RHAPSODIES

By
CHARLENE FRANCEY
of British Co.lumbia, 1990

FULFILLMENT OF
,THE JtEQUIREMElNTS FOR 'rHE DEGREE OF
· MAEITER OF ARTS

in
THE; FACULTY OF GRADUATE STUDJ.ES

( Schc:ml of Music)

We accept this thesis as conforming

to the required standard
J_ A

I
---~------------------------------
THE tJNIVERSJ'.TY OF BRITISH COLUMBIA

May 1992
~ Dana Ch~rlene Francey, 1992
-·- ---- :·,
_; << ·-/} _._- - - I

In J>resenting
this thesis 1 in partial fulfilment of the requirements for an advanced
' ·,~tee at the University Iof British Columbia, I agree that the Library shall make·. it
#eefy
available for refere~ce and study. I further agree that pennission for extens\ve
copying of this the~s f6r scholarly :purposes may be granted by the head of r,ny
i~· '-. :'. .·.:_~- -:. .. : - . -. -. !
department or by his pr her representatives. It is understood that copying or
.;ubllcation of this thesls 1 for finandal gain· shall not be allowed without my writtEH'l

(SlgnaturE

Department of __MU_SI_c______ ,_ _ __

The University of Brltl~h Columbia

Vancouver, Canada

Date MAY 8, 1992

DE-6 (2/88)

·.·........ ' ' .. ·.· .. · : ''\\Ill!~

,'llt'1il~N4~~~~~t-~i;ij~~~;t.iiih~ ~~~
 ABS'l'RACT .

. The aim cf thi!3 thesis ijJ to provide an overview of Liszt's nineteen

------~Bh-A.P~•~od~·ui~a-.si which will lead to 'a better understanding of Liszt's
i . . :
development in relation to this unique genre of his own creation •
. The works willbeapiroached arid classifled according to three main toplcs:
I ,
formal aspect:•, the relationship with pre--existent materials, and techniques
I
__- - - - l
·of thematic treatment, Sample i:tetailed analyses of several of the Hungarlan
- l
Rhapsodies, in light:of the above criteria, will substantiate my findings,
- - i

The first chap~er of the thesis will place the Hungarian Rhapsodies in
the context of Liszt's oeuyrq and desoribe them with reference to the
j
I
'rhapsody' genre, d4rl:.ailing their style characteristics. It will then
- 1
explore the circumlJtances under which Liszt composed the Hun~dJm
- I
~ , and con~,ider his 'possible rnotivations, including direct and
:
indirect influences which may have played an important role in the creation
and development of hie ideas. Letters and other testimonies will also help
to answer questions , such as1 where, when and for whom were these works
compoaed (aa revealed by tho dedications), and where, when and for whom were
these works performe~ during Liszt's life,
The second oha~ter of the thesis will describe the relationship of the
Hungarian Rhapsodigg With the original collections of Hungarian folk tunas on
which they are baaed! (Magyar_ Dallok and Mfillvar RhapszodiAk pieceo), and
subsequently will use the relationship with this pre-existing material aa the
foundation for grouping them into categories, ~.g., Hungarian RhaQ.§Qgy Noe.
1-2 (based on folk t:unes not found in the Magyar collection), fuill.9.§._,t;..,l,,s\n

Rhapgody Nos, 3-15 (ba, gd on folk tunes found in the Magyar colloction),
Hungarian Rhapsody Noa, 16-18 (not based on any pre-exleting material -- all
original works), and Hungarian Rhapsody No, 19 (bas~d entirely on£@!,~
nobles by Abr6nyi, an Hungarian composer), An evolution of form from the

ii
 -~

~gyar pi~ces to th~ Hungarian - Rhapsodies will be illustrated,

- - -1 :- -
Liszt's re,hsion of the formal structure when transferring selected
-1 !

material
--
frpm
-1
one piece
-
to the other.
A second catJgorizationwill
I - ,-
then: be made, baaed on the evolution of
- <c6mpoaitional aty~e in the Hungarian Rhapsodiep,, exemplified by the
- improviaatory, virt~oaic writing in Hungarian Rhapsody Noa. 1-15 as compared
l
with that in Hungazjlan Rhapsody Noa. 16~19, which consists of less melodic,
!
harmonic and rhythnjic variatipn.
:
l
In chapter t~.ree the hypothesis p11t forth by Alfred Brendel (H11sical
Thoughts and AfterJ.houghta, -1976) -- that Liszt' a Hungarian Rhapsodies are

paraphrases -- wil~. be devel~ped. The first section of this chapter will

provide a definitio~ of a musical paraph~ase and Liszt's varied applications
1

:
of this compoaitioqal technique will be .l.llustrated through the analysis of
l
several of his paraphrase pieces. Analyses of Liszt's use of the paraJ?hrase
technique in the W\ngarian Rhapsodies and parallel Magyar Dallok or Magya~
Bh11pszodi6k pieces, will show that, in fact, both sets contain similar
'
techniques of parap~raee, and thuo, the relationship between the two sets can
be seen as one being a variant of tha other. These analyses will also
demonstrate a aimilarilty betweem the Hungarian Rhapsodiea and Lis$.lt's other
paraphrases regarding the degree to which the pa.raphrase technique is
applied, ranging from subtle to extensive.
In chapter four conclusions will be drawn concerning the aeethetlc
value of the Hungarian Rhapeo!Ull. It i.s common io music criticism to infer
that because the ijunqadan Rhapsodieo do not present the conflictual,
developmental worktng out of themes epecific to other nineteenth-century
genres, but, instead, are comprised of simple tunas repeatod with increaaing
elaboration !n a virtuoeic style, they therefore are works of le~1ssr value.
In this final ohapt0r I will Buggest reasQning to the contrary in an attempt
to give Liszt Is Hw]ga,;ian Rhapsodies the esteemed recognition thray deserve.

iii

;
__cJ ia:a&
 I
_Abstract
. . •.•........
. •II•••••••••••••••••••••-••••••••••• C, • • • • - . -• • • • • • ii

-~~~Li.at Of -,-i~~-·~ ..-..j ••••••••••.•••••••••• • ....................... • vi

,-- ------ < l ;·
Li.St of BXIUDpla_• ~ • _••1• • • • • • • • • • _• • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • vii
j '
- _- - - - - 1 •
~ckn.owla~g~nta. • ~ •I • ••••••••••••••••_•••••••••••••• _•••-•••••••••• xi
'
I
CHAPTER ONE. Hunqadan Rhapsod'ies -- Background •••••••••••••••••• 1
i
1 '
Rhapsody as Genre and Style •••••••••••••••••••••••••••••••• 3
Hungarian vs. 'Gypsy music.' ••••••••••••••••••••••• ,.••••••• •.• s
Publications eind Dedicat,ions ................. , ..•.......... 7
Parformanaaa. •'.' ....................................•....•.. 12

CHAPTER TWO. overvitiw of the }lungarian Rhapsodies with an

Emphasis on Form and Compositional Style ••••••••••• 16
source of bortowed material ••••••••••••••.•••••••••••••••• 16
Formal Struct~res ...........................•. ~ .......... . 23
Compositional :style• ........................•......•...... 30

CHAPTER THREE. The1ne.tic Treatment in the Hungarian M.:,psodies ••• 39

Definition of paraphrase •••••••••••••••.•••••••••• •••0••••39
Diyertissement A 1 'hongro.tse and M6).odies honaroises ••.••• 41
U Trovatore 1tnd Mise:;ere aus Trovatore yon Verdi. •••••••• 57
Magyar Dallok vs. Magyar RhapszodiAJ:r. •••.•••••••••••••••••• 77
Magyar Dallok ~o. 7 and Hungarian Bhapsody No. 4 •••••••••• 78
Magyar Rhapszc~ No. l.7 and llim9,a1:lan Rhapsody No. 13 ••• 85

Hun;at:ion Rha,~ No. 1. • • • • • • • • • • • • • • • • •. • • • • •.. •. • .... . 95

Hunaarian Rha,~ No• 16 • • • • • • • • • • • • • • . • . • • • • • .. , ....... . 103

iv
 _l

Bvaltiating the Aesthetic Characteristics of the

Hungarian Rhapsc;,dies •••••••••••••••• 4;• • • • • • • • • • • 108
- ___ - _J - - ; -- ,

M~loc;IY -Va.- ---Theme

i •••-••••• :••••••••• -•••••••••••••• -••••••••••
~" 108

Form,, •••• -•• -~.~ ••••• -•••• •i••••••• ~ •• :••••••••••••••••••••••• 114

Vittuoaic Perlorm~nce
- I
. .. ! • • • • • • • • • • • o •••••••••••••••••••• • 115
-~he ,Piario as <,rchestra. •;• ...•..... :....................... . 116

Int'9q>retatioJ
-_ -_ 1
and Realization ••••••••••••••••••••••••••• 118
!

~IBLIOORAPH! ••••• • _• ~ •••••••••• -. _• . • • • . • ........................ • 120

V
 LIST or FIGURBS

I
1. Liszt's P,iano works!from 1848... 1860 .••••• ~ •••••••••.• 2
-I , -. - . --
ll'igure 2. -. Relationship of X.qyar DalloJs and Magyar
,Rhapazi:>d~~-to
I
HUngarian
- -
Rhapsodies •••••••••••••••• 23
~·Fi9Ure 3. 161::h-cen~ury Hungarian dance form •••••••••••••••••• 24
- '
- - - l
· riCJUre 4. 18th-century Verbun_kos dance form •••••••••••••••••• 25
---1
Figure s. Magyar Da1..lQk No. 3,
modified jVerbunkos :form ••••••••••••••.••••••.•••••• 25
Pigure 6. ljaqyar ..Qi.ll,Qk No. 9 - Verbunkos form ••••••••••••••• 26
-- i
Pigure 7. C•lrdb ~egment in Verbunkos dance form •••••••••••• 27
i •
) i

Figure e. Calrdla form ...... :.......... , ..................... 2 7

i
P'igur~ 9A. COcQparb6n of form :1n MaqyaLRhapazodUk
Ne. 15 a~•d HunaariAD-,lUlapsody No. 7 ................ 29

Figure 98. COlll')aris~m of form <in ljagyar Rhapszo~

No. 17 aM Hungarian Rhapsody No. 13 ••••••••••••••• 29
. '
'
Figure 10. Form of $chubert's Divertisse,ment A l'honaroise
and Liszt:' s Ml2diEl.!Lb.Q.ngt.2i.lum, ••••••••••••••••••• 41
Figure 11, Form of Verdi's ll. Trovatore. Act foui.•, scene I
and Liez1: 's Misere1:e aus Trov~ ••••••••••••••••• 58
Figure 12, _:,,,,..., .Jf {iagyar Dall.Qk No. 7 and
Hungarian Rhapeody·No. 4 •••••••••••.••••••••••••••• 10
Figure 13. Form of i1unaarian Rhapsody Ne,. 1. •••••••••••••••••• 95
Figure 14. Form of iiungadan llhapsody No. 16 •••.•••••••.••••• 103

vi
 ,__!/ - -_ -
. Liiri'or.BXAMPLBS J

.I
1
i ,
1. c,ardla obstin6e. mm. 11-10 •••: ••••••••••••••••••• 30
j
I . --
C8'rd68 Alf!caba. ram~ 1-10 •••• • ••••••••••••••••••• 31
- .- . . .I
3. Hungarian! Rhapaociy ~o. 10, mm. 1-5 ••••••••••••••• 33
4.,
---:- - -_. l
Hungarian• Rhapsody Ho. 17, mm. 1-3 ••••••••••••••• 34
-·-. - i -
11:Ji:ample 5 • Hungarian Rhapsody Ho. 17, mm. 11-14 ••••••••••••• 34
.- > j -
Example 6. Hungarian Rhapsody No. 11, mm, 65-76 ••••••••••• .35 <
:i
Bxample 7. B1.1nszu:.i.1n I
Rhng1ody No. 17, mm. 35-46 ••••••••••••• 36
Bxample BA. IIYDSJd1d! Rh1psody ko: 10, mm. 3Q-34•••••••e•••••J7

. Bxample ea. aun51aria~ Bbl!PBQdy No. l.O, mm. 82-83 ••••••••••••• 37

Bicample BC. H!,UlS'!ld•ri Rh&RIQdy No. 10, mm·. 89-90 ••••••••••••• 37
l
Bxamp'.l.e 9. uuog11:.i.1~ Rh1p1ody No. 17, mm. 58-64 ••••••••••••• 38
I
Bxample 10•12. Compatis.-.,n of paralbtl opening measures in
schubfl1rt' s lU.uiJ:iasement A l' honaroise and
Liaztls ~tlodiem hongroise~1
i
Example 10. Andantet !mm. 1-5 ••••••••••••••••••••••••••••••••• 43

Bxami,le 11. Marcia, ~ltll. 1-14 ••••••••••••••••••••••••••••••••• 43-44

Example 12. Allegrt. Jo, Schube1:t - mm. 1-8 ••••••••••••••.•••• 4 5

Liszt-.~ rnrn. 1-10 ••••••••••••••••••••• 45
Example 13. Divertis11ement A l !,honaroise, Andante,
rrrn. ss-6t3 ••••••••••••••••••••••••••••••••••••• ,._ , .47
MtlodiU .bQng,J;w.u.11, Andante, mm. 55-62 •••••••••• 48
1!.tl,o.s!1&11 hona;oiee11, 1\ndante, mm. 63-71 •••••••••• 49
Example 14. Mflodiea: hooaroiset, Me~cia, 1nm, 15-26 ••••••••••• 50
Example 1s. Divertig~§l!IW_Li.'hongroise, Allegretto,
nvn. 61-75' •••••••••••••••••••••••••••••••••••••••• 51
M6lodiea hongroiQ~i, Allegretto,
nv:n. 91-99 ••••••••••••• ~••••• . ••••••••o•••••• .. ••••52
MtJ.~....b.ongroise~, Allegretto,
IM\. 107-115 ••••••• ·••• , ••.••• , •.•••••••••••••••••• 52

Example .\6. MtlodiQB honyrois8f!, Marcia, mm. 91-98 ••••••••••• 54

Kxample 11. Diyertiqsem,nt 4 l!hona[oise, Trio,
l1lln. 29-36 •••••••••••••••••••••••••••••••••••••••• 55
MtlodigQ hongroiev1., Trio, mm. 59-66 ••••••••••••• ss
Hllodieg hongroise~, Trio, mm. 120-121 ••••••••••• sG
Exampla 18. Il TrovJ.tQ.a, Act four, scene I, theme A,
rnrn. 62-?0 •••••••••••••• • ••••••••••••••••••••••••• 59
11:xample 19. t1i111rere ous Trov~, theme A,
rren. 1-10 ••••••••.••••••••••.•••••••••••.••••••••• 60

vii

'
j - - -- -,~.l.~ -?.~-~ ~ Je4. -~-":at> __ --~••·_:-..\.~~,~ .. ~· ~?£:-Jit"--_.\:"i;"· •
~'t"~·~':ryi~~r~ q c.;~~';;uL~~±c;;r;,,,2:c~~r. ~ - ~ " ' ~ ' ~F··· · · .~ ~--~ ~~~· > .•.. • . .· · · · . ~ ···.

I
. . . 1i
Hi•a(aralaus Trovatore, theme A,
----~: 29_~37 •••••• _.· •• ~---:--.--.-._. ~-. 0 ·- • • , • • • • • • - • • • • • • • • • • • • • • 61
21. Il'l'rovJore, Act iour, seen~ I, theme e, ·
--·- 71-80 ••••• • .- •• ~. ~-:~ •••••••••• • •••••••••••• ·-· •• 63
.·.· . . • ·. . · 1 . • . .

22. ·11111agjprejaus Trovatore. theme e,

m. -11~21 •••••••-•• ~ •••••••••• :•••••••••••.••••••• -•• 64
. I
Bxampla 23. Il .'1'r9Y~.2'!!, Act tour, scene I,
. themas Ai & e, nm. ~6-104 •••
,· • . ... j
e ••••••••••••••••••••• 66
> ' ·.·. i
Bxample 24. Mi11rere1aus Troya:t,om, theme e,
IDID• 39.;.42 ••• -•••••• e .••• -.· •••••• : •••••••••••••••••••• 67
i
Bxample 2s. Il Troyaf.Qll, Act four, scene I, theme c,
llldl~_- - 80~87 ••••••••• ~ •••• -. ••••••••••••••••••••••••• 68
l ' -

Bxample 26. Hi1erare!aus Troya~, them~ c,

11111. 22-2~) ••••••••• J ••••••••••,•••••••••••••••••••• 69
I - \
Bxample 27. Miaarere1aua Treva~, theme c,
1111\. 49-Sf3; ••••••••• ~•••••-•••••'••••••••••••••••••••71

Example 28. Il Trotat&.&:!!, Act tour, scene I,

themea A~ B& C, 112-116 ••••••••••••••••.•••• 73 mm.
l
Example 29. Miaarere1 aus Troyati.Qll, theme B,
111D. 59•64 ••••••••• ~ • -• •••••••.•• ~ ••••••••••••••••• 7 4

Example 30. Miaararei aus Trovatc.2a, cooA,

arm. 74-9;L •••••••••••••••••••••••••••••••••••••••• 76
Example 31. Magyar Piill..124 No. ·1 and
Hungaria11 RhapsodY ·No. 4,
thetnea At B & C •••••••••••••••••••••••••••••••••• 79
Example 32. Maavar Dl\ll.Qk No, '/, theme A,
rnrn.1-s. ~ e e • • ea a e_a .so
II • • e ea a a e ea e • • e a • e • e a . e e ea a e ea

Hyngarian Rhapsody No. 4, thE1me A,

-rmn. 1-e.~ ......................................... a1
·1, theme B,
Example 33. ,u,;war Dlu..1..2.k No,
nun. 26-33 e e e t t •• e e •• lit e 4 • e e e e I e t e • e a • e e e I e • e e e • e e .. 82
Qungariaj~ No, 4, theme B,
«cm. 2 5-J:? •••••••••••••••••••••••••••••••••••••••• 82

E,cample 34. Magyar Pl!.U.2k No. ·1, theme c,

5!i-6C> ••••••••••••••••••••••••••
111111. ..83
Hungarian BbApsody No, 4, thE1ma C,
inrn. 59-6~} .............................. , •••••••••• 04

Example J<,. Magyar R I ~ No. 17 and

HungariaO Rhapsody No. 13,
themas Ar B, C & E ..... ,, ••••••••••• , ••••• ,. ••••••• 85-86

E,cample 36, Mogyn RbapezodUk No. 17, theme A,

rnrn. 4-8, I, I • t I t I • I e II t It It• t t • • t t I•• t t • t f ••I••••• e ,87
Hungarian Rhapsody No, 13, theme A,
mm. 4-8 ••.•.•••••••••••••••.. , ...................... 87

viii
7'" "'" '" · : "=·..----,·•· ·... · -···r-----·· -·. I
I

tJ. J ·.·. . ; ·. •
37. Magyar RhapszodU.k Nq. 17, theme B,
r

,~',·-~ l 11111~_: ·2s~2,~:L •.••• -.- •••• i-.- •• --•••••••.•••••••••••••••••• es

·.31
.,., ! • Hyncrarian ·Rhapsody No. 13, the~e B,
_11111 • . 25.;.27. 1• • • • • • • • • • ; • • • • • •· • • • ,;- • • • • • • • ~ •••••••••• 88

/j 1 ·.sximple 38 •. Hunq~rian ~apsody· Nb .

13, ·t. hetae B, , .
< ···l ,11111.• ,76-9,9. j" ••••••••• : ••••••••• .; •••••••••••••••••• 89
Bxample 39 ~ Magyar' Rha~szodU.k No. 1 7, theme C, .
~f:_._,lS_~~~;~-! • ., ••• ~. --~. -~. • _••••••• ~-- •• -•••••••• ~ •••••• 90
Bunga#IJ:L)UtapEiody No. 13,theme c,
11111• 100-105 ••••••• -•• ~ .-•••••••• ~ ••••••••••• ., •••••• 90
. . I . . .·
Example 40. Hynqarian ·Rhapsody No. 13, theme c,
-lllll~---23e.;.2s:a •••••••••.••••• -••••• ~ •••••••••••••••••• 91
, .· .· .' i
Example 41. Magyar Rh.pszodilk Np. 17, theme E,
11111.~ 115•122 .................. :•••• -................. -................................ 92
HunaarianiRhapsody No. 13, theme E,
flin. 148-15 S • • • • • • • • • \a • • • • • • • • • ~ • • • • • • • • • • • • • • • • • • 9 2

Example 42. Hunqarianlm,apaody No. 13, theme o .••••.•••.••••. 93

]
Example 43. HunqarianlRhapsody No. 13, theme D,
na. 124..;129 ••••••• -.- •••••••••••••••••••••••••••••• 94
l
Example 44. HunqarianiRhapsody No. 13, theme o,
nm. 1&s-110
;
•••••••••••••••••••••••••••••••••••••• 94

Exam:,:,le 45. HunqarianjRhapsody No. 1, theme A •••••••••••••••• 96

HuriqarianiRhapsogy No. 1, theme B •••••••••••••••• 96
Huoa1rianiRhapsody No. 1, theme c •••••••••••••••• 96

Example 46. uungadll)iRhapeody Ho. 1, theme A,

IDIII. l-lO.~ ..................... e ................................................... 97

Example 47. ffungarian:Rhapsody Ho. 1, theme A,

mn. 23-261.••••••••••••••••••••••••••••••••••••••• 9 ..,

Enmple 48. HungarianRhapsgdy Ho. 1, theme A,

Inn\. 40-47it .............................................................................. 98

Example 49. liYmffiilinRhapsody No. 1; theme B,

nun. 77-91:.. ........................................ 99
Examplo so. Hungarian ' Rhapsody No. 1, theme e,
nun. 92-97 1
........... , •••••••••••••••••••••••••••••• 99

Ex-,mplu 5.1. Hungarian Rhapsody No, 1, therne c,

rtllrl. 234-241 ••••• , • , , ••••••••• ,. •••••••••••••••••• 100

Example, 52. H~naarian Rhapsody No. 1, theme c,

272-279 ...................................... 101
ll\tll,
Examplo 53. Hungarian Rhapsody No. 1, CODA,
rnrn. 343-3:48 ••••••••••••••••••••••••••••••••••• " .102
Example 5 4 • UupgariAQ Rhapsody No. 16, th,ame A,
rnrn. 1-16 ••••••••••••••••••••• "' •••• ,.••••••••••••• 104
Bxamvlo ss. Hungarian~ No. 16, theme A,
nun. 98-115 •••••• , ••••••.••••••••.•••••••••••••• , 105

ix
 56. ftunqariari Rhapsody No. 16, thel(le 8, ••••••••••••• 105
-·:- - - ,- 'l - - --- - i
57. Hungarian !Rhapsody No. 1,6, theme B,
-DIil-.
,--
_, 27-35-.i! •••••••••• :. ~ •• ~ •••••••••••••••••••••••
'
106
-_ -_ -- - l -
58. Hungarian1Rhapsody No. 16, theme B,
- '
- m.-- _1-1_6-~12s ••.••••• • :•••••••••. :. ••.••....•.• ~ ••• •-106
ll I-
59. B minor Sonata, • I -
themes A & B, mm. 8-15 •••••••••• 110
i -
60. B minor Sonata, development c;,ftheme A,
am_. -:120~1-~o •.•.••••.... . -.- .....•.•••.. ·-· .••.. p, • • • 111
I
Bxillllple 61. B minor Sonata, development of theme A,
am • .67_~e1-.1- •••••••• 'C" -• • • ·- ~-- •••• '." •••••••••••••••• • 112
-
> _- lI .'
Example 62. B minor sonata, combination of themes A & a,
~~ 3~-33 ·l ••••-.•••••••••••••••......•.•••...•..• 113
i
,Example 63. B minor Sonata, devel..'.>pment of theme e,
am. 153-lS:6 • .....•.. :....•••. • . . . . . . . . . . . . . . . . . • • 113
Example 64. Hungarian 'Rhapsody No. 3, mm. 17-19 ............. 117
Hungarian Rhapsody No. 11, mm. 1-4 .............. 11 7

X
 I wish to expre~s
_. !
my most·sincere
. .
gratitude to Professor Vera Micznik,
thesis advisor, /wh~se patlent super;vision and invalua,ole criticisms
,·::>_, _-
- _- i - - :, j - :
contributed aignific'-ntly to t~e completion of the thesis. I also wieh •.:o
. ··--
--_,, ,.- ·- " I
_I -
extend _my appreciat.f.on to the other member a of my advisory cornmi_t.tee,
. I

J. Evar. treider and : John Sawyer, whose thoughtful auggestions

- verybelpful, Iland from whOh'I

-proved . I gained'
. . an abundance of knowle~)ge during
111y years at u.e.c. F;A.nally, I wish to thank my family and my fia,;1c6, Darren,
i

- _ for their encouragem~mt and lo~ing support, not only during U,e composition
of my theais, but thtoughout all of my academic endeavors.

xi
~~s~!;;;,1u'f~e~~~~; ;, <~\.:· . ' ·1 : ...,v, T ,.. . J

,-l

l i
!

