Analyse one piece by Franz Liszt and show how the piece reflects the

socio-economic, technological and aesthetic developments of the

Romantic movement and era. You must do this with reference to nonmusicological texts giving accounts of the historical background to the
period, musicological texts exploring the period and its music and your
own analysis of the score for the piece you have chosen, possibly adding
other published textual analyses of the piece. Your argument must reflect
all these sources and show how they inter-relate.
The Romantic era was one of great progress and change. Amongst some
of the changes around this time were some of the biggest changes in
history including the industrial revolution, Charles Darwins Theory of
Evolution and the demolition of the slave trade across Europe. Hungarian
by birth, Franz Liszt was born in 1811 and throughout his life had a
massive impact on the journey of music through the romantic era. In this
essay, I will be analysing Hungarian Rhapsody number two and by
research I will find out how, if at all, this piece reflects upon the socioeconomic climate of the time. Once this has been achieved, I will move on
and look into the development of the piano and see how without the
widespread growth of the piano, this piece would not have been possible.
Liszts Hungarian Rhapsodies, in my opinion, are all works of genius that
grew out of an already fast developing music scene. By the young age of
9, Liszt was already very well established in salons across the country and
embarking on a move to the centre of music and home of the greats in
Vienna. If one was to search for rhapsody in The New Grove Dictionary of

Music and Musicians, this would be found. Not until late in the century
did the rhapsody develop its more enduring identity as a large-scale
nationalistic epic for orchestra, a change instigated principally by Liszt.
From his Magyar dallok/Ungarische National-Melodien and their
successors, six Magyar rhapsodik/Rhapsodies hongroises, emerged the
19 Hungarian Rhapsodies for piano that capitulated the genre from
amateur to virtuoso status. (Grove, 2001, p.255) This gives an insight
into the development and meaning of Liszts Hungarian Rhapsodies and
also offers a helping hand into figuring the importance of such works. It
shows how modern and contemporary the works were at the time of
writing and in my opinion, this is one of the reasons Liszt became so
famous. Although born in Hungary, Liszts mother tongue was German and
throughout his life never achieved bilingualism. He visited home often and
was well known and recognised when he did. Liszt had recorded his
musical impressions of countries before the Hungarian Rhapsodies and by
all accounts continued to do so after them. . Lived together in
Switzerland and Italy from 1835 to 1839. He recorded impressions of both
countries in piano pieces collected in Album of a traveller (1837-1838) and
Years of Pilgrimage, books 1 and 2 composed 1838-1861. (Burkholder,
2010, p.626) Hungarian Rhapsodies 1-15 were composed around 1847
and the later four around 16 years after, this meaning that Hungarian
Rhapsody number two was composed whilst Liszt was still in his zenith of
performance and virtuosity. Giving piano recitals all over the world, this
will have been a piece heard often and loved by all especially Liszts
Hungarian fan base. Liszt took much influence from his childhood in
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Hungary to write the rhapsodies and therefore to the Hungarian people

