Measures 1-32

First, regarding the section from measure 1 to measure 32. From the beginning to the second beat of measure 15, you must recognize the beat, but beyond that (after understanding the beat), an improvisational performance is required, allowing the tempo to fluctuate freely. There are two major cadenzas: one up to the third beat of measure 12, and the other up to the second beat of measure 15. Aim for these two cadenzas as your goals.

For example, the 16th notes starting from the upbeat of the third beat of measure 12 should gradually accelerate (slightly faster), then, while creating a crescendo in measure 14, pull back the tempo (slightly slower), and enter the cadenza in measure 15 in a slow state. This approach allows you to convey a sense of direction.

It is advisable to clearly define where the goal is and where the cadenzas are within these measures 1-15 (of course, this involves subjectivity, so analysis methods may vary among individuals).

Measures 15-32 proceed almost entirely in a four-part texture. Since the sequence descends from measure 15, it makes sense to start measure 15 with a forte dynamic. If you start measure 15 forte, then gradually apply a diminuendo, observe the soprano voice. After descending to D on the first beat of measure 21, it then ascends sequentially, reaching A in the soprano of measure 22, and then begins to descend again.

After descending to D again on the first beat of measure 24, it ascends to A on the fourth beat, and then repeats the descent, returning to D on the first beat of measure 28.

From this series of movements, the performer should subjectively decide where to set the goal and which groups have higher or lower tension. This section from measures 15-28, before the Presto, proceeds in a weighty four-part texture, but it is also a part where the dynamics can easily become very flat. Be mindful of that. From the Presto at the third beat of measure 28, slightly increase the tempo, then significantly pull back the tempo at measure 32, ending slowly.

Measures 33-120

Consider measures 33 to 120 as one section. Hints on how to perform these 87 measures must be judged from many perspectives. Around measure 85, groups of four 16th notes appear. Although they have appeared before, continuous groups of four 16th notes have not. In measure 96, even more 16th notes appear.

And measure 111 can be considered the Coda. This means that the tension can be considered to increase as you progress further into this section.

So, what should we pay attention to in the score along the way? One approach is to imagine this entire section being performed on a pipe organ. In this section, there are places where the texture suddenly becomes two voices. For example, in measures 50-54, there are only two voices. In this case, imagine that only the thin pipes of the organ are sounding. This tells us that the dynamic in this part should be P. Conversely, parts with a four-part texture (the maximum number of voices in this section) can be considered forte.

For example, measure 33 starts with one voice, becomes two voices in measure 34, three voices in measure 38, and a four-part texture in measure 39. Since it starts with one choir and builds up to four choirs, it is reasonable to assume that the number of singers increases, and it is almost certainly correct to assume that the volume increases with more voices.

Therefore, excluding the 3-voice and 1-voice sections, I will list the 2-voice and 4-voice sections (excluding the coda and very brief moments):

• 2 voices: Measure 34
• 4 voices: Measure 39
• 4 voices: Measure 47
• 2 voices: Measure 50
• 4 voices: Measure 63
• 4 voices: Measure 68
• 4 voices: Measure 77
• 2 voices: Measure 78
• 2 voices: Measure 90
• 4 voices: Measure 94
• 4 voices: Measure 105

Once you enter the Coda at measure 111, you may slightly increase the tempo. Consider this a place to dramatically raise the tension.

Measures 121-123

Measures 121 to 123 are considered a recitative.

Measures 124-145

From measure 124 to measure 145, a new theme emerges. The theme is considered to be the soprano line in measure 124. This theme appears in all voices, in various keys, and with different variations. The performer should constantly consider the tonality and vary the volume and timbre of every appearance of this theme.

Measures 146-296

Measures 146-296 constitute the final section. In the previous section, measures 33-120, a 3-voice texture almost invariably appeared when transitioning from 2 voices to 4 voices. Conversely, a 3-voice texture also appeared in the middle when transitioning from 4 voices to 2 voices.

This section also proceeds with the 3-voice texture "sandwiched" between 2-voice and 4-voice textures, similar to the beginning. However, from around measure 221, only 2-voice and 4-voice textures alternate. Earlier, I mentioned that "2 voices should be soft, like the thin pipes of a pipe organ sounding." However, in this section, the parts where 2 voices appear, whether due to a reduction in instrumentation or a change in instrument type, mostly serve to increase tension.

Here, I will also list the alternations between 4 voices and 2 voices (Note: This time, 3-voice textures are included):

• 4 voices: Measure 221
• 2 voices: Measure 226
• 4 voices: Measure 240
• 2 voices: Measure 242
• 4 voices: Measure 244
• 2 voices: Measure 247
• 3 voices: Measure 254
• 4 voices: Measure 262
• 2 voices: Measure 263
• 4 voices: Measure 267
• 2 voices: Measure 278
• 4 voices: Measure 281
• 2 voices: Measure 288
• 4 voices: Measure 294

After measure 221, the first 3-voice texture appears at measure 254, but otherwise, it is a repetition of 2-voice and 4-voice textures. Similar to the previous section, the number of 16th notes begins to increase as you progress further into this section. This means that the tension rises as the piece approaches its end.

Summary

All of these sections are very long and can easily become flat. Performers should analyze the key, harmony, register, number of voices, etc., within these sections to ensure that the performance is not dynamically or timbrally flat, and to add contrast to the piece.