Performance Tips

• First Movement: This movement is in sonata form. The first theme consists of three elements: triplets appearing in both hands, quarter notes in the right hand, and a melody in the left-hand bass. Furthermore, the right-hand triplets move in minor seconds, and the quarter notes are written as if they are playing after the left-hand melody. As these elements combine to create an unsettling harmony, try to intentionally clash the notes when playing. However, instead of clashing all notes, ensure that the timbres of these two outer voices stand out clearly, as this reveals the work's theme. Therefore, after thoroughly understanding the piece, use your own ears to determine which sonorities are most effective. The key of the second theme modulates from E-flat minor to its relative major, G-flat major, transforming the previously dramatic atmosphere into a gentle and calm character. In the codetta at measure 82, although the first theme is used, play the melody beautifully, as if it were the second theme. From the development section, the theme transforms even more intensely. The dynamics gradually increase towards the recapitulation, but when you reach the recapitulation, play as if it begins with almost the same intensity.
• Second Movement: Although there is no 'attacca' marking from the first movement, play the movements connectedly. It is structured in binary form and moves in four-measure phrases. Pay attention to the melody in the right-hand upper voice and the harmonic changes in the lower voice that support the melodic line. The phrase in measures 25-26 appears frequently in the second movement; for the C-double-sharp and D-sharp in the right hand, do not crescendo but diminuendo, releasing the sound softly. In measure 30, section B, the left hand is notated as an arpeggio, but for the dotted rhythm in the left hand at measure 32, try to devise a fingering so that F-double-sharp, G-sharp, and A-sharp in the left-hand upper voice are taken by the right hand. From measure 104, it becomes a reconstructed section, but in the Bärenreiter edition, it returns to section A and continues into the third movement.
• Third Movement: This movement is considered to be in ternary form with an introduction. The introduction begins with intense octaves and stepwise motion in the left hand. Emphasize the syncopated quarter-note accents, but instead of making the sound heavy, place your fingers with the nuance of maintaining the duration without disturbing the tempo. The theme begins at measure 17, with the left-hand octaves forming the melody. Over-straining the left hand can cause injury, so when practicing slowly, try to touch the position of the next note before playing it. Furthermore, the left hand has staccato markings, so play with half the force, but be careful not to lose the sound. Although it is a four-measure phrase, it is important to identify where the melodic climax is when playing. You will likely observe small dynamic shifts every two measures. Section B at measure 89 is a scene change different from the second theme of the first movement mentioned earlier. Although slightly different in construction, it resembles the melodic motion of the first movement. Which notes to emphasize varies among performers; for example, whether to treat the triplets as an inner voice or to intentionally intertwine them with the melody to create a complex texture. It is advisable for each performer to decide this for themselves. From measure 230, in the reconstructed section, the left-hand melody of the first theme from the first movement becomes prominent, leading towards the finale. After the preceding intensity, what emerges are somber chords. Conclude each harmony with a heavy and dark impression.