This is a thematic list of original works by Franz Liszt

Franz Liszt

Franz Liszt ; ), was a 19th-century Hungarian composer, pianist, conductor, and teacher.Liszt became renowned in Europe during the nineteenth century for his virtuosic skill as a pianist. He was said by his contemporaries to have been the most technically advanced pianist of his age...

, based on the catalogue of Humphrey Searle

Humphrey Searle

Humphrey Searle was a British composer.-Biography:He was born in Oxford where he was a classics scholar before studying — somewhat hesitantly — with John Ireland at the Royal College of Music in London, after which he went to Vienna on a six month scholarship to become a private pupil of Anton...

 – The Music of Liszt, 1966; and on the additions by Sharon Winklhofer and Leslie Howard

Leslie Howard (musician)

Leslie Howard AM is an Australian pianist and composer. He is best known for being the only pianist to have recorded the complete solo piano works of Franz Liszt, a project which included more than 300 premiere recordings...

. The list up to S.350 covers the fully original works; the paraphrases and arrangements are covered in numbers S.351–999.

Sacred choral works

• S.2, The Legend of St. Elisabeth (1857–62)
• S.3, Christus
  Christus (Liszt)
  Christus is an oratorio by the Hungarian composer and pianist Franz Liszt. The oratorio takes the traditional plot of Jesus Christ's life from his birth to his passion and resurrection, using Bible texts, and is thus somewhat reminiscent of another famous religious work, Messiah by George Frideric...
  
   (1855–67)
• S.4, Cantico del sol di Francesco d'Assisi [first/second version] (1862, 1880–81)
• S.5, Die heilige Cäcilia (1874)
• S.6, Die Glocken des Strassburger Münsters (Longfellow) (1874)
• S.7, Cantantibus organis (1879)
• S.8, Missa quattuor vocum ad aequales concinente organo [first/second version] (1848, 1869)
• S.9, Missa solennis zur Einweihung der Basilika in Gran (Gran Mass) [first/second version] (1855, 1857–58)
• S.10, Missa choralis, organo concinente (1865)
• S.11, Hungarian Coronation Mass (1866–67)
• S.12, Requiem (1867–68)
• S.13, Psalm 13 (Herr, wie lange ?) [first/second/third version] (1855, 1858, 1862)
• S.14, Psalm 18 (Coeli enarrant) (1860)
• S.15, Psalm 23 (Mein Gott, der ist mein Hirt) [first version: chorus, soloist & orchestra] [second version: chorus, soloist & violin, piano, harp, organ] (1859, 1862)
• S.15a, Psalm 116 (Laudate Dominum) (1869)
• S.16, Psalm 129 (De profundis) (1880–83)
• S.17, Psalm 137 (By the Rivers of Babylon) [first/second version] (1859–62)
• S.18, Five choruses with French texts [5 choruses] (1840–49)
• S.19, Hymne de l'enfant à son réveil (Lamartine) [first/second version] (1847, 1862)
• S.20, Ave Maria I [first/second version] (1846, 1852)
• S.21, Pater noster II [first/second version] (1846, 1848)
• S.22, Pater noster IV (1850)
• S.23, Domine salvum fac regem (1853)
• S.24, Te Deum II (1853?)
• S.25, Beati pauperes spiritu (Die Seligkeiten) (1853)
• S.26, Festgesang zur Eröffnung der zehnten allgemeinen deutschen Lehrerversammlung (1858)
• S.27, Te Deum I (1867)
• S.28, An den heiligen Franziskus von Paula (b. 1860) libretto by Martha von Sabinin
  Martha von Sabinin
  Martha von Sabinin was a Russian composer and pianist.-Biography:Marfa Stepanova Sabinina was the daughter of the Russian provost in Weimar in Saxony. She studied music with Georg and Clara Schumann, Peter Cornelius, and Franz Liszt, and worked as a music teacher at Weimar from 1854 to 1860...
  
  
• S.29, Pater noster I (b. 1860)
• S.30, Responsorien und Antiphonen [5 sets] (1860)
• S.31, Christus ist geboren I [first/second version] (1863?)
• S.32, Christus ist geboren II [first/second version] (1863?)
• S.33, Slavimo Slavno Slaveni!
  Slavimo Slavno Slaveni!
  Slavimo Slavno Slaveni! , R 196, S 503, LW A223, is a piece by Franz Liszt based on a work by the Dubrovnik poet Medo Pucić, composed for the Millennium celebration of the arrival of Slavic apostles Saint Cyril and Saint Methodius to the area of present-day Slovakia...
  
   [first/second version] (1863, 1866)
• S.34, Ave maris stella [first/second version] (1865–66, 1868)
• S.35, Crux! (Guichon de Grandpont) (1865)
• S.36, Dall' alma Roma (1866)
• S.37, Mihi autem adhaerere (from Psalm 73) (1868)
• S.38, Ave Maria II (1869)
• S.39, Inno a Maria Vergine (1869)
• S.40, O salutaris hostia I (1869?)
• S.41, Pater noster III [first/second version] (1869)
• S.42, Tantum ergo [first/second version] (1869)
• S.43, O salutaris hostia II (1870?)
• S.44, Ave verum corpus (1871)
• S.45, Libera me (1871)
• S.46, Anima Christi sanctifica me [first/second version] (1874, ca. 1874)
• S.47, St Christopher. Legend (1881)
• S.48, Der Herr bewahret die Seelen seiner Heiligen (1875)
• S.49, Weihnachtslied (O heilige Nacht) (a. 1876)
• S.50, 12 Alte deutsche geistliche Weisen (Chorales) [12 chorals] (ca. 1878–79)
• S.51, Gott sei uns gnädig und barmherzig (1878)
• S.52, Septem Sacramenta. Responsoria com organo vel harmonio concinente (1878)
• S.53, Via Crucis (1878–79)
• S.54, O Roma nobilis (1879)
• S.55, Ossa arida (1879)
• S.56, Rosario [4 chorals] (1879)
• S.57, In domum Domino imibus (1884?)
• S.58, O sacrum convivium (1884?)
• S.59, Pro Papa (ca. 1880)
• S.60, Zur Trauung. Geistliche Vermählungsmusik (Ave Maria III) (1883)
• S.61, Nun danket alle Gott (1883)
• S.62, Mariengarten (b. 1884)
• S.63, Qui seminant in lacrimis (1884)
• S.64, Pax vobiscum! (1885)
• S.65, Qui Mariam absolvisti (1885)
• S.66, Salve Regina (1885)

Secular choral works

• S.67, Beethoven Cantata No. 1: Festkantate zur Enthüllung des Beethoven-Denkmals in Bonn
  Beethoven Monument, Bonn
  The Beethoven Monument is a large bronze statue of Ludwig van Beethoven that stands on the Münsterplatz in Bonn, Beethoven's birthplace. It was unveiled on 12 August 1845, in honour of the 75th anniversary of the composer's birth.-Background:...
  
