Homework Franz Liszt "Hungarian Rhapsody No. 2"
I Franz (Franz) Liszt (October 22, 1811 – July 31, 1886) - Hungarian composer, virtuoso pianist, teacher, conductor, publicist, one of the brightest representatives musical romanticism. Founder of the Weimar School of music. Liszt was one of the greatest pianists of the 19th century. Until now, his virtuosity remains a reference point for modern pianists, and the works are the pinnacles of piano virtuosity.
Hungarian Rhapsody No. 2 in C sharp minor, is the second in a set of 19 Hungarian Rhapsodies by composer Franz Liszt, and is by far the best known of the set. In the original solo piano and in the orchestral version, this composition is widely used in cartoons. Its themes have also served as the basis for several popular songs.
II Classical music (also - musical classics) is a concept free from terminological rigor, used, depending on the context, in different meanings, which has a well-defined historical meaning and less definite evaluative. In colloquial language the concept " classical music" is often used as a synonym for "academic" music.
III Hungarian-born composer and pianist Franz Liszt was heavily influenced by the music he heard in his youth, especially Hungarian folk music, with its own unique , rhythmic spontaneity and direct, seductive expressions. These elements ultimately play an important role in the composition of the leaf. Although this prolific composer's works are very varied in style, relatively much of his output is character, the Hungarian Rhapsodies be a perfect example.
IV Written in 1847 and dedicated to Count , Hungarian Rhapsody No. 2 was first published as a solo piano in 1851 by Senff and Ricordi. Its immediate success and popularity on the concert stage soon led to an orchestral version, arranged by the composer in collaboration with , and published by Schubert. In addition to the orchestral version, the composer was given a version of the piano duet in 1874, published by Schubert the following year.
Offering an outstanding distinction from the serious and dramatic , next has enormous appeal to audiences, with its simply alternating tonic and dominant harmonies, its energetic, toe-toe rhythms and exciting "pianistics".
The most unusual thing in this composition by the composer is the invitation for the performer to perform , although most pianists choose to decline the invitation. composed a cadenza that became famous for its originality, musicality and playfulness, and also wrote the famous cadenza for its interpretation. Liszt himself wrote several cadences per piece, but this is rarely carried out. Other pianists have arranged their versions of the Rhapsody with modifications beyond simply adding a cadenza, especially in 1953.
Franz Liszt (1811–1886) - Hungarian composer, pianist, conductor, teacher, music writer, public figure. He studied with K. Czerny (piano), A. Salieri, F. Paer and A. Reich (composition). In 1823–35 he lived in Paris, where his talent as a virtuoso pianist developed (he performed from the age of 9) and his teaching and composing career began. Communication with prominent figures of literature and art - G. Berlioz, N. Paganini, F. Chopin, V. Hugo, J. Sand, O. Balzac, G. Heine and others influenced the formation of his views. Having met the July Revolution of 1830 with enthusiasm, he wrote the “Revolutionary Symphony”; He dedicated the piano piece “Lyon” to the uprising of Lyon weavers in 1834. In 1835–39 (“the years of wandering”) Liszt lived in Switzerland and Italy. During this period, Liszt achieved the perfection of his performing art, creating concert pianism in his modern form. The defining features of Liszt's style were the synthesis of the rational and the emotional, the brightness and contrast of images combined with dramatic expression, colorful sound, stunningly virtuoso technique, and orchestral-symphonic interpretation of the piano. IN musical creativity Liszt realized the idea of interconnection various arts, especially the internal connections between music and poetry. He created for piano “The Traveler’s Album” (1836; partly served as material for the “Years of Wanderings” cycle), the fantasy sonata “After Reading Dante”, “Three Sonnets of Petrarch” (1st edition), etc. Since the late 30s . until 1847 Liszt toured with great triumph throughout all European countries, including Hungary, where he was honored as a national hero (in 1838–40 he gave a number of charity concerts to help flood victims in Hungary), in 1842, 1843 and 1847 in Russia, where he met M.I. Glinka, Mikh. Yu. Vielgorsky, V. F. Odoevsky, V. V. Stasov, A. N. Serov and others. In 1848, leaving his career as a virtuoso pianist, Liszt settled in Weimar, with which the flowering of his creative and musical career is associated - educational activities. In 1848–61, Liszt’s most significant works were created, including 2 symphonies, 12 symphonic poems, 2 piano concertos, a sonata in B minor, Etudes of the highest performing skills, “Fantasy in Hungarian folk themes" As a conductor (court conductor) Liszt staged over 40 operas (including operas by R. Wagner) on the stage of the Weimar Theater, 26 of them for the first time, performed in symphony concerts all the symphonies of Beethoven, symphonic works of G. Berlioz, R. Schumann, M. I. Glinka and others. In his journalistic writings he advocated a progressive beginning in art, against the academicism and routine of the epigones of the Leipzig school, in contrast to which the musicians united around Liszt formed the Weimar school . Liszt's activities met with opposition from conservative court and bourgeois circles in Weimar, and in 1858 Liszt resigned from the post of court conductor. From 1861 he lived alternately in Rome, Budapest and Weimar. Deep disappointment in the bourgeois reality of his time and pessimistic moods led Liszt to religion, and in 1865 he accepted the rank of abbot. At the same time, Liszt continued to participate in musical -social life Hungary: he was the initiator of the creation of the Academy of Music (now named after him) in 1875 and its first president and professor, promoted the work of Hungarian composers (F. Erkel, M. Mossonyi, E. Remenyi); contributed to the growth of young national music schools in other countries, supported B. Smetana, E. Grieg, I. Albeniz and other composers. He took a special interest in Russian musical culture: he studied and promoted the work of Russian composers, especially “ Mighty bunch"; highly valued the musical-critical work of A. N. Serov and V. V. Stasov, the pianistic art of A. G. and N. G. Rubinshtein, etc. Until the end of his life, Liszt continued free classes with students, having trained over 300 pianists from different countries. Among the students: E. d’Albert, E. Sauer, A. Reisenauer, A. I. Ziloti, V. V. Timanova; Many composers used his advice. Multifaceted creative activity Liszt, a prominent representative of romanticism, played a huge role in the formation of the Hungarian national music school(composing and performing) and in the development of world musical culture. In his works there was an organic fusion of folk-Hungarian origins (verbunkos) and the achievements of European professional music (“Hungarian Rhapsodies”, “Heroic March in the Hungarian Style”, “Funeral Procession” for piano, symphonic poems, oratorios, masses and other works). The enduring significance of Liszt’s work lies in democracy and effective humanism ideological content, its main themes are man’s struggle for high ideals, the desire for light, freedom, and happiness. The defining principles of the composer's innovative work are programmaticity and the associated monothematicism. Programming determined the composer’s renewal of the genre of fantasy and transcription, the creation of a new musical genre- a one-part symphonic poem, was reflected in the search for new musical and expressive means, which was especially evident in late period creativity. Liszt’s ideological and artistic principles became widespread in the works of composers of various national schools, including Russian, who highly valued his creative genius, which was reflected in musical -critical articles V.V. Stasova, A.N. Serova and others.
Essays: Opera Don Sancho, or The Castle of Love (1825, Paris); oratorios - The legend of St. Elizabeth (1862), Christ (1866), etc.; masses - Esztergom (Granskaya, 1855), Hungarian Coronation (1867); cantatas; Requiem (1868); For orchestra - Faust Symphony (after J. W. Goethe, 1857); symphony to " Divine Comedy» Dante (1856); 13 symphonic poems (1849–82), including Mazepa (after V. Hugo, 1851), Preludes (after J. Autrand and A. Lamartine), Orpheus, Tasso (all - 1854), Prometheus (after I. G. Herder, 1855); 2 episodes from Lenau’s “Faust” (1860), etc.; For piano With orchestra - 2 concerts (1856, 1861), Dance of Death (1859), Fantasy on Hungarian folk themes (1852), etc.; For piano - sonata h-moll; cycles of plays: Poetic and religious harmonies (according to A. Lamartine), Years of Wanderings (3 notebooks); 2 ballads; 2 legends; 19 Hungarian Rhapsodies; Hungarian historical portraits; Spanish Rhapsody; Etudes of the highest performing skills, concert etudes, variations, plays in dance form, including 3 forgotten waltzes, marches, etc.; For vote With piano - songs and romances (about 90) to the words of G. Heine, J. V. Goethe, V. Hugo, M. Yu. Lermontov and others, instrumental pieces, chamber instrumental ensembles; transcriptions (mainly for piano) his own works and works of other composers, including Etudes after Paganini’s Caprices.
