Sonatina in C Major, Op. 57-1, Finale

This is a simple and enjoyable movement. Perhaps the key aspect to pay attention to when performing this piece is the dynamic changes. The author is currently examining a score with dynamic markings, but suspects it may be an edition modified by someone else, though this is not certain. Furthermore, in the author's score, the sixteenth notes on the second beat of measure 8 are notated as GEFD. This pattern appears twice more, but in both other instances, it is GEGE, leading to a suspicion that GEFD might be a misprint.

Now, if we divide this piece into three sections, they would be measures 1-16, 17-24, and 25-32. Let's examine the first section, measures 1-16. If we divide this section into two, it splits into measures 1-8 and 9-16. Measures 1-8 have a dynamic marking of p. The dynamic marking for measures 9-16 is mezzo forte. First, the student must clearly establish the dynamic contrast between these two 8-measure sections.

The piece begins p and should not become loud until measure 5, as the crescendo starts there. However, this does not mean it should be entirely flat until then; the expression of measures 1-2 and 3-4 should be slightly differentiated. Measures 1-2 conclude on the dominant, suggesting a slight swell like a question. Measures 3-4 return to the tonic, and thus can be regarded as a resolution, with measure 4 ending softly. From measure 5, a crescendo leads to the melodic note B in measure 8. Please observe the left-hand accompaniment in measure 7. Only here are quarter notes written. The author has attempted to play this passage, but sustaining the notes for their full quarter-note value solely in this measure does not feel entirely natural. The notation of the left-hand accompaniment in quarter notes exclusively for this measure might convey a message to increase the volume. It is not necessarily a place where the notes must be fully sustained for the entire quarter-note duration.

From measure 9, proceed mezzo forte, with more energy than in measures 1-8. The goal, of course, is measures 15-16. The first chord of measure 16 is a resolution of the chord in the previous measure. Whether to slightly decrease the volume here or, conversely, increase it, is at the performer's discretion.

From measure 17 in the latter half, the material GAGA B B changes to B C B C D D. This is a sequence. It then arrives at DEDE F D E C D. These three sequences must each exhibit a distinct expression, leading to the third. Care should be taken to avoid a flat or monotonous delivery. The same applies to measures 21-24. Now, a fermata appears for the first time at measure 24. Do not rush into this fermata. Take your time and arrive at it slowly.

From measure 25, it is the same as measure 1. At measure 31, although no ritardando or other marking is indicated, the author suggests that a slight broadening of the tempo before the conclusion would be acceptable.