# Transcriptions by Franz Liszt

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

## Kornél Ábrányi

| 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 | piano | 1880 | S.383a |
| Elegáns csárdások (Csárdás nobles), 6 vols. (1884–86): "Kertem alatt" (Vol. II, No. 1) "Sarkantyú csárdás" (Vol. III, No. 6) | Hungarian Rhapsody No. 19 in D minor | piano | 1885 | S.244/19 |
| Elegáns csárdások (Csárdás nobles), 6 vols. (1884–86): "Kertem alatt" (Vol. II, No. 1) "Sarkantyú csárdás" (Vol. III, No. 6) | Hungarian Rhapsody No. 19 in D minor | piano 4-hands | 1885? | S.623a |

## Gregorio Allegri

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Miserere mei, Deus (1630s) | À la chapelle Sixtine (organ version: Evocation à la Chapelle Sixtine) | 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. |
| Miserere mei, Deus (1630s) | À la chapelle Sixtine (organ version: Evocation à la Chapelle Sixtine) | organ | c. 1862 | S.658 | 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. |
| Miserere mei, Deus (1630s) | À la chapelle Sixtine (organ version: Evocation à la Chapelle Sixtine) | piano 4‑hands | c. 1865 | S.633 | 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. |
| Miserere mei, Deus (1630s) | À la chapelle Sixtine (organ version: Evocation à la Chapelle Sixtine) | orchestra | ? | S.360 | 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. |

## Alexander Alyabyev

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Song "The Nightingale" (1825) | Deux Mélodies russes: No. 1, "Le Rossignol, air russe d'Alabieff" | piano | 1842 | S.250/1 | No. 2 was Chanson bohémienne, after a work by Pyotr Bulakhov |
Note: The Mazurka pour piano composée par un amateur de St. Pétersbourg, paraphrasée par F. L. (S.384) was based on a mazurka that has often been misattributed to Alyabyev, but was in fact written by Mikhail Vielgorsky.

## Jacques Arcadelt

| 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. 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. |
| Three-part madrigal Nous voyons que les hommes | Alleluja et Ave Maria d'Arcadelt | organ | 1862 | S.659 | The Alleluja was based on themes from Liszt's own Cantico del sol di San Francesco d'Assisi, S.4. 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. |

## Thomas Arne

| 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). The Grosse Fantasie was a reworking of the Grande paraphrase de concert. |
| Song "Rule, Britannia!" (1740) | Grosse Fantasie über "God Save the Queen" und "Rule Britannia" | piano 4-hands | 1841 | S.755a | Grove says this was unfinished, and refers to it as "Fantasia on English themes" (piano solo). The Grosse Fantasie was a reworking of the Grande paraphrase de concert. |

## Daniel Auber

| 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 | piano | | S.387 | One of the pieces is on the Berceuse |
| Opera La fiancée (1829): Aria "Montagnard ou berger" | Grande Fantaisie sur la tyrolienne de l'opéra La Fiancée | piano | 1829 | S.385 | Published as Op. 1; dedicated to Frédéric Chopin |
| Opera La fiancée (1829): Aria "Montagnard ou berger" | "Tyrolean Melody" | piano | 1829 | S.385a | |

## Johann Sebastian Bach

| 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. |
| Cantata Weinen, Klagen, Sorgen, Zagen, BWV 12 | 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. |
| Cantata Weinen, Klagen, Sorgen, Zagen, BWV 12 | Variations on a theme of Bach (aka Variations on Weinen, Klagen, Sorgen, Zagen) | organ | 1863 | S.673 | 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. |
| 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 | Einleitung und Fuge aus der Motette 'Ich hatte viel Bekümmernis' und Andante 'Aus tiefer Not' | 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 | piano | 1842–50 | S.462 | The Preludes and Fugues are: 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 | piano | 1880 | – | Liszt planned this transcription but never executed it. |
| 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). |

## Giuseppe Baini

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

## Ludwig van Beethoven

| 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) | Transcription | piano | 1841 | S.465 | Dedicated to Grand Duchess Maria Pavlovna of Russia |
| Septet in E-flat, Op. 20 (1800) | Transcription | piano 4‑hands | 1841 | S.634 | Dedicated to Grand Duchess Maria Pavlovna of Russia |
| 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. |
| 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)". |
| 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 |
| 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 | piano | 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. |
| 3 Songs, Op. 83 (1810) | "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 | piano | 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. |
| Egmont, incidental music, Op. 84 (1810) | "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 | piano | 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. |
| Egmont, incidental music, Op. 84 (1810) | Overture | piano | ? | S.740 | Lost |
| 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 |
| The Ruins of Athens, incidental music, Op. 113 (1811) | 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); same concert as the FP of the Hungarian Fantasy |
| The Ruins of Athens, incidental music, Op. 113 (1811) | Fantasia on (themes from) 'The Ruins of Athens' | 2 pianos | after 1852 | S.649 | Uses same theme as the Capriccio, S.388; FP of orch. version Budapest, 1 June 1853, Hans von Bülow (piano), Ferenc Erkel (conductor); same concert as the FP of the Hungarian Fantasy |
| The Ruins of Athens, incidental music, Op. 113 (1811) | Fantasia on (themes from) 'The Ruins of Athens' | piano | pub. 1865 | S.389 | Uses same theme as the Capriccio, S.388; FP of orch. version Budapest, 1 June 1853, Hans von Bülow (piano), Ferenc Erkel (conductor); same concert as the FP of the Hungarian Fantasy |
| Song cycle An die ferne Geliebte, Op. 98 (1816) | Transcription | piano | 1849 | S.469 | |
| 9 Symphonies (1800–24) | Transcription | piano | 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. In the meantime, Liszt completed a transcription of Symphony No. 9 for two pianos in 1851. |
| Symphony No. 9 "Choral", Op. 125 (1824) | Transcription | 2 pianos | 1851 | S.657 | 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. In the meantime, Liszt completed a transcription of Symphony No. 9 for two pianos in 1851. |
| String quartets (1800–26) | Projected transcription | piano | 1863 | – | Liszt planned to transcribe the quartets for piano but never executed the plan. |

## Vincenzo Bellini

| 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). |
| Opera I puritani (1835) | I Puritani: Introduction et Polonaise | piano | 1840 | S.391 | The Polonaise is the latter section of the Reminiscences, S.390 |
| Opera I puritani (1835) | 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. |
| Opera I puritani (1835) | Hexameron, morceau de concert. Grandes Variations de Bravoure sur le marche des Puritains | 2 pianos | after 1837 | S.654 | 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. |

## Hector Berlioz

| 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 | piano | ? | S.741 | This was part of Liszt's performing repertoire, but is now lost |
| Symphonie fantastique, Op. 14 (1830) | Episode de la vie d'un artiste. Grande Symphonie fantastique. Partition de Piano | piano | c. 1833 | S.470 | In c. 1864–65 Liszt made a new transcription of the 4th movement, "March au supplice". |
| Symphonie fantastique, Op. 14 (1830) | L'idée fixe. Andante amoroso | piano | 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"; FP Paris, 24 November 1834, Liszt (piano), Berlioz (conductor) |
| 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 | 1836 | S.472 | |
| Harold en Italie, Op. 16 (1834) | Marche des Pèlerins | piano | 1836 | 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 | |

## Louise Bertin

| 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 | piano | 1837 | S.477a | |
| No. 11, "Quoi! lui" | 3 morceaux detachés d‘Esmeralda | piano | 1837 | S.477a | |
| No. 13, Quasimodo's aria "Mon Dieu! j'aime" | 3 morceaux detachés d‘Esmeralda | piano | 1837 | S.477a | |
| No. 13, Quasimodo's aria "Mon Dieu! j'aime" | Air chanté par Massol | piano | 1837 | S.477 | Massol was the baritone Jean-Étienne-Auguste Massol, who created the role of Quasimodo. |

## János Bihari

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Lassú magyar, Hungarian slow dance (c.1820) | "Zum Andenken", 2 movements of Hungarian character | piano | 1828 | S.241/2 | Bihari's dance was used in the second movement; the first was based on music by László Fáy. |

## Giovanni Bononcini

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Canzonetta "Vado ben spesso cangiando loco" | Années de pèlerinage, Deuxième année: Italie: No. 3 "Canzonetta del Salvator Rosa" | piano | 1849 | S.161/3 | This song, among many others, was long attributed to Salvator Rosa. |

## Alexander Borodin

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Paraphrases (piano; 1879): No. 2, Polka in C major | Prélude à la Polka d'Alexandre Porfiryevitch Borodine | piano | 1880 | S.207a | This was previously catalogued as Variation über das Thema von Borodin, S.256 (which was also referred to as Variations on the "Chopsticks" theme). |

## René de Galard de Béarn, Marquis de Brassac

| Original work | Liszt work | Forces | Date | S no. | Notes |
| "Pastorale" | Chanson du Béarn | piano | 1844 | S.236/2 | Brassac's piece is not otherwise identified. Liszt's arrangement was published as No. 2 of "Faribolo Pastour and Chanson du Béarn". |

