DBpedia – Linked Data Fragments

Matches in DBpedia 2016-04 for { ?s ?p "The three csárdás that Franz Liszt wrote in 1881-2 and 1884 are solo piano pieces based on the Hungarian dance form of the same name. Liszt treats the dance form itself much less freely than he did much earlier with the verbunkos in the Hungarian Rhapsodies, and the material itself remains more specifically Hungarian than gypsy in thematic material. Their spare lines, angular rhythms and advanced harmonies show these pieces to be direct ancestors of the compositions of Béla Bartók. Because of these attributes, the csárdás are considered by Liszt scholars among the more interesting of the composer's late output.One potential pitfall in discussing these works is labeling them as atonal on the basis of hearing strange sonorities at the surface of the music. The Csárdás macabre, for instance, is solidly based on compositional procedures consistent with Liszt's earlier style. The music focuses on variant forms of the mediant with concomittant contrast of sharp and flat key areas—in this case F major, F-sharp minor and G-flat major."@en }

• Csárdás_(Liszt) abstract "The three csárdás that Franz Liszt wrote in 1881-2 and 1884 are solo piano pieces based on the Hungarian dance form of the same name. Liszt treats the dance form itself much less freely than he did much earlier with the verbunkos in the Hungarian Rhapsodies, and the material itself remains more specifically Hungarian than gypsy in thematic material. Their spare lines, angular rhythms and advanced harmonies show these pieces to be direct ancestors of the compositions of Béla Bartók. Because of these attributes, the csárdás are considered by Liszt scholars among the more interesting of the composer's late output.One potential pitfall in discussing these works is labeling them as atonal on the basis of hearing strange sonorities at the surface of the music. The Csárdás macabre, for instance, is solidly based on compositional procedures consistent with Liszt's earlier style. The music focuses on variant forms of the mediant with concomittant contrast of sharp and flat key areas—in this case F major, F-sharp minor and G-flat major.".
• Q875415 abstract "The three csárdás that Franz Liszt wrote in 1881-2 and 1884 are solo piano pieces based on the Hungarian dance form of the same name. Liszt treats the dance form itself much less freely than he did much earlier with the verbunkos in the Hungarian Rhapsodies, and the material itself remains more specifically Hungarian than gypsy in thematic material. Their spare lines, angular rhythms and advanced harmonies show these pieces to be direct ancestors of the compositions of Béla Bartók. Because of these attributes, the csárdás are considered by Liszt scholars among the more interesting of the composer's late output.One potential pitfall in discussing these works is labeling them as atonal on the basis of hearing strange sonorities at the surface of the music. The Csárdás macabre, for instance, is solidly based on compositional procedures consistent with Liszt's earlier style. The music focuses on variant forms of the mediant with concomittant contrast of sharp and flat key areas—in this case F major, F-sharp minor and G-flat major.".