I will proceed on the assumption that, at this level, you already understand how to play and the quality of the finished performance. Therefore, I have some advice regarding dynamics.

For example, in measures 1-8, there are no dynamic markings other than the initial 'p'. However, playing entirely flatly at 'p' is not ideal. Let's analyze it.

Measures 1-8 are divided into two phrases: the first extends to the downbeat of the second beat of measure 4, and the second begins thereafter.

Of particular note are the 32nd-note units. For instance, in the opening figure ABABA, consider B as a non-harmonic tone, making the chord D F A. In the next unit, DEDED, consider E as a non-harmonic tone, making the chord G B D. Following this logic, the next chord is D F A, followed by B D F, then D F A. A new phrase then begins, with the first chord being F A C, followed by A C E, and the chord in measure 7 is D E G# C.

By doing so, you can discern the chord progression. Play each chord and consider which chord has the highest tension and which has the lowest. Generally, higher pitches can be associated with heightened emotion, but the atmosphere also changes depending on the type of chord. Therefore, do not solely judge by pitch height; also consider the character of the chord.