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I would heavily recommend starting with an introductory textbook on harmony, such as this one by the ABRSM which you can view for free. The counterpoint you're interested in (18th-century counterpoint) is essentially the usage and adaptation of (16th century) contrapuntal techniques in the context of harmony, so detailed knowledge of the latter is absolutely essential.

How would you recommend I go about learning counterpoint? I would like to study counterpoint further it is true that I have a little base knowledge but not much.

I agree with the others that this is a little repetitive, even for a short piece. 12 of the 21 bars are the arpeggio figure with mordent and a lot of those are pairs of arpeggios in the same key. You changed up the keys a little later, which helps, but that still a lot of repetition. How about continuing new material from 3 into 4 rather than going back to the figure of m. 1 and 2? Extending the new material through m. 4 would give interest before returning to d minor. Since this is a baroque-style piece, I think a D octave in the bass of m. 10 is required. My ear at least felt its absence.

Very high degree of Spanish influences, shifting rhythmic syncopation and time signatures and Phrygian mode. You clearly know what you're doing. This is a very pianistic piece, despite never having written for piano before. All of the chords and embellishments fall easily under the hand, and you're careful to give time for the performer to breathe. I'm still quite an amateur in terms of compositional technique, but I would say as a pianist this is a very fine start to writing for piano. I would recommend exploring the instrument's capabilities a little bit more in order to balance out the edge. You could, for example, have added some of the lower bass notes in the left hand accompaniment for bars 23 - 24. Since they're so low and resonate for a significantly longer time, they give a much richer, ringing tone quality to your staccatos. Not to mention, it helps to activate the resonators in the piano, leading to a much richer tone in general, and it lends to a much more powerful and dramatic effect. However, this is still a very well thought out composition.

sorry to necro a dead thread, but I was just checking my socials when I remembered this post! I actually just had this piece recorded by the principal strings at the Bolshoi Theatre, believe it or not!! They're definitely worthy musicians lol, so here's a link in case you're interested: https://youtu.be/SIrKsoVDBKU