## Pyotr Bulakhov

| 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 | |

## Hans von Bülow

| 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 | |

## Frédéric Chopin

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Mazurka in C-sharp minor, Op. 6/2 (piano; 1830) | 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 |
| Fantaisie in F minor, piano, Op. 49 | Transcription | piano and orchestra | – | – | This was planned but never executed. |
| 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. |
| 17 Polish songs, Op.posth. 74 (1827–47): No. 1, "Życzenie" ("The Maiden's Wish" | 6 Chants polonais | piano | 1847–60 | S.480 | 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. |
| 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 | piano | 1847–60 | S.480 | 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. |

## August Conradi

| Original work | Liszt work | Forces | Date | S no. | Notes |
| 2 Zigenuerpolkas, Op. 5 (orchestra; 1843) No. 2 in E minor | Le Célèbre Zigeunerpolka | piano | 1848 | S.481 | Conradi was Liszt's copyist at Weimar for a number of years, and a minor composer in his own right. |

## Peter Cornelius

| Original work | Liszt work | Forces | Date | S no. | Notes |
| 2nd overture to opera Der Barbier von Bagdad, | Completion | orchestra | 1877 | S.352 | Completed by Liszt from Cornelius's sketches |

## Guillaume Louis Cottrau

| 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. |
| Tarantella | Années de pèlerinage, Deuxième Année: Italie. Supplement: Venezia e Napoli No. 3, Tarantella da Guillaume Louis Cottrau | piano | 1859 | S.162 | The Tarantella is not otherwise identified. S.162 is a revision of S.159. |

## César Cui

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Tarantelle, Op. 12 (orchestra; 1858) | Transcription | piano | 1885 | S.482 | |

## Alexander Dargomyzhsky

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Tarantella slave (piano 4-hands, 1864–65) | Tarantelle, transcrite et amplifiée pour le piano à deux mains | piano | 1879 | S.483 | |

## Ferdinand David

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

## Léo Delibes

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Opera Jean de Nivelle (1880): Ballade "Tant que le jour dure" | La mandragore | piano | 1881 | S.698 | |

## Josef Dessauer

| Original work | Liszt work | Forces | Date | S no. | Notes |
| 3 Lieder: "Lockung", "Zwei Wege", "Spanisches Lied" (by 1845) | Lieder | piano | 1847 | S.485 | |

## Anton Diabelli

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Waltz | Variation on a Waltz by Diabelli | piano | 1822 | S.147 | One of 50 variations on the same waltz written by 50 different composers for Vaterländischer Künstlerverein. Liszt's variation was No. 24. |

## Pierre-Louis Dietsch

| 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. 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. |
| Ave Maria | Alleluja et Ave Maria d'Arcadelt | organ | 1862 | S.659 | The Alleluja was based on themes from Liszt's own Cantico del sol di San Francesco d'Assisi, S.4. 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. |

## Gaetano Donizetti

| 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. |
| Opera Lucia di Lammermoor (1835) | Reminiscences de Lucia di Lammermoor | piano | 1835–36 | S.397 | Based on the Sextet |
| Opera Lucia di Lammermoor (1835) | Marche et cavatine de Lucie de Lammermoor | piano | 1835–36 | S.398 | Intended as part of the Reminiscences (S.397) but separated by the publisher |
| Lucia di Lammermoor | Valse à capriccio sur deux motifs de Lucia et Parisina | piano | 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). |
| Opera Parisina (1833) | Valse à capriccio sur deux motifs de Lucia et Parisina | piano | 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). |
| 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 | piano | 1838 | S.399 | |
| Opera La favorite (1840): Duettino (Act IV) | Spirto gentil | piano | 1847 | S.400a | Possibly same as S.742. |
| Opera Dom Sébastien (1843): Funeral march | Marche funèbre de Dom Sébastien | piano | 1844 | S.402 | |
| Act IV | Paraphrase | piano | ? | S.744 | Lost; this was based on Theodor Kullak's transcription (paraphrase), Op. 31, which was itself dedicated to Liszt. |
| "Duettino" | Transcription | piano | ? | S.742 | Lost. Possibly same as S.400a. |

## Giuseppe Donizetti

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Mecidiye March | Grande Paraphrase de la marche de Donizetti composée pour Sa Majesté le sultan Abdul Medjid-Khan | piano | 1847 | S.403 | Giuseppe was the elder brother of the opera composer Gaetano Donizetti. A simplified version of this paraphrase was also published. |

## Felix Draeseke

| 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) | Reduction of Part I | piano | 1870 | S.485a | |

## Béni Egressy and Ferenc Erkel

| 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). |
| Patriotic songs, "Szózat" (Egressy) and "Himnusz" (Erkel) | "Szózat und Ungarischer Hymnus" | piano | 1870‑73 | S.486 | "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). |
| Patriotic songs, "Szózat" (Egressy) and "Himnusz" (Erkel) | "Szózat und Ungarischer Hymnus" | piano 4‑hands | 1870‑73 | S.628a | "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). |

## Ferenc Erkel

| 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. |

## Ernest II, Duke of Saxe-Coburg and Gotha

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Song "Die Gräberinsel" (1842) | 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 | Ernst Herzog zu Sachsen-Coburg-Gotha was an amateur composer; he was the brother of Queen Victoria's consort Prince Albert. |
| Opera Diana von Solange (1858) | Festmarsch nach Motiven von E.H.z.S.-C.-G. | orchestra | 1857 | S.116 | Ernst Herzog zu Sachsen-Coburg-Gotha was an amateur composer; he was the brother of Queen Victoria's consort Prince Albert. |
| Opera Diana von Solange (1858) | Festmarsch nach Motiven von E.H.z.S.-C.-G. | piano | 1859 | S.522 | Ernst Herzog zu Sachsen-Coburg-Gotha was an amateur composer; he was the brother of Queen Victoria's consort Prince Albert. |
| Opera Diana von Solange (1858) | Festmarsch nach Motiven von E.H.z.S.-C.-G. | piano 4‑hands | 1859 | S.607 | Ernst Herzog zu Sachsen-Coburg-Gotha was an amateur composer; he was the brother of Queen Victoria's consort Prince Albert. |

## László Fáy

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Kinizsi notája, Hungarian dance (1822) | "Zum Andenken", 2 movements of Hungarian character | piano | 1828 | S.241/1 | Fáy's dance was used in the first movement; the second was based on music by János Bihari. |

## Leó Festetics

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

## John Field

| Original work | Liszt work | Forces | Date | S no. | Notes |
| 12 Nocturnes (piano) | Transcription | piano 4-hands | c. 1866 | S.577a | |

## Robert Franz

| 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. |

## Wenzel Robert von Gallenberg

| 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 | |

## Manuel García

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Opera El poeta calculista (1805): Aria "Yo que soy contrabandista" | Rondeau fantastique sur un thème espagnol | piano | 1836 | S.252 | |

## Ludmilla Gizycka-Zámoyská

| 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. |
| Song "A Puszta Keserve" (Lenau) | Puszta-Wehmut | violin and piano | 1880 | S.379b | Gizycka-Zámoyská was born in 1829. |

## Mikhail Glinka

| 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 | |
| Opera Ruslan and Lyudmila (1842): "Chernomor's March" (Act IV, No. 19) | Tscherkessenmarsch | piano 4-hands | 1875 | S.629 | |

## Adalbert von Goldschmidt

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Cantata Die sieben Todsünden (1875): Liebesszene und Fortunas Kugel | Transcription | piano | 1880 | S.490 | |

## Charles Gounod

| 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 | piano | 1864 | S.743 | Lost |
| Opera La reine de Saba (1862): Berceuse | Les Sabéennes. Berceuse de l'opéra La Reine de Saba | piano | pub. 1865 | S.408 | |
| Hymne à Sainte-Cécile (1865 version for violin solo, harps, timpani, wind instruments and double basses) | Transcription | piano | 1866 | S.491 | |
| Opera Roméo et Juliette (1867) | Les Adieux. Reverie sur un motif de l'opéra Roméo et Juliette | piano | pub. 1868 | S.409 | |

## Fromental Halévy

| 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 |

## George Frideric Handel

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Opera Almira, HWV 1 (1705) | "Sarabande and Chaconne from Handel's Almira" | piano | 1879 | S.181 | |

## Johann von Herbeck

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Tanz-Momente, Op. 14, orchestra (1868) | Transcription | piano | 1869 | S.492 | A version for piano 4-hands was also published. |

## Ferdinand Huber [de]

| 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 | piano | 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). |
| Ranz des chèvres (? 1830) | 3 Morceaux suisses: No. 1, Ranz de chèvres. Rondeau | piano | 1876–77 | S.156a/1 | 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). |

## Johann Nepomuk Hummel

| 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. |
| Septet in D minor, Op. 74 (piano, flute, oboe, horn, viola, cello, double bass) | Transcription | piano | 1848; c.1866 | S.493 | 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. |

## Ernest Knop

| 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). |
| Air suisse varié, guitar (1830) | 3 Morceaux suisses: No. 3, Un soir dans les montagnes (Nocturne pastoral) | piano | 1876–77 | S.156a/3 | 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). |

