The big influence on his performing style once Adam was gone came from his meetings with the forty year old Paganini. when I'm dreaming") after Victor Hugo, composed at end of December 1841 in Berlin. With some works from the end of the Weimar years a development commenced during which Liszt drifted more and more away from the musical taste of his time. (3) Lieder zu Tannhäuser (Komponiert von Otto Lessmann): 3 Stücke aus der Legende der heiligen Elisabeth: San Francesco (Preludio per il Cantico del Sol), Cantico del Sol di San Francesco d'Assisi, Excelsior! In addition, he was a music promoter who acted as friend and … Older R. numbers for Peter Raabe's catalogue[H], now largely out of date and superseded by the Searle catalogue, though still in common use, are not included in this list. According to Liszt's remark at the end of the autograph score, "La Notte" should be played at his own funeral. Since Liszt had in many cases offended against those rules, he was accused of never having had a proper grasp of the German Lied. After Liszt had praised the songs, he wrote: As consequence, during the Weimar years Liszt not only revised most of his early songs, but rewrote them, giving a much more unpretentious style to them. Whenever they met they did it with nearly friendly manners. [M] [O] There were the composer's emotions at the one side and emotions of a listener at the other side. Grand Duo concertant (sur la romance de M. collaborative composition with an unknown musician; unpublished, arr of S.196; alternate version for vc pf as S.130ii, for vn pf (+harm) as S.130iii; arr for small-orch as S.710a, arr of S.196; alternate version for vc hp pf harm as S.130i, for vn pf (+harm) as S.130iii, arr of S.196; alternate version for vc hp pf harm as S.130i, for vc pf as S.130ii, arr of S.197; alternate version of S.131ii, arr of S.197; alternate version of S.131i, arr of S.527; alternate version of S.132ii, S.132iii, arr of S.527; alternate version of S.132i, S.132iii, arr of S.527; alternate version of S.132i, S.132ii, arr of extract from S.107/1; 1st perf 22 Oct 1881 Rome for str qt; unpublished (in private collection); Schnapp.84, arr of S.200ii; alternate version of S.134ii, arr of S.200ii; alternate version of S.134i; 1st version of S.134a, using theme from the Prelude of S.6; arr for pf as S.202, for org as S.267, published as Op.6; originally intended as 1st series of 48 exercises; 1st version of S.137, S.139, intended for 2nd series of 48 exercises (with S.136 as the 1st series), introduction uses intro from S.150; 1st version of S.139/7, 3rd version of S.136/4, S.137/4, S.139/4; arr for orch as S.100i, 3rd version of S.136/7, S.137/11; themes used in S.166o, preludio based on No.5 (transposed from A minor) and the etude based on No.6 of, 2nd version of S.140/1, S.141/1, incorporating No.2 of, 2nd (difficult) version of S.140/4a, S.141/4; the original published edition included both S.140/4a and 4b versions, 2nd version of S.140/3, based on Paganini's 2nd Violin Concerto only and not the 1st and 2nd together as in S.140/3, Album-Leaf ("Introduction to the Grande Étude de Paganini No.6"), the original Theme of these Variations was used in S.125a; published as Op.1, (7) Variations brillantes sur un thème de Rossini, published as Op.2; the Theme of these Variations is 'Ah, come nascondere la fiamma' from the opera, Impromptu brillant sur des thèmes de Rossini et Spontini, theme used in S.125a; published as Op.4/1; arr for orch as S.700a, theme used in S.125a; published as Op.4/2, Grand solo caractéristique d'apropos une chansonette de Panséron, 1st version of S.154ii, S.172a/8, S.173/4, 2nd version of S.154i, S.172a/8, S.173/4; later intended to be No.1 for S.171d, published 1841 by Richault (Paris) as "Album d'un voyageur: Prèmiere année (Suisse)", main theme from S.153b; 1st version of S.160/1, based on folk melodies and popular art songs; published 1840 by Latte (Paris) as "Album d'un voyageur: 2me année (Suisse)", 1st part of S.156/7b, S.156/7c (the