Approximate Duration: 3–4 minutes
Description: A dramatic and expressive arrangement of Beethoven’s setting of Goethe’s text from Egmont, Op.84, showcasing contrast between joy and sorrow.

Es war einmal ein König, S.468/4

Approximate Duration: 2–3 minutes
Description: A delicate transcription of No.3 from Beethoven’s 6 Songs, Op.75, preserving the folk-like character of the original.

Wonne der Wehmut, S.468/5

Approximate Duration: 3–4 minutes
Description: A serene and meditative transcription of No.1 from 3 Songs, Op.83, emphasizing lyrical expression.

Die Trommel gerühret, S.468/6

Approximate Duration: 2–3 minutes
Description: A martial and energetic arrangement of Beethoven’s song from Egmont, Op.84, featuring bold rhythms and dramatic contrasts.

An die ferne Geliebte (Liederkreis von Beethoven), S.469

Approximate Duration: Varies
Description: A complete transcription of Beethoven’s song cycle An die ferne Geliebte, Op.98, transforming its flowing vocal lines into a pianistic setting while preserving the work’s continuous structure.

Auf dem Hügel, S.469/1

Approximate Duration: 3–4 minutes
Description: A gentle and contemplative opening transcription of No.1 from An die ferne Geliebte.

Wo die Bergen, S.469/2

Approximate Duration: 3–4 minutes
Description: A lyrical and flowing piano setting of No.2 from An die ferne Geliebte.

Leichte Segler, S.469/3

Approximate Duration: 3–4 minutes
Description: A delicate and airy transcription of No.3 from An die ferne Geliebte, featuring shimmering textures.

Diese Wolken, S.469/4

Approximate Duration: 3–4 minutes
Description: A passionate song transcription of No.4 from An die ferne Geliebte, emphasizing dramatic intensity.

Es kehret der Maien, S.469/5

Approximate Duration: 3–4 minutes
Description: A pastoral and cheerful transcription of No.5 from An die ferne Geliebte.

Nimm sie hin denn, S.469/6

Approximate Duration: 3–4 minutes
Description: A poetic and heartfelt conclusion to the song cycle transcription, based on No.6 from An die ferne Geliebte.

Feuille d'album No.2, S.534/2a

Approximate Duration: 3–4 minutes
Description: A delicate and intimate Album Leaf, originally S.301b/2 and later renumbered from S.534/2bis. It is the third version of Die Zelle in Nonnenwerth (Élégie), featuring warm harmonies and lyrical phrasing.

Klavierstück in Es-moll, S.692n

Approximate Duration: N/A (Unfinished)
Description: An incomplete piano sketch in E♭ minor, based on No.3 from S.172/3. The work remains fragmentary, hinting at a meditative and expressive character.

Album Leaf (Consolation No.1), S.171b

Approximate Duration: 2–3 minutes
Description: A lyrical and tender miniature, originally intended for S.172. The piece foreshadows Liszt’s later Consolations, featuring flowing arpeggios and expressive melodic writing.

Consolations (Pensées poétiques) (6 pieces), S.172

Approximate Duration: Varies
Description: A collection of six meditative piano pieces, revised as the second version of S.171a. These pieces, composed between 1849 and 1850, blend poetic introspection with serene beauty.

(Andante con moto), S.172/1

Approximate Duration: 3–4 minutes
Description: A gentle and lyrical opening piece in E major, later arranged for cello and piano by Liszt and Jules Deswert as S.382a/1.

(Un poco più mosso), S.172/2

Approximate Duration: 3–4 minutes
Description: A flowing and expressive movement in E major, featuring delicate melodic embellishments.

(Lento placido), S.172/3

Approximate Duration: 3–4 minutes
Description: A serene and introspective piece in D♭ major, later arranged for organ or harmonium as S.672d/1.

(Quasi Adagio), S.172/4

Approximate Duration: 4–5 minutes
Description: A dreamy and deeply expressive piece in D♭ major, later arranged for organ/harmonium by Liszt and Gottschalg (S.672d/2) and for cello and piano (S.382a/2).

