Franz Liszt | Hungarian Rhapsody No. 2 in C-sharp minor

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

The Hungarian-born composer and pianist Franz Liszt was strongly influenced by the music heard in his youth, particularly Hungarian folk music, with its unique gypsy scale, rhythmic spontaneity and direct, seductive expression.

These elements would eventually play a significant role in Liszt's compositions.

Josef Nikolaus Kriehuber | Portrait of Franz Liszt, 1846

Although this prolific composer's works are highly varied in style, a relatively large part of his output is nationalistic in character, the Hungarian Rhapsodies being an ideal example.

Composed in 1847 and dedicated to Count László Teleki, Hungarian Rhapsody No. 2 was first published as a piano solo in 1851 by Bartholf Senff.

Its immediate success and popularity on the concert stage led to an orchestrated version, arranged (together with five other rhapsodies) in 1857–1860 by the composer in collaboration with Franz Doppler, and published by Schuberth in 1874-1875.

In addition to the orchestral version, the composer arranged a piano duet version in 1874, published by Schuberth the following year.

Offering an outstanding contrast to the serious and dramatic lassan, the following friska holds enormous appeal for audiences, with its simple alternating tonic and dominant harmonization, its energetic, toe-tapping rhythms, and breathtaking "pianistics".

Franz Liszt | Hungarian Rhapsody No. 2 in C-sharp minor

Most unusual in this composition is the composer's invitation for the performer to perform a cadenza, although most pianists choose to decline the invitation.

Marc-André Hamelin composed a cadenza that has since become famous for its originality, musicality and playfulness and Sergei Rachmaninoff also wrote a famous cadenza for his interpretation.

Liszt himself wrote several cadenzas for his pupils' performances of the piece, but they were rarely performed.

Other pianists have arranged their own versions of the Rhapsody with changes beyond that of simply adding a cadenza, most notably Vladimir Horowitz in 1953.

Josef Danhauser (1805-1845) | Franz Liszt fantasizing at the piano, 1840 | Alte Nationalgalerie

One of the most famous images of the pianist, Josef Danhauser’s Liszt am Flügel (1840), features him playing to a collection of rapt artist-listeners, in a room (supposedly his own) containing a portrait of Byron but dominated by a bust of Beethoven (in whose general direction he gazes upwards, completing the dramatic diagonal that extends right across the picture).

Through a seemingly glassless window a distinctly stormy sunset is visible. But there is more.

The grand piano itself appears to be half inside the room and half outside, collapsing the distance between the here-and-now and infinity; likewise, the outsize bust of Beethoven, which seems at first sight to be placed on top of the piano, actually inhabits an ambiguous space above it - a floating vision for the viewer, framed by, and existing beyond, the window opening.

Josef Danhauser | Franz Liszt fantasizing at the piano, 1840 (detail)| Alte Nationalgalerie

L'opera "Liszt al pianoforte" del pittore austriaco Josef Danhauser (Vienna, 1805-1845) simboleggia il culmine estetico del Romanticismo europeo.

Franz Liszt è raffigurato mentre suona il pianoforte per sei dei suoi amici, tutti noti artisti romantici.

Nella stanza, da sinistra a destra, si trovano due gruppi di tre artisti ciascuno: dal mondo letterario provengono i romanzieri George Sand (vestita da uomo, sdraiata in poltrona e con un sigaro in bocca), Alexandre Dumas Sr. (seduto accanto a Sand) e Victor Hugo (appoggiato allo schienale della sedia di Sand); dal mondo musicale provengono il violinista Nicolò Paganini, il compositore d'opera Gioachino Rossini e, naturalmente, il compositore/pianista Franz Liszt.

La settima persona, seduta ai piedi di Liszt, è la sua amante, la contessa Marie d'Agoult; era la madre della figlia di Liszt, Cosima, che in seguito sarebbe diventata moglie di Richard Wagner.

Sono raffigurati anche i due più grandi artisti del Romanticismo, Byron e Beethoven.

Lord Byron, forse il più grande e certamente il più famoso poeta del Romanticismo, è rappresentato da un ritratto appeso alla parete, presumibilmente una copia del celebre disegno di George Harlow (vedi sotto).

Ludwig von Beethoven, il più grande compositore del Romanticismo, è raffigurato da un busto luminoso, sorprendentemente simile al celebre busto di Beethoven del 1821 realizzato da Anton Dietrich.

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Henri Lehmann | Portrait of Franz Liszt, 1839