A crucial hint for performing this piece is to avoid a sense of heaviness. Here's how to achieve a performance that doesn't feel heavy:

1. Emphasize Directionality

Confirm where each phrase is heading. If the performance is predicated on moving towards a destination, the entire phrase should not be played at the same dynamic level. This allows you to avoid a flat performance, which can sound mechanical and heavy.

2. Clarify Articulation

Clearly distinguishing between short and long notes, such as staccato and legato, helps avoid heaviness. Playing notes with an ambiguous length, neither truly staccato nor legato, will result in a performance that lacks crispness and feels heavy.

3. Avoid Force on Small Notes

This applies to the A section as well, but especially in the middle section where sixteenth notes appear consecutively, once you identify the melodic notes, focus only on them. Play all sixteenth notes leggiero (lightly) and pp. Playing these sixteenth notes marcato will result in a heavy performance.

Regarding the first point, 'Directionality,' let's examine the opening phrase. Measures 1-4 constitute a single phrase. In the author's score, a forte marking is written in m. 1, and three forte markings are in m. 4. Consider which of these fortes should be louder. Measures 2-3 show the musical figure from m. 2 ascending an octave in m. 3, indicating an increase in tension. Therefore, do not play m. 1 too loudly; instead, gradually increase the volume through mm. 2-3, aiming to reach the goal in m. 4, and play m. 4 with the strongest forte. The same applies to measures 5-8. However, since measures 1-4 conclude with an imperfect cadence, while measures 5-8 end with a perfect cadence, measures 5-8 might be slightly softer.

Regarding the articulation in measures 4 and 8, absolutely do not sustain the two chords on the first beat; instead, play them strongly, short, and staccato. When performing these two measures, if the two chords on the first beat lack crispness, the entire effect will be ruined.

Looking at measures 9-12, the forte previously written in the final measure of the phrase has disappeared; forte is now only indicated in m. 9, the first measure of this phrase. For measures 9-12 and 13-16, it might be appropriate to consider the first measure as having the loudest volume, with the dynamics then decaying. The middle measures, 10-11, conversely, descend by an octave compared to the previous section.

Compared to measures 9-12, measures 13-16 ascend by a second, so try playing measures 13-16 slightly louder than measures 9-12.

In measure 17, the phrase from measure 1 returns. However, measure 20 significantly defies expectations, not reaching a cadence but instead moving forward. The tension builds to its peak, and then the A section concludes in measure 24. Here, play quite dramatically, slightly broadening the tempo at the end.

Consider measure 24 to be the measure requiring the greatest volume in the A section.

From measure 25 onwards, the melody is likely A G A B C G. Focus only on these notes, and play the rest pp and leggiero. This melodic line corresponds to the uppermost voice when the key modulates to D-flat major in measure 37 (F E-flat F G-flat A-flat E-flat). From measure 33 onwards, a lyrical passage appears in the left hand, which should be played with ample expressiveness.

This B section should clearly contrast with the A section (measures 1-24 and 49-72). Measures 49-72 are identical to measures 1-24.