Point 1: Dynamics and Phrasing

There are two crucial aspects to this piece. The first concerns the method of setting dynamics for phrases. Consider phrases to be in four-measure units. These are, simply, measures 1-4, 5-8, 9-12, and 13-16.

Performers should subjectively discern what expression or psychological state each phrase depicts and set the dynamics accordingly. This involves not merely playing louder because the notes are in a higher register, but also considering the mood and character of the chords.

Point 2: Flow of the Bass Line

The second point is the continuous flow of the bass line in the bass clef. While some performers may articulate the bass line measure by measure, performers should first attempt to play only the bass notes (those in the bass clef with downward stems). Connect them smoothly, as if playing a cello, avoiding arbitrary breaks. If a break is unavoidable, connect them even with a momentary use of the pedal. Such consideration contributes to preserving the order of the polyphony.

Supplementary Note

Regarding repetitions, when repeating a section (playing it for the second time), do not play it exactly as the first time; introduce some variation.