If one disregards arrangements of works by other composers, Liszt's oeuvre for piano and orchestra comprises approximately fifteen compositions. However, since the first version of Totentanz (Dance of Death) differs significantly from the later version, the total number rises to sixteen. Liszt's contribution to the Hungarian Gypsy Airs (also known as Concerto in the Hungarian Style) should perhaps also be included. Furthermore, there are works for piano and orchestra whose existence is presumed or which were once performed by Liszt but have not survived: two concertos from his youth are lost, and there are indications of orchestrated versions of five important solo pieces. Of the surviving compositions, Liszt himself only publicly performed three and published only a few in his own hand.
One can imagine that the young Liszt was encouraged to write his own orchestral works and quickly presented the results. A precise chronological order of their composition is difficult to determine. However, in the mid-1830s, he likely conceived the so-called Malédiction Concerto, the Lélio Fantasy, and an early version of the First Concerto. In later years, Liszt revised several works, including the Capriccio alla turca and an orchestral arrangement of his Grand Solo de concerto. The Hungarian Fantasy also emerged as a significant contribution to his output, while his arrangements of pieces by Weber and Schubert quickly gained popularity.
Toward the end of the 1830s, Liszt devoted himself to three concertos, the final versions of which, however, were not published for many years. The Totentanz (Dance of Death), a particularly noteworthy work, remained unfinished for decades and was only published posthumously. A revised version of the Concerto pathétique, orchestrated by two of his students, also exists. Concertos Nos. 1 and 2 were especially well-received by musicians, with the second concerto being considered particularly poetic and demanding.
Toward the end of the 1830s, Liszt devoted himself to three concertos, the final versions of which, however, were not published until many years later. The origins of the Fantasy on Hungarian Folk Melodies and the work Hungarian Gypsy Airs are uncertain in some respects, particularly regarding authorship. The Hungarian Fantasy, also known as the Concerto in the Hungarian Style, may have been composed in collaboration with the pianist Sophie Menter. Its publication occurred after Tchaikovsky's death, and the details of its creation remain unclear. Nevertheless, the work deserves attention, as a collaboration with Tchaikovsky seems plausible. Liszt's contribution to the piano part can be assumed, but the precise source of the piece is not definitively established.
Liszt's compositions for piano and orchestra are characterized by their versatility and complexity. Many aspects of their genesis remain obscure or are based on speculation. His influence on music history remains highly relevant to this day.