.CHAPTER ONE:
!HUNGARIAN
1 _, -
RHAPsoDIES:_ BACKGROUND
i

l
!

l
Franz Liszt (lf:311-1886) (.fas. an extraordinary musician who possessed
j

pt~>ciigio\la talents · '.in both performance and composition. Lisit began

'
.perfo1:'llling at the·pi~no at the age of nine, giving his first concert in 1820
at Oedenburg, a townJnear Esterhlzy wher~ he was raised. 1 From this point
. J
on, under his fath&J:'.' s guidance Liszt toured all over Europe,, continually
I
- _i
receiving invitation~ to perform in new cities, which allowed him the
opportunity to travb1 across the continent and become ncquainted with
different cultures.
At the zenith ~f his performing career Liszt chose to shift his focus
i
away from playing and
I
toward composing.
,
At this time, in 1848, Liszt was
offered a position ~>y the Grand Duke of Weimar, Karl-Alexander, as Grand
Ducal Conductor and l Director of Music at the court of Weimar, which he
accepted. The period of employment at Weimar became the most productive and
successful period fo!c Liszt.'s composing,
Liszt's duties as D Lrector of Music at Weimar ( 18,48-1860) entailed
hiring, teaching, rehearsi:i'lg, supervising, conducting, and composing for the
court orchestra and related theatre productions. Liszt composed a great
quantity of music, i.ncludlng twelve eymphonic poems, two symphonies (Dante
and Faust), seven co11certc1s, an abundance of secular and sacred vocal wc)rks,
and a multitude of piano 1md organ piecea and transcriptions.
The piano works alcme represent an enormous achievement for such a
relatively short pe1~iod c:>f time (1848-1860). Figure One liets the P.iano
works composed during Liszt'o Weimar period.

1 Sacheverell Sitwell, ~JJ!ll (New York1 Dover Publishing Inc., 1967), 6.

l
 2

Liazt•a piano wo~ks 'from 1848-1860.

Title composition Publication

date date
~~-:----------------~--l---------~..1~-.:---------------.
l
1 i . . ~-------------------------
Three concert atudie,11 Il Lament.2, 1848 1849
La Legqierazza, and
YD Sospu:Q.
i

Two Balladeas Nol 1 in 0-fl.at major 1845-48 1849

No J 2 in B mJ.nor 1853 1854

six consolations 1849-50 1850

gwsea xoo11rtap10 1849 1851

Six 2aod11 ftudea de1 Paganini 1851 1851

'
Tw&lve Btud11 d•extci,tJ.on tranac•oclante 1851 1852
I
Two Polonai•••• c ~1inor, E rnajor 1851 1852

Fifteen Hungarian Bbmpgodiee 1846-53 1851-53

j
Ten P,iecea of the H A a l l l 9 ~ 1845-52 1853
At,Jreliaieus1;ta.
soherzn und Marach 1851 1854

~ a in a minor 185~·-53 1854

Nine I,1ieces in the Swiss book of 1848-54 1855

Ann6aa de ftlerinaat
seven pieces in the Italian book of 1837-49 1858
&oot,s de et1erinage
Three pieces of ~ ~ . i 1859 1861

1854 1865

This study wUl. focus on the 11Y..ru:Jllr.ian Rhapg2diaa, a set of nineteen

piano works based on Hungarian folk tunes which LJ.ezt had collected aaveral
years earlier from the music of his native country, Hungary. Li~zt initially
transcribed and arranged these folk melodies in a group of twonty-two piano
piecoa, published J.n collect;iona ent:ltled Magyar DallQk and M.5!™£.
Bb.ill>.BZQ<U.Ak, which through gradual r,evioione and rearrangemento ouboequently
b II cam 11 t he lll,UlgAw.n....Rll.tm!!ol!J..u..1.
 STYLE

• 1
I
context of Liszt's oeuvr;, the Hungarian Rhapsodiei1 may be
-:r-::--.\~_·,~-~, -- ~ \- -t~:-·._- -, -_:_._- . - I : .- :
~ '·.
ostensibly
.... ' . i together with his solo piano works.
claaaified!
. ..-· Yet, the Hunga~,m
, ,_, -- ·- --· - _, - - I

"
Rhapsodies
- -- -· - -
are -
dUfe~ent in style from Liszt's other piano works, not only
- l •

_ ~causetb~y~e-baa~d on Hung¥ian national ftQl,k tunes (unlike most piano

. --_<:_·_··--.- -- ~~. , -! f-
. ; ,works produced duringl this period which are original compositions)' but also
~-----·;--., __-_-_-< . -; _>:_~/ ... -~ l - i- '..
\'Yb_ecause they.,')~along Jto a diff~rent genre -- the rhapsody. Indeed, the
;-,':·'- _· ·. . . . . . ;. . .i '
· Hungarian
.·,' -
Rhapaodijaldefine Liszt's own genuine adaptation of this new and
- - . ·j i :

ra}atively
• - -~'
~
unexplored
. --. i
musical genre that emerged in the last two decade1:1 of I -

i
eighteenth.century.
The term 'rha~sody' was first used in ancient Greek literature,
l
particularly in
-
H~iric
I
epic . poetry which was constructed -,f several
I
"rhapsodies" -- poet~c phrases assigned a specific order in the text by the
I

rhapsode (poet). 2 In: the eighteenth centu1.y, the term 'rhaJ?sody' was f.lrst
i
used with regard to l music in · an Anthology compiled in 1781, containing
several anonymous compositions with similar musical styles. One particular
piece from this colle~:tion bears the descriptive title "Die dankbaren Kinder,
eine Rhapsodie auf den Auter dee Itinderfraundes, mit Begl. und Flugel." 3
The 'rhapsody' :as a new form of music was further exemplified in the
eighteenth century by'C,F,D. sch1.1.bart (1739-1791), in his Three Mueikali,gctw.n
Rhapsodies (1786). 4 The earliest occurrence of the term 'rhapsody' in the
nineteenth century is in an isolated work by the Prince of Gallenburg (1'783-
1839), Rhapsody for pianofox·t:e, op. 3 (1802). This piece wall\ writtE>n .ln a
virtuosic, improvisatory style and bore the evocative description of

2 Maurice J, E, Brown, "Rhapaody," .'.!'.rut. Hew Gr9ve DiQtionary of Muaig ...!lllQ.

Musioians, edited by Stanley Sadie, v. 15 (London: Macmillan, 1980), 786,
3 Willi Kahl, "Rhapaodie," fu,Myeik in G~!ohte uod Geqenwart, edited by
Friedrich Blume, v. 11 (Basel1 BMranreiter V~rlag, 1960), col, 367.
4 Ibid,
.:!~1;1~j~]%\:f~~~~~~,w~~.~~~··~:~~~~,~~<·:•-,,. .,~~~ry··~----~-~"'---~--"·i'•-,i-·=r--ai. . - ~-~-~-
t}

. ·._>J{~'.t.arghetto.Jon pai111~one" • 5 Om~ year late~, W.J. Tomasek (1774-1850) used the
I
in ,the title of his lyric piano suite, Six Rhapsodies for

(laoi, •6 .· . /
In· Tama••k' 8 ~ands the ithapsody genre Wk:S developed into a three-part
-- - ·:_•, - l - '
ternary •tructura, ~-B-A, aimflar to a song form with contrasting middle, and
--.. - i ·.
. - ~ - . - I ; • -

outer aectiona. 7 Cet:tain of T~aaak' s students composed rhapsodies and other

. •.. . ..·..• • . i ... : .·. .
. works. to which ther
applied ~ascriptive titles, !l•!il•, Tedesco, Blliui!sodie
pa11ion6e. Op. 52, ~md
I Keasle~, 4 jtudes. rapsodigues~ Op. s1. 8
i ·. ·
The popularity of the rh/1,paody greiltly increased in the second ha.lf of
l '

the ninat-nth cantju:y and eventually the term was applied in instrumental
c:ompoaitiona other than piano pieces, particularly in orchestral works
(although the piano remained the favourite medium for the rhapsody genre).
Characteriati to the rhapsody genre was a freer, more improvisatory
"rhapsodic" 1tyle, which Willi Kahl in his Die Musik in GeschichtlL...l,!Jlg
Gegenwart article describes aa "Rhapsodenkunst, ala Produkt der
Improviaation." 9 !1n fact, Kahl lists numerous pieces both from the
eighteenth century ;(three pieces by ReJ.chardt) and the nineteenth century
(other pieces by Tbmaeek), which although not called rhapsodies, use the
"Rhapeodenkunst."
Throughout thlt nineteenth century, the most common manifestationn of
both the rhapsody genre and style occurred in lyrical piano pieces. These
'
pieces had various forms, from A-B-A song forms to full-scale sectional works
resembling loosely c:onstructed fantasies or potpourri compositions. Pieces
using the rhapsodic style also encompassed themes of national or epic
character, indicating such colourings through descriptive titles, ,ae in

5 Brown, "Rhapsody," 786.

6 Kahl, "Rhapeodio,," 368.

7 Ibid,

8 Ibid,
9 Ibid,
 _2F~~''1'1li3JiJ !,1,~~r#<:V-~~~~~6T•r-~ ··: ,,~ ~ · . - -·.- -.. ·- . ·. . . - .
2 --,_;--1

·, I 5

\:~,;i,:~rt'a Dljjrj;J.1111dent ' l'ho#groiae fo:r piano, four hands, Op. 54 ( 18,26),
0
rJ/'< ? >, " l . •.·. . •. . •. L . . .· • ·• . .. . .. . ·. _
'.tii~~t.··11 miri@illlPIQDOle, for pi•no, two hands (1845), Brahma' 21 Hungarian
.... · .. -..•.... ·.. · -•....·. I . . ·- . •
for piano, ~wo; hands, ( 1~69.;1880) , , and Grieg' a Norwegian Dances for
< . . ' .I ....
•i:f;i'~?, four hand•, I -_-.

<>p~ 35 (1887).~ Liszt was greatly influenced and inspired

- . . ..•

. ' .<i> . • .. ,< 0 . _.·.·- , '] - . I . .-

•/t,y~ Schubert'•. DJ,urti1sament 4 · 1, honqroiae, for he transcribed this work into

>' > .. • /_ -.. . ·.• ··• I r.
- ;hia·· MAlociMlt • hortqroises_ in· 1$46.
- ' -
Liszt eubsequ9-ntly used Schubert's
·,compc,aition.:aa a at~ie model for the Hungarian Rhapsodies -- piano pieces
·· "bttlonging to the rhaJsody genre' which aptly exemplify the rhapsodic style,
-. .· · · .· ·" I ·, · .
-· With their character~atic national
. - t -
themas
"-·. - '
-
(Hungarian) elaborated through
!
I .
aetl within multiaectional structures.
i

HUNGARIAN vs. GY:PSY: JusIC

I

While growing ! up in Raiding, Hungary, Liszt developed a special

affinity for the folk music he heard, often played by the gypsies, which
instilled in him a sknse of na~ional identity. Although his travels as a
. .
concert pianist aepa~ated him from Hungary in 1821, upon his retur.n eighteen
years later, these s~®e feelings of patriotiam were revived, coupled with a
renewed adoration for his native foll:. music. It was during his visit to
Hungary in 1,839 on 0~1e stop of a concert tour, that Liszt committed himself
to collecting and trimscribing tht"Jse folk tunes which he would then arrange
into piano works_ to portray the strqng national devotion he felt for his
homeland.
It ie important: to clariJ:y the difference between Hungarian music and
Gypsy music -- a dist.inction about which Liszt was confused. In his prE1face
to the Hungarian Rhq.psodies, .Des Bohemians et de leur muaique f.m HQru;[ili,
Liszt mistakenly credited the gypsy music:iane with the original melodies in
these works, thinking that the gypsies were the true representatives of
Hungarian music, when in fact the melodies were shown later to be of
Hungarian origin. Aa Alan Walker explainss
 --j

! 6

A~aic 111bcai!culation w~ahls [Liszt's) confusion of Hungarian

tr~ae~:ry2of =,
mu11ic:11ith,GYPiBYD1Uaic. ;By regard+ng them aa_one and the same,
Lie&t>unwittingly made a gift to the Zigeuner _of a remarkable
ic tllat re~lly belonged to the· Hagyal:'s ••• The music
that,Lieat heard>the Gypai•• play CIU!I& from two quite different
aoqrce,; It ccntainad ge,auine Magy*r folk-melodies, picked up by
-th• Gypai••-•011! their tra~ela across' Hungary and Transylvania and
thell. faahionec!l by them: after the~r own image. But .it also
ciontainecl po~lar melodiea of the day by a number of·Hungarian
compoilera ( ld'gely dile~tante gentlemen of the middle class),
whc,li~ ~d-ntiti~s have lo11g b,een known to us; the,6 included J6zsef
ltoeaovita, Har;k R6zaavalgyi,· and Bcini Egressy.
-- --- I
.;tt. WH not unth
i
the begipning
•
of the twentieth century tha·.: KodUy and
Bart6k produced aignificant studiea on t.ho Hungarian folk song, demonstrating
thatthegenu~ne folk mu.ic of l.l~~gary originated in the remote
Hungarian-•pea,king villa:gaa and ilamlets of the hinterland, of
Tran•ylvania and_ Rumania, kept alive by an oral tradition
stretching ba~k hundreds of ye-Are, and that it had nothing
whatever to d9 with the Gypsies. ·
j

In the Hungarian RhJ,sodies Liszt utilized melodies which were Hungarian, and
i
presented them in the improvisatory performance style of the gypsies. For
the purpoae· of thi• study, all references to the origin of the thematic
material in the liY!l\garian Rhapsodies will be indicated by the \:isage of
"Hungarian" • 12
It is interesting that Liszt was concerned with the authenticity of the
folk tunes he had :transcribed. In 1853 htl tried to purchaae a large
collttction of Hungarian melodies from Count IetvAn F4y (Hungarian magnat1Et and
pianist) of Oedenburg, whom he understood was in debt ~nd "might be prepared
to sell him (Liszt) the collection. n 13 It was at this tJme th&t Liszt: was
preparing to publish several of the !:IY,paarian Rhapsodies (Noe. 3-15), and

10
Alan Walker, nanz Liszt, v. 2: The Weimar Years, 1848-186l (New ~lork:
Faber and Faber, Limited, 1989), 381.
11 Alan Walker, .[J'J!lilz Liszt, v. 1: The V!rtuoeo Years. 1811-1847 (New York:
Alfred A. Knopf, 1983), 341.
12 No definitive et11dy on the issue of Liszt's relationship to Hungarian ancl
Gypsy music has ooen p~bliehed, and becauae such a complex issue deserves a
broader discussion than that warranted by the scope of this work, the subject
shall necessarily be suspended here.
13 Alan Walker, Wm; Liszt, .L.-1, 384.

II
 7
, -

e wanted ~o verify h:is transcriptions of the Hungadan

i
.-,~-:. /-:- ~----- ._- - -_ - - - ·: _- - l - :
-' "~lodia• before print~ng them SCI that he was sure to reproduce the _same tunes
of which he \o'H· •o f+d. 14

- Li•zt'• collackion
-: !
of Hungarian folk tunes were first aet into
- collact~on•
- ~; ~ ' --
ot, pi-...nojpiecea entitled
J
Magyar Dallok and Magyar Rhapezodi~,
pabliahad between 1&40-1847.
-_- ,. I
During and after the Weimar period Liszt
altering the basic formal structures and creating new
aettinga
. -
for- the- folJI tunes, which resulted in the final set of pieces, the
HynqarianRhapaodiaa.j published[between 1851-1885.

PUBLICATIONS AND DBDI:CA'l'IONS

,

i
Although Liszt !was working in Weimar during this time, the Hungar~
Rhapaodie• were publi~hed in a number of different cities throughout Europe.
Thia indicates that J:.iszt 's involvement with the Hungarian Rhapsodi@Jl was
continuous and conaiat~ent over a number of years as he persistently worked on
them through his travails, as evidenced by their various publishing locations:
Noa. 1-2 were pub,lieh~1d in Leipzig, 18511 Nos. 3-7 in Vienna, 18531 Nos. 8-10
in Mainz, 18531 Nos. l.1-14 in Berlin, 18531 No. 15, first and second versions
both were published +n Leipzig, 1853 & 18711 Nos. 16-19 were published in
Budapest, 1882-1886. The last four Hungarian Rhapsodies were composed later
in Liszt's life and therefore rapresent a different compositional style from
the first fifteen pieces (to be discussed in Chapter Two). Several of the
Hungarian Rhapaudies ,(Nos. 2, 5, 6, 9, 12, 14) were later transcribed into
orchestral versions and published in Leipzig in 1875, by Liszt in
collaboration with Fx·anz Dopplar (one of his students). Although recurds
show that Liszt was not stationed in Hunga1:y at any point during this period,
it is evident that he thought frequently about hie homeland, as all of the
Hungarian Rhapsodies are dedicated to fellow Hungarians including musicians,
politicians and nobility.

14 Ibid., 385. However, Liszt received only part of the collection.

 i
8

aaaj~th11t iiHt held lhia fello~ musicians in the highest regard as

i
Hunqariaqfthapaodietl are dedicated to members of this
of.ttaeninet.e11~
··'- -: ,· - - I - · , · · ;
"?~~fealiion_ with w~t LiHt w1• acquainted. Hungarian Rhap•ody No, 1 is.
-- ciedicatecl to:N• saerdahelyi (1820-1880), an Hungarian composer who wrote a
' - · . ~'t .".1octi•• i,rhich Liazt borrowed for his arrangements of the aarly
. ' .
_..,__o_,_11_0_,Jr.. piec:et but mieiakenly attributed to the gypsies. ~
Rhapagdi••
-~ ..
Noa.
7. Jnd
i
11 are dedicated to Baron Pery Orczy, an Hunguian
lllUaician and .~iato~rat. Liazt;became acquainted with the Orczy family early
_,_J J '
- - -,_ I
_in
=
hie life when
-
n~
- i
lived in!. Hungary, he stayed with the Orczy family at
their reaidence in I,ondon during hie visit to England in 1841,15
-, !

~ Ho. 8 ia dedicated to Baron Antal Augusz ( 1807-

i '
1878), a wealthy li~ngarian st'.at~aman, art patron and musician (singer and
pianist) who lived l.n Szekazlrd, ,Hungary, and with whom Liszt stayed during
!

a number of viaita !to Hungary, particularly in 1846 and 1865. 16 According

to G&rdonyi, Auguazj was "Liszt's moat davoted Hungarian friend.,," and "At
- i
his manor in Szekazlrd ... he repeatedly entertained Liszt for long periods." 17
. '

Baron Auguaz was a ri1ember of t.he honorary committee from whom Liszt received
a jewelled sword d~ring hie visit to Budapest in 18~9. Augun translated
Liszt' a accaptanc~ speech from French into Hungarian so that the
predominantly Hun~arian t,paaking audience could appreciate Liszt• a
gratitude. 18
Hungarian Rha~ No. 9 is dedicated to Heinrich Wilhelm Ernst (1814-
1865), iln Austrian violinist and composer who in his youth studied with
Niccola Paganini. 1~t the celebration folt' St, Cecilia's Day in 1835 (Paids),

15 Adrian William~, Portrait of Li,m (Oxfords Clarendon Press, 1990), 672.

16 Derek Watson, JJ..i..&t_ (Lonclona J ,M. Dent and Sona, Ltd,, 1989), 76.

17
Z6ldn G&rdonyJ. and Istvlm szeHnyi, eds,, liftwL.Liszt Auegab~, a. 1, v.
18 (Budapeata Bditio Husico, 1985), preface.
18 Williama, ~~. 118.
 9

performed a ,riolin 111010 which Liszt had composed just

; ~,,1101. .111t•'
0
befote~19
- I

IMDAV!M Bh1d1ocSy
No. l(f ia dedicaited to B6ni EgreHy (1814-1851), an
__ ', .. _ , -- ---- - _ -
l r _ ' - --
- -ll~DCJariian .;.~-r 1itnvolved in;the d•vel~pnent of the new Hungarian national'
~~~dla d~ce foi:111 dpring the i840'a. 20 ~•n tranacribing the Hungarian folk
· tun•• for 11111 NagyaJ I
collectiori, Liazt mi.atakanly credited the gypsies with
'
- --- - -· _J_ .' -- - ; - l
certain •ladi•• th~t ware•- act~ally -campoaad by Bgreaay. ~
- - I -
No. 10 ia baaed in p~rt on a wprk written by Bgraaay.
- -
, _-- - _- 1 ' i ~ - ;
The dedicatio~ of Hupqariao IUlap•ody No. 12 is to Joseph Joachim ( 1831'-
1907), the 'virtuoaol violinat. ' Liazt firat met Joachim in 1846 in V.lenna
where they collabora~ed in a performance of Mandalaeohn'•
- - - j
Violin concer~
I minor (Liazt acc~panied Joa~him on th,a pianoforte). In 1850 Joachim
' - -
"~e
invited by Liaat tci coma to Weimar to be the leader of his orchaatra. 21
i
Hungarian Rhpaody ~o. 14 is dctdicated to Hans von Billow (1830-1894), who in
1851 atudiod with Li~zt at Weirnar, and who later enjoyed enormous eucceH aa
a pianiat and condudtor. 22
The ninetuntH Hungarian Rhapsody le baaed in its entirety o n ~ ~
nohlaa by Korn61 v~n Abr4nyi (1822-1903), an Hungarian composer for whom
Liazt arranged it. ~n a latter to Olga von Meyandorff of February 26, 1885,
Liszt writea "Modestly, lat ma-mention another Rhapsody (No. 19) written for
my old friend AbrA~yi, plus ,t Ca4rd6a Obatine and a very Magyar funeral
March."" It appear~, that Liszt was greatly influenced by Abr4nyi • s wr:lting
style as he also trai1acribed Abr4nyi' a fJ.ye Hungarian Folksongs for PWQ, in
1873.

19 Ibid,, 65.

20 Walker, Ft1nz LJ.Bzt. v, 2, 381.

21 Williama, .L.i,,ut; 266,
22 Walker, l1:JmLJ,~,gzt, y. 2, 167.
23 Franz Liezt, fJl,) Letters 1~1> Meyendorff. U!71-l886 Translated
by William R, Tyler (Waohington, D.C.1 Dumbuton Oaku, 1979). 477.
 -- -- "' - - - -::'., ~ - - _< • - - - - - ••

-i 10
i
I:
',
Within the reJ1111 of the farts Liszt was also closely associat~ with
:~-lllcihel·· ~u~c11y· •(i~~4-1909), lan ··Hungarlan painter to whom he dedicated

iriariap
- _-., -·
RlllPJlody /No.
- -- - ·-- -- - -._ -- - l '
16 · (1879} -- the first
\
of the. later &!nSl.§l.dm
Liazt-aritst have had a relatively close friendship with Munk6csy
.·•.·· ,, . . . .·...· ... _··. I : ·.· , ..
· a~ he afayed with ht"' during hie Paris visit in 1886 and again during his
to Lwi:embourg /in July of the same ,tear. 24
1

Liszt ditdicat~d six of t;&e HungarJ.an Rhapsodies to certain Hungarian

. . . i ' , : ,· -
politicians and not:tlrn9n witll wh?!' he shared a common devotion toward Hungary
I . .
·and a strongaanae o~ Hungarian nationalistic pride.
; '
Hungarian Rhapsody No.
2 is dedicated to ~unt Llszl6 (Ladisla~) Teleki (1811-1861), an Hungarian
'I j .' - I "

politician. 25 Liszt/ also dedicated one of the ungar,i,ache Bildnh to Count

I '
Taleki (1885). Hungorian Rhapsodies Nos. 3 and 13 are dedicated to count Leo
. . i ,
·. l Festetics ( 1800-1881), a Magyar leader of the party opposing the ruling
government of Hunga~y. Liszt stayed with Count Festetics J:n 1839 while
'
visiting Budapest, a~d it was during this same visit that a ceremony was held
for Liszt by the Hungarian honorary committee at which Festetics gave a ~hort
speech and presente~ Liszt a jewelled sword. 26
The dedicatio'n of Hungarian Rh»sody No. 4 is to Count Casimir
Esterhazy ( 1805-1870), a desceridant of the noble Esterhazy frunily which began
ruling Hungary in 1687. Liszt's father was employed as a st~ward by Prince
Nicholas Esterhazy (1765-1833), the same Prince to whom Liszt gave his first
concert in Hungary ,in 1820. At this performance Prince Esterhazy was so
thoroughly ·impressed by Liszt' a talent that he and three other magnates
promised Liszt 600 Austrian gulden per year for six years. 27 When Llszt
returned to Hungary in 1839 he was egcorted by Counts Feetetics and Casimir
Esterhazy (son of Nicholas) from Pozsony to Budapest. In January of the

24 Sitwell, !J.m, 324,

25 Watson, L.i.ln, :253.
26 Sitwell, ~ , 81.
27 Sitwell, ~ , 7,
 11

~uw~:ng yeaz I.J.azt1 returned ~o Pozsony ~or another ,concert, where he stayed
- -- I -

Count ·~almir Bsterhlzy. 2~

. -_ --- _- •.•._--••-•.•• __ ---. -_-1 . ;
1
HJUW-ktar{Rliapsody No. 5 is dedicated to Countess Sidonia Reviczy with
< .• - - -_ ,j ' •

Li•zt:~ 11Nllia t~ have bee~ - acquaint:ad through his teaching duties at

-,- !
In hie bi~raphy of Lbzt, Huneker makes brief mention of the
' . i .
arid her attendance
-1
as
.
a - spectator at one of Liszt's afternoon
i ' . . . :
· teaching aeiit•iona. 291 Hunqariatl Rhapsody No. 6 ie dedicated to Count Albert
-- _,1 - - :
I - '
(Anton) Apponyl (1~46-1933), 'a politiciar, and nobleman from Budapest who
I ,
Liszt considered to; be the "jeunease dode" of Hungary, and with whom he
l i

ahared a atrong aen~a of pride forHungary. 30

I
Hungarian Rhaqs~ No. 15 waa not dedicated to a particular individual;
;
rather, the Bungar.ilan
I
national
-
Rik6czy march theme
-
on which
-
it is baaed
repreaanta "the a~:rivinga for natiorlal independence and freedoLn in
I
Hungary, 1131 and Liaz't likely intended this piece as a gesture of patriotism
i
toward hia homeland:. Hungarian Rhapsod!!l!_ Noa. 17 and 18 do not !r.clude
dedicationa1 howave~, in the lotter to Olga von Meyendorff dated February 26,
1885, Liszt remarke~ that he had written
!
a rhapaody (No. 18) for t.he album of the Exhibition (Grand Annual
concerts of t:he Musical Association - Allgemeiner Deutscher
Muaik-Verein]:whioh is to open on Hay 1. It will be entirely
national (the,album), so that thero will be only Hungarian wor~
and objects in great quantity and some of them of great value.

This statement indicates that Liszt may have i n t e n d e d ~ No.

18 (and poaaibly No, 17 ae well), much like Hungarian Rhapsody No. 15

28 Williams,~. 120,

29 James Hunaker, Franz Liu~. (New Yo1:kz Charles Scribner's Sonfl, 1911),
100.
30 Ibid., 274, AJ;,ponyi was only seven years old in 1853, when fuUlSlll&W!l
Rhapsody No. 5 was published, an<i most lik,aly was not yet politically actiw,,
therefore, Liezt most likely dedicated H.\109iJ.:ilD RbAP@QQY No. 5 to l\pponyi
several yeare after it was published, when Apponyi would have been older.
31 Glirdony i, liiY.i--r:dhQZ~ Aygg,w, pref ac:e,
32 Liea:t, b..J&t..tJ~rs to ola,a yon Me~1)Jl2tl1, 476.
~~~~,;~J~t......,,.~~l"k0f~r._. ~ > • I >·.
,--_ l

