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 folksongs for voice and piano (Bartók) Bartók; nos. 11–20: Zoltán Kodály not listed) Hungarian Folksongs (2nd series), for voice and piano (nos. 1–10) (1906–1907) Two Hungarian Folksongs, for voice and piano (1907) Eight Hungarian Folksongs, for voice and piano (nos. 1–5: 1907; nos. 6–8: 1917) Twenty Hungarian Folksongs, Vols. I–IV, for voice and piano (1929) Hungarian folksongs for voice and piano (Bartók) Magyar népdalok énekhangra és zongorára (English: "Hungarian folk songs for voice and piano") is a collection of Hungarian folk song arrangements by Béla Bartók. Bartók's "Hungarian Folksongs" are now much better known outside Hungary in arrangements for violin and piano, or—without voice—for piano alone.