[It] is a very effective arrangement for dance orchestra of the 'Grand galop chromatique' by Franz Liszt (which appeared in 1838).
The Grand galop chromatique is a display of virtuoso pianism with which Liszt thrilled audiences for nearly a decade.
Schonherr must have been unaware of both the Grande valse di bravura and the Galop de bal because he did not identify what he called 'another Liszt source'; and had he encountered Liszt's simplification of the Grand galop chromatique he would doubtless have recorded that it was musically identical with the Furioso-Galopp.
A plausible explanation for the incorporation of the finale of the Grande valse di bravura into the Furioso-Galopp is that Strauss discussed with Liszt the feasibility of creating a galop for his orchestra based on the Grand galop chromatique.
Liszt was, of course, still able to use the themes of the second trio as the basis for his Galop de bal.
Finally, Liszt may have obtained a simplified version of his Grand galop chromatique for very little effort: a comparison of the piano reduction of the Furioso-Galopp, printed in the younger Johann Strauss's complete edition of his father's works,(9) with the simplified version ascribed to Liszt reveals differences so slight that an engraver could well have been responsible.