General Approach

This is a famous sonatina often chosen for competition repertoire and recitals. It is important for the performer to be familiar with Kabalevsky's style by listening to his other works (for piano, orchestra, etc.).

Tempo

There is one absolutely essential element when performing this sonatina: a relatively fast tempo. Playing this sonatina slowly will make everything sound heavy and ruin the piece. A minimum tempo of half note = 120 is desired. Of course, faster is preferable if possible.

Dynamics and Articulation

Next, strong forte and marcato playing are required. This sonatina can be broadly divided into two parts: the section expressing irony, anger, and determination (beginning), and the sad song section starting from measure 32. From measure 1 to measure 31, it is necessary to play very strongly, strictly, with tension, and marcato, articulating every note clearly.

Chord and Double Stop Balance

The next essential element is the balance of chords and double stops that should be played marcato. No matter how strong the sound desired, if too much force is applied to the first finger of the right hand, the balance of the chord will be disrupted. Slightly restrain the first finger of the right hand and the left hand, and clearly bring out the top voice (the highest note written, which corresponds to the melody line) with the fifth or fourth finger of the right hand. For example, the first three chords at the beginning must sound as E, D, A. This balance of chords and the handling of the top voice will ultimately be the crucial factor that allows this sonatina to be heard effectively.

Technical Detail: Eighth-Note Figures

Moving on to a technical point, this concerns the treatment of the two eighth notes from the second eighth note of beat 1 to the first eighth note of beat 2 in measure 3. This pattern can be observed throughout the piece. The most typical example is the pattern from the second eighth note of beat 2 in measure 20 to the first eighth note of beat 2 in measure 22. The trick to playing this is to first avoid putting force into the two eighth notes. Treat them as if they were ornamental notes. Then, apply force to the double stop immediately following the two eighth notes. When playing this double stop, an accent is placed on it, and as a reaction, it is natural for the hand to move upwards. However, in this particular section, this pattern appears sequentially one after another, so there is no time to lift the hand upwards. Nevertheless, consider it as part of a single flow.

Chord Resolution

Pay close attention to chord resolutions as well. For example, in measure 13, the D# F# A# chord in the left hand on beat 1 is considered to resolve to the E G B chord on the next beat; therefore, play D# F# A# strongly, and for E G B, lift the hand without an accent and release the tension.

Melody Section (m. 32 onwards)

Next, regarding the melody starting from measure 32, also bring out the top notes clearly to make the melody line distinct. Some tempo fluctuations, such as slight breaths or decelerations, are acceptable, but extreme rubato should be avoided. Proceed mostly in tempo without significant fluctuations. Within that, strive to express musicality.