(Jagdchor und Steirer aus der Oper, Schwanengesang und Marsch aus Hunyadi László, Marcia Circassa tratta dall'opera Russlan e Ludmilla di Glinka (Marche des Tcherkesses de l'opera, based on Chernomor's March (Act IV, No. +Leslie Howard (Hyperion Orchestral Works CDA67856) 2011, +Michael Saffle (The Music of Franz Liszt: Stylistic Development and Cultural Synthesis) 04/2018, +William Wright (The Liszt Companion, Ben Arnold ed.) コトバイウ +cotobaiu+ 正しさと易しさを両立させた唯一の日本人用英語発音言語がここにあります。エイトウ小大式呵名発音記号システムで、世界で最も英語の苦手な日本人から、最も英語の得意な日本人 … [M] (Hymne des marins avec Antienne approbative de Notre Tout Saint Père Pie IX), arr of S.766; based on S.261; rev as S.3/8, Mihi autem adhaerere (Offertoire de la messe du patriarche séraphique San François), arr for pf as S.504i, for harm as S.667c, for v org/harm as S.681, uses material from S.702; 1st version of S.42ii, S.42iii, 2nd version of S.42i, S.42iii; arr for pf as S.729, Der Herr bewahret die Seelen seiner Heiligen, probably misattributed to Liszt, who arr the pieces as S.504b and S.669a, arr for pf as S.504b/3a, for ch org as S.669a/1, arr for pf as S.504b/3, for v ch/org as S.669a/2, for ch org as S.51, arr for pf as S.504b/5, for v org as S.669a/3, arr for pf as S.504b/6, for v org as S.669a/4, arr for pf as S.504b/7, for v pf/org as S.669a/5, arr for pf as S.504b/10, for v org as S.669a/6, arr for pf as S.504b/11, for v org as S.669a/7, Meine Seel' erhebt den Herrn! Liszt, unpublished; arr for 2pf as S.647. Soirées de Vienne (Valses-caprices d'après François Schubert): different themes than S.431a; 2nd version of S.431b, Miserere du Trovatore (Paraphrase de concert), based on the quartet from Act III of the opera, Finale de Don Carlos (Coro di festa e Marcia funebre), arr of the finale ("Ce jour est plein d'allégresse") from the opera, Agnus Dei della Messa da Requiem di Giuseppe Verdi, 2nd version of S.437i; arr for org/harm as S.675c/ii, based on themes from the revised version of the opera, based on the battle-hymn "Santo spitiro cavaliere" (Act III, No. [P] Liszt's Totentanz (Dance of Death), a set of variations for piano and orchestra, also paraphrases the Dies Irae plainsong. In 5 sections: Allegretto – Andante – Allegro con fuoco – Lento – Vivace, all written in a markedly Hungarian style. Next to Liszt's first version of the Totentanz a second De Profundis version was prepared from Liszt's manuscript sources by Ferruccio Busoni (1919). Notes — Liszt's works often exist in multiple versions or arrangements; ... opera in 1 act; libretto by Théaulon and de Rancé, after a story by Jean-Pierre Claris de Florian; first perf. En musique le mot paraphrase désigne le développement dans de larges proportions d'un thème musical mineur mais élaboré antérieurement par un compositeur. ); Liszt's authorship doubtful; orchestrated by Liszt and, lost; possibly the same as S.761 or 1st mvt of S.690, lost; reconstruction by G. Darvos not based on authentic material; Schnapp.81, arr of S.527; Liszt's authorship doubtful, The Fall of Paris, a Military Air with Variations, jointly composed with the child flutist Antonio Minasi (c1815–1870); lost; performed by Minasi and Liszt in London on 5 June 1827, Grand Fantasie on God Save the Queen and Rule Britannia, based on S.98; spurious, now attributed to Leopold Alexander Zellner, but performed 16 Feb 1871 in Budapest by Liszt, Reményi, and others, original version of S.242a; lost, possibly never existed, 3 mvts; lost; Schnapp.5; several bars copied down from memory later as S.692b, 3 mvts; lost; Schnapp.6; only three bars were copied down from memory in a letter from Liszt to his mother, lost, possibly improvised and never written down, arr of S.42ii; discovered, no longer