Analysis and Performance Suggestions

The theme (subject) of this piece is considered to begin with an anacrusis quarter note, followed by two half notes. Therefore, if one extracts only the measures containing these half notes, measures 1, 4, and 12 are considered the beginning of the theme (although measure 8 is also part of the theme, it is an exception as it does not begin with two half notes).

As some may have already noticed, if one attempts to perceive this piece in 4-measure units, measure 4 would appear to be the final measure of the initial theme.

In other words, the first half of this piece exhibits a truly peculiar form: 3 measures + 4 measures. The latter half, from measures 8-11 and 12-15, can be neatly classified into 4-measure units. Thus, the rare aspect of its form lies in the fact that measures 1-3 comprise only 3 measures.

Consequently, listeners who attempt to perceive the piece in 4-measure units tend to consider measure 4 as the end of the theme, when in fact, measure 4 is the beginning of the theme.

Related to this is the performance technique for measure 3. The theme, which begins in measure 1, concludes on G in the right hand on the third beat of measure 3. If this G were to be connected to the C on the subsequent beat, the listener would become even more confused. Therefore, one suggestion is to cut short the G on the third beat of measure 3 and the C in the bass clef, and play the C on the fourth beat as if starting a new phrase.

Another suggestion is to play measures 1-3 piano, then transition to forte from the fourth beat of measure 3 and continue forte until measure 7. This contrast in dynamics can highlight the respective lengths of the phrases. Play the same way after the repetition. By doing so, you can enable the listener to perceive that there are two phrases: 3 measures + 4 measures.