Liebestraum Cadenzas

[borealis]

How exactly does one learn to play the first cadenza in Lizst's Liebestraume No. 3 in Ab major?  I've been fighting with this thing for a very long time.  I've tried playing it slow, playing it with accelerando, practicing it hands separately, playing just the ascending part, playing just the descending part...it's very frustrating.  Polishing and mastering this piece is something I have committed to, and I won't be giving it up; this piece is the reason I started learning piano in the first place.

Does anyone have any helpful advice for me here?

[jazzyprof]

Here's some advice that BruceD posted in the Pianists' Corner on the Piano World Forums a while ago.  I haven't tried it myself but it sounds reasonable.

"There are a couple of ways of going about getting this cadenza into your fingers, and while the preparatory exercises may momentarily distort the overall effect, keep in mind that eventually the goal for this cadenza should be one of lightness and transparency.

First, I would break the ascending passage into little phrases of two chords each - as is marked by the slur in some editions; using arm weight, and exaggerating the accent, come down on the first chord and lift off on the second, and then pause before going on to the next.
Secondly, reverse the process by using the first chord as a grace note (appogiatura?), slipping off it to land on the second chord, and then pause before going on to the next group of two.
Thirdly, take the ascending portion of the cadenza in groups of three chords, varying the accent each time: 1, 2, 3; 1, 2 , 3; 1, 2, 3 .

Then, try playing the whole ascending portion of the cadenza in as legato a style as possible, keeping your fingers close to the keys, and varying the dynamics from pp to f and vice versa.
Then, try playing the whole ascending portion of the cadenza in light staccato, again varying the dynamics.

The whole purpose of changing the grouping, changing the accents and changing the touch is to get the notes of this cadenza so into your fingers that no one chord is any weaker or any stronger than any other.

Similar exercises can be developed for the descending portion of the cadenza, paying particularly close attention to the descending chords where the fingering 4-2 has to pass over 3-1.
In most editions, the descending chords are phrased in groupings of six, but you must be careful, in actual performance that the first note of each sextolet is not too heavily accented. It should do nothing more than suggest a pulse, or beat, and a gentle one, at that.

Of course, it goes without saying - so I'll say it   - that you must be careful that when using the thumb in the LH you control it so that it doesn't "stick out"; it shouldn't sound any louder than any of the other notes in the passage.

The whole cadenza has to slip by effortlessly, a feather borne on a breeze (trite metaphore, sorry!   

I hope these practice tips help, and I hope that they are not contradictory to any advice that might be given by better pianists."

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BruceD