## Francis Korbay

| 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 | Korbay was a godson of Liszt and a well-known performer of his music. |
| Song "Gebet" (words by Emanuel Geibel) | "Gebet" | voice and organ | 1883? | S.683a | Korbay was a godson of Liszt and a well-known performer of his music. |

## Josef Krov

| 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. |
| Song "Těšme se blahou nadějć" (c. 1824) | Hussitenlied (from the 15th Century) | piano 4‑hands | 1840–41 | S.620 | 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. |

## Charles Philippe Lafont

| 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 | |
| Romance "Le départ du jeune marin" | Grand duo concertant sur la romance de M. Lafont "Le Marin" | violin and piano | 1849 | S.128 | Revised version |

## Eduard Lassen

| 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 |
| No. 4, "Ich weil' in tiefer Einsamkeit" | Transcription | piano | 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" | piano | 1878–79 | S.496 | |
| Incidental music to Goethe's Faust, Op. 57 (1876) | 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" | piano | 1878–79 | S.496 | |
| Incidental music to Calderón's Über allen Zauber Liebe, Op. 73 (1883): Intermezzo | Symphonisches Zwischenspiel | piano | 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. |

## Orlande de Lassus

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Regina coeli laetare, motet for unaccompanied voices (1604) | Transcription | organ | 1865 | S.663 | |

## Otto Lessmann [de]

| Original work | Liszt work | Forces | Date | S no. | Notes |
| 3 Songs from J. Wolff's Tannhäuser, Op. 27 (1881): "Der Lenz ist gekommen" "Trinklied" "Du schaust mich an" | Transcription | piano | c.1882 | S.498 | Otto Lessmann (1844–1918) |

## Prince Louis Ferdinand of Prussia

| Original work | Liszt work | Forces | Date | S no. | Notes |
| ? | Élégie sur des motifs du Prince Louis Ferdinand de Prusse | piano | 1842 | S.168 | Prince Louis Ferdinand was an amateur composer whose musical gifts were nevertheless held in high esteem by such as Beethoven, who dedicated his Piano Concerto No. 3 in C minor to the Prince. |

## Sir Alexander Mackenzie

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Opera The Troubador, Op. 33 (1886) | Transcription | piano | 1886 | - | This was planned but Liszt never went past the sketching stage. |

## Grand Duchess Maria Pavlovna of Russia

| 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 | |

## Jules Massenet

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Marche hongroise de Szabady, orchestra, 1879 | Revive Szegedin: Marche hongroise | piano | 1879 | S.572 | Massenet based his work on Marche turque-hongroise by Frank Ignac Szabadi (1825–79); Liszt's transcription was inscribed Revive Szegedin: Marche hongroise transcrite d'après l'orchestration de J. Massenet |

## Felix Mendelssohn

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Songs Without Words: Book I, Op. 19b: Nos. 1–3 | 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 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. |
| 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 | 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. 47 (1839): 1 song | 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 for male chorus, Op. 50 (1837–40): 2 songs | "Wasserfahrt", Op. 50/4 "Der Jäger Abschied", Op. 50/2 | piano | 1848 | S.548 | |
| A Midsummer Night's Dream, incidental music, Op. 61 (1842) | Wedding March and Dance of the Elves | piano | 1849–50 | S.410 | |

## Saverio Mercadante

| 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. The piece also appeared as Fantasia on Italian Operatic Melodies. It was listed in the Searle catalogue as "Piano piece on Italian operatic melodies", the writers of which were listed as "unknown". |
| 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. |

## Giacomo Meyerbeer

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Opera Robert le diable (1831) | Reminiscences de Robert le Diable. Valse infernale | piano | 1841 | S.413 | |
| Opera Robert le diable (1831) | Reminiscences de Robert le Diable. Valse infernale | piano 4-hands | 1841–43 | S.630 | |
| Opera Les Huguenots (1836) | Grande Fantaisie sur des thèmes de l'opéra Les Huguenots | piano | 1836 | S.412 | Dedicated to Marie d'Agoult |
| Song "Le Moine" ("Die Mönch") (1841) | "Le Moine" | piano | 1841 | S.416 | Incorporates two other themes by Meyerbeer. |
| Opera Le prophète (1849) | Illustrations du Prophète | piano | 1849–50 | S.414 | The 3 Illustrations of S.414 are: 1. Prière, hymne triomphale, marche du sacre; 2. Les Patineurs, scherzo; 3. Choeur pastoral, appel aux armes. The Fantasy and Fugue is sometimes listed as No. 4 in the series |
| Opera Le prophète (1849) | Fantasie und Fuge über den Choral "Ad nos, ad salutarem undam" | organ | 1849–50 | S.259 | The 3 Illustrations of S.414 are: 1. Prière, hymne triomphale, marche du sacre; 2. Les Patineurs, scherzo; 3. Choeur pastoral, appel aux armes. The Fantasy and Fugue is sometimes listed as No. 4 in the series |
| Opera Le prophète (1849) | Fantasie und Fuge über den Choral "Ad nos, ad salutarem undam" | piano 4‑hands or pedal piano | 1849–50 | S.624 | The 3 Illustrations of S.414 are: 1. Prière, hymne triomphale, marche du sacre; 2. Les Patineurs, scherzo; 3. Choeur pastoral, appel aux armes. The Fantasy and Fugue is sometimes listed as No. 4 in the series |
| Festmarsch zu Schillers 100-jähriger Geburtsfeier (1859) | Transcription | piano | 1860 | S.549 | |
| Opera L'Africaine (1864): Sailors' Prayer "O grand Saint Dominique" (Act III) Indian March (Act IV) | Illustrations de l'Africaine | piano | 1865 | S.415 | The two Illustrations are: 1. Prière des matelots; 2. Marche indienne. |

## Mihály Mosonyi

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Opera Szép Ilonka (1861) | Fantaisie sur l'opéra hongrois Szép Ilonka | piano | 1867 | S.417 | Dedicated to Mosonyi |
| Funeral Music for István Széchenyi, piano (1860) | Historische ungarische Bildnisse: No. 4, "Ladislaus Teleki / Teleki László" | piano | 1885 | S.205 | Uses basso ostinato. |
| Funeral Music for István Széchenyi, piano (1860) | Trauervorspiel und Trauermarsch: No. 2, Marcia funebre | piano | 1885 | S.206 | Uses main theme. |

## Wolfgang Amadeus Mozart

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Opera The Marriage of Figaro, K.492 (1786) | Fantasy on Themes from Mozart's Figaro and Don Giovanni | piano | 1842 | S.697 | Performed Berlin 11 January 1843; edited and completed by Ferruccio Busoni |
| Opera Don Giovanni, K.527 (1787) | Fantasy on Themes from Mozart's Figaro and Don Giovanni | piano | 1842 | S.697 | Performed Berlin 11 January 1843; edited and completed by Ferruccio Busoni |
| Opera Don Giovanni, K.527 (1787) | Réminiscences de Don Juan | piano | 1841 | S.418 | Dedicated to King Christian VIII of Denmark |
| Opera Don Giovanni, K.527 (1787) | Réminiscences de Don Juan | 2 pianos | after 1841 | S.656 | Dedicated to King Christian VIII of Denmark |
| Motet Ave verum corpus, K.618 (1791) | À la chapelle Sixtine (organ version: Evocation à la Chapelle Sixtine) | piano | 1862 | S.461 | This piece combines Allegri's Miserere (1630s) with Mozart's Ave verum corpus. (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, the Pope later congratulated him 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. |
| Motet Ave verum corpus, K.618 (1791) | À la chapelle Sixtine (organ version: Evocation à la Chapelle Sixtine) | organ | c. 1862 | S.658 | This piece combines Allegri's Miserere (1630s) with Mozart's Ave verum corpus. (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, the Pope later congratulated him 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. |
| Motet Ave verum corpus, K.618 (1791) | À la chapelle Sixtine (organ version: Evocation à la Chapelle Sixtine) | piano 4‑hands | c. 1865 | S.633 | This piece combines Allegri's Miserere (1630s) with Mozart's Ave verum corpus. (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, the Pope later congratulated him 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. |
| Motet Ave verum corpus, K.618 (1791) | À la chapelle Sixtine (organ version: Evocation à la Chapelle Sixtine) | orchestra | ? | S.360 | This piece combines Allegri's Miserere (1630s) with Mozart's Ave verum corpus. (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, the Pope later congratulated him 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. |
| Opera The Magic Flute, K.620 (1791): Overture | Transcription | piano | ? | S.748 | This was part of Liszt's performing repertoire but is now lost. |
| "Der, welcher wandelt diese Straße voll Beschwerden" (Act II) | Adagio von Die Zauberflöte | piano 4-hands | 1875–81 | S.634a | |
| Requiem in D minor, K.626 (1791): "Confutatis" and "Lacrymosa" | Transcription | piano | pub. 1865 | S.550 | |

