Performance Notes

When playing this type of slow-tempo, rhythmically marked piece on the harpsichord, it is unavoidable that it will sound somewhat rigid. However, when playing it on the piano, one should aim to utilize the piano's characteristics. Focus on using the pedal to create a flowing, legato sound.

The piece is divided into two sections, the first half and the second half, at the repeat sign. Measures 1-8 constitute the first half, and measures 9-24 are considered the second half. If divided into three sections, they would be measures 1-8, 9-16, and 17-24. This division is also acceptable.

Looking at the first 8 measures, there is only one voice that resembles a melodic line, and it is written in the soprano. While other voices have some movement, they do not contain melodies that can truly be called such. This first half can be further divided into three sections: measures 1-2, 3-4, and 5-8. First, when comparing measures 1-2 and 3-4, the decision of which section should be dynamically stronger or weaker is left to the performer. If only comparing measures 2 and 4, some might feel that measures 3-4 are weaker because measures 1-2 end with G-A-B, whereas measures 3-4 end with F#-G-A. However, it is also acceptable to judge measures 3-4 as dynamically stronger due to reasons such as the melodic line reaching a higher E, and the harmony in measure 4 being more emotional when compared.

In any case, since the melodic line reaches an A an octave higher in measures 5-8, it is natural for measures 5-8 to be the loudest. Therefore, it would be appropriate to reduce the dynamic level once at measure 5 and then gradually increase the volume towards measure 8.

In the second half, the melodic line appears in the left hand. One might expect the right hand to be primarily an accompanying voice, but from measure 9, another melodic-like voice enters in the soprano. This reaches its highest tension at measure 14 and concludes in G minor, the subdominant key, at measure 16. Measure 17 features the same melodic line as measure 1, but due to the character of the chords, it should be played with a soft, gentle sound.

The author believes that measures 21-24 are similar to measures 5-8. For this reason, it is suggested to gradually increase the dynamics in measures 21-24, similar to measures 5-8. The final measure (measure 24) is where preferences may differ; whether to end loudly or softly, as a V-I chord resolution, can be left to the performer's discretion.