(Andantino), S.172/5

Approximate Duration: 3–4 minutes
Description: A delicate and song-like piece in E major, later arranged for organ/harmonium (S.672d/3).

(Allegretto sempre cantabile), S.172/6

Approximate Duration: 3–4 minutes
Description: A flowing and lyrical conclusion to the Consolations, later arranged for organ/harmonium as S.672d/4.

Grosses Konzertsolo, S.176

Approximate Duration: 11–13 minutes
Description: A grand and virtuosic solo work in E minor, based on S.175a, featuring sweeping arpeggios, dramatic contrasts, and technical brilliance. It was later revised for two pianos as S.258/1 and included in sketches for piano and orchestra as S.365.

Konzertparaphrase über Mendelssohns Hochzeitsmarsch und Elfenreigen, S.410

Approximate Duration: 7–9 minutes
Description: A brilliant concert paraphrase based on Mendelssohn’s Wedding March and Scherzo from A Midsummer Night’s Dream, Op.61. Liszt transforms these well-known orchestral themes into a dazzling showpiece, filled with virtuosic flourishes, rapid passagework, and sparkling textures, capturing the ethereal magic of the original.

Illustrations du Prophète, S.414

Approximate Duration: Varies
Description: A set of three paraphrases based on themes from Giacomo Meyerbeer’s opera Le prophète. Liszt reworks key moments from the opera, enhancing their drama, grandeur, and orchestral brilliance through his pianistic language.

Prière. Hymne triomphal. Marche du sacre, S.414/1

Approximate Duration: 6–7 minutes
Description: A majestic and reverent paraphrase of the coronation march and hymns from Le prophète, emphasizing grandeur and ceremonial brilliance.

Les patineurs. Scherzo, S.414/2

Approximate Duration: 4–5 minutes
Description: A playful and lively scherzo, based on the famous Skaters’ Scene from Le prophète. Liszt’s virtuosic adaptation captures the whirling motion of ice skaters, with rapid figuration and light, delicate textures.

Pastorale. Appel aux armes, S.414/3

Approximate Duration: 5–6 minutes
Description: A dramatic contrast between a gentle pastoral introduction and a powerful call to arms, reflecting the opera’s narrative tension and emotional depth.

Valse mélancolique, S.214/2

Approximate Duration: 4–5 minutes
Description: A poetic and melancholic waltz in E major, showcasing Liszt’s lyrical and expressive side within the dance form. This is the third version of S.210 and S.210a, with delicate ornamentation and flowing phrases that evoke a sense of longing and nostalgia.

Mazurka brillante, S.221

Approximate Duration: 3–4 minutes
Description: A lively and virtuosic Mazurka, inspired by Polish dance traditions. With bold rhythms and sparkling embellishments, this piece highlights Liszt’s take on the mazurka style, balancing graceful charm with technical brilliance.

Bunte Reihe (24 Stücke von Ferdinand David), S.484

Approximate Duration: Varies
Description: A collection of 24 piano transcriptions based on Ferdinand David’s Bunte Reihe. Liszt transforms these pieces into lyrical miniatures, technical etudes, and dance-like movements, maintaining the spirit of the originals while adding his characteristic pianistic flair.

Scherzo, S.484/1

Approximate Duration: 2–3 minutes
Description: A playful and energetic transcription of No.1 from Bunte Reihe, set in C major, filled with light textures and quick articulations.

Erinnerung, S.484/2

Approximate Duration: 2–3 minutes
Description: A reflective and melancholic piece in C minor, based on No.2 from Bunte Reihe, featuring lyrical phrasing and expressive harmonies.

Mazurka, S.484/3

Approximate Duration: 2–3 minutes
Description: A charming Mazurka in D♭ major, derived from No.3 from Bunte Reihe, combining graceful dance rhythms with melodic elegance.

Tanz, S.484/4

Approximate Duration: 2–3 minutes
Description: A lively and rhythmic dance in C♯ minor, transcribed from No.4 from Bunte Reihe, emphasizing playful syncopations.

Kinderlied, S.484/5

Approximate Duration: 2–3 minutes
Description: A simple and innocent melody in D major, adapted from No.5 from Bunte Reihe, evoking the charm of a children’s song.

