Sie liegt auf dem Weg zur Nürnberger Burg ⦠S.21ii and S.29 were published with reversed titles, S.21ii as "Pater noster II", S.29 as "Pater noster I", and they are erroneously listed as such in some older catalogues. Präludium und Fuge über das Motiv B.A.C.H. It is actually identical to the Haslinger publication. [R] Der Gnade Wunder Heil!" and 303? (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! possibly intended for S.216, S.216b, S.514, or S.515? (10) Lieder von Robert und Clara Schumann: arr of No.5 of 'Lieder und Gesänge aus Wilhelm Meister, Provenzalisches Minnelied (von Robert Schumann), Polka de salon (Einleitung und Coda zu Smetanas Polka), Valse-Caprice No.3 (Einleitung und Schlußtakte zu Tausigs dritter Valse-Caprice), additions and revisions (Introduction and Coda) to, Revive Szegedin! pasted-in by Liszt at the beginning of the album for Princess Marie von Sayn-Wittgenstein, and dedicated to her mother Princess Carolyne von S-W. Im August 2011 fand die kirchliche Trauung ⦠The columns in this list of works are as follows: Deprecated S numbers: An asterisk (*) before the S number signifies that it is no longer in use and the entry has been renumbered; the new number is given in parentheses – refer to the new number's separate entry. Wann gilt der eBay-Käuferschutz?. Piece number 12 is missing. Leslie Howard has the titles and other details of the two versions mixed up on the liner indexes and back covers of albums vol.35 (1995) & vol.40 (1996), while the liner notes correctly describe the version being played, and the versions are also swapped in his 2011 Searle catalog in the booklet for the complete set. The unpublished manuscript was identified in the Liszt Museum at Weimar in 1894, and was still present as late as 1901, but as of 1993 its whereabouts are unknown. Many of the renumbered works are previously lost compositions that have been discovered. September 1875: Magyar király-dal (Ungarisches Königslied), 1st version of S.95ii, S.95iii, S.95iv; unpublished, 2nd version of S.95i, S.95iii, S.95iv; 1st perf this version 1850 Weimar, unpublished, 3rd version of S.95i, S.95ii, S.95iv; unpublished, 4th version of S.95i, S.95ii, S.95iii; 1st perf this version 7 January 1857 Weimar, published 1857; arr for pf4h as S.589, for 2pf as S.635; mvt IV arr for org as S.261a, uses theme from S.159/1; 1st version of S.96ii, S.96iii, S.96iv; 1st perf this version as an Overture to a performance of, 2nd version of S.96i, S.96iii, S.96iv; unpublished, 3rd version of S.96i, S.96ii, S.96iv; 1st perf this version 19 April 1854 Weimar cond Liszt, unpublished, 4th version of S.96i, S.96ii, S.96iii; published 1856; arr for pf4h as S.590, for 2pf as S.636, for pf as S.692l; see also epilogue S.112/3, Overture to S.80a; 1st version of S.97ii, S.97iii, S.97iv; unpublished, 2nd version of S.97i, S.97iii, S.97iv; unpublished, 3rd version of S.97i, S.97ii, S.97iv; 1st perf this version 23 Feb 1854 Weimar cond Liszt, unpublished. Liszt performed this arrangement with Frank Mori during his 1840–41 tour of the British Isles. 2002 (as S.692b incorrectly), +Michael Saffle (The Liszt Companion, Ben Arnold ed.) S.222 was first published in the old Liszt Edition (B&H 1928) with its incorrect title. Gebaut v. d. Hohenzollern AG für Lokomotivbau Düsseldorf-Grafenberg. [O] Beethovens (6) geistliche Lieder von Gellert: arr of the song from the incidental music to. Bildquelle: 2 C Heißdampf-Schnellzuglokomotive mit Rauchröhrenüberhitzer Patent W. Schmidt. S.87v, This page was last edited on 8 February 2021, at 09:17. 