Movement Analysis and Performance Guide

This movement is highly prone to sounding monotonous. Through thorough analysis and the establishment of clear direction, the piece can be transformed significantly. Although it is a long movement with 87 measures, there are cadential sections where new thematic material emerges. Should any measure within this movement contain no sixteenth notes, that point serves as a new structural starting point.

• Measure 1: Begins in h-moll (B minor).
• Measure 32: Begins in fis-moll (F-sharp minor).
• Measure 55: Returns to h-moll (B minor).

Dividing the piece into three sections in this way makes it easier to organize. Additionally, there are smaller cadential sections (e.g., measures 11-12). The division is flexible; therefore, select points where you perceive a natural articulation or conclusion. Furthermore, give this piece "direction" and vary the dynamics (loudness/softness). This is a capability uniquely afforded by the piano.

Let us consider the final section as an example. This is merely an illustrative instance.

Starting from measure 55, raise the dynamic to forte at measure 57. This is because a descending sequence follows. Apply a diminuendo until the second beat of measure 61, then initiate a crescendo from the third beat of measure 61. This is due to the commencement of an ascending sequence.

Measure 64 introduces a small cadential passage, and measure 65 commences at pianissimo (pp). Apply a crescendo through measures 65, 66, and 67, then return to pianissimo (pp) at measure 68. From this point, two-measure sequences commence (e.g., 68-69, 70-71, 72-73). This ascending sequence (measures 68-79) should gradually crescendo, building the tension to its apex.

From measures 80-82, the tension must not be allowed to diminish. At measure 83, the volume is momentarily reduced, but the tension is maintained while a crescendo is applied, aiming to reach the final cadence.