Main Points for Performing This Piece

• Understanding the Most Prominent Voice

The voices are intricately interwoven, comprising main melodies, inner voices, ornamental voices, etc. However, simply following the voices visually is not always sufficient. For instance, in measure 6, the melody line is written as Gis H Ais Gis Ais Fis Cis, but to the human ear, Gis H Ais Gis Ais Fis Cis H Ais, with the last two 16th notes, is perceived as the melody.

• Distinguishing Whether Notes Serve an Ornamental or Melodic Role

For example, in measure 10, the right-hand triplet on beat 2, excluding the main melodic notes Fis and Gis, consists only of Dis and Cis. These should be considered ornamental notes and played pp. However, the right-hand triplet Fis Eis Fis on beat 1 of measure 13 should be regarded as a variation of the off-beat in measure 5, beat 1, and thus should be brought out clearly.

As such, while some aspects are ultimately left to the performer, the performer must understand which voices they wish to emphasize and how, and ensure those notes are clearly articulated. Sometimes, like in a duet, both voices may be equally important, while at other times, a hierarchy of two or more voices must be established.

Furthermore, in measure 53, the right-hand 32nd notes are written as a single voice, but they can be thought of as six groups of four 32nd notes, where the first note within each group might be the most important. In this particular measure, the notes Dis Cis Dis Cis Cis H should be brought out.

Additionally, there are sections in this piece where the "color" changes. For instance, in measure 16, the music suddenly modulates to the dominant of D major, instantly altering the color. In such cases, chords should be treated specially (e.g., by introducing a slight pause before playing).