Composed in 1851. In its first edition, this piece was titled "Wild Jagd / Host of the Dead," but this title is now associated with the 8th Transcendental Etude, known in Japanese as "Kari" (The Hunt).

Incidentally, "Wild Jagd" refers to "the King of the Underworld (who rides through the air leading a host of spectral riders at midnight)," indicating that even if simply translated as "The Hunt," it undoubtedly implies a wild and ferocious kind of pursuit.

The contrast between the scherzo, which possesses strong demonic elements, and the valiant march, which carries an eerie atmosphere, is effective and deeply impressive.

A major characteristic of this piece is that the entire work is dominated and unified by a small number of motives. These motives gradually transform as the piece progresses, following the musical context; this technique foreshadows the later masterpiece, the Sonata in B minor.

Scherzo and March is highly difficult; even the dedicatee of the piece, pianist Theodor Kullak, and the renowned virtuoso Carl Tausig, were unable to master it. It is said that the only one who succeeded in performing it was Liszt's pupil, Hans von Bülow. Even today, it is not frequently performed and can still be considered a "hidden gem." However, the increasing attention it has received can largely be attributed to the influence of the maestro Horowitz, who included this piece in his live recordings. Horowitz performed the latter half of the piece with significant alterations. Compared to the original, one gets the impression that the narrative Liszt likely intended is somewhat diminished, yet the performance effect is higher than that of the original, ultimately gaining widespread approval from audiences.

When performing this piece, it is important to effectively differentiate between the parts representing the so-called "raging demons" and those representing the "controlling force," and also to skillfully distinguish between noise and musical tone depending on the passage.