12
f, -- ' ·-

a~ his . contfibl.ltion t'o the movement of nationalism in

-- j
ta,king placef at this time.
I
lI
i
l
i
i

Liazt perf9rJed several of the · Hungarian . Rhapsodies during his

.. -·• . . ·.. ·. ·I :
· lifetime, and_c alth9ugh he neyer gave a single performance of the whole
~ ~ - l '.,_

Ccollectiori, there e~ists doc~ntation to verify performances of specific

Hungarian Rhapaoc:H.eJ given at ,I~arious times throughout Liszt's life.
I
I

At oneofhia!first conc~rts in 1823, in Pest, Liszt performed for an

audience of Bungari~n magnates the R;1k6czy March· (the Hungarian national
i
melody which he lat~r incorpo!:'ated into Hungarian Rhapsody No. 15) • 33 In
- - ! '
April 1846 while onitour in Olmiltz, Czechoslovakia, Liszt played the first
i
eleven Magyar Dallo~ pieces from which the better known Hungarian Rhasodies
were developec:1.34
In 1852, whil(! employed at the court of Weimar Liszt gave a private
performance for Heiririch Ehrlich of tho second Hungarian Rhapsody. This
rhapsooy later received the most attention out of all the filmggJ&n
Rhapsodies, and it e1lso enjoyed much success as an orchestral version. 35 In
the Spring of 1858,, in Weimar. at the home of Princess Wittgenstein, Liszt
played one of his Hungarian Rhapsodies at a private recital to which the
Princess invited twenty-five special guasts. 36 Unfortunately, there is no
mention as to which Hungarian Rhapsody Liszt played, but according to the
date of performanc~ ( 1858) i't would have to have been one of the first
fifteen Hungarian RfJiapsodies.

33 Williams, li.!llt,, 9.
34 Ibid., 227.
35 Ibid,, 390.
?i.:i Ibid., 349.
 .- i 13
:···> ·..< . . . 1 . ;.. . .. ,.
:<;.
·>r, In J:urt~);:,_f 185BlLiszt performed a nwiiber of. his Hungarian Rhapeodieg in
.· .. ·, ··J . : .· . , .· . .
·';,riim~r, thia ti.tcle ~t'Jhe Altenbtlrg (hie residence while employed at Weimar)•
•___:._:,~---: _·· · : - __ < ".- - - ·-_-. ·;_,- - - ·:_ - _ : · •• • -- • _::_-_· ~_-j _..-_- : f --. - _:
f·~~~ording't~ ~c~•tterj by Friedr~ch Hebbel (German dramatist and author of the
·:.,. ,_.._ . 0: •;, .. :····,:. .. I .: ; .: . : :
'}Nibelunqeri .trJ,.logy, 1813-1863) \1hich refers to this occasion, "Liszt played -:-
- :--.--,-._ --"'

<~l'iich he
< - -

1•
_, ,___ -- -.". - • • • • C, ' _, J
• ~- -
aaid to' ~o very seidom now - ,his gypsy rhapsodies, and utterly
- :

~iJctrified : ID8 •..i 37. -. j/Two -month&' -.later - Liszt

. played one of the !b!I!.9.f!Lti.An
· l\bllJ?Bodie11:~~ an lnthnate lunch-time recital at the AltenburglB (again, no
. ,\> ..· ........· .. I . . . :. ,
.- - ,
mention. is .made of w~ich
-;
Hungarian
. - RhapsodY was heard).
- ---
In December of 1858
. ti11zt: ·host~d an'bther ~rivat.e reqital in Weimar (probably at the Altenburg) at
' -_ ·' .

ti11hich he perfopnadO:ne of the Hungarian ·Rhapsodies for his special guest,

. - ·_"--,-._. i '
Pauline Viardot-Garcia (French mezzo-soprano of Spanish origin, 1821-1890) • 39
j
In 1865Liazt ~ravelled tb SzekszArd, Hungary, where he was greeted by
a large welcoming tjeremony hosted by several Hungarian aristocrats and
magnates. At this i celebration Liszt played a number of his Hungarian
i
Rhapsodies with the i reknowned Hungarian violinist, Eduard Rem6nyi ( 1828-
1989), and ·performs~ a duet version of the RAk6czy March with Hans von
Billow."°
A letter written by Edvard Grieg (1843-1907) to his biographer in April
of 1870 provides evidence that Liszt may have played the Hungarian Rhapeog.w
quite frequently in ~he privacy and solitude of hie own home.

I heard Liszt : play daily, and often by the hour ••• His touch
changed so totiLlly with each composer that we could hiwe thought
we were liste(1ing to an entirely different instrument. What
struck me moat of all was the way in which Liszt seemed as it
were to orchestrate with his fingers, a phenomenon most
noticeable in his performancee of his own works, above all the
Rhapsodies, in'. which he displayed an amazing and unprecedented
range. of f,olour. Hie playing was at once poetry and
revelation 1 1

37 Ibid,, 345.

38 Ibid., 350.

39 Ibid,, 351.

40 Ibid., 405.

41 Ibid., 457.
 14

. On SaptembeJ:" 2s;, 1870 in ~zekszArd, Hungary, Liszt performed one of his

\\· i ' ', . ,i ; ' - ' j ' '
:i~Hui\qarian Rhp•odi•• lat · I
a charity concert, as documented by La Maras
.·. ·. · . ' . · •.... ·. l ' ' ' .
on;the 25t.1.l.o~ that mo~th (Septe~r) he attended a cha:ity
concert . .·.given! at Szeksz&rd·_ by Sophie Menter, . Olga. Jan1na,
Kihalovicn, ancl Servais, 'all of whom had been lured to the town
by Lint•• ·: pr~sence in • it. ' Repeatedly called for bll the
aud!.,ricef he c~ntributed~oneof his Hungarian Rhapsodies~

In 1875-·_-a Lisitt-Wagner
- 1
concert
' -
was' held in Budapest at which Liszt
, pei;;f,ormed liev~r~l ofJ his works/ and at a charity concert held on one of the
_. -:,\-· -- .__·,- ·.·· ·_ - l ~- . .
days. followingLiazt)gave a-pei-formance of Hungarian-Rhapsody no.11. about
i
which the NayH Paat,n,· Journal tprinteds
I
Who. can deacrilie the enthusial!lm evoked by Liszt with his dazzling
rendering of ~his. masterpiece, when the well-know~ national
melodiea rang.out in the•magic sounds unique to him? 4
I

In the Spring of
i
1886 Liszt visited Windsor, England, where he played

one of his ljynqarian!Rhapsodies. for Queen Victoria.

. I
During the eame visit,
a reception was held/' in honour of Liszt in the Grosvenor Gallery. A recital

was given consisting: of performances by s,everal musicians each playing works

by Liszt. Liszt: played the thirteenth Hungarian Rhapsody and his

transcription of Sct1ubert • s D:Lvertissemant A l' honsrpu.!t• 44 Later in the
same visit Liszt attcmded a fo1111al luncheon at Baron Orczy • s in London where
he played one of his Hungarian Rhapsodies, 45 which likely may have been
Hungarian Rhapsody l~o. 7 or IJiangarian Rhapsody No. 11 as these are both
dedicated to Baron orczy.
During the per~od after tho England visit Liszt took seriously ill and
did not perform mur:h of anything up to the time of his death on July 31,
1885.

42 Ibid,, 461.

43 Ibid,, 517.

44 Sitwell, IJ.m., 321.

45 Williatne, 1.t.Wt, 668.
 I
j
1 15
-,-, .__ 1
-_ ''------- /_,":_ - '-:: j - - , - - -
Thi:9 Hungarian Rhapsodies t like manyi of Liszt I s compositions, served not
as p{eQ•l df: .kusi.c b~t ~iso -as p{eces of identification for Lb\zt,
-_-,;-_ - -- j - - - - -
tihl with hi'iJ homeland, Hungary. 'It is therefore not surprising that
-, -~<-i '.\.::::/.·<~:· -~'.>J - ._ '- L • •

- relativ41tlyj rar~ performances of the Rhapsodies were given

, -· ' -_:~:- -_ :\\ -~'· .- _- .'i - , '' . - - ·. . - --
- prEKlomi~antlyi11Bu11-garywherethey functioned as touch-stones between Liszt
~he'expit.ii~i
_:---
_-
- --
. -- : ~
-arid
: - -_:
; - - -: - -_' . -".
tae
- .j
I
Bungariah
- - -
,_
I
nati~es.' Similarly, Liszt Is performances of
___
-
1:he Hunqarip'Rhapabdies
- - '!- -- :I
outside of Hungary were significa,nt in that Liszt
able to ~laplay; hie heritil.ge proudly while at the same time displaying
/
his talents -asap~anist and:composer. In this way Liszt.was very much a
cosmopolite; he had; the ability to adapt to many different cultures through
i

-: the chance circumat~nces of his career, yet, all the while bringing a glimpse
' -
':·· i
of his own Bungari~n culture to the rest of the world.
 ' • CHAPTER TWO:

. .
i
. C:>VERVIEW . OF, THE HUNGARIAN RHAPSODIES

<f"rm as several
Lio&t'B ::Ji::I•.L:.:o,:::i::l:~~nee first took
bookJ of H,agyaripalloks (Hungarian for "Hungarian melodies"),

.·
and Hagy~
.
Rhap11iodi1ks
.. 1
(Hungarian for "Hungarian rhaps6dies").
'. .
The total of
the collection conai1sts of ten' books which include fieventeen pieces: books
. -
;
.
- -
_, .
l
! -
:
j

one to four contain ~agyar Dalloks Nos. 1~11 and books five to twelve contain
,- . - i ;
Magyar Rhapaggdi4ka Nos. 12-17; published between 1840-1847.
i
The collection
also contain• four !individual Ungarische Rhapsodien Nos. 18-21, composed
between 1844-1847, and a final compoaitio~, fJll!_ther carneval, which was later
added to complete t~o twenty-two piece set. The basic difference between
these compoaitiona is that tho Hungarian folk tunes are presented in more
I .
I
complex aettinga in the Magyar RhapszodiAk~ than in the
i
Magyar Dalloka1 also,
I
the Magyar Rhapazodijili! are stylistically closer to the Hungarian Rhapec)dieQ
I

than are the Magyar :oalloks. 1

Moat of the or}gins of the Hungarian folk tunes in this collection have
been traced by Zolt6n GArdonyi. 2 The following information derived from
GArdonyi's study li,ts the orlgins of the H~ngarian folk tunes borrowe1 by
Liszt and details t_heir relationship and subsequent use in the ~

Rhapsodieg.

SOURCE OF BORROWED MATERIAL

The first book of the Ma11yar collection cont21.ns Magyar QallQ}s. Noe. 1-
6, of which Noa, 1 ... 5 eHentially conelet of one theme each (unllko the

1 The
stylistic differencell between the Magyar QalJ,ok and the M ~
llb.AP.1zodi1t
pieces and the liY.nsarian Rhapao~ will be diecue6ed in detail in
Chapter three.
2 Zolt4n G/'\rdonyi, "Paralipomena zu den Ungariechen Rhapeodien Franz
Liuta," lllJ:tL....LJ..,..&.t,;1 Beit;d,aca yon uoq•1rL1chen A~~, 11dited by Kllira
Hamburger (Budapeat1 corvina Kiad6, 1978), 197-225.

16
 l
1 17

·;, tl\~~~~~~~·•·:::l:r~:. .:· ~:·:~· ==:l ::·::.::·:~:::

.I

· · ''?;~,c.haz::acta~iatic•, £oz, the purpo~e of this. :study it shaU be referred to as an

·• '/)·.· . "\<' : . . ·.• ·i ... ['. ·.. .
.· . Hungarian melody. Magyar Dallok ·,No. 2 has been defined as an Hungarian song
~_-_-_-.>:____ -~-"··_:<,_::-,--.·_·~_-:::l : _-_--- ~- -
... •· ~lody, aaha;. ,sagyat Dallok No. 3, although it ia riot known who the original
,:~.~01Dposar•,.,-~•-. Li.~r t also us~id ~ha first half of Magyar pall_ok No. 3 in the
· ·aacond half of HaqyarRhapazodi&k No. 17. The themes of Magyar DallokNos.
... ware not raa~t,i~ the Hunakian Rhapsodies.
. > . ,I . ! . .
The .theme of tiagyar Dallok No. 4 has been traced to a collection of
i

·, malodieil CCllllpOBecl b~ Szerdaheil;i and Egressy in the style of Hungarian

.national folk-muaic,ii published[ln
•
1843. 'This melody was also later usod as
the second theme .in ~lunqarian Rhapsody No. 6, The earliest traced sourc~e of
i !
Magyar Dal_lok No, s iis an Hun~arian folk song Chlopizky, Liszt later used
i
Magyar Dallok No. s for the first theme of Hungarian Rhapsody No, 6. He~
I

Dallok No. 6 is an early setting of an Hungarian instrumental compocition

i
written by J6zaaf lto~eovitz early in the nineteenth century. Liszt rese1: all
!
the theme• of Magyar!l Dallok No,. 6 in Huncru,~ No. s.
The second fflstyar Dallok book contains only one piece, No. 7, I,iszt
I

reused all three th~mee from t:his piece in Hungarian Rhapsody No, 4. The
first theme has noi~ been traced to its original source, but cont:aine
characteristics of a ;national Hungarian dance melody, the second theme c:omee
from a collection of!Hungarian dance melodies written by Anton csermAk, and
the third theme has 1>een trace,i to an Hungarian folk music collection, ftMIY
~...YD;J., which is ~iow preserved in the Liszt Archive in Weimar. The t:hird
theme haa alao been found in a larger collection of Hungarian instrumGmtal
pieces in which it iii attribut«1d to Anton CeermAk.
The source of Magyar Poll.Pk No, a, Elook III, is unknown. Liezt did not
use thid piece in any of the ~.n...8llila.@odiee, but according to GArdonyi,
the themes contained in Maavar,Dallok No. 8 share stylistic characterhtica
similar to those of Schubert's DivertiBH'3lQDt A l'bong;9!.se for piano, four
 -~1-·-"·w=-~=~':"T':2~--:
,;

18

'"J1;:~!~~~ ~~4',· tiQpi&9i:~:t; :::;:;r~:7.~ .:or piano, twa hands,

_ ·a
-<· - ·' -_
Da·l~oJ(jNo.
·'\'"''>' - .. , _ I
9,
.
Bo~k
'
#I~ contilins five different themes.
-,
The
,J,irat ia ~.;J.vac1-frt,>lll the Adagio of a Verbunkos co~poaition written by GAbor

\. ~t!:'J1f~1::. :~.t:;::~:~ :::::.::/::~: ::::: ;::::::::

- '

- ·i823,
-- . - ---=-

1825,
-, -

1827),j and
- -1
1

the l fifth
,

theme originated in an Hungarian'

folk •019;
i11atrwne~tal" however', Liszt did not use any of these themes in his
- -· - - --1

' . Bu99arian Rhapjgdi.11

- -
l5 ' \

The origin of, Magyar p'allok No. 10, Book III, is the Hungarian
inatrumentalcocnpoaiiion RAk6c,--Nota. no~ to be confused with the Hungarian
. · national Rlk6g;y Marbb, (on whibh Hungari.an Rhapso!ll_ No. 15 is based). The
. I
themes of Magyar P•ll.Qk No. 10 were not used in any of the Hungarian

BblP@9di91,
Hlsa.lr Dallok Ile. .U, Boc>k IV, contains three themes, the first which
'
la characteriatic of, an Hungarian folk song and the second which contains
charactari•tios that lmore closely resemblo a Rumanian folk song. Liszt later
re1et these two thtimes in ~~ No. 3. The third thQl'Re
correspond• to part; of an Hungarian na1~ional composition from the early
nineteenth century, Liszt reset this theme as the fourth theme in liYrulJ3.r}Jn
Blw!l2sbl No. -6 ,
Magyar RhapazpdLjt No. 12, Book v, ie the second setting of an
instrumental oompoait:ion origioally written by J6zeef Koeeovitz (the first
setting is Magyar DalJ.Qk No. 6). The final setting of this piece and of
Magyar Dallok No. 6 ~s IIJ,ln,gAdan BbAP.~ No. s.
Magyar Rhapqzodi.Ak No, 13, Book VI, is one of the earliest eottinge of
the Hungarian nationai compoaitJ.on, RAk§oH Maron, Hungarian Rhapsogy No. 15

3 Ibid,, 213,

4 Vorbunkon1 Hungar;lan dance form - see more about this on p. 24.

!', Fries, (Hungarian) a qu.ick $action of the verbunkoa dance form,

 f\L.~~~::~~~%:¾~~"!r~QW~j~-~;ix~:rwt~14~¥i;.~~#f~!«-:-£;:aT!i,!:·U;,;';~l}a;~~:'Vif1;;~7,.:tF'i'."J.-:?i:Jt~~
r= f

19

one ~Jf1:he ·ia,er settin~.- of this ;theme but is b_y no means the final "
: <>_,,,-,,:. - - - . - -0 ,_ :., - --_ - -- ;-,1 -_ : ' - --' '
/;:=.,:a:;tting, ;becauae~Liszt arranged and rearranged this Hungarian national .theme
i ·
< ?C,'.} : : . , .' :' J - -. --,- : - ---- : - - >
:~y t.ime~/thro1:1,9ho~t his -comppsitional career.
'::·,,-· l . . . :- -_- -
~- - ·:_:;-----.-_-~\ __,<--i-:~:;_·"-:,_~_:,_' <_ f

Magyar,~ Rhapagcdi6k No~ 14, Book VII, contains four themelll, each of
. '~hi~h L.i.~z~ utifizl in Hung~rian Rhap~ody No. 11. The source of these
-C-iY.-
· - , ~h~s
- _- -< >
is unlu\own,
l
but they al~ possess ~trong characteristics of Hungarian
calrd'8 d_ance tunes.
Liazt•reaet t~e first thJ:"ee themes of Magyar RhapszodUik No. 15, Book
VIII, in- Hungarian
--
- - -
Rhapsody
;
No. 7, and ail three themes have been traced to
I -
a collection: of Hun~arian song;melodies, 'dating from c. 1832-1843. The
!

fourth theme of Magyar Rhapszodi6k No. 15 is a variant of an Hungarian folk

1 ' ' -
song, but was not reusod in any of the Hungarian Rhapsodies.
- i -
J,laqyar Rhapsz~diAk No. 16, Book IX, an early setting of Hungarian
Rhapsody No. 10, is~ compilation of Hungarian melodies, most of which were
composed by B6ni Egrlssy to wh~m the piece. is dedicated. The origins of the
'
remaining themes hav~ not been traced, but they all contain characteriotics
of Hungarian folk tuhes.
All five them~s in li§gy_ar Rhapszodiak No. 17, Book x, are Hungarian
folk tunes, each ori~Jinating from a different source. The first theme comes
from a collection of :Hungarian national folk songs, dating from c. 1832-1843,
and the second thert1e is the first half of a folk song belonging to a
different collection, published in 1846, The thitd theme is an instrumental
variation of an Hungarian folk song which was later published in a work by
Liszt, entitled ~onia. The. fourth theme which Liszt first used as the
second half of Magya1· Dallok No. 3, originated in an eighteenth-century folk
song. The last theme has been labelled by Glirdonyi simply as a cs&rd~s Etong,
otherwise, its exact source is unknown, All the themes in Magyar RhaI,?ego_gill
No. 17 except the fo\trth, were later arranged in Hungarian Rha12sod_y No. 13.
Number 18 (unpublished) contatns £our themes, thre'!l of which X.its:tt
arranged in Hunaa,!111 Rhapsogy No. 12 • The first theme has been traced to
tho Adagio section c•f a cotlrdlis composition written by Mark R6zsavcHgyi,
 20
,· ~:,__~·: :, ?:,:.=-~: .. -i . . . ,, :. '

~,~Ylff~,~l!!f~,t;:t:~~.·:rL::.:::::.:t:::~~~:=~=
.,~/Lj:cil.lect~~n,:t9j,hich 1the third theme of Magynr Dallok No. 7 has. been traced).
\;:g,·;c;,,\··-, ?'?:\( : ,·.J .· .. · .f . · : · ·. -
/:tThia folk'iuna wail also published in 182.6 as part 0:f a Trio in a collection

Ttr;H~~;;·:;;~;,~i
u~own
fo{~. '.faic • . The source of .the third then\,, iB
fl!ld vttry'poasibly Liaz~ inay have composed it himself; this theme was.
'< , 's ·-:· >,,. I .. . r .•. •. . •.. .· . . .
)tot
C/'" ·
r•uaed
' .c._.c
in
''C:' · .. ,
any
'i:Sf the Hungaii:ian Rhapsodies. The fifth theme is derived
! · . c · · · ' .
; from the-friila aect~on of an instrumental Fantasy, written by B6ni Egreasy in
i
1

Numl:>t!tr 19 (u~published)t is the early setting of three themes which

-- -l
later rearr~ged in Hungarian Rhapsody No. 8. The first theme ia an
-- -. - l
old Magyar song, "tn the rushes that's• the Duck's home", w~1ich was later
- 1

published in 1846. t The secoz:id theme comes from a csArdaa composition, "Gay
i '' .
Caprice",- written by
1
R6zsav6lgyi, - published in 1846, and the last thet!,,o is a
dance melody from t~e Tolma Wedding Collection published in 1840, which Liszt
first h~ard ·i.n 1846). 7
' .