   (1845)
• S.68, Beethoven Cantata No. 2: Zur Säkularfeier Beethovens (1869–70)
• S.69, Chöre zu Herders Entfesseltem Prometheus (1850)
• S.70, An die Künstler (Schiller) [first/second/third verion] (1853, 1853, 1856)
• S.71, Gaudeamus igitur. Humoreske (1869)
• S.72, Vierstimmige Männergesänge [4 chorals] (for Mozart-Stiftung) (1841)
• S.73, Es war einmal ein König (1845)
• S.74, Das deutsche Vaterland (1839)
• S.75, Über allen Gipfeln ist Ruh (Goethe) [first/second version] (1842, 1849)
• S.76, Das düstre Meer umrauscht mich (1842)
• S.77, Die lustige Legion (A. Buchheim) (1846)
• S.78, Trinkspruch (1843)
• S.79, Titan (Schobert) (1842–47)
• S.80, Les quatre éléments (Autran) (1845)
• S.81, Le forgeron (de Lamennais) (1845)
• S.82, Arbeiterchor (de Lamennais?) (1848)
• S.83, Ungaria-Kantate (Hungaria 1848 Cantata) (1848)
• S.84, Licht, mehr Licht (1849)
• S.85, Chorus of Angels from Goethe's Faust (1849)
• S.86, Festchor zur Enthüllung des Herder-Dankmals in Weimar (A. Schöll) (1850)
• S.87, Weimars Volkslied (Cornelius) [6 versions] (1857)
• S.88, Morgenlied (Hoffmann von Fallersleben) (1859)
• S.89, Mit klingendem Spiel (1859–62 ?)
• S.90, Für Männergesang [12 chorals] (1842–60)
• S.91, Das Lied der Begeisterung. A lelkesedes dala (1871)
• S.92, Carl August weilt mit uns. Festgesang zur Enthüllung des Carl-August-Denkmals in Weimar am 3 September 1875 (1875)
• S.93, Ungarisches Königslied. Magyar Király-dal (Ábrányi) [6 version] (1883)
• S.94, Gruss (1885?)

Symphonic poems

• S.95, Poème symphonique No. 1, Ce qu'on entend sur la montagne
  Ce qu'on entend sur la montagne
  Ce qu'on entend sur la montagne , sometimes referred to as 'Bergsymphonie', is the first of thirteen symphonic poems by Hungarian composer Franz Liszt...
  
   (Berg Symphonie) [first/second/third version] (1848–49, 1850, 1854)
• S.96, Poème symphonique No. 2, Tasso, Lamento e Trionfo
  Tasso, Lamento e Trionfo (Liszt)
  Franz Liszt composed his Tasso, Lamento e trionfo in 1849, revising it in 1850-51 and again in 1854. It is numbered No. 2 in his cycle of 13 symphonic poems written during his Weimar period.-Composition:...
  
   [first/second/third version] (1849, 1850–51, 1854)
• S.97, Poème symphonique No. 3, Les Préludes
  Les Préludes (Liszt)
  Les préludes is the third of Franz Liszt's thirteen symphonic poems. Directed by Liszt himself, in April 1856 the score, and in January 1865 the orchestral parts, were published by Breitkopf & Härtel, Leipzig. Among Liszt's symphonic poems, Les préludes is the most popular...
  
   (1848)
• S.98, Poème symphonique No. 4, Orpheus
  Orpheus (Liszt)
  Franz Liszt composed his Orpheus in 1853-4, numbering it No. 4 in his cycle of 12 symphonic poems written during his time in Weimar, Germany. It was first performed on February 16, 1854, conducted by the composer, as an introduction to the first Weimar performance of Christoph Willibald Gluck's...
  
   (1853–54)
• S.99, Poème symphonique No. 5, Prometheus
  Prometheus (Liszt)
  Franz Liszt composed his Prometheus in 1850, numbering it No. 5 in his cycle of symphonic poems when he revised it in 1855. The work is based on the Greek myth, Prometheus and is numbered S.99 in the Searle catalogue.-Composition:...
  
   [first/second version] (1850, 1855)
• S.100, Poème symphonique No. 6, Mazeppa [first/second version] (1851, b. 1854)
• S.101, Poème symphonique No. 7, Festklänge [revisions added to 1863 pub] (1853)
• S.102, Poème symphonique No. 8, Héroïde funèbre [first/second version] (1849–50, 1854)
• S.103, Poème symphonique No. 9, Hungaria (1854)
• S.104, Poème symphonique No. 10, Hamlet (1858)
• S.105, Poème symphonique No. 11, Hunnenschlacht
  Hunnenschlacht (Liszt)
  Hunnenschlacht , S.105, is a symphonic poem by Franz Liszt, written in 1857 after a painting of the same name by Wilhelm von Kaulbach.The painting depicts the battle of the Catalaunian Fields in 451 AD, where the Hun armies led by Attila fought a savage battle against a Roman coalition led by Roman...
  
   (1856–57)
• S.106, Poème symphonique No. 12, Die Ideale (1857)
• S.107, Poème symphonique No. 13, Von der Wiege bis zum Grabe (From the Cradle to the Grave) (1881–82)

Other orchestral works

• S.108, Eine Faust-Symphonie
  Faust Symphony
  A Faust Symphony in three character pictures , S.108, or simply the "Faust Symphony", was written by Hungarian composer Franz Liszt and was inspired by Johann von Goethe's drama, Faust...
  
   [first/second version] (1854, 1861)
• S.109, Eine Symphonie zu Dante's Divina Commedia
  Dante Symphony
  A Symphony to Dante's Divine Comedy, S.109, or simply the "Dante Symphony", is a program symphony composed by Franz Liszt. Written in the high romantic style, it is based on Dante Alighieri's journey through Hell and Purgatory, as depicted in The Divine Comedy...
  
   (1855–56)
• S.110, Deux épisodes d'apres le Faust de Lenau
  Mephisto Waltzes
  The Mephisto Waltzes are four waltzes composed by Franz Liszt in 1859-62, 1880–81, 1883 and 1885. Nos. 1-2 were composed for orchestra, later arranged for piano, piano duet and two pianos, whereas 3 and 4 were written for piano only...
  
