No. 10

This etude, too, was placed in the most difficult level when the editor of the Budapest edition, Mr. Zempleni, divided this collection into three levels. Although it is a piece requiring highly advanced technique, the first difference from the 3rd edition lies in the tempo indications. In the 3rd edition, No. 10 is marked "Allegro agitato Molt," but in this first edition, it is marked "moderato," which at first glance seems to suggest a considerably different atmosphere. However, despite being marked "moderato," it is written in 2/4 time, and the metronome marking is quarter note = 96. A tempo of 96 per beat is quite fast, and it is questionable how many people would perceive it as "moderato" when listening to it.

These discussions, depending on how they are understood, result in a significantly different atmosphere for this piece.

From this point, the discussion becomes subjective, but when the author performs this piece, it does not involve a romanticized playing style with rubato, etc. While it is extremely important to know the extent of phrases in this piece, for example, at the end or beginning of such phrases, there should be no excessive lingering or disruption of the tempo. This is because no such indications are found anywhere on the score.

The score is written with almost continuous sixteenth-note triplets, and I interpret it as a piece containing elements that showcase toccata-like virtuosity and motoric drive. Therefore, I believe the performance should be quite close to the metronome.

For instance, when reaching F and A-flat on the second beat of measure 7, which marks the end of a phrase, I believe it is acceptable to take a slight amount of time. However, this should be only for a fleeting moment, and the idea is merely to apply a tapering (decay) before reaching F and A-flat, so that they seem to fade away. On the first beat of measure 4, the downbeat marks the end of a phrase, so I think it's acceptable to take a very brief moment (truly just an instant) before moving to the new phrase that begins on the upbeat. Understanding that this piece should move forward without disrupting the tempo is the first key point.

Next, many sequences appear, and when they do, please strive to prevent the dynamic level from becoming flat. While you will progress with crescendos towards the goal of each section, it would be beneficial to aim for variations that heighten tension, such as changing the "color" depending on the type of chord.