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In order for a driving repetitive figure not to be boring, there have to be moments that are "the same but different." Notice the slight changes in the rapid-fire rhythms in measures 6, 9, 10, etc. Variety is also the reason for the difference in measures 28-29 & 36-37. Unless you're fully aware--not running on "auto-pilot"--you may find yourself going from measure 28 into measure 37.

To give the melody lines a trumpet-like realism, allow your finger to leave the keyboasrd briefly at the ends of slurs to create a natural breath. You can highlight the contrast of the long notes of the melody against the "Morse code" accompaniment by making the staccato chords short "springboards" and holding the tenuto quarter notes as long as possible. In the fanfare at measure 19, notice which notes are held fully and which are "portato" (half and half).