It is rare for the first movement of Beethoven's sonatas to be in compound meter. Including this piece, there are only two or three such sonatas. While there are more complex reasons for Op. 57, for example, to be in compound meter, in the case of this piece, it is appropriate to interpret it as embodying one of the characteristics of compound meter: "moving forward without stopping." Indeed, the piece is filled with an unstoppable energy, constantly propelling forward. Therefore, one point to note is that, if possible, one should maintain a single tempo and avoid slowing down in difficult passages. The difficult sections begin around measure 111, where the right hand shifts to 16th notes.

I will briefly explain the practice method for this section. There are six 16th notes per beat. In each unit, the fingerings for the first two notes are often 1-2, aren't they? And the remaining four notes are often 5-2-5-2, aren't they? So, I will explain assuming 1-2-5-2-5-2. Let's take the first beat of measure 111 as an example.

1. Place finger 1 on B. The reason for placing it there is that it ensures the correct positioning of the other fingers in that state. For example, the first note played by finger 1 in measure 120 is F, which is a white key, so you don't have to play 5-2-5-2 deep into the keyboard (meaning it's still easier). However, if finger 1 lands on a black key, the entire hand must play deeper into the keyboard, which is heavier and more difficult. Creating the state where finger 1 is placed on the key is to simulate that situation.
2. After that, practice the remaining 5-2-5-2. The first two of the six 16th notes, i.e., 1-2, should pose almost no problem in this passage. The problematic part is the 5-2-5-2 movement, so practice this one unit at a time. Of course, since the first and second beats of measure 111 are the same, if you practice the first beat, there's no need to practice the second. Similarly, the second beat of measure 112 is the same as the first beat of measure 111, so there's no need to practice it.

In this way, extract only the different types of units. And how long should you practice this 5-2-5-2? Until you can play it with ease. I think continuously playing this 5-2-5-2 for about 3 minutes without stopping can be quite challenging. Your forearm muscles should start to feel tense. That's a sign that it's having an effect.

Another point to note is perhaps to feel the off-beats and play the rhythm accurately. The sforzandos from around measure 127 appear on the off-beat of the first beat. Some learners occasionally have a weak sense of rhythm here. Be sure to count carefully.

It is safe to assume that this sonata also has a background in string quartets and piano trios. Here and there, the right-hand melody is marked with articulations reminiscent of violin bowing.

The overall mood of the piece is very hopeful, full of anticipation, joyful, and powerful.

It makes one imagine that this might have been one of the best periods in Beethoven's life.

Other Notes:

To avoid the wide reach of the right hand in measures 51 and 53, there is also a method of taking the first two notes with the left hand. This would make the right hand considerably easier, but then the left hand would become difficult. Please choose the method that is easier for you.

Although "fortissimo" is written between measures 79 and 80, it is presumed that pianos of that era could not produce such a large sound. Therefore, one should avoid playing this section with a fortissimo like Liszt or Rachmaninoff; not using the pedal is also one approach.

The right-hand octaves starting from measure 85 are truly difficult. One should play this section so that it doesn't become mechanically stiff, and playing it at a considerable pp (pianissimo) will be just right. And observe the crescendos and diminuendos, ensuring that the same volume does not continue.