2nd version of S.259; unpublished?, lost? Ausschnitt aus: Die Lokomotive, 1916, S. 61 ANNO/ÖNB. Stellen- und Ausbildungsangebote in Bamberg in der Jobbörse von inFranken.de Giuseppe Buonamici's version is considerably cut from the original, but approved by Liszt, with added passages by Liszt linking the two pieces together. The manuscript score for all 8 pieces are in the "N5 Sketchbook" (sometimes known as the "Tasso Sketchbook") housed in the Goethe/Schiller Archive, Weimar. F.-Nr. (5) Klavierstücke (Album-Leaves for Olga von Meyendorff): 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, uses themes from S.167o; 1st version of S.521i, S.521ii; arr for orch by Liszt and, 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! (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! [Lyubila ya] (I Loved!) Both the order of the pieces and titles are odd, however. (11) Alte deutsche geistliche Weisen (Choräle): arr of S.50/1; not included in published set, In domum Domini ibimus (Zum Haus des Herrn ziehen wir), Klavierstück aus der Bonn Beethoven-Kantate (Album-Leaf), based on the beginning and end of the 1st mvt of S.67, Schnitterchor aus den entfesselten Prometheus, arr of No.4 from S.69i (incomplete); 1st version of S.508, Pastorale (Schnitterchor aus den Entfesselten Prometheus), arr of No.4 from S.69ii; 2nd version of S.507a, arr of S.89a/3–5; 1st version of S.511; possibly by August Horn under Liszt's direct instructions, Von der Wiege bis zum Grabe (Poème symphonique No.13), 1st version of S.512ii; arr for pf4h as S.598, arr for orch as S.110/2; 1st version of S.514a, Der Tanz in der Dorfschenke (Mephisto-Walzer), 2nd version of S.514, revised with additions, Salve Polonia (Interludium aus dem Oratorium Stanislaus), Künstler-Festzug zur Schillerfeier 1859 (Künstlerfestzug), Künstlerfestzug zur Schillerfeier 1859 (Künstlerfestzug), Festmarsch nach Motiven von E.H. z. S.-C.-G, 2nd version of S.232; arr for orch as S.119, unfinished solo piano draft; basis for S.125; published 2006, Epithalam (zu Eduard Reményis Vermählungsfeier), 1st version (short draft) of S.527; based on S.169, 2nd version of S.526a; arr for va pf as S.132i, for vc pf as S.132ii, for vn pf as S.132iii, for orch as S.712, arr of S.274i (1st version of Die Zelle/Élégie), arr of S.301b/i (2nd version of Die Zelle/Élégie), arr of S.301b/ii (3rd version of Die Zelle/Élégie), arr of S.274ii (4th version of Die Zelle/Élégie). Liszt mistakenly thought the tune was an ancient folksong from the 15th century (thus his subtitle), when in fact it was written by Josef Krov, who was alive and living in Germany at the time Liszt made his arrangement. In some lists S.222 ("Albumblatt") is given the new number S.212a, and "Mariotte - Valse de Marie" (S.212a) is listed as S.212b. Accessoires et alimentation pour animaux, blog animaux The first publication included the original ending to the 3rd mvt (without the choral section). (3) Morceaux detachés d'Esmeralda de L. Bertin: arr of "Quoi! Liszt, unpublished; arr for 2pf as S.647. 