# List of compositions by Moritz Moszkowski

The following is the complete List of compositions by Moritz Moszkowski.
MoszWV means Moszkowski Werkverzeichnis (=Moszkowski work directory).

## Works with opus number

| Title | Opus | Name | Key | Tempo | Year |
| Scherzo | 1 | — | B♭ major | Quasi andantino | 1874 |
| Albumblatt | 2 | — | A♭ major | Moderato e grazioso | 1875 |
| Piano Concerto No. 1 | 3 | First movement | B minor | Allegro con spirito | 1874 |
| Piano Concerto No. 1 | 3 | Second movement | G major | Adagio | 1874 |
| Piano Concerto No. 1 | 3 | Third movement | E major | Scherzo molto vivace | 1874 |
| Piano Concerto No. 1 | 3 | Fourth movement | B minor | Allegro con spirito l'istesso tempo | 1874 |
| Caprice | 4 | — | A minor | Vivo | 1875 |
| Hommage à Schumann | 5 | — | E♭ major | Allegro con brio | 1875 |
| Fantasie-Impromptu | 6 | — | F major | Allegretto grazioso | 1875 |
| Fantasie-Impromptu | 6 | — | G minor | L’istesso tempo | 1875 |
| Fantasie-Impromptu | 6 | — | D minor | Tempo I (Allegretto grazioso) | 1875 |
| Trois Moments Musicaux | 7 | No. 1 | B major | Allegramente | 1875 |
| Trois Moments Musicaux | 7 | No. 2 | C♯ minor | Con moto | 1875 |
| Trois Moments Musicaux | 7 | No. 3 | F♯ major | Tranquillo e semplice | 1875 |
| Fünf Walzer | 8 | No. 1 | A major | Allegro moderato | 1875 |
| Fünf Walzer | 8 | No. 2 | A minor | Pesante e lugubre | 1875 |
| Fünf Walzer | 8 | No. 3 | E major | Allegro grazioso | 1875 |
| Fünf Walzer | 8 | No. 4 | G major | Vivace assai | 1875 |
| Fünf Walzer | 8 | No. 5 | D major | Pomposo ed energico, ma non troppo allegro | 1875 |
| Fünf Walzer | 8a | Idem | Idem | Idem | 1875 |
| Zwei Lieder | 9 | Die Verlassene | C | Allegretto | 1876 |
| Zwei Lieder | 9 | Schlaflied (Berceuse) | D major | Andante | 1876 |
| Skizzen, Vier Kleine Stücke | 10 | Melodie | G♭ major | Con moto | 1876 |
| Skizzen, Vier Kleine Stücke | 10 | Thema | E major | Tranquillo ed espressivo | 1876 |
| Skizzen, Vier Kleine Stücke | 10 | Mazurka | G major | Allegro | 1876 |
| Skizzen, Vier Kleine Stücke | 10 | Impromptu über Sachs | G minor | Allegro assai | 1876 |
| Drei Stücke | 11 | Polonaise | E♭ major | Brioso ed energico | 1876 |
| Drei Stücke | 11 | Walzer | G major | Allegretto grazioso | 1876 |
| Drei Stücke | 11 | Ungarischer Tanz | B Minor | Allegro con fuoco | 1876 |
| Spanische Tänze | 12 | Flamenco (Gypsy Dance) | C major | Allegro brioso | 1876 |
| Spanische Tänze | 12 | Romance in Córdoba | G minor | Moderato | 1876 |
| Spanische Tänze | 12 | Juana (Andalusian Vito) | A major | Con moto | 1876 |
| Spanische Tänze | 12 | Malagueña | B♭ major | Allegro comodo | 1876 |
| Spanische Tänze | 12 | Bolero | D major | Con spirito | 1876 |
| Spanische Tänze | 12a | Idem | Idem | Idem | 1876 |
| Drei Lieder | 13 | Bitte: Weil auf mir, du dunkles Auge | D major | Molto moderato | 1877 |
| Drei Lieder | 13 | Und wüssten's die Blumen | E♭ minor | Andante melancolico | 1877 |
| Drei Lieder | 13 | Mädchenaug'! Mädchenaug'! | D major | Con vivacita | 1877 |
| Humoreske | 14 | — | D major | Allegro fastoso | 1877 |
| Sechs Stücke | 15 | Serenata | D major | Andante grazioso | 1877 |
| Sechs Stücke | 15 | Arabeske | G major | Allegro molto | 1877 |
| Sechs Stücke | 15 | Mazurka | G minor | Allegro | 1877 |
| Sechs Stücke | 15 | Canon | D major | Con moto | 1877 |
| Sechs Stücke | 15 | Walzer | D♭ major | Molto moderato | 1877 |
| Sechs Stücke | 15 | Barcarole | A minor | Andante semplice | 1877 |
| Sechs Stücke | 15a | Serenata | Idem | Idem | 1911 |
| Sechs Stücke | 15b | Waltzer | Idem | Idem | 1902 |
| Zwei Konzertstücke | 16 | Ballade | G minor | Andante con moto | 1878 |
| Zwei Konzertstücke | 16 | Bolero | D major | Allegro spiritoso | 1878 |
| Zwei Konzertstücke | 16a | Ballade | Idem | Idem | 1878 |
| Drei Klavierstücke in Tanzform | 17 | Polonaise | D major | Allegro con fuoco | 1878 |
| Drei Klavierstücke in Tanzform | 17 | Menuett | G major | Allegro moderato | 1878 |
| Drei Klavierstücke in Tanzform | 17 | Waltzer | A major | Molto allegro | 1878 |
| Drei Klavierstücke in Tanzform | 17a | Menuett | Idem | Idem | 1878 |
| Fünf Klavierstücke | 18 | Melodie | F major | Moderato | 1878 |
| Fünf Klavierstücke | 18 | Scherzino | F major | Allegro | 1878 |
| Fünf Klavierstücke | 18 | Étude | G major | Con agilita | 1878 |
| Fünf Klavierstücke | 18 | Marcia | G major | Allegro moderato | 1878 |
| Fünf Klavierstücke | 18 | Polonaise | B♭ major | Con grazia | 1878 |
| Fünf Klavierstücke | 18a | Melodie | Idem | Idem | 1878 |
| Johanna d'Arc | 19 | First movement | E major | Allegro comodo | 1875–76 |
| Johanna d'Arc | 19 | Second movement | E major | Andante malinconico | 1875–76 |
| Johanna d'Arc | 19 | Third movement | E major | Molto moderato | 1875–76 |
| Johanna d'Arc | 19 | Fourth movement | E major | Allegro molto | 1875–76 |
| Johanna d'Arc | 19a | Prozessionsmarsch aus Johanna d‘Arc | Idem | Idem | 1879 |
| Allegro Scherzando | 20 | — | E major | Allegro | 1879 |
| Album Espagnol | 21 | — | G major | Allegro moderato | 1879 |
| Album Espagnol | 21 | — | D major | Vivace assai | 1879 |
| Album Espagnol | 21 | — | F♯ minor | Con moto | 1879 |
| Album Espagnol | 21 | — | D major | Moderato e grazioso | 1879 |
| Tränen. Fünf Gedichte von Adelbert von Chamisso | 22 | Was ist's, o Vater, was ich verbrach? | D major | Allegro molto | 1879 |
| Tränen. Fünf Gedichte von Adelbert von Chamisso | 22 | Ich habe, bevor der Morgen | D major | Molto moderato | 1879 |
| Tränen. Fünf Gedichte von Adelbert von Chamisso | 22 | Nicht der Tau und nicht der Regen | D major | Allegro appassionato | 1879 |
| Tränen. Fünf Gedichte von Adelbert von Chamisso | 22 | Denke, denke, mein Geliebter | B major | Andante con moto | 1879 |
| Tränen. Fünf Gedichte von Adelbert von Chamisso | 22 | Wie so bleich ich geworden bin? | G major | Allegretto | 1879 |
| Aus aller Herren Länder | 23 | Russland | A minor | Allegretto | 1879 |
| Aus aller Herren Länder | 23 | Deutschland | F major | Andante | 1879 |
| Aus aller Herren Länder | 23 | Spanien | A minor | Molto vivace | 1879 |
| Aus aller Herren Länder | 23 | Polen | C♯ minor | Allegro con fuoco | 1879 |
| Aus aller Herren Länder | 23 | Italien | A major | Presto | 1879 |
| Aus aller Herren Länder | 23 | Ungarn | D major | Molto allegro | 1879 |
| Aus aller Herren Länder | 23a | Idem | Idem | Idem | 1884 |
| Aus aller Herren Länder | 23b | Russisch | Idem | Idem | 1879 |
| Drei Konzertetüden | 24 | No. 1 Les Vague | G♭ major | Allegro patetico | 1880 |
| Drei Konzertetüden | 24 | No. 2 Il Lamento | C♯ minor | Moderato assai | 1880 |
| Drei Konzertetüden | 24 | No. 3 | C major | Vivace | 1880 |
| Deutsche Reigen | 25 | — | D major | Moderato | 1880 |
| Deutsche Reigen | 25 | — | A major | Allegretto con moto | 1880 |
| Deutsche Reigen | 25 | — | F major | Moderato e grazioso | 1880 |
| Deutsche Reigen | 25 | — | A♭ major | Allegro animato | 1880 |
| Deutsche Reigen | 25 | — | E♭ major | Allegro con brio, un poco meno allegro | 1880 |
| Drei Gedichte im Volkston | 26 | Ich frage nicht, hast Du mich lieb | G♭ major | Andante | 1881 |
| Drei Gedichte im Volkston | 26 | O süsseste Noth, o selige Pein | C♯ minor | — | 1881 |
| Drei Gedichte im Volkston | 26 | Auf, hinaus aus dem Haus | C major | — | 1881 |
| Barcarole und Tarantelle | 27 | Barcarole | G major | Allegro con moto | 1881 |
| Barcarole und Tarantelle | 27 | Tarantelle | G♭ major | Presto | 1881 |
| Miniaturen | 28 | — | G major | Allegro moderato | 1882 |
| Miniaturen | 28 | — | C major | Allegro giocoso | 1882 |
| Miniaturen | 28 | — | E minor | Vivace con spirito | 1882 |
| Miniaturen | 28 | — | E major | Allegretto grazioso | 1882 |
| Miniaturen | 28 | — | G major | Molto allegro | 1882 |
| Drei Stücke | 29 | Air | G major | Tranquillo e cantabile | 1882 |
| Drei Stücke | 29 | Tarentelle | B major | Molto vivace | 1882 |
| Drei Stücke | 29 | Berceuse | F major | Andante | 1882 |
| Violin Concerto | 30 | First movement | C major | Allegro commodo | 1883 |
| Violin Concerto | 30 | Second movement | E minor | Andante | 1883 |
| Violin Concerto | 30 | Third movement | C major | Vivace | 1883 |
| Violin Concerto | 30a | Idem | Idem | Idem | 1883 |
| Six Morceaux | 31 | Monologue | E minor | Andante sostenuto | 1883 |
| Six Morceaux | 31 | Mélodie | G major | Molto vivace | 1883 |
| Six Morceaux | 31 | Valse mélancolique | B♭ major | Moderato | 1883 |
| Six Morceaux | 31 | Scherzetto | A♭ major | Allegro con spirito | 1883 |
| Six Morceaux | 31 | Impromptu | D♭ major | Tranquillo, ma non troppo lento | 1883 |
| Six Morceaux | 31 | Caprice | G major | Allegretto | 1883 |
| Six Morceaux | 31a | Scherzetto | Idem | Idem | 1883 |
| Six Morceaux | 31b | Caprice | Idem | Idem | 1883 |
| Drei Klavierstücke | 32 | In tempo di minuetto | E major | Moderato | 1883 |
| Drei Klavierstücke | 32 | Étude | D major | Allegro | 1883 |
| Drei Klavierstücke | 32 | Walzer | E major | Grazioso | 1883 |
| Vier Klavierstücke | 33 | Kindermarsch | F major | Allegro | 1883 |
| Vier Klavierstücke | 33 | Humoreske | D major | Allegretto | 1883 |
| Vier Klavierstücke | 33 | Tarantelle | G minor | Allegro molto | 1883 |
| Vier Klavierstücke | 33 | Spinnerlied | A major | Vivo | 1883 |
| Trois Morceaux | 34 | Valse | E major | Allegro moderato | 1884 |
