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

These treatments included transcriptions for other instruments (predominantly solo piano), arrangements, orchestrations, fantaisies, reminiscences, paraphrases, illustrations, variations, and editions.

Liszt also extensively treated his own works in a similar manner, but these are not tallied here—neither are his treatments of national (or "folk") melodies whose composers are unknown, nor other anonymous works.

In most cases, Liszt arranged only one or two pieces by a composer, but he delved more deeply into the works of Bach, Beethoven, Bellini, Berlioz, Chopin, Donizetti, Gounod, Mendelssohn, Meyerbeer, Mozart, Rossini, Schubert, Schumann, Verdi, Wagner, and Weber.

The earliest-born composer whose works Liszt dealt with was Orlande de Lassus (born ). Jacques Arcadelt was born earlier (), but Liszt's treatment was not of Arcadelt's original work, rather of a setting by Pierre-Louis Dietsch loosely based on Arcadelt. The last composer to die whose works Liszt dealt with was Géza Zichy (1849–1924). Kornél Ábrányi Original work Liszt work Forces Date S no. Notes Tamássy József kedvelt dalai, 16 Hungarian folksongs, voice and piano: Five songs 5 Ungarische Volkslieder piano 1873 S.245 Virág-dal (Chant des Fleurs), piano, Op. 43 (c. 1875) Additions and corrections 1880 S.383a Elegáns csárdások (Csárdás nobles), 6 vols. (1884–86): "Kertem alatt" (Vol. II, No. 1) "Sarkantyú csárdás" (Vol. III, No. 6) Hungarian Rhapsody No. 19 in D minor 1885 S.244/19 piano 4-hands 1885? S.623a

Gregorio Allegri Original work Liszt work Forces Date S no. Notes Miserere mei, Deus (1630s) À la chapelle Sixtine (organ version: Evocation à la Chapelle Sixtine) piano 1862 S.461This piece combines Allegri's Miserere with Mozart's Ave verum corpus, K.618 (1791). (Mozart was deeply involved in the circumstances that led to the first publication of the Miserere: He heard it in the Sistine Chapel when visiting Rome at the age of 15, and famously wrote it down from memory, although publishing the work or even writing it down was prohibited on pain of excommunication. Rather than imposing this penalty, however, the Pope later congratulated Mozart on his genius). À la chapelle Sixtine was the basis of the third movement (Preghiera) of Tchaikovsky's "Mozartiana" (Orchestral Suite No. 4), but he used only the Ave verum corpus component. organ c. 1862 S.658 piano 4‑hands c. 1865 S.633 orchestra ? S.360

Alexander Alyabyev Original work Liszt work Forces Date S no. Notes Song "The Nightingale" (1825) Deux Mélodies russes: No. 1, "Le Rossignol, air russe d'Alabieff" piano 1842 S.250/1 No. 2 was Chanson bohémienne, after a work by Pyotr Bulakhov

Note: The Mazurka pour piano composée par un amateur de St. Pétersbourg, paraphrasée par F. L. (S.384) was based on a mazurka that has often been misattributed to Alyabyev, but was in fact written by Mikhail Vielgorsky.

Jacques Arcadelt Original work Liszt work Forces Date S no. Notes Three-part madrigal Nous voyons que les hommes Alleluja et Ave Maria d'Arcadelt piano 1862 S.183 The Alleluja was based on themes from Liszt's own Cantico del sol di San Francesco d'Assisi, S.4.Grove, p. 281 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. organ S.659

Thomas Arne Original work Liszt work Forces Date S no. Notes Song "Rule, Britannia!" (1740) Grande paraphrase de concert sur "God Save the Queen" et "Rule Britannia" piano and orchestra 1841 S.694 Grove says this was unfinished, and refers to it as "Fantasia on English themes" (piano solo).Grove, p. 311 The Grosse Fantasie was a reworking of the Grande paraphrase de concert. Grosse Fantasie über "God Save the Queen" und "Rule Britannia" piano 4-hands S.755a

Daniel Auber Original work Liszt work Forces Date S no. Notes Opera La muette de Portici (1828) Tarantelle di bravura d'après la tarantelle de La Muette de Portici piano 1846 S.386 Two pieces on themes from La muette de Portici S.387 One of the pieces is on the Berceuse Opera La fiancée (1829): Aria "Montagnard ou berger" Grande Fantaisie sur la tyrolienne de l'opéra La Fiancée 1829 S.385 Published as Op. 1; dedicated to Frédéric ChopinGrove, p. 294 "Tyrolean Melody" S.385a