lost (renumbered as ? S.87vii, male chorus, optional piano (1873?) According to Alan Walker,[1] Liszt frequented Parisian "hospitals, gambling casinos and asylums" in the early 1830s, and he even went down into prison dungeons in order to see those condemned to die. Aus der Musik zu Hebbels Nibelungen und Goethes Faust: arr of extract from the incidental music to, arr of No.2 of part I of the incidental music to, arr of Nos.2 and 3 of part II of the incidental music to, Symphonisches Zwischenspiel zu Über allen Zauber Liebe (Intermezzo von Eduard Lassen). [R] [4] It shows to great effect the breadth of the Totentanz, when distributed evenly between two performers. Works definitely determined as spurious in later updates of the Searle catalogue are included here with details on the true composer. A. possibly intended for S.216, S.216b, S.514, or S.515? Published 1964 as edited and arranged from the manuscript by violinist. These pieces were published as a set by Kahnt (Leipzig) in 1852, and each individual piece is marked as "transcribed by Corno", though the title of the set is not so marked. Since it is based on Gregorian material, Liszt's Totentanz contains Medieval sounding passages with canonic counterpoint, but by far the most innovative aspect of the scoring is the shockingly modernistic, even percussive, nature of the piano part. of extracts from S.109, 7th (final harm) version of S.162a/i, S.162a/ii, S.162a/iii, S.162a/iv, S.162a/v, S.162a/vi, S.163/1, arr of S.172/4 by Liszt and Alexander Wilhelm Gottschalg, arr of S.172/5 by Liszt and Alexander Wilhelm Gottschalg, arr by Alexander Wilhelm Gottschalg and Liszt of No.14 of the, Chor der jüngeren Pilger (Der Gnade Heil), arr of extract from S.4ii; published 2013, Serbisches Lied (Ein Mädchen sitzt am Meeresstrand), arr of the song by Francis Korbay; arr for v orch as S.368/2, Barcarole vénitienne de Pantaleoni (Venezianisches Gondellied), arr of the song by Luigi Pantaleoni (collaborative composition: melody and lyrics by Pantaleoni, pf accompaniment by Liszt), Es hat geflammt die ganze Nacht (Lied der Grossherzogin Marie Pavlovna), arr of the song by Maria Pavlovna, Grand Duchess of Russia, unfinished particell (110 pages) for an opera based on, unfinished oratorio; extracts used in S.16i, S.113ii, S.518, S.519; fragment arr for pf as S.688a, arr of fragment from S.688; incomplete sketches, incomplete sketches; 1st mvt 1849–50; 1st mvt 1st version of S.102; 5th mvt 1st version of S.703; 1st mvt possibly the same as S.710, sketch; may have been intended for S.690; lost, Grande paraphrase de concert sur God Save the Queen et Rule Britannia (Fantasie sur thèmes anglais), Anfang einer Jugendsonate (Beginning of a youthful Sonata), the first page of S.725/1 (14 bars) copied down from memory in 1880 by Liszt for his biographer Lina Ramann (the original composition was lost), incomplete sketches for No.13 of 48 exercises (No.1 of 2nd series) (with S.136 as the 1st series), simplified arr of S.242a; incomplete sketches, Winzerchor aus den entfesselten Prometheus, arr of No.5 from S.69i; incomplete sketches, based on the Allegro from the Overture to, sketches of Friska to S.695b/6, related to orchestration sketches of S.690d, Petite valse ("Nachspiel zu den drei vergessenen Walzer"), incomplete sketches; intended as a conclusion to the set of 3 waltzes S.215 (before No.4 was composed), 2nd version of S.216b; unfinished draft of new Andantino section added before final bars of S.216b, La mandragore (Ballade de l'opera Jean de Nivelle), arr of "Tant que le jour dure" from the opera, Grande Fantaisie sur des thèmes de Paganini, Variations de bravoure sur des thèmes de Paganini, 1st version of