Commentary

This piece possesses immense beauty, yet it is musically challenging. Observe the accompaniment in measures 1-2. Three chords appear on beats 2-4. Next, examine measures 32-34. You will notice that the three chords in the left hand of measures 1-2 become quarter notes and appear in the right hand. Therefore, the top notes of the chords in measures 1-2, F, G, and B, should be considered inner voices. Connect them smoothly with legato.

An elegant melody begins in octaves from beat 4 of measure 2. Octave melodies, in this piece as in any other, tend to be played stiffly. Take great care to avoid harsh sounds. In measure 8, the left-hand accompaniment pattern changes. This indicates a slight calming of the emotional state. In measure 9, the E of the ninth chord (C E G B D-flat) clashes with the E-flat of the melody line. This chord expresses poignancy. Express it fully. Maintain the volume in measure 10 as you enter measure 11.

You will notice that measure 11 contains the same melody as measure 3, but measure 11 is far more profound and sorrowful. Allow the left-hand melody to be heard fully with a rich tone. In measure 15, the octave melody returns, bringing back a sense of reassurance.

The B section begins in A-flat major from measure 20. This evokes an image of pleasant past times resurfacing in one's mind. The melody line starts from beat 4 of measure 21, beginning with the B marked 'espress'. Do not confuse it with the accompaniment notes.

In measure 27, the melody line is in the right hand, becoming a whole note in the next measure (measure 28). While the melody begins in measure 27, the eighth notes entering in measure 28 should be considered resonance (resonance: lingering sound). Never play them loudly; clearly distinguish them from the melody in measure 27. The same applies to measures 29-30.

In measure 33, the A section returns, but the right-hand melody must be played together with other voices until the off-beat of beat 3 in measure 40. Emphasize only the melody, playing the other voices as softly as possible (pp).

Measure 42 marks the climax of this piece; from here until measure 47, I believe it is acceptable to use the pedal once per measure, meaning holding it down for the entire measure. It is crucial to sustain the bass note on the first beat to that extent.

In measures 51-52, it is also acceptable to hold the pedal down for the entire measure.