Melancholy

While it sounds like a simply beautiful piece, so much so that one might forget it is a canon, this piece is actually constructed as a 2-voice x 2 canon. 2-voice x 2 does not mean two voices forming a canon; rather, it signifies a two-voice piece being pursued by another two-voice piece, delayed by one measure – a truly masterful technique.

Flow

Up to measure 24, there is a phrase unit of 12 measures, which is simply repeated once. Therefore, the first and second renditions should not be played identically; some variation is desired. A new phrase begins from measure 33, leading to measure 41, which is the peak point of this piece. Maintain tension in the flow up to that point, consciously building towards measure 41. Measure 47 represents a psychological state completely opposite to that of measure 41. The performance practice for this section will be discussed later.

The polyphonic order must be strictly observed in this piece. Rests must also be strictly observed (e.g., rests in measure 15). Exercise extreme caution to prevent extraneous notes from lingering or sustained notes from being cut short. This inevitably necessitates the shifting of voices between the left and right hands. When hands are exchanged, unnecessary notes tend to linger or, conversely, be cut short; therefore, exercise great care.

Although this piece is marked only 'moderato,' a certain degree of rubato is indeed necessary. Upon entering the B section (measure 33), gradually increase motion and maintain tension as you build towards the peak at measure 41. From measures 41-43, sustain all voices by holding the pedal down; however, a pedal marking is indicated at measure 44. Here, release the pedal once. However, when changing the pedal, ensure that the four voices intended to be sustained, as indicated here, are held down with the fingers. In other words, the quarter notes written in this section should not be included in the pedal. Only the half notes should be sustained. When releasing the pedal, ensure that no quarter notes linger. The same applies to measures 47-52.

This piece, I believe, requires a certain expression of 'poignant sadness.' The phrase endings in the A section are of two types: one that conveys a sense of exhaustion, ending with a half cadence, and another that expresses a subtle warmth within the melancholy, ending in A-flat major, its relative key. Ensure that the sound never becomes loud, and that phrase endings fade away to pianissimo (pp).