Franz Liszt
Hungarian Rhapsody
prepared by music teacher Danilina N.S.
Franz Liszt was born on October 22, 1811 in the village of Doborjan (Hungary). As a child, he was fascinated by gypsy music and the cheerful dances of Hungarian peasants. Liszt's father, manager of the large estate of Count Esterhazy, was an amateur musician and encouraged his son's interest in music; He also taught the child the basics of playing the piano.
At the age of 9, Ferenc gave his first concert in the neighboring town of Sopron. Soon he was invited to the magnificent Esterhazy Palace; the boy's performance so impressed the count's guests that several Hungarian nobles volunteered to pay for his further musical education. Ferenc was sent to Vienna, where he studied composition with A. Salieri and piano with the largest teacher in Europe, K. Czerny.
After the death of his father (1827), Liszt began giving lessons. At the same time, he met the young composers G. Berlioz and F. Chopin, whose art had a strong influence on him: he was able to “translate into the language of the piano” the coloristic richness of Berlioz’s scores and combine Chopin’s soft lyricism with his own stormy temperament.
In the early 1830s, Liszt's idol became the Italian virtuoso violinist N. Paganini; Liszt set out to create a piano style as brilliant as
and even adopted from Paganini some of the features of his behavior on the concert stage. Now Liszt had virtually no rivals as a virtuoso pianist .
- The composer's fate was such that he lived for many years in separation from his homeland - Hungary. But he never ceased to serve her faithfully and always remained a Hungarian composer.
- In many of his works you can hear national melodies, in particular the well-known csardas. Row best essays Liszt was created on themes taken from the life and history of Hungary. Among them are the famous “Hungarian Rhapsodies”, which have become a kind of musical epic of the Hungarian people; these are piano works on folk themes. Liszt owns 19 “Hungarian Rhapsodies” using gypsy motifs.
- "...My piano is for me what his frigate is for a sailor, his horse is for an Arab; moreover, until now he has been my “I”, my language, my life! He is the keeper of everything that motivated me soul in the ardent days of my youth; to him I will entrust all my thoughts, my dreams, my sufferings and joys.” So said Franz Liszt, who was the first to discover the immense possibilities of the piano. Liszt “transformed” the piano into an orchestra, performing symphonies on it. Beethoven, operatic fantasies of Mozart, Berlioz, Wagner, Verdi. Liszt's piano sang songs by Schubert and turned into an organ when the pianist performed Bach's fugues.
- Liszt decisively brought the piano out of the rooms and home halls onto the concert stage. He was the first pianist who dared to perform alone in a concert, occupying the attention of listeners for several hours only with playing the piano. “Starting with Liszt,” said V.V. Stasov, “everything became possible for the piano.”
- Liszt guessed the great future of the instrument, which at that time was not very highly valued, leaving it for home music playing. Liszt once compared the piano to engravings: “in relation to an orchestral composition, it is the same as an engraving is to a work of painting, which it reproduces and distributes.”
- Liszt was a musician who considered his first duty to bring to people (not just a few - the masses of people!) the best musical creations of the past and present. And he did this before last days life.
Hearing.
Questions:
- - Intonations of what genre did you hear;
- - Who performed the music?;
- - How many images were heard in the work;
- - Describe the work.
We listened to music called “Rhapsody”.
- The story of Rhapsody will lead us to Ancient Greece, where at festive feasts storytellers, called rhapsodes, recite their large, fascinating poems, like Homer’s “Odyssey” or “Iliad.” Rhapsode, that’s how it’s translated from Greek language- the one who composes the song.
