Versions of Works by Others (Liszt, Franz)

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This page lists works by other composers that were arranged, transcribed, edited, translated or otherwise adapted by Franz Liszt. The name of the original composer and title of the original works are given first, with details of Liszt's adaptation below.

This list is manually maintained, therefore some of the available pieces may not yet be linked from this page. For a complete listing of all works, see List of works by Franz Liszt

Contents


Ábrányi, Kornél (1822–1903)

  • Csárdás nobles (Elegáns csárdások), in 6 volumes (1884–86):
Themes of "Kertem alatt" (vol.II, No.1) and "Sarkantyú csárdás" (vol.III, No.6) used in the Lento and Vivace (Friska) sections of Hungarian Rhapsody No.19 in D minor, for solo piano, S.244/19 (1885); also for piano 4 hands, S.623a (1885?)
  • Tamássy József kedvelt dalai, 16 Hungarian folksongs for voice and piano:
Five songs arranged as 5 Ungarische Volkslieder, for solo piano, S.245 (1873)
  • Virág-dal (Chant des Fleurs), for piano, Op.43 (ca.1875):
Additions and corrections by Liszt (1880), S.383a

Allegri, Gregorio 1582–1652)

Themes used in À la Chapelle Sixtine, for solo piano, S.461 (1st version, 1862; 2nd version, 1865?); for orchestra, S.360 (1862); for piano 4 hands, S.633 (1862–65); for organ, S.658 (1865)

Alyabyev, Aleksandr (1787–1851)

  • Mazurka pour piano composée par un amateur de St. Pétersbourg — see below under "Vielgorsky, Mikhail"
  • The Nightingale, song (1825):
Arranged as Le rossignol, S.250/1, by Franz Liszt, for solo piano: 1st version, S.249d (1842); 2nd version, as No.1 of 2 mélodies russes, S.250/1 (1842–43)

Anonymous/Traditional

  • La cloche sonne, traditional French song:
Arranged as La cloche sonne, S.238, for solo piano (ca.1850)
Used in the concert paraphrase on Gaudeamus igitur, for solo piano: 1st version, S.240/1 (1843); 2nd version, S.240/2 (1853)
  • God Save the Queen, British national anthem (18th century):
Used in the concert paraphrase on God Save the Queen, S.235, for solo piano (1841–49)
Used in Grande paraphrase de concert sur God Save the Queen et Rule Britannia, S.694, for piano and orchestra (1841); arranged for piano 4 hands as Grosse Fantasie über God Save the Queen und Rule Britannia, S.755a (1841)
  • Marche Henri IV, French royalist anthem (16th century):
Arranged as Vive Henri IV, for solo piano, S.239 (1879–80)
  • Preussischer Armeemarsch (Prussian Army March) [unidentified; by Radovsky/Radoosky?]:
Arranged for solo piano, S.749 (1866?) [lost]
  • Tyrolean Melody — see below under: "Auber, Daniel François Esprit"

Arcadelt, Jacques (1505–1568)

  • Ave Maria — see below under "Dietsch, Pierre-Louis"

Arne, Thomas Augustine (1710–1778)

Used in Grande paraphrase de concert sur God Save the Queen et Rule Britannia, S.694, for piano and orchestra (1841); arranged for piano 4 hands as Grosse Fantasie über God Save the Queen und Rule Britannia, S.755a (1841)

Auber, Daniel François Esprit (1782–1871)

  • La fiancé, opéra comique in 3 acts (1828):
Theme of "Montagnard ou berger" used in Grande fantaisie sur la tyrolienne de l'opéra La fiancée de Auber (Souvenir de La fiancée), for solo piano, S.385 (1829, revised 1839?, 1842?)
Theme of "Montagnard ou berger" also used in Tyrolean Melody, for solo piano, S.385a (1829)
Themes used in the Introduction e Cavatine from 3 Stücke aus der Oper La muette de Portici von Auber, for solo piano, S.387 (1847–48)
Theme of the Tarantella from Act III used in Tarantelle di bravura d’après la tarantelle de La muette de Portici, for solo piano, S.386 (1846, revised 1869)

Bach, Johann Sebastian (1685–1750)

Andante arranged for solo organ (or harmonium), S.660/2 (1856–60)
Arranged for solo piano: 1st version, S.463/1 (1861?); 2nd version, S.463/2 (1868)
Introduction and Fugue arranged for solo organ (or harmonium), S.660/1 (1860–66)
  • Mass, BWV 232, in B minor (1747–49):
Theme of the Crucifixus (3rd movement) used in Variationen über das Motiv von Bach, for solo piano, S.180 (1862); ); for organ, S.673 (1862–63)
Arranged for solo piano, as No.1 of Preludes and Fugues by J.S. Bach, S.462/1 (1842–50)
Arranged for solo piano, as No.2 of Preludes and Fugues by J.S. Bach, S.462/2 (1842–50)
Arranged for solo piano, as No.3 of Preludes and Fugues by J.S. Bach, S.462/3 (1842–50)
Arranged for solo piano, as No.4 of Preludes and Fugues by J.S. Bach, S.462/4 (1842–50)
Arranged for solo piano, as No.5 of Preludes and Fugues by J.S. Bach, S.462/5 (1842–50)
Arranged for solo piano, as No.6 of Preludes and Fugues by J.S. Bach, S.462/6 (1842–50)
3rd movement arranged for solo organ as Adagio vom Bach, S.661 (1861–63)
Melody from the Sinfonia (1st movement) used in prelude on Weinen, Klagen, Sorgen, Zagen, for solo piano, S.179 (1859)
Basso continuo theme from the Sinfonia (1st movement) used in Variationen über das Motiv von Bach, for solo piano, S.180 (1862); for organ, S.673 (1862–63)

Baini, Giuseppe (1775–1844)

  • O Roma nobilis, chorus:
Arranged as O Roma nobilis, for mixed chorus and orchestra, S.54 (1878–79?); for organ, S.669c (1878–79); for solo piano, S.506b (1879)

Beethoven, Ludwig van (1770–1827)

Arranged for solo piano: 1st version, S.466a (1839); 2nd version, S.466b (1841); 3rd version, S.467 (S.466)
Arranged for solo piano, S.469 (1849)
  • Coriolan, Op.62, overture to Collin's tragedy (1807):
Arranged for solo piano, S.739 (1846–47) [lost]
  • Egmont, Op.84, incidental music (1809–10):
Overture arranged for solo piano, S.740 (1846–47) [lost]
Song Die Trommel gerühret (No.1) arranged for solo piano as No.6 of Beethovens Lieder von Goethe, S.468/6 (1849)
Song Freudvoll und liedvoll, gedankenvoll sein (No.4) arranged for solo piano as No.3 of Beethovens Lieder von Goethe, S.468/3 (1849)
Arranged for solo piano as 6 geistliche Lieder von Gellert, S.467 (1840)
Theme from the Agnus Dei (5th movement) used in Album Leaf (Poco Adagio), S.167c (ca.1860)
Arranged for 2 pianos, S.657a/1 (1878–79); includes new cadenza for 1st movement, S.389a
Arranged for 2 pianos, S.657a/2 (1878–79)
Arranged for 2 pianos, S.657a/3 (1878–79)
Themes of Marcia alla turka (No.4) and Chor de Dervische (No.3) used in Capriccio alla turca sur des motifs de Beethoven, for solo piano, S.388 (1846)
Themes of Marcia alla turka (No.4) and Chor de Dervische (No.3) also used in Fantasie über Themen aus Beethovens Ruinen von Athen for solo piano (1839), S.388b; revised as Fantasie über Motive aus Beethovens Ruinen von Athen, for piano and orchestra, S.122 (1852)' for 2 pianos, S.649 (1852); for solo piano, S.389 (1852)
  • Septet, Op.20 (1799–1800):
Arranged as Grand septuor de Beethoven, for solo piano, S.465 (1840); for piano 4 hands, S.634 (1840–42)
Mignon (No.1) arranged for solo piano as No.1 of Beethovens Lieder von Goethe, S.468/1 (1849)
Es war einmal ein König (No.3) arranged for solo piano as No.4 of Beethovens Lieder von Goethe, S.468/4 (1849)
Wonne der Wehmut (No.1) arranged for solo piano as No.5 of Beethovens Lieder von Goethe, S.468/5 (1849)
Mit einem gemalten Bande (No.3) arranged for solo piano as No.2 of Beethovens Lieder von Goethe, S.468/2 (1849)
Arranged for solo piano, S.464/1 (1863–64)
Arranged for solo piano, S.464/2 (1863–64)
Arranged for solo piano, S.464/3 (1863–64)
Funeral March (movt.III) arranged for solo piano, as Marche funèbre de la Symphonie héroïque, S.463e (1837); revised in S.464/3
Arranged for solo piano, S.464/4 (1863–64)
Arranged for solo piano: 1st version, S.463a (1837); 2nd version, S.464/5 (1863–64)
Arranged for solo piano: 1st version, S.463b (1837); 2nd version, S.463c (1837); 3rd version, S.464/6 (1863–64)
Arranged for solo piano: 1st version, S.463d (1837); 2nd version, S.464/7 (1863–64)
Arranged for solo piano, S.464/8 (1863–64)
Arranged for 2 pianos, S.657 (1851); for solo piano, S.464/9 (1863–64)

