8. Andante non troppo – Semplice e Cantabile

Although technically not very difficult, this prelude is profoundly deep and allows for various interpretations. Consider that, in addition to the left-hand accompaniment, this prelude contains two distinct thematic materials. The first is the main theme, which appears from the fourth beat of measure 2. This concludes with a whole note on the first beat of measure 6. The second is less of a theme and more of a resonant secondary motif, appearing from the second beat of measure 6. Let's call the first material A, and the second material B. B continues until measure 9, and A reappears from measure 10.

One approach to performance is to treat these two materials, A and B, as entirely separate entities, giving each a distinct timbre. For instance, A could be played with a full, rich tone, while B is played softly and weakly, almost like a whisper. From around measure 16, B gradually crescendos, becoming two-voiced in measure 18. Then, in measure 20, it reaches a strong emotional expression, marking the climax of the piece. In measure 25, the piece returns to the A section, and materials A and B combine, bringing the piece to an end.

Other Points to Note for This Piece

• Since it is entirely cantando, play it with ample, slow lyricism.
• Initially, with the F# in the right hand on the first beat of measure 3 as the apex, gradually descend, reaching the F# an octave lower in measure 6. You can simply consider it as following the scale F# E D C# B A G# F#.
• When considering the cantando singing quality, ensure that notes such as C# on the first beat of measure 4, C# on the third beat of measure 5, and F# on the first beat of measure 6 are not accented.
• The constantly progressing bass line shows changes only on the third beat of measure 5 and measure 27, respectively. Of these two notes, B# and C#, B# is a non-harmonic tone, making C# the resolution. Musically, play this very eerily.
• There is a comma marking at the end of measure 9. This indicates taking a slight pause here. Enter measure 10 after a slow fade.
• Measure 20 should be played heavily, almost as if with difficulty. It is an expression of intense emotion; do not play it lightly.
• Measure 22 is a section that can easily become unclear. Clearly bring out the top notes in the right hand.
• Also in measure 22, 'diminuendo e più tranquillo' is written, but this is undoubtedly a misprint. It should properly be written in measure 23.
• The section in measure 25 where material A and material B merge requires sectional practice. Play A clearly and B softly, like a whisper. This should be done simultaneously with the right hand.
• Measures 28-29 mark the end of the piece. Keep the pedal depressed from measure 28 until the end. At the very end, B-flat and A mix, creating a dissonance, but this is considered a mysterious element, so this pedaling is acceptable.