17. Andantino Tranquillo

The musical interpretation provides a key to this prelude. While much music typically depicts a realistic aspect first, then enters a fantastical dream world in the middle section, and finally returns to reality, this prelude follows the inverse pattern: the middle section is realistic, while the A section describes a dream world. The form is ABA, but in the A section, both the beginning and the end feature almost identical movements in the right and left hands, meaning they play the same notes. Each hand has both a melodic line and an inner voice. Notes with stems pointing upwards constitute the melodic line, while notes with stems pointing downwards form the inner voice.

The performer should clearly differentiate the timbres of the inner voice and the melodic line, balancing them so that the melodic line is distinctly audible. The inner voice should be played with a somewhat hazy timbre and at a pp dynamic. While some tempo fluctuations, such as rubato, may be permissible, this melody can also be interpreted as depicting the sound of bells. In that case, it would be better to play it straight, without much tempo fluctuation.

A truly tragic song emerges in the middle section. It should be sung freely, as indicated by cantando. Between measures 19 and 20, an accompaniment figure distinct from the vocal part enters. This consists of three eighth notes (G#) and the chord that concludes this figure (ending on a second, except for the fourth occurrence). The same occurs in measures 22, 24, and 26, respectively (even with enharmonic equivalents). While it is desirable for the performer to play these elements with a timbre distinct from the vocal part, the decision of whether to emphasize the vocal part or the accompanying material is left to the performer.

Measure 32, the final measure of the B section, should be played slowly, and the delicate figure that appears from the upbeat of the third beat should sound as if it were a slow glissando. Then, the music re-enters the dream world.