as No.1 and the Mephisto Waltz as No.2. There is naturally no thematic relationship between the two pieces; but they are related nonetheless by all the contrasts of emotions. A Mephisto of this kind may only arise from such a poodle!..." Liszt's request was not fulfilled and the two episodes were published separately. The waltz was conceived as both an orchestra and a piano work. Three versions, orchestral (S.110/2), piano duet (S.599/2) and piano solo, (S.514), all date more or less from the same period (1859–62). The piano duet version is a straightforward transcription of the orchestral version, while the solo piano version is an independent composition. Liszt dedicated the piece to Karl Tausig, his favourite pupil. A further two piano version, published by Schuberth in 1885, was arranged by Dr. Fritz Stade and later revised by Isidor Philipp. The orchestral version also has an alternate, softer ending which, while not as rousing as the usual coda, some critics argue is closer to the intent of Lenau's tale. While this ending is not often heard in the concert hall, both Fritz Reiner and James Conlon have recorded it. Liszt also provided two extra passages for the piano solo version. It is not known when Liszt wrote these extra passages, but it was a habit of his later years to make alterations while teaching his works to his pupils. No. 2, S.515 The Second Mephisto Waltz, S.515, followed the first by some 20 years. Its composition took place between late 1880 and early 1881. Liszt wrote the orchestral version (S.111) first, then based both the piano solo (S.515) and four-hand (S.600) versions on it. The orchestral version was premiered in Budapest in 1881. After this performance Liszt extended the work and changed the ending radically. The printed music for all three versions is based on this revision and is dedicated to Camille Saint-Saëns. Harmonically, the second waltz anticipates Scriabin, Busoni and Bartók. Liszt begins and ends the work with an unresolved tritone, a musical interval famous as representing the devil in music, and the music overall is more violently expressive than both its predecessor and Camille Saint-Saëns' Danse macabre, which Liszt had transcribed a few years earlier. The piece, for all its dissonance, remains firmly in E major until the B–F tritone shatters the work's climax at the piece's end. This gesture leaves the work's ending unresolved harmonically. No. 3, S.215a