This piece can sound very flat and drawn-out depending on the performance. However, it becomes clearer when focusing on the cadences (cadential forms). Measures 1-7 will be referred to as the first half, and measures 8-19 as the second half. Let's proceed with the explanation.

Starting from the beginning, the third beat of measure 2 marks the first cadence. It is a perfect authentic cadence. It begins in G minor and concludes with a G minor cadence. The dynamic is not large. Upon reaching measure 5, the second cadence appears on the third beat of measure 5. It can be considered a modulation to B-flat major here. Although the edition I am using indicates a forte marking here, B-flat major within G minor is not a particularly strong key for me. Therefore, desiring a softer quality (this is my subjective opinion), I would not play it as forte.

The third cadence occurs on the third beat of measure 7. This is a half cadence, ending on the dominant. Observing the right hand from the fourth beat of measure 6, one can see a scalar ascent: D, E, F-sharp, G, A. Therefore, I would conclude this half cadence with more emphasis.

This concludes the first half, which ends quietly without much dramatic development. Rather, the half cadence anticipates an increase in tension for the second half.

In the second half, there is another modulation to B-flat major in measure 9. Between measures 9 and 10, a pattern resembling a sequence can be observed in the right hand. From the third beat of measure 10, a pattern that can be considered an ascending sequence appears, progressing upwards beat by beat. The fourth cadence then arrives on the third beat of measure 12. This is a perfect authentic cadence in B-flat major. Although the score again marks forte, for the same reason as before, I would not play it that loudly.

Subsequently, from the third beat of measure 12, the ascending sequence reappears, returning to G minor in measure 15, and the tension rapidly increases. In measure 16, it ascends further, reaching a peak point between the first and second beats of measure 17, and the fifth cadence occurs on the third beat. This is also a perfect authentic cadence, strongly emphasizing G minor.

Thereafter, the melodic line descends, leading to the final cadence, which concludes with the most dignified and weighty cadence. I believe it is appropriate to end forte here as well, so apply a crescendo from the first beat of measure 19, slowly arriving at the final chord on the third beat.

This is the trajectory that drives the entire piece. For your reference.