This is an extremely optimistic sonata, full of Handel's charm. Measures 1-3 establish the theme (subject), which appears in many keys, including D major, C major, and E minor, through modulation. Of course, the atmosphere of the theme must be varied each time it appears, but it is important to understand the exposition, development, and recapitulation sections. While other analyses may exist, as an example, the structure is as follows:

Analysis and Performance Notes

• Exposition: Measures 1-35
• Development: Measures 36-85
• Recapitulation: Measures 86-123

What must be paid attention to in this sonata is the treatment of the sixteenth notes. For sixteenth notes, focus on the moving notes. For example, in measure 7, the notes at the beginning of each beat are B A B A, and in measure 8, B C B C. Furthermore, in passages like measure 33, which ascend or descend in thirds, instead of emphasizing every note, listen for the important voice—for instance, the notes on the beat in the right hand from the third beat of measure 33 (B C D E F# G F# E D E C D B C A)—and play the notes on the off-beat lightly and softly.

Naturally, for notes written as an organ point (pedal point) like in measure 44, ensure that F# A D A B G A D are heard, while the pedal point note D is played quietly. Especially in this case, since D is likely played by the first finger of the right hand, even more care should be taken to relax the hand.

Although attention should be paid to the sixteenth notes, they build tension when approaching a peak point.

The probable peak point might be around measure 56. Even then, it is advisable to keep the note played by the first finger of the right hand subdued while building tension. Then, the E minor theme enters, and the tension remains high as the piece progresses.