When performing this piece, there are two considerations:

• The first is to introduce dynamic variations when the same phrase is repeated. For example, in measures 3 and 4, the phrase is the same, but the phrase in measure 4 is written an octave lower. In such cases, one should perform with the understanding that in an instrumental ensemble, a different instrumentation plays the second phrase, or that the number of instruments has decreased. A safe way to introduce variation is to play the second phrase softer than the first. The same applies to measures 6 and 7, and measures 19 and 20.
• The second important point is to change the 'color' according to the key changes. In the first half (measures 1-12), the piece begins in E major, modulates to B minor, and then to B major. The performer should establish a hierarchy of keys (e.g., which key is stronger or weaker than another) and vary the timbre accordingly. In the second half (measures 13-25), the piece begins in E major, modulates to C-sharp minor, returns to E major, modulates to E minor, and then modulates back to E major from measure 21 until the end. For these keys, too, the 'color' should be varied as in the first half.