   [2 pieces] (1859–61)
• S.111, Zweite Mephisto Waltz
  Mephisto Waltzes
  The Mephisto Waltzes are four waltzes composed by Franz Liszt in 1859-62, 1880–81, 1883 and 1885. Nos. 1-2 were composed for orchestra, later arranged for piano, piano duet and two pianos, whereas 3 and 4 were written for piano only...
  
   (1881)
• S.112, Trois Odes Funèbres [3 pieces] (1860–66)
• S.113, Salve Polonia (1863)
• S.114, Künstlerfestzug zur Schillerfeier (1857)
• S.115, Festmarsch zur Goethejubiläumsfeier [first/second version] (1849, 1857)
• S.116, Festmarsch nach Motiven von E.H.z.S.-C.-G. (1857)
• S.117, Rákóczy March (1865)
• S.118, Ungarischer Marsch zur Krönungsfeier in Ofen-Pest (am 8 Juni 1867) (1870)
• S.119, Ungarischer Sturmmarsch (1875)

Piano and orchestra

• S.120, Grande Fantaisie Symphonique on themes from Berlioz Lélio (1834)
• S.121, Malédiction (with string orchestra) (1833)
• S.122, Fantasie über Beethovens Ruinen von Athen [first/second version] (1837?, 1849)
• S.123, Fantasie über ungarische Volksmelodien
  Hungarian Fantasy (Liszt)
  The Hungarian Fantasy for piano and orchestra is an arrangement of the Hungarian Rhapsody No. 14 written by Franz Liszt in 1852...
  
   (1852)
• S.124, Piano Concerto No. 1 in E flat
  Piano Concerto No. 1 (Liszt)
  Franz Liszt composed his Piano Concerto No. 1 in E-flat major, S.124 over a 26-year period; the main themes date from 1830, while the final version dates 1849. The concerto consists of four movements, which are performed without breaks in between, and lasts approximately 20 minutes...
  
   [first/second version] (1849, 1856)
• S.125, Piano Concerto No. 2 in A major
  Piano Concerto No. 2 (Liszt)
  Franz Liszt wrote drafts for his Concerto for Piano and Orchestra No. 2 in A major, S.125, during his virtuoso period, in 1839 to 1840. He then put away the manuscript for a decade. When he returned to the concerto, he revised and scrutinized it repeatedly. The fourth and final period of revision...
  
   [first/second version] (1839, 1849)
• S.125a, Piano Concerto No. 3 in E flat
  Piano Concerto No. 3 (Liszt)
  Franz Liszt's Piano Concerto No. 3 in E-flat major Op. posth. , was possibly composed in 1839. It is said that this piece was composed before the first two concertos, but the date is inconclusive as there are claims it was not finished until 1847. Like his second piano concerto, it is a...
  
   (1836–39)
• S.126, Totentanz. Paraphrase on Dies Irae
  Totentanz (Liszt)
  Totentanz : Paraphrase on Dies irae , S.126, is the name of a symphonic piece for solo piano and orchestra by Franz Liszt, which is notable for being based on the Gregorian plainchant melody Dies Irae as well as for daring stylistic innovations...
  
   [Feruccio Busoni's 'De Profundis'/final version] (1849, 1859)
• S.126a, Piano Concerto "In the Hungarian Style"
  Ungarische Zigeunerweisen
  Ungarische Zigeunerweisen [Hungarian Gypsy Melodies ] is a single-movement work for piano and orchestra of about 17 minutes' duration by Sophie Menter...
  
   [probably by Sophie Menter
  Sophie Menter
  Sophie Menter was a German pianist and composer who became the favorite female student of Franz Liszt. She was called l'incarnation de Liszt in Paris because of her robust, electrifying playing style and was considered one of the greatest piano virtuosos of her time.Sophie Menter was born in...
  
  ] (1885)

Chamber music

• S.126b, Zwei Waltzer [2 pieces] (1832)
• S.127, Duo (Sonata) – Sur des thèmes polonais (1832–35 ?)
• S.128, Grand duo concertant sur la romance de M.Lafont Le Marin [first/second version] (ca. 1835–37, 1849)
• S.129, Epithalam zu Eduard. Reményis Vermählungsfeier (1872)
• S.130, Élégie No. 1 [first/second/third version] (1874)
• S.131, Élégie No. 2 (1877)
• S.132, Romance oubliée (1880)
• S.133, Die Wiege (1881?)
• S.134, La lugubre gondola [first/second version] (1883?, 1885?)
• S.135, Am Grabe Richard Wagners (1883)

Studies

• S.136, Étude en douze exercices dans tous les tons majeurs et mineurs [first version, 12 pieces] (1826)
• S.137, Douze grandes études
  Transcendental Etudes
  The Transcendental Etudes , S.139, are a series of twelve compositions for solo piano by Franz Liszt. They were published in 1852 as a revision of a more technically difficult 1837 series, which in turn were the elaboration of a set of studies written in 1826:...
  
   [second version, 12 pieces] (1837)
• S.138, Mazeppa [intermediate version of S137/4] (1840)
• S.139, Douze études d'exécution transcendante
  Transcendental Etudes
  The Transcendental Etudes , S.139, are a series of twelve compositions for solo piano by Franz Liszt. They were published in 1852 as a revision of a more technically difficult 1837 series, which in turn were the elaboration of a set of studies written in 1826:...
  
   [final version, 12 pieces] (1852); Carl Czerny
  Carl Czerny
  Carl Czerny was an Austrian pianist, composer and teacher. He is best remembered today for his books of études for the piano. Czerny's music was profoundly influenced by his teachers, Muzio Clementi, Johann Nepomuk Hummel, Antonio Salieri and Ludwig van Beethoven.-Early life:Carl Czerny was born...
  
   gewidmet.
• S.140, Études d'exécution transcendante d'après Paganini
  Grandes Etudes de Paganini
  The Grandes études de Paganini are a series of six études for the piano by Franz Liszt, revised in 1851 from an earlier version...
  
   [first version, 6 pieces] (1838)
• S.141, Grandes études de Paganini
  Grandes Etudes de Paganini
  The Grandes études de Paganini are a series of six études for the piano by Franz Liszt, revised in 1851 from an earlier version...
  
   [second version, 6 pieces] (1851)
• S.142, Morceau de salon, Étude de perfectionnement
  Grande étude de perfectionnement
  Étude de perfectionnement de la methode des methodes is a description applied to two pieces by the Hungarian composer Franz Liszt, composed in 1842 respective 1852. The first piece is called Morceau de salon, S.142, followed by a revision, Ab Irato, S.143. They are regarded as eccentric pieces with...
  
