This is a very optimistic and operatic first movement. The mood is very peaceful, with no serious elements. Imagine several female and male singers performing as you play.

The key to playing this first movement is, above all, to "feel the non-harmonic tones." For example, the C in the right hand on the first beat of measure 1, the F in the right hand on the first beat of measure 2, the B in the right hand on the first beat of measure 3, and the A and C in the right hand on the first beat of measure 4 are all non-harmonic tones. Try playing without these non-harmonic tones. If you omit the non-harmonic tones, the melody from the beginning becomes F-Eb-D-C-B, D-G-D-Eb, Eb-D-C-B-A, A-B-C-D. While it still functions as music, you will find it remarkably bland compared to the original. In other words, these non-harmonic tones provide a certain kind of stimulus to the piece, which might be stylish or even alluring. It is important to carefully feel and play these non-harmonic tones.

Difficult Passages

• The first is the right-hand octaves in measures 43-44. These octaves should be played seamlessly, without harshness, smoothly and naturally with the pedal. The pedal should be depressed "just for an instant" right before the octave shifts to the next, specifically from the last note of the three eighth notes in the left hand (this prevents the left hand from becoming muddy).
• The other passage is the right-hand trill in measure 150. For this, three trill notes per beat are sufficient. Taking the first beat as an example, D-Eb-D F is fine. While some performers include more notes, it is very difficult to do so at a certain tempo, so the method described above is acceptable.