This sonata emphasizes direction. It is crucial to constantly make the listener feel where the music is heading. For this, dynamic changes are essential, but how these dynamics are determined is left to the performer.

Let's take the first half as an example. In the first half, the highest note written is A on the downbeat of the second beat of measure 2. Since there are no notes higher than this A in the first half, it can be assumed that the tension increases at least when A appears.

This is just one example of how to apply dynamics. For your reference.

The piece starts forte, gradually decreasing in volume with a descending sequence in two-beat units in measure 2, reaching a p dynamic at the g-minor cadence in measure 5. From there, an ascending sequence leads to A in measure 8. From there, the volume decreases again with a descending motion, followed by a crescendo from measures 10 to 12, reaching what is likely the peak point of the first half in measure 13. At this point, the same two-beat pattern is repeated three times. For these three repetitions, for example:

• 1. Continue playing without any dynamic changes.
• 2. Vary the dynamics each time, for example, playing the first louder, the second softer, and the third louder.
• 3. Decrease the volume once at the first repetition, then gradually crescendo, making the second louder than the first, and the third louder than the second.

These are some possible approaches. It is up to the performer's discretion. Finally, the last A is reached in measure 15, from which the volume gradually decreases with a descending sequence.