2002, #Michael Saffle (The Music of Franz Liszt: Stylistic Development and Cultural Synthesis) 04/2018, +Michael Saffle (The Liszt Companion, Ben Arnold ed.) Einkaufen bei eBay ist sicher â dank Käuferschutz. These 12 choruses were published as a set by Kahnt (Leipzig) in 1861. ), 1st version of S.75ii, S.75iii; arr v pf as S.306i, Titan (Auf des Athos blauen Felsenspitzen), 4th version of S.79i, S.79ii, S.700j; arr for bar mch orch by Liszt and, Le forgeron (Le fer est dur, frappons, frappons), Arbeiterchor (Herbei, herbei, den Spath' und Schaufel ziert), Hungaria 1848 (Aus Osten aus der Sonne Tor) (Ungaria-Kantate), Chor der Engel aus Goethe's Faust (pt 2) (Rosen, ihr blendenden), 3rd version of S.85i, S.85ii; arr for ch orch by Liszt and, Festchor zur Enthüllung des Herder-Denkmals in Weimar, Weimars Volkslied (Von der Wartburg) (Zur Enthüllung des Carl August Denkmals in Weimar am 3. 2nd version of S.108i, S.108iii; optional choral section (mvt 3b) added 1857, rescored for full orch (including added brass and organ/harmonium) and further small revisions 1857–61, 1st performance this version 1861 cond. 1st version of S.260ii; arr for pf as S.529i, 2nd version of S.260i; arr for pf as S.529ii, arr for pf as S.530, for pf4h as S.625, for orch as S.361; rev for v pf as S.766; rev for 2vv (+org) as S.36; rev for ch orch as S.3/8, arr of mvt IV of S.95iv by Alexander Wilhelm Gottschalg, with revisions by Liszt, Missa pro organo lectarum celebrationi missarum adjumento inserviens, Angiolin dal biondo crin (Englein hold im Lockengold), 1st version of S.269ii, S.269iii, S.269iv, S.269v; arr for pf as S.531/6, 2nd version of S.269i, S.269iii, S.269iv, S.269v, 3rd version of S.269i, S.269ii, S.269iv, S.269v, 4th (transposed) version of S.269i, S.269ii, S.269iii, S.269v, 5th version of S.269i, S.269ii, S.269iii, S.269iv, 1st version of S.270ii/2 (for tenor voice); arr for pf as S.158/1, 1st version of S.270ii/1 (for tenor voice); arr for pf as S.158/2, 1st version of S.270ii/3 (for tenor voice); arr for pf as S.158/3, 1st version of S.272ii; arr for pf as S.531/2, 1st version of S.273ii; arr for pf as S.531/1, 2nd version of S.273i; arr for pf as S.532, for v orch as S.369, 1st version of S.274ii, S.301b/i, S.301b/ii; arr for pf as S.534i, 4th version of S.274i, S.301b/i, S.301b/ii; arr for pf as S.534iii, for vc pf as S.382i, for vn pf as S.382ii, 1st version of S.275ii, S.275iii; arr for pf as S.531/3, 3rd version of S.275i, S.275ii; arr for v orch as S.370, 1st version of S.276ii; arr for pf as S.534, 1st version of S.278ii; arr for pf as S.531/4, 1st version of S.279ii, S.279iii, S.279iv; arr for pf as S.531/5, 1st version of S.280ii; arr for pf as S.167a; 1st setting, for 2nd setting see S.280a, 2nd version of S.280i; 1st setting, for 2nd setting see S.280a, 1st version of S.282ii; arr for pf as S.536, 1st version of S.283ii; arr for pf as S.537, 1st version of S.284ii; arr for pf as S.538, "gastibelza" is a Basque word meaning "gossip"; arr for pf as S.540, 1st version of S.287ii, S.287iii, S.287iv, S.287v, S.287vi, 2nd version of S.287i, S.287iii, S.287iv, S.287v, S.287vi, 3rd version of S.287i, S.287ii, S.287iv, S.287v, S.287vi, 4th version of S.287i, S.287ii, S.287iii, S.287v, S.287vi, 5th version of S.287i, S.287ii, S.287iii, S.287iv, S.287vi, 6th version of S.287i, S.287ii, S.287iii, S.287iv, S.287v, 1st setting, for 2nd and 3rd settings see S.288ii, S.288iii, 2nd setting, for 1st and 3rd setting see S.288i, S.288iii, 3rd setting, for 1st and 2nd setting see S.288i, S.288ii, 2nd version of S.292i; arr for v orch as S.372, 2nd version of S.292i/1; arr for v orch as S.372/1, 2nd version of S.292i/2; arr for v orch as S.372/2, 2nd