## Otto Nicolai

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Ecclesiastical Festival Overture on the chorale "Ein feste Burg ist unser Gott", Op. 31 | Transcription | organ | 1852 | S.675 | |

## Giovanni Pacini

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Opera Niobe (1826) | Divertissement sur le cavatine "I tuoi frequenti palpiti" | piano | 1835–36 | S.419 | |

## Niccolò Paganini

| Original work | Liszt work | Forces | Date | S no. | Notes |
| 24 Caprices for Solo Violin, Op. 1 (1802–17) | Études d'exécution transcendante d'après Paganini (S.140): revised as Grandes études de Paganini (S.141) | piano | 1838–51 | S.140, 141 | Paganini's Caprices Nos. 1, 6, 9, 17 and 24 were the basis of Nos. 4, 1, 5, 2 and 6 respectively of Liszt's Études d'exécution transcendante d'après Paganini (S.140). La campanella became Étude No. 3. The set of 6 Études were revised as Grandes études de Paganini (S.141). La campanella had earlier been the basis of a separate work, the Grande Fantaisie de bravoure (S.420). |
| Violin Concerto No. 2 in B minor, Op. 7 (1826): III. La campanella | Études d'exécution transcendante d'après Paganini (S.140): revised as Grandes études de Paganini (S.141) | piano | 1838–51 | S.140, 141 | Paganini's Caprices Nos. 1, 6, 9, 17 and 24 were the basis of Nos. 4, 1, 5, 2 and 6 respectively of Liszt's Études d'exécution transcendante d'après Paganini (S.140). La campanella became Étude No. 3. The set of 6 Études were revised as Grandes études de Paganini (S.141). La campanella had earlier been the basis of a separate work, the Grande Fantaisie de bravoure (S.420). |
| Violin Concerto No. 2 in B minor, Op. 7 (1826): III. La campanella | Grande Fantaisie de bravoure sur la Clochette | piano | 1831–32 | S.420 | Paganini's Caprices Nos. 1, 6, 9, 17 and 24 were the basis of Nos. 4, 1, 5, 2 and 6 respectively of Liszt's Études d'exécution transcendante d'après Paganini (S.140). La campanella became Étude No. 3. The set of 6 Études were revised as Grandes études de Paganini (S.141). La campanella had earlier been the basis of a separate work, the Grande Fantaisie de bravoure (S.420). |
| Il carnevale di Venezia, violin and orchestra, Op. 10 (1829) | Variations sur le Carnaval de Venise | piano | 1843 | S.700a | |
| Il carnevale di Venezia, violin and orchestra, Op. 10 (1829) | Grande Fantaisie sur des thèmes de Paganini (S.700/1): revised as Variations de bravoure sur des thèmes de Paganini (S.700/2) | piano | 1845 | S.700 | |

## Luigi Pantaleoni

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Barcarole vénitienne, song for solo voice (1840?) | Arrangement | voice and piano | 1840 | S.684 | Died 1872. Father of Romilda Pantaleoni. |

## Giovanni Battista Perucchini

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Song "La Biondina in Gondoletta" | Venezia e Napoli (1st version) No. 3, Andante placido | piano | 1840 | S.159/3 | S.162 is a revision of S.159. Dates: 1784–1870. |
| Song "La Biondina in Gondoletta" | Années de pèlerinage, Deuxième Année: Italie. Supplement: Venezia e Napoli No. 1, Gondoliera | piano | 1859 | S.162/1 | S.162 is a revision of S.159. Dates: 1784–1870. |

## F. Pezzini

| Original work | Liszt work | Forces | Date | S no. | Notes |
| "Una stella amica" | Transcription | piano | 1874‑75 | S.551 | Pezzini was a local band master at the Villa d'Este, but no further details about him are known. "Una stella amica" is variously described as a waltz or a mazurka. |

## Joachim Raff

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Opera König Alfred (1851): Andante finale and March | Transcription | piano | 1853 | S.421 | Dedicated to Karl Klindworth |
| Opera König Alfred (1851): Andante finale and March | Transcription | piano 4-hands | 1853 | S.631 | Dedicated to Karl Klindworth |
| Tanz-Capricen, Op. 54, 3 pieces for piano (1852): No. 1, Waltz in D♭ major | New introduction and coda | piano | 1854 | S.551a | |

## Alexander Ritter

| Original work | Liszt work | Forces | Date | S no. | Notes |
| 5 Charakterstücke, Op. 3, violin and organ (1873): No. 1, In der Christmette | Revised and corrected | violin and organ | 1873? | S.675a | |

## Salvator Rosa (attrib.)

| Original work | Liszt work | Notes |
| Canzonetta "Vado ben spesso cangiando loco" | See Années de pèlerinage, Deuxième année: Italie at Giovanni Battista Bononcini above | This song, among many others, was long attributed to Salvator Rosa, but was in fact written by Bononcini. |

## Gioachino Rossini

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Opera Otello (1816): Gondolier's song "Nessun maggior dolore" (Act III) | Années de pèlerinage, Deuxième Année: Italie. Supplement: Venezia e Napoli No. 2, Canzone | piano | 1859 | S.162/2 |
| Operas Armida (1817) and La donna del lago (1819) | Impromptu brilliant sur des thèmes de Rossini et Spontini | piano | 1824 | S.150 | Also includes themes from operas by Gaspare Spontini |
| Opera Ermione | Sept variations brillantes sur un thème de G. Rossini | piano | 1824 | S.149 | |
| Opera Mosè in Egitto (1818) | Fantaisie sur des thèmes de 'Maometto' et 'Mose' | piano | ? | S.751 | Lost |
| Opera Le siège de Corinthe (1826) | Introduction des variations sur une marche du Siège de Corinthe | piano | 1830 | S.750; renumbered as 421a | Lost Only the Introduction survives; there is no trace of the Variations on a March from Le Siège de Corinthe |
| Opera William Tell (1829) William Tell Overture | Transcription | piano | 1838 | S.552 |
| Les Soirées musicales, 8 ariettas and 4 duets (1835) | La Serenata e l'Orgia. Grande Fantaisie sur des motifs des Soirées musicales | piano | 1835‑36 | S.422 | Nos. 10 and 11; also includes a theme from La promessa (No. 1) |
| Les Soirées musicales, 8 ariettas and 4 duets (1835) | La pastorella dell'Alpi e Li marinari. 2me Fantaisie sur des motifs des Soirées musicales | piano | 1835‑36 | S.423 | Nos. 6 and 12; also includes a theme from La regata veneziana (No. 2) |
| Les Soirées musicales, 8 ariettas and 4 duets (1835) | Soirées musicales | piano | 1837 | S.424 | The 12 numbers are: 1. La promessa; 2. La regata veneziana; 3. L'invito; 4. La gita in gondola; 5. Il rimprovero; 6. La pastorella dell'Alpi; 7. La partenza; 8. La pesca; 9. La danza; 10. La serenata; 11. L'orgia; 12. Li marinari |
| Stabat Mater (1841): No. 2, "Cujus animam" | Transcription | organ/trombone | 1860s | S.679 | Also used in S.553 |
| Stabat Mater (1841): No. 2, "Cujus animam" | Transcription | tenor/organ | pub. 1874 | S.682 | Also used in S.553 |
| Stabat Mater (1841): No. 2, "Cujus animam" | Deux Transcriptions d'après Rossini: No. 1, "Cujus animam" No. 2, "La Charité" | piano | 1847 | S.553 |
| 3 Choeurs religieux, female chorus and piano (1844): No. 3, "La Charité" | Deux Transcriptions d'après Rossini: No. 1, "Cujus animam" No. 2, "La Charité" | piano | 1847 | S.553 | |

## Claude Joseph Rouget de Lisle

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Song "La Marseillaise" (1792) | "La Marseillaise" | piano | 1872 | S.237 | |

## Jean-Jacques Rousseau

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Opera Le devin du village (1752) | Transcription | piano | 1883 | - | This was planned but never executed. |

## Anton Rubinstein

| Original work | Liszt work | Forces | Date | S no. | Notes |
| 6 Lieder von Heine, Op. 32 (1856): No. 6, "Der Asra" | Transcription | piano | 1883? | S.554 | |
| 12 Lieder des Mirza-Schaffy, Op. 34 (1854): No. 9, "Gelb rollt mir zu Füßen" | Transcription | piano | 1881 | S.554 | |
| 12 Lieder des Mirza-Schaffy, Op. 34 (1854): No. 9, "Gelb rollt mir zu Füßen" | Transcription | piano | ? | S.752 | Lost |
| Étude on False Notes (piano; 1867) | Revised as Étude sur des notes fausses | piano | 1880? | S.554a | |

## Camille Saint-Saëns

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Danse macabre, symphonic poem, Op. 40 (1874) | Transcription | piano | 1876 | S.555 | Dedicated to Sophie Menter. |

