Sympathy

This is a canon where the outer voices maintain a fifth and proceed one measure later. The inner voices basically progress harmonically in two parts, but these inner voices appear on weak beats and are tied to the next measure. Consequently, many problems arise, such as being unable to reach notes in some places, or the note values not being sustained and cutting off midway, or notes unnecessarily lingering due to the pedal, or conversely, cutting off. For example, in measures 5 and 7, to maintain the polyphonic order, it is recommended to divide these two inner voices and play one voice with each hand. Strictly connect the inner voices except for rests. Therefore, it becomes very difficult to connect the voices without using unusual fingerings such as 5-5. Utilize all means, including finger pedaling and fingering changes, to maintain the polyphonic order.

There is a repeat section in the first half, and naturally, you should not play the second time exactly the same as the first; variation is desired. Measure 13 contains a very perplexing chord, so for the second time, emphasize it more than the first to create variation.

Now, regarding measure 19 after the repeat, the right-hand melody line is written as FGCA. Indeed, recordings also play FGCA, so I believe this is the score commonly circulated. However, judging from many places such as the left-hand canon in measure 20, the right-hand sequence in measure 23, and the left-hand sequence in measure 24, and also from the rules of canon, it is certain that this should actually be FGAbA, and FGCA is a misprint.

Just because it's a canon, there's no need to particularly emphasize the outer voices. Needless to say, when performing this piece, consider the balance, play the inner voices as softly as possible, and be careful not to let the music become vertically segmented. Doing so will make the canon clearly audible.

Also, due to the character of the piece (Andante Espressivo), much rubato is required. As a typical example, passages like measures 15-16 should be taken slowly. Conversely, if measures 48 to 52 are played at a static tempo, the piece will drag. In such sections, slightly push the tempo forward. It is important that the entire piece is never played like a metronome.