HOW TO STUDY CHOPIN’S ÉTUDES? →     Introduction     op. 10 n° 1     op. 10 n° 7     op. 10 n° 12 (video)     op. 25 n° 11 (video)     op. posth. n° 1 (video)
HOW TO PLAY LISZT EASIER AND MORE CORRECTLY? →     Quotations from Liszt and Chopin     Sonata in B minor     Mazeppa     Feux-follets

Solutions concerning technique and interpretation

2. Liszt - Mazeppa (N° 4 from 12 Transcendental Études)

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1. Alternative fingering
Some pianists (like, for example, E. Despax - watch 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 old live recording.
How to play (more) easily staccatissimo-martellato in the required tempo? [...] 
[...]  Complete version available to my students in my private area.
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Advanced Piano Coaching Online - information

2. Alternative fingering - example

3. Exercise - example


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