Rather than offering performance tips, I will discuss points that require careful attention. One must not assume complete freedom simply because it is a fantasy. Fermatas must not be excessively long (e.g., m. 192, where the duration of a fermata should be approximately 1.5 to 2 times the actual note value), and if there is no rest following a fermata, one must connect directly to the next note without pause.

Firstly, these timing issues must be strictly observed. Furthermore, one must constantly maintain a sense of the triple meter. For instance, in measures 22-28, the written sixteenth notes are easily grouped into threes per measure. Is it possible that this section is inadvertently perceived in duple meter? Even in such passages, the triple meter must be strictly adhered to.

Particular caution is required in passages like measures 88-99, where the left-hand accompaniment does not appear in every measure but is tied across bar lines, making it easy to lose the beat. Always be conscious of the triple meter.

In places, there are sections with strong ensemble elements, reminiscent of a string quartet. In measures 29-61, for example, try to imagine it in this way, treating each voice independently.