Although no specific tempo is indicated, the author understands this to be a relatively slow waltz. It is marked espressivo. While ample expression is required, let us vary the character of each measure based on the nature of the chords and pitch. Regarding the rests in this context, an explanation follows. Many measures in the melody (right hand) have a quarter rest on the second beat, but it is generally not necessary to create silence.

The pedal is generally depressed from the first beat of each measure, held for the entire measure. Releasing the pedal on the second beat simply because there is a rest would result in the loss of the bass note. The quarter rest on the third beat in the left hand is also sustained by the pedal; therefore, these rests should be considered gestural rests, and actual silence should not be created.

However, in cases like measure 7, where a single measure contains two different chords, the pedal should be changed. In such instances, changing the pedal on the second beat would be appropriate.

From measure 9, the tension should be built towards measure 16. Since there is no forte marking in the score (at least not in the author's score), it may not be necessary to play excessively loudly. While it might be considered a crescendo within the piano dynamic range, considering the initial espressivo and the compositional technique from measure 9 where the left-hand bass and the second-beat chord gradually diverge as the music progresses, a certain degree of forte feels necessary.

Furthermore, this piece requires a certain amount of rubato. Rather than maintaining metronomic precision, applying some rubato will facilitate greater expression.