Given that this movement undoubtedly implies an instrumental ensemble in the background, we will approach it with the image of a string quartet or an orchestra in mind. Where the bass is written in octaves or broken octaves, and where the low register is emphasized, we consider that the number of instruments increases accordingly, or, in the case of a string quartet, the cello is emphasized, and the volume should increase proportionally.

The most crucial aspect in this movement is the issue of timing. In measures such as m. 4 and m. 12, where rests lead to silence, or m. 27, where a turn appears on the first beat, absolutely precise counting is required.

Especially in places like m. 27, where a turn is present, it is expected to be played as GFEF. The initial G of GFEF should be heard as the first note of the first beat, and detailed counting is necessary to ensure that the final F of GFEF is not heard as the first note of the first beat.

Therefore, in other places as well, it is crucial "not to take unnecessary time" and "not to rush the count."