Franz_Liszt's_treatments_of_the_works_of_other_composers

Transcriptions by Franz Liszt

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This article lists the various treatments given by Franz Liszt to the works of almost 100 other composers.

Franz Liszt, after an 1856 painting by Wilhelm von Kaulbach

These treatments included transcriptions for other instruments (predominantly solo piano), arrangements, orchestrations, fantaisies, reminiscences, paraphrases, illustrations, variations, and editions.

Liszt also extensively treated his own works in a similar manner, but these are not tallied here—neither are his treatments of national (or "folk") melodies whose composers are unknown, nor other anonymous works.

In most cases, Liszt arranged only one or two pieces by a composer, but he delved more deeply into the works of Bach, Beethoven, Berlioz, Donizetti, Mendelssohn, Meyerbeer, Mozart, Rossini, Schubert, Verdi, Wagner, and Weber.

The earliest-born composer whose works Liszt dealt with was Orlande de Lassus (born c. 1532). Jacques Arcadelt was born earlier (c. 1507), but Liszt's treatment was not of Arcadelt's original work, rather of a setting by Pierre-Louis Dietsch loosely based on Arcadelt. The last composer to die whose works Liszt dealt with was Géza Zichy (1849–1924).

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[versions-1] [1]
IMSLP: Versions of Works by Others (Liszt, Franz)

[G309-2] [2]
Grove, p. 309

[G281-3] [3]
Grove, p. 281

[G311-4] [4]
Grove, p. 311

[G294-5] [5]
Grove, p. 294

[G280-6] [6]
Grove, p. 280

[7] [7]
IMSLP: Preludes and Fugues by J.S. Bach, S.462 (Liszt, Franz)

[G315-8] [8]
Grove, p. 315

[G299-9] [9]
Grove, p. 299

[G300-10] [10]
Grove, p. 300

[G314-11] [11]
Grove, p. 314

[12] [12]
Hyperion Records: Beethovens Lieder (Sechs Lieder von Goethe), S468

[G275-13] [13]
Grove, p. 275

[G295-14] [14]
Grove, p. 295

[15] [15]
"Grande fantaisie symphonique, S120 (Liszt/Berlioz) - from CDA67401/2 - Hyperion Records - MP3 and Lossless downloads".

[rosacanz-16] [16]
Naxos Direct Archived September 28, 2013, at the Wayback Machine

[G286-17] [17]
Grove, p. 286

[G276-18] [18]
Grove, p. 276

[hype-19] [19]
Hyperion Records: Franz Liszt, The complete music for solo piano, Vol. 16 – Bunte Reihe

[20] [20]
IMSLP: Bunte Reihe, Op.30 (David, Ferdinand)

[21] [21]
Grove, p. 301

[22] [22]
The LiederNet Archive: Donizetti, song cycle Nuits d'Été à Pausilippe

[23] [23]
Michael Saffle, Liszt in Germany, 1840–1845

[24] [24]
World Cat

[25] [25]
Grove, p. 292

[26] [26]
Mária P. Eckhardt, Franz Liszt's Music Manuscripts in the National Széchényi Library, Budapest, p. 196

[27] [27]
Grove, pp. 301–02

[28] [28]
Grove, p. 302

[29] [29]
Septet No.1, Op.74 (Hummel, Johann Nepomuk)

[30] [30]
Grove, p. 283, footnote

[31] [31]
Grove, Vol. IV, pp. 858–59, KROV, Josef Theodor

[32] [32]
Liszt Society Newsletter No. 70, June 1999^{[permanent dead link]}

[33] [33]
Richard and John Contiguglia, Duo-Pianists

[34] [34]
Hyperion Records

[35] [35]
Cantorion

[36] [36]
Hyperion Records: Soirées italiennes – Six amusements sur des motifs de Mercadante, S411

[G296-37] [37]
Grove, p. 296

[G277-38] [38]
Grove, p. 277

[G297-39] [39]
Grove, p. 297

[40] [40]
"The MusicSack". Retrieved 13 November 2016.

[41] [41]
Hyperion Records

[G304-42] [42]
Grove, p. 304

[vienne-43] [43]
IMSLP: Soirées de Vienne, S.427 (Liszt, Franz)

[G278-44] [44]
Grove, p. 278

[45] [45]
IMSLP: Apparitions, S. 155 (Liszt, Franz)

[G293-46] [46]
Grove, p. 293

[eck-47] [47]
Mária P. Eckhardt, Franz Liszt's Music Manuscripts in the National Széchényi Library, Budapest, p. 146

[48] [48]
Grove, p. 305

[49] [49]
Hyperion Records

[50] [50]
Hyperion Records

[51] [51]
Music Web International

[52] [52]
Maria P. Eckardt, Franz Liszt's Music Manuscripts in the National Széchényi Library, Budapest, p. 194

