A Fragment of Sappho

The most important thing to note in this piece is to always make the melody line clearly audible. This piece features a single theme that develops into a set of variations, with an increasing number of notes. However, the number of notes other than the melody is excessively high, while the melody line itself largely remains monophonic (except for the middle section). In other words, it is a piece where the melody line can easily be obscured by other voices.

Let's list the passages that require attention:

• The melody E on the second beat of measure 3, Eis and Fis on the second beat of measure 6.
• The Fis on the first beat of measure 11 (which is the top note of the chord).
• The melody line E and G in the left hand on the second beat of measure 13.
• Gis and Cis on the second beat of measure 16.
• All melody lines except Gis in measure 17.
• The E on the second beat of measure 38.
• The Fis on the second beat of measure 41.
• The G on the first beat of measure 47, etc.

In particular, notes like the E on the second beat of measure 38 will not sound properly without special sectional practice. In all cases, ensure the melody line is clearly audible and does not become blurred.

Now, let's address technical issues. Approximately, it would be impossible for anyone but a giant to play the left-hand chords from measure 12 onwards without borrowing notes from the right hand. This is also a characteristic of Arensky's writing style; many composers write scores with the performer in mind. However, Arensky, in his case, rigidly adheres to the order of polyphony, completely disregarding the performer's difficulties. He is completely unconcerned even if this results in major sevenths or minor ninths that clash acoustically, not just for the performer.

For the left hand from measure 12 onwards, try to play the chords simultaneously by borrowing notes from the right hand, rather than arpeggiating them. For example, on the first beat of measure 15, the highest Fis in the left hand should be taken by the right hand. The same applies to the second beat. There is one passage that requires attention regarding pedaling. In measure 22, the tonic chord of B minor appears on the off-beat of the first beat. If you change the pedal here, you will lose the octave B in the bass written just before it. On the other hand, if you sustain the octave B with the pedal, the tonic chord will then mix with the preceding dominant seventh, resulting in a muddy sound. Therefore, simultaneously as the left hand plays the tonic chord, sustain that chord with your fingers, and change the pedal to half-pedal "as you enter the second beat." Until then, keep the notes firmly pressed with your fingers. With this pedaling, the tonic chord of the first beat will remain clearly into the second beat, and since it's a half-pedal, the low octave B can also be faintly sustained.

Since this pedaling does not change until the second beat, the end of the off-beat of the first beat will naturally mix with the dominant seventh. However, this is only for an instant. Even so, it is far better than the octave B disappearing instantly. Please try it. There are several other passages that require attention regarding pedaling or sustained notes. For example, measure 4. The first beat is a D-Fis-A chord, so keep the pedal down to sustain the bass and inner voices (D-A-Fis-A) within that beat using the pedal. It would be unnatural for the bass and inner voices to cut off as soon as the melody line's Fis arrives. However, if you keep the pedal down through the second beat of measure 4, the melody line's Cis and D will mix and become muddy. Sustain the Cis with your finger and connect it to D, but at this point, change the pedal while keeping the sixteenth notes D-Ais-E-G sustained with your fingers. As a result, the melody line will not be muddied, and the inner voices can be sustained. There are many such passages, so use your current technique to avoid abruptly cutting off the inner voices.

Regarding the musical aspect of this piece, it is important to imagine Arensky's tumultuous life, marked by his indulgence in alcohol and gambling and his early death, as well as the severe, cold loneliness unique to snowy regions, and to perform with those feelings in mind. It is a work that clearly conveys his loneliness and sorrow.