Melancholic Waltz

This piece is characterized by an intermingling of reality and fantasy, making the differentiation between these various scenes a crucial task. Its form is ABA, with Section A spanning measures 1-16, Section B measures 17-32, and the return of Section A measures 33-48. Upon examining the initial A section, it divides into two parts: measures 1-8 and measures 9-16. Measures 1-8 can be further divided into three parts: 1-2, 3-4, and 5-8. Similarly, measures 9-16 also divide into three parts.

In the first half of the A section, which is divided into three parts:

• The melodic lines of measures 1-2 and 3-4 should convey a deeply sorrowful voice, performed with earnestness, and never rendered as peaceful music.
• In measures 5-8, although the note rises to the highest C# in measure 6, it is not necessarily required to play the three phrases within measures 5-8 at the loudest possible volume. Since the original dynamic marking is p, it is acceptable to interpret this as a crescendo and diminuendo within the p range. In any case, firstly, do not play these three phrases identically; instead, give each phrase an appropriate expression, considering its harmony and figuration.

Secondly, it is advisable to take a slight amount of time when moving from the first beat to the second beat of measure 6.

This is to depict how vocalists, unable to suddenly raise their pitch, take some time before reaching a higher pitch. In other words, it brings the sound closer to the human voice.

The second section within A, measures 9-16, is almost identical to measures 1-8, but the ending differs. From measure 13, the melodic line ascends stepwise, and the dynamic shifts from pp with a diminuendo. This is a type of “resonance” figuration, similar to the part in “Für Elise” where the E notes ascend successively. Therefore, do not give it volume; ascend as if fading away.

Section B also divides into two parts: measures 17-24 and measures 25-32. Within measures 17-24, it further divides into two parts: 17-20 and 21-24. From measure 17, it ascends to G in measure 18, and then gradually descends from there. The same applies from measure 21. From measure 25 onwards in Section B, measures 17-24 are merely transposed up an octave.

However, these two sections should be treated with different moods, for example, the first as reality and the second as fantasy, and should not be played identically. For instance, you might consider the first as reality and the second as a depiction of a music box.

The returning A section is exactly the same as the initial measures 1-16, but a ritardando appears at the end, so the tempo should be drawn out to conclude, like the end of a story.