Regarding the tempo of this piece, it is generally recommended not to vary the tempo significantly, except where indicated. While some tapering at the end of phrases, etc., may be acceptable, it is not recommended to introduce pauses that would cause the listener to clearly lose the sense of pulse. For example, a new voice in the left hand suddenly enters from the off-beat of the second beat of measure 21. This is a type of surprising compositional technique, and its effectiveness relies on the listener perceiving the pulse.

Another point is the importance of the bass. Generally, following the pedal markings written in the score should suffice. The C-sharp in the right hand on the first beat of measure 9 is written at the lowest position within that measure, and thus serves as the bass. Similarly, the D-sharp on the first beat of measure 11 also functions in the same way. Please be careful that these notes, which function as the bass, do not get cut off midway for any reason.

From measures 16 to 18, consider the left hand entering in measure 17 as a separate voice, and try to devise some means to make it sound as such.