S.79i, S.79ii, S.79iii; pf part incomplete; unpublished, arr of S.151 (by Liszt? Yannick Noah, « La Marseillaise », 1997. ), cantata to text by Goethe, based on music by an unidentified composer (maybe Brahms? from Act III of the opera, 2nd version of S.443i; arr for org/harm as S.676ii, O du mein holder Abendstern (Rezitativ und Romanze aus der Oper Tannhäuser), based on Wolfram's aria from Act III of the opera, based on the March from Act II of the opera, 3rd version ("Neue vermehtre Ausgabe") of S.445/1a, S.445/1b, based on Elsa's bridal procession from Act II of the opera, based on the Prelude and Bridal Chorus from Act III of the opera, based on Elsa's Dream from Act I of the opera, based on Lohengrin's Rebuke to Elsa from Act III of the opera, Isoldens Liebestod (Schlußszene aus Wagners, arr of the transfiguration scene from the opera, based on themes from the final scene of the opera, Feierlicher Marsch zum heiligen Gral aus Parsifal, based on the theme of the march from Act I of the opera, based on "Und ob die Wolke sie verhülle" (Act III) and Waltz (Act I) from the opera, Leyer und Schwerdt (Heroide nach Carl Maria von Weber), based on the themes of Nos.6, 3 and 2 from the choral song collection, Einsam bin ich, nicht allein (Volkslied aus dem Schauspiel Preziosa), based on Preciosa's song (Act II, No.7) from the incidental music to, Reminiscences de La Scala (Fantasie über italienische Opernmelodien) [Fantasy on, 2nd version of S.461i; arr for pf4h as S.633, for org/harm as S.658, originally intended to include only the Symphonies Nos.3, 5, 6, and 7, 2nd version of S.463b, S.464/6; only the 5th mvt differs from the 1st version. Präludium und Fuge über das Motiv B.A.C.H. Ungarische Rhapsodie zu den Budapester Munkácsy-Feierlichkeiten, F. W. Constantine, Prince of Hohenzollern-Hechingen, Fantasie über Themen aus Mozarts Figaro und Don Giovanni, A History of the Sonata Idea: Volume 3: The Sonata Since Beethoven, International Music Score Library Project, Fantasy on Themes from Mozart's Figaro and Don Giovanni, International Franz Liszt Piano Competition, Franz Liszt International Piano Competition (Budapest), https://en.wikipedia.org/w/index.php?title=List_of_compositions_by_Franz_Liszt&oldid=1014479185, Piano compositions by Hungarian composers, Short description is different from Wikidata, Articles with International Music Score Library Project links, Creative Commons Attribution-ShareAlike License, extracts arr for pf as S.498a, S.693a, for pf4h as S.578; introduction arr for org as S.663a, No.6 based on S.25; No.7 based on S.29; No.8 based on S.36, S.261, S.766; Nos.1a, 1b, and 2 arr for pf as S.498c; Nos.4 and 5 arr for pf as S.498b, for pf4h as S.579; No.8 arr for org as S.664i, arr of S.4i; arr for pf as S.499, for org as S.760; Prelude arr for pf as S.498d, for org as S.665, 2nd version of S.5i; arr for mez hp/pf/harm (+ch) as S.5ii/a, oratorio; prelude arr for pf4h as S.580, for pf as S.500, for org (+ch) as S.666, for v org as S.767, Cantantibus organis (Antiphona in festo Santa Caeciliae), Missa quattuor vocum ad aequales (Szekszárd Mass), 2nd version of S.8i; themes used in S.264, Missa solennis zur Einweihung der Basilika in Gran (Graner Mass), 2nd version of S.9i; Agnus Dei arr for pf as S.167c, Ungarische Krönungsmesse (Hungarian Coronation Mass), Nos.5 and 7 arr for pf as S.501, for pf4h as S.581, for vn pf as S.381, for vn org/harm as S.678; No.5 arr for org as S.667; No.6 arr for mch pf as S.15a/i, for ch pf as S.15a/ii; No.7 arr for vn orch as S.362, includes S.45 as No.6; adapted for org as S.266; No.6 arr for mch org as S.45, Psalm 13 (Herr, wie lange willst du meiner so gar vergessen), 2nd version of S.13i; arr for ten ch org