Overall Flow and Structure

It is marked Allegretto. Sixteenth notes are present in every measure except the last, allowing no momentary rest. The piece conveys instrumental and dance-like elements rather than vocal ones.

However, instead of progressing with metronomic precision, the piece calls for improvisational freedom and fluidity.

Regarding Pedaling

Although staccato markings are present on all right-hand sixteenth notes, pedal markings are also indicated. While some videos circulating show versions without pedal, the author personally believes either approach is acceptable. Performers should experiment with and without the pedal to determine their preferred interpretation.

Regarding Rubato

As mentioned, performances played with metronomic precision are not to be dismissed. However, in sections like measures 5 to 8, where tension gradually builds, it would be effective to play with a slightly forward, faster tempo, then pull back the tempo at measure 8, allowing for such freedom.

The author has also attempted it, and applying rubato freely in this piece proves to be a technically challenging task. However, when heard, it sounds very fluid and brilliant, so please do practice and try to allow the right-hand passages to move freely.

Other Notes

In measures 17 and 19, the left hand enters the right-hand passage on the third beat. While the intention was likely to slightly emphasize those specific notes, performers who find it difficult to use the left hand for this task may play the third beat of each measure solely with the right hand without issue. Choose the easier option.

In measures 21-22, a melodic line of G#-A B-C appears in the left hand. During repetitions, vary the dynamics between the left and right hands to avoid exact duplication. For the second repetition of measures 21-22, emphasizing the left hand quite strongly would create an interesting musical effect.