The collection of works generally known as "Hungarian Rhapsodies" comprises 19 pieces, but their creation is divided into two periods. The works from No. 1 to No. 15, including "Rákóczi March," published between 1851 and 1853, originated from a group of works (for details, refer to the explanations for Hungarian National Melodies, S.243, and 21 Hungarian National Melodies and Rhapsodies, S.242) that Liszt composed following his visits to Hungary in 1839 and 1846. On the other hand, works from No. 16 to No. 19 were composed in his later years, between 1882 and 1885.

While it is now clear through research, such as folk song collection, that the music Liszt considered "Hungarian" was not strictly so, this collection represents Liszt's own research into Hungarian music, and criticizing its content is nonsensical.

What Liszt considered "Hungarian music" was music performed by Gypsy bands, who, at the request of their audience, played indigenous folk songs and other familiar tunes "in their style." What is crucial when considering Liszt's "Hungarian Rhapsodies" is this "performance style" of the Gypsy bands.

The root of their performance style was Verbunkos (then called Magyar), which was originally performed at recruitment events. However, gradually the music alone gained popularity, becoming completely independent of the events and widely fashionable among people of that time.

This Verbunkos style begins at a slow tempo, gradually accelerates, and concludes enthusiastically. In the initial slow section, a simple melody is excessively ornamented by a solo violin, presenting a unique performance with almost no sense of meter. In the accelerated section, clarinets and cimbaloms join in, unfolding virtuosic passages. Additionally, Gypsy bands had a custom of performing several pieces with distinct changes in tempo, and Liszt reflected this style in his "Hungarian Rhapsodies." The terms "Lassan" (slow) and "Friska" (fast) frequently appear in the collection, and music imitating the cimbalom, a folk instrument, is also often used. Furthermore, simple melodies are embellished with intricate ornaments, and the frequent use of fermatas notates the Verbunkos musical style.

This style is largely maintained in the works from No. 16 onwards, but the scale of the pieces becomes more compact, characteristic of his later works.

No. 1 in C-sharp minor

A two-part structure, with a slow-tempo first half based on a recitative theme at the beginning, and a fast-tempo second half based on a lively Allegro animato theme. The opening theme is presented in C-sharp minor but quickly modulates to E major; the piece as a whole is based on E major, and the D-flat major of the middle section is the enharmonic parallel major of C-sharp minor. Dedicated to his pupil, Zeredahely.

No. 2 in C-sharp minor

The most popular work in the collection. There are places where cadenzas are inserted throughout, and Liszt himself left multiple cadenzas. It is also known for Horowitz's arrangement and performance.

A Lassan follows an introduction with intricate ornaments, featuring a striking theme that uses the leading tone in a Gypsy scale style. A theme imitating the cimbalom already appears within the Lassan, which then becomes the first theme of the Friska. The Friska section of this piece further accelerates with a Gypsy-scale-like theme (F-sharp minor), and powerful Vivace themes (F-sharp major) and familiar themes from "Csikós Post" appear one after another.

Dedicated to Count László Teleki.

No. 3 in B-flat major

The opening Andante theme is presented in an extremely low register, and the accompanying chords are highly impressive, sounding like either B-flat minor or B-flat major. The middle section, Allegretto, is in G minor but resolves towards its parallel major, clearly indicating that parallel key relationships are central to this piece. After the opening theme returns, the middle section's theme reappears without accelerating, and the piece concludes.

Dedicated to Count Leo Festetics.

No. 4 in E-flat major

A two-part structure with a slow-tempo first half (Quasi adagio – Andantino) and a fast-tempo second half (Allegretto – Presto). The combination of continuous octave passages and an accompaniment that alternates between bass and chords in the second half, though simple, is by no means easy to play. Such a style is often seen in this collection.

Dedicated to Count Kázmér Eszterházy.

No. 5 in E minor "Héroïde-Élégiaque" (Sad Heroic Tale)

The opening theme's motif, with its dotted rhythm and anacrusis, is unmistakably a funeral march (Beethoven's Symphony No. 3 "Eroica," second movement, is also a funeral march in the same style). The structure alternates between this funeral march section (E minor) and a section where a sweet melody is sung over triplet accompaniment (first time: G major / second time: E major) in an A-B-A-B’-A form.

Dedicated to Countess Lewitzky.

No. 6 in D-flat major

A work often performed due to its high performance effectiveness. The indication "Tempo giusto" and the resolute opening are rare examples in this collection. Following the D-flat major introduction, a lively theme is presented at an extremely fast tempo (Presto) in C-sharp major (which is enharmonically the same as D-flat major, but Liszt deliberately changes the key signature). The middle section is in B-flat minor, with intricate ornaments and frequent use of fermatas blurring the sense of meter. This can be considered an excellent example of Verbunkos performance style notated. In the latter half, it modulates to B-flat major, and the piece concludes brilliantly with octave passages and a simple accompaniment pattern, similar to what is seen in No. 5.

Dedicated to Count Apponyi.

No. 7 in D minor

As indicated by Liszt's instruction "Play in a passionate Gypsy style," it has a two-part structure: a slow-tempo first half (Lento) filled with intricate ornaments, and an intense fast-tempo second half (Vivace). It is one of the pieces that concisely imitates the style of Gypsy music.

Dedicated to Baron Féli Orczy.

