First, articulation should be noted. Although slurs are written in the phrases, ensure that the final note of a phrase is not cut short. Cutting it short like a staccato would make the piece too lively and optimistic, as this piece also contains elements of sadness. The final note of a phrase can be interpreted as a gesture of lifting the hand upwards. In other words, consider that it is permissible to connect one phrase to the next with the pedal.

We consider there to be four types of themes (subjects). These are the four right-hand sections: measures 1-2, measures 3-4, measures 9-10, and measures 11-12. Considering not only the melody but also the character of the chords beneath it, imagine the character and mood of these four phrases, and differentiate them. Clearly, measures 11-12 are where the emotion reaches its peak. For measures 9-12, try to perform in a way that creates a sense of pressure for the listeners.

Form

• A [a (measures 1-4) + b (measures 5-8)]
• A1 [a1 (measures 9-12) + Coda (measures 13-16)]

Analysis of the Theme

At the opening, in the presentation of the theme, if interpreted as E minor, there is no D♯, and the leading tone is not functioning. From this, it is evident that the first two measures are in the Aeolian mode with E as the final, and in the subsequent two measures, the leading tone functions, indicating E minor. The partial use of church modes at the beginning in this manner can, in fact, be observed in the Baroque era as well. For instance, in some of Bach's Inventions, such as No. 1 and No. 3, the Mixolydian mode is partially used at the beginning, transitioning to a key with the same tonic as the final of that mode.

Regarding the character of the theme, although it does not feel heavy due to its high register (using two treble clefs instead of a grand staff), considering its stepwise ascending motion followed by descending motion in both measures 2 and 4 without the leading tone functioning, combined with the darkness of the minor key, it is not particularly light; rather, a gloomy darkness of the spirit can be felt.

After the theme is presented in measures 1-4, measures 5-6 descend via sequence. Placing a sequence after the theme presentation in this way is also similar to Bach's compositional structure. Measures 7-8 are a variation of measures 5-6.

From measure 9, the latter half, section A1, begins. Here, the left-hand accompaniment features a chromatic descending progression. Measure 10 effectively forms a V7 chord in the key of VI, with a lowered fifth, in second inversion, which is an augmented sixth chord, but it is intentionally written as C♯ rather than D♭. From a harmonic notation perspective, D♭ would be more appropriate. The rationale might be that since leading tones are present in similar measures 12 and 14 (G♯, the leading tone of the V6 chord in A minor in measure 12; F♯, the leading tone of the double dominant in E minor in measure 14), the composer likely intended for the C♯ in measure 10 to also have a leading-tone nuance. A leading tone is a tendency tone that resolves upwards. Considering that this C♯ exists as if resisting the overall chromatic descending progression, it also brings to mind the political situation of the composer's homeland.

Coda

The cadence of the coda is a Neapolitan cadence. Since this is a type of subdominant progression where the Neapolitan chord resolves directly to the tonic chord (I), the resolution occurs with a somewhat softer tension.