This piece is characterized by frequent modulations, which can easily lead to a loss of tonal center for both performers and listeners, thus requiring some interpretive ingenuity. A key element for this ingenuity is the unit found in measure 3, between beats 3 and 4. An identical unit appears in measure 4, between beats 1 and 2. This is not a sequence, but the unit appears twice consecutively. The issue lies with the note that follows. For instance, the D-flat in the right hand on beat 3 of measure 4, which appears after playing from beat 3 of measure 3 to beat 2 of measure 4, is a highly shocking note.

The question is whether to build a crescendo from beat 3 of measure 3 to reach the D-flat on beat 3 of measure 4, or to play the D-flat subito forte. In any case, a shocking note awaits after these two consecutive units.

The same principle applies from beat 3 of measure 11, reaching A-flat on beat 3 of measure 12; and similarly, starting from beat 1 of measure 13, reaching F-sharp on beat 1 of measure 14. In each instance, emphasize the note that follows the two units.

In fact, I would like this F-sharp on beat 1 of measure 14 to descend a semitone to F somewhere. This would allow for a natural progression back to C minor, but since there is no F, the return to C minor in measure 15 does not feel natural. As a method, consider the following:

• Apply a ritenuto between beats 3 and 4 of measure 14.
• Add ornaments.
• Play it in a cadenza-like manner.

This will smooth out the unnatural modulation.