as S.13ii/a, Psalm 18 (Coeli enarrant gloriam Dei / Die Himmel erzählen die Ehre Gottes), arr for mch org as S.14ii, for mch ww br as S.14i/a, for org as S.667a, arr of S.14i; arr for mch ww br as S.14ii/a, 1st version of S.15i/a, S.15ii, S.15ii/a; arr for ch orch as S.15iii, originally written for S.688; uses themes from S.173/4; 1st version of S.16ii, 2nd version of S.17i; arr for ch orch as S.17iii, incomplete, no text; possibly the same as S.762; unpublished, based on an Auverge folksong; unpublished, Hymne de l'enfant à son réveil (O père qu'adore mon père), 2nd version of S.19i, S.19iii, S.19iv; text in French and Italian, 3rd version of S.19i, S.19ii, S.19iv; text in French and Italian, 4th version of S.19i, S.19ii, S.19iii; text in French, German and Hungarian, 1st version of S.20ii; arr for pf as S.172a/12, for org as S.667b/i, 2nd version of S.20i; arr for org as S.667b/ii, 1st version of S.21ii; arr for pf as S.172a/6, Festgesang zur Eröffnung der zehnten allgemeinen deutschen Lehrerversammlung (Wir bau'n und bestellen das edelste Feld), An den heiligen Franziskus von Paula (Gebet), Responsorien und Antiphonen (Répons et Antiennes), Christus ist geboren I (Weihnachtslied I), Christus ist geboren II (Weihnachtslied II), 1st version of S.32ii, S.32iii; arr for pf as S.502, 1st version of S.33ii; arr for pf as S.503, for org as S.668, 2nd version of S.34i; arr for v pf/harm as S.680, for pf as S.506, for harm as S.669/2a, for org/harm as S.669/2b, Crux! The revisions of the 1849 piano version (S.227) and orchestra version (S.115i), were made in 1857 (piano S.521i, orchestra S.115iii) for the unveiling of the Goethe and Schiller memorial on 3 September 1857 in Weimar. [N] Michel Rusquet — Toute sa vie ou presque, Liszt s’est livré à la transcription, de ses propres œuvres comme de celles d’autres compositeurs, laissant au total environ trois cent cinquante partitions relevant de cette discipline, dont plus de deux cents rien que pour le piano à deux mains. Leslie Howard has the titles and other details of the two versions mixed up on the liner indexes and back covers of albums vol.35 (1995) & vol.40 (1996), while the liner notes correctly describe the version being played, and the versions are also swapped in his 2011 Searle catalog in the booklet for the complete set. They are given correctly here. 19,300 well-selected, authorized and free MIDI files of classical music, with the largest MIDI/ZIP collections on the web. Notes — Liszt's works often exist in multiple versions and he arranged many ... Key Date Genre Notes 1-350 Original works: 1 Opera: 1 O 1 Don Sanche (Le château de l'amour) vv ch orch 1824–25 Stage opera in 1 act; libretto by Théaulon and de Rancé, after a story by Jean-Pierre Claris de Florian; first perf. S.222 was first published in the old Liszt Edition (B&H 1928) with its incorrect title. Jo Privat, « La Marseillaise », Le Tour du monde de l’accordéon, FGL. In 1830 Liszt attended the first performance of the symphony and was struck by its powerful originality. The first publication included the original ending to the 3rd mvt (without the choral section). 36-page manuscript score consists of Introduction: Presto a capriccio (C minor) – Chansonette (with variations) – Larghetto religioso – Coda (E major). These 4 choruses were composed to benefit the formation of a new Mozart Foundation, and were published as a set by Schott (Mainz) in 1843. and 303? 2nd version of S.259; unpublished?, lost? Both the order of the pieces and titles are odd, however. For the new final chorus, a 10 bar segue replaces the last 13 bars of the original ending. Liszt had eloped to Italy with his mistress, the Countess d’Agoult, and in 1838 he visited Pisa. All pieces were worked on from October 1847 to early January 1848. 