[53] [53]
Hyperion Records

[54] [54]
Grove, p. 299, footnote

[G298-55] [55]
Grove, p. 298

[dover-56] [56]
Charles Suttoni, Introduction, Franz Liszt: Complete Piano Transcriptions from Wagner's Operas, Dover Publications

[57] [57]
Hyperion Records

[58] [58]
Hyperion Records

[59] [59]
Hyperion Records

[60] [60]
The LiederNet Archive

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Original work	Liszt work	Forces	Date	S no.
Tamássy József kedvelt dalai, 16 Hungarian folksongs, voice and piano: Five songs	5 Ungarische Volkslieder	piano	1873	S.245
Virág-dal (Chant des Fleurs), piano, Op. 43 (c. 1875)	Additions and corrections		1880	S.383a
Elegáns csárdások (Csárdás nobles), 6 vols. (1884–86): "Kertem alatt" (Vol. II, No. 1) "Sarkantyú csárdás" (Vol. III, No. 6)^[1]	Hungarian Rhapsody No. 19 in D minor		1885	S.244/19
	Hungarian Rhapsody No. 19 in D minor	piano 4-hands	1885?	S.623a

Original work	Liszt work	Forces	Date	S no.	Notes
Miserere mei, Deus (1630s)	À la chapelle Sixtine (organ version: Evocation à la Chapelle Sixtine)^[2]	piano	1862	S.461	This piece combines Allegri's Miserere with Mozart's Ave verum corpus, K.618 (1791). (Mozart was deeply involved in the circumstances that led to the first publication of the Miserere: He heard it in the Sistine Chapel when visiting Rome at the age of 15, and famously wrote it down from memory, although publishing the work or even writing it down was prohibited on pain of excommunication. Rather than imposing this penalty, however, the Pope later congratulated Mozart on his genius). À la chapelle Sixtine was the basis of the third movement (Preghiera) of Tchaikovsky's "Mozartiana" (Orchestral Suite No. 4), but he used only the Ave verum corpus component.
		organ	c. 1862	S.658
		piano 4‑hands	c. 1865	S.633
		orchestra	?	S.360

Original work	Liszt work	Forces	Date	S no.	Notes
Three-part madrigal Nous voyons que les hommes	Alleluja et Ave Maria d'Arcadelt	piano	1862	S.183	The Alleluja was based on themes from Liszt's own Cantico del sol di San Francesco d'Assisi, S.4.^[3] The Ave Maria was based on Pierre-Louis Dietsch's Ave Maria, a setting for unaccompanied voices (1842?) loosely based on Arcadelt's madrigal Nous voyons que les hommes.^[1]
Three-part madrigal Nous voyons que les hommes	Alleluja et Ave Maria d'Arcadelt	organ	1862	S.659

Original work	Liszt work	Forces	Date	S no.	Notes
Song "Rule, Britannia!" (1740)	Grande paraphrase de concert sur "God Save the Queen" et "Rule Britannia"	piano and orchestra	1841	S.694	Grove says this was unfinished, and refers to it as "Fantasia on English themes" (piano solo).^[4] The Grosse Fantasie was a reworking of the Grande paraphrase de concert.^[1]
Song "Rule, Britannia!" (1740)	Grosse Fantasie über "God Save the Queen" und "Rule Britannia"	piano 4-hands	1841	S.755a

Original work	Liszt work	Forces	Date	S no.	Notes
Opera La muette de Portici (1828)	Tarantelle di bravura d'après la tarantelle de La Muette de Portici	piano	1846	S.386
Opera La muette de Portici (1828)	Two pieces on themes from La muette de Portici			S.387	One of the pieces is on the Berceuse^[5]
Opera La fiancée (1829): Aria "Montagnard ou berger"	Grande Fantaisie sur la tyrolienne de l'opéra La Fiancée		1829	S.385	Published as Op. 1; dedicated to Frédéric Chopin^[5]
Opera La fiancée (1829): Aria "Montagnard ou berger"	"Tyrolean Melody"		1829	S.385a

