13. Lullaby

First, this score is written with great precision, clearly conveying the composer's detailed demands to the performer. The author had sought to communicate directly with the composer to explore their intentions, but unfortunately, the composer had already passed away. Therefore, interpretations must be derived from the composer's compositional style.

Examining the pedal markings, it is evident that they prioritize sustain over the slight blurring of the melodic line that occurs when the pedal is held down for an entire measure. Consequently, one should not be overly concerned with minor blurring, and it may be appropriate to reproduce a somewhat blurred, watercolor-like depiction, reminiscent of Impressionistic music.

The most intriguing notation for the author is the dynamic marking placed in the lower part of the left-hand staff. While typically placed in the middle of the grand staff, its exclusive placement on the left hand in this manner carries significant meaning. Upon closer inspection, the conventional dynamic markings, appearing in the middle of the grand staff, only begin from measure 17 onwards.

A straightforward interpretation suggests that the dynamic markings written for the left hand imply that the left hand should be treated as a melodic line, similar to the right hand. Let us first examine measures 1 through 16. Throughout measures 1-16, all dynamic markings are assigned to the left hand. Upon closer inspection of the left hand, it is observed that the first beat of each measure is notated as a dotted half note. For instance, in measures 1-5, the dotted half note on the first beat of the left hand and the tenor note on the second beat are written as separate voices.

Observe the pedal markings: in almost all measures, the pedal is held down for the entire measure, unless significant blurring occurs. This implies that the note on the first beat will inevitably sustain due to the pedal; therefore, it would sustain similarly even if written as a quarter note instead of a dotted half note. Why, then, did the composer use a dotted half note here and write the left hand in two voices?

It is the author's conjecture that the composer intended the bass voice to be treated as a distinct melodic line. In essence, the intention appears to be to emphasize the bass notes over the tenor notes, or to ensure that the bass notes are played with absolute clarity and without fading. Furthermore, beyond these left-hand bass notes, the composer has placed significant dynamic markings in measures 6-7 and 13-14. Upon closer inspection, one might notice that these two measure ranges contain identical material: two eighth notes followed by a half note, or two eighth notes followed by two quarter notes. This material, it is presumed, is what the composer wished to emphasize. And whenever this material appears, the melodic line (highest voice) consistently features notes of longer duration. Normally, such notes of longer duration (especially those tied to the next measure) would be played by reducing the left-hand volume to allow the sustained right-hand notes to be heard. However, in this piece, when a melody with long note values appears, the left-hand dynamics are conversely increased, suggesting an intention to emphasize this left-hand material.

From measure 17 onwards, dynamic markings appear in the middle of the grand staff. From this point until dynamic markings reappear on the left hand, a conventional balance should be maintained, playing the left hand softly and the right hand loudly. Another point of interest is the tenuto marking. This appears only in the first half of the piece and not in the second. A tenuto marking indicates that the note should be sustained slightly longer than its written value. It is found on the second beat of the left hand in the first half (measures 1, 2, 3, 8, 9, 10).

However, sustaining only this second-beat note for an extended duration would disrupt the triple meter rhythm. It can be inferred that this marking indicates the composer's intention for the notes to be well-sustained and resonant. While the bass is important, it also suggests that the tenor voice should be sustained sufficiently, similar to the bass.

The piece undergoes repeated modulations, with the theme being performed in suddenly striking keys. Learners are encouraged not to play the theme identically in each key, but rather to vary its character according to the tonality.