When performing Haydn's compositions on a modern piano, not exclusively in this third movement, several crucial considerations should be borne in mind.

Firstly, exercise caution regarding the 'excessive use of the sustain pedal.' While practicing in a domestic setting, rooms typically lack significant reverberation, leading to a rather dry sound that often tempts one to employ the pedal. However, when performing in a concert hall, the acoustic environment will not yield the same clarity as at home. For instance, in the context of this movement, applying the pedal between measures 28 and 30 will cause the four notes in the left hand to be sustained alongside, thereby obscuring the clarity of the right hand's sixteenth notes. Furthermore, the use of the pedal in passages fundamentally based on scales will inevitably result in a muddy texture. Therefore, pedal usage should be restricted to a minimum.

A second crucial point is to avoid interrupting the musical flow in superfluous places. Classical music is inherently instrumental, an ensemble art form, and music that is typically directed by a conductor; its inherent momentum must not be arrested. Depending on the specific context, such as sections intended for emphasis or a change in timbre, meticulous care must be taken to ensure that the listener never loses the rhythmic pulse.

Furthermore, concerning phrasing: In the opening eight measures, one can conceptualize four distinct two-measure phrases. Should these four phrases be rendered at an identical dynamic level, the musical expression itself will become monotonous. Consequently, it is imperative to discern the underlying psychological state of each moment and to perform the four phrases with nuanced variations. Such a nuanced musical interpretation and performance approach are equally indispensable.