In the Classical era, 2/4 time generally proceeds at a rather fast tempo. However, in this first movement, even with a 'moderato' marking, the notation is written in a way that rhythmically necessitates a considerably slower tempo. This is because the presence of excessively small note values and ornaments makes it difficult to play them with ease unless the tempo is slow. One must avoid playing too fast, which would eliminate the necessary space for executing the ornaments. Therefore, it might not always be necessary to feel the 2/4 beat while playing.

Setting that aside, the crucial aspect in this first movement is the issue of timing. Although I mentioned earlier that it might not be necessary to feel the 2/4 beat, regardless of the time signature, the beat must progress constantly. If any circumstances cause undue delays, the listener will lose track of the beat.

For example, in measure 9, if the first note of the turn falls on the downbeat of beat 1, the left hand cannot start until the turn is completed, ultimately creating unnecessary time due to the turn. What we must never forget during performance is that the listener may be feeling the beat, and it is crucial to play in a way that does not betray the listener's sense of the beat.

So, how should one approach this? Taking measure 9 as an example, the first three notes of the turn are E-flat, D, C-sharp. These three notes should be played at the end of the previous measure. In measure 8, even if there is a rest, count precisely so that the fourth note of the turn falls exactly on the downbeat of beat 1 in measure 9. Similarly, in subsequent passages with similar characteristics, long notes, or long rests, pay particular attention to counting precisely.