Johann Sebastian Bach Original work Liszt work Forces Date S no. Notes Cantata Weinen, Klagen, Sorgen, Zagen, BWV 12 Prelude on the theme of Weinen, Klagen, Sorgen, Zagen piano 1859 S.179 The Variations, S.180/673 are based on the same theme. Variations on a theme of Bach (aka Variations on Weinen, Klagen, Sorgen, Zagen) piano 1862 S.180 This set of variations uses the basso continuo of the second movement of the cantata Weinen, Klagen, Sorgen, Zagen, base for the from the Mass in B minor. It is based on the same theme as the Prelude, S.179. organ 1863 S.673 Cantata Ich hatte viel Bekümmernis, BWV 21: Introduction and Fugue Einleitung und Fuge aus der Motette 'Ich hatte viel Bekümmernis' und Andante 'Aus tiefer Not' organ 1860 S.660 Cantata Aus tiefer Not schrei ich zu dir, BWV 38: Andante Great Fantasia and Fugue in G minor, BWV 542 (organ) Fantasia and Fugue in G minor piano pub. 1863 S.463 6 Preludes and Fugues (organ), BWV 543–548 6 Preludes and Fugues 1842–50 S.462 The Preludes and Fugues are:IMSLP: Preludes and Fugues by J.S. Bach, S.462 (Liszt, Franz) A minor, BWV 543 C major, BWV 545 C minor, BWV 546 C major, BWV 547 E minor, BWV 548 B minor, BWV 544 Chaconne in D minor, BWV 1004 Transcription 1880 – Liszt planned this transcription but never executed it. Sonata No. 4 in C minor, violin and harpsichord, BWV 1017 III. Adagio Adagio vom Bach organ 1861–63 S.661 Liszt arranged only the final 4 bars, the rest being the work of Alexander Wilhelm Gottschalg (1827–1908).

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

Ludwig van Beethoven Original work Liszt work Forces Date S no. Notes Song "Adelaide", Op. 46 (1795) Transcription piano 1839 S.466 Septet in E, Op. 20 (1800) 1841 S.465 Dedicated to Grand Duchess Maria Pavlovna of Russia piano 4‑hands S.634 Piano Concerto No. 3 in C minor, Op. 37 (1800) Arrangement 2 pianos 1878–79 S.657a/1 Includes a new cadenza for 1st movement, S.389a. 6 Gellert Lieder, Op. 48 (1802) Sechs geistliche Lieder piano 1840 S.467 Liszt's order of the songs (with the original order in brackets) was: 1 (5). "Gottes Macht und Vorsehung"; 2 (1). "Bitten"; 3 (6). "Bußlied"; 4 (3). "Vom Tode"; 5 (2) "Die Liebe des Nächsten"; 6 (6). "Die Ehre Gottes aus der Natur (Die Himmel rühmen)".Grove, p. 300 Piano Concerto No. 4 in G major, Op. 58 (1806) Arrangement 2 pianos 1878–79 S.657a/2 Coriolan Overture, Op. 62 (1807) Transcription piano ? S.739 LostGrove, p. 314 6 Songs, Op. 75 (1809) "Beethoven's Lieder von Goethe": 1849 S.468 Liszt combined parts of three disparate Beethoven opuses into his transcription, the common thread being that all the words were by Goethe: 3 Songs, Op. 83 (1810) Egmont, incidental music, Op. 84 (1810) Overture ? S.740 Lost Piano Concerto No. 5 in E, "Emperor", Op. 73 (1811) Arrangement 2 pianos 1878–79 S.657a/3 The Ruins of Athens, incidental music, Op. 113 (1811) Capriccio alla turca sur des motifs de Beethoven (Ruines d'Athènes) piano 1846 S.388 Uses same theme as the Fantasia, S.389 Fantasia on (themes from) 'The Ruins of Athens' piano and orchestra 1848–52 S.122 Uses same theme as the Capriccio, S.388; FP of orch. version Budapest, 1 June 1853, Hans von Bülow (piano), Ferenc Erkel (conductor); same concert as the FP of the Hungarian Fantasy 2 pianos after 1852 S.649 piano pub. 1865 S.389 Song cycle An die ferne Geliebte, Op. 98 (1816) Transcription 1849 S.469 9 Symphonies (1800–24) Transcription 1837–64 S.464 Symphonies Nos. 5, 6 and 7 were transcribed in 1837; the Marcia funèbre of Symphony No. 3 was written in 1841; then there was a gap of 22 years before the remaining symphonies were written, at which time the existing transcriptions were revised. In the meantime, Liszt completed a transcription of Symphony No. 9 for two pianos in 1851. Symphony No. 9 "Choral", Op. 125 (1824) Transcription 2 pianos 1851 S.657 String quartets (1800–26) Projected transcription piano 1863 – Liszt planned to transcribe the quartets for piano but never executed the plan.

