1. On Dynamics

Regarding dynamics, specifically in the Zen-On edition, there is a question as to whether the piano and forte markings are original or later editorial additions. This concern arises because strictly adhering to these dynamics could potentially result in a very rough performance of the piece. Let us assume, for the sake of argument, that these markings were indeed written by the composer. Even so, it is generally safer to avoid extreme p and F contrasts. When considering the forte markings, it is advisable to interpret them as merely a slight increase in tension for the piece to cohere musically.

This leads to the second point, which is related to pedaling. If this piece were to be performed without the pedal, repeated notes, such as those in the right hand between beats 1 and 2 of measure 3, would sound disconnected. Furthermore, if played forte, they would sound very marcato, stiff, and rough. This piece, in a sense, evokes the image of a song. It is conceived as a melody layered over an accompaniment, thus a legato line is desirable. Similarly, repeated notes also appear in the melody in measure 7.

Therefore, the melody line should be as cantabile and smooth as possible, and the difference between forte and piano should not be overly exaggerated. Even when playing forte, it should absolutely not be a forte akin to Liszt or Rachmaninoff. Consider it as merely heightening the tension slightly.

Although three forte markings are indicated in the piece (measure 3, measure 7, and measure 14), please consider that these same forte markings should represent different dynamic levels. This will be discussed further in the third section on phrasing.

2. On Pedaling

Regarding pedaling, its use is strongly recommended to connect melodies smoothly, such as in measure 3, between beats 1 and 2, and to smooth out the left-hand arpeggios. This piece, with and without the pedal, becomes entirely different. However, if the use of the pedal is absolutely to be avoided, please try using finger pedaling: hold down the bass notes in the left hand with the 5th finger, ensuring they are not released until the next chord. Even this technique alone will make a significant difference.

Furthermore, for repeated notes, such as in measure 3, between beats 1 and 2, and measure 6, between beats 3 and 4, strive to keep your fingers on the keys as much as possible, ensuring no break occurs when moving from one note to the next.

3. On Phrasing

Regarding phrasing, this piece can be considered to consist of four 4-measure phrases. The most crucial aspect is that all four of these phrases should convey a different mood. They should not be played in a flat, undifferentiated manner.

• First phrase (measures 1-4): Play very simply. There is not much dramatic content here. While measure 3 is a section where emotions might intensify slightly, avoid making it extreme.
• Second phrase (measures 5-8): This phrase undergoes a complete change in color. Consider it a surprising modulation and alter the timbre accordingly. Personally, for the forte in measure 7, I believe it might be better to suddenly reduce the volume rather than increasing it.

In my opinion as the author, the forte marking would be more appropriately placed in the third phrase (measures 9-12), specifically between measures 11 and 12.

• Fourth phrase (measures 13-16): The notes reach the highest C here. Even so, I would not play it excessively loudly.

In essence, the mood and dynamics should be varied based on how the performer interprets each of these four phrases. However, rather than viewing them as four distinct stories, consider them as four different dramas unfolding within a single overarching narrative.