Capriccio, S.484/6

Approximate Duration: 2–3 minutes
Description: A whimsical and virtuosic piece in D minor, taken from No.6 from Bunte Reihe, featuring brisk passagework and dramatic contrasts.

Bolero, S.484/7

Approximate Duration: 3–4 minutes
Description: A dance-like piece in E♭ major, inspired by the Spanish Bolero, transcribed from No.7 from Bunte Reihe.

Elegie, S.484/8

Approximate Duration: 3–4 minutes
Description: A somber and expressive piece in E♭ minor, based on No.8 from Bunte Reihe, featuring lush harmonies and a singing melody.

Marsch, S.484/9

Approximate Duration: 3–4 minutes
Description: A stately and rhythmic march in E major, transcribed from No.9 from Bunte Reihe.

Toccata, S.484/10

Approximate Duration: 3–4 minutes
Description: A brisk and energetic piece in E minor, transcribed from No.10 from Bunte Reihe, featuring fast runs and repeated-note patterns.

Gondellied, S.484/11

Approximate Duration: 3–4 minutes
Description: A serene and flowing Venetian barcarolle in F major, adapted from No.11 from Bunte Reihe.

Im Sturm, S.484/12

Approximate Duration: 3–4 minutes
Description: A stormy and dramatic piece in F minor, transcribed from No.12 from Bunte Reihe, evoking turbulent and passionate emotions.

Romanze, S.484/13

Approximate Duration: 3–4 minutes
Description: A sweet and lyrical piece in F♯ major, based on No.13 from Bunte Reihe, emphasizing delicate phrasing and harmonic warmth.

Allegro agitato, S.484/14

Approximate Duration: 3–4 minutes
Description: A restless and passionate transcription of No.14 from Bunte Reihe, set in F♯ minor, featuring dramatic dynamic contrasts.

Menuetto, S.484/15

Approximate Duration: 3–4 minutes
Description: A graceful and stately minuet in G major, transcribed from No.15 from Bunte Reihe.

Etüde, S.484/16

Approximate Duration: 3–4 minutes
Description: A technical etude in G minor, based on No.16 from Bunte Reihe, showcasing finger dexterity and rapid note patterns.

Intermezzo, S.484/17

Approximate Duration: 3–4 minutes
Description: A gentle and contemplative piece in A♭ major, transcribed from No.17 from Bunte Reihe.

Serenade, S.484/18

Approximate Duration: 3–4 minutes
Description: A lyrical and flowing Serenade in G♯ minor, adapted from No.18 from Bunte Reihe.

Ungarisch, S.484/19

Approximate Duration: 3–4 minutes
Description: A Hungarian-themed piece in A major, based on No.19 from Bunte Reihe. This is the first version of S.484/19a.

Ungarisch (2nd version), S.484/19a

Approximate Duration: 3–4 minutes
Description: A revised version of S.484/19, incorporating more complex textures and variations. Originally numbered as S.484/19bis.

Liebesträume (3 Notturnos), S.541

Approximate Duration: Varies
Description: A famous set of three nocturnes, later referred to as Liebesträume. These pieces, transcribed from Liszt’s own songs, feature romantic lyricism and virtuosic embellishments.

Liebestraum No. 1 (Hohe Liebe), S.541/1

Approximate Duration: 4–5 minutes
Description: A noble and serene piece in A♭ major, based on S.307, reflecting on sublime love.

Liebestraum No. 2 (Seliger Tod), S.541/2

Approximate Duration: 4–5 minutes
Description: A meditative nocturne in E♭ major, transcribed from S.308. An album leaf on its themes exists, titled Nocturne No.2.

Liebestraum No. 3 (Oh Lieb, so lang du lieben kannst), S.541/3

Approximate Duration: 4–5 minutes
Description: The most famous Liebestraum, based on S.298/2, emphasizing passionate intensity and lyrical beauty.

Morceaux en style de danse ancien hongrois (3), S.737

Approximate Duration: N/A (Lost)
Description: A set of three dance pieces written in the old Hungarian style, though the manuscript is lost and Liszt’s authorship is uncertain.

