This is precisely a piece with a melody and accompaniment, and it can certainly be regarded as a song. The note F-sharp (Fis) in the opening melodic section is an Unprepared non-harmonic tone, a type of non-harmonic tone that begins abruptly without any preceding approach (preparation note). In this melodic section, for instance, the same pattern starting from the third beat of measure 2 is not a non-harmonic tone in this case. However, the note that begins on the preceding beat has small crescendo and diminuendo markings, which means to emphasize that note—to cherish it and take time with it.

In the case of this piece, one would ideally wish to sing freely, but this is hindered by the continuous presence of sixteenth notes. The continuous sounding of these sixteenth notes often leads to the constraint that the music must not waver; however, in reality, the melody must be given the highest priority.

As an experiment, try playing the melodic section as a single line, applying ample rubato. You will realize how freely the melody can be sung without the sixteenth notes.

Next, take the free melodic interpretation you just played and add the sixteenth notes. It is preferable for the sixteenth notes to follow the melody, allowing for flexible timing and accelerations, rather than playing them metronomically.

The note G-sharp (Gis) in the melodic section starting from the upbeat of the third beat of measure 12 is the highest-pitched theme thus far; therefore, take even more time and emphasize this G-sharp (Gis) as something special. Measures 6-7 are akin to a two-beat sequence; conversely, try to push the music forward in this section. In this manner, sing freely and adjust the tempo flexibly according to the specific sections.