This is a piece where contradictions arise in the score. For the opening 10 measures, similar sections, the final 8 measures of the first half, and the final 8 measures of the second half, etc., approximately 90% of performers accelerate the tempo from measure 11 onwards. In other words, while measures from 11 onwards can be played presto, measures 1-10, etc., cannot be played presto. This is evident, for example, in the trill on the second beat of measure 1, where a 32nd note is written after the trill. This implies that the trill should continue at a 32nd-note speed, which necessitates a certain degree of tempo reduction.

However, this does not mean that this section should be played so slowly that it sounds like a different piece to the listener. Measures 1-10, etc., must sound restless, hurried, and agitated to the listener.

Indeed, the tempo must inevitably differ between measures 1-10 and from measure 11 onwards, where the 16th notes begin. However, one should strive to match them as closely as possible.

As one piece of advice, even if time is taken for the trill between the second and third beats of measure 1, the two chords in measure 2 should be playable presto. Doing so prevents the music from dragging. In other words, when the audience hears measures 1-10, they must immediately get the impression that this is a fast piece.