Although a short piece, typically under three pages or around three minutes in duration, it contains significant drama. The key to performing this piece lies in being sensitive to harmonies, non-harmonic tones, and the direction of melodic lines, discerning the psychological nuances, and expressing them fully and without reservation. This is paramount.

The Opening Melody (Measures 1-3)

It is not difficult to identify where the melody begins. The melody emerges from the second beat of measure 4. Prior to that is a three-measure introduction, but already from this introduction, Mendelssohn's characteristic charm becomes apparent. During these three measures, the harmony is a remarkably simple progression:

• Measure 1: I V7
• Measure 2: I V7
• Measure 3: I

However, the 'spice' note lies in the A-sharp (A♯) in the right hand that appears within these three measures. This is, of course, a non-harmonic tone. Let's assume this A♯ were a G, and try playing the introduction with A♯ changed to G. It still sounds normal, doesn't it? But don't you feel a distinct lack of charm? It is precisely this A♯ that creates such a sophisticated charm. Understanding the piece begins from such details.

The Main Melody (Measures 4-8)

Now, the melodic section begins from the second beat of measure 4. The key point here is balance. In the left-hand accompaniment, the first finger plays the pedal point E-flat (E♭), which tends to become too prominent. The left hand should be kept as subdued as possible, while the right hand should play amply, clearly, and expressively, as if singing. The first phrase of this melodic section extends from the second beat of measure 4 to the first beat of measure 8. This marks a clear division. Within this, the phrase is further divided into two:

• One from the second beat of measure 4 to the first beat of measure 6
• Another from the second beat of measure 6 to the first beat of measure 8

When comparing these two, you may consider the first as a significant, main melody to be expressed fully, and the second as a less crucial, accompanying lyrical passage. However, in the second phrase, Mendelssohn uses D-flat (D♭), which can be interpreted as part of a borrowed chord. While a D natural would be perfectly acceptable here, he deliberately uses D♭ to create a sentimental mood.

Further Melodic Development and Pedal Usage (Measures 9-14)

Measure 9 should be played with more time and ample expression than measure 5, singing fully. Then, from the second beat of measure 10 to the first beat of measure 14, play gently, as if whispering again. Here, let's address a common mistake made by learners: the right hand in the second beat of measure 13. Although this is two-voiced, if the pedal is held down, E♭ and D will become muddy. Therefore, for this beat, the pedal should be pressed twice, on the main beat and the off-beat. However, doing so often results in the melodic line's F being cut off. The F in the melodic line should remain connected by the finger, and the pedal should be changed when the inner voice reaches D. At this point, there must be no muddiness. Furthermore, since the D on the off-beat is an eighth note, connect it to the E♭ in measure 14. Ensure this connection is also seamless.

New Section and Retardation (Measures 14-18)

Now, a new section begins from the second beat of measure 14. The first phrase extends from the second beat of measure 14 to the first beat of measure 16. At that point, an inner voice A enters in the right hand on the off-beat of the second beat of measure 15. The second beat of measure 15 (at least the second beat) is a F-A-C-E♭ chord, with the lowest B being a pedal point. Therefore, this A is a chord tone and nothing particularly noteworthy, but it is tied to the next measure and resolves to B as a non-harmonic tone. When a note from a previous chord is sustained and resolves downwards, it is called a suspension. However, a non-harmonic tone that resolves upwards in this manner is called a retardation. The same phenomenon occurs between measures 17 and 18. This is a unique means of emphasis. It is appropriate to add a slight accent here.

Expressive Moments (Measures 23, 31)

Measure 23 is a section expressing joy. This is entirely due to the presence of the bass B. If you were to assume this B were absent and try playing without it, you would not achieve that sense of joy. In measure 31, the octave A-sharps (A♯) in the bass and tenor create a truly eerie expression.

Climax and Coda (Measure 34 onwards)

Measure 34 marks the peak point of this piece. Build up to it, creating a sense of pressure and intensity for the listener. Once measure 34 is reached, the piece then gradually fades using a monophonic melody. Play this section freely and improvisationally, as if singing.