## Franz Schubert

| Original work | D no. | Op. | Liszt work | Forces | Date | S no. | Notes |
| "Gretchen am Spinnrade" (1814) | D.118 | Op. 2 | 6 Songs | voice and orchestra | 1860 | S.375/2 | |
| "Gretchen am Spinnrade" (1814) | D.118 | Op. 2 | 12 Lieder von Franz Schubert | piano | 1838, rev. 1876 | S.558/8 | |
| "Rastlose Liebe" (1815) | D.138 | Op. 5/1 | 12 Lieder von Franz Schubert | piano | 1838 | S.558/10 | |
| Walzer, Ländler und Ecossaisen, piano | D.145 | | Soirées de Vienne: 9 Valses caprices d'après Schubert | piano | 1852 | S.427/2, 3 | Used in Nos. 2 and 3 |
| "Des Mädchens Klage" (2nd version; 1815) | D.191 | Op. 58/3 | No. 2 of Sechs Melodien von Franz Schubert | piano | 1844 | S.563/2 | |
| "Meeres Stille" (1815) | D.216 | Op. 3/2 | Transcription | piano | 1837 | S.557b | 1st version |
| "Meeres Stille" (1815) | D.216 | Op. 3/2 | 12 Lieder von Franz Schubert | piano | 1838 | S.558/5 | |
| "Erlkönig" (1815–21) | D.328 | Op. 1 | 6 Songs | voice and orchestra | 1860 | S.375/4 | |
| "Erlkönig" (1815–21) | D.328 | Op. 1 | Transcription | piano | 1837 | S.557b | |
| "Erlkönig" (1815–21) | D.328 | Op. 1 | 12 Lieder von Franz Schubert | piano | 1838, rev. 1876 | S.558/4 | |
| "Litanei (Auf das Fest Aller Seelen)" (1816) | D.343 | | Transcription: Franz Schuberts geistliche Lieder | piano | 1840 | S.562/1 | |
| Originaltänze, piano | D.365 | Op. 9 | Apparitions: III. Fantaisie sur une valse de François Schubert (Molto agitato ed appassionato) | piano | 1834 | S.155/3 | Waltz No. 33 in F major; the same waltz appeared in Soirées de Vienne, S.427 |
| Originaltänze, piano | D.365 | Op. 9 | Soirées de Vienne: 9 Valses caprices d'après Schubert | piano | 1852 | S.427 | Used in Nos. 1–5 and 9 |
| "Die gestirne" (1816) | D.444 | | Transcription: Franz Schuberts geistliche Lieder | piano | 1840 | S.562/3 | |
| "Der Wanderer" (1816) | D.493 | Op. 4/1 | 12 Lieder von Franz Schubert | piano | 1838, rev. 1876 | S.558/11 | |
| "Die Forelle" (1817) | D.550 | | No. 6 of Sechs Melodien von Franz Schubert | piano | 1844 | S.563/6 | |
| "Die Forelle" (1817) | D.550 | | Transcription (2nd version) | piano | 1846 | S.564 | |
| "Himmelsfunken" (1819) | D.651 | | Transcription: Franz Schuberts geistliche Lieder | piano | 1840 | S.562/2 | |
| "Frühlingsglaube" | D.686 | Op. 20/2 | Transcription | piano | 1837 | S.557c | 1st version |
| "Frühlingsglaube" | D.686 | Op. 20/2 | 12 Lieder von Franz Schubert | piano | 1838, rev. 1876 | S.558/7 | |
| "Lob der Tränen" | D.711 | Op. 13/2 | Transcription | piano | 1838 | S.557 | |
| Opera Alfonso und Estrella (1822): Act I | D.732 | | Transcription | piano | ? | S.753 | Liszt conducted the world premiere performance in Weimar, 24 June 1854; he had published an essay on the opera in advance of the first performance, and also had made cuts to the score for the production. The score of the transcription is lost. |
| Wiener Damen-Ländler, piano | D.734 | | Soirées de Vienne: 9 Valses caprices d'après Schubert | piano | 1852 | S.427/1 | Used in No. 1 |
| "Sei mir gegrüsst!" (1822) | D.741 | Op. 20/1 | 12 Lieder von Franz Schubert | piano | 1838 | S.558/1 | |
| "Die Rose" (? 1820) | D.745 | Op. 73 | Transcription | piano | 1835 | S.556 | |
| Wanderer Fantasy in C, piano (1822) | D.760 | Op. 15 | | piano and orchestra | by 1851 | S.366 | FP of orch. version Vienna, 14 December 1851, J. Egghard (piano), Hellmesberger (conductor) |
| Wanderer Fantasy in C, piano (1822) | D.760 | Op. 15 | | 2 pianos | by 1851 | S.653 | FP of orch. version Vienna, 14 December 1851, J. Egghard (piano), Hellmesberger (conductor) |
| "Auf dem Wasser zu singen" (1823) | D.774 | Op. 72 | 12 Lieder von Franz Schubert | piano | 1838 | S.558/2 | |
| "Du bist die Ruh" (1823) | D.776 | Op. 59/3 | 12 Lieder von Franz Schubert | piano | 1838, rev. 1876 | S.558/3 | |
| Valses sentimentales, piano | D.779 | | Soirées de Vienne: 9 Valses caprices d'après Schubert | piano | 1852 | S.427/6 | Used in No. 6 |
| 18 Deutsche und Ecossaisen, piano | D.783 | | Soirées de Vienne: 9 Valses caprices d'après Schubert | piano | 1852 | S.427 | Used in Nos. 1, 3, 7 and 8 |
| Song cycle Die schöne Müllerin (1823): | D.795 | Op. 25 | | piano | | | |
| No. 1, "Das Wandern" | D.795 | Op. 25 | No. 1 of Müllerlieder | piano | 1846 | S.565/1 | |
| No. 2, "Wohin?" | D.795 | Op. 25 | No. 5 of Müllerlieder | piano | 1846 | S.565/5 | |
| No. 7, "Ungeduld" | D.795 | Op. 25 | No. 5 of Sechs Melodien von Franz Schubert | piano | 1846 | S.563/5 | |
| No. 7, "Ungeduld" | D.795 | Op. 25 | No. 6 of Müllerlieder | piano | 1846 | S.565/6 | |
| No. 14, "Der Jäger" | D.795 | Op. 25 | No. 3 of Müllerlieder | piano | 1846 | S.565/3 | |
| No. 17, "Die böse Farbe" | D.795 | Op. 25 | No. 4 of Müllerlieder | piano | 1846 | S.565/4 | |
| No. 18, "Trockne Blumen" | D.795 | Op. 25 | No. 4 of Sechs Melodien von Franz Schubert | piano | 1846 | S.563/4 | |
| No. 19, "Der Müller und der Bach" | D.795 | Op. 25 | No. 2 of Müllerlieder | piano | 1846 | S.565/2 | |
| Rosamunde incidental music (1823) | D.797 | | Transcription: Franz Schuberts geistliche Lieder | piano | 1840 | S.562/4 | Liszt transcribed part of No. 4 Geisterchor as "Hymne" |
| "Die Gondelfahrer", male chorus and piano (1824) | D.809 | Op. 28 | Transcription | piano | 1838 | S.559 | |
| Divertissement à la hongroise, piano duet (1824) | D.818 | Op. 54 | Mélodies hongroises (d'après Schubert) | piano | 1838–39 | S.425 | 1. Andante; 2. Marcia; 3. Allegretto |
| Divertissement à la hongroise, piano duet (1824) | D.818 | Op. 54 | II. Ungarischer Marsch in C minor used in 4 Marches | piano | orchestra | 1859–60 | S.363/4 |
| Divertissement à la hongroise, piano duet (1824) | D.818 | Op. 54 | II. Ungarischer Marsch in C minor used in 4 Marches | piano 4-hands | after 1860 | S.632/4 |
| Six Grand Marches and Trios, piano duet (1824) | D.819 | Op. 40 | Schubert's Märsche für das Pianoforte Solo | piano | 1846 | S.426/1–2 | March in B minor D.819/3 was S.426/2; Trauermarsch in E-flat minor, D.819/5 was S.426/1 |
| Six Grand Marches and Trios, piano duet (1824) | D.819 | Op. 40 | Two marches used in 4 Marches | orchestra | 1859–60 | S.363/1–2 | March in B minor D.819/3 was S.363/1; Trauermarsch in E-flat minor, D.819/5 was S.363/2 |
| Six Grand Marches and Trios, piano duet (1824) | D.819 | Op. 40 | Two marches used in 4 Marches | piano 4-hands | after 1860 | S.632/1–2 | March in B minor D.819/3 was S.363/1; Trauermarsch in E-flat minor, D.819/5 was S.363/2 |
| "Die Junge Nonne" (1825) | D.828 | Op. 43/1 | 6 Songs | voice and orchestra | 1860 | S.375/1 | |
| "Die Junge Nonne" (1825) | D.828 | Op. 43/1 | 12 Lieder von Franz Schubert | piano | 1838 | S.558/6 | |
| "Ave Maria" (1825) | D.839 | | Transcription | piano | 1837 | S.557d | 1st version |
| "Ave Maria" (1825) | D.839 | | 12 Lieder von Franz Schubert | piano | 1838 | S.558/12 | |
| "Die Allmacht" (1825) | D.852 | Op. 79/2 | "Die Allmacht" | T or S solo, male chorus & orchestra | 1871 | S.376 | |
| "Das Zügenglöcklein" (aka "Das Sterbeglöcklein"; 1826) | D.871 | | No. 3 of Sechs Melodien von Franz Schubert | piano | 1844 | S.563/3 | |
| "Lied der Mignon" (1826) | D.877/2 | Op. 62/2 | 6 Songs | voice and orchestra | 1860 | S.375/3 | |
| "Ständchen (Horch! Horch! die Lerch!)" (1826) | D.889 | | 12 Lieder von Franz Schubert | piano | 1838, rev. 1876 | S.558/9 | |
| Winterreise, song cycle (1827) | D.911 | Op. 89 | Transcription of 12 songs | piano | 1840 | S.561 | Liszt chose 12 of the 24 songs, and rearranged their order: 1. "Gute Nacht" (S.561/1); 4. "Erstarrung" (S.561/5); 5. "Der Lindenbaum" (S.561/7); 6. "Wasserflut" (S.561/6); 13. "Die Post" (S.561/4); 17. "Im Dorfe" (S.561/12); 18. "Der stürmische Morgen" (S.561/11); 19. "Täuschung" (S.561/9); 21. "Das Wirtshaus" (S.561/10); 22. "Mut!" (S.561/3); 23. "Die Nebensonnen" (S.561/2); and 24. "Der Leiermann" (S.561/8). |
| Symphony No. 9 in C major (1826) | D.944 | | Projected transcription | piano | – | – | This was planned but never executed. |
| Schwanengesang, 14 lieder (1828) | D.957 | | Transcription | piano | 1838–39 | S.560 | Liszt rearranged the order of the songs: 1. Liebesbotschaft (S.560/10); 2. "Kriegers Ahnung" (S.560/14); 3. "Frühlingssehnsucht" (S.560/9); 4. "Ständchen" (S.560/7); 5. "Aufenthalt" (S.560/3); 6. "In der Ferne" (S.560/6); 7. "Abschied" (S.560/5); 8. "Der Atlas" (S.560/11); 9. "Ihr Bild" (S.560/8); 10. "Das Fischermädchen" (S.560/2); 11. "Die Stadt" (S.560/1); 12. "Am Meer" (S.560/4); 13. "Der Doppelgänger" (S.560/12); and 14. "Die Taubenpost" (S.560/13). |
| No. 7, "Abschied" | D.957 | | 6 Songs | voice and orchestra | 1860 | S.375/6 | |
| No. 13, "Der Doppelgänger" | D.957 | | 6 Songs | voice and orchestra | 1860 | S.375/5 | |
| Reitermarsch, No. 1 of 2 Marches caractéristiques, piano duet (? 1826) | D.968b | Op. 121 | Schubert's Märsche für das Pianoforte Solo | piano | 1846 | S.426/4 | D.968b was formerly D.886 |
| Reitermarsch, No. 1 of 2 Marches caractéristiques, piano duet (? 1826) | D.968b | Op. 121 | Used in 4 Marches | orchestra | 1859–60 | S.363/3 | |
| Reitermarsch, No. 1 of 2 Marches caractéristiques, piano duet (? 1826) | D.968b | Op. 121 | Used in 4 Marches | piano 4-hands | after 1860 | S.632/3 | |
| 12 Valses nobles | D.969 | | Soirées de Vienne: 9 Valses caprices d'après Schubert | piano | 1852 | S.427 | Used in Nos. 5, 6 and 8 |