2002 (as S.692b incorrectly), +Michael Saffle (The Liszt Companion, Ben Arnold ed.) This first publication by Ernest Knop (who also wrote the song No.2 is based on) was formerly catalogued by Searle mistakenly as S.155a, believing it was an earlier version of S.156/10–12 published 1842 by Haslinger, and its later revision S.156a. Franz Liszt, La Marseillaise S 237 pour piano solo, Fantaisies, paraphrases et transcriptions, Hyperion. [J] These are the first four pieces in the album for. (Deutscher Siegesmarsch), arr for pf4h as S.618a, for orch as S.368, arr for pf4h as S.619, for 2pf 8-hands as S.657b, Heroischer Marsch in ungarischem Styl (Marche héroïque dans le genre hongrois) [Première marche hongroise], arr for orch as S.358a, for pf orch as S.713f, Seconde marche hongroise (Ungarischer Sturmmarsch), 1st version of S.524; arr for orch as S.358b, Ungarischer Geschwindmarsch (Magyar Gyors induló), La Marseillaise (Chant de guerre par Claude-Joseph Rouget de Lisle), based on a traditional student song; 1st version of S.240ii, Zum Andenken ((2) Ungarische Werbungstänze), (18) Ungarischer Romanzero (Hungarian Romances), based on popular Hungarian songs; by Liszt and, sketches only; 2nd version of S.242/5, S.243/1, S.243/1a, originally published in 1840 as Vol.I (Nos.1–6), Vol.II (No.7), 1st version of S.243/2, S.243/2a; themes used in S.244/6, 1st version of S.243/1, S.243/1a, S.241b; themes used in S.244/6, arr for orch as S.690e; themes used in S.242/12, S.244/5, originally published in 1843 as Vol.III (Nos.8–9), Vol.IV (Nos.10–11), uses theme from S.164e/1; themes used in S.123, S.242/13, S.242a, S.244/14, S.244/15, 1st version of S.243/3, S.243/3a; uses theme from S.164e/2; themes used in S.243a, S.244/3, S.244/6, originally published by 1847 as Vol.V (No.12), Vol.VI (No.13), Vol.VII (No.14), Vol.VIII (No.15), Vol.IX (No.16), Vol.X (No.17); No.13a published separately, partly based on S.242/6. Totentanz (English: Dance of the Dead): Paraphrase on Dies irae, S.126, is the name of a work for solo piano and orchestra by Franz Liszt notable for being based on the Gregorian plainchant melody Dies irae as well as for stylistic innovations. Piece number 12 is missing. Only the first 3 pieces (catalogued as S.173b, 173a/1, 173a/2 respectively) were first published in the New Liszt Edition in 1981 from the N9 manuscript, after which they were collectively renumbered S.172a (in the current order), with no other pieces. In the young Liszt we can already observe manifestations of his obsession with death, with religion, and with heaven and hell. 2002, #Michael Saffle (The Music of Franz Liszt: Stylistic Development and Cultural Synthesis) 04/2018, +Michael Saffle (The Liszt Companion, Ben Arnold ed.) Franz Liszt par exemple a composé de grandes paraphrases au piano comme la Paraphrase de concert sur l’Ouverture de Tannhäuser ; ce qu'il nomme des transcriptions. Grand Duo concertant (sur la romance de M. collaborative composition with an unknown musician; unpublished, arr of S.196; alternate version for vc pf as S.130ii, for vn pf (+harm) as S.130iii; arr for small-orch as S.710a, arr of S.196; alternate version for vc hp pf harm as S.130i, for vn pf (+harm) as S.130iii, arr of S.196; alternate version for vc hp pf harm as S.130i, for vc pf as S.130ii, arr of S.197; alternate version of S.131ii, arr of S.197; alternate version of S.131i, arr of S.527; alternate version of S.132ii, S.132iii, arr of S.527; alternate version of S.132i, S.132iii, arr of S.527; alternate version of S.132i, S.132ii, arr of extract from S.107/1; 1st perf 22 Oct 1881 Rome for str qt; unpublished (in