Liszt’s hands were long and narrow, and lack of webbing
between the fingers allowed him to take wide stretches with comparative ease.
Because his fingertips were blunted rather than tapered, they gave maximum
traction across the surface of the keyboard. Another physical advantage for
Liszt was that his fourth fingers were unusually flexible, and this made it
easier for him to play shimmering textures with several things going on inside
the same hand simultaneously. His keyboard textures often assume that the
player can stretch a 10th without difficulty. Liszt’s fingerings are of
absorbing interest. They arise naturally from the keyboard and from the anatomy
of the human hand. The layout of the double-3rds scale in the Sixth ‘Paganini’
Study seems perverse, until we consider the alternatives. Liszt forms the hand
into a two-pronged fork (second and fourth fingers only), an unusual shape
which permits him to move across the keyboard at high velocity.
In autumn and winter 1834–35, Liszt made the acquaintance of
George Sand (the same George Sand who
also had a relationship with Chopin). And rumours soon began that Liszt and
George Sand having an intimate affair with each other. Later that same month,
in order to defend herself George Sand tried to get Liszt to vouch for her
innocence, but he had disappeared and two letters to him were not answered. In
letters to the Abbé de Lamennais and to Marie d'Agoult of January 14 1835, Liszt had announced that he
would leave Paris for a voyage the
following day. Afterwards, for the whole period of January 15 until
the end of February 1835, he seemed to have vanished from the face of the
earth.
By North Utsire
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