It certainly doesn't mean staccato here. It means "articolato" - softly hammered out, so to speak.
When I was a kid (in the dark ages) I played in a competition, and one of the judges said in a certain passage, that I needed "more space between the key and the finger". What he was getting at is the articulated non legato that is required here. It means the opposite of legato, where you press the following key almost before lifting the finger from the previous one. When practising slowly, it means lifting the finger about a half inch and "striking" the note, percussively. One percussive (albeit, gentle here, because it's soft) strike for each note. Strike quickly, relax, strike quickly relax, etc. The final result is like a soft sound of a machine gun!SO difficult to explain here, but do you get the idea?
"And how to play rapid octaves? I feel difficult to relax while play octaves simultaneously."my teacher always told me me to: relax yours arms and let your wrists play, and sit back far enough that you can reach the entire keyboard without leaning or moving your body too muchanother good way to practice is to play the octaves by tapping the keys and not actually pressing them down it saves you and anyone in the area lots of headaches, and it's an excellent way to work on speed
I don't want to offend you, but the Liszt sonata is a piece that demands enormous musical maturity and if you are still to the point where you are asking such basic questions, you definitely should stick with much easier pieces...
That is exactly what I was thinking. If you are learning such a piece, you should be pretty self-sufficient as far as mending your technique. I think it is disrespectful to the music to attack something out of your reach.
I think it is disrespectful to the music to attack something out of your reach.
Please explain.
I disagree. when one is learning music (or any skill, for that matter), everything is initially out of reach. after all, when one starts with nothing, what can they reach? in order to progress in our abilities, we have to challenge ourselves. this means playing things that are outside our current abilities, and in the process of learning how to play them, our technique becomes better. during this learning process, the piece will as a rule not sound good, but what is important is that there is progress being made.
while I firmly believe that a performer should do his or her best to play well and offer a faithful interpretation of a work, a bad performance doesn't disrespect "the music," but rather reflects poorly on the performer.
The problem is that people usually publish/play publicly/privately these pieces in a less-than-poor state.