and S.216 Composed in 1883, the Third Mephisto Waltz, S.216, takes the harmonic language even further, featuring chords built up by fourths with numerous passages of descending minor triads whose roots are a semitone apart. The chord on which these progressions are based, according to Alan Walker, "is difficult to explain in terms of traditional harmony. It is best regarded as a 'fourths' chord in its last inversion." Tonally, the music is pulled between F major, D minor and D minor. As in its predecessors, the Third Waltz has the devil dancing in triple time while other groups of three move past so quickly that a larger rhythm of four is established, and triple time is abandoned altogether in the dreamlike passage near the work's conclusion. Humphrey Searle, in his book The Music of Liszt, considers this piece to be one of Liszt's finest achievements. This waltz bore no dedication initially. After French pianist Marie Jaëll played the work for the composer (who asked her to repeat certain passages over and over again), he made extensive changes to the work and dedicated it to her. Saint-Saëns, Jaëll's composition teacher at the Paris Conservatoire (who also dedicated his first piano concerto to her), commented about her interpretation of Liszt's works that "only one person in the world [besides Liszt] who can play Liszt—Marie Jaëll". Liszt made no orchestral version of the piece. However, British composer and arranger Gordon Jacob orchestrated this along with other late works of Liszt for the Sadlers Wells ballet Apparitions, a project conceived by composer Constant Lambert. The first recording of this piece was by France Clidat in her traversal of Liszt's works for Decca. No. 4, S.216b The Fourth Mephisto Waltz, S.696, remained unfinished and was not published until 1955. Liszt worked on the piece in 1885. Like the second waltz, the fourth uses an introduction and coda which do not stick to the basic key. While the work is mainly in D major, it begins and ends in C minor. This, writes noted Australian Liszt scholar and pianist Leslie Howard, was an encouragement while working on his performing version to refer to the main material in the slow Andantino and to recapitulate a portion of the fast Allegro before Liszt's coda. Some critics do not consider this waltz as original as its predecessors and surmise that, had Liszt lived to complete it, he might have