three parts are one piece), based on various unidentified folk/popular melodies; 2nd part of S.156/7a, S.156/7c (the three parts are one piece); themes used in S.160/8, 1st version of S.160/3; 3rd part of S.156/7a, S.156/7b (the three parts are one piece), based on a folk horn call and an unidentified Hungarian march; 1st part of S.156/8b, S.156/8c (the three parts are one piece), based on various unidentified folk songs including a (Polish) polonaise; 3rd part of S.156/8a, S.156/8b (the three parts are one piece), 1st part of S.156/9b, S.156/9c (the three parts are one piece), based on an unidentified Hungarian folk/popular theme; 3rd part of S.156/9a, S.156/9b (the three parts are one piece), 1st version of S.156a; originally published 1836 by Knop (Basle) as "Schweizerische Alpenklänge", Op.10, Fantaisie romantique sur deux mélodies suisses, second theme used in S.160/8; published as Op.5 No.2, arr of S.270i/2; 1st version of S.161/4; later intended to be No.11 for S.171d, opening from S.701e; 1st version of S.158b, S.158c, S.161/7, fragment (2nd subject) from S.158c; published 1988, 2nd version of S.156/4; arr for vn vc pf by, 2nd version of S.157a; arr alt fch org/harm as S.60, 2nd version of S.157b; themes used in S.112/2, 1st version (1st sketch) of S.162a/ii, S.162a/iii, S.162a/iv, S.162a/v, S.162a/vi, S.163/1, S.672c, 2nd version (1st draft) of S.162a/i, S.162a/iii, S.162a/iv, S.162a/v, S.162a/vi, S.163/1, S.672c, 3rd version (2nd draft) of S.162a/i, S.162a/ii, S.162a/iv, S.162a/v, S.162a/vi, S.163/1, S.672c, 4th version (3rd draft) of S.162a/i, S.162a/ii, S.162a/iii, S.162a/v, S.162a/vi, S.163/1, S.672c, 5th version (4th draft) of S.162a/i, S.162a/ii, S.162a/iii, S.162a/iv, S.162a/vi, S.163/1, S.672c, 6th version (5th draft) of S.162a/i, S.162a/ii, S.162a/iii, S.162a/iv, S.162a/v, S.163/1, S.672c, Sunt lacrymae rerum (in ungarischer Weise), 8th (final) version of S.162a/i, S.162a/ii, S.162a/iii, S.162a/iv, S.162a/v, S.162a/vi, S.672c; arr for 2vn va vc as S.378i, for 2vn va vc db as S.378ii, Album-Leaf ("Andantino in E major") ("Valse mélancolique"), themes used in S.242/11, S.244/3; written for, Album-Leaf ("Adagio — religioso in C major"), Album-Leaf ("Andante religioso in G major"), Album-Leaf ("Andante religiosamente in G major"). [20] In any case, a program should only be added to a piece of music if it was necessarily needed for an adequate understanding of that piece. Liszt had good reasons for resisting his critics. But Liszt had to change his plan. The second volume contained songs with lyrics by Hugo. •••••••••••••••• •••••••••••••••• Muž njegove kćeri Richard Wagner proriče mu da će propasti zbog svog viteškoga duha. Both of these are mistakes and do not correspond to any of the official catalogues (there is no S.212b). In letters of 1860 Liszt told, some of his songs had at occasions been sung. [10] The printed volume contained the songs "Du bist wie eine Blume", "Dichter, was Liebe sei", "Vergiftet sind meine Lieder", "Morgens steh' ich auf und frage", "Die todte Nachtigall", and "Mild wie ein Lufthauch im Mai". Aus der Musik zu Hebbels Nibelungen und Goethes Faust: arr of extract from the incidental music to, arr of No.2 of part I of the incidental music to, arr of Nos.2 and 3 of part II of the incidental music to, Symphonisches Zwischenspiel zu Über allen Zauber Liebe (Intermezzo von Eduard Lassen). An example of this kind is Schubert's Lied "Das Wirtshaus" of his cycle "Die Winterreise". Occasionally, while the first half of a period was composed with inspiration, the second half was added with mechanical routine. wikipedia These 3 choruses were also published as a set by ? In 1839 in Italy, Liszt composed the song "Angiolin dal biondo crin". [V]. Numbers one and three are perhaps the best known of the four waltzes, the first being composed between 1859 and 1862. 