they were full of homely reminders. He grew up in Hungary and wrote
numerous works based on or inspired by Hungarian or Romany (Gypsy)
melodies, including nineteen Hungarian Rhapsodies for piano.
(Burkholder, 2010, p.628) Taking ideas from folk song and folk music was
not a new idea at this time, however Liszt added his own panache and
beautiful effects which complemented the material that was already
available. This made Liszt extremely famous throughout all of Europe.
Nationalism in music had reached its peak in the romantic era through
people such as Liszt. Not only was he inspired by Hungarian/Gypsy
melodies, but Liszt, being the well musically educated man he was,
wanted to imitate the sounds of Hungary. Franz Liszt was interested in
many things, including the potential of the cimbalom as the source of the
sound of Hungarian national music. In the Rkczy March, he tried to
reproduce the sound of the cimbalom using parallel octaves and full
harmonies. (Lin, 1997, p.209) It is clear to see passages throughout
Hungarian Rhapsody number two where parallel octaves are used to this
effect for example, one only has to look twelve bars before the end of the
piece to find parallel octaves (1). Although inspired by Gypsy melodies,
Liszt wasnt able to use just any music he could find relating to Hungary.
The Hungarian songs we encounter in our villages, and the melodies so
simply performed on the flute and bagpipe, are poor and incomplete and
cannot win general respect. (Lin, 1997, p.11) From this we can gather
understanding that Hungarian Rhapsody number two, nor the other
eighteen, was not based on Hungarian peasant music. Hungarian peasant
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music was music that was original to the gypsies and therefore, being
hidden away from the evolution of the tonal system, was not something to
be associated with the everyday music of the upper classes and the
bourgeoisie. Being educated in Vienna, Liszt would have been extremely
knowledgeable in the evolution of music. If there was a technique being
used by performers or composers, Liszt would have known about it and
possibly may have even instigated the technique; During the nineteenth
century, national identities became a sort of line of demarcation in
relation to that which was considered universal (Lin, 1997, p.206). As
already discussed above, Liszts approach to nationalistic writing is
through the use of folk music that relates to the upper classes and the
bourgeoisie. However, in the time where there was what Alfred Einstein
describes as a growing cleavage between artist and public, it is
important that the artist is recognised for their works and it is important
that the public recognise inspiration is needed for such works. The days
where artists worked for the aristocratic bureaucracies are long gone and
now, the artist is gaining more and more recognition for their work. It has
already been stated that although born in Hungary Liszt was not a
Hungarian speaker so why therefore, would Liszt decide to write such
Hungarian based music instead of the German music that his linguistic
skills would imply? Several Hungarian noblemen agreed to provide an
annual stipend of 6oo florins for six years for Franz's further musical
education. (Kobb, 1911, p.8) Although the Hungarian rhapsody number
two wasnt written until twenty years after this generous subscription had
stopped, Liszt was still a musician who had reached a pinnacle because of
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what Hungary had offered him at a very young age. This, in my opinion,
makes Liszt undoubtedly a nationalistic composer of the Hungarian
persuasion.
Across Europe in 1848, revolutions were taking place that would change
the course of history. In France, the monarchy was overthrown and
matters of nationalism and economy struggles were coming to the
foreground. Italy, which at this moment in time was under the rule of the
Austrians and their Habsburg Empire, were starting to revolt due to the
low interest in the peasantry class. The Pope, Pope Pius IX, was a big
figure in leading the revolution in Italy which gives a glimpse of the power
behind religion. Opera in Italy at this time was very much written to give a
high sense of unification to the Italians and have an underlying sense of
freedom. In Hungary, the struggles were with their Austrian rulers and
matters of race equality. Although the revolution was lost, much can be
taken from it and much can be applied to Liszt and the writing of the
Hungarian Rhapsodies. Liszt was a national figure in Hungary and it was
important to the Hungarian musicians that they kept Liszt as a national
entity. Even though Hungarian musicians claim on Liszt was a matter of
national importance (Hooker, 2013, p.80). Although Liszt had lived
most of his life abroad, he still felt that Hungary was home as this is where
he spent the early years of his life. During the revolution, it is easy to see
that Liszt is on the side of Hungary fighting for their freedom. By the
middle of April,. With strong nationalistic overtones, meaning something
like Long live the Hungarians) to a Fidelio-like character. (Merrick, 1987,
p.31) This, in my opinion, gives the implications that Liszt is upholding
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Hungarian morality in the ways which he knows best, through music.

Although composing to uphold morality, earlier in this essay we find that
Liszts music is popular with the upper classes and the bourgeoisie yet the
main class affected by the revolution was the peasantry. Ascribed most
commonly to the following causes: the neglect of the Hungarian
peasantry. (Sked, 1989, p.94) This therefore shows that although Liszt
was on the side of the Hungarians, upholding morality in this time of need
was not a simple as first thought.
Liszt was a very well-travelled man which is due, in the most part, to the
demand of him from the public. He spent eight years from 1839 until 1847
travelling Europe giving concerts and entertaining his followers. (Searle,
1966, p.39) It was at this time that the piano, the pianoforte to use its full
name, was very much under development and Liszt was at the forefront of
pioneering this virtuosic instrument. He was the first pianist to give solo
concerts in large halls, for which he pioneered the term recital, still used
today. (Burkholder, 2010, p.628) I think this shows just how truly well
received Liszt was in the way that he was able to fill concert halls with not
only his music but fill them with people too. He truly was a man who could
rival his musical gift with his people skills and this rewarded him with
unbelievable fame. Although adored by the public around Europe, Liszt
was looked down upon by his contemporaries because of his fame and
tendencies to show off with his technique (2). However, the piano was
not just a show of musicality; it also at this time was a show of social
class. If one could play the piano, it implied riches and the ability to pay
someone to teach a member of the family. The piano split into two
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directions both being equally as important as the other. The first being the
small upright piano found in homes across Europe. This piano meant that
the bourgeoisie could join in and play along at the piano. Music was
becoming more and more available due to the artist working for the self
and this meant that music was enjoyable in homes. Music being readily
available like this worked as a bridge between social classes, all be it a
very small bridge but a very clever one at the same time. Music was now
something to be enjoyed by everyone (assuming there is a family member
who can play the piano) whether that be at home, in a concert hall or in a
salon. The second more virtuosic and less publically available piano, the
grand piano; big enough and loud enough to fill a concert hall. Liszt, being
who he was, would have without question played on the grand piano.
Through his way of writing and his inspirations he filled in where the piano
was missing, he gave music feeling and expression. Thus began those
wonderful feats of virtuosity and the remarkable technical demands of his
compositions, which have done so much to make the pianoforte what it is,
and to bring out its full capacity as regards execution and expression.
(Kobb, 1911, p.9) The idea of expression and putting oneself into the
music was an idea at the centre of Romanticism and an idea that Liszt
used to his full advantage. The full harmonies and textures used
throughout Hungarian rhapsody number two would not have been
possible without first consideration to its instrument. Fortunately for
himself, the public and the piano, in an already developing world, Liszt
was able to overcome troubles and even think of techniques to get past

