Very nice. I played this and another Liszt etude over 11 yrs ago. It was not for anything public. It took a month of work to remember it with out sight reading the cross overs will work your wrist.
Crossing the LH over the RH in the widely spaced RH arpeggiated figures of Bars 13- 20 to reach the top note . . . very imaginative facility ^_^
More than 5 years ago up till my public recital performing this piece I had been using the usual RH 1235321, which is very hard for hands not quite as large as Liszt's. Now I am experimenting with 1313131 or 1414141 or 1314131 which are a lot more playable. Have you ever tried them?
@pchk1 The arpeggios of the first three pages should be played as notated - it is Liszt's opus 10 Nr. 1 ;-) Everything else is poor cheating! After a while of practising, the original way will become easier for sure, not to mention the huge advantage soundwise. Good wrist AND finger action are of utmost importance! Pay attention to the left second and right third finger as a pivot. 1313 or 1414 or whatsoever is a good practise but you will never achieve the sound Liszt intended. Enjoy!
I have to disagree on the 'cheating' part. NOTHING in piano playing is 'cheating' as long as good music is achieved - whatever fingering is adopted. I had been toying with 1313131 or 1414141 or 1314131 for a while but sort of abandoned the idea and adopted the LH crossing over RH solution which turns out to give the most natural feel (as far as I am concerned).
Fingerings are for each, his own. I do not believe in one single 'best fingering' that is universally practical.
@pchk1 Fingerings are a very individual issue, of course. But this piece is a bravura study - and not a "how to divide wide arpeggios" - experiment. If the latter had been Liszt's intention he would definitely have chosen another notation! (In addition, in the earier second version of this piece, the first page has to be played by the left hand alone ...)
Well then problem-solving is indeed a very important part of piano playing. Skip this part and nothing could be played efficiently. That's what I do in other pieces like Feux Follets and Eroica. I device my own fingerings and teach my students to do the same for themselves.
I always see fingerings (even those claimed to be supplied by the composers) as suggestions rather than laws. How many concert pianists would play the 'three-hand' passages in Mazeppa as instructed by Liszt?
@pchk1 Please don't get me wrong: I am not a hardliner. Experimenting with fingerings is absolutely important for solving either technical or musical problems. But in case of the first pages of this Etude, I definitely think that because of the sound the arpeggios should be played with the left or right hand only respectively. And as far as Mazeppa is concerned: it is a pity that nowadays most players do not use the 42 finger-slide any more.
Im wondering if you are a pianist or just a theorist... In the real pianistc world, the pianists must solve theirs problems. The 99% of the pianists today play Mazeppa avoiding the Liszt's original fingering, because it's almost impossible to use it on the modern pianos. The result is the only important thing. Berezovsky 'cheats' the same way in this etude and he won the Tchaikovsky piano competition.
this does make it more manageable... and even if you "cheat" you still have to be pretty good to play this... good work!!!
fallenangel3652 6 months ago
WOW! Your way of playing is... COOL!!
felix0911176727 1 year ago
Very nice. I played this and another Liszt etude over 11 yrs ago. It was not for anything public. It took a month of work to remember it with out sight reading the cross overs will work your wrist.
itsmister2u 1 year ago
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Crossing the LH over the RH in the widely spaced RH arpeggiated figures of Bars 13- 20 to reach the top note . . . very imaginative facility ^_^
More than 5 years ago up till my public recital performing this piece I had been using the usual RH 1235321, which is very hard for hands not quite as large as Liszt's. Now I am experimenting with 1313131 or 1414141 or 1314131 which are a lot more playable. Have you ever tried them?
pchk1 1 year ago
@pchk1 The arpeggios of the first three pages should be played as notated - it is Liszt's opus 10 Nr. 1 ;-) Everything else is poor cheating! After a while of practising, the original way will become easier for sure, not to mention the huge advantage soundwise. Good wrist AND finger action are of utmost importance! Pay attention to the left second and right third finger as a pivot. 1313 or 1414 or whatsoever is a good practise but you will never achieve the sound Liszt intended. Enjoy!
dexterityhunter 1 year ago
@dexterityhunter
I have to disagree on the 'cheating' part. NOTHING in piano playing is 'cheating' as long as good music is achieved - whatever fingering is adopted. I had been toying with 1313131 or 1414141 or 1314131 for a while but sort of abandoned the idea and adopted the LH crossing over RH solution which turns out to give the most natural feel (as far as I am concerned).
Fingerings are for each, his own. I do not believe in one single 'best fingering' that is universally practical.
pchk1 1 year ago
@pchk1 Fingerings are a very individual issue, of course. But this piece is a bravura study - and not a "how to divide wide arpeggios" - experiment. If the latter had been Liszt's intention he would definitely have chosen another notation! (In addition, in the earier second version of this piece, the first page has to be played by the left hand alone ...)
dexterityhunter 1 year ago
@dexterityhunter
Well then problem-solving is indeed a very important part of piano playing. Skip this part and nothing could be played efficiently. That's what I do in other pieces like Feux Follets and Eroica. I device my own fingerings and teach my students to do the same for themselves.
I always see fingerings (even those claimed to be supplied by the composers) as suggestions rather than laws. How many concert pianists would play the 'three-hand' passages in Mazeppa as instructed by Liszt?
pchk1 1 year ago
@pchk1 Please don't get me wrong: I am not a hardliner. Experimenting with fingerings is absolutely important for solving either technical or musical problems. But in case of the first pages of this Etude, I definitely think that because of the sound the arpeggios should be played with the left or right hand only respectively. And as far as Mazeppa is concerned: it is a pity that nowadays most players do not use the 42 finger-slide any more.
dexterityhunter 1 year ago
@dexterityhunter
Im wondering if you are a pianist or just a theorist... In the real pianistc world, the pianists must solve theirs problems. The 99% of the pianists today play Mazeppa avoiding the Liszt's original fingering, because it's almost impossible to use it on the modern pianos. The result is the only important thing. Berezovsky 'cheats' the same way in this etude and he won the Tchaikovsky piano competition.
liszt80 1 year ago