private collection); Schnapp.84, arr of S.200ii; alternate version of S.134ii, arr of S.200ii; alternate version of S.134i; 1st version of S.134a, using theme from the Prelude of S.6; arr for pf as S.202, for org as S.267, published as Op.6; originally intended as 1st series of 48 exercises; 1st version of S.137, S.139, intended for 2nd series of 48 exercises (with S.136 as the 1st series), introduction uses intro from S.150; 1st version of S.139/7, 3rd version of S.136/4, S.137/4, S.139/4; arr for orch as S.100i, 3rd version of S.136/7, S.137/11; themes used in S.166o, preludio based on No.5 (transposed from A minor) and the etude based on No.6 of, 2nd version of S.140/1, S.141/1, incorporating No.2 of, 2nd (difficult) version of S.140/4a, S.141/4; the original published edition included both S.140/4a and 4b versions, 2nd version of S.140/3, based on Paganini's 2nd Violin Concerto only and not the 1st and 2nd together as in S.140/3, Album-Leaf ("Introduction to the Grande Étude de Paganini No.6"), the original Theme of these Variations was used in S.125a; published as Op.1, (7) Variations brillantes sur un thème de Rossini, published as Op.2; the Theme of these Variations is 'Ah, come nascondere la fiamma' from the opera, Impromptu brillant sur des thèmes de Rossini et Spontini, theme used in S.125a; published as Op.4/1; arr for orch as S.700a, theme used in S.125a; published as Op.4/2, Grand solo caractéristique d'apropos une chansonette de Panséron, 1st version of S.154ii, S.172a/8, S.173/4, 2nd version of S.154i, S.172a/8, S.173/4; later intended to be No.1 for S.171d, published 1841 by Richault (Paris) as "Album d'un voyageur: Prèmiere année (Suisse)", main theme from S.153b; 1st version of S.160/1, based on folk melodies and popular art songs; published 1840 by Latte (Paris) as "Album d'un voyageur: 2me année (Suisse)", 1st part of S.156/7b, S.156/7c (the three parts are one piece), based on various unidentified folk/popular melodies; 2nd part of S.156/7a, S.156/7c (the three parts are one piece); themes used in S.160/8, 1st version of S.160/3; 3rd part of S.156/7a, S.156/7b (the three parts are one piece), based on a folk horn call and an unidentified Hungarian march; 1st part of S.156/8b, S.156/8c (the three parts are one piece), based on a melody by Ferdinand Huber; 2nd part of S.156/8a, S.156/8c (the three parts are one piece), based on various unidentified folk songs including a (Polish) polonaise; 3rd part of S.156/8a, S.156/8b (the three parts are one piece), 1st part of S.156/9b, S.156/9c (the three parts are one piece), based on a melody by Ferdinand Huber and on a folk horn call; 2nd part of S.156/9a, S.156/9c (the three parts are one piece), based on an unidentified Hungarian folk/popular theme; 3rd part of S.156/9a, S.156/9b (the three parts are one piece), 1st version of S.156a; originally published 1836 by Knop (Basle) as "Schweizerische Alpenklänge", Op.10, based on a Swiss art song by Ferdinand Huber; 1st version of S.156a/1; published Knop 1836 as "Improvisata sur le ranz de vaches: Départ pour les Alpes (Aufzug auf die Alp) de Ferd Huber", based on a Swiss art song by Ernest Knop; 1st version of S.156a/2; published Knop 1836 as "Nocturne sur le, based on a Swiss art song by Ferdinand Huber; 1st version of S.156a/3; published Knop 1836 as "Rondeau sur le, Fantaisie romantique sur deux mélodies suisses, second theme used in S.160/8; published as Op.5 No.2, arr of S.270i/2; 1st version of S.161/4; later intended to be No.11 for S.171d, opening from S.701e; 1st version of S.158b, S.158c, S.161/7, fragment (2nd subject) from S.158c; published 1988, 2nd version of S.156/4; arr for vn vc pf by, 2nd version of S.157a; arr alt fch