from (AB 1536) Mozart Piano Sonata K331 (300i)
The movement is a long one if all the repeats are observed, and some players play havoc with the form by picking and choosing.
倘若遵守樂曲中所有的反覆記號，這個樂章會是一首長的樂曲，有些演奏者會用選擇和挑選的方式彈奏打破原有的型式。
The only possible alternative to 'all or none' is to observe the repeats
in the theme and the final variation, which will sound abrupt without them.
除了“全選或全無”之外，唯一可能的替代方案，是遵照主題及最終變奏曲中的反覆記號，如果屏除他們會使樂曲聽起來很突兀。
The tempo of the theme is best judged by thinking ahead to the
detail of variations 1 and 2, which should flow naturally in its wake.
透過先行思索變奏一和二的細節來決定主題的最佳速度；如此可使主題與變奏的銜接自然順暢。
It lies on the elusive border between two and six beats per bar, and
though the theme is song-like it has the gentle lilt of a siciliano.
它呈現出每小節二和六拍之間難以描述的狀態，雖然主題如歌曲般，但卻具有西西里舞曲的溫和輕快感。
In the opening figure only two notes, not three, are slurred and
this phrasing naturally affects the bass-line too.
一開始呈現出的僅是兩音而非三音一組，這樣的樂句分法也自然地影響著低音旋律線。
Pianists who think this effect fussy should ask a violinist to
demonstrate the difference.
鋼琴家若認為此效果模糊不清，應請小提琴家來演示出其差異。
Any suspicion of a double-dot will spoil the dignity of the theme,
and in general the upbeats need to be light in order to give point to Mozart's
sforzatos in b.4 etc.
任何對於雙點的疑慮，都會導致對主題的整體性的破壞，且一般弱拍本應被輕輕地彈奏配置，以彰顯第四小節等有突強記號處。
Imagine D major chords at these points and then underline Mozart's B
minor harmony as requested.
想像一下這些被強調的部分原本應是D大調和弦，然而卻被要求突顯出那些莫札特的B小調和聲。
Note the change of texture at b.9, where the left hand become pure
accompaniment, and the sense of fulfilment in the concluding forte phrase (bb.
17- 18).
注意在第九小節樂曲織度上的變化，左手變為純粹的伴奏型式，及意識到並演奏出第十七-十八小節那強而有力的尾句。
The small notes at the end of b.17 and the octave descent should
still be singable when they recur at the end of variation I.
當第十七小節結尾的小音群及八度的下降音再現於變奏一時，亦應當適於吟唱。
Note also a parallel in the closing bars of Minuet.
注意在小步舞曲的結尾句子中，亦會出現同樣的平行樂句。
PS 若有版權問題請告知，會盡速移除，謝謝。
若要引用本網頁翻譯，請註明出處。