Number 20 wa~ published posthumously and contains five themes. The

first theme comes ; from a collection of Hungarian so· ,g melodies written
between c. 1832-1843 (the samo collection to which the first theme of Magyar
Rhapszodilk No. 17 :has been traced); Lilazt later reueed this melody for the
third theme of Hungarian Rhapsody No. 6. The aecond, thlrd and fourth themes
of Number 20 are all derived from folk dance melodies, and contain Rumanian
characteristics, ae1 defined by Gardonyi' s labelling of them: No. 2 "Hora
batraneasca", No. ~I "Batuta" dance, No. 4 "Molda\ilsche Corabeasca" • 8 The
last theme of lln!ilAtische RhapJ!odien No. 20 which Liszt reused ae the fifth
theme of Hungarian l\hapeody No. 12, has been traced to a tune in the music of
the Hungarian folk play, I!...£..~, published in 1847. Thie theme ha~ also

6 Alan Walker, E.rnnz Liszt. v, 2: The Weimat:., Years, 1848-18§1, (London:

Faber and Faber Limited, 1989), 382.
7 Ibid., 383.

8 G&rdonyi, "Paralipomena," 216.

- .,.- - ---x·f'I' L.n.&.."a-\_~'--~...-.<L··- ·1:.Q;;,,.;.'-a-~_-._____ :_ ·~--~....:....;th~:... ·-·---·- --·~a,~w-,-;;-·';,i;··-·;;,:!·-_-_,._c-.·

 21

uaeii -.trithe CC?ffip0Sition

-; ', _- - ·-. ' -:._ :_~--' 1 -. ~
"~zeg;edy cs.rdis", found in the Nagy potpourri

Mi1~r;21 · cunlublished) tc:ontains an early setting of several themes

.·_·-.-_.<.! ·- 1 r- ,
-- I
.. which Liazt later reµsed in Hungarian Rhapsody No. 14. The first and second
- i
· '\~'1illnes hjv• 'not been! traced to :epecific sources, however both themes contain
I

' cllai:acte,:J,li~ica of>11ungarian ~ollt song melodies. The, source of the third
~~b11111e i~ - al.1110 unknJwn, · but it contains characteristically abi::upt ending
a~ct:ions as ;n .the -~lungarian Verbunkos dance. The original source of the
I
-. . - - - . I .
fourth
. - . -. themiit
--- ._.- - of- .Number
- _, 1 21 is not' known; however, Liszt 11,sed this theme in the
cdrdleeaction of Eungarian$iapsody No. 12 and later as one of the last
j
: .. - - - : ·I I

themes in HynqvianRhapsody No. 14.

- '
l
The fifth themr, which Li;szt most likely derived from an Hungarian folk
t ' .

song or folk dance! was notated for the first time in Number 21 (1846);
however, the first pkrt of the.theme has been subsequently used in the music
'
of the firat two ac~s of the Hungarian folk play, A csik6s (1847), and the
eecond part of, the- theme
! has 'been included in a collected set of csardas
pieces edited by EdeiBartay and published in 1852. The last theme of Number
21, which also exJ.!sts in the Pesther Carneval· composition, was later
published in several collections of Hungarian national folk songs but its
origin is unknown.
The final piece belon1ing to Liszt'o first c~llection of Hungarian folk
tunes is the rhapsody cycle Eg,ather carnem]., consisting of six themes, the
first five which LiE1zt later rearranged in Hungarian Rhapsody:_ No. 9. The
sources of the first three themes have not been traced but it is estimated
that they were all di:1rived from Hungarian csardas compositions. The sE1cond
theme has also been published in a separate csardAs piece, c. 1852. The
fourth theme is a vax·iation of an Hungarian folk song which was subsequontly
published in a collE!iction of csArdAs cornpcsitions, c. ~8 1;0, and the fifth
theme was also traced to an Hungarian csardAs piece, published inc. 1847.
Liszt reueed the sb:th theme in Hungarian Rhapsody No. 14 ( its o:dgin is
described above as the sixth theme of Number 21).
 : 22

.. <;.' "'Si;,y The ~ra~11d+~g, cUscuaaio~ . shows that Liszt constructed most of the
~: ~<Hungarian Rhapaodiea from a co~ination of themes taken from certain of the
' .-.· lijggyar Dallgll; and
,;·t·· · >. ?> ) >:
H~lar
. ·1 . . ...
RhapHodiik -.;,iec,s.
. l ··.··; ·
The remaining themes that have
·.not been . accounted . for are .those
. \: .•. ; I . .
. 'J':/ .. ·. . '.·.
in euhgarian. Rhapsodies _Nos. 16-19 and
. 'eunaarimfRHapaodiaaiNo~. 1-2. Hungarian Rhapsodies Nos. 16-18 are comprised
<a~f-tJ.azt'•a
·.,:_> _··-_ -
~ 6rigi,Ja1
- - ·o- ~- l
'themes
.--_._, .-- - >
(newly composed) and Hungarian Rhapsody No. 19
j- -·
ill based ent~rely on Jthemes fro~ Abrmiyi' s Csardas nobles. The themes in the .
-.. _ -,·:_ _ I .-, t- ·
flrat two. Hungarian I Rhapaodie-, were not derived from the earlier Magyar
.• . . ·..... . j •
collection,: but theyj are of Hungarian folk origin. Liszt borrowed the first
- - - l !

• theme of Hyrigarian R)iapsody, No.' 1 from a s'ong used in the Hungarian folk play
' - - ! -- '
!

UY pis~toly ( 1844) , Icomposed by Liszt and Franz Erkel. The second theme is
i
an Hungarian national song attributed to Gaspar Bernat, publist.ed in 1847,
and the third theme.~£ Hungarian Rhapsody No. 1 is also an Hungarian national
song, written byKarply Thern and published sometime in the late 1840's.
Although all the themes in Hungarian Rhapsody No. 2 contain
J
characteristics of Hungarian folk dances (with the exception of the first
theme which is more ~umanian than Hungarian in character), none of the them
have been traced to their original sources.

The source of certain themes that Liszt used in the Hungm.£!.ml

RhAJ>sog).g but which were not first transcribed in the Magyar collection
remains unknown, th~refore, these themes have been labelled according to
their characteristica simply as Hungarian folk tunes. Figure Two illustrates
the rela1:ionship between the Magyar Dallok and Magyar Rhapezodiak piecen and
the Hungarian Rhapsodies.
The Hungarian Rhapsodies may thus be grouped into categories based on
the relationship to t:he .,··1at:dsting Magyar Dallojss and Magyar Rhapszodit,a.!s:s:
1) Hungarian Rhapsod.ies Nos. 1-2 are compriseq of· Hungarian folktuneEl not
found in the Magyai~ collection, 2) Hungarian Rhapsodies Noa. 3-15 are
comprised of Hungarian folktu.nes all previously used in the Magyar
collection, and 3) Hungarian Rhapsodies Nos, 16-18 are original works, not
baaed on pre-existing material. It appaars that with §ynaar!an Rh!;ruJ..Q.9~
 ··,1?N ;}
1);{;ifiI~f.I;ii):~{J··
l

·'~·\J
.,/·1 23
__ -!

;~~f$Rllf~~:~:1:4,:e:::::l~.::::: ·::b:::~z
:y};•tt11tirely
---: _,_.--=·~<"--;~',:"-'. .~-~. C .- , _-
c,niib~inyi';s
a_._,_-,_:-·.. -,·: -,~ -,_ .. ,-_··,
Cs6,rd'8
- - _-
nobles).
f :_"·,-:-.__ " ;
1

In this study Hungarian

,
0

0 •

Rhapsody No.
019\,,ni riot be ana~yzed specifically, but conclusions made about certain
\~11t,ect~ }~,. other>~ungarian 'Rhapsodies will also be relevant to its
1

· c~positional ~e-4p.

j
Ralation•hipof MagyarDallok' andMagyarRhapszodia.k
t.o'.· l{un@tian ·Rhaps~dies. ·

MD 1, Book Ij HR I
" 2, " 1; " II
"n 3, "· . I' " III - MD 11
4, " II - HR VI n
IV - MD 7
"n 5, " Ii - HR VI " V - MD 6, MR 12
6, " Ij
II
- HR V
IV
" VI - a), MD 5; b), MD 4;
c), Nr 20; d), MD 11
" '7, " - HR
" 8, " 1h n
VII - MR 15
" 9, " III R

n
VIII - Nr 19
" 10, " IV IX - Pester Carneval
" 11, " IV - HR III, HRVI " X - MR 16
MR 12, " V - HR V ti
XI - MR 14
" 13, n v±
VII
- HR xv ti
XII - e),
a), b), d), Nr 18;
" 14, " - HR XI Nr 20
" 15, " VIII
- HR VII "n XIII - MR 17
"n 16, "n
17,
Il~
x·
-
-
HR
HR
X
XIII
XIV - a)-e), Nr 21
f), Pester Carneval
Nr 18, - HR XII n
xv - MR 13
" 19, - HR VIII "n XVI - original
" 20, - HR VI, HR XII XVII -original
" 21, -
Pesther Carneval -
HR XIV
IX, HR XIV
"n XVIII - original
XIX
HR - Csardaa nobles
(Abranyi)
MD= Magyar Dallok HR= Hungarian Rhapsody
MR= Magyar Rhapszodiak small case letter= theme
Nr = Number

FORMAL STRUCTURES

A detailed lt)Ok at th1t formal structure of pieces from both sets

reveals an evolution of form from the Magyar Qallok and Magyar Rhaps~ogia~
pieces to the H!!n,g§rian Rhapsodies. The present analysis shows that Liszt
used the sixteenth .. century Hungarian dance form as a fundamental modal for
 24

, - ' 0 ·;),ia early." if~~garian . compoaitioiia. seems to haw! . fo.itially employed a

' 1}1f;;~;~¢ ::rj:.t}::t;: ~==:..: ~~~:;·: ~nw!: .

.,1;~an11tfarr:~11g?fi,l9,p~~ Ka~ar melodies to .the Hungarian Rhapsodies•
0

·· Thtt i~~{·~el that Li~zt used for the Magyar Dallok and Magyar
.. , .>. ' . ,/. ·.· j ..·. . ,·
Rhapazodif,Jppi.-cea is the Hunga#an Verbunkos dance form. The Verbunkos has
}L·' . , J'. c ' ! . . ~·. . .·. •.. :
i~a o~,ig~a,x ~Ii the! simple H~ngarian fc;,lk dance which was \.Bed in the
'.-:;_:::,-.. '>_:-:: _: _' ~--.-. - :_,_\::.- -_ :~i :~ :_ ·: .
a~~enth
, •. ·-
.· - •
,;:e~tury
. •
by
. I
the Hung~rians
. .
as a form of entertainment. In ihe
'tti.ghteenth"
. ••; - ·. ___
cent~ry
. _-
!(1715)
i
during the x'mperial wars the dance b.igan to
function
•
in . ,tlie
. . •
pre>c:ess
j
of military recr'ilitment, thus gaining the title of
;.V~rbunkoa~" after !the Germa~ "WerbunJ" (meaning "to recruit"). 9 The
'-,, > i i

recruiting ceremony j consisted i of soldiers recruiting new men from nearby

villages for the arµty. The ;soldiers danced to simple folk tunes which
1
consisted of alternating quic:k and slow sections; and the gypsies who
i
performed the accomp~rying instrumental music played in a highly improvised
style to· complement! the skillful dancing. The rtacruitment process was
terminated in 1849 ! as a result of the Austrian conscription, but the
Verbunkos dance contlnued to flourish.
Altho~gh the Verbunkos dance was not a creation of the gypsies, under
their influence it w'.as interspersed w~th other Hungarian musical r,tyle£1 and
eventually became
-
a i:epresentation
t
of their improvisatory
,
performance st:yle.
In its earliest form (sixteenth century) t:he Hungarian dance consisted of two
symmetrical sections set up ~.n an antecedent-consequent deeign ( slow-filst),
with a ~ifect cadence at the end of each section creating a simple harmonic
etri.,ature ( see Figv.re 3) •

Figure 3. l,.6th-centur~ Hunga.r.ian dance form.

I L V V- I

9 Benj a.min Rajeczky, "Verbunkos, " Q i g _ ~ in Geschichte und C'.e_g•J!.,Qwart,

edited by Friedrich Blume, v.13 (Basel: Barenreiter Verlag, 1960), col. 1419.
 25

> .9 : ' ~
·
~~,~:rr.:: ·~·' ..t.:. :~lt~:=::.~::·::.::
· -; '~- called 'laaau' alternating with a quicker section called 'fries' , a middle
I~~!i{,f_l~{~J.nk• ...biia~/ilrmed ~
.•cusi• (often there was _more than one disz per.
' . !

'4¥)!,l/J,Jid'},~tiOn, siadiar ti>." co~a, called the 'fj.giira' cseo·Fl.gure

''
--~

· i' l Verbunkos
..18th-century ·•. l dance form.
. . .; . ,._ .
I '

; .. .... : ; / Diaz / Figura

-
Laaau-Pr.iss
..
! '

(alt:arnat~d) (tr.i.o) (ccida - return of

! la~su-friss material)

·, - -.- -~ - ; , ._ - -. --- : .--,.. - . i

'l'he eigh~~nth.;..cerit11fy Verbunkos· dance consisted _of a• ternary structure with
the return and. oft.;.~ subsequent; elaboration of opening material at the enci.
HAg,var Dallok Nos. ~-6 (simple settings of Hungarian melodies) contain a
l '
m.:idest version of th;is ':hree-part Verbunkos form, consisting essentially of
· one or two Hungarian :melodfa~s presented in two to three different variations,
j
and often with new m~terial with characterist'ics of the fries appearing only
in the figura (see Figure 5).
!

Figure 5. Magyar DJ!!.l:,gk

. !
No •.'3 - modified Verbunkos form •

Sehr langsam Molt'.o pronunciato Esprassivo ed agitate

la l'lielodia
mm.1-B 9--16 17-32
A Al A2
LASSU DISZ FIGURA (fries)

In Magyar Dallok Nos. 7-11, Liszt included more melodies in a greater variety
of elaborations than ~&:....Dallolf. Noe. 1-6. He also utilized a more
sophiaticated Verbunkos form, wi~h alternating lassu and fries sections

10 Johns. Weissmann, "Verbunkos," The.New Grove Dictionary of Muru,.Q....Alli!

MusiRian~, edited by Stanley Sadie, v. 19 (London: Macmillan, 1980), 630.
 . t.::t ::.r?j .
(containing alternating slow and :fast elilborations .of Hungarian melodiEUI),
.26

,.'-~ - ~ ,, t q ~ '
:·often two or,· three abort disz :sections, ,and a fi.gµra which reelaboratea a
, -· tW{Jttf ~l~y f~tlm ~~e firej laBBu-fr~BB aectioti (see Figu;ee 6).
'·l
, < !
}

-.··· ;J/\\·:::;~-'·

:6~ 'pallok No. 9 1

~ verbunkos form.
tent~ Q(i~~J. :;f.~to
. - .. :- :~>.1
Mol.to I-menomoliso Alternative Coma Prima
: '·
1-43 44-11~ : 114-i-121 121-149 150..;225 226-249
!
A. A C B A
_,j
.·_ I.Af$SU/ ·~ISS .alt~J:'natirig m~lodias DISZ (fries) FIGURA

'. - ' i
- T~a 9 :re~t..:a~ diff-itrtnce howev~r, Hes between these re1at1ve1y modified
'
the mpre complex Magyar Rhapszodiik forms, which
'
cqritain several ex~ensively ~laborated Hungarian melodies in a multi-
sectional frame <whidh alternates the lassu, fri11s and disz sections (see
l i

Figures 9A & 98 - ff#yar Rhapsiodiak Nos. 15 & 17, p. 29).

i
In the 1840' s :a number of pr9minerit Hunga1:ian musicians, !i!.•9.•, B6ni
Egressy, J6zsef Kosiovits and Mark R6zeav61gyi, created a new Hungarian
national dance form,jthe Cslrdas, which used the older Verbunkos dance form
for its structural ~oundation (slow introduction and fast finale). The
Cs6rdls dance was ~riginally used as a form of rustic entertainment
("cslrdls" meaning "country inn" - local girls would dance to this music at
the country inns),; and later became predominantly associated with
aristocratic social events, thereafter representing the stylized Hungarian
folk dance. 11
The evolution of the Verbunkos form to the Cslrdls form included few
changes, which for the most part were structurally oriented. The Cs&rdis
originally corresponded to the Verbunkos fries section, with its own binary
design (see Figure 7).

11
John s. Weissmann, "CstirdAs," l:ruLJl'ew Grove Dictionary -of Muai_g an,g
Musicians, edited by sta.nley Sadie, v. 4 (London: Macmillan, 1980), 82.
 27

-~arbunkos d,ance form.

/ F,igura

L~t.41~} a slow, section fia11,u) wa~ added at the beginning of the

C11:l.rdi.s. ia•th~>itiJs portion ~CIUl'l8 multisectional with the alternation Of
:~_:/··_c?~_-<"_-/_ '_ -- . i . - !"> < ,- f " . . . - '·~,
(aebeil).andalo~
·.· · .. ' . ·.. ! (lassu) v~riants ofithe dance melodies (see Figure 8).
~- .
Clih-dla f9rm.
-·i

Laeeu / i'riss
(slow) multip~rtite; al~ernation of fast and slow
variations of melodiea

Liszt's transference of selected Hungarian melodies from the Magyar

'.· '
- ' l. )
Dallok and Magyar Rhapszodiak pieces to the Hungarian Rhapsodies necessitated
a change from the Vei'bunkos
i
form to a more. compact structure -- like that of
the Cslrdis form -- to encompaos the refined thematic content. Liszt reset
only certain of the Hungarian folk tunes from the Magyar Dallok and H§-™
Rhapszodilk pieces in the Hungarian Rhapsodies, and in some cases borrowed
single theme& from j:wo or three different Magyar pieces to construct an
Hungarian Rhapsody.
The forms of the Hungarian Rhapsodies actually consist C'Jf a combination
of the sectional structure of the Verbunkos form which is divided into a
lassu-friss section, a disz (possibly two or three) and a figura, and the
binar~· structure of t.he Cs6rdls f'orm which contains separate laasu and fries
section~ in which several melodieo are presented in varied elaboration. The
Hungarian Rhapsody form is esn:ient.ially a binary structure with each half
containing varied theme sections, ,uid therefore, it may be described as an
hybrid Verbunkos-csilrdis form. The formal contents of the H.Y.119...~
Rhapsodies include n elow int:roduction (laesu) which presents different
 28

; \}!:.!t~1~rati9nf 11lingle mel~dy (often! two melodies are presented) , a

f?t1ij1~ipartife' faat: -~+tion (frirs> which ~lternates varied el,aborations of
/:aeveral Hungarian
'• ~·--,, .;::~:_~ -- .- ;
folk t1.ones,
-• ' -_• -_, _,{• - - ---- -, ' •_ • -! - -- - -
and
-_
a short coda-like ending (reminiscent; of
~ a_•

Jbt{VerbunkQa. 'figur~·) which often is a further elaboration of a previously

,. <, .,< . ·., I
. . ! , . . . . ... ··...·. . .
:tolk!llltioct:r, an~ therefore; is an extension of the fries section.
~ _-::~-::-~ ~:-/_-~-·. __-_-.,--\;_~~----. J - i I . --_·- .
A c~laon•· 9,f form between .selected Hungarian Rhapsodies and• the.
'' ' ,.·· ,'· •. ' ' ' ·: 1 ' :. ' ' ' ' ' ' ' '' ' ''
111:paclficMaqyar palldk and Magyar RhapszodU.k pieces from which the thematic
hall betll\bo1rowad wil~ illustrate the evolution fromthe.Verbunkos
·-1

the Hacjyar j pieces to• the hybrid Verbunkos-cdrdis form in · the

Hu11qarianRhapaodiea:(see Figures 9A & 9B).
Figure 9A,ahow~ that the disz.sections of Magyar Rhapszodilk No. 15
• ,.·.· .•.··,' ' i ', ' '' !
been omitted in1I Hungarian!RhapsodyNo.
.
7, and Liszt has retained only
the . three differen~ folk tunes, presenting them in several different,
vadatioqs.· Although]the coda/in H~nqarian Rhapsody No. 7 now replaces the
:
s,flgura from Magyar
,
!Rhapszodia.k
I
No. 15, the treatment of these two end
sections is very difie:rent.
' '
In Hungarian Rhapsody No. 7 the coda material is
elaborated in a sim~lar style to the laosu and fries material, whereas in
Magyar Rhapazodiak Np. 15 the figura material is treated di.fferent than the
rest of the material] in the piece.
In Figure 9B · the two pieces share a similar number of sections;
however, in Hungaria~ Rhapsody No. 13 tha trio-like disz sections of Hagyar
Rhapazodiak No. 17 (labelled 'X' in Figure 9B) are replaced with the •o-
theme' sections (the treatment of theme Din Hungarian Rhapsody No. 13 is
consistent with ·Lie;zt' s treatment of the other themes in the rhapElody,
whereas in Magyar Rhapszodiak No. 17 tho material in the disz sectione is
given a completely different treatment from the material in the <>ther
portions of the fries). Similarly, the coda material in Hungprian Rhl'.\P.BOdv
No. 13 recalls a thelme from the beginning of the fries which ie varied in a
similar manner to thE1 rest of the fries themes, whereas the figura section in
Magyar Rhaps,;odUk No. 17 ie again treated differently from the other
sections of tho fries.
 ~~~~~~!IW)l!~~·ffl!li~~~c-!\7l1,£,;i~~~~~~~4~~Jt(~~~ii~0Wil~-~:;~d:'i~~~~-h:td:;tS'il-~l~~f~d~~tf~~
r: -·_- ~

.- - -- 29
'. ~-~ - / ,_: . ·;: .- ;. -

'<-,, <·:·1 . . . f,.-- 0

.-: '- ; - -_ - . -

~i.aon of form!i.nMagyar Rhapszodiak No. 15·and

11upqarlai\ Rhapsody !No~ 1. '
- -,': l - - '
• '"
Vertninkoa
-
fo,. 1

VIVACB I
32-67 68~92193-101102-178179-255 256-282 283-299 300-,.312 313-351
- - i
a I x c x<A> A X B C

PriH

11871 HybridVerburuJ,s-csard'8 form.

J::~ .:::
I
No. 7)
Diaz Figura

VIVACB I
m. 1-31 32-67. 68-10~ 10~-184 185-206 207-218 219-262
A A B C A B C
- i
Laasu Pri•• - alte~nating variations of melody. Coda

Figure 98. comparia~n of form in Magyar RhapszodiAk No. 17 and

HungarianI Rhapsody No. 13.
.

'
Hll 171 Verbunkos forl(t.
ANDANTE POCO PIU VIVACE
m. 1-24 25-74 7~-98 99-114 115-130 131-156 157-172 173-178
A B C X E X E X

Lassu Fries Diez Diez Figura

(Xamelody not reset in fim:lgarian Rhap~ No. 13)·

HR 131 Hybrid Verbunkoa-CaArdAe form,

ANDANTE POCO PIU VIVACE
MOSSO
m. 1-24 25-99 100-123 124-147 148-164 165-199 200-223 224-237 238-258
A B C D E D C E C

LRBBU Frias - alternating variations of melody. Coda

(D•folk tune not used in ~agyar RhAJ?pzodiAk No, 17)

l'rJfil!~"t:i f~If'""T~-·" ~ 7 ~·r···· , , -··-.. ,,, .·..........,., . . .,. ··-

!l
<d
--- -- :--~;- ~ ._,. - - - - -. -__---. -
l .
cejain amount! of variation exis·ts within the forms of the
I \-
30

'. }riJ.neteen
,, . . . . .Bunqariy'
. . .·.... · . Rhkpsodies.
I . . these pieces are
' nevertheless uniform in terms
of :thematic ll'l~tedal throughout each piece. As compared
•- < a - _ _ : _ ,- _ _ ~ - -i 1- ' - - - -
,with , the earlier Magyar Dalloks and Magyar RhapszodU.ks. which adhere to a
. •. · ...· ·. , . ·.' . I ·. . : .. . ,
more diveraified ••cnonal structure and tend to employ a different style of
' -;-; - -:_ - > - -~ _ -_- -1 j .- - - : -

. thematic treatment ·i~ each sect'.ion, it seems that by employing the Csardas-
. .j . ' '
influenced form in . t~e
I
Hungarian
. •
Rhapaodi@IJ!• Liszt was aiming towards a more
· economical u•• of t~ematic mattfrial, and, thus, towards a tighter, more
I

concise overall formal

!
design.

COMPOSITIONAL STrLB

While ao far we have beeti concerned with the relationship between the
!
original ••ttitiga of :the Hungarian folk tunes and the Hungarian Rha.Rf!25!w,
another overview ~rges if w,it conside;r the stylistic features of these
worka. LJ.azt • a compositional style changed dramatically in the last two
decades of his life ((:. 1867-1886), ao he 1:1xperimented with harmonic, melodic
and rhythmic aspects :of hie music, The music of Liszt's later style became
more daring harmonically, with the inclusion of many abstruse chords, ~.g.,
chords built in fourths, chords built on the ninth, eleventh and thirteenth
tone• of the acale, functional and non-functional use of augmented triads,
diminished seventh chords, chords built of superimposed thirds, fourths and
fifths, six-four chords, and wholetone chordo, He also began using unusual
intervals .\n great at,undance, ,n.g., major sevenths, augmented fourths, and
juxtaposed major thirds and minor thirds (see Example 1),

Example 1. Cg4rd4e gbatin6@ (from 2 csAr~h, 1882), mm. 17-18.

Juxtaposition of major and minor thirds,

·+--

.•u.

T
mp -3
--
 '.l. 31
' . . C <} .~ - .·. i ' I • '
.. ' Li11z~ ~11~ ,t~e element /.or conson~nce to its outermost. limits through
increau;fuae ofjchromatici~ and' as Ji result his compositions contained

C"·'.>-=·~=
~Jhalit~.. .1ihioh were! further
obac,.11.:• - , .--- ~-_:-_- ~. __-,,_·"· - . _--1 - -__ - - ( - - _· ,- -
diffuaed
'
through the application
~ :
of
'rie•n.;,ke1y ,~if~ng >Ofdenoee. rher · feat}lre& common to Liazt' S later works
. <;' .. . : patter~". .of consac:u~ive paraUel fifths ( see Example 2), . and
aequenc.'t•of unpre~red and unrHolved dissonances. With his use of these

·.. · ..· . . I .
\i~::~oloUrincja LiazJ began ore~ting tranillparent tet:itures which consisted of
paa•ages and subtle harmonic: shadings.
j i

I
c1Ar411 1macabre
(1886), !Ml. 1-10.
COnHcu ive parall~l fifths,

In general, J can be a11id that

I
in hie later works Liazt moved 111way
from hia earlier sty).e which waa characterized by ruperflcial brilliance, and
I

toward an economic: aj1d simplistic: display of them11tio material, thu11 creating

j
lengthy, au1tert, m91lcxUc: paeuagen consisting of single notes which were
oxpanded thrOU!Jh aggj:eaeive rhythmic repetitions, and short motivic fragCMmts
which were- d&velc;J;:ed through ~imple techniquee euoh as ,imitAtion.
LiHt'a Hungar~ Rhaps,prU,u Noa. 16-18, composed in the lut four
years of hil life · ( 18&2-1886), are representative of thio later atyla,
Hungarian BhlR194Y No, 19, baailld on Abdnyi' a Cdrd4s noblea. is an exception
to this c:ategorizatfon becaua,• it imitates AbrAnyi' 9 improvisat.ot·y wri,ting
very c,lomaly, t.h~r•fora d•p&rting fr0'il\ Liriit's late,: style,
AnalyaH of aa:Leoted piec:1t111 from the ninetoen Hungarian Rhap12!Ji.!IIUII. w.1.11
illuetrate the oatfj,naive evolution of Liozt • a compoeitional otyle fr(>:':;

l l . \ m g ~ Noa, 1-15 to HungarJ.An...BJl.qpood,1.H Nos. 16"18. Thia Urot:

