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
Classical music of the United Kingdom in three "Scottish Rhapsodies" for orchestra (1880–81, 1911), and in various concerted works for piano or violin and orchestra composed during the 1880s and 1890s. Similarly, John McEwen's "Pibroch" (1889), "Border Ballads" (1908) and "Solway Symphony" (1911) also incorporated traditional Scottish folk melodies. Under the Anglo-Irish Treaty of 1921, twenty-six of Ireland's thirty-two counties, including the city of Dublin, were formally separated from the United Kingdom. While the two countries continued to share a classical music heritage, they would now develop on different lines. In what was now the United Kingdom of Great Britain and Northern Ireland, the outstanding composers