Original work	Liszt work	Forces	Date	S no.	Notes
Cantata Weinen, Klagen, Sorgen, Zagen, BWV 12	Prelude on the theme of Weinen, Klagen, Sorgen, Zagen	piano	1859	S.179	The Variations, S.180/673 are based on the same theme.^[6]
	Variations on a theme of Bach (aka Variations on Weinen, Klagen, Sorgen, Zagen)	piano	1862	S.180	This set of variations uses the basso continuo of the second movement of the cantata Weinen, Klagen, Sorgen, Zagen, base for the Crucifixus from the Mass in B minor. It is based on the same theme as the Prelude, S.179.
		organ	1863	S.673
Cantata Ich hatte viel Bekümmernis, BWV 21: Introduction and Fugue	Einleitung und Fuge aus der Motette 'Ich hatte viel Bekümmernis' und Andante 'Aus tiefer Not'	organ	1860	S.660
Cantata Aus tiefer Not schrei ich zu dir, BWV 38: Andante		organ	1860	S.660
Great Fantasia and Fugue in G minor, BWV 542 (organ)	Fantasia and Fugue in G minor	piano	pub. 1863	S.463
6 Preludes and Fugues (organ), BWV 543–548	6 Preludes and Fugues		1842–50	S.462	The Preludes and Fugues are:^[7] A minor, BWV 543 C major, BWV 545 C minor, BWV 546 C major, BWV 547 E minor, BWV 548 B minor, BWV 544
Chaconne in D minor, BWV 1004	Transcription		1880	–	Liszt planned this transcription but never executed it.^[8]
Sonata No. 4 in C minor, violin and harpsichord, BWV 1017 III. Adagio	Adagio vom Bach	organ	1861–63	S.661	Liszt arranged only the final 4 bars, the rest being the work of Alexander Wilhelm Gottschalg (1827–1908).^[2]

Original work	Liszt work	Forces	Date	S no.	Notes
Chorus "O Roma nobilis"	Arrangement	mixed chorus and orchestra	c. 1879	S.54	^[1]
		organ		S.669c
		piano		S.506b

Original work	Liszt work	Forces	Date	S no.	Notes
Song "Adelaide", Op. 46 (1795)	Transcription	piano	1839	S.466
Septet in E-flat, Op. 20 (1800)		piano	1841	S.465	Dedicated to Grand Duchess Maria Pavlovna of Russia^[9]
Septet in E-flat, Op. 20 (1800)		piano 4‑hands	1841	S.634	Dedicated to Grand Duchess Maria Pavlovna of Russia^[9]
Piano Concerto No. 3 in C minor, Op. 37 (1800)	Arrangement	2 pianos	1878–79	S.657a/1	Includes a new cadenza for 1st movement, S.389a.^[1]
6 Gellert Lieder, Op. 48 (1802)	Sechs geistliche Lieder	piano	1840	S.467	Liszt's order of the songs (with the original order in brackets) was: 1 (5). "Gottes Macht und Vorsehung"; 2 (1). "Bitten"; 3 (6). "Bußlied"; 4 (3). "Vom Tode"; 5 (2) "Die Liebe des Nächsten"; 6 (6). "Die Ehre Gottes aus der Natur (Die Himmel rühmen)".^[10]
Piano Concerto No. 4 in G major, Op. 58 (1806)	Arrangement	2 pianos	1878–79	S.657a/2
Coriolan Overture, Op. 62 (1807)	Transcription	piano	?	S.739	Lost^[11]
6 Songs, Op. 75 (1809)	"Beethoven's Lieder von Goethe": "Mignon", Kennst du das Land, Op. 75/1 "Mit einem gemalten Band", Op. 83/3 "Freudvoll und leidvoll", Op. 84/4 "Mephistos Flohlied", Es war einmal ein König, Op. 75/3 "Wonne der Wehmut", Op. 83/1 "Die Trommel gerühret", Op. 84/1		1849	S.468	Liszt combined parts of three disparate Beethoven opuses into his transcription, the common thread being that all the words were by Goethe: from 6 Songs, Op. 75: No. 1 ("Mignon") was S.468/1; No. 3 ("Mephistos Flohlied") was S.468/4 from 3 Songs, Op. 83: No. 1 ("Wonne der Wehmut") became S.468/5; No. 3 ("Mit einem gemalten Band") was S.468/2 from the Egmont incidental music, Op. 84: No. 1 (Lied "Die Trommel gerühret") was S.468/6; and No. 4 (Lied "Freudvoll und leidvoll") became S.468/3.^[12]
3 Songs, Op. 83 (1810)
Egmont, incidental music, Op. 84 (1810)
Egmont, incidental music, Op. 84 (1810)	Overture		?	S.740	Lost^[11]
Piano Concerto No. 5 in E-flat, "Emperor", Op. 73 (1811)	Arrangement	2 pianos	1878–79	S.657a/3
The Ruins of Athens, incidental music, Op. 113 (1811)	Capriccio alla turca sur des motifs de Beethoven (Ruines d'Athènes)	piano	1846	S.388	Uses same theme as the Fantasia, S.389
	Fantasia on (themes from) 'The Ruins of Athens'	piano and orchestra	1848–52	S.122	Uses same theme as the Capriccio, S.388; FP of orch. version Budapest, 1 June 1853, Hans von Bülow (piano), Ferenc Erkel (conductor);^[13] same concert as the FP of the Hungarian Fantasy
		2 pianos	after 1852	S.649
		piano	pub. 1865	S.389
Song cycle An die ferne Geliebte, Op. 98 (1816)	Transcription		1849	S.469
9 Symphonies (1800–24)	Transcription		1837–64	S.464	Symphonies Nos. 5, 6 and 7 were transcribed in 1837; the Marcia funèbre of Symphony No. 3 was written in 1841; then there was a gap of 22 years before the remaining symphonies were written, at which time the existing transcriptions were revised.^[9] In the meantime, Liszt completed a transcription of Symphony No. 9 for two pianos in 1851.^[2]
Symphony No. 9 "Choral", Op. 125 (1824)	Transcription	2 pianos	1851	S.657
String quartets (1800–26)	Projected transcription	piano	1863	–	Liszt planned to transcribe the quartets for piano but never executed the plan.^[8]