Bellini, Vincenzo (1801–1835)

Various themes used in Réminiscences des Puritains de Bellini, for solo piano, S.390 (1836, revised 1837?)
Introduction and Polonaise (Act I) arranged as Introduction et Polonaise de l'opéra I puritani, for solo piano, S.391 (1840–41)
March theme "Suoni la tromba" from Act II used by Liszt and five other composers in the Hexaméron, for solo piano, S.392 (1837–38); for piano and orchestra, S.365b (1837–39); for 2 pianos, S.654 (1840, revised 1870)
Various themes used in Fantaisie sur des motifs favoris de l’opéra La sonnambula, for solo piano, S.393 (1839–42?, revised 1852, 1874); for piano 4 hands, S.627 (1852)
  • Norma, opera in 2 acts (1831):
Various themes used in Réminiscences de Norma, for solo piano, S.394 (1841)

Berlioz, Hector (1803–1869)

Two themes from the opera used in Bénédiction et serment, for solo piano, S.396 (1852–53); for piano 4 hands, S.628 (1852–53)
Arranged for solo piano, S.741 (1844–49?) [lost]
Ballet des Sylphes (Part II, Scene 7) arranged for solo piano as Danse des Sylphes, S.475 (1860)
Concert overture arranged for solo piano as Ouverture des Francs-juges, S.471 (1836–37?)
Arranged for solo piano and viola: 1st version, S.472/1 (1836); 2nd version, S.472/2 (early 1850s)
Marche des pèlerins chantant la prière du soir (2nd movement) arranged for solo piano: 1st version, S.473/1 (1836–37); 2nd version, S.473/2 (1862)
Themes from Le pêcheur (No.1) and Chanson des brigands (No.3) used in Grande Fantaisie Symphonique for piano and orchestra, S.120 (1834)
  • Roi Lear, H 53, grande ouverture (1831):
Arranged for solo piano, S.474 (1836–37)
Arranged for solo piano, S.470 (1833)
Main theme used in L'idée fixe, for solo piano, S.470a/1 (1833)
Arrangement of 4th movement revised independently as Marche au supplice, S.470a/2 (1865), including material from S.470a/1

Bertin, Louise Angelique (1805–1877)

  • La Esmeralda, opera in 4 acts (1836):
Complete vocal score arranged for solo voices, chorus and piano, S.476 (1837)
"D’ici vous pourrez voir, sans être vu" (No.10) from S.476 published separately as Scène et Trio (No.3) from 3 morceaux detachés d‘Esmeralda, S.477a/3 (1837)
"Quoi! lui" (No.11) from S.476 published separately as Entracte, Recitatif et Romance (No.1) from 3 morceaux detachés d‘Esmeralda, S.477a/1 (1837)
Quasimodo’s aria "Mon Dieu! j’aime" (No.13) from S.476 published separately as Air chanté par Massol de Esmerelda, S.477 (1837) and Air (No.2) from 3 morceaux detachés d‘Esmeralda, S.477a/2 (1837)

Bihari, János (1764–1827)

  • Lassú magyar, Hungarian slow dance (ca.1820):
Used in No.2 of Zum Andenken, for solo piano, S.241 (1828)

Borodin, Aleksandr (1833–1887)

  • Polka in C major, for piano, No.2 in the album Paraphrases (1879):
Theme used in Prélude á la Polka d'Alexandre Porfiryevitch Borodine, for solo piano, S.207a (1880) (formerly listed as Variation über das Thema von Borodin, S.256)

Brassac, René de Béarn (1699–1771)

  • Pastorale (unidentified):
Arranged as Chanson du Béarn, for solo piano, S.236/2 (1844)

Bulakhov, Pyotr (1822–1885)

  • Bohemian Song [unidentified]:
Arranged as Chanson bohémienne, No.2 of 2 Mélodies Russes, for solo piano, S.250 (1842–43)
  • You Will Not Believe (Ты не поверишь), song [before 1843]:
Arranged for solo piano as Russischer Galop, S.478, S.478 (1843)

Bülow, Hans von (1830–1894)

  • Mazurka-fantaisie in B minor, for solo piano, Op.13 (1860):
Arranged for orchestra (1865), S.351
  • Wenn sie euch grüsst mit freundlicher Gebärde (Sonett von Dante), Op.22, for voice and piano (1865):
Arranged for solo piano as Tanto gentile e tanto onesta, S.479 (1874)

Chopin, Frederic (1810–1849)

  • Mazurkas, Op.6, for solo piano (1830–32):
Theme of Mazurka No.2 used in Duo (Sonata) on Polish Themes, for violin and piano, S.127 (1835)
2nd movement arranged for piano, organ and cello as Marche funebre, S.761 (1860–69?) [lost]
Życzenie (No.1) arranged for solo piano, as No.1 of 6 Polish Songs
Theme of Życzenie (No.1) used in Mélodies polonaises, No.2 from Glanes de Woronince, S.249, for solo piano (1847)
Wiosna (No.2) arranged for solo piano, as No.2 of 6 Polish Songs
Pierścień (No.14) arranged for solo piano, as No.3 of 6 Polish Songs
Hulanka (No.4) arranged for solo piano, as No.4 of 6 Polish Songs
Moja pieszczotka (No.12) arranged for solo piano, as No.5 of 6 Polish Songs
Narzeczony (No.15) arranged for solo piano, as No.6 of 6 Polish Songs
  • Preludes, Op.28, 24 pieces for solo piano (1838–39):
No.4 in E minor arranged for organ, S.662/1 (1862–63?)
No.9 in E major arranged for organ, S.662/2 (1862–63?)

Conradi, August (1821–1873)

No.2 in E minor arranged for solo piano, S.481 (1848)

Cornelius, Peter (1824–1874)

Second overture (Zweite Ouvertüre) completed and orchestrated, S.352 (1877–80)

Cottrau, Guillaume Louis (1797–1847)

  • Tarantella [unidentified]:
Theme used in Tarantelles napolitaines, No.4 from Venezia e Napoli, for solo piano, S.159 (1840); revised as Tarantella da Guillaume Louis Cottrau, No.3 from Années de pèlerinage II, Supplément (Venezia e Napoli), S.162 (1859)

Dargomyzhsky, Aleksandr (1813–1869)

  • Tarantella slave, for piano 4 hands (1864–65):
Arranged for solo piano, S.483 (1880)

David, Ferdinand (1810–1873)

  • Bunte Reihe, Op.30, 24 pieces for violin and piano (ca.1840?):
No.22 arranged for solo piano as Souvenir de Russie, S.483bis (1842)
Nos.1 to 24 arranged for solo piano, S.484 (1850), including 2nd version of S.483bis

Delibes, Léo (1836–1891)

Ballade "Tant que le jour dure" arranged for solo piano as La mandragore, S.698 (1881)

Dessauer, Josef (1798–1876)

  • Lockung ("Wär’s dunkel, ich läg’ im Walde"), song for voice and piano (by 1845)
Arranged for solo piano as No.1 of 3 Lieder von Dessauer, S.485/1 (1846–47)
  • Spanisches Lied, song for voice and piano (by 1845)
Arranged for solo piano as No.3 of 3 Lieder von Dessauer, S.485/3 (1846–47)
  • Zwei Wege ("Sie stand des Abends am Gartenzaun"), song for voice and piano (by 1845)
Arranged for solo piano as No.2 of 3 Lieder von Dessauer, S.485/2 (1846–47)

Diabelli, Anton (1781–1858)

Waltz No.24 contributed by Liszt; also published separately as Variation on a Waltz by Diabelli, in C minor, S.147 (1822)

Dietsch, Pierre-Louis (1808–1865)

