Two pieces on themes from La muette de Portici Tarantelle di bravura d'après la tarantelle de La Muette de Portici Grosse Fantasie über 'God Save the Queen' und 'Rule Britannia' The Grosse Fantasie was a reworking of the Grande paraphrase de concert. Grove says this was unfinished, and refers to it as 'Fantasia on English themes' (piano solo). Grande paraphrase de concert sur ' God Save the Queen' et 'Rule Britannia' 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. The Alleluja was based on themes from Liszt's own Cantico del sol di San Francesco d'Assisi, S.4. Three-part madrigal Nous voyons que les hommes (S.384) was based on a mazurka that has often been misattributed to Alyabyev, but was in fact written by Mikhail Vielgorsky. Note: The Mazurka pour piano composée par un amateur de St. 2 was Chanson bohémienne, after a work by Pyotr Bulakhov 4), but he used only the Ave verum corpus component.Īlexander Alyabyev Original work À la chapelle Sixtine was the basis of the third movement ( Preghiera) of Tchaikovsky's 'Mozartiana' (Orchestral Suite No.Rather than imposing this penalty, however, the Pope later congratulated Mozart on his genius). (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. This piece combines Allegri's Miserere with Mozart's Ave verum corpus, K.618 (1791).À la chapelle Sixtine (organ version: Evocation à la Chapelle Sixtine)

Virág-dal ( Chant des Fleurs), piano, Op. Tamássy József kedvelt dalai, 16 Hungarian folksongs, voice and piano: The last composer to die whose works Liszt dealt with was Géza Zichy (1849–1924). 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 earliest-born composer whose works Liszt dealt with was Orlande de Lassus (born c. In most cases, Liszt arranged only one or two pieces by a composer, but he delved more deeply into the works of Bach, Beethoven, Berlioz, Donizetti, Mendelssohn, Meyerbeer, Mozart, Rossini, Schubert, Verdi, Wagner, and Weber. 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. These treatments included transcriptions for other instruments (predominantly solo piano), arrangements, orchestrations, fantaisies, reminiscences, paraphrases, illustrations, variations, and editions. This article lists the various treatments given by Franz Liszt to the works of almost 100 other composers. Franz Liszt, after an 1856 painting by Wilhelm von Kaulbach

Score for franz lizt polinese