The first movement, clearly conceived for keyboard instruments, incorporates numerous virtuosic passages made possible by the pianoforte. Firstly, it is imperative to maintain a consistent tempo throughout, ensuring that the tempo does not decelerate in passages with a high density of notes, by continuously counting in 3/4 time. Furthermore, distinct dynamic contrasts are highly desirable. A key element of this first movement is the effective presentation of the contrast between alternating forte and piano sections.

Regarding the first measure, the author observes a dotted rhythm on the first beat. This rhythm, a dotted eighth note followed by a sixteenth note, is accompanied by an ornament. Performers are encouraged to first play this passage without the ornament, focusing solely on the main notes. The same applies to measure 23. While this approach naturally reveals the underlying dotted rhythm, some performance practices allow the dotted rhythm to be obscured when the ornament is introduced. Playing the ornament at the speed of a thirty-second note is acceptable. However, the fourth note is a main note, which is a sixteenth note. Nevertheless, there exists a performance practice where all three ornamental notes and the single sixteenth note are executed at the speed of a thirty-second note. While this interpretation may be subject to debate, the author's view is that the ornament is introduced within the dotted rhythm (as indicated in the score). Therefore, I would argue that the sixteenth note alone should be differentiated from the thirty-second note rhythm of the other ornamental notes, sustained for its full sixteenth-note duration before proceeding to the second beat. What are your thoughts on this approach?