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 symphony not just through the sonority that the orchestra is painted and becomes tangible, but equally through the style and the way that the polyphony is handled." Several decades later, Kaikhosru Shapurji Sorabji wrote his Third Piano Sonata (1922), which he described as a piano symphony. Between the years 1938–1976, Sorabji wrote 6 piano symphonies. Among these is also sometimes included his Piano Symphony No. 0 (1930–1931), which is the complete piano part of his otherwise unfinished 2nd Symphony for Orchestra. Niels Viggo Bentzon described his Partita for Piano, Op. 38 (1945), as a "symphony for solo piano". The composer John