This is a very difficult piece. There are four key points to note.

• Balance Issues. Although it may appear to be a canon at first glance, it is not. While one voice may seem to chase the other, a beautiful balance can generally be maintained by prioritizing the right hand and keeping the left hand subdued. Some teachers might suggest playing both voices (two voices) at the same volume, but based on the author's various experiments, emphasizing the right hand and softening the left hand helped to remove overall harshness.
• Phrasing. Phrases are in four-bar units; for example, assume bars 1-4 broadly descend as EDCHA. Consider that the dynamics should decay in four-bar units, with the last bar of each unit played at the softest volume. In other words, for the A minor section, think of it as GFEDC, and for the C major section, as GFEDC. A particular point to note is to absolutely avoid placing an accent on the final notes, such as the A or C in the fourth bar.
• Key Issues. Change the 'color' between A minor and C major. Consult with your teacher on how to differentiate them. There are no strict rules, but avoid playing both in the same manner.
• Regarding Tapering. Adding just a slight 'tapering' (a gradual decrease in tempo, ending a little slower) can bring out more character. Instead of playing this piece with metronomic, computer-like precision throughout, consider incorporating some breathing and a slight rubato. This is one approach.