I remembered to include Roman Numerals this time. OK, it's in f sharp minor, let's start at measure one : i , iv43 III6, i i6 iio42, V64-53, VI6 ii7, iii i, V6, I VI, N6, N6, i64 V7, i
i would describe measures 1-4 as A, and 5-8 as B, and 9-12 as A'. This is especially hard to do because I did not find a recording of this piece, so I just have to try to sing it in my head. It is also hard becuase there's not a pattern in the chord progressions. The first phrase ends with a cadential 64. The second cadence is trying to be deceptive but kind of fails at it. The last cadence is an old school V7 to i. It's hard to call these phrases parallel or contrasting because that usually goes for two phrases, and there's three here. But I guess you could say A and A' are contrasting, if you wanted to.
As a performer I would completely fake out the audience with that almost deceptive cadence at the end of the second phrase. I would slow it way down and make the audience think the end was coming, and then smack them with that VI chord. I would also slow out the last beat of the neopolitan, stretch it out for as long as possible before landing on the one. As far as embellishing tones go, the only one I would focus on is that intense suspension in measures 2 and three. As a listener, I would sit back and enjoy. Maybe even dance around a little. That is all.