I have finally begun revisiting Sonata No. 29. It is often described as one of the greatest works in the entire piano repertoire, even as the most difficult. Countless commentaries have been written about it. Indeed, when performed on a real piano, there are many passages where one wonders how it can possibly be played.
If “high technical skill” simply means the ability to execute the notes, then in DTM there is no particular difficulty. But surely that is not what true technique means. Being able to place the notes is one thing; shaping them into a musically convincing flow is quite another. In fact, the latter is naturally the more difficult task.
As for interpretation, I am nothing more than an amateur. I can only accept what I read or hear with a quiet “I see,” while sensing that this sonata has a very different character from the earlier ones. For now, I intend simply to follow and enjoy the flow of the music itself.
The first version was completed in March 2022 [1].
It has been almost four years. Listening back to that earlier recording, I feel that I was merely struggling to confront this enormous work and bring it into some kind of shape. I remember my teacher saying, “Let us return to it again someday.”
Now, facing it once more, I find myself noticing things I did not perceive then—the movement of the inner voices, and something like the “breath” that lies between one note and the next. Have I truly begun to perceive these elements, even slightly? Or is it only my imagination? In any case, I would like to walk once more through the landscape of this piece.
My goal this time is to grasp the overall flow of the work more broadly, and to reconsider how each part—especially the inner voices—connects and lives within the whole. One advantage of DTM is that I can isolate the inner voices, listen to them independently, and adjust the contour of volume and tone for each line. In doing so, I hope to make visible which voice is truly driving the music at any given moment.
Each morning, I convert the MIDI data into audio files and share them via the cloud with my teacher, a pianist friend who continues to guide me through remote lessons. Based on his detailed comments—often quite strict—I revise the piece again. This daily exchange has become an essential part of my process.
Still, placing the notes accurately and creating a musically persuasive flow are two different matters. That distinction is precisely the challenge I face in this revision.
As for the tempo of the first movement, there are many debates. This time, rather than seeking a theoretical conclusion, I will prioritize a flow that feels natural to my own ear. As before, I will proceed at a tempo commonly adopted by many pianists.
This time, I will not rush toward “completion,” but instead quietly continue to engage with this piece.