This is an unusual first movement that cannot be contained within 8-bar units (4 bars x 2). For example, the theme begins with an anacrusis into bar 1 and extends to the G in the left hand on the downbeat of beat 2 in bar 3. The right-hand 32nd notes emerging from the upbeat are considered the next theme. This second theme is considered to extend to the G-H in the right hand on the downbeat of beat 2 in bar 5, and from the upbeat, a third theme begins again, extending to the G in the left hand on the downbeat of beat 2 in bar 7.

Performers begin by dividing the theme into several sections in this manner. When the author analyzed the first half up to bar 28 and extracted the themes, they were as follows:

• 1. Anacrusis – bar 3, beat 2, downbeat
• 2. Bar 3, beat 2, upbeat – bar 5, beat 2, downbeat
• 3. Bar 5, beat 2, upbeat – bar 7, beat 2

The following lists only the starting points:

• 4. Bar 7, beat 2, upbeat
• 5. Bar 10, beat 2, upbeat

Subsequently, similarly, sections where four 32nd notes descend are considered the beginning of a theme. This reveals a truly diverse array of themes. For instance, the second and third themes both begin on H and are similar, but the second ends with an imperfect cadence, while the third concludes with a perfect cadence. Performers, in this way, should not play similar themes identically but rather introduce some kind of difference.

There are also sections where completely identical themes appear. These are from bar 12, beat 2, upbeat, and bar 14, beat 2, upbeat. Even when an entirely unchanged theme appears, avoid treating it identically and introduce some kind of variation.

Not limited to themes, even in sections where the same event occurs twice consecutively, such as bars 47 and 48, some difference should be introduced.

The peak point is reached in bar 49, gradually building a crescendo and increasing tension from bar 35. Until then, maintain the tension.

This movement also exhibits Haydn's unique humorous and optimistic style. To play it enjoyably, it is important not to make the staccatos heavy and to play lightly.