In some of his early compositions, Bartók divulged the influence of a composer he long admired, Franz Liszt. These four early piano pieces are such compositions, and they also carry whiffs of other musical scents in the air at the time, including those of Rachmaninov and of Scriabin.

The first of the four pieces, "Study for the Left Hand," is the longest. It is also quite obviously Lisztian in its dark opening theme and sweeter alternate melody. Development of the material in the lower ranges gives the music a sense of agitation, but the work ends with a sort of nonchalant triumph. "Fantasie I" comes next, another piece divulging the imposing sway of Liszt. The terse main theme echoes that voice in its passion and warmth, and Bartók develops it considerably in the course of this five-minute work, turning out much attractive music in the process. Yet, the piece does not come off with a substantial profile of its own.

The third of the four is "Fantasie II," which, showing hints of Liszt, divulges Rachmaninov and Scriabin influences, as well. This four-minute piece opens darkly, but gradually takes on a warmth in its nocturnal glow, and ultimately achieves a bit more sophistication in expressive manner. "Scherzo" closes out this set in a mostly bright, colorful mood, offering a main theme of Rachmaninovian radiance, and an alternate one that looks back toward Liszt, toward his menace and darker side. In the end, there is more Rachmaninov than Liszt in this eight-minute gem, especially in the opening theme and trio. And Bartók steps closer here toward his mature style than in any of the other three pieces.

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