Having listened to many performances, a common pitfall seems to be a mechanical rendition. Although it is a short piece, it contains drama. There is also a lyrical quality. Avoid playing it in a detached manner.

The first measure already indicates rubato. The opening marking, Allegretto con amorezza, means 'Allegretto with tenderness/love'. Measures 1-8 constitute the first phrase, and the goal of this phrase is considered to be measures 7-8. In measures 3-5, continuous eighth notes appear in the right hand; here too, avoid playing mechanically, but rather as if speaking or narrating something.

A nearly identical phrase appears in measures 9-16, differing from the first only in the final cadence. At this point, the left hand in measure 16, beat 1, is an arpeggio, but it is highly desirable to sustain the bass with the pedal. Therefore, take the uppermost note of the chord, A-flat, with the right hand. By doing so, these three notes in the left hand and one note in the right hand (F C A-flat F) can be held down by both hands, allowing for a pedal change without blurring and without losing the bass.

The poco più mosso in the middle section finally introduces a mazurka-like character. Measures 17-18 and 19-20 form a sequence. Consider two distinct moods and differentiate their colors. Avoid playing in a detached manner; you may take time, expressing it as if speaking words. In measures 21-24, a sense of anticipation and joy can be felt. Then, another sequence begins from measure 25, but consider measures 31-32 as a psychological state where one is brought back to reality.