It is advisable to play this movement at a rather fast tempo. Repetitions, such as those found in measures 17-19, are ubiquitous; playing these sections slowly would result in a drawn-out effect. By increasing the tempo, the toccata-like techniques can be effectively showcased, sequences become more audible (e.g., measures 7-16), and the overall enjoyment is significantly enhanced.

Another point is to maintain a sense of direction, understanding the intended goal for each phrase or section. For instance, if measures 1-21 are considered a single unit, with measures 20-21 serving as the cadential ending, then the point of highest climax within measure 21 should be determined.

For example, while measures 1-2 and 3-4 constitute the same phrase, it is discernible that measures 3-4 possess a higher tension. Measures 5-6 should be played at their loudest, followed by a reduction to pp at measure 7, from which a gradual crescendo should be applied towards measure 19. Although measures 17-19 feature identical notes and rhythms, endeavor to control the dynamics such that measure 19 is louder than measure 17.

In practice, sustaining a crescendo from measure 7 to measure 19 can prove challenging. In such instances, it is imperative to create a point where the volume is momentarily reduced. Assume a crescendo is maintained from measure 7 up to measure 16. Then, at measure 17, the volume is reduced once. Subsequently, a crescendo is resumed to reach measure 19, leading into the cadenza at measure 20.