19. Allegretto

This prelude possesses both humorous and strict aspects, as if military and clownish atmospheres are integrated. Although the opening indication is merely "allegretto," this prelude should proceed dispassionately, with precise timing and an unwavering tempo, to such an extent that an additional indication of "marciale" would not be out of place.

The key characteristic of this prelude is its incisiveness. It is crucial to maintain sharp articulation. For instance, the opening chords should be played sharply, short, strong, light, and staccato. The following points should be noted:

• The contrast between slurs and staccatos is the essence of this piece. Articulations should be played exactly as written in the score. This is particularly desired in the left hand from measures 5-8.
• In measures 9-10, intricate quintuplets appear; ensure the tempo is never reduced. The quintuplets should be played in one swift motion. Even at pp, do not lose the sharpness.
• From measures 15-22, it is permissible to play percussively. The left hand, entering on the off-beat, should be particularly emphasized. Even then, ensure the intricate notes in measures 18 and 20 are played precisely on time. Never allow them to lag.
• Alternatively, the music can be conceived as being driven by three distinct characters: Namely: Character A (measures 1-4), Character B (measures 5-8), Character C (measures 9-10), followed by A again (measures 11-14), A's anger (measures 15-22), an evolved B (measures 23-26), C as before (measures 27-28), A again (measures 29-30), a miniature A (measures 31-35), and so forth.

While this is merely an example, understanding each musical motif and imbuing it with its own character will enhance the musical interest.