Although it is a prelude of a very simple form, it requires meticulous attention to detail precisely because of its simplicity. It is in binary form, and we can consider it as follows:  

If we define the theme as measures 1-2, similar themes appear four times throughout the piece. For example, if you need to play the themes in measures 1-2 and 3-4 differently, how would you create that distinction? Measures 1-2 seem to have a higher tension than measures 3-4.  

You could play measures 1-2 vibrantly and forte, and measures 3-4 a bit more subdued and piano. In any case, differentiate between the two themes.  

Once you've made such distinctions, let's compare measures 9-10 and 11-12. For the first time, the keys of measure 9 and measure 10 differ in measures 9-10. It begins in G major and ends in A minor. I believe it's also possible to vary the dynamics within the theme itself, for instance, playing measure 9 mezzo forte and measure 10 piano.  

And the theme with the highest tension is in measures 11-12. Sonically, it reaches the highest note so far (C on the first beat of measure 12). Now, regarding the theme in measures 11-12, there is one aspect that differs from the previous three. Observe the left-hand movement in the first measure of each theme. It consists of three sixteenth notes followed by two quarter notes.  

However, only in measure 11 does this pattern not appear on beats 3-4. Normally, the fourth beat would be a quarter note, but here it's written with sixteenth notes. What impression do you get? The author feels that this theme, compared to others, has a strong sense of direction, leading towards measure 12 (the next measure). Therefore, let's use the sixteenth notes in beats 3-4 of measure 11 to build a crescendo, and reach the peak in measure 12.  

Next, let's discuss the sections other than the themes. The measures outside the theme sections can be considered as three sequences. Namely, one in measure 5, one in measure 6, and one in measures 7-8, making a total of three sequences. For example, you might play measure 5 strongly, measure 6 weakly, and measures 7-8 strongly again. Ensure these four measures are never flat or monotonous.  

Apply the same approach to measures 13-16.