  • Ave Maria, for unaccompanied voices (1842?) — adaptation by Dietsch of the madrigal Nous voyons que les hommes by Jacques Arcadelt:
Theme used in Ave Maria d'Arcadelt, for solo piano, S.183/2 (1862); for organ, S.659 (1862–63)

Donizetti, Gaetano (1797–1848)

  • Dom Sébastien, grand opera in 5 acts (1843)
theme of the funeral march from Act V used in Marche funèbre de Dom Sébastien de Donizetti, for solo piano, S.402 (1844)
Theme of the duettino from Act IV used in Spirito gentil, for solo piano, S.400a (1847)
Various themes used in Réminiscences de Lucia di Lammermoor, for solo piano, S.397 (1835–36)
Funeral march and cavatina themes used in Marche et Cavatine de Lucie de Lammermoor, for solo piano, S.398 (1835–36); for piano 4 hands, S.628a (1844?)
Theme of the aria Verranno a te sull'aure (Act I, No.3) used in Valse à capriccio for solo piano, S.401 (1842); revised as Valse de concert, No.3 of 3 Caprices-Valses, for solo piano, S.214 (1850–52)
Andante final, pub. by Grus, 1840 (may be S.398?...)
Themes of the Chanson à boire and Orgie used in Fantaisie sur des motifs favoris de l'opéra Lucrezia Borgia, for solo piano, S.399a (1840)
Themes of the Trio from Act II and Chanson à boire and Orgie used in Réminiscences de Lucrezia Borgia, for solo piano, S.400 (1848)
  • Nuits d'été à Pausilippe, 12 ariettas and nocturnes for voices and chamber ensemble (1836):
Theme of Il barcaiuolo (No.1) used in Barcarola (No.1) of Nuits d'été à Pausilippe, for solo piano, S.399/1 (1838)
Theme of La torre di Biasone (No.4) used in Canzone napoletana (No.3) of Nuits d'été à Pausilippe, for solo piano, S.399/3 (1838)
Theme of L'alito di Bice (No.9) used in Notturno (No.2) of Nuits d'été à Pausilippe, for solo piano, S.399/2 (1838)
  • Parisina, tragedia lirica in 3 acts (1833):
Theme from Act II used in Valse à capriccio, for solo piano, S.401 (1842); revised as Valse de concert, No.3 of 3 Caprices-Valses, for solo piano, S.214 (1850–52)

Donizetti, Giuseppe (1788–1856)

  • Grande Marche militaire, for piano (1840):
Themes used in Marche funèbre de Dom Sébastien de Donizetti, for solo piano, S.402 (1847); for simplified piano, S.402bis (1848)

Draeseke, Felix (1835-1913)

  • Der Schwur im Rütli, cantata (1862–63, revised 1868):
Arranged for solo piano, S.485a (1870)
Arranged as a recitation for narrator and solo piano, S.686 (1860)

Egressy, Béni (1814–1851)

  • Szózat, Hungarian patriotic song (1840):
Used in No.1 of Szózat und Hymnus, for orchestra, S.353 (1872); for solo piano, S.486 (1872); for piano 4 hands, S.628b (1873)

Erkel, Ferenc (1810–1893)

Themes used in Schwanengesang und Marsch aus Hunyadi László, for solo piano, S.405 (1847)
  • Hymnus, national anthem of Hungary (1844):
Used in No.2 of Szózat und Hymnus, for orchestra, S.353 (1872); for solo piano, S.486 (1872); for piano 4 hands, S.628b (1873)

Ernst II, Duke of Saxe-Coburg-Gotha (1818–1893)

  • Diana von Solange, opera (1858):
Themes used in Festmarsch nach Motiven von E.H.z.S.-C.-G., for orchestra, S.116 (1858–59); for solo piano, S.522 (1858–59); for piano 4 hands (1858–59)
  • Die Gräberinsel, song (by 1842):
Arranged for solo piano, S.485b (1842)
  • Tony, oder die Vergeltung, opera (1849):
Themes of the Jagdchor and Steirer used in Halloh!, for solo piano, S.404 (1849)

Fáy, László

  • Kinizsi notája, Hungarian dance (1822):
Theme used in No.1 of Zum Andenken, for solo piano, S.241 (1828)

Festetics, Leo (1800–1884)

  • Les noces du Pâtre, mélodies hongroises, for solo piano (1858)
Corrections and alterations to manuscript score, S.405a (1858)
  • Spanisches Ständchen, song (by 1844)
Arranged for solo piano, S.487 (1844)

Field, John (1782–1837)

  • Nocturne No.1 in E major, H.24 (1812, revised 1832):
Edited as No.1 of 18 Nocturnes by John Field (1850)
Arranged for piano 4 hands, S.577a/1 (1877)
  • Nocturne No.2 in C minor, H.25 (1812):
Edited as No.2 of 18 Nocturnes by John Field (1850)
Arranged for piano 4 hands, S.577a/2 (1877)
  • Nocturne No.3 in A major, H.26 (1812):
Edited as No.3 of 18 Nocturnes by John Field (1850)
Arranged for piano 4 hands, S.577a/3 (1877)
  • Nocturne No.4 in A major, H.36 (1817):
Edited as No.4 of 18 Nocturnes by John Field (1850)
Arranged for piano 4 hands, S.577a/4 (1877)
  • Nocturne No.5 in B major, H.37 (1817, revised 1838):
Edited as No.5 of 18 Nocturnes by John Field (1850)
Arranged for piano 4 hands, S.577a/5 (1877)
  • Nocturne No.6 in F major ("Berceuse"), H.40 (1817):
Arranged for piano 4 hands, S.577a/6 (1877)
Edited as No.6 of 18 Nocturnes by John Field (1850)
  • Nocturne No.7 in C major ("Reverie"), H.45 (1821):
Edited as No.13 of 18 Nocturnes by John Field (1870?)
  • Nocturne No.8 in E minor, H.46 (1821–22, revised 1851):
Edited as No.9 of 18 Nocturnes by John Field (1863?)
Arranged for piano 4 hands, S.577a/9 (1877)
  • Nocturne No.11 in E major, H.56 (1832):
Edited as No.11 of 18 Nocturnes by John Field (1867?)
Arranged for piano 4 hands, S.577a/11 (1877)
  • Nocturne No.12 in G major, H.58 (1822):
Edited as No.14 of 18 Nocturnes by John Field (1870?)
  • Nocturne No.13 in D minor ("Lied ohne Worte"), H.59 (1834):
Edited as No.15 of 18 Nocturnes by John Field (1870?)
  • Nocturne No.14 in C major, H.60 (1835):
Edited as No.16 of 18 Nocturnes by John Field (1870?)
  • Nocturne No.15 in C major, H.61 (1836):
Edited as No.17 of 18 Nocturnes by John Field (1870?)
  • Nocturne No.16 in F major, H.62 (1836?):
Edited as No.18 of 18 Nocturnes by John Field (1870?)
  • Nocturne No.17 in E major ("Nocturne pastorale"), H.65 (1851):
Edited as No.10 of 18 Nocturnes by John Field (1867?)
Arranged for piano 4 hands, S.577a/10 (1877)
  • Nocturne No.18 in E major ("Midi"), H.13 (1832):
Edited as No.12 of 18 Nocturnes by John Field (1867?)
Arranged for piano 4 hands, S.577a/12 (1877)
  • Pastorale in A major, H.14 (1809?, revised 1814, 1831):
Edited as No.7 of 18 Nocturnes by John Field (1859?)
Arranged for piano 4 hands, S.577a/7 (1877)
  • Romance in E major, H.30 (1815, revised 1816):
Edited as No.8 of 18 Nocturnes by John Field (1859?)
Arranged for piano 4 hands, S.577a/8 (1877)

Franz, Robert (1818–1892)

  • 6 Gesänge, Op.3 (1844):
Der Schalk (No.1) arranged for solo piano, as No.6 of 12 Lieder von Robert Franz, S.489 (1848)
Frühling und Liebe (No.3) arranged for solo piano, as No.12 of 12 Lieder von Robert Franz, S.489 (1848)
Er ist gekommen in Sturm und Regen (No.7) arranged for solo piano, S.488 (1848)
  • 6 Gesänge, Op.8 (1846):
Der Bote (No.1) arranged for solo piano, as No.7 of 12 Lieder von Robert Franz, S.489 (1848)
Meeresstille (No.2) arranged for solo piano, as No.8 of 12 Lieder von Robert Franz, S.489 (1848)
Das ist ein Brausen (No.4) arranged for solo piano, as No.11 of 12 Lieder von Robert Franz, S.489 (1848)
Treibt der Sommer seinen Rosen (No.5) arranged for solo piano, as No.9 of 12 Lieder von Robert Franz, S.489 (1848)
Gewitternacht (No.6) arranged for solo piano, as No.10 of 12 Lieder von Robert Franz, S.489 (1848)
  • Schilflieder, Op.2, five songs for voice and piano (1844}:
Arranged for solo piano, as Nos.1 to 5 of 12 Lieder von Robert Franz, S.489 (1848)

Gallenberg, Robert von (1783–1839)

  • Die Amazonen, historical ballet in 3 acts (1823):
Theme used in Waltz aus dem Ballet Die Amazonen, No.2 of 2 Waltzes, for violin and piano, S.126b (ca.1823–25); for solo piano, S.208a (ca.1823–25)

Garcia, Manuel (1775–1832)

  • El poeta calculista, opera in 1 act (1805):
  • Theme of the aria "Yo que soy contrabandista" useed in Rondeau fantastique sur un thème espagnol, for solo piano, S.252 (1836)

Gizycka-Zámoyská, Ludmilla (1829–18??)

