Balance is of utmost importance in this piece. First, concerning the approach: measures 1-4 and 9-12 should be conceived as an orchestral tutti, an ensemble, played with a certain dignity and at a forte dynamic throughout.

As for measures 5-8, set the dynamics exactly as indicated in the score example: the first two measures at mezzo forte, and the latter two measures at piano.

Furthermore, while measures 1-4 and 9-12 consist solely of octaves, a truly beautiful octave execution can be achieved by subtly moderating the left hand. This approach should yield a clearer sound than playing both hands at equal volume or with the left hand predominating; please experiment with it.

In measures 5-8, too, try playing all the D notes indicated in the left hand. These should largely form a 10th interval with the right hand. Again, by moderating the left hand and allowing the right hand to project, a beautiful 10th should emerge. The least amount of force should be applied to the D in the left hand. While this note must be played with the first finger, the first finger often tends to exert excessive force. Play the D as softly as possible.