   [Ab Irato, first version] (1840)
• S.143, Ab Irato, Étude de perfectionnement
  Grande étude de perfectionnement
  Étude de perfectionnement de la methode des methodes is a description applied to two pieces by the Hungarian composer Franz Liszt, composed in 1842 respective 1852. The first piece is called Morceau de salon, S.142, followed by a revision, Ab Irato, S.143. They are regarded as eccentric pieces with...
  
   [second version] (1852)
• S.144, Trois études de concert
  Three Concert Etudes
  Trois études de concert , S.144, are a series of three piano études by Franz Liszt, composed c. 1848. They are intended not only for the acquisition of a better technique, but also for concert performance...
  
   [3 pieces] (1848?)
  1. Il lamento
  2. La leggierezza
  3. Un sospiro
• S.145, Zwei Konzertetüden
  Zwei Konzertetüden
  Two Concert Études is a set of two piano works by Franz Liszt.It consists of Waldesrauschen and Gnomenreigen ....
  
   [2 pieces] (1862–63)
  1. Waldesrauschen
     Waldesrauschen
     Waldesrauschen is first of two piano pieces by Franz Liszt in the set Zwei Konzertetüden . It is known for its beauty and imitation of wind in the forest....
     
     
  2. Gnomenreigen
     Gnomenreigen
     Gnomenreigen is second of two piano pieces by Franz Liszt in the set Zwei Konzertetüden . It is known for its technical difficulty in its fast passages and soft passages where the pianist imitates the sound of gnomes. It first has a theme mischievous consisting of grace notes followed by eights...
     
     
• S.146, Technische Studien [68 studies] (ca. 1868–80)

Various original works

• S.147, Variation on a Waltz by Diabelli
  Variation on a Waltz by Diabelli (Liszt)
  Variation on a Waltz by Diabelli , S.147, is a variation by Franz Liszt composed in 1822 and published in late 1823 or early 1824 as Variation No. 24 of Part II of Vaterländischer Künstlerverein, a collection of variations by 50 composers. All the variations were based on a waltz composed by Anton...
  
   (1822)
• S.148, Huit variations (1824?)
• S.149, Sept variations brillantes sur un thème de G. Rossini (1824?)
• S.150, Impromptu brilliant sur des thèmes de Rossini et Spontini (1824)
• S.151, Allegro di bravura (1824)
• S.152, Rondo di bravura (1824)
• S.152a, Klavierstück (?)
• S.153, Scherzo in G minor (1827)
• S.153a, Marche funèbre (1827)
• S.153b, Grand solo caractèristique d'apropos une chansonette de Panseron [private collection, score inaccessible] (1830–32)
• S.154, Harmonies poétiques et religieuses [Pensée des morts, first version] (1833, 1835)
• S.155, Apparitions [3 pieces] (1834)
• S.156, Album d'un voyageur [3 sets; 7, 9, 3 pieces] (1835–38)
• S.156a, Trois morceaux suisses [3 pieces] (1835–36)
• S.157, Fantaisie romantique sur deux mélodies suisses (1836)
• S.157a, Sposalizio
  Sposalizio
  Sposalizio is the title of the first piece in Franz Liszt's Deuxième Année de Pèlerinage: Italie , published in 1858. The composition starts out with a simple pentatonic melody, which transforms itself into a complex musical architecture...
  
   (1838–39)
• S.157b, Il penseroso [first version] (1839)
• S.157c, Canzonetta del Salvator Rosa [first version] (1849)
• S.158, Tre sonetti del Petrarca [3 pieces, first versions of S161/4-6] (1844–45)
• S.158a, Paralipomènes à la Divina Commedia
  Dante Sonata
  Après une Lecture de Dante: Fantasia quasi Sonata is a piano sonata in one movement, completed by Hungarian composer Franz Liszt in 1849. It was first published in 1856 as part of the second volume of Années de Pèlerinage...
  
   [Dante Sonata original 2 movement version] (1844–45)
• S.158b, Prologomènes à la Divina Commedia
  Dante Sonata
  Après une Lecture de Dante: Fantasia quasi Sonata is a piano sonata in one movement, completed by Hungarian composer Franz Liszt in 1849. It was first published in 1856 as part of the second volume of Années de Pèlerinage...
  
   [Dante Sonata second version] (1844–45)
• S.158c, Adagio in C major (Dante Sonata albumleaf) (1844–45)
• S.159, Venezia e Napoli
  Années de Pèlerinage
  Années de pèlerinage is a set of three suites by Franz Liszt for solo piano. Liszt's complete musical style is evident in this masterwork, which ranges from virtuosic fireworks to sincerely moving emotional statements. His musical maturity can be seen evolving through his experience and travel...
  
   [first version, 4 pieces] (1840?)
• S.160, Années de pèlerinage. Première année; Suisse
  Années de Pèlerinage
  Années de pèlerinage is a set of three suites by Franz Liszt for solo piano. Liszt's complete musical style is evident in this masterwork, which ranges from virtuosic fireworks to sincerely moving emotional statements. His musical maturity can be seen evolving through his experience and travel...
  
   [9 pieces] (1848–55)
• S.161, Années de pèlerinage. Deuxième année; Italie
  Années de Pèlerinage
  Années de pèlerinage is a set of three suites by Franz Liszt for solo piano. Liszt's complete musical style is evident in this masterwork, which ranges from virtuosic fireworks to sincerely moving emotional statements. His musical maturity can be seen evolving through his experience and travel...
  
   [7 pieces] (1839–49)
• S.162, Venezia e Napoli. Supplément aux Années de pèlerinage 2de volume
  Années de Pèlerinage
  Années de pèlerinage is a set of three suites by Franz Liszt for solo piano. Liszt's complete musical style is evident in this masterwork, which ranges from virtuosic fireworks to sincerely moving emotional statements. His musical maturity can be seen evolving through his experience and travel...
  
   [3 pieces] (1860)
• S.162a, Den Schutz-Engeln (Angelus! Prière à l'ange gardien) [4 drafts] (1877–82)
• S.162b, Den Cypressen der Villa d'Este – Thrénodie II [first draft] (1882)
• S.162c, Sunt lacrymae rerum [first version] (1872)
• S.162d, Sunt lacrymae rerum [intermediate version] (1877)
• S.162e, En mémoire de Maximilian I [Marche funèbre first version] (1867)
• S.162f, Postludium – Nachspiel – Sursum corda! [first version] (1877)
• S.163, Années de pèlerinage. Troisième année
  Années de Pèlerinage
  Années de pèlerinage is a set of three suites by Franz Liszt for solo piano. Liszt's complete musical style is evident in this masterwork, which ranges from virtuosic fireworks to sincerely moving emotional statements. His musical maturity can be seen evolving through his experience and travel...
  
