Considering the chromatic progressions, Neapolitan sixth, and Picardy third, there are few optimistic elements, and I feel it is also an expression of a certain kind of sadness. Therefore, I believe it is appropriate to maintain a strong expression and a wide dynamic range.

Fundamentally, the piece proceeds in 3-4 voices. The positions of the soprano and alto are quite close, both written within the treble clef, and intended to be played by the right hand. Performers should, as much as possible, devise ways to make the soprano and alto voices sound independent, as separate lines.

In the first half, begin increasing the volume from measure 5, directing it so that measure 8 becomes the peak point. In the second half, although opinions may differ among individuals, I believe the tension can rise in measures 15-16. From the second beat of measure 16, a descending sequence begins, so gradually decrease the volume from here. However, since a Neapolitan chord appears in measures 19, beats 1-2, make this another peak point, and from there, gradually decrease the volume again.