This piece is more of an ensemble-type work, not a song for a singer. Although the specific instrument is unknown, it is a work with stronger instrumental elements than vocal ones. Therefore, it requires a straightforward tempo with minimal rubato, clear articulation, and lightness.

One point to be careful about is the sforzando. It appears on strong beats, weak beats, and everywhere else, so it must be observed. By the way, the term "sforzando" is often misunderstood, so I will explain it for clarity. Sforzando means to "place an accent within the given dynamic range," and by no means to "play only that note strongly." Therefore, when a sforzando is written within pp or p, the performer should only add a slight accent and never play it forte. Conversely, when a sforzando is written within f or ff, it may be played quite loudly.

For the first four measures, imagine a high-ranking person speaking proudly, with their own distinct accents. From the third beat of measure 4 to the second beat of measure 8, a secret conversation begins. Then, from measure 9 to the second beat of measure 16, a story full of anticipation begins. And from the third beat of measure 16, a dream-like tale unfolds. In this way, perform with the image of a dignified, elegant, and stately conversation, expressing the psychological depiction of each section.

There are no particularly difficult technical passages, but pay attention to the treatment of dotted notes found throughout. The trick for playing the dotted eighth note + sixteenth note rhythm is to play the sixteenth note in one continuous motion, as if it were an ornament to the quarter note that follows, rather than applying force to each individual sixteenth note. Instead, pair it with the quarter note and play it in one fluid motion. If this rhythm becomes heavy, musical expression will be difficult.

Clear articulation is extremely important for this piece. Play lightly, and ensure that staccatos never become heavy.