  • A Puszta Keserve, song to words by Nikolaus Lenau:
Arranged as Puszta-Wehmut, for solo piano, S.246 (1871); for violin and piano, S.379b (1880)

Glinka, Mikhail (1804–1857)

Chernomor's March (Act IV, No.19) arranged as Marcia Circassa tratta dall'opera Russlan e Ludmilla di Glinka, for solo piano, S.406/1 (1843); revised as Tscherkessenmarsch aus Glinkas Oper Rußlan und Ludmilla, for solo piano, S.406/2 (1875?); for piano 4 hands, S.629 (1875)

Goldschmidt, Adalbert von (1848–1906)

  • Die sieben Todsünden, oratorio (1876):
Liebesszene and Fortunas Kugel arranged for solo piano, S.490 (1880)

Gounod, Charles (1818–1893)

  • Faust, grand opera in 5 acts (1859, revised 1869):
Waltz and Duet "O nuit d’amour" (Act II) arranged as Valse de l'opéra Faust, for solo piano, S.407 (1861)
Soldiers' Chorus "Gloire immortelle de nos aieux" (Act IV) arranged for solo piano, S.743 (1864) [lost]
Arranged for solo piano, S.491 (1866)
Berceuse theme used in Les Sabéennes, for solo piano, S.408 (1865)
Theme used in Les adieux, for solo piano, S.409 (1867)

Halévy, Fromental (1799–1862)

  • Guitarrero, opera in 3 acts (1840):
Themes used in Fantaisie sur des thèmes de l'opéra Guitarero, S.743a, for solo piano (1841) [lost]
  • La Juive, grand opera in 5 acts (1835):
Themes used in Réminiscences de La juive, for solo piano, S.409a (1835)

Handel, George Frideric (1685–1759)

  • Almira (Der in Kronen erlangte Glucks), Singspiel in 3 acts, HWV 1 (1704–05):
Sarabande and Chaconne from Act I arranged as Sarabande und Chaconne aus dem Singspiel Almira, for solo piano, S.181 (1879)

Herbeck, Johann von (1831–1877)

Arranged for solo piano, S.492 (1869)

Huber, Ferdinand Fürchtegott (1791–1863)

  • Recueil de Ranz des vaches (1830):
Theme used in Improvisata sur le Ranz des vaches (Départ pour les Alpes; Aufzug auf die Alp), No.1 from 3 Airs Suisses, for solo piano, S.156 (1835–36); revised as Ranz de vaches (Montée aux Alpes: Improvisata), No.1 from Book III of Album d'un voyageur, S.156 (1837–38); revised as Ranz de vaches. Mélodie de Ferdinand Huber, avec variations, No.1 of 3 Morceaux suisses, S.156a (1876–77)
  • Ranz des chèvres (?1830):
Theme used in Rondeau sur le Ranz des chèvres, No.3 from 3 Airs Suisses for solo piano, S.156 (1835–36); re-issued as Ranz de chèvres de F. Huber (No.3) in Album d'un voyageur, S.156 (1837–38); revised as Ranz de chèvres. Rondeau, No.1 of 3 Morceaux suisses, S.156a (1876–77)

Hummel, Johann Nepomuk

Edited and arranged for solo piano: 1st version, S.493/1 (1848); 2nd version, S.493/2 (1866?)

Knop, Ernest

  • Air suisse varié, for guitar (1830):
Theme used in Nocturne sur le Chant Montagnard (No.2) from 3 Airs Suisses, for solo piano, S.156 (1835–36); re-issued as Un soir dans la montagne. Mélodie d'Ernest Knop. Nocturne, No.2 from Book III of Album d'un voyageur, S.156 (1837–38); revised as Un soir dans les montagnes (Nocturne pastoral), No.3 of 3 Morceaux suisses, S.156a (1876–77)

Korbay, Francis (1846–1913)

  • Gebet, song to words by Emanuel von Geibel:
Arranged as No.2 of 2 Lieder von Francis Korbay, for voice and orchestra, S.368 (1883); for voice and organ, S.683a (1883?)
  • Le matin, mélodie descriptive, for voice and piano, to words by Georges Bizet (1880):
Arranged as No.1 of 2 Lieder von Francis Korbay, for voice and orchestra, S.368 (1883);

Krov, Josef Theodor (1797–1859)

  • Těšme se blahou nadějć (Tesme se sladkau nadegi), song:
Theme used in Hussitenlied (Aus dem 15. Jahrhundert), for solo piano, S.234 (1840); for piano 4 hands, S.620 (1840–41)

Lafort, Philippe

  • Le départ du jeune marin, romance for voice and piano:
Theme used in Grand Duo Concertant, for violin and piano: 1st version, S.700h (1835–37); 2nd version, S.128 (?1849)

Lassen, Eduard (1830–1904)

Löse, Himmel, meine Seele (No.3) arranged for solo piano: 1st version, S.494 (1861); 2nd version, S.494/2 (1872)
Ich weil' in tiefer Einsamkeit (No.4) arranged for solo piano, S.495 (1872)
  • Nibelungen, Op.47, incidental music to Hebbel's drama (1873):
Bechlam arranged for solo piano as No.2 of Aus der Musik zu Hebbels Nibelungen und Goethes Faust, S.496 (1878–79)
Hagen und Kreimhild arranged for solo piano as No.1 of Aus der Musik zu Hebbels Nibelungen und Goethes Faust, S.496 (1878–79)
  • Faust, Op.57, incidental music to Goethe's drama (1876):
Osterhymne (Part I, No.2) arranged for solo piano as No.3 of Aus der Musik zu Hebbels Nibelungen und Goethes Faust, S.496 (1878–79)
Hoffestliche Marsch (Part II, No.2) arranged for solo piano in No.4 of Aus der Musik zu Hebbels Nibelungen und Goethes Faust, S.496 (1878–79)
Polonaise (Part II, No.3) arranged for solo piano in No.4 of Aus der Musik zu Hebbels Nibelungen und Goethes Faust, S.496 (1878–79)
  • Über allen Zauber Liebe, Op.77, intermezzo for orchestra [extracted from the incidental music, Op.73] (1883):
Arranged for solo piano, S.497 (1883)

Lassus, Orlande de (ca.1532–1594)

  • Regina coeli laetare, motet for unaccompanied voices (1604):
Arranged for organ or harmonium, S.663 (1865)

Lessmann, Otto (1844–1918)

  • 3 Lieder aus Wolff’s Tannhäuser, Op.27 (1881):
Arranged for solo piano, S.498 (1882)

Maria Pavlovna, Grand Duchess of Russia (1786–1859)

  • Es hat geflammt die ganze Nacht, song:
Arranged for voice and piano, S.685 (1849–54)

Massenet, Jules (1842–1912)

  • Marche hongroise de Szabady, for orchestra (1879) [based on Marche turque-hongroise by Frank Ignac Szabadi]:
Arranged for solo piano, S.572 (1879)

Mendelssohn, Felix (1809–1847)

