This is a dramatic third movement, where a full range of emotions (joy, anger, sorrow, and pleasure) can be distinctly perceived. Many of Mozart's compositions are conceived with vocal music (singing) in mind; however, the passages in his piano works are often too fast to be sung literally. While it is impossible to sing at such speeds, it is crucial to remain aware of the underlying vocal quality.

A common pitfall is to play this third movement at an excessively fast tempo. Please note that this can result in a loss of its lyrical quality, transforming it into something akin to a toccata, an etude, or a mechanical exercise. Rather than playing in a machine-gun-like fashion, it is imperative to maintain a sense of lyricism even at rapid speeds. This applies even to the sixteenth notes in the opening right-hand passage. As mentioned earlier, while singing at such a rapid pace is impossible, one should strive to retain the image of singing. Doing so will naturally lead to a slightly more relaxed tempo (even within an Allegro marking, it will lean towards a slower setting).

It is paramount, first and foremost, to avoid rushing ahead solely on the basis of technical prowess. Even in the C minor section beginning at measure 50, ensure that the written articulations are observed (set a tempo that allows for this).

While this piece also depicts feelings of joy, instead of overwhelming listeners with excessive speed, adopt a tempo where each individual note can be clearly discerned. This is not music that flows fluently at high speed, like Chopin's Fantaisie-Impromptu, for example. The tempo should allow the listener's ear to follow each individual note.