23. Andante Sostenuto

This piece is less than two minutes long. It reveals Kabalevsky's tenderness. As it is an Andante Sostenuto, take ample time. Measures 1-2 are marked "rubato e ben cantando". The melodic line in measures 1-3 is precisely that song, so sing it amply and musically. Notice the tenuto markings on the last two notes of the theme (the second and third notes of the triplet). Looking at other themes, almost all of them end with a tenuto marking. Play these same two notes slowly and softly to conclude the phrase.

Now, a different musical material enters between the themes. It is a three-voice material entering from the third beat of measure 3. Let's call this Material S. And the same Material S enters on the third beat of measure 8. This three-voice Material S has an interesting characteristic.

The first Material S, entering from the third beat of measure 3, begins with a major triad and ends with a minor triad. In this case, it ends on F-D-A, so the root position is D-F-A. Since this piece is in F major, it becomes a vi chord. The next theme then begins with chord tones of the same chord and ends on F.

When comparing the end of the first theme with the end of the second theme, one ends on A-F-F, and the other on G-F-F. And Material S, as if following them, ultimately ends on the tonic chord F-A-C.

Regarding performance, the two themes in this A section, as just explained, have slightly different moods. Play the two themes with a change in mood. And when playing Material S, make it as pp as possible, almost inaudible. In contrast to the clear, singing parts, a somewhat blurred feeling is desired here.

A common issue in this type of piece, where one sings freely using rubato, is the problem of counting. For example, in measure 3, Material S enters from the third beat, so count precisely up to the third beat. Count similarly in measure 5.

The B section begins from measure 11. The theme is in octaves. I think it's fine to be slightly more animated (animato). This B section gradually builds a crescendo, becoming progressively more appassionato, a stark contrast to the opening. I think a forward-moving tempo is appropriate.

And then it returns to the A section. Material S also has sections with four voices, including chords that can be difficult for those with small hands to grasp, but strictly adhere to the polyphonic order. Conclude by taking ample time at the end.