Liszt’s sixth symphonic poem is a depiction of a wild ride through the steppe. The idea for the music goes back to the piano études of 1826 and the fourth piece of the Grand Études. In 1840 Liszt took this piece from the cycle and, adapted to Victor Hugo’s poem Mazeppa, he dedicated it to the poet. In 1851 Liszt had it published under Transcendental Études (No. 4) and arranged it in a symphonic poem for orchestra. It tells the story of Ivan Mazeppa who was tied to a wild horse, and whose idealised figure was for Liszt a symbol of the artist’s sufferings and triumph.

The first section of the symphonic poem is a transcription and brilliant orchestration of the étude. The march-like main theme returns in many keys and characters, faster every time. In the slow middle section strikes of the kettle drum signal the end of the gallop, the collapse and death of the horse. The third, Allegro marziale section is heralded by a wind signal. The Ukrainians rescue Mazeppa and elect him as their leader. Two new themes alternate in this section. The first, march-like music symbolises Mazeppa’s triumphant rebirth; the second has an oriental dance character and depicts the Ukrainian environment, but with its appoggiaturas and fourth melodies it is not unlike Liszt’s Hungarian-character works either. The main theme symbolically returns in glorified form at the end of the work.