- Rhapsody experienced its rebirth in the 19th century. This is caused by the interest of romanticism in folklore. So far, the rhapsody resembles a fantasy on folk themes, later it will approach poems, to solo concerts for piano and orchestra and even for cantatas.
- What is rhapsody in our time?
- Rhapsody (Greek word ῥαψῳδία, “rhapsodia” - folk epic song) - a free-form instrumental or vocal work of several contrasting parts, most often using folk national motifs.
Franz Liszt (October 22, 1811 - July 31, 1886) Austro-Hungarian composer, pianist, teacher, conductor, publicist, one of largest representatives musical romanticism.
Creative path
A very bright and multifaceted romantic personality of the 2nd half of the 19th century. A brilliant pianist and composer. Innovator. Music critic who has written many articles on music (“Letters of a Wandering Bachelor,” “A Study of the Music of the Hungarian Gypsies”). Liszt is a teacher of enormous magnitude. During his life he had about 300 students from different countries. Unselfish by nature, he devoted much of his life to promoting other composers. In total Liszt has about 1200 works. About half of them are transcriptions and paraphrases of themes from other composers. He supported composers of different national schools: Chopin, Smetana, Grieg, Schumann, Wagner, Berlioz, Borodin, Rimsky-Korsakov. Liszt was very fond of the Kuchkists.
Liszt was born in Hungary. Nationality: Hungarian. Many of his works are associated with Hungary. Elements folk dances and songs were included in his works, enriched with pan-European achievements, but there are also elements of Hungarian folklore. Works associated with Hungary: cantata “Hungary”, symphonic poem “Hungary”, heroic march in the Hungarian style, several notebooks of national Hungarian rhapsodies, as well as 19 more Hungarian rhapsodies, “Hungarian Coronation Mass”.
Liszt was a passionate promoter of the idea of programming in music. He embodied in music the images of the works of Dante, Petrarch, and Goethe. He conveyed in music the content of Raphael’s painting (“Betrothal”) and Michelangelo’s sculpture (“The Thinker”). Liszt is an innovative composer. In connection with programming, he rethought classical genres and shapes and created my own new genre- symphonic poem. A symphonic poem is a one-movement symphonic work that combines the features of cyclicity and other forms, such as sonata. Liszt has 13 symphonic poems. The method of developing material in them is monothematic (from one topic others grow). Liszt's music is distinguished by its special pathos, elation, and oratorical pathos, since he always tried to influence large mass of people. Most of his works are works for piano.
Life path
Liszt was born in 1811 on the estate of Prince Esterhazy. Since childhood I have loved Hungarian folk songs and songs of Hungarian gypsies. At the age of 9 he played in front of patrons. He amazed them with his performance. Patrons gave Liszt money, with which he and his father went to Vienna to study in 1820. There he works privately. For piano - Czerny, and for composition - Salieri. There Liszt met Beethoven, who blessed him. Liszt's first work was “variations on a waltz by Diabelli,” which he wrote at the age of 11.
In 1823, Liszt and his father traveled to Paris, where he was not accepted into the conservatory because he was a foreigner. But he studied privately, in composition with Paer, in theory with Reich (Reich taught at the conservatory). One of Liszt's earliest compositional experiments was the opera “Don Sancho, or the Castle of Love,” staged in 1825 at the Grand Opera House of Paris.
In 1827, Liszt's father died. Liszt began to educate himself. Gave many concerts. In 1930 he warmly embraced the revolution. He toured in England, Switzerland, France. After the revolution, he became interested in utopian and Orthodox socialism. Liszt met many celebrities. Particular influences were Berlioz, Chopin (after his death Liszt wrote a book about Chopin) and Paganini, who impressed Liszt as a performer. Liszt wrote a fantasy on the theme of “Campanella”, and later transcriptions of caprices and etudes by Paganini.
In 1834, Liszt met Marie d'Agoux. From 1835 to 1839 they went on a trip to Switzerland and Italy. This is the first fruitful period of Liszt's life. He expressed his impressions of Switzerland in the cycle of piano pieces “The Traveler's Album”. In 1950, in Weimar, Liszt reworked this cycle, and it became part of the “Years of Wanderings” - “The First Year” - Switzerland.