   [7 pieces] (1867–77)
• S.163a, Andantino pour Emile et Charlotte Loudon (1828)
• S.163a/1, Album Leaf in F sharp minor (1828)
• S.163b, Album-Leaf (Ah vous dirai-je, maman) (1833)
• S.163c, Album-Leaf in C minor (Pressburg) (1839)
• S.163d, Album-Leaf in E major (Leipzig) (1840)
• S.164, Feuille d'album No. 1 (1840)
• S.164a, Album Leaf in E major (Vienna) (1840)
• S.164b, Album Leaf in E flat (Leipzig) (1840)
• S.164c, Album-Leaf: Exeter Preludio (1841)
• S.164d, Album-Leaf in E major (Detmold) (1840)
• S.164e, Album-Leaf: Magyar (1841)
• S.164f, Album-Leaf in A minor (Rákóczi-Marsch) (1841)
• S.164g, Album-Leaf: Berlin Preludio (1842)
• S.165, Feuille d'album (in A flat) (1841)
• S.166, Albumblatt in waltz form (1841)
• S.166a, Album Leaf in E major (1843)
• S.166b, Album-Leaf in A flat (Portugal) (1844)
• S.166c, Album-Leaf in A flat (1844)
• S.166d, Album-Leaf: Lyon prélude (1844)
• S.166e, Album-Leaf: Prélude omnitonique (1844)
• S.166f, Album-Leaf: Braunschweig preludio (1844)
• S.166g, Album-Leaf: Serenade (1840–49)
• S.166h, Album-Leaf: Andante religioso (1846)
• S.166k, Album Leaf in A major: Friska (ca. 1846–49)
• S.166m-n, Albumblätter für Prinzessin Marie von Sayn-Wittgenstein (1847)
• S.167, Feuille d'album No. 2 [Die Zelle in Nonnenwerth, third version] (1843)
• S.167a, Ruhig [catalogue error; see Strauss/Tausig introduction and coda]
• S.167b, Miniatur Lieder [score not accessible at present] (?)
• S.167c, Album-Leaf (from the Agnus Dei of the Missa Solennis, S9) (1860–69)
• S.167d, Album-Leaf (from the symphonic poem Orpheus, S98) (1860)
• S.167e, Album-Leaf (from the symphonic poem Die Ideale, S106) (1861)
• S.167f, Album Leaf in G major (ca. 1860)
• S.168, Elégie sur des motifs du Prince Louis Ferdinand de Prusse [first/second version] (1842, 1851)
• S.168a, Andante amoroso (1847?)
• S.169, Romance (Ô pourquoi donc) (1848)
• S.170, Ballade No. 1 in D flat (Le chant du croisé)
  Ballade No. 1 (Liszt)
  Ballade No. 1 in D flat major, S.170, is a solo piano piece by the Hungarian composer Franz Liszt. In the original edition it contained the title "Le Croisse" or "The Crusader".-Form and Structure:...
  
   (1845–48)
• S.170a, Ballade No. 2 [first draft] (1853)
• S.171, Ballade No. 2 in B minor (1853)
• S.171a, Madrigal (Consolations) [first series, 6 pieces] (1844)
• S.171b, Album Leaf or Consolation No. 1 (1870–79)
• S.171c, Prière de l'enfant à son reveil [first version] (1840)
• S.171d, Préludes et harmonies poétiques et religie (1845)
• S.171e, Litanies de Marie [first version] (1846–47)
• S.172, Consolations (Six penseés poétiques) (1849–50)
• S.172a, Harmonies poétiques et religieuses [1847 cycle] (1847)
• S.172a/3&4, Hymne du matin, Hymne de la nuit [formerly S173a] (1847)
• S.173, Harmonies poétiques et religieuses
  Harmonies Poétiques et Religieuses
  Harmonies poétiques et religieuses is a cycle of piano pieces written by Liszt at Woronińce in 1847...
  
   [second version] (1845–52)
• S.174, Berceuse [first/second version] (1854, 1862)
• S.175, Deux légendes [2 pieces] (1862–63)
  1. St. François d'Assise
     Légende No. 1: St François d'Assise
     Légende No. 1: St François d'Assise, S.175/1, was written around 1863 by Franz Liszt during his time at an abbey. It is based on the religious story of St Francis of Assisi, who preached to the birds...
     
     . La prédication aux oiseaux (Preaching to the Birds)
  2. St. François de Paule marchant sur les flots (Walking on the Waves)
• S.175a, Grand solo de concert [Grosses Konzertsolo, first version] (1850)
• S.176, Grosses Konzertsolo [second version] (1849–50 ?)
• S.177, Scherzo and March (1851)
• S.178, Piano Sonata in B minor
  Piano Sonata (Liszt)
  The Piano Sonata in B minor , S.178, is a musical composition for solo piano by Franz Liszt, published in 1854 with a dedication to Robert Schumann. It is often considered Liszt's greatest composition for solo piano. The piece has been often analyzed, particularly regarding issues of form.-...
  
   (1852–53)
• S.179, Prelude after a theme from Weinen, Klagen, Sorgen, Zagen by J. S. Bach (1854)
• S.180, Variations on a theme from Weinen, Klagen, Sorgen, Zagen by J. S. Bach (1862)
• S.181, Sarabande and Chaconne from Handel's opera Almira
  Sarabande and Chaconne from Handel's opera Almira
  Franz Liszt composed his transcription of the Sarabande and Chaconne from Handel's opera Almira for piano solo in 1879 for his English piano student Walter Bache to play at a Handel festival in England...
  
