While there are various ways to analyze it, this sonata can be divided into four sections:

• Measures 1-12
• Measures 12-20
• Measures 20-24
• Measures 24-31

Let's begin with the first section. This section can be further divided into two parts: measures 1-6 and measures 7-12. The first part is in D minor, and the second is in F major. These two keys should be played with different dynamics and moods. For example, if D minor begins p, F major should begin mezzo forte. Furthermore, measures 3-4 and 5-6 are identical. Therefore, contrast should be applied here as well. For instance, if measures 3-4 are mezzo piano, measures 5-6 could be pp.

The same principle applies to measures 9-10 and 11-12. Always strive to avoid playing two identical phrases in the same manner.

Next, we move to the second section. This section can also be further divided into two parts: measures 12-16 and measures 16-20. These are sequences. The first sequence should be played with greater intensity, and the second with less, to create a contrasting mood.

Third Section

This is the section with the highest tension in the piece. Measures 20-22 should be played forte, and measures 22-24 could be played p, like an echo.

Fourth Section

The fourth section is also divided into two parts: measures 24-28 and measures 28-31. The first part begins p and should gradually increase in volume towards measure 26. The second part should increase in volume towards measure 30. In this section, contrast between the two parts is not necessary. Play with a sense of direction, avoiding a flat or static performance.