First, since the composer's edition states "lively" at the beginning, even without a detailed tempo marking, it is appropriate to interpret this as energetic, meaning not too slow. A clear section for determining the tempo is measures 9-12; when played rhythmically, set a comfortable tempo here and adjust the rest of the piece accordingly.

Furthermore, considering phrases in two-measure units, measures 1-2 and 3-4 each form two distinct phrases. In such cases, strive to avoid placing an accent on the final note of each phrase. This applies to the E on beat 3 of measure 2, and the C on beat 3 of measure 4.

Now, this becomes a bit more challenging. Please observe the left-hand accompaniment. In measures 1-2, the accompaniment is written in two phrases. Each ends with a half note, and these half notes are at the highest point within their respective phrases. The half note F in measure 1 is where the tonic of beats 1-2 shifts to the subdominant, so it would not be surprising to consider this a point where tension naturally increases. Moreover, as it is the highest note, it would not be incorrect to consider this F as the loudest note within the phrase.

However, if I were the performer, I would not emphasize these half notes in either of these two phrases. The reason is subjective: I believe it creates a smoother flow. In measures 3-4, the first beat of measure 4 serves as the goal note for both the left and right hands. Please shape the lines in both hands.

Measures 5-8 are identical to measures 1-4. It would be beneficial to introduce even a slight variation.

In any case, ensure this piece is played dynamically, rhythmically, joyfully, without heaviness, and without stiffness.