Original work	Liszt work	Forces	Date	S no.	Notes
Opera La sonnambula (1831)	Fantaisie sur des motifs favoris de l'opéra La Sonnambula	piano	1839	S.393
Opera La sonnambula (1831)	Fantaisie sur des motifs favoris de l'opéra La Sonnambula	piano 4‑hands	c. 1852	S.627
Opera Norma (1831)	Reminiscences de Norma	piano	1841	S.394
Opera Norma (1831)	Reminiscences de Norma	2 pianos	after 1841	S.655
Opera I puritani (1835)	Reminiscences des Puritains	piano	1836	S.390	Dedicated to Princess Belgiojoso. The latter section was re-used in the Introduction et Polonaise (S.391).^[5]
	I Puritani: Introduction et Polonaise	piano	1840	S.391	The Polonaise is the latter section of the Reminiscences, S.390
	Hexameron, morceau de concert. Grandes Variations de Bravoure sur le marche des Puritains	piano	1837	S.392	Includes variations by Frédéric Chopin, Carl Czerny, Henri Herz, Johann Peter Pixis and Sigismond Thalberg. Dedicated to Princess Belgiojoso. The 2-piano version is much shortened. An extant version for piano and orchestra is by an unknown hand – possibly that of Charles-Valentin Alkan.^[14]
		2 pianos	after 1837	S.654

Original work	Liszt work	Forces	Date	S no.	Notes
Overture Les francs-juges, Op. 3 (1826)	Ouverture des Francs-Juges	piano	1833	S.471
Overture Le carnaval romain, Op. 9 (1843)	Transcription		?	S.741	This was part of Liszt's performing repertoire, but is now lost^[11]
Symphonie fantastique, Op. 14 (1830)	Episode de la vie d'un artiste. Grande Symphonie fantastique. Partition de Piano		c. 1833	S.470	In c. 1864–65 Liszt made a new transcription of the 4th movement, "March au supplice".^[10]
Symphonie fantastique, Op. 14 (1830)	L'idée fixe. Andante amoroso		c. 1833	S.395	Based on the theme of the Symphonie
Lélio, Op. 14b (1831)	Grande Fantaisie Symphonique on themes from Berlioz’ Lélio	piano and orchestra	1834	S.120	The themes are "Chant du pêcheur" and "Chant des brigands"; according to Leslie Howard: "the original manuscript of this work, long undiscovered, recently surfaced at auction in France (although sadly not in its entirety), and it revealed immediately that Liszt carried out his own orchestration";^[15] FP Paris, 24 November 1834, Liszt (piano), Berlioz (conductor)^[13]
Overture Le roi Lear, Op. 4 (1831)	Ouverture du Roi Lear	piano	1836	S.474
Harold en Italie, Op. 16 (1834)	Transcription	viola and piano		S.472
Harold en Italie, Op. 16 (1834)	Marche des Pèlerins	piano		S.473
Opera Benvenuto Cellini, Op. 23 (1838)	Bénédiction et serment, deux motifs de Benvenuto Cellini	piano	1852	S.396
Opera Benvenuto Cellini, Op. 23 (1838)	Bénédiction et serment, deux motifs de Benvenuto Cellini	piano 4‑hands	1853	S.628
La damnation de Faust, Op. 24 (1846)	Danse des Sylphes	piano	c. 1846	S.475

Original work	Liszt work	Forces	Date	S no.	Notes
Opera La Esmeralda (1836)	Transcription of orchestral score	piano	1837	S.476
No. 10, "D'ici vous pourrez voir, sans être vu"	3 morceaux detachés d‘Esmeralda			S.477a
No. 11, "Quoi! lui"
No. 13, Quasimodo's aria "Mon Dieu! j'aime"
No. 13, Quasimodo's aria "Mon Dieu! j'aime"	Air chanté par Massol			S.477	Massol was the baritone Jean-Étienne-Auguste Massol, who created the role of Quasimodo.

