[0:01] This instance of Eusebius Traum starts on almost the same pitches as Eusebius from Carnaval.
[0:18] The first phrase could be summarized as follows: the voice-leading is fine, but any semblance of rhythm is tangible only through the harmonic tension.
[0:22] The reach down to the lower E unexpectedly extends the melodic range.
[0:25] Leaving this C# unresolved sounds like a mistake.
[0:29] Perhaps this is why I slightly accented this D?
[0:54] Until now, the performance is relatively sparse with a maximum of three-voice counterpoint being utilized. This moment corresponds to the end of bar 16 in the figured-bass score.
[0:59] With these five melodic tones, I establish expectations that the melodic material will start to happen in two different registers.
[1:07] Both registers are more or less melodically functional, although the lower register is less interesting than the upper.
[1:16] This performance of parallel octaves (the high D resolves to an Eb while the low D also resolves to an Eb) transgresses the classic voice-leading rule of avoiding such parallels.
[1:19] Ending on an open fifth here is a bit disappointing.
[1:30] This exposure of two A's at the same time sounds risky but is then resolved appropriately.
[1:48] The Eb resolution is barely audible, but it is there.
[1:50] The original piece stops here – I believe it was also my intention to stop here, but at the last minute I wanted a chance to try the last phrase again.
[2:12] I played another hardly audible high Eb here, and ending on an open fifth (Eb-Bb) is not harmonically ideal.
[2:15] This last phrase is an extra eight-bar phrase not included in the figured-bass score, thus making this version of Eusebius Traum a 40-bar piece, rather than the original 32.