General Character and Tempo

The most important thing about this piece is that its character is not a deeply serious depiction; it can be described as an "optimistic fantasy." Therefore, it is crucial to play it effortlessly, not with profound earnestness. As a result, the ideal approach is not to play in a way that feels heavy, but to feel the two-beat pulse and proceed lightly. Consequently, if the tempo is too slow, it will sound heavy. A comfortable tempo, one where the right-hand 16th notes do not feel heavy, would be ideal.

Violin Analogy and Articulation

Let's compare this piece to a violin. In the melody line of the first four measures, delicate articulation is required. However, in the next two measures (bars 5-6), there is ample sustain, followed by bowing starting on the off-beat in bars 7-8, and then again, a section from bars 9-12 with ample sustain and singing. It is desirable to distinguish between these "delicate bowing" parts and "amply sustained singing" parts, maintaining lyricism within a constant tempo.

Singing Section (Bars 16-24) and Pedal Use

The singing section is particularly prominent from bars 16-24. To create warmth, it is effective to sustain the first left-hand note of each measure, which serves as the bass, either by holding it with the finger (finger pedal) or by using the actual pedal. Of course, in cases like bars 18-19 where scales appear in the right hand, holding the pedal down continuously will blur the sound. Therefore, be careful to use only finger pedal in such instances or to avoid blurring the right hand.

Sequences and Dynamics (Bars 25-32)

Consider bars 25-32 as eight sequences, divided into two groups of four (bars 25-28 and 29-32). The second group should be louder. From bars 25, 26, 27, to 28, execute a crescendo from pp to reach bar 28. Once bar 28 is reached, drop back to p and then crescendo towards bar 32.

Right Hand Voicing (Bars 25-32)

Another point of caution in this section is to bring out the upper note of the right-hand 5ths or 6ths, while significantly reducing the volume of the lower note.

First Climax (Bar 33)

Then, the first climax is reached at bar 33. This section depicts a kind of "joy" or "sense of relief." Play with that feeling. In this part, too, clearly bring out the top note.

Cadenza-like Section (Bars 41-56)

You may consider bars 41-56 as a cadenza. This is because the left-hand accompaniment's eighth notes disappear, and half notes are tied. In other words, if you imagine the left hand in this section as a string ensemble, the cellos and violas, for example, are sustaining the notes, allowing the melody line to move freely in the interim (meaning it can be somewhat improvisatory). In the melody line, bar 47 is a moment of surprise. Since such a part has not appeared before, you may emphasize it somewhat as a surprise. Also, bar 47 requires descending a considerable distance from the preceding bar 46. This is a technically risky part. Here, you don't have to force strict rhythmic accuracy; taking a slight amount of time can reduce the possibility of mis-touches and emphasize the surprise.

Left Hand Movement and String Analogy (Bars 41-56)

Furthermore, in bars 41-56, utmost care must be taken with the left-hand movement. As mentioned earlier, if this were a string instrument, string players would smoothly transition from one note to the next simply by shifting their fingers when changing pitch. However, on the piano, a new attack occurs each time a note is played. Here, never accent each half note; instead, proceed smoothly and horizontally, as if it were a string ensemble. This is one point.

Harmonic Progression and Non-Harmonic Tones (Bars 41-56)

Another point concerns harmonic progression. For example, in the left hand of bar 41, we have Eb, F, Ab. If we consider this Eb as a non-harmonic tone, it resolves down to D in the next measure. Therefore, absolutely do not accent the D. Reduce the volume of the D as much as possible to ensure a smooth descent from Eb. In bar 44, the left-hand Eb on the first beat also resolves down to D on the next beat, so this should also not be accented. Play it softer than the Eb. Similarly, do not accent the D in bar 46, the B on the second beat of bar 48, the B in bar 50, etc.

Freedom in Right Hand (Bars 53-56)

In bars 53-56, even the accompaniment disappears. You may play the right hand freely and improvisatorily, as long as the rhythm is not broken.

Another Cadenza-like Section (Bars 69-76)

Consider bars 69-76 as another cadenza-like section. Similar to bars 41-56, pay full attention to harmonic progression, surprises, and so on.

Dramatic Section (Bars 77-84)

Now, while the author described this piece as an "optimistic fantasy" at the beginning, bars 77-84 are considered the first section where the piece becomes dramatic. This section requires the most volume so far. Do not hesitate to play forte.

Solo Section and Rhythm (Bars 85-91)

Then, a solo section appears again in bars 85-91. While this section is basically free, you must not forget the count. A common issue is that the tempo tends to slow down in bars 89-91. Even when a section with long notes appears, continue rhythmic counting.

Final ppp Section (Bars 92-93)

Finally, in the ppp section from bars 92-93, think of pizzicato by string instruments like the double bass. Despite being ppp, ensure that the 5th finger of the left hand clearly sounds the bass note. Here, it works well to play the staccato as short as possible, like touching something hot and quickly withdrawing your hand.