There are two points to consider when performing this piece.  

One is to thoroughly understand the form through analysis. The reason for this will be discussed later. First, let's look at the analysis results.  

A Section: Measures 1-16  

B Section: Measures 17-32  

A' Section: Measures 33-49  

The A section is particularly noteworthy. In the first A section, the theme from measures 1-4 appears twice. In the latter A section (A'), the same theme also appears twice, though the second instance is varied.  

In fact, within the first A section (measures 1-16), only two measures differ between the two thematic statements (measures 1-8 and 9-16). Specifically, only measures 7-8 and 15-16 are different; all other notes and rhythms are identical.  

The dynamic markings are mezzo piano (m. 1) for the first statement and pianissimo (m. 9) for the second, suggesting that the second statement might evoke an echo-like mood of the first.  

Conceptually, consider the end of measures 1-8 as a comma and the end of measures 9-16 as a period. The crucial point is to “never play this recurring theme the same way throughout the piece.” However, measures 1-4 and 9-12 do not offer much scope for special variation beyond dynamic changes.  

Therefore, variations should be applied in measures 5-8 and 13-16. In the A section, the concluding measures of each of the two themes (measures 7-8 and 15-16) have a greater number of notes compared to other measures. It is almost certainly true that in this piece, the number of notes increases when the emotional intensity heightens.  

Furthermore, apply rubato to the tempo, playing freely. This makes it easier to create the atmosphere for each theme.  

Since the theme reappears in the latter A section (A'), some ingenuity is required. Ensure that the recurring theme is never played identically each time it appears.  

The second point of attention lies in balance. The left-hand accompaniment maintains a polyphonic order; chords are not written haphazardly. One approach is to imagine three string instruments playing measures 1-3 smoothly. Assuming that the bass, inner, and outer voices are played smoothly, there should be no need for a strong attack on the first beat of each measure. Consequently, the left-hand chords should be played as pianissimo as possible. Measure 4 should be played as if by a cello.  

The middle section is piu mosso. Upon closer inspection, measures 17-18 and 19-20 are identical. To avoid playing them the same way, always introduce variations. In this case, measures 19-20 should be played with a more agitato feel than measures 17-18, pushing forward and with a sense of restlessness. This section can be interpreted as a depiction of an anxious psychological state.