Unlocking the Charm of This Piece

To bring out the charm of this piece, it is essential to differentiate the performance of each section. Playing with the exact same timbre throughout would spoil the piece. Let's examine how the piece is divided into sections:

• A: Measures 1-8
• B: Measures 9-16
• A: Measures 17-24

This indicates a ternary form.

The Author's Unique Approach to Section A (Measures 1-8)

From this point, I will present my unique perspective. If I were to play measures 1-8, I would use ample pedal and perform softly with a romantic mood. I would not place significant emphasis on articulation or rests.A particularly interesting aspect of this A section is the issue of directionality. I consider the A section to consist of four 2-measure melodic units, totaling 8 measures. Measures 1-2 are based on GBD and DF#A, representing tonic and dominant. In this context, the melodic note E on the second beat of measure 2 becomes a non-harmonic tone. Since it resolves downwards to D in the following measure 3, E is considered a passing tone. While non-harmonic tones are often emphasized and their resolutions played gently, the E on the second beat of measure 2 is the final note of the phrase. Therefore, I would avoid accentuating it; instead, I would play the preceding harmonic tone F# louder, allowing the E to fade away. (One could also interpret E as the ninth of a ninth chord, but this is at the performer's discretion.)In measures 3-4, the E on the first beat of measure 4 is a clear non-harmonic tone, specifically an appoggiatura. I would play the E slightly louder, allowing the D to fade away.While maintaining this order, when comparing measures 1-2 with measures 3-4, I would play measures 1-2 slightly louder. The same approach applies to measures 5-6 and 7-8.The musical image for the A section is bright and gentle, and it could also be thought of as having a timbre reminiscent of a music box.

Section B (Measures 9-16)

In measures 9-16, a sense of dynamism can be observed in the left-hand accompaniment. In this section, it is acceptable to play with a bit more energy and adhere to the articulation, but the crucial aspect is the dynamic change. Ensure these rapid dynamic changes are clearly audible. The harmonic change in measures 14-15 is the only place where a borrowed chord appears. Also, treat the bass line (B natural, B flat, A natural) with care.

Overall Dynamics and the Final A Section (Measures 17-24)

Upon closer inspection of the ABA dynamics, it is written that the volume should increase as the piece approaches its end. The returning A section (measures 17-24) should be played energetically at forte.An unusual aspect of this piece is that despite ending with a crescendo in the final two measures, the resulting dynamic marking after the crescendo is mezzo forte. Since forte is indicated at measure 17, this suggests that the dynamics should be reduced at some point before building up to mezzo forte.In this regard, recall the B section. Measures 9-10, where the bass note falls on the first beat, are similar to measures 17-20. Similarly, parts like measures 11-12, where there is no bass note on the first beat, are similar to measures 21-22. If measures 9-10 are mezzo forte while measures 11-12 are piano, then one could, for example, play measures 17-20 at forte, reduce to piano at measure 21, and then reach mezzo forte with a final crescendo.