## Clara Schumann

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Gedichte aus Rückerts Liebesfrühling, Op. 12 (1841): No. 3, "Warum willst du and're fragen" | Lieder von Robert und Clara Schumann: Book B (Clara) | piano | 1874 | S.569/8–10 | The set of 10 transcriptions also includes 7 songs by Robert Schumann. |
| 6 Lieder, Op. 13 (1842–44): No. 5, "Ich hab' in deinem Auge" | Lieder von Robert und Clara Schumann: Book B (Clara) | piano | 1874 | S.569/8–10 | The set of 10 transcriptions also includes 7 songs by Robert Schumann. |
| 6 Lieder aus Jucunde von Rollet, Op. 23 (1853): No. 10, "Geheimes Flüstern" | Lieder von Robert und Clara Schumann: Book B (Clara) | piano | 1874 | S.569/8–10 | The set of 10 transcriptions also includes 7 songs by Robert Schumann. |

## Robert Schumann

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Myrthen, Op. 25 (1840): No. 1, "Widmung" | "Liebeslied" | piano | 1848 | S.566 | |
| Lieder und Gesänge, Vol. I, Op. 27 (1840): No. 2, "Dem roten Röslein gleicht mein Lieb" | "Rotes Röslein", No. 2 of 2 Lieder von Robert Schumann | piano | 1861 | S.567/2 | |
| 6 Gedichte, Op. 36 (1840): No. 4, "An den Sonnenschein" | No. 1 of 2 Lieder von Robert Schumann | piano | 1861 | S.567/1 | |
| Liederkreis, Op. 39 (1840): No. 12, "Frühlingsnacht" | Transcription | piano | 1872 | S.568 | |
| Liederalbum für die Jugend, 28 songs, Op. 79 (1849): No. 16, "Weihnachtslied" No. 17, "Die wandelnde Glocke" No. 19, "Frühlings Ankunft" No. 22, "Des Sennen Abschied" No. 23, "Er ist's" | Lieder von Robert und Clara Schumann: Book A (Robert) | piano | 1874 | S.569/1–7 | Nos. 1–5 were from Op. 79, and Nos. 6–7 were from Op. 98a. The set of 10 transcriptions also includes 3 songs by Clara Schumann. |
| Lieder und Gesänge aus 'Wilhelm Meister', 9 songs, Op. 98a (1849): No. 3, "Nur wer die Sehnsucht kennt" No. 5, "An die Türen will ich schleichen" | Lieder von Robert und Clara Schumann: Book A (Robert) | piano | 1874 | S.569/1–7 | Nos. 1–5 were from Op. 79, and Nos. 6–7 were from Op. 98a. The set of 10 transcriptions also includes 3 songs by Clara Schumann. |
| Des Sängers Fluch, 14 songs, Op. 139 (1852): No. 4, "Provenzalisches Minnelied" | Transcription | piano | 1881 | S.570 | |

## Bedřich Smetana

| Original work | Liszt work | Forces | Date | S no. | Notes |
| 3 Polkas de salon, Op. 7, piano (1848–54): No. 1 in F | New introduction and coda | piano | 1885 | S.570a | |

## Mariano Soriano [it]

| Original work | Liszt work | Forces | Date | S no. | Notes |
| ? | Feuille morte: Élégie d'après Sorriano [sic] | piano | c. 1845 | S.428 | Mariano Soriano Fuertes y Piqueras (28 March 1817 - 26 March 1880); Soriano's surname was misspelled as "Sorriano" on the title page. There is no information about the source of this piece or how Liszt came to know it, but it is speculated it may have been a melody from a zarzuela, as it is known Liszt was in Córdoba in 1844. The title Feuille morte is probably Liszt's own. |

## Louis Spohr

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Opera Zemire et Azor (1819): Zemire's romance "Rose wie bist du reizend und mild!" (Act I, No. 8) | "Die Rose", Romanze | piano | 1876 | S.571 | |

## Gaspare Spontini

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Opera Fernand Cortez (1809–32) | Impromptu brilliant sur des thèmes de Rossini et Spontini | piano | 1824 | S.150 | Also includes themes from operas by Gioachino Rossini |
| Opera Olimpie (1819–26) | Impromptu brilliant sur des thèmes de Rossini et Spontini | piano | 1824 | S.150 | Also includes themes from operas by Gioachino Rossini |

## Imre Széchényi

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Ungarischer Marsch (? 1872) | Einleitung und Ungarischer Marsch (Bevezetés és magyar indulò) | piano | 1872 | S.572 | Imre graf von Széchényi 1825–1898 |

## Karl Tausig

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Valse-Caprice No. 3, piano (1862) | Revised with additions | piano | 1883–85 | S.571a | (S.571a was formerly S.167a.) Tausig's Valse-Caprice No. 3 was based on Johann Strauss II's Wahlstimmen, Op. 250. |

## Pyotr Ilyich Tchaikovsky

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Opera Eugene Onegin, Op. 24 (1879): Polonaise from Act III | Transcription | piano | 1880 | S.429 | Dedicated to Karl Klindworth |

## Pier Adolfo Tirindelli

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Mazurka No. 2 | Variations | piano | 1880 | S.754 | Probably not by Liszt. |

## János Végh [ca]

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Suite en forme de valse (piano 4-hands; 1882) | Valse de concert d'après la "Suite en forme de valse" | piano | pub. 1889 | S.430 | János Végh von Vereb (1845–1918) was a close friend of Liszt. He studied with Károly Thern and Mihály Mosonyi but decided to pursue a judicial career while continuing his involvement in music as an amateur. With Liszt's approval he transcribed for 2 pianos 8‑hands several of Liszt's works, such as the Dante Symphony, and the Grand Galop Chromatique. In 1879 Liszt dedicated to Végh his symphonic poem Hunnenschlacht and his transcription for piano 4-hands of that work as well as Hamlet, Die Ideale, and Zwei Episoden aus Lenaus Faust. In 1881 Végh became vice-president of the Budapest Academy of Music, Liszt being the president. |