In Switzerland, Liszt taught at the conservatory. He went to Paris to compete with Thalberg (Liszt won). He expresses all his thoughts about the fate of the artist and the purpose of art in the book “Letters of a Wandering Bachelor.”
In 1837 Liszt travels to Italy. Impressed by the works Italian Renaissance writes piano pieces “Betrothal”, “The Thinker”. Subsequently, he included them in the “Years of Wanderings” - “Second Year” - Italy. He wrote 3 “Petrarch’s Sonnets” and the fantasy sonata “After Reading Dante”. At the end of his stay in Italy, Liszt began to give more concerts (most of them for charity). He gave a concert in Vienna for flood victims in Hungary, as well as a concert for the construction of a monument to Beethoven in Bonn.
1839-1847
This is a period of intense concert activities Sheet for all European countries. Great triumph in France, Russia, Spain, Portugal, Hungary, Romania. He performed a lot of works by other composers (Liszt's transcriptions for piano of symphonies by Beethoven, Berlioz, songs by Schubert, Meddel, Schumann, caprices by Paganini, etc., as well as fantasies on themes by Mozart, Bellini, Meyerbeer). In Hungary, Liszt was received as a national hero. He gave a charity concert for the creation of the Hungarian Conservatory. Liszt visited Russia 3 times (in 1842, ’43 and ’47). He gave triumphant concerts in Moscow and St. Petersburg. I met Glinka. Liszt made a transcription of “Chernomor’s March”. Later he regularly conducted Glinka's works. In Russia, Liszt met Verstovsky and Varlamov. I made a transcription of “The Nightingale” by Alyabyev. Made friends with Russians music critics- Stasov and Serov. At the end of this period, he met Caroline Wittgenstein (the daughter of a Polish landowner) and settled with her in Weimar.
Weimar period
1848-1861
Liszt had a growing need for composing creativity. Continues to promote the works of other composers as a conductor. Conducts the symphony and opera music. During this period he wrote 12 of 13 symphonic poems; 15 of 19 Hungarian rhapsodies; “Years of Wandering” - “Year 1” – Switzerland (55) and “Year 2” – Italy (58).
In 1849 he completed 2 piano concertos, “Dance of Death” for piano and orchestra, 2 episodes from “Faust” by Lenau (not Goethe), sonata in B minor (53), “Consolations” for piano, nocturne “Funeral Procession” on the death of the hero of the Hungarian revolution”, 2 program symphonies – “Faust” and “Dante”, “Grand Mass”.
Thanks to Liszt, little Weimar became the center of musical culture in Europe and almost the world. Liszt staged operas by Wagner, Berlioz, Schumann, Verdi, Gluck, Rubinstein, Mozart, and Weber at the theater. In 11 years he staged 43 operas (!!!). He performed all the symphonies of Beethoven, Schubert, and Berlioz. Liszt also promoted these composers in print. He wrote books about Chopin, about the study of the music of Hungarian gypsies. Began pedagogical activity. I only taught students for free.
In 1854 List founded the Neu-Weimar-Verein. In 1861 The “General German Musical Union” appeared. The purpose of these unions is to promote programming, the classical heritage, new advanced art, and composers. Liszt supported young musicians: Smetana, Brahms, Serov, Anton Rubinstein. Wagner became Liszt's close friend. Liszt staged many of his operas.
In 1858, Liszt retired from the opera house.
Roman period
1861-1869
Roman period. Under the influence of Caroline, Liszt went to Rome. There he accepts the position of san abbot. He wrote spiritual works - the oratorios “Saint Elizabeth”, “Christ”, “Hungarian Coronation Mass”. At this time, he also wrote light music - program studies, Spanish Rhapsody, and various transcriptions.
Second Weimar period
In 1869 Liszt returned to Weimar. Breakup with Caroline. For the last 17 years he has lived in Weimar, but travels to Paris, Vienna, Rome, and Budapest.
