Analysis of the Piece

The main key is F major.

The overall structure is ternary form:

A [I (a: measures 1-4 + a1: measures 5-8) + II (b: measures 9-12 + a1: measures 13-16)]

B [c (measures 17-24) + c1 (measures 25-32)]

A [I (a: measures 33-36 + a1: measures 37-40) + II (b: measures 41-44 + a1: measures 45-48)]

Analysis of the A Section

The structure of the A section is bipartite. While the 'a' sub-section is a bright, rhythmically active passage in the main key of F major with short note values, the 'b' section partially modulates to the parallel key of D minor, where two-voice imitation occurs. No other section in this piece exhibits polyphony apart from the 'b' section. Therefore, particular attention should be paid to the balance between the left and right hands as independent two-voice parts here.

After a half cadence in D minor in the 'b' section, the music returns to the main key of F major, and the 'a1' sub-section is re-presented.

Both the 'a' section and the 'a1' section begin with a descending motion and ascend to a cadence. The significant difference is that 'a' concludes with an imperfect cadence, whereas 'a1' concludes with a perfect cadence. Consequently, the cadence of 'a1' should convey a greater sense of stability and include the release of tension through harmonic resolution from the dominant seventh, more so than 'a'.

Analysis of the B Section

Compared to the somewhat complex structure of A, B is simply constructed. Like A, it is broadly bipartite, but the melodic motives have longer note values and less movement. Since relatively long note values (quarter notes) are arranged on the same pitch, it can be interpreted as having a vocal nuance.

The harmonic cadence from measure 17 is an imperfect cadence. Typical of the Romantic era, it does not begin on the dominant but starts from the subdominant IV. From measure 25, it modulates to B-flat major, and after a two-measure sequence from measure 29, it returns to the main key.

Re-presentation of the A Section

After the B section, A is re-presented, which is almost identical to the opening A. The difference is that the dynamics of the 'a' section are structured with forte and mezzoforte compared to the opening, making it louder than the initial mezzoforte and piano configuration.

These differences are likely intended to create a more robust sense of overall unity by making A more impactful within the piece's flow. It is also conceivable to vary the expression as if performing a finale, compared to the opening.

Concluding Thoughts on Interpretation

It is impossible to definitively ascertain the precise intentions behind these subtle differences. However, pausing to consider how to express such differences is one of the most creative aspects of piano practice.