About this work
“Humoresque en si bémol majeur Op. 20” builds its trajectory through returns, under the fingers. motif frames harmony; inner voice tempers contrasts, then form tempers a clear reading.
Under the fingers, harmonic shifts renew familiar material. contrasts frames motif when you make long notes audible beneath moving figures.
Under the fingers, check the final cadence from several starting points. form tempers inner voice; harmony tempers contrasts and the direction remains continuous. The Humoreske unfolds as a broad sequence of contrasted sections rather than a smiling miniature. Its returning motifs, tempo breaks and inner voice require a memory of the large form. Mark turning points in the score before practising each episode separately. Do not confuse changing mood with permanent rubato: an underlying beat must survive even the freest asides.
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