“Bagatelle” is reportedly derived from the French word meaning “a trifle” or “something insignificant.” However, upon listening to this piece, it certainly does not appear to be “insignificant.”

First, it is essential to note that the melody line resides in the left hand. While there are a few instances where a secondary melody appears in the right hand, the left hand should be considered the primary voice (measures 60-64 are the sole section where the melody line is in the right hand).

Furthermore, the right hand should be regarded as providing resonance (afterglow).

The successful execution of this piece hinges on the softness with which the right hand is played. In most measures, a half note is notated on the second beat of the right hand, which subsequently fades on the third beat. The desired tone quality is blurred, and it should be played as ppp as possible. Since the third beat is an octave lower than the second beat, it will likely be played with the first finger; however, it is crucial to ensure that no force is applied to this first finger.

When playing the right hand alone, it should be played so ppp that it is almost imperceptible whether a sound is being produced, thereby avoiding clear articulation. Naturally, in sections where the dynamic marking is forte, the right hand’s dynamic should be adjusted; nevertheless, the balance in volume between the melody line and the resonance must always be maintained.