Andante con moto is indicated. In the first measure, 'cantabile' is marked. This suggests the piece should be interpreted in a freely singing manner, thus necessitating the use of rubato, which involves tempo fluctuation.

How, then, should rubato be applied? One approach is to practice by isolating and playing only the melody line. During this practice, it is beneficial to play just a single triad with the left hand on the first beat of each measure.

This method allows for a free and improvisatory singing quality, unconstrained by the strictness of sixteenth notes. For instance, in measure 15, take ample time and play the thirty-second notes smoothly, without rushing. By practicing the melody line alone several times in this manner, you will gain an understanding of where to apply temporal expansion and where to maintain a steady tempo.

Consider measures 13-14: despite commencing forte, a 'dimin.' marking appears as early as the third beat of measure 13, leading to a 'p' in measure 14. When encountering such abrupt dynamic shifts, adhering too rigidly to a metronomic tempo can render the passage exceedingly difficult to execute. In these instances, it is advisable to allocate sufficient time and apply rubato in a way that allows the dynamic transitions to unfold naturally. This guidance is offered for your consideration.