This is a work from Absil's tonal period. Many prominent composers have written pieces titled "Pastoral" (or "Pastorale"), each with its own fascinating aspects. This piece also showcases Absil's characteristic style. However, a typical phrasing habit of his can be observed in the first beat of the right hand in measure 17, the first beat of the right hand in measure 18, and the first beat of the right hand in measure 24. Since these figures tend to sound flat, please apply appropriate shaping.

Now, for the first hint, pay attention to the dynamic markings. You will notice dynamic markings at different vertical positions within a single measure. If they were different types of dynamic markings at the same location within a measure, it would be understandable, but they are the same dynamic markings. We consider this to be Absil's meticulous attention to detail. Therefore, when performing this piece, while it should certainly not sound flat, you should clearly define the "dynamics for each section".

Specifically, the forte marked in measure 1 extends through measures 1-2, and the piano marked in measure 3 and the pianissimo in measure 4 continue until measure 7. Of course, the volume tends to increase as the note values become smaller, so while you shouldn't play the sixteenth notes in measure 2 with extreme forte, the hint is to play them in a way that is clearly distinct from the subsequent measures 3-7.

Hint 2: Form

Secondly, thoroughly understand the form. The form is ABA.

• Measures 1-6: Introduction
• Measures 7-20: A Section. The peak point of this section is between measures 15-17.
• Measures 21-32: B Section. Here, measures 21-22 and 23-24 are considered a sequence, and measures 25-26 and 27-28 are considered another sequence. Differentiate each with dynamics and tone quality.
• Measures 33-45: A Section.
• Measures 46-49: Coda.

Points of Attention: Pedaling

A point of attention for this piece is the difficulty of pedaling. First, you absolutely must devise a solution for passages like measure 7. In the editor's edition, the pedal marking is given as one per measure, meaning it is not changed mid-measure. However, this measure contains two different chords within one measure, one per beat. Therefore, if you hold the pedal down continuously, muddiness will occur. That being said, if you change the pedal on the second beat, you will lose the bass note. Thus, try using half-pedal on the second beat to avoid muddiness while retaining the bass.

For similar passages, such as measures 15 and 16, use half-pedal if you deem it necessary. The pedal marking indicating to hold for two beats is clearly because the composer does not want the bass to be lost. Prioritize retaining the bass, and then, if muddiness is a concern, try using half-pedal.