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
Alexander Mackenzie (composer) 19th- and early 20th-century Britain". During his time teaching in Edinburgh, Mackenzie wrote several works, including a piano trio, a string quartet and a piano quartet, and he maintained a considerable output despite his crowded schedule both then and later. "The Times" reported that his list of compositions numbered 90, of which 20 were distinctly Scottish. His orchestral works include the overture "Cervantes", performed at Schwarzburg-Sondershausen in 1877, three "Scottish Rhapsodies", a violin concerto premiered by Pablo de Sarasate at the Birmingham Festival of 1885, a "Scottish" concerto for piano (1897), a suite, "London Day by Day" (1902), and a