The realisation score has the score detail included with the ornaments written out as they are sounded in the realisation. It is intended as guide for those preparing their own music scores in a digital format. Teachers might also find these scores useful in preparing work tasks for their students based on the plain scores. A realisation score is simply a WYSIWYH (what you see is what you hear) version often in a reduced format. A tempo of 48 half notes (minim) beats to the minute is suggested. As a slow movement there are many interpretations as to how the ornaments are played and the music editor suggests that it would be worthwhile to spend some time listening to recordings of this sonata. Observe that only the first two notes of four note ornaments have the fingering notated. Remember that the trill and the mordent sign mean essentially the same whilst if the ornament is cadential then it is likely and possible to have more notes with the tr sign used. There is also scope for the confident player to add additional ornaments particularly in the playing of the repeats. There are other solutions to playing the ornaments but the ones suggested here keep very much to contemporary performance practice. Appoggiaturas (leaning notes) and acciaccaturas (crushed notes) in slow tempo works do presents a challenge as far as the interpretation and function. Music editors do tend to show evidence of an over understanding the interpretation of the ornaments. The best advice is to keep it simple, familiar and current interpreting the best of modern performance practice.The realisation is limited in respect to its interpretation of the score and the repeats are not played. Not too much use sustaining pedal is recommended and a rit. (slowing down) at the end of the two main sections is appropriate. The triplet motive introduced in bar 9 is indicated in the score for a couple of bars and then the symbol is omitted as is the case is conventional music setting. The music in this keyboard sonata possesses beauty and presence and the work should be played with delicacy and clarity. The interpretative qualities of a performance need to perhaps demonstrate more flexible than the realisation and limited use of the sustaining pedal is appropriate particularly at the end of sections.
