While technically easy, the piece possesses musical difficulties. There is little dynamic variation, with only three types of dynamics—p, pp, and mF—indicated in the score. At the beginning, there is an instruction: 'Quietly'. For these reasons, the dynamics of the piece tend to be flat, and the challenge lies in how to make it expressive within this limited dynamic range.  

Within measures 1-8, measures 5-7 might be the section with the greatest dynamic intensity. The left hand gradually descends from measure 1. A performance that conveys a sense of direction is desirable; proceed towards measure 7 (which is likely the loudest within measures 1-8) without releasing the tension. However, this section begins from p or pp, and even when it expands, mF is the maximum dynamic. Be careful not to play too loudly, become agitated, or push the tempo forward in a way that overwhelms the listeners.  

In measures 9-12, the key changes. Aim to play with a different timbre.  

In measure 13, even though 'rit.' is written, do not slow down the right hand's sixteenth notes so much that they sound like eighth notes. Be careful.  

Melody Shaping

Now that we have covered the overall flow, let's consider the shaping of the melody line. Look at measure 1. You will find a quarter note E on beat 2 and a half note E on beat 3. For example, when comparing these two, which note should be louder?  

Looking at measure 2, the notes on beat 2 and beat 3 are different. In this case, it won't sound too flat, but in situations like measure 1, where the same note is repeated, playing both notes with the same dynamic will make it sound flat (or stiff). Try making one louder or softer than the other. In measure 3, the melody in beats 1-2 and the melody in beats 3-4 are exactly the same, including the accompaniment. When two identical occurrences like this appear, do not play them identically; always use some means to differentiate the two units.  

For example, I would play beats 3-4 in measure 3 slightly louder than beats 1-2, and make the H on beat 4 louder than the note on beat 3. There are two reasons for this. One is that it allows for a sense of direction to be conveyed. The other is that the first melodic note in measure 4, the A on beat 1, is not only a note within a crescendo but also a harmonically resolving note for the tension on beat 4 of measure 3.  

Therefore, give a certain amount of volume to the final note H in measure 3, and play the A in measure 4 softer than the preceding H. Applying a crescendo after that will proceed smoothly.  

From measure 5, the same melody as in measure 1 is repeated, and considering this, measures 3 and 7 can be thought of as analogous sections. When comparing these two measures, while beats 1-2 and 3-4 are the same in measure 3, the left-hand chord is different in measure 7. In measure 7, significantly reduce the volume of beats 3-4 compared to beats 1-2, and change the color. This will release the tension and allow for a smooth entry into measure 8. For your reference.