  • 6 Lieder, Op.50, for male chorus (1837–40):
Der Jäger Abschied (No.2) arranged for solo piano, S.548/2 (1848)
Wasserfahrt (No.4) arranged for solo piano, S.548/1 (1848)
Themes of the Wedding March (Act IV) and Fairies' music used in Konzertparaphrase über Mendelssohns Hochzeitsmarsch und Elfenreigen aus der Musik zu Shakespeares Sommernachtstraum, for solo piano (1849–50)
Winterlied (No.3) arranged for solo piano as No.6 of Mendelssohns Lieder, S.547 (1840)
Neue Liebe (No.4) arranged for solo piano as No.4 of Mendelssohns Lieder, S.547 (1840)
Auf Flügeln des Gesanges (No.2) arranged for solo piano as No.1 of Mendelssohns Lieder, S.547 (1840)
Suleika (No.4) arranged for solo piano as No.7 of Mendelssohns Lieder, S.547 (1840)
Sonntagslied (No.5) arranged for solo piano as No.2 of Mendelssohns Lieder, S.547 (1840)
Reiselied (No.6) arranged for solo piano as No.3 of Mendelssohns Lieder, S.547 (1840)
Frühlingslied (No.3) arranged for solo piano as No.5 of Mendelssohns Lieder, S.547 (1840)
Themes used in Grosse Konzertstück über Themen aus Mendessohns Lieder ohne worte, S.257, for 2 pianos (1834)

Mercadante, Saverio (1795–1870)

Themes used in Reminiscences de La Scala, for solo piano, S.458 (1838–39)
  • Les soirées italiennes (Serata italiane), 8 ariettas and 4 duos for voice and piano (1836):
La primavera (No.2) arranged for solo piano as No.1 of Soirées italiennes, S.411 (1838–39)
Il pastore svizzero (No.4) arranged for solo piano as No.2 of Soirées italiennes, S.411 (1838–39)
La serenata del marinaro (No.5) arranged for solo piano as No.3 of Soirées italiennes, S.411 (1838–39)
Il galop (No.10) arranged for solo piano as No.1 of Soirées italiennes, S.411 (1838–39)
La zingarella spagnola (No.8) arranged for solo piano as No.5 of Soirées italiennes, S.411 (1838–39)
Il brindisi (No.11) arranged for solo piano as No.4 of Soirées italiennes, S.411 (1838–39)

Meyerbeer, Giacomo (1791–1864)

  • L'Africaine, opera in 5 acts (1885):
Sailors' prayer "O grand Saint Dominique" (Act III) used in Prière des matelots, No.1 of Illustrations de l'opéra L'Africaine, for solo piano, S.415 (1865)
Indian March (Act IV) used in Marche indienne, No.2 of Illustrations de l'opéra L'Africaine, for solo piano, S.415 (1865)
Arranged for solo piano, S.549 (1860)
Themes used in Réminiscences des Huguenots, for solo piano: 1st version, S.412/1 (1836); 2nd version, S.412/2 (1838); 3rd version, Grande fantaisie dramatique sur des thèmes de l'opéra Les Huguenots, S.412/3 (1842)
Arranged for solo piano, S.416 (1841)
Various themes used in Illustrations du Prophète, 3 pieces for solo piano, S.414 (1849–50)
Theme of the Anabaptists' chorale "Ad nos, ad salutarem undam" from Act III used in Fantasie und Fuge über den Choral Ad nos, ad salutarem undam, for organ, S.259 (1850); for piano 4 hands, S.624 (1850)
Theme of the Valse infernale (Act III, No.10) used in Valse infernale, S.701h/1, sketch for solo piano (1841?)
Themes of the Valse infernale (Act III, No.10) and Air de ballet (Act III, No.15) used in Réminiscences de Robert le diable, S.143, for solo piano (1841)
Theme of Isabelle's cavatina "Robert, toi que j'aime" (Act IV, No.18) used in Cavatine de Robert le diable, S.412a, for solo piano (1841–46?)

Mosonyi, Mihály (1815–1870)

  • Funeral Music for István Széchenyi, for piano (1860):
Main theme used in Marcia funebre, No.2 from Trauervorspiel und Trauermarsch, for solo piano, S.206 (1885)
Basso ostinato theme used in Ladislaus Teleki / Teleki László, No.4 from Historische ungarische Bildnisse, for solo piano, S.205 (1885)
  • Szép Ilonka, opera in 4 acts (1861):
Various themes used in Fantaisie sur l'opéra hongroise Szép Ilonka, for solo piano, S.417 (1865–67)

Mozart, Wolfgang Amadeus (1756–1791)

Arranged for solo piano, S.461a (1867); for organ or harmonium, S.674d (1886)
Themes used in À la Chapelle Sixtine, for solo piano, S.461 (1st version, 1862; 2nd version, 1865?); for orchestra, S.360 (1862); for piano 4 hands, S.633 (1862–65); for organ, S.658 (1865)
Various themes used in Réminiscences de Don Juan, S.418, for solo piano (1841)
Dances from Act I used in Fantasie über Themen aus Mozarts Figaro und Don Giovanni, S.697, for solo piano (1842)
Figaro's aria "Non più andrai" (Act I) used in Fantasie über Themen aus Mozarts Figaro und Don Giovanni, S.697, for solo piano (1842)
Cherubino's song "Voi che sapete" (Act II) used in Fantasie über Themen aus Mozarts Figaro und Don Giovanni, S.697, for solo piano (1842)
  • Requiem, K.626, for solo voices, mixed chorus and orchestra (1791); completed by Franz Xaver Süssmayr (1792):
Confutatis and Lacrymosa arranged for solo piano, S.550 (1862?)
  • Die Zauberflöte, K.620, opera in 2 acts (1791):
  • Overture arranged for solo piano, S.748 (1843?) [lost]
"Der, welcher wandelt diese Straße voll Beschwerden" (Act II) arranged for piano 4 hands, as Adagio von Die Zauberflöte, S.634a (1875–81)

Nicolai, Otto (1810–1849)

  • Kirchliche Fest-Ouvertüre über den Choral Ein feste Burg ist unser Gott, Op.31, for orchestra and mixed chorus ad lib. (1836, revised 1844):
Arranged for organ or pedal piano, S.675 (1852)

Pacini, Giovanni (1796–1867)

  • Niobe, opera seria in 2 acts (1826):
Theme of the cavatina "I tuoi frequenti palpiti" used in Grande fantaisie sur des motifs de Niobe, for solo piano, S.419 (1835–36)

Paganini, Niccolò (1782–1840)

Caprice No.1 in E major used in No.4 of Études d'exécution transcendante d'après Paganini, for solo piano, S.140 (1838–40); revised as No.4 of Grandes études de Paganini, for solo piano, S.141 (1851)
Caprice No.6 in G minor used in No.1 of Études d'exécution transcendante d'après Paganini, for solo piano, S.140 (1838–40); revised as No.1 of Grandes études de Paganini, for solo piano, S.141 (1851)
Caprice No.9 in E major used in No.5 of Études d'exécution transcendante d'après Paganini, for solo piano, S.140 (1838–40); revised as No.5 of Grandes études de Paganini, for solo piano, S.141 (1851)
Caprice No.17 in E major used in No.2 of Études d'exécution transcendante d'après Paganini, for solo piano, S.140 (1838–40); revised as No.2 of Grandes études de Paganini, for solo piano, S.141 (1851)
Caprice No.24 in A minor used in No.6 Études d'exécution transcendante d'après Paganini, for solo piano, S.140 (1838–40); revised as No.6 of Grandes études de Paganini, for solo piano, S.141 (1851)
Theme used in Variations sur le Carnaval de Venise, S.700a, for solo piano (1843)
Theme used in Grande Fantaisie sur des thèmes de Paganini, S.700/1, for solo piano (1845); revised as Variations de bravoure sur des thèmes de Paganini, S.700/2 (1845)
Theme of final movement ("La campanella") used in Grande fantaisie de bravoure sur La clochette, for solo piano, S.420 (1832–34)
Theme of final movement ("La campanella") used in No.3 of Études d'exécution transcendante d'après Paganini, for solo piano, S.140 (1838–40); revised as No.3 of Grandes études de Paganini, for solo piano, S.141 (1851)
Theme of final movement ("La campanella") used in Grande Fantaisie sur des thèmes de Paganini, S.700/1, for solo piano (1845); revised as Variations de bravoure sur des thèmes de Paganini, S.700/2 (1845)

Perucchini, Giovanni Battista (1784–1870)

  • La Biondina in Gondoletta, song:
Theme used in Andante placido, No.3 from Venezia e Napoli, for solo piano, S.159 (1840); revised as Gondoliera. Canzone del Cavaliere Peruchini, No.1 from Années de pèlerinage II, Supplément (Venezia e Napoli), S.162 (1859)

Pantaleoni, Luigi

  • Barcarole vénitienne, song for solo voice (1840?):
Arranged for voice and piano, S.684 (1840)

Pezzini, F.

