[The student plays:]

R.H. Mein persönlicher Geschmack geht dahin, etwas mehr auf die drei zu spielen, sodass ein trochäischer Rhythmus — ◡ entsteht. Es gibt zwar kaum Situationen, in denen etwas wichtiges auf der 3 vorkommt. Aber auf der anderen Seite ändert sich die Figur selbst eben auf der dritten Zählzeit.

I think that in the beginning and in places that are like the beginning, you should think of the right hand as the main hand and not as somehow a harmonic accompaniment of the left hand. So I would change register more in the right hand from the first beat to the third beat so that it has more of a shape. Right now it is just an accompaniment. Something like that:

And then a real contrast in the middle section, when you have the other figuration – maybe even on the upper manual, so that it sounds like a concerto structure.

If you are thinking of the upper part as more somehow representing what an orchestra would do and the actual figuration that is written is more a kind of, you could say textual embellishment of a transcription of an orchestral concerto, why don’t we take that idea one step further?

And then in bar 14 actually all three are accented, but they aren’t equal.

And then something more like a two-voice texture.