Phone
Tablet - Portrait
Tablet - Landscape
Desktop
Toggle navigation
Performers
Steinway Performers
Albright, Charlie
Anderson, Greg
Arishima, Miyako
Benoit, David
Biegel, Jeffrey
Birnbaum, Adam
Braid, David
Brown, Deondra
Brown, Desirae
Brown, Gregory
Brown, Melody
Brown, Ryan
Caine, Uri
Chen, Sean
Chulochnikova, Tatiana
Deveau, David
Farkas, Gabor
Feinberg, Alan
Fung, David
Gagne, Chantale
Golan, Jeanne
Goodyear, Stewart
Graybil, Matthew
Gryaznov, Vyacheslav
Gugnin, Andrey
Han, Anna
Han, Yoonie
Iturrioz, Antonio
Khristenko, Stanislav
Kim, Daniel
Li, Zhenni
Lin, Jenny
Lo Bianco, Moira
Lu, Shen
Mahan, Katie
Mao, Weihui
Melemed, Mackenzie
Min, Klara
Mndoyants, Nikita
Moutouzkine, Alexandre
Mulligan, Simon
Myer, Spencer
O'Conor, John
O'Riley, Christopher
Osterkamp, Leann
Paremski, Natasha
Perez, Vanessa
Petersen, Drew
Polk, Joanne
Pompa-Baldi, Antonio
Rangell, Andrew
Roe, Elizabeth Joy
Rose, Earl
Russo, Sandro
Schepkin, Sergei
Scherbakov, Konstantin
Shin, ChangYong
Tak, Young-Ah
Ziegler, Pablo
Facebook
Twitter
Instagram
Back 1 step
Franz Liszt
Franz Liszt
Hungarian Rhapsodies (19) for Piano, S 244: no 17 in D minor
Interpretations
About This Work
Controls
Cover
Artists
Label
Movements
×
Add To Playlist
Success
This selection has been added.
Playlist
Create
Cancel
Confirm
Cancel
About This Work
The first 14 Hungarian Rhapsodies were composed in the period 1847 --1853, though most have roots dating back to 1839 -- 1840 when original versions appeared in a set of 11 Magyar Dalok. The last five Rhapsodies were added in the years 1871 -- 1886. This one was written and published in 1882 and shares with No. 18 the distinction of being the shortest of the Rhapsodies, each having a duration of just over three minutes. For all its brevity though, this D minor effort, like most of the other later Rhapsodies, is much deeper and darker than the comparatively lighter, more virtuosic earlier ones. Gone are the garish colors here, the festivity, the Gypsy exoticism, and the slam-bang dazzle. Instead, Liszt, who had taken minor orders in the Catholic church and long since shed his virtuosic phase, presents a somber theme of marginally Hungarian character. Gradually, the music grows restless in its gloom, becoming more animated and agitated until it explodes in a rage of vehement bass chords and octaves, intent on crushing everything in sight with its triple forte dynamics. The work is rousing, to be sure, but a dark and angry statement of the elderly composer.
×
Add To Playlist
Success
This selection has been added.
Playlist
Create
Cancel
Confirm
Cancel
60A6D99B763259FA66102C12320E7664