2nd version of S.259; unpublished?, lost? [11] However, the contemporaries had much to criticize with regard of the style of the songs. Most of his music is for the piano and much of it requires formidable technique. Published 1964 as edited and arranged from the manuscript by violinist. All fantasies and transcriptions on Italian subjects were, of course, to be neglected. As a special case, Liszt also made piano arrangements of his own instrumental and vocal works. Composed in Weimar in June 1875. A prolific composer, Liszt was one of the most prominent representatives of the New German School (German: Neudeutsche Schule). Manuscript of cello & piano version in the Mahler Musical Library in Paris since 1991, violin & piano version in private collection since 1935. ); incomplete sketch; probably related to S.125a, Melodie in Dorische Tonart (Prose des Morts), incomplete sketch of the opening of S.158a, incomplete sketches on the same manuscript. In his essay about Berlioz and the Harold-Symphony, he himself took the point of view that there had been program music in all times. The first publication included the original ending to the 3rd mvt (without the choral section). They are given correctly here. An example from 1885 is a new version of his transcription of the "Pilgerchor" from Wagner's "Tannhäuser". and Nuages gris of the 1880s. They are in most cases written in a more conventional style. Franz Liszt (1811–1886) Alternative names: Franz Ritter von Lisz, Liszt Ferencz, Ritter von Liszt: Description: Hungarian composer, conductor, educator and pianist: Date of birth/death: 22 October 1811 31 July 1886 Location of birth/death: Doborján, Kingdom of Hungary (present-day Raiding, Burgenland, Austria) Bayreuth: Work period In Wikipedia. The harmonies, supporting that mood, should be comparatively simple, without strong modulations. [P] Soirées de Vienne (Valses-caprices d'après François Schubert): different themes than S.431a; 2nd version of S.431b, Miserere du Trovatore (Paraphrase de concert), based on the quartet from Act III of the opera, Finale de Don Carlos (Coro di festa e Marcia funebre), arr of the finale ("Ce jour est plein d'allégresse") from the opera, Agnus Dei della Messa da Requiem di Giuseppe Verdi, 2nd version of S.437i; arr for org/harm as S.675c/ii, based on themes from the revised version of the opera, based on the battle-hymn "Santo spitiro cavaliere" (Act III, No. But also in his edition the composer Liszt of this time does not exist. ): For example, see the review of Liszt's third volume in the. [R] [1] [2] [3] Seu nome em húngaro é Liszt Ferenc.Liszt ganhou fama na Europa durante o início do século XIX por sua habilidade como pianista virtuoso. Liszt himself, as it seems, shared their opinion. Further impressions can be drawn from the edition in twelve volumes of Liszt's piano works at Edition Peters, Leipzig, by Emil Sauer. "Thoughtful", the English word, was a nickname, used by Liszt for him himself in his early letters to Marie d'Agoult. For the finale of his Op. Liszt's posthumous fate was of similar kind. (Hymne des marins avec Antienne approbative de Notre Tout Saint Père Pie IX), arr of S.766; based on S.261; rev as S.3/8, Mihi autem adhaerere (Offertoire de la messe du patriarche séraphique San François), arr for pf as S.504i, for harm as S.667c, for v org/harm as S.681, uses material from S.702; 1st version of S.42ii, S.42iii, 2nd version of S.42i, S.42iii; arr for pf as S.729, Der Herr bewahret die Seelen seiner Heiligen, probably misattributed to Liszt, who arr the pieces as S.504b and S.669a, arr for pf as S.504b/3a, for ch org as S.669a/1, arr for pf as S.504b/3, for v ch/org as S.669a/2, for ch org as S.51, arr for pf as S.504b/5, for v org as S.669a/3, arr for pf as S.504b/6, for v org as S.669a/4, arr for pf as S.504b/7, for v pf/org as S.669a/5, arr for pf as S.504b/10, for v org as S.669a/6, arr for pf as S.504b/11, for v org as S.669a/7, Meine Seel' erhebt den Herrn! Liszt's contemporary critics measured his songs with expectations derived from Lieder by Schubert and other German masters. 