A strikingly vibrant and lively performance is desirable for this Allegro. In both the first and second halves, the right hand has only two rests. Considering this, it can be argued that both the first and second halves contain only three phrases each.

Crucial for this piece are clear and wide-ranging dynamics. Especially when considering it as a long phrase without rests, one tends to lose a sense of direction. One must consider where the peak of the phrase lies and where it should be most p, generally building tension gradually towards the peak. However, particularly in the second half, as modulations occur, the influence of the new keys must also be considered.

Let us examine the first half. The first phrase concludes on the third beat of measure 2. While it might be considered a diminuendo as it ends with a descending line, the preceding tendency of the phrase relies on a pedal point, which finally disappears on the second beat of measure 2, transitioning into a scale. It is also a possibility that the final note of the phrase on the third beat ends with a crescendo.

In contrast, the second phrase ends on the third beat of measure 4. Consider whether this too should end with a crescendo, or if a diminuendo would be more fitting if this is considered an answer to the first phrase. The third phrase ascends and descends, reaching its highest note, C, in measure 13. Although it then descends, applying a crescendo towards the final chord in measure 14 can be effective.

In the second half, the piece modulates through F major, B-flat major, G minor, and D minor. Please vary the dynamics with each modulation. The ending, similar to the first half, may conclude with a crescendo.