Introduction to Difficulties

The main difficulty of this piece lies undoubtedly in the right-hand thirds. If these cannot be played fluently, the piece becomes quite difficult to listen to. This applies to the thirds in measures 4, 12, and 13-14. Other double-note movements will be discussed later.

Let's begin with an explanation of the technically challenging parts. In measure 3, the right-hand thirds in beats 2-3 are not problematic as the tempo is not fast, correct? The four eighth notes can be played with the exact same fingering. If you cannot play the thirds in measure 3, beats 2-3, it is probably best to give up on this piece, as much more difficult thirds will appear later.

Technical Difficulties and Fingering

I will provide some fingerings for difficult thirds. Of course, these are not necessarily the best and may vary depending on hand size.

• Measure 4: Beats 1-2, right hand, two 16th notes: 31-42. Beat 2, downbeat: 31.
• Measure 8: This measure offers various options, making it a point of indecision. I will provide my own fingering. Beat 1, upbeat, right hand, 16th note: 3-2. Now, what I would like to draw your attention to is the handling of the inner voice F# (Fis) quarter note on the downbeat. Try playing only the inner voice from the previous measure. You will then find that this quarter note can be articulated short. This eliminates the need to hold the F# for the full quarter note duration, making the performance much easier. The half-note chord on beat 2 should be taken with 125 from the bottom.
• Measure 12: Beat 1, right hand, downbeat: 13. Upbeat, 16th notes: 31-42. Beat 2: 31.
• Measure 16: Beat 1, downbeat chord: 125. Upbeat, two 16th notes: 5-4. Beat 2 chord: 125 from the bottom.

For your reference.

Musical Interpretation

Now, how do you perceive this piece? This is about musicality. If we categorize human emotions simply into joy, anger, sorrow, and pleasure, which category would this piece fall into? In my opinion, this piece does not evoke a syrupy sweet image or an exciting, joyful feeling. It conveys a certain severity, a strict atmosphere, and a clear, orderly mood. If you agree, then this piece should be played rather marcato, with a steady tempo, maintaining dignity, and with clear articulation. Consider the opening two measures. If thought of as someone's dialogue, I don't think there's a very soft image, but between measure 1 and measure 2, which one has higher tension?

Either interpretation is fine. I personally feel measure 1 is stronger, but your individual perception is valid. However, avoid playing these two measures identically. Play one slightly weaker or stronger than the other to avoid flatness.

In measure 3, considering the mood of the piece, the three quarter notes in the left hand should not be played legato. They should be played staccato or semi-staccato. Meanwhile, the right-hand thirds in beats 2-3 can be played staccato. However, the right hand should bring out the top note, presenting a clear melodic line.

In measure 4, for the left hand in beats 2-3, be careful to ensure evenness of notes.

In measure 9, the mood changes dramatically. Even if we assume the same dialogue as in measures 1-2, the manner of speaking is completely different. Sense some change—perhaps more anticipation, flexibility, or humor—and apply dynamics accordingly. If measures 1-2 were forte, the theme in measure 9 could be mezzo piano, for example. The key is to change the color. Measures 9-12 might be the most optimistic part of this piece.

This is because from measure 13 onwards, the atmosphere returns to a serious one. From then on, it feels as if various trials and errors are being repeated. Measures 17-19 form a three-measure sequence. If I were to use this sequence to vary the dynamics, considering the later themes, I would apply a crescendo despite the descending line, but that is a matter of personal choice. In any case, be careful to avoid flatness.