Original work	Liszt work	Forces	Date	S no.	Notes
"Bohemian Song"	Deux Mélodies Russes: No. 2, "Chanson bohémienne"	piano	1842–43	S.250/2	No. 1 was "Le Rossignol, air russe d'Alabieff", after "The Nightingale" by Alexander Alyabyev.
Song "You Will Not Believe"	Russischer Galop	piano	1843	S.478

Original work	Liszt work	Forces	Date	S no.	Notes
Mazurka-Fantasie, Op. 13 (piano; 1860)	Orchestration	orchestra	1865	S.351
Wenn sie euch grüsst mit freundlicher Gebärde ("Dante's Sonett"), Op. 22 (1865)	Transcription, as Tanto gentile e tanto onesta	piano	1874	S.479

Original work	Liszt work	Forces	Date	S no.	Notes
Mazurka in C-sharp minor, Op. 6/2 (piano; 1830)^[18]	Duo (Sonata) sur des thèmes polonais	violin and piano	1832–35	S.127
24 Preludes, Op. 28 (piano; pub. 1839): No. 4 in E minor No. 9 in E major	Transcription	organ	1862–63	S.662
Piano Sonata No. 2 in B-flat minor, Op. 35: III. Marche funèbre	Transcription	organ, cello and piano	?	S.761	Lost^[11]
Fantaisie in F minor, piano, Op. 49	Transcription	piano and orchestra	–	–	This was planned but never executed.^[8]
17 Polish songs, Op.posth. 74 (1827–47): No. 1, "Życzenie" ("The Maiden's Wish"	Glanes de Woronince: II. "Mélodies polonaises"	piano	1847–48	S.249/2	The order of the songs in S.480 is: 1. "Mädchens Wünsch" (= No. 1, "Życzenie"); 2. "Frühling" (= No. 2, "Wiosna"); 3. "Das Ringlein" (= No. 14, "Pierścień"); 4. "Bacchanal" (= No. 4, "Hulanka"); 5. "Meine Freuden" (= No. 12, "Moja pieszczotka"); 6. "Heimkehr" (= No. 15, "Narzeczony") "Das Ringlein" leads without a break into "Bacchanal", and towards the end of the latter song, immediately before the coda, Liszt includes a short 6-bar reprise of the earlier song.
	6 Chants polonais		1847–60	S.480
No. 2, "Wiosna" ("Spring") No. 4, "Hulanka" ("Merrymaking") No. 12, "Moja pieszczotka" ("My Joys") No. 14, "Pierścień" ("The Ring") No. 15, "Narzeczony" ("The Bridegroom")	6 Chants polonais		1847–60	S.480

Original work	Liszt work	Forces	Date	S no.	Notes
Tarantella	Venezia e Napoli (1st version) No. 4, Tarantelles napolitaines	piano	1840	S.159	The Tarantella is not otherwise identified. S.162 is a revision of S.159.^[1]
Tarantella	Années de pèlerinage, Deuxième Année: Italie. Supplement: Venezia e Napoli No. 3, Tarantella da Guillaume Louis Cottrau	piano	1859	S.162

Original work	Liszt work	Forces	Date	S no.	Notes
Opera Lucrezia Borgia (1833)	Reminiscences de Lucrezia Borgia	piano	1840	S.400	The sections are: (1) Trio du second acte and (2) Fantaisie sur des motifs favoris de l'opéra: Chanson à boire (Orgie), Duo and Finale.^[14]
Opera Lucia di Lammermoor (1835)	Reminiscences de Lucia di Lammermoor		1835–36	S.397	Based on the Sextet
Opera Lucia di Lammermoor (1835)	Marche et cavatine de Lucie de Lammermoor		1835–36	S.398	Intended as part of the Reminiscences (S.397) but separated by the publisher^[14]
Lucia di Lammermoor	Valse à capriccio sur deux motifs de Lucia et Parisina		1842	S.401	Combines motifs from Lucia di Lammermoor and Parisina. The Valse à capriccio, S.401 was revised as No. 3 of 3 Caprices-Valses, S.214 (1850–52).^[1]
Opera Parisina (1833)	Valse à capriccio sur deux motifs de Lucia et Parisina		1842	S.401
Nuits d'été à Pausilippe, 12 ariettas and nocturnes (voices and chamber ensemble; 1836): No. 1, "Barcajuolo" No. 9, "L'Alito di Bice" No. 4, "La Torre di Biasone"	Nuits d'été à Pausilippe		1838	S.399	^[14]^[22]
Opera La favorite (1840): Duettino (Act IV)	Spirto gentil		1847	S.400a	Possibly same as S.742.
Opera Dom Sébastien (1843): Funeral march	Marche funèbre de Dom Sébastien		1844	S.402
Act IV	Paraphrase		?	S.744	Lost; this was based on Theodor Kullak's transcription (paraphrase), Op. 31,^[23] which was itself dedicated to Liszt.^[24]
"Duettino"	Transcription		?	S.742	Lost.^[11] Possibly same as S.400a.

