First: I would suggest the following fingering for the right hand, beginning at measure 11: To be better able to play 25/6, I can give two suggestions here. In this etude, I find that it is very important to keep the thumb of the left hand as relaxed and given "time off" as possible. To play 10/12, it probably helps that I'm left-handed. In explanation, 10/5 was rated more difficult than 25/11 because, to be absolutely scrupulous about maintaining the tempo of 10/5 when it has the double octaves at the ending, would be very difficult. Then you have to wonder about Godowsky's reworking of all of them, some for left hand only, and recorded spectacularly by Marc-Andre Hamelin, who probably thought to himself, ("what's all the fuss about?")
He confided that many pianists avoid bothering learning all of them as some are so difficult as to not being worth time and effort in trying to learn them for performance.
Piano repertoire list by technique and difficulty professional#
I was on a cruise where a really professional virtuoso (Russian) played gave spectacular performances of some of the Rachmaninoff Etudes Tableaux (notably Op 39 #1 and the little red riding hood and the wolf one) and conversed with him a bit. 10-11 is too stretchy to allow comfort and enjoyment so isn't rewarding enough to spend much time on. I can play 10-12, 10-4 and 10-7 without much of a problem (of course none of them perfectly - don't ask). 25-4 requires a precise sense of spacial awareness of the bass jumps which are tiring. For some strange reason I found 10-1 and 10-7 doable and easier than some of the rest. In most of the rest of the piece I use the second finger to slip downward from the balck keys to the next lower white key which avoids a thumb doing the next white-white jump. Then on the 3rd page the downward back and forth sequences are easily done on the first run as there is no shape-shifting to and from the black keys, but on the second one wonders whether to maintain 5-4 on all the upper thirds or switch from 5-4 to 5-3 on about 6 of the thirds.
My score has 3 printed fingering sequences and I added a 4th. An additional note since no one mentioned it: in 25:6 the double thirds the top of the second page has always been insoluble to me because of the near impossibility of keeping up a fast speed while maintaining smoothness in the face of jumps of the thumb between 2 white keys.
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