Franz Liszt Popular Song Ranking [2026]

Totentanz, S.126/R.457Franz Liszt85rank/position

Valentina Lisitsa – John Axelrod – Liszt Totentanz for Piano & Orchestra

A work for solo piano and orchestra that incorporates the melody of the Gregorian chant Dies Irae (Day of Wrath).

It is said to have been inspired by the 14th-century fresco The Triumph of Death in a church in Pisa, Italy, resulting in a piece with a weighty and dramatic character.

Bagatelle in AtonalityFranz Liszt86rank/position

Franz Liszt Bagatelle sans tonalité Liszt “Bagatelle without Tonality”

This piece is one of Franz Liszt’s innovative works from his late period, reflecting his spirit of inquiry.

Premiered in Weimar in July 1885, it embodies Liszt’s intention to “obliterate tonality.” Employing abundant tritones and diminished seventh chords to create a distinctive atmosphere, the work is highly regarded as an exploration in freeing music from traditional tonality.

It is recommended for listeners interested in bold musical expression unconstrained by conventional harmony, as well as for those who wish to experience Liszt’s relentless musical curiosity.

Bagatelle without tonality, S.216a / R.60cFranz Liszt87rank/position

Franz Liszt – Bagatelle sans tonalite (GSARCI VIDEO REVIVAL)

Composed in the final year of his life in 1885, this piece is the first in music history to be explicitly labeled “atonal.” It was originally conceived as “Mephisto Waltz No.

4,” but in the end appears to have been composed as a separate work.

Throughout, beautiful harmonies resonate, yet the piece carries an elusive, hard-to-grasp atmosphere.

DedicationFranz Liszt88rank/position

Schumann–Liszt “Widmung”

This Schumann–Liszt piece exemplifies a beautiful fusion of Romantic music.

Schumann dedicated the original song to his wife Clara in 1840, and Liszt, the “magician of the piano,” arranged it for solo piano in 1848.

While preserving the original’s emotional depth, he added pianistic virtuosity and profound expressiveness unique to the instrument.

The poetic lyrics, which sing of deep love and respect for a beloved, are rendered even more radiant through Liszt’s arrangement.

Widely cherished as a piano recital staple, this work is highly recommended for those who wish to savor the richness of Romantic-era music.

Etude of Supreme Virtuosity No. 5: Will-o’-the-WispFranz Liszt89rank/position

Nobuyuki Tsujii / Liszt: Transcendental Études, No. 5 “Feux follets” (Will-o’-the-Wisps)

Among the works of Franz Liszt, known as the “magician of the piano,” this étude is particularly difficult.

Published in 1851, it takes as its theme the fantastical, elusive “Will-o’-the-Wisp,” and showcases Liszt’s trademark transcendental virtuosity throughout.

With rapid multi-note passages and arpeggios, wide-ranging leaps, and extensive shifts in register, it demands advanced technique from the pianist—but even more, it calls for delicate expressiveness.

Its otherworldly, elusive melody seems to lure listeners into another realm.

This piece is highly recommended not only for classical music enthusiasts but also for anyone who wants to experience the pinnacle of pianistic technique.

The Legend of Saint ElizabethFranz Liszt90rank/position

Ferenc Liszt: The Legend of St. Elizabeth

Franz Liszt is famous as a wizard of the piano, but did you know he also composed a grand sacred work themed on a saint from his homeland, Hungary? This piece is an oratorio depicting the compassionate life of Princess Elisabeth, who married into the Landgraves of Thuringia.

In fact, the sweeping conception was inspired by a cycle of frescoes in Wartburg Castle.

A prayer motif symbolizing the saint recurs throughout the work, lending the narrative profound spirituality and a strong sense of unity—truly wonderful.

Premiered in August 1865 under Liszt’s own baton, the work can be heard on recordings such as the Hungaroton release conducted by János Ferencsik.

It’s highly recommended when you want to immerse yourself in a moving sound world of majestic chorus and orchestra—quite different from opera.

Poetic and Religious Harmonies No. 5: The Lord’s PrayerFranz Liszt91rank/position

Franz Liszt : Pater noster (Harmonies poétiques et religieuses S.173 – 5)

From Franz Liszt’s Harmonies poétiques et religieuses, we present a piece that evokes profound religious depth.

Completed in 1853, this collection includes a work that Liszt arranged for solo piano from his own choral composition.

Infused with a spirit of deep prayer, performances of this piece awaken a quiet sense of awe in listeners.

Demanding not only technical prowess but also inner expressiveness, it is recommended for those who wish to convey spirituality through the piano.

It is a moving work in which Liszt’s innovative musicality merges with religious contemplation, resonating deeply in the heart.