This piece should be performed in a style close to the Classical period. In other words, feel the beat, avoid flowing horizontally, and play without fluctuating the tempo, as if a conductor were leading. Musically, there are ideas of dignity and spiritedness, ensuring the music never becomes overly sweet.

Furthermore, as a rhythmic idea, always feel the staccato eighth notes and their timing. That is, do not perceive it in 4/4 time; instead, base your understanding on the eight eighth notes present in each measure, ensuring these eighth notes constantly flow in your mind. For example, in measure 25, beats 1-2 are written as a half note, but it would be better to count four eighth notes instead of two beats. This will allow you to maintain more accurate note lengths and lead to the expression of Mendelssohn's unique spinning music itself, as well as a sense of tension.

The music is constantly in motion, without creating breaks like cadenzas or fermatas anywhere; it moves continuously from beginning to end. Conversely, there is no need to rush the music forward; maintain a constant tempo. This means the performance will be as close to a metronome as possible. As you will see if you look at the score, dynamics and articulation are indicated throughout, but there are no "rit." or "a tempo" markings whatsoever. Even at the very end of the piece, there are no "rit." or "rall." indications.

Within this constant motion, create variations through dynamics and articulation. Imagine string instruments, as if a violin were playing with intricate movements while maintaining tension. The image should be purely instrumental, not vocal. Therefore, heavy staccatos would be fatal to this piece. Make staccatos as short as possible. And never forget the sforzandos (e.g., measures 16-17). Furthermore, even with a pp marking as in measure 20, the music should never fade or sound faint; instead, create a sense of tension that can only be expressed through pp.