Liszt - Short Works

Nuages Gris

It is safe to say that this work is in no way composed for virtuoso effect. In this work there are several techniques which foreshadow 20th century composition…

1) Quartal harmonies (in this case making use of the tritone as a diminished fourth)
2) Use of modes rather than classically influenced major and minor harmony (Lydian in this case)
3) Steady use of augmented chords (non resolving)

This is most definitely a study in atmospheric harmonization. Most likely this can be looked at from the perspective of a pianist, who having attained all the virtuosity one could dream of, is now more interested in an equal command over harmonies.

Mephisto Polka

If anything I would characterize this as a compositional etude in ornamental textures. The score is rather bare even simply by looking at the page without listening. Liszt is able to achieve some interesting textural tricks, however, making this piece tolerable to listen to without succumbing to complete boredom.
Liszt sets the music in motion with a decidedly two-part texture. He then furthers the complexity with the A-sharp to B motive which establishes a soprano harmony over the sextuplet in the alto. At the un poco legato he alters register and accompaniment so that now the staccato melody is superimposed over a glittering arpeggiated left hand. The texture thins and we leave the piece in exactly the same manner we began.