No. 3 in B-flat Major

This Hungarian Rhapsody is relatively less demanding technically among the 19 pieces. It lacks a friska section, and although there is an allegretto part midway, it is composed as a very relaxed piece. Three distinct worlds coexist within this piece: the heavy, sorrowful song section, the section with intricate notes reminiscent of a guitar, and the rhythmic, lively violin section based on Hungarian folk melodies. Each should be treated as a separate world.

The piece begins with a heavy, sorrowful song. This section spans from measure 1 to measure 16. These 16 measures can be divided into two parts: measures 1-8 and measures 9-16.

Both measures 1-8 and measures 9-16 can each be further divided into three sections. Let's examine measures 1-8. The first musical idea begins with an anacrusis at the opening and extends to the third beat of measure 2. The score indicates "pesante espress," and it should be played accordingly. However, the Budapest edition consulted by the author includes pedal markings in measures 1-2, instructing the pedal to be held for each measure. If followed strictly, this can lead to considerable muddiness, especially in measure 2. It is suggested that measures 1-2 be played with little to no pedal.

From the fourth beat of measure 2, the music enters the second section, which extends to the third beat of measure 4. During this passage, the left hand of the melody line plays in octaves, and the volume increases slightly. Due to the octaves, the pedal becomes essential in this second section. For the eighth-note passages, it is advisable to change the pedal once for every two eighth notes.

The third section (from the fourth beat of measure 4 to the fourth beat of measure 8) returns to a single melodic line, yet it reaches its greatest volume thus far, peaking at measure 6 before a diminuendo to measure 8.

This section of the heavy, sorrowful song, composed of these three sections, reappears at measure 39. This time, it begins with octaves from the outset, and the volume is even greater than in its first appearance (measures 1-16).

Regarding the heavy, sorrowful song sections, one crucial hint is to recognize the difference between modern pianos and pianos of the period. When playing a score written for pianos of that era, which had less sustain, on a modern piano, the sound can become excessively loud, leading to a chaotic result where it's unclear what notes are being played. Consequently, the written pedal markings should not be followed blindly. Play with a moderate volume, ensuring that the individual notes are clearly audible.

Now, the first appearance of the second distinct world occurs from measure 17 to measure 22. This section clearly depicts a guitar-like instrument. It also calls for an improvisatory element. Experiment with the soft pedal; a slightly blurred sound may be acceptable. In any case, the performance should drastically change in character from the preceding sections.

The third section spans from measure 23 to measure 27. Although it starts pp, it conveys an almost unbearable level of tension. The instrument depicted is likely violin-like. Therefore, strict adherence to articulation is necessary, and this section also benefits from an improvisatory quality. Measures 26 to 38 are merely a repetition of measures 17 to 27. However, octaves are added, further increasing the tension.

At measure 39, the heavy, sorrowful song from measure 1 reappears. At measure 54, a portion of the melody from the second, guitar-like world appears in the right hand, combined with fragments of the heavy song in the left hand. The piece reaches its peak at measure 60, and from measures 62 to 64, memories of other worlds resurface, concluding dramatically with a crescendo in measures 65-66.