Except for the final coda, the right hand's quintuplets are continuous. Therefore, play them softly, gently, and flowing "without stopping." Although Lyadov's piano pieces generally do not contain many detailed tempo change markings, "con moto" is indicated at the beginning, so some rubato is permissible. However, maintaining the flow without interruption might be challenging.

One tip is that when an identical section appears twice, differentiate the two performances rather than playing them exactly the same. For example, measures 1-4 and 5-8 are 99% identical, with the only difference being whether the final note of the phrase ends on E-flat or F. When performing these two nearly identical phrases, one way to differentiate them is to focus on the inner voices. By observing the left-hand accompaniment pattern, you can trace the highest written notes.

That is, if the first note in measure 1 is D-flat, and it becomes C on the first beat of measure 3, B natural on the second beat, and C in measure 4, then a single voice of D-flat-C-B natural-C is formed. For instance, one approach is to play measures 1-4 normally and emphasize the inner voices in measures 5-8.

Measures 9-10 and 11-12 are sequences. From measure 13, there is a descending sequence per beat. At that point, for example, you can create variation by emphasizing the bass notes descending in chromatic progression.

In measures 21-22, the left hand is absent for the first time since the piece began. This section is enveloped in a special mood. Slowly lift your left hand and let it float in the air.

The peak point of this piece is in measures 44-45. However, play it smoothly without ever making the right hand marcato.