## Giuseppe Verdi

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Opera I Lombardi (1843) | Salve Maria de Jérusalem | piano | 1848 | S.431 | |
| Opera Ernani (1844) | Concert paraphrase on Ernani | piano | 1847 | S.431a | These are different works, despite the similarity of the names. S.431a was formerly numbered S.457. |
| Opera Ernani (1844) | Ernani. Paraphrase de concert | piano | by 1849 | S.432 | These are different works, despite the similarity of the names. S.431a was formerly numbered S.457. |
| Opera Rigoletto (1851) | Rigoletto. Paraphrase de concert | piano | 1859 | S.434 | |
| Opera Il trovatore (1853) | Miserere de Trovatore | piano | 1859 | S.433 | |
| Opera Simon Boccanegra (1857) | Réminiscences de Boccanegra | piano | 1882 | S.438 | |
| Opera Don Carlos (1867) | Coro di festa e marcia funebre | piano | 1867–68 | S.435 | |
| Opera Aida (1871) | Danza sacra e duetto finale | piano | 1871–72 | S.436 | Dedicated to Toni Raab |
| Requiem (1874): Agnus Dei | Agnus Dei de la Messe de Requiem | piano | 1877 | S.437 | |
| Requiem (1874): Agnus Dei | Agnus Dei de la Messe de Requiem | organ or harmonium | 1877–83 | S.675c | |

## Mikhail Vielgorsky

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Mazurka | Mazurka pour piano composée par un amateur de St. Pétersbourg, paraphrasée par F. L. | piano | 1842 | S.384 | This mazurka was often misattributed to Alexander Alyabyev. |
| Romance "I Love" (Люблю я) | Transcription: 2nd version titled Autrefois | piano | 1843 | S.577 | |
Note: Vielgorski is also seen as Count Michael Wielhorski.

## Richard Wagner

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Opera Rienzi (1840) | Phantasiestück über Motive aus Rienzi ("Santo spirito cavaliere") | piano | 1859 | S.439 | The Roman War Song "Santo spirito cavaliere" is from the finale of Act III. The work also quotes the Gebet (Prayer) from Act V and the Aufruf zum Kampf (Call to Arms) "Doch horet ihr der Trompete Ruf" from Act I. |
| Opera The Flying Dutchman (1843) | Spinning Chorus | piano | 1860 | S.440 | |
| Opera The Flying Dutchman (1843) | Ballad | piano | pub. 1873 | S.441 | |
| Opera Tannhäuser (1845) | Overtüre zu Tannhäuser: Konzertparaphrase | piano | 1848 | S.442 | |
| Opera Tannhäuser (1845) | "O du mein holder Abendstern" | piano | 1849 | S.444 | |
| Opera Tannhäuser (1845) | "O du mein holder Abendstern" | cello and piano | 1852 | S.380 | |
| Opera Tannhäuser (1845) | Entry of the Guests | piano | 1852 | S.445/1 | Liszt published the Entry of the Guests along with Elsa's Bridal Procession from Lohengrin, as "Two Pieces from Tannhäuser and Lohengrin". |
| Opera Tannhäuser (1845) | Pilgrims' Chorus: Paraphrase | organ | 1860 | S.676 | This paraphrase is not based on the Pilgrims' Chorus from Act III, but on a simplified version of the opening section of the Overture, which uses the same melody, but differs from the Chorus in both structure and key. |
| Opera Tannhäuser (1845) | Pilgrims' Chorus: Paraphrase | piano | c.1861 | S.443 | This paraphrase is not based on the Pilgrims' Chorus from Act III, but on a simplified version of the opening section of the Overture, which uses the same melody, but differs from the Chorus in both structure and key. |
| Opera Lohengrin (1850) | Elsa's Bridal Procession | piano | 1852 | S.445/2 | Liszt published Elsa's Bridal Procession along with the Entry of the Guests from Tannhäuser, as "Two Pieces from Tannhäuser and Lohengrin". |
| Opera Lohengrin (1850) | 1. Festival and Bridal Song 2. Elsa's Dream 3. Lohengrin's Rebuke | piano | 1854 | S.446 | |
| Opera Tristan und Isolde (1859): Isolde's final aria, "Mild und leise" | Isoldens Liebestod | piano | 1867 | S.447 | In his concert version of the Prelude (Overture) and Isolde's Act 3 final aria "Mild und leise", first performed in 1862 (several years before the premiere of the opera in 1865), Wagner called the Prelude the Liebestod (Love-death) while Isolde's final aria "Mild und leise" he called the Verklärung (Transfiguration). Liszt named his transcription of "Mild und leise" Isoldes Liebestod; he prefaced his score with a four-bar motto from the Love Duet from Act II, which in the opera is sung to the words "sehnend verlangter Liebestod". Liszt's transcription became well known throughout Europe well before Wagner's opera reached most places, and the final scene is now always called by the name Liszt gave it, Liebestod. |
| Opera Die Meistersinger von Nürnberg (1867) | "Am stillen Herd" | piano | 1871 | S.448 | |
| Opera Das Rheingold (1869) | "Valhalla" from Der Ring des Nibelungen | piano | c.1876 | S.449 | Liszt based this on "The Entry of the Gods into Valhalla", the closing scene of Das Rheingold, the opening opera of the Ring. However, as it conforms to no single passage in that scene, it is thus a paraphrase, not strictly a transcription. |
| Opera Parsifal (1882) | Feierlicher Marsch zum heiligen Gral | piano | 1882 | S.450 | |

## Carl Maria von Weber

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Leier und Schwert, six 4-part men's choruses, Op. 42, J.168–173 (1814): No. 2, Lutzows wilde Jagd, J.168 No. 3, Gebet vor der Schlacht, J.173 No. 6, Schwertlied, J.169 | Leier und Schwert – Heroïde | piano | 1846–47 | S.452 | An Introduction was followed by Schwertlied, Gebet vor der Schlacht and Lutzows wilde Jagd. |
| Jubelouvertüre, Op. 59, J.245 (1818) | Transcription | piano | 1846 | S.576 | |
| Polacca brillante in E major "L'hilarité", piano, Op. 72, J.268 (1819) | Polonaise brillante | piano and orchestra | c.1851 | S.367 | Dedicated to Adolf von Henselt. FP of S.367 Weimar, 13 April 1851, Salomon Jadassohn (piano), Liszt (conductor). Liszt also arranged S.367 for piano solo (S.455), which was the solo part with ossias. |
| Polacca brillante in E major "L'hilarité", piano, Op. 72, J.268 (1819) | Polonaise brillante | piano | c.1851 | S.455 | Dedicated to Adolf von Henselt. FP of S.367 Weimar, 13 April 1851, Salomon Jadassohn (piano), Liszt (conductor). Liszt also arranged S.367 for piano solo (S.455), which was the solo part with ossias. |
| Opera Der Freischütz, Op. 77, J.277 (1821) | Overture | piano | 1846 | S.575 | |
| Opera Der Freischütz, Op. 77, J.277 (1821) | Freischütz Fantasy | piano | 1840‑41 | S.451 | |
| Konzertstück in F minor, piano and orchestra, Op. 79, J.282 (1821) | Transcription | piano | 1868–70 | S.576a | |
| Konzertstück in F minor, piano and orchestra, Op. 79, J.282 (1821) | Transcription | piano and orchestra | 1868–70 | S.367a | The piano part appears to be a slightly altered version of S.576a, which is played with Weber's original orchestration. |
| Preciosa, incidental music, Op. 78, J.279 (1820): "Einsam bin ich, nicht alleine" | Transcription | piano | 1848 | S.453 | |
| Partsong Schlummerlied, 4 male voices, Op. 68/4, J.285 (1822) | "Schlummerlied mit Arabesken" | piano | 1848 | S.454 | |
| Opera Oberon, J.306 (1826) | Overture | piano | 1843 | S.574 | |

## August Heinrich von Weyrauch [ca]

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Song "Nach Osten!" (1824) | No. 1 of Sechs Melodien von Franz Schubert | piano | 1846 | S.563/1 | August Heinrich von Weyrauch, also known as Hans von Weyrauch (1788–1851). The song was reissued in 1843 with new words, a new title "Adieu" (which was translated as "Lebe wohl"), and misattributed to Franz Schubert. Liszt included it with 5 genuine Schubert songs in his collection of 6 transcriptions. |

## Juliusz Zarębski

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Danses galiciennes, piano 4-hands (1880) | Orchestration | orchestra | 1881 | S.364 | Zarębski was a pupil of Liszt. |