  • Una stella amica, waltz [unidentified work/composer]
Arranged for solo piano, S.551 (1874–75?)

Raff, Joachim (1822–1882)

  • König Alfred, grand heroic opera in 4 acts, WoO.14 (1848–49):
Themes used in Andante Finale und Marsch aus der Oper König Alfred, for solo piano, S.421 (1853); for piano 4 hands, S.631 (1853)
  • Tanz-Capricen, Op.54, 3 pieces for piano (1852):
Waltz in D major (No.1) revised with new introduction and coda, S.551a (1854)

Ritter, Alexander (1833–1896)

  • 5 Charakterstücke, Op.3, for violin and organ (1873):
In der Christmette (No.1) revised and corrected, S.675a (1873?)

Rossini, Gioacchino (1792–1868)

  • Armida, opera in 3 acts (1817):
Duet theme used in Impromptu brillant sur des thèmes de Rossini et Spontini, for solo piano, S.150 (1824)
  • 3 Chœurs religieux, for female chorus and piano (1844):
La charité (No.3) arranged for solo piano: 1st version (Caritas), S.552a (1847); 2nd (simplified) version (La caritá), S.552b (1847); 3rd version (La charité), as No.2 of 2 Transcriptions d'après Rossini, S.553 (1847)
Theme used in Impromptu brillant sur des thèmes de Rossini et Spontini, for solo piano, S.150 (1824)
  • Ermione, azione tragica in 2 acts (1819):
Theme of the aria "Ah come nascondere la fiamma" (Act I, No.9) used in 7 Variations brillantes sur un thème de Rossini for solo piano, S.149 (1824)
Overture arranged for solo piano, S.552 (1838–41)
  • Maometto Secondo, opera in 2 acts (1820):
Themes used in Fantaisie sur des thèmes de Maometto et Mose, S.751, for solo piano [lost]
  • Mosè in Egitto, opera in 3 acts (1818):
Themes used in Fantaisie sur des thèmes de Maometto et Mose, S.751, for solo piano [lost]
  • Otello, opera in 3 acts (1816):
Theme of the Gondolier's song "Nessun maggior dolore" (Act III) used in Canzone, No.2 of Années de pèlerinage II, Supplément (Venezia e Napoli), for solo piano, S.162 (1859)
Themes used in Introduction et variations sur une marche du Siège de Corinthe, for solo piano, S.421a (1830?)
  • Les soirées musicales, 8 ariettas and 4 duets for voice and piano (1830–35?):
Nos.1 to 12 arranged for solo piano (with different sequence of numbers), as Soirées musicales de Rossini, S.424 (1837)
Theme of L'orgia (No.4) used in Grande fantaisie sur des motifs de La serenata e L'orgia des Soirées musicales, for solo piano: 1st version, S.422/1 (1835-36); 2nd version, S.422/2 (1840)
Theme of La pastorella dell’Alpi (No.6) used in Fantaisie sur des motifs de La pastorella dell’Alpi e Li marinari des Soirées musicales, for solo piano, S.423 (1835–36)
Theme of La serenata (No.11) used in Grande fantaisie sur des motifs de La serenata e L'orgia des Soirées musicales, for solo piano: 1st version, S.422/1 (1835-36); 2nd version, S.422/2 (1840)
Theme of Li marinari (No.12) used in Fantaisie sur des motifs de La pastorella dell’Alpi e Li marinari des Soirées musicales, for solo piano, S.423 (1835–36)
Aria "Cujus animam" arranged for solo piano, as No.1 of 2 Transcriptions d'après Rossini, S.553 (1847); for trombone and organ, S.679 (1860–70?); for tenor and organ, S.682 (1874?)

Rouget de Lisle, Claude Joseph (1760–1836)

  • La Marseillaise (Chant de guerre pour l'Armée du Rhin), national anthem of the French Republic (1792):
Arranged for as La Marseillaise, for solo piano, S.237 (1866–72)

Rubinstein, Anton (1829–1894)

Revised with additional material as Étude sur des notes fausses, S.554a (1880?)
Der Asra (No.6) arranged for solo piano, S.554/2 (1883?)
Gelb rollt mir zu Füßen (No.9) arranged for solo piano as O! Wenn es doch immer so bliebe!, S.554/1 (1881)

Saint-Saëns, Camille (1835–1921)

Arranged for solo piano, S.555 (1876)

Schubert, Franz (1797–1828)

