This is a dramatic and highly effective short piece in homage to the great Hungarian-born composer Franz Liszt, written by a leading twentieth century Finnish composer. It is a tonal work, recognizably based on one of Liszt's favorite nationalistic themes, and, fittingly, requires highly virtuosic string playing.

Rautavaara (b. 1928) was educated with the conservative approach that dominated higher musical education in Finland while he attended the Sibelius Academy. It was the example of Hungarian composers that helped him develop a distinctive style. Rautavaara had become interested in the folk music of the Ostrobothnian region of northwest Finland, and while still a conservatory student their melodic patterns infused his initial neo-Classical style. Early on, in his Suite for String (1952) he used the anapestic rhythms of Hungarian music, particularly the Hungarian folk music researched by Béla Bartók and Zoltán Kodály together with the melodic elements of his native music when crafting his themes.

Later, after a few years in which he sometimes used the twelve-tone system, he also found Bartók's way of using all the chromatic notes tonally to be a good example. Rautavaara came to have great respect for these Hungarian masters as well as their predecessor, Liszt. Having already composed string orchestra pieces in honor of Bartók and Kodály, he composed this work in 1989. As he had in the earlier works, in titling the work Rautavaara observed the Hungarian custom of placing the surname first. Further, he used the Hungarian version of "Francis" (Ferenc) for the Christian name, rather than the German version, "Franz," which the German-speaking Liszt actually usually used himself.

The composition begins quietly with a quotation of the first phrase of the main theme of Liszt's "Funeral March" Rhapsody (S 244 no 15), which is also the main theme of the Hungarian Fantasy for piano and orchestra, S 123. The typical short-long "Hungarian" rhythm dominates this theme.

In the four-minute course of this Homage the theme is frequently present in the background, while the emotional pitch of the music works up with rapid figurations and demonic trills, building to a grinding dissonant passage. Then it very quickly fades away.

© Joseph Stevenson, All Music Guide