This first movement is fundamentally optimistic, and even with the appearance of a 'Neapolitan sixth' chord, it is never serious. The first beat is often emphasized, and there are passages where the pedal may be applied only on the first beat (e.g., measures 9-12).

Throughout, a wide range of tone colors is desired. Change the tone color every time the harmony changes. For example, in measures 17-19, the chord changes every two beats; therefore, to avoid flatness, vary the tone color with each chord change. Similarly, in measures 30-31, measure 32, and measures 33-34, vary the tone color whenever the character changes.

From measure 46 onwards, the right hand plays in two voices. At this point, aim for independence between these two voices. A tip is to play the inner voice as softly as possible (pp) and project the outer voice strongly.

While maintaining a consistent tempo throughout, bear in mind the goal of achieving a wide range of tone colors within it.