Act I arranged for solo piano, S.753 (1850–51) [lost]
Arranged for male chorus, orchestra and organ (or harmonium) as Die Allmacht von Franz Schubert, S.376 (1871)
Arranged for solo piano as No.2 of 12 Lieder von Franz Schubert, S.558 (1837–38)
Arranged for solo piano: 1st version, S.557d (1837); 2nd version, as No.12 of 12 Lieder von Franz Schubert, S.558 (1837–38)
Themes used in Nos.1, 3, 7 and 8 of Soirées de Vienne, for solo piano, S.427 (1846–52)
Andante (No.1) arranged as No.1 of Mélodies hongroises d'après Franz Schubert, S.425, for solo piano: 1st version, S.425/1 (1838–39); 2nd version, S.425a/1 (1846)
Marcia (No.2) arranged as Ungarischer Marsch in D minor, No.4 of 4 Märsche von Franz Schubert, for orchestra, S.363/4 (1859–70); for piano 4 hands, S.632/4 (1872–79?); also as No.2 of Mélodies hongroises d'après Franz Schubert, S.425, for solo piano: 1st version, S.425/2a (1838–39); 2nd version, S.425/2b (1840); 3rd version, S.425/2c (1840); 4th version, S.425a/2 (1846); 5th version, S.425/2d (1879); 6th version, S.425/2e (1883)
Allegretto (No.3) arranged as No.3 of Mélodies hongroises d'après Franz Schubert, S.425, for solo piano: 1st version, S.425/3 (1838–39); 2nd version, S.425a/3 (1846)
Arranged for solo piano: 1st version, No.3 of 12 Lieder von Franz Schubert, S.558 (1837–38); 2nd version, S.558/3bis (1876)
  • Erlkönig, song for voice and piano, Op.1 (1815):
Arranged for solo piano: 1st version, S.557a (1837); 2nd version, as No.4 of 12 Lieder von Franz Schubert, S.558 (1837–38); 3rd version, S.558/4bis (1876)
Arranged for voice and orchestra as No.4 of 6 Lieder von Schubert, S.375 (1860)
Edited, with additions, as Grosse Fantasie, S.565a (1868)
Arranged as Franz Schuberts Grosse Fantasie, for piano and orchestra, S.366 (1851); for 2 pianos, S.653 (1851–62?)
Arranged for solo piano as No.6 of 6 Melodien von Franz Schubert, S.563 (1844); revised as S.564 (1846)
Arranged for solo piano: 1st version, S.557c (1837); 2nd version, as No.7 of 12 Lieder von Franz Schubert, S.558 (1837–38); 3rd version, S.558/7bis (1876)
Arranged for solo piano as No.3 of Franz Schuberts geistliche Lieder, S.562 (1840)
  • Gondelfahrer, D.809, for male chorus and piano, Op.28 (1824):
Arranged for solo piano, S.559 (1838)
Theme of the trio used in Grande marche, No.2 of 3 Märsche von Franz Schubert, for solo piano, S.426/2 (1846)
Theme from No.1 in E major used in No.3 of 3 Märsche von Franz Schubert, for solo piano, S.426/3 (1846)
Theme from No.2 in G minor used in No.3 of 3 Märsche von Franz Schubert, for solo piano, S.426/3 (1846)
No.3 in B minor arranged as No.1 of 4 Märsche von Franz Schubert, for orchestra, S.363/1 (1859–70); for piano 4 hands, S.632/1 (1872–79?); main theme also used in Grande marche, No.2 of 3 Märsche von Franz Schubert, for solo piano, S.426/2 (1846)
No.5 in E minor arranged as Trauermarsch; No.1 of 3 Märsche von Franz Schubert, for solo piano, S.426/1 (1846); No.2 of 4 Märsche von Franz Schubert, for orchestra, S.363/2 (1859–70); for piano 4 hands, S.632/2 (1872–79?)
Arranged for solo piano: 1st version, No.8 of 12 Lieder von Franz Schubert, S.558 (1837–38); 2nd version, S.558/8bis (1876)
Arranged for voice and orchestra as No.1 of 6 Lieder von Schubert, S.375 (1860)
Arranged for solo piano as No.2 of Franz Schuberts geistliche Lieder, S.562 (1840)
Edited, with additions to Nos.2 and 3, S.565b (1868)
Arranged for solo piano as No.6 of 12 Lieder von Franz Schubert, S.558 (1837–38)
Arranged for voice and orchestra as No.2 of 6 Lieder von Schubert, S.375 (1860)
Arranged for solo piano as No.1 of Franz Schuberts geistliche Lieder, S.562 (1840)
Arranged for solo piano, S.557 (1838)
No.1 in D major arranged for solo piano, S.426a (1870?)
Arranged for solo piano as No.2 of 6 Melodien von Franz Schubert, S.563 (1844)
No.1 in C major arranged as Reitermarsch, No.1 of Franz Schuberts Märsche, for orchestra, S.363 (1859–70); as No.1 of 4 Märsche von Franz Schubert, for piano 4 hands, S.632 (1872–79?); theme also used in No.3 of 3 Märsche von Franz Schubert, for solo piano, S.426/3 (1846)
Theme from No.2 in C major used in No.3 of 3 Märsche von Franz Schubert, for solo piano, S.426/3 (1846)
Arranged for solo piano: 1st version, S.557b (1837); 2nd version, as No.5 of 12 Lieder von Franz Schubert, S.558 (1837–38)
No.3 Mignon's Lied arranged for voice and orchestra as No.3 of 4 Lieder von Schubert, S.375 (1860)
Themes used in Nos.1, 2, 3, 4, 5 and 9 of Soirées de Vienne, for solo piano, S.427 (1846–52)
Theme of No.33 in F major used in Fantasie sur une valse de F. Schubert, No.3 of Apparitions, for solo piano, S.155 (1834)
Arranged for solo piano as No.10 of 12 Lieder von Franz Schubert, S.558 (1837–38)
Part of Geisterchor (No.4) arranged for solo piano as No.4 of Franz Schuberts geistliche Lieder, S.562 (1840)
Arranged for solo piano: 1st version, S.556/1 (1833); 2nd version, S.556/2 (1833–37?); 3rd version, S.556/3 (1837)
Das Wandern (No.1), arranged for solo piano as No.1 of Müllerlieder von Franz Schubert, S.565 (1846)
Wohin? (No.2), arranged for solo piano as No.5 of Müllerlieder von Franz Schubert, S.565 (1846)
Ungeduld (No.7) arranged for solo piano as No.5 of 6 Melodien von Franz Schubert, S.563 (1844); revised as No.6 of Müllerlieder von Franz Schubert, S.565 (1846)
Der Jäger (No.14), arranged for solo piano as No.3 of Müllerlieder von Franz Schubert, S.565 (1846)
Die böse Farbe (No.17), arranged for solo piano as No.4 of Müllerlieder von Franz Schubert, S.565 (1846)
Trockne Blumen (No.18) arranged for solo piano as No.4 of 6 Melodien von Franz Schubert, S.563 (1844)
Der Müller und der Bach (No.19), arranged for solo piano as No.2 of Müllerlieder von Franz Schubert, S.565 (1846)
Arranged for solo piano, S.560 (1838–39)
Standchen (No.4) arranged for solo piano: 1st version, S.559a (1837); 2nd version, S.560/7 (1838–39); 3rd version, S.560/7a (1880)
Abschied (No.7) arranged for voice and orchestra as No.6 of 6 Lieder von Schubert, S.375 (1860)
Der Doppelgänger (No.13) arranged for voice and orchestra as No.5 of 6 Lieder von Schubert, S.375 (1860)
Arranged for solo piano as No.1 of 12 Lieder von Franz Schubert, S.558 (1837–38)
Arranged for solo piano: 1st version, No.9 of 12 Lieder von Franz Schubert, S.558 (1837–38); 2nd version, S.558/9bis (1876)
Themes used in Nos.5 and 8 of Soirées de Vienne, for solo piano, S.427 (1846–52)
Themes used in No.6 of Soirées de Vienne, for solo piano, S.427 (1846–52)
Themes used in Nos.2 and 3 of Soirées de Vienne, for solo piano, S.427 (1846–52)
Arranged for solo piano: 1st version, No.11 of 12 Lieder von Franz Schubert, S.558 (1837–38); 2nd version, S.558/11bis (1876)
Themes used in No.1 of Soirées de Vienne, for solo piano, S.427 (1846–52)
Gute Nacht (No.1), arranged for solo piano as S.561/1 (1839)
Erstarrung (No.4), arranged for solo piano as S.561/5 (1839)
Der Lindenbaum (No.5), arranged for solo piano as S.561/7 (1839)
Wasserflut (No.6), arranged for solo piano as S.561/6 (1839)
Die Post (No.13), arranged for solo piano as S.561/4 (1839)
Im Dorfe (No.17), arranged for solo piano as S.561/12 (1839)
Der stürmische Morgen (No.18), arranged for solo piano as S.561/11 (1839)
Täuschung (No.19), arranged for solo piano as S.561/9 (1839)
Das Wirtshaus (No.21), arranged for solo piano as S.561/10 (1839)
Mut! (No.22), arranged for solo piano as S.561/3 (1839)
Die Nebensonnen (No.23), arranged for solo piano as S.561/2 (1839)
Der Leiermann (No.24), arranged for solo piano as S.561/8 (1839)
Arranged for solo piano as No.3 of 6 Melodien von Franz Schubert, S.563 (1844)

Schumann, Clara (1819–1896)

  • Gedichte aus Rückerts Liebesfrühling, Op.12 (1841):
Warum willst du and're fragen (No.3) arranged for solo piano as No.8 of Lieder von Robert und Clara Schumann, S.569 (1874)
  • 6 Lieder, Op.13 (1842–44):
Ich hab' in deinem Auge (No.5) arranged for solo piano as No.9 of Lieder von Robert und Clara Schumann, S.569 (1874)
  • 6 Lieder aus Jucunde von Rollet, Op.23 (1853):
Geheimes Flüstern (No.10) arranged for solo piano as No.10 of Lieder von Robert und Clara Schumann, S.569 (1874)

Schumann, Robert (1810–1856)

Theme from Study No.2 used in No.1a of Études d'exécution transcendante d'après Paganini, for solo piano, S.140 (1838–40)
Zart und singend (No.14) arranged for organ by Alexander Wilhelm Gottschalg and Liszt, S.675b (1870?)
An den Sonnenschein (No.4) arranged for solo piano, as No.1 of 2 Lieder von Robert Schumann, S.567 (1861)
Dem roten Röslein gleicht mein Lieb (No.2) arranged for solo piano as Rotes Röslein, No.2 of 2 Lieder von Robert Schumann, S.567 (1861)
Nur wer die Sehnsucht kennt (No.3) arranged for solo piano as No.6 of Lieder von Robert und Clara Schumann, S.569 (1874)
An die Türen will ich schleichen (No.5) arranged for solo piano as No.7 of Lieder von Robert und Clara Schumann, S.569 (1874)
Weihnachtslied (No.16) arranged for solo piano as No.1 of Lieder von Robert und Clara Schumann, S.569 (1874)
Die wandelnde Glocke (No.17) arranged for solo piano as No.2 of Lieder von Robert und Clara Schumann, S.569 (1874)
Frühlings Ankunft (No.19) arranged for solo piano as No.3 of Lieder von Robert und Clara Schumann, S.569 (1874)
Des Sennen Abschied (No.22) arranged for solo piano as No.4 of Lieder von Robert und Clara Schumann, S.569 (1874)
Er ist's (No.23) arranged for solo piano as No.5 of Lieder von Robert und Clara Schumann, S.569 (1874)
Frühlingsnacht (No.12) arranged for solo piano, S.568 (1872)
Widmung (No.1) arranged for solo piano as Liebeslied: 1st version, S.566 (1858); 2nd version, S.566a (1850–59?)
Provenzalisches Minnelied (No.4) arranged for solo piano, S.570 (1881)

Smetana, Bedřich (1828–1884)

No.1 in F major edited and revised, with new introduction and coda, S.570a (1885)

Soriano Fuertes, Mariano (1817–1880)

  • Feuille morte [unidentified composition]:
Used by Liszt in Feuille morte (Élégie d'après Soriano), for solo piano, S.428 (1845)

Spohr, Louis (1784–1859)

Zemire's romance "Rose wie bist du reizend und mild!" (Act I, No.8) arranged for solo piano, S.571

Spontini, Gaspare (1774–1851)

  • Fernand Cortez (La conquête de Mexique), opera in 3 acts (1809, 1817, 1824, 1832):
Theme used in Impromptu brillant sur des thèmes de Rossini et Spontini, for solo piano, S.150 (1824)
  • Olimpie, tragédie lyrique in 3 acts (1819, 1821, 1826):
Chorus theme used in Impromptu brillant sur des thèmes de Rossini et Spontini, for solo piano, S.150 (1824)

Strauss Jr., Johann (1825–1899)

  • Wahlstimmen, waltz, Op.250 (1861) — see under Tausig, Carl: Valse-Caprice No.3

Szabadi, Frank Ignac (1825–1879?)