3 and 10. It means that there was a subject of non-musical kind, the "program", which was in a sense connected with a sounding work. [Lyubila ya] (I Loved!) "Les Jeux d'Eaux à la Villa d'Este" ("The Fountains of the Villa d'Este"), composed in September 1877 and in usual sense well sounding, foreshadows the impressionism of pieces on similar subjects by Debussy and Ravel. 13, is a melody by the father of Ernestine von Fricken, Schumann's first fiancée. Liszt, unpublished; arr for 2pf as S.647. Liszt – la partie du violon par J. Joachim) (Hungarian Rhapsody No.XII). S.24 and S.27 were published with reversed titles, S.24 as "Te Deum II", S.27 as "Te Deum I", and they are erroneously listed as such in some older catalogues. [S] Giuseppe Buonamici's version is considerably cut from the original, but approved by Liszt, with added passages by Liszt linking the two pieces together. 13; 1st part of Réminiscences only (for 2nd part see S.398); based on themes (mostly the closing sextet) from the opera, Marche et Cavatine de Lucia di Lammermoor, 2nd part of Réminiscences S.397; based on themes (mostly the scene at the tomb) from the opera. 3 Reviewed in the United States on June 11, 2009 This CD is another in the series of great Liszt recordings by Jorge Bolet. The following remarks of spring 1879 by Eduard Hanslick are of a comparatively friendly kind. Franz Liszt (22 October 1811 – 31 July 1886) was a Hungarian virtuoso pianist and one of the most important composers of the Romantic era. Aug 1849 Weimar? The unpublished manuscript was identified in the Liszt Museum at Weimar in 1894, and was still present as late as 1901, but as of 1993 its whereabouts are unknown. In contrast to this, Hanslick claimed that the possibilities of music were not sufficiently precise. It was also presumed, that the piano accompaniment was easy to play. 4th version of S.97i, S.97ii, S.97iii; published 1856; arr for pf as S.511a, for pf4h as S.591, for 2pf as S.637, 1st perf as the "Overture" to a performance of, 2nd version of Overture from S.69i; 1st perf this version 18 Oct 1855 Brunswick cond Liszt; arr for pf4h as S.593, for 2pf as S.639, arr of S.138; 1st version of S.100ii; unpublished, 2nd version of S.100i; 1st perf this version 16 April 1854 Weimar cond Liszt, published 1856; arr for pf as S.511c, for pf4h as S.594, for 2pf as S.640, 1st version of S.101ii; 1st perf this version as Introduction to a performance of, 2nd version of S.101i; published 1861; arr for pf as S.511d, for pf4h as S.595, 2nd version of 1st mvt of S.690; arr for pf4h as S.596a, for 2pf as S.642, based on S.358a; 1st perf 8 Sept 1856 Pest cond Liszt; arr for pf as S.511e, for pf4h as S.596, for 2pf as S.643, 1st version of S.104ii; 1st perf as an introduction to a private performance of, 2nd version of S.104i; 1st perf this version 2 July 1876 Sondershausen cond, 1st perf 29 Dec 1857 Weimar cond Liszt; arr for pf4h as S.596b, for 2pf as S.645, 1st perf 5 Sept 1857 Weimar cond Liszt; arr for pf4h as S.596c, for 2pf as S.646; extract arr for pf as S.167e; 2nd theme used in S.114, Von der Wiege bis zum Grabe (Du berceau jusqu'à la tombe), 1st version of S.108ii, S.108iii; sketched late 1830s to 1840s, 1st complete draft 1854, complete score finished 1857, 1st perf this version 5 Sept 1857 Weimar cond. Examples are Liszt's Symphonic Poems, his Symphonies after Faust and Dante, his two Legends for piano and many others. "Mein Stamm sind jene Asra, die sterben, wenn sie lieben." Nuages gris (gray clouds, S. 199) is awesome and moody and probably around an RCM grade 7 level. He just did not like some of Liszt's works as music. ): The transcriptions of the second volume were for the first time published 1985 in volume I/18 of the. フランツ・リスト（ドイツ語: Franz Liszt ）、もしくはリスト・フェレンツ（ハンガリー語: Liszt Ferenc 、1811年 10月22日 - 1886年 7月31日）は、王政ハンガリー出身で 、現在のドイツやオーストリアなどヨーロッパ各地で活動したピアニスト、作曲家。. These 12 choruses were published as a set by Kahnt (Leipzig) in 1861. Les préludes ("Preludes" or "The Beginnings"), S.97, is the third of Franz Liszt's thirteen symphonic poems.The music was composed between 1849–55, and