Performance Notes

A crucial aspect to consider in this piece is the tempo. While 'Adagio' typically suggests a very slow pace, the actual performance dynamics differ somewhat between an orchestra and a piano. Unlike string and woodwind instruments, which can sustain notes at a consistent volume, the piano is an instrument where the sound decays. Furthermore, each individual note on the piano produces an attack sound. When performing an orchestral piece that requires such a flowing, horizontal line on an instrument that is, in this sense, 'unmusical,' it is impossible to play musically without somewhat increasing the tempo.

To explain more clearly, for instance, when sustaining long notes such as dotted half notes or whole notes, it becomes very difficult to hear on the piano when another voice enters. This is because the moving voice inevitably reaches the ear more prominently than the sustained note. As becomes clear when actually playing, it is easier to maintain the polyphonic order by slightly increasing the tempo.

Adhere to the 'molto espressivo e rubato' indicated at the beginning, playing freely as if there were no bar lines, without feeling the beat more than necessary.

Starting from measure 12, 'accel' and 'rit' appear alternately. From measure 12, the texture becomes two-voiced. Play as if two different characters are conversing; consider it an interplay where the character marked 'accel' expresses raw emotion, and the character marked 'rit' soothes it. Then, from around measure 18, 'accel' and 'rit' disappear, indicating a return to emotional calm.

Now, looking at the piece broadly, the sections are divided at measure 22 and again at measure 35. Let's trace the notes. Suppose the first phrase begins at measure 12. Focus on the upper voice. The highest note is F. At measure 13, it's E-flat, then D at 14, D-flat at 15, C at 16, B-flat at 17, A-flat at 20, and G at 21, thus descending scalewise. And at 22, it becomes E natural. This E is the leading tone of F minor, the key of this piece.

The E at measure 22 should ideally resolve to F, but that F is absent. Instead, the E at measure 35 is also an E reached by a descending scale. This one, however, resolves to F in the next measure. This E can be considered, so to speak, a cadential note, the goal where the phrase arrives. When viewed this way, the volume of this E is by no means small. Play it with great importance as a goal note, giving it significant presence.

Now, regarding the last measure, the F eighth note on the second beat is likely a pizzicato, perhaps from a double bass. Above it, a whole note is written, and one would want to sustain this while playing the F staccato, but the whole note is too far away to be played with one hand. If played with both hands, then the whole note cannot be sustained while playing the F. And if the sustain pedal is used, the pizzicato effect cannot be achieved.

Here, use the middle sostenuto pedal to sustain the whole note, and play the F staccato with the left hand.