   (1881)
• S.182, Ave Maria – Die Glocken von Rom (1862)
• S.183, Alleluia et Ave Maria [2 pieces] (1862)
• S.184, Urbi et orbi. Bénédiction papale (1864)
• S.185, Vexilla regis prodeunt (1864)
• S.185a, Weihnachtsbaum [first version, 12 pieces] (1876)
• S.186, Weihnachtsbaum [second version, 12 pieces] (1875–76)
• S.187, Sancta Dorothea (1877)
• S.187a, Resignazione [first/second version] (1877)
• S.188, In festo transfigurationis Domini nostri Jesu Christi (1880)
• S.189, Klavierstück No. 1 (1866)
• S.189a, Klavierstück No. 2 (1845)
• S.189b, Klavierstück (?)
• S.190, Un portrait en musique de la Marquise de Blocqueville (1868)
• S.191, Impromptu (1872)
• S.192, Fünf Klavierstücke (for Baroness von Meyendorff) [5 pieces] (1865–79)
• S.193, Klavierstuck (in F sharp major) (a. 1860)
• S.194, Mosonyis Grabgeleit (Mosonyi gyázmenete) (1870)
• S.195, Dem andenken Petofis
  Dem Andenken Petöfis
  Dem Andenken Petőfis is a piece for piano by Liszt, written in 1877. It is an elegy, like many of Liszt's works. This was written in memory of the Hungarian poet Sándor Petöfi, whose poems Liszt sometimes sets to music.It was one of the ABRSM's grade 8 piano exam pieces in 2005-06....
  
   (Petofi Szellemenek) (1877)
• S.195a, Schlummerlied im Grabe [Elegie No 1, first version] (1874)
• S.196, Élégie No. 1 (1874)
• S.196a, Entwurf der Ramann-Elegie [Elegie No 2, first draft] (1877)
• S.197, Élégie No. 2 (1877)
• S.197a, Toccata (1879–81)
• S.197b, National Hymne – Kaiser Wilhelm! (1876)
• S.198, Wiegenlied (Chant du herceau) (1880)
• S.199, Nuages gris (Trübe Wolken)
  Nuages Gris
  Nuages gris , S.199 or Trübe Wolken, is a work for piano solo composed by Franz Liszt on August 24, 1881. It is one of Liszt's most haunting and at the same time one of his most experimental works, representing, according to Allen Forte, "a high point in the experimental idiom with respect to...
  
   (1881)
• S.199a, La lugubre gondola (Der Trauergondol) [original Vienna draft, 1882; in 4/4 time; pub. 2002)
• S.200/1, La lugubre gondola I
  La lugubre gondola
  La lugubre gondola is one of Franz Liszt's most important late works.Its genesis is well documented in letters from which we know that Liszt was Richard Wagner's guest in the Palazzo Vendramin on the Grand Canal in Venice in late 1882...
  
   (final version, after Wagner's death, but MS undated; now in 6/8 time; pub. 1927 – when the numbers I and II were added)
• S.200/2, La lugubre gondola II
  La lugubre gondola
  La lugubre gondola is one of Franz Liszt's most important late works.Its genesis is well documented in letters from which we know that Liszt was Richard Wagner's guest in the Palazzo Vendramin on the Grand Canal in Venice in late 1882...
  
   (1883 revision of Vienna draft; still in 4/4 time; 1st pub. version (as simply La lugubre gondola), 1885)
• S.201, R. W. – Venezia (1883)
• S.202, Am Grabe Richard Wagners (1883)
• S.203, Schlaflos, Frage und Antwort (Nocturne after a poem by Toni Raab) (1883)
• S.204, Receuillement (Bellini in Memoriam) (1877)
• S.205, Historische ungarische Bildnisse (Magyar arcképek) [original version, 7 pieces] (1885)
• S.205a, Historische ungarische Bildnisse [revised order and conclusion, 7 pieces] (1885)
• S.206, Trauervorspiel und Trauermarsch (1885)
• S.207, En rêve. Nocturne (1885)
• S.207a, Prélude à la polka de Borodine (and Borodin's Polka) (1880)
• S.208, Unstern: sinistre, disastro (1880–86)

Works in dance form

• S.208a, Waltz (in A major) (b. 1825)
• S.209, Grande valse di bravura [first version of S214/1] (1835)
• S.209a, Waltz (in E flat) (1840)
• S.210, Valse mélancolique [first version of S214/2] (1839)
• S.210a, Valse mélancolique [intermediate version] (1840)
• S.210b, Valse (in A major) (1830–39)
• S.211, Ländler (in A flat major) (1843)
• S.211a, Ländler (in D major) (1879)
• S.212, Petite valse favorite [first/second version] (1842, 1843)
• S.212b, Mariotte. Valse pour Marie (1840)
• S.213, Valse-impromptu (1850?)
• S.213a, Valse-impromptu [with later additions] (1880)
• S.214, Trois caprice-valses [3 pieces] [second versions of S209, S210, S401] (1850?)
• S.214a, Carousel de Madame Pelet-Narbone (ca. 1875–81)
• S.215, Valses oubliées [4 pieces] (1881–84)
• S.215a, Dritter Mephisto-Walzer (Mephisto Waltz No. 3) [first draft] (1883)
• S.216, Dritter Mephisto-Walzer (Mephisto Waltz No. 3) (1883)
• S.216a, Bagatelle sans tonalité
  Bagatelle sans tonalité
  Bagatelle sans tonalité is a piece for solo piano written by Franz Liszt in 1885. The manuscript bears the title "Fourth Mephisto Waltz" and may have been intended to replace the piece now known as the Fourth Mephisto Waltz when it appeared Liszt would not be able to finish it; the phrase...
  
   (1885)
• S.216b, Vierter Mephisto-Walzer (Mephisto Waltz No. 4) [first version] (1885)
• S.217, Mephisto Polka
  Mephisto Polka
  The Mephisto Polka is a piece of program music written in folk-dance style for solo piano by Franz Liszt in 1882-3. The work's program is the same as that of the same composer's four Mephisto Waltzes, written respectively in 1859-60, 1880–81, 1882 and 1885 and based on the legend of Faust, not by...
  
   [first/second version] (1883)
• S.218, Galop (in A minor) (1841?)
• S.219, Grand galop chromatique
  Grand galop chromatique
  Franz Liszt’s Grand galop chromatique, S.219, from 1838 in E-flat major is one of his typical bravura pieces that would have brought the house down during his European concert tours. Liszt is not the only composer who has written flashy galops. Johann Strauss, Lanner and even Schubert left us...
  
   [original version] (1838)
• S.219bis, Grand galop chromatique
  Grand galop chromatique
  Franz Liszt’s Grand galop chromatique, S.219, from 1838 in E-flat major is one of his typical bravura pieces that would have brought the house down during his European concert tours. Liszt is not the only composer who has written flashy galops. Johann Strauss, Lanner and even Schubert left us...
  