| Trois Morceaux | 34 | Étude | C major | Molto allegro | 1884 |
| Trois Morceaux | 34 | Mazurka | E major | Lento | 1884 |
| Trois Morceaux | 34a | Valse | Idem | Idem | 1884 |
| Quatre Morceaux | 35 | Caprice mélancolique | A minor | Allegretto con moto | 1885 |
| Quatre Morceaux | 35 | Moment musical | C major | Con moto | 1885 |
| Quatre Morceaux | 35 | Pièce drôlatique | G♭ major | Moderato con leggerezza | 1885 |
| Quatre Morceaux | 35 | Impromptu | G major | Allegro grazioso | 1885 |
| Huit Morceaux Caractéristiques | 36 | Pièce rococo | D♭ major | Moderato | 1886 |
| Huit Morceaux Caractéristiques | 36 | Rêverie | A♭ major | Molto tranquillo | 1886 |
| Huit Morceaux Caractéristiques | 36 | Expansion | D♭ major | Allegro anomato | 1886 |
| Huit Morceaux Caractéristiques | 36 | En automne | B♭ minor | Veloce | 1886 |
| Huit Morceaux Caractéristiques | 36 | Air de ballet | G minor | Allegretto | 1886 |
| Huit Morceaux Caractéristiques | 36 | Étincelles | B♭ major | Allegro scherzando | 1886 |
| Huit Morceaux Caractéristiques | 36 | Valse sentimentale | C major | Commodo | 1886 |
| Huit Morceaux Caractéristiques | 36 | Pièce rustique | E major | Moderato | 1886 |
| Caprice Espagnol | 37 | — | A minor | Vivace | 1885 |
| Quatre Morceaux | 38 | Bourrée | A major | Allegro molto | 1886 |
| Quatre Morceaux | 38 | Berceuse | G major | Andante | 1886 |
| Quatre Morceaux | 38 | Mazurka | G major | Allegro moderato | 1886 |
| Quatre Morceaux | 38 | Mélodie italienne | A major | Allegro con spirito | 1886 |
| Première Suite d'Orchestre | 39 | No. 1 | F major | Allegro molto e brioso | 1885 |
| Première Suite d'Orchestre | 39 | No. 2 | F major | Allegro giojoso | 1885 |
| Première Suite d'Orchestre | 39 | No. 3 Tema con variazioni | A major | Andante | 1885 |
| Première Suite d'Orchestre | 39 | No. 4 Intermezzo | A major | Allegretto con moto | 1885 |
| Première Suite d'Orchestre | 39 | No. 5 Perpetuum mobile | F major | Vivace | 1885 |
| Première Suite d'Orchestre | 39a | Idem | Idem | Idem | 1885 |
| Première Suite d'Orchestre | 39b | Intermezzo | Idem | Idem | 1885 |
| Scherzo-Valse | 40 | — | G♭ major | Allegro | 1886 |
| Gondoliera | 41 | — | G minor | Andante con moto | 1886 |
| Trois Morceaux Poétiques | 42 | Romance | D minor | Allegretto | 1887 |
| Trois Morceaux Poétiques | 42 | Siciliano | F♯ minor | Con malinconia | 1887 |
| Trois Morceaux Poétiques | 42 | Momento giojoso | E♭ major | Molto vivace | 1887 |
| Deux Morceaux | 43 | Cortège | A minor | Allegro ma non troppo | 1887 |
| Deux Morceaux | 43 | Gavotte | — | Moderato | 1887 |
| Deux Morceaux | 43a | Cortège | Idem | Idem | 1888 |
| Der Schäfer putzte sich zum Tanz | 44 | — | D major | Allegretto | 1887 |
| Der Schäfer putzte sich zum Tanz | 44a | — | Idem | Idem | 1887 |
| Zwei Klavierstücke | 45 | Polonaise | D♭ major | Moderato | 1888 |
| Zwei Klavierstücke | 45 | Guitarre | G major | Allegro comodo | 1888 |
| Zwei Klavierstücke | 45a | Guitarre | Idem | Idem | 1888 |
| Zwei Klavierstücke | 45b | Guitarre | Idem | Idem | 1888 |
| Valse et Mazurka | 46 | Valse | F major | — | 1890 |
| Valse et Mazurka | 46 | Mazurka | G major | — | 1890 |
| Deuxième Suite d'Orchestre | 47 | Preludio | G minor | Lento | 1890 |
| Deuxième Suite d'Orchestre | 47 | Fuga | — | Un pochino più animato | 1890 |
| Deuxième Suite d'Orchestre | 47 | Scherzo | — | Molto vivace | 1890 |
| Deuxième Suite d'Orchestre | 47 | Larghetto | — | Larghetto | 1890 |
| Deuxième Suite d'Orchestre | 47 | Intermezzo | D major | Allegretto con moto | 1890 |
| Deuxième Suite d'Orchestre | 47 | Marcia | G major | Allegro con brio | 1890 |
| Deuxième Suite d'Orchestre | 47a | Preludio et Intermezzo | Idem | Idem | 1890 |
| Deux Études de Concert | 48 | — | D major | Presto | 1890 |
| Deux Études de Concert | 48 | — | C major | Allegro brillante | 1890 |
| Boabdil, der letzte Maurenkönig | 49 | — | — | — | 1888–92 |
| Balletmusik aus der Oper Boabdil | 49a | Malagueña | — | Allegro pomposo | 1892 |
| Balletmusik aus der Oper Boabdil | 49a | Scherzo-Valse | E minor | — | 1892 |
| Balletmusik aus der Oper Boabdil | 49a | Maurische Fantasia | A major | — | 1892 |
| Maurischer Marsch aus der Oper Boadbil | 49b | — | B♭ major | Allegro moderato | 1892 |
| Einzugsmarsch aus der Oper Boabdil | 49c | — | D major | Allegro | 1893 |
| Suite | 50 | First movement | G major | Allegro moderato | 1892 |
| Suite | 50 | Second movement. Air | G major | Andante malinconico | 1892 |
| Suite | 50 | Third movement. Capriccio | G major | Molto vivace | 1892 |
| Suite | 50 | Presto alla Giga | G major | Con bravura | 1892 |
| Fackeltanz | 51 | — | E♭ major | Allegro molto moderato | 1893 |
| Fackeltanz | 51a | — | Idem | Idem | 1893 |
| Sechs Fantasiestücke | 52 | Landschaftsbildchen | D major | Allegro moderato | 1894 |
| Sechs Fantasiestücke | 52 | Nachtstück | A major | Agitato | 1894 |
| Sechs Fantasiestücke | 52 | Zwiegesang | B♭ major | Andante espressivo | 1894 |
| Sechs Fantasiestücke | 52 | Die Jongleurin | E♭ major | Allegro con spirito | 1894 |
| Sechs Fantasiestücke | 52 | Maskenscherz und Demaskirung | C minor | Allegro appassionato | 1894 |
| Sechs Fantasiestücke | 52 | Beim Feste | C major | Allegro molto | 1894 |
| Laurin. Ballet in Six Tableaux | 53 | — | — | — | 1892–95 |
| Vier Stücke aus dem Ballett Laurin | 53a | Tanz der Rosenelfen | E major | Allegretto grazioso | 1895 |
| Vier Stücke aus dem Ballett Laurin | 53a | Marsch der Zwerge | E♭ major | Allegro moderato | 1895 |
| Vier Stücke aus dem Ballett Laurin | 53a | Sarabande und Double | F major | Andante | 1895 |
| Vier Stücke aus dem Ballett Laurin | 53a | Sarabande und Double | D minor | Un poco animato | 1895 |
| Vier Stücke aus dem Ballett Laurin | 53a | Valse Coquette | G major | Allegro scherzando | 1895 |
| Drei Stücke | 54 | Danse fantastique | G major | Allegretto con moto | 1895 |
| Drei Stücke | 54 | Mélodie | E minor | Andante con moto | 1895 |
| Drei Stücke | 54 | Capriccietto | E major | Allegro giojoso | 1895 |
| Polnische Volkstänze | 55 | Mazurka | E major | Allegro | 1896 |
| Polnische Volkstänze | 55 | Mazurka | G major | Allegro un poco moderato | 1896 |
| Polnische Volkstänze | 55 | Polonaise | B minor | Allegretto con moto | 1896 |
| Polnische Volkstänze | 55 | Krakowiak | G major | Allegro con spirito | 1896 |
| Polnische Volkstänze | 55a | Mazurka | Idem | Idem | 1898 |
| Polnische Volkstänze | 55a | Krakowiak | Idem | Idem | 1898 |
| Polnische Volkstänze | 55b | Idem | Idem | Idem | 1896 |
| Don Juan und Faust | 56 | Overture | — | Allegro appassionato | 1896 |
| Don Juan und Faust | 56 | Entr'acte | G major | Andante | 1896 |
| Don Juan und Faust | 56 | Sarabande | D major | Grave | 1896 |
| Don Juan und Faust | 56 | Passepied | A major | Allegro molto | 1896 |
| Don Juan und Faust | 56 | Intermezzo | A♭ major | Moderato | 1896 |
| Don Juan und Faust | 56 | Fantasmagorie | E major | Andante quasi allegretto | 1896 |
| Don Juan und Faust | 56 | Minuetto | B♭ major | Allegro | 1896 |
| Six Airs de Ballet | 56a | Idem | Idem | Idem | 1897 |
| Six Airs de Ballet | 56b | Idem | Idem | Idem | 1897 |
| Six Airs de Ballet | 56c | Sarabande | Idem | Idem | 1897 |
| Six Airs de Ballet | 56c | Passepied | Idem | Idem | 1897 |
| Frühling. Fünf Stücke | 57 | Ungeduld | E♭ major | Allegro affettuoso | 1896 |
| Frühling. Fünf Stücke | 57 | Frühlingsläuten | B♭ major | Allegretto con moto | 1896 |
| Frühling. Fünf Stücke | 57 | Blumenstück | F major | Moderato | 1896 |
| Frühling. Fünf Stücke | 57 | Zephyr | D♭ major | Allegretto animato | 1896 |
| Frühling. Fünf Stücke | 57 | Liebeswalzer | A♭ major | Tempo giusto | 1896 |
| Tristesses et Sourires | 58 | Effusion | E major | Con moto agitato | 1896 |
| Tristesses et Sourires | 58 | Consolation | A♭ major | Allegro moderato | 1896 |
| Tristesses et Sourires | 58 | Près du berceau | A♭ major | Allegretto grazioso | 1896 |
| Tristesses et Sourires | 58 | Vieux souvenir | C♯ minor | Allegro comodo | 1896 |
| Tristesses et Sourires | 58 | Historiette d'enfants | D major | Vivace | 1896 |
| Tristesses et Sourires | 58 | Mélancolie | A minor | Andante semplice | 1896 |
| Tristesses et Sourires | 58 | Rêve étrange | G major | Allegro con spirito | 1896 |
| Tristesses et Sourires | 58 | Résignation | B minor | Andante con moto | 1896 |
| Tristesses et Sourires | 58a | Près du berceau | Idem | Idem | 1896 |
| Tristesses et Sourires | 58b | Près du berceau | Idem | Idem | 1896 |
| Piano Concerto No. 2 | 59 | First movement | E major | Moderato | 1897 |
| Piano Concerto No. 2 | 59 | Second movement | C♯ minor | Andante | 1897 |
| Piano Concerto No. 2 | 59 | Third movement | C♯ minor | Scherzo vivace | 1897 |
| Piano Concerto No. 2 | 59 | Fourth movement | E major | Allegro deciso | 1897 |
| Piano Concerto No. 2 | 59a | Idem | Idem | Idem | 1897 |
| Trois Mazurkas | 60 | Mazurka | G minor | Allegro moderato | 1898 |
| Trois Mazurkas | 60 | Mazurka | F major | Allegretto graziotto | 1898 |
| Trois Mazurkas | 60 | Mazurka | D major | Con fuoco | 1898 |
| Trois Mazurkas | 60a | Idem | F major | Idem | 1898 |
| Trois Mazurkas | 60b | Idem | D major | Idem | 1898 |
| Trois Arabesques | 61 | No. 1 | A♭ major | Allegretto anomato | 1899 |
| Trois Arabesques | 61 | No. 2 | D♭ major | Allegro piacevoe | 1899 |
