Although it’s shorter than previous pieces, there’s more of interest:
- Positions further up the neck. Most previous pieces stayed in first position. Now there are shifts to higher ones.
- Descending triplet passage. It can be tricky to get the timing of this right. A metronome can be useful. I use Google’s metronome.
- Double dots. I hadn’t come across these before. I see from Dolmetsch Music Theory and History Online that they add half the previous dot value.
- Damping with a barre.
Thorlaksson’s arrangement is slightly different from, say, this score, which, on evidence no stronger than the poorer quality of the print, I suppose is the original. Apart from fewer dynamic markings, though, Thorlaksson’s arrangement doesn’t look to be simplified in any way.
After looking over the score I searched for recordings. This seems to be a more popular piece, with quite a few videos of it on YouTube. I listened to a dozen or so and particularly liked this recording by Pamilearner. It’s interesting hearing different interpretations. Some performers roll chords, some don’t; some let notes ring out, others dampen them; and there is a wide range of dynamic variation.
In my own recording I’ve tried to remain true to the score I was working from, observing rests and dynamic markings, not arpeggiating chords, and so on. Yes, there’s a wrong note in the bass line just before the triplet passage, but I thought I’d leave it as it is instead of keeping on recording. There’s a tendency to record again and again until you have it free from mistakes. I’m trying to limit myself to only two or three takes.