6. Sonnet 123 of Petrarch

The key to performing this piece lies entirely in its lyrical quality (cantabile). While other sonnets also require a lyrical approach, Sonnet 123, in particular, demands a strong singing ability. We will now go through other points to note, starting from the beginning.

• The time signature is 4/4, with triplets forming the accompaniment. The two-part tremolo should be played as if strings in an orchestra are slowly performing. When this type of accompaniment enters, the music flows slowly and horizontally; be careful not to stop the flow or rush it.
• In measure 6, beat 1, the melody's F is a suspension from the previous measure, resolving on beat 2. Similarly, in measure 7, beat 1, the melody's G is a suspension from the previous measure, also resolving on beat 2. Distinguish between such "non-harmonic tones" and "resolving tones," avoiding accents on the resolving tones or playing them at the same volume as the non-harmonic tones. Subsequently, many non-harmonic tones such as appoggiaturas and suspensions will appear in the melodic line; apply the same treatment.
• From measure 15 onwards, the continuously flowing triplets appear as fragments. Where the triplets are not continuous, it is a place where the singer can sing freely. Take ample time and sing freely.
• The mood of the many arpeggios appearing from measure 16 onwards is determined by "how they are played." If they are too fast, they become sharp; if too slow, they might not be distinguishable from the actual notes or become heavy. However, since they are primarily an accompaniment, it is advisable to play them softly, lightly, weakly, and not too fast.
• In measure 31, descend smoothly as if performing a glissando. There is no need to rush here. In measure 33, the same event occurs again, so a different performance approach from the first time is desirable.
• From measures 41-44, though it is merely a hypothesis, you may imagine a music box. In that case, like a music box, it should be mechanical, without shaping or dynamic changes. In measure 44, it is acceptable for the tempo to slow down as if the mainspring is unwinding.
• Measure 45 is a dream world. The right hand should play at ppp. The left hand should play everything except the melody at ppp.
• Measure 57 becomes considerably faster due to the stringendo molto from measure 56, but upon entering measure 58, make the tempo logical. That is, since the triplets disappear in measure 58, the speed becomes that of eighth notes. Avoid being too fast in measure 58.
• The ritenuto in measure 80 continues until measure 84. A dotted line is indicated up to that point. Between measures 83-84, the tempo becomes quite slow. Take ample time.