No. 8 in F-sharp minor

Similar to No. 7, it has a simple two-part structure consisting of a slow-tempo first half with intricate ornamental figures (Lento a capriccio in F-sharp minor) and a fast-tempo second half (Allegretto con grazia – Presto giocoso assai in F-sharp major).

Dedicated to A. D'Augusz.

No. 9 in E-flat major "Carnival in Pest"

Pest refers to the "Pest" part of present-day Budapest, the capital of Hungary. In contrast to "Buda," located on the hills west of the Danube River, "Pest" was a flat plain that developed economically. "Carnival" is a Christian festival (mainly in Catholic regions) held before Lent (46 days before Easter). Its main event is a large costume parade, and this work is thought to depict such an atmosphere.

The relatively slow first half, beginning Moderato, differs from the slow Lassan music, with the emphasis of the piece placed on the section from Presto onwards, marked "Finale." The fanfare-like opening resembles trumpets announcing the start of a costume parade.

Although it has a slow-fast two-part structure, it shows aspects that differ slightly from other Gypsy-style two-part compositions.

Dedicated to H.W. Ernst.

No. 10 in E major "Prelude"

The entire piece is constructed primarily around brilliant ascending figures, with the rapid scale passages at the beginning serving as their source. The tempo gradually accelerates from Andante to Allegretto, then Vivace, finally reaching Vivacissimo. Music imitating the cimbalom, indicated as "quasi zimbalo," is inserted in the middle section.

Dedicated to Béni Egressy.

No. 11 in A minor

Begins with a tremolo figure imitating the cimbalom (with the "quasi zimbalo" indication, similar to No. 10). The piece has a two-part structure consisting of a slow first half (Lento a capriccio in A minor – Andante sostenuto in A major) and a fast second half (Vivace assai in F-sharp minor – Prestissimo in F-sharp major). In the first half, improvisatory music with small note values unfolds, but notation with grace notes is avoided, instead using small note values such as 32nd notes and 64th notes.

Dedicated to Baron Féli Orczy.

No. 12 in C-sharp minor

An introduction with a powerful theme characterized by acciaccaturas, followed by a slow-tempo improvisatory passage based on this theme. Then, an Allegro Gypsy-style theme (E major), bell-imitating passages, etc., appear. After the return of the opening theme emphasizing the acciaccaturas, the piece plunges into a fast D-flat major section (an enharmonic reinterpretation of the parallel major of C-sharp minor) (Allegretto giocoso – Stretta Vivace). Finally, it becomes Adagio for just one measure, and the theme with acciaccaturas is restated, but it immediately turns into Presto, dramatically concluding the piece.

Dedicated to the violinist, Joseph Joachim.

No. 13 in A minor

Again, a clear two-part structure consisting of a slow-tempo first half (Andante sostenuto – Piu Lento) and a fast-tempo second half (Vivace – Presto assai). Each part consists of an A minor first half and an A major second half.

Dedicated to Count Leo Festetics.

No. 14 in F minor

Begins with a funeral march (Lento quasi marcia funebre) characterized by augmented second progressions, leading to a heroic march (Allegro eroico) in the parallel major (F major). As the motif develops through modulations to D major and E major, Gypsy-style music then unfolds in A minor (Allegretto a la Zingarese). After further improvisatory passages in D-flat major, among others, it concludes with fast music in F major (Vivace assai – Presto assai – Allegro brioso). This is the piece in the collection with the most prominent tonal development, and its structure is somewhat complex.

Dedicated to Hans von Bülow.

No. 15 in A minor "Rákóczi March"

The "Rákóczi March" is a melody passed down as a Hungarian folk song, named so because it was a favorite of Ferenc Rákóczi II. Berlioz also wrote this march in his The Damnation of Faust. The original piece is thought to have been composed by an unknown musician around the late 17th century, but the exact details are unknown.

No. 16 in A minor

A two-part structure consisting of an Allegro introduction, followed by a slow-tempo first half and a fast-tempo second half. A cadenza is inserted after the introduction, leading to the slow Lassan section, within which several more cadenzas are inserted. The introductory theme returns, immediately plunging into the fast Allegro con brio section. It passes through A major and F-sharp major before concluding in A major.

Dedicated to the painter Mihály Munkácsy (composed for the Munkácsy exhibition).

No. 17 in D minor

Written in a typical Gypsy music style, starting with a slow Lento, gradually accelerating through Allegretto in D major and Un poco piu animato, and continuously increasing in tempo until the very end of the piece (indicated by "poco a poco piu animato sin al Fine").

The Gypsy scale is used quite consciously, and the final note is B-flat, suggesting that tonal progression and choice of notes are intentionally avoided.

No. 18 in F-sharp minor

An extremely simple and clear two-part structure: a slow Lassan (Lento) and a fast Friss (Presto). It begins in F-sharp minor and concludes in F-sharp major.

Composed for the Budapest Hungarian Exhibition (1885).

No. 19 in D minor

Based on Ábrányi's "Noble Csárdás." This is the last piece in the collection and one of Liszt's very late works. Again, it has a clear two-part structure: a slow Lassan (Lento) and a fast Friss (Vivace).

The tonality begins in D minor and concludes in D major, but the leading tone and the raised fourth degree are emphasized, indicating a conscious use of the Gypsy scale.