General Approach to Repetitions and Sequences

This piece contains many repetitions and sequences, requiring considerable ingenuity. A key to performing this piece is to never play the same passage identically when it recurs.

Opening Measures (1-3)

In the opening measures 1-2, the repeated Fs in the right hand, including the first beat of measure 3, total seven notes. Ensure these seven Fs are never played with the same dynamics. The target is the A in measure 3, so convey a sense of "direction" leading towards it.

Phrase Structure (Measures 1-16)

For measures 1-16, assume there are two 8-measure phrases. The first is measures 1-8, and the second is measures 9-16. Measures 1-4 and 9-12 are identical in both hands. The difference lies in measures 5-8 and 13-16. Measures 5-8 conclude with a half cadence, while measures 13-16 conclude with a perfect authentic cadence.

Da Capo (Measure 62) and Variations

A Da Capo (DC) occurs at measure 62, leading to a repetition of measures 1-16. While the first time through might be played straightforwardly, upon the return, avoid playing it identically. For instance, emphasize the left hand more than the repeated Fs in the right hand, or, if your edition offers ornamental options, consider playing those. In any case, some form of variation is desired.

Measures 31-46: Utilizing Differences

This is even more crucial given that measures 31-46 are an exact repetition of measures 1-16. In measures 31-46, the left hand in measure 38 is written an octave lower compared to measure 8. Utilize such "differences" to introduce variations. For example, play measures 31-38 forte and measures 39-46 piano.

Descending Sequences (Measures 17-24)

Next, let's examine the sequences. Measures 17-24 feature a descending sequence in 4-measure units. Differentiate the sound quality between measures 17-20 and 21-24. Never play them identically.

Two-Measure Sequences (Measures 25-28, 47-50, 55-58)

Measures 25-28 present a 2-measure sequence. Introduce some variation. Subsequently, measures 47-50 also feature a 2-measure sequence. In this case, measures 55-58 present the exact same sequence, but the manner of variation should differ from that of measures 47-50. For example, if the first part of the sequence in measures 47-50 is forte and the second part is piano, then for measures 55-58, the first part of the sequence could be piano and the second part forte.