Late works of Franz Liszt to Saint-Saëns. The three czárdás that Liszt wrote—titled "Czárdás", "Czárdás obstinée" and "Czárdás macabre"—are less freely treated than the Hungarian Rhapsodies and remain more specifically Hungarian than gypsy in thematic material. Their spare lines, angular rhythms and advanced harmonies show these pieces to be direct ancestors of Bartók's work. Because of these attributes, the czárdás are considered by Liszt scholars among the more interesting of the composer's late output. The same, some critics argue, cannot be said as uniformly about his Hungarian Rhapsodies 16-19, composed after he had neglected the genre 30 years. Of these four late rhapsodies, only the
Piano Quartet No. 1 (Brahms) at the instigation of conductor Otto Klemperer and premiered by the Los Angeles Philharmonic Orchestra conducted by Klemperer; this orchestrated version was made into the ballet "Brahms–Schoenberg Quartet" by George Balanchine. The Hungarian-born composer Ernst von Dohnányi transcribed the fourth movement as a bravura showpiece for solo piano. There is a recording of Dohnányi playing the transcription on the Ampico B recording piano. This recording was released on a Newport Classic CD called "The Performing Piano II" (NC 60030) however, the piece is incorrectly attributed as being one of the Hungarian Dances. Piano Quartet No. 1 (Brahms) The Piano Quartet