Some performers might see the 'Allegro scherzando' marking and think they must play fast. However, this piece should not be played excessively fast; rather, it should be played at a tempo where the 'two-beat' feel can be clearly perceived. The charm of this piece lies in its continuous motion. There is no time to rest, but thanks to this, it is possible to express a sense of urgent tension. To express tension, the first step is how you perceive the beat. Instead of feeling the strong beats heavily in a vertical manner, feel the beat in an upward direction (as if gently lifting your stomach upwards). While touch control for the left-hand arpeggios is challenging, play with your fingers positioned as if playing a chord, feeling as if fine needles are pricking your fingertips, and with your wrist completely relaxed below. Furthermore, it is advisable to imagine the continuous rotation of train wheels when playing the left-hand arpeggios. The orchestral suite 'Time, Forward!' by the Russian composer Sviridov, a contemporary of Kabalevsky, can serve as a reference.

Understanding the Form

A Section

In the A section, the ascending figures in measures 1 and 3 use the same notes, but be aware that the destination E has a different pitch. By focusing on a slightly darker tone in measure 3, you can express a change in character from measure 1. In measure 12, the notes change to D-sharp in the right hand and F-sharp in the left, creating a somewhat eerie sound. Therefore, creative use of timbre is desired here. The A section should be played crisply due to the staccato, but it is easy to get caught up in technique and lose the sense of phrasing. During practice, try playing it deliberately legato and expressively.

B Section

In the B section, ensure that the A note in the right hand, which marks the rhythm, does not become too heavy by relaxing the base of your thumb. In the ascending figures of measures 20 and 24, crescendo to heighten the tension. The three sequences starting from measure 25 should also vary in expression, with the third sequence played with a sense of tenuto, building up towards measure 31.

There is always a rest at the end of each section, so transition to the next section with a sense of tension.

C Section

Unlike the B section, the C section develops with ascending unison figures. Pay attention to the subtle articulations and enjoy the chromatic shifts as you play.

Final A Section

The final A section requires even more tense and urgent sounds as it builds towards the climax (but without rushing). From measure 79 to the end, play with a sense of layered sound and a weighty tone to conclude the piece.

When playing Russian music, it is often tempting to strike the keys violently as soon as a 'cool' phrase or a forte passage appears. Although forte passages appear in this work, instead of simply playing 'loud and strong,' focus on feeling the thickness of the sound resonating from the piano.