Balance and Pedals

The author believes that the greatest key to successfully performing this piece lies in the balance between the left and right hands. Therefore, if one can use the pedal, using it will make the performance significantly easier; however, for learners who do not use or cannot use the pedal, please try sustaining the bass notes using finger pedaling.

Left Hand and Bass Notes

In other words, it is preferable for the left hand to play as smoothly as possible, at pp, but the bass notes appear on every downbeat. These bass notes on the downbeats tend to mark the beat, which results in the music sounding vertically segmented, preventing it from flowing horizontally. Therefore, keep the left hand as soft as possible.

This is one point.

Phrase Direction

Another important point is the directionality of the phrases. Let's consider which note each phrase is moving towards.

For example, consider the first phrase as extending from the beginning to the C on the second beat of measure 2. At that time, the target note is the E on the first beat of measure 2, and you should convey a sense of moving towards it. Control this dynamically, rather than by fluctuating the tempo. The next phrase begins with the sixteenth notes C-D on the off-beat of the second beat of measure 2 and extends to the C in measure 4. There are several possibilities here, but I think it's good to direct the phrase towards the E on the first beat of measure 3, and then gradually decay.

Measures 5-8: Modulation and Peaks

The following measures 5-8 offer many possibilities, but in measure 6, there is a sudden modulation from A minor to C major. It would be good to change the timbre in measure 6. And the next phrase peaks on the G in measure 7, which is the highest note encountered so far.

Normally, notes in a high position are played louder, and I think it's acceptable to do so; however, considering the tonality, C major, unlike the seriousness of A minor, can be thought of as a dreamlike world, leading to the idea that it might be better to play it more subtly than measures 1-4. These ideas are subjective to each individual, so please discuss them with your teacher to decide.

Measures 9-12: Harmonic Analysis

Measures 9-12 also present some very interesting facts. For example, if we analyze the chords in measures 9-12, they are: 9. V7, 10. I, 11. V7, 12. I, showing an alternation between dominant seventh and tonic. Considering measures 11-12, since the V7 in measure 11 resolves to the tonic chord in measure 12, the melody note A in measure 12 must be played quite softly in terms of volume. That's fine, but if you look at measure 10, you'll notice that although the melody note is exactly the same as in measure 12, the chord position in the left hand is different. The chord in measure 10 is a tonic chord, but it is written in second inversion (with the fifth in the bass). Comparing measure 10 and measure 12, measure 10 does not feel resolved compared to measure 12; rather, it feels like a reason to move forward, doesn't it?

If you agree with this, then the logic follows that the melody A on the second beat of measure 10 does not need to be played as softly. It should still be played softly, but not as softly as in measure 12.

Measures 15-16: Tempo

Finally, in measures 15-16, it would be good to slow down the tempo slightly.