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
Concerto for solo piano The Slovak composer Ján Zimmer wrote, in addition to seven concertos for piano and orchestra, a "Concerto for Piano without orchestra", op. 23 (1955/1956). The piano concertos nos. 4 and 6 of Michael Finnissy are pieces for solo piano. John White has described his Piano Sonata No. 152 as a concerto for solo piano. Concerto for solo piano While a concerto is generally a piece for an instrument or instruments with orchestral accompaniment, some works for piano alone have been written with the seemingly contradictory designation concerto for solo piano. Although various "concert" pieces have been written across history (such