Play Liszt Easier and...
...more correctly!
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1.1
Bars 8/9 - jump
Click on the score
Prof. Woytowicz’s method: look at the
black keys marked

in the score.
See exercise on the left
(click on the score)


or

= shoulders should slightly “jump”
before playing (anticipation).

You should feel the
elbow jump higher than that of the
fingers (score below).
1.2
Bars 8-9 - rhythm
Many pianists play
bar 8 as if they were not aware that Liszt could very well distinguish between

and
And, what’s more,
could write them!
There are two groups of octaves in this bar -
a and
b. Both of them with
identical rhythm:


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.
Examples to compare:
1.3
Alternative 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.
How to play (more

) easily
staccatissimo-martellato in the required tempo?
Unfortunately, for the moment, my detailed instruction is available only in
Frech and in
Polish.
English version available shortly
Fingering continued and exercises - first lesson FREE
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Copyright © 2013, Aleksander Woronicki