| Trois Arabesques | 61 | No. 3 | G major | Allegro | 1899 |
| Romance et Scherzo | 62 | Romance | A major | Andante espressivo | 1899 |
| Romance et Scherzo | 62 | Scherzo | G minor | Presto con leggierezza | 1899 |
| Trois Bagatelles | 63 | No. 1 | D major | Allegro comodo | 1899 |
| Trois Bagatelles | 63 | No. 2 | C minor | Allegro non troppo | 1899 |
| Trois Bagatelles | 63 | No. 3 | F major | Allegretto scherzando | 1899 |
| École des Doubles-Notes | 64 | Les gammes en tierces Les gammes en sixtes Les gammes majeures en quartes Gammes chromatiques | — — — — | — — — — | 1900 |
| École des Doubles-Notes | 64 | Collection d'exercices en doubles notes | — | — | 1900 |
| École des Doubles-Notes | 64 | Quatre grandes études | A♭ major B♭ major B♭ major E♭ major | Allgro molto Allegro Vivace Appassionato | 1900 |
| Neue Spanische Tänze | 65 | No. 1 | E♭ major | Allegro ma non troppo | 1900 |
| Neue Spanische Tänze | 65 | No. 2 | A minor | Andante con moto | 1900 |
| Neue Spanische Tänze | 65 | Habanera | F major | Allegretto | 1900 |
| Neue Spanische Tänze | 65a | Habanera | Idem | Idem | 1901 |
| Neue Spanische Tänze | 65b | Habanera | Idem | Idem | 1904 |
| Neue Spanische Tänze | 65c | Spanischer Tanz | Idem | Idem | 1911 |
| Trois Pensées Fugitives | 66 | No. 1 | F♯ minor | Agitato | 1900 |
| Trois Pensées Fugitives | 66 | No. 2 | E major | Allegretto con moto | 1900 |
| Trois Pensées Fugitives | 66 | No. 3 | F major | Vivo | 1900 |
| Deux Morceaux | 67 | Poème de mai | B♭ major | Con moto | 1901 |
| Deux Morceaux | 67 | Étude | G minor | Vivace | 1901 |
| Deux Morceaux | 67a | Idem | Idem | Idem | 1906 |
| Deux Morceaux | 67b | Idem | Idem | Idem | 1904 |
| Quatre Morceaux | 68 | Nocturne | F minor | Andante con moto | 1902 |
| Quatre Morceaux | 68 | Minuetto | F major | Allegro moderato | 1902 |
| Quatre Morceaux | 68 | Au crépuscule | A major | Lento | 1902 |
| Quatre Morceaux | 68 | Danse russe | B minor | Allegro con spirito | 1902 |
| Valse de Concert | 69 | — | F major | Allegro | 1902 |
| Deux Morceaux | 70 | Caprice-Étude | D minor | Veloce | 1902 |
| Deux Morceaux | 70 | Improvisation | G major | Andante con moto | 1902 |
| Suite für Zwei Violinen und Klavier | 71 | No. 1 | G minor | Allegro energico | 1903 |
| Suite für Zwei Violinen und Klavier | 71 | No. 2 | G major | Allegro moderato | 1903 |
| Suite für Zwei Violinen und Klavier | 71 | No. 3 | E minor | Lento assai | 1903 |
| Suite für Zwei Violinen und Klavier | 71 | No. 4 | G major | Molto vivace | 1903 |
| Quinze Études de Virtuosité | 72 | No. 1 | E major | Vivace | 1903 |
| Quinze Études de Virtuosité | 72 | No. 2 | G minor | Allegro brillante | 1903 |
| Quinze Études de Virtuosité | 72 | No. 3 | G major | Vivo e con fuoco | 1903 |
| Quinze Études de Virtuosité | 72 | No. 4 | C major | Allegro moderato | 1903 |
| Quinze Études de Virtuosité | 72 | No. 5 | C major | Veloce e leggiero | 1903 |
| Quinze Études de Virtuosité | 72 | No. 6 | F major | Presto | 1903 |
| Quinze Études de Virtuosité | 72 | No. 7 | E♭ major | Allegro energico | 1903 |
| Quinze Études de Virtuosité | 72 | No. 8 | C major | Allegro energico | 1903 |
| Quinze Études de Virtuosité | 72 | No. 9 | D minor | Allegro | 1903 |
| Quinze Études de Virtuosité | 72 | No. 10 | C major | Allegro | 1903 |
| Quinze Études de Virtuosité | 72 | No. 11 | A♭ major | Presto e con leggierezza | 1903 |
| Quinze Études de Virtuosité | 72 | No. 12 | D♭ major | Presto | 1903 |
| Quinze Études de Virtuosité | 72 | No. 13 | A♭ minor | Molto animato | 1903 |
| Quinze Études de Virtuosité | 72 | No. 14 | C minor | Moderato | 1903 |
| Quinze Études de Virtuosité | 72 | No. 15 | B major | Allegro | 1903 |
| Trois Morceaux | 73 | Esquisse vénitienne | A minor | Allegreto | 1904 |
| Trois Morceaux | 73 | Impromptu | A♭ major | Allegro con spirito | 1904 |
| Trois Morceaux | 73 | Course folle | G♭ major | Allegro molto | 1904 |
| Kaleidoskop | 74 | — | E♭ major | Molto allegro con fuoco | 1904 |
| Kaleidoskop | 74 | — | G minor | Presto | 1904 |
| Kaleidoskop | 74 | — | D major | Andante | 1904 |
| Kaleidoskop | 74 | — | F♯ minor | Allegro moderato e grazioso | 1904 |
| Kaleidoskop | 74 | — | B major | Allegro con spirito | 1904 |
| Kaleidoskop | 74 | — | E minor | Mesto | 1904 |
| Kaleidoskop | 74 | — | A major | Tempo di valse | 1904 |
| Deux Morceaux | 75 | Caprice | A major | Allegro con leggiereza | 1906 |
| Deux Morceaux | 75 | L'agilità | G minor | Molto allegro | 1906 |
| Trois Morceaux | 76 | Souvenir du Pausilippe | A minor | Allegretto con moto | 1906 |
| Trois Morceaux | 76 | Valse-Caprice | A major | Molto vivace | 1906 |
| Trois Morceaux | 76 | Fabliau | G major | Allegro moderato | 1906 |
| Dix Pièces Mignonnes | 77 | Tristesse | A minor | Andante | 1907 |
| Dix Pièces Mignonnes | 77 | Scherzino | C major | Allegro vivace | 1907 |
| Dix Pièces Mignonnes | 77 | Romance sans paroles | E major | Andante espressivo | 1907 |
| Dix Pièces Mignonnes | 77 | Inquiétude | A minor | Allegro molto | 1907 |
| Dix Pièces Mignonnes | 77 | Intimité | F major | Allegro comodo | 1907 |
| Dix Pièces Mignonnes | 77 | Tarentelle | D minor | Presto | 1907 |
| Dix Pièces Mignonnes | 77 | Impromptu | E♭ major | Allegro moderato | 1907 |
| Dix Pièces Mignonnes | 77 | Pantomime | E minor | Allegro con spirito | 1907 |
| Dix Pièces Mignonnes | 77 | Mélodie | D major | Allegretto | 1907 |
| Dix Pièces Mignonnes | 77 | Menuet | G major | Molto moderato | 1907 |
| Drei Etüden | 78 | No. 1 | F major | Vivace | 1907 (?) |
| Drei Etüden | 78 | No. 2 | A♭ major | Allegro grazioso | 1907 (?) |
| Drei Etüden | 78 | No. 3 | A♭ major | Moderato e cantabile | 1907 (?) |
| Troisième Suite d'Orchestre | 79 | No. 1 | A♭ major | Allegro | 1908 |
| Troisième Suite d'Orchestre | 79 | No. 2 | F major | Molto moderato (La note obstinée) | 1908 |
| Troisième Suite d'Orchestre | 79 | No. 3 | D♭ major | Tempo di valse, non troppo allegro | 1908 |
| Troisième Suite d'Orchestre | 79 | No. 4 | A♭ major | Allegro deciso | 1908 |
| Valse pour Piano | 79a | No. 3 | Idem | Idem | 1908 |
| Deux Morceaux | 80 | Pièce romantique | A♭ major | Allegretto moderato | 1908 |
| Deux Morceaux | 80 | Mit Fächer und Mantilla (Con Mantilla y Abanico) | F major | Allegro leggiero | 1908 |
| Six Morceaux | 81 | Canon | A♭ major | Allegro grazioso | 1909 |
| Six Morceaux | 81 | Allegro agitato | F minor | Allegro agitato | 1909 |
| Six Morceaux | 81 | Étude de legato | D♭ major | Moderato | 1909 |
| Six Morceaux | 81 | Humoresque | D minor | Allegro scherzando | 1909 |
| Six Morceaux | 81 | Romance | F minor | Moderato e dolente | 1909 |
| Six Morceaux | 81 | Melodia appassionata | E minor | Allegro leggiero | 1909 |
| Quatre Morceaux | 82 | Les nymphes | A minor | Allegro leggiero | 1909 |
| Quatre Morceaux | 82 | Caprice | A minor | Allegretto | 1909 |
| Quatre Morceaux | 82 | Mélodie | G major | Moderato | 1909 |
| Quatre Morceaux | 82 | Humoresque | D major | Allegro con spirito | 1909 |
| Six Morceaux | 83 | Élégie | F minor | Molto moderato ed espressivo | 1909 |
| Six Morceaux | 83 | Sur l'eau | F major | Allegretto animato | 1909 |
| Six Morceaux | 83 | Vieux pastel | G♭ major | Comodo | 1909 |
| Six Morceaux | 83 | Canon | B♭ major | Andante cantabile | 1909 |
| Six Morceaux | 83 | Chanson populaire | G major | Allegretto semplice | 1909 |
| Six Morceaux | 83 | Chanson napolitaine | G major | Vivacissimo | 1909 |
| Quatre Moments Musicaux | 84 | No. 1 | B♭ major | Con moto | 1910 |
| Quatre Moments Musicaux | 84 | No. 2 | F major | Moderato e grazioso | 1910 |
| Quatre Moments Musicaux | 84 | No. 3 | C minor | Maestoso | 1910 |
| Quatre Moments Musicaux | 84 | No. 4 | G major | Animato ma non troppo | 1910 |
| Präludium und Fuge | 85 | Präludium | D minor | Moderato | 1910 |
| Präludium und Fuge | 85 | Fuge | F major | Allegro energico | 1910 |
| Trois Morceaux | 86 | Feuillet d'album | E♭ major | Animato e con leggierezza | 1911 |
| Trois Morceaux | 86 | Gavotte | G minor | Allegro deciso | 1911 |
| Trois Morceaux | 86 | Scherzo-Étude | E minor | Presto | 1911 |
| Trois Morceaux | 87 | Complainte | C♯ minor | Andante | 1911 |
| Trois Morceaux | 87 | Offrande | D major | Animato ma non tropo | 1911 |
| Trois Morceaux | 87 | Impromptu | F major | Allegro grazioso | 1911 |
| Grande Valse de Concert | 88 | — | G♭ major | Moderato | 1912 |
| Tanz-momente | 89 | Valse-prélude | B♭ major | Allegro con fuoco | 1912 |
| Tanz-momente | 89 | Valse mignonne | G♭ major | Animato e grazioso | 1912 |
| Tanz-momente | 89 | Valse triste | B♭ major | Moderato ed espressivo | 1912 |
| Tanz-momente | 89 | Valse tendre | F major | Tempo commodo | 1912 |
| Tanz-momente | 89 | Valse-Tourbillon | A major | Vivace | 1912 |
| Introduction et Allegro pour l‘Orgue Aeolien | 90 | — | — | — | 1913? |
| Vingt Petites Études | 91 | No. 1 | G major | Con moto | 1913 |
| Vingt Petites Études | 91 | No. 2 | C major | Vivace | 1913 |
| Vingt Petites Études | 91 | No. 3 | C major | Vivace | 1913 |
| Vingt Petites Études | 91 | No. 4 | F major | Allegro | 1913 |
| Vingt Petites Études | 91 | No. 5 | B♭ major | Tempo animato | 1913 |
| Vingt Petites Études | 91 | No. 6 | E♭ major | Allegro ma troppo | 1913 |
| Vingt Petites Études | 91 | No. 7 | G major | Allegro brillante | 1913 |
