This etude is characterized by a wide range of interpretive possibilities among performers. The marking is Allegro commodo e con anima, which translates to "at a comfortable speed and with spirit/animation." However, the notion of a "comfortable speed" is inherently subjective. Consequently, while individual tempi vary, an excessively slow performance can sound stiff and awkward, whereas an overly fast one may appear uncontrolled. Furthermore, a strictly metronomic tempo can also impart a rigid quality to the piece.

While tempo is important, rubato is crucial in this etude. The beginning is marked dolce cantabile, indicating that the right-hand eighth notes form the melodic line. A valuable exercise is to extract only this melodic line and practice it as a monophonic melody. For the accompaniment, simply play each chord as a triad once on the first beat. That is, in the first measure, play F-A-C with the left hand, and in the second measure, play F-G-H-D, and so forth.

Subsequently, when playing the melodic line as a single voice, approach it with a significant degree of improvisation and freedom. Let's analyze just the beginning first.

Structural Analysis of the Opening

Starting from measure 1, the turning point is measure 9, where the key changes. Therefore, measures 1-8 form a single unit.

A very fine division suggests four 2-measure units, or alternatively, two 4-measure units. Regardless of the segmentation, the beginning of measure 1 and the end of measure 4 consistently mark the start and conclusion of a phrase. Therefore, apply rubato and avoid rushing on the first beat of measure 1 and the fourth beat of measure 4.

From the author's perspective, considering it as two 4-measure units is preferable to four 2-measure units. This is because an excessive number of units, each with a slowed ending, would fragment the larger phrase and impede the overall musical flow.

When performing the melodic line as a single voice with ample rubato, identify the precise timing of the rubato that you find musically satisfying. Once this timing is established, proceed to play the passage with all the notes as written in the score, ensuring that the rubato applied to the full texture aligns with the timing previously determined for the single melody. The increased density of notes should not compromise the integrity of the rubato. By freely articulating the right-hand sixteenth notes, the inherent rigidity of the piece can be alleviated.