Four Rhapsodies Op. 11

Ernst von Dohnányi (also known in Hungary as Ernö Dohnányi) won international acclaim as a virtuoso performer and eminent composer. Brahms and Liszt had a strong influence on his compositional technique and the “grand style” that was eminent in Dohnányi’s impressive pianism, technical brilliance, and expressive tone color. Brahms himself praised Dohnányi’s first published composition—his Quintet no.1 in C minor (1895). Dohnányi was a well respected conductor and legendary piano pedagogue. Some of his pupils include Georges Cziffra, Georg Solti, Boris Goldowsky, Edward Kilenyi, Mischa Levitzki, Eugene Ormandy, Fritz Reiner, and Annie Fisher. He taught for over 10 years at the Musikhochschule in Berlin starting in 1905, but because of the First World War he returned to Hungary in 1915 where he held directorial positions at the Liszt Academy. After a long and distinguished career he moved to Argentina before finally settling in Florida at the State University in Tallahassee in 1949 where he performed, composed, and conducted until his death in 1960.

Conceived as a collection of four, written in 1902-03, the work was dedicated to his teacher, Stefan Thomán. Rich in beautiful colours, nuances, and brilliance, the rhapsodies are exceedingly demanding both technically and emotionally, requiring pianists to demonstrate drastic, rapid, and continuous metamorphoses in emotions while seamlessly recasting moods. Dohnányi’s rhapsodies have rarely been performed in concerts. He experimented briefly with folk music but never completely indulged in it. The composer preferred to concentrate his efforts in creating original themes and centralised his ideas on preserving the romantic and classical forms of the 18th century, while at the same time introducing a zest of improvisation to his writings. The new experimental style and rhapsodic freedom made him a progressive of his time. Some scholars identify his Four Rhapsodies as a sonata in four movements: a sonata-allegro, a slow adagio, a scherzo, and a theme and variations (based on Dies Irae chant). Thematic connection is present throughout the entire work. In the final coda of the fourth rhapsody the listener hears the first rhapsody echoing.

— Kristina Marinova