Vincenzo Bellini Original work Liszt work Forces Date S no. Notes Opera La sonnambula (1831) Fantaisie sur des motifs favoris de l'opéra La Sonnambula piano 1839 S.393 piano 4‑hands c. 1852 S.627 Opera Norma (1831) Reminiscences de Norma piano 1841 S.394 2 pianos after 1841 S.655 Opera I puritani (1835) Reminiscences des Puritains piano 1836 S.390 Dedicated to Princess Belgiojoso. The latter section was re-used in the Introduction et Polonaise (S.391). I Puritani: Introduction et Polonaise 1840 S.391 The Polonaise is the latter section of the Reminiscences, S.390 Hexameron, morceau de concert. Grandes Variations de Bravoure sur le marche des Puritains piano 1837 S.392 Includes variations by Frédéric Chopin, Carl Czerny, Henri Herz, Johann Peter Pixis and Sigismond Thalberg. Dedicated to Princess Belgiojoso. The 2-piano version is much shortened. An extant version for piano and orchestra is by an unknown hand – possibly that of Charles-Valentin Alkan.Grove, p. 295 2 pianos after 1837 S.654

Hector Berlioz Original work Liszt work Forces Date S no. Notes Overture Les francs-juges, Op. 3 (1826) Ouverture des Francs-Juges piano 1833 S.471 Overture Le carnaval romain, Op. 9 (1843) Transcription ? S.741 This was part of Liszt's performing repertoire, but is now lost Symphonie fantastique, Op. 14 (1830) Episode de la vie d'un artiste. Grande Symphonie fantastique. Partition de Piano c. 1833 S.470 In c. 1864–65 Liszt made a new transcription of the 4th movement, "Marche au supplice". L'idée fixe. Andante amoroso S.395 Based on the theme of the Symphonie Lélio, Op. 14b (1831) Grande Fantaisie Symphonique on themes from Berlioz’ Lélio piano and orchestra 1834 S.120 The themes are "Chant du pêcheur" and "Chant des brigands"; according to Leslie Howard: "the original manuscript of this work, long undiscovered, recently surfaced at auction in France (although sadly not in its entirety), and it revealed immediately that Liszt carried out his own orchestration"; FP Paris, 24 November 1834, Liszt (piano), Berlioz (conductor)Grove, p. 275 Overture Le roi Lear, Op. 4 (1831) Ouverture du Roi Lear piano 1836 S.474 Harold en Italie, Op. 16 (1834) Transcription viola and piano S.472 Marche des Pèlerins piano S.473 Opera Benvenuto Cellini, Op. 23 (1838) Bénédiction et serment, deux motifs de Benvenuto Cellini 1852 S.396 piano 4‑hands 1853 S.628 La damnation de Faust, Op. 24 (1846) Danse des Sylphes piano c. 1846 S.475

Louise Bertin Original work Liszt work Forces Date S no. Notes Opera La Esmeralda (1836) Transcription of orchestral score piano 1837 S.476 No. 10, "D'ici vous pourrez voir, sans être vu" 3 morceaux detachés d‘Esmeralda S.477a No. 11, "Quoi! lui" No. 13, Quasimodo's aria "Mon Dieu! j'aime" No. 13, Quasimodo's aria "Mon Dieu! j'aime" Air chanté par Massol S.477 Massol was the baritone Jean-Étienne-Auguste Massol, who created the role of Quasimodo.

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

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

Alexander Borodin