This third movement allows for a considerably fast tempo, which in turn enhances the piece's appeal. The right hand in measures 1-4 presents the main melody, which subsequently reappears in varied forms (e.g., measures 14-18). This theme, evocative of a cuckoo, recurs with shifts in tonality (e.g., F major or A minor), and occasionally, as seen in measure 30, the theme initiates in the left hand before being transferred to the right. A key consideration is the shaping of the theme. Taking measures 1-2 as an example: when performing the right-hand theme within these measures, which of the two slurred notes do you perceive as stronger? Specifically, in pairs such as G-E and C-H, the second note of each pair falls on the first beat. It might seem more intuitive to place an accent on the first beat. Having experimented with various approaches, my personal view is to articulate the first note more strongly than the second, allowing the latter to diminish. Subsequently, I propose applying this shaping to all thematic occurrences. What are your thoughts?