No. 6

This etude absolutely requires a fast tempo. The tempo marking is Molt Agitato. To express a restless state, a certain fast tempo is indispensable. Furthermore, the tempo must not be stable; it must reproduce a mentally unstable depiction. Therefore, it requires an agogic approach that constantly expands and contracts, rather than proceeding at a fixed tempo. The basic tempo indicated in the score is quarter note = 138. When the author performed it, it was around 146.

When performed under these conditions, the fifth finger of the left hand requires robust strength. Mr. Zempleni, the editor of the Budapest edition, placed this piece in the most difficult level when he divided this collection into three levels. Teachers, please exercise caution when assigning this piece to students who are technically immature.

• Consider the melody line to be the second note, located at the highest position, within each three-sixteenth-note unit of the right hand. For measures 1-5, this would be D, B, E-flat, D, C, B, A, E-flat, G, F-sharp.
• The pedal should generally be changed where the harmony changes.
• The point of highest tension in this piece is measure 46. Starting from measure 12, although there are moments where the tension momentarily relaxes, gradually build pressure until measure 46. Upon reaching measure 46, broaden the tempo, apply rubato, and slightly slow down the tempo.
• There are subito p and subito forte markings throughout. If it is difficult to play in tempo, it may be acceptable to create a slight pause in timing or take a little extra time specifically for the subito p sections.
• The key changes rapidly by section. Vary the tonal color accordingly.
• In the right hand, the first of the three sixteenth notes has an eighth-note flag pointing in the opposite direction. The reason for Liszt's notation is unclear, but since this note is played by the first finger, it can produce a strong sound; however, prioritize the melody line. The purpose of this flag, it is surmised, is to serve the same role as a finger pedal (to sustain chord members such as the root, third, or fifth). Similarly, the sixteenth notes in the left hand also have a quarter note written in the opposite direction, which is likely a means to ensure the bass always resonates.