First Ball

There are several points to note when performing this piece, but let's begin with an analysis. The piece is in ternary form, ABA.

• A: Measures 1-16
• B: Measures 17-24
• A: Measures 25-32

Let's start with the first A section. It is clearly divided into measures 1-8 and 9-16. Although the key of this piece is D major, it is noteworthy that both sections end on the dominant. The melodic notes descend stepwise: E in the right hand of measure 1, D in the right hand of measure 3, C-sharp in the right hand of measure 5, reaching A in the right hand of the second beat of measure 7. The melody in measures 9-16 is an exact repetition of this.

What the author struggled with considerably was the pedal point A. A appears in measures 1, 3, 5, and 6, respectively. Normally, this would be considered merely a pedal point, like in Liszt's La Campanella, and not part of the melody. However, in this score, the pedal point is written in the same voice as the melodic line, leading to considerable deliberation on whether to consider it part of the melody. While a definitive answer has not yet been reached, the author would likely not emphasize this series of A's to that extent. In other words, it seems more logical to consider the melody as F-sharp G E, rather than F-sharp G E A A A.

This is where the discussion arises. Furthermore, a more problematic issue occurs in measures 8 and 16. The half note A written on the first beat of each of these measures inevitably leads to an awkward interpretation if not considered part of the melodic line. This is because if the E on the third beat of the preceding measure is considered the melody, it would be highly unnatural for the melody to abruptly cut off at this E. Taking a more speculative approach, one could also consider the melody to end on the A of the second beat in measures 7 and 15. This might seem more logical. In that case, the subsequent E and the A on the first beat of the following measure would be considered resonance (afterglow).

It is very difficult to discern clearly as the melodic line, resonance, and pedal points are not distinctly separated in the notation, but I believe the analysis can be left to individual judgment.

Now, regarding the first A section: at first glance, measures 1-8 and 9-16 appear identical, but the crucial difference lies in the left hand of measures 13-14. Measures 1-8 are in D major, while measures 9-16 modulate to A major. In terms of tension, the latter half feels higher, while the first half feels calmer.

Middle Section (B)

The middle section abruptly modulates to F major. It gradually descends, peaking at measure 18. The same pattern begins from measure 21 and concludes the middle section with a fermata in measure 24.

Recapitulation (A')

In the recapitulation (measures 25-32), measures 29-30 introduce a higher pitch that has not appeared before. The volume should be slightly increased.