Commentary on the Piece

The opening marking is Presto furioso, which means "fast, enthusiastically, and fiercely." This may be the author's personal request, but it boils down to one phrase: "I want you to play it without restraint!" This is not a piece to be played calmly, cleanly, flawlessly, with composure, at a moderate tempo, or expressively. I want you to be disheveled. Please don't worry about any mis-touches that might occur as a result, because it is such an intense piece, and that intensity needs to be expressed.

If the author were the composer themselves, they might have marked the beginning "presto molt agitato." Please consider this not as music for listeners to relax to, but as a piece that is oppressive, offers no moment of respite, and feels like being cornered. Therefore, any performance that feels relaxing, beautiful, or pretty is already a failure at that point.

In music history, how many pieces can you recall that are marked "agitato" at the beginning? For example:

• Liszt, Transcendental Etude No. 10 in F minor
• Chopin, Etude Op. 10-9

These "agitato" pieces share a common characteristic: the downbeat of the first beat is a rest. Although the downbeat of the first beat is precisely where a sound is desired, by intentionally making it a rest, and by feeling that rest, the meaning of "agitato" – "agitated, hurried" – can be expressed. This etude is also the same. In the right hand, there are quite a few measures where the downbeat of the first beat is a rest.

Also, pay attention to the placement of accents. Sometimes the second beat is accented, or the off-beat of the first beat is accented.

As a hint when performing such an extremely intense piece, there is a technique called "feeling the downbeat of the first beat." For example, please look at measures 24 to 31. If you follow the melody line in the right hand, it goes EGFis EDC HEDIs DCH ADC HAFis HAisA GisGFis. The problem lies at the connections of this line. That is, you must absolutely not connect the Fis of the first EGFis with the E of the next EDC. Always take a rest. Therefore, by using the pedal or keeping your fingers down and connecting the last melody note of each measure to the next, a smooth melody line would be reproduced, which is not what we desire.

In measures 24-31, the bass in the left hand is written with an accent on the downbeat of the first beat of each measure. And the right hand has a rest. Make this bass clear, and ensure that no sound remains other than the bass.

From measure 40, the mood changes. Here, "cresc molt con rubbia" is written. This translates to "with the greatest crescendo, with anger." Although it changes to a major key (Dur), this section's atmosphere becomes even more intense. You may apply accelerando in this section (measures 40-60); in fact, it might be better to do so. Play it losing composure. Especially in measures 57-60, play it wildly and roughly, as if insane. This is because such an expression is necessary.

Finally, in measures 99-100, there are two chords, and it's quite difficult to move from the first chord to the second, isn't it? However, instead of taking time and playing them steadily, play both chords in one go. Instead of regaining composure at the end, maintain the "furioso" character until the very last moment.