No. 11

This piece ultimately exists only in its first edition. The keys to performing this piece are "balance" and "understanding the lyrical sections." In over 90% of the measures in this piece, notes are written on both the downbeats and upbeats. This means it is a piece where the beats are easy to perceive. However, from a musical perspective, music should flow horizontally.

To achieve this, the key is to suppress the inner voices as much as possible and play the melody clearly and expressively.

In measure 1, the melody line is F, G-flat, G, A-flat, and you can see that the same notes are also present in the inner voice of the right hand. This means that in this measure, the melody is in octaves, so the melody will inevitably be heard. However, looking at measures 2-4, the octaves are no longer present; different notes are introduced. In such a situation, the melody line that was clearly audible in measure 1 should also be audible in the subsequent measures. This becomes the "problem of balance."

Judging from the notation, this piece can be considered one where applying rubato is very difficult.

For example, unlike the second movement of Beethoven's Pathétique Sonata, where the tempo itself fluctuates dramatically, I believe this piece is written to proceed rather straightforwardly. This makes it even more challenging to maintain the horizontal flow of the melody line, which is why balance is crucial.

Now, starting from measure 1, how far does the melody line of the lyrical section extend? Based on my personal analysis, I believe the lyrical line pauses at the A in measure 12. Of course, one may assume that the lyrical line continues beyond measure 12, but measures 12-17 can also be considered a cadenza. This constitutes the second problem: "understanding the lyrical sections."

Extending this line of thought, for example, the melody line of the C-sharp minor section (B section) begins in measure 27, but one could also consider it ending on the first beat of measure 28, with the subsequent notes potentially belonging to a different instrument. Suppose we assume that the lyrical line resumes from measure 31 and again ends on the first beat of measure 32. In that case, one could also consider the lyrical line starting from measure 35 to end on the F-double-sharp at the beginning of measure 39. While these interpretations are at the performer's discretion, it is advisable to consider how far the lyrical sections extend and to clearly distinguish between lyrical and non-lyrical parts.

Measures 78-79, at least for this author, do not seem to be part of the lyrical section. Please consider various possibilities.