General Remarks

When comparing this piece to other works by Chopin, there are no particularly noteworthy points. As it is a Fantaisie, it is quite free. The interpretations by pianists are remarkably varied. When the author performs this, it tends to become quite heavy. Conversely, some play it lightly. I believe that aspect can be left to personal preference. From the beginning, we will learn about the points of attention and how to musically understand each section.

Measures 1-2

This applies to the entire pattern. The staccato should not be too short. I believe it is acceptable to play it rather heavily. Although it is marked "Tempo di marcia," I do not consider it to be as fast as a march. Some performers play it quite slowly.

Measures 3-4

Moving towards the third beat of measure 4. The G in both hands becomes a non-harmonic tone, which then resolves to F. Be sure not to accent the F. This ultimately results in a dissonance of a major seventh, creating a unique depiction of a mental state, so the expression should be strong (meaning not necessarily forte, but treated as an important sound that lingers in the mind). Regarding measure 4, beats 3-4, the author would clearly distinguish between the outer and inner voices. Therefore, the sixteenth-note D-flat becomes quite soft.

Measures 7, 10, 16, 21-24, 29, 31, 33

• Measure 7: You may change the color.
• Measure 10, beat 4: Take time on the right-hand G before entering measure 11.
• Measure 16, beat 3: A very shocking sound. Change the color again.
• Measures 21-22 and 23-24: Change the mood. The same applies hereafter.
• Measures 29, 31, 33: Change the mood in three stages.

Measures 43, 64-66, 68, 71

Some performers accelerate the tempo excessively from measure 43, but here, as indicated by "gradually to double tempo," one should gradually accelerate little by little. Measures 64-66: Clearly bring out the top notes of the left hand (C-flat, F, A-flat). Now, from measure 68, a sorrowful melodic line appears, but what should be noted is the A-flat on the first beat of measure 68. Although it has an accent, this note is the resolution of the G on the same first beat, which was treated as a non-harmonic tone. The author would not make it louder than the G. The same applies to the C on the first beat of measure 71. And so on.

Measures 77-84 (and 164 onwards)

In this piece, the section from measures 77-84 serves as the final stronghold in terms of technical difficulty (the same applies from measure 164 onwards). Although it may seem easy to play, the left hand becomes problematic later on, so practice it carefully.

Measure 109 onwards

From measure 109 onwards, this section allows for a truly wide variety of interpretations by performers. The author believes it is acceptable for it to be somewhat heavy.

Measure 126 onwards (March-like section)

A section that learners often struggle to understand is the march-like passage from measure 126 onwards. It may seem strange why a march suddenly begins, but in fact, Chopin depicted military themes in sections similar to the B section of the 'Heroic' Polonaise, and it is said that Chopin himself described the fear of 'when the soldiers will attack.' Therefore, when Chopin writes marches or similar pieces that evoke the military, it might be beneficial to understand that they also depict such fear. I do not believe it is a joyful march at all.

Measure 321 (Cadenza)

Measure 321: The right-hand eighth notes in the cadenza are triplets. The Paderewski edition does not have the '3' indication, which can lead to confusion with regular eighth notes, but many other editions include the '3'.