what the piano lacked by nature and was one of the few instrumentalists
who could overcome boundaries set by the instrument.
In conclusion, Franz Liszt was a towering figure of his era and most
certainly was the best and most well regarded piano virtuoso of his time.
The piano manufacturer Sbastien Erard gave him a seven-octave grand
piano with the new double-escapement action that allowed quick
repetition, opening possibilities for virtuosity that Liszt was among the
first to exploit. (Burkholder, 2010, p.626) This level of leadership from a
young boy aged only twelve in an ever-growing and ever-expanding world
of music cannot be seen lightly. He was an innovator through and through
and this is not different in the Hungarian Rhapsodies. I think that number
two is seen as the most Hungarian due to its stylistic features such as
parallel octaves recreating the sound of the cimbalom and its csrds like
dance sections but mostly this music came at a time when the Hungarians
needed hope. The uprising of 1848 was a time when Hungary was proud
to be Hungarian. No matter the social class, everyone was Hungarian and
that is what was being fought for. It is therefore no surprise that the
nationalistic writer came out of Liszt and the Hungarian Rhapsodies were
very well received. I believe that the mark of a great composer or
musician is shown by what happens in their own era. Having said this,
Liszt led his era in terms of performance, composition and even
conducting and the terms he created are still with us even now and used
in everyday life throughout the world. Long before he died, he retired
from the concert platform, but his fame as a pianist has not diminished,
and his influence as a composer remains potent-indeed is felt more and
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more. (Kobb, 1911, p.7) Liszt changed the meaning of the word
rhapsody when he wrote his Hungarian rhapsodies and made it into
something big. He fused nationalistic features of Hungary into his music
that without doubt was from his childhood and through the struggles of
the Hungarian revolution reminded Hungary what they were fighting for
through the gift of music. He overcame boundaries set by the piano and
was without a doubt from what I have seen a leader in the development of
the piano guiding it to what it has become. I think this is why this piece
reflects the romantic era. It holds the term for absolute music as it
definitively works as a stand-alone piece. However, the message it brings
and the feelings of emotion within it was what the romantic era was all
about.

References to the Score

(1)

This is just one example for Hungarian Rhapsody number two where
octaves like this can be seen. Liszt used this effect to create the sound of
the Cimbalom (a traditional Hungarian instrument somewhat like the
piano). It is also effective at creating drama in the right places and
emphasising certain parts of the music.
(2) To back up this idea there are many parts of the score that could be
shown, however I have decided to use only two.

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This
comes from the section marked Friska. Not being a piano player myself it
is hard to comment on technique and how difficult something is. However,
from listening to the piece over and over this part sounds to me like there
is more than one person playing the piano and like a third hand is needed.
In my opinion, it is a fine example of idiomatic writing and an example of
how Liszt pushed the development of the piano through use of techniques
and not just hardware.

I
have chosen this excerpt because of the writing in the left hand. The
acciaccaturas shown on the score when crushed together with the
quavers give a sense of dissonant harmony. Although dissonant harmony
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this still sounds to fit perfectly where it is. The dissonance and shortness
of the quavers give a sense of fun to this passage and add humour to the
music again adding to Liszts range of techniques.

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