Franz Liszt - Hungarian Rhapsody No.14 (Fantasia on Hungarian Folk Melodies)

Portrait of Franz Liszt wearing Hungarian traditional dress, symbolizing his connection to Hungarian musical themes.

Franz Liszt in Hungarian attire,
reflecting his lifelong fascination
with national identity and
folk-inspired music.

In 1852, while living in Weimar, Franz Liszt reworked one of his piano Hungarian Rhapsodies into a large-scale composition for piano and orchestra, later known as the Hungarian Fantasy. The folk material employed in this work reflects not so much the authentic rural music of Hungary as the urban Gypsy style that Liszt encountered through Gypsy orchestras, particularly in Vienna.

For this reason, the full title Fantasia on Hungarian Folk Melodies is somewhat misleading. Many of the themes Liszt uses were drawn from the repertory of Gypsy ensembles, whose musicians often performed melodies adapted or reworked by other composers. Liszt himself had only limited direct knowledge of the ancient Magyar musical tradition—the true indigenous music of Hungary.

It was later composers, notably Béla Bartók and Zoltán Kodály, who systematically revealed the authentic folk songs and dances of the Magyars through field research and ethnomusicological study.

Nevertheless, Liszt’s contribution was substantial. By drawing attention to the vitality, color, and emotional intensity of popular music, he helped elevate folk-inspired material to the concert stage. In the Hungarian Fantasy, this approach results in a work of striking momentum and theatrical brilliance.

The music opens in a dark, melancholic atmosphere, with horns and bassoons intoning a theme in the minor mode. This melody is derived from the Hungarian folk song “Mohács mező” (Mohács Field). After a series of dazzling virtuoso passages, piano and orchestra restate the theme, now transformed into a major tonality.

Gypsy-style melodies follow, enriched by ornamental flourishes and references to the opening material. A brief, quiet interlude prepares the final surge of energy: piano and orchestra race toward the conclusion in a breathless gallop, culminating in a final, triumphant recall of the original Mohács Field melody.

Comments

Robert Schumann - Träumerei (from Kinderszenen, Op. 15 No. 7)

The Woodman’s Child by Arthur Hughes reflects the dreamy and introspective atmosphere of Schumann’s Träumerei from Scenes from Childhood . For Robert Schumann , music was almost always a deeply personal expression of introspection, emotion, and poetic reflection—qualities that firmly establish him as one of the most significant composers of the Romantic era. The piano was Schumann’s first great love, and his works for the instrument have proved remarkably enduring over time. Schumann composed Kinderszenen ( Scenes from Childhood ), his best-known piano cycle, in 1838. It consists of thirteen “peculiarly small pieces,” as the composer himself described them, each bearing a title that evokes a distinct childhood impression or memory. Although all thirteen pieces share a sense of intimacy and charm, “Träumerei” ( Dreaming ) stands out as the most beloved and universally recognized. The piece is frequently included in solo piano anthologies and is often chosen by virtuoso perform...

Johann Strauss II - Tritsch-Tratsch-Polka, Op. 214 in A major

The Tritsch-Tratsch-Polka , Op. 214, was composed in 1858 by Johann Strauss II following a highly successful concert tour in Russia. During the summer season, Strauss performed regularly at Pavlovsk, near Saint Petersburg, a fashionable venue for open-air concerts that played a crucial role in shaping his international reputation. Shortly after his return, the polka was premiered in Vienna on 24 November 1858. The title itself reveals Strauss’s playful wit. In German, “Tratsch” refers to gossip or idle chatter, while “Tritsch” carries no literal meaning. Together, the words form an onomatopoeic pun, imitating the sound of lively conversation—much like the English expression “chit-chat.” Such wordplay was characteristic of Strauss, who delighted in pairing light-hearted music with humorous or evocative titles. True to its name, the Tritsch-Tratsch-Polka bursts with energy and rhythmic vitality. Strauss once remarked that dancers might happily pause their movements, engaging in anima...

Carl Maria von Weber - Clarinet Concerto No.2 in E-flat major, Op.74

The graceful and lyrical atmosphere of the countryside, so vividly evoked in many orchestral works by Carl Maria von Weber , reflects the composer’s poetic sensitivity throughout his short life. Just as Wolfgang Amadeus Mozart and Johannes Brahms wrote landmark works for the clarinet inspired by exceptional performers, Carl Maria von Weber found his own muse in the artistry of Heinrich Joseph Baermann , principal clarinetist of the Munich Court Orchestra. In 1811, Maximilian I of Bavaria commissioned Weber to compose two clarinet concertos specifically for Baermann, who would premiere them in Munich. Following the first performances, Weber recorded in his diary the “tumultuous applause” provoked by Baermann’s divine playing—testimony to the immediate impact of both the music and its interpreter. The Clarinet Concerto No. 2 adheres broadly to the Classical concerto form, though Weber introduces distinctive Romantic traits. Notably, the work contains no extended written cad...

MusiLLection

Search This Blog