The high demands on performance technique are evident in the motif of the upper voice at the beginning, the wide leaps in the lower voice from bar 9 onwards, and the hand crossing. Compositionally, the treatment of sequences is noteworthy. For example, in the arpeggiated chords of the right hand from bar 24 onwards, a regular sequence is expected due to the observed correspondence in two-bar units, but this correspondence breaks down each time. In contrast, regular sequences are written in the latter half of the piece. However, for example, while the right-hand sequence ascending by a second on the strong beat continues from bar 82 to bar 96, the left hand changes its figuration at bar 85, indicating that a breakdown of syntax is incorporated even in the latter half.