began as an overture to Liszt's choral cycle Les quatre élémens (The Four Elements), then revised under inspiration from the French poet Alphonse de Lamartine.Its premiere was on 23 February 1854, conducted by Liszt himself. quand je dors" ("Oh! Still later, in a letter to Marie d'Agoult of November 15, 1864, Liszt wrote: This last point of view is very much resembling Hanslick's opinion. These pieces were published as a set by Kahnt (Leipzig) in 1852, and each individual piece is marked as "transcribed by Corno", though the title of the set is not so marked. But also in this genre Liszt arrived at a problematic end. For example, see his letter to Marie d'Agoult of October 8, 1846, in: Liszt-d'Agoult: While "Klappern" is "rattling" or "clattering" and "Geschirr" is "dishes", "Klappern im Geschirr" is a German idiom meaning 'a thing not properly made'. Années contains some pieces which are loose transcriptions of Liszt's own earlier compositions; the first "year" recreates his early pieces of Album d'un voyageur, while the second book includes a resetting of his own song transcriptions once separately published as Tre sonetti di Petrarca ("Three sonnets of Petrarch"). In this sense "Il penseroso", i. e. "Thoughtful", means "Liszt". Translated from French, after: Liszt-d'Agoult: The inscription "In magnis et voluisse sat est" ("In great things, to have wished them is sufficient") had in Liszt's youth been correlated with his friend Felix Lichnowski. Liszt's Piano Concerto No. [24] Liszt's last song transcription was on Anton Rubinstein's "Der Asra" after a poem by Heine. In this sense the music would not paint the landscape, but it would match the landscape in a third category, the mood. They were a first volume with his Wagner transcriptions, and two further volumes with his arrangements of Beethoven's symphonies. [26] With very few exceptions, the composer Liszt of the 1870s and 1880s did not exist in their repertoire. September 1857), Weimars Volkslied (Von der Wartburg) (Zur Enthüllung des Carl August Denkmals in Weimar am 3. A single song, "Go not, happy day" after Alfred Tennyson, is in English. (Gott sei uns gnädig und barmherzig) (Der Kirchensegen), arr for org as S.669b, for pf4h as S.583, for pf as S.504, based on a chorus by Giuseppe Baini; Liszt's authorship of choral parts doubtful; arr for org as S.669c, for pf as S.506b, arr (setting) of S.161/1 to Ave Maria Latin or German text; arr for org/harm as S.671a, for v 2pf as S.700g, Festkantate zur Enthüllung des Beethoven-Denkmals in Bonn (Was versammelt hier die Menge), arr for pf4h as S.584; beginning and end of the 1st mvt arr for pf as S.507, 1st version of S.69ii, S.69iii; Overture 1st version of S.99; 1st perf this version 24 Aug 1850 Weimar cond Liszt; No.4 arr for pf as S.507a; No.5 arr for pf as S.692e, 2nd version of S.69i, S.69iii; No.4 arr for pf as S.508, for pf4h as S.585, 3rd version of S.70i, S.70ii; themes used in S.114, Gaudeamus igitur (Humoreske, Zur Feier des hundertjährigen Jubiläums der Akademischen Konzerte zu Jena 1870), Das deutsche Vaterland I (Was ist das deutsche Vaterland? The exact dates for some of the pieces are as given in Liszt's hand on the manuscript. Further songs were published 1883. Liszt, in some of his works, supported the idea of program music. 1st version of S.168ii; later intended to be No.4 for S.171d, uses themes from S.189b; 2nd version of S.171d/4, 1st version of S.172a/7, S.173/6; arr (set) for fch pf/harm (+hp) as S.19i; later intended to be No.9 for S.171d, 1st version of S.172a/11 and S.173/3; intended to be No.2 for S.171d, possibly intended as an "alternative" for No.6, 2nd version of S.171a/1; arr for vc pf/org/harm by Liszt and, 2nd version of S.171a/4; arr for org/harm by Liszt and, 2nd version of S.171a/5; arr for org/harm by Liszt and, new coda uses theme from S.171d/4; 2nd version of S.171a/6; arr for org/harm as S.672d/4, 4th version of S.154i, S.154ii, S.172a/8; themes used in S.16i, simplified version as S.175/2a; arr for orch as