Measures 1-10

This section allows for free improvisation. Although it begins in D major, a borrowed chord, V7/V, appears in measure 8. The cadence then strangely concludes in A major. Dynamically, it is recommended to start measure 1 at p, gradually building a crescendo towards measure 8. The tempo should pause here, and measures 8-10 should be played at a slow tempo.

From the second beat of measure 8, the volume should decrease once, then gradually increase from measure 9, concluding measure 10 with a forte.

Measures 11-67

Although similar themes appear to be intertwined, a clear organization reveals the structure of the piece, which aids in performance. First, consider measures 11 (fourth beat) to 12 (third beat) as one "motif." Please remember the theme in the right hand. This will be referred to as Motif A.

Motif A continues until the third beat of measure 17. While Motif A reappears later, this is considered a good breaking point for now. This section from measures 11-17 can be divided into two parts: the first from measure 12 (strictly speaking, the fourth beat of measure 11) to the third beat of measure 14, and the second from there to the third beat of measure 17. The only difference between the first and second parts is the exchange of hands (right and left). The first part can be divided into four sections, with Motif A appearing four times, changing tonality; however, this is not a modulation but a pattern called a harmonic sequence. If forced to assign keys, it progresses as A major, D major, A major, D major.

In the second part, the hands are exchanged. Pay attention to the number of notes in the accompaniment. There are more notes than in the first part. It is reasonable to understand that this second part is dynamically louder. If forced to assign keys, it descends sequentially as B minor, A major, G major. Perhaps a diminuendo would be appropriate here.

The motif appearing from the fourth beat of measure 17 will be referred to as Motif B. You may remember either the right or left hand part. Motif B continues until the third beat of measure 23. While Motif B reappears later, this is considered a good breaking point for now. Over these six measures, the harmonic sequence is repeated, resulting in a total of six instances of Motif B. There are also instances where the hands are exchanged, and Motif B appears in F-sharp minor.

From the fourth beat of measure 23 to the third beat of measure 32, Motif A and Motif B combine. The combined motif will be referred to as Motif AB. Four instances of Motif AB appear by the third beat of measure 32 (strictly speaking, only the last, fourth instance, continues slightly longer).

A new motif appears from the fourth beat of measure 32 to the third beat of measure 38. This will be referred to as Motif C. This section of Motif C is broadly divided into two parts, which are simply patterns where the hands are exchanged.

Four instances of Motif A appear from the fourth beat of measure 38 to the third beat of measure 42. This time, the hands exchange every time (suggesting busyness, understood as increasing tension).

Motif C appears from the fourth beat of measure 42 to the third beat of measure 46. In measure 45, for example, the right-hand line is transformed, but the last three of the left-hand's four 16th-note patterns are written as F-sharp - E-sharp - F-sharp, which is a pattern of descending by a minor second and ascending by a minor second; therefore, this was also classified as Motif C.

From the fourth beat of measure 46, Motif B appears, where the 16th notes become arpeggios. This continues until the third beat of measure 48, and from here, the 16th-note patterns become a mixture of arpeggio patterns and Motif C patterns. In measure 51, both hands play 16th notes, but this should be considered a variation of Motif C.

From the third beat of measure 53, the final instance of Motif A appears. It continues until the first beat of measure 56.

From the second beat of measure 56, Motif C appears, and 16th notes simultaneously appear in both hands again. This continues until the third beat of measure 63.

From the fourth beat of measure 63, a new motif appears that has not been heard before, and this is considered the CODA. Measure 67 is the final measure.

Performers should determine dynamics, timbre, and direction based on this analysis.

Measures 68-126

This section can be divided into three parts.

1. Measures 68-80

This section requires improvisation. A sequence continues for three measures from 68-70. Play each one with a varied expression. In measures 71-73, there are six sequences. Here too, ensure that not all are played the same. Similarly, proceed by improvising volume adjustments.

2. Measures 80-111

This is a fugue. The subject begins on the upbeat of the first beat of measure 80 in the tenor voice and continues until the third beat of measure 81.

The countersubject begins on the upbeat of the third beat of measure 80 in the soprano voice and continues until F-sharp on the third beat of measure 81. Performers should identify the peak points within measures 80-111 and build towards them. During this section, the subject and countersubject progress, changing keys and voices, interspersed with sequences. Vary the volume and timbre of each subject and countersubject. This is the author's personal opinion, but measures 106-109 are likely the peak points. While this fugal section progresses more straightforwardly compared to the preceding measures 68-80 and the following measures 111-126, it is acceptable to incorporate a certain degree of romantic playing. It is better not to play it strictly like a metronome.

3. Measures 111-126

This section again requires improvisation. The same considerations as for measures 68-80 apply.

Measures 127-277

This is a bright and joyful section. The number of notes increases towards the end, so it is advisable to start playing from p. Let's assume the theme is from measures 131-134. This theme progresses, changing keys, interspersed with many patterns of sequences. The keys are listed below for reference.

• Measures 131-134: A major
• Measures 139-142: D major
• Measures 150-153: D major
• Measures 154-157: E minor
• Measures 158-160: G major
• Measures 164-167: A major
• Measures 168-171: B minor
• Measures 176-179: B minor
• Measures 180-183: D major
• Measures 197-200: A major
• Measures 201-204: E minor
• Measures 205-208: G major
• Measures 209-212: B minor (variation)
• Measures 216-219: F-sharp minor
• Measures 253-256: B minor
• Measures 257-260: D major
• Measures 264-277: CODA

The number of notes in these themes also increases towards the end, meaning the volume rises. Except for the sentimental parts, proceed straightforwardly, gradually building up the piece, and maintain tension until the final CODA.