Original work	Liszt work	Forces	Date	S no.	Notes
Song "Helges Treue"	Recitation "Helges Treue"	voice/piano	1860	S.686
Cantata Der Schwur im Rütli (1862–63, rev. 1868)^[1]	Reduction of Part I	piano	1870	S.485a

Original work	Liszt work	Forces	Date	S no.	Notes
Patriotic songs, "Szózat" (Egressy) and "Himnusz" (Erkel)	"Szózat und Ungarischer Hymnus"	orchestra	1870‑73	S.353	"Szózat" (words Mihály Vörösmarty, 1836; music Egressy, 1840) and "Himnusz" (words Ferenc Kölcsey, 1823; music Erkel) are national anthems of Hungary adopted in 1844; FP of orchestral version, Budapest, 19 March 1873, Liszt (conductor).^[25]
		piano		S.486
		piano 4‑hands		S.628a

Original work	Liszt work	Forces	Date	S no.	Notes
Patriotic song "Himnusz"	"Szózat und Ungarischer Hymnus"	see above			Erkel's Himnusz was combined with Béni Egressy's "Szózat" in three versions.
Opera Hunyadi László (1844)	Schwanengesang and March	piano	1847	S.405	Liszt was the godfather of Erkel's son, who was born in the autumn of 1856 but died in 1863.^[26]

Original work	Liszt work	Forces	Date	S no.	Notes
Bunte Reihe, 24 pieces in all the major and minor keys,^[19] Op. 30, violin and piano (c.1840; pub 1851)^[20]	Transcription	piano	1850	S.484
No. 19 in A major ("Ungarisch")	Fantasy^[19]		?	S.484/19bis
No. 22 in B-flat minor ("In russischer Weise")	Souvenir de Russie		1842	S.483bis	This publication contained no attribution to Ferdinand David as the source of the material.^[21]

Original work	Liszt work	Forces	Date	S no.	Notes
Ave Maria	Alleluja et Ave Maria d'Arcadelt	piano	1862	S.183	The Alleluja was based on themes from Liszt's own Cantico del sol di San Francesco d'Assisi, S.4.^[3] The Ave Maria was based on Dietsch's Ave Maria, a setting for unaccompanied voices (1842?) loosely based on Jacques Arcadelt's three-part madrigal Nous voyons que les hommes.^[1]
Ave Maria	Alleluja et Ave Maria d'Arcadelt	organ	1862	S.659

Original work	Liszt work	Forces	Date	S no.	Notes
Song "Die Gräberinsel" (1842)^[1]	Transcription	piano	1842	S.485b	Ernst Herzog zu Sachsen-Coburg-Gotha was an amateur composer; he was the brother of Queen Victoria's consort Prince Albert.
Opera Tony, oder die Vergeltung (1849)	Halloh! Jagdchor und Steyrer	piano	1849	S.404
Opera Diana von Solange (1858)	Festmarsch nach Motiven von E.H.z.S.-C.-G.^[13]	orchestra	1857	S.116
		piano	1859	S.522
		piano 4‑hands	1859	S.607

Original work	Liszt work	Forces	Date	S no.	Notes
Song "Spanisches Ständchen" (by 1844)^[1]	Transcription	piano	1846	S.487
Les noces du Pâtre, mélodies hongroises, piano (1858)	Corrections and alterations to manuscript score^[1]	piano	1858	S.405a

Original work	Liszt work	Forces	Date	S no.	Notes
Song "Er ist gekommen in Sturm und Regen", Op. 4/7 (1845)	Transcription	piano	1848	S.488
12 Lieder from Opp. 2, 3 and 8	12 Lieder von Robert Franz (3 books)	piano	1849	S.489	Book I (1–5) is the 5 Schilflieder, Op. 2: "Auf geheimen Waldespfaden", "Drüben geht die Sonne scheiden", "Trübe wird's", "Sonnenuntergang", "Auf dem Teich". Book II (6–8) contains: "Der Schalk", Op. 3/1, "Der Bote", Op. 8/1, and "Meerestille", Op. 8/2. Book III (9–12) contains: "Treibt der Sommer seinen Rosen", Op. 8/5, "Gewitternacht", Op. 8/6, "Das ist ein Brausen und Heulen", Op. 8/4, and "Frühling und Liebe", Op. 3/3.^[1]^[27]

Original work	Liszt work	Forces	Date	S no.	Notes
Die Amazonen, ballet (1823)	2 Waltzes: No. 2, Waltz aus dem Ballet Die Amazonen	violin and piano	1823–25	S.126b/2
Die Amazonen, ballet (1823)	2 Waltzes: No. 2, Waltz aus dem Ballet Die Amazonen	piano	1823–25	S.208a/2

