It may go without saying that the accompaniment on the off-beats should be played as softly as possible (pp) and the melody notes should be brought out the most; however, particular attention should be paid to the bass voice in the left hand. It must be treated not merely as a bass line, but as a distinct voice.

For instance, starting from the beginning, one should aim to lead towards the A in measure 2, descending from measure 1. From measures 3 to 4, lead towards the B (H) in measure 4, and then allow it to recede. In measures 5-6, regarding the bass C and B, this author would emphasize the C and relax the B. Similarly, in measures 7-8, strengthen the A and weaken the G (while this shaping is merely an example, please ensure that the bass voice does not become flat in this manner).

Another 1 point to be mindful of is to avoid playing with timing that is too close to a metronome. This piece feels like one where the tempo can be moved freely. Feel free to apply rubato, as long as it does not interrupt the flow.