There are two important points in this third movement.

• Recognition of the Beat: Although it is in 2/4 time, one must always be conscious of the two-beat pulse, in any passage, to avoid rushing forward. There are many measures with four consecutive identical notes, such as HHHH in m. 25 or GGGG in m. 27. If the beat is not recognized here, the music will sound rushed and lose its composure.
  Furthermore, passages with such consecutive identical notes require great care for pianists in another sense: the issue of directionality. For instance, in m. 25, the intention is to lead towards the E in m. 26, which serves as the goal note. If all four H's in m. 25 are played with the same volume, the music will sound very stiff (this is a characteristic of the piano). Therefore, one should apply a gradual, truly subtle crescendo towards the goal note, but be careful not to neglect the recognition of the beat at that time.
• Issue of Balance: For example, if you observe the right and left hands closely between measures 34 and 36, they are in a relationship of sixths. Especially when playing in sixths, it is recommended to play the lower voice part more subdued. This is because if the lower voice part is too loud, it can cause the music to sound stiff.