 ~~~~~~~~~j'"~~~~~~~~~~~~f-4,~-,~it"?-"5';~~~~~-~~~~,:~~~":~:.e..~r£.~Uii;.,Ac~~~
[ ~ _,__ :'- -,. ., .
,: . .·,
r<--,

32
?/J~;i.)--·_.,·_.:_c--f ------~-2-'..-~~-~_:/:t'--~,-'._ -:------~·-_·:-",_ _ · --· __ ·_ i- __ , __ _ i - _ . --·- - - ;
.,.:Y';-~!~~~~n;eyns,sf+ID Rha:peodieacliEiplay an im~roviaational_and virtu_osic writi119.
H:;Jf;"?':· ',.~,,e,.:;<1 ··.· ·... ·.• .·.· ;,· C • ·. . . . . • . . • .·

·p·,~·sr·~!1e coq~atntng.anbe1ushed and-fun.· textures se~ within definite toriai

. ~~?1-*~~{nt=~::.#.::•i:n:::.1•.::·.:~:·::.:i::· :::
1 1
\:~tliat t~e .· Urat .fl.~ieen Hungarian Rhapsodies are based on pre-existing
·
~t.i~:r:i=.·rt:.::~1:.~·i: -0: :h::::::·~:::::
i ....... · r · · · .· •· -
-- ·_ -- ~ -:·~ .-- - -. ,_ ~ --- - ---_ 1 '
llhap•odill into eady and late atyle groups.
,. ··" .. ·.......·..·1 . : . .
Bµl)qll,'ian''Rhap~odiea Noa. 1-15 and ?foe. J 16-19 are structurally similar
'
w,~th both> 9roup• ditplaying the basic sections of the hY.brid Verbunkoa-
cai&rdAa form, 'laaau-f;dHJ
1
however,
.
a comparison
.
of subdivisions withi.n these
larger ••ctiona •hOW:s that the firat fifteen Hungarian· Rhapsodies have a
I
9reator variety of l tempi than do the last four Hungerian RhapsoctJ.u.
I
( including No. 19). [lhh difference may be expla.lned by the fact that Liszt
I

uHd more and a great••r variety of themes in the earlier Hungarian Rhapsoc:UJm
l
which required diffeient tempi to fit the character of each different thE11ne.
In U\maarian Rhap•odi:g. Nos, 16·•18 the themes are le88 intricate motivically,
and ther•fc,re do notilend themselves to ext111nsiva development nor to a wide
variety of accompanylng tempi.
A compadaon of one HL.D!ll.1:ioD RhapB<?QI from each of the early and lnte

pedoda, J.·•·, (1) Hungarian Rhapaodiea Noe. 1-15 (1851-1853), and (2)
Hungarian Bh1Pt94~u N~a. 16-18 (1882-1886), will illustrate tha change~ in
Liut' • compositional style over a period of thirty yeara (liY.rulArtAn BblRB.rulY.
No. 15 waa published in 1853, Hungar.lao.. Rhapsody No, 16 was publiuhed in
1~82), Hungarian Bhd9.12SlY. No, 10 will bu used aa an example from the first
group to represent Liezt'e ea~ly compositional style, a n d ~ ~
No, 17 from the second group, will repre11ent his later compositional etyle,
Rungarion 8MRJl.2Stt Nn, lo oogine in tha key ()f !!: :li11:)o:.:· whi-ch i.lf
Aetablhhed immediatj»ly in the first five measures of the piece by buo
r;:hord11 on the dominai,t, leadin9 to an affirmation of the tonic (E major) at
li'll'll, 6-21 (He Bxomplf 3),
Thie schema aete the tonality immediately at the beginning of the piece.
Similarl1t, th• key uf each of the subsequent sections, !!f..g., £ minor at m.
40, A minor at m. 6~, E minor at m. 109 and E major at m. 124 ia confirmed
within the first two measures of th~ ~~ction.
By contral5t lJ.ke the la·ta works mentioned above (Examplee 1 and 2),
ftungarian Rhapsody No. 17 e>1hibits a strikingly more advanced harmonic
language. Although composed in the key c>f D minor, it begins with augmented
r-triade in the firt1t invarsi<>n (6/4) which place the D minor leading tone
(C-aharp) pedal in the baae for the first thirty-four measures (1:1ea Eumple
4).
 .-1.'
1-·

34·

mmi. · 1-3.
'

· Hungarian
-
Rhap1ody·
' •.
Nb.
-
•. I
1
17. is tonally unstable from the outset and even with
•

ttle key change fromjo minor td D major/B minor at m. 11, no tonic note or
- - - j
I
tonic chord confirma: this modu1ation (eee Example 5).

lxample 5. Hungariani Rhapsody

• I
No. 11, mm. 11-14.

Cl 0 0

The presence of the leading-tone pedal in this paeoage creates a strong tonal
ambiguity because it does not resolve to the tonic, or even to the dominant
anywhere in the piece. In fact, throughout the entire piece not a single
perfect oedenoe exists, even at the end of the piece, where Liszt has opted
to place a-flat octaves (enharmonic A-sharp) within the D major/a minor key
(the piece ends in a manner similar 1:o its beginning with an oatinato
 :J~l~!~l~·~··~·--~·~-·-··-~·rc•
'-1

~;r,/'-,:,:;-:,
;~
... 'J
·A-f,--·-.,

the" pi.ace witb as much

0

.·~hus,.·in .. 9ie,later rhapsodies Li~~1::·

(present ; in the
with the )isa of extreme cbromati,cism and tonal
·. J.•' ~t(est thro4~ti~tit Hun~adan Rhapsody ~o: 17 •.

17, mm. 65-76.

.,,
:::t .

. . . . . m____.u
sva.i, .................................................................... :

MalCldically, Hungarian Rhapsody No. 17 contains few interesting moti,ve11 and

even these, due to t,heir simple etructuro, are developed through the u1ae of
ostinato (Be~ Example 7).
 36

35-46.

With each recur,rence of a theme in the late Hungarian Rhapsodies, Liszt

reuses the same ostlnato pattarn, unlike in the first fifteen .HYn9!!.dJm
Rhapsodies in which i.iszt creates new variations for the returning themes.
Interestingly, in the late HY!Jqarian Rhapsodies Liszt does not create new
motJ.ves from the i.nitial themes, but rather restates the initially
established few notes in a type of pseudo-development through rigorous
repetition and sequunce. A comparison of these passages in .HYn9Ari.An
Rhapsody No. 17 with those in Hungarian· Rhapsody No, 10 reveals juGt ~1ow
simplistic and stark the melodic content of the late Hungarian Rhapsodies is.
The development of themat:ic material in Hungarian Rhapsody No, 10. is
achieved through vir!:uosic scale runs, double-third passages and frequent
exchanges of thematic material between the right and left hands, resulting in
an improvisatory style (sea Exrunples SA, BB, SC), whereas Hungarian Bh~psody
No. 17 lacks any real development, and simply expands its few initial motives
through rhythmic patterns to croate a full composition (see Example 9).
 ~~t~¼~~j\t,~~~J:!~~~~~1~~1~~~;;--.~::3.;:~:~WtlJ~~;~;:~;:.;\~-~J~'.~~:;~

''

37

and left hands.

-=•

.,..

Example ea. Hungarian Rhapsody No. 10, mm. 82-83.

Double; third sequence.

Example sc. Hungarian Rhapsod~ No. 10, mm. 89-90.

Virtuos'ic scale paaaage,

. Oula• ... •- ,
,_-.
,_j
~ '_ ... ,f~
' . tlfll ,,,.,.
I

.
'

. ., . ,...
'I
.
•............................................
VlYAC!· ........._........................ ! '
i
- '

. u;.i ll lJ...--JJ! 11 I I I lJ I . l'ffiJJ~!! 11 IJ.Ji~~ C=~iJJJ 111 l.U 1mn_.__ 1

II) I .,.. _..

I

. I'
l
1liunio
.
...
l

--
-
- • ~-
t.J . '!' •
 A final comparison should be made of Liszt's use of rhythm in the two
I
Hungarian Rhapsody ,styles. All nineteen Hungarian Rhapsodies contain
· rigorous and lively: rhythmic patterns, however, the variety of different
rhythms in Hunqarian!Rhapsodieo Nos. 1-15 is greater than that in ID.ll}g§.rlil
Rhapsodies Nos. 16-~8. The more intereoting rhythms in the first fifteen
rhapsodies comes fron1 the original Hungarian folk tunes, whereas in th~ later
Hungarian Rhapsodies, the melodies invented by Liszt lacked this rhythmic
energy.
 ,,,',I\xt:J . ......... , 'i:~"rim
;s~~- ;,
.,:,TBBHATI,C TREATMENT

. . . ., ; :::,:,j
f
HUNGARIAN JUWISODlES.
· · ·

]
!
-I
to· an.~lyzethe tllematic co~tent of the Hungarian Rhapsodies
.. l .
'8:·
Ul\1111:: \l~derstand Liszt• s compositional techniques. Alfred
· ··C' > > . , <.,, : · '· ' i . . i . · . . .· . : · . • .·.· >. . · ' ·•
· · <Brtitndel, ·in hi.a book Musical Thoughts and Afterthoughts~ discusses on several
. >:/ ·. .·. ·.·.· · .. , i I ·. · .·.. ·.· .·. I .•. •.·· ...•.. ·. . : ·· . ····.·. • . •· ..·· ·
·· oc:~allions Liss,t·~ Hungarian Rhap~iaa andiproposee an interesting avenue for.
;• . .. . , l .. i: . . . . . .
. . ~ analytical approaqh. Because'. of their use and elaboration:'upon previously .
:_--,--,-t:~·\\~-- - . · _-: _- -->-::- · -_/~ ;-(,;' . I _r. -__ - -
• md.stent materials (R,mgarian f~lk tunes), :and of their improvisatory spirit,
- ,_- ._ : . . . ., ·:_C _;--- j ~ ,

•
·Br.;Jidel atate~ that'z !"Strictly ;,peaking, then, Liszt's Hungarian Rhapsodies
-._;- - -- _,· - - - l - ' - I -

1:Hitlong to hi11 paraphJasee,." 1 H~ reinforc~s this statement by including t:he

Hungarian Rhapaoc:Uea1 in a claaaificaticin, of Liszt Is transcriptions and
...,.· .· ·• . ···. . I
paraphraaaa, inwbic1' two out of the four categories concern paraphrases: a)
!
· "the operatic paraph~:ases, whicrh are fantasies based on a single number or
I
scene, or on severaljnumbers, forming a cross-section of the or,~a;" and
b) "at least soma oflthe Hungarian Rhapsodies. in which material taken from
! :

•urban' folk music ;is paraph:rased in a style that is derived from the
mercurial performing habits of the gipi,ies and from the sound of their
instruments. "2 Wi1;h the acceptance of Brendel' s proposition that the
Hungarian Rhapsodiea. have b13en const1:ucted through the composit.i.onal
'
technique of paraphrase, it is important to understand exactly what
"paraphrase" means. A concise definitJ.on of a musical para.phrase is giv•m by
Rena Mueller as "a work that takes a theme or themes to be woven into a more
complex musical fabric. 113 On the other hand, the definition of paraphrase

1 Alfred Brendel, "Liszt's Hungarian Rhapsodies," Mus~cal Thought!L.Arul

Afterthoughts (London, Robson Books, 1976), 85,
2 Alfred Brendel, 0
Turning the piano into an orchestra" Musica\ Thou9llll,
93.
3 Rena Charnin Mueller, "Liszt' a T1u1ao Sketch.bookt studies in Sources and
chi:-ouology," .a.t.YsiJ.l..HY.iJ.coloaica Aoademiae Sqient;1wm,.Hunaaricae 20 ( 1986 >t 289.
39
 c,,i, ,_,-{~-{/,
' i )0 ',iJ

"l
,1·
·- ''-·c
\:J
--_,·> .~--c- !

ttha::'iit~'iit;;,~~c~L -"an ori~inal· elaboration of pre~exi~ting material,

~eti~)~¥~,.-~. a vehic:le [for ·axpre!l~ive virt~osity," seems to be more

;.;:::}5$::-::1t:~7.9 ::~ia in::::~:~~;.:.::· 0

-_ - -' ifa~t;;,,1riom1>i#ation in the Bunqadan Rhapsodies _of the element of

- - ----- -,, . - -. ---- _-_ - _-j - . -_- . - .
(_; : l)llt:ionaL Bi#>,g~,ian Jolk music, with the : characterilil.tiCEI of the paraphrase
- --.--a.:. - -.-.-.. c 1 _ --_ i •
te~'1nique:-- elabl:,ra~ionand v~rtuoso improvisation -- seems to be perfectly
/;:f~:-~.-~~~-- -._- .. ~- . _ -_/ _ -__ :-·. -" -~-1 - r- _- . :
ca~urec:l in" one :of B,artok' s deacriptiona of the genre:
~:~-~---:./·-·~ -_-~:_-:-/_' .· \:,,-~-;~--~- -i _- - ' t:_<·.-.: -_ ;
• • ;<~the -Rhapsqdiea, especially_ the'. Hungarian ones, are perfect
creationil of their own Jtin,d. The l material Liszt uses in them
coui1fno~ have! been treaied with more genius and beauty.' This
tra_at;llietit take,s poaaeaaion of the i,>rincipl<aa of the gipsy style
~d,ill•~ghten~ ~hem to an infinite dE!«Jrees the roving freedom, the
romanticrexa1t11t1on, the [curious moj:lulations, _the volatility and
abru~neas, tlie renunciation of metrical fetters ~ all thes1
elemantawere
-. -
bound
I
to awaken
'
feelings
'
of congeniality in Liszt.
! , '

Whah analyzingi Liszt's transcriptions it is important to keep in mind

j
that paraphrase
-
is dnly
I
a relative
..
term, and therefore, each piece must be
considered in light <>f the degree and extent to which the technique has been
applied. Liszt had' a predilection to write pieces based on pre-existing
themes as exemplifi~1r', by his copious collection of operatic paraphrmsae,
including workir- su 1 1h as, EAmcas,ie aur dee motifs favoris de l'oJ?Ara La
sonnambula [Bollint), 1839, Bfiminiscencee de pon JyJlll [MoHrtJ, 1841, and

Riqolettos Paraph1JU!e de conc@rl. [Verdi), 1859. However, the degree of

elaboration and enteht of paraphrasing io varied from one piece to another.
Some of Liszt's worlts contain complet.e themes from other pieces, wharraas
others are baaed entJ.rely on theme fragments from pre-existing compositJ.one,
furthermore, in someiof his transcriptions Liszt may simply have paraphrased
his own newly composed themes and presented them in the etyle of the original
piece. In the follo\i,ing pages a comparison between thematic analyses of two

4 "Paraphrase," Int-New Groy@ Dictionary of Music and Musicians, edited by

Stanley Sadie, v. 14 (l,ondons Ma<~millan and Company, 1980), 179.
5 Cited in Brendel, "Liszt's Hungarian Rhapsodies," 85.

40
 .: ... ;t;·i;\\_,-_J : .. . . . . . . -· --· • .
-···<u~
~tH/.
05':i•• will- ,illustrate

cc;,r1tiiining' t~.';~1~aaipcation of t1itt a~os#i,n Rhaose>dies as paraphrases.

j
'' ' '' ' - '''. ] - -
·;: - -
·_ · J2.IUATISSBHBRT ·1t L'BQNGROISE
,l AND
'. MELODIES ·HONGROISES

· ' -' ,,, · ' .. ·i' - I

. Liazt!'11 •~leai
- ...... ,,, ' - - -J
applicati~n
,
of the paraphrase
:
technique
.
is illustrated
~n ;JliS 11Alodie11 ',hc,ndroiaeac d' aprta Schubert ( 1846) , a piano work based
·ent:irely ~~>,~hubert~~ Diyert:isJtinent
.-- . - \_ -. . ~ . -__" .- j - .- t .- _- .;
A l ':honqroise, ap. 54 (1826), written
the aamemac:l~um. jLiszt tra~acribad Schubert's piece from four hands to
handa, • and
,·
added!
:'- I
more- parta
- ·--
to
-
the accompaniment
:
to - create a fuller
· texture, yet Ile prea~rved the thematic content (maintaining the essential
; - . - .--- . - I - ; '
shape of each theme) ij.nd the formal-structure of the piece (Andante, Marcia,
! -

Allegretto, aee Figu~e 10). :Liszt also retained the key scheme from
Schul:>ert's piece, wit~ the singla exception in the Marcia at m. 119, where he
used the keyofCmaj~r instead of A-flat major.
i

Figure 10. Form of Schubert's piyertissement a l'hongroise

and Lisztts Melodies honqroiseg. ·
AIIDAftB

Andante Un poco p~.u mosso Tempo I Un poco piu mosso Tempo I

S1 m. 1-20 21-83 84-93 94-106 107-124 125-139 140-152
G minor E-flat major G minor D minor G minor
LI m. 1-20 21-95 96-106 107-119 120-137 138-151 152-165
IUUlCIA

Andante con mote Trio Marcia Trio

SI m. 1-28 29-52 [1-28 29-52) a da capo
E-flat major A-flat major E-flat major (A-flat major)
c ma:ior
Ls m. 1-se 59-90 91-119 120-144
ALLBGRB:l"l'O

SI m, 1-66 67-242 Lam. 1-90 91-304 (S = Schubert]

o minor c minor G minor C minor (L ~ Liszt)
 l~l
'.";
,-,;;_,,-4
_;-'J -
42
:<l>){I-_~}>f;lJ -the o~ning:,;passages
'; c~i,ilc,n,:ot; _-_- , , __ ,_ -_ _ -· ·- - _ -_- -
from ,each movement in the two _

i-,-.,c
- - -~ . - i -
pieceh but creates a fuller accompaniment l:>y
fulk'trijada ,tn the right hand and, open fifths in the left hand ( see
,;}c,;,•y: ,cj l ; <' - ' : _-- - - _ - - --
10).,>,: ;tn· the ope_ning 'mea.eures of the Marcia, , Liszt adds two
.. ·-·_-i ____ - -~"__ -:J?~·_ -):(~::_~~--::~~ . J _, - ~-- _-_ ,_ ,- - - ~
i~troductory ~--~_rti~ based on ~chubert • s :accompaniment, and he_ changes the
- -- ·- - ,: ', ~· -- -- '> - - l '

:' ,,cC>nalstant la~t" hand IC note octaves from :Schubert s piece to alternating 'c
I

;-;·_/-~;:\·:... 1 ~ -> -_ ::·-' i- ._- ~· -.j - ' =· -

;'and G notaa in his }ranscript+on ( see Ekeample 11) • The register of the
' --; : ~- - • .. . l

- ,-_-opening
_·,:
111elody, . isl!IC>~ad
·.j
an octave
;
lower,' thus creating registral contrast
when ;it returns at jthe origiria,l pitch at m. 15. Liszt also adds new
. l
az:ticulation marking~, .!t•Sl•, a-pre marcato, m. l, left hand; m. 3, right
:
hand. In the openi~g measures of the Allegretto, Liszt lo.were the upper
octave melody giving ~ta fuller statement•with alternating double thirds and
fourths in the lowe~ octave, and at m. 7 adds octaves to the left hand
accompaniment ( see Ex'.ample 12) • overall, Liszt seems to integrate the melody
i

into the chordal text:ure through -an even distribution of notes between the
two hands, as opposed: to Schubert's melody and accompaniment texture in which
the two hands are ke~,t in sepal:'.ate registers.

Examples 10-12. Comp&rison of parallel opening passages in Schubert's

QJ.__ftissement A l'honqroise and Liszt's
~ies honaroises. ,

6 PleaH note in all of the examples of Schubert• e Di'£@rtis~.mo.\;__J!,

l!hongroiee, "prime" me,ms "first piano" and "eecondo" means "second plano".
 43

Liszt, M§locH.e1 hong~oises

.111 ,tant~.
I

·~ .

Example
11
•
MARCIA, :mm. 1-14. ,,..4 ., ..
Schuber~., DiverJ;J&,P.Qment il l 'honr.,,;~

=~·
1:w=~ -~,
r:~;t;.,,.,1,, ·~·
'
auon4o,

~I
10
 44

MARCIA, ~;.azt; Melodies honqroises

.,.,,'P;Pr" 111arr.a fo ·
I ·• I. I

., -
;.
r= ..
,

'I.
.,
f if
ei er
f ''
 45

mm. l-8

· ·,_ ,-w
, -, Allljntt..
1
i ,

·t:1.f ~~ LJi! I;~:: I:. !:. ~j

. _-.:. ___ ~ .==:n--:E:.-- --~-=~---=

. -
l
.

C:.H !+;::t-~ -; :D!U 1-;!Q

Liszt, ~lodies hongroises, mm. 1-10

.\ II e g retto.

-,
a
 - . .-~ t:~- ;-:- :-
each': mov•nt Liszt Js fairly ~aithfuLto Schubert• s
·;;;:r;-::;.:;'.'.P'/1 ... _.-. _.-._ -. l _;.. - - --
::; ~ . >,~,,- . ·,; bu~ ,,1tii itl.llj°h,, repetivpn Lisztls melodic phrases, become mo.re

:,;1 :
·~:~;1 .J'-
, ~,;t~~.::·~· ;. .-:r=::ia:r-in::.:·::.:i:. ·:h.i~=:..-.:-::.
« ;T~~~ud}~~:~;!•!~r,.,ellis~nt! with each occurrence~ 1
Examples 13-15 show

t)m],,.>~
1

.,>· ::rt::rl:rr::1::~:~rt•:s.and L_iszt,'s repeats in the three movementsa

'!cig .·,· Bx~fe.-lJ . shJs ~arallel: first statements of an Andante phrase from

(Sc:hube~, min. 55-631 Liszt, mm. 55-63) and Liszt's written out
repeat of thtt' aecol'ld ~tatement (\DID• 64-:71) in which his elaborations are most
,.- ',_:--· ,_- -_- _'_ l - ._,- '. ·_ ;
Changes
.·.· _··. niada
. i to Liszt's' second statement include a presentation of
the right-hanci melody! in thirds instead of tenths (as in the first statement)
i • .
and a
'
change in thel~ft-hand accompaniment from a duplication of the right-
J --.
l
hand rhythmic
--
patter~ I
(as in the first statement) to a regular eighth-note
pattern~ At the end of the second statement Liszt introduceo right-hand
.. trills and an elaborated thematic extension marked 'leggieriiasimo • and
'dolciesimo' (m. 71), which is indicative of the "expressive virtuosity" of
-a paraph-rase
---------r- - ---- --~~-----·-- ----- -------
pi~Cft_
-- --
{9.P!l\pare
i
Liszt's mm. 70--71 with his eif.rlier statement mm,
61-62, and with Schubert's parallel statement mm. 61-62). This passage ie
exemplary of Lisztian•virtuosity with its unmeasured cadenza or prelude-like
style, so strikingly ~ifferent from Schubert's more homogeneous setting.
 ... , ]
....