   [simplified version] (1838)
• S.220, Galop de Bal (1840?)
• S.221, Mazurka brillante (1850)
• S.221a, Mazurka in F minor [Not by Liszt?] (?)
• S.222, [catalogue error; same as S212]
• S.223, Deux Polonaises [2 pieces] (1851)
• S.224, Csárdás macabre (1881–82)
• S.225, Two Csárdás [2 pieces] (1884)
• S.226, Festvorspiel (1856)
• S.226a, Marche funèbre (1827)
• S.227, Goethe Festmarsch [first version] (1849)
• S.228, Huldigungsmarsch [first/second version] (1853)
• S.229, Vom Fels zum Meer! – Deutscher Siegesmarsch (1853–56)
• S.230, Bülow-Marsch (1883)
• S.230a, Festpolonaise (1876)
• S.231, Heroischer Marsch in ungarischem Stil (1840)
• S.232, Ungarischer Sturmmarsch [earlier version of S524] (1843?)
• S.233, Ungarischer Geschwindmarsch (1870)
• S.233a, Siegesmarsch. Marche triomphale (Victory March) (?)
• S.233b, Marche hongroise (in E flat minor) (1844)

French

• S.236, Faribolo Pasteur and Chanson du Béarn [2 pieces] (1844)
• S.237, La marseillaise (1872?)
• S.238, La cloche sonne (1850?)
• S.239, Vive Henri IV (1870–80 ?)

German

• S.240, Gaudeamus igitur. Concert paraphrase [first/second version] (1843, 1853)

Hungarian

• S.241, Hungarian Recruiting Songs (Zum Andenken) (By Fáy & Bihari) (1828)
• S.241a, Ungarische Romanzero (Hungarian Songbook) [18 pieces] (1853)
• S.241b, Magyar tempo (1840)
• S.242, Magyar Dalok: Magyar Rapszódiák [21 pieces] (1839–47)
• S.242a, Rákóczi-Marsch [first version] (1839–1840)
• S.243, Ungarische National-Melodien [3 pieces] (ca. 1843)
• S.243a, Célèbre mélodie hongroise (a. 1866)
• S.244, Hungarian Rhapsodies
  Hungarian Rhapsodies
  Hungarian Rhapsody redirects here. For the 1979 Hungarian film Hungarian Rhapsody . For the 1928 German film Ungarische Rhapsodie.The Hungarian Rhapsodies, S.244, R106, is a set of 19 piano pieces based on Hungarian folk themes, composed by Franz Liszt during 1846-1853, and later in 1882 and 1885...
  
   (Rapsodies hongroises) [19 pieces] (1846–86)
• S.244a, Rákóczi-Marsch [from orchestral version] (1863)
• S.244b, Rákóczi-Marsch [simplified version of S244a] (1871)
• S.244c, Rákóczi-Marsch [popular version] (?)
• S.245, Fünf ungarische Volkslieder (Abranyi) [5 pieces] (1873)
• S.246, Puszta-Wehmut (A Puszta Keserve) (1880–86 ?)

Polish

• S.249, Glanes de Woronince
  Glanes de Woronince
  Glanes de Woronince , S. 249, is a suite of three piano pieces by Franz Liszt, written in 1847 at Voronintsi, the Polish-Ukrainian estate of Princess Carolyne zu Sayn-Wittgenstein in Ukrainian Podolia.Liszt had first met the Princess when he played in Kiev on 14 February of that year...
  
   [3 pieces] (1847–48)
• S.249a, Mélodie polonaise [short draft] (1871)
• S.249b, Dumka (1871)
• S.249c, Air cosaque (1871)

Russian

• S.250, Deux mélodies russes. Arabesques [2 pieces] (1842)
• S.250a, Le rossignol (Alyabyev) [first version of S250/1] (1842)
• S.251, Abschied. Russisches Volkslied (1885)

Spanish

• S.252, Rondeau fantastique sur un thème espagnol, El Contrabandista (Garcia) (1836)
• S.252a, La romanesca [first/second version] (ca. 1832, b. 1852)
• S.253, Grosse Konzertfantasie über Spanische Weisen (1853)
• S.254, Rhapsodie espagnole
  Rhapsodie espagnole (Liszt)
  Rhapsodie espagnole , S.254, R.90, is a composition for solo piano composed by Franz Liszt in 1863. The piece is very suggestive of traditional Spanish music, and was inspired by Liszt's tour in Spain and Portugal in 1845. When played, this piece takes roughly 11-14 Minutes and contains many...
  
   (1863?)
• S.254x, Rapsodie espagnole [orchestrated by Feruccio Busoni] (?)

Piano duet

• S.255, Festpolonaise [now S619a] (1876)
• S.256, Variation on the Chopstick Theme (1880)
• S.256a, Nottorno [Not by Liszt?] (?)

Two pianos

• S.257, Grosses Konzertstück über Mendelssohns Lieder ohne Worte (1834)
• S.258, Concerto pathétique
  Concerto pathetique
  The Concerto pathétique, written in 1865, , is Franz Liszt's most substantial and ambitious two-piano work . At least two piano concerto arrangements of the work by other composers have the same title....
  
   (b. 1856)

Organ

• S.259, Fantasy and Fugue on the chorale Ad nos, ad salutarem undam
  Fantasy and Fugue on the chorale Ad nos ad salutarem undam
  The Fantasy and Fugue on the chorale "Ad nos, ad salutarem undam", S.259, is a piece of organ music composed by Franz Liszt in the winter of 1850 when he was in Weimar...
  
   (1850)
• S.260, Präludium und Fuge über das Thema BACH [first/second version] (1855, 1870)
• S.261, Pio IX. Der Papsthymnus (1863?)
• S.261a, Andante religioso (1861?)
• S.262, Ora pro nobis. Litanei (1864)
• S.263, Resignazione (1877)
• S.264, Missa pro organo lectarum celebrationi missarum adjumento inserviens (1879)
• S.265, Gebet (1879)
• S.266, Requiem für die Orgel (1883)
• S.267, Am Grabe Richard Wagners (1883)
• S.268, Zwei Vortragsstücke [2 pieces] (1884)

