There are four distinct sections to this piece, with a little break between each one. Each has its own character, which you need to bring across in performance.
Note that it opens in 2/2 not 4/4. Count in two, don’t let it drag out into four. Bars 4,5, 128 and 130 should be played with both hands playing the bass chord, which should then be sustained with the pedal while both hands arpeggiate the treble chord.
The presto section is marked without pedal and should be nice and clean. However, if you wanted to colour it a little with short pedals (e.g. on the main beats) that could work. Opening the presto with the soft pedal can also be very effective. It can be quite helpful to take the low D at the start of bar 34 with the left hand.
Both the presto and the following waltz need to be in quite strict time. Make sure the tune of the waltz sings out right the way through, especially in bars 76-90 where the left hand both plays the tune and keeps a skeleton of the accompaniment. If your hand will stretch to it, the fingering given for this passage will help keep the phrases legato. If your hand is smaller you might need to add a subtle legato pedal.
The descending arpeggio in bar 124 splits nicely between the two hands, and there should be a break in the pedal at the end of it so that the bottom A in bar 125 sings out cleanly. The chords in 127 should be quite harsh, and a bit angry. If you’re fortunate enough to have a piano with an extended bass then the low G in bar 127 benefits from being doubled an octave lower.
From bar 128 to the end you can play with a bit more rubato than the preceding sections. ‘Assonnatamente’ means ‘sleepily’. Note that, while most of the chords in the left hand are to be played arpeggio, the first chord in bar 139 as well as the chords in 140 and 141 should not be spread.
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Read more Performance Notes:
1. Bedtime
2. Midnight Snack
3. The Silver Moon
4. Raindrops
5. Lullaby
