The interest in this piece emerges from playing Bourrée 1 and Bourrée 2 in contrast. Bourrée 1 should not have a singing line; rather, it requires a dry, staccato touch.

The touch should convey an impression of lightness. Avoid legato, do not raise the volume excessively, and aim for an elegant, delicate atmosphere.

In contrast, Bourrée 2 should be conceived as a folk-like melody, similar to a musette. Since it has a melodic line, pay careful attention to phrasing, ensuring that accents are not placed on the final notes of phrases. For instance, the latter half of the melody starting from measure 8 reaches its peak on the B in the right hand in measure 9. From that note, apply a diminuendo towards the E in the right hand on the first beat of the second measure in measure 10, which marks the end of the phrase. Therefore, care should be taken not to play the E too strongly.

Observe the repeat for Bourrée 1. After finishing Bourrée 2, return to Bourrée 1, but the repeat may be omitted upon the return.