This movement can be regarded as a third movement with strong dramatic elements. It may be helpful to envision it as a dialogue between two individuals. Alternatively, one might conceive of two characters bustling across the stage, delivering rapid-fire lines.

For the opening 8 measures, two interpretations are possible:

• One approach is to consider measures 1-2 as Character A and measures 3-4 as Character B.
• Another is to interpret measures 1-4 as Character A and measures 5-8 as Character B.

For instance, when considering the music in four-measure units, the expression in measures 5-8 conveys a higher tension than that in measures 1-4. Performers are encouraged to articulate these differences in expression.

Furthermore, a clear sense of direction is crucial. For instance, while some editions indicate forte at measure 23, the ultimate dynamic culmination is at measure 31. When considering how to build dynamic direction towards this point, commencing forte from the outset often hinders the creation of a compelling trajectory, leading to a comparatively flat performance. Even if forte is indicated at measure 23, it is advisable to commence around mezzo piano, as the left-hand accompaniment transitions to quarter notes at measure 28, thereby further intensifying the musical tension. Therefore, it is imperative to judiciously conserve dynamic intensity.