A programmatic sonata, where not only the first movement but also the final movement is important, and the process leading up to it has a narrative quality, like a program, similar to Beethoven's "Les Adieux," is said to have originated in Beethoven's time. I feel that this sonata also has programmatic inspiration.

The first movement is a leisurely aria. In this sonata too, only forte and piano dynamic markings are present; the Henle edition I am consulting only contains these two types of dynamic markings. Therefore, do not make all forte volumes the same, nor all piano volumes the same; instead, give different volumes even to the same forte or piano, depending on the situation.

One important element in this first movement might be the presence of the bass. Although it may be difficult to discern as it is not clearly written as an independent bass line, for example, in measures 4-7, from the third beat of measure 11 to measure 12, and in measures 22-26, etc., use the 5th finger of the left hand to sustain the bass (meaning to hold it down continuously), ensuring that the bass never breaks off.

Another important aspect is "directionality." Understand where the phrase is heading. For example, when looking at measures 1-10, the peak point is in measure 9, and specifically, the chord between the 3rd and 4th beats carries strong expression. It then settles with the cadence in measure 10. However, leading up to measure 9, the tension must gradually build from measure 4, and during this period, ensure that the tension never decreases.