version of S.292i/3; arr for v orch as S.372/3, 1st version of S.293ii; arr for v orch as S.373i, 2nd version of S.293i; arr for v org as S.681a; for v orch as S.373ii, 1st version of S.298ii; arr for pf as S.540b, 2nd version of S.298i; arr for pf as S.541/3, En ces lieux tout me parle d'elle (Élégie), 2nd version of S.274i, S.274ii, S.301b/ii; arr for pf as S.534ii, 3rd version of S.274i, S.274ii, S.301b/i; arr for pf as S.534ii/a, 1st version of S.311ii, S.311iii, S.311iv, S.311v, 2nd version of S.311i, S.311iii, S.311iv, S.311v, 3rd version of S.311i, S.311ii, S.311iv, S.311v, 4th version of S.311i, S.311ii, S.311iii, S.311v, 5th version of S.311i, S.311ii, S.311iii, S.311iv, arr for various choral configurations under S.87, for orch by Liszt and, arr for vn pf as S.383, for v orch as S.374, J'ai perdu ma force et ma vie (Ich verlor die Kraft und das Leben), Go Not, Happy Day (Weil noch, Sonnenstrahl), Verlassen (Mir ist die Welt so freudenleer), arr for pf as S.543, for pflh as S.543a, for org/harm as S.674, for pf4h as S.755a, for bar mch ww br perc as S.345a, for vn pf as S.381a, arr for various choral configurations under S.93, Do Not Reproach Me, My Friend (Не брани меня, мой друг), Der traurige Mönch (In Schweden steht ein grauer Turm), Des toten Dichters Liebe (A holt költó szerelme), Слѣпой [Slyepoi] (The Blind Man) "Der blinde Sänger", Zweite Ouvertüre zum Barbier von Bagdad (P. Cornelius), Szózat und Hymnus (2 vaterländische Dichtungen von Vörösmarty and Kölcsey), arr of the Hungarian patriotic songs (now the Hungarian national anthems), Heroischer Marsch in ungarischem Styl [Première marche hongroise], arr of S.231; basis for S.103; unpublished; written for the King of Portugal, Benedictus aus der Ungarischen Krönungsmesse, arr of S.425/2c, S.426; arr for pf4h as S.632, arr of S.176; sketches only; score prepared from manuscript sources by, arr of S.392; score prepared from manuscript sources and orchestration completed by, arr of the song by Francis Korbay; arr for v org as S.683a, Die Allmacht von Franz Schubert (Gross ist Jehova, der Herr), arr of 2nd mvt of S.108ii by Leopold Alexander Zellner with corrections and additional material by Liszt; published 2013; arr for small-orch as S.711a, Rapsodie hongroise (pour violon et piano par Franç. In 5 sections: Allegretto – Andante – Allegro con fuoco – Lento – Vivace, all written in a markedly Hungarian style. They are given correctly here. [L] These are the first four pieces in the album for. The first of Liszt's many arrangements of the. (Deutscher Siegesmarsch), arr for pf4h as S.618a, for orch as S.368, arr for pf4h as S.619, for 2pf 8-hands as S.657b, Heroischer Marsch in ungarischem Styl (Marche héroïque dans le genre hongrois) [Première marche hongroise], arr for orch as S.358a, for pf orch as S.713f, Seconde marche hongroise (Ungarischer Sturmmarsch), 1st version of S.524; arr for orch as S.358b, Ungarischer Geschwindmarsch (Magyar Gyors induló), La Marseillaise (Chant de guerre par Claude-Joseph Rouget de Lisle), based on a traditional student song; 1st version of S.240ii, Zum Andenken ((2) Ungarische Werbungstänze), (18) Ungarischer Romanzero (Hungarian Romances), based on popular Hungarian songs; by Liszt and, sketches only; 2nd version of S.242/5, S.243/1, S.243/1a, originally published in 1840 as Vol.I (Nos.1–6), Vol.II (No.7), 1st version of S.243/2, S.243/2a; themes used in S.244/6, 1st version of