1. Wedding

First, there is one important thing to remember. All rests written in this piece should be considered not as actual silences, but as gestural rests or rests intended to create lingering sound or resonance. This piece requires lingering sound or resonance in many places. The lingering sound begins from the opening measures 3-4. There is a diminuendo marking. In both measures 3 and 4, place a slight accent on the off-beat of the first beat, then fade away. Measure 4, in particular, should be considered a cadence. For these four measures, you may consider measures 1-2 as the main vocal line, and measures 3-4 as either the accompaniment to that line or as the 'response' of another singer.

Melodies similar to those in measures 1-2 appear frequently in measures 5-6, 10, and 12. Since this melodic line consists of notes of the same duration (in this case, quarter notes), be careful not to play it mechanically. The key to this is to use a lot of rubato and vary the tempo.

Consider measures 1-8 as a cadence, and that the piece truly begins at measure 9. In measures 9, 11, 13, 15, and 17, chords change successively. The performer should infuse the emotion felt from the sound of each chord, ensuring it does not become monotonous. For example, measure 15 is a shocking section where the timbre changes dramatically. You may reduce the volume and use the soft pedal. Throughout this series of chord changes from measures 9-18, there are no dynamic markings. Although the crescendo begins from measure 19, it would be unnatural to maintain a completely flat dynamic level throughout measures 9-18. Please attempt subtle variations within the range of ppp-p.

From measure 19, gradually increase the volume to reach the first climax in measures 27-29.

Measures 30-37 should again be considered a cadence.

From measure 38, a new melody appears. Play it truly solemnly, religiously, and pay attention to the harmonic changes. This section also has no large dynamic changes. Basically, apply dynamics within the range of p-ppp. There are two measures that reach a peak: measures 43 and 57. From measure 68, a crescendo is finally applied, along with a stringendo, reaching ff at measure 74. In measures 75-77, immediately reduce the volume, starting from pp at measure 77, apply a crescendo, and finally reach the cadence in measures 111-112, but the approach is crucial. For example, there is a fortissimo at measure 92, but the path ahead from there is long. If you expend all your forte here, you will have nothing left for later. Hold back the forte and conserve it for later.

Personally, I interpret the fermata at measure 112 not as a lingering sound, but as a moment of silence. From measure 113, there is a 'ritenuto il tempo' marking, indicating a slightly slower pace. The eighth notes in the right hand at measure 120 are resonance. Do not rush; descend slowly and at pp.

This type of piece tends to become stiff due to the influence of fortissimo. It is good to remember basic shaping (phrasing) even during forte sections. Additionally, for right-hand chords, you can produce a beautiful forte by relaxing the thumb (finger 1).