1.1
Bars 8/9 - jump
Click on the score
Prof. Woytowicz’s method: look at the black keys marked 
in the score.
or 
= shoulders should slightly “jump” before playing (anticipation).
You should feel the elbow jump higher than that of the fingers (score below).
Bars 8-9 - rhythm
and
The first group (a), played LH>RH, is so easy that anybody can play it extremely fast: The second one (b) is so difficult that nobody is able to play it with the same speed - it is physically impossible.
There are three rules to respect while playing this bar:
I.General rule: two sixteenths MUST have the same duration.
II.Mathematically calculated sixteenths - /4 - do not sound good in dotted rhythm. Their length should be a little shortened:
/4 >
>
But the shortened
should be longer than
, otherwise you will change its value.
III.Due to the difficulty of the group b, you have to adjust the tempo of the group a in order to exactly equalize the rhythm.
►In order to equalize the rhythm some pianists play the group a with left hand only which results in an excellent regularity of the rhythm (watch three last videos below). If it is too difficult, you do not have to play it this way - it is sufficient to pay attention not to tighten the group a.
1.3Alternative fingering and other solutions
There is no rallentando in bar 31. Nevertheless, it can be slightly marked, but not exaggerated.
Some pianists (like, for example, E. Despax - see his video) use Liszt’s original fingering 42-42/24-24. In spite of that, Despax's interpretation seems to me a little too soft, too gentle in comparison with the title and theme. This fingering is very difficult and not really necessary, especially since it does not guarantee an adequate interpretation. The most important thing is to respect Liszt’s idea “con strepito”. “Strepito” means noise, din, uproar, tumult. Liszt’s indication “make noise” is essential for the character of this Étude - evident for those familiar with the history of the Cossacks and their legendary hetmans.
It is easy to understand what Liszt meant when he wrote 42-42/24-24: it is impossible to play it legato with this fingering. So I played it with my fingering 42-31/23-14, but staccatissimo-martellato in order to achieve the effect of the indication “con strepito”. Click on the player below to listen to this fragment of my live recording.
) easily staccatissimo-martellato in the required tempo?Fingering continued and exercises - first lesson FREE
More fingering and exercises -