Regarding the tempo, when 32nd notes appear consecutively, please set a relaxed tempo that is not too fast and does not feel oppressive.

Next, regarding the 16th notes in both hands. For example, in bar 1, they appear in the right hand, and in bar 2, in the left hand. From this point onwards, whenever 16th notes appear, consider them as two voices. Although they are indeed written as a single melody, extract only the main notes, for instance, in bar 1: G on beat 1, A and G on beat 2, F# on beat 3, and G and F# on beat 4.

Similarly, in bar 2: B on beat 1, B and C# on beat 2, D# on beat 3, and C# and D# on beat 4.

While there is no need to emphasize these notes particularly loudly, simply being “aware” of these main notes will change the performance. In bar 1, for example, be careful not to put too much force on the first finger of the right hand, thereby avoiding a bumpy line. If we compare the notes just extracted from bar 1 and bar 2:

Bar 1 becomes G, A, G, F#, G, F#, which can naturally connect to the right hand of bar 2, E, F#, E. On the other hand,

If you are aware of Bar 2 as B, B, C#, D#, C#, D#, you will notice that it moves in contrary motion to the right hand of bar 1. This also allows for a smooth entry into bar 2 from the tenor line of bar 1's left hand: G, F#, G, A, G, A, H. Continue to apply this approach similarly thereafter.