| Vingt Petites Études | 91 | No. 8 | B minor | Moderato | 1913 |
| Vingt Petites Études | 91 | No. 9 | G major | Comodo | 1913 |
| Vingt Petites Études | 91 | No. 10 | G minor | Andante con moto | 1913 |
| Vingt Petites Études | 91 | No. 11 | C major | Allegro ma non troppo | 1913 |
| Vingt Petites Études | 91 | No. 12 | C major | Veloce | 1913 |
| Vingt Petites Études | 91 | No. 13 | F minor | Con moto ma non troppo | 1913 |
| Vingt Petites Études | 91 | No. 14 | C major | Animato e leggiero | 1913 |
| Vingt Petites Études | 91 | No. 15 | E♭ major | Allegro non troppo, ma molto energico | 1913 |
| Vingt Petites Études | 91 | No. 16 | G minor | Allegro energico | 1913 |
| Vingt Petites Études | 91 | No. 17 | E♭ major | Moderato e cantabile | 1913 |
| Vingt Petites Études | 91 | No. 18 | A minor | Vivo | 1913 |
| Vingt Petites Études | 91 | No. 19 | E major | Presto | 1913 |
| Vingt Petites Études | 91 | No. 20 | G♭ major | Allegro moderato | 1913 |
| 12 Études de Piano pour la Main Gauche Seule | 92 | No. 1 | C major | Allegro energico | 1915 |
| 12 Études de Piano pour la Main Gauche Seule | 92 | No. 2 | A minor | Allegro ma un poco moderato | 1915 |
| 12 Études de Piano pour la Main Gauche Seule | 92 | No. 3 | A minor | Allegro ma non troppo | 1915 |
| 12 Études de Piano pour la Main Gauche Seule | 92 | No. 4 | E minor | Allegro moderato | 1915 |
| 12 Études de Piano pour la Main Gauche Seule | 92 | No. 5 | G major | Andante espressivo | 1915 |
| 12 Études de Piano pour la Main Gauche Seule | 92 | No. 6 | G minor | Presto | 1915 |
| 12 Études de Piano pour la Main Gauche Seule | 92 | No. 7 | G major | Allegretto scherzando | 1915 |
| 12 Études de Piano pour la Main Gauche Seule | 92 | No. 8 | G minor | Veloce | 1915 |
| 12 Études de Piano pour la Main Gauche Seule | 92 | No. 9 | E♭ major | Tempo animato | 1915 |
| 12 Études de Piano pour la Main Gauche Seule | 92 | No. 10 | A♭ major | Veloce et con leggierezza | 1915 |
| 12 Études de Piano pour la Main Gauche Seule | 92 | No. 11 | D♭ major | Moderato e cantabile | 1915 |
| 12 Études de Piano pour la Main Gauche Seule | 92 | No. 12 | B♭ minor | Allegro impetuoso | 1915 |
| Six Morceaux | 93 | Miniature (Memories) | E♭ major | Moderato e grazioso | 1916 |
| Six Morceaux | 93 | Mélodie Élégiaque (Plaintive Thoughts) | F minor | Andante | 1916 |
| Six Morceaux | 93 | Au fil de l'eau (By the Stream) | G major | Con moto moderato | 1916 |
| Six Morceaux | 93 | Étude (Exultation) | A minor | Tempo animato | 1916 |
| Six Morceaux | 93 | Impromptu (Mockery) | B♭ major | Allegretto animato | 1916 |
| Six Morceaux | 93 | Mousse de champagne (Glittering Dewdrops) | D major | Presto | 1916 |
| Dix Petits Morceaux | 94 | Prélude (On Restless Seas) | G minor | Allegro energico | 1916 ca. |
| Dix Petits Morceaux | 94 | Calme du soir (Evening in the Vale) | D major | Molto moderato | 1916 ca. |
| Dix Petits Morceaux | 94 | Idylle (Waterlilies) | G major | Andante quasi allegretto | 1916 ca. |
| Dix Petits Morceaux | 94 | Étude (April weather) | G major | Vivo | 1916 ca. |
| Dix Petits Morceaux | 94 | Aux vieux temps (From long ago) | D major | Allegro con spiriro | 1916 ca. |
| Dix Petits Morceaux | 94 | Danse de la magicienne (Enchantress) | D minor | Moderato | 1916 ca. |
| Dix Petits Morceaux | 94 | Bagatelle (Southern Breezes) | F major | Allegretto anomato | 1916 ca. |
| Dix Petits Morceaux | 94 | Cantilena (Dawn in the Forest) | A major | Andante | 1916 ca. |
| Dix Petits Morceaux | 94 | Pensée fugitive (Moonbeams) | F♯ minor | Andante con moto | 1916 ca. |
| Dix Petits Morceaux | 94 | Rondo joyeuse (Midsummer) | D major | Vivacissimo | 1916 ca. |
| Cinq Pièces Brèves | 95 | Mélodie plaintive | C minor | Andante con moto | 1920 |
| Cinq Pièces Brèves | 95 | Scherzino | C major | Allegro animato | 1920 |
| Cinq Pièces Brèves | 95 | Minuetto | B♭ major | Moderato | 1920 |
| Cinq Pièces Brèves | 95 | Arabesque | F major | Allegretto grazioso | 1920 |
| Cinq Pièces Brèves | 95 | Câlinerie | B♭ major | Tempo comodo | 1920 |
| Le maître et l'élève | 96 | Prologue | C major | Allegro brioso | 1920 |
| Le maître et l'élève | 96 | Moment musical | C minor | Molto moderato | 1920 |
| Le maître et l'élève | 96 | Mélodie | E♭ major | Allegro moderato | 1920 |
| Le maître et l'élève | 96 | Air de ballet | G minor | Andante con moto | 1920 |
| Le maître et l'élève | 96 | Arabesque | B♭ major | Allegretto animato | 1920 |
| Le maître et l'élève | 96 | Berceuse | D major | Andante | 1920 |
| Le maître et l'élève | 96 | Valse | A major | Tempo moderato | 1920 |
| Le maître et l'élève | 96 | Tarentelle | C major | Molto vivace | 1920 |
| Esquisses techniques | 97 | No. 1 | C major | Tempo comodo | 1920 |
| Esquisses techniques | 97 | No. 2 | A minor | Molto allegro energico | 1920 |
| Esquisses techniques | 97 | No. 3 | C major | Allegro molto | 1920 |
| Esquisses techniques | 97 | No. 4 | F minor | Allegro ma non troppo | 1920 |
| Esquisses techniques | 97 | No. 5 | C major | Allegrissimo | 1920 |
| Esquisses techniques | 97 | No. 6 | A♭ major | Allegro assai | 1920 |
| Esquisses techniques | 97 | No. 7 | C major | Puittosto allegro | 1920 |
| Esquisses techniques | 97 | No. 8 | C major | Allegro ma non troppo | 1920 |
| Esquisses techniques | 97 | No. 9 | C minor | Tempo animato | 1920 |
| Esquisses techniques | 97 | No. 10 | G minor | Molto animato e leggero | 1920 |
| Esquisses techniques | 97 | No. 11 | B♭ major | Molto vivace | 1920 |
| Esquisses techniques | 97 | No. 12 | G minor | Allegretto | 1920 |
| Esquisses techniques | 97 | No. 13 | D major | Allegro grazioso | 1920 |
| Esquisses techniques | 97 | No. 14 | F♯ minor | Con moto ma non troppo | 1920 |
| Esquisses techniques | 97 | No. 15 | D♭ major | Presto | 1920 |
| Esquisses techniques | 97 | No. 16 | A major | Vivo | 1920 |

## Works without opus number

| Title | WV | Name | Key | Tempo | Year |
| Mazurka | 63 | — | G major | — | 1873 |
| Conservatoristen-Polka | 64 | — | G major | — | 1875 |
| Valse brillante | 65 | — | A♭ major | Allegro con brio | 1877 |
| La Danse | 66 | — | — | — | 1888 |
| Pensée fugitive | 67 | — | E minor | Andante malinconico | 1898 |
| Valse de Concert | 68 | — | E major | Allegro | 1901 |
| Valse-Impromptu | 69 | — | A♭ major | Allegro moderato | 1901 |
| Lumières du matin | 70 | — | A♭ major | Allegro moderato | 1906 |
| Valse mignonne | 71 | — | G♭ major | Moderato | 1912 |
| Momento-Scherzo | 72 | — | — | — | 1913 |
| Étude mélodique | 73 | — | A♭ major | Molto animato e leggiero | 1913 |
| Mélodie [et Morceau] | 120 | — | — | — | 1906 |
| Stücke für Violine und Klavier | 133 | — | — | — | 1865-69 |
| Quintett für Klavier und Streichquartett | 136 | No. 1 Introduction | D minor | Grave | 1872 ca. |
| Quintett für Klavier und Streichquartett | 136 | No. 2 Allegro con brio | F major | Alla breve | 1872 ca. |
| Quintett für Klavier und Streichquartett | 136 | No. 3 Minuetto | F major | Allegro assai | 1872 ca. |
| Overture | 145 | — | D major | — | 1871–72 |
| Symphony | 146 | No. 1 | D minor | Maestoso, Allegro appassionato, piu mosso | 1873 |
| Symphony | 146 | No. 2 Scherzo | F major | Vivo | 1873 |
| Symphony | 146 | No. 3 | B♭ major | Larghetto | 1873 |
| Symphony | 146 | No. 4 Finale | D minor - D major | Presto non tanto, piu mosso | 1873 |
| Zwei Lieder | 174 | Lied der Pixies | — | — | 1907 |
| Zwei Lieder | 174 | Der Regenbogen | — | — | 1907 |
| Mein Engel, Du! (La Jota) | 175 | — | D minor | Allegretto | 1884 |
| Anton Notenquetscher | 205 | Theme (Im Grunewald ist Holzauktion) | E minor | — | 1896 |
| Anton Notenquetscher | 205 | Var. 1 Czerny | — | Con velocita | 1896 |
| Anton Notenquetscher | 205 | Var. 2 Clementi | — | Allegro moderato | 1896 |
| Anton Notenquetscher | 205 | Var. 3 Bach | — | Moderato | 1896 |
| Anton Notenquetscher | 205 | Var. 4 Brahms | — | Allegretto tranquillo | 1896 |
| Anton Notenquetscher | 205 | Var. 5 Weber | — | Allegro ma non troppo | 1896 |
| Anton Notenquetscher | 205 | Var. 6 Chopin | — | Maestoso | 1896 |
| Anton Notenquetscher | 205 | Var. 7 Rubinstein | — | Con bravura | 1896 |
| Anton Notenquetscher | 205 | Var. 8 Liszt | — | Allegretto | 1896 |
| Sechs Menuette für Orchester | 210 | No. 2 (Menuett) | G major | — | 1918 |
| Violinsonate | 211 | No. 2 | C minor | Adagio cantabile | 1919 |
| Klavierkonzert No. 5 | 212 | | E♭ major | Adagio un poco moto | 1921 |
| Don Giovanni | 213 | Menuett | G major | Moderato | 1919 |
| Klavierkonzert No. 20 | 214 | 2nd movement (Romanze) | D minor | Romance | 1919 |
| Rinaldo | 215 | Lascia ch’io pianga | F major | Largo | 1919 |
| Judas Maccabäus | 216 | Chor: Seht den Sieger ruhmgekrönt! | G major | — | 1919 |
| Ein Sommernachtstraum | 217 | Nocturno | C♯ minor | Con moto tranquillo | 1919 |
| Chor aus Judas Maccabäus | 230 | Chor | — | — | — |
| Minuett aus Don Giovanni | 231 | Menuett | G major | — | — |
| Carmen | 250 | Chanson bohème | E minor | Allegretto | 1906 |
| Hoffmann's Erzählungen | 251 | Barcarole | B minor | Moderato | 1910 |
| Isoldens Tod | 252 | — | — | Lento e languido | 1910 ca. |
| Der Venusberg | 253 | Venusberg-Bacchanale | E major | Allegro | 1910–11 |
| Ungarische Tänze | 260 | No. 1 | G minor | Allegro | 1904 |
| Ungarische Tänze | 260 | No. 2 | D minor | Allegro non asai - Vivo | 1904 |
