The Importance of Adhering to Liszt’s Original Fingering for 'Mazeppa'

When examining the Mazeppa etude by Franz Liszt, one cannot overlook the importance of following his original fingering. This practice goes beyond mere mechanical adherence; it serves as a powerful instructional tool that guides the pianist towards the composer's original intentions.

Compositional Intent and Instructional Purpose

According to Franz Liszt, the intention behind his Mazeppa etude was to replicate the sound of a horse’s hooves clopping on the ground as it dragged a hapless Cossack behind it. This striking imagery underscores the percussive and insistent nature of the piece. By maintaining the original fingering, pianists are able to convey this sense of tension and drama, which is a vital component of the etude's musical narrative.

Some may argue that following Liszt's fingering is overly rigid, especially when the opening measures contain complex and demanding passages. However, in attempting to adapt the fingering, pianists often compromise the percussive quality of the thirds, which is integral to the etude's character. It is critical to strike a balance between the percussive sound and the lyrical aspects, as uneven treatment of these elements can easily lead to tension and emotional inconsistency from the outset.

Personal Experience and Competitions

Personal experimentation with the Mazeppa etude led me to initially adopt the 4-2/2-4 fingering, which aligns with Liszt's recommendations. The mechanical demand of using fingers as hammers against the keys adds a necessary intensity, but this also limits the pianist's ability to shape the musical line. Subsequent performances and recordings revealed that, for me, the mechanical approach imposed too many constraints, making it difficult to achieve the seamless connection and flow that the piece requires.

Despite my initial success, I have since found that using a more relaxed and comfortable fingering, while keeping the percussive intention in mind, results in a more satisfying performance. The line can be shaped and controlled more effectively, leading to a more nuanced and expressive rendition.

Editorial Comments and Compositional Intentions

My edition of the Transcendental Etudes by Peters inclusive of the Mazeppa etude includes an important editorial caveat. An asterisk points to a comment clearly stating that altering the fingering as marked would be utterly contrary to the composer's intentions. This powerful reminder serves as a guide for pianists, urging them to respect Liszt's original fingerings and the musical challenges he designed for the pianist.

Understandably, the final decision on whether to adhere to Liszt's fingerings often depends on the desired tempo and the overall interpretation. However, the original fingering makes a significant difference in the final sound, enhancing clarity and dynamism. It is a balanced approach that requires the pianist to find a way to preserve both the percussive quality and the lyrical elements of the piece.

Advice and Insights from a Master

During my early days as a student at the Royal Academy of Music (RAM), I received a firm rebuke from a concert pianist after altering a particular fingering for convenience. She emphasized the importance of staying true to the original fingerings, asserting that they are not merely technical suggestions but integral to the composer's vision.

Franz Liszt acknowledged the individual differences in his students' hands, allowing for some flexibility in fingering choices. However, he was particularly meticulous about not altering his own fingerings, even for simpler passages. This strictness suggests that the fingerings serve a purpose beyond comfort, encompassing aspects such as legato clarity, force of attack, and technical agility.

In the case of the Mazeppa etude, the 4-2/2-4 fingering is designed to achieve a total clarity in those thirds. If a pianist can attain this clarity using other fingers, it should be feasible. The key is to understand the intent behind the fingerings and find a way to adapt them to one's technique, ensuring that the music's demands are met without sacrificing the performance's integrity.

Conclusion

Adhering to Liszt's original fingering for the Mazeppa etude is essential for capturing the full intent and character of this demanding piece. While personal experimentation can provide valuable insights, it is important to return to the original fingerings and understand their instructional value. By doing so, pianists can enhance their performances, making them more expressive, dynamic, and faithful to Liszt's original vision.