Analysis of the Piece

The analysis of this piece is as follows:

• A: Measures 1-8 (8 measures), Measures 9-18 (10 measures)
• B: Measures 19-26 (8 measures), Measures 27-36 (10 measures)
• A: Measures 37-46 (10 measures)

Each section is thus divided into either 8 or 10 measures.

The 10-measure sections contain common material. This material is found in measures 17-18, and the exact same material appears in measures 25-26 and measures 35-36. This means that the piece does not progress solely in 8-measure units; the phrases within the 10-measure sections (excluding the final cadenza) include these two measures. In these two measures, a melodic line is present in the first measure but absent in the second. The second measure should be considered an afterglow.

Therefore, the arpeggios in these two measures should be played as pp as possible to create a special atmosphere.

In the B section:

• Measures 19-23 feature the melodic line in octaves, constituting the lyrical or singing part. However, from the second beat of measure 24, although a melodic line is present, it is considered less significant than the material in measures 19-23.
• Similarly, measures 27-32 are a lyrical section with the melody in octaves. However, from the second beat of measure 32 through measure 36, while a melodic line is present, it is considered less significant than the material in measures 27-32.

The author suggests that performers distinguish between important and less important material and express them with different timbres.