| Ungarische Tänze | 260 | No. 3 | F major | Allegretto | 1904 |
| Ungarische Tänze | 260 | No. 4 | F minor | Poco sostenuto - Vivace | 1904 |
| Ungarische Tänze | 260 | No. 5 | F♯ minor | Allegro - Viivace | 1904 |
| Ungarische Tänze | 260 | No. 6 | D♭ major | Vivace - Molto sostenuto | 1904 |
| Ungarische Tänze | 260 | No. 7 | A major | Allegretto | 1904 |
| Ungarische Tänze | 260 | No. 8 | A minor | Presto | 1904 |
| Ungarische Tänze | 260 | No. 9 | E minor | Allegro - Poco sostenuto | 1904 |
| Ungarische Tänze | 260 | No. 10 | E major | Presto | 1904 |
| Valse | 261 | No. 1 (Minute Waltz) | D♭ major | Vivace | 1919 |
| Toccata | 262 | — | C major | Allegro commodo | 1919 |
| Étude | 263 | — | — | — | 1906 |
| Jupiter Symphonie | 264 | — | — | — | 1891 |
| Havanaise | 265 | — | — | — | — |
| Zwei Etüden | ? | No. 1 | E♭ major | Allegro con brio | ? |
| Zwei Etüden | ? | No. 2 | A♭ major | Allegro ma non troppo | ? |

## Additional information

* Notes ↑ MoszWV 1 → A scherzo composed under Moszkowski's alternative name: Anton Notenquetscher. Published by Simon.
* ↑ MoszWV 2 → Album leaf is a short instrumental composition usually for piano, and quite often light in character. Published by Hainauer.
* ↑ MoszWV 160 → Moszkowski began working in his first Piano concerto, with the orchestra consisting of piano, 1 piccolo, 2 flutes, 2 oboes (English horn), 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, triangle, violin 1, violin 2, violas, cellos, and double basses, in 1873 at the age of 19 (Moszkowski played this composition, with Franz Liszt on the second piano, in a matinee in Weimar, prompting him to praise Moszkowski admiringly). While Moszkowski later dismissed his Opus. 3 as worthless, he called his Piano Concerto in E major, Op. 59, his best work. In a letter to his publisher in April 1875, Moszkowski said: "I should be happy to send you my piano concerto but for two reasons: first, it is worthless; second, it is most convenient (the score being four hundred pages long) for making my piano stool higher when I am engaged in studying better works." Dedicated to Franz Liszt, it was neglected in an archive at the Bibliothèque nationale de France for 140 years, until the manuscript was found three years prior to its premiere performance at the National Philharmonic Hall in Warsaw, Poland, with the Rzeszow Philharmonic Orchestra conducted by Vladimir Kiradjiev, and soloist Ludmil Angelov, on January 9, 2014. It was then published by Symétrie, Lyon.
* ↑ MoszWV 3 → Caprice is an instrumental free form musical composition with improvisatory style. Dedicated to Frau Helene v. Schack née v. Lynker. Published by Hainauer.
* ↑ MoszWV 5 → Fantasie is a free composition written according to the composer's imagination. Published by Hainauer.
* ↑ MoszWV 5 → Fantasie-Impromptu is a free-style composition. Composed and dedicated to Mademoiselle Johanna Wenzel. Published by Simon.
* ↑ MoszWV 6 → A free composition published by Hainauer.
* ↑ MoszWV 100 → Moszkowski began writing his first composition for piano four hands on 4 November 1875 (published in 1876), likely dedicated to Dr. Alfred Pringsheim most probably because the Trois Moments Musicaux, Op. 7 (MoszWV 6), had already been dedicated to Constantin Sternberg. After the success of this composition, and the subsequent Op. 11, it was natural for Moszkowski to write even more pieces for piano four hands. Published by Simon.
* ↑ MoszWV 80a → Arranged for piano two hands. Published by Simon. Arrangement for MoszWV 80a was probably written the same year as MoszWV 100.
* ↑ MoszWV 170 → A composition for soprano (Regina Moszkowska was for one year (probably 1902) singing teacher at the Stern Conservatory in Berlin) and piano with libretto by Wilhelm Sachs. No. 1 complete title is Die Verlassene: "Einsam dort am Bache kauert, and no. 2 is Schlaflied: "Schlaf, Bubchen, schlaf" with respective high key in D major, middle in C major, and low in B major. Published by Julius Hainauer.
* ↑ MoszWV 7 → Four little pieces for piano published by Hainauer. No. 4 is translated as: Sachs, a family surname.
* ↑ MoszWV 101 → A composition for piano four hands published by Hainauer. Dedicated to his friend Carl Wittkowsky.
* ↑ MoszWV 102 → A composition for piano four hands dedicated to his brother Alexander Moszkowski. Later publishers found, among other things, a new title for every piece: No. 1 Madrid, No. 2 Sevilla, No. 3 Barcelona, No. 4 Valencia, No. 5 Málaga. They were published by Simon. In 1902 Moszkowski wrote: I think it was about the middle of my seventeenth year that, as often happens to both old and young musicians, I was in sore need of money. I could think of only two ways to get what I wanted: to borrow or to compose something. After turning over, for several days, the advantages and disadvantages of both ways of bettering my circumstances, I concluded I would borrow. Therefore, I went to those two of my colleagues with whom I was on most familiar terms: Philipp and Xaver Scharwenka, in hope that I should not find their fortunes at so low an ebb. Philipp was at home, sitting on a sofa and smoking a pipe. I sat down by him and asked if he had a cigar. He said that he was out of cigars, but that I could smoke a pipe. So I took a pipe and looked around for tobacco, but sought and sought in vain. Finally Philipp said: "You needn’t hunt hunt any longer, Moritz; there is no tobacco here." Then I began to grow a little angry and said: "Do you know, Philipp, that is drawing it rather strong? You offer me an empty pipe, let me look for tobacco in vain and then coolly tell me there is none here, and yet you yourself are smoking. Give me some tobacco." "If you will smoke what I am smoking, I am satisfied." answered Philipp, who emptied his pipe and prepared anew by drawing out a hole in the sofa some of the sea-grass used to stuff it, which he put in his pipe. For a moment I was speechless with astonishment. Now it was clear that I could not borrow money from a man who was using his sofa for smoking. I went back home, sat down at my table, and began to look through my sketch book. A motive of Spanish character struck my eyes, and at the same moment arose the thought that I would write a set of Spanish dances. I worked rapidly, and in several days had finished my Opus 12, the Spanish Dances for four hands. I had only the last few notes to write as [Xaver] Scharwenka stepped into my room. "Good day, Moritz," he said; "you may be glad that you need not to go out, for it is wretched weather." "Since we are speaking of wretched things," said I, "what are you composing now?" "Oh, nothing," said Xaver, who was accustomed to this kind of conversational tone from me; "but you appear to be at work: do you need money?" Right you are," said I, "and you can do me a service by playing through these four-hand pieces and telling me what you think of them." We tried the dances, and then Xaver said: "I would rather have lent you some money, so that you would not have had to compose." But that was only a return thrust. An hour later I called on Simon the publisher, who promised to let me know in a few days if he would bring the pieces out. When I saw him several days later he said he had shown the pieces to several experienced critics and they had advised him to take them. The question now was, what I wanted from them. "I have a brilliant idea," I said: "I propose that you pay me an exceptionally good price which will get talked about in the papers and thus make a big stir about the pieces." But it made no impression on the publisher. He thought that so pretty pieces needed no such advertising, and besides that, Beethoven, Mozart, Schubert and others always had sold their compositions cheaply, and as a publisher he felt obliged to accept such traditions. In vain I sought to change his mind by suggesting that he ought not to compare me with Beethoven; he would listen to no distinction between us in that respect, and paid me a small price with which I finally withdrew, tolerably well satisfied, at least, to be relieved of my present necessities. When the Spanish Dances were published, several weeks later, they found a good sale. Some years later they were known everywhere, being taken up in various editions and arrangements. I consider this as one of the works which first made me known to the musical world in general. Of course the publisher profited largely by it, and all because Philipp Scharwenka had no tobacco and could not lend me money.
* ↑ MoszWV 102a → Chamber music for clarinet and piano, first published by Bote & Bock. It was orchestrated by Philipp Scharwenka (No. 2 and No. 5) and Valentin Frank (No. 1, No. 3 and No. 4) in 1880. Published by Edition Peters.
* ↑ MoszWV 171 → A composition for soprano and piano. No. 1 uses a text by Nikolaus Lenau, No. 2 by Heinrich Heine, and No. 3. Julius Wolff. Published by Hainauer.
* ↑ MoszWV 8 → A Humoresque composition characterized by pieces with fanciful humor. Dedicated to Xaver Scharwenka. Published by Hainauer.
* ↑ MoszWV 9 → A composition for piano solo. No. 1 Serenata was the first revised, personally corrected by the composer himself, Moritz Moszkowski, and authorized edition ever published in an American magazine (The Ladies' Home Journal, No. 8, July 1905). Published by Hainauer.