: ~tii1]
.?r:~;.:l

.Jl..i.s~..•1111#.-..liat:al:aWPillQll~WDLll~:.,.ll.l....ill,__'..,'bll,2~nlll9111t~·
:-, ,.-- ,j/ r-·
9'-:li l.l a~e, . Andante, mm. 5s-63.
 Andante, mm. 55~63.

,.

\
,,, ''"
'--,
I

ft~ k m
 49

64-71
55-63) . .

:I;

aah
 ·.· ..·•.. ·
_-__
l. .
-1
t, M*'°i•, &obuj,ert indioataa tho repeat oft:
!

atat. .nt withJ ,;-epeat s~gn~ wherea~ Lie21t renders th~ same paasa9.e,
with a written out repeat (He Sxample 11,: 111111. 1-14, p. 44 and Exam1r,1le 14,
.,~ 1~-26, p. SO -- t~e written fout rep11at:). A. comparison between the two

repeat ata~~-~ta ah~s that in ~he wdttell out repeat (Example 14) Liszt's
.., ., .. . ·-1 . . ·- . :
paraphraae i,• alightlr more ela!f>rate. H~ not only places the right-hand
! ~ - C

melody an octave highe!r, but also embellishes it by adding alternating fifths

·.. ··.. .. . I , .·. . . . .
. .. and .octaveal\to the ltjft-hand acc;ompaniment (mm. 15-21) and octavee in the
ji . !
· · ri,ght hand 1(11111. 16, ~e, 20) to :create a fuller texture. Liszt also adds
i

thr- voice• to the· l~st

i
three meaeures of the phrase (mm. 24-26) to create
a •grandeur' chordal +nding, eap~cially fitting for the Marcia style,

Example 14. Liazt, Htladies hongroisea, Marcia,

111111+ 15-26 (written out 1:epeat).

Pi,i,,,,
I
"

'J 't

\
I
= . .
-~~
-·----;:-::i~-
JI
r'
i • ., .
I.
'I

I
 ; ..• ,,.,¥}.~~~Jl.:;,~~f.'}\t\l'o%i,a'Ji\1J~'.['tj~~~~~~f;1rn

51
-!
l i
A~legretto, [the Sii!lln«: method i.r uaed as in the

;'liecond ~lilli"t, ~cia, with k99ardil to LiHt's)wri.ttan out rel)6at. Liszt

j t::\tf::±::-::1:::H• :~i:t: ::::~:.'-:-.;::-:l: :::

~laborate than
- -~ -l ! -- - -
Soh~ert' Iii litetal repeat c,f the material.
'.
Li.lizt changes the
- i-, - - - ] I

left-hand acd~ntlnent in hi~ 1econd statement (mm. 107-l15) to running

. --- ' _: - {L_ -- j ! :

. aJ.xt-nth not,:~ out~in~ng vari.+cs triad patterns, and he alt.ere the melody at
am. 111-113 .by, plactng fragmen~• of it in both hands &:t"llidst accompanimental
alternating 1J.xtHnJh-note U~ree. This Allegretto passage (mm. 107.:..11!; --
- --- \ \

Liazt•a writ.ten out kepeat) par~icularly ~xemplifies the para~hrase technique

through highly embellis:hed
ita
! setting of the me: ody which remains ·
!
eliaentially unchanged.
I

Example 15. Schuber~, Divertissment A l'hongroise, Allegretto, mm. 67-79.

__j
 152

r .. -
, All~retto, mm\ 91-99,

.,,,., .. /,,f!u.

L.+ut, Melodie@ honqg:Qi.§U., Allegretto, mm. 107-115 (written out repeat).

I
:t,

//()

\ . .

ii~
.. ····:·
,I~
 63
- - - - - - - - - -
'[- -_ ' - - -

__ 1,0~ a:~at1 th• entji&"e Hoondlmovement (Maraia and Trio included)

uaot1/~ 'ia•ll\9}~• terai 'da[oapo' ~oll~ing the firat Tri~, In hi.I piece
<LiHt •J.ftta.1.n, hJla pa:aotio• of wa:iti~ out the a:epeat .material, - ~hu•,
; in1tead oic~ 1... iic~l repet!1uon, h• ~l~borates .th• '':Hoond 1t&tement., of
the kuoi~and-Tdd Hction. ~hrough the paraphraH technique (He Rxainplaa

17) •
'6_ compari1on f th• da c~poMarcia in Schubert's piece<••• Bxamt,le 11,
. - f~> ' ',

p. 43) wU:h Lia&t • • equivalent[ wdtten ou~ repeat ( Sff Bxampl• 16) show• that
although Lb&t kNpa the dgh~ hand me10<ly intact (raising it by an octave),
~. add• accoaapanilleital chroma~ic triple~s in octavea to both hands to Qraata
i -- . '
greatar rhythmic arivity in th• paaea~e. This phrase continues with an
accompaniment of ~nning sixt.,.nth notes (mm. 99-102) which both handa take
I - - -
up while the melodf; moves between the two hands (IMI• 103-119).
I ;
Li1&t 1 1 repea~ed Trio statement (see Example 17, 111111. 120-127 -- written
'j /
out repeat) compare;i with the parallel opening passage of Schubert's da capo
l
Trio (Bff Bxample j17, mm. 29-36) and Liszt's fi~st Trio statemant (aee
I

Bxample 17, nn. S~-66) reveflla an increase in rhythmic activity in the

written out repeat ;as Liszt roplaces the accompanimental triplets with six-
i

note group• and pla~:es the melody ( now in full chords) an octave higher. The
thematic material-f<>llowing this statement (mm. 128-135) is altered, with the
melody now placed ~etween the two hands against accompanying thirty-second
notes played in seconds and thirds, and set in a triadic pattern.

d~-~<-~y_,-_
 64

;-\ ....ple 1', LlHJlt1A4l,tt h-4HI• \!.,ola,

(, / ·· _ ... 91 198 (wdtte~ out.:. ,:epea,t>.
)/- , . II ,,,,,.,,J JJiii
'
lllt.l1~111111,
I r
1,, 1 •· . . . . . .mi'·

r
 Trio,•· 29-36.

- I
L1Ht - lllle44•• b9Miroift1• Tr~o, • · 59-66,
j
--~!I

I. "
_,
,._
-·

'I
,·g_ _ _
-·--
.,I ~
I

l
p
'''!/''''"

--
p .,
l ;'Ii,.,
.-1:,... ·, I
-- - -· I
iir,s,-.
•

!
I
- ,_-_I
 Lutn ·• 1161-1~- '-UUJ_. •-llfili'h Hu v,..a f4Upt,~•.,. t.e.thfih~,••-. u~ ,t,.
,~•t el.-..nt.uy fof'tii, • l t ~ t . •t n.,.,. ,:,:,... via.t-;;u•t um. t• ,.,..,,..,a,H"'i't .-,r_,,;;,,,;,i,th
 ~K i.)(tl .
. ... . ..--··;IIJ,BIBI AYI 1'Affll
) ~ JIQY!'MII ~~ YIBPJ I CONQIRT PABAfHRASE ---------...&.1-.,...,...-
57

-L1eat•e-MlMU~t IYI Tgc,,ratp;. mn·- V,rdi (1859) Hrvee H a 90ocl

, iu .....,1. of. .- eluoi:.ted opttratic .p11raphrf~ cBrendal •• cat~ory a> , Th.to
. ..>.. . . . ·. .• I . .· , ..
OOIIIPO•A:t1on ·1• MNd j>n a •c•n• f"'* Verdi'• opera Il Trpyat,oc, (publiehad ln
itll -- written aft•~· Garcia. Gu~1.rri&i' • :play Bl t;:oy&dgr, 1836),
7
In Aet
.. . .· ., .. j t .· •

four of V•r41'• ~royttore ~non Uncle her lover, H&nrlco, in pdlllon

I . .

MM1Unv hi.• ..._th. jrh• ocen• ~· baelcally an operatic duet: between LeonC11ra
and Hand.co wt.th Cho~·u•, toUow~ri9 the ty1(1ca1 Italian fonn,al convention of

C&ntab1le-calNlleica j1equenoe, l.leat oh®••• to eet fot piano only t.hct

canubU.a Netlon ot:thl• du•t,
i
ln Ven!,- th• ,.hree
j
vocal' tprc••, t.c,onon, M&ndco and the. Choi'UG .no
each 91.ven · 11Uforen~ uter Lale whl,ch Y•rdl preeent• each alono at tint,
'
later ~lnl"9 !A•.on••
I •
M}ody and th-a IDelody Of. the Chotua, •and
elib. . . .4mU.f addt.n9 !hncico•s NlOdy to ere<1te • poeH90 vi.th t.hr-eo~f<i-ld
ulo44c uterlal.
J..1Ht'• ,-Hpb~·ue conutjletne .,... three 1N11iodl••, .-..e:-. ~fl~~ta.._i in
I

~. . . 1~. flWA H shffl,Ja ti-~ 1,UUJ nt •illUu Mlodi.~ Mterid in t>l)t.h

c;~l\lOI\•, 1"4 l\1 .O!IO iU-.,,n.-~•• Li•rn•• ~dhairenco to Verdi'• roul~Uc

••..,_ Ln th pv"•"l~uLoi, of t,Ma Nl.ert,•l·

,,- .• --fa<:-'..;
 ! 58
I ! ..·. . . ,
l'om of i"•rdi'• Ili'l',:oyatore,: Act four, ecan~ I
andLiast'• Hl11rei;11111 Trovatore.
n zipyat;m. Act four, f•oene i

!
62-71 j?l-79 80+87 87-96 96-105 105-111 112-122
l
·- Ohoru• :Leonora Hand.co Chorus Chqrus Hanrico Chorus,
and Leonora
Leonora and
Hanrico
ttae.ea1 A B G A A+ B C A+B+c
keye1 ·A-flat A-flat A-flat A-flat A-flat
minor ma1or minor major ~inor
Liazt1 111111,.,. IH ltr::0 HSi21::1
-·
thalaa,
1-1JY.

~
-(
" !
*·21
8
22-i9
C
29-37
A
38-48
B
49-58
C
59-73
B

A~+1B+;D+;
74-90
00<,')A

Al-4 I B+ 1D+ 1AP +.

In Verdi'• ~~r• the Cho~a einga ~hemo A ~o the text "Kiuorert d'un
- alu 91a viclna.'" ~·•re the melody .1.8 pr1tatmted a imply with Tenor and Basu
f11U ehord• a eeppe;tla 10~ lieuple 16, ViJrdi, mm. 62-70), Lint treate
theffie k ,uaUarly in hi• panphraee, octttinq it with full chord• (eee Exan,ple
19, LLeat, ... 1•10} !· The «)Qly ditference h th~,t Lint placea the melody in
t:he n.ae, on th• t01/• line ot full ct-..9rd11 in ch1,t1a poeition, and places tho
tel.Ung alMr BIKIOM fht .. 6""5 Jn the t.'lil~• witll th@ indication "like a boll)
(QtAillill! < o ~ ! , t1Wi1J g1vi.nq li~ • illiOt'e fun.,.real touch.
I
'
·-,?
'
=;-
;••·.···.·.,···.·.·.;··.-.·.·1j
!

·,1

., 59
i
I
18. 'Verdi, U Troyatore, Act four, scene I, mm. 62-70, theme A,
I

Lio. 69

'
•7::••m . ~ ''""'"
. -=.' -!:."M~
.........:·-.~ : ~ ...u~.
·· ·FffP r:.=:=r=FF
frll. 1e. re • re dun'al.macli vi. cl.aa at.la par.

•la ileU'
.,Ml.1e. re. re d'un'nl.maclavl.cl.na

'..-". ,..~. ~!:1,·- ~w--------

~2·~·~.~:.'..~~ -- -- -~: -
----··-.. -~·
,:'\ La (:a111p1n~ dtl saotU
·---~---·-· ·-·-- -----
- :. : ._::.···--·.:. !::~:.-~::.~ '"-~::=-=- :-:-:-..-:~::·:.

~a~1~i~rEr-fm~ic:
di.
itfJ
rl • tor. noi ml.1c .re.re d.\ lcl,bonta ,I. aa; pre.da Mn
--==---;=.....,
tJi'l~s;:=r::;.;;:;::+if: ),,_._ ' .. _Ac'J
ii Wp==fff1 .i~~r
tor. no; ml. se. re.re di Id, bonti di • vi. na; pre .d:1 non

•~
~~
 i
Liszt, · Miserere aus Troyatoref mm. 1-10, theme A.
I
I

::>.

• i.,_ ~,
o..
; .. ·;,,;
~.,................ ;....... i; .....II'!=--
. if~ ~
~ ........i; ... ~ ..~.................... '!f.~ ................... .

w-::i.~•.l
I j

1 A
11. tempo

The return of theme A in Verdi's piece at m, 8? is presented the same

way as in its first statem,ant, with the chorus singing the melody
unaccompanied. Lisz1: takes advantage of this repatition to already present
a paraphrased versio:n of the materials (nee Example 20, Liszt, mm. 29·-37).
'.rhe melody is still placed in the left hand in triads, but now it is
ernballiehed with interml.ttent tremolo figuroe while the right hand
accompllniment consie,;s of alternating double thirds set in a rhythmic pattern
of sixteenth-note trl.plete. Thie paneage exemplifies the paraphrase
technique of embellishing molodic material set against an olaborato
accompaniment.
 61

mm. 29-37, theme a.

.
3~r + +
. +

l
 62
I . . ,
Th81118 B is pr~sented in,Verdi's opera by the character Leonora, who
. l ' '
"Q'l,lel auon, quelle preci" (see Example 21, Verdi, mm. 71-80). This
!
·. melodic ~ine is accompanied by a repeated rhythmic figure that
creates a aenae of ttability f.or the. declamatory phrases of the melody. In
Lis,zt' a paraphrase, i theme B begins in much the same way as in Verdi's opera
with the right hand ;taking the lyrical line and the. left hand duplicating the
I

rhythm aet out in'the opera (see Example 22, Liazt, mm. 11-21). However, at
m. 15, Liszt applies the paraphrase technique, adding octaves to the right
hand melody and v11;rying the strict left-hand accompaniment of the Verdi
passage. Liszt re~ats the final two measures of theme B (mm. 20-21, written
out repeat) an octave lower than in its first occurrence (mm. 18-19), in
effect creating a "textural" decrescendo.
 ·.:63 ·

Ver.di, Il Trovatore, Act four, scene I, mm. 71-80, theme B.

11

,(
·~·· --w ,g.,
L~~
11
tc!r,U - r,. .. , 1pi

to
q{;fb--it
,,-- - =
u,r!

• ~.P'~
 ,_,
64

22. Liszt,· H,~aerere aus Tz;pvatore', mm. 11-21, theme B,

i
1,
I

is.4........ r········y
ti··.. i l ........... '. ..... :
.,,,._,, JH ,ii
&1 j
•

•
 65
i
The recurrence ~f theme e in Verdi's :opera takes place at m. 96 where
l
presented simult;aneously with theme A (see Example 23, Verdi, mm. 96-
J .

j,02) • Here the Chorusj sings theme A while Leonora sings theme B accompanied
',_<- __ ,- - " !
- by the rhythmic figure~ of the first theme B statement. The paral.lel passage
' .
: j -
_in Liszt's -paraphrase ?ontains only theme B (Leonora's main theme) , presented
in the right hand in f~ll chords, while the left hand spins a chromatic line
!
ascending and descend~ng in a rhythmic pattern of el.even and twelve-note
groups indicative of the "rhapsodic" style (see Example 24, Liszt, mm. 38-
42). A compc.~ison of this theme B passage with its preceding occurrence
(Example 22) illustrates how through his innovative application of the
paraphrase technique ~iszt is able to continually vary the simple melody in
increasingly more elaborate passages.
.)'.' .· .. 66
· Example 23. Verdi,. !n Trovatore, Act four, scene I, mm. 96-102,
themes IA & e. ·
I

19
. L
,.
.,
'
A r,r...i:i .....
. 1 rr:.c. ' •. r ·' r I '
.. • ri.............. w·1a.1nu1..,,lor . oo.
·., ..... · .. ~ . i - - mi.:,. .
••
:e.rr!

., • , ·r , r r l--:.,...- · .,
• ri.u; pttda_,....1(·1a.rnu1.._.•1., . ...
··• ·••·•• •· I-:--
...
I ,, ~=----:
... 1.nai;pl'l'dlooe1laddHn.rctn.a.11oe.1ior p no,

4A I
I

~ ·;j- -- .. ,, ........
Jl..il~ L...a

..
.,
• ICbiu • If

____ §
,, "i.:e.. frft,
. ' :;,.:::t----------?FF-1-3-e:=--1= --'=::J·
-"EE ·-=-
.. . ··-·, ,-,. r' ---------,,-···,. ,,
Ni.n.rr.no! mi.st.R'.RI mt.st. nn!

Mi. tt .. r..rel mi • st. rt.re!

 67

Liszt, Migereg:e aug trovatore, mm. 38-42, theme B,

!
, ~ atepapo

l ~

~
\Jt

+-=
II

.f:~.
II II

--==
*
"
3q
I I L5 ~ !ff: j: .... ...~

lv II
·- II
- II
... ~I
II

r, , ~
...... I
•v••••-:; --,- , ----= I ·v •v• ........
---==
'ti.). *~- *:·
,1
l/0
I L~ ~ !int . ,. .... h

lv II
- -:

II
=
11
tJ
3
II

i[W" , , '-'~ I •v-'+"•-

.......::::::.;
...- , , '--===== l
-··74-"•
---====
~- ~
*
tJ I

u
"
l --===:: -- -
't:.l.
w············--········· ...
*
1/ 2- tA ~:; ~~t . ~ I. ,m
. " I
~

l u LI ... ~

,:: ,: ,:: ,.,

11 I I l l 11
I~
I ,-1 7 - ~l -~
=;· .
-·· . --=-
• , ..... :, --=:::::
.
-
 '1
In Verdi's drama Leonora's distressed theme is followed by Manri1.:;o's
- !
68 I
theme c, as he prepares himself to die. Theme c is presented in Verdi's
i
_opera
··-- -
by Manrico set t l1o "Ah, che .la morte ognora" (see Example 25, Verdi, mm.
'80-87). This theme contains a triplet figure which is characteristic of each

melodic phrase, and the accompaniment is quite simple consisting of repeated

eighth-note triplets. Liszt's presentation of theme c is slightly different
from Verdi's setting in that Liszt' e melody is an octave lower and is
surrounded by eighth-note triplet figures presented in a chordal texture and
spanning tLe C3ntire range of the two staves (see Exart1ple 26, Liszt, mm. 22-
29). In this particular passage it appaare that Liszt is trying to create a
fuller texture by reaching across both the treble and bass regiatere with the
accompaniment while placing the lyrical melody in the middle of this activity
so it may be more easily heard.

Example 25. Verdi, Il Trovatore, Act four, scene I, mm. 80-87, theme C.
S'3,..--..--=
. =-- ."T'. .r'f'.

,t
L
O
~·~lIIJi1£t/i:flJiC::f(J i:: ,-JJ_:;_:{f(j~ilf=-'!lt~:rf}~
cor,il rr • 1pl • ro.l pal • pl • li al
 69

26. Liszt, Miserere aus Trovatore, mm. 22-29, theme c.

!

l- -cortla
.
~ t..,_ -~=·
*
n
1
'fa. .
. ·•·I
! d't

j· .r
~ •.r.: 't.)_ 't.,.
* * •$-

c).(o

."lliilllrlillll f i , . • jffi
 70
:
In the second pccurrence of theme C in Vardi's opera, at m. 105, the
!
is essantiatly unchanged, containing the same simple melody and
i
. -!
of accompanilµent as in the first statement of theme c. However, in
.•·....•.. . . I .
Liszt's prasentation 1of the secol'ld theme c statement he creates a setting of
even great111~; elabora~ion· than that of the f iret statement ( see Example 2 7,
. Liszt, mm. 49-58). The melodic line is retained in the middle register
!

between the two sd1ves so that it may be easily projected while the
. accompaniment is intensified with sixteenth-note groups in the right hand
against arpeggi~ting triplet figures in the left hand. Thie passage may be
compared to Liszt's •second statement of theme B ( see Example 24), in that
both second stat@ments of the thematic material are treated in increasingly
more elaborate settings, thus displaying Liszt's mature style of paraphrase.
Liszt also displRys a rhapsodic style here with the addition of a virtuoso
cadenza passage at m. 56 which contains chromatic thirds and sixths in both
hands set in a rhythmic pattern of six-note groups cascading in the treble
register from the top to the bottom.
 7l

27. Li•zt, austTrovatore,: mm. 49-58, theme c.

5'3 ·
_. ~.... ;m ___,.......,
·pf······--··"! .

.. " 55'
(or-· j" -- -~..,:..---"'
.. ·.:

. .
•

I I I I 6 I

Ill ;·pfn@· &&VII

 12
The final · occurrence of' theme C in Verdi's opera, at m. 112, i's
1
ina pasi•~e with the t~o other th13111es, A and B (see Example 2~ ,
i
.Verdi, nm. 112-116)
-
.J
- I
Verdi pr~sents all three themes simultaneously, with
I • -. •

each exhibiting thei~ own characteristics, to create a •grand finale' for the

closing of the cant.~ile. Liszt, on the other hand, does not usa all three
. !
themes at thisaamei,oint in his work, rather, he recalls theml)l Band treats
it in a highly embal;lished setting ( see Example 29, Liszt, mm. 59-64). In
this final theme B sEi!ction Liszt changes the time signature from 4/4 to 12/8
and indicates a specific change in mood with the tempo marking 'dolce molto
appasionato.' He uses the theme B statement from Verdi's work (see Example
28) and broadens the'rhythm, stretching each measure of the Verdi theme over
two measures in his paraphrase. The accompaniment in this passage consistA
of arpeggiating thirty-second notes, ascending and descending amJ..dst ever-
changing harmonies and a variety of rhythmu. Moreover, Liszt's harmonic
imagination is set free. He trlmaposes his ela.,borations twice, moving
through unprepared juxtapositions two minor thirds up (from A-flat major to
B major at m. 61, and from B major to D major at m. 63). At the same time he
also changes the rhythmic pattern of the left hand accompanimental figures.
 trr,½, •. :;. \;lYt 51' ,);:~~-=~.,,,..,,..~~,. w,w+:,a ..,.~,,,~.-;.;:~~·;;,;~,~~'llt;;lli
".1 1·,
-l
J:J
:.-~·~).-.:.·.::-.)_:.' :_:-. :
·l
-:,1 . ,- t
73

.;~j;J~~-~l1t 2,8;~ Verdi/ Il Trovatore', Act four~ scene I, mm. 112:-116,

_· ,:Themef'iA~s· and_ C •

.·;:>b i,
.. -
l· -
: I.,
-
11, -~ to
,
...-ir
. . ,,_
.
•ie-...ir: · • a ~ t
• _f. __ -:. •

tl.eollti -· ,.-ad.. ... •

_.mr-: 0 ,~--r--
....,..,.._,11.ter.
1111 ......... , ~ - ~-ff
--.... .-.--
• ,.,

1111.le.,.""' nl

'm,ji ·
mt .... ,..

.. d ~ r g

l~~·s, ""= i

1= I~=- 1#
1
l
;
- ...,11

I
di

~
., ~•• .to rol Ma • su, . JI~
\ 1 . _,-,-'.
-~= ~:f¥¥µ----a-¥® I~·' 7
4·
---mlr.
l ~ ~
'g ri{ :_ li2 ]
-.-.
,
#f
DI
i::Z-3;:; p i , •· I~
r., di It -rdanllll di
, NJ ....... ,.,
-T-, .. ~
,.
~
.~
7' µ P@ 1r ffi ¥4§
! .ut, Id • 4lo L - • "ld4i • o,
Ml ....... ,.,
 '14

(1,1) ··~·········· ..........,/!