  • Marche turque-hongroise — see under Massenet, Jules: Marche hongroise de Szabady

Széchényi, Imre (1858–1905)

  • Ungarischer Marsch (1872?):
Arranged for solo piano as Einleitung und Ungarischer Marsch, S.573 (1872)

Tausig, Carl (1841–1871)

Revised with additions, S.571a [formerly S.167a] (1883–85?)

Tchaikovsky, Pyotr (1840–1893)

Polonaise (Act III, No.19) arranged for solo piano, S.429 (1879)

Tirindelli, Pier Adolfo (1858–1937)

  • Mazurka No.2, for solo piano:
Edited and revised as Seconda Mazurka di Tirindelli, S.573a (1880)

Végh, János (1845–1918)

  • Suite en forme de valse, for piano 4 hands (1882):
Themes used in the Valse de concert, for solo piano, S.430 (1882–83)

Verdi, Giuseppe (1813–1901)

  • Aida, grand opera in 4 acts (1871):
extracts used in Danza sacra e duetto finale d’Aida, for solo piano, S.436 (1876?)
Finale "Ce jour est plein d'allégresse" arranged for solo piano, S.435 (1867–68)
  • Ernani, opera in 4 acts (1844):
Various themes used in Paraphrase de concert sur Ernani I, for solo piano, S.431a (1847), and in Paraphrase de concert sur Ernani II, for solo piano, S.432 (1859?)
Giselda's prayer "Salve Maria! di grazie il petto" (Act I, No.6) arranged for solo piano: 1st version, S.431/1 (1848); 2nd version, S.431/2 (1882)
  • Requiem, for solo voices, double chorus and orchestra (1873):
Agnus Dei (No.5) arranged for solo piano as Agnus Dei della Messa da Requiem di Giuseppe Verdi: 1st version, S.437/1 (1877); 2nd version, S.437/2 (1882); also arranged for organ or harmonium, S.675c/1 (1877–78); for organ or harmonium or armonipiano, S.675c/2 (1883)
Theme of the quartet "Bella figlia dell'amore" (Act III, No.18) used in Paraphrase de concert sur Rigoletto, for solo piano, S.434 (1855–59?)
Various themes used in Réminiscences de Boccanegra, for solo piano, S.438 (1882)
Miserere (Act IV, No.12) used in Miserere du Trovatore, concert paraphrase for solo piano, S.433 (1859)

Vielgorsky, Mikhail (1788–1856)

  • I Love (Любилю я), romance:
Arranged for solo piano: 1st version, S.577/1 (1842); 2nd version, as Autrefois, S.577/2 (1843)
  • Mazurka [unidentified piece for piano]:
Arranged as Mazurka pour piano composée par un amateur de St. Pétersbourg, S.384 (1842?) [original work attributed in some sources to Aleksandr Alyabyev]

Wagner, Richard (1813–1883)

Theme of Senta's ballad (Act II) used in Ballade aus dem Fliegenden Holländer, for solo piano, S.441 (1872)
Theme of the Chœur des fileuses (Act II) used in Spinnerlied aus dem Fliegenden Holländer, for solo piano, S.440 (1860)
Theme of Elsa's Dream from Act I ("Einsam in trüben Tagen") used in Elsas Traum, No.2 of Aus Lohengrin, for solo piano, S.446 (1854)
Theme of Elsa's bridal procession from Act II used in Elsas Brautzug zum Münster, No.2 of 2 Stücke aus Tannhäuser und Lohengrin, S.445, for solo piano, S.445/2 (1852); for piano 4 hands, S.634b/2 (1853)
Prelude to Act III used in Festspiel und Brautlied, No.1 of Aus Lohengrin, for solo piano, S.446 (1854)
Bridal Chorus from Act III used in Festspiel und Brautlied, No.1 of Aus Lohengrin, for solo piano, S.446 (1854)
Theme of Lohengrin's Rebuke to Elsa ("Athmest du nicht mit mir") from Act III used in Lohengrins Verweis an Elsa, No.3 of Aus Lohengrin, for solo piano, S.446 (1854)
  • Parsifal, opera in 3 acts, WWV 111 (1857–82):
Theme of the march from Act I used in Feierlicher Marsch zum heiligen Gral aus Parsifal, for solo piano, S.450
Themes from the final scene used in Walhall aus Der Ring des Nibelungen, for solo piano, S.449 (1875)
  • Rienzi, opera in 5 acts, WWV 49 (1838–40):
Theme of the battle-hymn "Santo spirito cavaliere" (Act III, No.10) used in Phantasiestück über Motive aus Rienzi, for solo piano, S.439 (1859)
  • Tannhäuser, opera in 3 acts, WWV 70 (1845, revised 1861):
Overture arranged for solo piano as Ouvertüre zu Tannhäuser, S.442 (1847–49?)
Opening of Overture used in Pilgerchor aus Tannhäuser, for solo piano: 1st version, S.443/1 (1861); 2nd version, S.443/2 (1885?)
Theme of the March (Act II), used in Einzug der Gäste auf der Wartburg, No.1 of 2 Stücke aus Tannhäuser und Lohengrin, S.445, for solo piano: 1st version, S.445/1a (1852); 2nd version, S.445/1b (1874); 3rd version, S.445/1c (1876); also for piano 4 hands, S.634b/2 (1853)
Wolfram's aria "O du mein holder Abendstern" (Act III) used in O du mein holder Abendstern, for solo piano, S.444 (1849); for cello and piano (with Bernhard Cossmann), S.380 (1852)
Chorus "Heil! Heil! Der Gnade Wunder Heil!" (Act III), arranged for organ or harmonium as Chor der jüngeren Pilger: 1st version, S.676/1 (1860); 2nd version, S.676/2 (1862)
Transfiguration scene (Schlußszene) from Act III arranged for solo piano, S.447 (1867)

Weber, Carl Maria von (1786–1826)

Overture arranged for solo piano, S.575 (1846)
Themes of Agathe's cavatine "Und ob die Wolke sie verhülle" (Act III) and the Waltz (Act I) used in Freischütz Fantasie, for solo piano, S.451 (1840)
Arranged for solo piano, S.576 (1846)
Arranged for solo piano, S.576a (1868–70)
  • Leyer und Schwerdt, 6 songs for male chorus, Op.42 (1814):
Themes of Der Schwertlied (No.6), Gebet vor der Schlacht (No.3), and Lützow’s wilde Jagd (No.2) used in Leyer und Schwerdt, for solo piano, S.452 (1848)
Arranged as Polonaise brillante, for piano and orchestra, S.367 (1849); for solo piano, S.455 (1851)
  • Oberon, J.306, romantic opera in 3 acts (1826):
Overture arranged for solo piano, S.574 (1846)
  • Preciosa, Op.78, incidental music for soloist, chorus and orchestra (1820):
Theme of Preciosa's song (Act II, No.7), used in Einsam bin ich, nicht allein, for solo piano, S.453 (1848)
  • Schlummerlied ("Sohn der Ruhe, sinke nieder"), for male chorus, Op.68 No.4 (1822):
Used in Schlummerlied mit Arabesken, for solo piano, S.454 (1848)

Weyrauch, August Heinrich von (1788–1865)

  • Lebe wohl!, song (1824):
Arranged for solo piano as No.1 of 6 Melodien von Franz Schubert, S.563

Zarębski, Juliusz (1854–1885)

  • 3 danses galiciennes, for piano 4 hands (1880):
Arranged for orchestra by Liszt, S.364 (1881–82)

Zichy, Géza (1849–1924)

  • Der Zaubersee, ballad [now lost]:
Arranged for tenor and orchestra, S.377 (1884)
Valse d'Adèle (No.3) arranged for solo piano, S.456 (1877)
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