First, for this piece, the minimum requirement is to clearly bring out the melody line while keeping the inner voices subdued. When clearly bringing out the melody line, it is relatively easy when the inner voices are at a somewhat distant interval (e.g., a 4th or 5th); however, it becomes very challenging to subdue the inner voices when they are at close intervals (e.g., a 2nd or 3rd) to the melody line.

Generally, the melody in piano pieces by not only Moszkowski but also various other composers is often played by the 4th or 5th finger of the right hand. However, the 4th and 5th fingers are the weakest among the five fingers and are rarely used in daily life, making it difficult to apply sufficient force. The same applies to the left hand; by thoroughly training the 4th and 5th fingers, a wider range of performances becomes possible.

Constantly and consciously trying to bring out the top voice is one of the secrets to improving piano playing. In this piece as well, strive to bring out the melody as much as possible and play the inner voices at pp.

This piece is in ternary form, with the initial A section spanning measures 1-8, which is divided into two 4-measure phrases. The first 4 measures are further divided into two 2-measure phrases. When comparing these two, it is likely that measures 1-2 have higher tension than measures 3-4, and thus may also have a larger volume. Consider these points to differentiate between the two phrases.

Considering these two phrases (measures 1-4), in the first phrase, the note A in measure 2 is at the highest point, so direct the musical progression towards this point. To explain in more detail, it would be good to start the opening G-A-B at p, make the subsequent B-C-D slightly louder, and then make D-G-F#-A-D the loudest. Ensure that the D on the third beat of measure 2 does not become louder than the preceding A.

The half note G in measure 4 is reached by descending from the previous measure; however, do not reduce the volume too much here. This is because the following F# must be played with the greatest reduction in volume, and if the G is too soft, the difference with F# will not be audible.

Measures 5-8 can be approached similarly to measures 1-4, but measure 8, being a point where punctuation would be placed in a sentence, may end just slightly slower (Except for the last two measures, this piece has no breaks in the eighth notes. Eighth notes are consistently written, giving the piece a continuously forward-moving character; it is not a piece where one takes a cadential pause. Avoid excessive rubato).

In the B section, consider measures 9-10 as one phrase and measures 11-12 as another, playing measures 11-12 louder than 9-10. Then, reduce the volume once at measure 13. Consider measures 13-16 as one phrase, increasing the tension as the melody ascends, reaching the G in measure 16. Consider measures 17-18 as one phrase, heading towards the G in measure 18 once more. From measures 19-22, having passed the peak, gradually decrease the volume until measure 22 (be careful as the inner voices in measure 21 can become muddy with the pedal).

Thereafter, the piece returns to the A section, followed by the Coda.

It is almost certainly correct to consider this piece as having an accompaniment and a song-like melody. As indicated in the notation, it proceeds con moto. Although the content of the song's lyrics is unknown, consider it as if telling a story to someone.