16. After Being Scolded

This piece requires significant musicality. If played with metronomic precision, it can sound mechanical. Care must also be taken with the repeated notes that frequently appear throughout the piece.

Let's examine the piece. This composition consists of 12 measures. Observing the left hand, four half notes form a single group. This implies that two measures constitute one phrase. Each group of four half notes invariably begins on D and concludes on either B, A, or C# (the final instance being an exception). The somewhat unstable and melancholic atmosphere throughout the piece stems from the endings of these half-note groups, which do not select notes that provide psychological repose. For instance, the final half note in the left hand of measure 2 ends on B. While ending on D would offer some sense of resolution, ending on B inevitably leaves a lingering instability. Performers should perceive these compositional intentions and imbue their performance with a sense of unease.

Performers must never place an accent on the final note of each phrase. It should always conclude as if fading away.

From this point, I will offer my personal opinion: I believe that a certain degree of rubato is permissible in this piece. For example, at the climax in measure 8, I think it would be acceptable for the tempo to slow down considerably. Techniques such as 'broadening' or slightly slowing the tempo could also be applied in measure 8 and between measures 11 and 12.

Let us also consider the issue of balance. The half notes in the left hand naturally mark beats 1 and 3. If played this way, the music can sound very vertically segmented, thereby losing its horizontal flow. I believe this piece is not one where the beat should be felt vertically, but rather one that flows horizontally. Therefore, the left hand, which marks the beats, requires particular caution. When performing, reduce the left-hand volume as much as possible and minimize the attack on strong beats.

The right hand should produce clear tone quality and play expressively, like singing. Particular attention should be paid to the repeated notes beginning from measure 5, as these can sometimes cause the music to sound rigid. Reduce the volume of the repeated notes and ensure they sound smooth.