Intermezzo in A Major (Op. 118 No. 2)

Annotated Study Edition (4)

Bars 26 - 35

17. Here is a possible redistribution for bar 28 that avoids the LH stretch:
18. To all intents and purposes this is a bar of 6/8. Feel as “I-and-a, 2-and-a” rather than “1-and, 2-and, 3-and”, sensing how this cross rhythm puts a brake on the forward movement generated as the phrase has climbed to its apex. The A-G#-F# farewell motive is buried in the alto line, and is also reflected in the tenor.
19. See footnote 3.
20. Notice how the alto line from the opening bars is now on the top, and the original upper line now in the bass. Maintain a forte dynamic here, with no diminuendo. The tone in the outer lines needs to be warm and generous.
21. Subito piano, followed by diminuendo and then calando; get softer and allow the tempo to really relax here. If the mood of the previous phrase was fervent and hopeful, do we now feel resignation and acceptance?
22. A moment of tender nostalgia and reminiscence is created by the inversion of the opening main melody on the top, in dialogue with the alto line (marked with hairpins to make sure we play it expressively). Do you feel two characters dancing here, billing and cooing to each other? A fanciful notion perhaps but one that helps to bring imagination to our playing, nonetheless.
23. The LH chord may be rolled or broken. Here is one possible solution. Hold on to the minims (half notes) by hand (RH bars 35 and 36), or there will be a hole in the line at the pedal changes (second beats).