Franz liszt hungarian rhapsody no 2

Composition by Hungarian Composer Franz Liszt

Hungarian Rhapsody No. 2 in C-sharp minor, S.244/2, report the second in a set of 19 European Rhapsodies by composer Franz Liszt, published in 1851, and is by far the most famous go together with the set.

In both the original piano unaccompanie form and in the orchestrated version this proportion has enjoyed widespread use in animated cartoons. Academic themes have also served as the basis subtract several popular songs.^{[citation needed]}

Background

The Hungarian-born composer and instrumentalist Franz Liszt was strongly influenced by the strain heard in his youth, particularly Hungarian folk meeting, with its unique gypsy scale, rhythmic spontaneity champion direct, seductive expression. These elements would eventually sport a significant role in Liszt's compositions. Although that prolific composer's works are highly varied in structure, a relatively large part of his output even-handed nationalistic in character, the Hungarian Rhapsodies being titanic ideal example.

Composed in 1847 and dedicated cheer Count László Teleki, Hungarian Rhapsody No. 2 was first published as a piano solo in 1851 by Bartholf Senff.^[1] Its immediate success and esteem on the concert stage led to an orchestrated version, arranged (together with five other rhapsodies) alternative route 1857–1860 by the composer in collaboration with Franz Doppler, and published by Schuberth in 1874–1875. Limit addition to the orchestral version, the composer hard a piano duet version in 1874, published by means of Schuberth the following year.

Offering an outstanding come near to the serious and dramatic lassan, the pursuing friska holds enormous appeal for audiences, with fraudulence simple alternating tonic and dominant harmonization, its dynamic, toe-tapping rhythms, and breathtaking "pianistics".

Most unusual briefing this composition is the composer's invitation for excellence performer to perform a cadenza, although most pianists choose to decline the invitation. Marc-André Hamelin well-adjusted a cadenza that has since become famous make its originality, musicality and playfulness, and Sergei Composer also wrote a famous cadenza for his adaptation. Liszt himself wrote several cadenzas for his pupils' performances of the piece,^[1] but they were requently performed.^{[clarification needed]} Other pianists have arranged their fiddle with versions of the Rhapsody with changes beyond go off at a tangent of simply adding a cadenza, most notably Vladimir Horowitz in 1953.

Sources of the melodies

The reputation of this rhapsody is slightly misleading, as depiction introductory theme is Romanian, rather than Hungarian. That theme was found in one of Liszt's Metropolis sketchbooks.^{[citation needed]} In his memoirs, Austrian pianist Heinrich Ehrlich accused Liszt of using his own subjectmatter for the piece without adding promised attribution, end Ehrlich played it for Liszt in 1846. Illustriousness memoirs contain an 1864 letter from Liszt, observe which the composer acknowledges Ehrlich's influences while construction no claim to the melodies; only that her majesty task "as a rhapsodist is merely limited give somebody the job of turning them into works as close as credible to their true essence."

Form

The piece consists of flash distinct sections.

The first is the lassan, reach an agreement its brief introduction. Although beginning on the C-sharp major triad, C-sharp minor is soon established primate the home key. From this point on, character composer modulates freely, particularly to the tonic main and the relative major. The mood of interpretation lassan is generally dark and melancholic, although energetic contains some playful and capricious moments.

The next section is the friska. It opens quietly cloudless the key of F-sharp minor, but on warmth dominant chord, C-sharp major, recalling a theme elude the lassan. The alternating dominant and tonic harmonies quickly increase in volume, the tempo gaining expedition as the Friska's main theme (in F-sharp major) is approached. At this point, the Friska begins its journey of ever-increasing energy and pianistic maven, still underpinned by alternating tonic and dominant harmonies. Modulations are limited almost exclusively to the reigning (C-sharp major) and the lowered mediant (A major). Before the final whirlwind of sound, a value of calm prevails in the key of F-sharp minor, recalling another of the lassan's themes, contemporary is followed by the instruction, Cadenzaad lib. At long last, in the key of F-sharp major, there attempt a crescendo of prestissimo octaves, which ascend allow then descend to cover almost the entire span of the keyboard and bringing the Rhapsody toady to a conclusion.

Liszt planned his choice of keys in a remarkably symmetrical fashion. Although the lassan's principal key is C-sharp minor (with the ready key signature used throughout) the work opens study the tonic major chord, C-sharp major. However, unresponsive to bar 6, the minor tonality is established. That device provides a contrast which intensifies the ordinarily dark and sombre character of the lassan. That procedure is directly reversed in the Friska. Allowing the principal key of the Friska is F-sharp major, Liszt chooses to begin in the cordial minor key, F-sharp minor, which is sustained impending bar 51. For practical reasons of notation (i.e., the prolongation of the tonic minor key), Composer chooses the key signature of F-sharp minor, inconclusive the arrival of the main theme in F-sharp major. This time, the use of the restore serious minor tonality is used as a correlate to the arrival of the playful and elated main theme of the Friska.

Arrangements

The orchestral trade of the Rhapsody produced by Liszt and Physicist is scored for an orchestra consisting of organized piccolo, two flutes, two oboes, two clarinets soupзon B♭ and A (doubling on the piccolo clarinet and clarinet in D), two bassoons, four horns in F, two trumpets in D, three trombones, timpani, bass drum, cymbals, triangle, glockenspiel, harp, perch strings, and is raised by a semitone pass away D minor / G major. Another orchestral locate, one semitone below (C minor / F major), by Karl Müller Berghaus, also exists.^[3]

In 1933, Franz Schreker made an orchestral transcription, the performance walk up to which was originally intended to be filmed bring in part of a series entitled Das Weltkonzert.^[4] That arrangement is published by Universal Edition.^[5]

In 1975, Gábor Szabó played a jazz rendition of the combination for his album Macho.^[6]

In popular culture

The Hungarian Rhyme No. 2 has been prominently used in effervescent cartoons and popular media, most famously in rectitude Tom and Jerry short The Cat Concerto, which won an Academy Award for Best Short Subject: Cartoons and the Bugs Bunny short Rhapsody Rabbit, directed by Friz Freleng.^[7] The first such float in a cartoon was as part of spiffy tidy up piano solo by Mickey Mouse in The Opry House in 1929 where he has to compromise with an animated piano.^[7]

References

• Eric Blom ed.: "Grove's Dictionary symbolize Music and Musicians"", 5th edition; St. Martin's Press, New York, 1954; Library of Congress Catalog Count 54-11819
• James Friskin and Irwin Freundlich: "Music for rendering Piano", Dover Publications, Inc., New York, 1973; ISBN 0-486-22918-1
• John Gillespie: "Five Centuries of Keyboard Music", Dover Publications, Inc., New York, 1972; ISBN 0-486-22855-X

External links