The first movement is a slow Moderato, largely progressing in two voices. There are two points to note when performing this first movement.

1. Tone Quality of Voices

One is the issue of tone quality for each voice when progressing in two voices. For example, in measure 12, it is clear that the two voices are relatively close in position; however, if these two voices are played exactly the same, it might sound to the listener as Fis D Fis A E G D Fis. What one actually wants to convey is the upper voice's D A G Fis or the lower voice's Fis Fis E D. By prioritizing one voice and making the other more subdued, confusion between the voices can be avoided, and a mechanical, vertically-oriented performance can be prevented.

By playing the desired voice brilliantly and the other voice gently, the music flows horizontally.

2. Timing

The second point is the issue of timing. For instance, from measures 24 to 27, ensure that the duration of ties spanning across bar lines is strictly observed. In this section, a 32nd note appears on the second beat, so care is needed to prevent it from sounding like an off-beat, meaning the listener should not lose the beat. Since this is a compositional style where regaining the beat, once lost, can be quite time-consuming, a precise performance, close to a metronome, is desirable for timing.