* ↑ MoszWV 9a → A composition for piano 4 hands (after Op. 15, No. 1). Published by Hainauer.
* ↑ MoszWV 9b → Chamber music for cello and piano (after Op. 15, No. 5). Published by Hainauer.
* ↑ MoszWV 130 → Chamber music originally composed for violin and piano and published with a companion piece, a Bolero, Op 16, No 2. No. 1 Ballade has for tempo Andante con moto (part 1), and Tempo animato, quasi allegro (part 2). This is Moszkowski earliest orchestral work (Spanish Dances, Op 12, which appeared earlier, was orchestrated by Philipp Scharwenka and Valentin Frank). No. 1 was dedicated to German composer and violin-virtuoso Gustav Hille (born 21 May 1851), who had studied at the Kullak Academy along with Moszkowski, and No. 2 Bolero to Fräulein Marianne Stresow. Published by Hainauer.
* ↑ MoszWV 130a → A ballad for violin and orchestra (after Op. 16) composed of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, harp (opt), and strings. It was dedicated to Marianne Stresow two years prior to her marriage with Philipp Scharwenka (1847-1917). Published by Hainauer.
* ↑ MoszWV 10 → A composition for piano. Published by Hainauer.
* ↑ MoszWV 10a → A Minuet for piano four hands (after Op. 17, No. 2). Published by Hainauer.
* ↑ MoszWV 11 → A composition for piano solo. Published by Hainauer.
* ↑ MoszWV 11a → Chamber music for cello and piano (after Op. 18, No. 1). Published by Hainauer.
* ↑ MoszWV 140 → A Symphonic Poem in four movements from Friedrich Schiller's Jungfrau von Orleans for orchestra (piccolo, 2 flutes, 2 oboes, 2 clarinets, 3 bassoons, 4 horns, 3 trumpets, 3 trombones, timpani, percussion, harp, and strings) without solo instrument. Titles read: No. 1 Joan's pastoral life. A vision brings them to awareness of their high position, No. 2 Internal discord - back memories, No. 3 Enter the winner to be crowned in Rheims, No. 4 Joan in captivity. Victory, death and transfiguration. The premiere of this composition was held in the Berlin Symphony Chapel under the direction of Franz Mannstädt on 23 February 1877, and the British premiere at St. James Hall in London, where he conducted the Philharmonic Society Orchestra on May 20, 1885. It was the first of a series of six concerts that he should give for the Company. Dedicated to his friend Philipp Scharwenka, it was published by Hainauer, appearing in print two years later.
* ↑ MoszWV 140a → A composition for two pianos. Published by Hainauer.
* ↑ MoszWV 12 → A Scherzo for piano. Dedicated to Monsieur Jules Zarębski. Published by Hainauer.
* ↑ MoszWV 103 → A composition for piano four hands. Published by Hainauer.
* ↑ MoszWV 172 → A composition for voice and piano dedicated to Frau Dr. Arthur Levysohn. It was published by Hainauer.
* ↑ MoszWV 104 → A composition for piano four hands later orchestrated by the composer. Also published for piano solo. Published by Hainauer.
* ↑ MoszWV 104a → A composition for orchestra. Published by Hainauer.
* ↑ MoszWV 104b → Chamber music for cello and piano (after Op. 23, No. 1). Published by Hainauer.
* ↑ MoszWV 13 → An Étude for piano and orchestra. Dedicated to Theodor Kullak. Published by Hainauer.
* ↑ MoszWV 105 → A composition for piano four hands. Published by Hainauer.
* ↑ MoszWV 173 → A composition for voice and piano with libretto by Carl Wittkowsky. Published by Hainauer.
* ↑ MoszWV 14 → A composition entitled Barcarole and Tarantelle for piano. Dedicated to Baroness Henriette Senfft von Pilsach. Published by Hainauer.
* ↑ MoszWV 15 → A small scale composition for piano. Dedicated to his friend Monsieur Henri Steinkühler. Published by Hainauer.
* ↑ MoszWV 131 → Chamber music for cello and piano. Published by Hainauer.
* ↑ MoszWV 161 → A composition in three movements for violin and orchestra composed of 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, timpani, and strings. Dedicated to Émile Sauret. Published by Bote & Bock.
* ↑ MoszWV 161a → Chamber music for violin and piano. Published by Bote & Bock.
* ↑ MoszWV 16 → A set of morceaux for piano. No. 4 was also arranged for two pianos 8 hands by F. Brissler. Published by Ries & Erler.
* ↑ MoszWV 16a → A Scherzino for two pianos 4 hands (after Op. 31, No. 4). Published by Ries & Erler.
* ↑ MoszWV 16b → A Capriccio for two pianos 4 hands (after Op. 31, No. 6). Published by Ries & Erler.
* ↑ MoszWV 17 → A composition for piano dedicated to his friend Austrian pianist and composer Alfred Grünfeld. Published by Bote & Bock.
* ↑ MoszWV 106 → A composition for piano four hands. No. 3 is also known as Pièce drôlatique (Humorous piece) in later editions. It was first published by Hainauer.
* ↑ MoszWV 18 → Morceau No. 1 was dedicated to Monsieur Théodore Ritter, No. 2. to Monsieur Louis Coenen, and No. 3. to Mademoiselle Clotilde Kleeberg. Published by Hainauer.
* ↑ MoszWV 18a → A waltz made easier by the composer for piano two hands. Published by Édition facilitée Hainauer.
* ↑ MoszWV 19 → "A composition for piano dedicated for his wife Henriette Chaminade, sister of Cécile Chaminade. Published by Hainauer. "In the 1880s, a neurological problem with Moszkowski’s arm curtailed his career as a pianist, and he became increasingly devoted to composition. In 1884, he married Henriette Chaminade, the youngest sister of Cécile Chaminade; they had two children, Marcel and Sylvia. In 1890, Henriette left Moszkowski for the poet Ludwig Fulda, and a divorce was issued 2 years later. In 1897, Moszkowski moved to Paris. Henriette died in 1900. Moszkowski’s own health deteriorated, and in 1906, he lost his 17-year-old daughter. In Berlin his home was in Genthiner Strasse, where he resided with his mother and children. The desertion of his wife, who was the pianiste Chaminade’s sister, is a subject never alluded to by him, nor does he encourage mention of it by others." Professor Bernhard Pollack (1865–1928) of Friedrich Wilhelm University, Berlin: Neurohistologist, Ophthalmologist, Pianist Lazaros C. Triarhou (2012). → Back to List of compositions by Cécile Chaminade
* ↑ MoszWV 20 → Morceau No. 1 dedicated to Madame Bertha Moszkowski, wife of his brother Alexander, No. 2 to Monsieur Arthur De Greef, No. 3 to Giuseppe Buonamici, No. 4 to Józef Wieniawski, No. 5 to W. Goldner, No. 6 to Max Schwarz, No. 7 to English pianist and composer Francesco Berger, and No. 8 to Alexander Lambert. A composition for piano. Published by Hainauer.
* ↑ MoszWV 21 → A composition for piano solo dedicated to Mademoiselle Neally Stevens. Published by Peters.
* ↑ MoszWV 22 → A composition for piano solo dedicated "To my dear mother". Published by Hainauer.
* ↑ MoszWV 141 → Composed and dedicated to the Philharmonic Society of London. Published by Hainauer.
* ↑ MoszWV 141a → Version for piano four hands. Published by Hainauer.
* ↑ MoszWV 141b → Version for piano (after Op. 39, No. 4). Published by Hainauer.
* ↑ MoszWV 23 → A Scherzo-Valse for piano two hands. Dedicated to Madame Annette Essipoff-Leschetitzky. Published by Peters.
* ↑ MoszWV 24 → A composition for piano two hands most probably with ideas borrowed very slightly in feeling and form from Mendelssohn's Venetian Gondola songs. Dedicated to Monsieur Joseph Pollack. Published by Peters.
* ↑ MoszWV 25 → A composition for piano two hands. Published by Bote & Bock.
* ↑ MoszWV 107 → A composition for piano four hands dedicated to Messier Frédéric de Schennis. Published by Peters.
* ↑ MoszWV 107a → A composition for orchestra subtitled as Fantastischer Zug. Published by C. F. Peters.
* ↑ MoszWV 200 → A composition for soli, chorus and small orchestra whose title is translated as The shepherd dressed for the dance from a scene in Goethe's Faust. Published by Hainauer.
* ↑ MoszWV 200a → A composition for piano solo arranged by the composer. Published by Hainauer.
* ↑ MoszWV 26 → A composition for piano solo. No. 1 dedicated to Monsieur Felix Dreyschock, and No. 2 to Herrn Sally Liebling. Published by Peters.
* ↑ MoszWV 26a → Chamber music for cello and piano. Published by Peters.
* ↑ MoszWV 26b → Chamber music for violin and piano (arranged by Pablo de Sarasate). Published by Peters. Often mentioned as Op 45, No. 2
* ↑ MoszWV 27 → A composition for piano solo. Published by Hainauer.
* ↑ MoszWV 142 → An orchestral composition (written for piccolo, flutes, oboes, clarinets, bassoons, contrabassoon, horns, trompe, timpani, triangle, bass drum and cymbals, trombones and tuba, harp, violin I, violin II, viola, cello, double bass, and organ) dedicated to composer Hans von Bülow. Published by Hainauer.
* ↑ MoszWV 142a → A composition for piano solo (after Op. 47, No. 1 & No. 5). Published by Hainauer.
* ↑ MoszWV 28 → An étude for piano which Moszkowski began writing between June and July 1889 (?). A year later, he wrote to his publisher Max Abraham saying: "I will send you at the same time my newly completed Op. 48 for piano (2 Concert Etudes). Although the manuscript is well written and is very accurate, I would like to ask you to send the last proof. The price for this piece is 1500 Mk. I hope you hereby agree. [...] The title is: Deux Etudes de Concert pour le Piano composée par Maurice Moszkowski - Oeuvre 48". Étude No. 1 was dedicated to Monsieur Max Pauer, and No. 2 to Paul de Schlözer. It was then published by Peters.
* ↑ MoszWV 201 → Opera in three acts with libretto by Carl Wittkowsky. Published by Peters.
* ↑ MoszWV 201a → A composition for piano solo. There may be an arrangement (MoszWV 49d) for parts Maurischer Marsch [und Einzugsmarsch] for piano four hands. Published by Peters.
* ↑ MoszWV 201b → Arranged for piano solo. Published by Peters.
* ↑ MoszWV 201c → Arranged for piano solo. Published by Peters.
* ↑ MoszWV 29 → A composition for piano solo, first published by Peters.
* ↑ MoszWV 202 → Translated as Danse aux Flambeaux (Torchlight Dance), it is an orchestral composition (Stage music) dedicated to the Corps de Ballet of the Royal Opera in Berlin, to which it was commissioned without being discussed with the directorship of the theatre where it was first performed. The Berlin premiere of the play, which was staged in samples together with the ballet music from Boabdil, caused Moszkowski much concern. It premiered in the US on 2 February 1894, in Chicago, with Theodore Thomas as conductor of the Chicago Symphony Orchestra. Published by Peters.
* ↑ MoszWV 202a → Arranged for piano published by Peters.
* ↑ MoszWV 30 → A composition for piano solo whose titles in French are: No. 1 Landscape image, No. 2 Night Piece, No. 3 Duet, No. 4 The juggler, No. 5 Carnivalesque intrigue, and No. 6 At the party. Dedicated to Frau Carrie B. Johnson, it was published by Peters.
