Csárdás (Liszt) Csárdás (Liszt) 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
Piano ballad Op. 122 (1852–53) which were written for piano and voice. Claude Debussy, a later composer, also wrote for piano and voice with his "Trois Ballades de François Villon" (, 1910). Works for piano and orchestra also bearing the title "ballad" have been written. These include Fauré's "Ballade", op. 19, which was written in 1881, and Charles Koechlin's "Ballade" for piano and orchestra, op. 50, written between 1911–1919. This work also exists as a solo work for piano. Piano ballad In 19th century romantic music, a piano ballad is a piece for solo piano written in a balletic narrative style, often