No. 5 in E minor

Among the 19 Hungarian Rhapsodies, this piece is relatively less demanding in terms of technical difficulty. The piece features a recurring melody filled with sorrow. Furthermore, the piece evokes an alternation between reality and fantasy. The piece is broadly divided into three sections:

• Song of Sorrow
• Second Song of Sorrow
• Love and Hope

Please note that these are merely illustrative metaphors.

From the beginning to measure 8, the Song of Sorrow commences, establishing the main theme of the piece. The phrase concludes at the second beat of measure 2; therefore, the sixteenth note on the upbeat of the second beat should be treated as a new element. Consequently, the pedal should be released at that point, and a silent release should be executed. The same applies to the upbeat of the second beat in measure 4. Observing the third beat of measure 2, there are ascending sixteenth notes. In measure 2, the melodic line reaches C. In measure 4, the melodic line reaches D. In measure 5, the melodic line reaches E on the upbeat of the fourth beat, and then F on the downbeat of the first beat in measure 6. After reaching F, it gradually descends, thus measure 6 can be considered the peak point.

The eight measures from measure 9 to measure 16 constitute a variation of the melody from measures 1 to 8.

However, observing the left-hand accompaniment pattern, there are no notes on the downbeats of the first and third beats; instead, there are sixteenth rests. This expresses a slightly agitato emotion. A slightly faster tempo might be appropriate here.

In measure 17, the second sad song begins in G major. One should not simply assume that a major key implies joy.

For instance, the first movement of Schumann's Fantasie, though in a major key, expresses sorrow. The same applies to this section.

Nevertheless, it is more fantastical than the first Song of Sorrow. It also represents a dreamlike or semi-conscious state. This section is brought back to reality between measures 24 and 25. After concluding the cadenza, the piece returns to the first Song of Sorrow in measure 27.

Up to the third beat of measure 34, it is identical to measures 1-8, but from the fourth beat of measure 34, a new type of variation emerges. This is a section with very strong emotional expression.

In measure 42, the second sad song reappears, but this time in E major, and the atmosphere is slightly different, for example, with the D note appearing on the second beat of measure 44. By measure 46, the melodic line becomes octaves, but this is brief, and it seems to be drawn back to reality again in measure 50. However, from measure 51, a song full of hope and love begins.

The section from measure 51 to measure 73 is the only part of the piece where hope, love, or wonderful past memories are evoked. And in measure 77, it returns to the first sad song and concludes.

In measure 70, the left-hand chord on the first beat may be difficult to reach. It would be advisable to play only the top C# with the right hand.

In measure 82, the right-hand chord is an F minor chord, which is very shocking. An F major chord would normally be expected [as the Neapolitan sixth of E minor]. However, this [expected F major chord] is absent only in measure 82.