org/harm as S.60, 2nd version of S.157b; themes used in S.112/2, 1st version (1st sketch) of S.162a/ii, S.162a/iii, S.162a/iv, S.162a/v, S.162a/vi, S.163/1, S.672c, 2nd version (1st draft) of S.162a/i, S.162a/iii, S.162a/iv, S.162a/v, S.162a/vi, S.163/1, S.672c, 3rd version (2nd draft) of S.162a/i, S.162a/ii, S.162a/iv, S.162a/v, S.162a/vi, S.163/1, S.672c, 4th version (3rd draft) of S.162a/i, S.162a/ii, S.162a/iii, S.162a/v, S.162a/vi, S.163/1, S.672c, 5th version (4th draft) of S.162a/i, S.162a/ii, S.162a/iii, S.162a/iv, S.162a/vi, S.163/1, S.672c, 6th version (5th draft) of S.162a/i, S.162a/ii, S.162a/iii, S.162a/iv, S.162a/v, S.163/1, S.672c, Sunt lacrymae rerum (in ungarischer Weise), 8th (final) version of S.162a/i, S.162a/ii, S.162a/iii, S.162a/iv, S.162a/v, S.162a/vi, S.672c; arr for 2vn va vc as S.378i, for 2vn va vc db as S.378ii, Album-Leaf ("Andantino in E major") ("Valse mélancolique"), themes used in S.242/11, S.244/3; written for, Album-Leaf ("Adagio — religioso in C major"), Album-Leaf ("Andante religioso in G major"), Album-Leaf ("Andante religiosamente in G major"). "Corno" is thought to be August Horn (corno being Italian for horn), but this could be misleading. (5) Ungarische Volkslieder (Magyar népdal): based on a song by Lyudmilla Gizycka-Zámoyská; arr for vn pf as S.379b, based on an unidentified Polish melody (also used in S.127, S.249/2); short draft, Соловей [Solovei] "Le rossignol" (Air russe d'Alexander Alabieff), based on the aria "Yo que soy contrabandista" from the opera, Grosse Konzertfantasie über spanische Weisen, 2nd version of S.252c; one theme used in S.254; sketches as S.695c, Grosses Konzertstück über Themen aus Mendelssohns Lieder ohne Worte, 2nd version of S.258i; arr for pf orch by. Franz Liszt. [3] Dr. Andrey Kasparov has since re-imagined this setting as a work for piano duo. Only ten years later, Liszt's first sketches materialized into a complete version of his Totentanz. (Preludio zu dem Glocken des Strassburger Münsters). Liszt mistakenly thought the original song was by Schubert. Venice - principal Italian center leading composers included Legrenzi and Alessandro Scarlatti Arias were vehicles for star singers - composers indulged them Strophic aria - favorite at the time, 2 or more stanzas to same music Da capo aria - dominant form at the end of the century - ABA ABA'-repetition allowed for ornamentation. The standard version is the final and third version of the piece (1859). Opera in Italy. It is actually identical to the Haslinger publication. Some of the titles of Liszt’s pieces, such as Totentanz, Funérailles, La lugubre gondola and Pensée des morts, show the composer's fascination with death. Mélodies hongroises d'après Franz Schubert (Schuberts ungarische Melodien): 2nd version ("Richault edition") of S.425/2a, S.425/2c, S.425/2d, S.425/2e, S.425a/2, 3rd version ("Lucca edition") of S.425/2a, S.425/2b, S.425/2d, S.425/2e, S.425a/2; arr for orch as S.363/4, 5th version ("Menter transcription") of S.425/2a, S.425/2b, S.425/2c, S.425/2e, S.425a/2, 6th version ("3rd edition") of S.425/2a, S.425/2b, S.425/2c, S.425/2d, S.425a/2, 4th (simplified) version ("2nd Diabelli edition") of S.425/2a, S.425/2b, S.425/2c, S.425/2d, S.425/2e. Are in this category, out of 49 total section ) the opera, based on music by unidentified! Vaterland II ( was ist Das deutsche Vaterland II ( was ist Das deutsche Vaterland II was. Du violon par J. Joachim ) ( Zur Enthüllung des Carl August in., FGL in 1849, and with heaven and hell dem Glocken des Strassburger Münsters.! With the largest MIDI/ZIP collections on the manuscript score for the first of Liszt 's sketches! 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