This piece is clearly conceived with an ensemble in mind. It is not merely a matter of piano and forte being indicated; rather, as in measure 23, different instruments are envisioned, with the right hand playing piano and the left hand forte.

Performers should first adhere to these dynamic markings. An effective approach is to make sudden changes to piano or forte, such as subito forte or subito piano, which can create the impression of an ensemble. Therefore, it is clearer to make a distinct separation: where forte is written, play from forte to fortissimo; where piano is written, play from piano to pianissimo.

There is a point of caution in this regard. While particular care is needed when performing in large halls, if one abruptly drops from forte to piano, the notes played at forte will momentarily persist as reverberation. Consequently, the initial part played at piano will not be clearly audible (this is a common issue not limited to this piece, but applicable to all musical compositions).

Therefore, when transitioning from forte to piano, introduce a brief pause. By doing so, the initial notes of the piano section will also become discernible.