Second Movement

The second movement presents several points of inquiry. Firstly, regarding the tempo of Allegretto, it should be set at a pace that allows for the comfortable execution of the many turns appearing throughout the piece.

What follows is somewhat complex. First, for approximately the opening 10 measures, try playing without the turns. This will bring to attention the repeated D notes, as well as the repeated B and C notes in measures 9-11, among others. Then, when playing strictly according to the score, with the turns included, the question arises whether the previously repeated notes still need to be reiterated, or if they should be.

Specifically, for instance, in the upbeat, a turn is applied to the right-hand notes DDG. The question is whether one should play five notes, D-E♭-D-C#-D, or four notes, E♭-D-C#-D. If the former (five notes) is chosen, the repeated D can naturally be heard, but not with the latter (four notes).

Ultimately, this is left to the subjective judgment of the performer. However, this author would choose the five-note option, respecting the reiteration. If this approach is taken, even more time will be required, implying that the Allegretto tempo would be slightly slower than if a four-note turn were played.

Furthermore, a crucial aspect when performing this second movement is to strictly adhere to the tempo. Personally, I believe that performances which cause the listener to lose the beat—by taking extra time for turns, or when transitioning to the next section (e.g., measure 6), or conversely, by accelerating in places where the left-hand accompaniment drops out (as in measure 3), or rushing through measures 42-43 and 46-48—are undesirable. Please ensure the tempo is maintained precisely and accurately, so as not to lose the beat.