S.243/1, S.243/1a, S.241b; themes used in S.244/6, arr for orch as S.690e; themes used in S.242/12, S.244/5, originally published in 1843 as Vol.III (Nos.8–9), Vol.IV (Nos.10–11), uses theme from S.164e/1; themes used in S.123, S.242/13, S.242a, S.244/14, S.244/15, 1st version of S.243/3, S.243/3a; uses theme from S.164e/2; themes used in S.243a, S.244/3, S.244/6, originally published by 1847 as Vol.V (No.12), Vol.VI (No.13), Vol.VII (No.14), Vol.VIII (No.15), Vol.IX (No.16), Vol.X (No.17); No.13a published separately, partly based on S.242/6. Am 15. Performed by Liszt in 1862 and referred to by him (in letters and other writings) as. September 1857), Weimars Volkslied (Von der Wartburg) (Zur Enthüllung des Carl August Denkmals in Weimar am 3. [S] 19) from the opera, Tscherkessenmarsch aus Glinkas Oper Rußlan und Ludmilla, 2nd version of S.406i; arr for pf4h as S.629, based on the waltz and duet from Act II of the opera, Les adieux (Rêverie sur un motif de l'opéra, Réminiscences de La juive (Fantaisie brillante sur des motifs de l'opéra de Halévy), Konzertparaphrase über Mendelssohns Hochzeitsmarsch und Elfenreigen aus der Musik zu Shakespeares Sommernachtstraum, based on themes from the incidental music to. (1875?) Bunte Reihe (24 Stücke von Ferdinand David): Die Gräberinsel (Lied von Ernst, Herzog zu Sachsen-Coburg-Gotha), arr of the song by Ernst II, Duke of Saxe-Coburg-Gotha, Szózat und Ungarischer Hymnus (Szózat és Magyar Himnusz), Spanisches Ständchen (Melodie von Graf Leó Festetics), Er ist gekommen in Sturm und Regen (Lied von Robert Franz), Liebesszene und Fortunas Kugel aus dem Oratorium Die sieben Todsünden (Fantasiestück nach Adalbert von Goldschmidt), Löse, Himmel, meine Seele (Lied von Eduard Lassen). The revisions of the 1849 piano version (S.227) and orchestra version (S.115i), were made in 1857 (piano S.521i, orchestra S.115iii) for the unveiling of the Goethe and Schiller memorial on 3 September 1857 in Weimar. Heil! 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). from Act III of the opera, 2nd version of S.443i; arr for org/harm as S.676ii, O du mein holder Abendstern (Rezitativ und Romanze aus der Oper Tannhäuser), based on Wolfram's aria from Act III of the opera, based on the March from Act II of the opera, 3rd version ("Neue vermehtre Ausgabe") of S.445/1a, S.445/1b, based on Elsa's bridal procession from Act II of the opera, based on the Prelude and Bridal Chorus from Act III of the opera, based on Elsa's Dream from Act I of the opera, based on Lohengrin's Rebuke to Elsa from Act III of the opera, Isoldens Liebestod (Schlußszene aus Wagners, arr of the transfiguration scene from the opera, based on themes from the final scene of the opera, Feierlicher Marsch zum heiligen Gral aus Parsifal, based on the theme of the march from Act I of the opera, based on "Und ob die Wolke sie verhülle" (Act III) and Waltz (Act I) from the opera, Leyer und Schwerdt (Heroide nach Carl Maria von Weber), based on the themes of Nos.6, 3 and 2 from the choral song collection, Einsam bin ich, nicht allein (Volkslied aus dem Schauspiel Preziosa), based on Preciosa's song (Act II, No.7) from the incidental music to, Reminiscences de La Scala (Fantasie über italienische Opernmelodien) [Fantasy on, 2nd version of S.461i; arr for pf4h as S.633, for org/harm as S.658, originally intended to include only the Symphonies Nos.3, 5, 6, and 7, 2nd version of S.463b, S.464/6; only the 5th mvt differs from the 1st version. 