?OMMENTARY
Marching and Dancing Two-Voice Textures are playful dance-like grotesque scenes, examples of ‚playful polyphony’. Their musical development is distinguished by the prominent themes and bright theatrical dramaturgy. The form of both pieces is tripartite, the outer sections are built on a contrast of energetic themes (roll-calls, confrontation of voices), with jocular episodes appearing in the middle sections, in which a paraphrase of Haydn melodies can be clearly discerned.

1. The Marching
The piece is reminiscent of a military-scherzo vigorous march with tarantella accents (triplet motifs). The expressive nature is already set from the first bar in the harmonically sharp conjugation of the two declamatory themes-quintuple and quadruple, which draws them into numerous polyphonic adventures. Further, the contrasting juxtapositions of themes and their elements, emphasized by sudden falls of dynamic and plays on tones acquire a major role. The themes change fro m one register to the next, are horizontally mixed with one another (in Bar 1 the second theme begins a crotchet later than the first, and vice versa in Bar 2), and the infinite canon technique is used (in the second theme, Bars 5-6). The development then becomes more free, it is crowned by the whirl of a complex passage, changing from one hand to the other (Bars 17-18), with persistent repetitions of the F of the second octave. This difficult fragment should be worked on slowly, matching up rhythmically support notes with a metric pulse, and then in the final tempo it should be played crescendo, identifying the struggle for accents in the left hand (the syncopated F in Bar 18 requires special attention).
In the middle section (from Bar 24), by the B tone, like the peal of a distant bell, a child-like simple song is gradually felt in the spirit of Haydn’s uncomplicated themes. It is mirrored in the gaily dissonant lower voice. For an instant the themes of the first section burst in