First, regarding the bar numbers of this piece, the notation of the bars is very easy to misunderstand, and there is a possibility that it may deviate from the main text. The author has counted 70 bars in this piece. If there are more or fewer than this, a discrepancy has occurred somewhere. For confirmation, I will state the bar numbers in each section and proceed while checking, so please adapt flexibly.

Furthermore, the pedal markings, crescendos, and diminuendos in this piece truly vary depending on the publisher and editor. For the time being, the author will follow the markings written in the author's score. Incidentally, the author's score is from Breitkopf & Härtel. The explanation begins below.

In the opening melodic line of bars 1-2, in bar 1, the author's score indicates a crescendo and diminuendo with the peak point exactly between the 2nd and 3rd beats. While this approach is certainly valid, a crescendo towards F on the 1st beat of bar 2 is also plausible. In any case, it would be more natural if the shaping (which note to lead to) decided in bars 1-2 is consistent with the subsequent melodic lines. Learners should consult with their instructor to determine the shaping for bars 1-2.

In bars 3-4, change the pedal every two beats. While some editions may have a pedal-off marking immediately after the chord, the author's personal view is that it is better to keep the pedal depressed until the chord changes. Therefore, in bar 4, the pedal should be sustained for the entire bar.

Hereafter, up to bar 12, the recitative and the material from bars 3-4 are alternately repeated. Please perform the recitatives in bars 1-2, 5-6, and 9-10 with varied expressions for all three. Ensure that none of the three sound identical.

After the cadenza ends, the piece finally begins to move at bar 13 with Andantino. The following discussion covers bars 13 to 33. Bar 33 marks the beginning of a cadenza, and this is considered a natural break. The section from bars 13-33 is divided into three sub-sections:

• Bars 13-21
• Bars 22-25
• Bars 26-33

What I would like you to consider is the mood of each of these three sections.

Bars 13-21

In bars 13-21, sing as if telling a story to someone. The mood is certainly not optimistic; it contains sadness.

Bars 22-25

In bars 22-25, the melodic line reaches Ces, the highest note written in this section. While one might think that higher notes imply greater volume, when the author listens to the chords in this section, they do not perceive a profound mood. Considering it as a reminiscent passage or a temporary solace, the author would likely reduce the volume compared to bars 13-21.

Bars 26-33

And bars 26-33 represent, for the author, the most profound and realistic mood. In bars 13-21, there were two phrases, weren't there? Look at the final note of each phrase. One ends on F, and the other on D-flat. Since the key is B-flat minor, neither ends on the tonic, meaning they are imperfect cadences.

However, in the two phrases within bars 26-33, one ends on B-flat. This signifies a perfect cadence, akin to a full stop in punctuation. It's a section that feels fateful and conveys deeper sorrow. For these reasons, bars 26-33 are considered the section that should be emphasized the most.

For the right-hand trill in bars 32-33, it would be effective to apply a crescendo-diminuendo, increasing the number of trills as the volume grows and decreasing them as the volume diminishes. Ultimately, matching the trill's speed to that of the upcoming cadenza, which begins with 32nd notes, will result in a smoother sound.

From Bar 34: brillante la melodia ben marcato

Both technically and musically, the most challenging section in this piece is likely the 'brillante la melodia ben marcato' section, which begins at bar 34. Learners should clearly bring out the melodic line and play the other ornamental notes at pp. Furthermore, no matter how intricate or difficult the passage, one must not forget the shaping of the melody.

From Bar 50: Octave Melodic Line

At bar 50, where the melodic line becomes octaves, the issue of dynamics must be considered. In bars 50-53, where do you think the volume should be at its loudest? The author believes it's bar 53, but interpretations may vary among individuals. However, playing bars 50-53 with brute force can sound quite rough. Maintain a sense of direction, and ensure that all octaves have varied dynamics. A continuous, uniform volume will sound stiff.