(b1..l
,.~ ---
....................................... ~..........................,,, ("'~"·

S;<·,· ,-ls, ~ ~~··.~

 75

74A--fl•t*ajor ratur~a·anda new embellished repeat of the same

' . '· ,,, '._-- .·· i - . . :· • . ,-
(includi11g :tile mc;,dulationa)!takea place, which leads tothe coda. The
·._ ·.' - _j ' ' -
· cadenza..;li~a section in Liszt's paraphrase ia filled with
1

,: virtuoaic scale patt:arris presented in octaves (Example 30, Liszt, mm. 74-79),
- i • : .
·and arpeggio figures ill the right hand against rolled c:hords in the left hand
(11111! 80-89). This sec+,ion displays the improvisatory style, characterietic
. I .
of Liszt's mature par~phrases. 1 It shows liszt's exploitation of operatic
1
repetition for the purpose of el~oration within a multisectional work with
' '

several themes, and t~e degree of pianistic sophistication with which he

treats the themes. These characteristics will soon be shown to be true for
Liszt's mature paraphr~se technique is some'of the Hungarian Rhapsodies.
The preceding an~lyses show that Liszt's elaborat.ions in the paraphrase
technique range from sµbtle and ~imple as in Melodies honqroisas, to quite
extensive ae in MisereJ:e aue Trovatore. Liszt uses a similar range of the
paraphrase techniques in the nineteen Hungarian Rhapsodies. Analyses of
certain Hungarian RhAQj3odies and the ~ r Dallok and Magyar Rhapszodiil!
pieces on which they are based will ' illustrate Liszt's different
manipulations of the pre-existing thamatic material, demonstrating both the
simple and sohpistic~ted paraphrase styles and will elucidate the
relationship between the two collections (Magyar pieces and HungariaQ
Rhapsodies), showing them to represent varied degrees of arrangemento
(paraphrases) of the same Hungarian folk tunes.
 76
!
I

30. · Li•at, t1i11rerr, au, Trovatort!• mm. 76-79, cooA.

i

I
I

tJ
'
,- .
==- >>> >
==-- -=
' ~ iH , mm mmw
.

(71)
:::~:.~~~r~·;:;:;;;:~.;~~~0xL:0y=s1 .
i
.]

11

At thb point diatinction •hould b• made between Magyar Dallok and

ggyar BbiPtgadlh c·~•OY•r' tr•n•latea to 'Hungarian'), The term •oallok'
. . j
(Manino 'Mlody') in: thia cont,,xt impliaa a simple setting, or as in Wlsi:tll
l
Qallgk Noe, 1-3, an u;naecompaniitd atatamerlt of an Hungarian folk tune, The
l i

tei':111 'RhapHodiak 1 (~taning 'rhapaody 1 ) aignifiea B more elaborate Betting Of

! '
thematic material in im improvi,ied style. Pieces with the Rhapszodiak title
I Magyar BblPHod1'k ilos, 12-21) also contain more themes than the Dallok
composition•, which 1nay only consist of one or two themes, g_.g., lin9:tll
Dallok Noa, 1-6 each contain only one theme per piece. Liszt seems to have
maintained this dist.inct.ion in style ( simple veraua elaborate) in the
transference of the Hf1gyar material to the Hungarian Rhapsodies, that is, the
simple Magyar Dallok themes area reset in appropriately simple ways in the
Hungarian Rhapsodies, and the more c o m p l e x ~ themas are
embellished and reset more elaborately in the Hungarian Rhapsodies, in
contexts similar to the ones from which they were derived.
Hungarian Rhap11odies Nos, l-15 were categorized in Chapter Two au
"comprised of Hunga1:ian folk tunes all p.t'eviously used in the Magyar
collection" (see p. 22). Thie category may be further divided into those
Hungarian Rhapaodiu baaed on themes from the Magyar Dallok, piecea -- Nos. 3-
6, and those baaed on themes from the Magyar Rhapszodiak, piacea -- Noe. ?-
15. The first categ1::>ry (Noa. 3-6) may be further subdivided as Hung~ian
Rhapsody No. 5 includes thematic material from Magyar Rhapszodiak, No. 12 (a
later version of the material in Mg.gvar DaJ.l,Qk No. 6) and ijungarian RJJ..<1.,lli;!.QQJ£.
No. 6 includes one theme from Number 20.
A fruitful analytical approach for understanding the thematic treatment
in the Hungarian Bb.AJ:>eodies is to follow the categories thus eatablit:ihed:
Hungarian Rhapsodies Nos, 1-2, 3-15 [3-6, 7-15), 16-10, (19) (oee p. 22).
One Hungarian Rhaps~ from 8l1Ch categoi:y will be used to euempl.lfy til(d

treatment of thematic material and the npecific otyle of paraphrase peculiar

 78

<' .· ·.. . j
the Iord•r of t:na1y111
• .
of the UYOAtcian 8bu1QdiH wlll b•
: ,OH.rned
_· ___ -
by tlle ut•~t to whict~
- .-- i ' -
tu paraJPhl'Hc technique 11 u1ed J.n •iaah
eate90ry,
- ·- -
that 11,
-
tfM!l PYPANi.1.U~l with th• •Lep1Ht •ppUoauon of
· tM paraptarate
.
tffhni~u•
I
will be: 1naly1ed Hut, followd by thoae lblDaa.L\IJl
lb4i111Qdlt1 to which t~i• panphra.1• technlqu• ia elaborated in conee01Jtlvitly
vr••t•r detr••·

NPXAB QAW>lt NO. 7 AJ!ro HUIIGAI\.UI BUAPSQDX NO, 4

L1Ht uaed th• 11implHt paJC"aphraee application in HY.ogarian Rhapag!3iJt.ll.

Noa. 3-6, An analy1i1: of HungarJ~ao Rh•P•cxiY. No, 4 and t11gyar Dallok No. 7 on
which it ie baaed will: aarve to Uluetrate the technique• uaad in thelllll euly
rhapaodlea, The fdrll!Al atru¢tura of both piecea ia the aame with
oorreeponding laeau ( 1dow) and friaa (quick) sections and nearly the ,uune
number of meaauraa in aach piece (aee Figure 12), The three folk tuneo, A,
e, c, uaed both in HAg,,var Dal).ok No, 7 and Hunaarian Rhapsody No. 4 are sh<>wn
in Example 31.

Figure 12. Form of t11.gyar Dallok No. 7 and Hungarian Rhapeody No. 4.

HQ.7 Andante cantabile Andantino Piu animato CODA

(quasi adagio) (quasi allegretto)
m.1-25 26-58 59-100 101-119
C minors E-flat major
m.1-24 25-59 59-122 123-137
HR 4: Quasi adagio - Andantino Allegretto Preato
altieramente
A B C C

LASSU )1'RISS
 79
7 and BY091aCitn Ahaptpdy No. 4,

-~ft) e··§azif5t~-~
Thae 8,

~""I-§

Themo c.

~tttflf~1-t!•J•
r~UU-:w1SWifu.:Ha1t1~
A compari11on of corresponding themat.ic sections in tho two piecan will
ohow that Liszt merely transferred the 1™alodic material from filgx_~r OaLl9~
No. 7 to Hungarian 1U1apeody No. 4, making no alterationo to the thema1tic
structure, only mod1.fying the surrounding accompaniment to cro«to .;1 moro

varied and slightly elaborate context for the tunes (eee Examplom 32-34).
The setting of them11 A in lhmgarian BhlWLQID!. No. 4, mm. 1-8, le almoot
ident.Lcal to the parallel paeBage in t'l•Ulx.tr Pail.Q.k No. 7, mrn. 1-a (a0e

Example 32). Liszt 11.imply rearranges the left-hand accompaniment i \ mrn. 1-2

from broken chords in tl§.gy..ru:,_J2AJJ.9Ji No. 7 to 1·olled choi:de in hqUll!ldJUl

~ No. 4, and ohAngea the right-hdncl melodic lin,i in m. 7 from r, double
 1~r'~ "~??Hl ,~,,,.-,r~·'"~"T''~.,. , ,. , .~, ,
~\~~'~[

I
80
I .
dotted quarter not• U1/ffMY1r Ptl1lAII No, 1,. to • dotted quarter note with • .
.· .•· .•· . . i . •
•U•not• ....1UtbMnti Li.Ht al!10 add1 1011Mt 1taooato marking, to the loft
Nftd·of •• 7, and. oal,.t~ the U.nat•i9hth-nou chord from th•,_. l'IMIHura.
i
-l

i
ha.pla J2 • ~ No. 7,. th8Cll8 ,. , mm. 1-e .
i

I • .

. Andanl~
Hnl•l,l/1'
(tfUA•I ,UftJlo,)
_...
\

...--::=,.....
L'~,

=--
.,.,
q~~-~~--1
,.,-----,. . '
--r
-----
 . /I
I
1

81

Hunqaria,1; 8btPIP4Y No. 4, theme A, mn1. 1-&.

A comparison of parallel them:! B paesages in the two pieces shows a

greater variation of the thematic material in Hungarian Rhapsody No. 4 (see
Example 33). In Hungarian RhaQ!ody No. 4, mm. 25-26, Li.szt omits the lower
left-hand chords f r o m ~ Dallok No. 7, and presents the melody in thirds
in the left hand, In mm, 28-29, he omits the lower octave notes in the right
hand leaving the melody in thirds, and in the left hand he replaces tho

octave accompaniment with an ascending and descending arpeggio figure. Tho

second half of tho melody contains few changes, such as the addition of
glissando markings tc, the left-hand chs:irdal accompaniment and the omioaion of
the low octave in th,i last measures ( left hand) . Liszt also adds sever:al new
articulation markinge (staccato and sustain) in addition to the accents that
exist in Magyar Dallok No. 7.
 82
I

Magyar DallokNo. 7, theme

!
e, mm. 26-33.
I

-
0
-
~

Ir
- - . "

_______
,., I
"
...... .....
r·
,L

- , ~t: f~to
-.,
-'
mJ ~ ,~~

,,
~
,. ,,.

:-
I
-- -. "*-ti..-.

I ,, I
J L ,L T"iJ
0

·-
~

.,..
I

"--~
;;t

Hungarian Rhapsody No, 4, them~ e, mm. 25-32.

 83

The alteration~ made to theme c in Hungarian Rhapsody No. 4 are similar

to thos.e made to thetne B, disc\issed above ( see Example 34) • Throughout this
l

fries passage,
~--
Liszt!I reduces the
:
left-hand accompaniment from full chords to
thirds, and change1111 ~he repeated octave notes on the first and third beats in
Magyar pallok No. 7' to alternating tonic and dominant notes in Hungarian
Rhapsody No~ 4. Li~zt also writes out the repeat of the second phrases in
Hungarian Rhapsody No. 4 in a more elaborate setting, instead of using repeat
.marks, as in ~ Dallok No. 7 (a practice which he also employed in
MAlodiea honaroises).

Example 34. Magyar Dallok No. 7, theme c, mm. 59-66

Plu n.01mAto(qa1111IAll!)
~q.u------------------
-. . . . . . .

;..

u,,,.'

f t· ~
11················································· ·... tnrn. u---·~ •• .!-!t.~ -·.-.-.~~~~- ~.

..
,A:f-:-
.
~
'f lorn .
J•xample 34 (cont'd). 1 Hunqarian:Rhapsody No. 4, theme c, mm. 59-68,
I

(,'?, •••••••••••••••••••••••••• ,., ................................................................................................. .

~

The paraphrase relationship between Hungarian Rh§J2fl.Qslll: No, 4 and Mru~

)2A.U2k No. 7 is sitZlilar to that between Liszt's Mtlo<.Ueg b9D!dk.2i!UU1 and
Schubert's Divertieomtot A 1 'hornn~~, in that Liszt ueed all of the
material from the pi:e-exieting cocnposltions to creato plecer1 in which the
borrowed themes are kept intact, yet oet in eli.ghtly altered contexts. In
both exa.mplen Liszt makes only minor. changes to the original rnat£irial;
nevertheless, the act; of lifting material from one oourco and resetting it in
a more eabelliehed context (although suhtle) juntifies tho claooific,itl.on of

the n9'W cocnpoaition as a paraphrase. Sir1cie l,i.uzt initidl.ly paraph.nurnd th9

origJ.nd Hungarian f1'.>lk tunH ,,n M.ASlll.f_JJJ!l),ok. Uo. 7, fuJJ1au:i~.Jl.bA!I/Jf1.<it'l No.

nevertheleas.
 8!
-- 1
MNiXA8
--:- _-
RhapazodUk
- ·,-!
NO. 17 AND HQHGARIAN RHAPSODY NO. 13

A mdre mature applioat.Lon ilf tha paraphrue teoh11iquo r~ay be

1
ex•plitied'. by uunaarian Rhapsg!Uu Noe. 1-1s. 'l'heH HunauiSLD-&bAJ:i.tw.~
i
are ~Hed :on Magyar 'Rhap,zodU,1' Nos. 12-21 (aa dhcuaeadl abovo), an,::
i
therefore ~uchibit gr•ater thematic elaboration and contain more c~omph,
arrangeaient~ of tha borrowed fo:Lk tunes. An analysis of ~t~tu~
No. 13 in c:ornpariaon .with ~ l I Rhap110di6k No. 17 on whioh it h 011111.iHS,

will illu•:trate Lint' a use of the paraphraee techniqun in 11 1~K>Y.'fl

sophiatJ,cated manner ·than that ,u,ed in Hungarian Rhapapdi,a Nou, 3-6,

~ r Rhapszosl.U.k No. :L 7 and ffyngadao 8bOPIQ9Y. no. 13 i::orn~111Jlt1
parallel atiructural fe)rmal divit1iono of laHu and fdu oec.:tio1r111 (1»041' ri·!~U•:'t
9B, p. 29). Although the preeen.tutlon of thematic material i.n the- •11mhnt;i1 •
and • Poco plu moaoo' sections is similar, the v~.~ious theme arouf"' .fr; ,ir,ao.h
friH aectfon are tr·eated quH:e differentiy.
RhapazgdUk No. 17 fdsa are eat in distinct atyle Hctlooe, wtu1t'O;!ia U11'J
friae in fillngarl&[l RhAP•ody No. 13 contains alternating vnrUtionlt or th.a
melodies, all presented in the s.iuoe general style, Thio cotroop<jnd,i t.o ti

feature we have already noted in the formAl outl!no of tf,!lJ1Sl,.r.iJ1JfLnh11.v.lH~;j2, Ho,

13 (see C)l,apter Two, p. 29), n4Jl\4ly a proc,aafl of oim;,Hfic&-tii:,n Mid

unification that Litlzt soarns to pt1reue whan he rtH:ot,1f;('J1J,1u11 th-.i,i~o m1·.i

battteen the two pieca IJ. Thture ,tra ffhO'An ln r.x au,ple 3 !. •

71*MJ "·
 86

1?Y1 d. t4'P
a 1

ThUIO E.

A compariaon of parallal th411Wlt.lc p11.11•a9u• 1o1il 1 tlluatr..tt& L:~o:t ":ti

tra.u:u,qnt of the /olJ~ tur.t1• J.n each pLfltt• .t!YJ uJ.Al ~h'"N thf't 1Hfr,r~·n:t

context• in which tho thfll,O .to p,l•ced IIMJ nutJ-ltv.f"«ir,tly •htxu.ttlli'J, t;z.ir;,1;,J.1,
 07
i
Magyar Rhapsz9di4k No, 17, theme A,"'"'' 4~o.
- I
,\a...te ao1tea11t~, 1

I
!a•• ,

Hungarian Rhapsody No, 13, theme A, mm. 4-8.

In the presentation of theme B, Liszt collapses the original three

etavea into two etovea, and maltes some adjustments to the notation ( aee

Example 37), He ch1mgeo the left-hand accompaniment from broken octaveo and

chorde on ,.early every beat au in H119yar Rhapazodia].s No, 17 to rolled

ocaccato chord~ plaood on every off-beat (except m. 27) in Hungarian Rha~aody

No. 13. In the righ.t hand Liazt omito oome o(: the chortle (m. 25) and alter@

tho arrangement of 11otoa in othore, eithe1· adding now notoa or changing the
 88

-hJ.lting note• (m, 26-27) ,j and presenting them in broken (glissando) foX'lll,
ff• •lac makaa 801118 minor mo~itications to the melodic rhythm, for example th@
fir1t ~eat of m, 26 in Blm.~arian Rhapsod~ Ho, 13 is made up of an eighth note
l
,nd several eiJ!tffnth and ~hirty-aecond notea, whereas in Magyar RhapszodiAk
H<>, l 7 the euie motive 0011j1ist11 of an eighth note aml uQveral thirty-second
and lillty-~toul'th notea I ho'iever, the improviaatory style of the passage dopa
IIClt; 9han9e,

h!!JIIPl• 37, M.gyar BbAPIZ-q•IU.lk Ho, 17, theme B, IMI, 25-27,

 89
-,

Liszt extends: the thematic material in the theme B section of Hungarian

_Rhapsody No. p by adding further elaborations of the folk tune at mm. 76-99
(see Example ;38). This passage in particular exemplifies the increased
degr- of "expressive virtuosity" attempted in the Hungarian Rhapsody, with
1,
the thirty-se4ond note phrase (mm, 82-83) and the shifting of theme B between
the left and right hands (mm. 84-91) against sixteenth-note arpeggio patterns
(mm, 84), and:with a final ascending arpeggio to complete the section (mm.
98-99).

Example 38. ~ungarian Rhapsody No. 13, theme a, mm. 76-99.

 90

. In the theme cipassages Liszt makes minor changes to the accompaniment,

j

by omitting selected! few notes (see Example 39 -- compars Magyar Rhap~zodiAk

No. 17, 1m1. · 77-78 jwith HYru!.Anian Rhapsody No. 13, mm. 102-103), The
subsequent ther.latic '.statements in the theme c section of Hungarian Rhapeody
No, 13 (mm, 106-123) :adhere to the parallel Hllgyar Rhapezod!!J!I No, 17 passage
(mm, 81-98), following the melodic setting and accompaniment very closely,
with few changes mad11. However, through Liszt's incorporation of theme c in
the final section of the piece (mm. 238-258) a c:ompletely different character
of the theme is port1:ayed (see Example 40), Li,er;t produces a pallBage filled
with a motive of thtlme c, i:epeat11d in an ostinato rhythm and set in highly
chromatic setting to complete the piece,

Example 39, ~RhapszodiAk No, 17 1 theme c, mm. 75-00.

Ii'.!!lQllilllLillllllliQ!l:t N). 13, theme C, !001, 100-!05,

,..
_.J L-~·
 A comparison of theme E passages in the t,,,o pioceo oho~rn that Liszt

keeps the right-hand melody intact, but varioe tho left-hand accompaniment
pattorn by replacing the left-hand th.Lrde from l:!ftg'lat: l'\hRJ?B:iodl..111; No. 17 with

single notes, and changing tho pattern of broken cho1·do to one of altocnntin9

chord notoe (see Exampl~ 41).

 92

Hungarian Rhapsody No. 13, theme E, mm. 148-155.

8Jr ·········:
 93

flMI fifth lhw ~n ffMYU Pjl!111J1zad.Uk Uo, 17 libelled 'lC' J.n ttw
cU.qn.w , ... 'ifu"° !JI, ll'• 29),
I
ill nttt An or.Lqinal ttun9111:i1m totk tune (l,iut
IIIOlt U.it.ly C!CMtpOHd J.j; himHlf), 11nd 11ub,iequ111ntly 1 it .tu not u11aa in
Hungn,l,IQ RhfPIR4Y ffo, 13, Unt 11ut111tJ.tute11 tor: it 11n original ttung,u:J.an
folk tune, lllbtJlled 'D' .Ln the placeis where theriie 'X' wau originally etatecl
(IJH B•MtPl• 42), Lf.11Zt'11 replAcem,nt of theme X with a nnw thet110 al110
re1ulte in a change of tlul~tio treatment in tho new themQ D 1ection11 from
that of the theme l seotJ.one, In HA.Pyar Rhaps;odiAk. No, 17 theme X is 11et in
a dhlz 11eation, and it h therefore given a different b:eatrnent from the
other four theme11 of the piece, however, LiBZt'e treatment of the new theme
Din Hungarian Rhapsody No, 13 is the eame as hie treatment of the other four
themes in the piece, thus resulting .l.n a consistent style of .l.mpro·.,isatory
elaboration throughout,

Example 42. Hungarian Rhapsody No. 13, theme D.

F r r
The first paeeage of theme D (mm. 124-129) presents the folk tune in
the right hand with a simple broken chord accompaniment in the left hand (eee
Example 43). In the second theme D eection (mm. 165-223), Liszt disguioae
the folk tune amidst a passage of repeated notes in the right hand with an
accompan.l.ment of off-beat eighth notes ( see Example 44). This pasoage
s~rongly resembles the performance practice of the gypsies by which the folk
tunes are hidden amidot J.ntricate rhythmo. The fJ.nal passage of Hungarian
~ No. 13 presents theme Cina highly chromatic setting. At the end
of this section it settle,s into the dominant of A minor in preparation for
the followi.ng A major secti,:,n (mm. 224-258) which containo the final
statements of themes E and c to complete the piece,
~ "" *9NJJ•. ~-·~ ~(
., . /!fll(il - - •

Lisz.t • • Hynqa(ian ! ' h a ~ U<J, 13 f.11 eimil.ar to hie lfi@ei;<oro lVJ!J

J".fGv<;.!;.ore von Verdi, ir. that in both piecea he applio11 1:ho paraphr11ao

tfi'4i.ni.q-.ta to theaiatic l!la.torial derived trom a pre-uxioting coroPQDition. ln

thee-,;, worxe Liszt create1, elaborations, •,ariatione and oxtonaiona of tho

b<>rrc;,ie-1 theaiatic mat'3ri1tl, thuo cro,,ting new compooitiono in which tho
melodies are reccgniz.eablo, yet preaonted in a different otylo from tho
original. In Magyar Rhapazodi.!lk llo, 17 ( liko Ji?qyar Da].],_Q).{ Ho. 7) Liazt
paraphraaea the original Hungarian follt tunes for tho firot time, thoroforo,
in theory, fuIDqArian l\hl\J>B..Q9Y l/o. 13 ( like fumga,;.i,an Rhapoody llo. 4) io

simply a subsequent vari-'ltion of the oarna fol.le tunoa; howover, Linzt • o

inclusion of embelliohed thematic extenoiono and hia olaboratJ.on of an

entirely now folk melody (theme D) qualifieo HungcgJ.an Rham!E!!Y. No. 13 an a

more mature paraphrase, filled with a multituclo of malodic variety and a

complexity of intricate rhythmo.
 95

HUNGARIAN RHAPSODY N9. l

As mentioned ea;rlier (Chapter Two, p. 22), Hungarian Rhapsodies Nos. l

and 2 form a separatelcategory because" they are based on Hungarian folk tunes
not found in the M~gyar collection. Their thematic treatment may be
illustrated through a comparison of the extracted folk tunes with their
elaboration in the HYngarian Rhapso_gy. An analysis of Hungarian Rhapsody No.

l will serve to exempl.ify the application of the pa:i:aphrase technique in this

category.
Hungarian RhapsQ.!h'. No. l ha11 the same formal structure as the other
eighteen Hungarian Rhapsodies. including an introduction, lassu and fries
sections, and a final coda passage (see Figure 13). As the formal diagram
shows, it contains three themes which are elaborated in full and in part
throughout the piece. Example 45 presents the three themes.

Figure 13, Ferm of Hungarian Rhapll.2m!. No. l.

Lento q,1asi recitativo Andante aeeai Andantino Allegro animate Proeto

Andante con mote

m, 1-22 23-76 77-104 185-342 343-381

introduction (A) A () C CODA (D)

l,llilSU l'riao
lxampl• 4D, il1£1U1H'iAn RhA~ No,1, tllOffl(III A, D, C,
ThNe ,., ,

•t=ssift.rr: @r·

12•1'4 Gr ETC
Theme e.

Ja I J

Theme c.

~ F1Lln I j70i+ I JqpJ Iv 1tf~

"rhs introduction consists of the first motive of theme A (m, 1) set in
octaves and presented in a sequence (see Example 46). The alternation
between • recJ.tativo' and 'con moto • in t:he performance of the opening pnsange
shows Liszt'u attempt to create an improvisatory style. A full presentation

of theme A takes place at m. 23, wher,3 it io placed in the left hand uith
accompanimental rolled chords on the off-beat!l in the right hand ( see E,wrn(JlG
47),
 97

R11llallro,

Example 47. Hungarian Rhapsody No. 1, theme A, mm. 23-26.

