Written by Anna Vorhes

Born
October 22, 1811, Raiding (then Doborján)

Died
July 31, 1889, Bayreuth

Duration
11 minutes

Composed
The first fifteen of the Hungarian Rhapsodies were composed for piano between 1851-1853. This rhapsody, Hungarian Rhapsody No. 2, was orchestrated by Franz Doppler with Liszt's direction and approval, soon after it was written.  In the 1880s, Liszt added four more rhapsodies to his collection making a total of nineteen Hungarian Rhapsodies.

Instrumentation
three flutes (one doubling piccolo, two oboes, three clarinets (one a d clarinet), two bassoons, four French horns, two trumpets, three trombones, tuba, timpani, cymbal, triangle, strings.

Something to listen for:
This composition is based on a form found in Magyar and Roma (Gypsy) music that is basic to the music widely considred Hungarian.  Verbunkos is a form that contrasts a slower section, called lassú followed by an energetic section, friss.  (These terms are often used to describe sections of another Hungarian composition known as czardas).  Liszt often uses accelerando passages to introduce new sections of melody.  The other thing to listen for involves how this composition has been used through the twentieth century.  If you were a fan of cartoons created in the early days of television, especially Tom and Jerry, this piece will have many moments that sound familiar.

Program Notes

Franz Liszt was born in Hungary, though his family moved to Vienna by the time he was twelve in order to be sure he had the best teachers available.  As he developed his career, he became a truly international phenomenon rather than a composer of one area.  He had a strong following among music lovers and those intrigued by his striking good looks.  He took the stage comfortably as a concerto soloist in front of an orchestra.  He was also the first one to do a solo recital where he played every piece.  He was popular and respected.  He was recognized as a philanthropist as well as a musician.

In the late 1840s, Hungary started a movement to get free of the Hapsburg rule that had controlled their country for generations.  Part of that movement was recognizing forms of art that were particularly Hungarian.  The Hungarian cultural heritage included the upper classes that were associated with the Hapsburg rule, the indigenous Magyar community and the wider Roma culture that drew much interest.  The Roma are a traveling culture that moves through the world by their own choice.  The culture has various names in various places.  In Liszt's time they were called Gypsies.  Their cultural practices seemed exotic and fascinating.

As the interest in all things Hungarian grew, Liszt returned to the land of his birth.  He listened to music intently, and emulated it in the Hungarian Rhapsodies.  He began with the common form of Magyar music, the Verbunkos.  The composition begins with a slow section called the lassú.   The harmony features a scale that has been called Hungarian, Magyar, and Gypsy by various music writers.  The scale features two occurrences of a step and a half (or three half steps) between scale notes.  It sounds very interesting to our ears.  The rhythm of the lassú is slower and lends istelf to complex ornamentation.

Following the lassú, the energetic second section is the friss.  Overall, this second section is faster, and in Liszt's hands includes several animato sections followed by new melodies.

As Hungarians listened to the Verbunkos, the basic form of the Magyar culture was not as popular as the more ornamental and virtuosic Roma versions of the works.  Virtuosity was highly prized in nineteenth century Europe and Liszt was undoubtedly one of the most talented pianists who performed.  He remains one of the top pianists who will ever live.

The Hungarian Rhapsodies became an orchestration exercise for Liszt's pupil, Franz Doppler.  He set the task of orchestrating six of the works.  Liszt supervised closely and edited them as they went to the printer.  The master ensured that his pupil was always given credit for his work, even going so far as to leave a clause in his will indicating Doppler was to be recognized in the orchestral version.