This is a piece that presents significant expressive challenges.

For measures 1-2, direct your focus towards the C on the first beat of the right hand in measure 2; therefore, play the B softly. Since the half notes in the left hand are slurred, play them like a cello, but at a p (piano) dynamic.

In measures 3-4, play the right hand slightly louder than in measures 1-2. Consider the B on the first beat of measure 4 as a non-harmonic tone occurring on a strong beat. Therefore, crescendo towards B, and then decrescendo in volume from B to A.

Play measures 5-8 as a single continuous phrase (without stopping midway).

From this point, consider measures 9-12 in two-measure units, and create a contrast by playing measures 11-12 either louder or softer than measures 9-10.

Incidentally, the author believes that the left-hand movement in this piece can be quite dynamic. It is suggested that, rather than merely sustaining notes, a slightly more dynamic motion is appropriate. This is due to the rhythm in the left hand.

For example, the F in the left hand in measure 6 is written as an eighth note. If the author were the composer, they would have written the F as a quarter note on the downbeat of the second beat. Similarly, the F in measure 14 is the same. Why did the composer write it as an eighth note? Furthermore, there are eighth notes in the left hand in measures 9-12, adding a subtle movement. Therefore, the author would play these eighth notes staccato to create a sense of dynamism; what are your thoughts?