Rich colorful keyboard languages in Liszt's Hungarian Rhapsody

Liszt's "Hungarian Rhapsody", the rich colorful keyboard language, such as various fast scales, broken chords, octaves, repeated notes, two-tone, chord, fauna, glissando, tremolo, ornaments, cadenza,  imitation of folk instruments sound vocabulary, which form a splendid, majestic powerful, lyrical and delicate, humorous mix of sound world,  In Liszt "Hungarian Rhapsody", the octave technology has been widely used. Almost every  "Hungarian Rhapsody" can be found in many octave examples, especially in the last paragraph of music,

Liszt often use long length of eight successive degrees, in efforts to work together to promote the gradual strengthening and speeds up next put music to a brilliant end.

Bartok  considered the virtuosity of Liszt end  as "fabulous outstanding at the end,"  which embodies Liszt's "optimism" spiritual.

In Liszt "Hungarian Rhapsody", those structures filled with brilliant sound stanza, octave skills  played a very active role , in Liszt "Hungarian Rhapsody" , it has distinct features and has been widely used as an important keyboard language.

In Liszt's works, octave technique has been the most intensive development and application of  Liszt's works . There are fast octave scale consisting of chromatic, Gypsy scale; fast hands staggered octave, the "Liszt octave" decomposition octave form, double octaves, octave chords, especially added three octave or in the form of six degrees of sound and so on. Fast  cadenza Liszt commonly used  in "Hungarian Rhapsody"  in technical approach, including a variety of scales, chromatic and other combinations.

  Cadenza ,  as cadenza means of improvisation performances, initially in the form of application cadenza improvisation 18th century opera singer sang arias at the end of last termination ,later this skills made in the  instrumental soloists of the concerto. In Liszt's "Hungarian Rhapsody", he used a lot of cadenza   form, through a variety of organized spilled in the works, like those many shiny pearl-like, become a major feature of its keyboard language. In No. 15 "Hungarian Rhapsody", the cadenza  through the use of very common sentence, his best combination of various forms of improvisation virtuoso of responsibility, and in No.4  "Hungarian Rhapsody", only the first 16 of the 45 sections to 59 bar, 80 bar to 95 bar using a fast cadenza , from this angle, Liszt visibly changed in his old age style from his keyboard language use. Compared with the previous No.15 "Hungarian Rhapsody" it is brilliant, magnificent virtuoso, similar to the orchestra like a piano style, in his later four "Hungarian Rhapsodies" , they are more reflected in a centralized, refining, novelty piano style, music often focus in a single part, even more lonely and introverted.

李斯特的《匈牙利狂想曲》中，豐富絢麗的琴盤語言，如各種快速音階、分解和弦、八度、重複音、雙音、和弦、大跳、滑奏、震音、裝飾音、華彩句以及對民族樂器音響的模仿語彙等，構成了光輝燦爛、雄壯有力、抒情細膩、詼諧幽默而又千姿百態的音響世界. 在李斯特《匈牙利狂想曲》中，八度技術得到了廣泛的運用。幾乎每一首《匈牙利狂想曲》中都可以找到很多八度的例子，特別是在樂曲最後的段落，李斯特常常應用長篇幅的連續八度音，在力度逐漸加強和速度逐漸加快的合力推進下，把音樂推向輝煌的結束。
巴托克把李斯特這些技巧高超的結尾稱為“神話般卓越的結尾”，並且認為其中體現著李斯特的“樂觀主義”精神。
在李斯特《匈牙利狂想曲》中，那些充滿輝煌音響的結構段落裡面，八度技巧發揮了非常積極的作用，成為李斯特《匈牙利狂想曲》中具有鮮明特徵而被廣泛運用的一種重要的琴盤語言。八度技巧在李斯特的音樂作品中得到了最為密集的、集大成的開發和應用，在他的各類形式的作品中都可以找到這樣的例子。當然在其《匈牙利狂想曲》中，對八度技巧的運用方式是豐富多變的。有快速八度構成的音階、半音階、吉卜賽音階；快速雙手交錯進行的八度，即“李斯特八度”、分解八度形式、雙八度、八度和弦，尤其是加入三度音或六度音的形式等。　快速華彩是李斯特《匈牙利狂想曲》中常用的技術手法，其中包括各種音階、半音階和其他組合方式。華彩作為一種即興性的表演手段，最初以華彩樂段的形式應用在18世紀歌劇演唱家在詠嘆調結尾的最後終止式前所作的即興演唱，後來這一做法被器樂協奏曲的獨奏家們所借用。在李斯特的《匈牙利狂想曲》中，作者採用了大量的華彩經過句的形式，通過各種組織方式灑落在作品中，猶如一顆顆明珠般熠熠生輝，成為其鍵盤語言的一大特色。在前15首《匈牙利狂想曲》中，華彩經過句運用得非常普遍，各種形式的組合極盡即興炫技之能事，而在最後4首《匈牙利狂想曲》中，只有第16首的45小節至59小節、80小節至95小節運用了快速華彩經過句，從這個角度觀察，可見李斯特在晚年創作風格和鍵盤語言運用上的變化。相對於前15首《匈牙利狂想曲》的輝煌燦爛、宏偉炫技，類似於交響樂隊般的鋼琴風格，後4首《匈牙利狂想曲》則更體現為一種集中、精煉、新奇的鋼琴風格，音樂常常集中在一個單一的聲部上，顯得更為孤寂和內斂。