This first movement evokes the image of a string quartet. When playing, imagine you are performing a string quartet, prioritize the horizontal flow, and strive to ensure the independence of each voice.

Although the key is minor, Haydn's characteristic brightness is also apparent, and the mood is not serious.

When conceiving this as a string quartet, it is crucial to visualize the bowing of instruments such as the violin. The author's score includes detailed articulations. Where legato is indicated, the final note of the legato phrase should always be released before proceeding to the next note. Specifically, when legato is applied to two notes, the second note should be played without force and cut short.

In the first measure, from the anacrusis up to D-Es-D-G, it should be played once; then, it connects to F-Es-D, is cut at D, and similarly connects to C#-D and is cut at D.

What requires attention here is the presence of non-harmonic tones. For instance, in the first measure, if the quarter note C# on the third beat of the melody line is considered a non-harmonic tone, stress should be placed on the C#, and the subsequent D should be cut, fading away with absolutely no force.

It must never be louder than or equal in volume to the C#. Furthermore, any other notes identified as non-harmonic should be emphasized, and the subsequent harmonic tone (resolution) should never be played loudly.