Classical pieces should not sound heavy. For this, it is important to play staccatos short. Staccatos should be played short and light.

In the opening four measures, the right and left hands play the same notes two octaves apart. What I am about to say is often overlooked, but as an extreme example, ensure that the left hand does not sound louder than the right hand. In other words, both hands should play at the same volume, but it often sounds better if the left hand is slightly softer.

Although the opening four measures are marked forte, be careful not to play them excessively loud.

In the author's score, only forte is marked at the beginning, and there are no dynamic markings until mezzo piano in measure 9. Nevertheless, instead of playing flatly, one must proceed with a sense of direction.

Let's define the following sections:

• 1: From the 3rd beat of measure 4 to the 2nd beat of measure 5.
• 2: From the 3rd beat of measure 5 to the 2nd beat of measure 6.
• 3: From the 3rd beat of measure 6 to the end of measure 8.

These three phrases should not be played identically. When considering these three phrases, for example, if you consider the third phrase to be dynamically the largest, then the third phrase would be forte. But when comparing the first and second phrases, which one would you feel is larger? For instance, you could consider the first as p and the second as mezzo forte, or you could consider the first as forte, the second as p, and the third as forte again. It's advisable to discuss this with your teacher. In any case, strive to ensure these three phrases are not played flatly.

These three phrases reappear from the 3rd beat of measure 12. They are identical to the three phrases starting from the 3rd beat of measure 4. Here's a suggestion: varying the dynamic changes of the second set of three phrases compared to the first set is one possible performance approach. Please try various interpretations.