I. Allegro molto e con brio exposition
NOTES: Be careful to give the fortissimo chords a full-bodied sound. To achieve a good sound, plant your fingers solidly in the keys, and direct the motion of your attack at a 45-degree angle. A slight increase in the amount of pedal will give the return of the basic idea at mm. 22 a fresh sound that corresponds with its more forward-vectored motion. The transition, beginning at m. 32 should be phrased carefully—treat the entire section to the downbeat of m. 48 as one long line. Terraced dynamics with inner shaping can be effective here. The left-hand accompaniment of the subordinate theme (beginning in m. 56) contains a beautiful bass line. Bringing out the outer parts of this three-layered texture can be quite rich and effective.