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The radical change Franz Liszt's compositional style underwent in the last 20 years of his life was unprecedented in Western classical music.[citation needed] The tradition of music had been one of unified progression, even to the extent of Johannes Brahms' First Symphony being known as "Beethoven's Tenth". Beethoven's own three periods of composition are monolithic[citation needed] and united.[citation needed] Liszt's, by comparison, seem deconstructivist. Replacing pages which in Liszt's earlier compositions had been thick with notes and virtuoso passages was a starkness where every note and rest was carefully weighed and calculated, while the works themselves become more experimental harmonically and formally.[1]
However, as with his earlier compositions, Liszt's later works continued to abound with forward-looking technical devices. Works such as Bagatelle sans tonalité ("Bagatelle without Tonality") foreshadow in intent, if not in exact manner, composers who would further explore the modern concept of atonality.[2] Liszt's work also foreshadowed the impressionism that would characterize the work of Debussy and Ravel, as shown in Les Jeux d'Eaux à la Villa d'Este (The Fountains of the Villa d'Este) from the third volume of Années de Pèlerinage. Another precursor of impressionism is Nuages gris, which won the admiration of both Debussy and Stravinsky.