6 Mélodies favorites de La Belle Meunière de François Schubert: 1st version of S.565c; published 1847 by Diabelli (Vienna) (with ossia for No.2), 2nd version of S.565; published 1879 by Cranz (Hamburg), 2nd version of S.566, more literal transcription; sketch only, Frühlingsnacht (Lied von Robert Schumann). Harmonie nach Rossini's Carità (La Charité), incomplete sketch for S.552a; originally intended for S.172a, incomplete; manuscript reproduced in July 1998 in an auction catalogue by J. Verkäufer aus dem Ausland können Ihnen Artikel regulär über einen internationalen Versandservice zuschicken. Februar 2021 gültigen Coronaschutzverordnung NRW, §6 (4) muss die Bibliothek ihre Services weiter einschränken. Alle Jobs und Stellenangebote in Bamberg, Bayreuth, Coburg und der Umgebung. ), Das deutsche Vaterland II (Was ist das deutsche Vaterland? ); Liszt's authorship doubtful; orchestrated by Liszt and, lost; possibly the same as S.761 or 1st mvt of S.690, lost; reconstruction by G. Darvos not based on authentic material; Schnapp.81, arr of S.527; Liszt's authorship doubtful, The Fall of Paris, a Military Air with Variations, jointly composed with the child flutist Antonio Minasi (c1815–1870); lost; performed by Minasi and Liszt in London on 5 June 1827, Grand Fantasie on God Save the Queen and Rule Britannia, based on S.98; spurious, now attributed to Leopold Alexander Zellner, but performed 16 Feb 1871 in Budapest by Liszt, Reményi, and others, original version of S.242a; lost, possibly never existed, 3 mvts; lost; Schnapp.5; several bars copied down from memory later as S.692b, 3 mvts; lost; Schnapp.6; only three bars were copied down from memory in a letter from Liszt to his mother, lost, possibly improvised and never written down, arr of S.42ii; discovered, no longer lost (renumbered as ? Schwanengesang – 14 Lieder von Franz Schubert: 3rd (ossia) version of S.559a, S.560/7, S.560a, 2nd (ossia) version of S.560/12, S.560b/2, 4th version of S.559a, S.560/7, S.560/7a, written for, published 1842 by Haslinger (Vienna) ("new edn"). Davon profitierst du immer dann, wenn du mit PayPal, Kreditkarte oder Lastschrift zahlst. Originally thought to be an Album-Leaf ("Ruhig") and catalogued as such as S.167a. Hier kannst Du Dich mit anderen Eltern und werdenden Müttern und Vätern über Vornamen und Elternthemen austauschen. +Leslie Howard (Hyperion Orchestral Works CDA67856) 2011, +Michael Saffle (The Music of Franz Liszt: Stylistic Development and Cultural Synthesis) 04/2018, +William Wright (The Liszt Companion, Ben Arnold ed.) 36-page manuscript score consists of Introduction: Presto a capriccio (C minor) – Chansonette (with variations) – Larghetto religioso – Coda (E major). 75i, 76 and 89a/1–2 were published by Eck (Köln) in 1844 as, 75ii, 84i, 85iii, 227? Mélodies hongroises d'après Franz Schubert (Schuberts ungarische Melodien): 2nd version ("Richault edition") of S.425/2a, S.425/2c, S.425/2d, S.425/2e, S.425a/2, 3rd version ("Lucca edition") of S.425/2a, S.425/2b, S.425/2d, S.425/2e, S.425a/2; arr for orch as S.363/4, 5th version ("Menter transcription") of S.425/2a, S.425/2b, S.425/2c, S.425/2e, S.425a/2, 6th version ("3rd edition") of S.425/2a, S.425/2b, S.425/2c, S.425/2d, S.425a/2, 4th (simplified) version ("2nd Diabelli edition") of S.425/2a, S.425/2b, S.425/2c, S.425/2d, S.425/2e.
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