When performing a work, listening to other works by the composer and understanding their style is akin to "understanding the composer's language," and is extremely important and indispensable.

For instance, when performing a work by an unknown (unheard-of) composer, and if there is no opportunity to engage with other works by that composer, the performer must draw various inferences solely from that work. One should gather as much information as possible, such as the composer's country of origin, the era in which they lived, who influenced them, whether they had a specialized instrument, and so forth.

However, in the case of a renowned composer like Shostakovich, it is possible to engage with many of his works. Learners performing Shostakovich for the first time must engage with his other works. Listen to his symphonies and try to understand his style, even if only a little.

Then, even with the same melodic line, you should be able to hear the orchestration in your mind, for example, imagining it played by a flute, clarinet, or bassoon. This leads to a deeper understanding of the work.

Analysis of the Work

The work's structure is in ternary form: A [a (measures 1-8) + a1 (measures 9-16)]

B [b (measures 17-24) + b1 (measures 25-32)]

A1 [a2 (measures 33-40)]. The concluding section is omitted by eight measures, resulting in a concise structure.

Regarding the thematic construction, it is remarkably varied, featuring descending and ascending arpeggiated lines, trill-like motifs, and chromatic stepwise motion. Composed of single notes, no triads are formed, and staccato is frequently employed in a relatively high register, thus imparting a light timbral impression throughout the entire piece.

While a new rhythmic motif, previously absent, appears in measures 29-30, considering the entire passage from measures 29 to 32, this serves as a transitional section leading back to the theme. Furthermore, measures 29-30 feature a sequence, so highlighting this as a 'new element' might sound unnatural. It can be understood as analogous to transitional sections often observed in Classical sonatinas just before the recapitulation.

From measure 33, the theme is recapitulated, but it is inverted (upside down) compared to its initial presentation. This is an inverted polyphony, also seen in composers like Bach. Considering this, the theme is a two-voice polyphony, so attention should be paid to the balance between the left and right hands.

In modern and contemporary music, the expansion of harmonic function eventually led to its breakdown and subsequently to atonality. However, in this work, while harmonic function is barely maintained, the frequent use of chromatic modulations and transitions results in an ambiguous sense of harmonic tension and release. Clear harmonic progressions are only partial; they proceed from the initial tonic of a cadence, through sequential patterns or chromatic progressions, to a half cadence on the dominant, or a full cadence with a definitive cadential formula.

Therefore, rather than an interpretation centered on the functional expression of harmony (tension and release), I believe an interpretation based simply on contrasts of light and dark, or the impression of ascending and descending melodic motion, would allow for an expression more aligned with the work's nature. From this perspective, it can be positioned as an introductory piece to Shostakovich's works.