* ↑ MoszWV 203 → Ballet music for orchestra over the poem Laurin about Theodoric the Great, with libretto by Emil Taubert and choreography by Emil Graeb. It premiered on 28 February 1896 at the Opera House of the Royal Shows in Berlin under the baton of music director Steinmann. Dedicated to Fräulein Régine Nicol. Published by Bote & Bock.
* ↑ MoszWV 203a → Arranged for piano solo (there may be a piano reduction of this composition - MoszWV 203b) whose titles translate: No. 1 Dance of the Rose Elves, No. 2 March of the Dwarfs, No. 3 Sarabande (F major) und Double (D minor), are divided in two pieces, and No. 4. Valse Coquette. Published by Bote & Bock.
* ↑ MoszWV 31 → A composition for piano solo dedicated to Frau Fannie Bloomfield Zeisler. Published by Peters.
* ↑ MoszWV 108 → A composition for piano four hands dedicated to Frau Aniela Fürstenberg. Published by Peters.
* ↑ MoszWV 108a → Arranged for orchestra (after Op. 55, No. 1 & No. 4) between May–June 1898. Published by Peters.
* ↑ MoszWV 108b → Arranged for piano solo by Moszkowski in October 1896. Published by Peters the following year.
* ↑ MoszWV 204 → Overture and incidental music. Published by Ries & Erler.
* ↑ MoszWV 204a → Arranged for two pianos four hands (after Op. 56, No. 2, No. 3, No. 5, No. 6). Published by Ries & Erler.
* ↑ MoszWV 204b → Arranged for piano four hands. Published by Ries & Erler.
* ↑ MoszWV 204c → Chamber music for violon and piano (after Op. 56, No. 3 & No. 4). Published by Enoch.
* ↑ MoszWV 32 → A composition for piano solo with titles translated as: Spring. Five Pieces No. 1 Impatience, No. 2 Spring chime, No. 3 Flower piece, No. 4 Zephyr (the God of the West Wind or the west wind personified), No. 5 Love waltz. First published by Peters.
* ↑ MoszWV 33 → A composition for piano solo whose title comes from an 1883 novel by Antoine Gustave Droz. Published by Hainauer.
* ↑ MoszWV 33a → Chamber music for violin and piano. Published by Enoch.
* ↑ MoszWV 33b → An arrangement for orchestra. Published by Enoch.
* ↑ MoszWV 162 → This piano concerto was first performed in Britain on 12 May 1898. Dedicated "à Monsieur Josef Casimir Hofmann", it was scored for brass, woodwind and strings, making also use of a harp and triangle. Composer and musical critic Hubbard William Harris provided the following musical analysis:
* "The first movement is a brilliant composition, opening with what may he taken as its principal theme, inasmuch as it furnishes most of the material for the development, and also reappears in the last movement as a climax to the whole work. The announcement of this resolute subject, by the flutes and oboes accompanied lightly by other woodwind, and deeper strings, is followed by a short solo cadenza, after which the unfolding of the musical picture begins. As this proceeds several subsidiary melodies come to notice, prominent among them being one which (while hinted at before) does not assume its formal shape until given out, grazioso, by the pianoforte alone following a short upward chromatic scale passage. This graceful subject also figures, conspicuously in the development, which after passing through a succession of interesting stages, culminates finally in a rousing climax.
* The second movement is an eloquent, nocturne-like effusion, of which the principal thematic element is the expressive subject given out softly at the commencement by the clarinet, and bassoons, staccato, and the strings, pizzicato - this being taken up shortly and carried on by the solo instrument. An agreeably contrasting intermediary section follows, after which the expressive first theme returns - now in the harp and strings against flowing figurations in the solo instrument. Lastly a short free conclusion passage leads us into the third movement.
* The vivace is a lively, sparkling composition in Moszkowski's characteristically brilliant manner, and commences with the statement of a nimble running theme by the solo instrument. After this vivacious subject and its derivatives have been worked over briefly another buoyant theme comes to notice in the flutes and clarinets, over a strumming guitar-like accompaniment in the pianoforte. The development from here runs mainly on this theme, leading finally to a short cantabile passage for the solo instrument (unaccompanied), following which the movement proceeds quickly to a dashing conclusion.
* The fourth and last movement opens with a short flourishing introductory passage which leads to the statement of a resolute theme by the solo instrument. After this has been developed at considerable length the pianoforte introduces a contrasting theme of flowing character, to which the clarinet attaches itself shortly. Presently the development of the resolute opening theme is resumed, leading to the entrance of still another subject, given out softy but decidedly by the clarinet and the violas, and worked up forthwith in alternation and combination with the resolute opening theme. The flowing second theme returns, the movement mounting thence to a climax, at the pinnacle of which the resolute opening theme of the first movement reappears in enlarged rhythm." Published by Peters.
* ↑ Piano duet → Arrangement for two pianos four hand. Published by Peters.
* ↑ MoszWV 34 → Three Mazurkas. A composition for piano. Published by Ries & Erler
* ↑ MoszWV 34a → A composition for 2 pianos (after Op. 60, No. 2). Published by Ries & Erler.
* ↑ MoszWV 34b → A composition for 2 pianos (after Op. 60, No. 3). Published by Ries & Erler.
* ↑ MoszWV 35 → A composition for piano solo, first published by Peters.
* ↑ MoszWV 36 → A composition for piano solo, first published by Peters.
* ↑ MoszWV 37 → A composition for piano solo, first published by Peters.
* ↑ MoszWV 38a → A collection of exercises for piano divided in 3 Books dedicated to Louis Diémer [1843–1919], pianist, composer and professor at the Conservatoire de Paris. Together with MoszWV 38b, Le Livre des Gammes (1904), divided in two parts: Les Gammes en notes simples (Die Tonleitern in einfachen Noten) and Les Gammes en double notes [Extraites de l‘Ecole des Doubles-Notes], it forms a work partly consistent with Opus 64 (MoszWV 38a) in 4 parts. The so-called part 5, "Observations sur le doigté" (Observations on the fingering of scales in single and double notes), is not part of this set of studies, but just commentaries on the technique used in the exercises. First published by Enoch.
* ↑ MoszWV 109 → A composition for piano four hands. No. 3 is entitled Habanera. Dedicated to Monsieur Théodore Jelowicki, it was published by Peters.
* ↑ MoszWV 109a → Arranged for piano solo. Published by Peters.
* ↑ MoszWV 109b → Arranged for orchestra without solo instrument. Published by Peters.
* ↑ MoszWV 109c → Arranged for orchestra (after Op. 65, No. 2). Published by Peters.
* ↑ MoszWV 39 → A composition for piano solo dedicated to Mlle. Maud Johnson. It was published by Edition Peters.
* ↑ MoszWV 40 → A composition for piano solo. Dedicated to Mlle. Celeste Nellis, it was published by Ries & Erler.
* ↑ MoszWV 40a → A composition for two pianos 4 hands. Published by Ries & Erler.
* ↑ MoszWV 40b → A composition for two pianos 4 hands. Published by Ries & Erler.
* ↑ MoszWV 41 → A composition for piano solo dedicated to Romanian concert pianist Mademoiselle Constance Erbiceanu (1874-1961). She studied in Leipzig and was a pupil of Karl Reinecke (1894-1898). Published by Enoch.
* ↑ MoszWV 42 → A composition for piano dedicated to Mr. Charles Förster. It was first published by Julius Hainauer.
* ↑ MoszWV 43 → A composition for piano solo first published by Enoch.
* ↑ MoszWV 135 → Chamber music for 2 violins and piano (apparently commissioned) written and dedicated to Mlle. Isabelle Levallois. First published by Peters.
* ↑ MoszWV 44 → An étude for piano solo whose subtitle is Per aspera ad astra. In a letter that Moszkowski wrote to his publisher Henri Hinrichsen on 13 February 1902 in Paris, he mentioned that these etudes would be an average about four printed pages in length and should be a kind of modern school of velocity, as they were a continuation of the difficult études of Czerny, who had among his students Theodor Kullak, founder of the Neue Akademie der Tonkunst. Dedicated to Monsieur Alexandre Michalowski, it was published by Enoch.
* ↑ MoszWV 45 → Morceau No. 1 dedicated to Mademoiselle Annie Crosby, No. 2 to Mademoiselle Eugénie Wehrmann, and No. 3 to Madame Marie Nemès. Published by Hainauer.
* ↑ MoszWV 110 → A composition for piano four hands with subtitle Miniaturbilder, dedicated to Fräulein Louise Péraux-La Roche. It was first published by Peters.
* ↑ MoszWV 46 → A morceau for piano dedicated to Mademoiselle Hélène Collin. No. 2 is an étude. Published by Junne.
* ↑ MoszWV 47 → A morceau for piano dedicated to Mademoiselle Nellie Kauffmann-Kendall. Published by Forberg.
* ↑ MoszWV 48 → A composition for piano solo dedicated to Mademoiselle Gabrielle Turpin. Published by Schott.
* ↑ MoszWV 49 → An étude for piano. Published by Schott.
* ↑ MoszWV 143 → A composition orchestra. Moszkowski wrote to his publisher, Henri Hinrichsen, on 25 August 1907 in Paris: "I have currently finished my Opus 79, a four-movement orchestral suite which I have to perform in the first half of September. The premiere in Lausanne is to make any remaining correction. The score is currently with the copyist and once it is finished, I believe it will have about 165 pages (in press maybe 150.) The first two movements are quite symphonic, the third is a waltz that will probably be playing a lot separately, and may also become a piano piece. The second movement is likely to be suitable for a single output. That is, I hope that it may be convenient for you, and if this is the case, I suggest you a fee of 3,000 Marks for it. I do not think you'll find that amount too high, especially if you consider that I will have to pay about 450 Francs for the copy of the score and 200 Francs for a sample. I intend to travel to Lausanne on September 1, therefore I would be grateful if you would let me go." This composition was dedicated to Polish composer and conductor Monsieur Alex Z. Birnbaum, and published the following year by Bote & Bock.
* ↑ MoszWV 143a → A composition for piano solo (after Op. 79, No. 3). Published by Bote & Bock.
* ↑ MoszWV 50 → Two morceaux for piano, being No. 1. dedicated to Madame Dora Bright, and No. 2. to Madame Berthe Riché. Published by Bote & Bock.
* ↑ MoszWV 51 → A morceau for piano solo. No. 1 was dedicated to Monsieur J. Joachim Nin, No. 2. to Madame Marie Panthès-Kutner, No. 3. to Madame Eugénie Schaffner, No. 4. to Monsieur Josef Lhévinne, No. 5. to Monsieur Ossip Gabrilowitsch, and No. 6. to Monsieur Léopold Godowski. Published by Schott.
* ↑ MoszWV → Chamber music for violin and piano. Dedicateers are: 1. Monsieur Pierre Sechiari, 2. Monsieur Alberto Abraham Bachmann, 3. Monsieur Israel Mendels, 4. Monsieur George Enescu. Published by Peters.
* ↑ MoszWV 52 → A morceau for piano solo. No. 1, 2 and 3 was dedicated to Monsieur Paul Braud Cahier II, who taught at the Conservatory of Marseille, and No. 4, 5, and 6 to Madame Hélène Wittkowsky. Published by Hainauer.
* ↑ MoszWV 53 → Four morceaux for piano solo written at Villa Murg in Marlotte (Seine-et-Marne), France. Published by Schott.
