The term "scherzo" refers to a form, but its contemporary meaning has significantly diverged from its connotation in the Baroque era. The word "scherzo" itself means "joke" or "playful" in Italian. I feel that pieces bearing this name are influenced by this meaning to a greater or lesser extent.

Now, let's assume the theme begins on an anacrusis (ECA) and extends to the second beat of measure 2 (DCHA). Curiously, the theme appears only once in the first half, at the very beginning.

As for the second half, five different themes appear: at the second beat of measure 12, the second beat of measure 14, the second beat of measure 20, the second beat of measure 22, and the second beat of measure 28. The interest in performing this scherzo lies in the interpretation of these themes, playing all six themes so that each displays a different character.

For example, the opening A minor theme might create a strong impression because its accompaniment is chordal. If so, since the theme at the second beat of measure 28 also returns to A minor, these two could be played with a relatively strong character.

Similarly, the C major theme starting at the second beat of measure 12 also appears with chordal accompaniment, but how should the C major theme be varied compared to the A minor theme? Furthermore, the next theme at measure 14 is in D minor, but its chord is not in root position, is it? It is written in the first inversion, which gives it a somewhat delicate feel.

The themes at the second beat of measure 20 and the second beat of measure 22 are descending sequences. A gradual diminuendo would be acceptable.

Thus, it is good to vary the character each time a theme appears, and a subjective approach is fine.