Liszt did explicitly note the repeated 42 fingering for a reason though.
Yes, he knew exactly what he was doing. 42 repeated is indeed harder, but it both ensures that you don't fall into the trap of a slovenly legato blur and that the touch is changed and you get something more enforcedly rhythmic and mimicking the horse's gallop (assuming, of course that you have the technique to play it with 42 42).
Ha, ha! That's very true. Liszt certainy did know what he was doing. However, I play to make an impression on the audience. I find that using a 'legato' fingering gives me more security and speed. If I was recording it, or playing it for a competition or exam, I'd probably use Liszt's original fingering.
Definitely Mazeppa! It's not actually very hard, and it will impress people (especially pianists!) no end.A tip. There are four version of this in existence- the early (easiest) the second (from the hard version of the Transcendental Etudes), another version in between the two (my favorite one), and the version which everyone plays.When I play this, I sometimes take bits from the other version (not the ultra-easy one, of course), to suit my own strengths and disposition. Sometimes, the earlier versions are more effective.Another- ditch the consecutive 4/2 fingering for the thirds- use regular, legato third finger, and you'll be able to play it way faster.
Topic: Liszt: Mazeppa or Chasse-neige? 