QUOTE(Misterioso @ Jul 23 2012, 05:36 PM)
I think it can be frightening if it's played effectively. I think of the opening pp
section as someone wandering cautiously through a house, knowing that Something is there; the piu mosso
section is where the suspense is raised (think semiquaver right-hand chords = rapid heartbeat!) then the crisis is temporarily over before the next piu mosso
section. This is where the drama really happens, and the sforzando chords might be thought of as facing the fear head on. At Tempo I, things calm down a bit, but with the blip at bar 37 (has It really gone?) then the resolution right at the end = safety. Just my interpretation.
I would add that I tend to play it a bit slower than the recommended speed for effect, but yes, with a good dynamic range it can be frightening. I think it's a wonderful, very evocative piece.
Yes I agree with this, play the first part pp, then a really go for 'piu mosso' and louder too.
This piece compares with Haunted Spot, no 3 in his 9 piece 'Waldscenen' suite, though here there is no 'piu moss' but a sinister tune coming in the bass line.
Later edit, correction Haunted Spot is no 4 in Wladscenen , after Solitary Flowers.