For this prelude, the faster, the better. While 'Vivace' means 'lively' and does not necessarily imply a fast tempo, a slow tempo is not suitable for this prelude. Consider fingerings that allow you to increase the tempo without difficulty.

Melody Line: Visual Distinction

Another point of caution concerns the melody line. In measure 5, beat 1, the melody starting with a dotted half note B in the bass clef can be easily distinguished visually from other voices. You can immediately recognize the notes of the melody line as their stems are all directed upwards.

Melody Line: Practical Considerations

Now, regarding the treatment of this line, a problem arises from measure 5. Unless the performer can reach a tenth, it is impossible to sustain the upper melody line for its full note value while playing the lower part staccato. There are quite a few such passages where notes are separated by approximately a tenth. From this point on, I will present my own perspective, so please bear with me.

For example, looking at the accompaniment figure in measure 5, it is marked 'secco' (dry) with staccato markings. Between the treble and bass clefs in the score, it is written 'cantando e ben tenuto il tema' (singing and well-sustained theme). Therefore, in conclusion, it is not always necessary to strictly adhere to the written note values of the melody line. However, since 'tenuto' is also written, if, for instance, a performer does not have a hand large enough to reach a tenth, they should sustain the melody's B with the pedal after playing it.

The pedal should be released on the third beat. The staccato markings, however, must be observed from this point onwards. Consequently, the melody line will be interrupted upon entering the third beat, but I believe this is acceptable. The melody line should be played marcato to ensure it is clearly audible as the melody. I believe this alone is sufficient. If one were to sustain the notes for their full value with the pedal, the 'secco' and staccato qualities of the left hand would be lost.

Specific Measures

In measure 6, this is reachable if one can span an octave. All staccato markings here should be observed. In measure 7, my score lacks the quarter rest that should be on the third beat. This absence could indicate that the quarter rest was not originally notated, or that the initial melody note, a half note, was in fact intended as a dotted half note, or perhaps Kabalevsky himself was not particularly strict regarding note values. Since this measure is also within an octave's reach, the staccato markings should be observed. The same applies to measure 8.

In measure 9, which is also challenging for those who cannot reach a tenth, the four quarter notes of the melody line may be shortened. Proceed similarly throughout the rest of the piece, prioritizing the accompaniment figure and treating the melody line's note values as secondary.

Vivace Leggiero and Pedal Usage

The piece is marked 'Vivace leggiero'. To maintain this 'leggiero' quality, excessive use of the pedal is prohibited. Therefore, the staccato markings of the accompaniment figure should be prioritized over the note values of the melody line.

The melody line ascends to a high B in measure 33, and here, for example, the pedal can be used for beats 1-3, with no pedal on beat 4. Since this section is a climax, it is not inappropriate to use the pedal extensively in such places. Please try to adapt flexibly.