Key Elements for a Lively Performance

The most crucial element in this piece is to bring out its “liveliness.” It must be energetic. Let’s consider what kind of performance would cause it to lose its vivacity.

• Extremely Slow Tempo
  Although it is in 4/4 time, a slow tempo, even one that feels like 2/2 time, will reduce the tension of this piece.
• Lack of Crisp Articulation
  Some quarter notes require staccato. For example, in bar 1, the two quarter notes in the right hand between beats 1 and 2 are played staccato, but the D on beat 3 may be connected to the following F#. The issue lies with the half notes in the left hand. If these are sustained for their full note value, they will drag and lose their lively atmosphere. These too may be played shorter than their original half-note length. Furthermore, a performance that becomes heavy is strictly forbidden. Staccato should be played short and lightly.
• Performance that Decays at p
  For example, bars 5-8 have a p marking, but do not lose tension just because it is p. Do not play with a lifeless, inaudible, or hollow sound; instead, perform at p while maintaining tension.
• Performance with Fluctuating Tempo
  Do not create pauses. This piece should be played at a consistent tempo from beginning to end. During this, taking breaths, using rubato, or creating pauses are strictly forbidden. Do not slow down the tempo until the very end.

Binary Form

A [Theme a (measures 1-4) + a1 (measures 5-8)]

B [Development b (measures 9-12) + Coda c (measures 13-16)]

The V-shaped motif, which is the main theme motif, consists of three quarter notes, descending a fourth and ascending a fourth. Its perfect consonant interval sound creates an impression of harmonic rigidity, lending it a powerful character. Some scores include accent staccatos here, which further emphasizes the motif's strength.

In section 'a', the lower voice (left-hand part) consists solely of a tonic pedal point, and polyphony is not perceived. However, as the title suggests, the powerful motif of the theme, reminiscent of a march, combined with the stable tonic pedal point, gives it a bright and majestic character.

Section 'b' begins with a dominant pedal point, which can be interpreted as an expansion of the thematic V-shaped motif. Unlike section 'a', where the I tonic chord and tonic pedal point are dominant, section 'b' commences with an imperfect cadence on the V dominant chord. In measures 11-12, the theme undergoes an ascending development, leading into the concluding section.

In the lower voice of measures 13-14, a descending perfect fourth line is formed as a variation of the thematic motif (e.g., D→A→D, A→E→A), further emphasizing rhythm and power. It would be effective to interpret this development of the motif not merely as an accompaniment but as an independent voice, expressing its inherent strength.

While not polyphonic throughout, the eighth notes in the lower voice in measures 10 (beats 3-4) and 14 (beat 4) create a sense of interplay between two voices, akin to interjections. Although few in number, giving expression to the lower voice in such passages would make the polyphony more distinctly perceptible.