The cs.C3.A1rd.C3.A1s Csárdás (Liszt)

1 csárdás

1.1 csárdás macabre, s.224 (1881-82)
1.2 2 csárdás, s.225 (1884)

1.2.1 1. csárdás
1.2.2 2. csárdás obstinée

the csárdás
csárdás macabre, s.224 (1881-82)

this perhaps best-known of 3 csárdás. piece written in miniature sonata form, bare fifths @ opening without precedent in liszt s output. still more intriguing second-subject stage of structure; either parody of dies irae or quotation hungarian folk song, Ég kunyhó, ropog nád. both theories have advocates. composer did not indicate meant, though did write on manuscript after had finished it, may 1 write or listen such thing? favorite question of critics whether fifth of opening bar flattened supertonic appoggiatura or actual tonic. such tonal ambiguities become common in liszt s late works.

two csárdás, s.225 (1884)
1. csárdás

less known either of other dances, csárdás short allegro beginning though in minor. passes major, ends quietly unsettled on f-sharp minor after sequential modulation.

2. csárdás obstinée

this csárdás begins repeated f-sharp, taking first dance left off, before ostinato accompaniment begins. f-sharp major triad in left hand contrasted falling phrase beginning natural in right hand. piece on whole written in b minor-major, major , minor chords being struck simultaneously, device liszt came use increasing frequency. before coda, theme transformed in b major in repeated octaves. critics consider work more interesting musically more famous cousin, csárdás macabre. piece is, lack of better term, obsessed four-note motif presented @ beginning of piece, , work s tonal excursions mediant , submediant place music procedurally somewhere between schumann , mahler.

the first recordings of these 2 csárdás france clidat in traversal of liszt s works decca.