First Movement

The first movement is based on classical sonata form, developing lively and clear themes. From the outset, one should pay attention to the harmonic sonorities built upon the stepwise bass progression, valuing their coloristic quality. One can also sense ideas reminiscent of Debussy; particularly in measure 5, carefully depict the right hand's scales freely soaring amidst overlapping sonorities, utilizing both the soft pedal and damper pedal. While mindful of the interest of changing meters, it is effective to clarify accent placements and be conscious of phrase cohesion. From measure 13, augmented triads appear, followed by a dreamlike, hazy sonority, after which the moment of arrival at the G major I chord in measure 17 gives a startling, awakening sensation. In the development section, the thematic motif shifts to the left hand; by clearly expressing the dynamic markings for both hands, the musical contours become prominent. In the climax, the left hand's powerful motion creates an effect akin to trombones, building a dramatic surge.

Second Movement

The second movement is a lyrical slow movement, whose cradle-like swaying induces drowsiness. This movement requires careful attention to chromatic movements, and a desire to delicately perceive subtle changes in sound with a soft, enveloping timbre. By not being overly bound by tempo and allowing the music to flow with natural breathing, deeper expressions will emerge.

Third Movement (Finale)

The third movement, serving as the finale, is a rhythmic and lively movement. The motif used in the climax of the first movement reappears as the opening theme, creating a sense of consistency throughout the entire work. Rhythmic precision is required; care should be taken to ensure that sixteenth notes are not ambiguous. In measure 5, the left hand's perfect fifth motion supports the right hand's sforzando, generating propulsion, but balance is crucial to avoid obscuring the right hand's melody. From measure 25 onwards, even with soft dynamic markings, maintain clarity of articulation, aiming for a sound reminiscent of rapid string bowing. The reappearing motifs should be treated dialogically, concentrating energy towards the ff unison in measure 45. From measure 53 in the final section, the intensity builds towards the fff conclusion with a brilliant sonority, leading to a dynamic ending.