Hungarian Rhapsody No. 6 in D-flat major, S.244
by Franz Liszt

The Hungarian Rhapsodies, S.244 consists of 19 piano pieces, written by Liszt during 1846-1853, and later in 1882 1885. It is a musical gesture Liszt paying homage to his Hungarian root, where most of the pieces' melodies are borrowed from Hungarian folk themes.

They are usually played as a showy piece, though some inspired some poetic moment. Mostly proliferated with loud chords, con bravura  cadenzas, fast running passages, daunting leaps, etc.: musical means that seem trying to utilize the more powerful sound of then fortepiano and suggest orchestral sound on the piano. In fact, some the pieces from this collection had been latter transcripted by the composer himself into orchestral score.

The large scale structure of each was influenced by the verbunkos, a Hungarian dance in several parts, each with a different tempo. Within this structure, Liszt preserved the two main structural elements of typical Gypsy improvisation - the lassan ("slow") and the friska ("fast"). At the same time, Liszt incorporated a number of effects unique to the sound of Gypsy bands, especially the pianistic equivalent of the cimbalom. He also makes much use of the Hungarian gypsy scale.

Hungarian Rhapsody No. 6 in D-flat major starts with Tempo Giusto (supposedly in strict pulse), simple melody traverse in chordal form on both hands, and some spiritful gesture aimed at instantly grabbing the attention of the listeners. In the second part, it runs into C# major, enharmonic with D-flat major, adopting a even faster speed and sharp contrast of dynamics. In the third part, the lassan, is in B-flat minor, relative key of D-flat major. It is a passage of some darker moment, perhaps trying to give an impression of semblance seriousness. This won't stay long as the music comes to its last part, the friska, which surprisingly does not go back to its tonic key, but going to B-flat major. And the music will end in this adopted new key, making a stupendous exit laden with octave passage in both hands.

Like the No. 2 or No. 12, No. 6 seems like another favourite for pianists. Though not as overly played as the No. 2, it nevertheless gives a rush of blood.