Songs

• S.269, Angiolin dal biondo crin (Marchese C. Bocella) [first/second version] (1839, ?)
• S.270, Three Petrarch Sonnets [3 songs, first/second version] (1844–45, 1854]
• S.271, Il m'aimait tant (Delphine Gay) (1840?)
• S.272, Am Rhein im schönen Strome (Heine) [first/second version] (1840?, 1854)
• S.273, Die Lorelie (Heine) [first/second version] (1841, ?)
• S.274, Die Zelle in Nonnenwerth [first/second version revised 1862] (b. 1841, 1857)
• S.275, Mignons Lied (Kennst du das Land) (Goethe) [first/second/third version] (1842, 1854, 1860)
• S.276, Comment, disaient-ils (Hugo) [first/second version] (1842, ?)
• S.277, Bist du (Prince E. Metschersky) [first/revised version] (1843, ca. 1878–79)
• S.278, Es war ein König in Thule (Goethe) [first/second version] (1842, ?)
• S.279, Der du von dem Himmel bist (Goethe) [first/second/third version] (1842, ?, 1860)
• S.280, Freudvoll und leidvoll (Goethe) [first/second/third version] (1844, 1848?, ?)
• S.281, Die Vätergruft (1844)
• S.282, O quand je dors (Hugo) [first/second version] (1842, ?)
• S.283, Enfant, si j'etais roi (Hugo) [first/revised version] (1844?, ?)
• S.284, S'il est un charmant gazon (Hugo) [first/revised version] (1844?, ?)
• S.285, La tombe et la rose (Hugo) (1844?)
• S.286, Gastibelza, Bolero (Hugo) (1844?)
• S.287, Du bist wie eine Blume (Heine) (1843?)
• S.288, Was Liebe sei (C. von Hagn) [first/second/third version] (1843?, ca. 1855, 1878–79)
• S.289, Vergiftet sind meine Lieder (Heine) [first/revised version] (1842, ?)
• S.290, Morgens steh ich auf und frage (Heine) [first/revised version] (1843?, ca. 1855)
• S.291, Die todte Nachtigall (Kaufmann) [first/revised version] (1843?, 1878)
• S.292, Songs from Schiller's Wilhelm Tell [3 songs, first/revised version] (1845?, ?)
• S.293, Jeanne d'Arc au bûcher (Dumas) [first/revised version] (1845, 1874)
• S.294, Es rauschen die Winde [first/second version] (ca. 1845, b. 1856)
• S.295, Wo weilt er? (Rellstab) (1844)
• S.296, Ich möchte hingehn (Herwegh) [revised later] (1845)
• S.297, Wer nie sein Brot mit Tränen ass (Goethe) [first/revised version] (ca. 1845)
• S.298, O lieb so lang du lieben kannst (Freiligrath) (1845?)
• S.299, Isten veled (Farewell) (Horvath) [first/revised version] (1846–47)
• S.300, Le juif errant (Béranger) (1847)
• S.301, Kling leise, mein Lied [first/revised version] (1848)
• S.301a, Oh pourquoi donc (Mme Pavloff) (1843)
• S.301b, En ces lieux. Élégie (E. Monnier) (1844)
• S.302, Die Macht der Musik (Duchess Helen of Orleans) (1848–49)
• S.303, Weimars Toten. Dithyrambe (Schober) (b. 1848)
• S.304, Le vieux vagabond (Béranger) (b. 1848)
• S.305, Schwebe, schwebe, blaues Auge [first/revised version] (1845, ?)
• S.306, Über allen Gipfeln ist Ruh [first/revised version] (1847?, ?)
• S.306a, Quand tu chantes bercée (Hugo) (1843)
• S.307, Hohe Liebe (Uhland) (1850?)
• S.308, Gestorben war ich (Seliger tod) (Uhland) (1850?)
• S.309, Ein Fichtenbaum steht einsam (Heine) [first/revised version] (ca. 1845, 1854)
• S.310, Nimm einen Strahl der Sonne (1849)
• S.311, Anfangs wollt' ich fast verzagen (Heine) (1849)
• S.312, Wie singt die Lerche schön (Hoffmann von Fallersleben) (1856?)
• S.313, Weimars Volkslied (Cornelius) (1857)
• S.314, Es muss ein wunderbares sein (Redwitz) (1852)
• S.315, Ich liebe dich (Rückert) (1857)
• S.316, Muttergottes – Sträusslein zum Mai-Monate (Müller) [2 songs] (1857)
• S.317, Lasst mich ruhen (Hoffmann von Fallersleben) (1858?)
• S.318, In Liebeslust (Hoffmann von Fallersleben) (1858?)
• S.319, Ich scheide (Hoffmann von Fallersleben) (1860)
• S.320, Die drei Zigeuner (Lenau) (1860)
• S.321, Die stille Wasserrose (Geibel) (1860?)
• S.322, Wieder möcht ich dir begegnen (Cornelius) (1860)
• S.323, Jugendglück (Pohl) (1860?)
• S.324, Blume und Duft (Hebbel) (1854)
• S.325, Die Fischertochter (Count C. Coronini) (1871)
• S.326, La perla (Princess Therese von Hohenlohe) (1872)
• S.327, J'ai perdu ma force et ma vie. 'Tristesse' (de Musset) (1872)
• S.328, Ihr Glocken von Marling (Emil Kuh) (1874)
• S.329, Und sprich (Biegeleben) [revised 1878] (1874)
• S.330, Sei Still (Henriette von Schorn) (1877)
• S.331, Gebet (Bodenstedt) (1878?)
• S.332, Einst (Bodenstedt) (1878?)
• S.333, An Edlitam (Bodenstedt) (1878?)
• S.334, Der Glückliche (Bodenstedt) (1878?)
• S.335, Go not, happy day (Tennyson) (1879)
• S.336, Verlassen (G.Michell) (1880)
• S.337, Des tages laute stimmen schweigen (F. von Saar) (1880)
• S.338, Und wir dachten der Toten (Freiligrath) (1880?)
• S.339, Ungarns Gott. A magyarok Istene (Petófi) (1881)
• S.340, Ungarisches Königslied. Magyar Király-dal (Ábrányi) (1883)
• S.340a, Ne brani menya, moy drug. (Tolstoy) (1886)

Other choral works

• S.341, Ave Maria IV (1881)
• S.342, Le crucifix (Hugo) (1884)
• S.343, Sancta Caecilia (1884)
• S.344, O Meer im Abendstrahl (Meissner) (1880)
• S.345, Wartburg-Lieder from Der Braut Willkomm auf Wartburg (Scheffel) [7 chorals] (1872)

Recitations

• S.346, Lenore (Bürger) (1858)
• S.347, Vor hundert Jahren (F. Halm) [lost?] (1859)
• S.348, Der traurige Mönch (Lenau) (1860)
• S.349, Des toten Dichters Liebe (Jókai) (1874)
• S.350, Der blinde Sänger (Alexei Tolstoy) (1875)

External links

• List of works – The Danish Franz Liszt Project
• List of compositions by Franz Liszt – IMSLP