for mch pf as S.15a/1, for ch pf as S.15a/2 No.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. Ungarische Krönungsmesse (Hungarian Coronation Mass) Missa quattuor vocum ad aequales (Szekszárd Mass)Ģnd version of S.8/1 themes used in S.264Įxtract ('Poco adagio') arr. for pf4h as S.580 for pf as S.500 for org (+ ch) as S.666 for v org as S.767 Ĭantantibus organis (Antiphona in festo Santa Caeciliae) for pf as S.498c, for org as S.665Ģnd version of S.5/1 arr. for pf as S.499, for org as S.760 Prelude arr. for org as S.664ġst version of S.4/2 Alleluja arr. for pf as S.498b, for pf4h as S.579 No.8 arr. for pf as S.498a, S.693a for pf4h as S.578 introduction arr. Opera in 1 act libretto by Théaulon and de Rancé, after a story by Jean-Pierre Claris de Florian first perf.
Notes - Liszt's works often exist in multiple versions and he arranged many works by other composers, which are cross-referenced respectively mentioned here.Genre - works are grouped in the following broad categories: Stage, Choral (for many voices), Vocal (for individual voices), Orchestral, Chamber and Piano.Date - the year(s) of composition or arrangement, where known.Forces - the instrumentation used (see Abbreviations for Instruments).Title - normally following the New Liszt Edition and Library of Congress, as well as other authoritative sources.Eckhardt referenced in Grove Music Online (2010)
A number sign (#) signifies that a number is no longer in use. numbering as given in Humphrey Searle, The Music of Liszt, 1966 (with additions by Sharon Winklhofer and Leslie Howard). He also wrote a Requiem for organ solo, intended to be performed liturgically, along with the spoken Requiem Mass.The table below gives the following information for works by Franz Liszt (where applicable): Liszt also wrote the monumental set of variations on the first section of the second movement chorus from Bach's cantata Weinen, Klagen, Sorgen, Zagen, BWV 12 (which Bach later reworked as the Crucifixus in the Mass in B minor), which he composed after the death of his daughter in 1862. Ad nos is an extended fantasia, Adagio, and fugue, lasting over half an hour, and the Prelude and Fugue on B-A-C-H include chromatic writing which sometimes removes the sense of tonality. Humphrey Searle calls these works-the Fantasy and Fugue on the chorale "Ad nos, ad salutarem undam" and the Prelude and Fugue on B-A-C-H-Liszt's "only important original organ works" and Derek Watson, writing in his 1989 Liszt, considered them among the most significant organ works of the nineteenth century, heralding the work of such key organist-musicians as Reger, Franck, and Saint-Saëns, among others.
Liszt wrote his two largest organ works between 18 while he was living in Weimar, a city with a long tradition of organ music, most notably that of J.S. Equally important for Liszt was Urhan's earnest championship of Schubert, which may have stimulated his own lifelong devotion to that composer's music. Urhan also wrote music that was anti-classical and highly subjective, with titles such as Elle et moi, La Salvation angélique and Les Regrets, and may have whetted the young Liszt's taste for musical romanticism. He had many discussions with the Abbé de Lamennais, who acted as his spiritual father, and also with Chrétien Urhan, a German-born violinist who introduced him to the Saint-Simonists. He again stated a wish to join the Church but was dissuaded this time by his mother. Liszt fell very ill, to the extent that an obituary notice was printed in a Paris newspaper, and he underwent a long period of religious doubts and pessimism. Her father, however, insisted that the affair be broken off. The following year, he fell in love with one of his pupils, Caroline de Saint-Cricq, the daughter of Charles X's minister of commerce, Pierre de Saint-Cricq.
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