There are several points to consider when performing this piece.

Tempo

First, there is the issue of tempo. This piece should not sound rushed, nor should it drag. It is certainly not vertically conceived music, so it must be played with a horizontal flow. The score I am referring to indicates a performance time of one minute, but I believe you should not be overly concerned with this duration. The piece contains detailed tempo changes and timing indications. At the very least, please follow these indications. While this is my personal opinion, a quarter note of approximately 180 bpm would also be acceptable. Please consult thoroughly with your teacher regarding the tempo.

Balance

The next issue is balance. This piece contains notes that go far beyond typical non-harmonic tones, notes that are ordinarily inconceivable. For example, the seventh-interval clashes between the right and left hands in measures 7-8 are a rather rare compositional approach. If such clashes are played without careful consideration, they will sound truly harsh, rigid, and dissonant. In such cases, reduce the volume of the left hand as much as possible, balancing it as if played by different instruments. By balancing, the clashes will also soften.

When balancing, there is one more point of caution. In measures 1-3, 9-10, and 25-27, tenuto markings and accent markings are written on the first beat of the left hand. As these are written to serve as bass notes, it is advisable to play them slightly stronger than the notes on beats 2 and 3.

Phrasing and Dynamic Shaping

It can be observed that phrases generally progress in four-measure units throughout the piece. Please examine these four-measure phrases closely. Do you notice that notes of longer duration are written in the third measure of each four-measure unit? Examples include measures 3, 11, 15, and 23. The learner should progress towards the third measure of each four-measure phrase as a goal (a performance that leads to the third measure is desirable). Therefore, for example, in measures 1-4, for the right-hand melody, the D in measure 3 should be played with the greatest volume, and the C in measure 4 should be played softer than D.

Similarly, the melody A in measure 11 should decrease in volume at the G in the next measure. Dynamic control (shaping) in four-measure units should be handled in this manner. However, the melody note E in measure 15, for instance, is an exception, as I believe it is a resolution chord (C-E-G) from the preceding G-H-D-F. Learners should discuss with their teacher and create the shaping while also considering the harmonic progression.

Form

The form is A, spanning measures 1-16, which is divided into measures 1-8 and 9-16. Naturally, the second phrase will have a greater volume, but since measures 13-16 modulate to C major and the color changes, this section might be softer in terms of sound quality.

The B section spans measures 17-24, and this is also divided into two parts: 17-20 and 21-24. Here too, naturally, measure 23's B will be the peak, so the volume of the second part (21-24) should be greater than that of 17-20.

The return of the A section spans measures 25-32. While there isn't a distinct coda per se, the tempo changes at measure 29, so from here, it should end slowly, fading away.