Hungarian Rhapsody No. 2

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.

[1] 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.

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".

The memoirs contain an 1864 letter from Liszt, in which the composer acknowledges Ehrlich's influences while making no claim to the melodies; only that his task "as a rhapsodist is merely limited to turning them into works as close as possible to their true essence.

The alternating dominant and tonic harmonies quickly increase in volume, the tempo gaining momentum as the Friska's main theme (in F-sharp major) is approached.

At this point, the Friska begins its journey of ever-increasing energy and pianistic bravura, still underpinned by alternating tonic and dominant harmonies.

Before the final whirlwind of sound, a moment of calm prevails in the key of F-sharp minor, recalling another of the lassan's themes, and is followed by the instruction, Cadenza ad lib.

Finally, in the key of F-sharp major, there is a crescendo of prestissimo octaves, which ascend and then descend to cover almost the entire range of the keyboard and bringing the Rhapsody to a conclusion.

[3] In 1933, Franz Schreker made an orchestral transcription, the performance of which was originally intended to be filmed as part of a series entitled Das Weltkonzert.