Original work	Liszt work	Forces	Date	S no.	Notes
Song "A Puszta Keserve" (Lenau)	Puszta-Wehmut	piano	1871	S.246	Gizycka-Zámoyská was born in 1829.^[1]
Song "A Puszta Keserve" (Lenau)	Puszta-Wehmut	violin and piano	1880	S.379b	Gizycka-Zámoyská was born in 1829.^[1]

Original work	Liszt work	Forces	Date	S no.	Notes
Opera Ruslan and Lyudmila (1842): "Chernomor's March" (Act IV, No. 19)	Tscherkessenmarsch	piano	1843–75	S.406
	Tscherkessenmarsch	piano 4-hands	1875	S.629

Original work	Liszt work	Forces	Date	S no.	Notes
Opera Faust (1859): Waltz and duet "O nuit d'amour" (Act II)	Valse de l'opéra Faust	piano	by 1861	S.407
Soldiers' Chorus, "Gloire immortelle de nos aieux" (Act IV)	Transcription		1864	S.743	Lost^[11]
Opera La reine de Saba (1862): Berceuse	Les Sabéennes. Berceuse de l'opéra La Reine de Saba		pub. 1865	S.408
Hymne à Sainte-Cécile (1865 version for violin solo, harps, timpani, wind instruments and double basses)^[1]	Transcription		1866	S.491
Opera Roméo et Juliette (1867)	Les Adieux. Reverie sur un motif de l'opéra Roméo et Juliette		pub. 1868	S.409

Original work	Liszt work	Forces	Date	S no.	Notes
Opera La Juive (1835)	Reminiscences de La Juive	piano	1835	S.409a
Opera Le guitarréro (1841)	Fantaisie sur des thèmes de l'opéra Guitarero	piano	1841	S.743a	Lost^[1]

Franz_Liszt's_treatments_of_the_works_of_other_composers

Béni Egressy and Ferenc Erkel

László Fáy

Ludmilla Gizycka-Zámoyská

Ferdinand Huber [de]

Ernest Knop

Josef Krov

Otto Lessmann [de]

Luigi Pantaleoni

Giovanni Battista Perucchini

F. Pezzini

Salvator Rosa (attrib.)

Mariano Soriano [it]

János Végh [ca]

August Heinrich von Weyrauch [ca]

Index of S. numbers

References

Sources

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Original work	Liszt work	Forces	Date	S no.	Notes
Receuil de Ranz des vaches (1830)	Album d'un voyageur: Book III, Paraphrases: No. 10, Improvisata sur le Ranz des vaches (Départ pour les Alpes; Aufzug auf die Alp)	piano	1835–36	S.156/10	Ferdinand Fürchtegott Huber (1791–1863). Revised as Ranz de vaches (Montée aux Alpes: Improvisata).
Ranz des chèvres (? 1830)	Album d'un voyageur: Book III, Paraphrases: No. 12, Rondeau sur le Ranz des chèvres		1835–36	S.156/12	Re-issued as Ranz de chèvres de F. Huber (1837–38), and revised as Ranz de chèvres. Rondeau, No. 1 of 3 Morceaux suisses (1876–77).^[1]
Ranz des chèvres (? 1830)	3 Morceaux suisses: No. 1, Ranz de chèvres. Rondeau		1876–77	S.156a/1

Original work	Liszt work	Forces	Date	S no.	Notes
Septet in D minor, Op. 74 (piano, flute, oboe, horn, viola, cello, double bass)	Edition	piano, flute, oboe, horn, viola, 2 cellos	?	-	Liszt transcribed the work for piano solo, in 2 versions. He also produced his own edition of the original work but provided an alternative scoring in which a second cello replaced the double bass.^[29]
	Transcription	piano	1848; c.1866	S.493

Original work	Liszt work	Forces	Date	S no.	Notes
Air suisse varié, guitar (1830)	Album d'un voyageur: Book III, Paraphrases: No. 11, Nocturne sur le Chant Montagnard	piano	1835–36	S.156/11	Re-issued as Un soir dans la montagne. Mélodie d'Ernest Knop. Nocturne (1837–38); revised as Un soir dans les montagnes (Nocturne pastoral), No. 3 of 3 Morceaux suisses (1876–77).^[1]
Air suisse varié, guitar (1830)	3 Morceaux suisses: No. 3, Un soir dans les montagnes (Nocturne pastoral)		1876–77	S.156a/3

Original work	Liszt work	Forces	Date	S no.	Notes
Song "Le matin" (words by Georges Bizet)	2 Lieder von Francis Korbay	voice and orchestra	1883	S.368/1	Korbay was a godson of Liszt and a well-known performer of his music.
Song "Gebet" (words by Emanuel Geibel)	2 Lieder von Francis Korbay	voice and orchestra	1883	S.368/2
Song "Gebet" (words by Emanuel Geibel)	"Gebet"	voice and organ	1883?	S.683a