* ↑ MoszWV 144 → Moszkowski wrote Prelude and Fugue for string quartet, which he describes as "serious", shortly after the death of his mother Salomia on 13 April 1910. Moszkowski demanded six hundred francs for the work, but Henri Hinrichsen, his publisher from C. F. Peters, had given him more and published the work in September 1911. Shortly before that, on 17 December of that year, his Opus 85 premiered in his presence at the Covent Garden Theatre, in London, under the direction of his former pupil Thomas Beecham. By the initiative of well-known French musician colleagues such as Saint-Saëns, Massenet, Widor, Fauré, Dubois, Debussy, Dièmer, Guilmant, Paladilhe, Wormser, Moszkowski received in the fall of 1910 the rank of Chevalier of the French Légion d'Honneur. Dedicated to the Polish composer Zygmunt Stojowski.
* ↑ MoszWV 54 → Three morceaux for piano solo. There was a print error when Feuillet d'album was published by Schott as plate number 29085 on Opus 85 and 86, and Gavotte as plate number 29086. Scherzo-etude was apparently published only as Op. 85. No. 1 was dedicated to Mlle. Hélène Augustin, No. 2 to Mr. William H. Sherwood, and No. 3 to Mlle. Catherine Linn.
* ↑ MoszWV 55 → Three morceaux for piano solo. No. 1 was dedicated to Mademoiselle Yvonne Galliet, No. 2 to Monsieur Carl Stasny and No. 3 to Monsieur Sam Fleishman. It was first published by Enoch.
* ↑ MoszWV 56 → A composition for piano solo dedicated to his friend Monsieur Isidore Philipp. Published by Theodore Presser, and later by Enoch.
* ↑ MoszWV 57 → A composition for piano. No. 3 changes from B♭ minor to B♭ major as well. Published by Hainauer.
* ↑ MoszWV 128 → A composition for aeolian organ. Unpublished work.
* ↑ MoszWV 58 → An étude for piano solo dedicated to Madame M. T. Amirian who was Moszkowski' student and late life partner. Published by Leduc.
* ↑ MoszWV 117 → A composition for piano solo left hand dedicated to Monsieur Harold Bauer. Published by Enoch.
* ↑ MoszWV 59 → Six morceaux for piano solo. No. 1 (as entitled in the Schmidt edition), 2 (as entitled in the Schmidt edition), and 3 were dedicated to Monsieur André Gresse, and No. 4, 5, and 6 to Mme. Riss-Arbeau. Published by Arthur P. Schmidt.
* ↑ MoszWV 60 → Ten morceaux for piano solo. No. 1, 2, 3, 4 and 5 were dedicated to piano teacher Mme. Berte Cahn, who taught at the German Conservatory in New York, and No. 6, 7, 8, 9 and 10 to piano teacher Mme. Hélène Chaumont. No. 8 (Cantilena) is "a short poetic composition usually written for voice or an instrumental passage" (Diccionario enciclopédico de la lengua castellana - 1895). The two sets were published under the name Decameron in the US, with descriptive English titles for each of the pieces. Published by Schott, London.
* ↑ MoszWV 61 → Six morceaux for piano solo. Published by Enoch.
* ↑ MoszWV 111: → Alternative title: Huit Petits Morceaux a Piano Quatre Mains avec des Basses sur cinq notes. A composition for piano four hands dedicated to Mademoiselle Diane de Rothschild. It was first published by Enoch.
* ↑ MoszWV 62 → A composition for piano divided in two books dedicated to Mesdemoiselles Marguerite and Henriette Debrie. Published by Leduc.
* ↑ MoszWV 63 → A composition for piano solo. This was Moszkowski first published composition. It appeared in the women's magazine Der Bazar der Bazar-Actien-Gesellschaft, a kind of monthly almanac to everyday life. Published by Verlag der Bazar-Actien-Gesellschaft.
* ↑ MoszWV 64 → A composition for piano solo (such as 'Anton Notenquetscher, Op.½'). Published by Ludwig Troll, Cassel.
* ↑ MoszWV 65 → One of Moszkowski early compositions for piano solo which possibly dates from 1876-77. It was Moszkowski contribution for a 475-page collection of piano selections called the Family Gift-Book, along with those of Vincenz Lachner, Josef Löw, Xaver Scharwenka, and other composers. The book was compiled by Ernst Pauer and published by Augener, in London.
* ↑ MoszWV 66 → A composition for piano solo (such as 'Anton Notenquetscher, Op.½'). Published by Le Gaulois.
* ↑ MoszWV 67 → Another contribution of Moszkowski for a 312-page book entitled Das Klavier und seine Meister with many portraits, illustrations and facsimiles of original sheet music by Wilhelm Kienzl, Philipp Scharwenka, Eugene D'Albert, and Richard Strauss. It was compiled by Oskar Bie and published by F. Bruckmann.
* ↑ MoszWV 68 → A composition for piano solo dedicated to Monsieur F. Toledo. Published by E. Chatenay.
* ↑ MoszWV 69 → A composition for piano solo. Published by G. Schirmer.
* ↑ MoszWV 70 → A composition for piano solo translated as Morning Lights (The Ladies’ Home Journal). Published by G. Schirmer.
* ↑ MoszWV 71 → A composition for piano solo. Published by Hainauer.
* ↑ MoszWV 72 → A composition for piano solo. Published by Senart.
* ↑ MoszWV 73 → A composition for piano solo divided into two parts. The first section consists of a melody played in A♭ major and the second section in two different keys, C minor and A♭ major again, with the third section leading to a coda. It was published by Saint Louis: Art Publication Society.
* ↑ MoszWV 120 → A composition for two pianos 4 hands (also appeared in an edition with Poème de Mai, Op 67. Deux Morceaux pour deux pianos à quatre mains par Maurice Moszkowski). Published by Ries & Erler.
* ↑ MoszWV 133 → One of Moszkowski early works together with MoszWV 136. At the time of his life he was taking lessons at the Dresden Conservatory with Prof. Leonhardt (piano), Mr. Risch Biele (harmony), and violin lessons. He left school and was taught by private tutors. Unpublished work.
* ↑ MoszWV 136 → Quintet for piano, 2 violins, viola, and violoncello. One of Moszkowski early works together with MoszWV 133. Unpublished work.
* ↑ MoszWV 145 → A composition for large orchestra written in the winter 1871-72. Moszkowski Overture for orchestra had been considered lost, but was found during the research for this catalog of works in Paris. Also, Moszkowski fellow student Jean Louis Nicodé wrote an overture at the Academy. In the original handwritten abbreviations instrumentation: Flauto I,Flauto II, Oboe, Clarinet in A, Bassoon, Cornet in D, Horn in D, Timpani in D and A, Trombone Alto, Trombone Tenore, Trombone Basso, Violin I, Violin II, Viola, Cello, and Basso. Unpublished work.
* ↑ MoszWV 146 → A composition for orchestra written in the summer of 1873. Moszkowski Overture for Orchestra and Symphony had been considered lost and found during the research for this catalog of works in Paris. Also, Moszkowski fellow student Jean Louis Nicodé wrote a symphony at the Academy. Unpublished work.
* ↑ MoszWV 174 → A composition for female voice and piano. No. 1 translated as Song of the Pixies (adapted from words of Samuel Taylor Coleridge) and No. 2 The Rainbow (adapted from words of Mrs. Heman). Published by Augener.
* ↑ MoszWV 175 → A composition (La jota) for soprano and piano. Published by Saint Louis: Kunkel Bros.
* ↑ MoszWV 205 → Anton Notenquetscher at the piano. Variations in the style of modern composers, from Czerny to Liszt. Published by Steinitz. A composition written on the occasion of a ceremony to Carl Bechstein's seventieth birthday on June 1, 1896.
* ↑ MoszWV 210 → Transcription for piano of Beethoven's Sechs Menuette für Orchester (the original version is lost, only an arrangement for piano is extant) in G major, WoO 10, No. 2.
* ↑ MoszWV 211 → Transcription for piano of Beethoven's Adagio cantabile aus der Violinsonate in C minor, Opus 30, No. 2.
* ↑ MoszWV 212 → Transcription for piano of Beethoven's Piano Concerto No. 5 (Emperor) in E♭ major, Opus 73. This fragment of Beethoven's Emperor Concerto was transcribed by Moszkowski in 1921.
* ↑ MoszWV 213 → Transcription for piano of Mozart's Menuett aus der Oper Don Giovanni, K. 527 (the final part of Act I).
* ↑ MoszWV 214 → Transcription for piano of Mozart's Romanze aus dem Klavierkonzert No. 20, KV 466.
* ↑ MoszWV 215 → Transcription for piano of Händel's Aria Lascia ch'io pianga aus Rinaldo.
* ↑ MoszWV 216 → Transcription for piano of Händel's Act III Chor (See the Conquering Hero Comes), aus dem oratorio Judas Maccabäus, HWV 63.
* ↑ MoszWV 217 → Transcription for piano of Mendelssohn's Nocturne aus Ein Sommernachtstraum, (Midsummer Night’s Dream) Opus 61.
* ↑ MoszWV 230 → Transcription for piano four hands of Handel's Chor aus Judas Maccabäus, HWV 63.
* ↑ MoszWV 231 → Transcription for piano four hands of Mozart's Menuett from the opera Don Giovanni, KV 527.
* ↑ MoszWV 250 → Transcription for four hands of Georges Bizet's Chanson bohème from the Opera Carmen. Dedicated to Monsieur Moriz Rosenthal. Published by Hainauer.
* ↑ MoszWV 251 → Transcription of Jacques Offenbach's The Tales of Hoffmann for piano. Dedicated to Mademoiselle Elizabeth Strauss. Published by Peters.
* ↑ MoszWV 252 → Paraphrase for piano of Richard Wagner's Tristan und Isolde's final scene. Dedicated to Ferruccio Busoni. Published by Peters.
* ↑ MoszWV 253 → Paraphrase for piano of Richard Wagner's scene Venusberg-Bacchanale from Tannhäuser. Dedicated to Mark Hambourg. Published by Peters.
* ↑ MoszWV 260 → Transcription for piano solo of Brahms' Ungarische Tänze, WoO 1. Published by Augener Limited.
* ↑ MoszWV 261 → Transcription for piano of Frédéric Chopin's Minute Waltz, Opus 64, No. 1. Dedicated to Countess Delfina Potocka, née Komar. Published by Peters.
* ↑ MoszWV 262 → Transcription for piano of Carl Czerny's Toccata, Opus 92. Published by Julius Hainauer.
* ↑ MoszWV 263 → Transcription for piano solo of Carl Czerny's Étude.
* ↑ MoszWV 264 → Transcription for two pianos (four hands) of Mozart's Jupiter Symphonie.
* ↑ MoszWV 265 → Indication of the existence of Saint-Saëns's Havanaise (manuscript) in France (private property).
* ↑ Étude → The two études attributed to Paul de Schlözer and published by him as Op. 1 (his only known published work), are believed by some historians to have actually been written by Moszkowski. The similarities between de Schlözer's Étude No. 2 in A♭ major and the 11th of Moszkowski’s 15 Études de Virtuosité, Op. 72, also in A♭ major, are striking. However, it may be that these similarities themselves gave rise to the legend that the de Schlözer pieces were written by Moszkowski. The story goes that Moszkowski wrote them, but lost the manuscript in a card game to Schlözer, who first published them in Viena through Schreiber in 1875-1876 as his own works.
* References
* Sadie, Stanley; Tyrrell, John (2001); The New Grove Dictionary of Music and Musicians, Grove, New York, ISBN 9781561592395
* Assenov, Bojan (2010); Moritz Moszkowski (1854–1925). Biographie und Werkverzeichnis, Göttingen, Hainholz Verlag, ISBN 9783869882109
* Feofanov, Dmitry (1984); I. Glinka, Michail; Rare Masterpieces of Russian Piano Music Ed. Dover Publications, New York, ISBN 9780486246598