This is a plain score version in that it has minimal score detail characteristic of music printed and published from the baroque era. 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. Remember that the trill and the mordent sign mean essentially the same. If the ornament is cadential then it is likely and possible to have more notes with the tr sign in use. 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. 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 be more flexible than the realisation and limited use of the sustaining pedal is appropriate particularly at the end of sections.
