Tempo markings written by composers often pose a considerable challenge. For markings such as Lento, Allegretto, or Moderato, one naturally does not adhere strictly to the metronomic indications. In this regard, understanding the composer's individual characteristics is crucial. While this particular piece is marked Moderato, and some performers may prioritize this indication, playing it too slowly can result in a perceived lack of momentum or 'losing the flow'. The author believes that a somewhat sprightly tempo is appropriate.

Measures 1-4 and 5-8 are identical; there are no differing notes or rests. Crescendo and diminuendo markings are also positioned identically. Here, the author proposes that it is preferable not to play these two sections identically.

For instance, in measures 1-4, one would execute a crescendo towards the third beat of measure 2, followed by a diminuendo in measures 3-4, as indicated in the score. Measure 5 would then commence forte, leading into a diminuendo towards the third beat of measure 6. Measures 7-8 would subsequently be played pp. While this approach disregards the score's instructions and, in fact, executes the inverse, the author finds it difficult to endorse repeating the exact same musical material twice without variation. It is preferable to introduce variation, even if it necessitates a slight deviation from the written instructions.

For the final two measures, if feasible, the pedal should be sustained without change for the entire duration of these two measures.