Intro

CMS
guillotine effect (kind of)
roll chord m. 4 to emphasize periodic nature of opening
take time to emphasize the extended continuation
cadenza by piano emphasizing e flat


Robert Levin
guillotine effect
embellished m. 3 possibly to emphsize continuation
stronger detachment in phrasing
roll the m. 7 dim 7 chord for emphasis
really bring out descending lines by being more detached
cadenza embellishes the chord in m. 20


Dialoghi
incredibly slow tempo to start,
but speed up in m. 10 to emaphzie new beginning
roll hc in m. 4
move faster at start of new section
plays so slow to get the guillotine effect, space after quarter, emphasis of dotted rhythm feels more interrupting

really brings out dotted rhythm (short) to hear the other section

cadenza, foreshadowing the character, much more light


Brendel
picks a very fast tempo, this allows them to take time to emphasize
space before HC in m. 4
roll m. 5
also rolls dim 7 in m. 7
take time in m. 9 before going to new beginning
more use piano volume on lower notes to get character
very short cadenza that just leads to a scale down to next section


Exposition

CMS
all articulations are very short to bring out the joking quality
more space between resolving eigth notes in m. 34
take a bit more time, not true forte, to get chroal quality in m. 44
	way to emphasize sentential design there
all vibrate on deceptive cadence

more grand character at the beginning on repeat


Levin

really emphasize and fast trills in opening them to bring out ascending gesture
really light texture at bridge, also maybe a slight bit of time
really great at snappy joking feeling in bridge, dotted rhythm
plays choral thing more held back
	another way to emphasize sentential design
slight bit of time getting into m. 43

embellishments from piano right at the beginning of the intro
embellished transition into the m. 43
embellishments from the oboe/piano for continuation


Dialoghi
also emphasize trills, support from other instruments on those notes (opening)
brings out bassline on m. 32, 33
more definitive on resolution in m. 34
“grand feeling” entrance into bridge
tempo is more free in bridge section, very brilliant 32nds in fortepiano
take a lot of time going into m. 43
more bring out “response” character of m.44, very full sound
bring out conspiring character of m. 56 (soft light but short articulation)
codetta moves forward a lot

oboe embellishes the continuation of 2nd theme (m. 49)


Brendel
other instruments support trill in opening
makes resolution notes longer in m. 34
brings out bassoon line in m. 54 — hmmmm feels the intensity of moving forward like the previous iteration of the sentence
really brings out diminshed chord in m. 57 — high intensity
deceptive cadence takes a lot of time, and then snaps back into time for codetta

small embelishment from oboe in m. 50 on repeat
less rit on deceptive cadence on repeat

brendel plays really light in general, tries to match characteristic of period piano