Editing Franz Liszt (section)

=== Late works ===
{{Main|Late works of Franz Liszt}}
Liszt's final period is considered to have started from about 1869,{{sfn|Baker|2005|pp=86,88}} during which he wrote a number of short and independent works, such as the collection ''[[Weihnachtsbaum (Liszt)|Weihnachtsbaum]]'' and a piano version of ''[[Via crucis (Liszt)|Via crucis]]'', although he did continue to write transcriptions and paraphrases as well as sacred vocal music.{{sfn|Baker|2005|pp=89,90,99}}{{sfn|Pesce|2014|pp=171,216}} Studies of his output from this period typically focus on pieces which display a willingness to push the boundaries of tonality and have an association with death and mourning, such as ''[[La lugubre gondola]]'' and ''Unstern!''.{{sfn|Baker|2005|pp=90,112,113}} The morbid focus on loss may be ascribed to Liszt's mental state in his final decade, when he suffered episodes of depression.{{sfn|Baker|2005|pp=87-88}} Many of these pieces remained unpublished in Liszt's lifetime.{{sfn|Baker|2005|p=113}}

Liszt's experimentation can be seen in his 1881 piece ''[[Nuages gris]]''. Its key signature is G minor, but ends in an ambiguous tonality; its texture is generated by a collection of fragments rather than a distinct melody and harmony; and it uses chromaticism and dissonance such as the [[tritone]].{{sfn|Pesce|2014|p=171}} Additional examples include ''[[Csárdás (Liszt)#Csárdás macabre, S.224 (1881-82)|Czardas macabre]]'', which repeatedly uses a single melodic motif and rhythm accompanied dissonantly or with open fifths, and "Csárdás obstinée", which makes extensive use of [[false relation]]s.{{sfn|Pesce|2014|p=211}} Some of his sacred vocal music also shows this type of experimentation, such as ''Via crucis'', which contains some movements without key signatures and with ambiguous tonality.{{sfn|Forte|1987|p=220}}