The structure of this sparkling piece is ready-made for the accompanist, and it’s very effective as ballet music in a range of tempos considerably slower than Czerny’s. I think you should bring out echo effects in mm 2, 3 and 6. If you can manage it, a change of registers in the RH on the repeat of the A section adds color. Also, it does more justice to the musical character of Czerny’s RH if you pedal and tie some of it, and not play all of it “sempre staccato.”
Op 335 #41, Single Version: light two-step, 8 sets of 8-count phrases
This is my performance of #41 with the quarter @150. The music can be projected many ways to suit the teacher’s combination. What I’m aiming for in this performance is a character that suits a pique combination. In any case, I made two changes to Czerny’s text that I think you should consider. I rewrote m 11 as a simple descending scale because personally I find the RH repeated notes infelicitous (that’s really the word I want). And I created a full stop on the fourth beat of m 16 because the continuation of the RH figure into m 17 can make m 16 suddenly sound like an enjambment and give a dancer a feeling of having missed count “8” and being late.