This piece is often assigned in competitions. While seemingly simple, it is quite challenging. The first thing one must understand is the depiction inherent in this piece. Mozart is a composer renowned for his operas. This piece should also be considered a scene from such an opera. And it must never be serious; it should be optimistic and joyful. Explain to your students that this is not a piece to be played with a furrowed brow, but rather with a smile.  

Another approach is to consider this piece as a cheerful string work. Imagine violin bowing and a delightful ensemble. Either approach is acceptable.  

To play lightly and joyfully in this manner, heaviness is strictly forbidden. Ensure that the staccato notes do not sound heavy.  

On Slurs

One thing to remember is the slurs placed over two eighth notes. Let's take an example: look at the right hand in the first beat of measure 1. A slur connects D to B. I will explain the technique for this. When a slur is placed over two notes like this, similar to violin bowing, you connect D to B, but after playing D, the finger executes an upward motion to play B. This means that B should have almost no force; it should be played as a weak, short note, as if the finger accidentally touched it while lifting after playing D. Perform the same action for the second beat. The key is never to apply force to the second note or to sustain it. This is the secret to making the piece sound light and agile.  

On Tempo

Regarding the tempo, since the title is Allegro, Allegro should be appropriate. However, it is written in duple meter. Duple meters in the Classical era often proceed at a rather brisk tempo. I have just tried it myself, and I believe a quarter note tempo of approximately 141 would be appropriate.  

On Dynamics

Next, dynamics. This is crucial. Please adhere to the dynamic markings written in the score. Play so that the difference between forte and piano is discernible to any listener. Here lies a challenge: while you may be able to create a clear contrast between the forte in measure 1 and the piano starting on the upbeat of beat 2 in measure 4, if you attempt to slightly reduce the mezzo forte in measure 6 compared to the forte in measure 1, and slightly increase the mezzo piano starting on the upbeat of beat 2 in measure 10 compared to the piano in measure 4, there is a possibility that measures 7-12 will become dynamically flat.  

While achieving this is certainly ideal, if measures 7-12 do become flat, then from here on, this is the author's personal opinion: it may be acceptable to control the mezzo forte in measure 6 and the mezzo piano in measure 10 to be closer to a standard forte and piano respectively. Consider how crucial it is to express the dynamic contrasts in this piece.  

Sectional Moods

If likened to an opera, measures 1-12 can be thought of as a lively, cheerful conversation. However, the B section starting from measure 13 changes the mood slightly. Measures 13-16 convey a sense of unease, while measures 16-20 depict the emergence of a good idea. It then feels like returning to an optimistic, joyful conversation.  

In any case, the key to this piece is to play the entire work joyfully and lightly.