## Géza Zichy

| Original work | Liszt work | Forces | Date | S no. | Notes |
| Valse d'Adèle, piano left‑hand | Valse d'Adèle: Transcription brillante à deux mains | piano 2-hands | pub. 1877 | S.456 | Count Géza Zichy lost his right arm in a hunting accident at age 15. He later became a pionereering left-hand pianist and composer of works for piano left-hand, including the first known concerto for piano left-hand and orchestra (1902). |
| Ballad "Der Zaubersee" | "Der Zaubersee" | voice and orchestra | ? | S.377 | Count Géza Zichy lost his right arm in a hunting accident at age 15. He later became a pionereering left-hand pianist and composer of works for piano left-hand, including the first known concerto for piano left-hand and orchestra (1902). |

## Index of S. numbers

* S.54: Giuseppe Baini
* S.116: Ernest II, Duke of Saxe-Coburg and Gotha
* S.120: Hector Berlioz
* S.122: Ludwig van Beethoven
* S.126b/2: Wenzel Robert von Gallenberg
* S.127: Frédéric Chopin
* S.128: Charles Philippe Lafont
* S.140, 141: Niccolò Paganini
* S.147: Anton Diabelli
* S.149: Gioachino Rossini
* S.150: Gioachino Rossini, Gaspare Spontini
* S.155/3: Franz Schubert
* S.156/10: Ferdinand Huber
* S.156/11: Ernest Knop
* S. 156/12, 156a/1: Ferdinand Huber
* S.156a/3: Ernest Knop
* S.159: Guillaume-Louis Cottrau
* S.161/3: Giovanni Bononcini (misattrib. Salvator Rosa)
* S.162: Guillaume-Louis Cottrau
* S.162/2: Gioachino Rossini
* S.168: Prince Louis Ferdinand of Prussia
* S.172/4: Grand Duchess Maria Pavlovna of Russia
* S.179, 180: Johann Sebastian Bach
* S.181: George Frideric Handel
* S.183: Jacques Arcadelt, Pierre-Louis Dietsch
* S.205, 206: Mihály Mosonyi
* S.207a: Alexander Borodin
* S.208a/2: Wenzel Robert von Gallenberg
* S.234: Josef Krov
* S.236/2: René de Galard de Béarn, Marquis de Brassac
* S.237: Claude Joseph Rouget de Lisle
* S.241/1: László Fáy
* S.241/2: János Bihari
* S.244/19: Kornél Ábrányi
* S.245: Kornél Ábrányi
* S.246: Ludmilla Gizycka-Zámoyská
* S.249/2: Frédéric Chopin
* S.250/1: Alexander Alyabyev
* S.250/2: Pyotr Bulakhov
* S.252: Manuel García
* S.256: Alexander Borodin
* S.257: Felix Mendelssohn
* S.259: Giacomo Meyerbeer
* S.351: Hans von Bülow
* S.352: Peter Cornelius
* S.353: Béni Egressy, Ferenc Erkel
* S.360: Gregorio Allegri, Wolfgang Amadeus Mozart
* S.363: Franz Schubert
* S.364: Juliusz Zarębski
* S.367, 367a: Carl Maria von Weber
* S.368: Francis Korbay
* S.375, 376: Franz Schubert
* S.377: Géza Zichy
* S.379b: Ludmilla Gizycka-Zámoyská
* S.380: Richard Wagner
* S.383a: Kornél Ábrányi
* S.384: Alexander Alyabyev (misattrib.), Mikhail Vielgorsky
* S.385, 385a, 386, 387: Daniel Auber
* S.388, 389: Ludwig van Beethoven
* S.390–394: Vincenzo Bellini
* S.395, 396: Hector Berlioz
* S.397–400, 400a, 401, 402: Gaetano Donizetti
* S.403: Giuseppe Donizetti
* S.404: Ernest II, Duke of Saxe-Coburg and Gotha
* S.405: Ferenc Erkel
* S.405a: Leó Festetics
* S.406: Mikhail Glinka
* S.407, 408, 409: Charles Gounod
* S.409a: Fromental Halévy
* S.410: Felix Mendelssohn
* S.411: Saverio Mercadante
* S.412–416: Giacomo Meyerbeer
* S.417: Mihály Mosonyi
* S.418: Wolfgang Amadeus Mozart
* S.419: Giovanni Pacini
* S.420: Niccolò Paganini
* S.421: Joachim Raff
* S.422–424: Gioachino Rossini
* S.425–427: Franz Schubert
* S.428: Mariano Soriano
* S.429: Pyotr Ilyich Tchaikovsky
* S.430: János Végh
* S.431, 431a, 432–438: Giuseppe Verdi
* S.439–450: Richard Wagner
* S.451–455: Carl Maria von Weber
* S.456: Géza Zichy
* S.458: Saverio Mercadante
* S.461: Gregorio Allegri, Wolfgang Amadeus Mozart
* S.462, 463: Johann Sebastian Bach
* S.464–469: Ludwig van Beethoven
* S.470–475: Hector Berlioz
* S.476, 477, 477a: Louise Bertin
* S.478: Pyotr Bulakhov
* S.479: Hans von Bülow
* S.480: Frédéric Chopin
* S.481: August Conradi
* S.482: César Cui
* S.483: Alexander Dargomyzhsky
* S.483bis: Ferdinand David
* S.484, 484/19bis: Ferdinand David
* S.485: Josef Dessauer
* S.485a: Felix Draeseke
* S.485b: Ernest II, Duke of Saxe-Coburg and Gotha
* S.486: Béni Egressy, Ferenc Erkel
* S.487: Leó Festetics
* S.488, 489: Robert Franz
* S.490: Adalbert von Goldschmidt
* S.491: Charles Gounod
* S.492: Johann von Herbeck
* S.493: Johann Nepomuk Hummel
* S.494–497: Eduard Lassen
* S.498: Otto Lessmann
* S.506b: Giuseppe Baini
* S.522: Ernest II, Duke of Saxe-Coburg and Gotha
* S.547, 548: Felix Mendelssohn
* S.549: Giacomo Meyerbeer
* S.550: Wolfgang Amadeus Mozart
* S.551: F. Pezzini
* S.551a: Joachim Raff
* S,552, 553: Gioachino Rossini
* S.554, 554a: Anton Rubinstein
* S.555: Camille Saint-Saëns
* S.557–562: Franz Schubert
* S.563: Franz Schubert, August Heinrich von Weyrauch
* S.564, 565: Franz Schubert
* S.566–568, 569/1–7: Robert Schumann
* S.569/8–10: Clara Schumann
* S.570: Robert Schumann
* S.570a: Bedřich Smetana
* S.571: Louis Spohr
* S.571a: Johann Strauss II, Karl Tausig
* S.572: Jules Massenet, Imre Széchényi
* S.574–576, 576a: Carl Maria von Weber
* S.577: Mikhail Vielgorsky
* S.577a: John Field
* S.607: Ernest II, Duke of Saxe-Coburg and Gotha
* S.620: Josef Krov
* S.623a: Kornél Ábrányi
* S.624: Giacomo Meyerbeer
* S.627: Vincenzo Bellini
* S.628: Hector Berlioz
* S.628a: Béni Egressy, Ferenc Erkel
* S.629: Mikhail Glinka
* S.630: Giacomo Meyerbeer
* S.631: Joachim Raff
* S.632: Franz Schubert
* S.633: Gregorio Allegri, Wolfgang Amadeus Mozart
* S.634: Ludwig van Beethoven
* S.634a: Wolfgang Amadeus Mozart
* S.649: Ludwig van Beethoven
* S.654, 655: Vincenzo Bellini
* S.656: Wolfgang Amadeus Mozart
* S.657a: Ludwig van Beethoven
* S.658: Gregorio Allegri, Wolfgang Amadeus Mozart
* S.659: Jacques Arcadelt, Pierre-Louis Dietsch
* S.660, 661: Johann Sebastian Bach
* S.662: Frédéric Chopin
* S.663: Orlande de Lassus
* S.669c: Giuseppe Baini
* S.673: Johann Sebastian Bach
* S.675: Otto Nicolai
* S.675a: Alexander Ritter
* S.675c: Giuseppe Verdi
* S.676: Richard Wagner
* S.679: Gioachino Rossini
* S.682: Gioachino Rossini
* S.683a: Francis Korbay
* S.684: Luigi Pantaleoni
* S.685: Grand Duchess Maria Pavlovna of Russia
* S.686: Felix Draeseke
* S.694: Thomas Arne
* S.697: Wolfgang Amadeus Mozart
* S.698: Léo Delibes
* S.700, 700a: Niccolò Paganini
* S.700h: Charles Philippe Lafont
* S.739, 740: Ludwig van Beethoven
* S.741: Hector Berlioz
* S.742: Gaetano Donizetti
* S.743: Charles Gounod
* S.743a: Fromental Halévy
* S.744: Gaetano Donizetti
* S.748: Wolfgang Amadeus Mozart
* S.750, 751: Gioachino Rossini
* S.752: Anton Rubinstein
* S.753: Franz Schubert
* S.754: Pier Adolfo Tirindelli
* S.755a: Thomas Arne
* S.761: Frédéric Chopin