12. Adagio

This prelude is a terrifying piece, like wandering through a forest where specters and goblins lurk. It begins with low-pitched melodies reminiscent of a cello or double bass (measures 1 and 4), and an eerie singing voice is heard repeatedly (measures 3, 11, and 32). The performer should recognize these distinct materials and differentiate the timbre of each, considering them as string solos, vocals, or orchestral textures.

• The melody in measure 1, which is the main theme, must always reach the first beat of the next measure as its goal. In this case, lead to G-sharp in measure 2, applying a crescendo to reach G-sharp. This means G-sharp should be played the loudest.
• The melody starting from the second beat of measure 4 also has C-sharp on the third beat of measure 5 as its goal. Although there might be an inclination to decrease the volume when descending, do not decrease it; instead, apply a crescendo.
• Measures 9-10: Build tension as if an unprecedented scene is unfolding. Both the second and third beats of measure 10 are sforzando, but the sforzando on the third beat should be weaker than that on the second beat to allow for a more natural entry into measure 11.
• Measure 12: It is good to imagine walking in an unfamiliar place. The image of stopping midway is in measures 16-17. This 4/4 section must never be stretched, stopped, or played with rubato; proceed precisely in tempo, like a clock. This is to make the position of beats and rests clear to the listener.
• The phrases with stepwise motion (seconds) appearing in measures 26 and 6 imply anxiety and danger. Play so that this anxiety culminates at measure 30 and then dissipates in measure 31. Measure 30 is where the anxiety reaches its peak. When arriving at the chord on the second beat, play while feeling the terror yourself.
• A moment of relief is found in the vocal part of measure 32. A crescendo is applied again in measure 33, expressing an unpleasant premonition of what is to come. In measure 34, a sudden flash occurs. In measure 35, the bass octaves become single notes, reaching pp with a diminuendo and ending quietly.
• Although it is a short piece, it contains immense drama. Be sensitive to the harmonies and express the drama to its fullest. To achieve this, utilize a wide range of dynamic levels.