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The first Hungarian creations of Liszt were made during his stay in Vienna and Paris, yet these works, specifically the two movements of Zum Andenken, are anything but thoughtful compositions (Arnold 18). Besides the record of a Hungarian-influenced Schubert tune, Liszt was unable to give much attention to the music of his native land until his homecoming as an adult (Gervers 385).
Liszt’s return to his homeland in 1839-1840 was vital to the development of his personal musical technique. In spite of his German roots, embraced French traditions, and mother tongue, Liszt had not stopped to proclaim himself a Hungarian (Loya 28). It was in the course of these visits, famous as the revered national champion of romantic nationalism at a time of Hungary’s fight for cultural and national autonomy, that he started to return to his Hungarian origins with more fervent sentiments. The early portrayals of the national music of Hungary that Liszt was not able to forget eventually became more meaningful to him than sheer oddity. This form of distinctive national music at its peak at the moment was certainly not folk music, but an expression of global ancestry. Zoltan Kodaly and Bela Bartok would uncover the early Hungarian peasant music much later in the first half of the 20th century (Walker 54). The national music had emerged from an enlisting music, or verbunkos, that had thrived since the latter part of the 18th century (Gervers 386). This paper discusses the influence of Hungarian folk music on Liszt’s rhapsody no. 2 or, generally, on his Hungarian rhapsodies.
Simply numerous, roughly the same tunes, are the prerequisite components of folk music. An example of this folk music is the Hungarian village’s music. Those who are slightly familiar with contemporary Hungarian village melodies are aware that their songs have obvious resemblance in relation to structure and cadence. The two major classifications of Hungarian village
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