A challenge in this sonata is how to perform passages where everything, from rhythm to pitch, is written identically. In the case of sequences, one can consider various factors such as ascending/descending motion and dynamics towards a destination, and apply crescendos or diminuendos accordingly. However, for passages written identically in every respect, one must consider whether it is appropriate to play them flatly, as mere repetitions, even with the same dynamics.

The author is not denying playing such passages identically; rather, they consider it one valid performance approach. Perhaps it could be likened to a “pleasant persistence.” On the other hand, by varying dynamics, tone quality, and so forth, it becomes possible to establish direction, surprise the listener with the music itself, and achieve various other effects.

For example, measures 84-85 and measures 87-88 are identical. Immediately after that, measures 88 (beats 3-4), 89 (beats 1-2), and 89 (beats 3-4) are all identical. Furthermore, measures 90 through 91 (beat 2), and measures 91 (beat 3) through 92 (beat 4) are also completely identical.

Regarding the treatment of these passages:

• Varying dynamics (e.g., first instance forte, second piano) is a typical approach.
• It is also entirely possible to play the second instance louder than the first, or to apply a crescendo or diminuendo across the entire passage rather than thinking in terms of individual units.
• Alternatively, it is possible to vary only a portion of the material.
• For example, within measures 90-92, one could play from measure 90 to measure 92 (beat 2) at the same volume, and then apply a sudden crescendo in measures 92 (beats 3-4).

Please consider various possibilities.