Here’s an interpretation with lots of rubato, just to balance out the metronome work we should all be doing. I take shorter rests where the harmony doesn’t change, in order to create longer phrases. On a smaller scale, I try to avoid double-dotted rhythms, or getting to the 32nd notes late. Pianistically, playing (most of!) the thirds at the beginning and the accompanying 16ths at mm. 9 helps in this respect by giving more weight to the 32nd notes. It helps me to think of this on the violin, even though we’re only playing one note at a time here.

Try playing the beginning with both hands together and you’ll feel how physically natural it is to lean into the second beat. I used as little pedal as possible but the slur in the left hand is enough to create resonance. Again, I make this a goal on the violin as well, even though we only play one note at a time here.

Make sure to phrase to every chord change starting at mm. 15. I feel the character here is light and balletic, frolicking between the large intervals in contrast with the subsequent reprise of the original theme.

I feel 24 has to be more, in order to bring out the minor key. Otherwise, only the C flat differentiates it from the beginning. I play it on the G string for contrast.

Make sure to begin and end in the same tempo! It’s easy for me to end slower, on both violin and piano.

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