The first movement is highly optimistic and playful. The chord on the first beat of measure 1 reappears in measure 3, measure 5, and so on. Imagine an orchestral tutti. Without exception, a p marking is always written after this chord. This suggests the commencement of a small ensemble. Furthermore, there is an arpeggiated chord with a similar character. From the first to the downbeat of the fourth beat of measure 16, it is forte, with a p marking appearing from the upbeat of the fourth beat. This same material appears in measure 18, measure 37, measure 38, and so on. A point to note is the natural inclination to reduce the volume to p from the upbeat of the second beat after this arpeggiated chord. When this material appears, pay close attention to the dynamic markings and maintain forte until the next dynamic marking. In this first movement, pay careful attention to the dynamic markings and precisely adhere to the dynamics as written in the score. By doing so, the inherent interest of the ensemble can be realized.