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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 non-musicological 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 Darwin’s 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 socio-economic climate of the time. Once this has been achieved, I will move on and look into the development of 1

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An essay on German Romantic music from Hungary

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Page 1: German Romanticism

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 non-musicological 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 Darwin’s 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 socio-economic 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.

Liszt’s 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 rhapsodiák/Rhapsodies hongroises,

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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 Liszt’s 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, Liszt’s 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 Liszt’s Hungarian fan base. Liszt took much

influence from his childhood in 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.

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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 Rákóczy 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 wasn’t 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 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, Liszt’s

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

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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.” (Kobbé,

1911, p.8) Although the Hungarian rhapsody number two wasn’t written until twenty years

after this generous subscription had stopped, Liszt was still a musician who had reached a

pinnacle because of 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

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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 Hungarian morality in the ways which

he knows best, through music. Although composing to uphold morality, earlier in this essay

we find that Liszt’s 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

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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 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.” (Kobbé, 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.

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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 Sébastien 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 csárdás 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 more.” (Kobbé, 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

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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.

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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.

This

comes from the section marked ‘Friska’. Not being a piano player myself it is hard to

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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 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 Liszt’s range of techniques.

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References and Bibliography

Apel, W (1979). Harvard Dictionary of music. 2nd ed. Great Britain: Heinemann Education Books LTD.

Beckett, W (1963). Liszt. London : J.M Dent & Sons Ltd.

Burkholder, J, et al (2010). A History of Western Music. 8th ed. United States of America: W. W. Norton & Company.

Dahlhaus, C (1989). Nineteenth-Century Music. United States of America: University of California Press. 6518.

Dahlhaus, C. (1989). Nationalism and Music. In: Dahlhaus, C and Stephan, R Between Romanticism and Modernism. United States of America: University of California Press.

Einstein, A (1947). Music in the romantic era. New York: W. W. Norton & Company.

Fano, G and Gregory, J. (1917). The Creators of Modern Musical Idealities. The Musical Quarterly. 3 (3).

Francey, D. (1990). A Study of Franz Liszt's Hungarian Rhapsoies. Available: https://circle.ubc.ca/bitstream/handle/2429/3316/ubc_1992_spring_francey_dana_charlene.pdf?sequence=1 . Last accessed 11th Nov 2014.

Grew, S. (1921). National Music and the Folk-song. The Musical Quarterly. 7 (2).

Grove, G (2001). The New Grove Dictionary of Music and Musicians Volume 14. 2nd ed. London: Macmillan Publishers Limited.

Grove, G (2001). The New Grove Dictionary of Music and Musicians Volume 17. 2nd ed. London: Macmillan Publishers Limited.

Grove, G (2001). The New Grove Dictionary of Music and Musicians Volume 21. 2nd ed. London: Macmillan Publishers Limited

Hooker, L (2013). Redefining Hungarian Music from Liszt to Bartók. New York: Oxford

University Press.

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Kilenyi, E. (1919). The Theory of Hungarian Music. The Musical Quarterly. 5 (1).

Kobbé, G. (1911). Centenary of Liszt's Birth. The Lotus Magazine. 3 (1).

Kodaly, Z (1960). Folk Music of Hungary. Budapest: Da Capo Press Inc.. 61651.

Lin, J (1997). A History of European Folk Music. Rochester: University of Rochester Press.

Mason, D (1906). The Romantic Composers. London: The Macmillan Company.

Merrick, P (1989). Revolution and Religion in the Music of Liszt. 2nd ed. Great Britain: Antony Rowe Ltd.

Plantinga, L (1984). Romantic Music. United States of America: W. W. Norton & Company, Inc.

Rodda, R. (2011). Hungarian Rhapsody No. 2. Available: http://www.harrisburgsymphony.org/MW1.pdf. Last accessed 11th Nov 2014.

Rosen, C (1998). The Romantic Generation. United States of Ameriva: Havard University Press.

Samson, J (2001). The Cambridge history of nineteenth-century music. London: Cambridge University Press.

Searle, H (1966). The Music of Liszt. 2nd ed. London: Constable and Company Ltd.

Sitwell, S (1967). Liszt. 2nd ed. London: Constable and company Ltd.

Sked, A (1989). The Decline and Fall of the Habsburg Empire 1815-1918 . 2nd ed. New York: Longman Inc.

Strunk, O (1965). The Romantic Era. United States of America: W. W. Norton & Company, Inc.

Taylor, A (1948). The Habsburg Monarchy 1809-1918 A History of the Austrian Empire and Austria-Hungary. 2nd ed. London: Hamish Hamilton.

Taylor, R (1986). Franz Liszt The Man and the Musician. London: Grafton Books.

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