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
Hungarian Dances (Brahms) 4 and 7), Paul Juon (No. 4), Martin Schmeling (1864–1943) (Nos. 5 to 7), Hans Gál (Nos. 8 and 9), (Nos. 5, 6 and 11 to 16) and (Nos. 4, 8 and 9). More recently, Iván Fischer has orchestrated the complete set. Brahms's "Hungarian Dances" were influential in the development of ragtime. See, for example, the role of German-American piano teacher Julius Weiss in ragtime composer Scott Joplin's early life and career. The earliest known recording of any movement of Hungarian Dances was a condensed piano-based rendition of Hungarian Dances No. 1, from 1890, played by Brahms himself, and was