;i?) Andante. Aual moderalo, n·,. • . I':\

,,
0

Af:ter stating theme A in a simple context, Liszt elaborates the melody

in sevex·al virtuosic phrases (see Example 48). In this passage, the theme iB
placed in the right hand ag11inat a pattern of ascending and de•1eendi.ng
arpeggios in the left hand. Liszt's use of the fermata in m. 43 and m. 47
add to the improvisatory style of the paasage. Subsequent etatemante of
theme A are set in a aixteenth-notl~ pattern, alternating between the high nnd
low reglstere in the right hand (mm. 48-55), and later dieguioed in the right
hand in a triplet pattern (mm. 60 .. 73).
 98

lx1111Pl• 48, 1Uuoaadan Bbl~ 110, 1, theme A, mm, 40-47,

The initial statament of theme B presents the melody .in thirds in the
right hand (see Example 49, mm. 77-91). In the second statement the theme i0
preeented in a thicker texture of full chords, with the melody etill in the
top line, accompanied by the same broken chorde, now in a more intcreoting
syncopated rhythmic pattern (see Example 50). The theme D accompnnirnont
subeequently appaare in several other variations, but the melody is ah,ayg
preeent and recognizeable in each scatting.
 99

Example 49, ~191\1::ian Rha,ps~ No, 1, thome B, mm. 77-91,

,. .J !

Example 50. !!Ynaarian Rhapeggy No. 1, theme B, mm. 92-97.

 100

Theme c, will.ch is introduced in the fries section (al1DOst 200 meaaurea

!
in lengtll) is tre:ated with the widest variety of elaboration and is stated
the IDO&t times of:the three thE!llles in the piece, At the outset of the frlso
(m, 185), theme ~: is presented in 11hort mcttivic fragments, and J.t iii not
until m, 210 that a full etatemant of the meiody in octavos in both hands, la
presented, At m. 234 theme c is presented with the indication •1mu:c11to
ener9ic0 1 , in meaauree alternating between dynamic markings ot 'forte• 11nd
'p!llno• (eee Example 51), In thie statement Lint aleo 111\ift!I the melody
from uppE,r to low~,r registers i,n the right hand, diapiaying hls capacity foe
complex and multifaceted explo1ration11 of the registcal var!ety of tha r•lano,
Subsequent atate111enta of them,a C place th,, melody in the hitt hand \.llth
ecalee ,;1f thirdl! .Ln the right hand (11ee Example 52),

Example 51, lll!.rullu.:ian Rhapsody Na, 1, them,, c, n'm, :IJ'l~Hl,

 1
- i

101

Bxampl• 5,Z.. ft1,1nqari~n

. - . I Rhapsody
- - - N~.
.- 1, theme
. C, mm. 272-279.

.
,,,

.~
-

. · . EI
-

..
.i
.. I
:
I

. .
.. . .,, . ,,......
.
.... ..
t
t'INIRffi II
•·~!~·······"···~······•1·························-······························ .. ·············: •,;

e:!!!tz'!!l~!f;!:iI . .,,,,
Ai ..!···;;••••••
.

I
I
 102

'tllO ciocu.;.uu p1H&iJ@ at tho end of tho pl.fi'1li (ffil'II, :iu~Jflll J.11 bued on
thaN B , ... 1ir1111ple 1>31 ~ mn:o, tho Mlo4y J.@ dl,rt9ui11,;id th,:ou9h rhythmio
di•pllaemtint. in dgbt.•hA~d ni,cteent;h .. not.e p1t.tin·111;1 whi'1h 11ro prtt11ontcid iH a
..quenUal unmn;,

lxample 53, ffururat;ian &I!~ tlo, 1, CODA, nwn. 3U~348,

Although Hungarian Rhapsodies Noe, 1-2 are baeecl on pre-existing simple

folk tunes, Liszt manages to create vJ.rtuoeic, elaborated compositions out of

them, through hie ingenious use of the paraphrase technique. Thus we may

e;,y that according to the,ir type of thematic treatment, H1.1ngarian Rhapsodies

?loe. 1-2 and Hungar.!filL_Bhapsodies Noe. 7-15 have similar characteristics:
both group~ belon7 to Liszt·~ more m~ture paraphrase technique, in which he
p..:eoente the thematic material clearly, yet with an increased flair of
improvisatJ.on that evokes the freer perforrnanc-e p1:actice of folk rnueici,ma.

Based on this stylistic reee.,,olance, one may apaculate about whether the

earlier publication ctate of Noe. ! and 2 in 1851 doae naceeaarily mean that
they would have been e;ompoeed earlier than Noa. 7-l.5, publiohed in 1853: they

could have been written around the earn_, time.

 103
j

IJUH9MJM llftAPSODX NC>,

!
16

The final grou~ of Hungnrioo.BbARMQdipp to ooneider include Noe, 16-18,

the original worlul (Fungarian Bha1>~ No, 19 io excluded from this group as
it is baHd wholely ~n Abdnyi' B g9Ard6p nobl!JU. Ae diecuesud in chapter
two, Liazt 'Iii compollitional etyle in the last three Hungarbn Rhapsodies,
changed dramatically, thue creating a division between these liungarip.n
Rhapeodiea and the first fifteen. However, Liszt continuecl to use the
paraphraoe technique, although hie application of it ie slightly different in
Hungarian Rhapsodies Noe. 16-18 from hie use of it in the other Hungarian
Rhapsodies.
Hungarian Rhapeo..!!:£ No. 16 will be analyzed to exemplify the thematic
treatment in the later Hungarian Rhapsodies, The structure of Hungarian
Rhapsody No. 16 is the same ae in the other .l!!!.ngarian Rhapeodie1B, containing
the two main div·isions of lassu and fries which are further subdivided into
thematic sections, and a coda (seo Figure 14).

Figure 14, Form of Hungarian Rharu!2.lt£ No, 16.

Allegro Lassan Quasi Allegro - Allegro con brio Piu mtJSSO

capriccioso
m,1-26 27-97 98-115 116-225 226-25;6
A B A B CODA (B)

Laesu Fries

A characteristic of the later Hungarian Rhaosodiee is their limited

thematic content. In Noe. 16-18 Liszt includes lees themas par piece than in
the first fift,aen Hunqarian Rhapsodies, thus restricting the poasibl.lity for
extensive melodic variety: Hunga,:ian Rhapsody No. 16 contains two therneo;
Hungarian Rhapsody Ne,. 17 contains one theme; Hungarian Rhapaod:t. No. 10

contains one theme. l',s a result, the later Huncl!!.r.Jd!.n Rhao0odies are smaller
in ecale than those t,nsed on pre-existing thernntic material.
 104
The fir1t theme J.n Hunaarign Bb1n104't No, 16, theme A, i1 angular and
'
hH a nurow IIMllodic r•mge ot a minor 1ixth, At the outset of the piece it
· iD prHentttd H a -.1.ng~a melodio line in the right hand doubled with octavee
in the left hand ( He 1:,111111ple 54) ,

Example 54, Hungarian Rhapgody No. 16, theme A, mm, 1-16.

Theme A ie only present in the first portion of Hungarian Rhapsody No. 16 and
as a result, is not elaborated to any great extent.. Although Liazt ia not

very creative with this theme he does attempt to infuse into it the playful
improvisatory style of the gypsies, as indicated by the 'quasi allegro,

capriccioso • marking at m. 98 ( see Example 55). In thie statement of theme A,

certain fragments of the theme are repeated in oequence-liko pasoage0, but

the theme itself does not display any virtuoeic charactoristics like those

found in the earlier Hungarian RhapoQgy themes.

 105

Example 55, JJY~qarian Rhapeci.!ll'.. No, 16, theme A, mm, 98-115,

f :aE:l!rm;: 1,:M
1!S1:w;:rz:e:·1:r:1:: 1
Thwne Bis slightly more interesting, in that it spans an octave and it
modulates from E minor into A major (see Example 56), Liszt uses this theme
in the lassu section, where it is set at m. 27 in a atark passage, >Jith a
repetitive left hand accompaniment which parallels the right hand th0me (eee
Example 57).

Example 56. Hungarian Rhapsody No. 16, theme B.

II J
 106

Example 57. Hungar~an Rhapsody No. 16, theme B, inm. 27-35.

The return of theme Bat the beginning of the fries section is marked
'Allegro con brio', indicating another attempt at creating the improvisatory
style of the gypsic1s ( see Example 58). However, Liszt falls short of
creating an improvisoto,;y atyle an themo B ia elaborated only through octaves
in the right hand and a broken chordal accompaniment in the left hand.

EKample 58. !!!mg_u..l.J~n Rh&psody No. 16, theme B, mm. 116-125.

 107

.Although t)le last HlmSl!!,_rian Rhapsodies. (Nos. 16-18) contain a different

type of motives~n.d perhaps less embellishment, they still may be classified
as paraphrases because the e·eeential technique being used to expand their
simple themes is that of elaboration. These Hungarian Rhapsodies are
certainly closer in style to the early H!!...ngarian Rhapsodies (Nos. 3-6) than
to the Hungarian, Rhapsodies of the middle period (Noe. 7-15), however, Noe.
16-18 also strongly exhibit the characteristics of Liszt's late compositional

style and therefore, must remain in a separate style category.

Liszt achj.evee a great variation of thematic treatment in his
transcriptions i:hrough the tE1ohnique of paraphrase, ranging frOlll a subtle and
simple manipulation of the melody to intricate elaborations, which for the
moat part result in improvisatory compositions resembling the performanco
practice11 of the, gypsies. Through hie Uile of Hungarian melodies in tho
ijungarian Rhape9diJffl. Liszt ie able not only to croato compositions in a etylo
indicative of thoae from which the thematic material was derived, but aloo to
maintain the simple etructure11 of the melo,Uoe while placing them in highly
embellished eett~nge through Lnnovative paraphraoing, It may thoroforo bo
concluded that with th11 uoe ol! the paraphraeo technique Lin:tt hoightonu tho
melodic, rhythmic and harmonic charact;oriotico intrinaic in tho Hung111·i11n
folk music.
 CHAPTER l!'OtJR1
EVALUATING TRB AES~TIC CHARACTERISTICS OF THE HUNGARIAN RHAPSODIES

Liszt's Hungarian nhapsodies have long been criticized as superficial

_and vulgar piano piecea,;filled with "banal melodies, tawdry harmonies, and
large, repetitious and u~intereating forms. • 1 Furthermore, Liszt himself has
been attacked for hie treatment of thematic material in them, because
"instead of emphasizing its essential simplicity, he uses all the resources

of brilliance- and rich sonority available on the pianoforte. " 2 These

interpretations are the result of judging these works with an inappropriate
set of criteria. A critical approach must be taken to elucidate the
specificity of the comp.oaitional processes involved in the Hungarian
Rhapsodies, thus allowing the critic to appreciate better the originality of
these works.

"MELODY" VS. "THEME"

Whan analyzing the melodic material in the Hungarian Rhapsodies one

must keep in mind that it has been derJ.ved from Hungarian folk music, and it
is therefore structurally more aimplist;ic than much of the original material
used in Liszt's other pJ.ano compositions, §.•.9•, ll-!ll!.ri01;: Sonata. (1853).

Writt0n during the same P41riod ae the :Hungarian Rharu!.2!i!fil!., Liszt• s B minor
Sgnata has repeatedly been praioed as "the moat significant of Liozt•o piano
compoaitione of this period," not only because Liszt applied tho technique of
thematic transformation to it, but also because of ito aeriouoneoa and
originality of form, 3 f11owovar, it ie unfair to evaluate th,~ Hu[l<JflilM

Chnrlaa Rosen, "The No•,, Sound of Li,azt," To!LJIJi>1,'ior)t¾viow 31:6 (April

1984), 17.
2 /\lan Walker, Dd., .tcMLU!!rr.:._IhiLll1!n.-<'Jl9-.ill,JLJil!_c'ti£ (!lm1 York:
Taplingor Publishing Company, 1970), l.31.

lOH
 109

Rhapaodiea by the sajne standards as the B mipoi; Sopata, because the essential
;
material from whic~ these compositions are constructed is substantially
different, and conse,quently, Liszt's thematic treatment of these materials
results in two opposing styles.
Liszt used ch~1racteristically simple melodic material in the Hungarian
Rhapsodies to create a strong nationalistic expression of his love for

Hungary. He likely decided to retain the beautifully naive characteristics

of these lyrical folk tunes in order to achievA a distinct Hungarian
colouring while maintaining the element of simplicity in the music. The type
of folk melodies of which the Hungarian Rhapsodies are constructed
corresponds to Schoenberg's definition of "melody," which "tends toward
regularity, simple repetitions and even symmetry," and therefore, is self-
contained and does not need to be "worked out.• 4 on the other hand, the~
minor sonata is built with "themes" that are "strictly bound to consequences
which have to be drawn, and without which they may appear insignificant.• 5
In other words, unlike the Hungarian Rhapsody melodies, these themes Rre not
self-contained1 they comprise the cells of the composition which are
continually developed and transformed, thus fulfilling the •consequences"
inherent in the thsmea, In hia description of melodic treatment, Schoenberg
states1
'l'he melody also tends to achieve balance in the most di,rect way.
It avoids inten11ifying the unrest; it supports comprehensibility
by limitation, and facilitates lucidity through subdivision; it
extends itself rather by c,~ntinuation than by elaboration or
development. It uses slightly varied mutivo-forma, which achieve
variety bY. presenting the basic foaturea in different
aituations,li

Liezt'a treatment of melody through elaboration and variation in the

Hungarian Rhaoaogiee J.a therefore <lpprcpriate, ,rn this typo of material doeo

4 Arnold Schoenberg, Fundamental§ of Muaical,,Sg,!!ll22!!1_tio11 (New York: St.

Martin'e Presa, 1967), 103.

Ibid.
6 !bid., 102. * Wha,t Schoenberg mean a by "cdaboratlon'· io c1ovoloprnent,
whoreae my uoo of the term indicates ,~mbelliohrnont.
 110

not have 1:he 011p110J.ty tor dev11lopm11nt, on the other hand, the theme, ao
de1oribttd hy Bohoenberg (ieJ
Seldom,. ,extended by spinning II continuation of the baeic
motive,, ,The toi:rnul11tion of II theme 11seumae that there will
tollpw 'adventures•, •predicaments•, which ,yik for solution, for
elabj,r11tion, tor development, for contrast,

In the movement proper of the .B minor Sonata, two themes are presented
at the outset (ilee Exarnple 59 -- theme A, mm. 8-12; theme a, mm. 13-15).
Liszt• s in1:roduction of these two themes ie interesting, in that theme B
appears to grow out of theme A.

c:--
Example 59. B minor SonatA, theme A, mm. a-12, theme a, mm. 13-15.
e,

In the, B minor Sonata Liszt treats the themes according to two

different procedures: ( l) in developmental variation (Schoenberg' a term),
which is inherited from the Classical tradition, and (2) in thematic
transformation, which io more of a nineteenth-century procedure that
originated with Berlioz. According to the procedure of developmentc1l
variation, the theme provides the kernel from which subsequent ideas will b0
developed. In this process, Liszt eplits each theme into fragments, t:\Jun
developing the srnaller motivic cells (see Examples 60 €, 61). Ex,,.mpl0 60
shows Liszt's manipulation of the front portion of theme A in a ch.H'1,1c1tic

line, rising and falling in a series of diaeonant intervalo.

7 Ibid.
 lH

L,__
"}..
., "-~ - ~
'
---
----
:r,, "
-
mol/1.1 rile11.

/~
f'DCO rail.
h;:~
-
- ----r •

In Liezt'o development of the second half of theme l\ (Example 61) he t.1icc;c1>

the broken triadic figure in a sequent.lal passage, slowly intr-oducin9 1<u1.·o

chromal:iciem with each rep,atition of the motive.

 112

Bxample 61 B minor SQDW, developnent of 2nd half of theme A, mm. 67-81.

According to the procedure of thematic transformation, the themeo are not

split into fragments but rather, transformed in their entirety into now
entities. The following oxamplea ohow instances of various kinda of thematic

tranoformation. Example 62 ahowa the two themoa combined in a pao1rnq0 in

which they oach take on new charactera. In thia paasage, themo i\ io

embellished in the right hand and its rhythm io olightly modified, \/hi.le
the.me D emar1:~0 in tho left hand out of aovoral virtuonic phra,rnu, no,,, 0 :i.U1

a more 1.iarkod rhythm.

 113
I

Example 62. Lm!:nor Sonata, combination of themes A & B, mm. 32-33.

•I •
2
marcato

In a subsequent 11assage, theme B is presented in a new guise with a new

character (see Example 63). Here, theme B has been transformed into a smooth
melodic line, marked 'o!tlltando espressivo,' without the sharp rhythmic drive
of its initial statement in mm. 13-15.

Example 63. B minor sonata, theme Bin a new guise, mm. 153-156.
ca11la11do e.'ipressivo

======-=-----.

~l'acco111pag11a1ne11to p

These examples show Liszt's idiosyncratic procedure of thematic

transformation, in-trinsic to the B minor Soru!~l!- Thie treatment of thematic
material may be likened to Linzt' a use of the variation technique in tho
Hungarian Rhapeodifil!, by which the molodioo are proeented in aeveral
different guises through the variation of harmoniea, rhythmic patterna, and
melodic placement. In the l!.l!ngarian Rhapoodioa the original material takoo
on new characteriatics aa a roault of oxceaoiv.9 ornamontnLion and
elaboration, specific for the paraphraee technique, but thio troatmont doou
not ac':.ually altar the oeeential otructuro of the melodiea. Thia ia !:ho rnili.n
difference from the t.roatment; of thematic tranofoi:mati.on i.n tho O_rnLnr,r
Son/\t&, where the themoo are continually rogc,norated into rww ir.loau ·."ith n0:1

characters,
 114

Th• Hungarian Rhapsodies are essentially sectional compositions with

I
each section containing \several variations of one theme. Within each section
the melodic fragments are presented in such a manner that they seem to expand
•outward', that i111, they consist of several layers _of embellishment, as
opposed to motives that:progress in a forward direction, as do those treated
in the traditional developmental style, such as in the B minor sonata. Thus,

in the Hungarian Rhapsod!ru!. the basic structure of each folk tune is retained
within the various decoL·ated statements of the melody.

FORM

Most of the Hungarian Rhapsodies have been constructed with relatively

large dimensions (taking into consideration their contents of light, intimate
subjects) that are comparable to those piano works of a more serious nature,

§..q., B minor sonata. If one takeo such large developmental works as a

model, the broad frames of the Hungarian Rhapsocjl.es may be expected to be
filled with material thut has been treated through a similar developmental
process as that in the serious compositions. However, with hie creative
imagination and innovatory skills, Liszt has cornbil~ed these large-scale
structures with themes that are typically found in works with small fo1·ms,
such as character piece1J, g.g., Mazurka, Polonaise, Waltz, and it is this
crossing of small forms with large dimensions that has not only otrongl.y
separated the Hungarian Rhapeodies from othsr piano works, but through
erroneous interpretations it has also relegated them as lessor and
unintelligible compositions, rogardlees of their ingenioua form. The
Hungarian Rhapaodigs must be evaluated not only ao rhapsodieo and character
pieces eet in unusuallJ• large form,a (resembling thooo of development,~!
works), but essentially &B pieces of folk m.:sic in which tho baoic thorneo are
present in the forefront: of the musical texture and not obacured through
regeneration of the melodic material.
 115

VIRTUO.SIC PBRPORHAHqE

i
Another Hpectl to consider when evaluating the Hynaodon RhAP12!3iea, io
that they are aleo i~tended as virtuoso performance pieceo, Liszt follows in
the tradition of Roepini, via Paganini, in which the virtuosic style playo a
very important role·. in the interpretation of the music, Oahlhaus, in hio
Nineteanth.:.centyry »!Y!!..l.!2, draws a comparison between th, two different
musical cultures of the period -·· that established by Rossini, and that by
Beethoven,

Beethoven' e symphonies reprQeent inviolable musical •texts• whose

meaning is to t,e deciphered with •exegetical" interpretationa1 a
Rossini score, on the other hand, is a mere recipe for a
performance, and it is the performance ~,hich forms the crucial
aesthetic arbiter as the realization of a draft rather than as an
event, not on the work as a text pas/eel down and from time to
time given acoustical •explications•,

Liszt's Hungarian RhapeodLea are exemplary of this style paradigm, because

only through a performance of these works will their true characters be
realized. Unfortunately for Lbzt, those listeners who w9re influenced by
the Beethoven •school' dismiss the Hungarian Rhapsodies as weak and
ineubetantial works, because

, • , any music such as Rossini' e, which calls neither for formal

analysis nor for an interpretation of contents where these
methods could find a foothold, was suspected of being empty and
meaningless, nothing more than a momentary divereion. 9

It is important. aleo to recognize Liszt aa a • rhapeodiet' -- one who

presented Hungarian national idioms in a variety of nuances to create musical
expressions symbolic of hie own livelihood as an Hungarian patriot. Liozt
created new colours Ecnd nsw sounds through hie imaginative and extravagant
treatment of themes in the Hungarian Rhapsodies, and ae with the

8 Carl Dahlhaue, Nineteenth-Century Musi,;_ (BerkelBy, Loo Angeles,

University of California Press, 1989), 9.
9
Ibid., lL
 116

---.....a-.-...-.-s..,t..,v.. 1 i1md the

4.1.. 1'.Qg1nini Etudeg (which like the 1.Junaarl.an
Rhop•oditt• - r • deve~oped from earlier vereione), when he oreated new
l
t_hematic paHage11 he aleo "develop,td new effects of realization" for this
111ater ial. 10 -

THE PIANO AS ORCHESTRA

In the Hungarian Rhapsodies. ae in several of Liszt' e other piano

works, the treatment of the piano has been elevated to that of an orchestra.
Through his simultaneous layering of sounds and manipulation of ranges,
registers and textures to their extremes, Liszt has created a multitude of
n&w sonorities, and in addition to the full gamut of piano colours he has
produced a variety of new tone colours that reach beyond tlC'aditional
pianistic boundaries. ,~hrough this transference of orchestral idioms to the
piano, Liszt created new possibilitiee for a wide range of moods, dynamics
and coloure1 he also invented new ways to exploit the piano, for example, he
used an unprecedented rauge of dynamics, from ppp to fff, and embellished the
lyrical melodies with rapid rune and surrounded them with arpeggios, thus
creating fuller texture11.
Through innovativo combinations of rhythm, harmony and melody, Liszt
presented the simple folk tunes in a variety of guises and reproduc,ed a close
likeness of the instrumental sounds on which he first heard t;1e melodies
played. Among these are imitations of the gypsy cimbalom instrument (see
Example 64) •
It is perhaps Liszt's treatment of the piano as a large enee:mble that
misleads the listener into thinking that Liszt is solely trying to create a
composition of virtuosity, whereae hie real intent, it would seem, is to
achieve a semblance of the gypsies' improvisational style of per·formance
through numerous different executions of the folk tunes.

,o Charlee Rosen, "Liszt", 20.

 117

IXllllple 64, Imita~ion of the gypay oimbalom instrument,

i
Hunearian Rhaaodv ,No. 3, mm. 1~4,
'

.l~l~::t: 1::::'
1111a
Si
oordo '

• •

Hungarian Rhapeogy; No. 11, mm. 1-4.

~?!;!ft:
• ;·w. •
 118

INTERPRETATION AND REALIZATION

'

The methods of i interpretation and realization are significant when

evaluating the Hungarlan Rhapsodies because only through a particular style
i

of playing will the,true Hungarian-character of the pieces ¾e depicted. An

accurate execution of the improvisatory writing that Liszt used to emulate
the performance style of the gypsies must be achieved, otherwise, the goal of
the compositions will not be reached and they will be reduced to lees than
masterpieces.
To a large degree the manner in which the Hungarian Rhapsodies are
played takes precedence over attention to their structure and content. The
Hungarian Rhapsodies nre dependent on a good performance to reveal the true
meaning and expression captured in the music by Liszt. Brendel states, "it
is a peculiarity of Liszt's muaic that it faithfully and fatally mirrors the
character of its interpreter.• 11 Thie comment implies, and correctly so,
that a poor performance of the Hungarian Rhapsodies, that is, a
misinterpretation of the style, will not only harm the reputation of the
pianist as a performer, but perhaps more importantly, will cause damage to
the Hungarian Rhapsodies by presenting them as technically flashy works,
empty of any signific11nt expreeeJ.on. Brendel alao atates that when playing
Liszt's piano works one should uae "a technique created by the spirit, not
derived from the mechanism of the piano;" therefore, if one doea not
understand the purpoae of the l.mproviaatory writing in the Hungarian
Rhapaod.le11, as first and foremoat to recall the spirit of the gypeioa •
performance style, and only secondarily as a vehicle for virtuosic display,
then the performance i.B bound to be unsuccessful. 12

11 Alfred Brendel, "Liazt Misundoratood," !:1\!nir.al Thoqgl1t;s _and_ Aft,<e,

Thoughte (London, Robeon Docks, 1976), 78.
12 Alfred Brendel, "Liazt 'a Piano-Playing," llunlcal_1'houqhtn, 90.
 119

It may be concluded that in the twentieth century, nWllorous

misinterpretations by inexperienced or inadequate performers have generated
n&gative impressions of the Hungarian Rhapsodies as invaluable works,
unworthy to be listed among standard music history repertoire, In order to
rectify this misconception, critics and musicians alike must reevaluate the
Hungarian Rhapsodies according to the preceding standards eo that theso
original works may receive the esteemed recognition that they deserve,
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