It is a sweet and gentle piece. Written in three voices, try playing the bass and tenor parts separately so that the two voices in the left hand can be understood as independent parts. The tenor part frequently features an eighth-note rhythm starting on the off-beat, as seen in measure 2. Let it converse as if speaking to the broad melody in the right hand. The second theme, starting from measure 9, leads towards B minor in the subsequent phrase of measures 11-12. From measure 17, a crescendo towards the climax begins, but a sense of urgency, as if successive gusts of wind are blowing, is also desired. Aim for the very edge of not accelerating; specifically, I believe it means to ensure a strong attack on the fifth beat in the right hand. At the reached f, play the high notes in the right hand with a brilliant tone, clearly articulating the breaks in the slurs. The four measures from measure 24 are a scene where the preceding motion subsides, allowing one to savor the tranquility before transitioning to the recapitulation. Listen carefully to the resonance of the long notes and surrender to the harmonic changes.