S.113a/2, for 2ten 2bass mch org/harm (+3 tbn timp) as S.28, 2nd version of S.175a; arr for 2pf as S.258i, for pf orch as S.365, based on the basso continuo of the 1st mvt (Sinfonia) of the cantata, uses same theme and some fragments from S.179; the Theme of the Variations is the basso continuo of the 1st mvt ("Sinfonia") of the Cantata, 1st version ("Paris manuscripts") of S.186; arr for pf4h as S.612a, 1st version of S.186/1; arr for pf4h as S.612a/1, 1st version of S.186/2; arr for pf4h as S.612a/2, 1st version of S.186/3; arr for pf4h as S.612a/3, 1st version of S.186/4; arr for pf4h as S.612a/4, 1st version of S.186/5; arr for pf4h as S.612a/5, 1st version of S.186/6; arr for pf4h as S.612a/6, 1st version of S.186/7, S.186/7a; arr for pf4h as S.612a/7, 1st version of S.186/8; arr for pf4h as S.612a/8, 1st version of S.186/9; arr for pf4h as S.612a/9, 1st version of S.186/10; arr for pf4h as S.612a/10, 1st version of S.186/11; arr for pf4h as S.612a/11, 1st version of S.186/12; arr for pf4h as S.612a/12, 2nd version of S.185a; arr for pf4h as S.613, 2nd version of S.185a/1; arr for pf4h as S.613/1, 2nd version of S.185a/2; arr for pf4h as S.613/2; rev for ten fch org/harm as S.49, 2nd version of S.185a/3; arr for pf4h as S.613/3, 2nd version of S.185a/4; arr for pf4h as S.613/4, 2nd version of S.185a/5; arr for pf4h as S.613/5, 2nd version of S.185a/6; arr for pf4h as S.613/6, 2nd version of S.185a/7, S.186/7a; arr for pf4h as S.613/7, 3rd version of S.185a/7, S.186/7; version for Lachmund, 2nd version of S.185a/8; arr for pf4h as S.613/8, 2nd version of S.185a/9; arr for pf4h as S.613/9, 2nd version of S.185a/10; arr for pf4h as S.613/ 10, 2nd version of S.185a/11; arr for pf4h as S.613/11, 2nd version of S.185a/12; arr for pf4h as S.613/12, In festo transfigurationis Domini nostri Jesu Christi, manuscript dated May 1865; published Dec 1935, 2nd version of S.189a; themes used in S.170, S.171d/4, by Liszt, composed 1869 based on the first two pieces, based on S.349; re-used as S.205/6, S.205a/6; arr for pf4h as S.614, 2nd version of S.195a; arr for pf4h as S.612, for vc hp pf harm as S.130i, for vc pf as S.130ii, for vn pf (+harm) as S.130iii, 1st (draft) version of S.197; fragments of sketches (reconstructed by Liszt's pupil, 2nd version of S.196a; arr for vc pf as S.131i, for vn pf as S.131ii, in 4/4, written Dec.1882, published 2002; 1st version of S.199a/ii, S.200i, S.200ii; incomplete sketch as S.701k, in 4/4, written Jan.1883, published 2002; 2nd version of S.199a/i, S.200i, S.200ii; incomplete sketch as S.701k, in 6/8, published 1927 as "La lugubre gondola I"; 4th version of S.199a/i, S.199a/ii, S.200ii, in 4/4, written Jan.1883, published 1885, published 1927 as "La lugubre gondola II"; 3rd version of S.199a/i, S.199a/ii, S.200i; arr for vc pf as S.134i, for vn pf as S.134ii, re-used from S.194; 1st version of S.205a/7, Prélude à la Polka d'Alexandre Porfiryevitch Borodine (Variation sur le thème favori et obligé), Waltz (Waltz aus dem Ballet Die Amazonen), Piano arrangement of S.126b/2 (Theme from the ballet Die Amazonen by Robert von Gallenberg), 1st version of S.214/1; themes used in S.209a; arr for pf4h S.615, 1st version of S.212ii, S.213i, S.213ii, S.213iii, 2nd (expanded) version of S.212i, S.213i, S.213ii, S.213iii, Valse de Marie (Mariotte) (Album-leaf for, 3rd version of S.212i, S.212ii, S.213ii, S.213iii, 4th (édition facilitée) version of S.212i, S.212ii, S.213i, S.213iii, 5th version of S.212i, S.212ii, S.213i, S.213ii, with additions for Liszt's pupils, 2nd version of S.215a; arr for pf4h as S.615a, manuscript entitled "4th Mephisto Waltz", but no relation to S.216b or S.696, 1st version of S.219a; arr for pf4h as S.616, 2nd (simplified) version of S.219; theme used in S.220, 1st version of S.228ii; arr for orch by Liszt and, 2nd version of S.228i; Trio section uses theme of S.313, Vom Fels zum Meer! , male chorus, optional piano ( 1873? `` Heil Faust liszt works wikipedia. 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