Key Points of This Sonatina

There are two important points for this sonatina.

1. Dynamic Control

The first is dynamic control. This first movement contains many echo-like elements, making it crucial to clearly differentiate dynamic levels. Performers should carefully read and adhere to the dynamic markings. However, this is a Classical-era work. The dynamics should not be like those of Chopin or Liszt; rather, they should be dynamics that maintain a sense of dignity, within a range that does not overtly express emotion.

2. Lightness and Elegance

The second point is lightness and elegance. This sonatina was not composed against the backdrop of the string quartet, which was popular at the time; rather, it employs a more homophonic texture, with a clear distinction between accompaniment and melody. Nevertheless, the articulation of the melody evokes string instrument bowing. It can be thought of as a combination akin to a violin and a small ensemble.

Technical Challenges

Now, there are two technically challenging passages in this piece.

1. Right Hand in Measures 13-18

The first is the right hand in measures 13-18. Let's consider the fingerings. First, for measure 14, beat 1, using 4321 seems to be the easiest. It also facilitates reaching the F on beat 2. Consequently, for measure 13, beat 2, it naturally follows that 4321 must also be used to connect to measure 14. Therefore, 4321 is used here as well. The issue lies with measure 13, beat 1. Whether to use 5432 or 4321 here is up to the performer.

To conclude, I believe 5432 is more difficult than 4321. If 5432 is used, the B will be played with the 4th finger. Since the black keys are elevated, when using the 543 combination—which involves the most uncooperative fingers—only the 4th finger will be in an elevated position. This can result in unevenness or inconsistency in the sound. If the performer lacks confidence, it is safer to consistently use 4321.

However, always choosing the easy path is not beneficial for one's development. Those with ample time should boldly try using 5432. If it doesn't work out, it would be beneficial to train with various combinations, such as:

• The 53-4 53-4 exercise
• Trills of 54 while holding 3
• Trills of 35 while holding 4
• Trills of 34 while holding 5

2. Left Hand in Measures 34-35

The next difficult passage is the left hand in measures 34-35. For a student who has thoroughly practiced measures 13-18, the right hand in measures 34-35 should not pose much of a problem. However, when the left hand enters, coordinating it precisely with the right hand can be challenging. For this passage, the fingering is, of course, 1234. It is advisable not to use 2345 or similar fingerings by mistake. Here too, similar to the training conducted for measures 13-14, try training with various combinations to ensure that fingers 2, 3, and 4 respond freely.