Although in a minor key, this third movement is not pessimistic. Rather, it evokes a sense of joyful scenes and dramatic elements. As it is a piece that conveys intense tension, please consider maintaining a high level of tension even in the piano (P) sections.

The opening two measures constitute the theme. Following this, there are passages that are sung emotionally, such as measures 3-6, and passages that maintain a sense of rationality, such as measures 9-12. For the measures immediately following the theme, please vary your expression according to their character.

For those hearing this third movement for the first time, the importance of identifying the first beat cannot be overlooked. For instance, some might initially perceive the anacrusis C as the first beat. This would lead to considerable confusion in recognizing the first beat thereafter. The counting in measures 52-53 is also crucial. Therefore, one suggestion is to utilize the non-harmonic tone on the first beat of the theme.

The F in the right hand on the first beat of measure 1 might conventionally be analyzed as an appoggiatura, but the author perceives it as an unannounced passing tone. Non-harmonic tones are typically defined by a three-note sequence: approach → non-harmonic tone → resolution. However, there are also non-harmonic tones that lack the approach portion. In any case, assuming this is a passing tone, its placement on the strong beat is significant. Passing tones typically occur on off-beats to smooth the flow; their appearance on a strong beat, as in this case, conversely indicates a desire to emphasize emotion.

The anacrusis C and the D on the third beat of measure 1 should be played pp and staccato, without emphasis. Emphasizing these notes might lead them to be perceived as the first beat; to avoid this, when playing the F on the strong beat of measure 1 and the G on the strong beat of measure 2, please add a very slight accent to each. This will allow the notes on the first beat to be heard as such.