This is a bright and lively first movement. Its appeal is enhanced by agile staccato and dazzling ornaments. The thematic melody is found in the right hand during the opening four measures, and the question arises regarding the execution of the turn figure in the anacrusis. Taking this anacrusis as an example, some scores indicate fingerings such as 14321, which naturally implies playing A-B-A-G#-A. However, some individuals omit the initial A and play B-A-G#-A. Either approach is acceptable, but this turn should not be contained within the beat (specifically, the third beat). On the third beat, the actual notes A and D should be played with their full notated values. In other words, the turn must occur before that point, and it will not fit unless it starts from the end of the second beat. From this perspective, though it is the author's personal opinion, the four-note B-A-G#-A is preferable in various respects. While there are instances where turns are not placed on the beat, the three turns in measure 47, in the author's view, should be contained within the beat. This is because there are no other notes in the right hand within the beat apart from these turns. These too should be played as four-note figures: G-F#-E#-F#, E-D-C#-D, and C#-B-A#-B. Again, this is the author's personal view, but to ensure the clarity of the turn notes, the pedal should not be used in measure 47. Even if the pedal is used in the preceding measure, measure 46, measure 47 should be kept dry to allow the turns to be heard clearly.