Franz Liszt wrote the Hungarian Rhapsody no. 6, S. 244/6 (also LW.A132/6) in 1847. It is a single-movement, solo piano piece in the key of D flat major, dedicated to Count Anton Apponyi, and based on themes previously found on Liszt's own Magyar Dalok, and Magyar rapszódiák, fromS. 242. The piano version was first published in Vienna in 1853, and four years later it was adapted, toghether with other 5 rhapsodies, into an orchestral version. This was published as S. 359/3 (also called Hungarian Rhapsody no. 3). This version was published in 1874. Finally, a third and last version, for piano 4 hands, was written by Liszt himself in 1874, and published the following year. The Hungarian Rhapsodies often incorporate themes which Liszt believed to be folkloric at the time , but were in fact written by individual Hungarian composers, and often played by Roma bands. Liszt did preserve the structural device of tempo changes that is characteristic of Roma music, at the same time incorporating a number of pianistic effects to imitate its particular sound.
Franz Liszt wrote the Hungarian Rhapsody no. 6, S. 244/6 (also LW.A132/6) in 1847. It is a single-movement, solo piano piece in the key of D flat major, dedicated to Count Anton Apponyi, and based on themes previously found on Liszt's own Magyar Dalok, and Magyar rapszódiák, from S. 242. The piano version was first published in Vienna in 1853, and four years later it was adapted, toghether with other 5 rhapsodies, into an orchestral version. This was published as S. 359/3 (also called Hungarian Rhapsody no. 3). This version was published in 1874. Finally, a third and last version, for piano 4 hands, was written by Liszt himself in 1874, and published the following year. The Hungarian Rhapsodies often incorporate themes which Liszt believed to be folkloric at the time , but were in fact written by individual Hungarian composers, and often played by Roma bands. Liszt did preserve the structural device of tempo changes that is characteristic of Roma music, at the same time incorporating a number of pianistic effects to imitate its particular sound.