2. The Pensive One

The author is referring to the Henle edition. In the Henle edition, this 48-measure piece is printed across two pages. Those who possess the Henle edition should refer to the left page; otherwise, please examine measures 1-22.

This piece is likely easier to perform in its latter half. From measure 23 to the end, dynamic markings are meticulously notated. However, on the left page (measures 1-22), dynamic markings are less detailed compared to the latter half. A mezzo forte is indicated at the anacrusis of measure 1, and thereafter, only crescendo and diminuendo markings, rinforzando, and sforzando are present.

The challenge in the first half lies in dynamic control. Without careful attention, it tends to become monotonous. When considering the first 22 measures broadly, measure 17 is likely the point of highest tension, after which the music descends chromatically. Assuming that the melodic note B from measure 14 is the strongest sound, the preceding phrase, specifically the melodic note G from measure 9, should leave some room for the upcoming B, even if marked rinforzando. From this perspective, it becomes clear that each phrase progresses in four-measure units. While the melodic note is E for both measures 1-4 and 5-8, the tension should be higher in measures 5-8 than in measures 1-4.

By working backward from the peak points, the distribution of dynamics becomes clearer.

Now, regarding the musical interpretation, "The Pensive One" might be considered more of a vertically structured piece than a horizontally flowing one. Imagine it as "funereal," to be performed with dignity, solemnity, and incorporating dramatic elements.

Furthermore, concerning the pedal: for instance, at measure 28, there is a pedal marking indicating it should be held down for an entire measure. Believing this literally would lead to significant issues. These markings are intended for older pianos, which did not sustain notes or produce the same volume as modern pianos. When performing measure 28, for example, the pedal should be changed frequently and judiciously, ensuring that "what notes are sounding" remains clear. There might even be sections where the pedal is not necessary at all.