Introduction

This piece, though a short work by Tchaikovsky, evokes the second movement of his Piano Concerto No. 1. Now, I would like you to consider the left-hand accompaniment pattern. In this piece, the left-hand accompaniment, except for the final measure, fills the first and second beats with notes, while the third beat is a rest.

If I were the composer, I might place a rest on the first beat and notes on the second and third beats. Please try playing it using the same chords, but with a rest on the first beat and chords on the second and third beats. What do you think? While there isn't a dramatic change, the feeling differs slightly between having a rest on the third beat and having one on the first beat. A rest on the first beat tends to create a somewhat agitated vitality, whereas a rest on the third beat can be interpreted as an expression of more joyful anticipation or excitement. Incidentally, let's also try playing a version without any rests. You will find it quite bland.

How do you interpret the emotion conveyed by notes on the first and second beats and a rest on the third beat? Let's try to understand Tchaikovsky's intention.

A Section (Measures 2-17)

Two 8-measure phrases continue until measure 17. Measures 2-9 and 10-17 are identical in terms of measure count, notes, and dynamics. However, these two phrases should not be played identically. You must introduce variation. For example, play measures 10-17 slightly louder than measures 2-9.

There is another important point to note up to this point:

• Never play the right-hand eighth notes strongly until measure 17.
• Emphasize the quarter notes.
• Looking at the melodic pattern, in measure 2, the melody line starts on B, then ascends to C in measure 3, and D in measure 4. Therefore, apply a gradual crescendo, but be careful that the eighth notes never become louder than the quarter notes within the same measure.

B Section (Measures 18-33)

The B section spans measures 18-33. It consists of four 4-measure phrases, totaling 16 measures. In terms of melodic patterns, the first two and the latter two form pairs.

• For example, measures 22-25 have a similar pattern to measures 18-21. It is clear that measures 22-25 have higher tension than measures 18-21. Differentiate these two by volume.
• Furthermore, when considering the chords in measures 18-21, at least the fourth measure becomes the tonic (root chord), so this should be considered a resolution chord to the preceding chord, and no accent should be applied. Therefore, although forte is indeed written in measure 25, and it is a significant part, if I were the author, I would try not to make measure 25 louder than measure 24 when compared, but it is also acceptable to consider measure 25 as a goal.

Next, measures 25-29 and 30-33 form melodic pairs. Measures 25-29 are louder, while measures 30-33 gradually diminish.

There is also a point to note in this B section, similar to the A section:

• When there are two eighth-note phrases, the second one should be played softer than the first.
• For example, the right-hand B on the third beat of measure 17 connects to the A-flat in measure 18. At this point, reduce the volume of the A-flat compared to the B.
• Maintain this order thereafter, no matter what forte section you enter.

Overall Performance Notes

Although this piece is from the Romantic era, it should proceed steadily without tempo fluctuations or rubato. However, for the last few measures, it is acceptable to slightly broaden the tempo and end more slowly.