Franz Liszt (1811-1886), a Hungarian composer transplanted to Paris, began writing the Transcendental Studies as a teenager and published the definitive version 25 years later. Despite being among the most difficult pieces for piano and pushing piano technique to its extremes, Liszt manages to transcend the purely technical aspect to enrich them with feelings, emotions, and images. In fact, a subtitle is given to almost all of the 12 Studies to better convey the characteristics of each one.
The fourth Transcendental Study is inspired by Mazeppa, a Pole from the 1600s who, after being caught in bed with a notary's wife, was tied to a horse sent into a gallop. Despite everything, he survived, went to Ukraine, and became a leader of the Cossack army.
Liszt's composition seems precisely to describe this ride.
Aside from the first measures where it is indicated to play them "A capriccio", the beginning is overwhelming, a continuous crescendo of speed and force. The central part is more lyrical and allows a moment of respite before accelerating again and bringing us to the end of this ride, with increasingly driving changes in tempo and rhythm. Finally ending in E major, dissolving the drama of the event and triumphantly welcoming our protagonist.
As confirmation of what is written above, Liszt often notes expressions such as "sempre più forte e animato" (ever louder and more animated), "il più forte possibile" (as loud as possible), "appassionato" (passionate), "tumultuoso" (tumultuous)... in the score, and at the end of the score, the following phrase: “Il tombe enfin!...et se reléve Roi!” (He falls at last!... and rises again a King!).
