Liszt's musical output includes numerous well-known later forms. Often, his initial ideas and texts, in their constant revisions, are fascinating and frequently superior to the final version he worked on until publication. The Paralipomènes à la Divina Commedia is a famous work from the second year of his Années de pèlerinage. In the first version, a clear return to the original key is evident in the second part. The different structures of the final version are readily apparent, and listeners immediately recognized the power and distinctiveness of the first version.
The revisions of the Grand Solo de concert for the Paris Conservatory included changes to the slow movement and the addition of two passages. The version with Eduard Reuss as a two-piano duet significantly expanded the work. Liszt used the sostenuto pedal to sustain the chords. Furthermore, he composed the song "Die Zelle in Nonnenwerth" in various versions over the years.
The revisions of the Grand Solo de concert for the Paris Conservatoire included changes to the slow movement and the addition of two passages. The original title of Liszt's song "Die Zelle in Nonnenwerth" was "Eine Älégie pour piano seul." The revision of the piece "Romance oubliée" revealed his despair in a novel way. Several previously unpublished piano transcriptions of the B-A-C-H theme were produced. Liszt's composition "Weihnachtsbaum" went through several versions, with the final selection often adjusted to avoid tedium.
The original manuscript of "À la chapelle Sixtine" was preserved in the Goethe-Schiller Archive in Weimar, containing numerous revisions and discarded ideas. Liszt's "Hungarian National Melodies" were arranged in simplified versions, but the third number remained challenging. The concert version of the thirteenth Magyar Rapszódiák was still demanding, despite its simplified arrangement.