I remember squinting at the page and picking out the notes uncertainly. What was a staircase of broad, even planks-step, step, half step, step, step, step, half step-becomes an irregular, treacherous structure: down a half step, then a minor third, then two more half steps, then another minor third, and finally a half step and a step. ![]() Indeed, we descend once more, but along a markedly different course. The two G’s sound again, creating an expectation that the scale will recur in turn. ![]() Faust might be brooding in his laboratory Byron might be dreaming of death and darkness. “Abandon all hope” could be written above this Phrygian, Stygian staircase. ![]() (The Hindustani raga known as Bhairavi, which is associated with tranquil devotion, is similar in shape.) Liszt’s scale, though, has an unmistakably gloomy aspect, its downward trudge recalling the passage to the dungeon in Beethoven’s “Fidelio.” We are in an echt-Romantic realm-sombre, religiose, remote, forbidding. The second and seventh degrees are lowered a half step, meaning that the scale assumes the contour of the Phrygian mode, which medieval theorists considered mystical in character. You then play a slowly descending G-minor scale, doubled at the octave. Liszt indicated that these notes should sound like muffled thumps on the timpani. You first encounter two clipped G’s on the lower end of the piano, spread across two octaves. The intellectual challenge is another matter. Yet the Sonata begins with seven bars of technically unchallenging music, which anyone who reads notation can manage. Liszt was hailed in his lifetime as the demigod of the piano, the virtuoso idol who occasioned mass fainting spells, and in the hundred and thirty-seven years since his death no one has challenged his preëminence. By the middle of the second page, I was floundering, but I had already received a constructive shock. One day, he placed in front of me the score of Franz Liszt’s Sonata in B Minor-a deceptively thin document of thirty-five pages. The idea was to experience the music from within, however pitiful the results. 3–15 in 1853, and the last four were published in 18.My high-school piano teacher, Denning Barnes, liked to assign me pieces that I had no hope of being able to play. The first two were published in the year 1851, nos. Subtitled Ungarische Ausstellung in Budapestĭ'après les 'Csárdás nobles' de K. Subtitled Budapest Munkácsy-Festlichkeiten Liszt made an earlier version entitled "Rêves et fantaisies"Īrranged for piano and orchestra as Hungarian Fantasia, S.123 14 was also the basis of Liszt's Hungarian Fantasia for piano and orchestra, S.123. 16 (S.622), and in 1885 a piano duet version of No. In 1882 he made a piano duet arrangement of No. In 1874, Liszt also arranged the same six rhapsodies for piano duet (S.621). The orchestral rhapsodies numbered 1–6 correspond to the piano solo versions numbered 14, 2, 6, 12, 5 and 9 respectively. These orchestrations appear as S.359 in the Searle catalogue however, the numbers given to these versions were different from their original numbers. 2, 5, 6, 9, 12, and 14 were arranged for orchestra by Franz Doppler, with revisions by Liszt himself. He also makes much use of the Hungarian gypsy scale. At the same time, Liszt incorporated a number of effects unique to the sound of Gypsy bands, especially the pianistic equivalent of the cimbalom. Within this structure, Liszt preserved the two main structural elements of typical Gypsy improvisation-the lassan ("slow") and the friska ("fast"). The large scale structure of each was influenced by the verbunkos, a Hungarian dance in several parts, each with a different tempo. Liszt incorporated many themes he had heard in his native western Hungary and which he believed to be folk music, though many were in fact tunes written by members of the Hungarian upper middle class, or by composers such as József Kossovits, often played by Roma (Gypsy) bands. ![]() In their original piano form, the Hungarian Rhapsodies are noted for their difficulty (Liszt was a virtuoso pianist as well as a composer). 14 (especially as arranged for piano and orchestra as the Hungarian Fantasy) also being well known. Some are better known than others, with Hungarian Rhapsody No. Liszt also arranged versions for orchestra, piano duet and piano trio. The Hungarian Rhapsodies, S.244, R.106 ( French: Rhapsodies hongroises, German: Ungarische Rhapsodien, Hungarian: Magyar rapszódiák), are a set of 19 piano pieces based on Hungarian folk themes, composed by Franz Liszt during 1846–1853, and later in 18. For other uses, see Hungarian Rhapsody (disambiguation).
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