Original work	Liszt work	Forces	Date	S no.	Notes
Song "Těšme se blahou nadějć" (c. 1824)	Hussitenlied (from the 15th Century)	piano	1840	S.234	This drinking song by Josef Theodor Krov (1797–1859) to words by Václav Hanka was erroneously identified by the publisher as an early Hussite hymn. The tune was extensively quoted in Balfe's The Bohemian Girl as a patriotic song.^[30]^[31]
Song "Těšme se blahou nadějć" (c. 1824)	Hussitenlied (from the 15th Century)	piano 4‑hands	1840–41	S.620

Original work	Liszt work	Forces	Date	S no.	Notes
Romance "Le départ du jeune marin"	Grand duo concertant sur la romance de M. Lafont "Le Marin"	violin and piano	1835–37	S.700h	^[18]
Romance "Le départ du jeune marin"		violin and piano	1849	S.128	Revised version

Original work	Liszt work	Forces	Date	S no.	Notes
6 Lieder von Peter Cornelius, Op. 5: No. 3, "Löse, Himmel, meine Seele"	Transcription	piano	1861–72	S.494	Liszt wrote 2 versions^[1]
No. 4, "Ich weil' in tiefer Einsamkeit"	Transcription		1872	S.495
Incidental music to Hebbel's Die Nibelungen, Op. 47 (1873)	Aus der Musik zu Hebbels Nibelungen und Goethes Faust: I. Nibelungen: 1. "Hagen und Kriemhild"; 2. "Bechlarn" II. Faust: 1. "Osterhymne"; 2. "Hoffestlische Marsch und Polonaise"		1878–79	S.496
Incidental music to Goethe's Faust, Op. 57 (1876)			1878–79	S.496
Incidental music to Calderón's Über allen Zauber Liebe, Op. 73 (1883): Intermezzo	Symphonisches Zwischenspiel		c. 1882	S.497	Calderón's 1635 play is known in Spanish as El mayor encanto, amor, and in English as Love, the Greatest Enchantment.

Original work	Liszt work	Forces	Date	S no.	Notes
Song "Es hat geflammt die ganze Nacht"	Arrangement	voice and piano	1849–54	S.685
Theme	6 Consolations: No. 4, Quasi adagio	piano	1849–50	S.172/4	^[6]

Original work	Liszt work	Forces	Date	S no.	Notes
Songs Without Words: Book I, Op. 19b: Nos. 1–3^[32]	Grosses Konzertstück über Mendelssohns Lieder ohne Worte	2 pianos	1834	S.257	Liszt and a student, Mlle. Vial, started to perform it in Paris on 9 April 1835^[17] but Liszt became ill. Ferruccio Busoni, who considered Mendelssohn a composer of genius, died before fulfilling his plan to play it with Egon Petri in London. It was first performed in full by Richard and John Contiguglia at the 1984 Holland Liszt Festival in Utrecht.^[33]
6 Songs, Op. 19a (1830–34): 2 songs	Mendelssohn Lieder: "Auf Flügeln des Gesanges", Op. 34/2 "Sonntagslied", Op. 34/5 "Reiselied", Op. 34/6 "Neue Liebe", Op. 19a/4 "Frühlingslied", Op. 47/3 "Winterlied", Op. 19a/3 "Suleika", Op. 34/4	piano	1840	S.547
6 Songs, Op. 34 (1834–37): 4 songs
6 Songs, Op. 47 (1839): 1 song
6 Songs for male chorus, Op. 50 (1837–40): 2 songs	"Wasserfahrt", Op. 50/4 "Der Jäger Abschied", Op. 50/2		1848	S.548
A Midsummer Night's Dream, incidental music, Op. 61 (1842)	Wedding March and Dance of the Elves		1849–50	S.410

Original work	Liszt work	Forces	Date	S no.	Notes
Opera Il giuramento (1837)	Réminiscences de La Scala	piano	1837‑38	S.458	This work uses three themes from Il giuramento and a fourth theme that is as yet unidentified.^[34] The piece also appeared as Fantasia on Italian Operatic Melodies.^[35] It was listed in the Searle catalogue as "Piano piece on Italian operatic melodies", the writers of which were listed as "unknown".^[9]
Soirées italiennes, 8 ariettas and 4 duos: No. 2, "La primavera: Canzonetta" No. 10, "Il galop" No. 4, "Il pastore svizzero: Tirolese" No. 5, "La serenata del marinaro" No. 11, "Il Brindisi: Rondoletto" No. 8, "La zingarella spagnola: Bolero"	Soirées italiennes: Six amusements sur des motifs de Mercadante	piano	1838	S.411	Dedicated to Archduchess Elizabeth of Austria.^[36]^[37]