Rêves et fantaisies, S.695d

Approximate Duration: N/A (Unfinished)
Description: An unfinished piano work, later deleted and renumbered as S.242/23. It likely contained fantasy-like improvisational elements.

Polonaises (2), S.223

Approximate Duration: Varies
Description: A set of two Polonaises, blending Polish dance rhythms with Liszt’s virtuosic piano style, composed between 1850 and 1851.

Polonaise mélancolique, S.223/1

Approximate Duration: 6–7 minutes
Description: A somber and introspective Polonaise in C minor, featuring lyrical themes and dramatic contrasts, evoking a mood of elegance mixed with melancholy.

Polonaise, S.223/2

Approximate Duration: 6–7 minutes
Description: A majestic and celebratory Polonaise in E major, filled with graceful dance rhythms and virtuosic passages.

Alfonso und Estrella, S.753

Approximate Duration: N/A (Lost)
Description: A piano arrangement of Act I from Schubert’s opera Alfonso und Estrella (D.732). The work is lost, but Liszt’s adaptation likely highlighted the lyrical and dramatic elements of Schubert’s composition.

Valse-Impromptu, S.213

Approximate Duration: 4–5 minutes
Description: A brilliant and spontaneous waltz, based on S.212, filled with delicate runs, sparkling embellishments, and rhythmic fluidity, showcasing Liszt’s improvisatory flair.

Caprices-Valses (3), S.214

Approximate Duration: Varies
Description: A set of three virtuosic waltzes, composed between 1850 and 1852, blending dance forms with Liszt’s signature technical brilliance and expressive nuances.

Valse de bravoure, S.214/1

Approximate Duration: 5–6 minutes
Description: A bold and technically demanding waltz in B♭ major, serving as the second version of S.209. It combines graceful charm with dazzling virtuosity.

Valse de concert sur deux motifs de "Lucia" et "Parisina" de Donizetti, S.214/3

Approximate Duration: 5–6 minutes
Description: A concert waltz in A major, based on themes from Donizetti’s operas Lucia di Lammermoor and Parisina. This is the second version of S.401, showcasing Liszt’s ability to transform operatic themes into virtuosic piano showpieces.

Liebeslied (Widmung von Robert Schumann), S.566a

Approximate Duration: N/A (Short Draft)
Description: A preliminary draft of Liszt’s famous transcription of Schumann’s Widmung (S.566). This early version captures the essence of Schumann’s love song, but in a shorter and less developed form, likely serving as the groundwork for the final, more elaborate version.

Franz Schuberts Grosse Fantasie, S.366

Approximate Duration: 18–20 minutes
Description: A piano and orchestra arrangement of Schubert’s Wanderer Fantasy, D.760, also arranged for two pianos as S.653.

Polonaise brillante [Weber], S.455

Approximate Duration: 6–7 minutes
Description: A brilliant and energetic polonaise, arranged from Weber’s Polacca brillante, Op.72, also arranged for piano and orchestra as S.367.

Festmarsch zu Schillers 100 jähriger Geburtstagsfeier (von Giacomo Meyerbeer), S.549

Approximate Duration: 6–7 minutes
Description: A grand celebratory march, arranged by Liszt from Meyerbeer’s composition for Schiller’s 100th birthday. It features majestic orchestral textures adapted for solo piano.

Transcriptionen aus Mozarts Requiem (2), S.550

Approximate Duration: Varies
Description: A piano transcription of two sections from Mozart’s Requiem, capturing its solemn and dramatic character.

Confutatis maledictis, S.550/1

Approximate Duration: 3–4 minutes
Description: A powerful transcription of Mozart’s intense movement, featuring contrasting fiery and pleading sections.

Lacrymosa, S.550/2

Approximate Duration: 3–4 minutes
Description: A delicate and sorrowful arrangement, preserving the ethereal beauty of Mozart’s choral writing.

Una stella amica (Polka mazurka de F. Pezzini), S.551

Approximate Duration: 4–5 minutes
Description: A lively and elegant polka-mazurka, attributed to F. Pezzini and arranged by Liszt. The original waltz remains unidentified.

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