In 1871 Thanks to Liszt, the Hungarian Conservatory opened (in Budapest). Liszt became its president and teacher. New students flocked to him. He gave lessons to pianists, among whom were Russians - Ziloti (Rachmaninov's brother) and others. He helped Grieg and Albeniz. He continued to promote Wagner's music. Liszt took part in the organization and opening of the theater in Bayreuth. There he was also at the production of “The Ring of the Nibelung” (4 operas by Wagner) in 1876.
Liszt became increasingly close to Russian musicians. Borodin, Cui, and Glazunov came to see him. On the initiative of Liszt in 1880. Borodin's 1st symphony was performed. Liszt made transcriptions of music by Russian composers. For example: polonaise from “Eugene Onegin”.
IN last years Liszt wrote a little: “The Years of Wanderings” - “The Third Year” - Rome, “The Cypresses of the Villa d'Este”, “Angelus”, 3 “Forgotten Waltzes”, fluoro and the third “Mephisto Waltzes”, Hungarian Rhapsodies (16-19). Liszt began giving concerts again. Last concert gave in Luxembourg in 1886. After that I went to Bayreuth to listen to Wagner's operas. Having contracted pneumonia, Liszt died in Bayreuth on July 31, 1886. L
Liszt's piano work
Liszt the composer is inseparable from Liszt the performer. His pianism influenced his music. On the other hand, he's like genius composer, updated the sound of the piano. In his piano music Liszt was a preacher and speaker. He wanted to convey his ideas to a large audience, trying to captivate and convince people of his ideas. That is why his music is so upbeat, pathetic, and has a passionate oratorical tone. He had a heroic performance style, which was also reflected in his music. Liszt had amazing technique. The most important principle of his music was programmaticity. This program is not of the Berlioz type, but more generalized (general mood, general state, no plot). The interpretation of the piano is innovative. Liszt gave his sound orchestral power. He conveys the timbres of different instruments on the piano - the menacing sound of brass, the gentle sound of violins, pipe tunes. Liszt used chord trills, tremolos, rehearsals on one sound, passages characteristic of string instruments, rich cello melodies, passages in octaves or double notes. Sometimes he writes piano notes in 3 lines (due to the orchestral texture).
“Years of Wandering”
“Years of Wandering” is a piano cycle of program pieces. It has 3 parts: “Year One” - Switzerland, “Year Two” - Italy, “Year Three” - Rome. The history of the creation of this cycle is complex. At first, the plays of the 1st volume were included in the collection “The Traveler's Album” and reflected the impression of Switzerland. Then he reworked them (50s) and made of them “Years of Wanderings” - “Year One”. Traveling through Italy, Liszt wrote several plays inspired by the art of the Italian Renaissance. Then they entered the 2nd volume. These are: “Betrothal”, “The Thinker”, “Sonnets of Petrarch”, sonata-fantasy “After Reading Dante”. To them Liszt added 3 plays under common name– “Venice and Naples” – “Gondoliera”, “Canzona”, “Tarantella”. “The Third Year” took 10 years to create – 1867-1877. Roman impressions were reflected there: “Cypress trees of Villa d’Este”, “Fountains of Villa d’Este”. Religious impressions were reflected: “Angelus”, “Hearts Up”. In the plays of the 3rd volume the mood is mournful; epigraphs from the Bible. The music is close to impressionism, unsteady harmonies, more chamber pieces.
In this cycle, Liszt expressed his thoughts, created paintings of nature, and expressed his impression of the creations of great masters. All the plays are very picturesque, with strong themes. In the 1st volume - this different paintings nature, for example: “On Lake Wallenstadt” or “Geneva Bells”, “At the Spring”; there are images of stormy nature - “Thunderstorm”. There are plays that paint a serene picture - “Eclogue”, “Longing for the Motherland”; There are also heroic, wildly romantic plays - “The Chapel of William Tell.” The main principle of development is variation.
