The first movement of this sonatina alternates between song and resonance. Therefore, it is helpful to understand which sections represent the song and which represent the resonance.

On the Tempo Marking

Regarding this sonatina, there is an issue with the tempo marking. The author has consulted the Peter edition, where the tempo marking is written as "Allegto molt". Two other editions were checked and showed the same notation. Although this is in 2/4 time, one might consider trying to play it at a true "Allegro molt" to see the result. The sixteenth notes would become exceptionally fast, making the piece entirely nonsensical. The author believes this tempo marking is an error. Assuming this to be the case, the following discussion proceeds. The tempo should be interpreted as a slow tempo, though not as slow as "Andante molt".

The Song Section

The song section begins, with phrases progressing in four-measure units. The pedal is essential, and the left-hand eighth notes should flow smoothly, yet remain at a volume that does not obscure the song's melody. At measure 9, the mood shifts; this can be interpreted as a change in character. The song concludes on the first beat of measure 16.

The Resonance Section

From here, the resonance begins. While it may be conceived as a specific instrument, this section serves as a bridge between changing scenes, so it should never be played loudly. Instead, use the pedal to create a fantastical performance. A slightly improvisatory approach may also be appropriate.

The Development Section

The development section begins at measure 20, where the theme appears in a minor key. The tension should be built up as if narrating a story. It is advisable to increase the dynamics using the sequence starting from the second beat of measure 24. The song then concludes at measure 32, followed by the return of the resonance (measures 33-38).

Resolutions

Furthermore, resolutions are another area that requires attention. For instance, the B on the first beat of measure 7 resolves to C in the following measure. Similarly, the first note B in the right hand of measure 9 resolves in measure 10, and the same applies to measures 13-14, 55-56, and 59-60.