This is a very beautiful piece, but there are many points to note. It fundamentally has a strong polyphonic tendency, and therefore, each voice must be respected. First, let's discuss these points of caution. The key is to pay attention to and carefully treat notes that have two stems emanating from a single note. From measures 1-4, can you see that in each measure, there are two notes in the left-hand bass that serve as both a sixteenth note and a dotted eighth note?

These notes serve the purpose of "sustaining without breaking" but also simultaneously "emphasizing." In measures 1-2, there is another note in the left hand with an upward-pointing stem, written as an eighth note. Let's consider the bass and that note as two voices. Adding the melody line makes it three voices. In measures 3-4, the notes in the right hand become two voices. In that case, measures 3-4 are considered four voices.

The melody line is the most important, so this voice should be played so that it reaches the listener's ear most prominently. The next most important is the bass voice. The notes in the left hand written as eighth notes with upward-extending stems, and the notes in the right hand appearing in measures 3-4 with downward-pointing stems, should be played with the softest volume.

Just because two stems emerge from a single note does not always mean it should be played strongly. For example, the A-sharp in the left hand, an eighth note on the second beat of measure 4, is considered a resolution from the B written immediately before it on the first beat. Therefore, this A-sharp should be played softer than the B.

In this way, when notes become polyphonic and two stems extend from a single note, particular attention is required, but as in the previous example, harmonic progression and other factors must also be considered simultaneously.

Measures 36-37 are a perfect four-voice texture. Let's designate them as soprano, alto, tenor, and bass. For example, in measure 36, if the soprano and alto were played at the same volume, how would it reach the listener's ear? It would sound like D-sharp, B, F-sharp, E, B, C-sharp. However, in reality, it is D-sharp, B, E, B, and since F-sharp and C-sharp are alto notes, these should be played pp so that the listener hears D-sharp, B, E, B. Such independence of voices is necessary. This is why it is written in four voices. While it may be difficult to make the listener perceive this perfectly, knowing and consciously playing with this in mind will change the performance for the learner.

Technical Aspects

Next, let's discuss technical aspects. For learners with small hands who cannot even reach an octave, for example, playing a ninth in the right hand on the second beat of measure 7 is impossible. Various contrivances are necessary for such passages, and there are two ways to play this ninth in the right hand on the second beat of measure 7. One method is to hold down the alto D with the right hand, play the top C-sharp with the left hand, and then quickly move the hand down to the G-sharp. This involves quite a busy movement, so practice is required. If this movement takes too much time, causing that section alone to slow down, then the other method should be adopted.

That method involves changing the pedal the moment the D on the first beat in the right hand is played, and then sustaining the pedal while playing the second beat. This allows the alto D to sustain for the duration of a quarter note. However, ensure that the A and F-sharp in the left hand on the first beat do not get caught (remain) in that pedal. Please try practicing this several times.

Pedal Considerations

Next, let's discuss pedal considerations. Basically, it is good to change the pedal with each chord, so generally, you can change the pedal beat by beat. However, what you must be careful about is where non-harmonic tones appear. Please look from measure 24 onwards. The chord on the first beat of measure 24 is B, D, F-sharp, and the chord on the second beat is F-sharp, A-sharp, C-sharp, E, isn't it? However, on the first beat, there is a non-harmonic C-sharp in the right hand. And on the second beat, a non-harmonic B appears in the right hand as well, doesn't it?

If you depress the pedal while including these non-harmonic tones, muddiness will occur. In situations like these, depress the pedal after the non-harmonic tone has resolved to a harmonic tone. In other words, avoid including non-harmonic tones in the pedal. By doing so, you can perform a clear, un-muddied harmonic progression.

Rubato

The next and most challenging task is that this piece requires rubato, as stated at the beginning of the score. You must create a natural flow without becoming agitated, yet without sounding heavy. For this, please seek advice from your teacher or watch videos to grasp the natural flow. The key is to consider each 4-measure unit as one phrase and play these 4 measures "at once" (meaning not quickly, but treating them as a single entity, without stopping the flow midway).