(Based on materials from the sites wikipedia.org, cl.mmv.ru)
Works on national - Hungarian - themes occupy an important place in the creative heritage. According to the composer, he “drew wealth... from the very thickness of the gypsy orchestras.” At the end of the 1830s. Liszt begins to create the collection “Hungarian Folk Melodies”, later - starting in the 1850s. - it becomes the basis of “Hungarian Rhapsodies”.
Of the nineteen Hungarian Rhapsodies, most were created in the 1850s, and only the last four were created in the 1880s. Liszt was not the first to call piano works rhapsodies - in 1815, Václav Jan Tomášek, a Czech composer, did so. But in Liszt, the basis of a rhapsody - a virtuoso instrumental work in free form with a touch of improvisation - is not operatic melodies, but folk ones - songs and dances. It is in this vein that the rhapsody genre is developed in the works of other composers, and therefore Liszt is considered the founder of this genre.
Most of Liszt's rhapsodies are based on folklore sources(there are only three exceptions - Sixteenth, Seventeenth and Eighteenth). Some of them have program titles: “Heroic Elegy” (Fifth), “Pest Carnival” (Ninth), “Rakoczi March” (Fifteenth).
The form of Liszt's rhapsodies is generated by the traditions of Hungarian folk music: the slow, proud male circle dance (lasshu) is followed by a fast, temperamental dance (friss). This is, for example, the most famous - the Second Hungarian Rhapsody (the Spanish Rhapsody has a similar structure). The slow movements have a different genre nature: palotash - a Hungarian two-beat procession dance, epic narrative, improvisational recitative. The fast parts are based on czardash - a fiery dance.
Emerging from a wave of growth national identity Hungarians, Liszt's Rhapsodies and in the area musical language have their source in Hungarian musical folklore. This is expressed in the modal organization (the so-called “Gypsy scale”, also called “Hungarian” - with two increased seconds, on the second and sixth degrees in major and on the third and sixth in minor), and in rhythmic features (syncopation, characteristic dotted rhythm in cadences), in the structure of melodies (repetition of quart chants). The texture and methods of development are also genetically related to the folk music-making of the Hungarians. Many pianistic techniques are figurations, various options arpeggios, rehearsals, wide leaps - stem from the peculiarities of the sound of cymbals and other musical instruments Hungarian people, and melismatics - from the violin. Characteristic of Hungarian musical folklore and unexpected changes in tempo and character of movement, and ornamental variation in the alternation of harmonies - tonic and dominant.
Despite the presence common features, each of Franz Liszt's Hungarian Rhapsodies is deeply individual. The composer himself was especially fond of the Fourteenth Rhapsody - he highly valued this work heroic character characterized by freedom of development musical material. The Twelfth Rhapsody is characterized by the greatest improvisation. The sixth is based on a simple dance tune, which receives masterly variational development.
The greatest popularity fell to the Second Hungarian Rhapsody in C sharp minor. It is surprisingly diverse in thematic material, the national nature of which is already obvious in the introduction. The epic theme of a recitative style is presented in the middle register; it acquires special significance thanks to the chords that complete each phrase (the grace notes that adorn these chords evoke an association with the rattling of a piano). string instrument, which becomes an expressive touch to the image of the singer-storyteller that appears in this recitative theme).
The national character is clearly expressed in the first – slow – section of the rhapsody. In its first theme - a song - the features of the verbuncosh style are expressed in the characteristic dotted figures that complete each sentence (the so-called “cadence with spurs”). The form of the slow section has the features of a tripartite with elements of variation: the first theme is carried out twice, colored by textural changes and passages, then replaced by the second theme - light, having a dance nature, carried out at the organ station (this detail of the texture also shows a connection with the folk musical tradition), after which the intro theme and song theme return.
Bright picture national holiday occurs in the second – fast section. Its basis is dance theme, which appeared in the middle part of the slow section. As development progresses, the tempo accelerates, the texture becomes more complex, dynamic “waves” extend from extremely quiet sonority to ff(the dance then subsides, then resumes).
In the Hungarian Rhapsodies, the “orchestral” interpretation of the piano inherent in Liszt clearly manifested itself, and therefore it is not surprising that their transcriptions for symphony orchestra appeared.
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