5. Petrarch's Sonnet No. 104

Sonnet No. 104 may be the most technically and musically challenging among the three sonnets arranged for piano. While Sonnet No. 104 possesses a more brilliant charm than the other sonnets, it is advisable for teachers to first assign relatively less technically demanding sonnets, such as No. 123 or No. 47, to learners to gauge their progress. This is not to say that No. 123 or No. 47 are easy; rather, it implies that No. 104 is exceptionally difficult. From this point forward, I will address learners who possess the technical proficiency and musical experience required to perform this sonnet.

It is no exaggeration to say that the success or failure of performing Sonnet No. 104 is determined by the first four measures, which present an immediate and high level of difficulty at the outset. Many individuals will find it difficult to reach a tenth in the left hand, necessitating an arpeggiated approach. However, given the tempo of Agitato assai, it proceeds quite rapidly. This section requires a strong fifth finger in the left hand. Musically, the right-hand octaves must be played without blurring the pedal (including the inner voices).

Furthermore, an understanding of recitative (the solo vocal part) is essential for this sonnet. For instance, measure 6 is a section that requires improvisation. Emulate a singer's phrasing as closely as possible. Now, I will offer advice on shaping the melodic line from this point. Regarding the theme beginning in measure 7, first try playing it as a single melody with pedal up to the third beat of measure 10, on A. The phrase up to this point can be divided into two parts: the first extends to the third beat of measure 8, on E. The second part follows thereafter. The goal of the first phrase should be directed towards the G-sharp on the first beat of measure 8. Counting from measure 7, this is precisely the fourth G-sharp. Although the dynamic marking in measure 7 is forte, since the goal awaits in measure 8, do not begin too loudly. Then, try to be drawn towards the G-sharp in measure 8. Once you reach the G-sharp in measure 8, then slowly decay.

Next, for the second phrase, an E an octave higher awaits on the upbeat of the first beat of measure 9. While the piano is an instrument that allows for instantaneous reach of an octave, singers take considerable time when executing large leaps. Emulate this by taking time to reach the E an octave higher. And again, that E should never be too loud. The goal of this second phrase can be considered this E, or it can be considered the B on the first beat of measure 10. Another point of caution concerns the three eighth notes appearing from the upbeat of the third beat to the fourth beat of measure 9. These three eighth notes should be played in a single, continuous flow (this does not mean playing only this section fast, but rather not emphasizing each individual eighth note).

Once the B in measure 10 is reached, then slowly decay as the chromatic scale gradually descends. This is the fundamental shaping method for this sonnet. This serves as a basis for many subsequent themes, though themes naturally appear in various forms. For example, some themes are marked stringendo (measure 46), while others are marked rallent dolce dolente (measure 50). The mood should be altered according to the specific context.

For technical support, in measure 44, where the thirds begin, immediately after playing B-F#-A-D# with the left hand, the left hand should take over the lower notes of the right-hand thirds. This allows the thirds to be played more securely.