From the very beginning, a passage that suggests E major continues for four measures (mm. 1-4). Then, from measures 5-8, the music returns to A major; the illusion of E major is created only in these first four measures, after which the tonality settles into A major. This might be a unique and delightful deceptive technique characteristic of Haydn. Therefore, it would be effective to play measures 1-4, for instance, with a forte dynamic to build tension, and measures 5-8 gently and lightly to express the sense of relief upon returning to A major.

The section that can be considered the B section spans measures 9-12. Given its register, there are no low notes, and it remains within a limited range; thus, it would be appropriate to play it lightly with a piano dynamic, and then return to forte for measures 13-16. Please note that the material for measures 9-12 is derived from the right-hand part of measures 7-8. For such repeated notes, it is generally advisable to maintain a lower volume. Heavy repeated notes can become jarring to the ear. Furthermore, staccatos should be articulated as short as possible.